26 AWNY Gallery Shows


taking a massive step forward into abstraction. Te controlled strokes have given way to richly detailed paintings, with the calligraphy techniques manifesting in textured, exciting works. From Resplendence to Te Changes in Mother Earth, both painted in 2014, this is a seminal exhibition of Huang I-Ming.Huang is also esteemed for an East-meets- West mentality, with his Eastern training manifesting into Western abstraction. Te works on view bear reference not just to the gestural heritage of calligraphy, but also to 20th century Abstract Expressionists in the West. • M Sutherland Fine Arts, 7 East 74th Street 3/F, New York 10021, tel 212 249 0428, info@msutherland.com, msutherland.com


BEGUILING


Large bronze tripod censer, height 16.3 inches, Song/Yuan dynasty, 12-14th century, the wood stand and cover 18th century, from an important Asian collection, Littleton & Hennessy


16.3 inches, whereas another from the Ming dynasty (1368-1644) is bronze inlaid with silver. • Littleton & Hennessy Asian Art, at Daniel Crouch Rare Books, 24 East 64th Street, 2/F, New York 10065, tel 212 602 1779, mark@littletonandhennessy.com, littletonandhennessy.com


WORKS OF ART Priestley & Ferraro, 15 to 24 March


SONG CERAMICS AND


Priestley and Ferraro are showcasing glazed ceramics from the Song dynasty, and selected celadons. A highlight is a Jinyao teabowl from the early Southern Song dynasty. Jinyao translates to ‘hare’s-fur’ glaze with its indicative rich brown and black layered glaze to evoke the colours, as well as the textures, of the animal’s fur. In contrast, also on show is an 10th- century Five Dynasties, or early Northern Song dynasty, Yaozhou celadon ceramic bowl. • Priestley & Ferraro at 3 East 66th Street, Apartment 8B, New York 10065, tel +44 7802502937, info@priestleyandferraro.com, priestleyandferraro.com


HUANG I-MING: New Ink


M Sutherland Fine Arts


Taiwanese artist and academic Huang I-Ming is a renowned calligrapher, known for his rough brushstrokes and calligraphic expertise. His work is typically deemed unpretentious and raw,


undulating lines. Tough many past works are markedly linear,


characterised by coarse yet the


upcoming exhibition utilises ink on paper to create sumptuous black pools,


Longquan celadon censer with applied peony design. China, Southern Song/ Yuan dynasty, Eric Zetterquist


CELADONS Eric Zetterquist, 16 to 24 March


Tis year, with a unique outlook, Eric Zetterquist tackles the origins, variations, and meanings of celadon with a truly amazing range of diverse objects. Challenging the word itself, originally taken from the description of French comedian’s coat in a 17th- century romance, it has evolved into art historical nomenclature for better or for worse. He looks into the techniques from the first variations in Han dynasty China (206 BC- AD220) and takes his scholarship across the various regions in Asia across the centuries, noting the stylisations that differentiate one piece from another, with each work presented with the same attention to detail. From bubbling jade to lustrous olive, each shade tells its own story of firing and taste. Represented,


are


Zetterquist trademark Song-dynasty (960-1279) celadons,


including a


Yaozhou leaf-shape box with phoenix, a Longquan zhaoudou jar with a bulbous body (used for banquets), and a ceremonial incense burner. • Eric Zetterquist, 3 East 66th Street, Suite 1B, New York 10065, tel 212 751 0650, inquiries@zetterquist.com, zetterquist.com


Letter by Maruyama Okyo (1733- 1795), private letter to his friend Oku Doei, ink on paper, 18.1 x 41.9 cm, without mount, BachmannEckenstein


MASTERS OF THE GENRE Fine 18th-20th century Japanese Prints and Drawings


Egenolf Gallery Japanese Prints, 16 to 18 March


Egenolf has chosen to highlight prints by Utagawa Hiroshige (1797- 1858) that focus on the Japanese landscape.


From the Asakusa


Flower and Vase (2017) by Huang I-Ming, ink on xuan paper, 92 x 56c m, M Sutherland Fine Arts


JAPANESE


FINE JAPANESE PRINTS AND PAINTINGS FROM 1750–1950


The Art of Japan, 16 to 19 March


Although the exhibition spans 200 years, the Art of Japan has chosen to emphasise art from the 1920s, such as work by Kitano Tsunetomi (1860- 1947), in which Te Heron Maiden casts her eyes downward across a slated grey, offset with flashes of red. Tis subject matter is characteristic of Tsunetomi’s work, as he often featured young beauties. Another beauty comes from Ito Shinsui (1898-1972), more striking with her richly painted black hair. Other prints,


from


Utagawa Hiroshige (1797-1858), focus on views of various regions in Japan, such as Te Izu Mountains, as well as prints from the series Famous Views of 60 Odd Provinces. • Te Art of Japan at Te Mark Hotel, Madison Avenue and 77th Street, Suite 215, New York 10075, tel 206 859 9940, info@theartofapan.com, theartofapan.com


INTIMATE REVELATIONS: LETTERS


Bachmann Eckenstein, 16 to 21 March


In addition to the ongoing collection of kitsungi, the Japanese art of gold- filled ceramics, Bachmann Eckenstein present a selection of letters, written in beautiful calligraphy.


communication is increasingly digitised,


the intimacy


As of


Jianyao ‘hare’s-fur’ tea bowl, early Southern Song dynasty (1127-1279), 12th/13th century, diam. 11.2 cm, Priestley & Ferraro


ASIAN ART MARCH 2018


correspondence by hand through the ages is ever-more precious. One highlight is a letter by Maruyama Okyo (1733-1795), to Oku Doei, expressing his thoughts privately to a friend. • BachmannEckenstein,at Gallery Schlesinger, 24 East 73rd Street, 2/F, New York 10021, tel 212 734 3600, email@bachmanneckenstein.com, bachmanneckenstein.com


Te Izu Mountains by Hiroshige (1797-1858) from the series 36 Views of Fuji, colour woodblock print, published 1858, Te Art of Japan


JAR AND JARS Dai Ichi, 16 to 24 March


Dai Ichi's show is all about specially commissioned jars by artists ranging from the emerging to living National Treasures. Te word for jar originated in words for flowers, and thus the works on view harness the power of the floral and the feminine, to be preserved as delicate and pristine. Tis is evidenced in works by Kim Hono, made in 2017, with budding facets of the jar interloping into one another, and Kato Tsubusa, whose blue tones evoke both tranquility and motion in the glaze. In contrast to the subtle tones of the first two artists, Matsuda Yuriko experiments with colour, mixed media and pattern. Each work has a unique frame of reference, adding a sense of variation not just to the ceramics themselves, but to the overall experience of viewing the objects. • Dai Ichi Arts, exhibiting at 18 East 64th Street, Suite 1/F, New York 10065, tel 212 230 1680, daiichiarts@yahoo.com, daiichiarts.com


ricefields to the whirlpool at Naruto, both from the 1850s, shining examples of woodblock printing from the late Edo period give an exceptional angularity and sense of line.


In


particular, the whirlpool also features vivid colours, as the gradient of the blue sky in the background gives way to a fuschia horizon. • Egenolf Gallery Japanese Prints at Te Carlyle Hotel, Suite 1015, 35 East 76th Street, New York 10021, tel 818 621 6246, veronica@egenolfgallery.com, egenolfgallery.com


ACQUISITIONS Alan Kennedy, 16 to 24 March


RECENT


Trough textiles and costumes, Alan Kennedy offers a window into the lives of elites from the 18th and 19th centuries. Selections of both Chinese and Japanese attire range from aristocrats to Taoist priests and Japanese maidens. Gold and silver, silk and florals, all speak to a world of beautiful dress that provides insight into the day-to-day rituals and mindsets around East Asia. One particularly interesting example is a Japanese kosode of the furisode type. Te kosode is noted for the slits in its


Kidô Maru Learning Magic from the Tengu, circa1843, by Utagawa Kuniyoshi (1798-1861), colour woodblock print, 36.8 x 25.3 cm Egenolf Gallery Japanese Prints


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