Asian Arts by Epoch Times, March 2014

March 2014

COVER STORY

Why We Collect A deeply personal need etched into our genes or something else?

ALSO INSIDE

• Asia Week Guide • Expert Insight • Chinese Art & the Marketplace • Exhibits & Auctions

Complimentary

The Asia Art Fair at the Bohemian National Hall March 15 - 18, 2014 Alexander Gallery Anavian Gallery Asiantiques Chinese Art Consultancy, Inc. David Baker Oriental Art Dharma Art Eleanor Abraham Asian Art Flying Cranes Antiques Galerie Alexis Renard GILISTRA Jewel of the Lotus Vietnamese Contemporary Fine Art Lotus Gallery Mark Walberg Fine Art and Antiques Michael Bound-Japanese Art Nader & Nader Nicholas Pitcher Oriental Art Ltd. Niki Art–Contemporary Japanese Works of Art Oriental Treasure Box Peter Pap Oriental Rugs, Inc. Robyn Buntin of Honolulu Stallion Hill Gallery The Jade Dragon Tamara Hill Studio The Tolman Collection Tony Dai Chinese Art

Photo: Alexander Gallery

Exhibitors:

INSIDE

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Why We Collect

Collectors’ stories illuminate the visceral and complex responses we have to art

10 Chinese Art and the Marketplace

Tracing Chinese art and its Chinese buyers; a timeline 14 Q&A: Elias Martin, Floating World Gallery

Contemporary craft and individualism from Japan

LARK MASON ASSOCIATES ASIA WEEK NEW YORK GALLERY PREVIEW March 15th - 21st, 2014 (closed Sunday) 227 East 120th Street, New York City

16 Japanese Screens

A touch of life and a room transformed

17 Q&A: Erik Thompsen

Japanese screens take their place in modern homes 18 Q&A: Stuart Hilbert, Jade Dragon

Delighting in objects of the scholar’s desk

AUCTION OF ASIAN, ANCIENT & ETHNOGRAPHIC WORKS OF ART Online at iGavelAuctions.com April 15th - April 30th, 2014

26 Q&A: Lark Mason, iGavel

Raising the digital gavel can level the playing field 28 Events & Auctions

A guide to the big auctions of the week and

a selection of key events

31 Map

On the Cover A Magnificent Large TurquoiseGround ‘Bats’ Vase Qianlong incised and gilded seal mark and end of the period (1736– 1795) 26 7/8 in. (68.3 cm.) high Provenance: Sotheby's London, Nov. 27, 1973, lot 327. Christie's London, June 8, 1987, lot 291. Christie's Hong Kong, May 30, 2005, lot 1500.

Literature: Christie’s Twenty Years in Hong Kong, 2006, pp. 222–23.

Estimate: $800,000–$1,000,000 Courtesy of Christie's

229 East 120th Street

New York, NY 10035

(us) 212 - 289 - 5524 | www.LarkMasonAssociates.com

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Why We Collect Collectors’ stories illuminate the visceral and complex responses we have to art

By Christine Lin Epoch Times Staff

I

n 1950, a 13-year-old Michael Gallis accompanied his mother to an antique store on Hyde Street near downtown San Francisco. There, he spotted a Tiffany silver vase that so captivated Gallis that his mother bought it for him.

“It was the first time I thought of owning a beautiful work of art—and it wasn’t a present—it was something I had an emotional and spiritual response to,” he said.

Over time he learned the art of understanding Chinese paintings from C.C. Wang, an artist and respected collector of Chinese art.

Continued on page 6

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A Rare Molded Blue and White Barbed Rim Dish Yuan Dynasty, 14th Century Estimate: $200,000–$300,000 Courtesy of Sotheby's

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Collector Dora Wong in her Upper East Side home, Feb. 20.

Continued from page 4

Erotic Art of JApAn: EvErybody’s doing it New York Asia Week March 13-22, 2014 11 am – 5 pm

145 West 58th St., suite 6D New York, NY 10019 tel. 212.585.0474

scholten-japanese-art.com

“First you need to have a response to the art, he told me. Then you need to learn,” Gallis said. “Many collectors feel they need to find an adviser. C.C. said you must know something about Chinese painting and make your own decisions.

“Collecting is about learning to see— seeing beneath the surface, seeing inside things. It changes the way you see life, things, people, and the universe. It’s not just the acquisition of a bunch of objects.”

Today, Gallis collects antique Chinese paintings, tribal sculpture, folk art, and occasionally Western art. He applies the same principle of seeing beneath the surface to his business in consulting and real estate.

But, it’s different for everyone.

For years, scientists have tried to figure out human beings’ tendency to collect objects that are not essential to our survival—postage stamps, figurines, and art—by looking into our psychology and biology.

Sociobiologists posit that collecting behavior is a holdover from hunter-gatherer days. Others, who prefer a Maslow’s hierarchy of needs approach, offer the hypothesis that collections are meant to display social dominance, proving to others that the collector is

Wong's collecting philosophy is simple— whatever she likes, she buys. able to expend resources on luxuries.

In 2005, researchers at the University of Iowa found an area in the prefrontal cortex that regulates collecting behavior.

Yet none of these theories and findings are ultimately satisfying or complete. They don’t take into account idiosyncratic elements more difficult to measure—the ideal of beauty in objects, personal and cultural values, and personal experiences. They also neglect the forces of the marketplace, perceptions of objects’ historical significance, and social factors that may influence who collects, what they collect, and how.

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Studying Collecting The Frick Collection’s Center for the History of Collecting, established in 2007, aims to uncover the ways in which collections are born, grow, and bequeathed.

It studies the history of collecting fine and decorative arts in Europe and America, from the Renaissance to today and has begun an oral history project with living collectors.

The center is connected to the reference library of The Frick Collection in New York City.

“The more I look at the history of collecting, the more I think it’s as confusing as human nature,” said Inge Reist, the center’s director. “People could be influenced by friends, dealers, or they’re viscerally attracted to an artwork—and these things are all mixed up in different proportions in one person.”

Comfort in Collecting Like Michael Gallis, New York collector

A wooden bodhisattva sculpture, believed to date to the Yuan Dynasty (1271– 1368), in the home of Dora Wong.

Dora Wong benefitted from the tutelage of C.C. Wang.

Wong describes her younger self as a “lonesome child.” Growing up in 1940s Shanghai, she remembers hiding from the Japanese in bomb shelters during the Sino-Japanese war.

In 1958, she left for Hong Kong to strike it out on her own, eventually building an internationally successful womenswear brand. Meanwhile, the Cultural Revolution swept through the mainland, destroying countless national treasures and wiping out her

family’s assets.

Throughout all this, beautiful objects were her friends; to this day she still keeps childhood dolls in her Upper East Side apartment.

Continued on page 8

ER I K T HOM SE N G A L L ER Y ASIA WEEK EXHIBITIONS

Japanese Paintings and Works of Art Gallery exhibition at 23 East 67th Street March 15 - April 25 JADA 2014: An Exhibition by the Japanese Art Dealers Association Ukranian Institute, 2 East 79th Street March 15 – 19

Yoshinoyama (detail) Pair of six-panel folding screens; ink, mineral colors, gofun, and silver on paper with gold leaf and gold wash Momoyama Period (1573-1615), ca. 1600 Each H 68 1/4 x W 148 3/8 in. (173.5 x 377 cm)

Tattooed Woman (detail) Hanging scroll; ink and mineral colors on silk Taisho or Showa era, 1920s, Japan Size H 72 x W 19 in. (184 x 49 cm) www.jada-ny.org

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Battle Scenes and Archaistic SealsTenpanel screen; eight panels of battle scenes in ink, color and gold on silk; two end panels of archaistic longevity seals in ink and color on paper. Anonymous (19th century) 47 x 12.5/8in.

(120cm x 32cm) each $100,000–$150,000 Courtesy of Christie's

A Large Blue and White Porcelain Jar With the Ten Signs of Long Life (Shipjaengseng) Joseon Dynasty (19th century) 14.1/2in. (37cm.) high Estimate: $40,000–$60,000 Courtesy of Christie's

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Continued from page 7 “You become attached,” she said, recalling the time she sold a piece, missed it terribly, and begged to buy it back. The new owner refused.

Wong’s collecting philosophy is simple—whatever she likes, she buys. If she

can’t afford it, she doesn’t mind buying a print or waiting until a better opportunity presents itself. Luckily, she has a natural eye for quality works.

Museum curators visiting her apartment have dropped their jaws in surprise upon encountering a rare portrait of Emperor Qianlong’s brother-in-law, a military figure crucial to the Qing dynasty’s rapid territorial expansion.

It wasn’t always that Wang trusted her eye—her first ever purchase, an intricate cup carved from Chinese rhinoceros horn, was completely uninformed. She didn’t know that horn carving existed until she showed what she thought was a “beautiful wooden cup” to an appraiser.

“Over the years I found a lot of things that people thought were remarkable, but I didn’t believe it myself. I thought they were joking with me,” she said. “In the beginning I was just interested in buying and didn’t know too much. But now I have confidence.”

To Each His Own To collect by one’s eye and gut means a collection may become as eclectic and multifaceted as the collector.

Buying things one likes is one matter—anyone can let loose with their checkbook—but to form a collection, one with a certain amount of ration-

ality, theme, and order, is quite another.

And it takes years for the great churnings of fate to bring the right artwork before the right collector. And where fate falls short, painstaking research makes up the balance.

As the years progress, the assortment of acquired objects takes on a life and spirit of its own.

At that point, the collector must consider: What will this set of things become? How do the parts of the whole relate to each other? What items no longer seem relevant? And should some of them be sold?

The collection itself also begins to make demands: “You don’t have a single work from this artist!” or, “You’ve got examples from everywhere but that region!”

Each successful collector develops solutions to how to build a collection in a way befitting of his or her means and interests.

Some people collect in several different areas, some seemingly having little to do with each other. A prime example would be J. Tomlinson Hill, who collects 20th century and contemporary art, Renaissance bronzes, and Italian primitives. He arranges them in his home in such a way that unexpected comparisons can be made between wildly different artworks.

Others, like Trammell and Margaret Crow, founders of the Crow Collection of Asian Art, acquired striking artifacts as they traveled throughout Asia.

Some specialize in a narrow area— miniature botanical prints, for example—enjoying the thrill of the hunt for their next acquisition, wherever in the world it might be hiding.

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Those are hardly the only ways to collect. “Some people acquire a collection, sell it, and start all over again in a completely different area,” said The Frick’s Reist.

Just Showing Off? One of the most common generalizations made about collectors is that they purchase expensive art to impress others. (And if the objects aren’t expensive, that they are merely hoarders.)

One collector comes to mind to whom neither accusation can be fairly made.

British portraits dealer and author Philip Mould recalled in his 2010 book “The Art Detective” the experience of meeting a man named Earle W. Newton. It was 1992, and Mould had made the trip across the Atlantic at Newton’s request.

Upon arrival, Mould found the Newton home suspiciously free of art and initially wondered if he had been duped by his new acquaintance. Later during the visit, Newton revealed all. Antique British and American portraits, some in poor condition, crowded together in a neighborhood church house.

Despite the paintings’ various stages of disrepair and unconfirmed prov-

Newton was so firm in his belief that he scrimped and saved on necessities to support his collecting. enance, their owner felt certain they were of great importance and destined to contribute to a deeper understanding of the cultural ties between Britain and America.

Newton was so firm in his belief that he scrimped and saved on necessities to support his collecting, sometimes disappearing without explanation for months at a time to the deep embarrassment of his family.

A Very Rare and Important Bronze OwlHeaded Ritual Wine Vessel, Early Eastern Zhou Dynasty, 8th–7th century BC. Estimate: $4,000,000– $6,000,000 Courtesy of Sotheby's

Continued on page 27

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Artifacts Lost, Forgotten, and Brought Home Chinese regain interest in Chinese artifacts, shaking up the marketplace

By Christine Lin Epoch Times Staff

A Magnificent Early Ming Gilt-Bronze Seated Figure of the Medicine Buddha, Bhaishajyaguru Yongle Six-Character Incised Mark and of the Period (1403–1425)10 3⁄4 in. (27.3 cm.) high.

Estimate: $2,000,000–$3,000,000.

Courtesy of Christie's

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T

he culture of collecting in modern-day China is still in its adolescence; the language of art appreciation was disrupted by the Cultural Revolution, which also destroyed countless works of art and literature throughout the country.

Today’s new wave of collectors, still gaining their bearings in an art market full of money but lacking in reliable information, has created unparalleled turbulence for buyers, sellers, and appraisers of art in China and abroad.

Chinese buyers have been flocking to Chinese art auctions in the United States since 2005, according to Michael Bass, vice president of Christie’s Chinese Ceramics & Works of Art department.

Bass estimates 40–60 percent of the attendees at Chinese art auctions now are from China.

Why are Chinese traveling across oceans to bid on their own cultural commodities?

A large part of the reason is to sidestep the flood of fakes being produced and circulated within China. The fakes drive up prices of real works and perpetuate the demand for more copies. Most overseas auction houses undertake more robust authentication and verification efforts—although it’s hard to avoid fakes entirely.

Dealers can make sizeable profits by buying artworks outside of China and reselling to mainland Chinese who travel to Hong Kong and are happy to pay inflated prices plus the hefty 34 percent import tax.

Some investment buyers simply avoid this tax by storing their purchases with art handlers in Hong Kong.

Reports of artworks used for bribes abound.

Most recently, the former deputy governor of Anhui province, Ni Fake, was found to have also chaired the province’s jewelry association. It is estimated that 80 percent of the bribes Ni took were jade and paintings. The practice is so prevalent that a term has been invented for it—yahui, or “elegant bribery.”

Under-the-table dealings such as these are supported by Chinese auction houses, which are notorious for recording the top bids, whether the bidder ultimately paid or not. Then the works are sold again with the pumped up “last sold” figure.

The New York Times did a series last year on this trend of non-payment.

Connoisseurship is mixed in with Beijing's ambitious plans to match the United States in museums per capita, a directive outlined in the Communist Party’s current five-year economic plan. In the last few years, about 100 new museums have opened per year.

But the museums in China often end up private storage facilities for collectors—who use state incentives for museums that attract few visitors.

Important New Acquisition

Exquisitely carved fine early Chinese Guanyin measuring 41 ½" tall. Estimated to be from the Song or Tang Dynasty.

11:00 am to 5:30 pm Wed.–Sun., or By Appointment 40 West 25th St., Gallery 228/229, New York, NY 10001 1.917.623.2571 or 1.212.759.6756 or Rodney Carvalho 1.917.797.0681 mayervais@nyc.rr.com www.JapaneseArtSite.com

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TIMELINE

Tracing Chinese Art an In 1900, a peasant uprising against European occupation and influence in Beijing is crushed by the alliance of eight powers: AustriaHungary, France, Germany, Italy, Japan, Russia, the United Kingdom, and the United States. The Imperial Palace in Beijing is ransacked and fine works of art whisked away to allied countries.

1900 1842 The British take Hong Kong as part of a treaty with China following the First Opium War. Following that, emigres from the mainland to the British territory increase, attracted to the growing economy of Hong Kong. Refugees fleeing the Tai Ping Rebellions (1850–64) add to Hong Kong's population.

The year the National Palace Museum is established in Beijing to house the collections of the deposed Imperial family. To safeguard it against advancing Japanese troops, the museum was initially moved to Shanghai. In 1948, amid worsening fighting between Communist and Nationalist troops, General Chiang Kaishek ordered the removal of surviving artworks, shipping approximately 230,000 pieces to Taiwan.

Marching under the slogan of eradicating “old customs, old culture, old habits, and old ideas,” Mao Zedong's Red Army destroys countless works of art and literature throughout the country. The Chinese Communist Party promotes the production of selfglorifying plays, music, and art. The culture of collecting art, likewise, is lost to a generation.

Chinese artists grapple with new economic opportunities and stillrigid attitudes about political correctness as defined by the Communist Party. In 1984 the Sixth National Art Exhibition attempts to revive propagandistic themes. In 1985 artists start to experiment with avant-garde styles imported from the West.

Hong Kong is returned to China under a “one country, two systems” policy.

It remains free to import and export antiques from Hong Kong.

1925

1960s

1980s

1997

1911-12 The Xinhai Revolution, which overthrew the Qing Dynasty led by Empress Cixi, sends more refugees to Hong Kong.

WIKICOMMONS

1937-45 Second Japanese invasion ravages China; more refugees flee to Hong Kong.

OFF/AFP/GETTY IMAGES

LATE

1970s1980s EARLY

China's economy is opened to the outside world. Direct foreign investment continues to climb, reaching a peak of $208 billion in 2011.

1994 The avant-garde movement in China loses steam but begins to get attention abroad.

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nd Its Chinese Buyers PETER PARKS/AFP/GETTY IMAGES

Trying to avoid fakes, Chinese buyers begin to dominate Chinese art auctions in the United States.

Bainbridges Auction in the UK sets a record for the most expensive piece of Chinese art ever sold: a Qianlong porcelain vase for $85 million after commission.

The winning bidder was Chinese.

Sotheby’s and Christie’s both begin operating in China. Stateheld Beijing Poly International Auction and China Guardian remain the top auction houses in the Mainland.

Jibaozhai Museum in Hebei Province is shuttered after it is popularly ridiculed for the large proportion of unabashed fakes in its collection.

Chinese writer Ma Boyong noted artifacts supposed to be 4,000 years old but engraved with simplified Chinese characters, an invention of the 1950s.

2005

2010

2012

2013

EARLY

2000s The age-old Chinese tradition of replicating styles from the past takes a dark turn.

With “making money” being the national mantra, the issue of fake antiques begins to gain worldwide attention.

2008

2011

2013

2014

A building boom of museums begins in China, both in the provinces and large cities. In 2009 the state announced a goal of having 3,500 museums by 2015, which it achieved in 2012. Yet finding curators and visitors remains a problem.

The Telegraph reports that almost half of the Chinese auction bids upwards of 1 million pounds ($1.6m) remain unpaid after six months.

A huge tax-free storage facility near the Beijing Capital International Airport opens. The Beijing Freeport of Culture is meant to rival Hong Kong as a tax-free place to store art. Items moved from the Freeport to the Mainland is subject to tax as high as 34 percent.

It is revealed that Chinese elites secretly hold billions of dollars in accounts and assets, including art, in offshore tax havens—hidden away over the last decade.

DRAWN BY THOMAS ALLOM, ENGRAVED BY J. B. ALLEN, VIA WIKIMEDIA COMMONS

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Q&A: Elias Martin, Floating World Gallery

Contemporary Craft and Individualism from Japan Elias Martin is the director of Floating World Gallery and Gallery FW in Chicago with over 15 years experience in the industry. He has collected modern and contemporary Japanese art for over 17 years.

Japanese contemporary?

continuity of space itself.

Fukami's conceptual and deeply contemplative ceramics have shed all preconceived dependencies on the notion of functionality, and as eloquent displays of art for art's sake, stand alone to remind the viewer that perfection in porcelain can be conveyed by soaring forms far removed from traditionalism.

A. I was captivated by the way

Q. What will you be exhibiting

Q. What initially drew you to contemporary Japanese artists draw upon their rich artistic tradition and produce COURTESY OF ELIAS MARTIN work in innovative and revolutionary ways.

Q. Who are some of your favorite Japanese artists today that have reinterpreted ageold media and art forms?

A. There are

Elias Martin.

many, but I’m particularly fond of Sueharu Fukami. Using age-old slip cast techniques with a pale blue celadon glaze, a type of glaze originally imported from China and Korea hundreds of years ago, Fukami creates gracefully subtle porcelain sculptures.

Unlike utilitarian cups and bowls produced with these materials, he reveals in his sculptures the “space” that lies beyond the supple curves and sharp silhouettes of his abstract porcelain works. The triumphant arches and his starkly minimal forms represent what cannot be superficially seen: a perpetual circularity of life and the

and why do you think NYC audiences will be receptive?

A. New Yorkers are certainly

known for supporting the avantgarde and possessing a sophisticated sensibility. Our exhibition will feature challenging contemporary works in ceramic, glass, and metal, as well as paintings; all are unapologetic in their innovation and exhibit a refinement for which the Japanese are well-known.

In sculpture we will feature the copper-enameled work of Naoki Takeyama who brilliantly innovates the classic Shippo-Yaki (cloisonné) technique and infuses his creations with an elegant modernity reminiscent of 1960s pop art and 1980s Japanese haute couture fashion.

The exhibition will also include works by other leading contemporary Japanese sculptors such as my favorite, Sueharu Fukami as well as by Niyoko Ikuta, Harumi Nakashima, and others. Of particular note is Fukami’s undisputed masterpiece, “Kitsu,” a towering ceramic sculpture from an edition of eight, which is currently on display in the Japanese art wing of The Metropolitan Museum of Art. Complementing our diverse sculp-

tures, we show a selection of Japanese post-war abstract paintings from the Gutai School–Japan’s painting avant-garde. I believe our works will be right at home in the city.

Q. What do you look for in

the artists you represent, and how is your current group similar to or different from each other?

A. We look for artists who

produce aesthetically stunning works with a mastery of their respective medium and the ability to revolutionize their genres. Our current group of artists is similar in that their work is highly individualistic—paying tribute to their own voices, which leads to an elegant variety.

Q. What are the trends and

projections in the Japanese art market?

A. With the increasing interna-

tional attention to and demand for contemporary art, our artists have taken on the task of creating art that is both challenging and aesthetically satisfying.

As collectors seek work that both engages on first sight and satisfies a need for stellar technical and artistic skill, they will gravitate toward Japanese contemporary art. I believe the genre will continue to attract a growing and enthusiastic global pool of collectors.

Gallery FW, 41 East 57th St., Suite 704 galleryfw.com

“Kitsu (Soar),” 2013, by Sueharu Fukami (b.1947).

Porcelain with celadon glaze, granite base.

Courtesy of Gallery FW

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Japanese Screens A touch of life and a room transformed

By Christine Lin Epoch Times Staff Among all the Japanese decorative arts, folding screens take the prize for adaptability. Their surfaces are as suitable

for depicting episodes from the Japanese classic “The Tale of Genji” as they are for moonlit landscapes, sprawling street scenes, and abstract designs.

Though in Japanese they are called byobu, which translates as “protection from the wind,” they are mostly used to divide and decorate indoor spaces.

They marry form and function, art and architecture.

Byobu typically consist of paper stretched over wood-lattice panels. The paper hinges allow each panel to fold 360 degrees, which can give the overall screen a sculptural presence depending on how it is placed in a room.

“From the very first appearance of pairs of six-panel screens in the sixteenth century Japanese artists have shown tremendous creativity in exploiting this very large format in many different ways, and in using its hori"Flowers of the Four Seasons," Meiji era (1869–1912), late 19th century. Twopanel folding screen; mineral colors, gofun (white powdered shell), silver, and gold on paper with gold leaf.

67x74 in. (169x188cm) Courtesy of Erik Thomsen

Byobu marry form and function, art and architecture. zontality and its central division to powerful compositional effect,” wrote Erik Thomsen, a New York-based dealer of Japanese art.

While the most compact screens consist of two panels used for tea ceremonies, the widest can go on for tens of feet, visually expanding spaces with imaginative depictions. These are more often used as backdrops for dances and religious rituals.

Like many quintessentially Japanese art forms, folding screens were borrowed from China and adapted over the centuries to suit Japanese sensibilities.

Screens are also made of wooden and lacquer, but the most versatile and well known are of painted paper. Mineral paints were traditionally used, sometimes over gold leaf, which makes the

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Suzuki Shonen (1848–1918); Pine Trees; pair of six-panel folding screens; Taisho-era (1912–1926), ca. 1912–18; Each H. 67in. × W. 147in.

(171.5cm × 374.5cm).

Courtesy of Erik Thomsen

Q&A: Erik Thomsen, Erik Thomsen Gallery Q. How did you get into the field of Japanese art?

A. I grew up in Japan, where I went to picture look as if it were lit from behind.

“The earliest screens were intended for display in the big, dark halls of defensive castles (which were just beginning to be built in Japan) and this encouraged artists to make maximum use of bright, glittering materials like gold leaf and brilliant mineral pigments,” Thomsen wrote.

The painted screen reached its artistic zenith between the Muromachi Period (1392–1573) to the Edo Period (1615– 1868).

As Japanese artists continue to evolve and reinterpret classic art forms for modern times, screens continue to be a favorite.

“During the last century many Western artists and designers were inspired

by Japanese screens; for example, lacquered folding screens were an essential component of the fashionable art deco interior in the 1920s and 1930s,” Thomsen wrote.

“A good example of contemporary Japanese adaptation of the screen format is Morita Shiryu who specializes in dramatic calligraphy screens, often of four panels instead of the traditional six, with a single huge gold character on a black background.”

local schools until the age of 10, and Japanese was my first language. After my graduate studies I apprenticed to an art gallery in Tokyo, initially to improve my Japanese, but I soon decided to become a dealer in Japanese art, almost 30 years ago.

Q. What are the areas of Japanese art that are gaining attention now?

A. Alongside perennial favorites such

as hanging scrolls, these days we're seeing a lot of interest in art from the early 20th century, in particular in lacquer, bamboo art, and paintings from the Taisho era (1912–26). The museums and collectors are beginning to devote their attention to more recent work, away from the Edo period (1615–1868) and into the twentieth century.

Q. Who are the primary collectors of screens?

A. We sell screens mainly to Ameri-

can collectors and museums. It's important to remember that for the Japanese a screen is just one of several different painting formats, and that serious col-

lectors of screens therefore also collect hanging scrolls, hand scrolls and other types of painting. Smaller format screens, such as tea screens, generally go to private collections, whereas pairs of full-sized screens, which measure about 6 x 12 feet each, are collected by museums or collectors with large homes.

Q. Any advice for how to display and enjoy screens?

A. Collect many of them so that you can

change your display to match the season, just as the Japanese do. I prefer to show them on a stand, slightly folded to bring out the best in the composition, but screens can also be mounted flat on the wall using rails. A pair doesn't have to be displayed side by side but will often look good facing one another across a space.

Q. Anything else you feel our readers should know?

A. Yes! Japanese art is a steal compared to Chinese and other Asian art. Prices are still surprisingly low, even for major works by great artists and now is a great time to collect.

Erik Thomsen Gallery, 23 East 67th St., 4th Floor. erikthomsen.com

COURTESY OF ERIK THOMSEN

Erik Thomsen.

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Q&A: Stuart Hilbert, Jade Dragon

Delighting in Objects of the Scholar’s Desk C

hinese art dealers Stuart and Barbara Hilbert always felt an affinity for scholar's desk items, a passion shared by the Imperial family, the extended bureaucracy, the literati, and teachers in traditional China. The Hilberts also have 40 years combined teaching experience at various levels. Barbara has taught Chinese education and Stuart political science with a focus on China.

Scholar's desk collecting has been considered a minor art in the 20th century—certainly after sculpture, paintings, and porcelain. However, these "minor arts" of the scholar's desk have quickly morphed into major collecting areas

Q. What do you find appeal-

ing about collecting scholar's desk items?

A. Scholar's desk items are small and

are composed of many different materials: bronze, porcelain, bamboo, soapstone, jade, and other materials.

All those items could be put into your hand and each would have a different tactile feel, and their imagined or real history would add to the intellectual excitement and pleasure of ownership.

Continued on page 24

A Finely Carved Black and White Jade Lotus-Form Brush Washer 17th/18th century 8 1/4 in. (21.1 cm.) wide, wood stand Sold September 2013, for $543,750.

COURTESY OF CHRISTIE'S

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TUBO

( T I B E TA N )

S T Y L E , B Y S O G D I A N ( P E R S I A N ) M E TA LW O R K E R S . F O U N D I N Q I N G H A I , N E A R X I N I N G ( T H E Q I N G H A I -T I B E TA N P L AT E A U ) , THE CENTER FIGURE IN EACH PLAQUE IS A SNOW LION, A SY M B O L O F U N C O N D I T I O N A L J OY, A N D T H E V I B R A N T E N E R GY OF GOODNESS AND FEARLESSNESS.

THE SURROUNDING

F I S H A R E SY M B O L S O F F R E E D O M A N D W I S D O M , C O M B I N E D WITH FEARLESSNESS.

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Delighting in Objects of the Scholar’s Desk

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Continued from page 18

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Imagine using an inkstone in the Qing Dynasty that had an inscription from a famous writer or owner in the Song or Ming Dynasty. Or perhaps it was just a simple inkstone that was passed down through many generations by a particular family.

Imagine a nephrite jade sitting on your desk that perhaps was in the shape of a horse with a monkey on its back, forming a rebus that conveyed a message from an admirer or family member that success and elevation in status would be yours in time, and now it conveyed the same message to you as to your ancestors.

Yes, ancestors, tradition, customs, values, and beliefs that differ across regions all come into play when one looks at a scholar's desk item.

The shape of a brush washer, for example, might well convey a deeper meaning to the user. The quality of the carving and material of a seal, not to mention the motif on the seal itself, would convey different meanings to the owner.

A bronze water dropper with a boy lazily sitting on top of a buffalo would remind the present owner of the importance of agriculture, but more importantly the bucolic and pastoral beauty of the Chinese countryside that most Chinese once lived in.

A brush rest, made of many different materials, might well remind the user of the five famous historical peaks of China with their ancient associative Buddhist or Taoist val-

Ming Dynasty scholar’s desk bronze paperweight in the form of a reclining foo dog with a ruyi nose. 2¼” long.

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COURTESY OF STUART HILBERT

ues. Perhaps to another it might simply remind them of the deep beauty of mountain peaks throughout the countryside.

The addition of a brush would certainly help recall the hundreds of years that artists painted famous mountain scenery throughout China, such as Huangshan.

In sum, Barbara and I have spent most of our lives trying to understand the deep cultural traditions and beauty in Chinese art. We get it.

We deeply hope that the youth in the cities of modern China also "get it."

Scholar's art is so much part of the entire history of China that to let it pass into history not fully appreciated would be a great shame. Recent events, however, indicate a deepening appreciation and resurgence in the appreciation of these minor arts.

Q. Chinese seals seem like an area

of collecting that requires additional research on the collector's part. What does a successful collector of Chinese seals need to know?

A. Chinese seals are extremely

numerous since China has always had a large population and seals were used extensively throughout Chinese history. In addition, many officials, families, and artists had multiple seals. This tradition can be seen even in the 20th century. Qi Baishi, for example, actually carved hundreds of his own individual seals. It should be noted that seals come in different sizes and many different kinds of domestic and imported materials.

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OUR STORY

Stuart and Barbara Hilbert of Jade Dragon, Ann Arbor, Mich.

Collectors seem to gravitate toward collecting seals of famous historical figures, officials, families, and famous artists. Official seals were often carved in the unyielding and precious jade, although other materials such as silver or gold were sometimes used. Seals of that importance were often handed down in families and treasured.

There were other materials that were held in high esteem, such as the rare and most desirable yellow "tianhuang" from Fujian Province or the "chicken blood" from Changhua County.

In some cases, depending on the rarity of the material, a family in need might well polish off the seal in order to sell it in the marketplace.

Of course, more common materials would be bronze, bamboo, horn, ivory, or even wood.

In sum, the seal's historical importance is likely to be a very significant factor to a collector, the material being of secondary concern in such a case. However, since most seals are primarily not of great historical or artistic importance, the material, the condition, and the quality of the carving of the seal itself and any important inscriptions would be essential factors to a collector in valuing a particular seal.

Of course, many seals are carved in a style that is difficult for the novice or the advanced collector to translate, but that is easily solved.

Hundreds of seal carvers in China today still carve and use archaic styles, and they find translating such seals very easy. After that, a collector needs a very deep historical understanding to match the translated seal to the owner who once took great pride in using it!

Q. Please tell us a little about how

Emperor Qianlong (1711–1799) influenced scholar's desk collecting.

A. Qianlong was what we would call today an unrelenting and knowledgeable collector of antiques. He certainly had the means, although he practically bankrupted China with his avid collecting.

However, in recognition of his exceptional ability to both recognize and collect the best of China's past antique works, collectors will pay a great premium for any item that was catalogued under his long reign from 1736–1795.

He not only influenced his extensive court and bureaucracy, but all those who had the means to collect. Qianlong loved scholar's desk items and often had elaborate boxes made to show them to maximum effect. In addition, The Forbidden Palace not only housed and catalogued China's artistic past and present, but added to it the elaborate gifts from foreign dignitaries.

During Qianlong's reign, wonderful artistic items were also made, many at his command. Those items are exceedingly rare and many have resurfaced from the families that had ties to the Western military forces that ransacked Beijing during the Boxer Rebellion.

Qianlong's personage and influence has so dominated the minds of modern collectors that it seems to have somewhat stymied and slowed the collecting of the fine antiques of the Song and Ming Dynasties—ironically, an antique period that Qianlong actually deeply appreciated and collected with enthusiasm.

Jade Dragon, Asia Art Fair, 321 East 73rd St. thejadedragon.net

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Q&A: Lark Mason, iGavel

Raising the Digital Gavel Lark Mason is the founder of iGavel Inc., an online auction site specializing in the sale of fine and decorative arts. He is known for being a leading expert, appraiser, and television personality on the PBS series “The Antiques Roadshow,” and has served as senior vice president and specialist in Chinese art with Sotheby’s Chinese Works of Art Department.

COURTESY OF LARK MASON

Q: What initially got you interested in Chinese art?

A: I became interested in Chi-

nese art when I first saw the magnificent Song and other ceramics in the Percival David Collection in London in late 1979 and then the Chinese gallery at the British Museum. I was struck by the beauty, timelessness, and fact that I was experiencing this object in the same way as did individuals who lived hundreds of years before me.

Q: What are the advantages to the buyer of bidding online?

A: Convenience is a great ben-

Qi Baishi - Plum Blossom

efit of online auctions and with sales on iGavel, the two-week bidding window is especially helpful. All sales on iGavel are completely online but with "live" exhibitions, enabling bidders to see items first-hand and allowing the bidding process to be fair to all since everyone is bidding on the auction platform, there is no salesroom and thus no salesroom bidding.

Q: How do you suggest visi-

tors to iGavel choose pieces to bid on?

Dai Collections International 40 W 25th St. (Btw. 5th & 6th) Gallery 205

Tel: 1-212 633 0973 Cell: 1-646 539 0523 www.tonydaichineseart.com

A: The best items to purchase

are those that appeal to them personally. Bid on what you like, and choose items that are the best examples you can afford.

Lark Mason.

Q: Some of the lots have very

little information with them.

How should a buyer deal with the question of authenticity?

And does iGavel offer additional vetting in Chinese art?

A: iGavel is an auction plat-

form with sellers who guarantee the accuracy of their statements and the condition report for each item. Some sellers are specialists and more knowledgeable about Chinese art than others, but all items are guaranteed. Objects that are not as described may be returned for a refund.

Q: What are some of the most significant items that have passed through iGavel?

A: In 2012 Lark Mason Associates sold on the iGavel site a Chinese Imperial Zitan Armchair made for the Qianlong Emperor. It realized just over $1 million. In 2011 we sold paintings by Qi Baishi and Fu Baoshi for over $1 million and

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Why We Collect Continued from page 9 It turned out that for all his madness, Newton was onto something. With the help of Mould and a team of restorers, today the Newton collection resides at the Savannah College of Art and Design museum. Newton was made an officer of the Order of the British Empire in 2003 for his life’s work.

A Very Fine Gilt Copper Alloy Figure Depicting Tara, Tibeto-Chinese, Yongle Period (1403–1424).

Courtesy of Sotheby’s

over $700,000, respectively, and a large Ming Dynasty huanghuali cabinet for over $500,000.

Q: How often does iGavel offer Asian art?

A: Asian art appears on iGavel

almost daily. Our largest sales are held in the spring and fall and in both instances offer many fine objects ranging from jade to bronzes and paintings.

Q: What is the most-asked

question you field from potential buyers? And what is your response to that question?

A: Most buyers are interested

in authenticity. Our sellers have expertise in areas as diverse as jewelry and cameras, American folk art and photographs, and of course Asian art. My background includes 24 years as a senior specialist in Chinese art at Sotheby's.

Most auction houses do not offer guarantees for accuracy or condition. Sellers on the iGavel site do. Auction houses in the past typically relied upon first-hand inspection, as a shift to the internet took place, more individuals have been exposed to auctions and expect that the same guarantees will extend to them. This is an evolving process and we are glad to be leading the way. iGavel, 229 East 120th St. igavel.com

The Public Good The most prominent museums in New York City couldn’t have been possible without the contributions of collectors big and small. The Morgan Library and Museum started out as the private collection of Pierpont Morgan.

Henry Clay Frick’s private home has been converted into one of New York’s most intimate museums. And John D. Rockefeller Jr. almost singlehandedly created the Cloisters. His family’s collections have also boosted the offerings at The Metropolitan Museum of Art and other institutions.

Collectors as driven as Newton are rare. Most collectors start out for personal reasons, and only begin considering lofty goals like their civic duty to the public or cultural heritage when their collections mature.

Most start thinking about their legacy later in middle age, Reist said.

Both Wong and Gallis are considering the issues of their estates.

When their mentor passed away in 2003, a protracted legal battle ensued between two of his children, each accusing the other for stealing art from their father and each vying for a larger portion of the collection.

Gallis wished that a scholarly publication had been written about C.C. Wang’s collection, which consisted of many culturally important works Wang felt needed to be preserved. Other than the portion that Wang himself gave to the Metropolitan Museum, the fate of the collection is not known. The court finally dropped the siblings’ case in 2012.

Gallis wants his collection to avoid a similar fate.

“I want to pass it on in a way that the knowledge is not lost,” he said.

As for Wong, she hopes that her beloved artworks will one day return to their native country, China.

Chinese recumbent white nephrite Buddhist lion with brocade ball and bifurcated tail with a seated figure holding a cub 2 3/4” l x 2 1/4” h

Qing Dynasty

The Asia Art Fair, Bohemian National Hall New York City, March 15-18 Preview the 14th, 5-9pm 4th Floor, Booth #16

International Antiques Fair (IAF), Hong Kong Convention and Exhibition Centre, Hall 5BC, May 24-26 Preview the 23rd, 6-9pm Booth D-17-D18

FOR MORE INFO, EMAIL: Hilbert@TheJadeDragon.net

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Chinese White Jade Covered Wine Pot from the Estate of Baron Pierre de Menasce. Estimate: $200,000–$300,000.

Courtesy of Doyle New York

MUSEUM EXHIBITS The Rubin Museum of Art

Tibet and India: Buddhist Traditions and Transformations Through June 8 How esoteric imagery, texts, and Vajrayana ritual practices contributed to reshaping the complex religious landscape of Tibet.

The Flowering of the Edo Period Painting: Japanese Masterworks from the Feinberg Collection Through Sept. 7 Exemplary works from painting schools that arose in Japan in the 17th and 18th centuries.

The Korea Society

Bodies in Balance March 15 to September 8 Explores the guiding principles of the Tibetan science of healing.

Opening night March 20, 6:30 p.m. to 9:30 p.m.

Lost Kingdoms of Early Southeast Asia: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century Through July 27 Sculptural traditions of the Hindu and Buddhist kingdoms from the early 5th to the close of the 8th century in mainland and insular Southeast Asia.

150 West 17th St. www.rubinmuseum.org

950 Third Ave. koreasociety.org

Highlights: Selections from The Korea Society Collection March 14–22

Explore Korean fine art from The Korea Society vaults and new acquisitions, with an eye to Korea's celebrated ceramics.

Vessel March 24–31 Timed with the release of the UN Commission of Inquiry report on North Korean human rights abuses. An ancient Silla vessel representing the individual; an etching from artist Jahee Yu alluding to suffering in today's gulag; and audio selections from Nazi camp survivor Elie Wiesel’s classic Night.

The Metropolitan Museum of Art 1000 5th Ave. www.metmuseum.org

Ink Art: Past as Present in Contemporary China Through April 6 The first major exhibition of Chinese contemporary art ever mounted by the Met. The Flowering of the Edo Period Painting: Japanese Masterworks from the Feinberg Collection Through September 7 Exemplary works from painting schools that arose in Japan in the 17th and 18th centuries.

An iron articulated model of a dragon.

Edo period (18th–19th century), signed Myochin Nobumasa.

Estimate: $200,000–$300,000.

Courtesy of Christie’s

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www.TheEpochTimes.com Asia Society Museum 725 Park Ave. asiasociety.org

Tales of Wonder: Indian Art from the Asia Society Museum Collection Through May 4 Fantastic depictions of Indian deities.

Golden Visions of Densatil: A Tibetan Buddhist Monastery Through May 18 First exhibit to explore the history, iconography, and extraordinary artistic production associated with the central Tibetan Buddhist monastery in Densatil.

Nalini Malani: Transgressions Through Aug. 3 Malani’s multimedia projects feature recurring themes around the subjects of gender, memory, race, and transnational politics.

A ReversePainted Oxhorn-Applied Accessory Box (Hwagak haem) Joseon dynasty (19th century) Estimate: $60,000-70,000 Courtesy of Christie's

Japan Society

333 East 47th St. www.japansociety.org Points of Departure: Treasures of Japan from the Brooklyn Museum March 7–June 8 A dazzling array of screens, ceramics, prints, textiles, jewelry and more from the Japanese collection of the Brooklyn Museum.

China Institute

125 East 65th St. www.chinainstitute.org

Sunday, March 16

Inspired by Dunhuang: Re-creation in Contemporary Chinese Art Through June 8 Highlighting paintings and sculptures by more than a dozen modern and contemporary artists, this exhibition will explore Dunhuang’s profound influence on generations of artists beginning with master painter Zhang Daqian.

Chinese Museums in the 21st Century Asia Society, 725 Park Ave. 10 a.m.–11:30 a.m.

Picture Mirrors: Traditional Japanese Prints in Their Own Time and Today Japanese Art Society of America, Marymount School of New York, 1026 Fifth Ave.2 p.m.

Understanding Contemporary Chinese Art Market: How Changing Politics and Economy Reshape an Art World Asia Art Fair, 321 E. 73rd St. 2 p.m.

With Zhijian Qian, specialist in modern and contemporary Chinese and East Asian art and art of the Chinese diaspora.

LECTURES Friday, March 14

The Art World in China Sotheby’s, 1334 York Ave. 9 a.m. to 1 p.m.

This seminar will bring together diverse perspectives on China’s expanding cultural infrastructure and dynamic art market.

How Chinese Art Made the Man: the Life and Collections of John C. Ferguson Asia Art Fair, 321 E. 73rd St. 4 p.m.

With Lara Netting, PhD, who studied the extensive collection of bronze rubbings preserved at the Institute of History and Philology.

Scholars’ Rocks by Kemin HuAsia Society 725 Park Ave. 6 p.m. to 7:30 p.m.

Kemin Hu, one of the foremost experts on scholars’ stones, discusses the ancient art of the scholar’s rock and stone appreciation.

Chinese Export Paintings Bonhams, 580 Madison Ave. 10 a.m.

With William R. Sargent (former H.A. Crosby Forbes curator of Asian Export Art)

Saturday, March 15

Monday, March 17

New Perspectives on Kangxi Porcelain Sotheby's, 1334 York Ave. 2:30 p.m. to 5:30 p.m.

5 speakers and a panel discussion (see related exhibit March 14–22).

The Aesthetics of Arabic Calligraphy Asia Art Fair, 321 E. 73rd St.4 p.m.

Majed Seif, NYU and the United Nations instructor of Arabic Calligraphy, a visual artist specialized in Islamic Art-Arabic calligraphy, Arabesque, and Islamic Decorations.

COURTESY OF BONHAMS

One of two similar Chinese Famille Rose Glazed Porcelain Reticulated Vases.

Estimate: $20,000–$30,000.

Courtesy of Doyle New York

The Tibetan Memorial Stupas of the Densatil Asia Art Fair, 321 E. 73rd St. 4 p.m.

With Adriana Proser, John H. Foster senior curator for Traditional Asian Art at Asia Society Museum.

A copper alloy figure of Padmapani, Western Tibet, 12th/13th century. H. 19½ in. Estimate: $300,000-$500,000.

A Rare Wucai ‘Fish’ Jar, Jiajing Mark and Period.

Estimate: $200,000–$300,00 Courtesy of Sotheby’s

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Galleries 1. Asia Art Fair

321 E. 73rd St. www.theasiaartfair.com March 15–18

Alexander Gallery Anavian Gallery Asiantiques David Baker Oriental Art Dharma Art Eleanor Abraham Asian Art Flying Cranes Antiques Galerie Alexis Renard Art Islamique-Art Indien Gilistra Chinese Art Consultancy, Inc. Jewel of the Lotus Lotus Asian Art & Antiques Gallery Mark Walberg Fine Art and Antiques Michael Bound - Japanese Art Nader & Nader LLC Nicholas Pitcher Oriental Art LTD Niki Art - Contemporary Japanese Works of Art Oriental Treasure Box Peter Pap Oriental Rugs, Inc. Robyn Buntin of Honolulu Stallion Hill Gallery The Jade Dragon The Tolman Collection Tony Dai Chinese Art Vietnamese Contemporary Fine Art. 2. Arader Galleries 1016 Madison Ave. (78th Street)

Walter Arader Himalayan Art Prahlad Bubbar Carlo Cristi Christophe Hioco Nayef Homsi Giuseppe Piva Japanese Art Hiroshi Yanagi Oriental Art 3. Fuller Building 41 East 57th Street

Asian Art Studio Jadestone Lesley Kehoe Galleries J. J. Lally & Co. 4. Art Passages 41 East 78th Street

5. Bachmann Eckenstein JapaneseArt 24 East 73rd Street, 2nd Floor

6. Galerie Jacques Barreère Zhang Daqian, The Return of My Sight, Ink and color on paper, hanging scroll.

50 1/2 x 26in. Estimate: $120,000–$180,000. Courtesy of Bonhams

24 East 64th Street

7. Buddhist Art

29 East 72nd Street

8. Ralph M. Chait Galleries, Inc. 730 Fifth Ave, 12th Floor

9. China 2000 Fine Art

177 East 87th Street, Suite 601

Museums

E. The Metropolitan Museum of Art

10. The Chinese Porcelain Company

725 Park Ave.

F. Taiwan Academy

11. Giseèle Croeës s.a.

G. Museum of Chinese in America

12. Dai Ichi Arts, Ltd. Hollis Taggart Galleries

A. Asia Society

1000 5th Ave.

B. China Institute

1 E. 42nd Street.

C. Japan Society Gallery

215 Centre St.

D. The Korea Society

150 W. 17th St.

125 East 65th St.

333 East 47th St. 950 Third Ave.

H. Rubin Museum of Art I. Tibet House US 22 W. 15th St.

475 Park Ave

980 Madison Ave

958 Madison Ave

13. Dalton Somareé

27 East 67th Street, 2nd Floor

14. Carole Davenport

22 East 80th Street, 5th Floor

15. Oliver Forge & Brendan Lynch Ltd. 9 East 82nd Street, Suite 1A

16. Gallery FW

41 East 57th Street, Suite 704

17. Francesca Galloway

133 East 68th Street, 5th Floor

18. Michael Goedhuis 929 Madison Ave

19. Nicholas Grindley Works of Art Ltd. 17 East 76th Street

20. Michael C. Hughes LLC

39 East 72nd Street, 5th Floor

21. Andrew Kahane, Ltd. 25 East 77th Street

22. Kaikodo LLC

74 East 79th Street, Suite 14B

23. Kang Collection Korean Art 9 East 82nd Street, 3rd Floor

24. Kapoor Galleries 1015 Madison Ave

25. KooNewYork

39 East 72nd Street, 5th Floor

26. Joan B. Mirviss, Ltd

39 East 78th Street, 4th Floor

27. Moke Mokotoff

5 East 82nd Street, Ground Floor

28. Susan Ollemans

960 Madison Ave, 2nd Floor

29. Onishi Gallery 958 Madison Ave

30. Carlton Rochell Asian Art 121 East 71st Street, Floor 2

31. Santos-London 29 East 72nd Street

32. Scholten Japanese Art

145 West 58th Street, Suite 6D

33. John Siudmak Asian Art 23 East 73rd Street

34. M. Sutherland Fine Arts, Ltd. 55 East 80th Street, 2nd Floor

35. Erik Thomsen

23 East 67th Street, 4th Floor

36. Jonathan Tucker Antonia Tozer 29 East 72nd Street

37. Xanadu Gallery LLC

5 East 82nd Street, Ground Floor

38. Zetterquist Galleries 3 East 66th Street, #1B

39. Throckmorton

145 E. 57 Street, 3rd floor

40. Nancy Wiener Gallery 2109 Broadway, Suite 10-18

A Rare and Important Carved Zitan Armchair, Qing Dynasty, Qianlong Period.

Estimate: $1,200,000– $1,500,000.

Courtesy of Sotheby’s

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580 Madison Ave

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42.Christie’s

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YORK AV

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20 Rockefeller Plaza at West 49th St.

43.Doyle New York 175 East 87th St.

44.iGavel

229 East 120th St.

45.Sotheby’s

1334 York Ave at East 72nd St. 32

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ALWAYS INTERESTED IN BUYING FINE ASIAN ANTIQUES

Exhibiting at

The Asia Art Fair I N N E W YO R K C I T Y F R I DAY M A RC H 14 T H T H RO U G H T U E S DAY M A RC H 18 T H

L A R G E 19 TH C E N T U RY C H I N E S E F A M I L L E R O S E VA S E

Height: 57.0 cm (22.4 in)