editorials - January
- February 2004
I DEDICATE OUR Japanese issue
for 2004 to the memory of Raymond Bushell, the world-famous
netsuke collector, great netsuke authority and author who
I first met through our joint friendships with another
American expatriate living in Tokyo, the snuff bottle collector
Bob Stevens. At the head of the Editorial is a charming
picture of Frances and Raymond Bushell, the perfect Asian
dutiful wife and American husband theme. They are seen
with their family cat Willy in their Tokyo residence in
1986.(1) I will always remember on a Tokyo
visit Raymond lifting the carpet and the floorboards of
his living room to bring out their treasures for our handling,
admiration, education and enjoyment.
Frances has written the following five
paragraphs for further personal insights for our international
"Tuyet Nguyet has asked me to provide a few words about Raymond's collection.
"Raymond purchased his first netsuke in September 1945 at the age of
thirty-five. He saw a little ivory priest in a hotel arcade in Osaka.
He had long had an interest in small carved objects, and he found that
little priest intriguing.
"In time he became aware of the fledgling
. He wanted to meet the founder, Tuyet Nguyet.
A year after Raymond and I married in 1952, we were on
our first trip to Hong Kong, and it was some years later
that we arranged for an introduction to meet Nguyet and
her husband Stephen Markbreiter. They were very gracious
and invited us to lunch. Thus began a relationship that
was to deepen over the decades. Whenever we embarked
on our annual trips to Hong Kong, we always looked forward
to visiting with Nguyet and Stephen.
"Raymond and I began to travel extensively and frequently in pursuit
of netsuke. Over the years, Nguyet would recognize Raymond's knowledge
and enthusiasm deepening, and she asked Raymond to contribute to her
magazine. In those days very little was written about netsuke. He was
a prolific writer and was honored to be asked. In 1995 he wrote his last
article for Arts of Asia
, "To Donate or Not to Donate'',
which caused a furor among netsuke collectors for its emotional topic.
Raymond passed away on January 17th, 1998, little more than a year or
two after his last contribution.
"The development of Arts of Asia
is a remarkable story
in its own right. Under the guidance of Nguyet, it grew from an obscure
small magazine to become one of the major forces in the world of Asian
art, and Raymond was honored to be a small part of her large success.''
Frances, I am glad to hear, has seen our presentation of
Hollis Goodall's article for our readers. She has commented
that it is "wonderful and
typical of the careful work that Nguyet does. My heart is filled with
happiness and gratefulness as it is a dream come true.''
Hollis Goodall, the writer of the cover article, has been working with
the Los Angeles County Museum of Art at Associate Curator level since
1997. She is the author of The Raymond and Frances Bushell Collection
of Netsuke: A Legacy at the Los Angeles County Museum of Art
essays by Virginia G. Atchley, Neil K. Davey, Christine Drosse, Sebastian
Izzard, Odile Madden and Robert T. Singer. Published by Art Media Resources
in Chicago, Illinois, the assemblage of this important netsuke work was
completed in mid-2003. More information on the 552-page massive cataloguing
with 847 entries, more than one thousand colour illustrations and 535
artists' signatures, together with the details of five books by Raymond
Bushell, his co-authors and translators can be seen on pages 20–21
of this magazine.
While I was writing my Editorial Dr Stephen Markel, Curator
and Department Head of South and Southeast Asian Art at
the Los Angeles County Museum of Art, called to tell me
about his Himalayan exhibition "The Circle
of Bliss; Buddhist Meditational Art'', and also how very proud they were
that our January–February 2004 issue features his museum's Japanese
netsuke from the Raymond and Frances Bushell Collection on the cover.
The reason I wanted to place it there is because twice when I went to
the museum's Japanese Pavilion I found very few people seemed to know
about it. So I wanted to do whatever I could to inform collectors from
other parts of the world of the strengths and appropriateness of the
Bushell netsuke gallery. Already, since we have been actively preparing
this issue, through our efforts dealers have been talking about it and
more people have been going there. Now that the special Japanese edition
will be printed and distributed around the world I hope more of our readers
will want to make the journey to see the collection.
In her acknowledgements on page 10 of the Art Media Resources book, Frances
says, "I am very excited, pleased and thrilled that our gift to the
Los Angeles County Museum of Art of more than eight hundred netsuke is
featured in its own catalogue.'' I would like to join Neil K. Davey who
concludes his own essay on page 21 with the sentiment, "However
our gratitude is directed more to Raymond and Frances for their great
gift, which allows us as well as future students to learn from and enjoy
the netsuke displayed.''
Incidentally, Neil Davey the netsuke expert has been announced
as giving the first lecture at 9:30–10:30 am on Tuesday
January 27th, 2004 to The International Netsuke Society
Convention. This is being held in Honolulu, Hawaii at the
Hilton Hawaiian Village, from January 26th to 31st, 2004.
I understand from Honolulu-resident dealer Robyn Buntin's
that Neil Davey's lecture title is "I Must Go Down to the Sea Again''.
The titles of other netsuke lectures that follow at the same times are
on Wednesday January 28th, "21st Century Netsuke'' by Robert Kinsey;
and on Thursday January 29th, "Tobacco Accessories'' by Arno Ziesnitz.
On Friday January 30th a panel discussion will be led by Sharen Chappell
on "The Ocean: It's Lore, Materials & Creatures''. On Saturday January
31st, "A Drop of Mystery'' by Guenther Heckmann, the noted restorer
and connoisseur, will give a fresh look at lacquer netsuke, inro and
Registration, followed by opening dinner with Hawaiian
entertainment sponsored by Sharen Chappell, is on January
26th, 12–5 pm. This
is a biannual gathering of the society and its members attended by many
netsuke dealers and carvers with daily workshops and social gatherings.
I welcome the strong support of Sir Hugh Cortazzi, diplomat,
author and former Ambassador to Japan for Great Britain,
for his two Japanese subject articles in this number, which
take us through six centuries, with "Kazari:
Decoration and Display in Japan 15th–19th Centuries'' and "Koyama
Fujio, a Potter's Dream (1900–1975)''. Dr Jan Dees for his Japanese
lacquer subject describes and illustrates the little known in the West
eccentric lacquer work of Rokkaku Shisui (1867–1950), who "found
inspiration for renewal in ancient Chinese lacquerware excavated in Korea''.
Carlos Prata, the owner of Hanlin Gallery in Hong Kong, reviews the latest
book-catalogue on Japanese woodblock print revival artist Kawase Hasui,
by Hotei Publishing of Amsterdam, which I am pleased to recommend. In
this case the review deserved, I am sure you will agree, to be illustrated
in colour with seven of the artist's best woodblock print production.
Finally, Bernard P. Stoltie, to bring up to date our Collectors World
section for our readers, describes in his survey how Japanese kigata
wooden moulds, with which Japanese confectioners once made colourful wagashi
tea sweets for special occasions, can be used by the ceramicist today
to cast attractive paperweights.
Those in the vicinity of New York City should make a point
of visiting Flying Cranes Antiques, Ltd (1050 Second Ave,
New York, NY 10022, USA), who are specialists in Japanese
Edo and Meiji art. Until January 31st, 2004 they will be
showing an exhibition and sale of ikebana dynastic artist-craftsman
family baskets, which extend in their dating through the
19th to the 20th century. Seen in the photograph is a group
of five intricately woven bamboo sculptural objects in
various shapes and colours by Japanese masters Chikuunsai
I, Chikuunsai II and Hogetsu.(2) While
such "baskets'' (one is a tray) in the Japanese
context were both functional and aesthetically pleasing,
they are now strongly appreciated by Western designers
and homemakers for the elegance of their forms, lightness,
evocativeness of nature and appropriateness for ikebana-type
Erica Yao of the gallery of Sandra Whitman (361 Oak Street,
San Francisco, CA 94102, USA) has told me that their
next exhibition of antique and old Chinese rugs will
be titled, "Persistence During Times of Change:
Chinese Rugs and Textiles during the Ming-Qing Dynasty Tradition''. This
is planned to run from February 12th to March 15th, 2004. The opening
of their exhibition follows the San Francisco Arts of Pacific Asia Show
to be held at the Fort Mason Center, Festival Pavilion, February 6th– 8th,
2004. The goal of the Sandra Whitman gallery exhibition is "to
explore constancy and change in carpet weaving in Ningxia China, between
the late-Ming and early- Qing dynasties''. It will demonstrate the
evolutions in Chinese rug design during the 17th century to mid- 18th
century, which is a high point in Ningxia Chinese carpet weaving. Illustrated
is a 19th century Khotan piece, Xinjiang province, western China, measuring
approximately 8 by 4 feet, which will be exhibited at the Arts of Pacific
You can expect to hear more about the subject
of the article "Introduction to Indian Drawings: A
Selection from the Subhash Kapoor Collection'' by Aaron
M. Freedman featured in this issue.
Denise M. Gerson, Associate Director of the Lowe Art Museum
(1301 Stanford Drive, Coral Gables, FL 33124-6310, USA)
has just informed me that her museum is showing a selection
of Indian drawings from the private collection of Subhash
Kapoor which will be presented in the exhibition, "Mala
ke Manke: 108 Indian Drawings'' at the Lowe Art Museum,
University of Miami, from the 31st of January to the 28th
of March, 2004.
"This unique exhibition'', she says, "places Indian drawings within
their historical and cultural frameworks.
"The collection veritably surveys the range of drawings from 17th to
the 20th century, presenting a wide variety of different regional styles
and types of drawings, including large-format plans for wall paintings,
preparatory sketches, finished works, and unfinished paintings.
"An exhibition catalogue will accompany the exhibition. Featuring stunning
colour illustrations and insightful text by Aaron M. Freedman, curator
of the exhibition, the catalogue is an exceptional testament to the broad
scope and fine quality of the exhibition.''
If it has reached your overseas newspapers you may have
heard of the hilarious Hong Kong-Australian crocodile hunt
in the "river swamps''
of our northern New Territories; so I have chosen for illustration a
drawing of a stylised more successful lion overcoming a crocodile.(4) The
late 18th century sketch is attributed to Bagta, Rajasthan, Deogarh,
India. "Swooping arcs, curves and rounded shapes dominate the composition.
The great-cat pounces into the pictorial space from the left and seizes
the monster in its jaws. The reptile struggles, but its fate is sealed.''
A letter in the magazine's Correspondence, on page 24,
tells our readers of the progress made in the salvage from
the Manila galleon Santa Margarita. By coincidence, these
pages had already been made when I received an announcement
from Christie's Australia Pty. Ltd (1 Darling Street, South
Yarra, Victoria 3141) of their auction of historic 17th
century Ming porcelain from the Treasures of Binh Thuan
Shipwreck to be held in Melbourne on March 1st, 2nd and
3rd, 2004. A sample selection of the cargo has been on
show since October 2003 in Christie's venues in Hong Kong,
Indonesia, Singapore, Japan, Holland, France, England and
The wreck is occasionally mentioned very early in the 17th
century, as is shown in the European chart illustrated
here where southern Vietnam and Cambodia are referred to
as "CAMBOIA'', central Vietnam as "CHAMPA''
and northern Vietnam as "COCHINCHINE''.(5)
Christie's have provided me with a before publication copy of Dr Michael
Flecker's introduction and history of the finds of The Binh Thuan
Shipwreck since the Vietnamese authorities got wind of it off their
coast in early 2001. It is illegal to recover historic shipwreck cargoes
in Vietnamese waters without a license from the Federal Government and
provincial approval. Clandestine operations of fishermen came to the
attention of marine police and more than a thousand pieces were confiscated
and handed over to the Binh Thuan Culture Department for conservation
It is my hope that in a later Saleroom News
report, from Christie's Australia, we will be able to publish
with the results of their sale, more of the history and background
of the salvage than is possible here. This began with a survey
by Dr Flecker's company, Maritime Explorations, and State
owned Vietnam Salvage Corporation (Visal) with whom he had
been working off and on since 1991.
The Bihn Thuan People's Committee and Visal have jointly carried out the
excavation, in conjunction with the Vietnamese Ministry of Culture. Maritime
Explorations signed a secondary agreement with Visal to provide financial
support, archaeological consultancy and project management services for
the excavation, which is considered a model for commercial and archaeological
cooperation. Some information with five pictures about the Christie's Australia
sale can be found on page 25. Featuring over six hundred lots, it is expected
to realise in excess of AUD1 million and will sell nearly 17,000 pieces
recovered in 2002 from the seabed near Holland Bank, off the coast of southern
Vietnam. The early 17th century Ming dynasty ceramics are mostly blue and
white Swatow ware from Zhangzhou, China.(6)
It is the right
time of the year to mention the E&J Frankel Ltd (1040 Madison Avenue, at 79th Street,
New York, NY 10021, USA) exhibition and sale, "Zodiac
Zoo'' which runs from January 15th through February 28th,
2004. Edith and Joel Frankel have generously allowed us
to publish their following information on the animals of
the Chinese Zodiac that sometimes appear in the art of
East Asia and will be seen in their gallery.
As in the West, the Chinese Lunar Year, widely used throughout East Asia,
is divided into twelve months, and is closely related to the seasonal
rites of traditional agrarian society. Thus, the Asian Lunar New Year,
which occurs in the middle of our winter, symbolically marks cyclical
renewal associated with the onset of spring; indeed, in Chinese, the
holiday marking the Lunar New Year is called Chunjie, the "Spring
a different and exceedingly longer perspective on the cyclical
nature of cosmic time than that with which most Westerners
are familiar, an ancient astrological Chinese tradition
also divides time into cycles of twelve years, which are
in turn grouped together into sixty- year epochs. The concept
of the Chinese astrological cycle is attributed to the
mythical Yellow Emperor, Huang Di, in 2637 BC. The current,
seventy-eighth, sixty-year cycle started on February 2nd,
1984 and will be completed in 2044.
system, each year is represented by an animal sign. The
twelve animals constitute the "Chinese Zodiac''. In a Buddhist tale explaining the
order in which the animals appear in the cycle, the twelve
Zodiac animals are those who answered the summons of the
Buddha to come and bid him farewell before he entered final
Nirvana. Only twelve were present, and so he honoured them
by naming a year for each animal in order of its arrival.
First came the Rat, followed by the Ox, the Tiger, Rabbit,
Dragon, Snake, Horse, Sheep, Monkey, Rooster, Dog and, lastly,
the Pig. As with the Western Zodiac, each sign is associated
with characteristics thought to be projected onto those born
under that sign. As the Chinese saying goes, "This
is the animal that hides in your heart''. The coming Lunar
New Year is the Year of the Monkey.
For good luck I am illustrating a little later the Frankel's Ming dynasty
scroll weight of a monkey holding peaches.(8)
I take this opportunity to bring Sir Hugh Cortazzi's article in this issue
on Koyama Fujio and his contemporary ceramicists up to date with an example,
Settling Cloud (2003),(7) by a younger Japanese artist
Takahashi Kazuya (born 1978) who is active today. This is amongst the
exhibits James Singer Asian Art (PO Box 1396, Tiburon, CA 94920, USA)
will be showing at several art fairs this season, including The New York
Ceramics Fair, January 14th–18th, 2004 at the National Academy of Design, and the
8th annual Arts of Pacific Asia Show at Fort Mason, Festival Pavilion,
San Francisco, February 6th–8th, 2004.
James Singer, who has thirty years of dealing experience,
from being London-based moved to Marin County just north
of San Francisco in 2002. Starting with Tibetan and Nepalese
antiquities his interests have constantly expanded to include
a wide variety of cultures, including classical Indian
and Gandharan sculpture, ancient Indonesian art, Chinese
textiles and most recently contemporary Japanese ceramics.
Arts of Asia Director and Executive Editor
Robin Markbreiter returned from covering Asian Art in London,
November 6th–14th, 2003, bringing with him his usual
lively photographs of the opening Launch Party on November
7th at The Victoria & Albert Museum. For space reasons
I have selected five:
London snuff bottle dealer Robert Hall; Adam Golder, CEO, AXA Art Insurance
Limited; Lindsay Hall; and Annie Sheaf.(9)
Colin Sheaf, Head of Asian Art and Director of the Applied
Arts Departments for Bonhams auction group, who was presented
the AXA Art Insurance Limited Award first prize in the
two-dimensional works of art category for a Ming blue and
white rectangular plaque, Chenghua period, which sold for £40,630
in Bonhams' sale of The du Boulay Collection of Chinese Ceramics (see
pages 117–119 for Colin Sheaf's Saleroom News report); and Max
Rutherston, representing Sydney L. Moss Ltd, who won first prize for
the best three- dimensional object for a set of three 12th century Buddhist
New York dealers Suneet Kapoor and his father Ramesh Kapoor, specialists
in Indian and Himalayan art; and collector Wasim Zaman who works for
the United Nations.(11)
London dealer Ben Janseens; Robin Markbreiter; and photographer Hidde
van Seggelen. The picture was taken for him by Mark Schaszberger, Robin's
American cousin who was visiting London's galleries.(12)
Mee Seen Loong, responsible for International Business Development at
Sotheby's; and generous donor to the British Museum Sir Joseph E. Hotung,
a major collector and prominent member of the historic Hong Kong family.(13)
Leading and respected London dealer Giuseppe
Eskenazi (10 Clifford Street, London W1S 2LJ), Chairman
of the Asian Art in London Steering Committee, was also
photographed at the Launch Party. But I have chosen to
publish here a recent photograph taken by Sotheby's specialist
in Chinese ceramics and works of art Nicolas Chow when
the auction house celebrated its 30th anniversary sales
in Hong Kong on October 26th and 27th, 2003 (see pages
for Robin Markbreiter's Saleroom News report).(14) I
took this opportunity to ask Giuseppe for his reflections
on my following questions which I sent to him in London:
Tuyet Nguyet—Very early subscribers to Arts
of Asia may recall your attractive full-page colour
advertisements appearing on the inside front cover
page of the magazine since the July–August 1972
edition. For example you featured a blue and white
early 15th century saucer dish, a 1st millennium BC
Ordos bronze mule, a pair of Japanese screens, a 13th/14th
century Guanyin wood sculpture, a Tang dynasty saddled
horse and many other important pieces. I was also very
impressed when you recently told me that you have never
missed a Sotheby's Hong Kong auction in the past thirty
years. Can you tell me your recollections of the first
Sotheby's Hong Kong auction held at the Mandarin Hotel?
Giuseppe Eskenazi—I believe I have attended every single Sotheby's
auction in Hong Kong since 1973, except the "Sars'' one.
The first auction, as you know, took place at the Mandarin on November
16th, 1973. There was a lot of speculation as to how it would go as
it was a very experimental auction. Julian Thompson took a great risk,
however it was a calculated one. The catalogue was a mixture of archaic
bronzes, early potteries, Song wares as well as Ming and Qing porcelains.
The sale was conducted in pounds sterling. There were two superb Ming
blue and white porcelain pieces.
A flower- shaped Xuande bowl (15) and
a Chenghua dish (16) which fetched £190,000
and £160,000 respectively, both went to Japan—we
underbid the Chenghua dish and at the time they were
enormous prices. At that time the market was really in
Japan and Sotheby's attempt to sell in Japan had failed
so the next most obvious place was Hong Kong. In fact
that proved in the next 30 years to be the best market
for auctioning Chinese porcelain in particular. The Mandarin
ballroom was relatively small by today's standards and
there was a lot of tension and excitement in the room.
The experiment paid handsomely.
T.N.—In the early years Sotheby's
held one auction a year. Now they have Spring and Autumn
sales. Do you think this was a good idea?
G.E.—The sales grew to two auctions a year as a
result of the market growing and therefore the demand.
T.N.—Can you describe some of the important collectors
you have met over the years who have bought at Sotheby's
Hong Kong and played an integral role to help bring success
to this auction house?
G.E.—There were and there are several very important collectors.
Some, both in Hong Kong and Taipei, like to remain private and buy anonymously—I
don't think it's my place to mention them, however the more public and
major ones have been T.Y. Chao, J.S. Lee, Roger Lam, B.L. Au, C.P. Lin,
I.P. Yee, Jack Chia, to mention a few, and of course more recently a
major player in the field has been T.T. Tsui. They, with two important
dealers—Joseph Chan and Robert Chang—have helped to make
Hong Kong the success it is today.
T.N.—What do you think are the reasons for Sotheby's
success in Hong Kong?
G.E.—The success ultimately has
to be attributed to Julian Thompson;
he really sorted the market out. He provided
expertise and a constant supply of first
class material. Furthermore, the auctions
were conducted in a most professional
T.N.—How can Sotheby's Hong Kong widen their
market of potential buyers and sellers?
G.E.—Now, I don't think they have
to do any more, i.e. the new emerging
markets come to them because of their
reputation and the geographical position
in the Far East of Hong Kong. Take the
example of mainland...they now come to
Hong Kong and are a very strong presence
in the market.
T.N.—What areas of Chinese art do you think dealers
and auction houses should develop?
G.E.—This is very much something
which goes in cycles. At present the
Qing market followed by the Ming is very
strong, however each time a top example
from another period comes up it also
commands a very high price.
T.N.—You have been one of the most important
dealers regularly buying top-quality pieces at auctions.
In Sotheby's 30th anniversary auction in Hong Kong on October
26th you purchased Lot 49, an elegant early Ming Longquan
pear-shaped sea-green glazed vase for HK$4,542,400. You
were also the underbidder on several other lots. Can you
explain why at this sale you were unable to buy more?
G.E.—I bid for the Longguan vase
well beyond the order bid I had and finished
up buying it for ourselves. However I
nearly did not get it because of the
strong competition. The other lots for
which I was the underbidder were due
to strong competition from the mainland.
T.N.—Provenance has become an increasingly important
issue in the Asian art market. In your last two or three
exhibitions in New York and London I noticed your gallery
takes special care to make sure the pieces have good provenance.
Can you tell my readers how this issue has affected your
business and how it will affect other dealers, the auction
houses and the Asian art market in the next five years?
G.E.—At this stage it is very difficult to predict how it will
affect the market. What most people outside the Chinese field do not
realise is that China has produced millions and millions of objects over
a period of 5000 years of uninterrupted production. There are millions
of these objects around the world, nearly all of which are undocumented— those
objects which have been published or exhibited are very few and unfortunately
for various reasons tend to be the same ones, so how the law will apply
to the undocumented objects we will have to wait and see.
T.N.—Do you have a special exhibition planned
for Asia Week in New York in March/April 2004?
G.E.—At present we are considering
what to exhibit in New York and I cannot
tell you as we have not taken a decision
I was interested to see Giuseppe's focus on two main pieces in Sotheby's
first sale at the Mandarin Hotel in 1973, the Xuande bowl and Chenghua
dish, as these were illustrated in John K.T. Ma's Saleroom News report
for Arts of Asia of that auction in Hong Kong for our January–February
1974 edition. Some insights into how that came about may be of interest
to our readers and Sotheby's present staff today. The story begins thirty-three
In the Correspondence of the first issue of Arts of Asia, page
2, January–February 1971, there is a letter from Sotheby's saying
how delighted they were to learn about the magazine. This resulted from
the preview promotional issue that was sent in 1970 to potential international
On March 29th, 1971 John K.T. Ma (whose surname in English today spells
slightly differently) wrote to me expressing his delight and enthusiasm
at the founding of the magazine and asked if we would be interested in
publishing a regular contribution of important Chinese sales at Sotheby's
In our reply in April 1971 we wrote, "We should like to cover all types
of Oriental art—Indian, Japanese, Southeast Asian, etc. It would
also be much better if it were not confined to Sotheby's.''
John's first contribution appeared as "News from Sotheby's'' in the
May–June 1971 magazine with a report on the March 2nd, 1971 sale
in London and was followed in the May–June 1972 issue with his
first report under the Saleroom News heading. This covered in London
the Chinese sales at Sotheby's, and Japanese and Chinese sales at Christie's.
It was through John that I urged Sotheby's to bring their
auctions to Hong Kong, and it was John who found and made
the connection with Mamie Howe, who worked at that time
for Lane Crawford Ltd. The two companies joined forces
to form the Hong Kong auction house. In the July– August
1973 Arts of Asia can be seen their advertisement announcing
their "first ever ORIENTAL ART auction in Hong Kong on 16th November,
1973 at the Mandarin Hotel, Hong Kong''. This was followed by six pages
of specific advertisements in our September–October 1973 issue
for Sotheby's in Association with Lane Crawford Ltd, specifying the Sale
of Important Chinese Ceramics and Archaic Bronzes, the Property of Various
Owners at 10:30 am and at 3 pm on Friday, November 16th, 1973, as well
as the Sale of Fine Nineteenth Century China Paintings, Drawings and
Watercolours from European Collections at 8:30 pm precisely.
John did a wonderful comprehensive report of the sales which we published
in Arts of Asia January–February 1974— and the rest
is history. A highly successful history capped by their very latest auction
sales dedicated to Sotheby's thirty years in Hong Kong. This I commemorate
in my Editorial with their company group photograph17 taken shortly afterwards
and my interview with Henry Howard-Sneyd on pages 14–18. My only
regret is that the important initial and longtime auctioneer Julian Thompson
was unable to be present, but I was assured he was listening on his London
telephone line as the auctions were taking place.
I send both Western and Chinese New Year greetings of the Year of the
Monkey most warmly to all the many friends and supporters of Arts
of Asia across the world.