Asian Art in London 2019

Gallery Shows 15 ASIAN ART IN LONDON 2019

Asian Art in London (AAL) is now in its 22nd edition and the event LATE NIGHT OPENING runs from 31 October to 9 November in locations across London. KENSINGTON Tis year 33 dealers and galleries from the UK and overseas are CHURCH STREET showcasing a range of works of art from South, Southeast Asia, Saturday 2 November, 5-9 pm Gregg Baker Asian Art, Marchant, Central Asia, China, Japan, Korea, the Himalayas and the Jorge Welsh Works of Art Islamic world, dating from antiquity to the contemporary, along with Check with individual galleries for sales and previews of Asian art at local and international auction late opening times houses. Alongside the selling exhibitions, visitors can attend a variety Gregg Baker of museum exhibitions, lectures, gallery talks that coincide with is showing Post-War Asian Art in London. Below is just a selection of shows organised by Abstract Paintings and Ceramics of the galleries for the event. Full information can be found in the Japan bring together the work dedicated guidebook produced by Asian Art in London. produced by the revolutionary ceramic art group Sodeisha. Also on Late night openings start with Inose Naoya, until 1 November. show are pieces by two masters of Kensington Church Street Korean Cultural Centre: Negotiating abstract painting, Key Sato (1906- on 2 November, St. James’s on Borders, an art exhibition based on 1978) and Kokuta Suda (1906-1990), 3 November, and Mayfair the DMZ, until 23 November. whose paintings often included sand, on 4 November. Not all galleries Tate London: Nam June Paik, a pebbles and gesso, giving their work participate in these late openings, so retrospective of the modern Korean a ceramic-like texture. Ciel Figé, Gyoketsuten (Frozen Sky), Detail from one of a pair of vases refer to the AAL website listings for artist runs until 9 February, 2020. At Marchant’s, the exhibition this 1961, by Key Sato (1906-1978), depicting the Hundred Treasure, individual gallery’s details, or check Elsewhere in the UK: Ashmolean year is Qing Porcelain from Tree mixed media on canvas, famille-rose enamels and gold, China, directly with the galleries. Te AAL Museum (Oxford): A Nice Cup of Private Collections, comprising pieces 116.5 x 88.6 cm, Qing dynasty, Yongzheng period directory, includes maps and an Tea?; From Istanbul to Oxford explores from the late 1800s until the present. Gregg Baker Asian Art (1723-1735), height 37 cm, Jorge Welsh events calendar and can be found in how cofee came to London using Each collector is quite diferent, but members’ galleries, or can be Ottoman objects. Museum of East all have had the same passion for incuding a pair of Yongzheng famille- downloaded from their website. Asian Art (Bath): East Asian Life and collection, providing interesting rose vases; one of the largest Alongside the gallery shows, there China on a Plate. Oriental Museum provenances for the works. collections of 18th-century Chinese are several museum exhibitions and (Durham) Interface Arts presents Te works come from collections snuf boxes on record; and an events that coincide with Asian Art ‘East Meets West’. Pitt Rivers Museum created by three men: Tang Shaoyi, enigmatic and rare enamel-on- in London week. (Oxford): Multaka: Connecting the frst Prime Minister of the copper staf. Te show explores some Treads. Te Whitworth (University Republic of China in 1912; the of the most unusual and high-quality, In London: Te British Library: of Manchester): Beyond Faith: Muslim Frenchman Henry Mazot, who custom, orders produced by Chinese A major new exhibition, Buddhism, Women Artists Today; Li Yuan-chia arrived in Peking in the early 1920 artists for the West, illustrating how opens on 25 October and runs until Unique Photographs; and Four Corners and worked for the Bank of these precious objects were as 23 February 2020. Te British of One Cloth: Textiles from the Islamic Indochina; and Jefrey Stamen who highly valued then as they are today. Museum: Sir Stamford Rafes, World. is an avid collector of Chinese Tree individual catalogues Collecting in Southeast Asia 1811-1824, porcelain with a special interest in accompany the show: ‘Te Vases of runs to 12 Jan, 2020; Inspired by the The annual cocktail party is on the Kangxi period. the Hundred Treasures’, ‘Pocket East: How the Islamic World Infuenced Tuesday, 5 November at Bonham’s Celebrating their 20th annual Treasures: Snuf Boxes from Past Western Art, until 26 January; and 101 New Bond Street. exhibition, Jorge Welsh Works of Art Times’ and ‘Timeless Treasures: the Nara: Sacred Images from Early Japan, Tickets (numbers are limited) must be brings together three Runic Calendar Staf’. runs until 24 November. Daiwa pre-booked through the Eventbrite exceptional works of art in Qing porcelain from three private Foundation: Te Post-Anthropocene by function on asianartinlondon.com Treasures of Chinese Export Art, collections, Marchant Continued on page 16

Asian Art in London celebrates its 22nd year and will take place from the 31 October - 9 November 2019

The ten day Event unites leading Asian art dealers and auction houses, in a series of gallery selling exhibitions, auctions, receptions and lectures in and around the centre of London. AAL is complemented by related events at leadings museums and institutions.

asianartinlondon.com

ASIAN ART | OCTOBER 2019 16 Gallery Shows

LATE NIGHT OPENING ST JAMES’S Sunday 3 November Raquelle Azran Vietnamese Art, Joost van den Bergh, Cohen & Cohen, Daniel Crouch Rare Books, Rob Dean Art, Malcolm Fairley, Peter Finer, Grosvenor Gallery, Hanga Ten, Littleton & Hennessy, Martindale Chinese Art, Susan Ollemans, Simon Pilling, Priestley & Ferraro, Simon Ray, Jacqueline Simcox, Runjeet Singh, Davinder Toor, Grace Tsumugi Fine Art, and Jonathan Tucker & Antonia Tozer Contemporary lacquer kogo (incense Asian Art box), by Tomizo Saratani (b 1949), Raquelle Azran is showing a selection decorated with a profusion of cherry of works from Vietnamese artists blossoms in the moonlight, worked in living and working in Hanoi. Tis gold and silver leaf and mother of year’s theme is Eastern Embraces, pearl, signed Tomizo on a gold tablet, Western Whispers. Te group show width 12 cm, Malcolm Fairley illustrates the Western infuences on Vietnamese art, beginning with the Silvery Red Spirits (2018) interest in the subject. A catalogue founding in 1925, in Hanoi, of the by Vu Thu Hien (b 1970), accompanies the exhibition. watercolour on handmade paper, Te Elephant in the Room is the title The Sunset in Bombay by Edwin Lord Weeks (1849-1903), oil on canvas, Fine Arts Academy of French 3/4 3/4 Indochina (L’ecole des Beaux-Arts 80 x 55 cm, for this year’s show by Chinese 14 x 17 inches, signed lower right, Rob Dean de l’Indochine) by Victor Tardieu Raquelle Azran Vietnamese Fine Art export specialists, Cohen and Cohen, and Joseph Inguimberty, colleagues the elephants in question are a pair of and contemporaries of Matisse. 18th-century Chinese export Joost van den Bergh specialises in candlesticks, modelled as Indian art and this year’s exhibition caparisoned elephants, decorated in is entitled Perfect Presence, Tantra, famille-rose enamels. Another Jain & Hindu Ritual Art from India – highlight is a pair of famille-rose a celebration of the intricate and vases with unusual knops moulded intoxicating visual art derived from as large lotus blooms, from the Tantric thought and practice. Tantra, Qianlong period, on later European a term known in the West for its gilt wood stands. A catalogue associations with sex, magic, and accompanies the exhibition. esoteric mysticism has had an impact Rob Dean and the Grosvenor Gallery on religions and philosophies have teamed together to present Carved lacquer food container by including Buddhism, Hinduism, Views of India. Te exhibition Asada Shinsui (1901-82), Taoism, Jainism, Vajrayana, Bonpo, Salagramas, presents India through the eyes of Showa 21 (1946), Ayurveda and Shamanism. ink and gouache on paper, both Indian and foreign artists and 24.5 x 30 x 8.5 cm, Simon Pilling Miniature hu vase, Qianlong mark and Alongside related ideas of mantra Northern India circa 18th century takes visitors on a journey through period, height 5.7 cm, falangcai (knowledge through sound) and 103 cm x 75.5 cm, India from the 17th to 21st century. From the traditional woodcuts of enamels, Littleton & Hennessy yantra (the means to leading a Tantric Joost van den Bergh Te exhibition includes historical Kuzuyuki Ohtsu to the refned existence), the philosophy of Tantra scenes of the opulent palaces and mezzotints of Katsunori Hamanishi, claims that reality (prakriti) is pure contemporary works from artists sumptuous lifestyles and religious and to the colourful silkscreens on painted vase measures only 5.7cm. consciousness, pure being, pure bliss who were/are infuenced by tantra, activities of the famed Maharajahs of gold leaf of Kazutoshi Sugiura to the Te vase was made in the imperial – a reality that is, however, veiled by including Sayed Haider Raza, India as depicted by artists working mixed media on Nepalese paper of workshops in Beijing and is decorated illusion (maya). Trough purifcation, Acharya Vyakul, Kalu Ram and in the court ateliers and also explores Daniel Kelly, a spectacularly with lingzhi and bats, symbolising elevation and reafrmation of Profulla Mohanti. Contemporary views of India as seen through the beautiful range of Japan’s seasons is longevity and happiness in falangcai, identity, Tantra aims to help us works included are by Nicola eyes of British and European artists presented. Many of the works are or foreign enamels. Tis year, return to this unadulterated state of Durvasula, Shezad Dawood, who went to India in the 18th and rare prints, such as Ohtsu’s Autumn Martindale Chinese Art has organised being. Te gallery is also presenting a Alexander Gorlizki and Fergus 19th centuries. Te gem-like in Nara. Other artists on show are an exhibition of Chinese jade entitled number of 20th-century and Feehily – all of whom have a deep pigments of the classical Indian Ryohei Tanaka, Hiroto Norikane, Creatures and Beasts that features a paintings with their unconventional Toko Shinoda, Sarah Brayer, and collection of animals carved from approaches to perspective and Nana Shiomi. In the same gallery, nephrite jade dating from the Ming landscape painting can be compared Japanese art is also being presented and Qing dynasties (1368-1912). to the later academic style of oil by Simon Pilling, East Asian Art & And for 2019, Priestley & Ferraro are painting that became favoured in Interiors. Tis year marks the showing Chinese and Korean Ceramics India as European tastes began to beginning of a new Imperial era - and Works of Art comprising a range pervade Indian courts. Reiwa – the ffth since the end of the of early Chinese ceramics from the Malcolm Fairley’s exhibition consists Tokugawa Shogunate. In each era Tang to Song dynasties, as well as of recent acquisitions, including the arts have played a key role in Goryeo celadons, bronzes, textiles, metalwork, lacquer, cloisonné enamel, refecting the challenges of the time. and paintings, with some works in Satsuma earthenware and a Tis exhibition examines this iron, lacquer, and bamboo. collection of contemporary pieces by through the works selected for Simon Ray, as usual, holds an Indian Tomizo Saratani. Another Japanese exhibition. At the beginning of the & Islamic Works of Art exhibition specialist, Grace Tsumugi Fine Art, has Meiji period the arts were seen as a and among the objects on ofer are a recently refurbished their St James’s feld in which Japan excelled, and Southern-Indian white sapphire and gallery and this year for Asian Art in were used to promote Japan’s values ruby necklace dating to the 19th London is featuring a selection of in the contemporary International century, an Iznik tile depicting saz works of art, mainly from the Meiji World Trade Fairs. By the Taisho era leaves and rosettes, circa 1550, and a and Taisho periods, including Japan’s economy was strong, and the Mughal-period, carved, red lacquer, metalwork, sagemono, arts engaged in an international Autumn in Nara (2010) by Kazuyuki Ohtsu, woodblock print, Hanga Ten Satsuma and paintings. Highlights exchange of ideas. In the Showa include a pair of screens with period Japan embarked on a new 12-months designs and hanging route that was to prove disastrous. scroll paintings by Watanabe Seitei Following the Pacifc War, Japan’s (1851-1918). Te Nihonga painter, economic recovery thrived from the Seiti (also known as Shotei), was an 1960s, peaking at the end of the unusual artist for the time, blending Showa era, but then stalled and Western and Japanese techniques in sought consolidation through the his paintings. He was one of the frst Heisei era. Troughout, the arts Japanese artists to visit Europe, have provided continuity, where he attended the 1878 incorporating symbolism that International Exhibition in Paris. reaches back far into Japan’s historic He also visited the US in the same past, but constantly striving to year. capture the contemporary zeitgeist. Still in Japan, but moving to the At the beginning of this new era how present day, Hanga Ten is presenting will today’s young artists take the Te Four Seasons: Perspectives from story forward? Contemporary Japanese Printmakers. Littleton & Hennessy are presenting a Tis show views the seasons through range of Chinese works of art, a the eyes of a group of contemporary highlight of the show is miniature Japanese master printmakers with Beijing enamel hu vase, Qianlong Jade horse head, gem-set hilt, India, Pair of elephant candlesticks, European market, Qianlong period, circa 1770, varying printmaking techniques. mark and period. Tis delicately Mughal, 17th century, height: 23 cm, Cohen and Cohen 13.6 x 9.6 x 2.6 cm, Simon Ray

LATE NIGHT OPENING MAYFAIR Monday 4 November Berwald Oriental Art, Eskenazi Ltd, Ben Janssens Oriental Art, Kai Gallery, Sydney L Moss John Berwald is showcasing recent acquisitions, with a special focus on Chinese ceramics, sculpture, and works of art from the Han to the Qing. Eskenazi Ltd are having their frst exhibition dedicated to objects from the scholar’s studio, Room for Study: Fifty Scholar’s Objects. Presenting a selection of intimate objects from rocks, paintings and furniture to bronzes, brushes and brushpots, the exhibition celebrates the culture of the Chinese scholar, who occupied a unique position under imperial rule. Te objects considered necessary to the scholar’s studio served either by being vehicles for contemplation or practical Rectangular huanghuali table, late Ming dynasty, 17th century, utensils, in many cases fulflling 81.5 x 161.9cm x 52.3 cm, Eskenazi Ltd both purposes. Te studio would include at the very least furniture for fused with liberal boldness that give the practice of painting and Obaku works their unique force and Hunting Shield, Mewar, India, 18th century, calligraphy, together with necessary repute. A highlight of the exhibition animal hide, paint, green glass, silver, Runjeet Singh accoutrements such as brushes, brush is a pair of byobu (screens) by the rests, brushpots, scroll weights, monk Ingen Ryuki (1592-1673). washers and inkstones. Tis Mounted in a rare screen format, it is equipment was made in a large important to indulge in each panel variety of materials including individually to appreciate the porcelain, bronze, bamboo and stone, complexities of every calligraphic with forms ranging from the humble twist and turn, particularly noting Ingen’s distinctive curl of the fnal stroke of a character to bring it back to the centre. Another highlight is a hanging scroll by Sokuhi Nyoitsu. (1616-1671), of crabs among reeds. Carved white jade mythical beast and cub, Qing dynasty, OTHER AREAS AND Qianlong period (1736-1795), BY APPOINTMENT length 7.5 cm, Martindale Chinese Art John Eskenazi (by appointment only), Kamal Bakhshi Modern Asian Art, sandstone screen with foral sprays, Jade rhyton with makara base, Bloomsbury Gallery, Jonathan Cooper, parrot and peacocks dating to the 17th/18th century, and Singapore Art Garret Gallery 17th century. A highlight is a Mughal Ben Janssens Oriental Art John Eskenazi is once again by jade horse head, gem-set, hilt from appointment during Asian Art in the 17th century, the small number and simple to the precious and ornate. London. On show is an array of of daggers produced with animal For the purpose of pure sculptures from Gandhara, India hilts were reserved for the use of contemplation, nature was brought and Southeast Asia. A highlight is princes, while the number of such into the studio in the shape of rocks an extraordinary head from the daggers increased during the 17th and roots. A highlight of the Mathura region, dating from the and 18th centuries, they continued exhibition is a 17th-century 3rd/4th century, illustrating the to function as indicators of the huanghuali rectangular table made in revival in traditional forms that highest rank and position at court. A the late Ming dynasty. followed the fall of the Kushan catalogue accompanies the Tis year, Ben Janssens Oriental Art Empire, which gained momentum exhibition. A highlight of Runjeet Enya Takasada’s Wife the theme of the show is Mythical in the ensuing Gupta period. Te Singh’s show, a specialist in arms and by Watanabe Seitei (1851-1918), Animals. Te exhibition ranges in remarkable expressiveness of this armour from the East, is an Indian hanging scroll, ink, colours on silk, date from the Warring States period, head combines the regal power and 18th-century hunting shield from 112 x 36 cm / 184 x 47 cm overall, 5th century BC to the 19th century, caring nature of the god Vishnu. Mewar. Jonathan Tucker and Antonia Meiji era (1868-1912), circa 1890, and encompasses a variety of Other highlights include a Gandhara Tozer are presenting an important Grace Tsumugi Fine Art materials as diverse as pottery, stone, stucco Buddha head that retains its group of sculptures Gandhara, India, bronze, porcelain, lacquer, jade, original painted surface. An early Southeast Asia and China in stone, soapstone, glass, amber and enamel. terracotta image of Ganesha from bronze, stucco, wood and jade. Among the pieces on ofer is a fne Gandhara exudes the energy of this Among this year’s highlights are an pottery bowl and cover with animals, beloved god while an elegant important collection of Khmer and dating to the Han dynasty, 5th or 6th standing Buddha, in grey schist, other Southeast Asian sculptures century. Unusually, the fat top is expresses the classical serenity most from the estate of a British collector, impressed with a hawk-like bird with often associated with that region’s a rare Pra Kon Chai bronze fgure, outstretched wings and large claws, sculpture. purchased from Spink and Son in sitting with its head tucked into his 1989 and two fne Indian sculptures body. Also on show is a jade rhyton including a Shiva lingham. Two with makara base, dating from the exceptional grey schist Gandhara 17th or 18th century, and a brilliant Bodhisattvas also make their white porcelain bowl that dates to appearance this year. Also on ofer is the 18th century, having a frieze of a small collection of Chinese jades, archaistic pattern to the sides, and acquired by an English collector in featuring stylised dragons. A Hong Kong in 1954. catalogue accompanies the exhibition. Calligraphy of the Obaku school is the theme of Sydney L Moss’s exhibition this year. In the 17th century, a sudden intersection of two Buddhist sects produced a unique phenomenon: the Obaku School. Te collision of Chinese Linji (Japanese: Rinzai) monks with their theoretical counterpart in Japan bred a hybrid Zen sect, now referred to as Hutian qingbai six-lobed cup and Standing schist bodhisattva, A hanging scroll ink painting on paper Obaku. Calligraphy was considered cupstand, Northern Song dynasty Gandhara, Northwest Pakistan, of crabs among reeds to express the inner nature of the Head of Vishnu, India, Mathura (960-1127), diam. of stand: 14 cm, 2nd/3rd century, height 86 cm, by Sokuhi Nyoitsu (1616-1671), writer, and was a most intimate, (Uttar Pradesh), 3rd/4th century, diam. of cup: 10.9 cm, Jonathan Tucker Antonia Tozer painted area: 122.3 x 28.3 cm, personal art and Buddhist exercise. It red sandstone, height 34 cm, Priestley & Ferraro Fine Art Sydney L Moss is the fuency of Ming calligraphy John Eskenazi, by appointment only

ASIAN ART | OCTOBER 2019