Well, here we are. January 2026! This marks roughly my one year anniversary here at Arenski Fine Art. And so I thought it would be fun to look back at some of my favourite pieces that we’ve acquired this year.
But first, I want to take a moment to show my appreciation to our clients. Jay is one of the most hard working people that I know. He is constantly balancing the art of crafting ideas and creating beautiful displays with the arduous task of the dreaded paperwork and admin. Sure, he enjoys the work, but really, it’s all for you, the clients. Jay has such a passion for curation and redistributing fantastic and eclectic objects to homes that will truly value them. It’s inspiring for me to watch and I think it’s safe to say that our clients are always over the moon when they buy something from Arenski Fine Art. In the world we live in today, it is so easy to be pessimistic and fearful. However, working with Jay and discovering fascinating old stories makes every day feel like an escape and a dream. It’s sometimes inspiring, and sometimes emotional. We need art today more than ever, and having someone like Jay at the helm of this ship is truly reassuring. So, thank you Jay for your dedication and curiosity of worlds that I never knew existed, and thank you to our clients, whose
trust is never underestimated.
1: HATTA KOYO: PICKING JUNSAI
By Hatta Koyo (1882-1944), signed Koyo with seal Seisui
Japan, circa 1910
Ink and watercolors on paper. Each mounted on a pair of two wood panels. Finely painted to depict a Tsumiko (junsai picker) sitting inside a flat-bottomed tub as she reaches into the water with one hand, feeling for Junsai buds, and pinches them off the stem, collecting it in her bucket. A bamboo raft to the side with another bucket resting on the top. The pristine water is painted with lily pads rendered in an impressionist manner, a small duck preens itself, partially hidden by tall reeds.
Hatta Koyo (1882-1944) was a Japanese painter active from the Meiji to early Showa periods. He used the art names Seisui and Seiro and initially studied under Nakajima Yusho. At the very young age of 14, he studied under Takeuchi Seiho, mastering the Shijo school. He was selected for the 1st Bunten Exhibition in 1907, and was also selected for the Teiten Exhibition in 1919. He was nominated for the Teiten in 1929. He further studied with Nishimura Goun and Nishiyama Suisho, and was known as one of the ‘Three gifted students’.
The exchange between Impressionism and Japanese art was a profound and influential dialogue. Impressionist artists like Claude Monet were deeply inspired by Japanese ukiyo-e woodblock prints, particularly those by Hokusai and Hiroshige. Monet collected hundreds of these prints and adopted their esthetic elements—flattened perspective, bold colors, and asymmetrical composition—into his own work. This influence is especially clear in his iconic water lily series and Japanese bridge scenes, which reflect the stylized yet naturalistic qualities of Japanese landscapes. Conversely, Monet and the broader Impressionist movement left their mark on Japanese artists during the late 19th and early 20th centuries. The yōga (Western-style) movement embraced elements of Impressionism, as seen in Koyo’s depiction of junsai leaves, which echoes the loose, luminous treatment of Monet’s water lilies. This mutual influence highlights a rich cross-cultural artistic exchange that reshaped visual language in both Europe and Japan.
I love this piece because it instantly makes me feel more calm. If the black forest bears are not free for a hug at the warehouse, I’ll usually go and imagine that I’m fishing for junsai leaves in Japan instead!
Inscriptions: To the bottom left, signed Koyo 高容 with seal Seisui 青翠.
Provenance: From the private estate of Dr. Glenn and Carol Webb. Dr. Glenn Webb (1935-2024) was a noted scholar of Japanese art history, culture, and Buddhism. Dr. Webb was ordained in the Rinzai Zen priesthood and became an accredited instructor of Urasenke chanoyu. In 2011, Webb was bestowed the Order of the Rising Sun by His Imperial Majesty the Emperor Akihito in honor of his contributions to the field of Japanese studies, his accomplishments as a tea ceremony master, and his work in strengthening ties between the U.S. and Japan.
SIZE 171.5 x 186 cm (each)
2. Pair of G.E.C. Wembley Exhibition Globe Lamps
British Empire Exhibition, Wembley Park, 1924
Maker: General Electric Co., Ltd., Magnet House, Kingsway, London W.C.2
A matched pair of ornamental electric globe lamps, designed and manufactured by G.E.C. as commemorative lighting fixtures for the British Empire Exhibition of 1924. Each lamp comprises a spherical opaline glass shade mounted on a cast and moulded base, echoing the monumental lighting spheres that illuminated the Wembley Park grounds during the Exhibition. Offered commercially as Ref. F.5464 (2ft) and Ref. F.5464A (3 ft), these examples retain their original proportions and fittings, with patinated metalwork and period wiring elements intact.
Promoted in The Architectural Review as “The Talk of Wembley,” these lamps were celebrated for their decorative appeal and symbolic resonance, embodying the optimism and imperial grandeur of the interwar period. Their survival as a pair is exceptionally rare, enhancing both curatorial and market significance.
3. A RARE AND EARLY PAIR OF CARVED WOOD ‘BAKU’ ARCHITECTURAL ELEMENTS, 14TH-16TH CENTURY
Japan, late Kamakura (1185-1333) to Muromachi period (1336-1573)
The architectural supports, sometimes also called corbels, are finely carved as the heads of two baku, one with his mouth wide open to reveal tongue and teeth, the other with his mouth closed. Both with prominent tusks and ears, showing a fierce expression marked by slanted eyes with thick brows.
Baku are Japanese supernatural beings that are said to devour nightmares. According to legend, they were made from the spare pieces that were left after the gods had finished creating all other animals. Baku heads are commonly placed under the eaves of Japanese Buddhist temples and Shinto shrines to ward off bad spirits. They are protectors against evil, devourers of nightmares, but cannot be summoned without caution, because – as legend tells – when baku is not satisfied after consuming the nightmares, they may devour one’s hopes and dreams too. The open-mouthed baku scares off demons and the closed-mouthed shelters and keeps in good spirits.
Condition: Good condition with natural age cracks, splits, and holes due to insect activity.
Provenance: From a noted private collection in New York City, USA. Each applied with an old paper label reading: 唐獅子、鎌倉時代 “Karashishi, Kamakura jidai” [Chinese lions, Kamakura Period].
LENGTH: 40 cm (each)
4. Portrait of an Aristocratic Young Man in a Landscape
Unknown Master of the Grand Tour, circa 1800
Oil on canvas 123 × 124 cm
Original Empire giltwood frame
A contemplative young traveler reclines amid rocky cliffs and distant architecture—his attire and gaze evoking the cultivated introspection of the Grand Tour. The composition recalls the manner of Pompeo Batoni , François-Xavier Fabre, and Johann Heinrich Wilhelm T ischbein, whose portraits of elite sitters blended classical gravitas with Romantic sensibility. Comparable works by Fabre in the Musée Fabre, Montpellier, reflect the same fusion of aristocratic portraiture and Italianate landscape seen here. Framed in giltwood grandeur, this painting captures leisure, learning, and landscape as social currency.
This painting is one of my favourites. When I look at it, I see myself to a degree: young and in search of answers! Jay and I have also taken a few trips around Europe, one being in Montpellier where we saw many similar Grand Tour paintings. This was a special trip for me as I was able to experience my own mini-grand tour! And so, this painting specifically reminds me of a very exciting and new chapter in my life.
5. Egyptian Revival Simulated Bone Inlaid Parcel Gilt Mahogany Side Table
After the Original from King Tutankhamun’s Tomb early 20th century. The chest is decorated with inlaid hieroglyphics, gilded accents and knobs. Attributed to the Parvis Workshop Cairo.
On 5 November 1922, Howard Carter, leader of Lord Carnarvon’s archaeological expedition, discovered the location of the tomb of the Egyptian pharaoh, Tutankhamun. Although some tomb-robbing was evident, it remains the best preserved and most complete tomb in the Valley of the Kings. News of Carter’s discoveries – which consisted not only of the mummified pharaoh himself, but also a wealth of decorative objects and Harry Burton, the only photographer granted access to the tomb and whose archive is held by the Griffith Institute at the Ashmolean Museum, Oxford, made it possible to circulate images of what they found. This is a copy of models the team discovered, which are illustrated and discussed in Hollis S Baker, ‘Furniture in the Ancient World’, London, 1966, pp.75-84.
SIZE: 70cm by 38cm by 45cm
So, there you have it- my top 5 so far this year! 2025 has been amazing. My first year in the business and I feel as though I’m slowly learning a lot at the helm of a great teacher. I hope you have all enjoyed what we’ve been doing! As a teaser, I’ll use this as an opportunity to share that, if you’ve been enjoying our social media posts, 2026 will be a year where we really push the boat out and try some new things. Can’t wait for you to see it!
Happy New Year!
Tom & the Arenski Team.