Price List for “Glimpses of Spring: Recent Paintings of Allan Ermann”

Note: The painting numbers on the price list are those of the show and the show catalog. They are NOT the work numbers used on this web site. Please contact me if you would like to receive a free catalog.

PRICES ARE IN HONG KONG DOLLARS The Hong Kong dollar exchange rate is around 7.75 to the US dollar. The average large painting is priced at HK$ 40,000, or US$ 5,161.
1.  $23,000
2.  $25,000
3.  $25,000
4.  $30,000 J
5.  $35,000
6.  $35,000
7.  SOLD
8.  $40,000
9.  $35,000 J
10. $28,000
11. $40,000 J
12. $37,000
13. $28,000 (framed)
14. $40,000 J
15. $40,000
16. $40,000
17. $45,000 J
18. SOLD
19. $16,000
20. $16,000
21. $20,000 J
22. $20,000 J
23. $45,000 J
24. $40,000 J
25. $40,000
26. $45,000 (framed) J
27. $43,000 (framed)
28. $40,000
29. $40,000 J
30. $40,000
31. $33,000
32. $40,000
33. $40,000
34. $40,000
35. $40,000
36. $43,000
37. $50,000 (framed) J
38. SOLD
39. $56,000 J
40. SOLD41. $24,000 J
42. $24,000 J
43. $22,000 J
44. SOLD
45. prop. SML
46. $21,000
47. $22,000
48. $14,000 J
49. $20,000
50. SOLD
51. $12,000 J
52. $13,000 J
53. $15,000 J
54. $13,000
55. $13,000 J
56. $13,000
57. $15,000
58. $15,000
59. SOLD
60. $18,000 J
61. $18,000 J
62. SOLD
PRICES ABOVE ARE IN HONG KONG DOLLARS The Hong Kong dollar exchange rate is around 7.75 to the US dollar. The average large painting is priced at HK$ 40,000, or US$ 5,161.

NOTE:  I have been invited to bring the show to Jinan, Shandong Province. The works marked with “J” (Jinan) are no longer available for unconditional sale; they will be traveling to Jinan for a show being arranged for after June 2012 or early 2013. I will provide the date here when determined. The “J” list may be enlarged from this initial version.

unless other wise noted, the paper is what is usually called rice paper (though rice papers do not use rice); sizes of the works are exclusive of borders and frames; minor changes (I think improvements) have been made to a number of the paintings since the photos were taken for the catalog /a new photo can be taken of a work if you are interested in purchasing it.

I have posted the corrections below because my show in December may attract a few people to look at this blog or the articles about me.

The Chinese version of the Xinhua article about me should be ignored.  There are far too many errors.  Some are obvious: I am not famous in the US.  Some are not obvious: I did not study with Yu Xining.  (I was extremely lucky to study with his nephew and protege Shen Guangwei,  who had a profound influence on how I think about a painting.)  There are other mistakes in the Chinese version.

I first realized that there were many errors in the Chinese version when, shortly after I was first given a copy of it, I made a google (i.e. rough) translation. The factual errors and exaggerations in the Chinese version had clearly been made intentionally (in Chinese) by the same Chinese friends who had arranged the interview.  The Xinhua reporter spoke little Englsih and one friend was to translate my answers — but instead she embellished some of my answers and sometimes simply gave her own  answers.  When I asked why she had given Xinhua all sorts of wrong information, she told me all Chinese people always lie about themselves.  I was very upset and tried to correct the errors for the English version, but the Xinhua writers said the English must only be a translation, not a new essay.  Consequently all I could do was modify some of the information.  I also immediately apologized to the Yu family, a family that has always been wonderful to me.  Last, I declined the offer of these Chinese friends to have a monograph published about me and my paintings, a book that was to be built on the Xinhua article.  Since then, I have not been in touch with the people who arranged the interview.

In an earlier posting, I quoted three poems by Issa that I had encountered while reading poems by the Polish and later Polish-American poet Czeslaw Milosz. Again reading Milosz, I thought posting his poem that includes the three Issa poems would be a good idea. “What is not pronounced tends to nonexistence.” It is below:

‘Reading the Japanese Poet Issa (1762-1826)’ by Czeslaw Milosz

A good world —
dew drops fall
by ones, by twos

A few strokes of ink and there it is.
Great stillness of white fog,
waking up in the mountains,
geese calling,
a well hoist creaking,
and the droplets forming on the eaves.

Or perhaps that other house.
The invisible ocean,
fog until noon
dripping in a heavy rain from the boughs of the redwoods,
sirens droning below on the bay.

Poetry can do that much and no more.
for we cannot really know the man who speaks,
what his bones and sinews are like,
the porosity of his skin,
how he feels inside.
and whether this is the village of Szlembark
above which we used to find salamanders,
garishly colored like the dresses of Teresa Roszkowska,
or another continent and different names.
Kotarbínski, Zawada, Erin, Melanie.

No people in this poem. As if it subsisted
by the very disappearance of places and people.

A cuckoo calls
for me, for the mountain,
for me, for the mountain

Sitting under his lean—to on a rocky ledge
listening to a waterfall hum in the gorge,
he had before him the folds of a wooded mountain
and the setting sun which touched it
and he thought: how is it that the voice of the cuckoo
always turns either here or there?
This could as well not be in the order of things.

In this world,
we walk on the roof of Hell
gazing at flowers

To know and not to speak.
In that way one forgets.
What is pronounced strengthens itself.
What is not pronounced tends to nonexistence.
The tongue is sold out to the sense of touch.
Our human kind persists by warmth and softness:
my little rabbit, my little bear, my kitten.

Anything but a shiver in the freezing dawn
and fear of oncoming day
and the overseer’s whip.
Anything but winter streets
and nobody on the whole earth
and the penalty of consciousness.
Anything but.

— Berkeley, 1978

I posted four recently completed small landscapes, one meihua on gold paper, and a meihua painting on a scroll. I think these mark a temporary end of meihua paintings. I am working on several landscapes, though none of these is likely to escape the shredder (me). Nevertheless, I do feel much more involved in landscapes and think I am making some progress. I noticed that Li Kouren is circles, is all about circles.

Oct. 25 –  added two meihua fans painted over the summer but just now mounted.