Catalog: Antiques: Regional Art: Asian: Korean (111)

Calligraphy by the Joseon Dynasty's Last Prime Minister, Lee Wan Yong aka Ildang (1858 - 1926). He was prime minister of Korea in 1906 - 1910. Lee is Korea's most infamous traitor, the "Benedict Arnold of Korea", for signing the Japan-Korea Annexation Treaty in 1910. Connoisseurs begrudgingly acknowledge his great talents as a calligrapher, but the disdain with which he is regarded keeps the demand, and thus the prices of his work very low. Mounted on sky blue silk. Scroll: 74.5 x 17.5 inches, 189 x 44.5 cm; Calligraphy: 51.5 x 12.75 inches, 131 x 32.5 cm.

Calligraphy by Korea's Most Famous Calligrapher, O Se Chang aka Wichang (1864 - 1953). Not only is O Se Chang the most renowned calligrapher in 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. 53 x 12 inches, 134 x 30 cm, unmounted. O Se Chang's calligraphy is currently 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.

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.

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).

Pair of Framed Korean Antique Embroidered Pillow Ends with the Characters 'Su' and 'Bok', Long Life and Happiness, and Peonies, ancient symbol of love and prosperity. These are set in a deep and lovely frame made of exotic paulownia wood (odong namu), a wood prized for its beautiful wide grain. Each Frame: 8.5 a 8.5 inches, 21.5 x 21.5 cm; Each Pillow End: 4.75 x 4.75 inches, 12 x 12 cm.

Exceedingly Scarce 19th Century Korean Painted Terracotta Sculpture of a Dongja Boy. We have only seen only one other large-scale antique Korean painted clay sculpture ever offered for sale. Height: 17.5 inches (44.5 cm).

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.

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).

Extremely Scarce Set of Five Prehistoric Korean Arrowheads from Korea's Neolithic Period 8000-1500 BCE. These faceted arrowheads are identical to the Neolithic arrowheads on page 31 of the catalog, the 29th United Association of the University Museums of Korea Exhibition - Korea's Bow and Arrow, The Military Academy Museum. Sizes range from 1.75 to 3.25 inches. It is unlikely you will ever again see prehistoric Korean arrowheads offered for sale.

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.

Fine 19th Century Korean Royal Court Painting of Children at Play. This genre of Korean paintings always displays children playing in imaginary Chinese court costumes, and is called Baekdongja-do in Korean. From the ground-breaking Auspicious Spirits, Korean Folk Paintings exhibition catalogue: "Depicting the children as court nobility expressed an auspicious desire that one's own children achieve success in life." This exceptional example was displayed in the room of a wife in the Korean royal court to inspire her to become pregnant and to have healthy, playful, and successful children. It was also displayed on the first birthday of each child. Ink and colors on silk. 40 x 14.5 inches, 101.5 x 37 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).

Very Finely Embroidered Deluxe Pair of Korean Pillow Ends with Two Cranes (symbol of a long and happy life together) and Peonies (symbol of love and prosperity). A very special pair. Mounted and framed, but the frame is in disrepair and should be replaced. 5.5 x 4.25 inches, 14 x 11 cm each.

Fine, Rare Eight-Panel Painting by Revered Korean Artist Kim Eung Won aka Soho (1855-1921). Similar to the Kim Eung Won screen in the royal Changdeok 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. 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 of the only other Kim Eung Won screen offered for sale. The "sale" price is more than double the price we are asking here. This is the only Kim Eung Won eight-panel painting we have ever offered in our 18 years in business. Ink on paper. 54 x 14 inches, 137.5 x 35.5 cm unmounted. (A much smaller and single Daewongun painting sold at Christie's for $12,500 on March 18, 2014).

Fine and Rare Korean 19th Century Guardian Painting in Gold Leaf and Mineral Pigments on Silk in Excellent Condition with Vivid Colors. This would have hung on the door of a home to protect the household. This is the finest example of a door guardian painting we have ever seen. Frame: 22 x 10 inches, 56 x 25.5 cm; Painting: 19.5 x 7.5 inches, 50 x 19 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, which is much higher than the attractive price at which we are offering this fine painting.

Geese and Reeds Painting (Noando) on fine silk 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: 76 x 19.5 inches, 193 x 49.5 cm; Painting: 44 x 14 inches, 112 x 35.5 cm. The fifth photo here shows the market price for Yang Ki Hun paintings, which is much higher than the attractive price at which we are offering this fine painting.

Very Fine and Rare Silver Inlaid Iron Brazier (a source of heating and light), hexagonal shape, beautifully rendered and in excellent condition. Each protuberant side is decorated with a keyfret-bordered roundel enclosing six different works of art: a crane and sea turtle in beautifully stylized clouds and waves beneath a silvery moon (symbols of longevity); one of the Eight Buddhist Emblems of an oversized conch shell; a leafy floral design symbolizing abundance; a leafy branch of pomegranates whose many seeds symbolize fertility; another leafy floral branch; and a deer couple at rest beneath a wonderfully curving pine tree that encircles and protects this gorgeous, idyllic scene blessed with symbolism of a long, healthy, happy and peaceful life filled with love. Each roundel is surrounded by a cell diaper pattern with a keyfret border on each side of the brazier. The decorated waisted neck supports a flat everted hexagonal rim decorated with a floral vignette on a cell diaper ground and a keyfret border, all resting on a keyfret-bordered base with six bracket feet decorated with lotus flowers and scrolls. The lotus is a Buddhist symbol of purity, because it rises above the muck to the surface of the pond to show its face to the sun, symbolizing hope and redemption. Height: 6.5 inches, 16.5 cm; Width: 8 inches, 20 cm.