Catalog (344)

19th Century Korean Painting of a Fine Muscular Tiger. There is nothing anywhere like Joseon Era Korean tiger folk paintings. Tigers in Korean paintings are not ferocious. They are humorous and full of personality. And each one is unique, like this fellow here with his quizzical and lovable face as he is being addressed by the magpies. This was a favorite symbol of the common folks and represented the people speaking truth to power. The pine tree is a symbol of longevity and wisdom. This painting is very "Korean." It is painted in ink and colors on traditional old hanji paper. Korean tiger folk paintings are never signed. Frame: 23.5 x 19 inches, 60 x 48 cm. Painting: 16 x 11.5 inches, 41 x 29 cm.

Scarce Early Primitive Korean Tiger Painting. This is the only 18th to early 19th Century example we have ever seen offered for sale. There is nothing anywhere like Joseon Era Korean tiger folk paintings. Tigers in Korean paintings are not ferocious. They are humorous and full of personality. And each one is unique, like this fellow here with his quizzical and lovable face as he is being addressed by the magpies. This was a favorite symbol of the common folks and represented the people speaking truth to power. The pine tree is a symbol of longevity and wisdom. This painting is very "Korean." It is painted in ink on traditional old hanji paper. Korean tiger folk paintings are never signed. Frame: 23.5 x 19 inches, 60 x 48 cm. Painting: 17.5 x 13.5 inches, 44.5 x 34 cm.

A Superior Example of a Rare 19th Century Korean Hwajodo Bird and Flower Painting filled with ancient symbolism. This is, without a doubt, the most beautiful hwajodo we have ever had. These paintings were never signed, but this anonymous artist possessed superior skill and artistry. The pair of cranes symbolize eternal love, because cranes were believed to mate for life. The peonies symbolize love and prosperity. The rocks symbolize eternity. So the two combine to grant the wish for eternal prosperous love. That theme is reinforced here by the mythical bullocho longevity plants. The exquisitely rendered pine tree here is a symbol of longevity and wisdom. And finally, the clouds are also a longevity symbol. So the entire composition represents a beautiful and eternal marriage guided by wisdom and love and filled with prosperity. Frame: 32 x 14 inches, 81 x 35.5 cm. Painting: 21 x 9 inches, 53.5 x 23 cm.

Very Rare Painted Wood 19th Century Korean Funerary Figure (Kkokdu). These are so rare that is has been twenty years since we last had one for sale. We recently acquired a pair, this one and Stock #1588. Kkokdu were guardian figures that were believed to accompany the deceased in the afterlife. They were burned after the funeral, so very few have survived. There are a couple of kkokdu museums in Korea that have acquired just about all of the remaining kkokdu. So don't miss this once-in-a-lifetime opportunity to own a vital piece of Korean Joseon Era culture. Height: 10.25 inches, 26 cm.

Very Rare Painted Wood Early 20th Century Korean Funerary Figure (Kkokdu). These are so rare that is has been twenty years since we last had one for sale. We recently acquired a pair, this one and Stock #1589. Kkokdu were guardian figures that were believed to accompany the deceased in the afterlife. They were burned after the funeral, so very few have survived. There are a couple of kkokdu museums in Korea that have acquired just about all of the remaining kkokdu. So don't miss this once-in-a-lifetime opportunity to own a vital piece of traditional Korean culture. Height: 11 inches, 28 cm.

Rare 5th to 6th Century Silla Jar with Separate Single-Level Perforated Stand and Perforated Knobs. This type is so rare, only one other example has been published as far as we know. It appears in Volume 1 of Korea's Pottery Heritage by Edward B. Adams. While the perforated knobs here, utilized to run a cord through, do appear on other Silla ware on rare occasion, they are not on the similar example in Adams' book. This is the only jar with this combination of features. So if you are looking for a unique addition to your collection, you cannot do better than this one-of-kind and striking ancient jar. Silla ware is the most undervalued and underpriced of Korean antiquities. It preceded and influenced the Sue ware of Japan. Accidental ash glaze occurs throughout this example. The ridged neck here features an incised wave pattern created with a comb around the circumference. The tall neck helped to keep the contents from splashing out. The stand has been glued where it apparently once split in half. Jar Height: 10 inches, 25.5 cm. Jar Circumference: 29.5 inches, 75 cm. Stand Height: 4.25 inches, 10.75 cm.

A Rare, Tall Masterpiece 5th to 6th Century Silla Jar with a Luxurious Drip Glaze. This is a rare opportunity to add a true masterpiece from 1,500 years ago to your collection. Silla ware is the most undervalued and underpriced of Korean antiquities. It preceded and influenced the Sue ware of Japan. This is the most beautiful example of a Silla jar we have seen. The entire circumference is richly adorned with an abundant accidental greenish brown drip glaze that culminates in vibrant pools. It is a rare form with a tall perforated pedestal and a tall neck with a dramatic V-form. Both the ridged pedestal and ridged neck feature incised wave patterns created with a comb around the circumference. The tall neck helped to keep the contents from splashing out. As if to reward prolonged viewing from every angle, the body has a secret band of unique punctuated comb incisions hidden at the bottom where the body meets the pedestal. Glaze has dripped to the bottom of the pedestal, as well. Given its total height in proportion to its body, imposing grandeur, and luxurious design, we can say with certainty this jar was utilized for ceremonial purposes. The National Museum of Denmark has a similar jar in its Kalbak Collection. Height: 12 inches, 30.5 cm. Circumference: 25.5 inches, 65 cm.

Rare and Fine 5th to 6th Century Silla Jar with Beautiful Form and Design. Silla ware is the most undervalued and underpriced of Korean antiquities. It preceded and influenced the Sue ware of Japan. This jar is a precursor of the round 19th Century Korean Moon Jars that now sell for hundreds of thousands and sometimes millions of dollars. The body is similarly constructed of two wheel-thrown halves, but adds a perforated attached pedestal and ridged tall neck and features incised wave patterns created with a comb around the circumference of the body and neck. The tall neck helped to keep the contents from splashing out. Traces of accidental ash glaze occur throughout. For a similar jar see Syracuse University Museum's Catalogue # 62-301 in the 1965 John R. Fox Collection of Korean Ceramics exhibition catalogue pages 6 and 29. Jars identical to this one are in the Great Tomb of Hwangnam, the largest Silla tomb. This dual King and Queen's tomb is shown in the last photo here. Height: 11.5 inches, 29 cm. Circumference: 31 inches, 79cm.

The lychee, because of its red color, is an ancient symbol of love in Korea. It is a rare and valued motif on Korean celadons. The chrysanthemum fertility symbol that also adorns this bowl is more common. But the rendering here is unique, with chrysanthemums in the center of the bowl surrounded by lotus blossoms, a symbol of rebirth because the lotus rises above the muck of the pond to show its face to the Sun. Lovely floral scrolls encircle both the inner and outer circumference. A rare, beautiful, and meaningful bowl. The old pine storage box in the third photo here is included. Width: 8 inches, 20.5 cm. Height: 3.5 inches, cm.

Large Antique Onggi Bottle from Jeju Island with stunning color and surface. Height: 13.5 inches, 34 cm; Circumference: 36.5 inches, 93 cm. Onggi are the most 'Korean' of Korean pots. All words related to onggi are of pure Korean origin, not based on Chinese characters. They are a beautiful form of Korean folk art.

Rare Pair of Orchids and Rocks Paintings by Kim Eung Won aka Soho (1855-1921), beautifully framed. Orchids are an ancient Korean symbol of purity, modesty, and virtue. The rock symbolizes eternity, so the combination of orchids and rock have the meaning of eternal adherence to principle. The orchid grows in remote places, but its fragrance spreads over the land, just as the scholar often works in isolation, but through their scholarly and ethical works their influence is felt throughout the land. Talented painters of orchids were and still are held in the highest regard. Though Daewongun (Prince Yi Ha Eung) is often cited as the greatest painter of orchids, most scholars now agree it was Kim Eung Won who was creating many of the paintings for which Prince Daewongun took credit and which Daewongun signed. Daewongun was, of course, a great painter of orchids, but most agree now that Kim Eung Won may deserve the title of greatest. His paintings sell for a fraction of the price of Daewongun's paintings, at least for now. That can be expected to change as the general public catches up with the scholarship on the subject. The last photo here is from a sale at another gallery where the prices on similar paintings by Kim Eung Won are several times higher than the price we are asking here for this fine and rare pair. Ink on paper. Each Frame: 61.5 x 18.5 inches, 156 x 47 cm. Each Painting: 48 x 12 inches, 122 x 30.5 cm. (A much smaller single Daewongun painting sold at Christie's for $12,500 on March 18, 2014).

This is the only calligraphy by Kim Eung Won aka Soho (1855-1921) offered for sale anywhere. His skill was so revered that the prince Daewongun paid Kim Eung Won to paint many of the works for which the prince took credit. Ink on paper. Frame: 48 x 19 inches, 122 x 48 cm. Calligraphy: 37.5 x 13 inches (95 x 33 cm).

Orchids and Rocks Painting by Kim Eung Won aka Soho (1855-1921), beautifully framed. Orchids are an ancient Korean symbol of purity, modesty, and virtue. The rock symbolizes eternity, so the combination of orchids and rock have the meaning of eternal adherence to principle. The orchid grows in remote places, but its fragrance spreads over the land, just as the scholar often works in isolation, but through their scholarly and ethical works their influence is felt throughout the land. Talented painters of orchids were and still are held in the highest regard. Though Daewongun (Prince Yi Ha Eung) is often cited as the greatest painter of orchids, most scholars now agree it was Kim Eung Won who was creating many of the paintings for which Prince Daewongun took credit and which Daewongun signed. Daewongun was, of course, a great painter of orchids, but most agree now that Kim Eung Won may deserve the title of greatest. His paintings sell for a fraction of the price of Daewongun's paintings, at least for now. That can be expected to change as the general public catches up with the scholarship on the subject. The last photo here is from a sale at another gallery where the prices on similar paintings by Kim Eung Won are several times higher than the price we are asking here for this fine painting. Ink on paper. Frame: 61.5 x 21 inches, 156 x 53 cm. Painting: 52 x 12.75 inches, 132 32.5 cm. (A much smaller Daewongun painting sold at Christie's for $12,500 on March 18, 2014).

The peony is an ancient symbol of love and prosperity in Korea. We have been trying since we opened 19 years ago to acquire a Kim Gyu Jin painting, but they are all either stored in museums or firmly entrenched in private collections. His works are in the collections of the world's biggest museums, including the Metropolitan Museum and the British Museum. There is just one other one on the market, as shown in the last photo here. It is also a floral painting and is being offered by a retiring gallery owner for a price reduced from $9000.00 to a "sale" price of $6500.00. So it is with great pride that we offer here a beautifully framed Peony Painting by Korean Joseon Dynasty Royal Court artist Kim Gyu Jin. This painting is a fine example of the range of Kim Gyu Jin's brushwork, from dynamic strokes to radiant ink washes. Kim Gyu Jin aka Haegang (1868-1933) had a tremendous influence on Korean art through his paintings, the art organization he founded (Seohwa Hyeophoe Calligraphy and Painting Association), and his textbooks that became canon in art studies. He taught painting and calligraphy to King Gojong and to the crown prince and he was commissioned by King Sukjong to paint the murals at Changdok Palace. Ink on paper. Frame: 67 x 20.5 inches, 170 x 52 cm. Painting: 55 x 13.25 inches, 140 x 33.5 cm.

Calligraphy by Korea's Most Famous Calligrapher, O Se Chang aka Wichang (1864 - 1953), beautifully framed. Not only is O Se Chang the most renowned calligrapher in the most revered field of art throughout Korean history, his books on calligraphy have become the definitive texts on the subject. He is famous for his works in seal script, as in this example here. O Se Chang's calligraphy is prominently featured in the Los Angeles County Museum of Art's exhibition on Korean calligraphy, Beyond Line: The Art of Korean Writing, including his work on loan from the National Museum of Korea. Frame: 64.5 x 19 inches, 164 x 48 cm. Calligraphy: 51.5 x 12.5 inches, 131 x 32 cm.

Large 19th Century Painted Wood Sculpture of a Benevolent Scholar Administrator. Large-scale antique Korean wood sculpture is rare. This one is beautifully rendered with splendid attire and the compassionate face of the idealized scholar administrator. This is the type of sympathetic official written of in ancient fables and that one hoped to face when they had to plead their case. It is a wonderful example of emotion elicited from wood and paint by a talented anonymous artist. He is holding a peach which represents the abundant peach trees whose fruit provides longevity and sustenance in the Land of the Immortals who he calls upon for wisdom and guidance. The peach seed is an ancient symbol of benevolence. The word for kernel sounds the same as the word for benevolence or kind-heartedness, ideal qualities for a man in his position. 30.5 x 13.5 x 5.5 inches, 77.5 x 34 x 14 cm.

Painting of Peaches by the Last Korean Princess Yi Bangja, one of Korea's most revered artists and beloved humanitarians. The peach is an ancient longevity symbol in Korea. The fruit of the mythical Heavenly Peach tree ripens only once every three thousand years and is eaten by the immortals when they gather for their feast at Yao Lake at the the abode of Seowangmo, the Queen Mother of the West. You now have the rare opportunity to own a beautiful work of art and an important piece of Korean history created by the last member of the royal household to reside in Korea's royal palace. Princess Yi Bangja devoted her entire life to the education of mentally and physically handicapped people, and worked tirelessly to support them. She is the subject of television and stage dramas, operas, movies, and books, including her autobiography, "The World is One." Frame: 27.5 x 20.5 inches, 70 x 52 cm. Painting: 21 x 14 inches, 53.5 x 35.5 cm. The frame of this painting matches exactly the frame of the painting of camellias here by Yi Bangja (Stock #1575). That and their complementary meanings make the two paintings a perfect pair.

Painting of Camellias by the Last Korean Princess Yi Bangja, one of Korea's most revered artists and beloved humanitarians. The camellia is a symbol of faithfulness and, according to tradition, they have been used in Korean weddings since 1200 BC. The large rock in the painting is a longevity symbol. When the camellia is depicted with the rock the combination gives the ancient symbolic meaning of eternal adherence to principle and is a poetic representation of undying faithfulness. You now have the rare opportunity to own a beautiful work of art and an important piece of Korean history created by the last member of the royal household to reside in Korea's royal palace. Princess Yi Bangja devoted her entire life to the education of mentally and physically handicapped people, and worked tirelessly to support them. She is the subject of television and stage dramas, operas, movies, and books, including her autobiography, "The World is One." Frame: 25.5 x 23 inches, 62 x 58.5 cm. Painting: 18.5 x 16 inches, 47 x 40.5 cm. The frame of this painting matches exactly the frame of the painting of peaches here by Yi Bangja (Stock #1576). That and their complementary meanings make the two paintings a perfect pair.