TISHU Furniture

A rare pair of Korean lacquered wood cabinet dated to the late Joseon Dynasty toward the end of the 19th century. The cabinet was known as "Morijang" in Korean and was traditionally ...

An opium pipe is a pipe designed specifically for the vaporization and inhalation of opium. But these beautiful little antiques have become one-of-a-kind works of art. This late 19th...

An opium pipe is a pipe designed specifically for the vaporization and inhalation of opium. But these beautiful little antiques have become one-of-a-kind works of art. This late 19th...

Beautifully carved scale box from the much desired Huanghuali wood. These scales were originally used to weigh herbs, medicines, and precious metals, but are known as opium scales...

This beautiful Tang dynasty earth spirit with human face and animal body is crafted with terracotta and paint. This semi-human spirit figure is seated on its haunches with cloven hoo...

This amphora pot was made some 2,000 years ago during the Han Dynasty (206 BC - AD 220). This vase is pear form with a vertically incised band around the ...

A natural malachite boulder on a fitted wood stand displayed as a Chinese scholar stone (Gong Shi), also known as meditation stone. The natural gem specimen displays a wonderful moun...

A large malachite rock specimen with intense green and black colors fitted on a wood stand and displayed as a Chinese scholar stone. The gemstone in the vertical botryoidal form was ...

An antique hand-made quilt circa 1890-1900s originated from Ohio. The quilt features a striking patched square pattern with fan motifs, all hand stitched with colorful cotton appliqu...

Artist: Susan Fenton (1949-2018; American) Title: Figure with Pediment. Japan series Year of Creation: 1993 Edition: 1/10 Medium: Toned Gelatin Silver Print; hand painted with Oils Image size: 16"x16" Framed size: 20"x21". Signed and titled verso as shown. Originally purchased in Olga Dollar Gallery in San Francisco Susan Fenton is an American photographer and a faculty member of St. Joseph’s University faculty. Fenton's work has been widely exhibited in galleries and museums. The captivating Japan series was made in 1990s after her return from living in Japan. The mysterious series showing figures in geometrical hats was enhanced by oil pigments to create a classical painterly quality that could not be achieved with camera only otherwise. “Fenton’s figures – silent, composed, aloof – represent aesthetic idealism,” Inquirer art critic Edward J. Sozanski wrote, “By avoiding eye contact...

Artist: Susan Fenton (1949-2018; American) Title: Figure with Folded Paper Hat. Japan series Year of Creation: 1993 Edition: 1/10 Medium: Toned Gelatin Silver Print; hand painted with Oils Image size: 16"x16" Framed size: 20"x21". Signed and titled verso as shown. Originally purchased in Olga Dollar Gallery in San Francisco Susan Fenton is an American photographer and a faculty member of St. Joseph’s University faculty. Fenton's work has been widely exhibited in galleries and museums. The captivating Japan series was made in 1990s after her return from living in Japan. The mysterious series showing figures in geometrical hats was enhanced by oil pigments to create a classical painterly quality that could not be achieved with camera only otherwise. “Fenton’s figures – silent, composed, aloof – represent aesthetic idealism,” Inquirer art critic Edward J. Sozanski wrote, “By avoiding eye contact...

Artist: Susan Fenton (1949-2018; American) Title: Figure with Rectangle and Cone. Japan series Year of Creation: 1993 Edition: 1/10 Medium: Toned Gelatin Silver Print; hand painted with Oils Image size: 16"x16" Framed size: 20"x21". Signed and titled verso as shown. Originally purchased in Olga Dollar Gallery in San Francisco Susan Fenton is an American photographer and a faculty member of St. Joseph’s University faculty. Fenton's work has been widely exhibited in galleries and museums. The captivating Japan series was made in 1990s after her return from living in Japan. The mysterious series showing figures in geometrical hats was enhanced by oil pigments to create a classical painterly quality that could not be achieved with camera only otherwise. “Fenton’s figures – silent, composed, aloof – represent aesthetic idealism,” Inquirer art critic Edward J. Sozanski wrote, “By avoiding eye contact...

A Japanese formal Kimono made with a very fine black linen gauze augmented with applied modern circle pattern. The garment was hand-stitched and dated to circa 1930-50s. The black ga...

A collection of three bronze bowls from Korean dated to 14-17th century (late Goryeo to early Joseon Dynasty). It consists of an early example with a slight curvy wall and a high foo...

A framed photograph by Chinese American photographer Don Hong-Oai (1929-2004) "The Intimate Shadow", a composed landscape photograph taken in Quilin, the world-famous scenic area in China. Signed with title, inscription of location and dated on the top -left, red sealed on the lower right corner and signed and dated 1982 lower left on the mat. The photograph depicts an idyllic scenery on Li-river with the karst peak in the misty background, where a fishing boat floats. The work was created with dark room manipulation to echo the traditional chines ink painting that showcase a surreal ambience. The photograph is housed in the original artist's archive metal frame with an old print of the artist's bio and copyright mark on the back. It was purchased directly from the artist's studio. Sight Approximately 13.625" w x 10.125" h. Don Hong-Oai was born in Canton, China but raised and educated in Saigon, Vietnam. At age 13 he began an apprenticeship at a Chinese photo and portrait shop. In 1979 he immigrated to the United States and settled in the Chinatown of San Francisco. Don began making a living by selling his landscape photographs in front of Macy’s and began to receive recognition for his craftsmanship. His style was heavily influenced by the legendary photographer Long Chin-San and his technique of layering negatives for ideal composition, by taking three negatives, foreground, middle ground, and far ground, and selecting a subject from each negative. The photographs of Don Hong-Oai are made in a unique style, which can be considered Asian pictorialism. This method of adapting a Western art for Eastern purposes probably originated in the 1940s in Hong Kong. One of its best-known practitioners was the great master Long Chin-San (who died in the 1990s at the age of 104) with whom Don Hong-Oai studied. With the delicate beauty and traditional motifs of Chinese painting (birds, boats, mountains, etc.) in mind, photographers of this school used more than one negative to create a beautiful picture, often using visual allegories. Realism was not a goal. Don Hong-Oai was one of the last photographers to work in this manner. He is also arguably the best. He has won hundreds...

A small elegant glazed ceramic tea bowl (chawan) by Japanese American artist Toshiko Takaezu (American, 1922 - 2011). The well-balanced form is hand built and shows just a slight irr...

An Islamic glazed ceramic bowl with inscription attributed to Raqqa ware, produced during the Ayyubid dynasty (12-13th century) in the town of Raqqa in nowadays northeastern Syria. T...

A rare and complete set of wood bucket with cinnabar lacquer and gold paint housing a pewter tea pot with a fabric pouch from Ryukyu Kingdom, Second Shō dynasty, circa 19th century. Located in nowadays Okinawa Prefecture, Japan. Ryukyu kingdom (1429 to 1879) was a tributary state of imperial Ming...

An earthenware bowl supported on a foot ring decorated with elaborate slip paint. The bowl was likely made in Kashan (in nowadays Iran) during 12-14th century, in Khwarazmian Empire,...

A large earthenware bowl with a deep and wide body supported on a foot ring decorated with incision and slip paint circa 11-12th from Iran when ...

A deep and wide earthenware bowl supported on a foot ring decorated with slip paint from Nishapur 11th century under the Seljuk Empire (in nowadays Iran). This bowl features a thinly...

An antique Korean Bandaji from Jeju Do (Jeju Island) circa 19th century. Made from hardwood planks (possibly pine or pearwood) and stained in a dark color...

A carved wood buddha with lacquered surface in the style of Erku (1632–1695), a monk from Edo period who was famous for hand-carving Buddha statues in a primitive style. From a single wood block of what appears to be cedar, the standing buddha was carved in an unpolished manner with exposed knife strokes that effectively depicted a subtly smiling face and the folding of the cascading robes. The rustic style is full of Mingei charm being a great example of Japanese Buddhism...

A large garment robe display rack from Northern China, circa late 19th century toward the end of Qing Dynasty Made of elm wood and finished in a deep...

An antique lacquered small box that was likely used to contain incense powder (it is called Kobako in Japanese), circa early to mid-19th century of the Edo...

An antique Eastern Turkish wool kilim rug from Anatolia region circa 19th century. The finely woven rug is professionally mounted on a linen-backed canvas for display. The tribal wea...

A bespoken Japanese ceramic glazed tea bowl with fabric insert, pouch and original padded wood tomobako box. The chawan has a slightly irregular wall supported by a high notched foot...

Displayed on a black custom carved wood stand, this solid malachite rock specimen with intense green and black colors functions as a Chinese scholar stone. The gemstone showcases the...

A striking and well preserved Japanese Meisen kimono hand-sewn from woven Ikat Silk circa 1920-40s (Taisho to Showa period). The kosode style kimono (sma...

Chapan is the iconic fornt-open flowing robe traditionally worn by the nomadic people in Central Asia. In countries like Uzbekistan, it was almost the old national costume. This Uzbe...

A Japanese lacquer box with lid and an inner tray decorated with Maki-e on a dense nashiji background. The fine box was likely made circa 1920-30s...

An Indonesia textile panel professionally presented on a linen canvas. It can be taken off from the canvas for easy and economical shipping upon req...

A six-panel painted folding floor screen from Korea circa early 20th century. This type of screen is called Chaekgeori (books and things) which is quite unique to Korea. It became popular at the end of 18th century favored and encouraged by King Jeongjo (1752-1800) as a political tool to promote social conservatism such as the traditional Confucianism value, especially considered important in a time when waves of new ideology influx came to Korea. Initially commissioned for the royal court, they became increasingly popular with the scholars of noble and affluent households and were used widely in their halls and studies. Early screens were painted with trompe-l’oeil bookcases displaying books and arrays of collectibles. Later, the bookcases were eliminated to focus on the assemblage of neatly stacked books and objects of scholarly pursue. On this screen, the six panels were neatly presented and framed in woven brocade borders. Among the stacked volumes, one can find many fine porcelain vases with flowers, potted orchids, pen holders with brush pens and scroll paintings, incense burner, ink stone, teapot, fan with ink painting, vessels of fruits, exotic plants such as lotus, plumeria and even a pair of glasses. It feels like a pleasant visual measure hunting for the viewers. Several words in Chinese found their way into the picture as well, including filial (xiao), longevity (shou) and luck (fu). The painting was done in a meticulous way with no details overlooked and also with a rather western still-life dimensional perspective. In a rather unusual maximal but also minimalistic way, the screen exudes a historical charm with a folky flair but appears modern at the same time. Each panel is 17.5"w by 70.2"h. For general information on the subject see reference: Chaekgeori the Power and Pleasure of Possessions in Korean Painted Screens...

A Japanese Ikebana basket woven by bamboo artist Abe Motoshi (Japanese, b. 1942). In an organic vase form with elegant, curved wall with reinfo...

A bronze bowl shape vessel with fitted lid from Korean dated to 15-16th century (early Joseon Dynasty). In an elegant minimalistic form with thin wall and supported by a high foot ri...

A stoneware glazed bowl by British studio potter John Ward (1938-2023) circa 1980-1990s of the last quarter of the 20th century. The bowl features a distinct form with a wide flanged...

A striking blue and white vase from the studio of Japanese Potter Makuzu Kozan, also known as Miyagawa Kozan (1842–1916), one of the most established and collected ceramist from Meiji Period. Born as Miyagawa Toranosuke, Kozan established his pottery studio in Yokohama circa 1870s and later became one of the appointed artists to the Japanese Imperial household. His work was exhibited in many international fairs that the Meiji government participated at the turn of the century and won many grand prizes. Of a relatively large size, this vase is decorated with underglaze cobalt blue using the novel technique developed by Kozan called Fuki-e (the blow painting). As a result, the bamboos appear took on a three-dimensional quality as if appearing in a mist. Known as one of the most creative ceramists, circa 1887, Kozan started experimenting with new chemical colors from the West in the format of his porcelain glaze. New colors allowed him to create underglaze design that appeared bright, smooth and glossy. He even invented his own receipt of cobalt blue to achieve a much brighter yet softer shade, as evident on this vase. To create landscape that is realistic and dimensional, more common in the western paintings, he was inspired by the native Japanese ink painting technique developed around 1900 by Yokoyama Taikan...