Keith | Tea House (Huxinting), Native City, Shanghai

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Elizabeth Keith (1887-1956)

上海茶馆 湖心亭
Tea House (Huxinting), Native City, Shanghai

1924

木版画 | 横绘超大判 | 33.5cm x 44cm
Woodblock-print | Naga Oban Yoko-e | 33.5cm x 44cm

限量100版,但实际未全部印制;存世稀少;画面右下以蜡笔题署艺术家姓名 Elizabeth Keith;画面右下便于有艺术家以铅笔题写的标题名;品相非常好
Edition of 100 never completed; rare; signed in crayon, “Elizabeth Keith”; titled in pencil by artist; very good condition.

$5,000

这幅作品描绘的是上海城隍庙的湖心亭茶馆。湖心亭始建于明代,是上海最早、也最具代表性的公共茶馆之一。至清末民初,这里早已不仅是饮茶之所,更是市民聚集、交谈、旁观城市生活的重要空间。

画面中的湖心亭以典型的中式重檐歇山顶立于水上,亭身由石柱支撑,四周以木桥相连。人群往来其间,茶客、行人、摊贩彼此交错,呈现出一幅生动而有序的城市日常。Elizabeth Keith 并未将湖心亭处理为“名胜”,而是把目光放在日常的流动之中:亭中饮茶、桥上行走、临水停留,画面中的喧闹被有意收敛在画外。

她笔下的上海并不神秘,也未被浪漫化,而是一座被真实生活填满的城市。这幅作品既清楚地记录了当时仍在延续的传统生活形态,又保留了人与空间之间自然、亲近的关系,既是一幅关于城市的记录,也是一段带着生活气息的瞬间。

本作创作于1924年前后,原计划印制100幅,但实际未全部印制,存世量稀少。在描绘上海题材的新版画作品中,此作因其题材的真实性与存世稀少性,尤显珍贵。

Interested in purchasing?
Please contact us.

Elizabeth Keith (1887-1956)

上海茶馆 湖心亭
Tea House (Huxinting), Native City, Shanghai

1924

木版画 | 横绘超大判 | 33.5cm x 44cm
Woodblock-print | Naga Oban Yoko-e | 33.5cm x 44cm

限量100版,但实际未全部印制;存世稀少;画面右下以蜡笔题署艺术家姓名 Elizabeth Keith;画面右下便于有艺术家以铅笔题写的标题名;品相非常好
Edition of 100 never completed; rare; signed in crayon, “Elizabeth Keith”; titled in pencil by artist; very good condition.

$5,000

这幅作品描绘的是上海城隍庙的湖心亭茶馆。湖心亭始建于明代,是上海最早、也最具代表性的公共茶馆之一。至清末民初,这里早已不仅是饮茶之所,更是市民聚集、交谈、旁观城市生活的重要空间。

画面中的湖心亭以典型的中式重檐歇山顶立于水上,亭身由石柱支撑,四周以木桥相连。人群往来其间,茶客、行人、摊贩彼此交错,呈现出一幅生动而有序的城市日常。Elizabeth Keith 并未将湖心亭处理为“名胜”,而是把目光放在日常的流动之中:亭中饮茶、桥上行走、临水停留,画面中的喧闹被有意收敛在画外。

她笔下的上海并不神秘,也未被浪漫化,而是一座被真实生活填满的城市。这幅作品既清楚地记录了当时仍在延续的传统生活形态,又保留了人与空间之间自然、亲近的关系,既是一幅关于城市的记录,也是一段带着生活气息的瞬间。

本作创作于1924年前后,原计划印制100幅,但实际未全部印制,存世量稀少。在描绘上海题材的新版画作品中,此作因其题材的真实性与存世稀少性,尤显珍贵。

Interested in purchasing?
Please contact us.

Elizabeth Keith (1887-1956)

Elizabeth Keith was born in Scotland and came to Japan in 1915 when she was 28 with her sister and brother-in-law; she ended up staying nine years. During that time, she used Tokyo as her home base while travelling extensively around Asia.

She was one of several Western women who participated in the Shin Hanga – New Print – movement, including Lillian May Miller and Bertha Lum. She became close with Shozaburo Watanabe, the father of Shin Hanga, and he published roughly 100 of her designs.

Keith was already a self-taught painter when she came to Japan; it was a show of her watercolors that attracted Watanabe’s attention. Her first print for him was “East Gate, Seoul” in Korea, which was then under Japanese occupation.

This was a time when the Western world was fascinated by all things Asian. To us Chinese it was just another day in the life. But Keith and her contemporaries were providing audiences back home with never-seen sites and views, as well as customs and traditions that must have seemed quite romantic. Prints allowed the artist to filter details and interpret the scene, to focus subjectively, as opposed to photography with its documentary qualities.

Keith travelled Asia by herself at a time when few “Gentlewomen” did so. She had striking red hair, so she must have attracted a great deal of attention at a time when Westerners were few and far between in this part of the world. She returned to England after the first nine-year stint and then went back to Japan, where she learned woodblock printing techniques. She also learned etching. And after World War II she returned again, working to help the grievously wounded nation.

Because of small runs, Keith's prints can be expensive, and some works with only 50 or even 30 copies published are especially rare. They were collected by the British Museum, the Guimet Museum in Paris and the National Gallery of Canada, among others; in 1937, a group of Asian-themed prints created by her were purchased by Queen Elizabeth. She died in 1956. 

She never married – but who needs a husband with a life like that?