Keith | Ying Lin Monastery(Reserved)

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Elizabeth Keith (1887-1956)

灵隐寺
Ying Lin Monastery

1925

木版画 | 纵绘大大判 | 42cm x 29.5cm
Woodblock-print | Large Oban tate-e | 42cm x 29.5cm

限量75幅,但实际未全部印制,市面已知数量大概为20幅;存世稀少;画面右下以红色蜡笔题署艺术家姓名 Elizabeth Keith;整体品相非常好;天空上方有一处非常轻微的黄渍;背面有一处背胶带残留
Total printing under 75, fewer than 20; rare; signed in red crayon Elizabeth Keith; one slight stain in the sky; one tape remnent verso, otherwise very good condition

$3,500

这幅作品描绘的是杭州灵隐寺一带的街景。灵隐寺始建于东晋,坐落于西湖以西的山林之中,向来以幽深肃穆著称;然而在清末民初,它的山门之外,却始终与世俗生活保持着一种微妙而松弛的并置关系。

画面中,寺院建筑在画面中占据了近三分之二的空间,飞檐层叠而下,屋脊层层展开,几乎压向街道。与这种建筑所带来的庄重感形成对照的,是门前缓慢而日常的场景:行人经过,妇人抱着孩子驻足,人们在同一条路径上来去。右侧“天外天酒菜馆”的招牌悄然出现——这家餐馆创办于1910年,在 Keith 于1920s年代到访时仍属新近事物,世俗饮食与宗教空间在画中自然相邻。

Keith 并未将灵隐寺描绘为遥不可及的圣地,而是以温和的目光,捕捉建筑的历史重量与街巷中的人间气息。画面安静,却并不凝固;历史在此缓缓展开,与现实生活并肩而行。

本作创作于1925年,已知总印制数量约为75幅,而实际进入市场流通的作品更少,估计不足20幅,存世数量稀少。

Interested in purchasing?
Please contact us.

Elizabeth Keith (1887-1956)

灵隐寺
Ying Lin Monastery

1925

木版画 | 纵绘大大判 | 42cm x 29.5cm
Woodblock-print | Large Oban tate-e | 42cm x 29.5cm

限量75幅,但实际未全部印制,市面已知数量大概为20幅;存世稀少;画面右下以红色蜡笔题署艺术家姓名 Elizabeth Keith;整体品相非常好;天空上方有一处非常轻微的黄渍;背面有一处背胶带残留
Total printing under 75, fewer than 20; rare; signed in red crayon Elizabeth Keith; one slight stain in the sky; one tape remnent verso, otherwise very good condition

$3,500

这幅作品描绘的是杭州灵隐寺一带的街景。灵隐寺始建于东晋,坐落于西湖以西的山林之中,向来以幽深肃穆著称;然而在清末民初,它的山门之外,却始终与世俗生活保持着一种微妙而松弛的并置关系。

画面中,寺院建筑在画面中占据了近三分之二的空间,飞檐层叠而下,屋脊层层展开,几乎压向街道。与这种建筑所带来的庄重感形成对照的,是门前缓慢而日常的场景:行人经过,妇人抱着孩子驻足,人们在同一条路径上来去。右侧“天外天酒菜馆”的招牌悄然出现——这家餐馆创办于1910年,在 Keith 于1920s年代到访时仍属新近事物,世俗饮食与宗教空间在画中自然相邻。

Keith 并未将灵隐寺描绘为遥不可及的圣地,而是以温和的目光,捕捉建筑的历史重量与街巷中的人间气息。画面安静,却并不凝固;历史在此缓缓展开,与现实生活并肩而行。

本作创作于1925年,已知总印制数量约为75幅,而实际进入市场流通的作品更少,估计不足20幅,存世数量稀少。

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?