The Art of Japan

Utamaro

Series: Ten Types in the Physiognomic Study of Women (Fujin sôgaku juttai)

Kiseru (Pipe)

Signed - Kanso Utamaro (Utamaro the Physiognomist)
Date - 1802-03
Publisher Tsuru-ya Kiemon

The series of ten half-length portraits describes women’s characteristics based on their appearance or physiognomy. The woman here has paused in the middle of arranging her hair to have a quick smoke from her kiseru (pipe). The inscription reads: “She is amiable with an obviously gentle nature. Her affection is of the deepest kind and she is like a willow blowing in the wind, or river grass flowing with the current”. Smoking was introduced in Japan in the late 1500’s, and with expensive tobacco and finely crafted paraphernalia, smoking became a signal of high status.

Ralph M. Chait Galleries, Inc.

Fine Chinese Glazed Ribbed Jar with Handles

Jin dynasty, 12th / 13th century

Of fine form. Glazed overall in a beautiful deep brownish/ black glaze with carefully delineated vertical ribs in slip along the exterior. Of particularly fine quality.
Height: 4 ½ inches (11.5 cm.)

EX:
Private American Collection

EX COLLECTION:
Dries Blitz, Holland

A similar example is in the St. Louis Art Museum from the collection of Dr. and Mrs. Sherman Lee, and is illustrated and described by Mowry, Hare’s Fur, Tortoiseshell, and Partridge Feathers, Harvard, 1995, No. 64.

Dai Ichi Arts, Ltd

OBJECT, VESSEL: YASUHARA KIMEI, IKEBANA SOGETSU AND THE ART OF JAPANESE CONTEMPORARY CERAMICS
Dai Ichi Arts is delighted to present Object, Vessel: Yasuhara Kimei, Ikebana Sogetsu and the Art of Japanese Contemporary Ceramics, the first solo exhibition of Yasuhara Kimei’s ceramic works. Little known in the west, Yasuhara was one of Japan's most avant-garde ceramic artists of the 20th century. His ceramic work inspired the innovative floral artists of the famous Ikebana Sogetsu school and produced a transcendental impact on modern potters and Ikebana artists alike in Japan that has lasted generations. The exhibition is accompanied by a catalog featuring essays by Kazuko Todate (Tama Art University) & Russell Kelty (Art Gallery of South Australia). preview the exhibition →

Yasuhara Kimei 安原喜明

(1906-1980)

Flower Vase 花挿

With Signed Wood Box, Ceramic with Matte Black Glaze and Incised Motifs

(h) 12" x (w) 4"

Yasuhara Kimei, also known as Yasuhara Yoshiaki, was born in Tokyo in 1906. He was one of Japan's most avant-garde ceramic artists of his time. In 1924, at his father's urging, he studied pottery making techniques under Miyagawa Kozan II (1842-1916) in Yokohama, and around 1927, he studied under Itaya Hazan (1872 – 1963), learning how to be an individual ceramic artist under two famed potters in Modern Japanese ceramics. He went on to have an influential career, working closely with Teshigawara Sofu, founder of Ikebana Sogetsu School. 

One of Yasuhara's best-known series is what he called "Sekki 炻器 (Stoneware)”. Molded in grayish-blue clay mixed with pigments, the surface is carved with a unique pattern, then filled in that carved line with white clay and fired at high temperatures.

In the latter half of his career as an artist, Yasuhara focused mainly on "grayish-blue sekki," exploring the textures of clay in his own unique way, establishing his own ceramic world and gaining an important position in the ceramic art world as a juror at Nitten 日展.

Egenolf Gallery Japanese Prints

19TH-20TH CENTURY LANDSCAPES; FOUR SEASONS OF BEAUTY
Our September online exhibition, 19th-20th Century Landscapes; Four Seasons of Beauty, features landscape works by Hokusai, Hiroshige and Hasui, the most prominent landscape specialists of their time. Each in their own style, these artists dramatize the scenery as well as humanize it, capturing the broader essence of the place as well as the specifics of time of day, season and weather. view the online exhibition →

Kawase Hasui

(1883-1957)

The Shinagawa Offing (Shinagawa oki) 品川沖 from Twelve Scenes of Tokyo

1920

26.2 x 38.8 cm.

A small vessel with a filled white sail glides left, crossing behind a marker at the end of a pier which stretches to the right. The artificial islands of Odaiba may be seen in the distance. Hasui wrote: “I made this sketch while on an outing to the Shinagawa coast on a netting boat... I was interested in a sailboat traveling between the green grassy field of Odaiba fort...It is a slightly overcast midsummer’s afternoon.” Note the unusual, jigsaw-like clouds and the smooth, glassy sea. One may still see (and even take a walk on) the man-made forts of Odaiba, which the Japanese constructed as a response to the Black Ships of Commander Perry appearing in their harbor in the 1850s.  A scarce, pre-earthquake design with perfect, unfaded color.

Oliver Forge and Brendan Lynch, Ltd

A Large Indian Company School Watercolor of a Grey Heron

Grey Heron (Ardea cinerea)

Company School, Calcutta, circa 1820
Opaque watercolor on paper, with pencil, pen and grey ink, watermarked J WHATMAN, inscribed in Persian with the name of the bird, anjan
21 5/8 by 26 ¾ in.; 50.5 by 68 cm.

A large and finely painted image that in many ways epitomizes the triumph of Company School painting.  When Lady Impey’s ornithological albums, commissioned by her in Calcutta in the 1770s, were seen by the scientific community in England following her return around 1808, they caused a sensation.  Never before had such realistic images been seen and their reception was rightly lauded.  Here, perhaps forty years later, the tradition has been perfected by artists responding to decades of British patronage.  However, the political and economic scene was about to change and within ten years the genre had declined and would soon vanish.

Fu Qiumeng Fine Art

WHISPERS OF ELEGANCE 轻闻风雅

Fu Qiumeng Fine Art is delighted to present Whispers of Elegance 轻闻风雅. Curated by Xian Fang, the former Head of Sales and Vice President at Sotheby’s New York Classical Chinese Paintings department, the exhibition shines a spotlight on Chinese fan art. In the context of East Asian culture, the fan was not only used for fanning away heat and pests but was ingeniously embraced by artists as a canvas for artistic expression and as a miniature showcase.

A discerning selection that spans from the Qing Dynasty luminaries such as Wang Yuanqi (1642-1715) and Huang Yi (1744-1802), progressing to modern masters like Qi Baishi (1864-1957) and Xiao Xun (1883-1944), and onto contemporaries like Ding Yanyong (1902-1978) and Wang Jiqian (C. C.Wang, 1907-2003) offers insights into the evolution of this art. more about the exhibition →

Wang Yuanqi

Landscape After Huang Gongwang

ink and color on paper, fan leaf

Wang Yuanqi, one of the “Four Wangs” from the so-called “orthodox school" of the early Qing Dynasty, upheld the artistic styles of the illustrious Ming Dynasty theorist and painter, Dong Qichang (1555-1636), and his grandfather, the renowned late Ming painter and progenitor of the Loudong School, Wang Shimin (1592-1680). Wang Yuanqi's creations, held in great esteem by Emperor Kangxi (1654-1722), were often gifted to court officials. He also played an instrumental role in compiling Peiwenzhai Huapu, a compendium of Chinese paintings that amalgamated nearly two thousand painting books from the Qing court collection. His fan leaf titled “Landscape after Huang Gongwang," crafted in 1691 on gold paper, encapsulates the essence of the Yuan Dynasty's eminent painter, Huang Gongwang (1269-1354).

HK Art & Antiques, LLC

TCHAH SUP KIM AND CHO YONG-IK

HK Art & Antiques is proud to present the work of two Korean artists, Tchah Sup Kim and Cho Yong-ik, who were friends for many years and sadly passed away in the last year. In the 1960s Korea and Korean artists entered a new era. After decades of political and economic turbulence, South Korea found itself a member of an interconnected international landscape, and artists were inundated with new ideas. Western influences made their marks on Korean canvases, while Asian and particularly Korean modernisms developed rapidly. It was in these circumstances that Kim and Cho began their artistic careers, and formed a friendship that lasted the rest of their lives. more about the exhibition →

Cho Yong-ik

(1934-2023)

70-62

1970

Oil on canvas
44 x 44 in. (112 x 112 cm.)

INKStudio

GRAND SYNTHESIS: THE EXTRAORDINARY FLOWER-LANDSCAPE

INKstudio presents Grand Synthesis: The Extraordinary Flower-Landscape, the debut solo exhibition for the flower and landscape painter Peng Kanglong (b.1962 in Hualien, Taiwan) in Mainland China.   Online only →

Peng Kanglong

Burning Fire

2023

Ink and color on paper
71 x 142 cm

In Burning Fire, Kanglong paints red blossoms within an ink monochrome scene of leaves, foliage, rocks and flower blooms in shadow. The classically trained Peng Kanglong is the first ink artist to explore the artistic possibilities of integrating the two formerly separate genres of flower and landscape painting.

Ippodo Gallery

SKIN AND BODY: CRAZED VESSELS BY KODAI UJIIE

Ippodo Gallery presents Skin and Body: Crazed Vessels by Kodai Ujiie, the avant-garde artist’s first solo exhibition in the United States. On display are 46 of Ujiie's newest ceramics, including large jars, vases, and small vessels made from porcelain, celadon and other traditional glazes, and lacquer. Each artwork relishes in the delight of living, converting clay into an analogy of skin, blood vessels, and scales with a renewed sense of body image. preview the exhibition →

Kodai Ujiie

Oribe Lacquer Large Jar

2023
Ceramic
H17 3/4 x W17 3/4 x D18 1/8 in
H45 x W45 x D46 cm
Weight 24.3kg

Sebastian Izzard LLC Asian Art

AUTUMN 2023

The fall exhibition at Sebastian Izzard LLC Asian Art explores the world of Japanese prints in the first half of the twentieth century. This was an era of energy, new influences, and styles, and a refocusing of the Japanese print world by catering to new tastes. The man at the center of this revival was the entrepreneurial genius Watanabe Shōzuburō (1885–1962), whose publications form the greatest portion of the works in this exhibition. Deeply interested in Edo period ukiyo-e, Watanabe made it his project to rescue the art form, which had fallen somewhat out of fashion.  October 4-27

Yoshida Hiroshi

(1876‒1950)

Kumoi Cherry Trees (Kumoi zakura)

Color woodblock print: 23 x 29⅛ in. (58.4 x 74 cm); 1926; signed: Yoshida (in brush), Hiroshi Yoshida (bottom left margin in pencil); sealed: Hiroshi; publisher: self-published (jizuri)

Kaikodo LLC

KAIKODO FALL 2023: AN AUTUMN AIRING

An Autumn Airing was inspired by memories of late summer/early autumn in Japan when temples and shrines among others would engage in mushiboshi, “drying insects.” All manner of art and accoutrement—for example, a 13 th -century book bag, centuries-old monks clothing, precious paintings, or even wooden storage boxes—would be laid out in the fresh air to dry out moisture, kill mold, and dispatch insects. Currently, temple holdings are often stored in secure facilities off-site but the practice continues, the troves returned home for the airing, providing an opportunity for a public viewing of treasures otherwise usually out-of-sight.

A Longquan Celadon Funerary Jar 龍泉窯多管青瓷瓶

Northern Song period, 11th century

Height: 33.0 cm. (13 in.)
Diameter: 17.8 cm. (7 in.)

Typical of a vessel produced at a Longquan kiln in Zhejiang province, this is a light grey stoneware with greyish-green glaze, and, similar to others of this category of funerary jars, it is of elongated ovoid form ascending in cushion-like tiers, with incised designs and a cap-like cover surmounted by a lotus-bud shaped knob completing the pagoda-like form. The visual similarity to Buddhist pagodas, pagoda finials, or to stone pillars suggests that Buddhist architectural art was an inspiration behind the ceramic funerary vessels. The tubular appendages are signature characteristics, and can vary in number and length, and usually not opening into the interiors of the vessels.

According to the inscriptions on the lids of some of these jars found at burial sites, along with the actual contents sometimes still preserved, they were intended to hold grain for the deceased while the function of the tubular appendages, common to all, is not clearly understood. Since these vessels appeared to be very closely linked to the Yueyao stylistic tradition, it had been assumed that they were products of the Yue kilns until kiln-site materials proved differently.  A number of these urns have been discovered with inscriptions dating to the 11 th century and a Northern Song date is accepted as their period of production.

PUBLISHED:
Bo Gyllensvard, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, pl. 27;
Oriental Ceramics: The World’s Great Collections, vol. 8 (Museum of Far Eastern Antiquities, Stockholm), Tokyo, 1982, pl. 86;
Chinese Ceramics in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 2002, pl. 250.

Kapoor Assets

RELIGIOUS ART: EXALTATION THROUGH EXPRESSION

Highlights of the exhibition Religious Art: Exaltation through Expression include a fine gilt-bronze of Chakrasamvara and Vajrayogini and a vibrant painting from a unique Nepalese Bhagavata Purana.  The exhibition throws light on the fact that classical and ancient art has often, if not always,been created with the ardent purpose of religious worship. Human self-expression in this realm of art therefore takes the form of religious exaltation. The collection put together for this exhibit cherishes the characteristic feature of art as a catalyst to ground oneself in the divine and thereby into one’s self. The exhibit resounds the existence of art as a shrine; a shrine not only for religious worship but as a shrine for introspection, solitude and reflection through profound indulgence.  Many fine Indian miniature paintings and arms as well as a carefully-curated selection of sculptures from India, Nepal, and Tibet are also part of the exhibition.  September 14-22, 2023, Hours: 10am-6pm

Chakrasamvara and Vajrayogini

Nepal, 15th century

Gilt copper
8 1/2 in. (22 cm.) high

PROVENANCE:
Henri and Dolores Kamer, New York.
Private American collection, acquired from the above in the early 1990s.

PUBLISHED:
Himalayan Art Resources (himalayanart.org), item no. 16809.

Chakrasamvara and Vajrayogini are important deities of the highest class of yogic practice in Vajrayana Buddhism. This small gilt-bronze sculpture of meditational deities in union exudes an energy that reaches far beyond the boundaries of its surface. Chakrasamvara is depicted here according to Tibetan Buddhist convention, with four faces and twelve hands, in alidhasana, embraced by his consort Vajrayogini. Together they trample the deities Bhairava (who lies prostrate) and Kalaratri (who lies supine). The multi-headed tutelary deity holds various attributes with his many arms radiating around him, the principle arms holding a vajra and bell and the uppermost holding the ends of a tiger skin which he drapes over his back.

This lustrous gilt-bronze sculpture is representative of the highest quality Nepalese craftsmanship. Its magnificence is embedded not only in the semi-precious inset ornaments that adorn the deities gleaming golden, perfectly proportioned bodies, but perhaps more so in the sweetness of the countenances and the apparent meeting of the male and female manifestation’s gazes—the intangible, yet most-human feature of this sculpture.

Joan B Mirviss LTD

TEMPEST

Titled Tempest, this show marks Fujikasa’s  third solo outing in New York and the first since 2019. After an agonizing four-year wait, both collectors and curators now have the opportunity to encounter the latest creations by this youthful talent from Japan whose career is only just getting started. The inspiration for this body of work comes from the stormy seas and restless clouds that have characterized the atmosphere of the past few years. While also facing down personal headwinds, Fujikasa has felt at times unmoored from her artistic practice that had been anchored in themes involving growth, flowing water, and light. Her latest exploration of the wilder side of climatic phenomena has resulted in powerful sculptures that reveal a new dimension to her dynamic artistry.  September 14 - October 20, 2023 preview the exhibition →

Fujikasa Satoko

(b. 1980)

Swirling, hand-built sculptural form evocative of stormy winds titled, Tempest

2023
Stoneware with white slip glaze
27 x 32 7/8 x 19 7/8 in.

Photo by Richard Goodbody. Courtesy of Joan B Mirviss LTD

Thomas Murray

Gonpo Buddhist Mask with Skulls

Nepal, Tibet or Bhutan

Wood, pigment
18th / 19th Century
11 x 9.25 x 7.5 in (28 x 23.5 x 18.5 cm)

A wrathful deity protector of the Buddhist doctrine, likely Mahakala

Onishi Gallery

ONKO CHISHIN

Onishi Gallery is proud to present its Asia Week New York Autumn Exhibition “ONKO CHISHIN” featuring work by Murose Kazumi, Japan’s leading master of lacquer art, named a “Living National Treasure” in 2008. The exhibition draws on a dictum laid down by Chinese philosopher Confucius more than 2,200 years ago: “If you cherish tradition and use it to explore new ideas, you can be considered a master.”  September 14–22, 2023, Online Exhibition →

Murose Kazumi

(b. 1950), Living National Treasure

Nagatebako (Rectangular Document Box) titled Chidō (Telluric Motion)

2022

Wood decorated in lacquer with maki-e (sprinkled metals) and raden (shell inlay)
5 × 5 3/4 × 11 in. (12.8 × 14.8 × 28 cm)

Named a “Living National Treasure” in 2008, Murose Kazumi is one of Japan’s leading exponents of urushi (lacquer), an art and craft tradition dating back nearly ten millennia. He is admired above all for his mastery of maki-e and raden, two time-honored techniques that he often uses in combination.

In maki-e, designs are created by scattering powdered gold, silver, and other precious materials onto urushi, the refined sap of the lacquer tree, then allowing the urushi to set before applying further layers, each of them painstakingly polished. Murose also uses raden—a style of inlay common to lacquer art across East Asia—in a distinctively bold yet refined manner using the inner lining of abalone and other shells.

Scholten Japanese Art

KAZUMA/KOIZUMI: CHASING MODERNITY

The exhibition presents the work of two modern printmakers, Oda Kazuma (1881-1956), and Kishio Koizumi (1893-1945), both prominent members of the sosaku hanga (creative print) movement who shared an interest in depicting daily life in views of modern Japan, particularly following the transformation of Tokyo after the 1923 earthquake. Although both embraced the ‘artist as creator’ ethos associated with sosaku hanga, they utilized varying techniques.

Oda Kazuma was the leading color lithographer in Japan who also produced self-carved as well professionally published woodblock prints, the exhibition includes examples of his landscape and figural prints produced in all three modes of production.

Kishio Koizumi was a passionate sosaku-hanga artist dedicated to carving and printing his own woodblock prints. The gallery exhibition will have on view a selection from a complete set of Kishio Koizumi’s monumental series, One Hundred Pictures of Great Tokyo in the Showa Era (Showa dai Tokyo hyakuzue), produced between 1928 and 1940. The complete series of 100 prints is being offered as a set with an original storage box, and every print will be available in Part Two of the online exhibition.
preview Part 1: Oda Kazuma → | preview Part 2: Kishio Koizumi →

Kishio Koizumi

1893-1945

One Hundred Pictures of Great Tokyo in the Showa Era
(Showa dai Tokyo hyakuzue: Eitai to kiyosu-bashi)

a complete set of 100 self-carved and self-printed woodblock prints; signed and sealed variously by the artist, produced between 1928 and 1940

each print approximately 15 1/2 by 11 3/4 in., 39.3 by 30 cm
tomobako (signed storage box) 21 1/2 x 17 1/8 x 5 1/2 in., 54.5 x 43.4 x 14 cm.

In September of 1928 Kishio Koizumi released the first print of this ambitious series capturing views of modern Tokyo. Produced during a period of rapid expansion during the rebuilding of Tokyo following the destruction of the 1923 Great Kanto Earthquake, Koizumi's views of Tokyo reflected an interest in the modernization of the city while at the same time a sense of nostalgic pride in traditional Japan. Entirely self-carved and self-printed, the series would take nine years to complete under considerable financial duress. Koizumi had envisioned that the set could be underwritten by a subscription system limited to only fifty members, the fee was determined by either committing to receiving one or two prints per month. Although he began with nine members, after the second month several dropped out and there were only had four subscribers that stayed with him for the duration. In 1937 he issued the 100th design as announced in the December issue of the Japan Print Association Bulletin (Nihon Hanga Kyokai kaiho) and celebrated the following month in a special gathering attended by fellow members of the Japan Print Association including Oda Kazuma (1881-1956).

Between 1939 and 1940 Koizumi issued an additional nine alternate designs of the same locations with the same or similar titles bringing the true total to 109 woodblock prints. However, rather than expand the series to include all of the works, he substituted eight of the new prints in the series and included their titles in the annotated index which he produced in 1940 to accompany the completed sets.

After Koizumi finished this series to his satisfaction in 1940 (with the alternate views), he managed to convince the preeminent shin-hanga publisher, Watanabe Shozaburo (1885-1962) to purchase ten full sets which he stored in tomobako (wood box titled, dated, and signed by Koizumi), of which this is likely one.

The tomobako with this set has the series title on the lid in brushed sumi ink, Showa dai Tokyo hyakuzue hanga-shu; the inside lid dated, Koki nissen-roppyaku-nen kansei (Imperial Era 2600 [1940, system of dating from the start of Emperor Jimmu's reign in 660 BCE], completed), and signed Koizumi Kishio with artist's red seal Kishio-in. The set includes a woodblock printed introductory essay dated 1938 by fellow printmaker Ishii Hakutei (1882-1958), another essay by Koizumi dated 1940, and the two-page series title index annotated with Koizumi’s comments.

Price upon request

TAI Modern

FUJINUMA NOBORU

TAI Modern’s current show takes a deep dive into Living National Treasure Fujinuma Noboru’s lacquered bamboo cylinders. These works are an ode to the natural form of the bamboo culm itself. It takes the artist roughly five years from initial harvest to final polish. The process starts with choosing a select few culms of bamboo every winter, and then letting those culms dry for 2-3 years in a temperature and humidity- controlled room. Once the culms are ready, Fujinuma carves the bamboo to accentuate its unique characteristics. He then begins the meditative undertaking of applying upwards of 100 layers of urushi—the traditional Japanese lacquer made from the resin of the Urushi tree. When he feels he has completed the process of adding those layers, Fujinuma will begin to sand the layers back, revealing new compositions of color which will then be buffed to a shine with fine deer horn powder mixed with vegetable oil.  Through until September 30, 2023 at our gallery in Santa Fe preview the exhibition →

Fujinuma Noboru

Living National Treasure

Lacquered Bamboo Cylinder (312)

2019

Moso bamboo, lacquer
25 x 6 x 5 in

Thomsen Gallery

POST WAR AND CONTEMPORARY JAPANESE ART

Thomsen Gallery will feature the great avant-garde masters Shiryū Morita (1912-1998) and Yuichi Inoue (1916-1985), in Post War and Contemporary Japanese Art. These two artists’ work straddle East and West, combining dramatic, performative gesture and near-abstraction with the rich lexical and graphic heritage of the Chinese script. Morita’s Ryu, through abstraction and movement, has virtually assumed the physical shape of a dragon. Alongside calligraphy by these masters, works by the painter Minol Araki, the premier paper artist Kyoko Ibe and by the renowned ceramic artist Sueharu Fukami will be shown.  September 14-22, 11am-5pm  (closed on Sunday, September 17) more about the exhibition →

Shiryū Morita

(1912-1998)

Ryū (Dragon)

1985

Ink on paper, mounted as two-panel folding screen
Size 62¾ x 100 inches (159.7 x 253.7 cm)

Hiroshi Yanagi Oriental Art

Folding Screens with Painting of Pines at Miho and Fishing Nets

First half of the 17th century

A Pair of Six-Panel Folding Screens, ink and color on gold leaf Edo period
271 x 111(height)cm. each

The vivid green pine grove that lines the beach and the snow-covered sacred mountain Fuji depicted on one side of the screens signify the Pines of Miho, a scenic site in Suruga Province. Ajiro, a kind of fishing equipment, is arranged in different areas of the screens. It should be noted that these folding screens were designed in the same way as the famous "Ivy Lane" screens by Tawaraya Sōtatsu, in which the left and right sides of the screens can be reversed to create a different composition of the same theme. It is in perfect condition.

Zetterquist Galleries

PRE-SONG DYNASTY CHINESE CERAMICS FROM AMERICAN AND JAPANESE COLLECTIONS

The twenty objects on view in Pre-Song Dynasty Chinese Ceramics from American and Japanese Collections range from the Warring States Period (5th century BC) through Five Dynasties (10th century AD).  All the artifacts are sourced from American and Japanese collections. preview the exhibition →

Sancai Tripod Plate

Tang Dynasty, 618-907 A.D., China

Diameter: 24cm (9.35 inches)

A flat-bottomed plate with gently curved cavetto and broad, flat rim with raised edge. The inside is decorated with a Persian inspired floral medallion surrounded by six lotus in profile and six closed buds between them. The decoration is incised, then colored with blue, green and amber glazes that adhere well to the pattern. The rest of the plate is white and covered with a translucent, finely crackled glaze, now slightly degraded in some areas, that continues on the back to the flattened bottom. The entire piece sits on three legs of stylized lion's paw form.

PROVENANCE:
Zetterquist Galleries, 2001
The Mary and Cheney Cowles Collection

Bonhams

A Rare and Important Longquan Celadon Charger with Barbed Rim

Late 14th/early 15th century

Estimate: $60,000 - $90,000

Fine Chinese Ceramics and Works of Art
Featuring A Private Collection of Chinese Snuff Bottles
Auction Monday, September 18 10:00am EDT
Viewing September 13-17 10am-5pm EDT
Lot 61
Contact Coco Li (917) 206 1605
Coco.Li@bonhams.com
View auction

Fine Chinese Paintings
Auction Tuesday, September 19 9:30am EDT
Viewing September 13-18 10am-5pm EDT
Coco.Li@bonhams.com
View auction

Fine Japanese and Korean Works of Art
Auction Wednesday, September 20 10:00am EDT
Viewing September 13-18 10am-5pm EDT; September 19 10am-3pm EDT
philip.hafferty@bonhams.com
View auction

Chinese Painting: 20th Century & Beyond Part II
Online Auction Tuesday, September 12–22; 9:00am EDT
chinese.us@bonhams.com
View auction

Chinese Ceramics and Works of Art Online
Online Auction Friday, September 15–25; 12:00pm EDT
chinese.us@bonhams.com
View auction

Christie’s

A Magnificent and Important Large Longquan Celadon Kinuta Vase

Southern Song Dynasty  (1127-1279)

13 ¾ in. (35 cm.) high, silk pouch, Japanese double wood box

PROVENANCE:
Takeyama Kanshichi (1854-1907) Collection, Nagoya, Japan.
Takeyama Kanshichi Collection, Shunjuen, Nagoya, Japan; Osaka Bijutsu Club, 20 January 1914, lot 274.
Mineo Hata Collection, Kobe, Japan.

US$700,000-1,000,000

Mineo Hata: An Instinctive Eye
21 September 2023
Lot 872
View auction

Japanese and Korean Art
19 September 2023 10AM EDT
View auction

South Asian Modern + Contemporary Art
20 September 2023 10AM EDT
View auction

Important Chinese Jade Carvings from the LJZ Collection
21 September 2023 9AM EDT
View auction

Mineo Hata: An Instinctive Eye
21 September 2023 10:15AM
View auction

Marchant: Eight Treasures for the Wanli Emperor
21 September 2023 11AM EDT
View auction

Important Chinese Ceramics and Works of Art
21 September 2023 11:30AM & 22 September 2023 9AM EDT
View auction

The Moke Mokotoff Collection
13 September 2023 10AM - 26 September 2023 10AM
View auction

Arts of India
13 September 2023 10AM - 27 September 2023 10AM
View auction

Arts of Asia Online
13 September 2023 10AM - 28 September 2023 10AM
View auction

Doyle

Property from the Collection of Mary McFadden

A Large Pair of Chinese Cloisonné Enamel Cranes

Late Qing Dynasty

The colorful and mirrored pair of cranes holding lotus flowers issuing Buddhist emblems in their beaks stand with one leg raised and the other standing atop a grassy hillock with lingzhi upon a rectangular waisted base with openwork fence.

Height 82 inches

By repute, formerly of the Collection of Isadora Duncan and labeled as such under cover

Estimate: $20,000-40,000
To be sold on September 20.

Asian Works of Art
AUCTION Wednesday, September 20 at 10am

Asian Works of Art: Part II
AUCTION Thursday, September 21 at 10am

EXHIBITION
Fri, Sept 15, Noon - 5pm
Sat, Sept 16, Noon - 5pm
Sun, Sept 17, Noon - 5pm
Mon, Sept 18, Noon - 5pm

Heritage

Property from the Estate of Mrs. Amon G. Carter, Jr., Fort Worth, Texas

A Pair of Chinese Cloisonné Lions with Riders

18th century

18-3/4 x 22-1/2 x 9-1/2 inches (47.6 x 57.2 x 24.1 cm) (each, without wood stand)

A pair of Chinese cloisonné enameled lions with riders, each lion with open mouth showing fangs in a fierce expression, wearing a collar with a jingle and tassels on the neck, the curly mane, knotty spine in gilt bronze, the rider dressed in Central Asian attire, in a long coat decorated with prunus blooms along with high riding boots.

PROVENANCE:
Acquired from Frank Caro (successor of C. T. Loo), New York, December, 1960.

Estimate: $6,000 - $8,000

Fine & Decorative Asian Art Signature Auction
Auction date: September 20th, 2023
Preview: September 15-19th, 2023
Lot 78076
View Auction

iGavel

Chinese Archaic Bronze Wine Vessel

Zun, Late Shang Dynasty

Asian Paintings
September 12 - 26, 2023

Chinese and Other Asian Works of Art
September 14 - 28, 2023
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Sotheby’s

An Important White-Glazed Moon Jar

Joseon dynasty, late 17th / early 18th century

Height 45.2 cm; Diameter 45.4 cm

Estimate upon request

Everything is Transient.  An Important White-glazed Korean Moon Jar
19 September, 9AM EDT
Lot 1
EXHIBITION
Thu, 14 Sep 23, 10:00 AM - 5:00 PM EDT
Fri, 15 Sep 23, 10:00 AM - 5:00 PM EDT
Sat, 16 Sep 23, 10:00 AM - 5:00 PM EDT
Sun, 17 Sep 23, 12:00 PM - 5:00 PM EDT
Mon, 18 Sep 23, 10:00 AM - 5:00 PM EDT
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Dharma and Tantra, including Masterpieces from the Ningjei Lam Collection
18 September, 11am EDT
EXHIBITION
Thu, 14 Sep 23, 10:00 AM - 5:00 PM EDT
Fri, 15 Sep 23, 10:00 AM - 5:00 PM EDT
Sat, 16 Sep 23, 10:00 AM - 5:00 PM EDT
Sun, 17 Sep 23, 12:00 PM - 5:00 PM EDT
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Vestiges of China
19 September 9:15 AM EDT
EXHIBITION
Thu, 14 Sep 23, 10:00 AM - 5:00 PM EDT
Fri, 15 Sep 23, 10:00 AM - 5:00 PM EDT
Sat, 16 Sep 23, 10:00 AM - 5:00 PM EDT
Sun, 17 Sep 23, 12:00 PM - 5:00 PM EDT
Mon, 18 Sep 23, 10:00 AM - 5:00 PM EDT
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Important Chinese Art
19-20 September 11AM EDT
EXHIBITION
Thu, 14 Sep 23, 10:00 AM - 5:00 PM EDT
Fri, 15 Sep 23, 10:00 AM - 5:00 PM EDT
Sat, 16 Sep 23, 10:00 AM - 5:00 PM EDT
Sun, 17 Sep 23, 12:00 PM - 5:00 PM EDT
Mon, 18 Sep 23, 10:00 AM - 5:00 PM EDT
Tues, 19 Sep 23, 10:00 AM - 5:00 PM EDT
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