TISHU

A pair of framed antique Chinese embroidery textile panels circa 19th century of Qing Dynasty. Each piece features two mirror-matchin...

A large and rare Japanese ceramic vase of exceptional quality from late Meiji period circa 1900-10s by Kinkozan (1645-1927). One of the largest studio manufacturers of the export cer...

A two-tier stacking storage cabinet on comforting stand, known as Nong in Korean, circa early 20th century (end of Joseon to Korean Empire Period). Each cabinet is fitted with a pair of paneled doors opening in the center to ample storage. The upper cabinet also has a row of four small drawers on top. The stacking cabinet directly sit directly on top of the support stand. Constructed in pine frame with exposed finger joints, they were simply finished in black lacquer on top and the sides. The facade of the cabinets, however, showcases meticulously chosen persimmon wood panels. The striking wood veneer with the bold black grains were perfectly matched in mirrored fashion. Visually arresting, the dark wood grains appear like bold strokes on an abstract ink painting. The yellow brass hardware is of relatively smaller sizes with subdued motifs in order not to overtake the beauty of the wood. They consist of drawer pulls, corner brackets, petal-form hinges and larger lock plates with cutout coin design. The interior was stripped clean showing the natural wood and some residues of old lining rice paper. We can trace the Nong cabinet on offer here to the more southern providences of the Korean Peninsula where Persimmon trees grow and were harvested, such as Jeolla Do or Chungcheong Do. The wood was beloved by Korean furniture makers in Yi dynasty and used on eye-catching pieces to emphasize the natural beauty of the wood. Examining the piece, one can see extensive and deep patina incurred from its age and previous use, yet the cabinet remains aesthetically stunning as an antique piece with an unexpected modern flare. For a similar two-tier chest with near identical configuration, size and wood used, see relic no 007182 in the collection of National Folk Museum of Korea in Seoul. The piece is also illustrated on the cover as well as page 46 of the book "Korean Antique...

A porcelain incense burner (koro) made by Japanese potter Makuzu Kozan (also known as Miyagawa Kozan, 1842-1916) circa 1890s-1900s (end of Meiji Period). The koro features an elegant...

A vintage tabletop sculpture crafted by C. Jere and dated to 1978. The metal sculpture was constructed from chromed steel and brass in an abstract tapering spiral form with curved th...

A ceramic lidded celadon vessel made by Japanese potter Uichi Shimizu (1926-2004) circa post 1980s. The vessel was known as Mizusashi in Japanese and used as a freshwater container t...

A modern pottery vessel by American potter Paul Soldner (1921-2011) circa 1960s. Paul Soldner is renowned for his dedication to develop and further Raku firing in American pottery fi...

A rare four-piece Japanese Fireman's assemble (Shobosho uniform) woven with heavy cotton and decorated with stencil resist dye circa 1890-20s Late Meiji to Showa Period. The assemble...

A fiber art installation by Chinese artist Chen Qingqing (1953-), called "Clothing, from Artificial Artifact Series-Flower" was created in 2004 and purchased from Plum Blossom Galler...

A rare six-panel Japanese folding floor screen (Byōbu) by Soga Shōhaku (1730-1781) from Edo period. The screen depicts six perched hawk-eagles in various poses positioned in a litera...

A striking Korean Bandaji with lots of original patina circa 19th century of late Joseon Dynasty. Bandaji is known as drop front half-opening chest that was used to store family valuables and beddings. The Bandaji on offer was made in Pyongyang area in now North Korea and was clearly intended as a wedding chest. Constructed in limewood (also known as Lindenwood), which is rather plain and lacks grains, the chest was instead sumptuously decorated with nickel-copper (Paktong or white copper) plates, stripes and studs. Covering nearly the entire front of the cabinet, the metal plates were placed with eye-pleasing symmetry pattern. The top row is centered with a large square lock plate with latch and a heavy fish lock (no key), flanked by a pair of pulls set on plates in longevity mushroom pattern (lingzi). The middle row has a large cloud-form hinge in the center, flanked by three vertical pairs of rectangular hinges. The lower row features a large embossed and chased square plate with a character "Double happiness" in the center, a Hanja character reserved for the wedding ceremony. On both sides, large pair...

A wood club known as Wahaika intricately carved and inlayed with small round shells from New Zealand circa 1920s. The hand-hold club was traditionally used as a close-range combat we...

A small copper crab with articulated legs made by Myochin Hiroyoshi in the late Meiji Period circa 1890-1900s. As an ornamental display item, this type of small sculpture with moving...

A striking steel and stone table studio-made by American sculptor Albert Paley (1944-). The table heavy and substantial and will be a bespoken center piece and a focal point with its...

A terracotta pottery funerary urn with lid from Korea Unified Silla Period, circa 9th century. The jar was in a classic globular form with raised shoulder. Although the surface was u...

A vintage Japanese silk Kuro Tomesode Kimono, circa 1950s-1980s. Kuro Tomesode is a dress for married woman for the most formal occasions, equivalent of the evening gowns in the west...

A collection of four Early Persian Glazed Pottery Oil Lamps from an American collection. It consists of three oil lamps with iridescent glaze purportedly from Rhages area, Persia, ci...

A Korean top-lid chest on elevated carved legs circa late 19th century of Joseon Dynasty. Known as coin chest (Ton-Kwe in Korean), this type of chest was originally used for storing ...

An antique Korean wood Bandaji cabinet from Yecheon area in Gyeongsang Do (southern part of Korean Peninsular) circa late 19th century Joseon Dynasty. This particular Bandaji features a partial drop-down front door and extended top plank with upturned end. The relatively plain hardware indicates that its origin was likely from the Northern part of the Gyeongsang Do. The construction suggests that the use of the piece might be to store books or manuscript, known as Ch'aek Bandaji. The cabinet was made from stained pine wood and fitted with black iron hardware. It is supported on carved curvy legs...

An antique Bandaji chest from Korea circa late 19th century Joseon Dynasty. The relatively small open-front cabinet was constructed from stained elm wood and fitted with thin hammere...

An elegant Taihu scholar rock balanced on a custom wood stand, in a mushroom cloud form and full of grottoes. The weather-smoothed surface is of grayish...

A small Korean antique box circa late 19th century of Joseon Dynasty. The square form box was constructed with thick hardwood planks on all side (appears to be elm) with a noticeable...

A mirror and cosmetic box known as Gyeongdae from Korea circa early 20th century of late Joseon to Korean Empire to colonial period. This type of small and elegant cabinet belongs personally to a lady for her makeup need. The upper part opens to a folding mirror that stands to a total measurement of 12.5 inches. The lower part consists of a single drawer to store the small accessories. The surface of this box is covered with Zelkova wood veneer with an expressive and eye-catching grains, contrasting nicely with yellow brass hardware that includes corner plates, butterfly shape hinges, a drawer pull and a square lock plate that opens when the brass knob is pushed forward. During Joseon Dynasty, this type of mirror box became popular, starting from the loyal families to the wealthy household. For a similar mirror and cosmetic box in the collection of Weisman Art Musuem, see illustration 63 on page 72 of "Traditional Korean Furniture" by Edward Reynolds Wright and Man Sill Pai. Another example in the collection of National Folk Musuem of Korea is illustrated on page 68 of "Korean Antique...

A significant contemporary aboriginal painting by Kathleen Petyarre (1940-2018) in 2010. The painting was a rare oversize piece, exceptionally executed in earthy colors, showcasing m...

Artist: John Patrick Dugdale (New York, b. 1960) Title: Margie Medium: Cyanotype Year: 1996 Edition: number 2/10 Measurement: Sight H 9", W 7.5"; with artist fame H 14.5", W 12.5" Pr...

A lounge chair constructed in upholstered wood frame flanked by thick Lucite plank arm with exposed brass hardware, this bespoken model was a design attributed to Vladimir Kagan (192...

A Japanese stoneware tsubo (storage jar) circa 19th century (Meiji period), likely made in one of the Shigaraki or Echizen kilns. The jar has a thick robust body, and a short-neck ri...

A striking large painting by Australian Aboriginal artist Mabel Juli (b. 1931) circa 1990s. This large abstract landscape painting on the dreamscape of the Western Australian Desert was boldly executed with several shades of earth pigments. The contrast of their colors, the granule textures of the surface and the abstract composition made it visually arresting. Provenance: inscribed verso: "Warmun Art Centre, Mabel Juli 409/08 " Paper label affixed from "Gallery Gabrielle Pizzi Gallery, Melbourn, Australia", where the painting was originally purchased prior to 2004. Mabel Juli started painting in 1980s at the Warmun Art Centre, encouraged by artists Rover Thomas...

A rare footed dish in the form of an open scroll painting with literati landscape from the studio of Japanese Potter Makuzu Kozan. Also known as Miyagawa Kozan (1842–1916), Makuzu wa...

A beautiful bamboo sculpture in an Ikebana basket form by contemporary Japanese bamboo artist Kawano Shoko (born 1957-). The piece was made in 2005 and purchased from Tai Modern in 2...

A fine pair of two-tier stacking cabinets, known as Nong in Korean, circa early 20th century (Korean Empire to Japanese Colonial Period). The square cabinet each is fitted with a pai...

A Korean black lacquered wood low table with elaborate inlay works circa late Joseon dynasty (late 19th century to turn of 20th century). The low table, supported by slightly curved ...

A stunning Japanese embroidery tapestry circa 1880s-1900s from late Meiji period, presented with an original wood frame with inner gold trim. The tour-de-force embroidered tapestry s...

A Kazaribako "Ornamented Box" made of glass by Japanese artist Kyohei Fujita (1921-2004) circa 1990s. The hand-blown glass box is substantial in size and weight. It features a hexago...

A brilliant Kazaribako "Ornamented Box" made of glass by Japanese artist Kyohei Fujita (1921-2004) circa 1990s. The hand-blown green glass box features an unusual form in rectangular...

A glamorous circular dining table designed by Karl Springer circa 1980s. Supported by a pedestal in a large column shape, the thick tabletop features a rounded beveled edge and encir...

An editioned gelatin silver print by American photographer Duane Michals (1932-). "I could read it clearly in his palm. There would be a terrible tragedy. My love could not protect h...

An editioned gelatin silver print by American photographer Duane Michals (1932-). "After his shower, he dried himself very carefully. and although he would never admit it, it had all...

An editioned gelatin silver print by American photographer Duane Michals (1932-). "Just to light his cigarette was a great pleasure" from Homage to Cavafy Series, published in 1978. ...

A rare Korean porcelain brush holder in Banana Leaves pattern from late Joseon dynasty circa 19th century. Cherished by the scholars, this brush...

A ceramic vase in tapered square form made by Japanese studio Seikozan circa 1890-1910s (late Meiji Period). One of the many artist studios that specialized in satsuma ware, Seikozan...

Tri-pod ceramic bowl likely used as an incense burner (koro) by Japanese Imperial potter Makuzu Kozan (1842-1916) circa late Meiji period. The signature indicates that it was produce...

A large Japanese ceramic vase from end of Meiji period circa 1880s- 1910s by Kinkozan (1645-1927). One of the largest studio manufacturers of the export ceramics at the time based in Kyoto. In the typical style of satsuma made at the turn of 20th century, the vase is of a moon jar shape and finely decorated with kinran-de (gold paint) on a cream white background with even fine crackles. What sets this particular vase apart from many lower quality and mass-produced pieces is the meticulously renditioned surface decoration. Lavishly gilded with a continuous design, the carefully composed imagery depicts an elaborately decorated float cart in a festival parade. A group of people are seated within the float with a woman and a child standing in the front. Surrounding the float are streams of marchers dressed...

A large stoneware glazed bowl in a rare leaf form by British studio potter John Ward (1938-2023) circa last quarter of the 20th century. The impressive, oversized bowl features a dis...

A large stoneware vessel with distinct form by British studio potter John Ward (1938-2023) circa last quarter of 20th century. The form of the vase as in the artist's repertoire may be known as a "Disc Pot" due to its unique shape. It features a round flattened body that organically morphs into a tapering neck with a slightly dipped neckline. It calls to mind the Chinese "moon flask", whose origin was likely attributed to the nomads of the Islamic Central Asia. The pot is covered with a mottled cream glaze specked with brown marks, mimicking the earth deposits on an archeological object...

A stoneware vessel with a distinct form and glaze by British studio potter John Ward (1938-2023) circa 1990s. This specific form in the artist's repertoire may be known as a "Spheric...

A striking abstract painting by Australian Aboriginal painter Walangkura Napanangka (1940-2014), one of the matching pair painted in 2007 in Alice Spring. Entitled "Kutungka", acrylic on Belgium linen, inscribed on reverse with gallery catalog no. "Kutungka" depicts the landscape of a country where an old woman named "Kutungka" travelled from Malparingya to Kaltarra in Western Desert during the Dreamtime creation. The highly abstract forms are the dreamtime memory of the land features, such as rock piles and waterholes. Provenance: Grasstree Gallery, Australia. It comes with a COA from the gallery as well as progressive photos taken during the creation of this painting by the artist in 2007. Brief biography From Australian Art Gallery artist...

A striking abstract painting by Australian Aboriginal painter Walangkura Napanangka (1940-2014), one of the matching pair painted in 2007 in Alice Spring. Entitled "Kutungka", acrylic on Belgium linen, inscribed on reverse with gallery catalog no. "Kutungka" depicts the landscape of a country where an old woman named "Kutungka" travelled from Malparingya to Kaltarra in Western Desert during the Dreamtime creation. The highly abstract forms are the dreamtime memory of the land features, such as rock piles and waterholes. Provenance: Grasstree Gallery, Australia. It comes with a COA from the gallery as well as progressive photos taken during the creation of this painting by the artist in 2007. Brief biography From Australian Art Gallery...

A dreamy vintage silver gelatin print by Chinese photographer Chin San Long (also known as Lang Jingshan) (Chinese, 1892-1995). Entitled "Spring Fantasia" the...

Artist: Liu Xiaofang (Chinese, b. 1980) Title: I Remember II-02, 2012 Medium: Digital pigment print mounted on Acrylic Measurement: 39.25" x 39.25" Edition: 2/8 PROVENANCE: Purchased...

Artist: Utagawa Hiroshige (1797 - 1858) Series: Pictures of Famous Places in the Sixty-odd Provinces Number: 44 Oki Province: Takuhi Shrine Medium: Woodblock Print Date: 1853 (Kaei 6), 12th month Number of Prints: 70/70 (inc. Title Page) Format: Vertical Oban Size (H x W): 14" x 9.25" print only. Publisher: Koshimuraya Heisuke (Koshihei) Blockcutter's mark: Hori Ko-Sen Signature: Hiroshige hitsu Additional marks: Censor's seals: aratame, Ox 12 Displayed with mat and gilt wood frame. Reference: For an identical print, see the collection of MIA (Minneapolis Institute of Art) Accession Number P.75.51.398; MFA...

A large ceramic lidded vessel with striking sculptural form by contemporary Japanese potter Shigemasa Higashida (1955-). Hand-built and with drasti...

A fine Kashkul carved from half of the giant nutshell of Coco-de-mer likely from Persian Qajar Dynasty circa 18-19th century. Kashkul is a container known as the beggar's bowl, carri...

A framed C-print photography by British artist Sam Taylor-Wood (1967-). Entitled "Self-Portrait in a Single-Breasted Suit with Hare", the print was made in 2001 and its unique in this size at 9" h x 6" w. Presented in a wood frame. Provenance: Matthew Marks Gallery, NYC (label verso). Artist Biography (courtesy of Guggenheim Musuem Collection) Sam Taylor-Wood B. 1967, LONDON Sam Taylor-Wood was born in London in 1967. At the age of sixteen, she enrolled in an art school in Hastings, later moving back to London to attend Goldsmiths College. After graduating in 1990, she worked as a bartender and as a dresser at the Royal Opera House; the latter experience would influence her work’s unabashed theatricality. Originally a sculptor, she began working in photography, film, and video in the early 1990s. Her first film, 16mm (1993), consists of an isolated female figure gyrating to a steady beat. She explored similar intersections between video, dance, theater, music, film, and video in subsequent works, including Killing Time (1994), in which seemingly bored actors wait their turn to lip-synch the lines of different characters from Richard Strauss’s Electra. Her photographic work also finds points of intersection with other mediums. The title of Five Revolutionary Seconds (1995–98), for example, refers to her creation of a panoramic image by rotating her camera around a room over that period of time; the resulting image has a narrative quality despite being a static image. In recent years, Taylor-Wood has engaged ideas of celebrity culture in her work. Third Party (1999–2000), a seven-screen video installation at the Hayward Gallery in London, featured pop singer Marianne Faithful and actor Ray Winstone in different one- and two-person scenes of flirtation and ennui, creating a party-like environment in the gallery where the viewer is privy to these personal exchanges. Equal parts pathos and humor, the two-minute film Pietà (2001), in which the artist attempts to suspend the Hollywood actor and hard-living icon Robert Downey, Jr. in her arms, also evokes the well-known art historical subject. Her video David (2004) evokes similar connotations and intimately unveils the much-photographed dynamic soccer icon David Beckham in deep sleep. Time and speed are often centerpieces of her videos, whether the rapid acceleration of a bowl of fruit’s decay process in Still Life (2001) or the illusion of frozen time in The Last Century (2006), for which the actors are in fact filmed in real time but remain impossibly still. Taylor-Wood’s first narrative film, Love You More (2008), borrows its title from a song by the 70s punk band Buzzcocks and chronicles the story of two teenagers who hear the recently released song together in a record store. Since her first show, Killing Time at the Showroom in London in 1994, Taylor-Wood has had solo exhibitions at White Cube in London (1995, 2001, 2004, and 2008), Kunsthalle Zürich (1997), Hirshhorn Museum and Sculpture Garden in Washington, D.C. (1999), Museo Nacional Centro de Arte Reina Sofía in Madrid (2000), Centre National de la Photographie in Paris (2001), Musée d’Art Contemporain de Montréal (2002), Russian Museum in St. Petersburg (2004), Museum of Contemporary Art in Sydney (2006), Museum of Contemporary Art in Cleveland (2007), and Museum of Contemporary Art in Houston...

A Japanese silk Suijaku hanging scroll beautifully presented in a custom wood shadow box frame from Edo period (circa 18-19th century). The scroll, surmounted on golden brocade was painted in fine details with gouache, ink and gold powder highlight, served as a Suijaku mandala for the worshippers. Honji Suijaku is a complicated religious concept uniquely developed in Japan. It mixed and hybrid the Buddism deities with native shinto spirits (known as Kami), which were seen as local manifestations (the suijaku, literally means a "trace") of Buddhist deities (the honji literally the original ground). The original idea may lie with the synergetic strategy to spread Buddism by making it more relatable to the local population who had already worshiped Shinto gods. The paradigm, adopted in the 10th century from an orignal Chinese concept, remained a defining feature of Japanese religious life up to the end of the Edo period (1868). Instead of being confined to deities, its application was often extended to historical figures as shown on this scroll. This long hanging scroll depicts an arrangement of 21 figures including Buddhism and Shinto deities as well as two historical figures on the bottom. Each figure was name-tagged in Kanji for easy identification by the worshippers. It was used in the temple or shrine so that when the worshipper prayed in front the mandala, they prayed simultaneously to all the deities. On the very top, sits Nyorai-Kojin, a hybrid deity of Nyorai Buddha and Kojin, the kaki for fire, stove and kitchen. From the top to bottom and left to right, here is the list of the deities: Kanon with Thousand Hands, Kanon with Willow Branch, Monju Bosatsu...

A large presentation plate with striking pictorial design from the studio of Japanese Potter Makuzu Kozan. Also known as Miyagawa Kozan (1842–1916),...

A large Japanese ceramic vase by the celebrated Meiji imperial potter Makuzu Kozan (1842-1916) circa 1880-1890s. Dated to his underglaze phase post 1887 after he successfully mastered the new colors available from the west and used them to the best advantage in his work deeply rooted in Japanese aesthetics. The vase has an impressive size and was potted in the classic baluster form with an elegant proportion. The surface is decorated using a combination of techniques of low relief sculpturing...

A Chinese wood altar table or console table circa late 19th to early 20th century (late Qing dynasty to the Republic era). The table was constructed with mixed wood types. The legs a...

A Japanese lacquered wood fubako (a box to store document or small scroll painting) circa late 18th century of Edo period. The rectangular box features a deep lid with rounded corners and recessed mid-edge and a lower box with two bronze medallion rings and tasseled silk ties. The surface of the fubako was elaborately decorated with hiramaki-e and a low takamaki-e on a mottled Mura-nashiji background. The motifs on the lid depict branches of Japanese pine with finely rendered needles on the lower part; on the upper part, it showcases fruited persimmon branches. Two different shades of gold fundame were used to contrast the design and augmented by scattered gold kirigane to highlight some of the leaves. The design continues and cascades down to all sides of the lid as well as the walls of the box. The two bronze medallions appear original to the box and the silk ties show significant fading from the age. This Fine fubako is signed on the lower wall "Kanshosai" in Kanji with a kao mark. All the trims were finished in gold fundame and the interiors a dense nashiji in gold. Kanshosai is the mark of the distinguished lacquer artist Lizuka Toyo I who also signed his work "Toyosai". He was active in the second half of the 18th century during Edo period, employed by Hachisuka Shigeyoshi (1738-1801), daimyo of Awa on Shikoku Island. Although most survived work bearing his marks are inros, he was also known to decorated trays and other larger objects...

A contemporary ink painting on paper by Chinese artist Li Jin (1958-) presented in a white shadowbox frame. Entitled in English "Morning Practice in California", this series of work was painted in 2017 when the artist resided in US. The Chinese title inscription is "Blossom Branch" with artist's name signed in both Chinese and English. The painting is considered "Expressionistic-abstract". Using only various shades of ink, the poetic work depicts a large lotus flower with the pistil in the center composed of clusters of mediating arhats, the beings who have gained nirvana through Buddhism practice (known as Luohans in Chinese). There is a strong association of lotus flower and purity in Buddhism. The wisdom one can possibly achieve may be considered omnipresent and morphogenetical quantum and be part of everything around us. The image size is 13.5" x 13.5". Provenance: Purchased in 2017 from the Ink Studio at West Bund Art and Design Fair, Shanghai, China. Li Jin (1958-, Tianjin, China) is an ink master who draws from the tradition of Chinese literati ink painting and creates contemporary works celebrating all aspects of everyday life. Having explored color washes for two decades, Li Jin has translated them into a masterful control of tonality-the "five colors of ink"-in a series of monochrome paintings in the expressionistic-abstract "Da Xie Yi" manner. Through the ink medium's inherent sensitivity and ambiguity, they evoke the nuances of human existence and raise profound questions about self-representation and subjectivity. Trained at Tianjin Academy of Fine Arts (graduated in 1983) and has been a leading figure in contemporary Chinese ink art...