Brett Tryner, explains why provenance is so important in the Asian Art market, an area rife with forgery
08/09/2026 Asian Art
When it comes to the world of art and antiques, nothing is more important than provenance. Those wonderful gallery labels on the reverse of paintings, original invoices, old exhibition catalogues, and, of course, that particularly seductive phrase: “Country House Collection.”
With advances in technology and growing demand for particular collecting fields, sophisticated forgeries are finding their way into the art and antiques market at pace. And no collecting field is this more applicable to than the Asian art market. It has been suggested that as many as one in ten pieces may be forgeries and this has been exacerbated by rising prices and demand for Asian art.
Forgeries are not necessarily always recently made, in fact, in some Asian artistic traditions, copying the work of a master has traditionally been regarded as a form of homage and education, rather than just a deceptive practice for profit. While such traditions do not equate to forgery, they can complicate the distinction between legitimate copying and deliberate commercial deception, particularly within a high-value international market.
So, for anyone looking to start collecting Asian art, our September Fine Sale offers two collections with impeccable provenance, which will give buyers the confidence that the works offered are as described and catalogued.
The first collection has remained in the same family since the pieces were produced in the 18th century. Ogston Hall, a magnificent Derbyshire country house, had been home to the Turbutt family since 1717. Upon inheriting the house, Richard Turbutt (1689–1758) set about furnishing it with objects that reflected his wealth, status and taste, creating a collection that would remain within the family for generations.
One such example is Lot 12 in the sale: a Chinese famille rose tea and coffee service dating from the reign of the Yongzheng Emperor (1722–1735), which carries an estimate of £3,000–£5,000. This is thought to have been purchased by Richard Turbutt and has been fully authenticated as original.
Another Asian collection offered in the sale belonged to Instructor Captain Alexander Edward Monroe (1867–1956). The sixteen lots from his collection were acquired during his appointment to the Imperial Naval College in Nanking, China, where he was based from around 1905. Among the highlights is a pair of Chinese lacquered wood and faux-coral trees, dating from the 18th century.
These two collections offer either seasoned collectors or those new to the field the opportunity to look through some eighty lots dating from 1700 to 1900. These encompass ceramics, statues and textiles and bronzes. Estimates vary from £200 to £3,000, and all of these can be bought with the confidence that the items are genuine. As demand and values continue to rise within the Asian art market, collections such as these are a brilliant opportunity to potentially see further value growth over time.
To view the full catalogue for the Fine Sale, please click here