John Neville Cohen’s blogs

Some of the Wealthiest Chinese are Now Investing in 18th Century Jade!

2011-10-27T23:30:00.000-07:00

Jadeite and Nephrite (although different both are referred to as jade) have been highly valued for thousands of years, especially by the Chinese.   But for so many years it has mostly been the Western world that took over this fascination of collecting antique jade carvings.   Here in Europe and the USA much has been published and there have been many dedicated collectors and antique jade experts that created and influenced the market values.

But recently the wealthy Chinese have become very interested in jade again, because they are investing so heavily, prices have been going through the roof! But as a collector it is apparent that non-Chinese collectors have very different views about what to value most.   Carvings that make clever use of natural flaws in the stone, or that use coloured inclusions so brilliantly are not highly valued by these Chinese buyers, not nearly as much as carvings in pure white jade!

So far these Chinese are mainly regarding jade as an alternative investment commodity.   As most of the usual forms of investment, currencies and property have all proved so precarious, perhaps these successful millionaires are being very shrewd!

I do not know if they have been influenced by the huge increase in the raw material prices.   The finest pieces of the Hetian Nephrite have only been found about 4,500 meters above sea level in the North of the Kunlun Mountain, Xinjiang, even though it is a very difficult climb, little oxygen and bitterly cold, reports now indicate that there is not much more to be found.   There are other sources of Jade; the next best in quality mainly comes from Burma.   But thinking of jade as an investment over the last ten years, whilst gold has increased by about 3 times, the best Hetian jade raw material has increased in price by 100 times!

The pebbles, (sometimes referred to as Hetian pebble, or seed jade) are only found in the riverbed.   These are highly valued because they originate from the jade seams in the Kunlun mountain, broken out by the glacier, then after years of natural weathering in the fast flowing river, these jade rocks are gradually ground smooth into pebbles, any weaknesses within these stones are smashed in this process, so that the remaining Hetian pebbles are only of the finest quality.

For antique collectors there are many aspects to be aware of, apart from the quality of the carving and the period of the piece, when buying jade, there is another consideration that can add value, that being the colour of the stone. Many people do not realise how many colours of jade there are.   Antique jade carvings can be found in white, mutton-fat, various shades of green, yellow and lilac, black, even in red, and these can be a factor in the price.   Also if there is a seal (so many wonderful pieces have no signature) but if the seal is genuine (many were inscribed later) then this too adds to the value. So for a very long period these were the main criteria that influenced the price.

Gradually antique jade of quality, has become more and more valuable. But this caused the Chinese to cash in by making lots of new copies of earlier jade pieces and they carved various others in less valuable stones, but called them jade too!   So many have flooded the market.   They have also discovered ways of adding colour to jade.   However, very few experienced collectors found any difficulty in recognising these, as nothing more than the cheap fakes, or modern copies that they are.   To be sure that the colour has not been added requires strong magnification, so it is not that easy to check. I believe that over time the dyed stones revert back to the original colour, so to pay extra for bright lavender, yellow or green jade could prove most painful!

Subsequently some of these modern fakes are so much better (the carving has improved) and there are now a number of more difficult to identify fakes.   So there has become another important factor that affects the value and this is the question of ‘Provenance’.   Every jade is now regarded with suspicion, unless it can be established as having been in a well known collection, or auction that dates back to the time when these fakes were easy to spot, or better still, to an even earlier period.

But now values are changing dramatically in a way that is hard for collectors like myself to understand!   These Chinese investors are buying back their heritage, but more as an investment than as collectors.   They have decided that 18th Century pieces of a pure colour with no flaws and certainly not mottled are their preference, they particularly prize pure bright white jade, or pure green, as well as the bright emerald green that is often used in jewellery.   Also any of these jade carvings that happen to have a good seal mark (even if this seal is not genuine) now command a much higher value.

Talking of a much higher value, this is where we older collectors are now really confounded.   Because if we consider a well carved, good quality pure white 18th century jade carving, that would normally have sold for our expected highest value, in any auction these days, this same piece will now probably sell for anything from 4 to 8 times that figure, to a Chinese investor!   Is it possible that in time these buyers will eventually also value the wonderful craftsmanship that most of us collectors appreciate and love?

Dare You Choose a Really Large Limited Edition Print?

2011-07-23T05:00:00.000-07:00

Does size really matter? The answer has to be yes. In the current vogue for large open sculptured spaces with the minimum of clutter, rather than have a collection of pictures, just one single large picture is preferable. But how do you choose it?

Deciding on this single picture is now so much more important, not only will it add a special new dimension and an interesting focal point. But also if chosen well it can then add that 'Wow' factor and really make quite a statement!

Remember this picture will also say something about you. But have you the courage to choose it yourself, or do you think that you have to depend on expert guidance?

There are plenty of interior designers and art consultants, keen to help you for a fee, but if it is for your own environment shouldn't it be your own decision? After all, you not only have to feel comfortable and be happy with the content, but you should really love it! So dare you back your own judgment and make the choice yourself?

Then should you choose a painting, or a print? This question is again a matter of personal choice, as is the question of the cost.

But if you are prepared to consider a very special photographic print then there are certain advantages: If you find the picture you love, you can then have the choice of deciding on the required size for your space. These days certain photographs, but not all, can be printed really huge as fine prints. Also there are some photographers who are prepared to give you the added possibility of the colours being varied to help fit in with your decor.

John Neville Cohen is prepared to help, if you happen to like his amazing creations. He can provide prints up to 60" or 150cm longest side. The following might be of interest: -

John's pictures add a bright new dimension to any wall. So sophisticated, original and contemporary, always a talking point, they intrigue, yet remain intelligible to all.

His pictures, limited to editions of just 8, have great investment potential too! Not yet one of the big names, but 'Arts Review' mentioned Picasso when describing John's 'Spirit of Spring' and the one-man exhibitions to date are impressive. Now is the best time for astute buyers to buy, considering how very special his photography is.

See far more details at http://www.artist_john_cohen.net

Interesting New Possibilities for Art Consultants and Interior Designers

2010-09-15T03:51:00.000-07:00

How often is it that you find the desired picture just does not fit in with your colour scheme?

John N. Cohen’s ‘Painting with Light’ pictures make quite a statement, are so original and stunning, but now have this new possibility whilst adding style, to look right in any décor.

Since all of John's original pictures are photographs (in digital format) he is now able to offer consultants and designers much more than just different sizes!

Many of his abstract studies are already available in different colours, but John is also prepared, without any obligation, to alter any of his works by creating a new (different) picture especially for you, all without any obligation.

This new original picture, will be based on your selected picture, but will then feature any predominant colour required. Just send a sample of the colour (wished for in the picture) and let him know which picture is favoured. Also it will help if you suggest an idea of the mood and indicate colourful, or limited colours. John will then provide at least a couple of new images for your consideration.

Your more discerning clients should appreciate that each picture will still be a John Cohen original, that will have far more value, than just a manipulated copy print taken from a painting. To see what can be achieved please have a look at: -
http://www.jncohen.net/Limited%20Edition%20Prints/Consultants.htm

More information about this artist: -
Winner of the most important international awards and attracted the attention of Cecil Beaton C.B.E., Sir William Russell Flint R.A., Sir George F. Pollock Bt., M.A., and Lady Clementine Spencer Churchill amongst many others.

The London Salon Trophy
The first time this much coveted International artistic photography trophy had ever been awarded for a colour photograph was in 1967. Presented to John N. Cohen for his creation 'Spirit of Spring', he was also the youngest salon member ever to have received it, created by his own invented technique 'Painting with Light'. This was also the first time a transparency and a negative appeared on the same emulsion. His technique simply involved photographing projected images that were not always projected on to a screen.

Learn more about John's unique technique of 'Painting With Light' on Wikipedia
http://en.wikipedia.org/wiki/Light_painting#Technique_and_equipment

Over 20 One-Man Exhibitions of his photographs (some were sponsored by Kodak) in New York, London, The Edinburgh Festival and many other UK & USA Cities.

He has received favourable reviews and comments in 'The Times' and 'Arts Review', apart from many other newspapers and photographic magazines.

His pictures are limited editions (of only 8 of each picture) and can be seen at: -
http://www.jncohen.net/Painting_with_Light/index.htm

You can also be kept informed on John N. Cohen’s Facebook Fan page
http://en-gb.facebook.com/pages/Painting-With-Light/208903157734

The Magical Magic Lantern and Painting with Light

2010-08-05T22:48:00.000-07:00

John invented his own form of 'Painting with light' (a very different and original 'special effect' technique), without using any computer, darkroom chemicals, or expensive equipment to create his unique top international award winning transparencies.

His technique is pure photography on film and has nothing to do with moving lights to make light graffiti, or of lighting specific parts of a dark scene with a long exposure. What it does involve is the photographing of projected images on to other things.

John has found that the projector really lives up to its earlier known name - 'the magic lantern', as what can be done with projectors for photographers really is magical!

One of his best known pictures was titled 'Spirit of Spring', this was the first ever picture taken on Kodachrome (transparency film) that included both a negative of a tulip and a positive image of a girl's portrait, all on the same emulsion!

No one knew at the time, how this could be possible, as it was created well before anyone had the use of computers.

This little known technique involves the photographing of projected images, sometimes; he projected his image through a crystal, or reflected the projected image off various reflective surfaces, or through coloured cellophane, the projected image could be a negative (colour or black and white), and he even used three or four projectors all together at times.

His chosen screen often became the subject of the picture; John has photographed projected images on to a shell, a flower and a butterfly wing, even the edges of the pages of a book!

His freely available article titled 'The Magic Lantern' fully describes and explains exactly how anyone and everyone can do it. 'The Magic Lantern' can be found at - http://www.jncohen.net/photmagi/cg030001.htm

Digital camera users could also use many of his techniques, as these special effects have certain qualities that are a little different from those achievable by digital manipulation.

'Spirit of Spring' won The London Salon Trophy in 1967; this was then the first time a colour picture was deemed worthy of this much-coveted trophy, for it had only ever been awarded before for Black and White studies. John was also the youngest member to have won it.

There have been over 20 One-Man Exhibitions of John's photography (many were sponsored by Kodak) at major venues; 2 were held in New York, 4 in London, The Edinburgh Festival and many other UK & USA Cities.

Favourable reviews and comments were received about John's photography from; Cecil Beaton C.B.E., Sir William Russell Flint R.A., Lady Clementine Spencer-Churchill, Sir George F. Pollock Bt., M.A., F.R.P.S., F.R.S.A., 'The Times' and 'Arts Review' to name a few!

John is currently creating new pictures "I use pure photography to express ideas, or thoughts, rather than reality. I trust that my pictures will intrigue, cause interest and be appreciated as very original art works that make quite a statement!"

John N. Cohen an artist and international top award winning photographer, has other interests too, please have a look at http://www.jncohen.net
To see more of his new pictures please see http://www.jncohen.net/Painting_with_Light/index.htm
John's Facebook fan page http://en-gb.facebook.com/pages/Painting-With-Light/208903157734

Free Course - Pure Photographic 'Special Effects' Without A Computer Or A Darkroom!

2010-04-04T00:29:00.000-07:00

THE MAGIC LANTERN
The following is just the text from the free course on 'special effect' photography John calls 'Painting with light' using projected images.

For those preferring pure photography, rather than digital manipulation, this is an exciting technique that anyone can do with very inexpensive equipment. The projector is all that is required 'the magic lantern' is really magical!

It was the accidental chance projection of a slide, without having the screen in place that resulted in a portrait appearing partly on some fabric and partly on the wallpaper. The curved fabric distorted the image and when the picture was clearly focussed the weave and texture of the materials forming a type of screen became part of the portrait. This was sufficiently intriguing to leave the projection as it was and to study the possibilities of this occurrence.

If this effect could be photographed, then one can photograph projected images on other textures or even on other objects. This proved to be the basic approach to gain full control of all images. Providing a completely new way of superimposing and controlling every aspect of photographs. Obviously if one can see it, one can photograph it!

The projector however offers so many more possibilities than the darkroom enlarger to create pictures. Take any image on any film; it is just as easy to project negatives or transparencies in colour or black and white on to whatever is desired. Consider the potential when projecting an image on to; fabrics (not always flat), textures, or even on to other objects, then try bouncing the projected photograph off a reflective surface and focus it on to a screen, or have a look at what happens if a crystal is placed near to the projector lens (behind the lens as well as in front). Colour filters can be used, or parts of the image can be masked (again compare the results obtained in front, as against behind, the projector lens).

With more than one projector it is possible to combine and superimpose with perfect control more than one image. By projecting these images, one on top of the other, and then masking away the overlapping parts of each image, that are no longer required, a totally new picture can be formed.

These are the basic principles, the projector provides all the magic, and such is the diversity that can be achieved with it. The older types of projectors are better than the modern automatic ones, because it is easier to gain access to the space behind the lens. An important advantage with these techniques - so one should look out for cheap second hand ones!

Adding Texture
The easiest way to begin is to experiment with the projected image, try projecting a favourite portrait on to a selection of textured surfaces, to be used as a screen. An enormous variety of textures are possible to use, they do not always need to be white, nor do they always need to be flat.

There is likely to be an element of distortion, as it is not possible to have the camera lens in exact alignment with the projector, but do not worry about this yet, distortion can be useful as described later.

The use of a texture in portrait work is particularly attractive, some of the beauty and character found in painted portraits is lacking in photographs. But the realism of the photograph becomes more abstract simply by adding a texture and this can bring out more expression or character than was evident before. This does not mean that one is copying paintings as totally different images are created from those ever painted, but that this abstract quality that so enriches portraits, can also apply to photographs.

Distortions
The only way of avoiding distortion is to project square on to the choice of screen and to photograph the image with a plate camera. Then one can correct the angle of view with the lens movements as used for architecture or perspective correction.

However, more often than not, distortion can be a very interesting effect if used carefully. It can even be a very dramatic tool. Any image can easily be elongated and stretched, or squashed and made wider. It just depends on the angle of the projector, or the camera, to the screen.

Reflections
So far it has been shown how an image can be influenced by; the addition of a texture, the effect of distortion, the use of colour filtration, and the use of negatives or black and white films.

Another fascinating way of manipulating a projected image is to consider reflections. The principle involved is basically to photograph a projected image as seen in a mirror, or bounced off a mirror. But instead of using a mirror, there are many other options. Try a piece of acetate film as this material allows one to bend or twist it, and so distort the image seen, by forming a flexible mirror.

There are two quite different effects achievable even with the flexible mirror in a fixed position and the same image projected. The first method is to project the image on to a screen and to photograph the reflection seen. The other is to project the image into the flexible mirror, so that it bounces off it, on to the screen; it is this new image that is then to be photographed.

There are many reflecting surfaces that can be used. They do not always need to be smooth, a highly polished old silver cigarette case, with a machine finished pattern as an over all design, has been used to advantage.

All photographs including those techniques already described can be made into patterns rather like a kaleidoscope by the use of mirrors. By positioning mirrors at right angles to each other, with the image projected on to a choice of screen in such a way, that the reflections are repeated in the mirrors will then form a pattern that can be photographed. The possibilities of scale and size are no problem when projecting images, the biggest building in the world can easily be projected between a couple of small mirrors or on to a small object!

Crystal Patterns
Spectacular patterns can be created by the use of crystals or prisms. Apart from the special effect types available for use on the camera, remember these can be used with the projector too, it is also interesting to use old crystals designed to form a chandelier.

Experiment with different crystals placed in front of the projector lens, not always square on, and see how the image scatters according to the cut. The best results are often found to be with a fairly small image within the transparency frame.

Quite a different pattern will be formed, by moving the crystal behind the lens. Obviously as these crystals are not optically perfect, the projected image will lose some definition, but it can still be useful as a background image.

Colour, Black And White Or Negative Images
Photography has the advantage of instantly reproducing an image in a number of ways. Just by the selection of film the image can be in black and white, colour or in either of these choices it could also be in negative form. All these can be projected!

Negatives can be unusually beautiful in themselves and they should not just be regarded as the means of obtaining a print. The choice of projected images should not be restricted to transparencies but include film in all its forms. Black and white images positives or negatives can be projected and used. Colour can still then easily be added to the black and white projected images by the choice of screen, as well as by the introduction of colour filters.

Filters
Many filters are available for the camera, and these can be used with the projector too. But any bits of coloured cellophane can also be used with the projector. There are hundreds of colours easily available, as one only needs such small pieces.

Even if they are not optically of use with the camera, if used between the projector condenser lens, and the film, they can influence the colour of the projected image, without any optical problems. With care it is also possible to change the colours of specific parts of the projected image.

Make Your Subject The Screen
It is not difficult to move on to other objects that can do more than just act as a screen. These are items that become an important part of the subject of the new photograph just as essential as the projected image.

For example an original portrait was projected on to a clamshell, amongst other shells, and the contours of the shell influenced the projected image. With careful masking using a diffused mask behind the lens, allowed light to illuminate other parts of the scene too.

There are a number of other objects that have been used in this way; a butterfly with a river scene, an orchid, a ball of wool and a Siamese cat, a coin, or a decaying holly leaf.

Even a highly reflective surface can be used such as coins. The camera was directly in front of the top coin, so that the projected image from the projector was to the left of the camera. This meant that the camera lens avoided the very bright reflection. Even the edges of the pages of a book have been used.

It can be fascinating to take your projector for a walk! Use an extension lead and just project a selection of slides on to everything in sight. By focusing on to a wide range of objects, you will be able to see what happens - expect to be surprised at some of the possibilities that will no doubt come to light!

Masking
Masking is best achieved by using black card that is stiff enough to stay upright; yet is easily cut into whatever shape is required. It works well in front or behind the projector lens. If masking in front of the lens it will quickly become apparent that the nearer to the screen the mask is placed, the sharper the shadow cast. The ideal is to always use a soft edge shadow so the mask will not be very far forward of the lens.

If it is possible to work behind the lens, then the nearer to the film, the sharper the shadows edge will be. It is then simple to perfectly blend different images when working with more than one projector.

There have been times when instead of masking with black card a transparent opaque plastic has been preferred, this avoids a black shadow forming, especially if the second projection is not adding much in that particular area. Tracing paper has been effective for this purpose normally placed behind the lens near to the film.

Before considering a second projector, with just one, there are now an amazing amount of possibilities that can be achieved with the projected image. However with two projectors the additional special effects are quite sensational.

Double exposure – With the Magic Lantern
The first option with the projector is to mount two pieces of film, sandwiched in the same mount, and project the combined images on to a screen. By focusing on one of the images, the one in true focus will dominate and soften the other. Much depends on the slide carrier used, but if there is room to insert more than two mounts in to the carrier, then the more space between the two films the greater the effect of one image dominating the other. Should both images need to be in focus then the closer they are to each other the better.

When sandwiching films in this manner it is possible to insert one or the other upside down, on its side, or the other way round. But there is little more opportunity with this technique of controlling the end result, so it is only a little bit better than double exposure as at least one can see what the result looks like first.

Two Projectors
This method involves using two projectors, but one has then an exciting way of blending any two previously created pictures, with far more control!

The technique is simple; just project both images separately on to the same choice of screen. However, these images can now be positioned whichever way one might wish, one image could be much larger than the other, or by masking parts of each image, a different blend of the two pictures can be created. This is how any parts, of any picture, can be blended together and all the time one can see exactly what is to be photographed.

Ideally, two identical projectors should be used, if possible with zoom lenses. Should this prove impractical then variations in performance of the second projector can be allowed for, by masking the brighter of the two, just in front of the lens to achieve the same brilliance from both projectors.

To enhance the quality of the results one can achieve with this technique, there is an advantage in obtaining a screen designed for rear projection.

Image Blending
Once the full potential of using two projectors is realised, there will be a need for quite different types of images, these are what are referred to as background shots, in the advertising world. A completely new stock of photographs will have to be taken, with blending potential in mind, no matter how many pictures are available from the past.

Now each image can be simply modified: The brightness of one image, as against the other, can be controlled. By masking and shading just parts, of each image, can be blended. Colours of certain areas can be altered with filters. The position of each image, relative to each other, can be adjusted. Or even the size, of one image as against the other, can easily be altered. One of the images could be distorted, reflected, or be changed in to a pattern by the use of a crystal. The possibilities are quite staggering!

Best of all, the combined images are there to be seen all the time, until the desired result is formed. There is no need to rely on guesswork, as so many other special effects seem to demand, with these methods so no film really should ever be wasted.

With two projectors it becomes possible to mix film effects together in a way not possible before. It is so easy to blend negative images with transparencies, in colour or black and white. Instead of transparencies in both projectors, one of them could be projecting a black and white negative or a colour negative just as easily.

Plate 3
'Spirit of Spring' is a well-known award winning study that won much acclaim for the author. This transparency of a portrait was projected over; a second projected colour negative image of a red tulip. A variation of this concept (plate 59 Poetic portfolio) is where another profile of Susan was blended with a colour negative of the centre of a tulip. (See this and other photos in the author's 'Poetic portfolio' at www.jncohen.net).

More projectors
There are no reasons why more than two images should not be projected all at once, providing the projectors are available.

There have been a number of occasions when four projectors were in use together. However three have been the most that have normally been used, with the fourth one occasionally; simply projecting the author's signature in to the scene.

Rear Projection
There are some valuable advantages in having a rear projection screen especially when owning more than one projector. The first advantage that comes to mind, after the obvious one of avoiding distortion, with at least one of the images, is the opportunity to add a light coloured background when photographing projected images on to other objects.

Should the rear projection screen simply be used to provide a background scene, often expected to be in a softer focus, an expensive screen is then not needed. Even tracing paper will do!

Inspired Accidents
Hoping that readers having reached this far will agree that the possibilities described, offer photographers working in colour so much more than simply recording reality. Trusting readers will also agree that this form of photography really justifies recognition in the art world, as it has certain qualities that are quite unlike those of any other media.

This has been published with the hope that photographers will not just create strange pictures or gimmickry, but produce works of true artistic merit.

The most satisfying time spent is without doubt in the creation of the work. Frequently regardless of the medium used, if an artist is truthful, the end result obtained is not always exactly as initially conceived.

Often the author has decided on a theme, or it could be just a thought about a pattern or composition that exists in the mind, in an abstract way, as yet unexpressed. Perhaps the last portrait taken inspires the desire to do more with it. Whilst considering and projecting certain images, to blend with such a portrait, something can suddenly be seen that fires the imagination.

At other times an idea occurs and a clearly defined image forms in the mind. However, whilst trying to create this picture, it is not so unusual that one strays across a certain amount of accidental inspiration. This can be the chance blending of two images in a way never thought of before, that looks just too good to ignore! The best thing to do then is to be prepared to change direction, and pursue the new study, rather than the original concept. The first attempted creation can always be tried again later on.

The excitement and pleasure one feels when inspired in this way is hard to describe. So even if one starts with just a vague concept, it is worth spending some time experimenting. Think of it as being the stage where the artist is selecting and mixing the paints on his palette, still unsure of what he might paint, but just feeling the need to make a start. Whilst thinking of the various possibilities, surprising relationships can develop, that might well become the basis of the final picture. It is only really by actually making a start that you create the opportunity for something exciting to happen.

"...regarded as one of Britain's most original photographers." The Times

"To Cohen, the impossible in colour merely takes a little longer..." Photography Year Book

John's Facebook Fan Page

FOR MUCH MORE INFORMATION: -
John N. Cohen’s website
John N. Cohen’s contact details
Reviews and Exhibitions
Sir George Pollock Introduction

Chinese Snuff Bottles – Sensations in Glass!

2010-04-04T00:25:00.000-07:00

The first bottles we decided to buy that were not carved out of stone were made of glass. A huge range of glass bottles is to be found in all shapes and colours as well as a variety of manufacturing techniques.

Much more research is needed in order to date these bottles, but it is generally now agreed that glass and metal bottles were the earliest materials to be used. The problem is that glass has been used throughout the whole snuff bottle period right up to the present day.

The Chinese had little use for glass prior to the 17th century mainly because of their highly refined porcelain skills. They had no glass windows, favouring translucent paper. We are not sure if glass had been used centuries earlier in China but it was certainly introduced to them by Europeans in good time for snuff bottles.

Cameo Glass
They considered it as a valuable material and excelled in producing very fine works of art. Sometimes they treated it just like a stone and carved bottles out of a solid piece, otherwise they blew glass into moulds. Creating many unusual bottles ranging from transparent to white as backgrounds for colour overlay work. They were also able to control bubbles and by the addition of white flecks in the glass, colours such as these apt names suggest were created: - Sodden Snow, Camphor, and Snowflakes.

These bottles would then be dipped into bright coloured molten glass which later would be carved away to leave a cameo style of design. Some were dipped more than once to provide more than one coloured layer. Another technique was to apply to different areas of the bottle coloured molten blobs of glass. When these were carved the bottle could have up to as many as eight different colours cameo carved without increasing the number of layers.

Quality Counts
To a connoisseur, the number of colours or layers is not so very important, as it was not such a difficult process and a far softer material to carve than stone. What really should be valued is the quality of the carving and the overall design. Quite often a wonderfully carved and well-designed single colour overlay will be worth far more than a multicolour but poorly finished bottle.

To assess these bottles the colour is a consideration but great attention is paid just as with stone cameo carving, to the quality of the carving and especially to how well the background is finished close to the edge of the overlay. I have selected a ruby red single overlay as a good example to photograph. It shows a coiled `Chih Lung' or dragon on both sides; also having mythological animal mask and mock ring handles on each shoulder 1750 - 1860. The dragon is a birth sign used rather like our zodiac signs. (See the photograph by clicking on the link at the end of this article).

There is a group of rather special, very finely worked overlay bottles known as the `Seal School' because they always include a seal with the design. They were made later and date back from the second half of the 19th century.

Although these were made in the same way, the overlay is far more delicately carved and often even the thickness of the overlay is controlled to create shading. They normally used opaque white bottles as the background but some were also worked on other opaque colours. So far, I have never seen any on the clear or snowflake backgrounds. The photograph* shows a fine seal school bottle depicting a pair of cats at play with hovering insects amongst the flowers. On each side there is a bowl of fruit on a table and on the reverse is another scene of a drunken poet asleep in a garden. (*See the photograph by clicking on the link at the end of this article).

Layers of Glass
Apart from these overlay types there are many interesting mottled, swirling and colourful designs as well as the plain colour bottles, both uncarved and carved.

Many of these were quite complex in the way they were made: some were blown into moulds then finished by hand; others involved blowing a clear glass into a mould but then another layer was blown inside the first bottle. This layer was a thin colourful one, sandwiched by yet a third clear layer that was also blown in. When looking down at the neck of one of these bottles you can clearly see these three layers.

A variety of colours were successfully used, together with gold in the creation of snuff bottles. There is no doubt that their advanced knowledge acquired in firing porcelain, and how metallic oxides react, was put to good use in glass.

It has also been suggested that apart from mixing in metals, even small particles of precious gemstones such as Sapphires, Emeralds and Rubies were added to the molten glass.

Particular attention was given to the feel of the finished material, which was achieved by the type of polishing and even the weight was controlled by the addition of lead. With transparent bottles the inside could be controlled and made to appear crazed as these names suggest - Cracked Ice, Fish Net or Sea Spray.

Most of the really fine snuff bottles were made in the Imperial Workshop and other small glass works around Peking.

Stone Imitations
With such expertise the Chinese were able to make astounding imitations of other materials. There are many bottles that look and feel just like Jade, Aquamarine, Agate and other stones. There has been a view in the past that the Chinese made these as fakes with the intention to deceive. I am sure that this was not the case, as it was far too easy to find them out by careful inspection. Under magnification little holes on the surface that could not be polished out and tiny bubbles would be seen proving it must be glass. Lastly, glass unlike the stones can be scratched quite easily by steel.

The Chinese enjoyed making convincing imitations of highly valued minerals as a demonstration of their skill. One other mineral cleverly copied was Realgar with its bright red and yellow swirling colours, impossible to use because of a high arsenic content, so these copies would have caused a lot of intrigue.

Imperial Yellow
I have already mentioned that a wide range of colours was used for glass bottles. Such colours as sapphire blue and ruby red seem to have been the most popular of the earliest ones. However the Emperor Chien-Lung had a favourite colour that he decreed could only be used by the Imperial family and this was an opaque shade of yellow that is now referred to as `Imperial Yellow'.

Not all bottles of this colour really are Imperial as after his death this colour was available to all. A true `Imperial Yellow' bottle must be one from his period and that can only be confirmed by the quality of the bottle and the carving. The `Imperial Yellow' bottle pictured is well carved with an archaic design on both sides and is of the period 1736 - 1795. (See the photograph by clicking on the link at the end of this article).

Painted On The Inside
There remains one other area of glass bottles that really amazes everyone, these being the `Inside painted' bottles. I have only a couple of examples in the collection, as I do not generally favour them as in my view they were never made for use. Once snuff was put into them the picture would not show up well, and the spoon would soon ruin the painting.

I should also explain that they did not restrict inside painting to glass but have applied the same techniques to Crystal and Chalcedony. The vast majority however are in specially designed glass bottles of a uniform shape.

What is remarkable is that through such a tiny hole in the neck they could paint on the inside landscapes, animals, calligraphy and even portraits. In order for the image to show through the glass the painting had to be done in reverse, all such fine details as the eyelashes for example, had to be painted first! All of these bottles are signed by the artist and many, some very attractive ones too, are still being made today.

For our own collection I felt that we should have one or two examples and I was lucky enough to buy the earliest known, dated and signed inside painted bottle by Kan Huan-Wen. He is one of the first well-known artist and highly respected. He has painted inside a rock crystal bottle, a scene of Buddhist Lions with a poem on the reverse. This bottle is signed and dated 1822. (See the photograph by clicking on the link at the end of this article).

Later we acquired another rock crystal example, and these two are the only inside painted bottles that we have. I think that this one is quite remarkable, as the interior space is so limited, it is hard to imagine how such a beautiful painting was achieved on one surface without completely ruining the other.

It originally would have been a rather poorly made double bottle. I do not know if the damaged half that has been removed was done so before it was painted, but I believe that it would have been. This was a very badly hollowed out bottle, of little value, before it was painted.

To my mind it is the fact that it was so poorly hollowed that makes the painting even more amazing! Have a look at the photograph. A continuous scene of fish amongst aquatic plants was painted in red, gold, pink; white, green and grisaille dated 1896 and signed Chu Chan-Yuan. This crystal has a natural flaw in the stone that adds to the under water appeal of this picture. (See the photograph by clicking on the link at the end of this article).

Most of the glass bottles purposely made for inside painting are much larger than this crystal one. Some of the paintings achieved however are hard to believe possible. There are even portraits that are so well done that they just look as good as black and white photographs!

John N. Cohen
An artist and top international award winning photographer, who also became a well known Asian antiques collector and an enthusiast of Jensen British classic cars. Other interests are skiing and Salsa dancing. John's Facebook fan page

The author has been a very keen collector for many years in helping to create ‘The Cohen collection’.

Please have a look at: - http://www.jncohen.net

To see other articles, but with photographs, please use the following link:
http://www.jncohen.net/antiques/articles.htm

Keeping and Handling Japanese Inro

2010-04-04T00:23:00.001-07:00

Antique lacquer was always highly valued for its lasting qualities and strength. A very high gloss could be achieved, proving impervious to alcohol, acids and hot liquids. It would also have appealed to the Zen Buddhism ideals of ‘Yin and Yang’, as lacquer appears to be so delicately beautiful and light in weight. Yet, it is hard, impermeable and enduring.

However great care still needs to be taken when handling antique Japanese lacquer inro (especially when complete with ojime and a netsuke, or manju) as the inro can so easily be damaged by knocks. The most common cause of damage occurs when an inro is first picked up. If the netsuke, or manju, is allowed to swing and bump into the inro, the lacquer will certainly dent and worse still might chip.

The best and correct way to pick up an inro, is to firstly pick up the netsuke, or manju, then to hold and use the silk cord to turn the inro around to look at the other side when inspecting Inro, rather than to finger the lacquer, as there is something in our perspiration that dulls the shine in time. As an alternative some people only handle lacquer whilst wearing very soft gloves.

All lacquer is best kept in a reasonably humid atmosphere, avoiding any sudden changes of temperature. In some climates this is difficult to arrange, without having good airconditioning. It is also a good idea to keep a bowl, or two, of water where ever the inro are stored, but even more important to avoid the use of any hot spot lights within the same cabinet.

Antique Japanese lacquer Inro and boxes are such incredibly beautiful works of art, that I consider many of them to rate very highly, amongst the finest treasures of the World! So it is well worth while taking good care of them.

John N. Cohen
An artist and top international award winning photographer, who also became a well known Asian antiques collector and an enthusiast of Jensen British classic cars. Other interests are skiing and Salsa dancing. John's Facebook fan page

The author has been a very keen collector for many years in helping to create ‘The Cohen collection’.

Please have a look at: - http://www.jncohen.net

To see other articles, but with photographs, please use the following link:
http://www.jncohen.net/antiques/articles.htm

Amazing Pictures From Flaws or Inclusions Found in Stones!

2010-04-04T00:20:00.000-07:00

Everyone will I am sure appreciate well hollowed stone antique Chinese snuff bottles, once handled, as the lovely shapes and purity of the stones used just cannot fail to impress. One would imagine that the approach would have been to avoid any inclusions or flaws, and to form the bottle from only the best parts of the stone. This often was the case. But what I find even more fascinating, is the amazing way they deliberately and brilliantly, took advantage of natural flaws and inclusions often found present in these stones.

Most quartz and jade stones have an outer layer of a different colour, particularly the pebbles from the riverbeds. They also have faults and flaws plus other coloured material, often deep in the stone. Sometimes these can be very thin skin-like inclusions, whilst in others large chunks are found.

When one considers that no one knows just what is inside any of these rocks until, as the cuts are made and the secrets of the stone are revealed, they discover how pure, or otherwise, the stone really is. It is with the stones that have inclusions or flaws that ‘Picture Agate' snuff bottles are made. The best of these incredible bottles, once completed, manage to make the inclusion, that forms the image, look as if it has appeared in just the right place as if to order!

There are different types of work within this group of snuff bottles and the first ones are what we call ‘Cameo' carvings. These take advantage of any outer skin or blob type of inclusion (of a different colour); they can be quite thick and are carved in relief. Another type is called ‘Shadow Agates' and these take advantage of markings in the stone where, with the help of only a little carving, an image is created. Lastly, the most fascinating ones are called ‘Silhouette Agates' but in this group no apparent carving is required. The image is achieved mainly by the angle and choice of shape, as well as the size and position of the bottle to be formed out of the rock so that the inclusion becomes an image. These bottles have to be seen to be believed.

What is really mind blowing to me is the fact that there are even some of these bottles with pictures on both sides!

Sadly, few of them were signed. We only know that there was a certain school of carvers known as the ‘Suzhou School'. Their works are easily recognised by the style and quality of the carving, plus the fact that they make use of every mark in the stone to form the picture. They are amazing bottles when good, but there are many later works that tend to look too stiff and the carving lacks the more fluid artistic touch of the master carvers. Unfortunately, hardly any of these bottles are really well hollowed.

Our First Chinese Snuff bottle
So to describe my first purchase, this was a ‘Shadow Agate picture bottle' involving a little carving, and very well hollowed. It is a most appropriate subject and colour for a snuff bottle because the russet inclusions have been used to show ‘Putai Ho-Shang'. He is always depicted as a very corpulent man with a bare chest and abdomen and he is the patron saint of tobacconists. In this bottle he appears surprised by a bat whilst sitting below some tobacco leaves. The bat to the Chinese is a good luck symbol. You can see how easily he appears, nicely placed within the bottle yet only his head and a suggestion of his hand have been carved. (See the photograph by using the link at the bottom of this article).

We now own a number of ‘Picture Agates’ and to illustrate the different types described, the photograph of the Duck with Lingzhi fungus in its beak is a good ‘Silhouette' example. Incidentally, the fungus is a symbol for wishing long life. This bottle is very unusual as there is a recess carved originally to create the image that serves as a built in dish. (See the photograph by using the link at the bottom of this article).

Lastly, a superb bottle of fishes with pictures on both sides: the pair of fishes on one side are ‘Cameo’ carved and to the Chinese represent fidelity and happy conjugal rights in marriage. On the other side a fish and aquatic plants make use of every mark in the stone, all this on a well shaped bottle that is very well hollowed. All these bottles illustrated were made between 1750 and 1860. (See the photograph by using the link at the top of this article).

Assessment
To effectively judge hard stone snuff bottles, the first consideration should be concerned with the overall artistic impression. You need to be satisfied that the work looks well composed and well positioned and that the images formed are flowing rather than stiff and awkward. The next stage is to have a closer look at the technical skills. When I look at a cameo type of carving I study the shape and finish of the background, close to the edge of the carving. On poorer bottles this can be indented, uneven and not so well polished as the rest. Really fine examples look as if the raised cameo part has somehow been glued onto a beautifully formed bottle. Engraved work at its best is very precise and provides the detail. When closely looking (under magnification) at a poor bottle these engraved parts can look very crude.

John N. Cohen
An artist and top international award winning photographer, who also became a well known Asian antiques collector and an enthusiast of Jensen British classic cars. Other interests are skiing and Salsa dancing. John's Facebook fan page

The author has been a very keen collector for many years in helping to create ‘The Cohen collection’.

Please have a look at: - http://www.jncohen.net

To see other articles, but with photographs, please use the following link:
http://www.jncohen.net/antiques/articles.htm

Netsuke Cord Holes (himotoshi)

2010-04-04T00:16:00.000-07:00

When collecting Japanese netsuke most of the true antique netsuke, as against lots of modern copies, will normally have two connecting cord holes (known as himotoshi), but one will be much larger than the other!

The netsuke was a handling piece, that was on a cord to a compartment (Sagemono), often this was an inro (a case of several compartments), that was kept closed by a corded bead (ojime) between the inro and the netsuke. The kimono had no pockets so the inro was worn hanging from the kimono sash (obi); the netsuke was then, pushed up under the sash, thus trapping and holding the Sagemono in place.

The reason for the larger hole in the netsuke was that once the cord had been threaded through the inro (or Sagemono) and ojime (the netsuke would then have been threaded on last) it was possible to completely hide the one and only cord knot inside the larger hole.

So the way the smaller hole connected to the larger hole was very well formed providing a smooth curved link that was easy to thread the cord through. Often the larger hole was hollowed out even more, under the surface, in order to provide plenty of space for the knot.

The Manju, often used instead of a netsuke, also had plenty of space to hide the knot within the opening of the two sections.

In my personal view, although there are some very fine netsuke that relied on being threaded through a tail, or a leg, instead of having the usual himotoshi, there was then quite a disadvantage in use, as there was no longer anyway of concealing the cord knot.

Another important factor is the position of such himotoshi, they were always placed so that, as the cord hangs down, the netsuke carving is presented attractively and the right way up. But, these cord holes were also placed in such a way that they did not detract from any of the detailed carving.

Many of the poor quality later netsuke (these were never used, but were really made simply to cash in, on the increasing value of netsuke) are often easy to spot. When inspecting a netsuke if the two holes are of equal size and poorly formed (often these are just two drilled holes angled to meet each other) then you can be sure this is not a good netsuke!

Sadly one can no longer just rely on judging the himotoshi to identify a modern copy, as some now do have smaller and larger holes, especially the recent resin copies of netsuke.

John N. Cohen
An artist and top international award winning photographer, who also became a well known Asian antiques collector and an enthusiast of Jensen British classic cars. Other interests are skiing and Salsa dancing. John's Facebook fan page

The author has been a very keen collector for many years in helping to create ‘The Cohen collection’.

Please have a look at: - http://www.jncohen.net

To see other articles, but with photographs, please use the following link:
http://www.jncohen.net/antiques/articles.htm

Antique Inside Painted Chinese Snuff Bottles

2010-04-04T00:05:00.000-07:00

There are some really incredible antique Chinese snuff bottles, mostly made of glass, that have been painted, but on the inside of the bottle! When one looks at the size of the hole it does seem to be a very difficult achievement, yet they have succeeded in painting attractive scenes, often including calligraphy, such as a poem, or a few lines, apart from the artists signature.

There are many poor modern inside painted bottles available, but there are some modern ones that can be very attractive to collect too.

Some antique snuff bottles that are highly valued are painted with a portrait on one side and calligraphy on the other. When one considers, that they have had to paint the eye brows and eye lashes before the remaining essentials to create these portraits, that are so good and detailed that they almost look like miniature photographic prints, it is easy to understand why they are so highly prized!

But what I feel are also remarkable are the inside painted snuff bottles that were not originally made to be painted by these artists. I know of a bottle where the painter has taken a very poorly hollowed rock crystal snuff bottle and painted the inside with a wonderfully detailed scene of colourful fish that extend all round the internal surfaces, it also includes his signature. In this instance the two internal opposite surfaces of the bottle are only about 3millimeters apart (about the same size as the hole) so how one side could be painted without spoiling the other is really hard to believe.

John N. Cohen
An artist and top international award winning photographer, who also became a well known Asian antiques collector and an enthusiast of Jensen British classic cars. Other interests are skiing and Salsa dancing. John's Facebook fan page

The author has been a very keen collector for many years in helping to create ‘The Cohen collection’.

Please have a look at: - http://www.jncohen.net

To see other articles, but with photographs, please use the following link:
http://www.jncohen.net/antiques/articles.htm

Antique Chinese Snuff Bottles – Heavy Stones That Really Float!

2010-04-03T23:57:00.000-07:00

When collecting Chinese antique snuff bottles, one can choose to collect glass, porcelain, bottles made from organic materials (such as amber or coral), or perhaps the inside painted bottles, but there is sure to be a time when one will decide to collect, or at least add some hardstone bottles.

Hardstone bottles can be found in a variety of materials such as jade, quartz, chalcedony, hair crystal, tourmaline and many more. There are some wonderful shapes and colours to be found and even some stone bottles have images, or pictures, formed from the natural inclusions found in the rock.

When studying auction catalogues one will now and then come across, within the description of antique stone bottles, the comment ‘well hollowed’ just as when discussing bottles with a dealer this term will also be used. When this comment is missed beware, as all good antique stone bottles should be ‘well hollowed’ and if they are not then suspect they are fakes!

Antique Chinese snuff bottles were made to be used and had to be well hollowed, to hold sufficient snuff, this raises the question how well hollowed is ‘well hollowed’? Most good antique bottles are considered well hollowed if the bottle will hold a good portion of snuff and does not feel too heavy. Remember, as a guide, they were often worn in the sleeve. But the most valuable finest stone snuff bottles are exceptionally hollowed out, so much so, that they often look like they have been blown (like glass). These are referred to as ‘eggshell thin’ or ‘floaters’ because although they were carved out of a rock they are so well hollowed, that they will float in water!

These stone bottles are examples of amazing skill, because all the hollowing out has been performed through a very small hole in the neck of the bottle. Even the areas we refer to as the shoulders of the bottle (these are most difficult areas to hollow out), have to be very thin, for the bottle to trap enough air to make it float.

There are some wonderful jade bottles that float, yet jade is one of the hardest stone to carve, not only is it an exceptionally hard material but it also has certain weaker points where it can easily fracture.

Having shown a couple of bottles (one well hollowed the other not) to lapidary workers, equipped with all the most modern cutting and drilling tools, to find out if they could change the poorly hollowed out bottle, into a well hollowed one and what it would cost. Not one would take on the task and the general view was, that even if they tried, the cost would be considerable, due to the time it would take them, but in addition no one would accept the risk involved, of possibly ruining the bottle in the process!

The explanation of how these antique stone bottles were originally carved and so well hollowed out, were all down to years of experience and the slow labour of love, where the carver did everything by hand without any thought about how much time it took.

John N. Cohen
An artist and top international award winning photographer, who also became a well known Asian antiques collector and an enthusiast of Jensen British classic cars. Other interests are skiing and Salsa dancing. John's Facebook fan page

The author has been a very keen collector for many years in helping to create ‘The Cohen collection’. Please have a look at: - http://www.jncohen.net

To see other articles, but with photographs, please use the following link: http://www.jncohen.net/antiques/articles.htm

The Fascination of Japanese Lacquer Inro and Boxes

2010-04-03T23:37:00.000-07:00

Japanese Lacquer Inro and Boxes are such incredibly beautiful works of art, particularly, pieces from the late 18th and early 19th century. I consider many of them to rate very highly, amongst the finest treasures of the World!

Without I hope being too technical, my intention is to use and to explain the terms and names, that are most commonly in use. This way readers who might be tempted to look at sale catalogues, will be more able to appreciate and understand the descriptions.

Inro Fashion
With the introduction of the Kimono, the Inro became one of the most important and essential fashion accessories used to carry on ones person such items as ink seals and medicines.

The Kimono had no pockets so the Inro was a clever container, consisting of a number of interlocking small separate sections, all held together on a silk cord and worn hanging from the sash tied at the waist. Soon it evolved from a purely functional item to one of very high fashion, and the designs and decoration gradually became richer, finer and even more lavish.

Netsuke & Ojime
A bead known as an ‘Ojime' kept the various sections closed tight together. A toggle normally a small wood or ivory carving known as a ‘Netsuke' would also be threaded on to the silk cord. The Netsuke (these are such superb little sculptures) would be pushed up under the sash (known as the `Obi') that was tied round the waist, and would thus hold the Inro hanging below.

The silk cord would have had to be about 56 inches long, and was threaded in such a way, that about 3 to 4 inches of the cord would show below the ‘Obi' to the ‘Ojime' and Inro. Are you still with me? Under the Inro a many-looped special bow was formed, with normally six loops all of the same size. There would only be one knot and this would be hidden in the larger of the two cord holes, within the Netsuke. No loose ends would be visible.

Sometimes a Manju would be used instead of the Netsuke. These are rather like a thick pocket watch shaped carving, comprising two sections that open up. The lower piece has a central hole, and an eyelet for the cord is fixed inside the upper section. Once attached to the cord, the knot would remain hidden inside but unlike the Netsuke, the carving or decoration of a Manju is only two-dimensional.

The earliest ‘Ojime' were simply a drilled bead, often of coral, as they had faith in a superstition that coral would disintegrate if near to poison. Quite valuable to them, if only it had been true, as they carried and took some very strange medicines. Later semiprecious stones and Ivory were used, some of them are beautifully carved, and there are also many very fine metal Ojime. Today collectors even specialise in just Ojime and they have become quite valuable. I do think it is rather a shame that so many of these items are now collected separately, when they really all belong together.

For many years there have been Netsuke collectors, and I can appreciate why, as they are complete artworks, as well as being wonderful handling pieces. Anyway, so many Netsuke collectors given time find they are tempted by Inro too! I always considered myself to be rather a specialist collector, but I would not be happy to own Inro, without Ojime or Netsuke, as they would seem so incomplete! I could not imagine being satisfied with only collecting the Ojime, beautiful as some of them are. Obviously these high prices have been the main reason for such specialisation!

Keeping Lacquer
Great care needs to be taken when handling Lacquer, as it can so easily be damaged by knocks. The most common cause occurs when the Inro is picked up, for if the Netsuke is allowed to swing and bump into the Inro, the Lacquer will dent and chip.

One should always try to hold the silk cord when inspecting Inro, rather than finger the Lacquer, as there is something in our perspiration that dulls the shine in time.

All Lacquer is best kept in a reasonably humid atmosphere avoiding sudden changes of temperature. This is not so difficult to arrange in this country, it is simply a matter of keeping a bowl of water in the same cabinet and avoiding the use of any hot spot lights.

Lacquer Boxes
Most of the early Boxes were made to keep things in, such as Suzuribako, these were fully fitted writing boxes that contained the ink block, water dropper, all the brushes and tools. Some were fitted with all the requirements for pastimes such as the Incense Game or the Shell Game, whilst others were designed as Picnic Sets.

A lot of Lacquer boxes were used as a means of packaging, for deliveries of documents, or sweet cakes and gifts.

The practice used to be that once filled with gifts, they were then simply wrapped in a material that was formed into a sack. This was then carried, over the shoulder, by the messenger and delivered. The recipient would later have all the Boxes returned, normally with a note and something little in them, as a gift to say thank you, and so these Boxes would be used over and over again.

They all are beautifully decorated and it is surprising to us that these Boxes were not, in those days, considered more valuable.

The Designs
Nearly all the designs were taken from early classical literature, paintings or woodblocks. Printed picture books had become very popular in the 17th century. They hardly ever had any text, but many of the illustrations were copied and used by Lacquer artists, in the same way as other craftsmen had done, such as enamellers, potters and metal workers. This is why we find various popular scenes recurring in Inro, such as the young herdsman playing the flute next to his resting ox, and Rosei's dream is another subject frequently found.

The photograph (To see the photographs please click on the link at the end of this article) of an Inro depicting Rosei's dream is a very fine example: it shows him partially hidden by his fan that is inlaid with a very thin piece of iridescent shell. At certain angles of light his face can clearly be seen. On the reverse, in superbly fine gold work, is the subject of his dream. He is dreaming of his ride in a stately court procession. This Inro is Signed Komo Kyuhaku.

Together with this Inro is a lacquer Ojime, and a wood Netsuke, carved as a kneeling man with a dagger. This intriguing Netsuke is signed Minko. By pulling gently on the sheath, the steel blade comes into view, creating quite an illusion.

I must apologise, as the silk cord is not tied in the correct fashion in both of the Inro photographed - one day I shall have to put this right!

Compositions in general favoured nature, animals, flowers, birds, insects, Mount Fuji, every day life, myths and legends. The first western visitors also fascinated the Japanese. The Portuguese were the first to arrive in 1542, followed soon by the Dutch, and all the arts were greatly influenced from the mid 16th century onwards. Dutchmen in particular are featured quite frequently in a wide range of Oriental art.

Amazing Skills
Many of the new Japanese techniques and most of the superb designs were originally to be found on the 14th and 15th century Boxes. The skills and control in decoration that were developed in the 18th and early 19th century, were based both on these earlier techniques and designs, but this was a period where new peaks were reached and breathtakingly beautiful Lacquer works have been created.

Several craftsmen were involved in the making of an Inro. First the very thin wood base would have been painstakingly made, with carefully selected wood, where all the knots had to be avoided. Conifers were preferred as this wood contained very little resin.

It would then have been handed to the next craftsman, a specialist at applying the numerous base layers of lacquer. Each layer would be extremely thin, and gradually finer and finer quality Lacquer was used, at least 30 layers were applied, so that no trace of the wood inside could any longer be visible. Only at this stage would the Lacquer artist responsible to design and create the many layers of decoration begin.

What does seem amazing to me, when one considers how the wood base was made, was the fact that they would have had to make allowances for the thickness of all these layers. Yet the Inro sections fit and slot into each other so perfectly, that one can hardly see any of the dividing lines once closed.

The Decoration
Often two artists would collaborate to decorate an Inro, one a Lacquer artist, the other could be a metal worker or even a Netsuke carver, providing wonderfully worked items, that would be inlaid in the Lacquer. Various materials have been used in this way such as precious metals, Pottery, Ivory, Shell, Horn and many others. Incidentally, there had to be very close collaboration, for each time an inlay in the design overlapped more than one section, it had to be made in two pieces to allow the Inro to open. Such Inro often have two signatures as both of the artists would sign.

The superb gold Inro photographed is decorated with exquisitely applied metal work, the scene being of an outside stage with two actors. One is an archer, about to fire his bow at the other on the reverse, who is crouching down protecting a monkey.

The face of the archer, although mostly viewed in profile, surprisingly, has his full-face details if viewed from the side.

The remarkable metal work extends over three of the Inro sections. In this particular case, both the Lacquer and the metal work were by the same artist and it is signed Noriyuki. (See the photograph by using the link at the end of this article).

This Inro has an attractive metal Ojime, and a good Ivory Netsuke, of two musicians. The Netsuke is signed Harumin.

The Artists
Signatures however, are not always a sure way of knowing who did the work. Often the signature was placed in honour, not as a forgery, of a great artist who originated the design such as the top early artists Ritsuo and Korin. Many very fine Lacquer works were not signed at all. Pieces that were commissioned by the Shogun or Daimyo, where only the highest of standards were acceptable, would not normally be signed, no matter how important the artist.

In 1868 the Meiji restoration meant the loss of such patrons, and Japan had opened up to the west. This meant that artists had to try to appeal to new clients, with an unknown western taste. Thank goodness, they were not prepared however, to give up certain of their traditional designs and techniques.

Family names passed down from one generation to another; the name of a particularly admired artist would be signed by all the following generations. They would also have non related students, who would be encouraged to use the same name, on work of a high enough standard, that is, until they were sufficiently proficient to become independent. One such family name was Koma, where the later very famous 19th century artist, Shibata Zeshin was taught.

There is a wonderful display of Inro by Zeshin at the V & A Museum, of a collection based on the twelve months of the year, which is well worth a visit. Each piece is superb, and a large variety of techniques can be seen all in one place!

The Great Schools
The finest artists were all talented members of schools, often under the supervision of a master, such as Koma and Kajikawa, and these two schools produced high quality Lacquer for over two hundred years. Other schools have become known for their special techniques. One is Somada that specialised in very fine Shell inlay; another is Shibayama who worked with more thickly encrusted materials such as Shell, Ivory, Soapstone, Pottery and many other materials. There was also Tsuishu Yosei who brilliantly carved red Lacquer, but the Shiomi Masanari School favoured the most difficult technique of all, known as Togadashi where the surface is kept perfectly flat.

Superb quality Lacquer work was not restricted to Inro, but there are also some magnificent boxes that were used, such as `Bunko' for documents, `Fubako' for letters and `Kogo' incense boxes, originally used for cosmetics. Some of these Boxes also have a fitted tray, and sometimes a set of smaller boxes, that all fit perfectly inside. Many of these items including the already described writing, games and picnic boxes as well as pieces of furniture, can all be found just as finely decorated as Inro.

The little Kogo photographed is signed Kosentie and so beautifully decorated on the cover and sides, with continuous scenes of bamboo growing besides a running stream. The fitted tray has a similar scene and every other part is covered in tiny gold pieces, each placed by hand individually. So much richer a finish is achieved, than the more usual `Nashiji', where fine gold is carefully sprinkled on! (See the photograph by using the link at the end of this article).

If you have a good eye for composition the appreciation of Lacquer work is hard to resist. On Inro they have very ingenious methods of design to make one wish to see the other side, such as the use of a rope that mysteriously disappears round the side, or a scroll that flows round the Inro.

When we began collecting, we were simply only buying pieces that we instinctively liked, and we have had no regrets. There is so much to learn however, once one becomes interested, especially these days when modern inro are being produced to a very high standard. Having seen the work of Unryuan, a very good artist born in 1952, his Inro command nearly as much as the earlier works. So many Inro these days have been very cleverly repaired and now that so much money is involved a lot of care when buying is needed.

I do hope that there will always be private collections and that Lacquer will not be confined to Museums, as it is such a fascinating hobby!

John N. Cohen
Artist and top international award winning photographer, who also became a well known Asian antiques collector and an enthusiast of Jensen British classic cars. Other interests are skiing and Salsa dancing.John’s Facebook fan page Painting With Light

The author has been a very keen collector for many years in helping to create ‘The Cohen collection’. Please have a look at: - http://www.jncohen.net

To see other articles, but with photographs, please use the following link:
http://www.jncohen.net/antiques/articles.htm

All About Japanese Lacquer And Exquisite Sprinkled Pictures

2010-04-03T23:12:00.000-07:00

Before I describe these unique and beautiful works of art, exclusively Japanese, I feel that you need to know more about Lacquer, the extraordinary medium that was used. Only then will you fully appreciate these brilliant creations.

For readers who are unfamiliar with old Japanese Lacquer, I suspect you will be thinking of the typical modern Lacquer trays and bowls that are mass-produced. These items are very decorative, but completely fail to compare with the magnificent earlier hand made works.

From China to Japan
Lacquer is really the sap from a tree known as `Rhus Vernicifera’. The Chinese were the first to discover and use it, at least a century before Christ, when it was used as a paint, and more often as a preservative. It was a very effective preservative, as many pieces still exist from as far back as the Han period 206BC, when Lacquer was very popular and in extensive use.

The earliest known Japanese Lacquer dates back to about the 7th Century, but it was not until the 14th and 15th century that the Japanese Lacquer works became so much more decorative. By then they had refined and created exceptional techniques, far finer and more beautiful than the Chinese lacquer that they had simply originally copied.

The Chinese had used shades of black, brown, yellow, green, and mostly red or cinnabar Lacquer. They mainly favoured deep carving of the Lacquer, to form the decoration, and produced some outstanding work.

They often applied the colours in layers, so that once carved, these colours would be revealed. One particular technique is known as `Guri’ Lacquer: the colours mostly red and black were built up in layers, and then a geometric or symmetrical pattern would be carved with a deep `V’ shaped cut, so that all these alternating layers would be revealed within the cuts. The Chinese also painted, incised and inlaid Lacquer with iridescent pieces of shell, but these works were treasured by the Japanese often more so, than by the Chinese.

To begin with all these methods were copied, but by about the 15th century the Japanese had become, justifiably, the unrivalled masters of the art!

Lacquer was, quite rightly, highly valued for its lasting qualities and strength. A very high gloss could be achieved, proving impervious to alcohol, acids and hot liquids. It would also have appealed to the Zen Buddhism ideals of `Yin and Yang’, as Lacquer appears to be so delicately beautiful and light in weight. Yet, it is hard, impermeable and enduring.

The Preparation
It is a very difficult medium to work with, uncompromising, sticky, and time consuming. It had to be strained to remove any impurities, and gently heated to thicken, and evaporate any moisture content. All the time it had to be kept in a dust free environment, and added to these difficulties, in its liquid form it gives off a poisonous gas! Strangely, it requires a damp humid atmosphere for it to harden.

It had to be applied in very thin layers, otherwise it runs, and if too thick, will not harden at all but will just form a skin. After each layer had hardened, all the time in a dust free area, it was carefully rubbed down before another layer would be added.

An average piece consisted of a minimum of 30 layers, in order that there would not be a trace of the wood base, or on larger pieces the hemp cloth applied in the early layers, to help strengthen the wood. The Lacquer Artist would have taken over, only at this stage, to create the decoration by the addition of yet even more layers.

The number of colours possible, due to chemical reactions with pigments and the composition of Lacquer were limited. So Lacquer artists were still restricted and blue was a very rare colour.

It was the Japanese that developed the idea and the techniques of adding gold and silver to liven up the decoration. Real gold and silver metals were used in the form of foil, flakes, metal particles of various grades, as well as powders. All of these precious metals were brilliantly used to great advantage, particularly in the late 18th and early 19th century.

The sprinkling of gold or silver metal particles had been used before and over a very long period, to brighten up the interiors. Even very early Lacquer works have `Nashiji’ inside. This is where fine particles of gold have simply been sprinkled in to the Lacquer. Some were scattered unevenly, producing cloud effects, whilst others varied in the density. However no pictures were formed.

Sprinkled, Not Painted!
In the 18th century they invented and refined the idea of sprinkled pictures, and these were used to great effect in what are known as `Togadashi’ pieces. They are easily identified, as the surface of the Lacquer is always perfectly smooth in Togadashi work.

These designs and amazing pictures were created purely, by very skilfully pouring various grades of fine metal and pigment powders on to the wet Lacquer, so that they would sink in. There was no way of correcting any errors! Extra layers of the background colour, normally black, would be added over the picture. Then by carefully polishing down until the picture reappears, the top edges of the metal particles would be made to glisten from the polish, providing brilliance impossible to achieve any other way. The last very thin coats would be of the purest clear Lacquer, providing the mirror like high gloss finish.

Various shades of black were created, by charcoal mixed with different quantities of silver powder, so that they could even simulate painted brush strokes. These powders were mainly used for black pictures on a gold background, that one would never imagine were created by sprinkling techniques. What is also quite remarkable, is the very fine degree of control in shading that they were able to achieve. This meant that far more sophisticated pictures could be created, than had ever been seen before.

There are three types of sprinkled picture techniques in all and Togadashi, already described, is my favourite! Another is `Hiramakie’, which is where quite a thickly sprinkled gold powder is used, and the lacquer is raised just a little above the background. As usual the surface is polished and burnished, before the final clear layers, and has a very rich appearance. Lastly, there is `Takamakie’, which is again similar to Hiramakie, only it is in much higher relief. This thickness was achieved by building up and modelling the areas required in relief, with a combination of Lacquer and charcoal, before applying the gold powder layers.

Highlights Of Pure Gold
Many Lacquer artists made use of a combination of these techniques in a piece of work. Just to further enrich these pictures, finely shaped tiny pieces of pure gold, so small that it is hard to imagine how they were handled, are individually applied near the final surface to create highlights. Frequently these are exactly matched shapes, tiny squares or diamond pieces that are all so amazingly very accurately placed.

Togadashi Boxes
One of our favourite examples of this type of work in this collection is a fine Box that appears as two overlapping boxes. One shows the figure of the swordsmith forging the sword `Little Fox’, assisted by the Fox Spirit in the guise of a woman; the other has an overall design of a mass of gold and coloured flowers.

Looking closely at the gold centres of the flowers one can see how these consist of a number of very tiny shaped flakes of gold; each flake has been carefully placed by hand.

It also has a marvellous fitted tray just in gold Togadashi of three foxes running in a landscape with a really dream like quality. The border of the tray is decorated in `Gyobu’, which is where each individual flake of gold has also been positioned by hand, rather than sprinkled.

Another wonderful Box that is purely, fine Togadashi, depicts a busy street market scene, and what more can I say, other than it is an outstanding piece of work!

Neither of these boxes is signed, but they are nevertheless, of the finest quality. To see the photographs please use the link at the end of this article. These wonderful lacquer works feature on Japanese inro too (the subject of another article).

Modern Works
A word of warning when buying lacquer, it is important that the condition is both good and original. As there are now some cleverly repaired pieces on the market, expert advice should always be obtained.

Fine Lacquer is made even today, and there are certain living traditional Lacquer artists who are held in very high esteem in Japan. So much so, that some have been designated as `Living National Treasures’, and their contemporary hand made Lacquer work is in high demand and extremely expensive.

I have seen an example, at a Lacquer study weekend held at the V & A museum. A remarkable modern box that combined thick clear Perspex with black Lacquer in a geometric design that really was very dramatic. Personally I still prefer the earlier works and for the cost of this modern box a very good collection could be formed!

John N. Cohen
A top international award winning photographer who also became a well known Asian antiques collector and an enthusiast of Jensen British classic cars. Other interests are skiing and Salsa dancing. Facebook fan page.

Please have a look at: - http://www.jncohen.net to see other articles, but with photographs and all John's other interests.

John has been a very keen collector for many years in helping to create ‘The Cohen collection’. http://www.jncohen.net/Cohen_collection

Netsuke & Inro Really Belong Together!

2010-04-03T02:26:00.000-07:00

Netsuke
Japanese netsukes are superb little carvings, mostly made out of ivory or wood, as handling pieces, or toggles. So one good way of judging a good netsuke is to handle it – it should feel very comfortable and interesting, in the hand, having no sharp points Netsuke are often only about an inch high, yet these tiny sculptures are very powerfully carved and so full of character.

Each netsuke will always have a couple of linked holes (or a deliberate gap often between a tail or leg) for a cord to be attached so that they could be used as a toggle. They were then most often attached to an inro. Yet there are many collectors that only collect netsuke without owning any inro.

Inro and Ojime
So what is an inro? These are finely decorated lacquer containers, consisting of a number of interlocking compartments (often between 3 – 6 sections) all held together on a cord. An ojime (decorative bead) was then threaded onto the cord that once pushed down towards the inro, kept all the compartments closed. Ojime can be exquisitely carved metal, ivory or stone beads. These inro were then used for carrying such small personal items as seals and pills and became fashionable with the Kimono.

The kimono had no pockets so the inro, held closed by the ojime, would be worn hanging from the sash; the netsuke was then, pushed up under the sash, thus trapping and holding the inro in place.

The Japanese lacquer work on inro is so beautiful, yet it is such a difficult medium to work with as well as being a time consuming process. Not only does it involve building up a very large number of layers before any decorative work can be introduced, but there are also then several different very fine skills required in completing the decoration. Techniques involve using coloured lacquer, shell inlay, metal work and amazing applications of tiny bits of gold. What is extraordinary too, is that having completed the decoration, the lacquer and any metal, or shell decoration, often can be quite thick, yet all the inro sections fit into each other so smoothly that when the inro is closed, all one can see, are very fine lines that are really the dividing gaps between the various compartments.

The designs used by the lacquer artists were not only very finely executed but were often deliberately worked around both sides of the inro in such a way as to maximise curiosity – thus forcing one to want to turn the inro over to see what is on the other side.

What does seem a pity these days is that there are collectors that only collect netsuke, or inro, some even only collect the ojime! No doubt this has a great deal to do with the escalating cost of these treasures, but really these particular Japanese antiques all belong together. It is so much more satisfying to find the ideal netsuke and ojime that relate well together with a favourite inro. To simply own an inro and ojime (these are often sold together) but without a netsuke makes the inro look so incomplete.

FOR MUCH MORE INFORMATION: -
John N. Cohen’s website
The Cohen Collection

Painting With Light

2010-04-03T02:21:00.000-07:00

This description ‘painting with light’, as used by photographers, has usually referred to the process of leaving the camera on a tripod, set on a long time exposure, with a very small aperture, whilst the photographer moves around the darkened scene illuminating different parts of the picture with a flash, or some other light source. This way the picture is gradually created by a series of short light bursts on only the selected areas.

Another method of ‘painting with light’ is also done in a darkened room, or outside at night, but this time by using a hand held torch whilst the shutter remains open, the torch is moved about to create an image (rather like the effect of streaks of light made by car headlights, on a busy road at night) this can also be used to light just very selective small parts of the scene. This form of painting with light is possible with just about any kind of light source such as; matches, candles, mobile phones, sparklers, laser light, or glow sticks, just about any light source can be used!

A third method is achieved by moving the camera instead, whilst keeping the shutter open, in this way one can add a sense of movement to the scene. Or if the subject is moving, by using a long exposure, a picture with the blurred movement is also obtained, this too has been referred to, by photographers, as painting with light.

These are the most well known ‘painting with light’ techniques. But there is a very interesting different photographic technique to create special effects that also really justifies this description too!

This technique is based on using projected images that are not always projected on to a screen, sometimes more than one projector is used and then the projected images are photographed. For example a projected portrait can be focussed on to a shell and then this scene can be photographed. This way the screen (in this case the shell) becomes part of the new picture. With careful masking more than one image can be blended, when more than one projector is used. So with two or more projectors it is possible to blend parts of different images, but it is also easily possible to mix black and white images with colour and even negative images with transparencies.

These techniques were discovered in the mid 1960’s, well before computers were available for photographers; it all began when the photographer noticed how a picture looked that he had projected (before putting up the screen) so that this image appeared partially on the wallpaper and the curtains. He then started moving the projector around and focused the image on to various different items in the room and soon decided it would be interesting to photograph some of the effects he could see. So began a fascinating way of creating amazing photographs.

This photographer won the London Salon Trophy in 1967 for a transparency of a portrait of the profile of a girl, blended with a negative of a tulip, all achieved as a transparency. This picture and many other award winning photographs created in this way can all be seen on his web pages where these ‘painting with light’ techniques are more fully explained, with pictures, in another article ‘The Magic Lantern’.

FOR MUCH MORE INFORMATION: -
John N. Cohen’s website
John N. Cohen’s 'Painting With Light' pictures
'Painting With Light' Facebook Fan Page

Inspired Accidents Whilst Painting With Light

2010-04-03T00:37:00.000-07:00

Photography was just a hobby, but a very successful hobby, as John Cohen won the most important international awards and attracted the attention of Cecil Beaton C.B.E., Sir William Russell Flint R.A., Sir George F. Pollock Bt., M.A., and Lady Clementine Spencer Churchill amongst others.

Painting with light is all about photographing projected images that surprisingly are not often projected on to a screen. John discovered the projector really is a ‘magic lantern’! Computers and digital images were unknown at the time when some of his finest pictures were created over 40 years ago. Yet they have stood up to the test of time and are still considered exceptional, making quite a statement!

It was by chance, seeing an image projected, partly on the curtains and wallpaper that started this unique art form. By moving the projector and focusing on to other objects, noting how they distorted the image and influenced the texture and shape, led to the idea of photographing what could be seen. Then by adding more projectors he was also able to blend different images too and so ‘painting with light’ began.

John started with an idea and experimented with various images, but sometimes something unforeseen happened, that sent him down a totally fresh route to create a very different picture than were originally planned, it is these ‘inspired accidents’ that have since turned out to be his very best works.

The London Salon Trophy
The first time this much coveted International artistic photography trophy had ever been awarded for a colour photograph was in 1967. Presented to John N. Cohen for his creation ‘Spirit of Spring’ he was also the youngest salon member ever to have received it. ‘Spirit of Spring’ was created by his own technique of ‘painting with light’ that enabled him to blend a portrait transparency with a negative of a tulip on the same emulsion. This technique involved photographing projected images that were not always projected on to a screen.

He subsequently had over 20 One-Man Exhibitions of his photography (some were sponsored by Kodak) 2 held in New York, 4 in London, The Edinburgh Festival and many other UK & USA Cities.

He received favourable reviews and comments in ‘The Times’, ‘Arts Review’, many other newspapers and photographic magazines.

His original ‘Painting With Light’ pictures intrigue and make quite a statement! Now his pictures are just becoming available for sale as limited edition art prints.

“Indeed, since the photographic image is made by the action of light, truth to light is truth to the medium of photography! All John Cohen’s photographs are made, simply and solely, by the use of light. His magic is the magic of the luminous, his poetry is that of the chiaroscuro. The attractions of his work is all the greater for the purity of the photographic technique, and its appeal all the more universal for being couched in an imagery common to all men and intelligible to all.” Sir George F. Pollock Bt., M.A., F.R.P.S., F.R.S.A.

John uses ‘painting with light’ (rather than computer manipulation) to express ideas, or thoughts, rather than reality.

A free fully described article ‘The Magic Lantern’ of how to do it is available.

FOR MUCH MORE INFORMATION: -
John N. Cohen’s website
John N. Cohen’s contact details
Reviews and Exhibitions
Sir George Pollock Introduction
John N. Cohen’s pictures
Facebook Fan Page