Catalog (335)

Bhutanese Bon Deity Kyung Mask of Papier Mache, 15 inches, 38 cm.

The classic yongmok samcheung-jang (Korean zelkova root chest with three levels) is probably the most-widely imitated type of Korean antique chest among the reproductions that are all over the internet. This exquisite and genuine 19th Century Joseon Dynasty yongmok samcheung-jang will surely be the showcase piece in any collection. Yongmok is zelkova root, and literally translates to dragon burlwood, which describes the shapes of dragons that can be seen in the very fancy grain of the zelkova root. This chest is a particularly rare and fine example in exceptionally good condition. If you ever do see an old and fine Korean chest of zelkova, it is always just the panels that are of zelkova, while the frame is pine. This rare chest actually uses zelkova for both the panels and the frame, so that the entire front is zelkova. The effect is quite stunning. The other sides are constructed of a fine wide-grained paulownia wood. The stand is carved in the shape of a bat, an ancient Korean symbol of good fortune, because bat and good fortune share the same pronunciation. Other than the cheaply-made reproductions of these that you see all over the internet (most of which are dishonestly described as antiques and are not even made in Korea), it is unlikely that you will see another genuine Joseon Dynasty Dragon Burlwood Three-Level Chest for sale, other than in Korea, where it will sell for multiples of this price. We receive emails almost weekly from factories in China that sell the reproductions very cheaply. Unlike some other dealers, we have never accepted these offers. There's nothing like the look of rare and exotic zelkova root that has aged for over 100 years. Unlike the reproductions, this genuine article will last for generations and the beauty of the old wood will only deepen and increase with age, making it a fine heirloom for a proud family. 64h x 43w x 20.75d inches, 162.5h x 109w x 52.75d cm.

Beautiful and Rare Korean Joseon Dynasty Silver and Coral Eunjangdo with Very Fine Floral Design. The eunjangdo was worn by a woman of rank as a chest pendant and a symbol of her social standing. This dagger also served as a tool to save women from personal humiliation or peril, not by attacking an assailant but by killing themselves, under the Confucian moral obligation of medieval Korea 'to remain faithful to one spouse'. 4 inches, 10 cm.

Beautiful and Rare 19th Century Korean Elm Wood Document Box from Gyeongsangnam-do, with a patina and grain of gorgeous color and texture and lovely floral metalwork with plum blossoms (a symbol of courage because the plum blossoms early, before winter is quite finished) and chrysanthemum (a symbol of plenty or fertility because of its many petals). For a similar example, see page 69 of Traditional Korean Furniture by Man Sill Pai and Edward Reynolds Wright. 13 x 13 x 7.5 inches, 33 x 33 x 19 cm.

Antique Timor Message Drum from the published and renowned collection of Sam Hilu, a prominent author and adviser on traditional Asian art. 20.5 x 5.5 x 5.5 inches, 52 x 14 x 14 cm.

Antique Stone and Metal Chinese Seal Chop from the published and renowned collection of Sam Hilu, a prominent author and adviser on traditional Asian art. 5 inches, 12.5 cm.

Antique Onggi Water Jar (Muldok) from Gyeongsang Province with a beautiful dark brown color. 15.5w x 9h inches, 39.5w x 23 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.

Antique Onggi Water Jar (Mul Tongi) from Gangwon Province with lovely finger-painted designs. The potter creates the whimsical designs by running his finger (or thumb) through the still-wet glaze. 14.5w x 14.5h inches, 37w x 37h cm (the width includes the handles). 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.

Antique Onggi Jar for Preserving Seeds from Gyeongsang Province, with charming finger-painting designs. Height: 9 inches, 23 cm; Circumference: 34 inches, 86.25 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.

Antique Onggi Rice Jar from Jeolla Province, with a fantastic color and surface, and wonderful finger-paintings of stylized orchids. Height: 10.25 inches, 26 cm; Circumference: 36 inches, 91.5 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 Antique Onggi Medicinal Pot and Cover from Gyeonggi Province, with a beautiful deep, dark brown color. This pot is formed from two halves, a bottom half and a top half, that are put together to form this striking and unusual shape, with a ridged seam around the circumference of the pot. The clay is rich in iron and the glaze is made from clay mixed with wood ash and a little raw lead. The result is a rich dark chocolate brown. Height: 8 inches, 20.5 cm; Circumference: 26.5 inches, 67.25 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.

Antique Onggi Grain Jar from Chuncheong Province with charming finger-paintings of stylized orchids (nancho) and dragon (yong kurim) and hand-pinched 'dragon lines' (yong tti) and rings (son tti). The potter creates his free-hand and whimsical 'paintings' by running his finger (or thumb) through the still-wet glaze. The orchids are a symbol of modesty and purity, and the dragon is an ancient guardian, protecting the grain in the jar that will provide important nutrition to the family as a staple of the Korean diet. 16w x 17h inches, 40.5w x 43h 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.

Antique Nepali Sarangi Musical String Instrument with sublimely rendered tiger and human figures, from the published and renowned collection of Sam Hilu, a prominent author and adviser on traditional Asian art, 27 x 7.5 inches, 68.5 x 19 cm.

Antique Nepali Sarangi Musical String Instrument with sublimely rendered animal and human figures, from the published and renowned collection of Sam Hilu, a prominent author and adviser on traditional Asian art, 29.75 x 7.75 inches, 75.5 x 20 cm.

Antique Nepali Sarangi Musical String Instrument with script and sublimely rendered human and animal figures and representations of modes of transportation, from the published and renowned collection of Sam Hilu, a prominent author and adviser on traditional Asian art, 27 x 8.75 inches, 68.5 x 22 cm.

Antique Korean Coin Chest, Donkwe. 11h x 24w x 12.5d, 28h x 61w x 32d m. Coin chests are highly prized by collectors of Korean antiques. Paper money did not exist in Joseon Dynasty Korea, and the coins were of very small denominations. They had to be strung together in large, heavy quantities to have any worth, so a strong money box was a necessity. Mattie Ingold, an American missionary physician who worked in Jeonju, wrote: "If Korean money were proportionately as great in value as it is in weight and clumsiness, the Koreans would be a very wealthy people."

Ming Dynasty Chinese Wood Sculpture of Emperor and Empress. Purchased from Askenasi in Paris in 1978 by Irwin Hersey, renowned author on Asian and primitive art, and publisher of the Primitive Art Newsletter in the 1970s. Irwin Hersey was an advisor to museums and prominent collectors, and vetted pieces for many of the international tribal art fairs and Asian art fairs. 8.5 x 5 x 2 inches, 21.5 x 12.5 x 5 cm.

Ming Dynasty Chinese Wood Sculpture of a General on Horseback, with original pigments. 11 x 5 x 3.25 inches, 28 x 13 x 8 cm. Purchased from Askenasi in Paris in 1978 by Irwin Hersey, renowned author on Asian and primitive art, and publisher of the Primitive Art Newsletter in the 1970s. Irwin Hersey was an advisor to museums and prominent collectors, and vetted pieces for many of the international tribal art fairs and Asian art fairs.