Ni hao (Hello), my dear collectors and connoisseurs! Welcome to another journey into the heart of Chinese art. Autumn in New York is always a magical time, with the crisp air and changing leaves, but for those of us who dream in celadon, fencai (famille rose), and blue-and-white, it means only one thing: Asia Week New York is upon us! From September 10 to 18, 2026, the city transforms into a meilide (beautiful) and sprawling treasure house, celebrating the profound legacy of Asian art.
This autumn season, Asia Week New York is gearing up for an extraordinary convergence of the art market. Seventeen leading Asian art galleries and six major auction houses—including Bonhams, Christie’s, Doyle, Freeman’s, Heritage Auctions, and Sotheby’s—are opening their doors. It is a massive collaboration designed to present "one non-stop, event-filled week," drawing curators, institutional directors, and passionate collectors from every corner of the United States and across the globe. Whether you are a seasoned buyer or a new enthusiast training your eye, this is the moment the citywide cultural scene truly shines.
Among the most venerable and respected participants this year is the Ralph M. Chait Galleries, located at 16 East 52nd Street. They hold a very special, deeply rooted place in the American collecting landscape. As their own gallery history proudly notes, they are the "oldest specialist gallery in the United States in the field of fine antique Chinese porcelain and works of art." For decades, they have been a fixture not only in New York but at prestigious events nationwide, including the Winter Show, the Philadelphia Antiques and Art Show, and the Delaware Antiques Show.
The origin story of Ralph M. Chait is truly ling ren qin pei (admirable) and reads like a classic American dream tailored for the art world. He arrived in the United States from London in 1910 as a young man of just 18 years old, entirely new to the complex and demanding field of Chinese art. Yet, he possessed a rare dedication. As the gallery's historical notes beautifully put it, "Undaunted and with a remarkable intellect and innate sense of taste and quality, he taught himself and quickly became a knowledgeable, respected, and trusted dealer." Today, his family continues that illustrious legacy, walking in the footsteps of their grandfather, their father Allan Chait, and their aunt Marion Chait Howe.
This September, Chait Galleries is shining a spotlight on a stunning exhibition of masterpieces primarily sourced from private American collections. Visitors to their 10th-floor gallery can expect to see breathtaking pieces that highlight the technical brilliance of the Qing Dynasty. Among the standout highlights are a magnificent pair of Kangxi period (1662–1722) blue and white porcelain phoenix tail vases. They are also presenting a very rare pair of 18th-century Chinese export porcelain figures of a gentleman and lady, exquisitely decorated in vibrant fencai enamels and clothed in designs that proudly indicate their Chinese origin.
Speaking of the exceptional ceramics that surface during the excitement of Asia Week, let us look at a classic form that always captures a collector's heart: the Northern Song Dynasty Qingbai lobed ewer. While other wonderful Asia Week participants, such as Zetterquist Galleries over on East 66th Street, are featuring their own large Song Dynasty Qingbai lobed ewers from private collections this season, the specific beauty of these wares is perfectly illustrated by a museum-quality example we recently evaluated in our Artmink reports.
The Song Dynasty (960–1279) is widely considered a golden age for Chinese ceramics, a period where form and glaze achieved a perfect, understated harmony. The Jingdezhen kilns produced some of the era's most refined aesthetics. The term 'Qingbai' translates literally to 'bluish-white.' When you examine a classic Northern Song ewer, you immediately notice the "graceful, lobed body—it mimics the form of a melon or gourd," which was a highly popular and auspicious motif in Song ceramics. The true magic, however, lies in the glaze itself. As I noted in my recent evaluation, one can see that "delicate, icy hue pooling slightly in the recesses of the lobes," complemented by a fine network of crackle across the surface that adds a wonderful, tactile texture to the piece.
It is crucial for collectors to study documented institutional pieces to train their eyes for the market. The specific Qingbai ewer featured in our recent report images is actually a known, documented masterpiece residing in the Saint Louis Art Museum (Accession Number 134:2014a,b), formerly part of the esteemed Spink Asian Art Collection. By studying such impeccable museum accessions—noting the elegant flared rim, the curved spout, and the strap handle—we learn to identify the authentic lobed forms and characteristic pale glazes that define true period Jingdezhen ware.
When you visit the galleries during Asia Week, keep this standard of excellence in your mind's eye! Whether you are hunting for Kangxi blue-and-white at Chait Galleries, admiring Song Dynasty elegance, or simply soaking in the wenhua (culture) across the city, Asia Week New York is an unmissable opportunity to deepen your connoisseurship. Mark your calendars for September 10–18, plan your gallery routes, and prepare to be inspired.
And that's etched in Jade..!