Unknown

Dutiful Son/Japanese Fukusa

"Porter Series: Carte L'Europe (Shower Woman)" is a tapestry by South African artist William Kentridge. It is edition 1 of 5 (plus 2 APs) and signed verso "W. Kentridge". William Kentridge is a South African graphic artist, filmmaker, and theatre arts activist especially noted for a sequence of hand-drawn animated films he produced during the 1990s. The pungent humanism he revealed in these and other works echoed a larger European tradition of artists such as Honoré Daumier, Francisco de Goya, and William Hogarth. Kentridge, whose father was a noted antiapartheid lawyer, attended the University of Witwatersrand in Johannesburg (1973–76) and the now-defunct Johannesburg Art Foundation (1976–78). At various times in the 1970s and ’80s, he worked as an actor, playwright, set designer, and theatrical director, and he studied mime and theatre in Paris in the early 1980s. In 1992 he began an ongoing collaboration involving multimedia performances with Handspring Puppet Theatre (founded 1981) in Cape Town. As is clear from both his early training and his later artistic output, Kentridge’s interest in the visual arts was rooted in its connection with the theatrical arts. The narrative structure and character development in his films reflect this connection. While Kentridge pursued several avenues as an artist, at the centre of his work was a sequence of short animated films. To produce them, he made a rough charcoal drawing, photographed it, altered the drawing slightly, photographed it again, and so on. Kentridge’s original drawings are often completely effaced by their successors. Many of these films—including Johannesburg, 2nd Greatest City After Paris (1989) and Felix in Exile (1994)—follow the fortunes of the greedy capitalist Soho Eckstein and his alter ego, the sensitive and artistic Felix Teitelbaum. They present modern South Africa as reflective of the spiritual, ecological, and emotional crises of late capitalism. Kentridge later established himself as a consummate figure in the performing arts, particularly for his innovative stagings of the operas The Nose (2010) and Lulu (2015) at New York’s Metropolitan Opera and Wozzeck (2017) at the Salzburg Festival...

Japanese Fukusa Silk embroidery and gold thread

A silk and gold thread embroidery of titles. Japan's textile industry was one of the first to adopt Western science and technology, and thus the Meiji era produced some of the highes...

A silk embroidery by an unknown Japanese artist. “Fukusa, Pair of Lobsters” is from the Meiji Period and in golds and blues. The artwork is unsigned. Provenance: Private Collection, Palm Springs Heather James Fine Art, Palm Desert

A Japanese embroidery from the Edo Period. “Figure of a Beauty” is a portrait embroidery, silk and gold thread in golds and grays. Provenance: Priv...

A Japanese Embroidery featuring a dog and wagon, silk and gold thread embroidery by an unknown artist from c. 1890. The artwork is unsigned. Provenance: Private Collection, Los Angeles; Heather James...

Debra Smith's fabric collages are like snippets of contemporary quilts. She recycles fabrics, such as the silk linings of antique Japanese kimonos used to make much of her current body of work. The silks are different shades of neutral and lend a quiet, contemplative mood to much of Debra's work. In some collages, Debra uses vibrant vintage fabric to contrast with the understated feel of the silk. Since 1999, Debra's work has been shown in numerous exhibition spaces, such as Dolphin Gallery and Pearl Gallery in Kansas City and the Pencil Factory in Brooklyn, New York. In addition to making artwork, Debra owns Sakiori, a textile company based in Kansas City, which she established in 1993. She formerly worked for Asiatica, an internationally recognized clothing and accessory business, which specializes in the reconstruction of antique kimono...

Debra Smith's fabric collages are like snippets of contemporary quilts. She recycles fabrics, such as the silk linings of antique Japanese kimonos used to make much of her current body of work. The silks are different shades of neutral and lend a quiet, contemplative mood to much of Debra's work. In some collages, Debra uses vibrant vintage fabric to contrast with the understated feel of the silk. Since 1999, Debra's work has been shown in numerous exhibition spaces, such as Dolphin Gallery and Pearl Gallery in Kansas City and the Pencil Factory in Brooklyn, New York. In addition to making artwork, Debra owns Sakiori, a textile company based in Kansas City, which she established in 1993. She formerly worked for Asiatica, an internationally recognized clothing and accessory business, which specializes in the reconstruction of antique kimono...

Debra Smith's fabric collages are like snippets of contemporary quilts. She recycles fabrics, such as the silk linings of antique Japanese kimonos used...

Debra Smith's fabric collages are like snippets of contemporary quilts. She recycles fabrics, such as the silk linings of antique Japanese kimonos used...

Vintage silk fabric pieced together into abstract compositions with finished edges, tacked to archival mat board.

Debra Smith's fabric collages are like snippets of contemporary quilts. She recycles fabrics, such as the silk linings of antique Japanese kimonos used to make much of her current body of work. The silks are different shades of neutral and lend a quiet, contemplative mood to much of Debra's work. In some collages, Debra uses vibrant vintage fabric to contrast with the understated feel of the silk. Since 1999, Debra's work has been shown in numerous exhibition spaces, such as Dolphin Gallery and Pearl Gallery in Kansas City and the Pencil Factory in Brooklyn, New York. In addition to making artwork, Debra owns Sakiori, a textile company based in Kansas City, which she established in 1993. She formerly worked for Asiatica, an internationally recognized clothing and accessory business, which specializes in the reconstruction of antique kimono...