Catalog: Antiques: Regional Art (180)

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).

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.

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.

Rare and Important Work of Calligraphy by the man designated in every textbook in the East and West as the Pioneering Father of 20th Century Art in Korea, An Jung Sik (also spelled Ahn Jung Sik), 1861-1919 (pen name Simjeon), calligrapher, scholar, royal court painter (he painted the portraits of the last two kings of Korea), and co-founder of KOrea's first modern art school. Paintings by An Jung Sik are by law not allowed to leave Korea, so they are rare in the West. His works of calligraphy are even more rare. So it is with pride that we offer what may be the only An Jung Sik calligraphy ever offered for sale outside of Korea. Calligraphy is regarded as the highest art form throughout East Asia. An Jung Sik studied calligraphy in China and Korea, and helped establish the Seoul Calligraphy and Fine Arts School in 1911, and co-founded, along with O Se Chang, the Association of Painting and Calligraphy Artists in 1918. Kim Eun Ho, Yi Sang Beom, and Jang Seung Eop are just a few of his students who went on to fame as some of Korea's greatest artists. An Jung Sik himself studied under the man widely regarded as one of the most important 19th Century Korean artists, Jang Seung Eop (pen name Owon). This is a large piece at 61 x 22 inches, 155 x 56 cm. An Jung Sik'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.

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.

Rare 5th Century Korean Gaya Water Jar of Classic Form, Color, and Design. The decoration is incised into the clay between the carved bands before firing. Gaya was a confederation of small states independent from and influential on the the Silla Kingdom and its pottery, until Silla annexed Gaya in the 6th Century. The long neck keeps water from sloshing out while the jar is being carried. Height: 10 inches, 25.5 cm.

This is the only calligraphy by Kim Eung Won aka Soho (1855-1921) we have ever seen offered for sale. His skill was so revered that the prince Daewongun paid Kim Eung Won to paint many of the works for which the prince took credit. Ink on paper. Mount: 73 x 15 inches (185.5 x 38 cm), Calligraphy: 51 x 12 inches (130 x 30 cm).

19th Century Sharkskin Head Band Case with Lacquered Dragon and Many Fine Details. A string would have been looped through either the lacquered dragon or the brass ring on the lid. Only a high-ranking person would have had a case that was made of sharkskin. This one is completely covered in sharkskin. The beautifully rendered brass hardware has grape motifs etched into them, a symbol of abundance, because of its many seeds. The chrysanthemum on the lid is also a symbol of plenty, because of its many petals. The other brass work on the lid is the two ancient Daoist trigrams, 'Thunder' and 'Fire'. Altogether a marvelous and rare work of artistry in excellent condition. 6.25 x 3.5 inches, 16 x 9 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.

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.

Nepalese Rai Tribe Mask with Pigment. 10.75 inches, 27.5 cm.

West Nepalese Mask with Yak Hair, 13 inches, 33 cm.

18th Century Tibetan Rudra Chakrin, King of Shambhala Thangka, 43.5 x 25.5 inches, 91.5 x 66 cm. Most of these thangka were photographed through glass frames, so there may be a little blurriness. This thankga was in an exhibition at the University of Texas Art Museum.

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.

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.

Nepalese Mask from the Humla Region with a beard, eyebrows, and scalp. 9 inches, 23 cm.

18th Century Mongolian Thangka of a Guardian Deity General on a White Horse. 27 x 19.25 inches, 68.5 x 49 cm.

Nepalese Middle Hills Mask with a Third Eye. 10.75 inches, 27.5 cm.