Group of 30 Chinese Famille Rose and Other Porcelain Bird Feeders, part of the 1,000 piece collection, dating from the Song Dynasty to the Republic Period, expected to fetch between $100,000-200,000
New Braunfels TX: In one of its most extensive sales to date, Lark Mason Associates is delighted to present the Estate of Ida Bess Howes–a conservationist rancher, world traveler, art collector, and arts advocate who resided in the Round Top, Texas community. The first of three online auctions now open for bidding on the iGavel Auctions platform during Asia Week New York. The specialized 106-lot auction features a rare collection of over 1,000 rare Chinese porcelain bird feeders and water containers, ranging from the Song Dynasty to Republic Period, with estimates projected to achieve between $100,000-200,000. This sale closes on September 24th.
The second auction–Chinese Porcelain Spoons, Textiles, and Works of Art–opens for bidding on September 19th and closes October 3rd. Highlights include 16 Chinese Famille Rose Peony Commemorative Cups, expected to fetch between $40,000-50,000; a superb collection of over 400 fine and rare Qing Dynasty porcelain spoons, including examples dating to the Guangxu period and earlier, as well as an Imperial Shendetang spoon crafted for the Hall of the Cultivation of Virtue, the summer residence of the Daoguang Emperor, expected to achieve $40,000-60,000. Also featured is a collection of approximately 200 Chinese miniature robin’s egg and monochrome glazed vessels, and more than 400 Chinese Qing dynasty textiles, including garments, fabrics, and wrapping cloths.
The third session in this series–Brass Scientific Instruments, Furniture and Works of Art–runs from September 26th to October 11th. Among the standout lots are six Chinese Embroidered Framed Silk Panels, late 19th Century (Estimate: $4,000-6,000).
Viewing of the first two Ida Bess Howes sales is by appointment at the New Braunfels gallery, 210 W. Mill Street. Items from the third session of the collection will be on display at the Round Top Ranch on Wednesday, October 9th, and Thursday, October 10th, from noon to 7:00 p.m., with a wine reception on each day from 5:00 p.m. to 7:00 p.m. Email: [email protected] for an invitation and address.
Chinese and Other Asian Works of Art Exhibition in New York
In advance of their other significant sale, Chinese and other Works of Art, which opens for bidding on October 1st through 15th, Lark Mason Associates will host a preview at the iGavel Auctions salesroom, at 227 East 120th Street, from September 13th to 20th with viewing hours Monday through Saturday, 10:00 a.m. to 4:30 p.m. Among the highlights are a set of Eight Korean Painted Panels, late
Joseon Dynasty (Estimate: $20,000-30,000); a Chinese Formal Court Robe, Chaofu,Qing Dynasty (Estimate: $10,000-15,000); and a gilt lacquer seated Lohan, Qing Dynasty (Estimate: $5,000-8,000).
Matthias Stomer was one of the most important Dutch painters active in Italy in the first half of the 17th century. The Supper at Emmaus bears witness to his loyalty to Caravaggio’s naturalism.
Matthias Stomer (c.1600/after 1650), La Cène d’Emmaüs (The Supper at Emmaus), c.1640, oil on canvas, 126 x 229 cm/49.60 x 90.15 in. Estimate: 300,000/500,000 CHF
Matthias Stomer’s The Supper at Emmaus stands out for its monumentality and exceptional pictorial quality, revealing all his artistic skill. Theatrical gestures and expressive faces with finely worked skin make this biblical episode, in which the moment of surprise is central, a very lively representation. The Supper at Emmaus was one of the key themes of the Catholic Counter-Reformation. Stomer sticks to the text of the Gospel of Saint Luke: two disciples offer hospitality to a man on the road to Emmaus, near Jerusalem. During the meal, they realize that this person is in fact Christ Ressurrected. As he blesses the bread, the disciple, with the back to the viewer, from rises from his chair, a motif inspired by Caravaggio‘s The Supper at Emmaus, commissioned by Ciriaco Mattei in 1601 and now in London’s National Gallery. It casts a strong shadow over a table teeming with objects, in a form of naturalism much appreciated at the time. A favorite of Caravaggio and his followers, the theme lends itself to the use of chiaroscuro and an extremely realistic depiction of the saints, a Caravaggesque choice that deeply impressed painters in the Netherlands who, until that point, adhered to the more austere pictorial tradition of Rubens. It was long thought to have been painted in Rome around 1620-1632 or in Naples around 1633-1639. But more recent research suggests that it dates from Stomer’s Sicilian period. Active on the island between 1640 and 1643, the painter benefited from a generous patronage that made this period the most illustrious of his entire career. The monumental works created during this period are characterized by dramatic compositions, unreal light and a broad palette of colors, enhanced by rich impastos on highly detailed hands and faces.
Gravures anciennes, tableaux et dessins de maîtres anciens, tableaux du XIXe siècle
Award-winning actress Raquel Welch (American, born Jo Raquel Tejada, 1940 – 2023) became a household name, and an international pin-up girl, in 1966 for her appearance in a doe-skin bikini in the movie One Million Years BC. She would go on to appear in about ten movies and numerous television programs through the 1970s, further elevating her iconic status. Welch remained active in the entertainment industry through the late 20-teens, often making cameo appearances as herself in popular small screen and film franchises. Julien’s of Gardena, CA presented its 250+ lot Raquel Welch Part Two Sale on September 5, 2024. Here are some spotlight-stealing results from that auction that caught the eye of the Auction Daily editors. All prices noted include Julien’s 30% buyer’s premium.
Lot #0004, Welch’s gown featured in the movie Naked Gun 33⅓: The Final Insult, was estimated at $300 to $500 and sold for $3,575. Image courtesy of Julien’s.
The top lot in this red-carpet event was #0004, Welch’s screen-worn gown from the movie Naked Gun 33⅓: The Final Insult. Estimated at USD 300 to $500, it realized $3,575. This long, fitted silver metallic spandex sleeveless dress has a halter neck, plunging back, and an inverted pleat in the rear. It also came with matching fingerless opera gloves to complete the look. The dress and gloves were sold with several black and white movie-related images showing Welch in this exact outfit.
The Naked Gun movie franchise consisted of three motion pictures starring actor Leslie Nielsen as Sergeant Frank Drebin– a bumbling, crime-fighting detective. These films used slapstick comedy, over-the-top visual gags, and juvenile puns to tell their stories and entertain audiences. Naked Gun: From the Files of Police Squad! was released in 1988, Naked Gun 2½: The Smell of Fear was released in 1991, and Naked Gun 33⅓: The Final Insult was released in 1994. Welch appeared in the 1994 film as herself but was unbilled.
Lot #0011, a dress worn by Welch to advertise a wig, was estimated at $200 to $300 and sold for $3,250. Image courtesy of Julien’s.
Eye-catching dresses used by Welch for photo shoots, celebrity appearances, and film work were a key category in this sale. Lot #0011, a white Bebe cotton-stretch dress worn by Welch to advertise a pixie-style wig, was estimated at $200 to $300 and made $3,250. This fitted garment was detailed with gold and silver-toned glue-back studs on its sleeves and front. The dress was sold with a copy of the print advertisement with her in the dress, along with two other dresses from her personal collection. These included a long-sleeved, textured white fabric one from Betsy Johnson and a champagne lace-gather long-sleeve cocktail gown by Carmen Marc Valvo.
In addition to her career in show business, Raquel Welch was also the creative director of a successful wig company. It is called HairUWear and is still in business, using her name and branding today. Many of the company’s wig styles were based on Welch’s most recognized and attractive on-camera hairstyles over the years. Her signature collection launched in 1998; it was designed with comfort and “sexiness” as top priorities.
Lot #0164, a portrait of Welch by Clayton LaFevre, was estimated at $200 to $300 and sold for $1,625. Image courtesy of Julien’s.
Original artwork depicting Welch throughout her career also caught the attention of enthusiasts. Lot #0164, a portrait of the actress by Clayton LaFevre, was estimated at $200 to $300 and traded hands at $1,625. This framed work was signed and dated ‘Clayton 84’ on its lower left. It was rendered in mostly soft pastel colors and pictured the actress in typical 1980s-era work-out clothes and accessories, including a body suit, sweatband, and prominent gold neck chain.
Clayton LeFevre (American 1921 – 2012) was an artist best remembered for his oversized, acrylic-on-canvas celebrity portraits and a series of a dozen original works for Absolut Vodka. He also produced limited-edition prints and customized and decorated household furniture. When his subject was a celebrity, he often made two nearly identical paintings of them. LeFevre had them sign one and gifted them the other. His superstar-tiered subjects included Elizabeth Taylor, Frank Sinatra, Nancy Reagan, and Stevie Nicks.
Lot #0280, a photo of Bruce Springsteen taken by Terry O’Neill, was estimated at $200 to $300 and sold for $1,625. Image courtesy of Julien’s.
Ephemera of all sorts with ties to Welch’s personal and professional life also rose to the top of this celebrity event. Lot #0280, a black and white photograph of Bruce Springsteen taken by Terry O’Neill, was estimated at $200 to $300 and sold for $1,625. This image was from 1975 and pictured the youthful musician posing near a billboard promoting his new Born to Run album. Measuring 11 inches by 14 inches, the piece is signed by the photographer on the lower right and inscribed to Raquel Welch on its lower left.
Photographer Terry O’Neill (British, 1938 – 2019) was best known for his work capturing trends, culture, and front-page personalities on film, starting in the 1960s. His style was to work with people in natural or unconventional settings. This gave context and depth to the subject being photographed. He was married to actress Faye Dunaway from 1982 to 1987; one of his most iconic images is that of the actress at the Beverly Hills Hotel, relaxing by the swimming pool, the morning after winning the Academy Award for Best Actress for the film Network in 1977. Examples of O’Neill’s work are part of the permanent collection at London’s National Portrait Gallery.
Lot #0042, a collection of Raquel Welch wigs, was estimated at $100 to $200 and sold for $1,040. Image courtesy of Julien’s.
Jewelry, shoes, handbags, books, decorative household items, hats, and wigs from Welch’s estate rounded out this exciting sale. Lot #0042, a collection of auburn wigs, was estimated at $100 to $200 and scored $1,040. This group included five nearly identical wavy auburn wigs with layered blonde highlights from the performer’s own wig brand. Several retained their original sewn-in tags with handwritten inscriptions that described their color, style, and other details.
For more information on Julien’s Auctions: Raquel Welch – Part Two sale, visit LiveAuctioneers. Find the latest auction news and events on Auction Daily.
451-lot online-only auction is led by historical archive with Andrew Wyeth original art and memorabilia related to Congressional Gold Medal authorized in 1988 by President Ronald Reagan
(with closeups 228 A – the Wyeth artwork; 228 B – Act facsimiles and photo of Andrew Wyeth and Richard Schulze; and 228 C – photo of Wyeth and Schulze outside Brinton’s Mill) Grouping of two framed facsimiles of Act H.R. 593 authorizing issuance of Congressional Gold Medal in 1989 to artist Andrew Wyeth (American, 1917-2009). Original Act was signed and enacted by President Ronald Reagan on Nov. 9, 1988. Grouping includes three US Mint bronze replica medals, Parker pen used by Reagan when he signed the Act, and an original Wyeth pencil drawing titled ‘Top of Brinton’s Mill,’ which the artist inscribed and signed to Richard Schulze, former Representative for Pennsylvania’s 5th Congressional District. Measurements of Reagan-held pen and signed Wyeth note: 37in x 20in. Wyeth signed drawing: 37¾ in x 26½in. Accompanied by framed photo of Wyeth and Schulze outside Brinton’s Mill, the artist’s home and studio in Chadds Ford Township, Pa. Estimate: $15,000-$20,000
FALLS CHURCH, Va. – Northern Virginia’s most respected estate specialists, Quinn’s Auction Galleries, will host a September 20 Fine and Decorative Arts event showcasing American, European and Modern works and featuring an Andrew Wyeth drawing and associated mementos of great historical importance.
The auction presents a well-diversified international selection of fine art, including Italian school landscapes and battle scenes; and works by Jamaican-born Lester Gunter, Peter Waddell (New Zealander/American) and Mark Beard, an American artist whose specialty is nudes, depicted either in portraits or bronzes. Additionally, there are several desirable prints by Lou Stovall (1974 serigraph titled An Exanthma of Clouds), Salvador Dali (1973 lithograph titled Le Paradis Perdu), and Japanese woodblock-print artists Yoshida, Watanabe and Salto.
The worlds of art, politics and history unite in a remarkable archive that documents a high point in the life and career of revered Pennsylvania artist Andrew Wyeth (1917-2019). The grouping consists of two framed facsimiles of Congressional Act H.R. 593, which authorized the presentation of a Congressional Gold Medal, the highest civilian honor bestowed by the United States Congress, to the famed creator of Christina’s World. The original Act was signed by President Ronald Reagan on Nov. 9, 1988, and the medal was physically awarded to Wyeth by President George Bush at a ceremony held in The White House Roosevelt Room on October 24, 1990.
The handsomely custom-matted and framed two-piece grouping includes three US Mint bronze replica medals based on the gold medal Wyeth received, the actual Parker pen Reagan used when he signed the Act, and an original Wyeth pencil drawing titled Top of Brinton’s Mill, a depiction of Wyeth’s beloved home and studio in Chadds Ford Township, Pennsylvania. The artist hand-signed and inscribed the Brinton’s Mill artwork, as well as one of the facsimiles, to Richard Schulze, the former Representative for Pennsylvania’s 5th Congressional District who nominated Wyeth to receive the honor. The Wyeth-signed drawing measures 37¾ by 26½ inches. Also included in the pair of memorabilia groupings is a framed photo of Wyeth and Schulze taken outside Brinton’s Mill. The estimate on this historical lot has been set at $15,000-$20,000.
A European artwork of note is an oil-on-board painted by Giuseppe de Nittis (Italian, 1846-1884) and titled Dans le Bois de Boulogne. The work depicts a horse-drawn carriage in the public park established in Paris’ 16th arrondisement in 1852, following cession of the wooded land from Napoleon III. The painting is artist-signed at its lower right and is sized 7½ by 5¾ inches (sight); 12 x 10¼ inches (framed). Its provenance includes the collection of Vivian Cavalieri. It was previously purchased from Parke-Bernet Galleries, New York, in 1954. The auction estimate is $6,000-$8,000.
An appealing array of Asian decorative arts will be offered, including porcelain, snuff bottles, and netsuke. A Han Dynasty standing pottery horse dating to 206 BCE-220 CE measures 17½ inches tall by 19½ inches long. The stocky, open-mouthed equine is estimated at $6,000-$8,000. Also, a Chinese famille rose porcelain figural group depicting Nezha riding a dragon stands 23 by 12 inches, inclusive of its decorative mount, and is expected to make $2,000-$3,000.
Both modern and antique furniture will be auctioned, with highlights to include a Thomas Moser oval table, a French Provincial farmhouse table, and a pair of striking 16th-century Italian Renaissance Savonarola chairs. Of walnut composition, these folding chairs feature an unusual design of seven over seven slats. Their provenance includes the collection of Mortimer L. Schiff and prior acquisition from Parke-Bernet Galleries, in 1954. The chairs will be auctioned as consecutive lots, each carrying a pre-sale estimate of $1,000-$2,000.
Sterling silver is a favorite category in Quinn’s Fine & Decorative Arts auctions. Among the top lots to be offered on September 20 is a Tuttle (Boston, Mass.) sterling flatware service in the “Onslow” pattern with an “L” monogram and Harry Truman date code for 1945-53. Having a total weight of 139.17ozt, its 115 pieces include: 32 forks in three sizes, 24 teaspoons, three serving tablespoons, 12 soup spoons, 12 oyster forks, 12 hollow butter knives, and 24 hollow place knives with bolster. The set is guided at $3,000-$5,000.
A sought-after pair of sterling silver “Cymric” Arts & Crafts candlesticks is attributed to Rex Silver under commission of the fabled London retailer Liberty & Co. Each has a bud-form decoration on a capital that connects tendrils with an openwork tapered column, terminating in square leaves on a circular base. Both are impressed with a Liberty & Co maker’s mark, the word “CYMRIC,” and 1901 Birmingham sterling hallmarks. With repairs noted to the tendril arms of one of the candlesticks, the elegant duo comes to auction with a $1,000-$2,000 estimate.
A collection of Pre-Columbian ceramics and African figures will be offered, as well as 14 lots of taxidermy animals, ranging from an African Cape buffalo and sandhill crane, each estimated at $400-$600; to an American bull elk and African caracal (lynx) on a faux-rock mount, each estimated at $300-$500. Additionally, there is a small selection of items from the estate of US Marine Corps Four Star General Alfred M. Gray Jr (1928-2024), including a lot of three highly decorative commemorative paddles (oars), $600-$800; a stainless steel USMC wristwatch, $200-$400; and a Louis Vuitton leather and canvas dog carrier with LV-monogram livery and original dust bag, $200-$400.
Quinn’s Fine and Decorative Arts Auction will be held on Friday, September 20, 2024, starting at 10am EST. There will be no in-person gallery bidding, but Quinn’s invites bidders to participate live via the Internet through LiveAuctioneers or Invaluable. Additionally, Quinn’s is pleased to accept phone bids and absentee bids, which may be placed through the company’s website. Quinn’s helpful client-support team will be on hand at an open gallery preview, Monday, Sept. 16 through and including Sept. 19, from 11 am till 4 pm each day. For additional information about any item in the auction or to discuss a future consignment, contact Corrie Brady, Quinn’s director of Fine & Decorative Arts, by calling 703-532-5632 ext. 572, or emailing [email protected]. Visit Quinn’s online at www.quinnsauction.com.
Augusta Auctions’ End of Summer Elegance sale, scheduled for September 25, 2024, offers a rare opportunity to own a piece of fashion history. This event will present 250 lots of couture, with historical items dating back centuries balanced with more contemporary pieces. Online bidding and the full catalog are available on Bidsquare.
Callot Soeurs Lame Evening Gown, Paris, 1927
Assorted fashion items from the 1920s and 30s are among the top lots in this event. Fine gowns and jackets from Fortuny and Vionnet will be available, as well as a flowing French evening gown from 1927 (lot #248; estimate: USD 1,800 – $2,500). This dress was designed by Callot Soeurs, a label founded by four sisters in 1895. The brand grew to become one of the premier fashion houses of the Belle Époque. The sisters were among the first to embrace fluid lines, looser cuts, and a modern aesthetic in their dresses. The offered evening gown is composed of tangerine-colored silk with gold and silver details. Gold lace adorns the flowing sleeves.
Robe De Style Wedding Dress, Mid 1920s
Wedding gowns of all shapes and sizes will be offered in this event, including one from the mid-1920s (lot #2; estimate: $800 – $1,200). This cream-colored lace dress features a tiered ruffle skirt, velvet flower accents, and a sleeveless top. It is a robe de style gown, recognizable with its shell top, dropped waist, and flowing skirt. Silk wedding gowns from the 1830s and 40s can also be considered. Two of these dresses are offered in a single lot (#237; estimate: $00 – $1,200). The 1835 dress features a wide bateau neckline, balloon sleeves, and a full pleated skirt. The 1845 dress adopts a more structured, geometric form with its fitted boned bodice and gathered skirt.
Gents Assembled Late 18th C Style Suit, 1790-1850s
Gentleman’s clothes in the catalog include an assembled late 18th-century style suit, offered with a frock coat, bobbin lace flounce, silk waistcoat, satin breeches, and other accessories (lot #238; estimate: $1,200 – $1,500). This outfit is full of small details, including shamrocks on the embroidered waistcoat and a finely carved walking stick. Bidders can also consider a three-piece gray Civil War era suit from circa 1861 (lot #22; estimate: $800 – $1,200), a set of Sulka robes and a smoking jacket (lot #45; estimate: $400 – $600), and a three-piece deerskin Oklahoma Vaquero ensemble from 1889 (lot #220; estimate: $500 – $800).
Other key lots include:
A mid-1960s Elizabeth Arden evening coat from the archive of Oscar de la Renta (lot #246; estimate: $800 – $1,200)
A phoenix printed wool wrapper from the mid-1890s (lot #5; estimate: $800 – $1,200)
A Geoffrey Beene sequin-encrusted evening gown from 1985 (lot #128; estimate: $800 – $1,200)
A mixed lace veil from late-19th-century Brussels (lot #204; estimate: $500 – $800)
A Valentino crepe chiffon maxi dress and matching scarf from the 1970s (lot #121; estimate: $400 – $600)
Augusta Auctions represents museums, historical societies, universities and other institutions bringing to market museum deaccessions and patron donations, with sale proceeds earmarked to benefit their permanent collections. The company also represents individuals and select estates in the auction of rare fashion items.
Augusta Auctions’ End of Summer Elegance sale will begin at 11:00 AM EDT on September 25, 2024. Browse the complete catalog and register to place an online bid by visiting Bidsquare.
Kawase Hasui (1883-1957), Souvenirs of Travel, Third Series: Tennoji Temple in Osaka, 1927, woodblock print, 15 1/4 by 10 1/4 in., 38.6 by 25.9 cm, Credit: Scholten Japanese Art
New York: Asia Week New York is pleased to announce that the Autumn 2024
Edition will run from September 12to 20 with an eye-catching array of gallery exhibitions in New York and seven auction sales at Bonhams, Christie’s, Doyle, Freeman’s|Hindman, Heritage, iGavel, and Sotheby’s.
To mark the opening of Asia Week New York, a special webinar titled Four Centuries of Blue & White, with the noted decorative arts expert Becky MacGuire, author of Four Centuries of Blue & White: The Frelinghuysen Collection of Chinese & Japanese Export Porcelain will be held on September 11th at 5:00 p.m. EST. https://us06web.zoom.us/webinar/register/WN_xYZrTBmBSvu8anXgd-p3jQ
“Asia Week New York is delighted to be part of New York’s exciting fall calendar of art openings,” says Brendan Lynch, chairman. “Our galleries and auction houses look forward to welcoming collectors and Asian art enthusiasts to their respective exhibitions and sales.”
Organized by category, here is a round-up of the highlights at the New York galleries:
Ancient and/or Contemporary Indian, Himalayan, and Southeast Asia
Kapoor Galleries presents Pantheon of Power—a selection of artwork that allows viewers to step into a realm where divinity meets majesty. The formidable powers of Indian deities and the commanding presence of architectural marvels can be seen in this range of paintings, sculptures, prints, and photographs.
From the all-encompassing energy of Krishna and the warrior strength of Durga to the serene scenes of the sacred Jain Temples in Calcutta, the works on view reflect the influence these iconographies hold over the cosmos and human life. Kapoor Galleries. 34 East 67th Street
Ancient and/or Contemporary Chinese Art
Alisan Fine Arts presents Chinyee: Enraptured By Color, the fifth solo exhibition by the late Chinese American artist Chinyee (b. 1929 Nanjing, China). This will be the first solo exhibition of her work since she passed away last June. Chinyee’s work, often described as “Lyrical Abstraction”, is permeated with influences from both East and West. Her loose, unformulated brushstrokes reflect both Asian brush techniques and years of careful study of modern abstraction. The symphonic, colorful, and optimistic aura of her works is edged with dynamism. Anchoring the exhibition will be a selection of works from the 1960s, two of which were recently part of the critically acclaimed exhibition Action / Gesture / Paint: a global story of women and abstraction 1940-70, exhibited at Whitechapel Gallery in the UK, Fondation Vincent Van Gogh in Arles, France, andKunsthalle Bielefeld in Germany. 120 East 65th Street
On view at Fu Qiumeng Fine Art, Transcultural Dialogues: The Journey of East Asian Art to the West is a group exhibition that examines the artistic evolution of East Asian traditions as they entered the Western art world and emphasizes the exchange and interaction of visual languages and conceptual frameworks, particularly between traditional ink art and modern American art. To underscore this theme, Fu Qiumeng Fine Art and the Hollis Taggart Gallery are jointly presenting two group exhibitions as a retrospective and expansion of the historic 1997 exhibition Asian Tradition/Modern Expression. While primarily focused on Chinese art, the show spans from the early 17th century through the 20th century and into the present, showcasing both the early modernity and abstract qualities of traditional ink masters and the reinterpretation of literati painting by diasporic Chinese artists who engaged with American Abstract Expressionism to explore ideas of abstraction. 65 East 80th Street
Taking center stageat Zetterquist Galleries is an exhibition of Chinese and Vietnamese white wares, featuring pieces from the renowned collection of Carl Kempe, one of the foremost collectors of early Chinese monochrome ceramics and porcelains. Highlights include two notable Northern Chinese white wares: an Early Northern Song Dynasty (11th century AD) Dingyao Lobed Ewer with an Applied Palmette Medallion Handle, and a small Jin Dynasty (1127-1279 AD) Huozhou Ware Petaled Plate. The exhibition also showcases a range of Chinese ceramics from the Tang Dynasty to the Five Dynasties, with pieces from Ding, Xing, Houzhou, Cizhou, and Southern Chinese kilns, alongside Vietnamese works dating from the 11th to 16th centuries. 3 East 66th Street, 2nd floor
Ancient and/or Contemporary Japanese Art
Dai Ichi Arts, Ltd. features The Craft of Tea, an exhibition dedicated to modern & contemporary ceramics by master artists from Japan. These artists honor tradition and utility while showcasing their craft with contemporary expressions. We welcome you to explore the ways in which the fine craftsmanship of modern Japanese ceramics can create new, contemporary ways of living with art.18 East 64th Street, by appointment
Ippodo Gallery presents Expanding Earth: New Works by Yukiya Izumita, the leading ceramicist’s return to New York for his fifth solo exhibition in the United States. Over 40 of Izumita’s latest laminate-layered sculptures, flat-folded vases, and tea bowls are on view. Izumita’s unseen sceneries of earthen formations demonstrate his capacity to push the physical constraints of hand-built ceramic and miraculously defy the laws of gravity withstanding the intensity of the anagama tunnel-kiln fire. 32 East 67th Street
Quiet Elegance, The Ceramics of Fukumoto Fuku, at Joan B Mirviss LTD, will feature over two dozen of the ceramist’s captivating sculptures and teabowls. Celebrated for her remarkably thin, gracefully shaped, porcelain sculptures, her enchanting work continues to enthrall collectors and curators with their soft, radiant, unglazed surfaces punctuated by glistening glazes in tones of blue ranging from the deepest cobalt or teal to powder blue or soft gray. This cool palette is often complemented by the addition of gold or platinum leaf. 39 East 78th Street, 4th floor.
In partnership with KOGEI USA, a nonprofit organization dedicated to promoting Japanese art abroad, Onishi Gallery presents two concurrent exhibitions: The Spirit of Noto: Urushi Artists of Wajima and Waves of Resilience. In collaboration with the Wajima Lacquer in New York Executive Committee, 10% of sales will support earthquake recovery efforts in the Noto Peninsula, a historic hub of fine lacquer craftsmanship. The Spirit of Noto showcases works by three Living National Treasures and twelve exceptional local artists, all utilizing urushi, the sap of the Japanese lacquer tree. Waves of Resilience features luxury tableware designed, curated, and directed by New York-based interior designer Melissa Bowers, in partnership with Senshudo, a renowned Wajima lacquerware company. This exhibition celebrates Noto’s coastal beauty and the enduring strength of its people. 16 East 79th Street
Scholten Japanese Art is exhibiting Treasured Views: The Stipanich Collection of Kawase Hasui Woodblock Prints, a choice group of landscape prints by the 20th century shin-hanga master. The collection was assembled by Neil and Nancy Stipanich, who as a young married couple in the mid-1970s lived in Jakarta, Indonesia, and traveled extensively in Asia during their time abroad. In 1976 they spent 3 weeks in Japan- even climbing Mount Fuji to see the sunrise. The 1976 adventure sparked a love of Japanese art that continued throughout their lives together. These landscape woodblock prints by Kawase Hasui were a particular passion of Neil’s, and after his sudden passing, his family have decided to release them into the world for new collectors to treasure. 145 West 58th Street, Suite 6D, appointment appreciated
The exhibition at Thomsen Gallery focuses on folding screens and hanging scroll paintings from the Taisho era (1912-26) and early Showa era (1926-1989), a time of great change for Japan and its arts. Superb works were created for the domestic market, in contrast to the export-oriented output during the preceding Meiji era (1868-1912). Though most painters of the Taisho and early Showa eras typically remained focused on traditional themes, they often experimented with new materials and perspectives. They shifted from stylized depictions of nature to naturalistic botanical studies. Making trips abroad, many painters incorporated foreign elements from their travels into their work. 9 East 63rd Street 2nd floor Ancient and Contemporary Korean Art
HK Art and Antiques LLC presents Autumn Group Exhibition
49 East 78th Street, by appointment
Online exhibitions at galleries outside of New York
Two galleries outside of New York which are presenting online exhibitions on their respective websites include:
Egenolf Gallery Japanese Prints which will feature Hiroshige’s One Hundred Famous Views of Edo: Selected Workswww.egenolfgallery.com
Kaikodo’s fall exhibition, Autumn’s Accessories, focuses on a selection of Chinese ceramics along with Chinese and Japanese paintings. www.kaikodo.com
About Asia Week New York
The collaboration of top-tier international Asian art galleries, the major auction houses-Bonhams, Christie’s, Doyle, Freeman’s|Hindman, Heritage Auctions, iGavel, and Sotheby’s–and numerous museums and Asian cultural institutions, Asia Week New York is a week-long celebration filled with simultaneous gallery open houses, Asian art auctions as well as numerous museum exhibitions, lectures, and special events. Participants from the United States and countries abroad unveil an extraordinary selection of museum-quality treasures from China, India, the Himalayas, Southeast Asia, Tibet, Nepal, Japan, and Korea.
Asia Week New York Association, Inc. is a 501(c)(6) non-profit trade membership organization registered with the state of New York. For more information visit www.AsiaWeekNewYork.com @asiaweekny #asiaweekny
About Songtsam, Presenting Sponsor
Songtsam (“Paradise”) is an award-winning luxury collection of sixteen hotels, resorts, and tours located in Tibet and Yunnan Provinces, China. Founded in 2000 by Mr. Baima Duoji, a former Tibetan documentary filmmaker, Songtsam is the only collection of luxury Tibetan-style retreats within the wellness space focusing on the concept of Tibetan meditation by combining physical and spiritual healing together. The unique and sustainable properties offer guests authenticity, within the context of refined design, modern amenities, and unobtrusive service in places of untouched natural beauty and cultural interest. One of the Songtsam Properties is a Virtuoso Preferred Partner and four of the Songtsam Properties are Serandipians Hotel Partners. Songstam welcomes all travelers including families with children, travelers with disabilities and is LGBTQ+ friendly. For information, visit: www.songtsam.com/en.
After a year of restoration work, the Parisian mansion, witness to a sumptuous epoch and home to an exceptional collection of works of art, reopens its doors.
Heir to a family of Protestant bankers and a close associate of Napoleon III, Édouard André (1833-1894) joined the Emperor’s urban planning project for the capital. In 1868, on the newly laid-out boulevard Haussmann—then called Beaujon—in the heart of the new Parc Monceau neighborhood, a symbol of the Second Empire’s wealth, he bought a plot of land to build a private mansion. The architect Henri Parent was chosen. Parent, who had just been awarded the construction of the new Opéra by Charles Garnier, went to great lengths to make the residence a showpiece of the new Paris. Classical in its symmetrical plan and decor directly inspired by the 18th century, the hotel is surprisingly set back from the street façade, with a monumental overhanging balcony overlooking the boulevard: thanks to the patron’s connections, the mansion escaped the alignment rules imposed on surrounding buildings. On the courtyard side, the forecourt is adorned with a portico of Corinthian columns. Inside, a succession of reception rooms with white and gold panelling can be enlarged thanks to an ingenious system of wall retraction: hydraulic jacks allow certain partitions to slide out and disappear. They open onto the music room, a spectacular piece with its two-level elevation—a style also favored by the Rothschilds at Ferrières. At the inaugural ball in 1876, the 1,500 guests in the salon des peintures were dazzled: M. André had left nothing to chance to make the inaugural ball the highlight of the “la rentree” (the official return from summer vacation) in Paris. L’Illustration reported that “it was attended by all the leading fashionable and elegant personalities […] It is, indeed, impossible to find a more magnificent setting”. Having created the setting, it is ready to welcome its treasures.
On May 15, 1912, Nélie Jacquemart-André died at the age of 71. She had outlived her husband by eighteen years, and had never ceased to enrich their collections. The marriage, although not borne on the wings of love, was on an artistic one, leading to a rare complicity. “Nélie was a highly talented portraitist, one of the first women to enter the École des Beaux-Arts in Paris”, says Pierre Curie, museum curator and co-author—with Jean-Marc Vasseur—of an acclaimed biography. It was after receiving the commission for her portrait that she met the man who, ten years later, was to become her husband: Édouard André, a handsome man and, as it happens, a fortune that afforded him a life of idleness and the opportunity to indulge his taste for the art of his period, which was soon followed by that of antiquity. He certainly understood that “a fine collection is more than worth a false princely title”, in the words of Philippe Julliand (Les Collectionneurs, Flammarion, 1966). But it was really from the time of their union, and following an impressive number of trips throughout Europe, particularly to Italy, that their hunt for paintings and sculptures was most fruitful. The Renaissance became their main target. The couple sought the advice of the best art historians, and bought works by Donatello, Laurana, Raphaël, Uccello, Veronese, Mantegna, Botticelli, Rembrandt, Van Dyck, Fragonard, Chardin, Vigée Le Brun… because love of art is universal. Pierre Curie is convinced that the pleasure of accumulating works of art was not their only intention, estimating that they nurtured “the ambition to create coherent ensembles and had the goal of founding a museum”. In fact, the project was already mentioned in 1884—a highly original idea in France, where museums are created at the instigation of the public authorities. Consequently, from the second half of the 1880s onwards, the interior of the townhouse underwent constant renovation to make it ever more functional. In 1894, having long been ill and despite his wife’s loving care, Édouard André died, leaving her with a considerable fortune – which was initially contested. She devoted herself, body and soul, to art. As a tribute to her husband, she donated several works to the Louvre, then resumed her peregrinations across the globe, responding to an insatiable curiosity and fleeing from a sense of rejection from the Paris bien né (high-society). From her beloved Italy, she pushed on to India and Burma, bringing back a wealth of objects. Childless, she asserted her desire to open her collections to as many people as possible and, in her will, made the Institut de France her universal legatee (sole heir), “with the responsibility of making my residence at 158, boulevard Haussmann into a museum to be known as the Musée Jacquemart-André, with all the collections it houses […] These collections, and their display, have been the goal of my studies; my will and my wishes are without question that no object should be moved, and that their ensemble and harmony, to which my taste is closely reflected, should be respected”. Nothing was left to chance, right down to the terms of opening and the remuneration of the directors. The constraints were such that the Institute almost gave up on the gift. The French government got involved, and finally, on December 8, 1913, the mansion created as a party venue became the most Italian of Parisian museums, with its exceptional collection of paintings, sculptures and furnishings—more than 6,000, according to the inventory drawn up after death by auctioneer Étienne Ader. The inauguration was appropriately attended by the President of the Republic, Raymond Poincaré. The very next day, eight hundred visitors flocked in… The furnishings and decor were designed by André as period rooms. And while the second floor is dominated by the Italian Renaissance, the first floor dazzles with 18th-century decorative arts, paintings and sculptures.
The mansion and museum had long been in need of a serious facelift. It took just twelve months to complete the work undertaken by the Institut, supported by the joint project management of Agence Goutal and Eugène Architectes, at a cost of over €6.5M – with subsidies from the DRAC and private sponsorship rounding out the budget. The inner courtyard is the first of the visible transformations. Originally, the surface was covered with fine Fontainebleau sand for horses arriving up the gently sloping carriageway entrance. In the 1960s, this was replaced by gravel, which could even be found in the museum’s rooms… despite the unfortunate number of falls. To prevent slipping, cobblestones have been replaced by cleaved cobblestones “for greater authenticity”. Two borders and the original central parterre, around which the carriages used to turn, have now been restored and landscaped. The two corner lampposts, found broken in the cellar, are now restored and ready for use. As a result, arrival at the museum has regained a certain ceremonial feel. The second major project, more artistic, is the restoration of the dining room ceiling, decorated with a fresco by Giambattista Tiepolo depicting Fame Announcing the Arrival of King Henri III: a subject that establishes a link between Italy and France. “The project was decided after a piece of the ceiling fell,” explains Pierre Curie, and the Arcanes workshop was chosen to restore it to its former glory. Exploratory tests have enabled the restoration of the original colors and the overall harmony of the work, adorned in a soft gray-green. The tapestries of the ‘Achilles’ series, woven in Brussels in the 18th century, were thoroughly cleaned in the workshop of the De Wit Royal Manufactory. The entire dining room has been restored to its former glory, with Culturespaces providing financial support for the 19th-century carpet and furniture.
The double-helix staircase, a true architectural feat, leads the visitor to the second fresco by Tiepolo, on a similar theme (The King of France Welcomed by the Doge of Venice). Originally from the Villa Contarini, these two frescoes were acquired by the couple in Venice in 1893, citing some public uproar—the city’s prefect had objected to the sale. They illustrate the artist’s illusionist virtuosity and are the pinnacle of André’s Italian-centric collecting. The double flight of steps is the main and essential feature of the conservatory. Yet, as the Curator confirms, “we still don’t know for sure when it was built. It doesn’t exist on the architect’s original plan, and the first person to mention it was historian Bernard Berenson in the early 20th century. Given that the two Tiepolos were acquired in 1893, and that Édouard André died in 1894, it’s reasonable to assume that the conversion work was carried out around 1895-1896. Restoration work included stabilizing the staircase, cleaning the stained-glass windows and stucco and faux-marble decorations, and restoring the marble statues and sarcophagi. The smoking room has also been restored to its original charm, with the walls repainted in a wine-red color, the curtains rewoven by Phelippeau—from a rediscovered old piece—and the Italian and English paintings, also restored. The latter was one of Nélie Jacquemart-André’s passions, and she loved portraiture: “She bought two Reynolds even before the Louvre,” says Pierre Curie. The Curator adds that “in the 1920s, everything was done to erase Madame André. I’m doing just the opposite! As a result, no changes have been made to the hanging, which is known thanks to the photographic campaign commissioned from Jacques-Ernest Bulloz’s agency in 1913. Some paintings, notably those by Rembrandt, have simply been cleaned. Since 1996, Culturespaces has been responsible for promoting and animating the site’s cultural heritage through temporary exhibitions. The reopening exhibition had to live up to the occasion. Mission accomplished, with the presentation of some forty masterpieces from the Borghese Collection: paintings that the couple must have admired during their Roman sojourns and, no doubt, would have been delighted to see hanging on their walls.
Worth Seeing “Masterpieces from the Borghese Gallery”, Musée Jacquemart-André, Paris VIII. Until January 5, 2025. www.musee-jacquemart-andre.com
All the opulence of the reign of Louis XV is perceptible in this highly masterful composition. This work once belonged to Jean-Baptiste-Claude Odiot, who knew better than anyone how to appreciate these exquisite pieces of silverware.
Alexandre-François Desportes (1661-1743), Nature morte aux pièces d’orfèvrerie de Thomas Germain, vase de porphyre, porcelaine chinoise, pêches et bigarades (Still Life with Silverware by Thomas Germain, Porphyry Vase, Chinese Porcelain, Peaches and Sour Cherries), canvas, 186 x 100 cm/73.22 x 39.37 in (detail). Estimate: €100,000/150,000
It’s thanks to a rediscovery in the Sologne region of France that we can once again admire this canvas with its well-known history. It bears no. 1379 in the Catalogue raisonné de l’œuvre peint et dessiné de François Desportes, compiled in 1969 by Georges de Lastic. In this work, the painting is indicated as possibly coming from the collection of Louis XV‘s Controller General of Finances, Jean-Baptiste de Machault d’Arnouville. This hypothesis was followed by a fact: its presence at the March 25-26, 1869 sale of “Tableaux anciens et modernes (école française du XVIIIe siècle) et objets d’art et de curiosité provenant de la succession de feu M. Odiot” (no. 3). Who better than Jean-Baptiste-Claude Odiot (1763-1850), one of the greatest French silversmiths of the 19th century, to appreciate this composition depicting in the finest pieces created by Odiot’s Enlightenment alter ego Thomas Germain (1673-1748)? And the seduction still working almost a century later, as the painting entered the collection of Jacques Helft (1891-1980). This expert in antique silverware published works on hallmarks that are still used today, and collected Germain pieces himself, such as the two ice buckets from the Orléans-Penthièvre service, which he sold to David-Weill (donated to the Louvre in 1946). Helft then offered the painting to the famous collectors Mr. and Mrs. Arturo López Willshaw. A pedigree worthy of the quality of our painting, dated c. 1740, the last years of Alexandre-François Desportes‘ rich career. Since his admission to the French Académie in 1699, he had continued to refine his favorite themes—animal scenes and still lifes—towards a profusion and splendor worthy of the finest sideboards at the court of Louis XV. Belonging to his outdoor still lifes, a legacy of Flemish painting, this composition is characterized by the presence of these pieces of silverware. Desportes first tackled this motif sporadically in 1717, then more frequently around 1720, when his paintings were intended to decorate the wood paneling of his patrons’ dining rooms. The introduction of metallic objects enabled him to play on the contrasts between warm and cool colors. Here, for example, the voluptuous peaches are reflected in the upright dishes, in a complex interplay similar to that of the Nature morte à la terrine de pêches et aux deux perdrix (Still Life with Peach Terrine and Two Partridges) that Count Tessin took to Sweden around 1739-1740 (Nationalmuseum Stockholm). Always pyramidal, Desportes’ compositions were fabulous trompe-l’œil of unprecedented splendor, bringing together luxurious objects such as the porphyry vase at the top, the two agate vases, Chinese porcelain and, of course, Germain silver pieces. Some of the latter are recognizable, such as the polylobed stew dish edged with rushes, similar to the handled dish he made in 1733-1734 and which belonged to the Orléans-Penthièvre service. A new prestigious reference for an ambitious painting?
Augusta Auctions of Bellows Falls, VT– an auctioneer specializing in nonprofit institutional deaccessioning as well as vintage couture– is presenting its End of Summer Elegance sale on September 25, 2024. This auction offers 250 sartorial temptations, ranging from 18th-century outfits to late 20th-century formalwear by some of the world’s most respected designers. Of note is a collection of antique day, evening, and party dresses previously owned by the Valentine Museum of Richmond, VA. Here are some stunning highlights from this timelessly fashionable event.
Lot #249, a Fortuny stenciled velvet evening jacket, is estimated at $5,000 to $8,000. Image courtesy of Augusta Auctions.
Two 1930s-era garments from the Italian brand Fortuny share top lot status in this September sale. Both have USD 5,000 to $8,000 presale estimates.
The first, lot #249, is a stunning stenciled velvet evening jacket. This draping, belted black silk top is decorated with a gold stenciled reticella lace pattern. It is lined in champagne silk satin and measures 50 inches by 28 inches overall. This elegant example retains its original labels, which read “Mariano Fortuny, Venise” and “Made in Italy, Fortuny Depose.”
The second, lot #250, is a Delphos gown with two belts. This 58-inch long, dark green pleated silk dress features rows of brown Murano glass beads which are decorated with blue and red stripes. The stenciled black silk belts are based on Medieval stylized foliage patterns. The dress is tagged “Fortuny Deposee, Made in Italy.”
Lot #250, a Fortuny Delphos gown with two belts, is estimated at $5,000 to $8,000. Image courtesy of Augusta Auctions.
Fortuny, which is still in business today and is headquartered in Venice and New York, was founded by Mariano Fortuny y Madrazo (Spanish, 1871 – 1949). Fortuny was an artist at heart and had a passion for textiles since childhood. In 1907, he and his wife created the signature Delphos gown, famous for its pleating and glass beading. It was designed to be worn without underwear and based loosely on an ancient Greek aesthetic. Celebrities including Eleonora Duse, Isadora Duncan, Ellen Terry, and Oona Chaplin were pictured in this legacy dress design. Fortuny also invented a unique way to print on velvet and silk fabric using a wooden block press. Today, his production is still very much in demand and noted for its amazing quality and artistic properties.
Lot #128, a silk organza Geoffrey Beene evening gown, is estimated at $800 to $1,200. Image courtesy of Augusta Auctions.
This sale features a fine collection of century-spanning women’s formal dresses. Lot #128, a long-sleeved, silk organza Geoffrey Beene evening gown, is estimated at $800 to $1,200. This champagne and black sequin-decorated example is from the designer’s 1985 fall collection. The label reads, “Geoffrey Beene, New York” and is inked “1904.” This exact dress was sold in 2019 as lot #194 as part of a three-piece lot of Beene dresses through Hindman’s Property from the Geoffrey Beene Archive sale.
Award-winning designer Geoffrey Beene (1924 – 2004) was born into a family of doctors and was expected to become one as well. He attended medical school for three years, but he then dropped out and moved to California to follow his dream of fashion design. Beene opened his own boutique in New York City in 1963. His career took off in the 1970s when he designed various clothing lines and held licensing agreements for household items, accessories, and toiletries. His clients included Lady Bird Johnson, Pat Nixon, Nancy Reagan, Faye Dunaway, and Glen Close, among many other high-profile individuals.
Lot #234, a two-piece black wool riding habit from 1885, is estimated at $1,200 to $1,500. Image courtesy of Augusta Auctions.
Antique outfits for horseback riding are also well-represented in this sale. Lot #234, a two-piece black wool riding habit from 1885, is estimated at $1,200 to $1,500. This broadcloth duo includes a tailored, double-breasted bodice and riding skirt. The shapely top is decorated with large black buttons and a stand-up collar. The skirt is pleated for riding comfort. It is tagged “Mme. Wilson Robes, 42 E. 19th St, New York.”
Historically, women’s clothing items designed for sidesaddle horseback riding were called riding habits. These debuted around the middle of the 17th century and traditionally included a fitted jacket and blouse, a long flowing skirt, and accessories like flat boots, gloves, a top hat, and a necktie or bow. For the most part, these outfits were distinctly masculine, dark in color, and based on menswear trends of the era. This particular outfit was produced at 42 E. 19th Street in New York. This nine-story building is located in the city’s popular Flatiron District, was built in 1905, and today is a mixed-use structure of ground-level retail shops and 15 apartment residences above.
Lot #239, a gentleman’s circa 1785 to 1790 three-piece silk suit, is estimated at $2,000 to $3,000. Image courtesy of Augusta Auctions.
Wedding dresses, tea gowns, afternoon or day dresses, swimsuits, and vintage to antique men’s clothing round out this sale. Lot #239, a gentleman’s three-piece ribbed silk suit, is estimated at $2,000 to $3,000. It dates from circa 1785 to 1790 and is made from celadon-colored fabric. It includes a frock coat with a standing attached collar, a waistcoat with tabbed pockets and buttons, and a pair of breeches featuring a watch pocket.
For more information on Augusta Auctions’ End of Summer Elegance event on September 25, 2024, please visit Bidsquare. Find more auction world news and previews of upcoming events on Auction Daily.
SEATED CAT Wanli period (1573-1620) 8 3/4 inches high Photo credit: David Schlegel
New York: Asia Week New York is delighted to present its Fall webinar: Four Centuries of Blue & White, with the noted decorative arts expert Becky MacGuire author of Four Centuries of Blue & White: The Frelinghuysen Collection of Chinese & Japanese Export Porcelain. Ms. MacGuire will delve into the evolving commercial and cultural exchanges between East and West, with a particular focus on the collection’s rare, unusual and little-studied material. Lark Mason will moderate the discussion which will be held on Wednesday, September 11 at 5:00 p.m. EST. To register for the webinar, click: https://us06web.zoom.us/webinar/register/WN_xYZrTBmBSvu8anXgd-p3jQ
The extraordinary Frelinghuysen collection, assembled carefully over 50 years, features an exceptionally wide array of Asian blue and white export porcelain—that most ubiquitous and influential of all ceramics. Ranging from rarities made at the height of the Ming dynasty, when Europeans first sailed to Asia, to commissions executed for the Thai royal court in the last decades of the Qing dynasty, the collection goes beyond iconic export classics to include pieces made for markets from Japan to the Islamic world. An intriguing counterpoint is provided by a full complement of Japanese export.
About the Panelists:
Becky MacGuire was the longtime senior specialist in Chinese export art at Christie’s and director of the firm’s New York Exceptional Sale. After graduating from the University of California at Berkeley with honors in art history, Ms. MacGuire completed the program of the Study Centre for the Fine and Decorative Arts at the Victoria and Albert Museum. A frequent lecturer, she was an original appraiser on “The Antiques Roadshow” and a founding partner of The Chinese Porcelain Company. Ms. MacGuire is the author of Four Centuries of Blue & White: The Frelinghuysen Collection of Chinese & Japanese Export Porcelain, published by Paul Holberton Books (October 2023).
Lark Mason, founder and CEO of iGavel Auctions, is renowned for his regular appearances on “The Antiques Roadshow” and his expertise in Chinese art. He established Lark Mason Associates, an auction house with locations in New Braunfels, Texas, and New York City, specializing in Asian, ethnographic, and ancient works of art. The firm has a strong track record of record-breaking sales, including the highest price achieved for any work of art in an online sale, a painting that sold for nearly $4.2 million in May 2014. Mason’s career includes serving as a General Appraiser from 1979 to 1985, and as a Senior Vice President and specialist in Chinese art at Sotheby’s from 1985 to 2003, where he also directed online auctions for Sothebys.com from 2000 to 2003. Additionally, he was a consulting curator at the Trammell and Margaret Crow Collection of Asian Art in Dallas from 2003 to 2009. A generalist in American and European works of art and paintings, Mason is also a leading expert in Chinese art, advising numerous private collectors and institutions. He is a member of the Asia Week New York Planning Committee.
About Asia Week New York
The collaboration of top-tier international Asian art galleries, the major auction houses-Bonhams, Christie’s, Doyle, Freedman’s|Hindman, Heritage Auctions, iGavel, and Sotheby’s–and numerous museums and Asian cultural institutions, Asia Week New York is a week-long celebration filled with simultaneous gallery open houses, Asian art auctions as well as numerous museum exhibitions, lectures, and special events. Participants from the United States and countries abroad unveil an extraordinary selection of museum-quality treasures from China, India, the Himalayas, Southeast Asia, Tibet, Nepal, Japan, and Korea.
Asia Week New York Association, Inc. is a 501(c)(6) non-profit trade membership organization registered with the state of New York. For more information visit www.AsiaWeekNewYork.com @asiaweekny #asiaweekny
About Songtsam, Presenting Sponsor
Songtsam (“Paradise”) is an award-winning luxury collection of sixteen hotels, resorts, and tours located in Tibet and Yunnan Provinces, China. Founded in 2000 by Mr. Baima Duoji, a former Tibetan documentary filmmaker, Songtsam is the only collection of luxury Tibetan-style retreats within the wellness space focusing on the concept of Tibetan meditation by combining physical and spiritual healing together. The unique and sustainable properties offer guests authenticity, within the context of refined design, modern amenities, and unobtrusive service in places of untouched natural beauty and cultural interest. One of the Songtsam Properties is a Virtuoso Preferred Partner and four of the Songtsam Properties are Serandipians Hotel Partners. Songstam welcomes all travelers including families with children, travelers with disabilities and is LGBTQ+ friendly. For information, visit: www.songtsam.com/en
