Asian Art Week of Christie’s New York will occur from 14 September to 29 September. There is a total of six sales and events – both virtually and at the Rockefeller Plaza galleries in New York. It will showcase artworks from different categories of Asian art, ranging from Himalayan bronzes, paintings and prints by Hokusai, a parcel-gilt silver ‘rhinoceros’ dish, huanghuali furniture, Tyeb Mehta and more.
Here is an overview of the sales, together with the highlight lots:
Japanese and Korean Art
Special sessions cover Japanese and Korean artworks such as paintings, porcelain, lacquerware and Buddha statues. This season brings paintings and prints by various Ukiyo-e (Japanese woodblock prints and paintings) masters, such as Katsushika Hokusai, Toshusai Sharaku, Utagawa Hiroshige, as well as Kyoto Kiyomizu Sansaka Art Museum’s old Collection and the iron sculptures of the Edo period (1603-1867).
Indian, Himalayan and Southeast Asian Works of Art
Features fine Himalayan Buddhist artworks and Indian paintings. The sale is led by one of the category’s highlights, 14-15th century Tibetan gilt bronze statue of Cakrasamvara and Vajravarahi.
South Asian Modern and Contemporary Indian Art
South Asian modern and contemporary art is mainly based in India. The section’s highlight is Indian artist Akbar Padamsee’s Untitled (Mirror Image), as well as more Tyeb Mehta’s Figure.
Important Chinese Ceramics and Works of Art
All categories of Chinese antiques are included in these sales of Asian artworks. This season’s leading work is Tang Silver Partial Gilt Rhino Plate. In addition, huanghuali furniture (late Ming to early Qing dynasty, circa 16th-18th century), which was very popular in recent years, is also featured.
Katsushika Hokusai (1760-1849), The Great Wave off Kanagawa | Woodblock prints
Sale: Japanese and Korean Art Created in 1831 Estimate: US$150,000 – $200,000
Katsushika Hokusai (1760-1849), Kajikazawa in Kai Province | Polychrome woodblock print
Sale: Japanese and Korean Art Created in circa 1830-1831 Provenance: Ernest Archibald Taylor (1874-1951) Estimate: US$80,000 – $120,000
Large gilt bronze statue of Cakrasamvara and Vajravarahi | Dansati Monastery in central Tibet
Created in second half of 14th century – first half of 15th century Height: 31.3 cm Provenance: New York Private Collection, 1970s Sale: Indian, Himalayan and Southeast Asian Works of Art Estimate: US$1,000,000 – $1,500,000
Tyeb Mahta (1925-2009), Figure | Oil on canvas
90.2 x 64.8 cm Created in 1961 Sale: South Asian Modern and Contemporary Art Estimate: US$200,000 – $300,000
Akbar Padamsee (1928-2020), Untitled (Mirror Image) | Oil on canvas
121.9 x 243.8 cm, diptych Created in 2005 Sale: South Asian Modern and Contemporary Art Estimate: US$600,000 – $800,000
Silver Partial-Gilt Rhino Plate
Created in Tang dynasty (618-907 CE) Diameter: 15.2 cm Weight: 315g Provenance:
Bo Gyllensvard, Chinese Gold and Silver in the Carl Kempe Collection, Stockholm, 1953
Sotheby’s London, “Masterpieces of Chinese Precious Metalwork, Early Gold and Silver” Auction Sale, 14 May 2018, Lot 59
Sale: Important Chinese Ceramics and Works of Art Estimate: US$1,000,000 – $1,500,000
Silver animal pattern adorned bowl
Created in Tang dynasty (618-907 CE) Diameter: 16.5 cm Weight: 331g Sale: Important Chinese Ceramics and Works of Art Estimate: US$900,000 – $1,200,000
Ornamented Jade Tiger
Created in Late Shang dynasty (1600-1046 BCE) Length: 11.1 cm Sale: Important Chinese Ceramics and Works of Art Estimate: US$300,000 – $500,000
A pair of important 17th century huanghuali dali marble | Inset horseshoe-back armchairs
Created in Late Ming to early Qing dynasty (circa 16th-18th century) 95.8 x 59 x 48.3 cm Provenance: Nicholas Grindley Ltd., London, 1987 Sale: Important Chinese Ceramics and Works of Art Estimate: US$600,000 – 800,000
12 symbol Kesi Dragon Robe
Created in Qianlong-Jiaqing period (1735-1820) 222.3 x 146.1 cm Sale: Important Chinese Ceramics and Works of Art Estimate: US$100,000 – 150,000
Lama bronze sculpture
Created in 18th century | Tibet, China Length: 22.2 cm Provenance: 10 December 1974 London Sotheby’s Auctrion, Lot 34 Sale: Asia! (Asian Art) Estimate: US$7,000 – 9,000
Kitagawa Utamaro (1754-1806), Portrait of Courtesan: Shinateru of the Okamoto House | Woodblock print
Created in circa 1797 Sale: From Artist to Woodblock: Japanese Prints, Online Sale Estimate: US$10,000 – $20,000
Katsushika Hokusai | Ejiri in Suruga Province from the series Thirty Six Views of Mount Fuji
Created in circa 1830-1832 Sale: From Artist to Woodblock: Japanese Prints, Online Sale Estimate: US$2,000 – 3,000
Kawase Hasui (1883-1957), “Mishima River in Mutsu”, from the “Souvenirs of Travel I” series | Woodblock print
Created in Summer 1919 Sale: From Artist to Woodblock: Japanese Prints, Online Sale Estimate: US$8,000 – $12,000
LONDON (AP) — With a few daubs of a paintbrush, the Brontë sisters have got their dots back.
More than eight decades after it was installed, a memorial to the three 19th-century sibling novelists in London’s Westminster Abbey was amended Thursday to restore the diaereses – the two dots over the e in their surname.
The dots — which indicate that the name is pronounced “brontay” rather than “bront” — were omitted when the stone tablet commemorating Charlotte, Emily and Anne was erected in the abbey’s Poets’ Corner in October 1939, just after the outbreak of World War II.
They were restored after Brontë historian Sharon Wright, editor of the Brontë Society Gazette, raised the issue with Dean of Westminster David Hoyle. The abbey asked its stonemason to tap in the dots and its conservator to paint them.
“There’s no paper record for anyone complaining about this or mentioning this, so I just wanted to put it right, really,” Wright said. “These three Yorkshire women deserve their place here, but they also deserve to have their name spelled correctly.”
It’s believed the writers’ Irish father Patrick changed the spelling of his surname from Brunty or Prunty when he went to university in England.
Raised on the wild Yorkshire moors, all three sisters died before they were 40, leaving enduring novels including Charlotte’s “Jane Eyre,” Emily’s “Wuthering Heights” and Anne’s “The Tenant of Wildfell Hall.”
Rebecca Yorke, director of the Brontë Society, welcomed the restoration.
“As the Brontës and their work are loved and respected all over the world, it’s entirely appropriate that their name is spelled correctly on their memorial,” she said.
In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.
Alleged Fraud Scheme
Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.
Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.
Massive Seizure of Artworks
In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.
Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.
Artwork Returned, but Some Remain Unclaimed
In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.
Court Proceedings Ongoing
The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.
Impact on the Local Art Community
The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.
For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.
As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.
While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.
Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.
As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.
