A pair of wonderful unglazed pottery Figures of Warriors, Northern Wei dynasty, ca 5th/ 6th century; Height: 14.25 inches (36 cm).
The Ralph M. Chait Galleries will be exhibiting a variety of fine Chinese porcelain, pottery, and works of art. The porcelain objects consist of mainly Kangxi period famille verte, including a very rare pair of large famille verte porcelain beaker vases, the only similar piece being a blue and white example in the Leverhulme Collection, and smaller famille verte pieces in the historic Dresden and Morgan collections.
They will also show a very rare doucai glazed deep plate with the Eight Horse of Weng Mu decoration. Pottery will include a superb Tricorn Mythical Beast, Western Jin dynasty (3rd century), and a wonderful pair of Wei dynasty pottery Guardians with amusing individual facial expressions.
On the export side, they will exhibit two very important Chinese export reverse glass paintings: one a Shakespearean subject from The Merry Wives of Windsor and a religious themed masterpiece: The Triumph of Virtue. Both were included in Carl Crossman's seminal book on The China Trade (1972).
Kondo Takahiro (b. 1958) “Black and White Drop,” 2005-06 Glazed porcelain with silver mist, 31 1/4 x 6 1/2 x 4 1/2 in.
To mark their fortieth year participating in The Winter Show, and its first ever online-only edition, Joan B Mirviss LTD presents Masterworks of Modern Japanese Porcelain alongside a selection of woodblock prints by celebrated 19th century artists such as Katsushika Hokusai (1760-1849) and Utagawa Hiroshige (1797-1858). A pair of small two-fold screens by Matsumara Keibun (1779-1843) depicting a spring landscape is also on display.
The survey of modern Japanese porcelain includes a fine white porcelain vessel by the great Tomimoto Kenkichi (1886-1963) who marked the turn from traditional modes of clay creation toward the approaches that define the modern era. His profound influence lives on in the innovative forms and techniques of Kondo Takahiro (b. 1958) and in the distinctive gold and silver patterned decorations of Maeda Masahiro (b. 1948).
Works by the groundbreaking artists of the Sodeisha ceramic movement Suzuki Osamu (1926-2001) and Yamada Hikaru (1923-2001) and an emergent group of younger artists exploring porcelain's possibilities in sculptural form such as Kino Satoshi (b. 1987) and Fukumoto Fuku (b. 1973) are also included.
Indian Trade Cloth with “High Baroque” motif, India, found in Indonesia, cotton; mordant red on an indigo ground, likely 18th Century, 90 x 44 in / 229 x 112 cm, Thomas Murray
We are pleased to share the second installment of additional material related to our recent webinar on art conservation which featured scholarly contributions from two leading Asian Art conservators, Leslie Gat, (Art Conservation Group) and John Twilley (Art Conservation Scientist), along with AWNY members Mary Ann Rogers (Kaikodo LLC), and Thomas Murray (Thomas Murray Asian and Tribal Art).
Some questions and answers relating to conservation in general and to textiles in particular:
1. How do you decide on the degree of restoration to perform?
The basic guide for visual integration of damages is that when you are close to the object, you should be able to tell the difference between original and restorative materials. If not visible to the naked eye, it should be visible under a raking light or a UV light source. It is a balancing act. The goal is to make the piece visually appealing without burying the authenticity of the piece under cosmetics.
Your question raises two issues for conservators beyond the overall esthetics of the piece – the materials used and extent of restoration.
The guiding principle for conservators is that, as much as possible, all materials used during treatments must be reversible. Generally, a fill material would be one different from the original. On a Mayan Jar, a reversible synthetic putty or plaster or a vinyl spackle or a combination of these might be used. The material itself would be pigmented or the fill surface would be inpainted once it was dried and shaped. All restorative materials would be in the areas of damage only, extant original surfaces would be left untouched.
The extent of loss compensation for a stable object is a subjective decision, often guided by styles of the present day and can be very different for objects from different periods and cultures. There are countless examples of work done only 20 years ago that would be approached in very differently now. And the same will be true in 20 years for the work we do now, which is one of the reasons why it is so important for us to make what we do reversible.
At the present time, best practices in the field hold that the goal is to make an object’s original intent legible and to do so in a manner that minimizes the visual effect of the both the loss and restorative intervention without doing irreversible damage to the object.
Indian Trade Cloth with “Thai Temple” motif (detail), Coramandel Coast, found in Indonesia, cotton; hand painted mordant red and indigo, 17th Century, 35 x 49 in / 89 x 124 cm, Thomas Murray
2. Do you have any advice about storage packing material for antique wood, lacquer and textiles? Is bubble wrap outside of acid free paper to be avoided?
The climate – relative humidity (RH%) and temperature – is the most important consideration for storage.
Wood and lacquer are usually stored in 50 – 55% relative humidity. Textiles should be ok in 50±5%. Note that these are generalized recommendations and objects can have individual idiosyncrasies that would need to be taken into consideration.
As a general rule, fine art and cultural materials/objects should not be stored in any type of plastic wrap. A sealed environment should only be used if RH% controls appropriate to the materials can be maintained within the sealed package.
Archival boxes with unbuffered acid free tissue are good basic materials for most storage needs. It is often helpful to attach a photograph of the enclosed materials for later reference without having to open the box.
3. Is it safe to freeze all kinds of textiles for pest control?
Deep freezing is a widely practiced pest eradication approach in museums and involves placing individually packaged objects in a deep freezer at -20˚ to 30˚C (depending on which studies you read) for about 24 hours. The object is then removed, allowed to thaw and then refrozen at the same temperatures for another week or two (studies vary). Since most household freezers do not reach those temperatures, it is not really possible to guarantee that a household treatment will be successful, unless of course, the collector has a deep freezer.
For collectors with moth infestations, I would recommend contacting a conservator in their area. When there is one moth infestation, it is possible that other objects are also infested and object handling varies depending on a pieces age and fragility.
One of the attendees, Vera Indenbaum, provided a link to her blog on Textile Care Recommendations, where a number of questions raised are answered here.
This post is part one of a three part essay about our Webinar, Tales in Conservation. To read part one Click here.
Watch an excerpt from the Tales in Conservation webinar:
Lan Ying 藍瑛, (1585-1652 or later), Fisherman on Snowy River, after Wang Wei, 1638 Hanging scroll, ink and color on silk, 209.5 x 50.5 cm. (82 1/2 x 19 7/8 in.)
For the Winter 2020-2021, Kaikodo has launched an online exhibition entitled “Wintertide.” Howard and Mary Ann Rogers describe it this way:
The seasons during this year of the pandemic seem, for us, to have lost their identity. Spring, summer and fall crawled by without their usual impact, or did they race by? Time itself has been hard to grasp, measure, corral, and then it is gone. Our minds and feelings have been, and are, so otherwise occupied that the depths and nuances of the seasons, their gifts and challenges, have evaded us. Wintertide is our attempt to awaken ourselves to the magic of the current season. Our former exhibitions celebrating winter—Let it Snow and The Silent Season—were gatherings of Chinese and Japanese paintings produced under the spell of a season that spans an old year and a new, landscape on the one hand caught in a straitjacket of ice and snow, as pine and bamboo struggle to be seen and plum blossoms open to the future. In the present exhibition paintings inspired by biting winds, sleet and snow are joined by other works of art that suggest through their color a season cloaked in white. The final work in the exhibition is a painting by Suda Kokuta, a portrait of the Japanese character ichi or, in Chinese, yi, “one,” the white plain, a clean slate, representing for us here the first month of a New Year, where our hopes for better times reside.
Dialogue: Hanako Murakami x Simon Baker Thursday, January 14, 6-7 PM EST
Admission: $10 General Public / $8 Japan Society Members
This conversation traverses the processes, histories, and strategies of influence from the field of film and photography, exploring how artist Hanako Murakami adapts these techniques in her work. With Simon Baker, Director of Maison Européenne de la Photographie.
Arrival of the Europeans, folding screen, courtesy of the Metropolitan Museum of Art, New York
This international symposium explores Japan’s role in the “First Global Age” through a comprehensive and interdisciplinary investigation of its cultural, material, and intellectual production from about 1500 to 1700. The thematic focus lies on transcultural exchange and its related processes, such as shifting taxonomies and iconographies; translation, interpretation, and appropriation; re-evaluation and re-interpretation; and the construction of social biographies of moving objects.
A key goal is to advance the discussion beyond prevalent yet limiting models such as, for instance, a narrowly conceived, bilateral exchange between Iberia and Japan. Instead, this symposium aims to complicate and deepen our understanding of the complex amalgam of actors and trajectories of exchange by exploring the pre-existing cultural, political, and economic spaces of an “East Asian Mediterranean;” transfer routes via South and South-East Asia as well as the Americas; diasporas and hybrid communities; continuities, ruptures, and innovations in the conceptualization of self and other; and processes of mapping, labeling, and appropriation.
Researchers from top institutions around the world and from a wide disciplinary range will convene to bridge the classical humanities (history, art history, literature, religious studies, intellectual history) and history of science (astronomy, cartography). The aim is to find a balance between established and emerging scholars as well as between the academic cultures of Japan, Europe, and the Americas.
This symposium is co-organized and co-funded by Kyushu University’s Faculty of Humanities and Yale University’s Council of East Asian Studies.
Sessions on five event days: February 6th, 9th, 11th, 16th, and 18th, 2021 (all dates are in Japanese Time).
Information about pre-registration and participation via Zoom will be distributed around mid-January.
In the case of more than 500 pre-registrations, participants from academic institutions will be privileged.
A lecture by Professor Yukio Lippit, Jeffrey T. Chambers and Andrea Okamura Professor of the History of Art and Architecture, Harvard University on the life and work of the monk-painter Sesson Shūkei (ca.1492-1577).
Advance registration is required. Click here to register for the Zoom event: January 12 Zoom Webinar.
Edit: The webinar took place January 12th. Video of the webinar is available here:
New York: Joan B Mirviss LTD, along with Asia Week New York, will host a Zoom panel discussion on the influence and legacy of Hokusai's most celebrated woodblock print, “The Great Wave.” The presentation takes place on Thursday, January 7 at 5:00 pm EST.
The recent record-setting $1.1 million sale of an impression of “Under the Wave off Kanagawa” from the series Thirty-six Views of Mount Fuji (ca. 1830–32) by Katsushika Hokusai (1760-1849) – more commonly known as “The Great Wave” – has proven once again the enduring impact of one of the world's most recognizable artworks. The Christie's New York sale in September 2020 has prompted numerous questions from within the art world, from collectors, and the general public. To address those questions and more, an esteemed group of Japanese art experts from different backgrounds will shed light on not only the current market, but also on the relevance of this globally iconic image.
Says Joan Mirviss, who will moderate the panel: “Following a conversation with Gary Levine about the astonishing price paid for the impression sold recently at Christie’s, I was inspired to assemble a dream team of Japanese art experts to focus in on this celebrated image and use it as a launching pad to unravel some of the mysteries and misunderstandings about Japanese art and the world of ukiyo-e.”
The expert panelists will delve into the history versus the legend, the myths and misconceptions, and the technical variations present in impressions in prominent collections. They include:
Michiko Adachi, assistant conservator at Museum of Fine Arts, Boston Christine Guth, author of Hokusai's Great Wave and scholar of Japanese art history Gary Levine, longtime dealer specializing in Japanese woodblock prints Matthew McKelway, Takeo and Itsuko Atsumi Professor of Japanese Art History, Columbia University Sarah Thompson, Curator, Japanese art at Museum of Fine Arts, Boston
To register for this free virtual event, please email [email protected] Space is limited.
Jesus as “Savior of the World,” Goa, 18th century, Ivory 4.5 in. (11.43 cm.) high at Kapoor Galleries
Our friends at Kapoor Galleries recently shared with us this delightful ivory carving of a boyish Jesus as “Savior of the World” dating from 18th century Goa, India. While India is generally associated with the Hindu, Muslim and Buddhist religions, Christianity is practiced by a sizable minority making it the third-largest religion in India today (after Hinduism and Islam). According to some traditions, the Christian faith was introduced in the 1st century AD by Thomas the Apostle and is generally believed to have taken hold on the Malabar Coast (Kerala) by the 6th Century. In the early modern era, the Portuguese held sway in the enclave of Goa on India’s western coast from 1510 onward, and many of the local population became Catholic. Christian works of art were produced in Goa’s ivory carving production center, including this Catholic image of Jesus. Here, Jesus is depicted as a child in his role as Salvator Mundi (Latin for ‘Savior of the World’) identified by the orb in his left hand and his right hand raised in a gesture of blessing. He is dressed in sumptuous regalia, and has a rich, warm, deep yellow patina, enhancing the appeal of the piece.
Cosmetic Set: Lacquer on Fabric, Western Han dynasty (2nd-1st century BCE), Diameter of outer case 8 1/2 in. (21.9 cm)
Panelists: Mary Ann Rogers, Kaikodo LLC, dealers in Asian art Leslie Gat, Objects Conservator and Owner of Art Conservation Group John Twilley, Art Conservation Scientist Thomas Murray, Thomas Murray Asian and Tribal Art
Synopsis of the presentation by Mary Ann Rogers and answers to questions from the audience.
As dealers in Asian works of art, one of our most important jobs is attending to their physical wellbeing. In our presentation on this panel we focused on our experiences with the conservation of Chinese paintings and early Chinese lacquer. A new painting on paper, silk, or satin must go through a process of mounting: pasting it to layers of backing paper to support the fragile material and the addition of borders that serve as frames, resulting in works easy to handle, store, move, and exhibit. The nature of the materials, however, makes paintings vulnerable to their environments and to handling. This can result in discoloration, pigment flaking, creasing, and cracking. Cleaning, repair, and remounting are often necessary. The borders and backing materials are removed, the work washed, old repairs removed, reinforcing or replacing damaged areas with appropriate materials, and new backing papers pasted to the work. Old borders can be reattached or new borders introduced.
Remounting a large horizontal hanging scroll painted by the Yuan master Zhao Mengfu in 1299 was a challenge given its size and the condition of the silk, dappled with mold throughout. The painting’s unusual dimensions suggest it was originally mounted in a freestanding wood frame as a screen and the mold a result of the painting’s continuous exposure. Although the painting is quite presentable, newly developed methods of treating silk might allow for the removal of the mold without impacting the painting itself. The conservation of another 14th-century painting, a style popular in Japan, involved historical and aesthetic considerations. In the course of cleaning, realigning the silk where needed, and minor retouching of the pigments, our Chinese mounters had done an exemplary job. They, however, replaced the original Japanese-style decorative brocade mounting that spoke to the painting’s history in Japan with a neutral-colored silk, in Chinese taste. Fortunately, the original materials had been saved and the painting too when the old mounting was returned to it.
Our greatest challenge, expense and time-wise, was in conserving the early Chinese lacquer that became available to us almost three decades ago. Specialists in the United Kingdom and Germany treated numerous pieces by impregnation with synthetic resigns, freeze-drying and reattaching detached lacquer and, in the case of two rare sets of cosmetic containers, resetting gold and silver appliqué where possible. The fabric-core vessels did not present the same problems as did the waterlogged wood-core pieces that were subject to shrinkage, warping, distortion, and lifting and curling of the surface lacquer. With the development of more efficacious synthetic resins, such negative results might well be prevented. The presence of silver-sprinkled particles discovered in the lacquer of one of these sets revealed the use of this decorative technique in China long before its appearance many centuries later in lacquer wares produced in Japan, the origin of the technique traditionally attributed to the Japanese. Science thus serves not only in conservation but also in widening our understanding through close scrutiny and chance finds, adding to what we art historians provide using our own ways and means.
Some questions and answers about painting and lacquer conservation:
1. Please discuss private access to:
Painting restoration and remounting resources: As scrolls; as flat in Japanese/Chinese style frames
A number of major museums in Asia, Europe and the US have studios or centers devoted to the remounting, restoration and conservation of their Chinese and Japanese paintings and contacting one of these should lead you to the expertise you are seeking for both restoration of your own works and also materials for storage and conservation. You might try the East Asian Painting Conservation Studio associated with the Freer-Sackler in Washington D.C. or the East Asian Conservation Studio at the Metropolitan Museum in NYC. There are some private studios with websites online that you might seek out, although not having done business with them, we cannot make recommendations.
Zhao Mengfu (1254-1322) Bathing Horses, 1299, horizontal hanging scroll, 35 1/4 x 63 5/8 in. (89.6 x 161.6 cm)
2. How do you decide if a Chinese hanging scroll needs a new mounting, ex: mounting style from Japanese mounting to Chinese mounting?
As suggested during the webinar, you can decide simply by looking at a painting if it should be remounted. On one extreme is the physical condition of the work. If it has developed creases or cracks, if there is evidence of insect damage or rips or tears have appeared, if the silk has become stretched and the threads are no longer aligned, if the painting looks dark or soiled (dirt can be removed but darkening of silk due to age is irreversible) or if a hanging scroll does not hang straight and flat, but rather undulates—if any one or a combination of the above occurs, then the work might need to be remounted. It is, however, a matter of degree and since remounting is not without stress to the painting, if the work does not seem to be seriously compromised or its condition distracting to the viewer, then it might be best to leave it be. At another extreme are historical and aesthetic considerations. The example I used was the Chinese Piling-school painting that had long been in Japan where that painting style has historically been most appreciated. That the painting had been, and we assume for a long period of time, in Japan is reflected in what we think of now as a Japanese-style mounting—characterized by decorative brocades. This mounting style originated in China in the sixth-seventh centuries and was the standard mounting style in China until the time of Zhao Mengfu (the painter of the “screen” I discussed in the power point), whose taste for the simple and unadorned in painting extended also to their mountings. From that time on, that is, in the post-Song-dynasty period, and whereas the Japanese remained attached to the decorative mounting style they had learned from the Chinese, the Chinese themselves, on the other hand, were drawn to the austere, understated style. Therefore, Song paintings are often mounted and are believed to look best in decorative mountings, whereas later paintings—Yuan onward—are best in Chinese style mountings, especially in the eyes of the Chinese. One last consideration is that of personal taste. Sometimes we buy a painting and think the mounting is aesthetically a disaster, reflecting the taste of a former owner maybe 30 or 40 years earlier and that would be reason for a simple, non-invasive job of remounting.
3. Could lacquer boxes be acceptedly exhibited in situ/soaking in water, in a collection?
When the question was asked during the webinar about the feasibility of a museum exhibiting ancient waterlogged Chinese lacquers in water, I was reminded of how extraordinary the pieces looked when we first saw them, submerged in water, and that memory pulled at my heartstrings. As I explained, despite a five-year attempt at restoring one set of boxes, the large exterior container came back to us a ghost of its former self: shrunken and distorted, resulting in the lacquer surface left wrinkled, much having flaked off, and much of its magnificent painted design lost, despite all of the very best efforts of the restorers. However, even though the lacquer was breathtakingly beautiful when submerged in water in its waterlogged state, there is probably no museum curator or director who would entertain even briefly the possibility of taking on the responsibility of caring for lacquer that exists in a kind of purgatory—not lost forever but not reborn, much less actually taking on the responsibility. Waterlogged lacquer while still in water is not in a stable or easily maintainable state. In fact, it is even extremely difficult for museums and private collectors to acquire lacquer that has been successfully treated and proven stable over long periods of time, the fragility of the medium always a matter of concern.
This post is part one of a three part essay about our Webinar, Tales in Conservation. To read part two Click here.
Watch an excerpt from the Tales in Conservation webinar:
