In this issue, Fredric Schneider tells how and why he formed a collection of cloisonné enamels, now a promised gift to the Peabody Essex Museum in Salem. Tribute is paid to two JASA members, Jacqueline Avant, a Los Angeles lacquer collector, and Kōichi Yanagi, a premier art dealer with a gallery in New York. At the Jewish Museum in New York, Evgeny Steiner considered a display of Edmund De Waal’s netsuke, made famous in The Hare with Amber Eyes. Hollis Goodall describes the world of ghosts and demons exhibited in Santa Fe and New South Wales. Betty Swinton reviews a handy new book on ukiyo-e by Julie Davis, and Rosina Buckland tackles a lavish publication on Japanese screens; even though the book is too heavy to read in bed, it discusses the spatial aspects of screens with a conceptual, often French-focused approach. Samuel Morse introduces an exhibition of pottery in Minneapolis and its catalogue, Kamoda Shōji—The Art of Change. Finally, John Carpenter invokes Shōki, the Demon Queller, called upon in times of epidemic.

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