IV catalogue - World Art Society

M aY 2022 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.

WHO We aRe

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 expertsCollectors 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.

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Cover image: Untitled paintig by Suda Kokuta. Presented by Gregg Baker Asian Art on p. 48

Chen Jinan

Newtype I No. 6

2015 Vandyck Process

50 cm x 70 cm

Edition 2 of 6

Price on request

aRtWORk pResented bY:

Rasti Fine Art Ltd.

M.:+852 2415 1888

E.: gallery@rastifineart.com

W: www.rastifineart.com

Coco Fronsac

Born in 1962 into a family of artists, granddaughter of Lucien Neuquelman, and Camille Lesné, with a formal training in Applied Arts in Paris and experience as a former lithographer, Coco Fronsac is a versatile artist with a passion for Tribal Art and Surrealism. For thirty years now Coco Fronsac has been touring the flea markets every weekend in search of old family photos fallen into other hands through the ups and downs of personal histories. The result is an endlessly renewed collection of old portraits, that has become an integral element of her visual imagination. Through collage, carving, painting, weaving, colorization and juxtaposition, she plays with our vision of time and our relationship to the other in order to transport us into a new reality. A reality that is fluctuating, alive and abstract and in the exploration of this abundance of different worlds; each work of art becomes an invitation into her dreamlike and timeless universe. Since 2010 Coco has increased her renown and is exhibited in collective and solo exhibitions in both Europe and the USA. She lives and works in Paris.

Bibliographic source of inspiration:

Venus of Willendorf / Kavat mask

Baining New Britain / Coco Fronsac:

"Death will know nothing about it"

“Les Sapique” “Musidora-Azyiadé”

“Darling hair in Africa”

Josef Szombathy and the Venus on the Beautiful Blue Danube, from the series Chimeras and wonders

Signature: bottom right / Stamp of the artist on the back "Coco Fronsac" 2021

Gouache and ink on vintage photograph

19 cm x 25 cm

Frame size: 26 cm X 32 cm

Provenance:

Collection of the artist

Price: 2.800 euros

aRtWORk pResented bY: Anthony J.P. Meyer

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

E.: ajpmeyer@gmail.com

w.: www.meyeroceanic.art

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.

Synoptikos IV

2019

Hahnemuhle Archival

PhotoRag inkjet print

194 cm x 236 cm

Editions of 3, 2AP

Price on request

aRtWORk pResented bY:

Rasti Fine Art Ltd.

M.:+852 2415 1888

E.: gallery@rastifineart.com

W: www.rastifineart.com

eric guéna

Eric Guéna was born on 25 November 1953 in Louvres (Val d’Oise, France). At the age of twenty, he first travelled to Asia, where he studied local artistic techniques such as “Sumi-è” (Japanese ink painting), lacquer painting, traditional decorative gold leaf painting and Japanese screen production. He began to restore Japanese and Chinese works of art while travelling through Asia. That’s how he learnt and became proficient in both western and oriental pictorial techniques. Eric Guéna implements numerous layers of colored coating, carefully polished and repolished, to obtain the peculiar silky look, so typical for his work. His creative approach is influenced by GODAÏ, the Japanese concept of the 5 elements: Earth, Water, Fire, Wind (Air) and Emptiness, the 5 pillars which ensure the balance of the Universe. In this concept his paintings could be considered as a miniature cosmos.

He currently lives and works in Paris. Gallery Famarte collaborates with him on a permanent basis.

“Each painting is a surprising and ethereal encounter, suggesting something fleeting, the other side of life…” Marie-Pascale Meunier

Conciliabule

Signed by the artist

2021

Acrylic and copper pigment

130 cm x 97 cm

Price: 5.000 euros

aRtWORk pResented bY:

Farah Massart

M.:+32 495 289 100

E.: art@famarte.be

W.: www.famarte.be

george nuku

'Patupatu'

2021

Transparent plexiglass.

Height: 40 cm

Exhibition:

Galerie et Meyer, 2021

Soon at WeltMuseum - Vienna Austria (June 2022-January 2023)

Provenance :

Collection of the artist

Photo @Martine Giraudv

Price: 1.600 euros

aRtWORk pResented bY:

Anthony J.P. Meyer

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

E.: ajpmeyer@gmail.com

w.: www.meyeroceanic.art

George Nuku was born in 1964 and raised in Heretaunga Hawkes Bayhas. He is a mix of Germany, Scottish, and Maori origins. As a child, he was influenced by his mother’s Maori culture, he then entered Massey University, studying arts, geography, and sociology. He is one of New Zealands North Island Aotearoa leading contemporary Māori artist of all time. He works with visual creativity, performing arts, painting and carving with mix media such as stone, bone, wood, shell, polystyrene, plexiglass and recycled plastic. He covers it with Maori symbols representing wonders of the sea, and profoundly inspires viewers to ponder upon the environmental issues the world is now facing.

Nuku's work ranges from delicate jade and pearlshell amulets, life size stone and plexiglass sculptures, through to two story high Polynesian demigods and Māori cultural heroes. He carries the tradition of his people handed down for one thousand years in an artform that promises to expand life and enhance survival.

Nuku has gone on to an impressive career in the arts that has seen him exhibit extensively internationally, in over 50 major projects in museums, art institutions and on marae (tribal meeting grounds), including a major commission for the New Zealand pavilion at the 2009 Venice Biennale. He is currently based in Rouen, France.

Jim skull

The adventures of Jim F. Faure, or Jim Skull the artist, began at Koumac in New Caledonia in 1959. Passionately drawn to human experiences, different cultures, rituals, habits and customs he traveled a great deal and was marked by his encounters. Over the years he traveled through Oceania from New Zealand, to Vanuatu, Australia, then on to India, and Hong-Kong, before landing in Paris to enter the Ecole Estienne and the École nationale supérieure des arts appliqués et des métiers d’art of rue Olivier de Serres. He decided to use those experiences to focus his stylistic research on creating sculptures in the shape of human skulls. In 1980, Jim skull created his first skulls and since then paying attention to detail and working with various materials he share his view of the skull as something new, with harmony and glam; far from the concept of macabre. He transforms these "fetishes objects" into unique collectible shapes.

His materials consists of countless colored threads, paper mache, raw-earth pearls, Murano glass beads, rope and feathers that together form a sort of “skin”, covering the framework of the main form. Since the beginning of this century, Jim has taken part in many exhibitions in Paris, where he lives and works.

Mr Smith

2019

Paper mache and polyester threads

Height: 1 mt

Provenance:

Collection of the artist

© Copyright: photographs: Natacha Nikouline

Price: 13.900 euros

aRtWORk pResented bY: Anthony J.P. Meyer

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

E.: ajpmeyer@gmail.com

w.: www.meyeroceanic.art

kumi sugai (1919-1996)

Kumi Sugai was born in Kobe to a family of talented Malay musicians. He studied at the Osaka School of Fine Arts from 1933 and at the same time he practiced calligraphy and was fascinated by typography, both of which were to play an important part of his later work. In 1937 however, he had to drop his studies due to a health problem and begun working as a poster designer. From 1947 until 1949 he also studied nihonga (Japanese style painting) under Nakamura Teii (1900-1982).

Sugai moved to live and work in Paris in 1952, studied at the Academie de la Grande Chaumiere under Edouard Goerg (1893-1969) and quickly entered the artistic circles of the École de Paris and the Nouveau Réalisme, befriending artists such as Alberto Giacometti (1901-1966), Hisao Domoto (1928-2013) and Yasukazu Tabuchi (1921-2009) amongst others. His early abstract expressionistic oil paintings were popular and Sugai’s early solo shows in Paris and Brussels managed to propel his career further. By 1960, Sugai had enough work for a retrospective at the Municipal Art Museum, Leverkusen, Germany. During this successful period of the late 50’s and 60’s Sugai participated in all the major Art Exhibitions of the time; Sao Paulo Biennale (1959, 1965), Kassel Documenta (1959, 1964) and Venice Biennale in 1962 amongst others.

Untitled

Signed Kumi SUGAÏ

Dated 1954 to the lower right

Oil on canvas

58 cm (h) x 45 cm (w)

Provenance:

Galerie La Roue, France

Private Collection, France

Price: 28.000 euros

aRtWORk pResented bY:

Gregg Baker Asian Art

T.: +32 468 00 56 85

E.: info@japanesescreens.com

W.: www.japanesescreens.com

In 1963, Sugai moved to the affluent Left Bank of Paris and bought a much loved Porsche car. This love of cars, speed, topography and the graphic qualities of road signs took Sugai’s work in a different direction making his later work geometric, hard-edge and stylised. Some of these works focus solely on large capital letters from the Latin alphabet, appropriating their powerful curves and lines while others feature directional shapes such as arrows painted in bold colours evoking the imagery of road signs.

In 1967 however Sugai was involved in a car accident when he was seriously injured. Two years later he returned to Japan and lived in both countries for nearly three decades. Like many of his contemporaries, Sugai also wrote essays and published a book in French, La Quete sans Fin (The Endless Quest, 1970). Kumi Sugai finally returning to Kobe, Japan in 1995 just one year before his death.

Works by the artist can be found in various public collections including: Solomon R. Guggenheim Museum, New York; Museum of Modern Art, New York; the Metropolitan Museum of Art, New York.

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

Marie diane

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.

Mende Mask

Sierra Leone

Chinese ink

60 cm x 80 cm

Price: 1.200 euros

aRtWORk pResented bY:

Eric Hertault

T.:+33 6 15 38 64 81

E.: hertault.eric@gmail.com

W. : www.eric-hertault.com

dan mask

Ivory Coast

Chinese ink

60 cm x 80cm

Price:

aRtWORk pResented bY: Eric Hertault

T.:+33 6 15 38 64 81

E.: hertault.eric@gmail.com

W. : www.eric-hertault.com

tatooine

Acrylic on canvas

92 cm x 73 cm

Price:

aRtWORk pResented bY: Eric Hertault

T.:+33 6 15 38 64 81

E.: hertault.eric@gmail.com

W. : www.eric-hertault.com

SOLD

Epices

Acrylic on canvas

162 cm x 130 cm

Price: 2.400 euros

aRtWORk pResented bY: Eric Hertault

T.:+33 6 15 38 64 81

E.: hertault.eric@gmail.com

W. : www.eric-hertault.com

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 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.

Ming tong

Ming Tong was born in China. He has a degree in environmental sculpture from the Tianjin Academy of Fine Arts in China. He has been living and working in Lille (France) since 1994 as an independent artist, specialising in painting, calligraphy and ceramic or inox sculpture. He also teaches art and sculpture at the Ecole Supérieure d'Art in Tourcoing and Arras.

Ming Tong mainly prefers figurative themes. As a sculptor he likes volume, where roundness goes hand in hand with softness. His figurative world, whether painted or sculpted, is a modern, sensitive evocation of Chinese culture, that refers to something more universal, across cultures, however.

His work stands at the crossroads between his own Chinese culture and western culture.

Galery Famarte started her collaboration with Ming Tong early 2019 and shows his unique art works at national and international art fairs.

Ecoute

Signed by the artist

2021

Ceramic and gold pigment

46,5 cm x 28 cm x 28 cm

Price: 6.800 euros

aRtWORk pResented bY:

Farah Massart

M.:+32 495 289 100

E.: art@famarte.be

W.: www.famarte.be

Morigami Jin (b. 1955)

Born into a family of weavers, Jin Morigami is one of the most talented creators among the young generation of bamboo artists. After completing his training, he created his studio and even employed several young assistants to help him fill the many orders he received for his delicate works, thus introducing a new style of bamboo sculpture to Oita.

As a young artist, he submitted his work to the Nitten, the Japan Fine Arts Association, and was accepted without being required to pass through the intermediate stages. However, the resentment this caused among more experienced artists contributed to his decision to end his involvement in the Japanese public exhibition system for many years.

Recognition of his work by American collectors and museums breathed new life into his career. In 2004, he was a finalist in the prestigious Cotsen Bamboo Prize competition. Since then, the artist has enjoyed renewed success, especially recently at the Musée du Quai Branly - Jacques Chirac in Paris, where he was acclaimed for his pieces in

the Fendre l'Air, Art of Bamboo in Japan exhibition.

Morigami's works are part of many American and European public and private collections.

Zuifu 2021

56 cm x 27 cm x 33 cm (h)

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

print

India

Madras: Messrs. Associated Printers Ltd, Circa 1950

Linen backed color lithograph 100,97 cm x 63,5 cm

Provenance: Potter & Potter, 1 December 2018, Lot 393.

Price: 2.000 USD

aRtWORk pResented bY:

Kapoor Galleries

T.: + 1 (212) 794-2300

E.: info@kapoorgalleries.com

w.: www.kapoorgalleries.com

Visit India – Sanchi Circa 1950

Linen backed poster 63,5 cm x 101,6 cm

Provenance:

Distinguished private collection, New York.

Price: 3.000 euros

aRtWORk pResented bY: Kapoor Galleries

T.: + 1 (212) 794-2300

E.: info@kapoorgalleries.com

w.: www.kapoorgalleries.com

Banaras, India

Bombay: Bolton

1957

Linen backed color lithograph 99,06 cm x 63,5 cm

Provenance:

Potter & Potter, 1 December

2018, Lot 351.

Price: 4.500 USD

aRtWORk pResented bY: Kapoor Galleries

T.: + 1 (212) 794-2300

E.: info@kapoorgalleries.com

w.: www.kapoorgalleries.com

Middle East, Scandinavian Airlines System

Copenhagen: Axel Andreasen & Sonner

1960s

Of set linen backed color lithograph with metallic finish

93,98 cm x 62,23 cm

Price: 600 USD

aRtWORk pResented bY: Kapoor Galleries

T.: + 1 (212) 794-2300

E.: info@kapoorgalleries.com

w.: www.kapoorgalleries.com

Roger boulay

Roger Boulay was born in 1943 in the Sarthe region of France. He defended his doctorate in ethnology in 1986, but it was in 1979 that the decisive meeting with Jean-Marie Tjibaou took place, which anchored him in an exclusive passion: Oceania. Since then, he has developed a policy of intense collaboration with Kanak cultural institutions which led him to be entrusted with the museographic program of the Tjibaou Cultural Center (Nouméa) along with Emmanuel Kasarhérou. As a well known curator of numerous exhibitions, he was commissioned in 2011 by the government of New Caledonia to produce, again with Emmanuel Kasarhérou, the inventory of all Kanak objects kept in French and European museums (IPKD).

sOMe exHibitiOns:

For the Quai branly Museum - Jacques Chirac:

• The aristocrat and his cannibals, 2008

• Tarzan, or Rousseau among the Wasiri, 2009

• Kanak, art is a word (with Emmanuel Kasarhérou), 2013

• Kanak notebooks, travel in inventory, 2020-2021

For the national Museum of arts of africa and Oceania:

• Of jade and mother-of-pearl, 1991

• Arts of Vanuatu, 1996

• Kannibals and Vahines, 2001

For the Museum of new Caledonia, nouméa:

• Of jade and mother-of-pearl, 1990

For the Hèbre museum, Rochefort:

• Kanak notebooks, inventory trip, 2022

Chiefly "Roof Spires"

Signed: Roger Boulay

2020

Watercolor and pencil on paper

41,7 cm x 59,4 cm

Frame dimensions: 53 cm x 68 cm

Provenance : Collection of the artist

Price : 950 euros

aRtWORk pResented bY: Anthony J.P. Meyer

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

E.: ajpmeyer@gmail.com

w.: www.meyeroceanic.art

serge dubuc

Untitled 2022

Indian ink on mulberry fabric from Tonga

58 cm x 43 cm

Provenance:

Collection of the artist

Price: 600 euros

aRtWORk pResented bY:

Anthony J.P. Meyer

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

E.: ajpmeyer@gmail.com

w.: www.meyeroceanic.art

Born in Paris in 1962, Serge Dubuc very early on showed a taste for drawing and far-away cultures. This is sharpened by the neighborhood of the family home, facing the house of Th odore Brauner, Victor's brother, and his family. After studying architecture (a referee error according to his own words), he turned to scenography and decorative painting, before becoming a sculpture restorer in 1999 following a crual and life changing experience in Tahiti.

Apart from a few exhibitions in the context of workshops open 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 of paper, leads him to create original calligrams where the absurd is combined with humor and Dadaist accents. Beside that, portraits of characters from his personal pantheon confirm this attraction for the purity of the drawn line. Two stays in New Guinea in 2008 and 2011 are for him the opportunity to bring back dozens of drawings of scenes of daily life, portraits and gestures of which he says "something will have to be done one day" ... Serge lives and works between Touraine and Paris.

shao Wenhuan

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.

Riotous Stone

2011 Photography and mixed media on canvas

160 cm x 105 cm

Price on request

aRtWORk pResented bY: Rasti Fine Art Ltd.

M.:+852 2415 1888

E.: gallery@rastifineart.com

W: www.rastifineart.com

soe soe

Soe Soe was born in 1967 in Laputta, Myanmar. His artistic talent was evident as a young boy and his talented parents – father is a pianist and mother is an instructor of traditional dance – nurtured his gift for painting. At 18, he made a decision to devote his life to painting and 5 years later he graduated from the State School of Fine arts in Yangon.

His unusual techniques reflect his pioneering spirit in pursuing innovation in each piece of art.

Since 2004 he has adopted a unique way to apply paint to the canvas, with the precision of a surgeon he started to use syringes.

His works capture the vibrant energy of sunlight dappling the beautiful rice fields of the Northern Shan State in Myanmar. The three-dimensional quality of his refreshing compositions captures the nature and reality of the blossoming trees, rice fields and rural people.

His colour palette is usually composed of strong and pure colors which express the intensity of light in tropical climates.

Soe Soe has held several group and solo exhibitions around the world, including Yangon, Hong Kong, Singapore, Kuala Lumpur, New York, London, Paris, and Knokke. He has emerged as a significant artist, well-received by international collectors and his paintings can be found in both private and public collections, both in Myanmar and abroad.

Golden terrace and ruby blossom

Signed by the artist

2020

Acrylic

122 cm x 122 cm

Price: 7.000 euros.

aRtWORk pResented bY: Farah Massart

M.:+32 495 289 100

E.: art@famarte.be

W.: www.famarte.be

suda kokuta (1906-1990)

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 (19061957), 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

Untitled Signed Suda Kokuta

Dated 1959 on the reverse

Mixed media on paper

37,5 cm (h) x 27 cm (w)

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

Untitled

Signed Suda Kokuta

Dated 1967 on the reverse

Oil on canvas

117 cm (h) x 80 cm (w)

Provenance: Private collection, Osaka

Price: 38.000 euros

aRtWORk pResented bY:

Gregg Baker Asian Art

T.: +32 468 00 56 85

E.: info@japanesescreens.com

W.: www.japanesescreens.com

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 avant-garde calligrapher Inoue Yuichi (19161985) likened Suda to the old masters Hakuin (1685-1768) 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

sugiura noriyoshi (b. 1964)

A native of Sendai, on Japan’s main island of Honshu, Sugiura Noriyoshi is a graduate of the School of Engineering, Osaka University.

In 1997, he decided to train in the arts of bamboo and moved to Beppu (Kyūshū), where he studied for two years at the Ōita Prefectural Beppu Technical College and then at the Beppu Industrial Art Crafts Institute, now unified as the Ōita Prefectural Bamboo Art Crafts and Training Support Center.

When he finished his training, he became the apprentice of Watanabe Chikusei II (b. 1932), then of Okazaki Chikubōsai II (b.1933), before opening his own studio.

During the National Sports Festival of Japan events held in Ōita in 2008, one of his baskets for ikebana entitled Sugomori was presented to the Emperor of Japan.

Permanent Collections: Museum of Fine Arts, Boston, Clark Center for Japanese Art & Culture, Hanford, Beppu City Traditional Bamboo Crafts Center, Lussato-F.dier Institute, Brussels (Belgium), etc

Aurolas

Bamboo madake & urushi lacquer

2014

42 cm (h) x 45 cm x 42 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

takiguchi kazuo (b. 1953)

Takiuchi Kazuo was born to a family of a traditional Kiyomizu-ware wholesalers in Gojōzaka, Kyoto. He first found joy to create works at the Kyoto City University of Arts. He studied ceramics under Kiyomizu Rokubei VI (1901-1980) and Yagi Kazuo (1918-1979), one of the founders of Sōdeisha (Crawling through Mud Association), the influential avant-garde ceramic group founded in 1949. Inspired by Yagi, Takiguchi’s signature works are unconventional, sculptural forms and in particular, the Mudai (Untitled) series shows his distinctive style of abstract, complex forms with swelling bodies.

While he studied at the Royal College of Arts, London, from 1991 to 1992, he realised the importance of language and words. Since then Takiguchi has been creating language-inspired works that are associated with specific words and therefore each work is titled. On the other hand, his Mudai (Untitled) series are his attempt to embody something that cannot be expressed in specific words.

Mudai (Untitled)

Inscribed Mudai (Untitled), signed and sealed Kazuo

Japan

1995

Ceramic sculpture

23,5 cm (h) x 45 cm (w) x 38 cm (D)

Tomobako (original box)

Exhibition:

Solo exhibition Kioku (Memory) 1995, Hiensō, Kyoto, 1995.

Price: 4.800 euros

4.200

aRtWORk pResented bY: Gregg Baker Asian Art

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Throughout his career, Takiguchi has exhibited extensively and has won many prizes including: the Foreign Minister prize at Nihon Tōgei-ten (Japanese Ceramic Exhibition) in 1985, the silver prize at the Japan-China International Ceramic Exhibition in 1986, the grand prix at the Japanese Ceramic Exhibition in 1989, the grand prix at the Okada Mokichi prize exhibition at MOA museum in 1990, the Goto Cultural prize and Japan Ceramic Association prize in 1991, and the Kyoto Cultural prize in 1996.

Works by the artist can be found in the Victoria and Albert Museum, London; The National Museum of Modern Art, Tokyo; Museum of Modern Ceramic Art, Gifu; Yamanashi Prefectural Museum of Art.

tanabe Chikuunsai iV

Tanabe Chikuunsai IV (born Takeo in 1973) is the son of Chikuunsai III, who passed away in 2014. His first artist's name (gō) was Shouchiku, which means "little bamboo".

Since April of 2017, he has carried the title Chikuunsai - that of his father, grandfather and great-grandfather - which means "bamboo cloud", and he represents the fourth generation of this dynasty of weavers.

Tanabe's family is based in Sakai (Osaka Prefecture). His mother, Mitsuko Tanabe (born in 1944) and his uncle, Yota Tanabe, are also weavers. The Tanabe family is very well known in Japan;

This young artist was initiated into the arts of wickerwork weaving at a very early age, learning first from his father, and then studying fine arts at the Osaka City Crafts High School (1991). He has a degree in sculpture from Tokyo Art University (1999), and is also a graduate of the Bamboo Arts Craft Center of Oita Prefecture (2001). His international activities distinguish him from other bamboo artists. He has been an ambassador for Japanese wickerwork and has shown and given demonstrations all over the world, including in Australia, Korea, the Netherlands, New Zealand, the United States, Switzerland, France, Belgium, Russia, Finland, and Brazil.

Sound of Star 2021

Bamboo madake, rattan and urushi lacquer

27,5 cm x 27,5 cm x 36,5 cm (h)

Price on request

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Galerie Mingei

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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. Both his functional and contemporary works are part of many notable international private and public collections. He has been awarded many prizes in Japan as well as abroad, and was the recipient of the prestigious Lloyd Cotsen Bamboo Prize in the United States in 2007.

Since 2015, he has produced a number of monumental installations: at the MET in New York, the Japan House in Sao Paulo, Takashimaya in Tokyo, the MNAA-Guimet in Paris, the Château de la Celle-Saint-Cloud, and the Domaine de Chaumont-sur-Loire (through November 2018), among other places.

Prizes & Awards

1999 Newcomer Prize, Newcomer Exhibition in Sakai City (Sakai-shi bijutsu shinjin ten)

2000 Labor Ministry Prize, All Japan Technical Exhibition (Zenkoku sogo gino ten)

2001 Oita Governor Prize, Bamboo Craft Exhibition (Kurashino naka no chikukogei ten)

2001 Mayor’s Prize, Sakai City Art Exhibition (Sakai-shi ten)

2002 Yomiuri TV Prize, All Kansai Art Exhibition (Zen Kansai bijutsu ten)

2004 Osaka Craft Exhibition Choice Award, All Kansai Art Exhibition (Zen Kansai bijutsu ten)

2004 Sakai Art Association Prize, Sakai City Art Exhibition (Sakai-shi ten)

2007 Cotsen Prize

2010 Bavarian State Prize, Working Area Braiding (Bayerischer Staatspreis, Werkbereich Flechten)

2011 Asahi Newspaper Prize, 13th Exhibition of Traditional Wood and Bamboo Art Crafts (Dentō kōgei mokuchiku ten)

2012 Newcomer’s Prize, 59th Exhibition of Japanese Traditionnal Art Crafts (Nihon dento kōgei ten)

Public Collections

Metropolitan Museum of Art, New-York, USA

Minneapolis Institute of Arts, Minneapolis, USA

Clark Center for Japanese Art and Culture, Hanford, California, USA

San Francisco Asian Art Museum, USA

Morikami Museum, Florida, USA

Museum of Fine Arts, Boston, USA

The Ruth and Sherman Lee Institute for Japanese Art, USA

Long Beach Museum of Art, USA

Seattle Art Museum, USA

Philadelphia Museum of Art, USA

Victoria and Albert Museum, London, UK

British Museum, London, UK

Musée national des Art Asiatiques – Guimet, Paris, France

Musée du quai Branly – Jacques Chirac, Paris, France

Japan Imperial Household Agency, Tokyo, Japan

Osaka City Crafts High School, Japan

Museum of Modern Art, Tokyo, Japan

Museo Nacional de Arte, La Paz, Bolivia

Peruano-Japonés Centro Cultural, Lima, Peru

Kuchiku Kutsuwa (Decayed bamboo Kutsuwa)

2021

Bamboo hōbichiku & kurochiku, rattan, bamboo root and urushi

lacquer

70,5 cm x 36 cm x 45 cm (h)

Price on request

aRtWORk pResented bY:

Galerie Mingei

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Disappear VI

Geometric design by Sawako

Kaikima

2021

Bamboo madake & rattan

26,5 cm x 24 cm x 52,5 cm (h)

Price on request

aRtWORk pResented bY:

Galerie Mingei

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

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tanaka isamu (1920 - 2003)

Tanaka Isamu (1920 - 2003). After finishing his studies at the Tokyo Fine Arts School in 1948 Tanaka became an assistant professor of metalwork at Tokyo University of Fine Arts in 1950. In the same year he also helped with the restoration of the eastern pagoda of Yakushi-ji Temple, Nara.

From 1967 he travelled extensively in Europe and Asia before returning to Japan in 1968. Throughout his career he received numerous commissions to help in the restoration of important antique art objects and he contributed greatly to the study of metalworking by examining historical artworks. In 1973 he repaired a cloisonné frame in the Akasaka Palace, Tokyo which was built in 1909 and in 1975 he furthered his expertise when given the opportunity to research the lotus petals of the 8th century Great Buddha of Tōdai-ji, Nara.

Having trained under Shimizu Nanzan (1875–1948) and Unno Kiyoshi (1884–1956) Tanaka Isamu transferred his knowledge of traditional metalwork techniques to the crafts course at Tokyo University of Fine Arts when he was

appointed professor in 1978.At this time he became a regular member of the Nihon Kōgeikai (Japan Crafts Association) and exhibited annually at the Nihon Dentō Kōgeiten (the Japan Traditional Arts Exhibition) and the Nihon Dentō Kōgei Kinkō Shinsakuten (the Japan Traditional Arts Metalwork Exhibition) until the end of his career.

In 1979 he participated in the conservation of the famous Inariyama iron sword, which was unearthed in 1968 from the Inariyama burial mound, Saitama and is now considered one of Japan’s national treasures. In 1981 he received an award of appreciation from Yakushi-ji Temple for his help in producing a gilt bronze reliquary which was placed in the base of the central pillar of the western pagoda.

Tanaka also participated in the creation of a film on metalwork commissioned by Bunkazai (Agency of Cultural Affairs) and in 1984 he became a member of the judging committee for the design of the 500 yen coin. He retired in 1987 with the honorary title Professor Emeritus.

Seishō (dressed in green)

Signed Tanaka Isamu with seal

Japan

20th century

Copper sculpture

64,5 cm (h) x 21 cm (w) x 14,5 cm (D)

Tomobako (original box)

Provenance:

Acquired directly from the artist’s family collection by the previous owner

Price: 4.800 euros

aRtWORk pResented bY:

Gregg Baker Asian Art

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the Master of the Water, pine and stone Retreat (b. 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 literatipainters 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.

Shen Nong Considering the Results of His Work

2017

Pencil on paper-board

Sheet size: 40 cm x 50 cm

Framed: 59 cm x 68,5 cm

Price on request

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Rasti Fine Art Ltd.

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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.