Catalog: Antiques: Regional Art: Asian (154)

19th Century Korean Hat Box made entirely of Exotic Paulownia (Odong-namu) Wood, from the collection of a French diplomat stationed in Korea in the 1950s. Paulownia is very desirable for collectors because of its beautiful wide grain, light weight, and fire and bug-resistant qualities. The paulownia used for this rare hat box is especially fine. 9.5 x 9.5 x 8.5 (height) inches, 24 x 24 x 21.5 cm.

Nepalese Mask of a Humla Aesthete with a Thorja Topknot. 11 inches, 28 cm. From the collection of 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.

Sri Lankan Monkey Mask used in the Kolam Natima Fetus Protection Ritual Drama that was performed when a tribe member was pregnant. The tribe's Edura (Shaman) wears the mask in the Kolam Natima masked dance-drama, and portrays a monkey who dances and cavorts to placate the demons that threaten the health of the unborn child. This particular mask is wonderfully rendered, with his ear-to-ear grin and bulging eyes, and the beautiful original pigments are still intact. From the collection of Sam Hilu, prominent collector and author on Asian and African art. 17.5 x 11 x 9 inches, 44.5 x 28 x 23 cm.

South China/North Vietnam Yao Shaman Ka Dong Deity Ritual Mask. This fine old mask would have been used in the same family for several generations to perform rituals such as those for a newborn baby and maturation. The wood for this important mask would have been taken from dep in the forest where spirits were believed to live. 14.5 inches, 37 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.

13th Century Korean Inlaid Celadon Cosmetic Box. The chrysanthemum's many petals is an ancient symbol of an abundant life or fertility. Encircled with a key fret thunder pattern and rolling clouds motif. A rare and gorgeous piece. 3.25 inches wide x 1.75 inches high; 8.25 cm wide x 4.5 cm high.

Rare and Beautiful Pair of 19th Century Korean Hwajodo Bird and Flower Paintings filled with ancient and beautiful symbolism. The pair of pheasants symbolize love, the lotus symbolizes rebirth, the rocks represent eternity, the chrysanthemums with their many petals symbolize plenty or good fortune. Pheasants are an ancient symbol of happy marriage and family duties, and also represent royalty and the peace and order their reign should bring. The azaleas are a symbol of beauty. The bamboo, subtly rendered here with just the leaves on view, is a symbol of wisdom, flexibility, and resilience because it is flexible and wise enough to bend with the wind rather than resist it. So the entire composition represents a beautiful, resilient, bountiful, and eternal marriage. Each Painting: 50 x 13 inches, 127 x 33 cm.

Rare Red Lacquered Inkstone Box of Drawers adorned with ancient symbolism: bullocho (mythical longevity plant) lock plates, bat (symbol of happiness) drawer pulls, and swallowtail (symbol of beauty) braces. The inkstone box was a Korean scholar's most treasured item. He handled it every day, when he would take out the contents to write and paint. The lid opens to reveal the compartment for the inkstone. The drawers hold the brush, ink, and paper. Together these, with the inkstone, are the "scholar's four friends." An inkstone box in royal red lacquer is exceedingly scarce. 11.5 D x 9.75 H x 8.25 W.

Extremely Rare Set of Three Mumun Pots from the 3rd Century BCE from the Koejongdong site in Daejon near the Geum River. A similar example from the National Museum of Korea can be seen in Plate 34 in The Prehistory of Korea by Kim Jeong-hak. Prehistoric Korean pottery is so scarce outside of museums, that this is the only time we have ever acquired any. According to Professor Choi Jong-taek of Korea University, these everted lipped pots with their distinctive color and texture date from the period in Korea when the Bronze Age was giving way to the Iron Age, and the Mumun pottery period was ending with these types of pots with a greater hardness and fired at a higher temperature than previous Mumun pots, that is, about 300 BCE. This was a brief but very important transitional period into higher technology and culture in Korea, from the the end of the Mumun Pottery Period to the beginning of the Iron Age, so pieces from this defining period are rare. This is a once-in-a-lifetime opportunity for a collector. Dimensions from tallest to shortest are: #1 - 4 inches height x 11.5 inches circumference (10 cm height x 29 cm circumference); #2 - 3.5 inches height x 14 inches circumference (9 cm height x 35.5 cm circumference); #3 - 3 inches height x 12.5 inches circumference (7.5 cm height x 32 cm circumference).

Rare 19th Century Korean Antique Men's Mirror Box of High Quality Persimmon and Zelkova Wood. 10 x 8 x 6 inches, 25 x 20 x 15 cm.

Red Lacquered Safe with Beautiful Metalwork with auspicious symbols: a tortoise lock (symbol of longevity),peach drawer pulls (a symbol of longevity), the diamond-shaped Seven Treasures symbol, floral scrolls throughout, and the wan (the wheel of life and symbol of universal peace and harmony) is a symbol so ancient it actually predates Buddhism and originally represented the revolving sun. In Buddhism it represents the Heart of the Buddha, happiness, and resignation of spirit. 14.5d x 10w x 11h inches, 37d x 15.5w x 28h cm.

Geese and Reeds Painting (Noando) mounted on luxurious gold silk by Yang Ki Hun aka Seokyeon (1843-1897) from Pyeongyang, signed Seokyeon. Yang Ki Hun's signature 'boneless' style (painting without outlines, using ink washes) beautifully captures light and shade. The literal meaning of 'noando' is reed and geese painting, but it is a play on words, as 'no' means both reed and old, and 'an' means both geese and comfort ('do' means painting). So 'noan' can mean 'reed and geese' or 'old comfort', and so a painting of geese and reeds symbolized a wish for a comfortable and peaceful old age. This particular painting has further meaning because it depicts two pair of geese. Geese were believed to mate for life, so this painting symbolizes eternal love, and the wish for a couple to grow old together in peace and comfort. Yang Ki Hun was a member of the Royal Academy of Painting in the 19th Century. He made a living by painting for the king and his court, and also by selling his paintings in Pyeongyang. Here are two great quotes from Yang Ki Hun's contemporary, the painter and calligrapher Chi Un Yeong (aka Paekryeon): "Yang Ki Hun's paintings stir up my jealousy because they seem completely freed from all ideas and restraints". And after Seokyeon (Yang Ki Hun) passed away, Chi Un Yeong wrote, "Seokyeon told me that when he stayed on Neungna Island for a few years some time ago, he often saw geese fly in and land on a reed field, so he was able to paint them in a realistic way. His words still linger vividly in my ears. I remember playing with him thirty years ago in the Taedong River, and it seems so far away and dream-like." Ink on paper. Silk Mounting: 67 x 16.5 inches, 170 x 42 cm; Painting: 48.75 x 12 inches, 124 x 30.5 cm. The third photo here shows the market price for Yang Ki Hun paintings, much more than the attractive price at which I am offering this painting.

Exceedingly Scarce Set of Three Iron Age Korean Pots with Exquisite Color and Beautiful Form. 4th to 1st Century BC. You are unlikely to ever see another Iron Age Korean pot offered for sale, much less a set of three. The remaining examples are all in museums or tightly held private collections. These prehistoric pieces are finely potted and made from soft and sandy red clay. They are aesthetically striking in both color and form and are historically significant. This is a once-in-a-lifetime opportunity for the scholar/collector/aesthete. Right Pot Dimensions: 16.25 inches (41cm) circumference, 3.25 inches (8.5cm) height. Middle Pot Dimensions: 18.25 inches (46.5cm) circumference, 4 inches (10cm) height. Left Pot Dimensions: 12.5 inches (32cm) circumference, 2.75 inches (7cm) height.

Very Rare Joseon Period Lacquered Bamboo Fan with the Korean Taegeuk National Symbol.The last photo here shows a similar fan in a recent Korean auction with an estimate of $3,000 to $5,000. You can see similar examples on page 475 of the catalogue of the Korean art collection of the Grassi Museum in Leipzig, Germany. The Taegeuk symbol has been used in Korea for thousands of years and is the center of the Korean flag. The three colors here, yellow, red, and a very light blue, represent balance in the universe, and Humanity, Earth, and Heaven, respectively. These fans very rarely come up for sale and are highly desired by collectors and museums. We offer this opportunity for one of our clients to make this rare acquisition of a sublime and contemplative 19th Century Korean meditative object at a generous price. 13 inches (33 cm) high x 9 inches (23 cm) wide.

This exemplary work of 19th Century Korean folk art is sculpted in and painted on wood and metal and features the two most revered mythical creatures in Korea: The Yellow Dragon and The Blue Dragon. This creative composition has a patron couple who seem to have the dragons' tails coming out of them. The Dragon brings rain, blessings, and life. The Yellow Dragon writhes dynamically and shows its face at the top of this piece, while The Blue Dragon offers a foundation to the composition and makes its presence known with a single all-seeing eye protruding through the bottom. In ancient Korean cosmology, The Yellow Dragon rules from the center of the sky. Korean emperors chose from ancient times the symbol of The Yellow Dragon to represent the royal family. The Blue Dragon is the color of the sky and the sea and symbolizes the power of both. Farmers prayed to the Dragon for rain and fishermen prayed to him for a good catch, while fishermen's wives asked the Dragon to bring their husbands home safely. The Yellow Dragon and The Blue Dragon have been paired for millennia, with a wonderful example on the 7th century tomb of King Muyeol (reign 654-661). This tradition was continued by the 19th century owner of this sublime example with a string in the back for hanging and displaying in order to repel evil spirits while bringing blessings to the home. 20.25 x 14.25 inches, 51.5 x 36 cm.

We have been trying since we opened 18 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 an orchids painting and it 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 for the first time a 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 sweeping strokes to quietly rendered details. 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. 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, and Kim Gyu Jin is unanimously regarded as one of the best. Ink on paper. Scroll Mounting: 79 x 20.5 inches (201 x 52 cm), 54 x 13.5 inches (137 x 34 cm).

Rare and Beautifully Embroidered Joseon Dynasty Korean Scholar's Rank Badge (Fusu) adorned with metallic thread throughout giving it a luxurious sheen. After 19 years in business, we have finally acquired a rare Korean rank badge (fusu) for the first time. This one belonged to a scholar aristocrat, as indicated by the cranes. It is rendered in a unique and lovely golden palette and is wonderfully designed with clouds (symbol of longevity), peonies (symbol of wealth or abundance), and rows of wan symbols (the wheel of life and symbol of universal peace and harmony). The wan is a symbol so ancient it actually predates Buddhism and originally represented the revolving sun. In Buddhism it represents the Heart of the Buddha, happiness, and resignation of spirit. 17.5 x 10.5 inches, 44.5 x 27 cm.

Orchids and Rocks Painting by Kim Eung Won aka Soho (1855-1921). 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 second photo here is from a sale at another gallery where the prices on much smaller and simpler paintings by Kim Eung Won are double the price we are asking here for this larger and finer painting. Ink on paper. 54 x 14 inches, 137.5 x 35.5 cm unmounted. (A much smaller Daewongun painting sold at Christie's for $12,500 on March 18, 2014).