Catalog (337)

Dragon Skies set of 10 paintings created in 2004 by Renowned Korean Artist Don Ahn aka Ahn Dong Kuk (1937-2013). We encourage you to research Don Ahn's sales record and market prices on sites such as Artsy, so you can appreciate what a great opportunity this is to purchase an original work of art by the master at a price well below the actual value. The second photo here pairs the 10 paintings with the 10 Bodhisattvas by Choi Dae Shik that are on this website for $1500. Both sets may be purchased at the discounted price of $2000. Don Ahn was a pioneer of Korean art in America. In the 1950s he was the first to move permanently to the US and receive recognition here, beginning with the 1952 exhibition of his work at the Kilbride Bradley Gallery in Minneapolis, the very first exhibition of Korean contemporary art in America. His work is in the permanent collection of the Museum of Modern Art in New York, and other major museums. There was recently an exhibition of Don Ahn's work at the Walter Wickiser Gallery in New York's Chelsea art district. Acrylic on paper. Frames: from 14.25 x 11.25 to 8.5 x 8.25 inches (36 x 28.5 to 21.5 x 21 cm); Paintings: from 7 x 3 to 3 x 3 inches (18 x 7.5 to 7.5 x 7.5 cm). See also preeminent art critic Holland Cotter's review of Don Ahn's work in the April 4, 1997 New York Times article, Of Asians Among the Abstractionists, where he describes Don's paintings as "Exuberant" and "Inspired by Zen brushwork".

Blue and White Porcelain Memorial Tablet for Park Gi Il from Miryang, Korea, dated May 1830. It declares a long genealogy in the royal Min clan. This epitaph was written upon the passing of Park Gi Il of Miryang in May 1830. It memorializes him and lists his ancestors' names. An important piece of history and a rare and beautiful work of calligraphy painted with blue cobalt on white porcelain. 7.5 x 6 inches, 19 x 15 cm. framed

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.

Rare Buncheong Vessel by Shin Sang Ho from 1993, during his buncheong period, with the original signed box. A piece that is both beautiful and important in the history of Korean contemporary ceramics. Shin Sang Ho was Dean of the College of Fine Arts at Hongik University, and his work is in the permanent collections of many major museums, including the British Museum, the Victoria and Albert Museum, the Cleveland Museum of Art, the Royal Ontario Museum, the Seattle Art Museum, and many other museums throughout Korea, Asia, and the world. This very fine example is probably the only work from Shin Sang Ho's buncheong period that is available for purchase, and that is not already in a museum or private collection. 8.5w x 7.5h inches, 21.5 x 19 cm.

Fine and Beautifully Embroidered 19th Century Korean Ironing Board from the renowned, published, and exhibited Lea Sneider textiles collection. This truly deluxe Korean ironing board is the finest example we have seen of an embroidered ironing board, and is filled with imaginatively rendered symbolism. Geese mate for life, so they are an ancient symbol of fidelity, and the lotus is a symbol of purity and rebirth, because the lotus rises above the muck of the pond to show its face to the Sun. 22.5 x 6.5 inches (57 x 16.5 cm).

Deluxe Pair of Finely Embroidered 19th Century Korean Pillow Ends from the renowned, published, and exhibited Lea Sneider textiles collection, with Peonies (symbol of prosperity) and Mountains (symbol of longevity). Frames: 9.5 x 9.5 inches (23 x 23 cm); Pillow Ends: 6 x 6 inches (15 x 15 cm).

Slip-Cast Sculpture by Kang Suk Young, Professor, Department of Ceramic Art, College of Art and Design, Ewha Womans University. Kang says, "I gain satisfaction and pleasure from the infinite colors created by the genuineness of white." Kang Suk Young is regarded as the pioneer of the slip-casting movement in Korean contemporary ceramics, and he continues to be in the forefront of introducing new ideas and creative expressions in contemporary Korean Ceramics. His work is in the permanent collection of the Brooklyn Museum, and is on display in their Korean gallery. 19.5h x 15w inches, 50 x 38 cm.

Incised and Inlaid Stoneware Vessel by Cho Chung Hyun (born 1940), a retired professor and Dean of Fine Arts at Ehwa Womans University. This piece was recently featured in an exhibition at the Korea Society. Cho Chung Hyun's work is inspired by Korea’s onggi pots. This piece tells a 3,000 year-long story of Korean ceramics, from red-bodied Neolithic pottery, the triangle patterns of Silla ware, the inlaid work of Goryeo ceramics, the form of onggi pots from the Joseon Dynasty, right up to today with a modern sensibility and contemporary rendering. Cho Chung Hyun’s works are in the permanent collections of the British Museum, the Victoria & Albert Museum, the Pacific Asia Museum in Pasadena, the National Museum of Scotland, and the National Museum of Modern and Contemporary Art in Seoul, among other museums. She has curated numerous exhibitions of contemporary ceramics, including the first exhibition of Korean contemporary ceramics to travel to major museums around the world, From the Fire: A Survey of Contemporary Korean Ceramics. Cho Chung Hyun is a leading figure in the world of contemporary ceramics, as an artist, educator, curator, and author. 15h x 9w inches, 38 x 23 cm.

Shin Eun Sook Marble Sculpture, Mandala. Shin Eun Sook, Chairwoman of the Korean Sculpture Association, is famous for her monumental sculptures, some as tall as 13 meters (over 40 feet), that can be seen throughout Asia in public parks, university campuses, museums, and corporate headquarters. Her small-scale and affordable works like this one are rare. The third photo here is of the artist standing next to her bronze and granite work at Tsinghua University in Beijing, China. The remaining photos are a few examples of her famous public works. 26.5h x 12.5w inches, 67.25 x 31.75 cm.

Shin Eun Sook Granite Sculpture, Cosmos. Shin Eun Sook, Chairwoman of the Korean Sculpture Association, is famous for her monumental sculptures, some as tall as 13 meters (over 40 feet), that can be seen throughout Asia in public parks, university campuses, museums, and corporate headquarters. Her small-scale and affordable works like this one are rare. The third photo here is of the artist standing next to her bronze and granite work at Tsinghua University in Beijing, China. The remaining photos are a few examples of her famous public works. 14h x 11.5w inches, 35.5 x 29 cm.

Shin Eun Sook Bronze Sculpture with Granite Base. The bronze characters form the written word 'good fortune', in Sino-Korean. Shin Eun Sook, Chairwoman of the Korean Sculpture Association, is famous for her monumental sculptures, some as tall as 13 meters (over 40 feet), that can be seen throughout Asia in public parks, university campuses, museums, and corporate headquarters. Her small-scale and affordable works like this one are rare. The third photo here is of the artist standing next to her bronze and granite work at Tsinghua University in Beijing, China. The remaining photos are a few examples of her famous public works. 11.5h x 8w inches, 29 x 20 cm.

Bodhisattva by Choi Dae Shik aka Daniel Choi, Set of Ten Paper on Wood Sculpture, as featured in SOFA, Sculptural Objects and Functional Art, the premier gallery-presented art fair dedicated to three-dimensional art and design. Each one has a hook on the back, so they may also be displayed hanging on the wall. 10 inches (25.5 cm) tall.

Joo Ji Wan's meditative groups of celadon cubes reference Korea’s ancient tradition of geometric patterns in a contemporary form. Her work was recently displayed at the Korea Society exhibition, Korean Contemporary Ceramics, and it was her work alone that was chosen for the cover of the exhibition catalogue. This fine set of 13 cubes is the very last set of cubes that Joo Ji Wan will offer for sale, as she is moving on to other projects, and there are no more cubes in her inventory or in the inventory of any gallery. She has saved this grand set of cubes, her very best, for last. Joo Ji Wan's work was also in From The Fire: Contemporary Korean Ceramics, an historic traveling exhibition of works by 54 of Korea’s best contemporary ceramic artists. It has traveled to major museums all over the world, and is the most important exhibition ever mounted on Korean contemporary ceramics. The artist given the very prestigious honor of having her work chosen for the front and back covers of the beautiful hardcover exhibition catalogue was Joo Ji Wan. In fact, her work alone was also chosen for the cover of all brochures and literature related to this most important exhibition, and so has become the symbol of contemporary Korean ceramics. Joo Ji Wan's work has been exhibited at a long list of major museums, including the Asian Art Museum of San Francisco, Yale University Art Gallery, Freer/Sackler Gallery of Art, Indianapolis Museum of Art, Museum of Fine Arts in Boston, Harvard University Art Museum, Detroit Institute of Arts, Saint Louis Museum of Art, Newark Museum, American Craft Museum, Portland Art Museum, Society for Contemporary Crafts, Museum of Fine Arts in Houston, Seattle Asian Art Museum, Vancouver Art Museum, Royal Ontario Museum, and many others. It is appropriate that Joo offers her work in sets that are described with musical terms, such as Duo, Trio, Quartet, Ensemble, etc. Musical metaphor is almost required in describing Joo’s inlaid celadon and porcelain cube sets. Consider the melodic interplay of the pieces within a set, the rhythm of the patterns that are inlaid in each piece, and the harmony of the set as a whole. Just as music is mathematical but should not be predictable, Joo’s forms are simple, mathematically fundamental cubes that are inlaid with labyrinthine surprises rooted in Korea’s ancient tradition of geometric patterns imbued with centuries of meaning. Artistic innovation deeply rooted in Korea’s long celadon tradition is what puts Joo Ji Wan at the vanguard of Korean art today. Each cube: 5.25 inches, 13.25 cm. Entire Display: 31w x 21d x 26.5h inches, 78.75w x 53.25d x 67.25h cm.

A fine example of a Joseon Dynasty Korean tiger hunting painting, that makes use of the best quality pigments and finest silk, and is rendered with the highest level of artistry and skill, likely by a painter from the royal court. A similar painting recently sold at auction in Korea for $5500. Unique to Korea, almost all Korean hunting paintings depict hunters in Mongolian costume. In spite of the Mongols' brutal occupation of Korea in the 13th Century, Koreans maintained great admiration for Mongolian hunting and equestrian skills. This painting is one of a pair. The other painting is on this website (Stock #1186). Scroll: 50 x 17 inches (127 x 43 cm); Painting: 27 x 13 inches (68.5 x 33 cm).

Very Rare Calligraphy by Kang Se Hwang aka Pyo Am (1713-1791), artist, calligrapher, art scholar and critic, and one of the most important figures and the most influential scholar-painter of 18th Century Korea. Calligraphy by Kang Se Hwang is so rare that the only other example that we know of in America is a very similar work in the Los Angeles County Museum of Art, illustrated on pages 172-173 of the recently published, Pathways to Korean Culture: Paintings of the Joseon Dynasty by Burglind Jungmann. The left and right margins bear the signed and sealed authentication of the most renowned expert on Korean calligraphy, Kim Sun Won aka Mae San, celebrated calligrapher and host of the television show Jin Pum Myung Pum, the Korean equivalent of the Antiques Road Show. Mae San's authentications are highly valued and can be found on pieces in museum collections throughout Korea. 25 x 11 inches, 63.5 x 28 cm.

Painting of Scholar Under Moonlit Plum Blossoms by Park No Soo aka Nam Jeong (1927-2013). Just the first page of a google search reveals both the renown that Park No Soo enjoyed internationally, and the adoration he received locally in Korea. His minimal style and palette is instantly recognizable, and this beautiful, contemplative painting is a fine example of his inimitable, expressive brushwork, from the silvery-blue sliver of a moon, to the unique rendering of orchids and rocks. The orchid is an ancient symbol of virtue, and the rocks symbolize eternity. The combination had great meaning to Korean scholars, as it symbolized eternal devotion to your principles. The plum blossoms are a symbol of courage, because they bloom early, before winter is finished. The Park No Soo Museum opened in 2013 in Seoul's Jongno District, Jongno's first public museum. Park No Soo was a student of Yi Sang Beom, who was a student of An Jung Sik, who was a student of Jang Seung Eop, the very best possible lineage of Korean art royalty. Watercolors on paper. Frame: 23 x 18.5 inches, 58.5 x 47 cm; Painting: 13.5 x 9 inches, 34.25 x 23 cm.

Dhyangro drums are usually separated from their phurba (ritual dagger) handles, and the handles are sold by themselves. This is a common occurrence with Nepali dealers. This is because the handles are easier to transport and sell. So it isn't very often that you see a completely intact, old Tibetan ritual drum. The drum is made of wood and animal hide, and has shaking balls inside for accenting the rhythms created by the shaman dancer. The handle is a wonderfully carved wood phurba (ritual dagger) with multiple faces. An old and beautiful piece that displays nicely. From the collection of Sam Hilu, prominent collector and author on Asian and African art. 26 x 15 x 5 inches, 66 x 38 x 13 cm.

Mid-20th Century Melanesian New Hebrides Islands (Vanuatu) Shield, with woven rattan attachments. 67 x 10 inches, 170 x 25.5 cm.