South Korea

The Tone Table is inspired by the traditional colors of Korea, especially "Hanbok," which is a traditional Korean dress for formal occasions. Here, those traditional colors are made ...

The Tone table's palette was inspired by the traditional colors of Korea, especially those used in the traditional formal dress called "Hanbok." Here, those traditional colors are ma...

The tone shelf is inspired by the traditional colors of Korea, especially "Hanbok," which is a traditional Korean dress for formal occasions. Here, those traditional colors are made into art furniture with a modern sensibility, in Korean jade and sky blue. The tone of the blue gives an elegant and dreamy vibe. As artisans dye each piece of acrylic by hand, the tone in this piece is completely different from that of a mass-produced product, and as such, has its own value as a limited artwork. Wide spaces between the shelves can fit large...

The Tone Table is inspired by the traditional colors of Korea, especially "Hanbok," which is traditional Korean dress for formal occasions. Here, those traditional colors are made in...

Proportions Of Stone Armchair in Stainless Steel & Natural Stone by Lee Sisan Dimensions: D 52 x W 82 x H 82,5 cm Materials: Stainless steel and natural stone. Each piece is made to...

Bal is a tapestry crafted from traditional Korean knots of cotton ropes and adorned with the Chil-bo (cloisonné) technique, a traditional method for decorating metal objects. This p...

Qingbai porcelain incense stands of elegant baluster form, flanked by scroll-shaped handles and raised on an openwork square base. Covered overall in a soft bluish-white glaze, the p...

This olive-brown celadon ewer features an octagonal lobed body, a tall curved spout, loop handle, and a domed cover with a bud-shaped finial. The olive glaze is suffused with fine cr...

This double-spouted vessel originates from the Peru and is distinguished by its sculptural anthropomorphic design. One of the chambers is shaped as a human figure with a triangular f...

This vase features a traditional vase coated with a clear and rich green celadon glaze. A fine network of crazing covers the surface. The neck is adorned with raised vine motifs, whi...

The jar features a round body with well-proportioned four distinct tiers and a short, stable foot. The surface is coated in a deep green Longquan celadon glaze, showcasing the sprout...

Potted in a balanced baluster form with a gently flared mouth and a stable foot, this vase presents a calm and harmonious silhouette. Animal-form handles holding looped rings add scu...

The vase is delicately potted featuring a pear-shaped body that rests on a slightly flared foot and extends upward into a trumpet-shaped neck. Its exterior showcases a dynamic, three...

This vessel is an exceptionally rare example believed to represent a Cong-shaped ceramic attributable to the Jin Dynasty, and it may be the only known ceramic work of this form from the period. While certain formal similarities have led some scholars to tentatively associate it with the Song Dynasty or later, the present work is more convincingly attributed to the Western Jin Dynasty (3rd–4th century CE). The vessel is constructed with a cylindrical inner structure and a square outer profile, conforming to the characteristic geometry of the ancient Cong (琮) form. Its surface is decorated with restrained geometric incised patterns. This structural concept is directly derived from ancient jade Cong (玉琮), which represent the earliest and most authoritative prototypes of the form. Jade Congs...

Well potted with shallow sides rising from a short foot, the interior molded with a single chrysanthemum surrounded by peony blossoms picked out in yellow and with green leaves again...

The central design features botanical motifs, with fully bloomed flowers and branches intricately depicted. The rim of the lid is encircled by a decorative band resembling a twisted ...

Loop Series Chain Champagne Glass in Borosilicate Glass by Studio-Chacha Dimensions: Ø 10 x H 33 cm. Materials: Borosilicate glass. Cha Shin-sil is a Seoul-based designer and founde...

This dish is covered in a rich green glaze, with a central medallion depicting a sinuous dragon in high relief, surrounded by a continuous band of floral scrolls. The dragon’s scales...

Proportions of stone shelf 01 by Lee Sisan Dimensions: W 110 x D 35 x H 150 cm Materials: Stainless steel, natural stone Each piece is made to order a...

Each side pencil-painted with stylized chrysanthemum, lotus or daisy sprays issuing from rockwork. This blue and white square vase with rounded sides has a flaring mouth and a long neck. This shape can be traced back to Chinese bronzes. It is decorated with floral motifs on four sides in underglaze blue. This piece was originally part of a pair, but the other has already been sold. Period : Qing Dynasty, Kangxi Period(1690-1699) Origin : Jingdezhen Destination : Netherland Found/Acquired : Southeast Asia , South China Sea, Vung Tau Ship Reference : Double checked with reference to the original catalogues below 1) Christies Amsterdam 1992 - Vung Tau Cargo...

Proportions of stone table by Lee Sisan 2019 Dimensions: W 140 x D 60 x H 55 cm Materials: Stainless steel, natural stone Each piece is mad...

Console Table 03 by Saerom Yoon Limited Edition No. 09 of 10 + 2AP Dimensions: D 43 x W 110 x H 85 cm. Materials: Acrylic. My oldest childhood memories go back to the time I spent i...

The "twin fish" dishes, emblematic of fertility and marital joy, are also recognized as one of the Eight Buddhist symbols. These dishes were prominently produced by the Longquan kiln...

Famous annamese cream glazed ceramic ewer covered with a cream glaze. Traces of excavation are clearly visible in the glaze. Dates : Presumably Ly Dynasty (11-13th century) Region ...

Statues of horse and rider, featuring glazes in green, amber, are set on rectangular bases. Period: Ming Dynasty Medium: Green and Amber-glazed Pottery Type: Figure Provenance : ...

The design features a central medallion surrounded by eight panels, each intricately painted with traditional Chinese botanical and floral motifs. The number 8 in Chinese culture is associated with prosperity and is considered very auspicious. This may reflect the traditional Chinese cosmological concept of the "Bagua," which are eight trigrams used in Taoist philosophy to represent fundamental principles of reality, seen in various aspects of Chinese culture, including the I Ching and Feng Shui. The central circle with radiating petals is also a representation of perfect geometric harmony, reflecting the balance and unity which are key elements in Chinese aesthetics. The use of symmetry and balance is seen as a way to represent the harmony of the universe. Period : Qing Dynasty, Kangxi Period Production Date : 1690-1699 Made in : Jingdezhen Destination : Netherland Found/Acquired : Southeast Asia , South China Sea, Vung Tau...

Two standing court figures modeled in pottery with slender proportions and simplified facial features. A thin straw-toned glaze is applied over the surfaces, with areas of exposed bu...

Vietnamese stoneware crab boxes. Light blue glaze. This is one of the representative types of miniature works of Hoi An ships. Dates : 15th century Le Dyn...

This vase is sturdily potted with a robust ovoid body that rises from a short, spreading foot to a gently tapering neck, finishing with a lipped mouth rim. The exterior is decorated ...

This artwork, acquired in Hong Kong during the 1990s, is presumed to have been produced in the same kiln from the Han dynasty, based on the head of the Sotheby's reference piece, which also originated from Hong Kong. Furthermore, given its almost identical shape to the piece from the Artemis Gallery...

Fragment Side Table in Resin & Marble by Fict Studio Dimensions: D 33 x W 33 x H 45 cm. Materials: Resin and marble. Jang Hea-Kyoung is a Seoul-based artist and designer whose p...

White tooth chair by Dongwook Choi Dimensions: 70 x 37 x 45 cm Materials: EPS, plaster It is a chair made with the motif of tooth shape. After the ureth...

Rug and stool combination inspired by an old Korean phrase “When the tiger used to smoke” meaning “once upon a time”, and humor from folk paintings of bunnies holding the pipe for the tiger in horror. Jasoo – Korean embroidery...

Jjirasi Vase explores the intertwined narratives of South Korea's urban landscapes and his own experiences, reflecting on how future generations might engage with traditional art and...

Proportions Of Stone Low Table in Natural Stone, Glass & Aluminum by Lee Sisan Dimensions: L 92 x H 140 cm Materials: Glass, aluminum, and natural stone. Dimensions may vary. Pl...

The bowl is potted with gently flaring sides and a neatly trimmed foot. The interior is carved in low relief with a stylized peony scroll, the broad petals and flowing tendrils rende...

Fine-grained, buff-colored clay. Potted thin. Upper part of body painted with symbolic patterns in black and chocolate brown. Majiayao culture, Banshan type, 3rd millennium BC Peri...

Table made with Hanji and discarded paper fibers from a paper company by using dochim method, which is pounding finished paper sheets to compact fibers. Hanji is the name of a tradit...

A matched pair of small circular covered boxes (蓋盒) in Swatow (漳州窯) ware, decorated in Famille Verte enamels of iron-red and copper-green on a white ground. One cover painted with a ...

Proportions Of Stone Low Table in Natural Stone, Glass & Aluminum by Lee Sisan Dimensions: D 150 x W 150 x H 33 cm Materials: Clear glass, cast aluminum, and natural stone. Each pie...

Pottery figures of a mounted soldier and horse made from reddish-brown earthenware, constructed in a modular manner with the horse’s legs and tail, as well as the soldier’s hands, or...

Fragment Side Table in Resin & Marble by Fict Studio Dimensions: D 31 x W 47 x H 90 cm Materials: Resin and marble. Jang Hea-Kyoung is a Seoul-based artist and designer whose pr...

The Tone table's palette was inspired by the traditional colors of Korea, especially those used in the traditional formal dress called "Hanbok." Here, those traditional colors are ma...

Object Floor Installation in Colored Resin by Saerom Yoon Dimensions: D 15 x W 50 x H 20 cm. Materials: Resin. Saerom Yoon is an artist based in Seoul, South Korea. His work is insp...

This cloisonné ewer features a brass body covered with turquoise-toned enamel and densely arranged lotus and floral motifs. The spout and handle are shaped in the form of a phoenix o...

Loop Series Chain 02 in Borosilicate Glass by Studio-Chacha Dimensions: Ø 9 x H 23 cm. Materials: Borosilicate glass and champagne glass. Cha Shin-sil is a Seoul-based designer and ...

The serene landscape and leisure activity of fishing are meticulously captured in cobalt blue on the porcelain's white surface, suggesting the value placed on harmony with the natura...

This jar features carved decoration typical of Cizhou ware. It is characterized by a creamy white slip contrasting with the brown clay body, and the principal motif appears to be a lotus flower. The decoration was created by coating the vessel with a layer of white slip and carving through it to reveal the darker body beneath, producing a strong visual contrast between the background and the motif. Period : Song-Yuan Dynasty Type : Jar Medium : Cizhou Ware Size : 21.5 cm(Height), 11cm(Mouth Diameter) Provenance : Acquired in 1999, Hongkong * Cizhou Ware Cizhou is the name given to a number of stonewares, grey or buff, of varying degrees of hardness, with painted, incised or carved decoration on a clay slip. These stonewares were not only made in the region of Cizhou, Hebei Province, but in several provinces of China during the Song, Yuan and Ming periods. The great centres of production were in the north of China in the provinces of Hebei, Henan and Shanxi. Cizhou wares seem to have been very popular, made for a clientèle of rich merchants, at a period when the paintings of famous...

HUI tiles and furniture are crafted from recycled oyster shells. By powdering and mixing discarded shells sourced from Korea’s oceans, they create robust materials that are transform...

The Glitch series is a contemporary reimagining of Goryeo celadon aesthetics, where the vase serves as a canvas for the vibrant fragmentation akin to digital glitches, embodying the ...

This Langyao red-glazed vase shows excellent glaze consistency and rich coloration. The deep purplish-red tone from copper reduction firing is evenly developed, with a thick, glossy ...

Fragment Side Table in Resin & Marble by Fict Studio Dimensions: D 34 x W 48 x H 57,5 cm Materials: Resin and marble. Jang Hea-Kyoung is a Seoul-based artist and designer whose ...

Layered steel bench by Hyungshin Hwang Dimensions: D 36 x W 180 x H 36 cm Materials: Stainless Steel Layered Series is the main theme and concept of work of Hwang, who continues...

Proportions Of Stone Column in Stainless Steel & Natural Stone by Lee Sisan Dimensions: D 50 x W 50 x H 240 cm Materials: Stainless steel and natural stone. Each piece is made t...

The vessel features a compressed body supported by three tapered feet and a flat, outwardly flaring rim. Three slender flanges originate from a subtle ridge on the shoulder and exten...

Statues of attendants crafted from terracotta, featuring glazes in green, Set on rectangular bases. Period: Ming Dynasty Medium: Glazed Pottery Type: Figure Condition : Excellent(It has soil on it, which is presumed to be evidence of excavation) Provenance : Acquired in late 1990s from Hongkong Reference : V&A Museum - Accession number C.1501913 (Type : Closely related) * Ming Dynasty Glazed Pottery Figures Ming Dynasty glazed pottery figures are renowned for their bold color palette, intricate detailing, and lifelike forms, distinguishing them from earlier traditions. These figures, which depict officials, warriors, animals, and mythical creatures, are characterized by high-gloss lead-based glazes in green, amber, ochre, and sancai (three-color) combinations. The thickly applied glaze pools in recesses, creating depth and enhancing sculptural details. With dynamic postures, expressive facial features, and meticulously rendered drapery, these figures reflect the period’s advancement in ceramic craftsmanship, offering a greater sense of movement and realism compared to the rigid and stylized forms of earlier dynasties. A defining characteristic of Ming glazed pottery is its elaborate surface detailing, often achieved through raised relief elements and contrasting glazes. Equestrian figures, for example, feature carefully sculpted saddles, harnesses, and decorative embellishments, while human figures are adorned with intricate robes and headdresses. The large scale of these tomb figures, often more imposing than those from previous periods, underscores the increasing importance of funerary art during the Ming era. Unlike later Qing Dynasty figures...

When Tiger Used to Smoke: Collection implies the idea of long-term sustainability by working with masters of each field who deserve much more recognition and incorporating modern fur...

This profound series serves as a powerful artistic examination of the tension and harmony between structure and freedom. The artist constructs each piece by employing two distinctly...

The ovoid shape suggests the influence from “amphora” of Greece and Rome, while the dragon-shaped handles allude to Persian and Central Asian metalwork. The ubiquitous dragon is a Ea...

This dish features a rockwork design that was popular during the Mid to Late Ming dynasties. The blue-and-white underglaze effectively captures the vibrant tones typical of the late ...