BASEL.- BachmannEckenstein | JapaneseArt is back in town for their bi-annual exhibition of Japanese art in New York coinciding with Asia Week 2015. In their 12th year in New York the Swiss dealers are once again exhibiting at Gallery Schlesinger on 73rd Street off Madison Avenue as an Affiliate Member of the JADA (Japanese Art Dealers Association), and as a member of Asia Week New York.

BachmannEckenstein have long established themselves for always bringing a wonderful selection of Japanese painting, calligraphy and ceramics, all beautifully executed, and magnificently displayed.

This year’s focus will be on artistic collaboration in Japan, where it was not uncommon for artists to work together on both single pieces and series of works. There is even a term for this practice - Gassaku. The idea of artistic gatherings is an ancient one, often resulting in (intentionally) humourous results. The inspiration that artists derived from working in partnership has resulted in some exceptional works. Some collaborations are very balanced in their approach, for example, one’s calligraphy paired with another’s image. In other cases the two parties provide elements that work in dialog or even in battle with each other, providing a dynamic conversation between two artists.

Collaborative Works
• Tomioka Tessai (1836-1924) & Tomioka Haruko (1847-1940): In this case the team are husband and wife, which is rather unusual. Both are well-known as individual artists, and Tessai is also known for being prolific in his gassaku with numerous other artists as well. (#2386)

• Tomioka Tessai (1836-1924) & Tanomura Chokunyu (1814-1907): Here Tessai works with another well-known Nanga painter of his time, but this is a rare collaboration for him, and more unusually, Tessai has painted on the mounting, thus literally embracing Chokunyu’s work, while providing an ironic counterbalance to what otherwise might be an overly sentimental painting. (#2377)

• Otagaki Rengetsu (1791-1875) & Mori Kansai (1814-1894): There is already extensive research made on Rengetsu’s collaborative works, not only on paper, but also on ceramics, which will also be featured in New York. Here we see a nicely balanced work with well-known Nanga painter Mori Kansei. During her life, the work would likely have been more highly sought because of Mori Kansei, however Rengetsu’s status has justly skyrocketed in recent years. (#1695)

Other Works
• Tamamizu Ichigen (1662-1722): A deep dark Raku tea bowl by Ichigen, the second son of the fourth Raku master (Ichinyu). As only the eldest son inherits his father’s studio, he founded his own kiln, known as the southern Raku kiln, which was extremely successful in producing Raku ware until 1879. (#2389)

• Otagaki Rengetsu (1791-1875): A large moon white mizusashi (water container) by Rengetsu with an imprinted lotus leaf enhancing an amusing play of words, since that Rengetsu translates to Lotus Moon. (#1691)

• Ikeno Gyokuran (1727-1784): A lovely delicate fan painting featuring irises. (#2382)

• Iwase Yoshiyuki (1904-2001): Iwase’s stunning and evocative photographs of the Ama divers on Japan’s shores captured a a fading way of life.