III catalogue - World Art Society

February iSSue

WHO We are

The World Art Society features four online catalogues every year listing quality artworks of Non-Western art that have been thoroughly selected by our select members, who are the in-house experts.

By bringing together a group of trusted dealers, our platform offers a unique collection of works of art that collectors will not find anywhere else online. To ensure the highest standards, gallery membership is by invitation only and determined by a selection committee.

HOW it WOrKS

The artworks are presented with a full description and corresponding dealer’s contact information. Unlike auction sites or other platforms, we empower collectors to interact directly with the member dealers for enquiries and purchases by clicking on the e-mail adress.

In order to guarantee the quality of artworks available in the catalogues, pieces are validated by all our select mebers, who are the in-house experts. Collectors are therefore encouraged to decide and buy with complete confidence.

Feel free to ask the price if the artwork is listed with a price on request and request high resolution images.

Please send us your email to receive our next catalogue : info@worldartsociety.com

Cover image: detail of Hanamushin. Presented by Galerie Mingei on p. 90

Daniel eskenazi

Raised in a family that has been collecting and dealing in Asian art since the 1920s, Daniel Eskenazi has a strong interest in both ancient and contemporary Chinese art, from which he draws his inspiration. Exposed to the best artistic and intellectual achievements of Asia from a young age, it is through this mix of cultural, religious, and philosophical influences that his sensibilities have been formed. A sophisticated self-taught photographer, Eskenazi has been creating photographic works since the early 1990s. Eskenazi’s most recent photography work is based on the philosophical process that leads one’s self to be intimately connected with the spirit of nature; in Chinese we call this li, the inner law or spirit of things, or as the German poet Schiller put it: ‘It’s the spirit which builds for itself a body.’ Side by side, his photographic images bring together natural forms as a means to trigger both man’s elemental reactions to imagery, as well as raise questions of the metaphysical.

Untitled VI, from the 'Pictures of You' series

2013

Inkjet print on photo rag

58 cm x 43 cm

Edition of 6 + 2AP

Price: 2.500 USD

110 cm x 82 cm

Edition of 3 + 2AP

Price: 10.000 USD

artWOrK preSenteD by:

Rasti Chinese Art Ltd.

T.:+852 2415 1888

E.:gallery@rastichineseart.com

W.: www.rastichineseart.com

emmanuel alexia

Emmanuel Alexia (born in 1960 ) is a potterphilosopher who lives in the woods. He collects his earth himself in the surrounding nature, he sifts and mixes it, grinds his rocks and models Chawans, jugs and Mizusachi all what is necessary for the tea ceremony. He also makes his own kilns in which he bakes his work. The Chawan is shaped by pinching from a mixture of two clays. Thanks to the use of a kaolin slip and a wood fire, the surface of the bowl reveals rich green, pink and brown chromatic shades on a crackled white background.

Chaire

October 2020

Stoneware with gold chloride glaze

8 cm (h) x 7,5 cm (D.)

Price on request

artWOrK preSenteD by:

Renaud Montméat

T.:+33 6 17 61 21 60

E.: montmeatartdasie@gmail.com

W.: www.montmeat-asianart.com

© Sarah Robine

Chawan Autumn 2021

Stoneware fired in an anagama kiln

9 cm (h) x 11,7 cm (D.)

Price on request

artWOrK preSenteD by:

Renaud Montméat

T.:+33 6 17 61 21 60

E.: montmeatartdasie@gmail.com

W.: www.montmeat-asianart.com

Fujiwara Kazu

Fujiwara Kazu, born 1958, is heir of one of Japan’s most celebrated pottery families. Both, his father, Fujiwara Yū (1932-2001), and his grandfather Fujiwara Kei (1899-1983), were legends for traditionally wood-fired Bizen ceramics and have been awarded the title of Living National Treasure. Kazu continues this tradition, however, is also departing much more form the old forms than his father. He has exhibited widely within Japan, including at the prestigious Exhibition of Japanese Traditional Arts and Crafts (Nihon Dentō Kogeiten), but also internationally. His work is for example in the collection of the National Gallery of Australia..

Modern Bizen Vase in Shape of a Gourd

Japan

1958

Heisei period

Ash glazed stoneware

22,8 cm (h) x 13,9 cm (Diam.)

Inv. No. 19.017

Price on request

Comes with fitted, inscribed, signed and sealed wooden box.

artWOrK preSenteD by:

Galerie Kommoss

T.:+49 (0)30 9854 1123

E.: info@galeriekommoss.com

www.galeriekommoss.com

Hao Shiming

Hao Shiming works with lines, the purest element in traditional ink painting and the most crucial element in his artistic philosophy, to reconstruct and transform it. In his landscape paintings lines are neither straight nor intended to render perspective, but rather interweaved and undulated, expressing a powerful leaping rhythm. Thanks to the training he received from the painting department at the Tianjin Academy of Fine Arts, the artist is highly skilled in traditional Chinese painting techniques such as 'Gongbi', a method that involves drawing fine lines with small brushes. He has expanded on these traditions to develop his own style, relieving his works of unnecessary embellishments and moving away from figuration towards abstraction.

2019 Ink on silk

46 cm × 150 cm

Price: 12.000 USD

artWOrK preSenteD by:

Rasti Chinese Art Ltd.

T.:+852 2415 1888

E.:gallery@rastichineseart.com

W.: www.rastichineseart.com

Jin Se 201901

Hayashi yasuo

Hakei no gotoku (Like a wave)

Signed Hayashi Yasuo and sealed Yasuo

Accompanied by a tomobako (original box).

Japan 1985

Ceramic sculpture

59 cm x 73 cm x 23 cm

Price: 24.000 euros

artWOrK preSenteD by:

Gregg Baker Asian Art

T.: +32 468 00 56 85

E.: info@japanesescreens.com

W.: www.japanesescreens.com

Hayashi Yasuo was born in Kyoto the son of a potter. In his early life he was interested in painting more than pottery and studied Japanese painting at Kyoto Municipal Art School together with Domoto Hisao (1928-2013) and Kayama Matazo (1927-2004), both of whom went on to become renowned painters. As Japan entered World War II, he joined the Imperial Japanese Navy Air Service and eventually applied for Tokkotai, a special unit for suicide strikes. In 1945 whilst awaiting orders for his suicidal mission in Oita, the war ended and he returned to Kyoto to resume his painting studies.

However, his pilot training during the war and the experience of spatial disorientation whilst flying in vast open spaces made it hard for Hayashi to return to two-dimensional painting and he returned home to study pottery at the family kiln. His father encouraged him to innovate and not to imitate traditional wares produced by the family, giving Hayashi the freedom to produce whatever he felt.

This freedom led Hayashi to found a study group of avant-garde ceramicists in 1947 known as Shikokai with Uno Sango (1902-1988), Suzuki Yasunori (dates unknown), and Shimizu Uichi (1926-2004). Here along with other young potters he pursued new, sculptural ceramic making rather than conventional pottery vessels.

From 1962 to 1977 Hayashi joined Sodeisha (Crawling Through Mud Association), an influential avant-garde ceramic art group founded by Yagi Kazuo (1918-1979), Suzuki Osamu (1926-2001) and Yamada Hikaru (1923-2001) amongst others, and he continued producing and exhibiting unique works created with his fine technique and well-honed senses. From 1972 to 1998 he taught ceramic making at the Osaka University of Arts and was designated as a professor emeritus for his great contribution.

For more about the artist visit our website http://japanesescreens.com

ichikawa toru

Toru, born 1973 in Tōkyō, has been initially a sculptor who decided to become an apprentice to famous Bizen potter Kakurezaki Ryūichi (*1953) between 2011-2015. Kakurezaki's influence on Toru's work becomes especially clear when considering the form of his sake cup. The bold, rock-like shape, rests on a flat base. The vessel's wall is half cut half pulled and shaped with a knife. The rough Iga clay has a cracked surface in which the molten green glaze found its way. However, this works highlight is a stunning, large single glaze drop that sits on one of the six angles of the hexagonally shaped body. Some parts between the glaze show the bare iron oxide colored clay, some are additionally decorated with leaf gold, which gives the work a very modern twist.

Toru is working freely between modernity and tradition, using old materials and combining them liberally in a new way. By shattering the boundaries of traditional Japanese pottery techniques, he is creating a rich landscape and give his objects a sculpture like appearance. By doing so, he is also questioning the already thin line between arts and crafts in Japanese pottery in a new interesting way.

Modern Iga-style sake cup (guinomi) Japan

1973

Heisei period

Ash glazed stoneware, gold 5,8 cm (h) x 6,5 cm (Diam.)

Inv. No. 20.004

Price: 800 euros

Comes with fitted, inscribed, signed and sealed wooden box.

artWOrK preSenteD by:

Galerie Kommoss

T.:+49 (0)30 9854 1123

E.: info@galeriekommoss.com

www.galeriekommoss.com

imai toshimitsu (1928-2002)

Imai Toshimitsu was born in Kyoto and studied oil painting in Tokyo under Umehara Ryuzaburo (1888-1986) and other Western-style painters. In 1952 Imai moved to Paris and held his first solo show at the Galerie 25 in December 1953. Whilst in Paris Imai befriended both the American abstract artist Sam Francis (1923-1994) and the French art critic Michel Tapié (1909-1987). These meetings and the dynamic art scene in Paris inspired him and his style moved towards powerful abstraction. He was also in the circle of various other artists including Georges Mathieu (1921-2012), Jean Dubuffet (1901-1985), Jean

Untitled

Signed and dated Imai 76 to lower right

Acrylic on paper mounted on canvas

61,5 cm x 105 cm

Price: 22.000 euros

artWOrK preSenteD by:

Gregg Baker Asian Art

T.: +32 468 00 56 85

E.: info@japanesescreens.com

W.: www.japanesescreens.com

Fautrier (1898-1964), Paul Jenkins (1923-2012) and Henri Michaux (1899-1984), which led Imai himself to the Art Informel movement.

At the request of the Japanese avantgarde artist Taro Okamoto (1911-1996), Imai contributed to the introduction of Art Informel into Japan, enabling Michel Tapié to show his extensive collection of work from this movement at Exposition Internationale de l'Art Actuel. This travelling exhibition took place in Tokyo, Osaka, Kyoto and Fukuoka from 1956 to 1957. It was one of the largest exhibitions showing Western art movements of the period to be held in Japan during the 1950’s. In particular the Art Informel paintings in this show had a huge impact on Japanese artists at the time, which is known as the “Art Informel Sensation”. Imai also introduced Tapié to the artists of Gutai, a celebrated avantgarde group from Japan.

His first one-man show at Galerie Stadler in Paris in February 1957, was a success and this confirmed Imai as an internationally recognised Art Informel artist. In the 1960s and 1970s

he was based both in France and Japan and continued exhibiting at a number of solo and group exhibitions globally, including at the 30th Venice Biennale (1960) and the 7th São Paolo Biennial (1963). His artistic style never stopped its development. In the 1980s he created paintings using gold and silver, referring to the Japanese traditional Rimpa-school painting. In the 1990s his style shifted to Expressionist and then mostly representational works in his final years.

Imai’s sources of inspiration were diverse –although his abstract style can be interpreted as universal and avant-garde, the often thick texture and palette of his works somehow remind us of Japanese traditional art such as calligraphy and ceramics. The artist’s vitality and power throughout his artistic life are visible in the dynamic brushwork in this present work.

For similar examples by the artist, see Hariu Ichiro et al., Toshimitsu Imai, (Tokyo, 1975), no. 74, 102-111.

For more about the artist visit our website http://japanesescreens.com

isao Okado

A large Japanese bronze flower vase

Height: 40 cm

12 cm (Base) x 12 cm

Price: 4.000 euros

This item comes with an original signed box.

artWOrK preSenteD by:

Kistune Gallery

T.: +32 476 87 85 69

E.: arie.vos@kitsune.be

W.: www.kitsunegaroo.com

Okado Isao (1940-2010) exhibited frequently at the prestigious Nitten exhibitions (Japan Fine Arts Exhibition) and received a number of awards – first prize in 1964. He was also awarded with the Prime Minister’s Prize in 1995 at the Japan Contemporary Arts and Crafts Exhibition. He became director of Contemporary Crafts Association and was active in the Nitten Council Committee.

Kaneshige Makoto (*1945)

Kaneshige Makoto was born 1945 in Inbe, Okayama, as oldest son into one of the traditional Bizen pottery families. With Kaneshige Sozan (1909-1995) as father and Kaneshige Tōyō (18961967) as uncle, he was raised with two of the most important Japanese Bizen potters of the 20th century. Possibly due to that circumstance, he initially did not decide to become a potter by himself and started to study agricultural sciences at University of Kyōto in 1964. It was not before 1968, when he saw some ceramic pieces made by his father in an exhibition in Tōkyō, which fascinated him so much that he decided to become his apprentice. After ten years of working at his father’s workshop he showed his own work to the public for the first time in 1979 in a gallery

in Okayama. In 1982, his father built a new kiln in Inbe and Makoto became an independent potter by taking over the old workshop named Enzan-gama. Even though, Makoto tried to distance himself from the institutionalized Japanese ceramic world, he is acknowledged as one of the most outstanding contemporary Bizen potters and possibly one of the purest ones: Firing twice a year in his three-chambered nobori-gama, he prepares his clay all by himself without the help of machines, just using the strength of his own hands and feet. His works have therefore an especially fine texture and a sculptural quality and are also praised by young people for his modern features.

Bizen Fresh Water Jar with Arrow-notch Type Mouth

Japan

Heisei period

Ash glazed stoneware

19 cm (h) x 22 cm (Diam.)

Inv. No. 19.024

Price on request

Signed underneath with potter’s mark. Comes with fitted, inscribed, signed and sealed wooden box and original exhibition slip from the Mitsukoshi Department Store.

artWOrK preSenteD by:

Galerie Kommoss

T.:+49 (0)30 9854 1123

E.: info@galeriekommoss.com

www.galeriekommoss.com

laetitia pineda

Laetitia Pineda (born in 1978) is a ceramist who lives and works in the South West of France She works exclusively with materials gathered from nature.

Her work is characterised by a great lightness and inventiveness of form which influences the work of many potters. This stoneware jug has a very slender, flared body and rests on a narrow foot. A ten-day firing in an anagama kiln gives it a texture and an antique tone close to volcanic stone.

Jar

Automne 2010

Stoneware fired in an anagama kiln

21 cm (h) x 20 cm (D.)

Price on request

artWOrK preSenteD by:

Renaud Montméat

T.:+33 6 17 61 21 60

E.: montmeatartdasie@gmail.com

W.: www.montmeat-asianart.com

Chaire

Automne 2010

Stoneware fired in an anagama kiln

6,4 cm (h) x 9 cm (D.)

Price on request

artWOrK preSenteD by:

Renaud Montméat

T.:+33 6 17 61 21 60

E.: montmeatartdasie@gmail.com

W.: www.montmeat-asianart.com

Mansheng Wang

Mansheng Wang was born in Taiyuan, Shanxi, China in 1962 and has been living since the mid 1990s in the United States. He is a painter who draws his inspiration as much from classical Chinese literature than the contemplation of nature. The themes he appreciates come from traditional painting but this does not prevent him looking for new technical solutions such asthe use of reed feathers, the use of monotype or walnut stain. It is indeed from classical themes such as mountain landscapes, the representation of rocks, trees and other plants that he proposes a modern, personal vision of painting. he work we are presenting is part of a series of 10 ink paintings named Momentum of the Brush, which he created in 2016 on Japanese paper. While he was exposing his work in the Ino-cho Museum of Kochi in Japan, Mansheng acquired the last ten sheets of a very beautiful hand-made paper, just before the workshop closed down. He decides to represent, with the help of a very dry paintbrush, trees with a mineral graphism. Certain pieces like the wisterias recall the fluidity and entanglements of the characters of calligraphy. Other works represent trees with a fossilised aspect containing details of real landscapes of miniature mountains.

© Portrait: Lisa Tipps

Ancient Vine Calligraphy 2

Artist’s seal : Wang Mansheng

Yin

2016

Ink on Japanese paper (mulberry)

33 cm x 48 cm

Price on request

artWOrK preSenteD by:

Renaud Montméat

T.:+33 6 17 61 21 60

E.: montmeatartdasie@gmail.com

W.: www.montmeat-asianart.com

Marie Diane

Blazing District

Oil on canvas

116 cm X 89 cm

Price: 1.800 euros

artWOrK preSenteD by:

Eric Hertault

T.:+33 6 15 38 64 81

E.: hertault.eric@gmail.com

W. : www.eric-hertault.com

A Parisian at heart, Marie Diane expresses herself through her multiple creative facets. Endowed with a refined gesture and eye, this self-taught artist practices drawing and painting. For nearly 20 years, she has been experimenting with very different styles, letting her imagination and talent run wild as she creates. In 2014, Marie Diane exhibited for the first time in a London gallery the GX Gallery where her works met with great success.

She paints, enhances, details sculptures. After several years in England, Marie Diane decided to settle in Paris. In 2020, curious to broaden her creative palette, Marie Diane creates small test drawings in Indian ink.

She visits Parisian fairs, gets inspired and imagines new forms. Little by little, the artist sketches masks and tribal statues, the best way according to Marie Diane to learn and

enter this subject which fascinates her., A real bulimic artist, Marie Diane satisfies her thirst for elsewhere by reproducing all the objects she discovers in the books in her library. Her gaze is fed by masks and statues, ancestral customs and primordial rituals. She also listens to African music, watches documentaries and reads a lot in order to immerse herself in this captivating universe. Determined to see beyond the simple aesthetics of these pieces, she wishes to recontextualize them, understand their stories before transcribing them on paper. Very quickly, Marie Diane moves on to large formats.

In June 2021, gallery owner Eric Hertault invites her to exhibit in his gallery during Paris Tribal Fair. This unprecedented dialogue between both arts was a real success. With their disturbing realism, Marie Diane's paintings quickly find their audience. The artist extendsher exhibition there

Big blue Oil on canvas

130 cm X 97 cm

Price:

artWOrK preSenteD by: Eric Hertault

T.:+33 6 15 38 64 81

E.: hertault.eric@gmail.com

W. : www.eric-hertault.com

Bénin

60 cm X 80 cm

Price: artWOrK preSenteD by: Eric Hertault

T.:+33 6 15 38 64 81

E.: hertault.eric@gmail.com

W. : www.eric-hertault.com

Guro

Price: artWOrK preSenteD by: Eric Hertault

T.:+33 6 15 38 64 81

E.: hertault.eric@gmail.com

W. : www.eric-hertault.com

during the Parcours des Mondes in September and at Galerie Mingei, both located in the heart of Paris in the VIth district. The artist also signs the invitation card for the highly anticipated Toshimasa Kikuchi exhibition at the Musée Guimet (2021).

Marie Diane sees, in ink, a way to go further in creation. She spends many hours on each drawing, from nine to fifteen hours for a large format. The application of Indian ink, a complex play of light and transparency, requires several stages of drying, for a better restitution of depths and volumes, leading the artist to work on several drawings at the same time. Working with Indian ink undeniably offers a new dimension to drawing. Marie Diane likes to challenge herself on different textures. Wood, blade, basketry, leather, the artist always makes sure that the work keeps its relief, its depth, its authenticity. Meticulous, she observes and analyzes each detail in order to reproduce the essence of each sculpture as accurately as possible. She works from contrasted pictures which help her to "enter the light   and take possession of the object. Marie Diane's drawings offer a new look at extra-Western creation. Her works are a kind of "zoom", an invitation to admire the incredible play of light and matter of those pieces. From Africa to Asia, Marie Diane ’s graphic lines seem to have no limits.

As for painting, her other refuge, there is no doubt that we are no longer talking about precision. It is a complete letting go; a timeless and personal interpretation of space. Highlighting direction with colors is her only finality. The eye is quick to detect the permanent research, to put clarity on this agitated painting which is nevertheless dominated by very structured organizations. Marie Diane daringly seeks to master and burst color through various superimpositions with a painter's knife.

Murakoshi takuma

Ganbaru Man (Doing my best)

Signed Takuma and sealed

Hyogemono-ya and Takuma.

Accompanied by a tomobako (original box)

Japan

21st century

Pottery vessel shigaraki ware

22 cm x 27 cm x 17 cm

4.800

Price: 4.200 euros

artWOrK preSenteD by:

Gregg Baker Asian Art

T.: +32 468 00 56 85

E.: info@japanesescreens.com

W.: www.japanesescreens.com

Murakoshi Takuma was born in Aichi prefecture in 1954 and by the age of 24 had found his way to becoming a fulltime potter under the tutelage of Umehara Takehira in Kyoto. Favouring the rough textural qualities of Shigaraki clay he founded his own kiln in 1997 in the Kiyomizu area of Kyoto and in 2002 moved to the more remote spaces of Nagaoka in North Western Japan. Murakoshi is an artist whom eschews commerciality and prefers to live simply, concentrating on his work. However, the quality of his pieces has been recognised by the pottery world in Japan and he has held many exhibitions at leading Tokyo galleries.

nishihata tadashi

Born in 1948 in the ceramic region of Tachikui, Hyōgo prefecture, Nishihata Tadashi is a native of a centuries-old pottery tradition. He comes from a long line of distinguished Tanba artists dating back to the Edo period. Like many successful contemporary ceramists of Japan, he is a master of the ancient techniques as well as celebrated modern artist with a keen eye to modern aesthetics. His works are usually glazed with a uniquely thick ash glaze made from a combination of rice straw and local wood ashes. However, in this elegant tea caddy he used the beauty of the pure, quartzious clay, known in

Japanese as tsuchi-aji, to bring a simple-looking, yet complex artwork into life. Despite the heavy amount of impurities within the clay, this tea caddy was thinly thrown on a potter’s wheel, yielding the decoration completely to the mystery of the kiln’s atmospheric forces. The result is a stunning, surprisingly light tea caddy with parts of dark grey ash glaze and flame-like orange patterns on the bare clay. These unpredictable –and only to a certain degree controllable – effects of wood-fired kilns are known in Japanese as “kiln mutations”, or yōhen.

Modern Tanba Yōhen Tea

Caddy 1948

Ash glazed stoneware

7,8 cm (h) x 6,3 cm (Diam.)

Inv. No. 21.012

Price:

Signed underneath with potter’s mark. Comes with fitted, inscribed, signed and sealed wooden box.

artWOrK preSenteD by: Galerie Kommoss

T.:+49 (0)30 9854 1123

E.: info@galeriekommoss.com www.galeriekommoss.com

SOLD

Fly TWA India

David Klein, circa 1960

63,5 cm x 102,24 cm

Provenance:

Distinguished private collection, New York.

Price on request

artWOrK preSenteD by:

Kapoor Galleries

T.: + 1 (212) 794-2300

E.: info@kapoorgalleries.com

w.: www.kapoorgalleries.com

This India poster was created circa 1960 by the gifted American artist David Klein (19182005) for TWA. The image shows an Indian wall relief with an elephant decorated with precious stones. Elephants were closely associated with royalty in India; they were dressed and adorned with expensive fabrics and jewelry. On top of the elephant, a howdah was placed for the ruler to sit on during processions or on their way to battle.

Klein was best known for his influential work in advertising. Although he produced illustrations for Broadway theatrical productions, Hollywood films, the United States Army, and numerous corporate clients, Klein is best remembered for the iconic travel images he created for Howard Hughes and Trans World Airlines (TWA) during the 1950’s and 1960’s.

Fly TWA – The Orient

David Klein, circa 1955

63,5 cm x 100,3 cm

Provenance: Distinguished private collection, New York. Price on request

artWOrK preSenteD by:

Kapoor Galleries

T.: + 1 (212) 794-2300

E.: info@kapoorgalleries.com

w.: www.kapoorgalleries.com

TWA (Trans World Airlines) was formed in 1924 as Transcontinental & Western Air. The airline’s first route was New York to Los Angeles, soon followed by multiple National routes. The airline expanded to serve Europe, the Middle East and Asia after WWII when the company was under the control of Howard Hughes, owner from 1939 until 1961. Hughes was a dominant force in expanding and promoting the routes flown by his company. The economy was vastly improving, and travels through air for business and pleasure increased too. Posters were a key element to promoting this form of travel and TWA.

David Klein was a noted poster designer whose body of work was prominent in the advertisements for TWA. In this 1950’s design, we see the suggestion of the mystique of the destinations in the Orient. This poster was part of an extensive series by TWA to promote tourist travel in the late 1950’s and early 1960’s.

India, Kanchenjunga Near Darjeeling

Messers Glasgow Printing Co.

Private Ltd. Howrah, 1958 Linen backed poster 101,6 cm x 63,5 cm

Price on request

Issued by the Directorate of Advertising and Visual Publicity, Ministry of Information and Broadcasting, for the Department of Tourism, Government of India.

artWOrK preSenteD by:

Kapoor Galleries

T.: + 1 (212) 794-2300

E.: info@kapoorgalleries.com

w.: www.kapoorgalleries.com

Sabena, India, Belgian World Airlines

Marci, 1970

Belgium

Linen backed poster 99,1 cm x 66 cm

Price on request

Issued by the Societé Anonyme Belge d’Exploitation de la Navigation Aérienne.

artWOrK preSenteD by: Kapoor Galleries

T.: + 1 (212) 794-2300

E.: info@kapoorgalleries.com

w.: www.kapoorgalleries.com

reuben Mack

Reuben Mack was born in 1994 in Vancouver, British Columbia, and grew up in Bella Coola. The Bella Coola Valley is one of seven Nuxalk reserves, which together cover 2,025 hectares of land, or 0.1% of Nuxalk ancestral territory. Of the 1,411 individuals that constitute the Nuxalk Nation today, approximately 893 currently live within these designated reserves.

Growing up, Reuben’s greatest influence was his father, an esteemed artisan named Alvin Mack. Carving is an art form that Reuben’s family has practiced for generations, and his desire for this tradition to continue led him to become a carver himself. From a very young age, he was beginning to learn how to carve, paint, and design in traditional Nuxalk art forms.

After living in Bella Coola for most of his childhood, Reuben moved to Terrace, British Columbia, in 2013. He was accepted into the Freda Diesing School of Northwest Coast Art, where he worked alongside instructors Dempsey Bob, Dean Heron, Stan Bevan, and Ken McNeil. During his time

Grizzly & Salmon

Nuxalk Nation

Red cedar bentwood box

Price on request

"With this box I wanted to capture the essence of my hometown Bella Coola. It features two Grizzly bears chasing a fresh feed of salmon."

artWOrK preSenteD by:

Adam

Prout

T.: + 44 7725 689 801

E.: adam@adamprout.com

W. : www.adamprout.com

artiSt COntaCt:

E.: reuben_mack@hotmail.com

Abalone Frog

Nuxalk Nation

Alder wood bowl

Price on request

"This bowl represents a frog and it was created in Freda Diesing school with one of my instructors Ken McNeil. Frogs were known to represent a good luck charm. I wanted to challenge myself by painting an Abalone shell located inside the bowl."

artWOrK preSenteD by:

Adam Prout

T.: + 44 7725 689 801

E.: adam@adamprout.com

W. : www.adamprout.com

artiSt COntaCt:

E.: reuben_mack@hotmail.com

there, Reuben learned how to craft masks, bowls, spoons, paddles, and plaques. He grew into a devoted painter, sculptor, and design specialist. Once he completed his program, Reuben retuned to Bella Coola to study designs and techniques that were characteristic of both traditional and contemporary Nuxalk styles, as well as to sharpen his knowledge surrounding the rich history of the Bella Coola people.

While Reuben is still in the early stages of his career, he has already begun to make a name for himself in the Canadian art community. In 2013,

Reuben’s work was exhibited in the Concourse Gallery at Emily Carr University of Art + Design. These exhibitions were accompanied by several art shows held at the Terrace Art Gallery throughout the years.

Reuben continuously pushes himself as an artist, with the goal of forcing himself further and further beyond his perceived limits. Ultimately, Reuben aspires to master the styles and techniques of his Nuxalk ancestors, and to pass their knowledge and their legacy on to future generations.

Moon Woman

Alder wood mask

Price on request

"This represents the moon in form of a Woman. I wanted to learn how to ‘out’ more feminine characteristic into this piece. I’ve always wanted to carve a moon and have always been drawn to moon characters."

artWOrK preSenteD by:

Adam Prout

T.: + 44 7725 689 801

E.: adam@adamprout.com

W. : www.adamprout.com

artiSt COntaCt:

E.: reuben_mack@hotmail.com

Always Evolving

Nuxalk Nation Birch wood panel

Price on request

"This painting was inspired by an old bentwood box that is located by one of our old villages. I added a little twist of my own style but it still has all of the classic elements mixed in. I’ve drawn this design many times and attempted painting it before but it just never worked out. Until it was the right time. Always learning and evolving."

artWOrK preSenteD by:

Adam Prout

T.: + 44 7725 689 801

E.: adam@adamprout.com

W. : www.adamprout.com

artiSt COntaCt:

E.: reuben_mack@hotmail.com

Serge Dubuc

Born in Paris in 1962, Serge Dubuc showed a taste for drawing and distant cultures very early on. This disposition was sharpened by the neighbor - opposite the family home - Théodore Brauner, brother of Victor, and his family. After studying architecture (a misdirection according to his own words), he turned to scenography and decorative painting, before becoming a sculpture restorer in 1999 following a decisive experience in Tahiti. Apart from a few exhibitions in open studios in Paris, drawing remains for him above all a private, but constant affair. His taste for the letter, the word, associated with a very organized conception of the space of the sheet, leads him to create new calligrams where the absurd is combined with a humor with Dadaist accents. Alongside this, portraits of characters from his personal pantheon confirm this attraction for purity. Two trips to New Guinea in 2008 and 2011 gave him the opportunity to bring back dozens of drawings of life scenes, portraits and gestures. Serge had his first solo exhibition at Galerie Meyer in June - July 2021.

Untitled 2022

55 cm x 40 cm

Ink on Tapa - mulberry barkfrom Tonga Price on request

artWOrK preSenteD by:

Anthony J.P. Meyer

T.: +33 (0) 6 80 10 80 22

E.: ajpmeyer@gmail.com

w.: www.meyeroceanic.art

Untitled 2022

55 cm x 40 cm

Ink on Tapa - mulberry barkfrom Tonga Price on request

artWOrK preSenteD by: Anthony J.P. Meyer

T.: +33 (0) 6 80 10 80 22

E.: ajpmeyer@gmail.com

w.: www.meyeroceanic.art

Shao Wenhuan

Obstinate Rock

2011

Hand-printed photograph fixed on linen canvas, mineral colours and acrylic paint

120 cm x 120 cm

Price: 12.000 USD

artWOrK preSenteD by:

Rasti Chinese Art Ltd.

T.:+852 2415 1888

E.:gallery@rastichineseart.com

W.: www.rastichineseart.com

Born 1972. Shao is currently a professor at the China Academy of Art in Hangzhou. He has exhibited widely in China and abroad, including recent exhibitions at the Mingyuan Museum, Shanghai; the Folkwang Museum, Essen, Germany; China Academy of Art Museum, Hangzhou; Beijing Photography Biennial, Beijing; the First Biennale China-Italia of Contemporary Art, Milan; the Wuhan Art Museum, Wuhan; the Lucerne Art Museum, Lucerne, Switzerland, among others. His works are part of many private and public collections around the world, including the Uli Sigg collection.

Suda Kokuta (1906-1990)

Suda Kokuta has been an important artist of the Japanese avant-garde. In 1955, he was invited by Yoshihara Jirō (1905-1972) to become a member of the famous Gutai group, but he refused to do so, preferring to follow his own creative path. His sketch-like, yet complex painting combines different materials such as ink, oil pastel, gouache and pencil drawing and is a good example of Suda’s late style, where he departed from his abstract phase turning back to a more figurative painting. However, with traces of abstraction and his fluid and dynamic way of working, he created an expressive and humorous representation of this powerful zodiac animal

Laughing Tiger, Beginning of Spring

Signed: Koku and sealed: Kokuta

Japan

1986

Mixed media on shikishi

cardboard

26 cm (h)x 23 cm (w); 46 cm (h)

x 39 cm (w) framed

Inv. No. 21.030

Price: 6.000 euros

artWOrK preSenteD by:

Galerie Kommoss

T.:+49 (0)30 9854 1123

E.: info@galeriekommoss.com

www.galeriekommoss.com

Untitled

Signed Koku to lower right Oil and mixed media on burlap

61 cm (h) x 50 cm (W.)

Provenance:

Private collection, Osaka

artWOrK preSenteD by: Gregg Baker Asian Art

T.: +32 468 00 56 85

E.: info@japanesescreens.com

W.: www.japanesescreens.com

Price: 36.000 euros

38.000

Suda Kokuta (1906-1990) was one of the major abstract artists in post-war Japan, who produced various experimental works deeply rooted in Zen philosophy. He is also known for his distinctive figurative painting from the early period as well as calligraphy characterised by vigorous, dynamic brushwork.

Born in Saitama prefecture Japan, Suda started his career as a figurative painter in an individualistic drawing style with a particular emphasis on the line, the most fundamental visual element in all art. While exhibiting at major group exhibitions from 1933 and enjoying success as an artist, he is also known to have studied Zen philosophy intensely. Buddhism is to continuously inspire the artist throughout his life. In 1941, he moved to the ancient capital of Nara and lived in the quarters of Shinyakushi-ji and Todai-ji temples where he spent six years painting the Buddhist sculptures treasured there.

In 1949, he met Hasegawa Saburo (1906-1957), one of the pioneers of Japanese abstract painting, who had a profound knowledge of traditional Eastern philosophy. Meeting with Hasegawa, Suda realised the essence of Zen is abstract and shifted his artistic style from representational to abstract. For the next 20 years, he continued to experiment with various mediums and styles, producing abstract painting with a tactile quality and complex texture, to express the profound universe of its philosophy.

In 1955, Suda was invited by Yoshihara Jiro (1905-1972) to join the new avant-garde group Gutai but he chose not to, preferring to stay independent in his own creative process. Yet he actively engaged with other avant-garde artists based in the Kansai region including Yoshihara

and Morita Shiryu (1912-1998). In addition to regular solo and group exhibitions in Japan, from the late 1950s he started to exhibit overseas including: the 4th Sao Paulo Biennale in 1957, the 11th Plemio Resonne International Art Exhibition of Italy and Houston USA in 1959, and then the 1961 Carnegie International Exhibition, Pittsburgh USA.

In the 1970s, Suda returned to figurative representation but this time a trace of abstraction remained on his canvas. He enjoyed to mix both styles, finding that abstract and representational paintings were not something contradictory. By this time, he was also practicing calligraphy and expressed philosophical words in ink with dynamic lines full of vitality. His obsession for the quality of the line, his talent as a painter and his strong spirituality soon brought him recognition as an outstanding calligrapher. The eminent avantgarde calligrapher Inoue Yuichi (1916-1985) likened Suda to the old masters Hakuin (16851768) and Tessai (1836-1924), both renowned as calligraphers as well as painters.

Throughout his life, he pursued his own art, continuously achieving breakthroughs in his creations. His studio was a spiritual battle field for Suda as his painting process was intensely demanding both mentally and physically – since encountering with Zen Buddhism, he sought to embody its deep, universal philosophy and spiritual freedom onto the canvas. As such, his work seems to have enduring, magnetic power which transcends time and space and continues to resonate with us today.

For more about the artist visit our website http://japanesescreens.com

Untitled

Signed Koku to lower left; signed Suda Kokuta and dated 1961.4.2 on the reverse Mixed media on paper 37 cm x 27 cm

Provenance:

Private collection, Japan

Price: 5.000 euros

artWOrK preSenteD by:

Gregg Baker Asian Art

T.: +32 468 00 56 85

E.: info@japanesescreens.com

W.: www.japanesescreens.com

tanabe Chikuunsai iV

Mononofu (Samurai Spirit)

2021

Bamboo madake, rattan & urushi

lacquer

68 cm x 24 cm x 51,5 (h) cm

Price on request

"In Japan, there are "ways" to culture such as Tea ceremony, flower arrangement, kendo, judo etc. Whether drinking tea or fighting a battle, the Japanese have a philosophy called "Michi". It means to be grateful to others, to discipline oneself and to train oneself.

I aspire to create my work with a philosophy based on the Way. The concept of "Mononofu" is based on the samurai's philosophy of Bushido. It is inspired by the samurai's formal dress, Kamishimo."

artWOrK preSenteD by:

Galerie Mingei

T.: + 33 (0)6 09 76 60 68

E.: mingei.arts.gallery@gmail.com

W.: www.mingei.gallery

All works are exhibited at the Baur foundation in Geneva until March 27th.

Tanabe Chikuunsai IV (born Takeo in 1973) is the most famous contemporary bamboo artist in Japan.

Chikuunsai IV creates two kinds of bamboo works. The first, which are made using traditional techniques transmitted from generation to generation, are functional objects destined for used in ikebana and in the tea ceremony.

He remains faithful to those traditions, and is currently passing his art on to future generations by teaching eight disciples and his three children.

His ten-year-old daughter is already giving her first demonstrations.

His other works fall squarely into the realm of contemporary creation. Tanabe Chikuunsai IV is an artist of his time who expresses his individuality through various organic sculptural forms using Tiger bamboo and Black bamboo along with other natural materials.

Tsunagari - kako genzai miraiConnection (Connection: Present, Past, Future)

2021

Tiger bamboo

120 cm x 70 cm x 48 (h) cm Price on request

Chikuunsai IV creates different kinds of bamboo works. First of all functional objects destined for used in ikebana. Then contemporary sculptures still in bamboo. Some of them were created in collaboration with the japanese architect Sawako Kaijima using 3D technology. And to finish the monumental in situ installations in Tiger bamboo and Black bamboo.

His works are part of many notable international private and public collections. He has been awarded many prizes, and was the recipient of the prestigious Lloyd Cotsen Bamboo Prize in the United States in 2007 and the Mingei Bamboo Prize in Paris, 2021.

Since 2015, he has produced several monumental installations: at the MET in New York, the Japan House in Sao Paulo, Takashimaya in Tokyo, the Musée National des Arts-Asiatiques Guimet in Paris, the Château de la Celle-Saint-Cloud, the Domaine de Chaumont-sur-Loire, the Baur Foundation in Geneva etc….

Since 2015, he has produced several monumental installations: at the MET in New York, the Japan House in Sao Paulo, Takashimaya in Tokyo, the Musée National des Arts-Asiatiques Guimet in Paris, the Château de la Celle-Saint-Cloud, the Domaine de Chaumont-sur-Loire, etc….

artWOrK preSenteD by: Galerie Mingei

T.: + 33 (0)6 09 76 60 68

E.: mingei.arts.gallery@gmail.com

W.: www.mingei.gallery

Uyoku (Wings)

2021

Bamboo madake, rattan & urushi lacquer

132 cm x 24 cm x 28,5 (h) cm

Price on request

artWOrK preSenteD by:

Galerie Mingei

T.: + 33 (0)6 09 76 60 68

E.: mingei.arts.gallery@gmail.com W.: www.mingei.gallery

Disappear XII

Geometric design by Sawako

Kaijima

2021

Bamboo madake & rattan

28,5 cm x 26 cm x 91 (h) cm

Price on request

artWOrK preSenteD by:

Galerie Mingei

T.: + 33 (0)6 09 76 60 68

E.: mingei.arts.gallery@gmail.com

W.: www.mingei.gallery

HanamushinⅡ (empty mind)

2021

Geometric design by Sawako

Kaikima

Bamboo madake & rattan

74 x 42.5 x 41 (h) cm

Price on request

artWOrK preSenteD by:

Galerie Mingei

T.: + 33 (0)6 09 76 60 68

E.: mingei.arts.gallery@gmail.com

W.: www.mingei.gallery

“The flower has no mind yet invites the butterfly, and the butterfly has no mind yet visits the flower”, (mettre en gros) Zen priest Ryokan (1758-1831) of the Edo period.

"Flowers do not bloom in order to invite butterflies, and butterflies do not have a mind to visit flowers.

These words express the wondrous mystery of the relationship between nature and man. This “flower with no-mind” series uses the world's most beautiful mathematical algorithm to express the order that gathers around beautiful things.

The most beautiful mathematical formula in the world : Enneper surface.

In the subdivisions of mathematics, Differential Geometry and Algebraic Geometry, an Enneper surface is a self-intersecting surface which can be written in the following parametric representation.

This surface was introduced in 1864 by Alfred Enneper in connection with the theory of minimal surface.

The Weierstrass-Enneper parametric display is very simple, and the representation in real variables can be easily calculated from this formula. This surface has a conjugate minimal surface which coincides with itself. "

the Master of the Water, pine and Stone retreat (Born

1943)

Celebrated collector, dealer and scholar of the Chinese aesthetic and its expression in works of art, the artist has, in recent years, discovered his own voice in ink painting. The discriminating and sophisticated eye he has brought to collecting antiquities, translates into his refined and scholarly ink aesthetic. Like the best literati-painters of Chinese history, his paintings of scholar’s objects and landscapes express his inner reality and personality, rather than seeking to achieve formal likeness or bravado displays of craftsmanship. Filling his every painting with refined ideas and personality, this neo-literati has even honed his ‘three perfections’ (poetry writing, calligraphy and painting), inking his observations about life, nature and treasured objects as written inscriptions on his paintings, but in English, his native language; the final effect is as much a homage to the Chinese literati tradition, as it is to his own scholarly sensitivities.

Drinking at the Pool of the Sun

With three seals of the artist, 水松石山房 Shuisongshi

shanfang (‘The Water, Pine and Stone Retreat’), seal let ink, and 如如居士 Ruru jushi (‘Retired scholar [or lay devotee] who believes that all doctrines are equal’).

2019

Ink and watercolours on clouddragon paper mounted down xuan paper

72 x 138 cm

Price on request

Ancient myths tell us of the boiling Phlegethon, turbulent womb of the sun, where it was

nightly renewed to rise again on the eastern horizon and light the world. Some believe that the twisted stones of the Emerald Gorge were formed at the birth of the world from this potent brew and that to this day, when no witness is near, they return to sup on this fiery broth, re-charging their power from its infinite depth of meaning. But we mortals have no need to burn the tongue, strange stones have already done this for us and all we need do is break down the distinction between self and stone.

Inscribed by the Master of the Water, Pine and Stone retreat

at the Garden at the Edge of the Universe in the early Winter of 2019.

unknown

A Japanese Tamba yaki “sun eclipse” ceramic vase

Marked at the bottom

Height: 14,2 cm

Price: 500 euros

A dark grey Tamba ware flower vase with a Bizen style “bota mochi” circle decoration.

artWOrK preSenteD by:

Kistune Gallery

T.: +32 476 87 85 69

E.: arie.vos@kitsune.be

W.: www.kitsunegaroo.com

Bird-shaped bronze flower vase

Heisei Period

Ca 1980

Height: 21,5 cm

Length: 33 cm

Price: 2.000 euro

SOLD

A Japanese green bronze of modernist design, representing a bird with open beak. Quiet spectacular and well executed. Although unsigned, we date it somewhere late Heisei-period, ca 1980

artWOrK preSenteD by:

Kistune Gallery

T.: +32 476 87 85 69

E.: arie.vos@kitsune.be

W.: www.kitsunegaroo.com

Wang Mansheng

Wang Mansheng following graduation in 1985 from the Chinese Department of Shanghai’s Fudan University, where Wang majored in classical literature, he worked for over a decade as an editor, director and producer at China Central Television in Beijing. He has devoted himself full time to painting and calligraphy since his move to New York in 1996. The imaginary landscapes Wang creates using experimental techniques, tools and media in concert with traditional brushwork, are often composed in dialogue with Chinese classical themes. Wang’s calligraphy and paintings have been exhibited in China, including at the Beijing Art Museum and Today Art Museum in Beijing, Xuhui Art Museum in Shanghai and Shanxi Museum in Taiyuan and, in New York, at the Godwin-Ternbach Museum, Rockefeller Brothers Fund, China Institute in America, The Baltimore Museum of Art and Princeton Art Museum. Wang has lectured and given demonstrations on Chinese art and culture at universities and museums. His paintings and calligraphy are held in museums and private collections.

Enlightened 2011

Ink and colour on paper board

93 cm x 101 cm

Price: 10.000 USD

artWOrK preSenteD by:

Rasti Chinese Art Ltd.

T.:+852 2415 1888

E.:gallery@rastichineseart.com

W.: www.rastichineseart.com