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Curators' Picks: March 25 Fine & Decorative Asian Art Signature® Auction
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Charlene's Picks
Charlene Wang | Director, Asian Art | Business Development
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Who are this distinguished couple, and why do they matter?
These paired portraits show a magnificently dressed lady of high social status and her husband, a court official of the highest level in the imperial bureaucracy, roughly equivalent to a secretary of state or prime minister in modern Western terms.
They are exceptional examples of Qing court portraiture. Although not signed or inscribed, their social identity can be glimpsed from the visual details. From the ranking badge, or mandarin square, on the gentleman’s chest, you can tell that he is a first-rank (the highest of the nine ranks, indicated by the crane) official in the civil court, represented by birds, rather than the military, represented by animals. His court necklace further confirms his rank, as such bead necklaces were restricted to officials of the fifth rank and above and typically feature precious materials such as coral, lapis lazuli, and turquoise.
The lady is shown in an elaborately embroidered silk dragon robe trimmed with mink fur, wearing three strands of pearl and coral necklaces, and seated on a tiger-skin throne cover, indicating her exceptionally elevated status.
These are great as reverential pieces for altars, and, in a somewhat unusual sense, they are also highly fashionable. It is worth noting that, in 2003, The Andy Warhol Museum held an exhibition of Chinese ancestor portraits alongside Andy Warhol’s celebrity portraits. I think it was an extremely creative and insightful idea that started a conversation between East and West, ancestor and modern icon, and the face and identity.
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I thought I would share a bit of insight into this calligraphy work, which is not always easily accessible to Western audiences. It is a poem written by the Japanese military general Nogi Maresuke (乃木希典), who served in the Russo-Japanese War and helped lead Japan to victory, marking the first time in modern history that an Asian power defeated a major Western power. He was regarded as embodying the highest ideals of the samurai tradition, fighting with the expectation of death. Before the campaign, he prepared three coffins for himself and his two sons. Tragically, both of his sons were killed in the war, along with some 56,000 Japanese soldiers.
After the war, he petitioned Emperor Meiji for permission to commit suicide out of shame, but the emperor refused and instead promoted him. He later built memorials for the Japanese soldiers who died, as well as one for the Russian soldiers in a Russian style, despite them having been the enemy.
Burdened by a lasting sense of shame and guilt, he and his wife ultimately took their own life on the day of Emperor Meiji’s funeral.
This poem is one of three famous ones he composes during the Russo-Japanese war, and the last of the three, written after the victory. It reads:
A million strong imperial army marches against a mighty foe;
on open fields and at besieged cities, the dead lie piled like mountains.
Ashamed, how can I face the elders at home?
In today’s song of triumph, how many will truly return?
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Megan's Picks
Megan Ma | Associate Specialist & Department Coordinator, Fine & Decorative Arts
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Formal robe (jifu), worn by Qing emperors on important ceremonial occasions such as imperial birthdays, major festivals, and court rituals. Distinguished by its side fastening, horsehoof cuffs, and the characteristic lishui
wave border with diagonal striped bands at the hem, the garment reflects the codified visual language of Qing court dress. This example is particularly notable for its execution in the kesi tapestry technique, which is far more labor-intensive than embroidery and produced in much smaller quantities. Typically reserved for luxury textiles and imperial commissions, kesi robes of this type are especially rare. The silk ground remains remarkably well preserved, displaying a rich and vibrant crimson tone densely decorated with the Eight Buddhist Emblems (bajixiang
) amid scrolling clouds and powerful five-clawed dragons. The clarity of the woven design and the vivid preservation of the silk make this robe an exceptional and highly instructive example of Qing dynasty textile craftsmanship.
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Snow and night scenes are among the most sought-after subjects in the market for Kawase Hasui’s work, admired for their atmospheric, impressionistic evocation of both serenity and the subtle dynamism of figures and nature. This view of the bell tower at Mount Koya is a particularly compelling example of Hasui’s treatment of snowfall. Departing from the vibrant colors he often used for architecture and skies, the composition is rendered primarily in a restrained grisaille palette of black, grey, and white, emphasizing the weight and stillness of heavy mountain snow. Against this subdued tonality, the two spots of warmth from the lanterns in the far distance immediately add the temperature to the freezing winter night. The publisher’s seal of Watanabe Shozaburo
indicates that this impression is from the first edition, making it an especially desirable addition to a shin-hanga collection.
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Rebecca's Picks
Rebecca Campbell | Associate Specialist & Lead Cataloguer, Fine & Decorative Arts
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One of the standout lots in the March 25th auction is this elegant study of lilies, rendered in soft, fluid ink with a remarkable sense of ease. The leaves and stems unfold with gentle movement, as if they’ve been allowed to take shape naturally rather than being tightly controlled. The composition leans into restraint, keeping the palette largely subdued and the brushwork open and unforced.
Then the lilies bloom and quietly take over. Their color stands in deliberate contrast to the surrounding ink, catching the eye without overpowering the scene. It’s a careful balance: the flowers provide a focal point but still leave plenty of room for the negative space and softer tones to breathe.
That balance is what gives the painting its appeal. The ink establishes mood and atmosphere, while the blossoms offer just enough visual energy to keep things from feeling too still. It’s a simple approach, but one that knows exactly where to place its emphasis, and when to hold back.
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This unusually formatted handscroll is one of my favorite lots in the auction, appearing to have begun its life as a bound book before being transformed into a continuous composition. It’s a little unexpected, and part of what makes it so engaging. That layered history invites the viewer to approach it not just as a single image, but as something to move through slowly, section by section.
As the scroll unfolds, a series of carefully observed studies emerges: birds perched in quiet profile, delicate plants rendered with almost botanical precision, and small, intimate glimpses of the natural world. Each vignette feels self-contained, yet together they form a kind of visual catalogue, balancing close observation with artistic sensitivity. The interplay between image and text adds another layer, suggesting a work that sits somewhere between illustration, study, and personal record.
There’s also something surprisingly modern in the way it’s put together. The pacing, the spacing, and the shifts between detailed and minimal passages give the composition a rhythm that feels almost editorial. It doesn’t insist on a single way of viewing, but instead allows for a more personal experience; lingering in some areas, moving quickly through others.
It’s that mix of method and individuality that makes the piece so memorable. A little unconventional, a little difficult to categorize, and all the more compelling for it. It’s the kind of work that rewards a second (and third) look.
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Charlene Wang
Director, Asian Art,
Business Development
CharleneW@HA.com
(212) 486-3731
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Megan Ma
Associate Specialist &
Department Coordinator,
Fine & Decorative Arts
MeganM@HA.com
(214) 409-1196
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Rebecca Campbell
Associate Specialist &
Lead Cataloguer,
Fine & Decorative Arts
RCampbell@HA.com
(214) 409-1948
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