COURTESY OF SHEN YUN PERFORMING ARTS
Beauty and Divinity Found in Shen Yun Audiences in Toronto and Burlington gave multiple standing ovations.
RICHARD TERMINE
‘The New Morality’ Ethics of an Earlier Day The Mint puts a spotlight on young playwright Harold Chapin.
See C3
See C6 COURTESY OF CHOPARD
C1 October 9–15, 2015
Chopard Family Business Extends Legacy to Sustainability By Kati Vereshaka | Epoch Times Staff
T
he world of high jewelry is not very big. Brands that covet worldwide recognition in the category of both luxury watches and jewelry are even fewer. Chopard is unique in a few aspects, one of them being that it is one of the top watch brands, and the No. 4 jewelry brand worldwide.
The brand, more than 150 years in existence, is also a family business—”which is very rare,” accordH FC O ing to Maxime Labey, Chopard managing director of SY TE UR international retail, and very tight-knit. O C Labey spoke to Epoch Times correspondent Pamela Tsai at the company’s headquarters in Meyrin, Switzerland. “It’s really a brand or company with a soul because you have five family members every day in the office. So it’s really very unique,” said Labey who has been with the company for eight years. Caroline Scheufele is co-president and artistic director alongside her brother Karl-Friedrich Scheufele. The family collaboration is really the company’s “secret card” according to Labey, because many of the top end clients are themselves family business owners. It must be said that the concept of family closeness is inextricably linked with legacy, social conscience, as well as sustainability—issues that are at the forefront of the Chopard way of doing business. AR OP
D
See Chopard on C2
The Happy Sport 30mm Automatic with spiral guilloche center pattern and five moving diamonds.
C2
@EpochArts
October 9–15, 2015 TheEpochTimes.com/EpochArts ALL PHOTOS COURTESY OF CHOPARD
Chopard Chopard continued from C1 An earring in 18-karat white gold, set with aquamarines and sapphires.
According to Labey, being free from the pressures of the stock market and from shareholders is both liberating and inspiring because it allows the family to personally define the brand. The company culture and “charisma,” as he calls it, creates a strong impact that permeates its global network of sales points, eventually reaching its clients who resonate with these qualities. “Mr. [Karl] and Mrs. [Karin] Scheufele bought Chopard 52 years ago. They are still running the show and there’s no temptation to go public because it is their life,” said Labey. Understandably, the time and steps taken between designing a sales strategy and implementing it, as well as making investment decisions would be much shorter, albeit possibly more volatile in such a tight-knit team. We may never know of the latter, but this malleability and relatively quick decision making has enabled the Scheufele family to initiate a
Family Business Extends Legacy to Sustainability
campaign of sustainable and ethical sourcing when it comes to gold. Traditionally, jewelry companies buy gold ingots from banks. The ingots are made up of gold sourced from many mines and thus largely untraceable sources. While the Kimberley Process Certification Scheme was established 12 years ago to prevent “conflict diamonds” from entering the mainstream rough diamond market, the gold market has not had an equivalent initiative. For the Chopard family, sustainable luxury has become a passion. The brand has spearheaded the movement for using gold that is completely sustainable and ethically sourced.
In 2013, Chopard started the Green Carpet Challenge, creating the first high jewelry in gold that is completely sustainable and ethically sourced.
Turning the Red Carpet Green In 2013, the company started the Green Carpet Challenge (as opposed to the Red Carpet) creating the first high jewelry in gold that is completely sustainable and ethically sourced. The initiative was a collaboration with the Alliance for Responsible Mining and Livia Firth, IMPERIALE pendant in 18-karat rose gold.
Stoney Creek Cremation & Burial Society 3024 QUENTIN ROAD BROOKLYN, NY 11234
The L.U.C XPS in fairmined 18-karat rose gold, limited edition.
718.339.0700 STONEYCREEKCREMATION.COM STONEYCREEKCREMATION@GMAIL.COM
(L) L’Heure du Diamant watch in 18-karat white gold fully set with brilliantcut diamonds. (R) Chopard tries to source fairmined gold.
sustainable luxury advocate and wife of acclaimed British actor Colin Firth. The initiative also serves as a calling card for celebrities to voice their support by wearing “fairmined” gold jewelry creations by Chopard at events such as the Cannes Film Festival, the Golden Globes, the Oscars, and the Emmy Awards. Chopard also introduced at Baselworld 2014 the very first fairmined gold watch, the L.U. Chopard Qualite Fleurier Chronometer made from gold sourced from a family-owned mine in Colombia, which produces approximately 80 kilograms of gold per year. Chopard has committed to buying its annual production in its entirety. The much coveted Palme d’Or prize bestowed at the annual Cannes Film Festival also got a makeover out of fairmined gold in 2014—a special event since Caroline Scheufele had redesigned the award 18 years ago. If Chopard had it its way, watch and jewelry customers would only buy green gold— that is, sustainably sourced gold, and not just from them but from other brands as well, in order to create a worldwide momentum for sustainable luxury. Labey characterizes Chopard clients as having contemporary tastes, not overly conservative, and people who like to reward themselves. “They might have been ostentatious before, but now they come for something that is more reassuring,” he said. And there is nothing more reassuring than knowing that the watch or piece of jewelry you are wearing is not only exquisite to look at, but also created out of ethically sourced materials rather than the product of human rights abuses. PASCAL LE SEGRETAIN/GETTY IMAGES
Primarily an online service, serving families conveniently at their own home — through a computer.
ST. JOHN’S PREP OPEN HOUSE
Saturday, October 17—11:00 a.m. to 3:00 p.m For details, please call our Admissions Office 718.721.7200 ext 699 or visit us at StJohnsPrepSchool.org
“The bar was set high at St. John’s Prep. We were challenged to be our best, to make a difference, and to be lifelong learners.” -2013 St. John’s Prep Graduate Attending Harvard University
Educating Tomorrow’s Leaders
The marks of true leadership—knowledge, faith, virtue, service to others, a passion for learning, innovation, and creativity—are embedded in our school’s culture. St. John’s Prep is a foundation for success and fulfillment, in college and life. 4 High standards of learning including AP, Honors, and enrichment courses
4 Faculty dedicated to the needs of each student 4 Close-knit, vibrant community of Catholic faith 4 Active engagement outside the class in athletics, arts, service, campus ministry, and more
Actress Marion Cotillard wears a Chopard cuff bracelet and matching earrings of fairmined gold at the Cannes Film Festival in 2013.
4 Experiential learning through apprenticeships, global travel, STEM, and partnership programs with St. John’s University
718.721.7200 | StJohnsPrepSchool.org 21-21 Crescent Street | Astoria, NY 11105
A miner from an artisanal community mine in Bolivia.
The gold market has not had an initiative equivalent to the Kimberley Process Certification Scheme for diamonds.
C3
@EpochArts
October 9–15, 2015 TheEpochTimes.com/EpochArts COURTESY OF SHEN YUN PERFORMING ARTS
Beauty and Divinity Found in Shen Yun Symphony Orchestra 2015 Tour By Catherine Yang | Epoch Times Staff
You won’t find this color anywhere else. Kerry Stratton, conductor, Toronto Concert Orchestra
Shen Yun Symphony Orchestra
Carnegie Hall 57th Street & Seventh Avenue Tickets: From Shen Yun: 800-818-2393, ShenYun.com From Carnegie Hall: 212-247-7800, CarnegieHall.org Running Time: 2 hours (one intermission) Date & Time: Saturday, Oct. 10 2 p.m. & 8 p.m.
“It was wonderful, sublime, amazing, inspirational, and I’ve never heard anything like it,” said Kay Trudell, a retired high school teacher. “It was so melodic and beautiful, and I just listened to it and was so at peace,” said Lori Dow-Moore, a Spanish and French high school teacher. Suki Ciappara, an art teacher, said that the three standing ovations the audience gave were not enough. “We could’ve gone for more. Absolutely lovely, beautiful,” Ms. Ciappara said, to which her friend Marianne Goodman agreed emphatically. “It was wonderful, believe me,” said Ms. Goodman, who attends everything at the Flynn Center and has been a donor to symphonies in Vermont for ages. “I’m just shaking, it was so wonderful. I didn’t want it to stop.”
Shen Yun Symphony Orchestra at Roy Thomson Hall in Toronto on Oct. 3.
Epoch Times staff members Dongyu Teng and Dee Lu, and NTD Television contributed to this report. COURTESY OF NTD TELEVISION
It starts with a bang—or, more precisely, the sounding of a gong—to start the music of an evening in the heavens. Two-stringed erhu melodies give way to a procession of strings and brass, signaling the entrances of gentle goddesses and male figures preceding the Creator, who is represented by a stately theme played by the full orchestra. It was an opening fitting of Shen Yun Symphony Orchestra’s philosophy where, behind all its music, lies the belief that the enduring traditions of both Western and Chinese music are truly divine gifts. On Oct. 3, the orchestra began its 2015 tour at Roy Thomson Hall in Toronto before playing a matinee at the Flynn Center for the Performing Arts in Burlington, Vermont. Next, the orchestra will perform at Carnegie Hall in New York on Oct. 10, and in Washington’s Kennedy Center on Oct. 11. The orchestra, an ensemble of world-class musicians from Shen Yun Performing Arts touring companies, blends traditional Chinese instruments into a full Western symphony, and masterfully, authentically balances the natures of each school of music. Traditional Chinese instruments play the melodies while the orchestra plays harmonies in the original compositions. The orchestra also performs classics like Tchaikovsky’s “Marche Solennelle.” Classical musicians and aficionados lauded the experience in Toronto. “It’s a fresh experience. Shen Yun doesn’t come often enough, so it’s a fresh experience every time. But I’m reminded of the possibilities of this program and how exciting it is,” said
accomplished conductor Kerry Stratton, of the Toronto Concert Orchestra and two popular shows on Classical 96.3 FM. Mr. Stratton has had the opportunity to interview Shen Yun conductor Milen Nachev himself. “He is a very fine conductor,” Mr. Stratton said. “I admire him very much.” “To combine that sound—that very ancient sound with the more modern, let’s say, Western symphony orchestra sound—is a challenge that they’ve met, they’ve met very well. And the color is unique. You won’t find this color anywhere else,” he said. “It really vibrates in your body. ... Every hair follicle stands up,” said Javier Alvarez, speaking to that “uniqueness.” Mr. Alvarez, who attended the Toronto performance with his family, tried to describe his profound feelings, and while admitting that “words can’t exactly express what I am trying to tell you,” he shared this: “It was a flood of feelings and visualizations— childhood, movies, just scenic pictures that I have seen before, places that I would like to go to. Whether it was something that I’ve already seen or whether I was imagining it, I am not sure; it’s just that it was very vivid,” he said. Radio host Tom Quick, a great advocate of classical music, said he felt privileged to attend the concert in Toronto. “I would say they are, without question, one of the best orchestras I have heard in a long, long time. I love the blend of the Chinese traditional music. They are a first-class orchestra,” Mr. Quick said. “It’s a very, very exciting concert.” On Sunday in Burlington, Vermont, educators spoke of inspiration.
Art teacher Suki Ciappara (R) and Marianne Goodman.
Sibylle's Style Diary
Harrison Morgan on Creative and Authentic Self Expression JARED SISKIN/PATRICK MCMULLAN
By Sibylle Eschapasse
my Hermès belts, and my aviator sunglasses.
This week’s style diary guest, Harrison Morgan, developed a love for design from his parents, both of whom had careers in fashion and fine art. His passion for fashion led him to New York City where he held a position as design assistant to head designers at Seventh Avenue, before launching his own label in 1992.
Ms. Eschapasse: And what’s one item that makes you instantly more confident? Mr. Morgan: Whimsical print Hermès ties; they always provoke conversation!
Sibylle Eschapasse: Describe your style. Harrison Morgan: Colorful American classic with a British twist. Ms. Eschapasse: If a close friend were to describe your personality in three words, what would they be? Mr. Morgan: Friendly, imaginative, humorous. Ms. Eschapasse: How did your style evolve since you were a teenager? Mr. Morgan: The amazing accumulation of admiring and supportive friends I’ve had since adolescence coupled with travel to India, France, Italy, and various exotic cities has given birth to a broader willingness to experiment with new elements of design. I don’t tend to be too risky or attracted to flash-in-the-pan trends. I like the solid foundation of classical design as it has appealed to so many throughout time. The human body is a work of art in itself, and should be adorned to enhance its best features. I do like to stretch the imagination within the boundaries of what is beautiful, glamorous, luxurious. Ms. Eschapasse: What is the wildest thing you ever wore? Mr. Morgan: My Harrison Morgan designed gold lame pheasant feather brocade dinner jacket. Ms. Eschapasse: How do you dress on workdays versus weekends? Mr. Morgan: On weekdays: full ensembles creatively coordinated with a jacket, shirt, pocket squares, and wing tips/Oxfords; the weekends: polo shirts, madras shorts, Converse tennis shoes, Gucci loafers. Ms. Eschapasse: What are three accessories you can’t live without? Mr. Morgan: My well-earned wedding band,
Ms. Eschapasse: Who have been your greatest fashion influences? Mr. Morgan: My mother and Yves Saint Laurent. Ms. Eschapasse: Who is your style icon? Mr. Morgan: Ralph Lauren and Oscar de la Renta. Ms. Eschapasse: What does having style mean to you? In other words, please define style. Mr. Morgan: Authentic self-expression in one’s own creative choice and use of color, silhouette, combination of attire, and accessories. Style is one’s personal signature. MOGOLLAN EMPIRE
Ms. Eschapasse: What is one purchase you’re most proud of? Mr. Morgan: My Rolex Datejust watch. Ms. Eschapasse: What would you pay a lot of money for, and what would you never pay much money for? Mr. Morgan: A home in Palm Beach—But not much for anything with a value I can’t perceive. Ms. Eschapasse: When you go on the red carpet, how do you want your outfit to make you feel? Mr. Morgan: I like to feel that the choice I’ve made in evening ensembles, or Black Tie, radiates the happiness I feel at the wonderful events I attend. My Harrison Morgan Butterfly Brocade Tuxedo jacket totally achieved this. Ms. Eschapasse: Which designers can achieve that? Mr. Morgan: Tom Ford, Valentino, and Harrison Morgan. Ms. Eschapasse: What do you think of how others dress, and what’s your advice to people who would like to develop their personal style? Mr. Morgan: I am blessed with the company of beautiful women and men who not only express their good taste in some of the best fashion and style possible, but also contribute
to their families, friends, and communities with their good ideas and generosity. I advise those who would like to develop their personal style to “lighten up” and enjoy being uniquely glamorous in accordance with their lifestyle.
Harrison’s Favorites
Barbara Regna and Harrison Morgan at Tuxedo Park Autumn Ball 2014 in New York.
Favorite color: Navy or pink Favorite perfume: Aqua Universalis by Maison Francis Kurkdjian Favorite restaurant in NY: Le Bernardin Favorite drink: Sancerre Favorite movie: “The Age of Innocence” Favorite book: “The Glitter and the Gold” by Consuelo Vanderbilt Balsan Favorite quote: “Clothes make the man. Naked people have little or no influence on society.” —Mark Twain Sibylle’s Style Diary explores style from the perspective of choices, and what that means for different people, with personal advice from some of the most stylish people in New York. Sibylle Eschapasse is from Paris and now lives in Manhattan. She is a journalist and a contributing writer to various publications. Sibylle is also the author of a children’s book, “Argy Boy!: a New York Dog Tale.” She may be reached at Sibylle.Eschapasse@gmail.com
Harrison Morgan at the Sunflower Party, at the home of Henry Buhl, in Southampton, N.Y., on Aug. 7.
C4
@EpochArts
October 9–15, 2015 TheEpochTimes.com/EpochArts WARNER BROS. PICTURES/RATPAC-DUNE ENTERTAINMENT LLC
WARNER BROS. PICTURES/RATPAC-DUNE ENTERTAINMENT LLC
A flying galleon in the action adventure “Pan” by Warner Bros. WARNER BROS. PICTURES/RATPAC-DUNE ENTERTAINMENT LLC
(L–R) Rooney Mara as Tiger Lily, Levi Miller as Peter, and Garrett Hedlund as Hook.
Hugh Jackman as Blackbeard.
Film Review
‘Pan’: A Peter Pan Origin Story Good for Kids By Mark Jackson | Epoch Times Staff
D
id Peter Pan really need an origin story? Is it perhaps a bit too much desperation in Hollywood’s never-ending search for fresh product? Is the venerable Pan story too classic for that? Should we really be concerned? The good news is, um … no? Also good news is that it’s not abominable. It’s actually not that bad—for children. Maybe a little dark. But children these days have already seen much, much worse. In fact, considering what they can avail themselves of, on the down-low, away from the eyes of parents—this “Pan” could almost be considered therapeutic. I say “almost.” Blackbeard at one point shouts, “You shall be rewarded with confectionary!” Children love confectionary more than life itself. But that doesn’t mean it’s good for them. Sugar is bad. This “Pan” is cinematic confectionary. Therefore, “Pan” may only taste good, and not actually be good for them. Away to Neverland Little Peter (Levi Miller) is a courageous boy in a Dickensian orphanage with nasty nuns, in the amid World Ware II London bombings and buzzing Nazi Messerschmitts everywhere. He and his buddies like to do a little nightly ninja-ing about in the orphanage, raiding pantries, finding fun food, foiling fat nuns. This is a jolly good time for small viewers. But they get snatched! Out of their beds and high into the sky by clowns, no wait—pirates! On big bungee-cords! Up-up-up to flying galleons belonging to the terrible (and terribly toupee’d) pirate Blackbeard (Hugh Jackman)! Off they fly, avoiding Messerschmitt bombardment by elevating up and away, where the air is too thin for mundane prop-planes, and soon Blackbeard is standing in a very Mad Maxlike place, (the latest one, with Charlize Theron)
Normally all of this would add up to a towering, colossal heap of kitsch, but it manages to somehow blend.
‘Pan’ Director Joe Wright Starring Levi Miller, Hugh Jackman, Garrett Hedlund, Rooney Mara, Amanda Seyfried, Cara Delevigne, Adeel Akhtar Running Time 1 hour 51 minutes Release Date Oct. 9 Rated PG
a great canyon of stone, hollering down to his legions of minions (who are miners) giving a motivational speech! And then everyone sings Nirvana’s “Smells Like Teen Spirit” together like an anthem. Naturally. What else? Why would you even begin to question that choice of song? Kurt Cobain may roll over in his grave, but your kids are happy because they may know this song. You certainly do, millennial parent, and so you smile and sing along. There’s “Pixum” in them thar hills. It’s not a metal, you see, but crystallized fairy dust. “Pixum”… “pixie,” get it? Blackbeard hoovers pixum powder up his schnozz so he can stay eternally young. Like a fairy. Can you see why a detailed synopsis might be beside the point?
Oh, and remember Smee from the original Pan? He’s here (Adeel Akhtar), and he’s like an Indian Russell Brand. Same Cockney accent, bigger beard. Mildly amusing.
Okay a Tiny Bit More Synopsis Suffice to say, Captain Hook (Garrett Hedlund) is here, but he’s not that dastardly guy yet, he’s just a nice young man (if a bit disingenuous and smarmy around women) not having had any crocodile-bit-his-hand-off-necessitating-ahook-hence-his-name trauma yet. So why is he already named Hook? We don’t know. We don’t care. Hedlund’s American accent clashes with all the British ones everyone else has; but maybe that makes him more relatable. Hard to tell what the logic behind this *cough* artistic choice, was. But there’s a crocodile, and it’s very big! There are also mermaids played by models (actually one model, Cara Delivigne), which is maybe a new creature altogether. Call it a merdel. This merdel looks quite nice. She’s sure to be back for the next two of these “Pan” tales that are apparently in the works. There’s lots of tribal stuff, and some big cartoon-ish birds. And variously colored smoke. And a “hive” of fairies. And more flying ships.
All in All It’s all way too much, and too loud and just … a bit stupid. But you know what? It somehow works. It works if you go to the movies sacrificing your adult need to be entertained on an adult level. Normally this cacophony and concoction and stealing from sources as diverse as “Pirates of the Caribbean,” “Mad Max,” “The Croods,” “Avatar,” “Oliver Twist,” “Hook,” “Lord Of The Rings,” Nirvana, the Ramones, (Oh yeah, the other song the miners sing is “Blitzkrieg Bop.” Just ... wow). Where was I? Yeah—normally all of this would add up to a towering, colossal heap of kitsch, but it manages to somehow blend. How? Hmm ... maybe it’s the color green? The green of jungles and crocodiles and tribal headdresses and colored smoke and fairies. There’s somehow a continuity. Can’t quite put my finger on it. But again, we don’t know. And we don’t care. Because while it’s an adult 1.5 stars, it’s a 3-star kid movie. Take the children. And as I always like to say, have a nap. You know you want to.
The Players Levi Miller as Peter is an appealing child actor with a fair amount of charisma, and Rooney Mara as Queen Tiger Lily is wooden-faced but somehow likeable. Amanda Seyfriend, even though barely visible as a cloud of pixie dust, may bring a tear to your eye. Hugh Jackman is having big fun here, far from Wolverine, and Garett Hedlund, is the one glaring element that doesn’t match up with anything, even though none of this monumental hodge-podge matches.
Will the Bassoon Go Extinct? By Kremena Krumova | Epoch Times Staff ing the bassoon at conservatories in Rotterdam and Amsterdam. Among the partners of “Save the Bassoon” are the Muziekgebouw aan ‘t IJ, a classical music concert hall based in Amsterdam, and the royal conservatory Koninklijk Conservatorium, based in The Hague. The efforts to save the bassoon echo as far away as in the United Kingdom, where the principal bassoonist of Manchester Camerata, Laurence Perkins, has organized the world’s first International Bassoon Day on Oct. 11. The day will launch a two-month project to introduce the instrument into the British school system. “The bassoon is one of the most versatile and characterful instruments in the orchestra, yet young people are not being given the chance to find that out,” said Perkins in an interview for the Classical Music magazine in the United Kingdom. “This is beginning to have an impact on U.K. orchestras as music colleges no longer have the applicants to study bassoon in sufficient numbers,” he said. The annual convention of the British Double Reed Society (BDRS) was cancelled this year for the same reason: inadequate number of applications for master classes. Bassoonists in High Demand But even if the bassoon attracts fewer young players, Keith Sweger, President of the International Double Reed Society (IDRS) and professor of bassoon at Ball State University in Muncie, Indiana, does not believe that the bassoon is in danger of disappearing.
“I have traveled around the world in recent
Laurence Perkins has organized the world’s first International Bassoon Day on Oct. 11.
RICHARD BATTYE/RIVER STUDIO
Margaret Cookhorn plays contrabassoon.
“Save the Bassoon” is the cry from musicians in the Netherlands. That is also the name of their project, which aims to revive the instrument’s popularity and inspire more young people to learn it. The bassoon, also known as fagot, is a woodwind classical music instrument, known for its deep but warm tenor and bass voice. The bassoon’s relatives in the double reed family are the oboe and the contrabassoon. The campaign, initiated last January by the Holland Festival, is based on long years of worrisome observation that fewer children are taking up certain instruments. Currently conservatories and professional orchestras are not getting enough applicants, and, as a result, a vast repertoire of Western classical and contemporary music may not be able to be performed anymore. Although the project has no hard data, based on the number of applications for music lessons and at conservatories, the project founders see a general trend of fewer children learning any instruments at all, as Jochem Valkenburg, music and music theater program manager of the Holland Festival, wrote in an email. “Even if they choose to play an instrument, it is often violin, piano, or flute—instruments that have stars like Janine Jansen, Sarah Chang, and Lang Lang attached to them. There is no such star for the bassoon or the trombone,” he said. That is why the Holland Festival invited the Dutch virtuoso bassoonist Bram van Sambeek to be the spokesman for the campaign. Sambeek is the first bassoonist in the Netherlands to receive the highest Dutch cultural award, the Dutch Music Prize in 2009. He is now teach-
years to perform and present and have been very impressed with the high quality of bassoon playing and strong interest in the playing and teaching of the bassoon. … I feel that the level of playing in the bassoon world is as strong as it has ever been.” In working with several student competitions sponsored by the IDRS, he is encouraged by what he’s heard. He’s “confident that the future of the bassoon is bright.” “I am certain that neither the bassoon nor any other instrument will disappear from the symphony orchestra in the near future because the significance of the symphony orchestra specifically and of music generally transcends momentary trends,” he said. Still, Sweger admits that audience development is a significant danger to the symphony orchestra, which needs to be addressed. Margaret Cookhorn, who plays contrabassoon with the City of Birmingham Symphony Orchestra in England and is a member of the Birmingham Contemporary Music Group, shares Sweger’s optimism. She does, however, confirm that orchestras are in competition with each other, trying to attract the best players. Elite bassoonists are in short supply. But this shortage, she thinks, is one more reason for young people to choose this instrument, which she has loved since she started playing it at the age of 14. “What I like about the bassoon is playing the bass line. I’ve never been interested in playing the melody. … If someone was thinking about taking it up, I would tell them that they would always be in demand.”
C5
@EpochArts
October 9–15, 2015 TheEpochTimes.com/EpochArts
THINGS TO DO COMMUNITY EVENTS NEW IN MANHATTAN Autumn Crafts Festival Oct. 10 at 11 a.m.–8:30 p.m & Oct. 11 at 10 a.m.– 6:30 p.m. Lincoln Center Plaza 64th Street at Columbus Avenue Juried craft displays selected from every region of the United States. Continuous entertainment, craft demonstrations. Free. CraftsAtLincoln.org 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
NEW ELSEWHERE Unbound: Sara Bareilles With Ben Folds Oct. 6 at 7:30 p.m. Peter Jay Sharp Building, BAM Howard Gilman Opera House 30 Lafayette Ave. Singer-songwriter Sara Bareilles celebrates the launch of her new book, Sounds Like Me: My Life (so far) in Song, a candid collection of essays in which the five-time Grammynominated artist explores her life in song. The evening will include a performance and book signing by Bareilles. $25 event only, $45 includes book and signing event. BAM.org
ONGOING IN MANHATTAN Alice: 150 Years of Wonderland Through Oct. 11 The Morgan Library and Museum This exhibition will bring to light the curious history of Wonderland, presenting an engaging account of the genesis, publication, and enduring appeal of Lewis Carroll’s classic tale “Alice’s Adventures in Wonderland.” $12–$18. TheMorgan.org
VISUAL ARTS NEW IN MANHATTAN Ancient Egypt Transformed the Middle Kingdom Oct. 12–Jan. 24 Metropolitan Museum of Art The reunification of ancient Egypt achieved by Nebhepetre Mentuhotep II—the first pharaoh of the Middle Kingdom—was followed by a great cultural flowering that lasted nearly four hundred years. $12–$25 suggested. METMuseum.org Andrea del Sarto’s Borgherini Holy Family Oct. 14–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 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 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 bird-and-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
ONGOING IN MANHATTAN 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 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
ENDING IN MANHATTAN Treasures and Talismans: Rings from the Griffin
COURTESY OF SHEN YUN SYMPHONY ORCHESTRA
Shen Yun Symphony Orchestra to Perform at Carnegie Hall
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
ONGOING ELSEWHERE FLOW.15 Through November Randall’s Island Park The FLOW annual public art exhibitions along the scenic waterfront can be viewed from May through November. Free. FlowArtNYC.org
PERFORMING ARTS NEW IN MANHATTAN All-Balanchine, NYC Ballet Oct. 11 at 3 p.m. David H. Koch Theater Romance both refined and impassioned overtakes the stage in this all-Balanchine double bill with Liebeslieder Walzer and Tschaikovsky Suite No. 3. $60–$170. NYCBallet.com 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 Fall for Dance Festival Through Oct. 11 New York City Center 131 W. 55th St. Experience the very best the dance world has to offer at New York City Center’s 12th annual Fall for Dance Festival, where you’ll see world-renowned companies performing alongside daring new artists. $15. NYCityCenter.org
MUSIC NEW IN MANHATTAN Shen Yun Symphony Orchestra Oct. 10 at 2 p.m. & 8 p.m. Carnegie Hall Shen Yun Symphony Orchestra presents Eastern and Western musical traditions in a concert like no other. Shen Yun’s original music is inspired by 5,000 years of Chinese civilization and blends the beauty of ancient Eastern instruments with the power of the Western symphony orchestra. Highlights also include Shen Yun’s celebrated singers and purely classical masterpieces by Tchaikovsky and Sarasate. $38–108. ShenYunPerformingArts.org
The Shen Yun Symphony Orchestra at Carnegie Hall on Oct. 11, 2014. Preludes, Etudes, Variations Oct. 13 at 7:30 p.m. 45 Bleecker Street A six-concert series by intrepid pianist Ian Hobson who will explore the works in these popular forms composed by Chopin, Schumann, Debussy, Rachmaninoff, Fauré and Szymanowski, and world premieres in these forms by Stephen Taylor (b. 1965), Robert Chumbley (b. 1954) and Yehudi Wyner (b. 1929). SubcultureNewYork.com 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
The Big Picture Oct. 14 at 7 p.m., 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 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
Dear Readers If you have an event to suggest, please send details to NYC_Arts@ EpochTimes.com in the format you see here.
C6
@EpochArts
October 9–15, 2015 TheEpochTimes.com/EpochArts RICHARD TERMINE
(L–R) Geoffrey (Christian Campbell), a lawyer, may help sort things out after his sister, Betty (Brenda Meaney), has slandered the wife of E. Wallace Wister (Ned Noyes). Betty’s friend Alice (Clemmie Evans) and Betty’s husband, Colonel Ivor Jones (Michael Frederic), hope all will be resolved soon.
‘The New Morality’ The Mint Theater 311 W. 43rd St. Tickets 866-811-4111 or MintTheater.org Running Time 2 hours Closes Oct. 18
Theater Review
Ethics of an Earlier Day
As is usual at Mint, production elements are of the highest order By Diana Barth
N
EW YORK—Life aboard an elegant houseboat on the Thames River in 1911? What elements tempted artistic director Jonathan Bank of the Mint Theater Company to tackle this one? Noted for resurrecting old but fine and forgotten plays, the Mint here puts a spotlight on young playwright Harold Chapin, considered an up-and-coming playwriting talent in England, when, tragically, he met an early death as a stretcher-bearer in France. The year was 1915 and Chapin was 29 years old. The crux of the play revolves around Betty Jones’s (Brenda Meaney) refusal to apologize to her neighbor Muriel (unseen in the play) for making a particularly rude and slanderous remark to her onetime friend. The event came out of Betty’s rage at her husband, Colonel Ivor Jones (Michael Frederic), for dancing attendance on Muriel all summer. Ivor is beside himself with conflict and guilt, not quite knowing who is in the right. He feels himself innocent of wrongdoing, but Betty nevertheless remains in a rage against him. Furthermore, she is adamant in her
The crux of the play revolves around Betty Jones’s (Brenda Meaney) refusal to apologize to her neighbor.
stance: She will not apologize. Entering the picture is Muriel’s husband, E. Wallace Wister (Ned Noyes), who is threatening legal action if Betty doesn’t apologize. Handily, Betty’s brother, Geoffrey (Christian Campbell), appears. Handily, because he happens to be a lawyer and hopefully will help straighten things out. Along the way, we are treated to Betty concocting a summer cocktail called a hock cup, made up of a variety of alcoholic beverages plus cucumbers. It apparently packs quite a punch (no pun intended), because Wister appears in a hilarious scene of inebriation— he’s not exactly drunk, just inebriated—in the upper-class manner. Happily, everything is sorted out by the end. Some subtlety of character is indicated, because it’s never quite made clear whether Betty lost her temper (and her class status, momentarily, at any rate) out of her noble sense of rightness or whether she was just plain jealous. Perhaps both. As is usual with Mint presentations, production elements (Jonathan Bank himself directed) are of the highest order. Brenda Meaney is lovely, whether in a rage or in
Chapin’s play offers an interesting insight into the period and behaviors of the upper class.
a more gentle mood. Ned Noyes pleases, whether playing drunk or sober. Clemmie Evans as Alice, Betty’s close friend, brings a nice warmth and softness to her scenes. Douglas Rees, as the man-servant Wooten, offers a touch of tradition mixed with wiliness. Also in the cast is attractive Kelly McCready as the maid Lesceline. Set designer Steven Kemp creates an elegant and festive houseboat deck with Christian DeAngelis’s lighting enhancing the effect, as do Jane Shaw’s music and sound. Costumes by Carisa Kelly are undoubtedly authentic for the period, but one might wish for more attractive outfits to enhance the women’s figures. Chapin’s play offers an interesting insight into the period and behaviors of the upper class. The overall effect is not as potent as might be wished, but fine potential is shown. All the more tragic, for if Chapin had not died at a young age he would most probably have gone on to become a major playwright. Diana Barth publishes New Millennium, an arts publication. She may be contacted at DiaBarth@juno.com
The Upcoming Southern Expansion of Taiwan’s National Palace Museum SAM YEH/AFP/GETTY IMAGES
The museum, based in Taipei, capital of Taiwan, will be seeing its grounds swell several times in size. Simultaneously, an entire southern branch will be opened in the city of Taibao in southern Taiwan’s Chiayi County. This expansion is scheduled to open on Dec. 28, and its exhibits will offer visitors not just Chinese but also indigenous Taiwanese culture and the heritage of other East Asian nations such as Japan and Korea. Currently, almost 700,000 artifacts are kept by the National Palace Museum, but there is only space for a few thousand at any given time. Most of the imperial treasures currently held in the museum come from the Song, Yuan, Ming, and Qing dynasties, covering the last 1,000 years of Chinese history. There are multiple jade artifact exhibits depicting the central role this precious stone plays in the Chinese scholarly and spiritual tradition. Other treasures include antiques, rare books, historical documents and paintings. The 3,000some items on exhibit are switched out every few months. The Southern Branch, designated as an Asian Art and Culture Museum, has been in the works for over a decade, when the Taiwanese government approved the project in 2004. It’s aim, according to the official website, is to integrate Taiwan’s regional culture with its greater East Asian context. Permanent exhibits planned for this expansion include Buddhist art, Asian textiles, tea culture, a multimedia-oriented gallery of Asian
Sponsored Content
Fans of traditional Chinese and Asian culture will be pleased to learn that a series of major expansions are coming to Taiwan’s National Palace Museum, known for its rich showcase of art and artifacts from multiple imperial dynasties.
The National Palace Museum in Taipei, Taiwan. art, and an exhibit showcasing the local history and culture of Chiayi County. South Asian costumes, Islamic jades, Chinese and Japanese porcelain, as well as ancient Korean celadons will grace the special and international exhibitions. According to museum director Chou Kungshin, expansions planned for the existing National Palace Museum in Taipei may triple the number of items on simultaneous display to over 10,000. This project is still in its infancy, and is expected to be completed in 2024, Chen told a reporter from the American Chamber of Commerce in Taipei. Traditional Chinese art is highly symbolic in nature, emphasizing the harmony between heaven, earth, and humanity. Exhibits at the palace bring this philosophical and religious essence back to life for modern audiences. A 50-hectare-wide, Asian-style park garden is planned for the Southern Branch, as well as creative training workshops intended for private firms looking to develop their understanding of East Asian aesthetics. “We would like companies to have cultural knowledge,” Chou said. “We will use National Palace Museum artifacts to help them create
their own things.” The workshops are an offshoot of an ongoing museum program that has worked with dozens of companies each year for the last four years. The overhauls are also expected to help alleviate some of the pressure on the National Palace from the increasing volume of visitors—in 2009 alone, the museum logged 2.5 million visits. Since then, that number has swelled by 1.5 million. Over 10,000 people visit the museum daily. A large proportion of the new visitors are from mainland China. In 2008, just 5 percent of those who came to the museum were from the mainland, and over half of the visitors were Taiwanese. Last year, nearly 40 percent of museumgoers were from mainland China, rivaling the local visitors who made up just over two-fifths of the total, the American Chamber of Commerce reported. The Southern Branch is expected to complement the existing Taipei site and boost the cultural and tourism scene across Taiwan, with potential for further museum openings in other parts of the country. Planning their exhibitions and events in tandem, the National Pal-
ace Museum aims to eventually compete with the Parisian Louvre, which attracts about 10 million visitors per year. Preserving China’s Traditional Culture in Taiwan The current palace was built in Taipei only in the 1960s, but the history of the National Palace Museum is one that starts in 1920s Beijing and follows the contours of upheaval that China experienced throughout the 20th century. The museum has its roots in the birth of the Republic of China in 1912, which overturned the Qing Dynasty and inherited the artifacts of the Forbidden City, seat of Manchurian imperial rulers. It was founded in 1925, about a decade after the abdication of the final Chinese emperor, Pu Yi. The Forbidden Palace, seat of the Manchu imperial court and host to much of its material riches, became the site of the aptly-named museum. When the Japanese invaded China in the 1930s, great efforts were made to relocate the contents of the museum to safer locations. Some items were sent abroad as exhibits, including a 100-piece collection with 3,000-year-old bronze artifacts that spent much of World War II in the Soviet Union. In the late 1940s, as the Republican Chinese government began to lose the civil war against the communists, leader Chiang Kaishek made arrangements to move the contents of the National Palace Museum to Taiwan, where the Republic of China maintains de facto existence. Less than a quarter of the items originally shipped to southern China from Beijing during World War II made it to Taiwan. On the mainland, traditional culture, especially the culture of the literate elite and imperial rulers, was harshly suppressed, criticized, and physically damaged by the communist regime, particularly during the Cultural Revolution of the 1960s and 1970s.
C7
@EpochArts
October 9–15, 2015
L LE SE GRE TA IN/GE T
Y IMAGES
GES T Y IMA
RIK /AFP/GETT
Air travel made chic by Chanel with tailored tweed and aviators.
PASCA
PATRICK KOVA
Paris Fashion Week Highlights
TheEpochTimes.com/EpochArts
Two-toned, pleated tunics and skirts rise and dip at Stella McCartney. B E RT RA ND G UAY/ AFP/ GET T Y IMA GES
Underwear as outerwear at Céline.
O/FR ANCO AFP PHOT /GET TY IM IS GUILLOT AGES
Clean cuts at Dior. PASCAL LE SEGRETAIN/GETTY IMAGES
FR ANCO IS GUILLO T/AFP/GE TT
PASCAL LE SEGRETAIN/GETTY IMAGES
Y IMAGES
A mixing and matching of textures with tribal prints and embellishments at Valentino.
Pretty scallop-edged hemlines and varied transparency at Dior.
By Kati Vereshaka | Epoch Times Staff
P
aris Fashion Week has become synonymous with fashion showmanship. Ninety-some fashion brands preview their future collections through lavish events seeking to supersede the previous season’s happenings. What remains, once the circus has moved on, are the clothes. And only time will tell whether a brand has managed to capture and interpret our zeitgeist. Here are a few noteworthy designers from this fall’s Paris Fashion Week. Christian Dior: Petals Please The delphinium flower has been associated with lightness and transcendence. Multiply that by thousands of blooms inside the oldest courtyard of the Louvre museum and that’s a lot of lightness and color. Perhaps Christian Dior designer Raf Simons was after the same visceral response from his audience viewing his spring–summer 2016 ready-to-wear fashion collection as they felt from the impressive flower installation. Indeed what took place on the runway underscored the theme with crisply cut cotton dresses and shorts. The scallop-edge motif carved out pretty convex and concave hemlines. The most impressive pieces were the sheer dresses that allowed for different transparencies in the fabric. It was a look that could easily translate into bridal wear. Should Simons offer such delicacies in his couture collection, it would surely spark the imagination of future brides. Céline’s Effortless Modernity Underwear as outerwear has always been a look that we’ve been visually conditioned to accept via the celebrities who adopt it, on and sometimes off stage. But as a trend, it never quite made it to the streets in the same way as say, dropped crotch pants. So it was interesting to try to anticipate where the idea will lead
Seen through pragmatismcolored glasses, Van Noten’s latest creations are reassuringly wondrous.
to when models clad in black and white lacy slips took to the runway in the Céline Spring/Summer 2016 ready-to-wear collection. But if there’s anyone who could convince women to take it up, that woman would have to be the much lauded Céline designer Phoebe Philo. Céline is for the woman who puts the way clothes feel first rather than as a vehicle to create tongue-and-cheek stereotypes that comment on womanhood. And it all seems effortless, clean, and clear. More of that please. Dries Van Noten’s Color-Filled Dissonance Much like in a thriller with a disturbingly likable villain, Belgian designer Dries Van Noten plays director, in his ready-to-wear collection, to his main protagonist—dissonance—the muse that has been influencing Van Noten since his early career in the 1980s. We, the audience, might be tempted to play forensic psychologists in an attempt to justify the color carnage before us—while we linger over every glorious detail. The variety of fabric design that he was exposed to as a child growing up in a family of fabric merchants, would have no doubt, taught him by osmosis the principles of color matching. And then, at some point, the predictability of those principles must have reached critical mass, fueling Van Noten’s relentless search for a new aesthetic. Perhaps he seeks a harmony of a different kind, perhaps he cannot believe that our modern minds still find those color principles infinitely inspiring rather than the cliché from which he is so relentless to distance himself. Yet, the collection he showed in Paris is testimony to the fact that he remains unabashed in his love of sumptuous fabrics. Vibrantly colored silk jacquards and brocades, were combined
Ruffles and Amazon-inspired garb at Balmain.
with prints of equal color intensity. There were also rich textural embellishments with sequins superimposed on an already pattern-saturated background. It doesn’t take long to realize that the eager Van Noten buyer will know exactly which pieces they covet so as to pair them with more predictable basics, that may not necessarily be created by the same designer. People are funny like that. It seldom happens that a European woman would wear the prescribed ensemble just as it is presented on the runway. So, seen through pragmatism-colored glasses, Van Noten’s latest creations are reassuringly wondrous. Balmain’s Olivier Rousteing Revisits the Land of the Amazons It wasn’t until 1945 when Tarzan, played by Johnny Weissmuller, penetrated a “forbidden paradise ruled by beautiful women” in “Tarzan and the Amazons” that we actually saw the warrior woman in action. Sure, she had appeared before as various deities and mythical characters depicted on everything from ancient pottery, in sculpture, and murals, but motion pictures gave her mobility for the first time. It was as if the goddess suddenly moved and talked, and, let’s not forget, wore some va-va-voom gear. This symbolism is something that fashion designers keep returning to periodically, though not always in such a literal way as Balmain’s Olivier Rousteing did his spring–summer 2016 collection. Suede jackets came in rather autumnal, earthy tones. And then, the malachite green woven suede dress with pouch pockets and a deep ‘v’ neck appeared—a nod to the khaki safari dress shown by Yves Saint Laurent, in his more experimental Rive Gauche line of 1968. There were plenty of ruffles too. A dress in ochre chiffon with cascading ruffles and a dark tan belt exuded softness, as well as that don’tmess-with-me air, given the gigantic metal neck ... gear.
C8 October 9–15, 2015
a Haughton Fair
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
Official Media Partner
FREE ADMISSION
For yourself and one guest ($25–$50 value) to the Haughton International Show at the Park Avenue Armory Fair dates: Friday, Oct. 23–Thursday, Oct. 29 Bring this coupon for admission of two individuals to the fair. Coupon can only be used once and will be collected upon use.
a Haughton Fair