Catalog: Antiques: Regional Art (183)

Pair of Framed Korean Antique Embroidered Pillow Ends with a Happy Peacock Family and Flowers. Peacocks symbolize the 9 Virtues: a tidy face, clear voice, careful walk, appropriate behavior according to place and time, moderation in eating and drinking, knowing how to be content, existing together, not being obscene, and always returning. Eternity and continuity are symbolized by the lovely multi-colored repeating 'ryul' characters that are embroidered all around the borders. These are set in deep frames made of exotic paulownia wood, a wood prized for its beautiful wide grain. Eternity and continuity is implied through the lovely multi-colored repeating 'ryul' characters that are embroidered all around the borders. A charming, auspicious, and finely embroidered pair of Antique Korean Pillow Ends framed for display. Each Frame: 7.5 x 7 inches, 19 x 19 cm; Each Pillow End: 4.25 x 4.25 inches, 10.75 x 10.75 cm.

Large 19th Century Korean Sharkskin Jang Geom Sword with Silver Overlay. The scabbard is covered in sharkskin and lacquered black over that. The handle is very interesting and is covered in sharkskin underneath the heavy leather wrapping, and over the sharkskin there is a thick brass foil that is hammered to look like sharkskin. This is a unique technique. The end fitting is missing. The crossguard is shaky because there are a few washers missing from the sword. The blade goes all the way in the scabbard tightly but is off-center by about half an inch. 61.5 inches, 155 cm.

You rarely see 19th Century Korean tiger paintings offered for sale anymore, especially in excellent condition like this one. The last time we had one was 15 years ago, and it will probably be at least that long until have another one to offer. When they do come up in auctions now, they sell for five figures. That's because 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. The azaleas symbolize beauty. This painting is very "Korean." It is painted in ink and colors on traditional and old hanji paper. Korean tiger folk paintings are never signed. Frame: 45 x 29 inches (114 x 74 cm), Painting: 38 x 22 inches (97 x 56 cm).

Rare Large 19th Century Silver-Inlaid Iron Box with Exquisite Floral Design and Stylized Taeguk (Yin/Yang symbol) with Key Fret Border and Double Happiness Symbols. Silver-inlaid iron boxes are usually smaller than this rare large example. The floral design is also more detailed here than what we usually see, altogether making for a deluxe item. The condition is not perfect and is commensurate with the age of the item, and actually adds to the beauty and storied history of what must have been an extraordinary gift 150 years ago and a unique presentation item today. Perfectly proportioned at 6 x 4 x 4 inches, 15 x 10 x 10 cm.

19th Century Chinese Personal Dining Table with Beautiful Grain and Color, and a Rare and Elegant Form. The original natural oil finish has been buffed to a clear beautiful shine over many decades of buffing and cleaning, and is so much more attractive than the waxy chemical finishes on today's furniture. 22 x 14 x 5 inches, 56 x 35.5 x 12.5 cm.

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.

The only authentic 19th Century Korean shaman paintings offered for sale. Sublimely rendered here is the spirit of divine response, Kameung Sillyeong. There are many 20th century reproductions of these types of paintings. Authentic Joseon Dynasty examples like this exist only in museums. And even in museums, a pair like this is very rare. You can discern them by the material and quality, such as fine hand-woven silk and mineral pigments that give warmth and depth and are vivid but not garish like modern chemical paints. The originals like this are valued not only for their superior artistry, but also for the connection they provide to the culture and spirituality of ancient authentic Korean shamanism. Much of modern Korean art and culture is rooted in shamanism. Its influence pervades Korean society, whether or not one is aware of it. This is art that is by and for the people and not art for art’s sake. Within the broad realm of Korean folk art, shaman art expresses the deepest desires of the Korean people. Shaman paintings are a fundamental part of shaman rituals to protect the home, heal the sick, divine the future, communicate with the deceased, bless and protect the crop, wedding, family, and newborn baby, and provide the people with a sense of well-being and purpose. While the court ordained official theology and commissioned art supportive of it, the commoners, from a life really lived, created and through the centuries have held onto a most syncretic belief system that borrows from Buddhism, Confucianism, Daoism, ancient animism, and elsewhere, and that engenders a strong connection to nature and its energy. Korean shamanism encourages a healthy defiance against official dogma, and an open-mindedness and sincerity that guides the creators and commissioners of these powerful works of art. That is why these wonderful creations by and for the people speak so directly to persons of all persuasions even today. Frame: 40 x 26 inches, 102 x 66 cm. Painting: 34.5 x 20.5 inches, 88 x 52 cm.

The Only Antique Korean Quiver and Arrows Set Ever Offered for Sale. Metal quiver and wood arrows with pointed metal tips. This type of lid locking mechanism appears only on Korean quivers. Quiver length: 29 inches (74 cm).

Fine Old Balinese Barong Mask. Best known antique example on the market. With handles and movable jaw. From a published and renowned collection. Barong, King of the Spirits, protects families from the evil Queen Rangda of the mythical Leyak child-eating witches. 17.5 x 11 x 9 inches, 44.5 x 28 x 23 cm.

This gorgeous Ichung-nong (Korean Two Unit Stacked Chest) is a rare early piece (mid 19th Century) that has aged to a warm rich hue that is nothing short of a heartwarming and rare treasure to behold. It is a beautiful effect that could never be even closely duplicated with new wood. The finishing process involved singing the wood with a hot iron to both darken it and draw out the resin, and then using straw to rub pinesoot into the grain to further darken it and simultaneously seal the pores and prevent drying, and finishing it with a light pineseed oil finish. A further air of mystery and dignity is given by the very long aging process itself. It is constructed of pine and a rare strain of paulownia with maple door and drawer panels, a rare and luxurious touch on a Korean chest, evidence that this piece was owned by a wealthy family. Furthermore, 'nong' chests were owned by upper-class families who would have observed the distinction between 'nong', which were intended for long-term storage, and the 'chang' type of chests which were for short-term storage. Much of the ironwork is in the shape of stylized floral motifs. The drawers are adorned with lovely Heavenly Peach drawer pulls of iron. 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 Sohwangmo, the Queen Mother of the West. A further nice historical and cultural touch on an already wonderful, one-of-a-kind piece. 54h x 35w x 14d inches, 137h x 89w x 35.5d cm.

Fine 19th Century Perfectly Matched Pair of Oiled Paper on Wood Wedding Chests with a Beautiful Surface. Only very old oiled paper that has aged for many years can give you this warm, deep, dark hue. A rare perfect pair that is guaranteed to add warmth and beauty to any room. Dimensions of each chest: 30w x 17.5h x 14.75 inches, 76w x 44.5h x 37.5 cm.

The last rare Joseon Dynasty Munjado-Chaekgeori combination screen offered for sale was a decade ago at auction. It will likely be at least that long until you see another, if you ever see one for sale again at all. Even most museums have been unable to find one to acquire. The Cleveland Museum has a fine example. This rare combination of Munjado and Chaekgeori was painted only in the Gangwon Province. Munjado screens have eight pictorial ideographs depicting the Eight Confucian Virtues: Hyo (Filial Piety), Je (Fraternity), Chung (Loyalty), Shin (Trust), Ye (Propriety), Ui (Justice), Yeom (Integrity), and Chi (Conscience). Unique to Korean munjado screens are paintings of various creatures that since ancient times have symbolized the virtue they accompany here. Confucian values were regarded as the cornerstones of Korean society and Munjado screen paintings representing them were used as daily reminders to observe the Eight Virtues. Chaekgeori screens feature scholarly accoutrements such as books and writing tables, brush pots and scrolls, fans, along with items that would adorn the scholar's study such as potted flowers and plants, and fruit in bowls. Within the Confucian society of the Joseon Dynasty (1392-1910), scholars were highly respected and Chaekgeori screens were typically displayed behind the desk in a study to convey an air of dignity, luxury, and a reverence for scholarship. These screens were also intended to instill these values in the children of the household. Ink and colors on paper. Total dimensions: 65 x 140 inches, 165 x 356 cm. Each painting: 65 x 17.5 inches, 165 x 44.5 cm.

Joseon Dynasty Ton-kwe (Korean Coin Chest). Coin chests are highly prized by collectors, as their purpose required that they be the largest, heaviest, and most well constructed piece of furniture in the home of an aristocrat. Paper money did not exist in Yi Dynasty Korea, and the coins were of very small denominations. They had to be strung together in large quantities to have any worth, so a strong money box was obviously a necessity. This is a very heavy and likely the most impressive authentic antique Korean coin chest you will ever see for sale. This massive and handsome coin chest must have belonged to a very wealthy family. 19.5 x 56 x 29 inches, 49.5 x 142 x 74 cm.

Unique Burmese Gilded Bronze Buddha with Human Face and an Inscription that winds around the circumference. 10 inches, 25.5 cm.

Korean Sword with Insignia on the Blade. 26 inches (66cm) overall. Cracks in the scabbard but in otherwise good condition.

Rare Joseon Dynasty Small Inlaid Silver Iron Box with Gorgeous Floral Designs, with two compartments. A fine and one-of-a-kind 19th Century Korean collectible. 3.75 x 2.25 x 1.5 inches, 9.5 x 6 x 4 cm.

Very Rare 19th Century Korean Woven Bamboo and Willow Gori Basket and Lid with a beautiful dark patina and very creative use of the bamboo and willow, on both the exterior and interior of the basket. For a similar Korean Bamboo and Willow Gori Basket, please see page 106 of Korean Cultural Heritage 2, published in 2002. 12 x 3 inches, 30.5 x 7.5 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."