.jpg?w=1)
Lot Essay
The Chinese Painting Collection of Harold Wong
A prominent figure in the Chinese art scene both in Hong Kong and internationally, Harold Wong (1943-2022) was a distinguished connoisseur, collector, advisor, gallerist, and artist. Raised in a cultured and educated family, he delved into classical Chinese art and literature from a young age. In 1957, he apprenticed under the esteemed painter Madam Koo Tsin-yaw. Wong’s father, Wong Pao-hsie (1907-1979), a Shanghai native and renowned collector who was a member of the prestigious Min Chiu Society, assembled the esteemed collection of classical artworks and calligraphy, Lok Tsai Hsien, with part of the collection published in Hong Kong as early as 1967.
Educated in both Hong Kong and the UK, Harold Wong devoted his life to the study, authentication, and sharing of his Chinese art knowledge to individuals passionate about the subject. He served as the Chairman of the Management Committee and Advisory Committee at the Art Museum of the Chinese University of Hong Kong and was an active member of the Min Chiu Society. In 1977, Wong co-founded Hanart Gallery in Hong Kong, which quickly became a hub for enthusiasts of Chinese painting. By 1990, he shifted his focus away from the gallery business to concentrate on his own artistic endeavors, collecting, and advisory pursuits.
Harold Wong’s collection Lechangzai Xuan, with its foundation in his father’s Lok Tsai Hsien, underwent significant expansion during the latter decades of the 20th century, reflecting his education, personal taste, and evolving preferences. This evolution culminated in a comprehensive and diverse compilation of Chinese paintings, with a particular emphasis on the following categories:
． The Literati Tradition of the Ming and Qing Dynasties
． Calligraphy
． Mid to Late Qing Paintings from the Harold Wong Collection
． Modern and Contemporary Ink Paintings
Within each thematic segment of the collection, Harold Wong’s exceptional connoisseurship and refined taste for literati art were prominently showcased through his selections. These attributes were shaped by his upbringing, educational background, and experiences as an artist. Notably, the collection boasts works by highly esteemed figures in Chinese art history, including Wen Zhengming, Chen Chun, Tang Yin, Dong Qichang, Wang Duo, and numerous other luminaries.
Harold Wong’s collection of paintings from the Ming and Qing Dynasties encompasses a diverse array of works spanning various schools, regions, and artistic styles, reflecting his profound understanding of the art history of that era. Among the masterpieces in this category, selected works were featured in publications such as the Comprehensive Illustrated Catalog of Chinese Paintings Vol. 2 Southeast Asian and European Collections by the University of Tokyo Press in 1982. Notably, Tang Yin’s Pavilion by the Stream and Wen Jia’s Pavilion amidst Solitary Clouds were included in Wong Pao-hsie’s Lok Tsai Hsien Collection of Chinese Paintings: Volume One Ming Dynasty in 1967.
An avid collector of calligraphy, Harold Wong amassed works from different calligraphers, scripts, formats, and sizes. Ranging from the carefree running-cursive script by Wang Duo to the exquisite running script by Dong Qichang on satin and the monumental seal script by Wang Shu, Wong’s collection showcased his open-minded approach to learning and collecting. His fascination with calligraphic couplets, building upon his father’s interests, underscores his unwavering dedication to a particular subject and format.
With cultural roots in Shanghai, Harold Wong held a deep appreciation for the Shanghai school of painting during the mid to late Qing Dynasty and acquired a collection of artworks by artists active after Emperor Qianlong’s reign. Ren Xiong’s album Landscape, Figure, Flower, and Bird particularly is a highlight in this category, showcasing his mastery across various techniques and styles—from the refined and vivid depiction of Luohan to the expressive and colorful brushwork capturing peach blossoms.
Wong’s immersion in art, culture, and interactions with important 20th century artists during his upbringing significantly influenced his collection of modern Chinese paintings. With strong ties to Shanghai, Huang Binhong’s Verdant Mountains, a work dedicated to Wong Pao-hsie in 1949, stands out in the group. Other artists affiliated with Shanghai such as Lu Yanshao, Wu Hufan and Pan Tianshou are well represented in the collection. During his youth, Harold Wong had the privilege of engaging with Zhang Daqian, a family friend, who inscribed and gifted paintings to him on multiple occasions.
Harold Wong is fondly remembered in the art world as a dedicated connoisseur of Chinese art, known for his kindness, expertise, and generosity in sharing his profound knowledge of Chinese painting. Throughout his lifetime, Wong extensively exhibited and published his collection, aiming to share the joy of collecting and the outcome of his systematic and well-researched collection. His calligraphic couplets were showcased at the Art Museum of the Chinese University of Hong Kong in 2003, 2007, and 2016, while many of his paintings were featured in the renowned Min Chiu Society exhibition series at the Hong Kong Museum of Art from the 1980s to the 2000s. As a luminary in Chinese art connoisseurship in Hong Kong and beyond, Harold Wong’s legacy as a contemporary literati will be celebrated through his exceptional collection and the profound influence he had on many collectors.
A prominent figure in the Chinese art scene both in Hong Kong and internationally, Harold Wong (1943-2022) was a distinguished connoisseur, collector, advisor, gallerist, and artist. Raised in a cultured and educated family, he delved into classical Chinese art and literature from a young age. In 1957, he apprenticed under the esteemed painter Madam Koo Tsin-yaw. Wong’s father, Wong Pao-hsie (1907-1979), a Shanghai native and renowned collector who was a member of the prestigious Min Chiu Society, assembled the esteemed collection of classical artworks and calligraphy, Lok Tsai Hsien, with part of the collection published in Hong Kong as early as 1967.
Educated in both Hong Kong and the UK, Harold Wong devoted his life to the study, authentication, and sharing of his Chinese art knowledge to individuals passionate about the subject. He served as the Chairman of the Management Committee and Advisory Committee at the Art Museum of the Chinese University of Hong Kong and was an active member of the Min Chiu Society. In 1977, Wong co-founded Hanart Gallery in Hong Kong, which quickly became a hub for enthusiasts of Chinese painting. By 1990, he shifted his focus away from the gallery business to concentrate on his own artistic endeavors, collecting, and advisory pursuits.
Harold Wong’s collection Lechangzai Xuan, with its foundation in his father’s Lok Tsai Hsien, underwent significant expansion during the latter decades of the 20th century, reflecting his education, personal taste, and evolving preferences. This evolution culminated in a comprehensive and diverse compilation of Chinese paintings, with a particular emphasis on the following categories:
． The Literati Tradition of the Ming and Qing Dynasties
． Calligraphy
． Mid to Late Qing Paintings from the Harold Wong Collection
． Modern and Contemporary Ink Paintings
Within each thematic segment of the collection, Harold Wong’s exceptional connoisseurship and refined taste for literati art were prominently showcased through his selections. These attributes were shaped by his upbringing, educational background, and experiences as an artist. Notably, the collection boasts works by highly esteemed figures in Chinese art history, including Wen Zhengming, Chen Chun, Tang Yin, Dong Qichang, Wang Duo, and numerous other luminaries.
Harold Wong’s collection of paintings from the Ming and Qing Dynasties encompasses a diverse array of works spanning various schools, regions, and artistic styles, reflecting his profound understanding of the art history of that era. Among the masterpieces in this category, selected works were featured in publications such as the Comprehensive Illustrated Catalog of Chinese Paintings Vol. 2 Southeast Asian and European Collections by the University of Tokyo Press in 1982. Notably, Tang Yin’s Pavilion by the Stream and Wen Jia’s Pavilion amidst Solitary Clouds were included in Wong Pao-hsie’s Lok Tsai Hsien Collection of Chinese Paintings: Volume One Ming Dynasty in 1967.
An avid collector of calligraphy, Harold Wong amassed works from different calligraphers, scripts, formats, and sizes. Ranging from the carefree running-cursive script by Wang Duo to the exquisite running script by Dong Qichang on satin and the monumental seal script by Wang Shu, Wong’s collection showcased his open-minded approach to learning and collecting. His fascination with calligraphic couplets, building upon his father’s interests, underscores his unwavering dedication to a particular subject and format.
With cultural roots in Shanghai, Harold Wong held a deep appreciation for the Shanghai school of painting during the mid to late Qing Dynasty and acquired a collection of artworks by artists active after Emperor Qianlong’s reign. Ren Xiong’s album Landscape, Figure, Flower, and Bird particularly is a highlight in this category, showcasing his mastery across various techniques and styles—from the refined and vivid depiction of Luohan to the expressive and colorful brushwork capturing peach blossoms.
Wong’s immersion in art, culture, and interactions with important 20th century artists during his upbringing significantly influenced his collection of modern Chinese paintings. With strong ties to Shanghai, Huang Binhong’s Verdant Mountains, a work dedicated to Wong Pao-hsie in 1949, stands out in the group. Other artists affiliated with Shanghai such as Lu Yanshao, Wu Hufan and Pan Tianshou are well represented in the collection. During his youth, Harold Wong had the privilege of engaging with Zhang Daqian, a family friend, who inscribed and gifted paintings to him on multiple occasions.
Harold Wong is fondly remembered in the art world as a dedicated connoisseur of Chinese art, known for his kindness, expertise, and generosity in sharing his profound knowledge of Chinese painting. Throughout his lifetime, Wong extensively exhibited and published his collection, aiming to share the joy of collecting and the outcome of his systematic and well-researched collection. His calligraphic couplets were showcased at the Art Museum of the Chinese University of Hong Kong in 2003, 2007, and 2016, while many of his paintings were featured in the renowned Min Chiu Society exhibition series at the Hong Kong Museum of Art from the 1980s to the 2000s. As a luminary in Chinese art connoisseurship in Hong Kong and beyond, Harold Wong’s legacy as a contemporary literati will be celebrated through his exceptional collection and the profound influence he had on many collectors.