Art Paris Art Fair announces Singapore and Southeast Asia as guests of honor for the 2015 edition

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Aladdin Garunov, Bui Cong Khanh, Dinh Q. Lê, FAN Anxiang, Farid Rasulov, Jan Fabre, Lucio Fontana, Lucy Glendinning, Nguyen Thai Tuan, Paolo Grassino, Pham Ngoc Duong, Shaun Gladwell, Tiffany Chung, Tomas Vu

Jan Fabre, Cross with Snake, 2012. Courtesy of Mario Mauroner Contemporary Art @ Art Paris Art Fair – 26th > 29th March 2015 – Grand Palais

PARIS.- From 26th to 29th March 2015, Art Paris Art Fair brings together 140 galleries from some 20 countries at the Grand Palais. Headed by Guillaume Piens since 2012, the fair focusses on discovery and presents a wide panorama of modern and contemporary art. Art Paris Art Fair also shows design, photography and art books.

Dinh Q. Lê, Untitled, 2014. Courtesy of 10 Chancery Lane Gallery @ Art Paris Art Fair – 26th > 29th March 2015 – Grand Palais

The fair has undergone a profound renewal with 51% of both newcomers and galleries from abroad. Since 2012, a rigorous selection process and a multidisciplinary, dynamic approach to contemporary creation have resulted in a constant rise in the number of visitors to the fair. With a strong international focus, the fair has positioned itself as a pioneer in the exploration of regions of the world whose artistic creation is seldom, if ever, shown in France. Art Paris Art Fair looks at a different geography of the art world that takes visitors off the beaten track to places like Casablanca, Bangkok, Zürich, Moscow, Bucharest or Singapore.

Bui Cong Khanh, Open the Door, 2011. Courtesy of 10 Chancery Lane Gallery @ Art Paris Art Fair – 26th > 29th March 2015 – Grand Palais

After Russia and China, Singapore and Southeast Asia are guests of honour for the 2015 edition. This platform is directed by Iola Lenzi, a curator, researcher and Southeast Asia specialist who curated the exhibition “The Roving Eye: Contemporary Art from Southeast Asia,” shown at the ARTER Foundation in Istanbul (September 2014 to January 2015). A dozen Singapore-based galleries including Art Seasons Gallery, Chan Hampe Galleries, Element Art Space, Yeo Workshop, iPreciation or Sundaram Tagore Gallery will demonstrate the diversity of talent from Cambodia, Burma, Malaysia, Indonesia, the Philippines, Vietnam and Thailand. A programme of talks and video screenings will complement this presentation of what is a little known but booming art scene.

Tiffany Chung, 10.7747N 106.6667E, 2007. Courtesy of ifa gallery @ Art Paris Art Fair – 26th > 29th March 2015 – Grand Palais

The general sector will also include a number of galleries and artists from Southeast Asia Including Thai artist Navin Rawanchaikul at Adler Subhashok, Burma’s Aung Ko at Primo Marella, Vietnam’s Dinh Q. Le and Bui Cong Khanh at 10 Chancery Lane, and from the Philippines, Manuel Ocampo at Nathalie Obadia and Alfredo & Isabel Aquilizan at Hélène Bailly.

Tiffany Chung, Migration of the Ladybugs, 2009.  Courtesy of ifa gallery @ Art Paris Art Fair – 26th > 29th March 2015 – Grand Palais

This year’s general sector has undergone deep changes with the arrival of Modern Art galleries such as Boisserée (Cologne), Luca Tommasi (Milan), Shchukin (Paris, New York), Michel Vidal (Paris), as well as others dealing in contemporary work such as Plutschow and Andrés Thalmann from Zürich, Flowers from London, Art Plural from Singapore, Andreas Binder and Tanit from Münich and Istanbul’s Sanatorium and Krampf Gallery.

Pham Ngoc Duong, Gold family – Child, 2009. Courtesy of ifa gallery @ Art Paris Art Fair – 26th > 29th March 2015 – Grand Palais

Another novelty in 2015, is the record number of 30 solo shows: Thomas Agrinier (Galerie Estace), Ruedi Bechtler (Galerie Ziegler), Fouad Bellamine (Frédéric Moisan), Léa Bénétou (Galerie Des Petits Carreaux), François Calvat (Galerie Pascal Vanhoecke), Aldo Chaparro (Spazio Nuevo), Paz Corona (Les Filles du Calvaire), Stéphane Crasneanscki (Ilan Engel), Gerardo Custance (Galeria Camara Oscura), Henni Alftan (Galerie Claire Gastaud), Gérard Fromanger (Galerie Caroline Smulders), Shaun Gladwell (Analix Forever), Herbert Hamak (Tanit), Ren Hang (Galerie Nicolas Hugo), Thomas Jorion (Insula), Philipp Lachenmann (Andreas Binder), Jane Lee (Sundaram Tagore Gallery), Frank Maier (Ambacher Contemporary), Yassine Mekhnache (Krampf Gallery), Mohamed Melehi (Loft Art Gallery), Radenko Milak (Duplex 100m2 & l’Agence à Paris), Paul Neagu (Allegra Nomad Gallery), Dawn Ng (Chan Hampe Gallery), Aurélie Pétrel (Galerie Houg), Jean-Pierre Pincemin (Galerie Jacques Elbaz), Lyndi Sales (Maria Lund), Sam Szafran (Galerie Claude Bernard), Swoon (Galerie L.J.), Nils Udo (Pierre Alain Challier), Niloufar Banisadr (Galerie 55bellechasse).

Nguyen Thai Tuan, « Interior 4 » from Heritage Series, 2013. Courtesy of Primo Marella Gallery @ Art Paris Art Fair – 26th > 29th March 2015 – Grand Palais

The Promises section, successfully introduced in 2013 as a way of promoting the discovery of new international talents, this year includes 12 galleries that are under five years old and are taking part in the fair for the first time. This is Art Paris Art Fair’s specific effort to help young French and international galleries become better known and reveal new talents. They include Archiraar (Brussels), Podbielski (Berlin), Christophe Gerber (Lausanne), Heinzer Reslzer (Lausanne), Jo Van Loo (Münich), TJ Boulting (London) and Rivière / Faiveley (Paris).

Nguyen Thai Tuan, « Villa of the King » from Heritage Series, 2013. Courtesy of Primo Marella Gallery @ Art Paris Art Fair – 26th > 29th March 2015 – Grand Palais

The ArtDesign section explores the relationship between design and contemporary art. Now in its fourth year, it brings together a dozen galleries presenting unique or very limited edition pieces produced by contemporary talents. Journalist and founder of Sleek design magazine Elodie Palasse Leroux is overseeing the 2015 selection that includes Nec Nilsson et Chiglien, School Gallery and l’Eclaireur. In addition, Carpenters Workshop gallery in the general sector is taking part in the fair for the first time.

Tomas Vu, Whitemoon1, 2014. Courtesy of Bernard Chauveau Editeur / Le Néant Editeur @ Art Paris Art Fair – 26th > 29th March 2015 – Grand Palais

The “Springtime in Paris” VIP programme highlights the outstanding revival of the Parisian art scene, the new venues such as the Appartement, the Louis Vuitton Foundation with its inaugural exhibition The Keys of a Passion, the Jérôme Seydoux-Pathé Foundation and the Philharmonie de Paris. Also on, show is the exhibition Pierre Bonnard (1867-1947), Peindre l’Arcadie at Musée d’Orsay, Taryn Simon at the Jeu de Paume, Pieter Hugo at the Henri Cartier-Bresson Foundation, Carmen Perrin at the Maison de l’Amérique Latine, Mathieu Briand / Jérôme Zonder at la Maison Rouge, Mark Lewis at Le Bal…

Tomas Vu, Whitemoon2, 2014. Courtesy of Bernard Chauveau Editeur / Le Néant Editeur @ Art Paris Art Fair – 26th > 29th March 2015 – Grand Palais

In March 2015 the art scenes of Singapore and Southeast Asia will have pride of place in the French capital with an exceptional series of events in key locations: at the Palais de Tokyo, the exhibition entitled Secret Archipelago (from 27th March to 17th May 2015) explores the regional art scene with Singapore as a springboard. As part of its Satellite programme, The Jeu de Paume will be screening the work Monologue by Cambodia’s Vandy Rattana.

Jan Fabre, Skull with Magpie, 2001. Courtesy of Mario Mauroner Contemporary Art @ Art Paris Art Fair – 26th > 29th March 2015 – Grand Palais

PARIS.- Du 26 au 29 mars 2015, Art Paris Art Fair réunit sous la nef du Grand Palais 140 galeries d’une vingtaine de pays. Dirigée par Guillaume Piens depuis 2012, Art Paris Art Fair invite à la découverte tout en présentant un panorama de l’art moderne et contemporain qui fait également la part belle au design, à la photographie et à l’édition d’art.

Paolo Grassino, Ciò che resto, 2013. Courtesy of Mario Mauroner Contemporary Art @ Art Paris Art Fair – 26th > 29th March 2015 – Grand Palais

Avec un renouvellement de 51% de ses exposants et 51% de présence étrangère en 2015, Art Paris Art Fair bénéficie d’une fréquentation en hausse constante, grâce à sa sélection rigoureuse mais également à son dynamisme et son approche pluridisciplinaire de la création contemporaine. Résolument tournée vers l’international, la foire se positionne comme un précurseur dans l’exploration de régions du monde dont la création est peu montrée en France. Art Paris Art Fair dévoile une autre géographie de l’art qui emmène les visiteurs à Casablanca, Bangkok, Zürich, Moscou, Bucarest ou encore Singapour…

FAN Anxiang, Natural History, 2012. Courtesy of Beautiful Asset Art Project @ Art Paris Art Fair – 26th > 29th March 2015 – Grand Palais

Après la Russie et la Chine, Singapour et l’Asie du Sud-Est sont les invités d’honneur de l’édition 2015. Cette invitation a été confiée à Iola Lenzi, commissaire d’expositions et chercheuse spécialiste de la scène Sud-Asiatique, auteure de l’exposition The Roving Eye : Contemporary Art from Southeast Asia » présentée à la Fondation ARTER, Istanbul (Septembre 2014 – Janvier 2015).

FAN Anxiang, Archeology No.5, 2013. Courtesy of Beautiful Asset Art Project @ Art Paris Art Fair – 26th > 29th March 2015 – Grand Palais

Une plateforme d’une dizaine de galeries singapouriennes, dont Art Seasons Gallery, Chan Hampe Galleries, Element Art Space, Yeo Workshop, iPreciation ou Sundaram Tagore Gallery montrera la diversité des talents en provenance du Cambodge, de Birmanie, de Malaisie, d’Indonésie, de Singapour, des Philippines, du Vietnam et de la Thaïlande. Un programme de conférences et de vidéos viendra enrichir cette invitation inédite à Paris de la scène d’Asie du Sud-Est qui connaît un véritable essor

Farid Rasulov, Dogs in the living room, 2014. Courtesy of Galerie Rabouan Moussion @ Art Paris Art Fair – 26th > 29th March 2015 – Grand Palais

L’Asie du Sud-Est sera également présente dans les galeries du secteur général, notamment l’artiste thaïlandais Navin Rawanchaikul chez Adler Subhashok, l’artiste birman Aung Ko chez Primo Marella, les vietnamiens Dinh Q. Le et Bui Cong Khanh chez 10 Chancery Lane, les philippins Manuel Ocampo chez Nathalie Obadia ou Alfredo & Isabel Aquilizan chez Hélène Bailly.

Farid Rasulov, Cats in the living room, 2014. Courtesy of Galerie Rabouan Moussion @ Art Paris Art Fair – 26th > 29th March 2015 – Grand Palais

Le secteur général pour cette nouvelle édition est profondément renouvelé avec l’arrivée de galeries d’art moderne comme Boisserée (Cologne), Luca Tommasi (Milan), Shchukin (Paris, New York), Michel Vidal (Paris), et d’art contemporain comme les zurichoises Plutschow, Andrés Thalmann, la londonienne Flowers, la singapourienne Art Plural, les munichoises Tanit, Andreas Binder, Renate Bender, ou encore les istambouliotes Sanatorium et Krampf Gallery. sans parler des enseignes françaises comme Galerie Houg, Maria Lund ou Pierre-Alain Challier.

Aladdin Garunov, Imulation Kaaba, 2009. Courtesy of Gallery Shchukin @ Art Paris Art Fair – 26th > 29th March 2015 – Grand Palais

L’édition 2015 se distingue par un nombre record de 30 solo-shows, disséminés au sein de la foire pour renforcer la cohérence des accrochages et approfondir le travail d’artistes à découvrir ou à re-découvrir : Thomas Agrinier (Galerie Estace), Ruedi Bechtler (Galerie Ziegler), Fouad Bellamine (Frédéric Moisan), Léa Bénétou (Galerie Des Petits Carreaux), François Calvat (Galerie Pascal Vanhoecke), Aldo Chaparro (Spazio Nuevo), Paz Corona (Les Filles du Calvaire), Stéphane Crasneanscki (Ilan Engel), Gerardo Custance (Galeria Camara Oscura), Henni Alftan (Galerie Claire Gastaud), Gérard Fromanger (Galerie Caroline Smulders), Shaun Gladwell (Analix Forever), Herbert Hamak (Tanit), Ren Hang (Galerie Nicolas Hugo), Thomas Jorion (Insula), Philipp Lachenmann (Andreas Binder), Jane Lee (Sundaram Tagore Gallery), Frank Maier (Ambacher Contemporary), Yassine Mekhnache (Krampf Gallery), Mohamed Melehi (Loft Art Gallery), Radenko Milak (Duplex 100m2 & l’Agence à Paris), Paul Neagu (Allegra Nomad Gallery), Dawn Ng (Chan Hampe Gallery), Aurélie Pétrel (Galerie Houg), Jean-Pierre Pincemin (Galerie Jacques Elbaz), Lyndi Sales (Maria Lund), Sam Szafran (Galerie Claude Bernard), Swoon (Galerie L.J.) Nils Udo (Pierre Alain Challier), Niloufar Banisadr (Galerie 55bellechasse).

Aladdin Garunov, Imulation Kaaba, 2009. Courtesy of Gallery Shchukin @ Art Paris Art Fair – 26th > 29th March 2015 – Grand Palais

Le secteur Promesses, inauguré avec succès en 2013 pour inciter à la découverte de nouveaux talents internationaux, accueille cette année douze galeries de moins de cinq ans d’existence qui participent pour la première fois à la foire. Cette spécificité d’Art Paris Art Fair permet à de jeunes enseignes françaises et internationales telles que les galeries ArchiRAAR (Bruxelles), Podbielski (Berlin), Christophe Gerber (Lausanne), Heinzer Reslzer (Lausanne), Jo Van Loo (Münich), TJ Boulting (Londres), Cédric Bacqueville (Lille) ou Rivière / Faiveley (Paris) de se faire connaître tout en mettant en avant de nouveaux talents.

Shaun Gladwell, Untitled (Shaun Gladwell as Caspar David Friedrich), 2013. Courtesy of Analix Forever @ Art Paris Art Fair – 26th > 29th March 2015 – Grand Palais

La section ArtDesign explore les frontières entre design et art contemporain et réunit pour sa 4e édition une dizaine de galeries et d’éditeurs présentant des pièces réalisées en série limitée par des talents contemporains. Elodie Palasse Leroux, journaliste rédactrice et créatrice du magazine internet Sleek Design, est chargée de la sélection 2015 qui accueille entre autres Nec Nilsson et Chiglien, School Gallery, l’Eclaireur, et s’étoffe avec la première participation de la galerie Carpenters Workshop au sein du secteur général.

Lucy Glendinning, Feather Child 2, 2011. Courtesy of Galerie Da-End @ Art Paris Art Fair – 26th > 29th March 2015 – Grand Palais

Le programme VIP « A Paris au printemps » met en avant l’exceptionnel renouveau de la scène artistique parisienne, les nouveaux lieux comme l’Appartement, la Fondation Louis Vuitton et son exposition inaugurale Les Clefs d’une passion, la Fondation Jérôme Seydoux-Pathé, la Philharmonie de Paris, et les expositions Pierre Bonnard (1867-1947). Peindre l’Arcadie au Musée d’Orsay, Taryn Simon au Jeu de Paume, Pieter Hugo à la fondation Henri Cartier-Bresson, Carmen Perrin à la Maison de l’Amérique Latine, Mathieu Briand / Jérôme Zonder à la maison rouge, Mark Lewis au Bal… En mars 2015, la scène artistique singapourienne et d’Asie du Sud-Est investit la capitale française et s’expose dans de grands lieux parisiens : au Palais de Tokyo avec l’exposition L’Archipel secret (27 mars – 17 mai 2015) qui explore l’Asie du Sud-Est à partir de la plateforme qu’est Singapour et au Jeu de Paume avec la projection de l’œuvre Monologue du cambodgien Vandy Rattana dans le cadre de sa programmation satellite.

Lucio Fontana, Concetto Spaziale, 1951. Courtesy of De Primi Fine Art @ Art Paris Art Fair – 26th > 29th March 2015 – Grand Palais

Tomasso Brothers to unveil an exquisite pair of portrait miniatures at TEFAF

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Jean-Etienne Liotard, Prince Charles Edward Stuart, Prince Henry Benedict Stuart, TEFAF, Tomasso Brothers, watercolour and gouache on vellum

Left: Prince Henry Benedict Stuart 1725-1807 and Right: Prince Charles Edward Stuart 1720-1788 by Jean-Etienne Liotard c.1736-8, watercolour and gouache on vellum, 7.4cm high by 5.5cm wide (excluding frame).

LONDON.- Recognised as leading dealers in the field of European sculpture, Tomasso Brothers Fine Art also specialises in Old Master paintings and objets d’art. At TEFAF 2015 the gallery unveils an exquisite pair of portrait miniatures by one of the most sought-after masters of the genre Jean-Etienne Liotard (1702-1789) which depict Princes Charles Edward Stuart (1720-1788) and Henry Benedict Stuart (1725-1807), last in the lineage of Stuart Kings in Scotland and England. The asking price for these miniature masterpieces is €275,000.

Born to French parents in Geneva, Jean-Etienne Liotard trained in Paris under the miniaturist and printmaker Jean-Baptiste Massé. While in Rome between 1736 and 1738, Liotard was commissioned by the exiled ‘Old Pretender’ James Edward Stuart (1688-1766) also known as “the king across the water”, to paint portraits of his young sons Princes Charles and Henry.

One of the most romantic figures in British history, celebrated in folklore as Bonnie Prince Charlie, Prince Charles Edward Stuart led the final Jacobite Rebellion of 1745 that was to end in defeat on the battle field of Culloden.

Powerful and compelling imagery of the Stuart royal family – in the form of portrait miniatures, engravings and prints – was dispatched throughout Europe to garner loyalty and raise funds for the Jacobite cause to re-claim the throne of England. Evidence shows these particular miniatures may have been part of a group of three Stuart portraits sent to Vienna to be seen by Empress Elizabeth, wife of the Holy Roman Emperor Charles VI. A miniature of Prince Charles is also recorded as having been sent to Dorotea, Dowager Duchess of Parma and mother of the Queen of Spain.

The attribution has been fully endorsed by Professor Marcel Roethlisberger, author of the definitive 2008 monograph on Jean-Etienne Liotard in which they are illustrated.

Dino Tomasso, one of the Directors of the gallery, comments: “We are delighted to be exhibiting two masterpieces by the highly esteemed Jean-Etienne Liotard. This exquisite pair of miniatures is unrivalled amongst Liotard’s Stuart portraits in terms of their quality, and the fact that they are executed on vellum strongly suggests that they were his primary portraits of the young princes.”

These historic works will be a highlight at Tomasso Brothers Fine Art, stand 165, TEFAF 2015, and will be offered for sale priced at €275,000. The fair, which is the world’s leading art and antiques event, takes place at the Maastricht Exhibition and Congress Centre (MECC) from 13-22 March 2015.

Based at Bardon Hall, Leeds, Tomasso Brothers Fine Art was established in 1993. A second gallery was opened in St. James’s, London in 2013. Dino and Raffaello are recognised internationally for specialising in important European sculpture from the early Renaissance to the Neoclassical periods, with particular expertise in European Renaissance bronzes, along with an in-depth knowledge of Old Master paintings and objets d’art. They have promoted and supported, through loans and exhibitions, major international institutions and were one of the sponsors of the landmark show Bronze at the Royal Academy of Arts, London, 2012.

Asia Week New York announces 2015 gallery roster for its celebration of Asian art March 13-21, 2015

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'Lotus' bowl, 12th century, 13th century, 14th Century, 16-17th century, 16th Century, 1750-1860, 18th century, 2nd century, 8th century, 8th century AD, Acala, Agate, Amida Nyorai, Anyang Culture, archaic bronze vessel, Bhairava, Bijapur, Bronze, Bronze ewer, Buddha, Cakrasamvara, Carved Celadon-Glazed Vase, Carved Emerald Ring, Central Asia, Central Java, China-Tibet, circa 1750, circa 1820, circa 1825, Colombian emerald, Copper repoussé, Dai Mingyue, Deccan, desk screen, Dondrup Sangpo, Drepung Monastery, Duan inkstone, early Qing dynasty, Early Western Zhou Dynasty, Eleven Faced Avalokitesvara, famille-rose, Fangding, Game Box, Gandhara, Garhwal, Gianni Berengo Gardin, Giao Chi Period, gilt-bronze, Glazed stoneware, Gold and ruby ring, Gold animal mask, Gong, Grey schist, gu, Guanyin, gui, Guler, Guru Gobind Singh, Gyalpo Pehar, Hai Tao, Hine Taizan, Hiroyuki Asano, hokai box, hongmu, huanghuali, Ik-Joong Kang, Ikeno Taiga, imperial rectangular white jade seal, Incense burner, Indonesia, inset leg bridle joint table, Jina, Jina Parsvanatha, Kamakura period, Kaneshige Kosuke, Kangra, Kasuga Deer Mandala, Katsudô Eiryrû, Kei School, khanjar, Kikugawa Eizan, kirin, Kishangarh, Krishna, Lanna, Late Ming, Lingbi Scholar Rock, Longquan celadon, Maeda Hideo, Maruyama Okyo, Meiji era, meiping, Ming Dynasty, Miyagawa Choshun, Miyanaga Tozan III, Mola Bagas, Momoyama Period, Mongolia, Mughal India, Muromachi period, Nabeshima kiln, Nanbokuchō period, nanmu box, Nepal, Nikko Bosatsu, Northern black glazed russet splashed, Northern Qi dynasty, Northern Song-Jin Dynasty, okimono, Otagaki Rengetsu, Otto Akob, Padmapani, Pakistan, Pala period, pear-shaped vase, Perfume container, Punjab Hills, Qianlong Mark And Period, Qianlong six-character seal mark in underglaze blue and of the period, Qianlong-Jiaqing period, Rajasthan, Rinpa School, Rukhnuddin, Sakya Lama, Salabanjika, Sandstone, Shang Dynasty, Silver gilt vase, snuff bottle, Song dynasty, Southern Song dynasty, Southern Song-Yuan dynasty, Suzuki Harunobu, Suzuki Shōnen, Tai Xiangzhou, Tang dynasty, Tangka, Tara, Thailand, Tibet, Tokuda Yasokichi III, Twin Fish Bowl, Vairocana, Vasudhara, Vietnam, Vijayanagar Period, Vishnu, Warring States period, Western Jin Dynasty, Wine-Drinking Game Set, Xie Zhiguang, Yagi Kazuo, Yama Dharmaraja, Yaozhou celadon, Yashima Gakutei, yoke back armchair, Yuan dynasty, yueyao, Zain al-Din, Zhang Ling

An Exquisite and Very Rare Carved Celadon-Glazed Vase. Qianlong six-character seal mark in underglaze blue and of the period (1736-1795). Height: 8 1/4 inches (22.2 cm). Photo Christie’s Image Ltd 2014

NEW YORK, NY.– The Asia Week New York Association announces that 42 international galleries will participate in Asia Week New York 2015, the nine-day celebration of Asian art and culture that spans the metropolitan region from March 13 through 21, 2015.

Says Carol Conover, Chairman of Asia Week New York: “We look forward to another successful edition of Asia Week New York especially during The Metropolitan Museum of Art’s banner year when it is celebrating the 100th anniversary of its renowned Asian Art Department.”

Joining Asia Week New York for the first time is Shalini Ganendra Fine Art from Malaysia and Navin Kumar Gallery from New York. After a brief hiatus, Dr. Robert Bigler from Zurich and Wei Asian Arts from Brussels return to the fold.

The dealers returning to Asia Week New York with museum-quality works of art from across the Asian continent include:

Indian, Himalayan, and Southeast Asian Art

Art Passages (United States), « Paintings from the Courts of India & Persia« . info@artpassages.com – www.artpassages.com

Dignitaries Visit a Yogini. Kishangarh, India, circa 1750. Asia Week New York | Art Passages

Krishna Gazes at Radha from a Balcony. Kangra, India, circa 1820. 8 1/4 x 5 7/8 inches (20.9 x 14.9 cm. Asia Week New York | Art Passages

Lovelorn Lady Consoled by her Confidant. Garhwal, India, circa 1825. 7 7/8 x 5 5/8 inches (20 x 14.4 cm). Asia Week New York | Art Passages

Buddhist Art (Germany), « From Angkor Wat to the Himalaya« . buddhist.art@hotmail.com – www.buddhist-art.info

Seated Figure of Vishnu. Nepal, 16-17th century. Copper repoussé. 15.3 inches (39 cm). Asia Week New York | Buddhist Art

Head of Buddha. Thailand, Lanna, 14th century. Bronze. 12.6 inches (32 cm). Asia Week New York | Buddhist Art

Portrait of Dondrup Sangpo, Abbott of Drepung Monastery. Tibet, 16th century. Bronze, silver inlay. 8.3 inches (21 cm). Asia Week New York | Buddhist Art

Galerie Hioco (France), « Arts of India, Nepal and Vietnam« . info@galeriehioco.com – www.galeriehioco.com

Bhairava. India, Rajasthan or Uttar Pradesh, 12th century. Sandstone. Height: 32 inches (81 cm). Asia Week New York | Christophe Hioco

Stele of Vishnu. India, Pala period. Grey schist. Height: 37 inches (94 cm). Asia Week New York | Christophe Hioco

Bronze ewer, ornamented at its base by the head of a makara. Vietnam, Giao Chi Period, 2nd-3rd century. 12.7 x 11 inches (32.5 x 28 cm). Asia Week New York | Christophe Hioco

Nayef Homsi (United States), « Recent Acquisitions ». nayef@nayefhomsi.com – www.nayefhomsi.com

Standing Buddha. India, Gandhara, 2nd century. Grey schist. Height: 30 inches (76.2 cm). Asia Week New York | Nayef Homsi

Jina Parsvanatha. India, Tamil Nadu, Vijayanagar Period, 14th century. Bronze. 14.5 inches (36.8 cm). Asia Week New York | Nayef Homsi

Envoys Pay Homage to King Dasaratha. India, Pahari Region, Garhwal, circa 1800. Opaque watercolor heightened with gold and silver on paper. 16.4 x 21.5 inches (41.5 x 54.7 cm). Asia Week New York | Nayef Homsi

Prahlad Bubbar Ltd. (England), « Indian Court Paintings: Recent Acquisitions, with a Preview of Gianni Berengo Gardin in India« . info@prahladbubbar.com – www.prahladbubbar.com

Guru Gobind Singh (detail). Guler, Punjab Hills, India, circa 1780-90. Opaque watercolor, gold and silver on paper. 8 x 5.6 inches (20.4 x 14.3 cm). Asia Week New York | Prahlad Bubbar

A Spirited Arabesque (detail). Bijapur, Deccan, India, circa 1650. Brush drawing on paper. 8 x 3.7 inches (20.4 x 9.5 cm). Asia Week New York | Prahlad Bubbar

Gianni Berengo Gardin. A Temple Gymnast. Central India, 1977. Gelatin silver archive print. 13 x 9.2 inches (33 x 23.3 cm). Asia Week New York | Prahlad Bubbar

Walter Arader Himalayan Art (United States), « Fine Himalayan Art« . walter.arader@gmail.com – www.himalayanart.com

Tara. China-Tibet, 16th century. Gilt Bronze. 10.5 inches (26.7 cm). Asia Week New York | Walter Arader Himalayan Art

Eleven Faced Avalokitesvara. Tibet, 15th century. Bronze. 12 inches (30.5 cm). Asia Week New York | Walter Arader Himalayan Art

Yama Dharmaraja. China, 18th century. Gilt Bronze. 6.5 inches (16.5 cm). Asia Week New York | Walter Arader Himalayan Art

Carlo Cristi (Italy), « Latest Acquisitions and Central Asian Textiles« . carlocristi@tin.it – www.asianart.com/carlocristi

Silver gilt vase (detail). Tibet, 8th century AD. Silver, gilding. Height: 8.5 inches (21.5 cm). Asia Week New York | Carlo Cristi

Tangka of Vairocana. Tibet, 13th century. Distemper on cotton. 24.25 x 32.25 inches (62.5 x 82 cm). Asia Week New York | Carlo Cristi

Confronted birds in kufic roundels. Central Asia, 10th-12th century. Polychrome silk. Length: 49.25 inches (125 cm). Asia Week New York | Carlo Cristi

Francesca Galloway (England), « Indian Paintings & Courtly Objects: Recent Acquisitions« . christine@francescagalloway.com – www.francescagalloway.com

By the artist Mola Bagas (or Muhammad Bakhsh). Ladies with Fireworks on a Terrace. Rajasthan, Bikaner, late 18th century. Opaque pigments and gold on paper. 9.5 x 6.4 inches (24.1 x 16.2 cm). Asia Week New York | Francesca Galloway

Khanjar (Dagger). Mughal India, 18th century. White nephrite hilt with inlaid with gold, lasque diamonds and other precious gems. Overall length: 12.6 inches (32 cm). Asia Week New York | Francesca Galloway

A Maharaja with his Two Children. India, Rajasthan, circa 1870-80. Opaque pigments heightened with gold and silver. 22.1 x 16.2 inches (56 x 41.2 cm). Asia Week New York | Francesca Galloway

Oliver Forge and Brendan Lynch Ltd (England), « Indian Painting 1590–1840« . brendan@forgelynch.com – www.forgelynch.com

Zain al-Din. The “Various Coloured » Parrot, folio from the Impey Album. Calcutta, India, 1777 A.D. Watercolor and gum arabic on paper. 18.5 x 23.25 inches (47 x 59 cm). Asia Week New York | Oliver Forge & Brendan Lynch Ltd.

A prince seated on a palace terrace. Mughal India, circa 1750-1800. Reverse-painted on mirrored glass. 31 x 19.1 inches (79 x 48.5 cm). Asia Week New York | Oliver Forge & Brendan Lynch Ltd.

Rukhnuddin. A lady playing a vina in a lush garden with peacocks. Bikaner, India, cirac 1680. Opaque watercolor with gold on paper. 6 x 4.6 inches (15.2 x 11.8 cm). Asia Week New York | Oliver Forge & Brendan Lynch Ltd.

Kapoor Galleries (United States), « Wrathful Compassion« . info@kapoorgalleries.com – www.kapoorgalleries.com

Acala. Tibet, 18th century. Parcel Gilt Copper with semi-precious stone inlay. Height: 8.75 inches (22.2 cm). Asia Week New York | Kapoor Galleries

Vasudhara. Nepal, 13th/14th century. Gilt Copper. Height: 7.5 inches (19 cm). Asia Week New York | Kapoor Galleries

Cakrasamvara. Tibet. Mineral pigments and gold on cloth. 25.2 x 33.9 inches (64 x 86 cm). Asia Week New York | Kapoor Galleries

Susan Ollemans (England), « Modern Design in the Ancient World« . ollemans178@btinternet.com – www.ollemans.com

Carved Emerald Ring. India, 17th century. Colombian Emerald. 1.75 x 1 inches (4.5 x 2.5 cm). Asia Week New York | Susan Ollemans

Gold and ruby ring. Central Java, Indonesia, 8th-10th century. Gold and ruby. Length: 1.56 inches (4 cm); Width: .81 inch (2 cm). Asia Week New York | Susan Ollemans

Perfume container. China, Song Dynasty, 960-1279 AD. Gold. Length: 3.75 inches (9.5 cm). Asia Week New York | Susan Ollemans

Carlton Rochell Asian Art (United States), « Indian, Himalayan and Southeast Asian Art« . info@carltonrochell.com – www.carltonrochell.com

Gyalpo Pehar. Mongolia, 17th/18th century. Silver with remains of cold-gilding and polychrome. Height: 6.25 inches (15.9 cm). Asia Week New York | Carlton Rochell Asian Art

Vishnu and His Consorts. Eastern India, West Bengal/Bangladesh Pala period, 11th century. Copper alloy. Height: 16.25 inches (41.2 cm). Asia Week New York | Carlton Rochell Asian Art

Torso of a Jina. North India, 11th/12th century. Burnished sandstone. Height: 33 inches (83.8 cm). Asia Week New York | Carlton Rochell Asian Art

Dalton Somaré (Italy), « New Acquisitions« . info@daltonsomare.com – www.daltonsomare.com

Head of the Buddha. Greater Gandhara, 3rd century. Schist. 14.1 inches (35.8 cm). Asia Week New York | Dalton Somaré

Padmapani. Swat Valley, Pakistan, circa 7th century. Bronze. Height: 10.1 inches (26 cm). Asia Week New York | Dalton Somaré

Head of the Buddha. Greater Gandhara, circa 7th century. White marble. 15.7 inches (40 cm). Asia Week New York | Dalton Somaré

Jonathan Tucker Antonia Tozer (England), « An Important Group of Sculptures from India and Southeast Asia« . jonathantucker1@aol.com – www.asianartresource.com

Standing Schist Bodhisattva. Northwest Pakistan, Gandhara, 2nd-3rd century A.D. Grey schist. Height: 28 inches (71 cm). Asia Week New York | Jonathan Tucker Antonia Tozer

Sandstone Salabanjika. Central India, probably Madhya Pradesh, 10th-11th century. Red sandstone. 43 inches (109 cm). Asia Week New York | Jonathan Tucker Antonia Tozer

Stucco Seated Buddha. Northwest Pakistan, Gandhara, 4th-5th century. Stucco. Height: 20.5 inches (52 cm). Asia Week New York | Jonathan Tucker Antonia Tozer

Nancy Wiener Gallery (United States), « Recent Acquisitions« . nancywienergallery@mac.com – www.nancywiener.com

Attributed to Manaku or Fattu. A Folio from the “Large Bhagavata Purana.” India, Guler, circa 1760-65. Gouache and gold on paper. Painting 9.75 x 13 inches (23.5 x 33.2 cm); Folio 11.6 x 16 inches (29.5 x 40.2 cm). Asia Week New York | Nancy Wiener Gallery

Head of Avalokiteshvara. India, 11th century, Pala period. Black Stone. 9.5 inches (24 cm). Asia Week New York | Nancy Wiener Gallery

Portrait of a Sakya Lama (Detail). Tibet, 18th century. Mineral pigment and gold on cloth. 77 x 63 inches (195 x 160 cm). Asia Week New York | Nancy Wiener Gallery

Ancient and/or Contemporary Chinese Art

U.S. galleries include:

Andrew Kahane, Ltd., « Chinese Ceramics and Works of Art« . kahaneasia@aol.com – www.artasianappraisers.com

Meiping. China, 13th century. Glazed stoneware. Height: 12.5 inches (30 cm). Asia Week New York | Andrew Kahane, Ltd.

Longquan celadon lotus bowl. China, Southern Song Dynasty, late 12th-13th century. Diameter: 6.5 inches (16.5 cm). Asia Week New York | Andrew Kahane, Ltd.

Northern black glazed russet splashed pear shaped vase. China, Northern Song-Jin Dynasty, 12th-early 13th century. Height: 13 inches (32.8 cm). Asia Week New York | Andrew Kahane, Ltd.

Asian Art Studio, « Noble Treasures« . asianartstudio@msn.com – www.asianartstudio.com

Rare imperial rectangular white jade seal carved with crouching dragon. China, Yuan Dynasty. Jade. Length: 2.25 inches (5.5 cm); Width: 1.8 inches (4.7 cm). Asia Week New York | Asian Art Studio

A hardstone and hongmu desk screen painted with figures in a mountainous landscape. China, late 19th century. 15 x 10.5 inches (38 cm). Asia Week New York | Asian Art Studio

A well hollowed agate snuff bottle, carved with flowers and trees by rockwork. China, 1750-1860. Height: 2.25 inches (5.8 cm).

Ralph M. Chait Galleries, Inc., « Spring Exhibition of Chinese Porcelain and Works of Art« . info@rmchaitgal.net – www.rmchait.com

Bronze Figure of a Seated Buddha. China, Ming dynasty, circa 15th/16th century. Bronze. Height: 19.25 inches (48.9 cm). Asia Week New York | Ralph M. Chait Galleries, Inc.

Underglaze red and blue baluster vase, decorated with the Eight Horses of Mu Wang. China, early Kangxi period, circa late 17th century. Porcelain. Height: 16.25 inches (48.3 cm). Asia Week New York | Ralph M. Chait Galleries, Inc.

Large red glazed vase, of rounded form and sang de boeuf color glaze with fine crackle. China, 18th/early 19th century. Porcelain. Height: 14 inches (35.6 cm). Asia Week New York | Ralph M. Chait Galleries, Inc.

China 2000 Fine Art, « To See a World in a Grain of Sand« . c2000fa@aol.com – www.china2000fineart.com

Lingbi Scholar Rock with Carved Marble Base. China, Ming dynasty. Lingbi stone and marble. Rock: 22.75 (Height) x 14.75 (Width) x 4.75 (Depth) inches (57.8 x 37.4 x 12 cm). Asia Week New York | China 2000 Fine Art

Zhang Ling. Exchanging the White Goose for the Classic Text. China, late 15th/early 16th century, Ming dynasty. Ink and color on paper. 27 x 1.5 inches (68 x 26.8 cm). Asia Week New York | China 2000 Fine Art

Xie Zhiguang (1899-1976). Appreciating the Plum Blossom. China, 20th century. Ink and color on paper, hanging scroll. 53.5 x 11.75 inches (136 × 30 cm). Asia Week New York | China 2000 Fine Art

The Chinese Porcelain Company, « Chinese Contemporary Ink Painting« . cplumhoff@chineseporcelainco.com – steo@chineseporcelainco.com – www.chineseporcelainco.com

Tai Xiangzhou. Paradise Mountain. China, 2012. Ink on silk. 23.9 x 126.25  inches (60.6 x 320.7 cm). Asia Week New York | The Chinese Porcelain Company

A Yueyao Glazed Funerary Jar. Western Jin Dynasty, 265 – 316 AD. Height: 17 1/2 inches (44.45 cm); Diameter: 9 3/4 inches (24.77 cm). Asia Week New York | The Chinese Porcelain Company

Gisèle Croës (Belgium), « Matter and Memory« . art@giselecroes.com

Bodhisattva Head. China, Northern Qi Dynasty (550-577). Limestone. Height: 10.5 inches (29 cm). Asia Week New York | Gisèle Croës s.a.

Archaic bronze vessel, Gu. China, Shang Dynasty (1600-1050 BC), Anyang Culture (1300-1050 BC), 12th century BC. Bronze with green, blue and brown patina; malachite and cuprite crystallisation; traces of textile. Height: 12.4 inches (31.5 cm). Asia Week New York | Gisèle Croës s.a.

Gold animal mask. China, Warring States period (481 – 221 BC). Width: 4.25 inches (11 cm). Asia Week New York | Gisèle Croës s.a.

Michael C. Hughes LLC, « Recent Acquisitions – Chinese Works of Art« . mhughesllc@earthlink.net

An Eastern Zhou Dynasty style vessel, gui. Probably Ming Dynasty. 5.3 inches across (13.5 cm). Asia Week New York | Michael C. Hughes LLC

A Nephrite jade snuff bottle. Master of the Rocks school, 1760-1850. Height without stopper: 2.7 inches (7 cm). Asia Week New York | Michael C. Hughes LLC

Jadestone, « Diminutive and Dynamic: Miniature Chinese Snuff Bottles and Works of Art« . info@jadestonegallery.com – www.jadestonegallery.com

Famille Rose Snuff Bottle. China, Qianlong Mark and Period. Enameled porcelain. Height: 1.4 inches (3.6 cm). Asia Week New York | Jadestone

Miniature Famille Rose Incense Burner. China, Qianlong-Jiaqing Period. Enameled porcelain. 2 x 2 inches (5.2 x 5.2 cm). Asia Week New York | Jadestone

Openwork-Carved Jade Toggle with Russet Skin. China, Qing Dynasty. 1.7 x 1.4 x 0.8 inches (4.5 x 3.6 x 2 cm). Asia Week New York | Jadestone

Kaikodo LLC, « The Immortal Past« . asianart@kaikodo.com – www.kaikodo.com

Gilt-Lacquered Wood Figure of a Seated Boy. China, Song-Yuan Dynasty, 13th-14th century. Height: 15 inches (38 cm). Asia Week New York | Kaikodo LLC

Gilt-Silver Wine-Drinking Game Set. “The Analects Jade Candle” with inscribed “drinking strips.” China, Tang Dynasty, 8th century. Height: 10 inches (25.4 cm). Asia Week New York | Kaikodo LLC

Dai Mingyue (1625-1670). Bamboo and Rock. Hanging scroll, ink on satin. 31.5 x 18.5 inches (80 x 47 cm). Asia Week New York | Kaikodo LLC

J.J. Lally & Co., « Chinese Archaic Bronzes: The Collection of Daniel Shapiro and Ancient Chinese Sculpture: Recent Acquisitions ». staff@jjlally.com – www.jjlally.com

Bronze Ritual Vessel (Gong). China, Shang Dynasty, circa 1200 B.C. Height: 10 5/8 inches (27 cm); Length: 11 3/4 inches (30.1 cm). Asia Week New York | J. J. Lally & Co.

Bronze Ritual Vessel (Fangding). China, Early Western Zhou Dynasty, 11th century B.C. Height: 10 3/4 inches (27.3 cm). Asia Week New York | J. J. Lally & Co.

Gilt Bronze Figure of the Bodhisattva Guanyin. China, Tang Dynasty, 8th century. Height: 10 inches (25.5 cm). Asia Week New York | J. J. Lally & Co.

M. Sutherland Fine Arts, Ltd., « Chinese Contemporary Painting: New Works by Hai Tao« . info@msutherland.com – www.msutherland.com

Hai Tao. Landscape Number 1. China, 2012. Ink on paper. Asia Week New York | M. Sutherland Fine Arts, Ltd.

Hai Tao. Melodious Apparition. Nanjing, China, 2010. Ink on rice paper. 12.75 x 10.1 inches (32.4 x 25.7 cm). Asia Week New York | M. Sutherland Fine Arts, Ltd.

Hai Tao. Rising Tide. Nanjing, China, 2010. Ink on rice paper. 12.75 x 10.25 inches (32.4 x 26 cm). Asia Week New York | M. Sutherland Fine Arts, Ltd.

Nicholas Grindley Works of Art Ltd, « Chinese Furniture and Scholars’ Objects« . nick@nicholasgrindley.com – rebecca@nicholasgrindley.com – www.nicholasgrindley.com

Huanghuali yoke back armchair with a backward sloping yoke. China, Late Ming dynasty, 16th century. Huanghuali wood. Height 42.5 x Width 23.5 x Depth 24 inches (107.9 x 59.7 x 61 cm). Asia Week New York | Nicholas Grindley Works of Art Ltd

Huanghuali inset leg bridle joint table. China, Late Ming, early Qing dynasty, 17th century. Huanghuali wood. Height 31.75 x Width 95.25 x Depth 21.25 inches (80.6 x 242 x 54 cm). Asia Week New York | Nicholas Grindley Works of Art Ltd

Duan inkstone contained within a nanmu box. China, Qing dynasty, 17th/18th century. Length 3.5 x Width 3 x Depth .5 inches(8.9 x 7.6 x 1.3 cm). Asia Week New York | Nicholas Grindley Works of Art Ltd

Zetterquist Galleries, « Early Chinese Ceramics: Monochromes« . inquiries@zetterquist.com – www.zetterquist.com

Large and Important Carved Mei-ping. China, Northern Song Dynasty (960–1127 A.D.). Porcelaineous Stoneware. Height: 15.3 inches (39cm). Asia Week New York | Zetterquist Galleries

Large Yaozhou Game Box. China, Northern Song Dynasty (960–1127 A.D.). Ceramic. Diameter: 4.9 inches (12.5cm). Asia Week New York | Zetterquist Galleries

Large Longquan Celadon Twin Fish Bowl. China, Southern Song–Yuan Dynasty (13th–14th century A.D.). Ceramic. Diameter: 7.9 inches (20cm). Asia Week New York | Zetterquist Galleries

Ancient and/or Contemporary Japanese Art

Carole Davenport (United States), « BCE TO NOW – Masterworks from Japan and China« . carole@caroledavenport.com – www.caroledavenport.com

Kasuga Deer Mandala. Japan, Muromachi Period, circa 1500. Silk. 35 x 14.5 inches (89 x 36.8 cm). Asia Week New York | Carole Davenport

Hiroyuki Asano. Sunset Mt. Fuji. Japan, 2013. Black impala granite from South Africa. Height: 14.6 inches (37 cm). Asia Week New York | Carole Davenport

Okimono of a kirin. 18th century. Porcelain with celadon glaze, Nabeshima kiln. 11.5 inches high. Asia Week New York | Carole Davenport

Dai Ichi Arts, Ltd. (United States), « Jewels for Homes« . info@daiichiarts.com – www.daiichiarts.com

Miyanaga Tozan III. On the Way. Japan, circa 2004. Cobalt glazed porcelain. 20 x 17.3 x 7.4 inches (50.8 x 43.9 x 18.8 cm). Asia Week New York | Dai Ichi Arts, Ltd.

Kaneshige Kosuke. Saint’s Garment No.5. Japan, 2004. Wood-fired bizen stoneware. 16 x 19 x 13 inches (40.6 x 48.3 x 33 cm). Asia Week New York | Dai Ichi Arts, Ltd.

Otto Akob. Gold Coral and Pearl Earrings: Shells. Germany, 1986. 18kt gold, orient pearls, coral enamel. 1.25 x 0.8 inches (3.1 x 2 cm). Asia Week New York | Dai Ichi Arts, Ltd.

Joan B. Mirviss, Ltd. (United States), « Japan in Black and White: Ink and Clay« . info@mirviss.com – www.mirviss.com

Yashima Gakutei. Surimono woodblock print. Japan, 1830. 8 x 7 inches (20.3 x 17.8 cm). Asia Week New York | Joan B. Mirviss, Ltd

Yagi Kazuo. Asymmetrical sculpted vessel. Japan, circa 1970. Glazed stoneware. 8.75 x 8.25 x 7.88 inches (22.2 x 21 x 20 cm). Asia Week New York | Joan B. Mirviss, Ltd

Maruyama Ôkyo. Moon Over Waves. Japan, 1777. Ink on silk. 39.25 x 12.6 inches (99.7 x 32.1 cm). Asia Week New York | Joan B. Mirviss, Ltd

Onishi Gallery (United States), « Heritage: Contemporary Japanese Ceramics and Other Interior Objects« . nana@onishigallery.com – www.onishigallery.com

Tokuda Yasokichi III. Plate Kamon (Floral). Japan, 2000. Porcelain with vivid colored glaze (yôsai). 3.9 x 21.9 inches (10 x 55.5 cm). Asia Week New York | Onishi Gallery

Tokuda Yasokichi III. Plate Shin-en (Calm). Japan, 1992. Porcelain with vivid colored glaze (yôsai). 3.3 x 21.5 inches (8.5 x 54.5 cm). Asia Week New York | Onishi Gallery

Maeda Hideo. Flower vessel with geometric pattern. Japan, 2013. Stoneware with inlay. 16.7 x 12.4 inches (42.5 x 31.5 cm). Asia Week New York | Onishi Gallery

Scholten Japanese Art (United States), « Erotic Art of Japan: Everybody’s Doing It« . info@scholten-japanese-art.com – www.scholten-japanese-art.com

Suzuki Harunobu (circa 1725-70). Teahouse waitress and a lover in an intimate embrace. Japan, circa 1768. Woodblock print. 8 1/8 x 11 1/8 inches (20.5 by 28.2 cm). Asia Week New York | Scholten Japanese Art

Suzuki Harunobu (ca. 1724-70). A beauty watching a couple drinking sake, from the The Spell of Amorous Love (Enshoku koi no urakata). Japan, circa 1766-70. Woodblock printed chuban orihon (folded illustrated book). 7.5 x 5.125 inches (19.2 x 13 cm). Asia Week New York | Scholten Japanese Art

Kikugawa Eizan (1787-1867). Young Lovers at the New Year, from the series Selections from the Brocade Quarters (E-awase Kinkaisho). Japan, circa 1815. Woodblock print. 10.125 x 14.625 inches (25.7 x 37.2 cm). Asia Week New York | Scholten Japanese Art

Erik Thomsen (United States), « Japanese Paintings and Works of Art« . info@erikthomsen.com – www.erikthomsen.com

Suzuki Shônen (1849-1918). Pines (detail). Japan, Meiji era (1868-1912), circa 1910. Ink on gold leaf. 67.5 x 147.5 inches (171.5 x 374.5 cm) each. Asia Week New York | Erik Thomsen

Katsudô Eiryrû (act. 1790s). Ensô Bijin. Japan, Edo Period (1615-1868), 1790s. Ink and mineral colors on silk. 55 x 22.5 inches (139.3 x 56.8). Asia Week New York | Erik Thomsen

Rinpa School. Flowers of the Season by Meandering Stream. Japan, Meiji era (1868-1912). Ink, mineral colors, gofun and gold on paper with gold leaf. 66.25 x 74 inches (169.5 x 188 cm). Asia Week New York | Erik Thomsen

Hiroshi Yanagi Oriental Art (Japan), « Japanese Art Highlights« . h-yanagi@art.plala.or.jp – www.h-yanagi.com

Standing Amida Nyorai. Japan, Kamakura Period, 13th century. Cypress wood. Height: 9 inches (23 cm). Asia Week New York | Hiroshi Yanagi Oriental Art

Maruyama Okyo. Turtles. Japan, Edo Period, 1785. Hanging scroll, ink and color on silk. 35.4 x 15.75 inches (90 x 40 cm). Asia Week New York | Hiroshi Yanagi Oriental Art

Miyagawa Choshun. Nikuhitsu Ukiyo-e: Figures. Japan, Edo Period, 18th century. Six-fold screen, ink and color on silk. Each painting 30.9 x 13.2 inches (78.4 x 33.6 cm). Asia Week New York | Hiroshi Yanagi Oriental Art

BachmannEckenstein (Switzerland). « Japanese Art | Pre-Modern and Beyond« . email@bachmanneckenstein.com – www.bachmanneckenstein.com

Otagaki Rengetsu (1791-1875). Dish. Japan, 19th century. Glazed ceramic. 6.2 x 4 inches (15.7 x 10 cm). Asia Week New York | BachmannEckenstein JapaneseArt

Ikeno Taiga (1723-1776). Landscape – Hanging Scroll. Japan, Edo Period, 18th century. Ink and color on paper. 49 x 10.9 inches (124.5 x 27.6 cm); Scroll: 80.3 x 16.5 inches (204 x 42 cm). Asia Week New York | BachmannEckenstein JapaneseArt

Hine Taizan (1813-1869). Landscape – Hanging Scroll. Japan, Meiji Period, dated 1868. Ink on paper. 44.5 x 12.3 inches (113.1 x 31.2 cm); Scroll: 76.8 x 17.1 inches (195 x 43.5 cm). Asia Week New York | BachmannEckenstein JapaneseArt

Giuseppe Piva Japanese Art (Italy). « Yūgen: The Subtle Profundity of Japanese Art« . info@giuseppepiva.com – www.giuseppepiva.com

Otagaki Rengetsu (1791-1875). Hare. Signed Rengetsu. Ceramic okimono with calligraphic inscription. Height: 7.9 inches (20 cm). Asia Week New York | Giuseppe Piva Japanese Art

A small hokai box with Kodai-ji Maki-e Design with Autumn Plants. Japan, Momoyama Period, late 16th century. 7.7 x 8.3 x 8.3 inches (19.5 x 21 x 21 cm). Asia Week New York | Giuseppe Piva Japanese Art

Kei School. Nikko Bosatsu. Japan, Nanbokucho Period (1336-1392). Wood sculpture with colored pigments and gold-leaf decoration. Height: 19.7 inches (50 cm). Asia Week New York | Giuseppe Piva Japanese Art

Ancient and contemporary Korean

Kang Collection Korean Art and Koo New York, both from the United States, round out the contributors presenting the extraordinary array of Asian art treasures on view.

Kang Collection Korean Art (United States). « Ik-Joong Kang: Bamboo/Wind« . info@kangcollection.com – www.kangcollection.com

Ik-Joong Kang. White Moon Jar. Korea, 2011. Mixed media on wood. 37.75 x 37.75 inches (96 x 96 cm). Asia Week New York | Kang Collection Korean Art

Ik-Joong Kang. Samramansang Moon Jar. Korea, 2010-2013. Mixed Media on Wood. 47 x 47 inches (119.4 x 119.4 cm). Asia Week New York | Kang Collection Korean Art

Ik-Joong Kang. Blue Chrysanthemum Moon Jar. Korea, 2011. Mixed Media on Wood. 47 x 47 inches (119.4 x 119.4 cm). Asia Week New York | Kang Collection Korean Art

Koo New York (United States). « Korean Traditions: Arts of the Interior« . info@koonewyork.com – www.koonewyork.com

Anonymous. Cranes Gathering in Daoist Western Paradise. Korea, Annexation Period (1910-45). Eight-Panel Screen; colors on silk, mounted on brocade. Overall: 74.5 x 127.25 inches (153 x 323.4 cm). Asia Week New York | KooNewYork

To celebrate the 2015 edition of Asia Week New York, which offers a non-stop schedule of gallery open houses, auctions, exhibitions, lectures, symposia and special events, a private, invitation-only reception will once again take place at The Metropolitan Museum of Art on March 16.

A comprehensive guide with maps will be available at participating galleries, auction houses and cultural institutions, starting February 2015 and online at asiaweekny.com. Emphasizing the strength of interest from Chinese-speaking buyers, a Chinese version of the website is available at cn.asiaweekny.com.

Master Drawings in New York announces highlights at the 2015 edition

Étiquettes

Abromson Ltd, Aert Schouman, Barbara Mathes Gallery, Claudio Bravo, Crispian Riley-Smith Fine Arts Ltd, Daniel Dumonstier, David Tunick, Diana at her Bath, Dionysius Aeropagites, Edward Lear, Elena Climent, Emil Nolde, Fernand Léger, Francesco Fontebasso, Francis Towne, Gaetano Gandolfi, Giorgio Morandi, Giovanni Battista Baiardo, Giovanni Costetti, il Guercino, Indian Elephant, Jacobus van Looy, James Ward, Jan Dibbets, Joan Miró, Joseph Mallord William Turner, Josephus Augustus Knip, Joshua Reynolds, L’Antiquaire and The Connoisseur, Leonard Hutton Galleries, Les Constructeurs, Les Enluminures, Lowell Libson, Margot Gordon Fine Arts, Martyn Gregory, Mary-Anne Martin Fine Art, Mattia e Maria Novella Romano, Merce Cunningham, Mia N Weiner, Mireille Mosler, Nicolaas Struyk, Nicolas II Huet, Nissman, Octavianus Monfort, Olivetan Master, Pandora Old Masters, Pierre Bonnard, Pietro Antonio Novelli, Raphaël, Robert Rauschenberg, Samuel Palmer, Sigrid Freundorfer Fine Art, Stephen Ongpin Fine Art, The Cedars of Lebanon, Thomas Gainsborough, Van Doren Waxter

Joshua Reynolds, Dionysius Aeropagites. Oil on canvas, 30 x 25 inches, circa 1772. Photo: Courtesy of Lowell Libson.

NEW YORK, NY.- The tenth edition of Master Drawings in New York January 24 – February 1, 2015 promises to be the best ever. More than thirty of the world’s leading dealers are coming to New York City to offer for sale master art works in pencil, pen and ink, chalk and charcoal, as well as oil on paper sketches and watercolours, created by iconic artists working in the 16th to 21st centuries. Each exhibition is hosted by an expert specialist and many works on offer are newly discovered or have not been seen on the market in decades, if at all.

In addition, Margot Gordon and Crispian Riley-Smith, co-founders of Master Drawings in New York, announced that John Marciari, the new head of the Department of Drawings and Prints at the Morgan Library & Museum in New York, will provide the introduction for the 2015 Master Drawings in New York brochure.

Highlights at the 2015 edition of Master Drawings in New York include….

A major rediscovered masterpiece by Sir Joshua Reynolds, listed as missing since 1905, and a star attraction at the exhibition of London gallery LOWELL LIBSON LTD. “’Dionysius Aeropagites’ has only been known from an 18th century engraving,” according to Libson. It depicts Reynolds’ favorite model, a street mender from York, George White. The painting perfectly communicates Reynolds’s ambitions as a history painter shortly after the founding of the Royal Academy.” Painted in emulation of an Italian old master, the powerful head was published shortly after its completion and given the title identifying the sitter as a follower of St. Paul. Libson is also featuring works by William Blake, John Singleton Copley, Thomas Jones, Samuel Palmer, Simeon Solomon and a fascinating group of British portrait drawings of the 1830s and 1840s depicting Queen Victoria, Talleyrand, Chopin and Paganini. Plus Sir Thomas Lawrence’s portrait of the Duke of Wellington’s nieces and J.M.W. Turner’s Alpine tour watercolor, The Val d’Aosta looking towards Sallances.

Thomas Gainsborough RA (1727-1788), A Family Outside a Cottage Door, circa 1775-6. Pen and ink, grey and pink washes over pencil, 7⅝ x 9 ¾ in (194 x 247 mm). Photo: Courtesy of Lowell Libson.

Edward Lear (1812 – 1888), The Cedars of Lebanon. Inscribed, dated and numbered: ‘The Cedars / Lebanon / 20 . 21 May 1858 (193)’, pencil, pen and ink and watercolour, (14 ¾ x 21 ¼ in) 375 x 540 mm. Photo: Courtesy of Lowell Libson.

Also recently discovered is a magnificent Federico Zuccari drawing from an important private collection that is said to be unique. It is likely a preparatory sketch for the Escorial in Madrid, and is being offered at the exhibition of Italian dealers Mattia e Maria Novella Romano. They also are featuring a Vincenzo Gemito Portrait of a Young Girl from a private Naples collection.

Francesco Salghetti Drioli (1811 – 1877), Hector reproaches Paride. Pen and brown ink, brown wash, heightened with white, on paper, signed and dated ‘F. Salghetti f.1831 Roma’, 9 ¾ x 13 ¼ in (236 x 336 mm). Photo: Courtesy of Mattia e Maria Novella Romano

Returning exhibitor David Tunick is showing a major gouache by Fernand Leger, Les Constructeurs of 1950, publicly shown only once before at the Grand Palais in Paris in 1971. The definitive study for the painting of the same subject in the Sonja Henie-Onstad Art Centre Museum in Oslo, it last was on the market in 1980. Tunick says, “We were very pleased that the executors of the estate handling the Leger chose to go with us instead of the auction route.”

Fernand Léger, Les Constructeurs, 1950. Study for painting in Oslo museum. Gouache and pencil, 369 x 458mm. Photo: Courtesy of David Tunick.

Gunther Gerzso’s “Surrealist Sketchbook” is among the star attractions at Mary-Anne Martin Fine Art. The hardcover sketchbook is a work from the artist’s estate and has never before been exhibited. It includes 55 original drawings mostly done in the carbon transfer technique some with frottage and many augmented with pen, India ink and colored pencils. Some are experimental, reminiscent of Miro and Matta, others depict pre-Columbian clay fertility figures in Surrealist settings. Plus seven sketches related to well-known paintings from his Surrealist period, such as a portrait of Benjamin Peret. Martin also is showing a group of drawings by Frida Kahlo made between 1928-1946 including an academic study of a Greek Mask, two political drawings representing Kahlo’s “redesigns” of the Statue of Liberty, and a tender portrait of “Tonito” Frida’s nephew, Antonio Kahlo, drawn c1940.

Elena Climent, Mexican, b. 1955, Alebrije Cat in Oaxaca, 8 x 10 3/16 inches (image), iPad drawing digitally printed on rag paper, 2012. Photo: Courtesy of Mary-Anne Martin Fine Art

Elena Climent, Mexican, b. 1955, Tin Cactus and Old Leaves, 8 x 11 inches (image), iPad drawing digitally printed on rag paper, 2012. Photo: Courtesy of Mary-Anne Martin Fine Art

A small group of noteworthy David Cox watercolours Martyn Gregory is bringing to New York includes a very large one that is completely fresh to the market. Gregory says it is interesting as it is made on several sheets of the “Scotch” paper Cox used later in his career, which he had carefully pieced together to make a much larger sheet. It is an interesting reworking of watercolour of one of Cox’s favorite subjects Betwys-y-Coed in North Wales. Gregory is also showing 18th and 19th century British watercolours including Richard Parkes Bonington’s The Ruins of Chateau d’Harcourt near Lillebonne, a pencil and watercolour dating to 1821-22 when Bonington made his first tour of Normandy, a 1793 watercolour by British artist William Alexander showing Chinese Barges of the first British embassy preparing to pass under a bridge, led in 1792-4 by Lord Macartney, and a highly detailed wash drawing, John Hood’s The East Indiaman Essex in three positions.

James Ward, RA (1769-1859), Study of two stags’ heads. Oil over pencil on paper. Signed in monogram ‘JWD. RA’, 10 ⅞ x 17⅜ in (275 x 440 mm). Photo: Courtesy of Martyn Gregory

Joseph Mallord William Turner, RA (1775-1851), A windmill with cottage and wagons. Pencil and watercolor, 7 x 9 ¼ inches (178 x 235 mm). Photo: Courtesy of Martyn Gregory

Frist time exhibitor at MDNY, Eric Gillis Fine Art, is showing a top-quality selection of 19TH century French drawings including an outstanding Seurat work of 1881-82 that once belonged to Paul Signac, The Reader, and a very rare group of drawings from the finest late 19th century Belgian artists, including examples of symbolism and expressionism. Exceptional among these are works by Leon Spilliaert, such as Bird of Prey, and Henry van de Velde, whose Two Haymaker Women which will be among the highlights.

Dalva Brothers are also exhibiting at MDNY for the first time showing a collection of small scale graphite drawings by William Trost Richards (1833-1905) depicting plant studies, rocky shorelines and pastoral scenes from the 1850s through the 1860s, among them views of Atlantic City and Maine.

talian drawings by Domenico Piola and Orazio Samacchini take center stage at Christopher Bishop’s exhibition. Piola, a Genovese artist of the 17th century, drew Angels with Doves presumably for a fresco in the Palazzo Rosso in Genoa. Bishop says The Adoration of the Magi by Orazio Samachini, the late 16th century Bolognese artist, is an exciting find as it is a completely unknown drawing preparatory for a painting which was recently discovered and auctioned off at the Dorotheum in Munich.

Pietro Antonio Novelli (1729-1804), Diana at her Bath. Pen and grey washes, 11 1/4 x 8 1/8 in (287 x 205 mm). Photo: Courtesy of Christopher Bishop Fine Art

Giovanni Francesco Barbieri, Called il Guercino (1591-1666), Study of a Woman with a Hand held to her Breast. Brown ink and brown washes, 5 11/16 x 6 1/2 inches (145 x 165 mm). Photo: Courtesy of Christopher Bishop Fine Art

Pandora Old Masters is showing interesting political drawings by Giovanni Costetti (1874-1949) of Hitler and Molotov. The recto, The Mask, from 1939, shows them when they signed the non-aggression pact, and the verso, The Face, from 1941, portrays Hitler and Molotov when the Nazis invaded the Soviet Union.

Giovanni Costetti (Reggio Emilia 1874 – 1949 Settignano), La Maschera e il Volto (The Mask and the Face) [recto]- Hitler and Molotov [verso]. Colored chalks and watercolor on japanese paper. Inscribed and dated in black chalk on the recto “1939 NON INTERVENZIONE” and “LA MASCHERA E”. Inscribed and dated in black chalk on the verso “1941 IL VOLTO”. 250 x 370 mm (9 13/16 x 14 9/16 inches). Photo: Courtesy of Pandora Old Masters

Among important 20th century artists being featured at the BARBARA MATHES gallery, you will see Agostino Bonalumi’s 1971 Progretto, a mixed media on paper, and Sophie Taeuber-Arp’s Badnes, Cercles et Lignes, dating to 1932.

Robert Rauschenberg (1925-2008), Spring Clearance, 1961. Solvent transfer, ink, gouache, and graphite on Strathmore paper, signed and dated on verso: Rauschenberg 1961, 23 x 29 in (584 x 737 mm). Photo: Courtesy of Barbara Mathes Gallery

Jan Dibbets (b. 1941), Wien, 1990-91.Color photo, watercolor on paper on cardboard, signed, titled, and dated on verso: Jan Dibbets, “Wien,” 1990/91, 24 x 24 in (610 x 610 mm). Photo: Courtesy of Barbara Mathes Gallery

London specialist Stephen Ongpin Fine Art always manages to acquire new-to-the-market works by the most iconic names in fine art including Edgar Degas, Thomas Gainsborough, Paul Klee, Henri Matisse, Edvard Munch, Signac, Thiebaud and Odile Redon. This year’s exhibition won’t disappoint as Ongpin is showing Gainsborough’s Travellers Passing Through A Village, Klee’s Night impression of a Southern Town, Degas’s A Seated Young Woman Plaiting her Hair, Matisse’s Standing Female Nude, Munch’s Rocks on the Edge of a Sea, Paul Signac’s Still Life with a Bowl of Fruit, Wayne Thiebaud’s Ice Cream Cone and Redon’s A Face in the Window.

Nicolas II Huet (c.1770-1828), An Indian Elephant. Pen and brown ink and watercolour, with touches of gouache on vellum laid down on board. Signed and dated huet fils 1810 at the lower right. 312 x 446 mm. (12 ¼ x 17⅝ in.). Photo: Courtesy of Stephen Ongpin Fine Art

Claudio Bravo (1936-2011), A Seated Man Seen from Behind. Pastel on buff paper. Signed and dated ‘CLAUDIO BRAVO / MCMLXXXIII’ in red chalk at the upper right. 381 x 300 mm. Photo: Courtesy of Stephen Ongpin Fine Art

New exhibitor PRPH Rare Books is offering an album of 70 uncensored 16th century drawings after Michelangelo’s Last Judgment in the Sistine Chapel. The original figures depict genitalia and other “lewd” elements which were later censored and painted over at the Church’s direction. These were generally unknown until the restoration of the work in 1980-84. They are bound in 18th century calf and were in the collection of Count Leopold Cicognara (1767-1834), the leading Italian art historian of his time. PRPH is also showing a highly important complete set of 50 engraved fortune telling cards (Northern Italy 1465) by the Master of the ‘Mantegna’ Tarocchi – E-series, rebound in 18th century cartonnato.

Sigrid Freundorfer Fine Art is showing a wonderful selection of contemporary watercolour, gouache and graphite drawings by American artist Scott Kelley (b. 1963) taken from the Legends of Gluskap, the cultural hero of the Wabanaki the five tribes of Maine, where Kelley lived. His heartfelt animal depictions of bears, rabbits, beavers and deer portray Gluskap’s relationship with animals and their importance to mankind and his teachings on how to live together with nature.

Merce Cunningham (1919-2009), Untitled (Grasshopper), 1998. Ink and colored pencil, 9 x 12 in. (230 x 305 mm.). Photo: Courtesy of Sigrid Freundorfer Fine Art

Merce Cunningham (1919-2009), Untitled (Grey Bird), 1998. Ink and colored pencil on paper, 12 x 9 in (305 x 230 mm.). Signed lower center. Photo: Courtesy of Sigrid Freundorfer Fine Art

London dealer Guy Peppiatt brings over wonderful British works including artworks by one of the most important British topographical artists of the late 18th century, Edward Dayes, whose Carlsbrooke Castle Isle of Wight, dating to 1788, is featured at MDNY. Also featured is a William Callow R.W.S. watercolour A Spring Day at Florence from San Miniato, dating to 1882, and Thomas Rowlandson’s pen, ink and watercolour, The Mid-day Rest.

Samuel Palmer (1805-1881), View on the Devon Coast. Watercolour over pencil heightened with touches of bodycolour, 7 ¼ by 10 ½ in. (187 x 269 mm). Photo: Courtesy of Guy Peppiatt

Francis Towne (1740-1816), Ludlow Castle, Shropshire. Signed lower left: F. Towne/delt. 1777/no 46 and inscribed verso: a view of Ludlow Castle, Shropshire./ Drawn on the spot/ by/ Francis Towne July 21st 1777. Pen and grey ink and watercolour on five sheets of paper joined on original washline mount, 11 ¾ by 22 ¼ in. (30 x 57 mm). Photo: Courtesy of Guy Peppiatt

Pia Gallo is offering a Salvator Rosa (1615-1673) Study for the Figure of Scylla in pen ink and wash that is a study for the painting Glaucus and Scylla at the Brussels Musee des Beaux Arts. The drawing that was once owned by Queen Christina of Sweden. A second artwork offered shows an 1800 Italian school hand painted fan shaped gouache meant to be mounted as a fan, Veduta del Sepolcro della Sacerdotessa Mammia a Pompejano.

New York dealer L’Antiquaire and The Connoisseur is showing Daniel Dumonstier’s (1574-1646) black chalk and pastel A Portrait of a Young Woman in a Ruffled Collar. Dumonstier retained his celebrity undertaking portraits under the reigns of Henry IV and Louis XII. He was renowned for his prodigious memory and gallant and humorous repartee. He was the appointed painter to King Louis XIII who granted him land and titles.

Daniel Dumonstier (1574–1646), A Portrait of a Young Woman in a Ruffled Collar. Medium: Black chalk and pastel, 10 ¼ x 7⅝ in. (260 x 192 mm). Photo: Courtesy of L’Antiquaire and The Connoisseur

Octavianus Monfort (active in Turin, 2nd half 17th century), Still life with pomegranate, apple, peach, pears, plums and gourd; with carnation and hyacinths, resting atop a ledge. Tempera on parchment, 8 x 9½ in. (204 x 242 mm.). Photo: Courtesy of L’Antiquaire and The Connoisseur

Crispian Riley-Smith of London has titled his exhibition, “Flights of Fancy: Birds and Animals by Aert Schouman and his contemporaries in 18th century Holland.” On view are six Aert Schouman watercolours, including five from the collection of the late Lord Fairhaven, and four watercolours by Abraham Meertens. Plus master drawings by Bandini, Benso Hackert, Zuccarelli and Van Goyen.

Gaetano Gandolfi (1734-1802), A Sheet of studies of Six Fantastical Heads, circa 1780s. Pen and brown ink on paper, 213 x 211mm. (8½ x 8⅜ in). Photo: Courtesy of Crispian Riley-Smith Fine Arts Ltd

Aert Schouman (1710-1792), A Black tailed Godwit [Limosa Melanura]. Pencil, pen and ink and watercolour and gum arabic, 357 x 247 mm. (14 x 9 ¾ in.). Photo: Courtesy of Crispian Riley-Smith Fine Arts Ltd

Margot Gordon Fine Arts is staging a show titled “Five Centuries of Faces and Figures.

Raffaello Sanzio, called Raphael (1483-1520), Two Putti Supporting a Beam or a Plaque, circa 1517/18. Pen and brown ink, over black chalk, 4 1/2 x 2 3/4 in (114 x 69 mm). Photo: Courtesy of Margot Gordon Fine Arts

Mia Weiner is showing selection of important works by Gaetano Gandolfi, including Studies of Two Angels for L’Immacalota Concezione, a lovely double sketch preparatory for the flanking angels in the 1780 altarpiece “Immaculate Conception” in S.M. Lambarun Coeli. She also offers an intriguing red chalk drawing by a student of the Carracci closest in technique to Annibale, drawing a fellow student as he works from model sheets of facial features made by Agostino. Plus 19th century landscape oil sketches by Northern European artists including Filippo Lauri’s Allegorical Figures Frolicking in the Flowers, Daniel Israel’s Portrait of a Bearded Man, Jan Van Kessel’s Butterfly, Moth, Rose and Spring of Gooseberries watercolour, Salvator Rosa’s Study of a River God for The Dream of Aeneas,”, a study for the same figure in a painting at the Metropolitan Museum and Carl Friedrich Heinrich Werner’s watercolour, A Beautiful Water Carrier which Weiner says is a stunning example of the artist’s work.

Attributed to Giovanni Battista Baiardo (circa 1620–1657), Christ Restoring the Heart of St. Catherine of Siena, The Blessed Ludovica Albertoni. Pen and brown ink , brush and wash, 15 ½ x 10 ¼ in. (394 x 261 mm.). Photo: Courtesy of Mia N Weiner

Josephus Augustus Knip (1777 – 1847), Landscape with Ruins of a Monastery by a River. Signed Lower left ‘J.A.Knip’ and inscribed by the artist, pencil under drawing, pen and grey ink, brush and watercolour, 14⅞ x 20 in. (377 x 500 mm.). Photo: Courtesy of Mia N Weiner

VAN DOREN WAXTER exhibition is titled Emil Nolde and Die Brucke and includes works by Ernst Ludwig Kirchner and Emil Nolde. Nolde’s Meer, also titled Welle, dates to 1926 and Kirchner’s 1912 watercolour and pencil is titled Gerda mit Tanzer.

Emil Nolde (1867-1956), Young Woman with a Big Hat. Watercolour on paper, 5⅜ x 3⅞ inches (137 x 99 mm). Photo: Courtesy of Van Doren Waxter

Leonard Hutton galleries showing Fernand Leger study for“La Gare,” a 1918 pencil on paper.

Joan Miró (1893-1983), Le numéro de music hall, 10 November 1938. Gouache and pencil on cardboard, 10 x 7 ½ in (254 x 191 mm). Photo: Courtesy of Leonard Hutton Galleries

Mireille Mosler is showing artworks spanning five centuries including works by Zacharias Blijhooft, Pieter Holsteyn II, Francois Bonvin, John Constable, Jules Bastien-Lepage, Willem van den Berg, Leo Gestel, Jan Sluyters, Jan Toorop and Jacobus van Looy. The earliest 17th century drawings exhibited are a group of 15 small animals and insects that once belonged to a larger album in the possession of the Earl of Arundel 1585-1648 known as “The Collector Earl.” John Constable’s 1810 “En plein air” East Bergholt depicts the surroundings where he grew up. A Francois Bonvin Study for Le Couvreur tombe dating to 1877 is a recently rediscovered study of a now lost important Salon painting of the same year.

Jacobus van Looy (1855- 1930), A Water Carrier in Tangier. Signed ‘Jac.v. Looy’. Pastel on paper, 320 by 250 mm. Photo: Courtesy of Mireille Mosler

Nicolaas Struyk (1686-1769), Lizards and crustaceans. Bodycolor and grey wash on paper, 380 by 262 mm. Photo: Courtesy of Mireille Mosler

An Antonio Campi (1522-1587) chalk drawing of a Head of a Child is a standout at Nissman-Abromson Ltd. exhibition.

Francesco Fontebasso (1707 – 1769), Study of Heads. Pen and brown ink with umber and brown washes and traces of red chalk. 8 x 10¼ in. (204 x 260 mm.). Photo: Courtesy of Nissman, Abromson Ltd

Giorgio Morandi (Bologna 1890 – 1964 Bologna), Still Life. Graphite. Signed: Morandi / 1941. 6 3/8 x 8 5/8 in. (163 x 220 mm.). Photo: Courtesy of Nissman, Abromson Ltd

Jill Newhouse gallery is showing a selection of works by Georg Sand, Pierre Bonnard, and others. Only one other similar study for Bonnard’s 1893 Study for Conversation is known and it is in the collection of the Museum of Modern Art, New York. Newhouse says the sense of flattened space and perspective for which Bonnard is known is evident in this drawing, and the entire scene is a whirl of tight, energetic marks. Bonnard created the lithograph with the intent of having it published in the weekly satirical magazine L’Escarmouche but the magazine was only published from November 1893 to January 1894. On the verso of the present drawing appear studies of a robust stranding man and a woman singing, figures which evoke the theater and cabaret performances that Bonnard loved to depict. The George Sand watercolor and collage dates to 1855 and is titled Aristolocha Pistolochia. Sand was a watercolorist as well as a writer, much in the same vein as Victor Hugo.

Pierre Bonnard (1867-1947), Woman Painting, 1944. Pencil on paper, signed lower center, 6 ⅞ × 5¼ in (176 × 132 mm). Photo: Courtesy of Jill Newhouse gallery

Les Enluminures is offering a full page frontispiece miniature showing St. Jerome giving his epistle to a messenger, in French. Jerome, Letter LIV to Furia, on the Duty of Remaining a Widow, in the translation by Charles Bronin, has one full-page miniature. It dates to 1500-1510. Also being exhibited is Catherine D’Amboise Complaint of the Fainting Lady against Fortune with 8 large miniatures by the artist of Paris, Mazarine, dating to 1525-30; the Francois Fortin Hours Use of Lisieux and Rouen in Latin and French with 11 miniatures, by a follower of the Master of the Echevinage of Rouen, dating to 1480; and a Noted German Hymnal, Nonnenarbeitern Nuns’ Work, dating to 1460-80, in Latin with a historiated initial R.

Italy, Lombardy [Santa Maria di Monte Oliveto di Baggio near Milan?], c. 1439-1447, Olivetan Master (Frater Jeronimus?), detail from f. 9v, Monks singing the Office; Decorated Initial A[sperges me…]. Gradual, (Use of the Olivetan Benedictines), in Latin, illuminated manuscript on parchment, 23 1/2 x 17 1/8 in. (595 x 435 mm). Photo: Courtesy of Les Enluminures

France, Paris, c. 1320-1330, 169v, The Ascension of Christ, St Taurin Missal (Use of the Benedictines). In Latin and French, illuminated manuscript on parchment, 15 large historiated initials by an artist in the circle of Jean Pucelle, signed by the scribe Jean de Massingy, 8 5/8 x 6 1/4 in. (225 x 157 mm). Photo: Courtesy of Les Enluminures

Founded in 2006 as a way to draw upon and buttress the presence of collectors and museum officials during the important January art-buying events, including the Old Master auctions and The Winter Antiques Show, MASTER DRAWINGS IN NEW YORK has become an important part of the winter art scene in its own right, attracting the most influential dealers not only in New York but in England, France, Italy, Germany and Spain who each stage a themed exhibition in more than two dozen Upper East Side galleries between East 63rd and 93rd Streets.

Master Drawings in New York has received critical acclaim for orchestrating a showcase for fine art works that cut across the full range of styles, centuries, mediums and genres, and for providing greater accessibility to fine art at price points that range from several thousand dollars to several million.

New York Old Masters specialist Margot Gordon, who organized the first Master Drawings in New York event ten years ago says, “We are delighted to see how well known Master Drawings week has become as it has matured, with probably the most diverse array of representative artworks created between the sixteenth and twentieth centuries presented in both a lively and informative manner.

London drawings dealer Crispian Riley-Smith coordinates New York’s week-long event as well as its sister event during London Art Week each July. He says, “By agreeing to coordinate their exhibitions during a single week in galleries on New York’s Upper East Side, the world’s most respected dealers in master drawings have made it easier for both private and institutional clients to see the newest items on the market from the very top tier of specialists. For individuals interested in learning more about the quality and range of drawings on offer, there’s simply no better way to expose yourself to the very finest examples during a single week each year.”

Over the years both founders of Master Drawings in New York have seen that visitors are “surprised to see that not all our drawings date to the early centuries. We have member dealers who specialize in modern and contemporary works too. From illuminations drawn during medieval times, to preparatory studies for iconic masterworks by artists of the renown of Raphael, Titian, and Gainsborough, to sketches by Picasso and Miro, and wonderful modern and contemporary drawings. What visitors love is that they can enjoy the full range of drawing options in the course of an afternoon visiting a handful of East Side galleries. »

Jewelry at Fine Art Asia 2014

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1920s, Art Deco, Bogh-Art, Boucheron, Burmese Sapphire Brooch, Cartier, circa 1930, circa 1945, Dehres, Diamond, diamond and emerald bracelet, Dickson Yewn, Elizabeth Taylor, emerald and pearl brooch, Fine Art Asia 2014, Galerie Bruno Pepin, George Le Sache, Hawaii brooch, lady's cocktail watch, late 19th century, mystery set ruby and diamond earrings, Palais Royal Paris, purplish pink diamond, Siegelson, Simon Teakle Fine Jewellery, Somlo Antiques, Symbolic & Chase, The Majestic Set necklace, Van Cleef & Arpels, Wisdom ring

Dehres from Hong Kong is bringing this magnificent non-heated 37.29 carat Burmese sapphire brooch, given to Elizabeth Taylor by her husband Richard Burton, to Fine Art Asia 2014.

Dehres, Hong Kong, will also be exhibiting The Majestic Set necklace with pear-shaped diamonds graduating from a 5.00ct centre stone with successive rows of oval and marquise diamonds.

Siegelson brings to Fine Art Asia 2014 a very special piece that dates from 1926: a Van Cleef & Arpels diamond, emerald and pearl brooch.

These one-of-a-kind bejewelled enamel and ivory containers, exhibited at Fine Art Asia 2014 by Symbolic & Chase, were crafted by the celebrated jeweller George Le Sache for Boucheron in the late 19th century.

Another London-based exhibitor at Fine Art Asia 2014 is antique watch and clock specialist Somlo Antiques, which is showcasing a 1920s Cartier lady’s cocktail watch in platinum set with diamonds and onyx.

Dickson Yewn, whose distinctive pieces include this Wisdom ring, set with a rare purplish pink diamond, is among the contemporary jewellers taking part in Fine Art Asia 2014.

The Genevan high jewellery house Bogh-Art is exhibiting this stunning tassel necklace featuring a 5.00ct. pink diamond inlaid into mother-of-pearl, a necklace of natural saltwater pearls and briolette-cut pink diamonds with seed pearls on the tassels.

Simon Teakle Fine Jewellery, USA, is exhibiting a rare pair of Van Cleef & Arpels mystery set ruby and diamond earrings circa 1930.

A highlight at Palais Royal Paris, Paris and Hong Kong, is this important Art Deco diamond and emerald bracelet, circa 1930.

From Paris is Galerie Bruno Pepin, which is exhibiting this Van Cleef & Arpels Hawaii brooch in yellow gold with sapphires circa 1945.

Jacques Barrere gallery to focus on Silk Road at the 27th Biennale des Antiquaires

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Biennale des Antiquaires 2014, galerie Jacques Barrère, Route de la Soie, Silk Road

Pour la 27e édition de la Biennale des antiquaires, la galerie Jacques Barrère expose au Grand Palais du 11 au 21 septembre 2014..

PARIS.- For the 27th Biennale des Antiquaires the Jacques Barrere gallery chooses to focus her exhibition on Silk Road. Cultural spinal column of Eurasia, the Silk Road was the place of circulation of the major technological discoveries, of religions as varied as Islam, Christianity and Hinduism; place of exchange, melting pot and trade. To control it ensured the prosperity of empires, the loss of its access could mean decadence or destruction.

The art of Gandhara, derive from the association between the forms of Greek sculpture and the Buddhist spirituality, has a particular place of honor with a monumental Buddha head made in schist, and a rare golden crown of laurels, probably the only complete copy in a private collection. Ornaments of the aristocracy for important celebrations, these jewels were sometimes buried with their owners. 

Relations between the Islamic world and China are illustrated by a large Swatow enamel plate decorated with Koranic inscriptions and a great pair of cabinets inlaid with mother-of-pearl and silver for the rich Muslim merchant living in China.

The Louis Hambis collection of Nestorian crosses is shown to the public for the very first time. Nestorian Christians, of Turkic origin, settled in the central part of the Silk Road from the VIIIth to the XXth century, were the most far-eastern Christian community. These crosses, found in the nineteenth century, are the main physical testimony to this vanished culture.

The exhibition will be complemented by silk of Sogdian origin iridescent animal motifs blending influences of Greek, Persian, Chinese and Hellenistic. Several Chinese sculptures representing foreign evoke humor Chinese perception of laowai. 

Pour la 27e édition de la Biennale des antiquaires, la galerie Jacques Barrère expose au Grand Palais du 11 au 21 septembre 2014.

La galerie Jacques Barrère, spécialisée dans l’art asiatique ancien, présente des oeuvres autour du thème de la Route de la Soie. Cet axe majeur reliant l’Europe à l’Extrême Orient permet à différentes cultures, toutes très différentes les unes des autres, de se rassembler et d’échanger pendant plusieurs siècles. A cette occasion, la galerie Jacques Barrère met en lumière plusieurs pièces uniques et même inédites afin d’illustrer le savoir faire et la richesse de ces cultures.

Pour la première fois, la collection de croix nestorienne de Louis Hambris sera présentée au public. Cette collection constitue un des rare vestiges de cette culture aujourd’hui éteinte. L’art mythique du Gandhara sera présenté à travers plusieurs pièces de statuaire et une couronne rare, en or témoignant  du faste de l’aristocratie de l’époque.  Enfin, des soieries sogdiennes et des cabinets issus des liens entre l’Islam et la Chine sont également exposés ainsi que d’autres pièces toutes aussi spéciales afin d’illustrer cette diversité culturelle.

 

 

London’s most prestigious annual art and antiques event to be held 24-28 September

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ca 1805, Chinoiserie, George IV, London, Philip Rundell, Regency, silver-gilt, tea caddy, three-light candelabra

LONDON.- The LAPADA Art & Antiques Fair returns to the leafy surroundings of Berkeley Square, Mayfair, London this Autumn. The Fair is a must-visit event for sourcing and buying fine art and antiques from over 100 dealers and experts in their field. Among the exceptional works on offer will be furniture, jewellery, carpets, tapestries, antiquities, clocks, ceramics, silver and fine art. The Fair will take place from Wednesday 24th September until Sunday 28th September 2014. 

The sixth annual LAPADA Fair follows the success of last year’s event, where more than 19,000 visitors from around the world attended over the course of five days. Private collectors and art and antiques enthusiasts flocked to the Fair, where an expert committee of 50 specialists pre-vetted every piece on sale at the show to ensure quality and authenticity. 

The Fair’s popularity continues to grow, due to its reputation as a ‘one stop shop’ for the most sought after works from trusted LAPADA members. Prices of art works range from £500 up to £500,000 and beyond, offering the most discerning collector exceptional antiques and fine art to choose from and inviting first time collectors to develop exciting new interests. 

LAPADA the Association of Art & Antiques Dealers is the largest society of professional art and antiques dealers in the UK. It is a trusted resource for private collectors and the art & antiques trade in the UK and 16 other countries around the world. Established in 1974, and celebrating its 40th anniversary in 2014, it boasts 600 worldwide members, who are experts in their fields, with specialities ranging from fine art, jewellery and furniture to contemporary works, sculpture and ceramics. Due to the Association’s strict Code of Practice, clients are offered total reassurance when purchasing from a LAPADA member. LAPADA offers a referral service for any member of the public looking for a trusted dealer in a specific area, who is seeking quality and assurance of authenticity. It also offers industry advice and lobbies on issues affecting its members and good practice in the art and antiques trade. 

A pair of George IV silver-gilt three-light candelabra, mark of Philip Rundell, London, 1820, from A. Pash & Sons of Mayfair.

Regency Japanned Chinoiserie tea caddy, c1805, £2,750 from Freshfords Fine Antiques.