COURTESY OF THE HAUGHTON INTERNATIONAL SHOW
Sneak Peak: The International Show
‘Truth’ Examines Journalism’s Evolution
Collectors converge in a whirlwind of excitement for the rare and beautiful.
Cate Blanchett’s heartbreaking performance of Mary Mapes is Oscar-worthy.
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C1 October 16–22, 2015
Chilling Premiere of
‘RISE’ Reflects the World’s
Polluted Environment Vladislav Boguinia with Yuri Boguinia playing “Rise” on the piano at NYU Steinhardt in New York on Sept. 14.
By Milene Fernandez | Epoch Times Staff
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EW YORK—Temperatures are rising. Pollutants have been weaving a thickening blanket in the atmosphere, most rapidly in the past 50 years. That’s not even a blink of an eye in geological time. Yet as the climate change debate continues percolating—some crying out the eleventh hour, others denying any cause for alarm—a young composer simply looks at the hard data and transforms it into hauntingly, arresting music. See Rise on C4
BENJAMIN CHASTEEN/EPOCH TIMES
The Kronos Quartet with the AEON Music Ensemble and AEON Singers playing Vladislav Boguinia’s “Rise” at Symphony Space in New York on Sept. 23.
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October 16–22, 2015 TheEpochTimes.com/EpochArts ALL PHOTOS COURTESY OF THE HAUGHTON INTERNATIONAL SHOW
Jean Patchett in a Dior fur scarf, photographed 1950–1951, printed 1990. Irving Penn gelatin silver print, selenium toned.
Fine-carved celadon brush pot painted in underglazed blue and copper red with landscapes, Kangxi period (1662–1722). 6 inches.
“Prickly Melons,” by Cliff Lee, signed, 2015. Wheel thrown, applied, porcelain with imperial yellow glaze, 15.25 by 6 inches, 13.25 by 7 inches, 9 by 5.5 inches.
Roman micromosaic tabletop with giltwood base. Italian, circa 1820.
Untitled (Bush), circa 1960s, by Harry Bertoia, unsigned. Bronze with green patina, 19 by 18.5 inches.
Atlas Maior, first edition, 11 volumes bound in contemporary mottled calf gilt, Amsterdam, circa 1662–1665, by Joan Blaeu. “The greatest and finest atlas ever published.” A beautiful example with an important provenance and vibrant hand-coloring. A pair of George III mahogany and boxwood breakfront library bookcases in the manner of John Linnell, English, circa 1790. Olmec stone fragmentary figure, middle preclassic period, Puebla, circa 900–300 B.C. Blue-green jadeite with beige coloration, 5 7/8 inches high.
“Gun Dogs With Game,” 1852, by Thomas Hewes Hinckley, signed. Oil on canvas, 36 by 48 inches.
Peter Finer collection. Italian fashion of the 16th century.
Exceptional original bronze cast standing lamp known as “Lampadaire Feuille,” 1936, by Alberto Giacometti (1938–1939). Cast. Brown patina executed by Diego Giacometti.
The Haughton International Show Is Back By Kati Vereshaka | Epoch Times Staff all in New York heralds many things, among which is the much anticipated social season opener, The International Fine Art & Antiques Show. As it is a mouthful, this year its name has been changed to reflect the more colloquial way by which visitors have come to refer to it, namely, The International Show. Regardless of the change, it has been and remains the kind of event that attracts collectors of world renown, with 67 top dealers exhibiting a huge range of antiques and contemporary works. Avid collectors converge in a maelstrom of excitement over rare and exquisite antiques, which will soon be shipped to new homes, there to be enjoyed by all, if only briefly, for the duration of a week. Passions run high building up to Oct. 22. The date is reserved for The Opening Night exclusive party when guests get the first glimpse of the 2015 show with proceeds traditionally going to The Society of Memorial Sloan Kettering Cancer Center. In addition to the name, there are many other changes this year. And although the Park Avenue Armory itself cannot be touched, Londonbased art and antiques fair organizer Anna Haughton spoke with anticipation about the surprises that await next week, Oct. 23, when the show opens. I caught up with Haughton who was still in London on the telephone to coax her to reveal as much as possible about the fair without any spoilers. “The challenge is to make the fair look different every year. You must walk in the door and
You really must like it to collect it. Anna Haughton, organizer, The Haughton International Show
say ‘It’s different’ but not know exactly what’s different,” she said. “This year there are new colors, the entrance and the flowers will be changed, and various parts of the build will be changed,” she said, referring to the exhibition spaces that will be created within the Armory. The show has been organized into art, antiques, and design to cover the three major categories represented at the fair with 20th century, Contemporary Design, and Works of Art now a fully ensconced collecting area at the fair. Within the show, there will be other mini events such as a Japanese tea ceremony performed by a tea master organized by an Australian dealer of contemporary Japanese works. The ceremony will be performed in an especially built Japanese pavilion. Haughton also spoke about her love of collecting, which started when she used to accompany a friend who sold jewelry at London’s markets on weekends. “I was fascinated by people, how they react, what they collect, what they want and what they look at,” said Haughton. She explained that after that, “everything just took off” for herself and her husband Brian Haughton, who is also the show organizer and an antique dealer. A large part of the success of the event is owing to the enjoyment gained from the social interactions between dealers, collectors, as well as museum curators. For a little while, the Park Avenue Armory becomes a world of antiques, which is suddenly accessible to all who love art and design. The way people collect has changed considerably over the decades in the United States.
According to Anna Haughton, the current demand is for 20th century furniture, with 1920s, ‘30s, and ‘40s furniture being highly sought after. In the early days of the fair, French 18th century furniture was the most popular among collectors, who also adopted a specialized way of collecting pieces and did not stray from their area. Nowadays, Haughton explains that antique buyers have learned to favor a different aesthetic. “Now people will buy a beautiful piece of furniture, maybe an old Chinese table, or a wonderful 18th century desk and then they’ll buy a modern picture and hang it above it; and they’re not afraid to mix and match any more.,” she said. She also had simple advice for young collectors, “You really must like it to collect it.” The idea of collecting as a financial investment comes up often through Brian Haughton’s work as an antique dealer. She recounts that sometimes people come to him asking what they should collect and his answer is always, “Find out what you like.” She cautions against dealers who tell new clients what they should collect because it often happens that when people buy with such a mindset, they will become unhappy because they realize, all too late, that they actually don’t like the piece. “You can’t tell somebody what to collect. A passionate collector will think differently,” Anna Haughton. As for the price, the sky’s the limit. One can’t put a price on passion after all. The International Show will be held at the Park Avenue Armory in New York on Oct. 23–29.
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Shen Yun Symphony Orchestra Bringing Harmony to Audiences in 2015 Tour COURTESY OF SHEN YUN PERFORMING ARTS
By Catherine Yang | Epoch Times Staff
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odern studies say music has therapeutic effects, and in ancient China one of music’s earliest purposes was to heal. Audiences attending the Shen Yun Symphony Orchestra’s ongoing tour have testified to the powerful effects of the ensemble’s music. “Our ancestors believed that music had the power to harmonize a person’s soul in ways that medicine could not,” said Gao Yuan, a composer with Shen Yun Symphony Orchestra, in an interview just before the orchestra began its 11-city North America tour this month. This unique ensemble harmonizes the grandeur of a full Western symphony orchestra with the majesty of traditional Chinese melodies using select instruments like the pipa and erhu. The pipa, for example, is considered the king of Chinese folk instruments, often found in the hands of heavenly maidens in Chinese art. Shen Yun explains that the pipa itself epitomizes ancient Chinese beliefs about the universe and the natural world. The website states: “Its body, by traditional Chinese measurement, is three feet five inches, representing the three powers—heaven, the earth, and man, and the five elements—metal, wood, water, fire, and earth. Meanwhile, the four strings represent the four seasons.” Ancient Chinese scholars found a relationship between the pentatonic scale used by Chinese instruments, the five elements, and the health of the five internal and five sensory organs. Today, therapists use music to lower blood pressure, reduce anxiety, stabilize heart rate, and more. It is no wonder audiences walk out of Shen Yun Symphony Orchestra concerts feeling rejuvenated. Speechless With Emotion The orchestra most recently performed in Washington at the John F. Kennedy Center for the Performing Arts. “It felt like you were in heaven,” said business owner David Wallace after the concert. “It was wonderful, it was just inspiring, and I deeply, deeply enjoyed it.” Before that, the orchestra played at Carnegie Hall in New York, where Tony Award-winning Broadway producer couple Bonnie Comley and Stewart F. Lane were filled with joy at the level of talent on stage. “I have to tell you the sound is beautiful. The
Soprano Haolan Geng performs with the Shen Yun Symphony Orchestra at Carnegie Hall in New York on Oct. 10.
It’s perfect, it’s just perfect. Bonnie Comley, Tony Awardwinning producer COURTESY OF NTD TELEVISION
Bonnie Comley.
orchestra, very talented. And the voices, the voices are superb,” Mr. Lane said. “They’re just at the pinnacle when they can come here and perform at Carnegie Hall,” Ms. Comley said. “It’s perfect, it’s just perfect.” As audience member Grace Blank left Carnegie Hall, she immediately texted a friend: “It is so beautiful I have been pushed to tears.” Ms. Blank recounted several instances of heart-filling emotion, most notably the violin virtuoso Fiona Zheng’s solo. “She was like an angel that came down,” Ms. Blank said. “The emotion that she showed in playing the violin was like she was one with it, truly one with it.” “It’s beyond words. Phenomenal, just phenomenal,” she continued. “I have so much appreciation for this. It’s the best, best, best place I’ve been in … all of my life. I’m very grateful, very, very grateful.” On Oct. 4, the orchestra had played at the Flynn Center for the Performing Arts in Burlington, Vermont. “I came all the way from Arkansas to this wonderful, wonderful concert,” said Dorothy Norris, whose opera singer father had instilled her with a great love of music. ‘It’s marvelous,” she said. “It was inspiring. It was uplifting, it was—I’m lost for words, but you felt really good. There’s something that sort of rises emotionally in you, as you listen to it, sometimes it’s hard to put emotions into words.”
“I was emotional, a little teary sometimes, because it touches your heart,” Ms. Norris said. After multiple audience interviews, her experience seemed to be a universal one. “The music really touches something inside, and music is so universal I think that’s what strikes me,” said Louise Mueller. “It speaks to all of us and it brings us all together.” On the opening night of the tour in Toronto, on Oct. 3, Award-winning reporter Adu Raudkivi summed up the performance with one word: excellence. “I wanted it to go on at least another two hours,” said Mr. Raudkivi, a reporter with Estonian Life in Toronto who won a Lifetime Achievement Award in the category of Long Struggles for Human Rights and Equality from the National Ethnic Press and Media Council of Canada. He wasn’t the only one. Cheng Guangcheng, the blind Chinese human rights activist and lawyer who organized a landmark class action suit against the one-child policy, conveyed a sense of hope after attending a performance at Kennedy Center. “I think this orchestra holds an enormous capacity to revive some of the lost elements of Chinese culture,” Mr. Chen said. “This, I think, is the most important meaning behind these songs.” He spoke of the orchestra’s ability to harmonize, and how the concept upholds ancient Chinese belief. In Chinese, harmonize is two characters. The first is to complement, and the second is to cooperate—it does not mean to be all the same, as the meaning has been warped in China today. The traditional meaning is what he hopes to see from China once again. “The orchestra’s ability to be expressive is extremely powerful,” Mr. Chen said. The Shen Yun Symphony Orchestra continues its tour with a performance on Oct. 18 at the Chicago Symphony Center and on Oct. 21 at the Boston Symphony Hall. For information about the orchestra’s performances, visit ShenYun.com/Symphony New York-based Shen Yun Symphony Orchestra comprises musicians from the four Shen Yun Performing Arts touring companies. Shen Yun Performing Arts begins its 2016 world tour on Dec. 22, 2015. Epoch Times considers Shen Yun Performing Arts the significant cultural event of our time and has covered audience reactions since the company’s inception in 2006.
Opera Review
Radvanovsky Rocks as the Ill-Fated Anna Bolena NEW YORK—Gaetano Donizetti (1797–1848) died without knowing he had written the “Three Tudor Queens” trilogy. Actually, he had written three separate operas and didn’t even have the same singer in mind to star in all of them. Beverly Sills introduced the idea; she had performed the taxing roles at the New York City Opera during the 1970s. This season, the Metropolitan Opera is giving Sondra Radvanovsky the opportunity to sing all three roles, and she has made a spectacular start with “Anna Bolena.” The Plot King Henry VIII and his six marriages have been the subject of numerous films, novels, television dramatizations, and plays, most recently “Wolf Hall” on Broadway. Thomas Cromwell, who was a central figure in the latter, doesn’t even appear in “Anna Bolena.” The title character is based on Anne Boleyn (the king’s second wife) and dramatizes the monarch’s machinations to move on to wife number three, Jane Seymour (Giovanna in the opera). Though the libretto by Felice Romani roughly follows the historical events, it takes significant liberties and makes Anne Boleyn a more sympathetic figure than historians do. When the action begins, Henry/Enrico has already divorced Catherine of Aragon and has been married to Anna for three years. Unbeknownst to Anna, her lady-in-waiting Giovanna has been carrying on an affair with the king. The courtiers are in a gloomy mood and so is Anna, who has her page Mark Smeaton sing a song to lift everyone’s spirits. It serves only to remind the queen that she relinquished her true love, Lord Richard Percy, Earl of Northumberland (here Riccardo), in her determination to join the royal family. Meanwhile, Giovanna feels guilty about her secret relationship with Enrico. The king had exiled Riccardo out of jealousy but now calls him back to England. This is part
of a scheme to rid himself of both Anna and his former rival for her affections. The page Smeaton also happens to be in love with Anna and has stolen a miniature portrait of her, which he decides to return surreptitiously. Anna’s brother Lord Rochefort (who suspects the king’s treachery) urges his sister to talk Riccardo into leaving England. When Riccardo appears, it becomes clear that the two are still in love, though Anna still follows her brother’s recommended course of action. For some unclear reason, Riccardo pulls out his sword and Smeaton (who had been hiding in Anna’s chambers) thinks she is in danger and comes to her defense. The king suddenly appears and, seizing the portrait as proof of Anna’s adultery, has his wife arrested along with Rochefort, Riccardo, and Smeaton. Act 2 begins with a wrenching scene, where Giovanna reveals to Anna that she is slated to become the next queen. Giovanna recommends that Anna plead guilty and provide grounds for the king to divorce her rather than have her executed. Anna expresses a range of emotions, from cursing Giovanna to finally excusing her conduct and placing the blame on Enrico. Under torture, Smeaton claims to have had a love affair with Anna. Riccardo reveals that he married Anna before the king did, and that clinches the ruler’s resolve to have Anna and Riccardo executed along with Rochefort. In the Tower of London, Anna sings a mad scene, but when Smeaton, Riccardo, and Rochefort are brought in, she regains her senses. She curses Enrico when she hears the wedding bells and cannons and heads off to her death. The Performance Radvanovsky gives a riveting performance, musically and dramatically. She has a big voice but it is extraordinarily flexible, managing the trills while still soaring above the orchestra. The mad scene was a tour de force, as Donizetti intended. As Giovanna, mezzo-soprano Jamie Barton is also terrific. Their scene together in Act 2 was riveting. Another mezzo, Tamara Mumford,
Radvanovsky gives a riveting performance, musically and dramatically.
KEN HOWARD/METROPOLITAN OPERA
By Barry Bassis
was also excellent in the pants role of Smeaton. As one audience member exclaimed after the performance, “the ladies rocked.” It is also noteworthy that all three are Americans. Russian bass Ildar Abdrazakov makes an authoritative king and once again shows that he is expert at bel canto roles. Here, however, the other lead characters have the arias. Tenor Stephen Costello, who was scheduled to play Riccardo, canceled because of illness and was replaced by Taylor Stayton. He started out tentatively but became impressive as the performance progressed. Stayton is strongest in the upper register and gave a fine account of his Act 2 aria “Vivi tu.” Sir David McVicar directed, and visually the production (with sets by Robert Jones, costumes by Jenny Tiramani, and lighting by Paule Constable) is restrained but effective. McVicar is less flamboyant than some of the Met’s other directors, but his work usually conveys the intent of the opera’s creators, without imposing odd concepts, like moving the action to a post-holocaust era. If the scenery didn’t win any applause, it is worth noting that the justifiably praised “Wolf Hall” basically didn’t have any. The Met orchestra was as fine as one might expect under the baton of Marco Armiliato (who is also conducting the performances of “Il Trovatore”). We have two more of Radvanovsky’s queens to look forward to. “Anna Bolena” runs intermittently at the Met through Jan. 9; 212-362-6000, MetOpera.org
Sondra Radvanovsky in the title role of Donizetti’s “Anna Bolena.”
Barry Bassis has been a music, theater, and travel writer for over a decade for various publications.
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Music for a Sustainable Planet Concert at Symphony Space Rise continued from C1 When Vladislav Boguinia first leafed through pages and pages of statistical variables of atmospheric carbon dioxide (CO2) concentration levels and graphs of annual mean land– ocean temperatures, he began to hear music. He felt challenged to transcribe the increasing, slightly fluctuating numbers in an accurate and artful way. Tall and thin, with a dignified, commanding demeanor, Boguinia has taken on the role of an artist reflecting the current zeitgeist very deliberately. Aiming to achieve a perfect balance between the technical and the spiritual side of music, he took data from the NOAA and NASA and brought the rather uninspired numbers to life. “For all of our existence as musicians, searching, finding, and achieving that bal-
We as the human race can influence this piece … it’s completely in our hands. Vladislav Boguinia, pianist and composer
Stone lithographic advertising poster detail, China, Ca. 1920
Look into the East At the gallery of Michael Ayervais
Where Asian art comes to life in a magical setting 40 West 25th St. New York #228-229 | 917-623-2571
ance is an endless voyage,” Boguinia said in an NYU Steinhardt classroom, where he is pursuing a Master’s degree in Music Technology and is an honorary member of the piano department. He shared his creative process a few days before his piece “Rise” premiered at the Music for a Sustainable Planet concert on Sept. 23 at Symphony Space—featuring the Grammy winning Kronos Quartet and the AEON Music Ensemble, which he directs. Vladislav’s brother, Yuri Boguinia, a violinist and also a composer, is pursuing a doctorate at Princeton. He was the main driving force in ensuring that the Music for a Sustainable Planet concert would be performed at Symphony Space—a larger venue than what was initially chosen. Yuri’s curly head of hair and facial features, reminiscent of angels depicted in Italian Renaissance Fran Angelico paintings, give away his poetic sensibility, yet his will power is unyielding. The Boguinia brothers are just a little over a year apart in age. “I’m the younger one,” Vladislav said. “He’s the taller one,” Yuri followed as if to indicate the balance in their relationship as brothers, fellow composers, and collaborators. Reflecting the Rise In composing “Rise,” for insight Vladislav turned to one of his favorite composers, Johann Sebastian Bach—that most revered of composers who signed all of his cantatas “for glory to God alone.” Speaking of Bach, Vladislav said, “Absolutely incredible music, in the craft and the way he approaches every single note, every single measure, and every single section.” He said “Rise” has an “indirect reference, not a quotation, to Bach’s style of composition.” At the premiere, “Rise” began gently, gradually as the choir sang numbers. The harmonies unfold through time, bolstered by the Kronos Quartet. They continued singing numbers until the very end of the piece. Every single note the Kronos Quartet played corresponds to numeric values of CO2 levels and every number the AENON choir sang represented annual temperature means, spanning 115 years from 1900 to 2015. “As the piece progresses you can actually hear these frequencies rising slowly,” Vladislav said, showing the score. “Every second basically represents one month of passing time, so in three measures we have a year,” he explained. About 10 minutes into the piece, which roughly corresponds with the 1960s, the dissonance starts to set in. Using pitch class set theory, Valdislav discovered that when he took for example the atmospheric CO2 concentration for the year 1900 of 295.7 ppm, that number translated to pitches (Re, La, Fa) creating Re minor harmony. The decimal number 7 translated to the pitch Sol, which he used to create melodic sounds. He also represented the CO2 levels with an electronic component, which translated the numeric values as processed sine wave frequencies. Taking the same year, 1900, and CO2 level of 295.7 ppm, when he translated that value to sound wave, 295.7 Hz, it produced the same pitch, Re. “So transcribing this using set theory for traditional instruments you get a D minor chord and when you transcribe actual frequencies you get the same sonority,” Vladislav said. Yuri chimed in on the discovery, “When he started writing this, I was completely shocked.”
Vladislav and Yuri Boguinia with the Kronos Quartet and the AEON Music Ensemble perform at Symphony Space in New York on Sept. 23.
Yuri conducted during rehearsals, preparing the ground for their guest conductor from Germany, Ruth Reinhardt. She said she considered “Rise” as having four climaxes, two low points, and a very intense build up at the end. Speaking of the low points, Vladislav said, “There are interesting moments where numbers result in these really peaceful harmonies.” It’s as if the accumulating CO2 concentrations had a brief escape valve, only to continue further on to increasing dissonance. A video from NASA showing carbon dioxide level simulations of the earth was projected on the backdrop of the stage, and edited to correspond with the intensity of the music. Ebbs and flows of various colors swirled across the world map. As the piece progressed, you could actually see how the Earth is becoming more polluted. “The harmony of the early 20th century is very consonant, however as the atmospheric CO2 concentration levels rise, the harmony becomes distorted and dissonant suggesting an imbalance in our planet,” Vladislav wrote in the program notes. Developing from gentle harmonies, unfolding, fluctuating throughout, then toward the end spinning into a very dense, cacophonous, increasingly loud climax, “Rise” ends abruptly—no cadenza, no coda. For now it ended in this year, 2015. There was a wonderful long palpable silence, before the audience applauded—perhaps relieved, stunned, annoyed, or moved to tears by the beautiful reflection of our times and the state of our environment. “‘Rise’ is actually never finished, as we progress in time and get new data,” Vladislav said. “We as the human race can influence this piece, if you want [CO2 levels] to continue rising and for the music to become more clashing, more chaotic, and more hectic, it’s completely in our hands,” he said. Symphony Space was nearly packed on Sept. 23. The concert opened with Kronos Quartet playing gorgeous pieces by Omar Souleyman, and Hamza El Din, before the “Rise” premiere. Yuri arranged Terry Riley’s “In C,” minor, and played the violin with the AEON ensemble and singers, closing the concert’s program. When the Boguinia brothers initially had planned the concert they reached out to Jeffrey Sachs, director of the Earth Institute Columbia University, and a senior U.N. adviser. The timing was just ripe. The Earth Institute along with the United Nations Sustainable Development Solutions Network, the second hosting organization, invited some 170 leaders, who were in New York City at that time for the U.N. Sustainable Development Summit. The concert then gave way to the Boguinia brothers establishing the Sustainable Development Solutions Network (SDSN) Global Arts Initiative. They will invite 17 artists from 17 different countries to create a work of art in response to each one of the 17 Sustainable Development Goals. Reflecting on his musical vision, Yuri said, “Music is a way for us to really remember, to think about who we are and what’s important to us.” Vladislav was more succinct, he said, music “It’s life.” The Boguinia brothers and the AEON Music Ensemble, which they founded, will perform next in Carnegie Hall on Nov. 15. “This Is New York” is a feature series that delves into the lives of inspiring individuals in New York City. See all our TINYs here:epochtim.es/TINY or follow @milenefernandez on Twitter.
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October 16–22, 2015 TheEpochTimes.com/EpochArts ALL PHOTOS BY BENJAMIN CHASTEEN/EPOCH TIMES
THINGS TO DO COMMUNITY EVENTS ONGOING IN MANHATTAN
Vladislav Boguinia during a rehearsal of his piece “Rise” at the Mannes The New School in New York on Sept. 22.
The Unseen Holocaust: Recent Polish Films Oct. 25 at 2 p.m., Oct. 27–28 at 7 p.m., & Nov. 1 at 2 p.m. Museum of Jewish Heritage 36 Battery Place The fall of communism ushered in a new era of candid and artistically accomplished Polish filmmaking about the Holocaust. This week-long series presents features, documentaries, and short films rarely seen in the United States. Discussions with experts will follow the screenings. $15 public, $12 members. MJHnyc.org
VISUAL ARTS NEW IN MANHATTAN Fashion and Virtue: Textile Patterns and the Print Revolution, 1520–1620 Oct. 20–Jan. 10, 2016 Metropolitan Museum of Art Printed sources related to the design of textile patterns first appeared during the Renaissance. Six intricate interlaced designs, attributed to Leonardo da Vinci and later copied by Albrecht Dürer, stood at the beginning of a fruitful international exchange of pattern designs through print. $12–$25 suggested. METMuseum.org
Yuri Boguinia at NYU Steinhardt in New York on Sept 14.
Vladislav Boguinia (R) and his brother, Yuri, explain the creative process of Vladislav’s composition of “Rise” at NYU Steinhardt on Sept 14.
Vladislav and Yuri Boguinia watch Ruth Reinhardt conduct the Kronos Quartet and the AEON Singers during a rehearsal at The New School on Sept. 22. WATCH A VIDEO of the concert online at ept.ms/ RiseConcert
Yuri and Vladislav Boguinia at NYU Steinhardt on Sept 14.
Celebrating the Arts of Japan Oct. 20–July 21, 2016 The Mary Griggs Burke Collection Metropolitan Museum of Art This tribute to a great collector reveals the distinctive features of Japanese art as viewed through the lens of fifty years of collecting: the sublime spirituality of Buddhist and Shinto art; the boldness of Zen ink painting; the imaginary world conjured up by the Tale of Genji and classical Japanese literature; the sumptuous colors of birdand-flower painting; the subtlety of poetry, calligraphy, and literati themes; the aestheticized accoutrements of the tea ceremony; and the charming portraiture of courtesans from the "floating world" (ukiyo-e). $12–$25 suggested. METMuseum.org Design for Eternity: Architectural Models From the Ancient Americas Oct. 26–Sept. 18, 2016 Metropolitan Museum of Art From the first millennium B.C. until the arrival of Europeans in the sixteenth century, artists from the ancient Americas created smallscale architectural models to be placed in the tombs of important individuals. $12–$25 suggested. METMuseum.org Andrea del Sarto's Borgherini Holy Family Through Jan. 10 Metropolitan Museum of Art Andrea del Sarto (1486– 1530) was one of the most influential artists active in Florence in the first decades of the sixteenth century. The exhibition will complement Andrea del Sarto: The Renaissance Workshop in Action, a more extensive survey of the artist's work that will be on view at The Frick Collection at the same time. $12–$25 suggested. METMuseum.org
Andrea del Sarto: The Renaissance Workshop in Action Through Jan. 10, 2016 The Frick Collection This selection of nearly fifty drawings — red and black chalk figures, expressive heads, and compositional studies — and three related paintings will explore the important role of drawing in Andrea del Sarto’s paintings and offer an unprecedented display of the two media in concert. Frick.org
ONGOING IN MANHATTAN Liturgical Textiles of the Post-Byzantine World Through Nov. 1 Metropolitan Museum of Art Seldom-shown textiles from the fifteenth to the eighteenth century. These rich and complex woven silks and gold-embroidered details of liturgical vestments communicate the continuing prestige of the Orthodox Church and its clergy in the centuries following the fall of Byzantine Constantinople to the Ottoman Turks in 1453. $12–$25 suggested. METMuseum.org Women Pioneers Mexican Photography I Through Nov. 14 Throckmorton Fine Art, 145 E. 57th St., Floor 3 This exhibition presents views of women, myth, and photography intertwined through nine pioneers who embrace new attitudes for women. Since 1896 through to the present, freedom earned through personal decision and efforts includes the early social risks taken in a still-traditional society. Free. Throckmorton-NYC.com Folk City: New York and the Folk Music Revival Through Nov. 29, open daily 10 a.m.–6 p.m. Museum of the City of New York, 1220 Fifth Ave. The multimedia exhibition features original instruments, handwritten lyrics, and video and film footage. "Folk City" traces the roots of the revival, its growth in New York, its major players, and its impact on American politics and culture during the tumultuous 1960s. $3–$14. MCNY.org
ENDING IN MANHATTAN Treasures and Talismans: Rings From the Griffin Collection Through Oct. 18 The Metropolitan Museum of Art Exploring the making of rings from raw material to finished product and from goldsmith to owner, the exhibition will highlight rings as both physical objects and works of art. $12–$25 suggested. MetMuseum.org Collecting Paradise: Buddhist Art of Kashmir and Its Legacies Through Oct. 19 Rubin Museum of Art Exhibit traces the continuity of the art of Kashmir in the Western Himalayas for over a millennium. $10–$15. RubinMuseum.org Pattern, Color, Light: Architectural Ornament in the Near East (500–1000) Through Oct. 25 The Metropolitan Museum of Art This exhibition features examples of architectural ornament from Egypt, Iraq, Syria, and Turkey that were found at sites ranging in date
from approximately 500 to 1000. $12–$25 suggested. MetMuseum.org
PERFORMING ARTS NEW IN MANHATTAN Tosca Oct. 16–Dec. 1 Metropolitan Opera 30 Lincoln Center Plaza The many facets of Puccini’s eternal diva are explored by a quartet of charismatic sopranos: Oksana Dyka, Angela Gheorghiu, Maria Guleghina, and Liudmyla Monastyrska. From $25. MetOpera.org
ONGOING IN MANHATTAN Tannhäuser Through Oct. 31 Metropolitan Opera 30 Lincoln Center Plaza History, myth, and invention come together in Tannhäuser to create a unique and powerful drama. James Levine conducts Wagner’s early masterpiece in its first return to the Met stage in more than a decade. From $27. MetOpera.org
MUSIC NEW IN MANHATTAN White Light Festival Oct. 14–Nov. 22 Lincoln Center Lincoln Center's musical intersection between art and spirit across a number of disciplines. Expect performances from Mark Padmore and Paul Lewis, Dialogos and Kantaduri, and New York City's very own jazz legend Wynton Marsalis. WhiteLightFestival.org Julian Lage Trio Oct. 17 at 8:30 p.m. Carnegie Hall 57th Street & Seventh Avenue Versatile rising star guitarist Julian Lage is joined by the allstar rhythm section of bassist Scott Colley and drummer Kenny Wollesen for the New York City concert debut of his newly formed and acclaimed trio. $44–52. CarnegieHall.org Two Pianos / Four Hands Oct. 17 at 8 p.m. Weill Recital Hall at Carnegie Hall 57th Street & Seventh Avenue In her 19th season at Carnegie Hall, concert pianist Michelle Chen Kuo is joined by her son, Christopher Kuo, who returns to Weill Recital Hall for the third time since his 2006 solo debut. $40–$70. CarnegieHall.org The Big Picture Oct. 18 at 2 p.m. Museum of Jewish Heritage 36 Battery Place In this cinematic concert, Grammy-nominated clarinetist David Krakauer explores the intersection of music and Jewish identity in iconic movies of the last 50 years. Krakauer adds his contemporary style to beloved songs from films ranging from Funny Girl and Fiddler on the Roof to Sophie’s Choice and The Pianist. $35 general admission, $30 for seniors and students, $25 for members and groups of ten or more. MJHnyc.org Haydn, Mendelssohn, & Schumann Oct. 18 at 5 p.m. and Oct. 20 at 7:30 p.m. Alice Tully Hall The Chamber Music Society
season begins with three jewels of the chamber music repertoire, taking listeners on a journey from the classical to romantic era. Mendelssohn's sparkling sextet provides an eloquent bridge between Haydn's elegant trio and Schumann's passionate quintet. From $38. ChamberMusicSociety.org Seiya Ueno, Flute Oct. 20 at 7:30 p.m. Zankel Hall at Carnegie Hall 57th Street & Seventh Avenue The 55th Young Concert Artists Series opens with the debut of Japanese flutist Seiya Ueno. $10–$40. CarnegieHall.org Boston Symphony Orchestra Oct. 20–22 Stern Auditorium / Perelman Stage at Carnegie Hall 57th Street & Seventh Avenue Expect exuberant music making when pianist Lars Vogt joins the Boston Symphony Orchestra, conducted by Music Director Andris Nelsons. $24–$250. CarnegieHall.org Rigoletto Oct. 20–Dec. 17 Metropolitan Opera 30 Lincoln Center Plaza George Gagnidze and Zeljko Lucic share the pinnacle role of the Italian baritone repertory in Michael Mayer’s electrifying production set in 1960 in a Las Vegas casino. Tenors Piotr Beczala and Stephen Costello alternate as the licentious Duke. From $25. MetOpera.org Bychkov, Batiashvili, Capuçon Oct. 21–24 David Geffen Hall at 10 Lincoln Center Calling all Brahms lovers. The Philharmonic performs the monumental First Symphony — with its churning opening, lyrical violin solos, and noble brass finale transcribed from Swiss alphorns — and Double Concerto, written to repair a friendship. Starring violinist Lisa Batiashvili and cellist Gautier Capuçon. $30-134. NYPhil.org Festival Chamber Music Concert Series Oct. 22 at 8 p.m. Weill Recital Hall at Carnegie Hall 57th Street & Seventh Avenue The performers at our concerts are some of the finest chamber musicians in New York, who in addition to their artistry are known for the exuberance of their performances and their warm interaction with audiences. $45. FestivalChamber.org Orchestra Underground: 21st Firsts Oct. 23 at 7:30 p.m. Carnegie Hall 57th Street & Seventh Avenue The standard-bearing newmusic orchestra American Composers Orchestra presents world premieres— two commissioned by Carnegie Hall—composed by visionary young artists. $43– $50. CarnegieHall.org Pianos & Winds Oct. 25 at 5 p.m. Alice Tully Hall The combination of piano and wind instruments provides composers with an almost limitless color palette from which to draw. This scintillating program showcases this versatility as well as the virtuosity of these remarkable artists. $38. ChamberMusicSociety.org
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October 16–22, 2015 TheEpochTimes.com/EpochArts ALL PHOTOS BY LISA TOMASETTI/SONY PICTURES CLASSICS
(L–R) Elisabeth Moss as Lucy Scott, David Lyons as Josh Howard, Topher Grace as Mike Smith, Natalie Saleeba as Mary Murphy, Dennis Quaid as Col. Roger Charles, Adam Saunders as Tom, and Cate Blanchett as Mary Mapes in Sony Pictures Classics “Truth.”
Film Review
Uncovering Dubya’s Alleged Vietnam Combat-Ducking Strategery
Cate Blanchett as Mary Mapes and Andrew McFarlane as Dick Hibey.
By Mark Jackson | Epoch Times Staff
‘Truth’
“Truth” is a newsroom thriller. It tells the true tale of the crack team of reporters who tracked a paper trail to determine whether George W. Bush shirked his Vietnam War military duties or not. It also depicts how much journalism has lost it’s bite since ‘70s superstar Robert Redford played Watergate’s super-reporter Bob Woodward in “All The President’s Men,” 40 years ago. Here, Redford plays super-anchor Dan Rather. We’ll come back to investigative journalism’s aging and tooth loss.
Director James Vanderbilt
The Heart of the Matter It begins with a CBS “60 Minutes” episode, where award-winning producer Mary Mapes (Cate Blanchett) has host Dan Rather talk about Dubya’s military records. Bush the Younger, during the Vietnam draft, had landed an exceedingly sweet assignment in the Texas Air National Guard, apparently reserved for the privileged pups of powerful political pops. But Bush junior, regardless, apparently couldn’t handle the light duty. He played hooky, blew off mandatory testing without comeuppance, went AWOL, and ultimately got out early, thereby avoiding combat. How? As Will Ferrell doing a Dubya impression might have put it—with... “strategery” [strə-tee-jər-ee]. In other words, he had strings pulled for him. Or so it’s claimed. Mapes puts together a world-class team of journalists; Topher Grace’s brilliant, hypercommitted, feathering-the-edge-of-conspiracy reporter, Dennis Quaid’s avuncular, former-military tough-guy, and Elizabeth Moss’s
Starring Cate Blanchett, Robert Redford, Topher Grace, Dennis Quaid, Elisabeth Moss, Bruce Greenwood, Stacy Keach, Dermot Mulroney Running Time 2 hours, 1 minute Release Date Oct. 16 Rated R
The ensuing one-woman, single-handed smackdown of this intimidating pack of predatorsuits is highly satisfying.
moral-compass ethics expert. What follows is a first-rate journalism clinic that moves at a riveting clip as the investigative team take to their respective wheel-houses (with much quipping) and build the case, a la trail-sniffing, educated-guessing, leadfollowing, phone-calling, on-and-off-therecord reporting, and so on. A long string of cold-calls all end with the person on the other end of the line stating vehemently, “No strings were pulled!” Oops … But once the story breaks, the whole enterprise gets immediately lit up by the blogosphere’s razor-sharp minds and acerbic tongues. Some of whom have, naturally, political agendas. The team got sloppy due to deadlines, put all their money on a key-evidence memo (a faxed copy with no original, that the right-wing bloggers and the Rupert Murdoch media-machine have a field day claiming is fake). This questionable memo also came from a source who refused to be named (Stacy Keach). Which of course sets off frenzied backtracking and fact checking, with irate bosses breathing down their collective necks. But ultimately the whole endeavor hinged on their having put all their eggs in one basket, and then the handle broke. Sneaking an Internet peek, Mapes is emotionally bludgeoned by cries of “Gut the witch!” At the Top of Her Game The “Let’s nail Bush” and the ensuing “Now let’s get the nail out of our own foot” parts are the overt storyline, but the movie is actually really about Mary Mapes—mother, wife, and intense hunter-killer investigative reporter. She’d blown the Abu Ghraib scandal sky-high, was at the top of her game, and had a great deal to lose. Since the screenplay (written by top-notch, first-time director James Vanderbilt) is based on Mapes’s book, the story is naturally skewed to her take on things. One could also argue, seeing as how the movie masthead is that known treehugger, Robert Redford (said with immense respect and affection), there might be a somewhat liberal interpretation of the turn of events. Mapes and Rather are shown, if somewhat glibly, to have an ersatz father-daughter relationship, as Mapes’s actual father was a ruthless physical and verbal abuser. One of the film’s most powerful scenes is when the normally fire-breathing Mapes gears
up to lambaste her bullying dad on the phone for publicly dragging her name through the mud, accusing her of radical feminism, only to revert instantaneously to her cowering, tiny inner-child. It’s heartbreaking, and will most certainly capture yet another Oscar nomination for Blanchett. Toward the end, there’s a CBS-ordered, rightleaning, let’s-cover-our-collective-behinds legal panel—Mapes and her lawyer staring down an entire law-firm of lethal, honey-tongued litigators. The ensuing one-woman, single-handed smackdown of this intimidating predator pack is highly satisfying. Redford’s Roles Show Journalism’s Decline Robert Redford recently appeared at a forum sponsored by The New York Times. Huffington Post’s Stephen Schlesinger reported: “Redford pointed out that when he played Bob Woodward in “All The President’s Men,” Woodward always had the backing of the Washington Post editor, Ben Bradlee even when he made occasional mistakes during his Watergate investigation. This support enabled Woodward ... to track down the full details of the Watergate burglary, despite withering criticism, leading to the downfall of President Richard Nixon.” He goes on to say there was no such luck regarding Rather and Mapes’s errors. The errors didn’t actually detract from their story’s essence, but their bosses at CBS nevertheless hung them out to dry. Dan Rather himself, also on the panel, said that the pressure on CBS came straight from the Bush administration, backed by an exaggerating right-wing attack machine. That kind of Larry McCarthy-headed smear tactic had been in place since the terrorization of the nation, with the Willie Horton debacle. Courage Dan Rather gave his blessing to “Truth” as being an accurate portrayal, saying that while journalism’s info-gathering process can often be a “crude art,” it doesn’t detract from the overall truth. Tracking down the dangerous but morally imperative truth, takes—as Dan Rather famously liked to conclude his news shows— “courage.” However, movies such as “Truth” tend to be highly politically charged and have complicated backgrounds. Regarding “Rathergate,” it’s likely the case that multiple cases of strategery abound.
(L–R) Robert Redford as Dan Rather, Cate Blanchett as Mary Mapes and Bruce Greenwood as Andrew Heyward in Sony Pictures Classics "Truth."
Cate Blanchett as Mary Mapes and Robert Redford as Dan Rather.
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Book Review
ALL IMAGES COURTESY OF MARCUS MEESTERS
It’s All in the Park An interview with Marcus Meesters, author of ‘The Central Park Tales’ By Linda Wiegenfeld What better place to get away from it all, than to go to New York’s Central Park? Stretching 51 blocks, according to NewYorkKids.net, Central Park is both wooded and landscaped and contains any outdoor entertainment a child could wish for—from lakes and pools to rinks, courts, and fields. It even has a carousel! Now there is a new addition to Central Park— although imaginary. Squirrel, Duck, Frog, Mousekin, and the lovable Dog brothers have taken up residence there in the new book “The Central Park Tales,” written by Marcus Meesters. Containing 10 short stories and 60 beautiful illustrations, the book depicts real places throughout the park. The stories are reminiscent of another era and another classic children’s book: “Winnie the Pooh.” Indeed, A. A. Milne, who wrote the classic, was one of the authors who inspired Meesters. Other classics that inspired Meesters were “The Wind in the Willows,” “The Tales of Beatrix Potter,” and “Peter Pan in Kensington Gardens,” he said about his new book in a phone interview on Sept. 11. In the last, as yet unwritten, book of his trilogy, Meesters will refer to certain elements from that first “Peter Pan” book since the gardens mentioned therein adjoin Hyde Park, where the third book will take place. Meesters associates parks and adventures in those parks with the feeling that classic children’s books give him. He picked the setting of Central Park for his current book because it was beautiful and extraordinary. He felt that it could easily be turned into an enchanted experience in the imagination of a child. Lush and green, it sits in the midst of one of the most bustling, most famous cities in the world. Meesters hopes children will be able to identify real places, scenes, and landmarks throughout Central Park when they visit and that would enhance their experience. Overall, he wants children to celebrate how unique individuals can live together and become friends. He envisions children being able to empathize with some of his characters and view the world from their perspectives. From Amsterdam to New York “The Tales of Central Park” is the second book in a trilogy. Meesters wrote his first book, “The Vondelpark Tales,” when he lived in Amsterdam. He loved to walk in Vondelpark, Amsterdam’s most popular park. One day while walking in this beautiful park, it came to Meesters to write a fictional tale about
The stories are reminiscent of another era and another classic children’s book: ‘Winnie the Pooh.’
Chapter 4, “The Shy Dog,” is about friendship and sharing what is precious to you. the animals that lived there. This inspiration allowed him to combine three of his passions— nature, classic children’s tales, and animals— into one. And it allowed him to combine two of his favorite activities: writing and drawing. In illustrating his own books, Meesters usually first made a pencil drawing. When he was satisfied with it, he used a light box to trace the drawing on a sheet of watercolor paper. Then he painted it with watercolors. However, Dutch publishers said that there were too many illustrations in the book to make it a commercial success. But Meesters did not want to publish the book without them and so decided to self-publish the book. He ordered 1,000 hardcover copies. In 2010 he distributed the book, titled “De Vondelparkverhalen,” to bookstores across Amsterdam. The book became one of the bestselling children’s books locally and multiple editions soon followed. (Although “The Vondelpark Tales” is the first book written in the trilogy, the English translation has not been released yet; it will be in 2016.) The book received a good deal of media attention. Walking tours in the park were organized around it, and Meesters wrote a puppet show, based on the book, which was performed in Vondelpark. In March 2012, Meesters accepted an offer by his employer to be transferred to the Dutch Caribbean island of Bonaire, and he put all aspects of “The Vondelpark Tales” and its related activities on hold. Meesters did not forget about his success, though. He began envisioning a trilogy: “The Central Park Tales” would be his second book and “The Hyde Park Tales” his third, set in London. He decided to use different animals in each book but have all the books linked together by a narrator named Uncle Mouse. He wanted to create a new intercultural connection between three beautiful cities.
“When I look at my characters, I see myself in Frog. Frog has quite an imagination. I also see myself as Raccoon, who is sensitive to sounds and likes to work in a quiet atmosphere. And I see myself in Uncle Mouse, who is a world traveler who appears in all three books of the trilogy. In each book, Mouse tells stories about the other two parks, and that is also what I do, as the writer of the three books,” he explained. Meesters also shared that he enjoys both writing and illustrating, but in different ways. “Writing has been a bigger challenge. It demands a great effort of both my mind and my heart. When I illustrate, I don’t need to think, I just feel how the illustration wants to be drawn. It’s more relaxing, a more free form of expression,” he said. I told Meesters that given the quality of his work, I believe “The Central Park Tales” will succeed in the United States and can envision a puppet show or even a theater play based on the book. Perhaps one day a statue of his characters will take its place among the others in Central Park. But for Meesters, right now he is proud that his book promotes family values that children can emulate.
In “The Swamp,” Chapter 7 of “The Central Park Tales,” Frog finds out it is important to be yourself.
Linda Wiegenfeld is a retired teacher. What might a statue in Central Park based on “The Central Park Tales” look like? Please send these ideas or other comments to LWiegenfeld@aol.com In Chapter 4, “The Tooth Fairy,” Striped Tail Raccoon learns it’s never too late to fulfill your dreams, as long as you go outside and show your talents to the world.
Behind the Stories “The Dutch writer and illustrator Marten Toonder, who I admire, once said that there’s a part of yourself in each character you create,” Meesters said.
Book Review
The Bond Between Humans and Dolphins By Chelsea Scarnegie Thanks to documentaries like “The Cove” (2009) and “Blackfish” (2013), we are aware of humans’ negative impact on ocean life, but Susan Casey shows what happens when we live in harmony with it. Dolphins are fascinating animals. What is it that pulls us so closely to them that they are depicted in some of history’s earliest art? When people spot one of these graceful beings in the ocean, their first reaction is joy; their second is wonder. “My adrenaline surged as the creatures revealed themselves,” Casey writes in “Voices in the Ocean.” “It was a pod of spinner dolphins, forty or fifty animals, swimming toward me. They materialized from the ocean like ghosts, shimmering in the ether.” The author has already delved into oceanic wonders in her previous books, “The Devil’s Teeth” and “The Wave.” Both titles cover the violent power of the sea (sharks and giant waves, respectively), but “Voices in the Ocean” is more concerned with the gentle majesty of dolphins—and the curious relationship between humans and dolphins. That relationship drove Casey to journey around the world to discover what it is about dolphins that causes some humans to treat them horrifically and others to treat them respectfully. She introduces unique encounters between humans and dolphins—from controversial dolphin pioneer John Lilly to the ocean-centric community of Dolphinville, to the friendly exploits of Fungie the Dingle Dolphin. To understand dolphins, we must see that humans and dolphins are not as different as we might initially believe. Casey, describing the communal nature of dolphins, notes that “everything about them works for the contin-
ued health of the group.” It is with this information about their social lives that she goes on to describe what can happen when a highly social animal is unnaturally separated from its pod. Enter Tilikum the orca, infamous for his murders of three humans. Although some may disagree, Casey makes it clear that his life in captivity at places like SeaWorld caused him to snap. Tilikum, who should have lived out his life within orca society, is now “a serial killer used for entertainment purposes.” On the other end of the spectrum is Fungie the Dingle Dolphin, who has become something of a mascot to the town of Dingle. After researching Tilikum, Casey was understandably skeptical of Fungie’s origin: “Despite the fact that Fungie has his own Facebook page and Twitter feed, I wasn’t sure if he was quite so ubiquitous as I’d been led to believe.” However, Fungie really does live in Dingle’s harbor by his own choice, and he couldn’t appear to be happier than when mingling with his human friends. Casey goes even deeper into human-dolphin relationships by getting a bit mystical, which may be a bit off-putting for readers who only expect science and social activism. While she makes no blatant claims that dolphins can time travel or communicate with extraterrestrial beings, she certainly acknowledges the strong ties between dolphins and New Age philosophies. Dolphinville, for example, is founded on these beliefs. Yet Casey’s loving tone makes these some of the most interesting sections of her book. Casey is not the hero of this story. Rather, “Voices in the Ocean” is led by a series of heroes from all walks of human-dolphin relationships. Joan Ocean is one such hero—the harbinger of dolphin mysticism for residents and pilgrims of Dolphinville.
‘Voices in the Ocean’ Author Susan Casey Publisher Doubleday Pages 302 pgs Price $27.95
One tragic hero is John Lilly, the American physician who was fascinated by dolphins but succumbed to mind-altering drugs that ruined his reputation. Then there is Ric O’Barry, dolphin trainer-turned-activist who leads protesters to the bloody waters made famous by “The Cove.” However, it is difficult not to see Casey as a hero in her own right. Her book is brave as well as eye-opening. It is a book written with passion, and passion is bound to come under ridicule. Regarding the dolphins, she concludes, “Their voices were not ours, their language was unknown to us, but if we listened we could hear their song.” “Voices in the Ocean” could provide the same insight, if only we stop to listen. Chelsea Scarnegie, with a degree in writing, lives and writes in the Chicago area.
Stoney Creek Cremation & Burial Society ‘Voices in the Ocean’ is led by a series of heroes from all walks of humandolphin relationships.
3024 QUENTIN ROAD BROOKLYN, NY 11234
718.339.0700 STONEYCREEKCREMATION.COM STONEYCREEKCREMATION@GMAIL.COM Primarily an online service, serving families conveniently at their own home — through a computer.
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THE INTERNATIONAL SHOW
ART ANTIQUES TheEpochTimes.com/EpochArts DESIGN
@EpochArts Friday, Oct. 23–Thursday, Oct. 29 The Park Avenue Armory Park Avenue & 67th Street Admission: $25 Tickets available at the door & online For more information, please visit www.artantiquesdesign.com
Booth E1
Booth F5
Meissen cats modelled by Kändler, circa 1740.
Andre Vassort emerald and diamond bracelet, circa 1950.
BRIAN HAUGHTON GALLERY
CAMILLA DIETZ BERGERON LTD.
Specializing in 18th and 19th century antique ceramics and works of art, supplying both museums and private collections.
We offer both long-time and new clients the kind of personal attention and time needed to look through our extensive collection of one-of-a-kind antique, period, and estate jewelry.
15 Duke Street, St. James’s, London SW1Y 6DB, UK +44 (0)20-7389-6555 | www.haughtongallery.com
818 Madison Avenue, 4th Floor, New York, NY 10065 212-794-9100 | www.cdbltd.com
Booth E1
Booth B3/4
A rare Chelsea crayfish salt, circa 1745–49.
Detail of screen by Ohashi Suiseki.
BRIAN HAUGHTON GALLERY
KAGEDO JAPANESE ART
Specializing in 18th and 19th century antique ceramics and works of art, supplying both museums and private collections.
Kagedo specializes in fine Japanese art, with a focus on the transition to modernism from the end of the 19th through the 20th century.
15 Duke Street, St. James’s, London SW1Y 6DB, UK +44 (0)20-7389-6555 | www.haughtongallery.com
PO Box 551, Orcas, WA 98280 360-376-9077 | www.kagedo.com
Booth E2
Booth E10
Corinthian bronze helmet with palmette and snakes.
Carved lacquer writing box by Yoshida Ikkei, Japan, 1930s, 10 x 12 in.
PHOENIX ANCIENT ART
ERIK THOMSEN
Rare and exquisite antiquities from the Greek and Roman world, as well as Byzantine, Mesopotamian, Near Eastern, Egyptian, European, Balkan, Eurasian, and the Steppes.
Japanese art from the 16th century to today, in particular screens, paintings, lacquers, ceramics, and signed bamboo baskets.
47 East 66th Street, New York, NY 10065 212-288-7518 | www.phoenixancientart.com
23 East 67th Street, New York, NY 10065 212-288-2588 | www.erikthomsen.com
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