Two of our participants, Ippodo Gallery and Thomsen Gallery, will be part of the 4th Annual Madison Avenue Gallery Walk on Saturday, October 24. This free event invites the public to visit participating galleries and attend expert talks and tours led by artists and curators on Madison Avenue and adjacent side streets from East 57th Street to East 86th Street.
At 2:30pm Shoko Aono of Ippodo Gallery will speak about the current exhibition “Through Her Eyes: In Memory of Laura de Santillana.”
At 3:00pm Erik Thomsen of Thomsen Gallery will give an overview of his show "Japanese Bamboo Baskets,” Japanese bamboo art over the past one hundred years.
RSVP is required to reserve your space at each participating gallery.
Kitagawa Utamaro, Wakaume of the Tamaya in Edo-machi itchome, kamuro Mumeno and Iroka, ca. 1793-94 (Edo-machi itchome, Tamaya uchi Wakaume Mumeno Iroka), with mica ground, signed UTamaro hitsu with censor's eal kiwame (approved), with a kyoka, and publisher's mark of Tsuaya Juzaburo, ca. 1793-94, oban tate-e 14 1/2 by 9 5/8 in., 36.8 by 24.6 cm.
Two of our dealer participants are exhibiting in the IFPDA Fine Art Print Fair online exclusive, which runs until November 1.
In addition to Japanese print classics, such as Harunobu, Hiroshige, Utamaro and Hasui, Scholten Japanese Art is featuring several prints from their September show, "Composing Beauty," an exhibition exploring ways in which bijin (lit. 'beautiful person') are presented in ukiyo-e.
The courtesan is Wakaume of the zashiki-mochi ('having her own suite') rank of the Tamaya house owned by Tamaya Hayachi.
In about 1792-1793, the publisher Tsutaya Juzaburo (1750-1797) began producing print series by Utamaro depicting half-length portraits of beauties with glittering full-mica backgrounds. These lavish images elevated print production to new heights, establishing both Utamaro and Tsutaya as pre-eminent ukiyo-e artist and publisher, respectively.
This print is from a group of three which were likely intended as an informal triptych, each featuring a courtesan identified in the title cartouche with her house and naming her two kamuro with an accompanying kyoka poem. Of the three designs, this composition functions best at the central panel because the figure's body faces one way while she turns to look in the opposite direction, and one of her kamuro peeks out from behind in a rare instance of frontal portraiture.
Egenolf Gallery Japanese Prints has a special exhibition, "Images of Beautiful Women (bijin-ga) from the 1920s and 1930s," including an exceedingly rare mica ground early print by Ito Shinsui "Spring" (Haru) dated 1917.
Ito Shinsui (1898-1972), Haru (Spring), 1917
A young, seated beauty reaches up to adjust her coiffure, which is charmingly accented with spring flowers. The artist himself said this about this work: “Spring is a pleasant and bright symbol, created within a small, sensuous feeling that results in turn from the colour rhythms.” As noted in “The new wave”, this work provides an instructive contrast between two variant states of the same image: Initially 100 copies of one version were printed that had a rich white mica background (this example). Yet, later, at the artist’s request a second version was created in which the mica was replaced by a plain ground. In addition, experimentation has also occurred with the kimono motifs; the mica impression displays a striped patterned furisode, while in the other impression the woman wears one of solid blue. This work also employed a format not seen in other Shinsui prints; the nagaban format. There are two areas of blindprinting in the face, which provides a dimensional effect to the nose and jawline. Important, pre-earthquake design. From the first limited edition of 100, this is number 7. Dated and signed upper left “Taisho rokunen nigatsu Shinsu” (Taisho 6, February, Shinsui.)
Kitano Tsunetomi (1880-1947), Maiko (Apprentice Geisha in Kyoto), 1925
Very scarce design of a young geisha (known as a maiko) shown in profile. Her face is an opaque white, set against a soft pink/silver mica background. Her hair appears as if painted with a brush, and includes strands of pink and red, as well as a number of youthful ornaments. Her neck is exposed and we can see the tie-dye technique of her robe. The pigments and printing style are unusual for a work from this period. The edition information is in the bottom margin; this is number 12 out of a limited edition of 100 prints. Oversized. Tsunetomi is primarily known as a nihonga painter, and he only published 11 prints, all of them based on paintings.
The Art of Japan, a participant in the New York Satellite Print Fair on until October 25, is presenting a wide ranging group of prints by renowned artists including figural works by Utamaro and Kunisada as well as landscapes by Hiroshige and Hasui.
Hiroshige (1797-1858), Kameido Plum Garden, 1857; from the seires: 100 Views of Edo, 14.375 x 9.75 inches, Woodblock Print Fine impression, color and condition
Even if you are not familiar with Japanese prints, there are a few designs that permeate our visual culture so much that they are icons recognized by nearly everyone interested in graphic art. Hiroshige’s two most memorable images include designs from the famous 1850’s series One Hundred Views of Edo. The first among these quite well known prints is commonly known as Sudden Shower over Shin Ohashi Bridge and Atake, depicting travelers caught in a surprise downpour while crossing a wooden bridge. The second design, one so revolutionary and striking that it also caught the eye of Vincent Van Gogh, is from the same series and commonly known as Kameido Plum Garden, depicting the "Sleeping Dragon Plum" of Kameido. Van Gogh painted a copy of this print in oils in 1877, and you can see the painting on permanent display at the Van Gogh Museum in Amsterdam.
This tree, at the time was the most famous in Edo, and was known for the purity of its double blossoms. According to one Edo guidebook, were “Blossoms so white when full in bloom as to drive off the darkness." We are so close that we can almost smell the tree's powerful fragrance, reputed to have lured the shogun Yoshimune as he passed nearby in the early eighteenth century. The “Sleeping Dragon Plum” survived in Kameido until 1910 when it was killed by a great flood. (Catalog notes from Brooklyn Museum website)
Pair of Chinese Cloisonne Vases, 18th Century
Height: each 11 3/4 inches
Lark Mason Associates' sale of Asian, Ancient and Ethnographic Works of Art is now live on the iGavelAuctions.com platform until October 28.
Among the wide-ranging selection offered, the most noteworthy are a group of 18th century Chinese cloisonné, mainly acquired by an American Colonel in occupied Tokyo, just after World War II, huanghuali furniture from an American collector and ancient bronzes and archaic jades originally bought by an American collector from noted galleries CT Loo, Christian R Holmes Collection, Sydney Moss, and at Sotheby’s from the 1960’s to 1990’s.
Highlights include a pair of Huanghuali horseshoe back armchairs (estimate $50,000-100,000) and a Huanghuali three drawer coffer table (estimate $30,000-50,000). A pair of 18th century cloisonné vases purchased from Philip Colleck in New York in 1976 are one example of the very attractive group of cloisonné (estimate $5,000-8,000).
Pair of Huanghuali Horseshoeback Armchairs
Height: 36 1/2 inches
Comb with triangular graphics. Solomon Islands. Wood, fiber, pitch, shell. 12.5 inches / 32 cm.
Thomas Murray is holding a special online exhibition, "Combs from the Solomons to China".
The exhibition includes a sample of comb styles, ranging from the Solomon Islands off of east New Guinea, through the Indonesian archipelago west to Lampung, in the south of Sumatra, and up to the Paiwan people of Taiwan and completing the journey in China. Comb motifs include serpents, birds, boats, trees, ancestors, and geometric repeats that may represent ancestral genealogies. The custom of wearing a comb is one of the earliest and most widespread of all human endeavors, a truly universal cultural expression.
Comb decorated with coins. Timor, Indonesia. Water buffalo horn, metal, "Young" Queen Victoria coins. 7.75 x 2.25 inches / 20 x 6 cm.
Combs are an important aspect of headdress all over the world. As sculpture, they are signifiers of ethnicity, class, battle prowess, marriage status, and other social and religious cues. Great care is taken in their creation.
Nicholas Grindley is proud to present their first online exhibition, featuring 16 scholar's objects, each carefully chosen to fulfil the needs of the Chinese scholar -- from brushes to brushpots, ink-cakes to inkstones, each objects served a purpose and would have commonly been found in a scholar's studio during the Qing dynasty.
Visit their website Nicholas Grindley to see the full exhibition. "The Online Chinese Scholar's Object Show" is on view until October 31st.
Songtsam is Asia Week New York's 2020 Presenting Sponsor. Learn more about another one of their stunning properties below!
Songtsam’s first lodge opened its doors in 2001 and underwent a renovation in 2019. Tucked away from the hustle and bustle of downtown Shangri-La, the lodge is located in Kna Village only a 2-minute walk to the Songzanlin Monastery. The lodge is a beautiful four-storey stone building housed in a traditional Tibetan dwelling within a self-sufficient farming village, where founder Pema Dorjee spent his childhood. Rooms excel in creating a true feeling of home, all of which are decorated in a Tibetan style and balanced with modern comforts. The inside of the property exhibits an impressive collection of hand-picked antique furniture, Tibetan Thangkas, and handicrafts, as well as traditional intricately woven carpets featured throughout the lodge.
Destinations & Activities
Shangri-La is the capital of Diqing Tibetan Autonomous Prefecture in Yunnan Province, China with an altitude of 3,200 metres. It has been long viewed as a paradise on earth with its majestic landscapes, diverse cultures, and deep spirituality. Located in a wide valley Shangri-La is surrounded by mountain ranges on all four sides. It is the capital of the Diqing Tibetan Autonomous Prefecture, and the gateway to the ancient Tibetan kingdom. The region is characterised by snow-capped mountain peaks, pristine forests and lakes, as well as traditional Tibetan villages with white-walled and richly decorated buildings. There are many beautiful hiking routes to explore the mountains, lakes, and idyllic villages and pastures.
To coincide with September Asia Week, several of our regular dealer participants are holding exhibitions showcasing traditional and contemporary examples of Asian painting, sculpture, ceramics, and more. Most of our New York based dealers will be open by appointment only for in person exhibition viewings. Here's our guide to the exhibitions on view.
HIGASHIDA Shigemasa 東田茂正一(1955- )
Oribe Ceramic Box No. 2-5 織部陶箱, 2020
H7” x W13.3” x D6.7”, 18 x 34 x 17cm
With Signed Wood Box
Dai Ichi Arts, Ltd. is presenting "The Call of Nature - Oribe Ceramic by Higashida Shigemasa." Higashida Shigemasa 東田茂正 pursues the Oribe glaze tradition with a unique and dramatic flair. Turning to ceramics after a brief but successful career at a major stock firm, Higashida's work is characterized by a lush and vibrant glaze that pools and flows over invitingly textured clay. Here, brilliant turquoise blue lakes of glaze occupy the valleys and crevices of the lush green surface. The dynamic shape of the ox recalls mountainous landscapes with their undulating crests and valleys. This rough topography is countered by the serene stillness of the pooled blue glaze which offers a restful point of contemplation for the eye. The gallery is open by appointment only, and the exhibition is on view at 18 East 64th Street, #1F, from September 10- 26. For more information please contact Beatrice Chang at +1 917 435 9473 or email firstname.lastname@example.org.
Torii Kotondo (1900-1975)
Combing the Hair (Kamisuki), 1929
Japanese color woodblock print
46.8 x 29.6 cm
Egenolf Gallery Japanese Prints presents "Beauty & Style: Early 20th Century Japanese Prints" in our September online viewing room. Featured above is Torii Kotondo's "Combing the Hair (Kamisuki)" depicting a nude beauty applying a comb to her long tresses. The rounded contours of her body are given volume with soft pink and her outlines have been blindprinted with no pigment, in contrast with the baren-produced (baren-sujizuri) texture of the background. Due to the design's rarity and popularity there was a contemporary reprint created in the 2000s by a Japanese publisher, but it is considered to be an homage to this work.
Equilibrium_acrobat #13, 2017
Acrylic on linen
39 3/8 x 31 1/2 in. (100 x 80 cm)
HK Art & Antiques presents Time of Peace: Works by Women Artists, with the focus on three noted female contemporary Korean painters: Su Kwak, Ouhi Cha and Sooyeon Hong. Kwak and Cha have spent many years outside Korea and are currently based in the US and Germany respectively. All three have had exhibitions both in Korea and the US. Throughout the exhibition from September 17 – October 7, the gallery is open by appointment at 49 East 78th Street, #4A. Highlights can be seen in our viewing room.
Seated, B21420, 2020
H14 1/4 x W13 x D8 in. (H36 x W33 x D20 cm.)
Ippodo Gallery is showing "Samsara: Sculptures by Sho Kishino." This delicately carved sculpture, made from Japanese Cypress (hinoki), shows a seated figure seemingly weighted down in deep thought. Faint markings and shadows create the impression of furrowed brows and closed lips, and the figure's motionless hands are hidden within their robe. The wood and square composition create a sense of solidity, strength, and the physicality of meditation. The works are on view from September 10 – October 8 by appointment at their gallery at 32 East 67th Street, 3rd Floor, with highlights featured in Asia Week New York's September online exhibition.
KATSUKAWA SHUNSHO (1726 - 1792). Ichikawa Yaozo II as Hachioaru Aratora and Segawa Kikunojo III as Aigo no Waka. Color woodblock print: hosoban, 12 7/8 x 6 in. (32.7 x 15.2 cm.); 1774. Signed: Shunsho ga.
Published: Narazaki, Muneshige, et al. 1976. Shunsho. Vol. 3, Ukiyo-e taikei (Encyclopedia of Ukiyo-e). Tokyo: Shueisha, pl. 26.
Sebastian Izzard LLC Asian Art is putting "A Selection of Fine Japanese Paintings, Prints, and Ceramics," on view in his gallery at 17 East 76th Street, 3rd Floor from September 14 – 25, in which fine examples in each of these media can be seen by appointment. Several highlights are included in Asia Week New York's September online viewing room until October 4th, 2020. One of these is a woodblock print by Katsukawa Shunshō (1726–1792), a striking depiction of Ichikawa Yaozō II as Hachiōmaru Aratora and Segawa Kikunojō III as Aigo no Waka. Yaozo was one of the most famous Edo actors of his generation, and Kikunojo went on to become one of the most successful onnagata (female role players) of the later eighteenth century. Among the ceramics, a dish with chrysanthemum design of the Edo period, Empō/Jōkyō eras (1673−87) of Hizen ware, Nabeshima type: porcelain with underglaze blue and colored enamel decoration, dates from the earliest period of porcelain manufacture at the Ōkawachi kilns, patronized exclusively by the Nabeshima family, and the bright hues of the chrysanthemum and the leaves are typical of early Nabeshima wares.
Front: Wakao Kei (b. 1967). Sculptural open blossom-shaped vessel with blue celadon craquelure glazing that flares deep pink from the firing effects. 2019. Glazed stonware. 10 1/4 x 12 7/8 x 11 1/2 in.
Joan B Mirviss LTD presents "Fathers and Sons," an exhibition exploring the unique nature of lineage and received tradition as illustrated through two sets of father-son ceramic artists: Suzuki Osamu and his son, Tetsu, and Wakao Toshisada and his son, Kei. Suzuki Osamu, a Living National Treasure, is a master of white Shino ware; his son, Tetsu, specializes in green and blue-green copper Oribe glazes. Wakao Toshisada is an Intangible Cultural Heritage of Gifu prefecture. His nezumi Shino functional work is decorated in the aesthetic of the Rinpa tradition. His son, Kei, experiments with bolder sculptural forms that verge on the abstract and are covered in a range of craquelure celadon glazes. The exhibition is on view from September 14 by appointment at the gallery at 39 East 78th Street, 4th Floor. Selected works are included in Asia Week New York's September viewing room.
An Unusual Kosometsuke Dish with the Eight Immortals. Late Ming Dynasty, early 17th century. Diameter: 11 3/4 in. (29.8 cm.). Height: 2 in. (5.1 cm.)
The selections in “Fantastics & Eccentrics at Kaikodo,” on view in Asia Week New York's September online viewing room reflect the diversity of this establishment’s holdings, which are culturally inclusive and cover media and disciplines across the board. Stucco is not a forgiving material to handle but that did not deter Kaikodo from acquiring a massive and complexly detailed head of a bodhisattva, a rarity in the market today. Further, it is natural that individuals whose lives and studies were shared by China and Japan should be attracted to a ceramic that also provides a link between those cultural giants. The underglaze-blue decorated kosometsuke porcelain dish in the exhibition is a remarkable product of that connection.
Large Bowl, 2016
porcelain with enamel and gold in the kinran-de style
10 1/8 x 20 1/4 x 18 1/2 in. (25.7 x 51.4 x 47 cm.)
Onishi Gallery presents "Contemporary Japanese Porcelain,” a unique exhibition celebrating the creative triumph of Eastern ceramic art. Japanese porcelain evokes a rich cultural heritage innovatively adapted to the present-day. Tradition meets innovation, porcelain artists presenting family legacies, meticulous techniques and refined aesthetics in accordance with contemporary creative design. Nine artists are represented, many among them Living National Treasures including, Inoue Manji (b.1929) who attained that status for his hakuji, Japanese white porcelain ware, while Imaizumi Imaemon XIV is known for his Nabeshima porcelain decorated with Rinpa designs. The show runs from September 8 – October 2 on the gallery website and is also open by appointment (521 West 26th St).
Surviving Energy, 2018
Oil, acrylic, cotton, leaf, jute on canvas
66 x 50 in.
Akar Prakar Art Gallery presents a solo exhibition of Jayashree Chakravarty. Jayashree Chakravarty (b. 1956) is one of India's foremost contemporary artists. She studied at the finest art institutions in India, first at Visva Bharati in the sprawling natural environs of Santiniketan, Kolkata, and then at the Faculty of Fine Arts at MS University, Baroda, where she was exposed to an urban sensibility. Inventing her own creative techniques, using organic material and varied kinds of papers, her installations in the form of paper scrolls remain unique in their conceptions and execution. The artist lives and works in Kolkata, India. The solo exhibition is on view in our online viewing room from September 17 - October 4.
Utagawa Kunisada (Toyokuni III, 1786-1865). Two Beauties with a Maid Carrying Lantern and Shamisen, ca. 1820. oban tate-e triptych. each sheet signed Gototei Kunisada ga, with publisher's seal Mi (Mikawaya Seiemon), the middle and right sheet includes censor's seal kiwame (approved). 15 1/2 x 35 in. (39.37 x 88.9 cm.)
Scholten Japanese Art presents "Composing Beauty," an exhibition exploring ways in which bijin (lit. 'beautiful person') are presented in ukiyo-e, focusing on the relationship with other 'composed' genres including poetry, music and dance. On view in Asia Week New York's September 2020 online viewing room.
Altar with ancestor figure, adu nuwu / adu zatua
Nias, wood, 19th to early 20th century
24 in. (46 cm.)
“Art of Southeast Asia,” is a selection of several highlights Thomas Murray Arts is presenting in the Asia Week New York September viewing room. The cultural origins and periods of the pieces are diverse and offer the opportunity to view rare and less often seen examples of Asian tribal art. The most impressive piece is an altar with an ancestor figure carved of wood from Nias, Indonesia, from the 19th/early 20th century. Ancestor altars of this type adorned the interior of the community clan house. A superb Mask depicting Houshang Monpa or Sherdukpen people from Arunachal Pradesh or Bhutan made of wood with pigment, 19th century or earlier would have been worn in the AcheLhamo/Ajilhamu dance drama.
Onkosai, early 20th century. Handled Karamono Flower Bakset. Bamboo and rattan. Taisho era, 1910s-20s, Japan. 22 x 8 x 4 3/4 in. (56 x 20.2 x 12 cm.)
Thomsen Gallery's September exhibition, Japanese Bamboo Art, includes a wide variety of bamboo and rattan flower baskets from 1900 to 1970, as well as contemporary bamboo sculptures. Of particular note is a hexagonal flower basket made of bamboo and rattan, by Sasaki Kogakusai, from the Showa era, 1960s; an earlier circa 1920s-1930s flower basket with a natural bamboo handle by Maeda Chikubosai is also a fine example. Both are part of our online viewing room.
"Peafowl and Peonies", Maruyama Ozui (1766 - 1829), Edo period, 18-19th century. Ink, color, and gold on silk. Hanging scroll. H113.8 x W158.3 cm.
Koichi Yanagi Oriental Fine Arts presents Kokon Biannual: Fall 2020. The most striking of the works is a hanging scroll in ink, gold and color on silk of Peafowl and Peonies by the Edo period (18th/19th century) artist, Maruyama Ozui (1766-1829). There is only one other known example of this subject by Ōzui, currently in the Sumitomo Collection in Japan. A Shonzui ware, hexagonal dish with three feet from the Jingdezhen kilns, Jiangxi province, China in the Ming dynasty, 17th century of porcelain decorated with underglaze cobalt blue and iron oxide is the only one of this shape in shonzui ware. These are two of the highlights from this show to be included in the Asia Week New York viewing room. The entire exhibition can be seen from September 16-October 11 by appointment at the gallery at 17 East 71st Street, 4th floor.
Southern Qingbai Lidded Jar with Pinched Handles. Song Dynasty, 960 - 1279 A.D., China. H22.8 cm.
Zetterquist Galleries will show "Chinese and Japanese Ceramics," during the month of September. The selection in the Asia Week New York viewing room includes a Song dynasty (960 - 1279 A.D) Southern Qingbai lidded jar with pinched handles from China. Both the treatment of the handles and pagoda shaped lid are very rare, implying that the piece may have been made for export to Southeast Asia. A Nanbokucho – Muromachi Period 14th-15th c. A.D. stoneware “heishi” form bottle vase is an example of the very different Japanese taste as its appeal is unaffected by the damage to two thirds of the mouth-rim, most likely in a kiln accident, evidenced by glaze over damaged areas. The gallery at 3 East 66th Street, #2B will be open by appointment only for in person exhibition viewings.
On sale at Sotheby's: a gilt copper figure of Avalokiteshvara
Our regular auction house partners are holding auctions and viewings during September 2020 Asia Week, from September 18–29. Please note all viewings are by appointment only and specific dates and hours must be confirmed directly with the auction houses. We have compiled a listing of all the sales for your convenience:
Songtsam is Asia Week New York's 2020 Presenting Sponsor. Learn more about another one of their stunning properties below!
Part of a mixed Tibetan/Lisu farming community, Songtsam Lodge Tacheng enjoys a comfortable climate and boats the region’s most fertile land. The spacious and cozy rooms in the main building face beautiful terraced rice fields and mountains in the distance. The lodge is elegantly designed to showcase fine Chinese art and style; big windows and balconies enable guests to take in the stunning rural scenery.
The year-round climate yields an abundance of fruits and nuts, growing alongside terraced fields of rice, wheat and grapes. Meals in Tacheng benefit from a rich supply of locally grown organic vegetables all year round, as well as wild honey, fish, and ham that might just be the best in China.
Tacheng is also home to the endangered Yunnan snub-nosed monkey (Rhinopithecus bieti). The endearing wildlife, idyllic environment, and relaxing atmosphere make it popular for family excursions and romantic getaways.
Destinations & Activities
At an altitude of 1,900 metres, Tacheng County is located between the Yangtze and Mekong Rivers, where some of the best old-growth forests in the world can be found. This is one of the most fertile valleys, yielding, among other crops, plentiful amounts of rice and fruit. The semi-wild boars, which feed on wild nuts before winter, make the best ham in the world. Tacheng is also famous for its rich Tibetan culture and Naxi and Lisu villages, with charming, distinctive black-roofed farmhouses.
The rare Yunnan snub-nosed monkey (Rhinopithecus bieti), is one of the world’s most endangered primates with less than 2,000 found in the wild. They live at the highest altitude of any primate (3,000-4,500 metres), excluding humans.
The journey down the Mekong River from Meili to Tacheng is simply incredible. Within only 250 kilometres, the road winds through vastly different landscapes, and includes descending from high to low altitude and experiencing cooler to warmer climates, Tibetan and Lisu culture, buckwheat crops and rice fields, and different styles of architecture.
From Cizhong to Tacheng, the countryside is incredibly beautiful. Industry is absent and the area’s natural beauty remains untouched. As passers-by, travellers will see farmers singing in the fading light while working in the fields.
On July 23, 2020, curators Joseph Scheier-Dolberg, Sarah Laursen and Sarah Fee presented three magnificent museum exhibitions that were either postponed or not available for viewing due to the Covid-19 pandemic: Chinese Painting and Calligraphy Up Closeat The Metropolitan Museum of Art; Lost Luxuries: Ancient Chinese Gold attheMiddlebury College Museum of Art; and The Cloth That Changed the World: India's Painted and Printed CottonsatThe Royal Ontario Museum.
Watch the full recording below, or jump to: 02:48 - Joseph Scheier-Dolberg / the Met 13:29 - Sarah Laursen / Middlebury College Museum of Art 28:51 - Sarah Fee / Royal Ontario Museum 41:21 - Q&A