South Korea

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 celadon jar displays a balanced form with a calm bluish-grey glaze, its shoulders gently tapering toward the base to create a composed and harmoniou...

Layered Steel Brass Edition Chair with Wax Finish by Hyungshin Hwang Dimensions: D 30 x W 52,5 x H 112,5 cm. Materials: Brass with wax finish. Hyungshin Hwang (b. 1981, Seoul, South...

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...

At the center, it features five elegant cranes depicted against a pond setting, each portrayed in varying postures. The background harmoniously incorporates lotus flowers and other aquatic plants. Cranes in East Asian culture symbolize purity, longevity, and loyalty, and their depiction here enhances the themes of peace and harmony. The outer rim of the plate is encircled by a continuous lattice border, within which are alternately placed floral and geometric patterns, delicately executed. Period : Qing Dynasty, Kangxi Period Production Date : 1690-1699 Made in : Jingdezhen Destination : Netherland Found/Acquired : Southeast Asia , South China Sea, Vung Tau ship Size : 20cm (Diameter) x 3.5cm (Height) Condition : Excellent Reference : Double checked with reference to the original catalogues 1) Christies Amsterdam 1992 - Vung Tau Cargo / Christies 2) Qing Dynasty Export Blue and White(淸代外销靑花瓷) - Vung Tau Cargo Catalogue / Guangxi Fine Art Publishing House 3) Asian Ceramic Found along Maritime Silk Route / National Maritime Museum of Korea * Vung Tau Cargo Porcelain...

This series, started in 2016 conveys a color and emotional language and is inspired by the series Color as Adjective, a series of drawings and paintings that are visual representatio...

Layered parkerized steel desk I by Hyungshin Hwang. Dimensions: D 200 x W 100 x H 75 cm. Materials: parkerized steel. Layered Series is the main theme and concept of work of Hwa...

Pipe Fitting Shelf by Hyungjun Lee Dimensions: D 34 x W 41 x H 139 cm. Materials: Stainless steel. Hyungjun Lee EDUCATION 2015-2018 ESAD Orléans / Objet & Espace ...

The teabowl and saucer set depicts flower elements. In particular, this set is relatively larger than other teacups set. And the crafting skill of setting each line is outstanding. There is a kangxi mark on the floor base. Period : Qing Dynasty, Kangxi Period Production Date : 1690-1699 Made in : Jingdezhen Destination : Netherland Found/Acquired : Southeast Asia , South China Sea, Vung Tau ship Size : 14cm (Diameter) x 2.5cm(Height) - SAUCER / 9cm (Diameter) x 4.5cm(Height) - TEABOWL Condition : Excellent Reference : Double checked with reference to the original catalogues 1) Christies Amsterdam 1992 - Vung Tau Cargo...

Unique Untitled 2 Hand Carved White Porcelain Vessel by Lee Jong Min. One of a Kind. Dimensions: W 24.5 x D 24.5 x H 35 cm. Materials: Hand-carved white porcelain. "Untitled 2" is ...

The vase has a hexagonal shape, with a structure that extends seamlessly from the rim to the base, creating a sense of visual stability. The neck features sculpted handles in the for...

Each teabowl is delicately painted with blue pigments, showcasing scenes of mountains, trees, boats, figures, and animals. The graceful brushstrokes and gentle curves evoke tradition...

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 ...

Black glazed bottle from the late Ming dynasty binh thuan cargo. An identical piece is included on page 146 of the Bin Thuan catalog titled 'The Age of Disco...

The vessel’s plump ovoid body—rising from a low foot to a short neck with a flaring mouth—evokes the silkworm’s cocoon, a form that echoes the central role of sericulture in early Ch...

Unique Untitled 1 Hand Carved White Porcelain Vessel by Lee Jong Min. One of a Kind. Dimensions: W 25 x D 25 x H 43.5 cm. Materials: Hand-carved white porcelain. "Untitled 1" is a ...

This bowl stands out for its detailed depiction of two fish amid soft spiral waves, bordered by two cranes within the bowl. The design's depth and clarity, from the lifelike portraya...

Wall decor handcrafted mother of pearl rose painting on wood panel by Arijian.

The vase features a slender neck adorned with gracefully drawn, elongated leaves that blend seamlessly with its natural curves, adding a refined elegance. At the center, a meticulously rendered geometric pattern of repeating wave-like motifs creates a sense of depth and movement, framed by curved lines for balance. Simple plant motifs are scattered throughout, complementing the design with minimal strokes. The base is grounded by repeated geometric symbols, ensuring stability and cohesion. Dates : 15th century Le Dynasty Region : North Annam, Vietnam Type : Yuhuchun Vase Found/Acquired : Southeast Asia , South China Sea, Hoi An Ship Reference : 1) Art Gallery of Greater Victoria - A vase from the wreck of the Hoi An 2) Butterfield Treasures Hoi An Hoard Auction Catalogs / San Francisco Butterfields 2000 * Vietnamese trade ceramics Around the mid-14th century, Vietnam developed its ceramics production technology by producing blue and white porcelain, and began to export it overseas. During this period, China Ming Dynasty implemented a policy of lifting the ban from 1371 to 1657 and restricted foreign trade. This served as a good opportunity in the trade history of Vietnamese ceramics, and ceramic exports...

This object is a Tang dynasty (8th–9th century) Changsha ware ritual stand, constructed with a sculpted mythical beast—likely a lion or bixie—serving as the base, surmounted by a fla...

Large layered parkerized steel desk by Hyungshin Hwang Dimensions: D 310 x W 100 x H 75 cm Materials: parkerized steel Layered Series is the main theme and concept of work of Hw...

This series, started in 2016 conveys a color and emotional language and is inspired by the series Color as Adjective, a series of drawings and paintings that are visual representatio...

Humming Letter #116 by Ji-an Kwon captures a dreamlike floral landscape where water, atmosphere, and expressive abstraction converge in a richly textured composition. In Humming Lett...

The Boshan incense burner is particularly notable among Han dynasty incense burners for its unique shape. Designed to resemble a mountain or even a mythical mountain, it is characterized by its pointed peaks that rise upwards. These peaks often function as vents for the smoke, creating an effect reminiscent of a volcanic eruption. The body of the incense burner is typically round, with multiple small peaks surrounding a central, larger peak. The material used is mainly ceramic, although there are instances where they were made of bronze. It is presumed that this incense burner was used for religious or ceremonial purposes during its time. The colors of these burners are usually in shades of pale green or greyish brown, with the application of glaze to achieve a variety of colors on occasion. Such incense burners are often found in tombs or ritual sites, and their purpose was to burn incense for purification of space or to produce pleasant aromas. The Boshan incense burner also represents a significant cultural heritage, showcasing the craftsmanship and artistic values of the period. Today, it is considered a quintessential example of ancient Chinese art. Period : Han-Jin Dynasty Type : Incense Burner Medium : Yue celadon...

During Yongzheng era, such miniatures were appreciated for their craftsmanship and aesthetic value. They were also often used in scholars' studios as part of the 'wenfang', or study ...

Vietnamese stoneware cover boxes. These pieces exhibit a relatively vivid blue color compared to similar works from Hoi An hoard. Additionally, they are relatively larger in size amo...

This statue appears to be a stone sculpture of an apsara, a celestial nymph from Buddhist and Hindu traditions. Despite its fragmentary state, the sculpture conveys grace and movement. The apsara is captured in a dynamic pose, perhaps once part of a larger tableau, playing a flute-like instrument. The facial features are serene yet expressive, with faint traces of pigmentation hinting at the sculpture's original polychromy. The black stand was made in Hong Kong at the time of the acquisition. Date : Northern Wei...

This green-glazed pottery elephant dates to the Han dynasty, a period in which representations of elephants in Chinese art were uncommon. Elephants, once present in parts of Central ...

Two roosters are depicted with great precision and skill, surrounded by a landscape featuring rocks and a railing. The motif of roosters and natural elements is traditionally symboli...

This Annamese ceramic plate features a central floral motif rendered in underglaze blue, complemented by delicate green-painted leaves—an innovative characteristic of Annamese ceramics of the time. The rim is adorned with swirling cloud patterns and additional stylized floral designs. The use of green overpainting, a distinctive element in Annamese ceramics, parallels similar examples documented in The Age of Discovery: Asian Ceramics Found Along the Maritime Silk Road, particularly on pages 59, 64, and 66 of the Annamese ship catalog. Such pieces were widely traded along the Maritime Silk Road, showcasing the rich cultural exchange between Vietnam and other regions. Year/Period : 15th century Region : North Vietnam, Vietnam Type : Dish Found/Acquired : Southeast Asia , South China Sea, Hoi An Ship 1) Butterfield Treasures Hoi An Hoard Auction Catalogs / San Francisco Butterfields 2000 2) Asian Ceramic Found along Maritime Silk Route / National Maritime Museum of Korea * Vietnamese trade ceramics Around the mid-14th century, Vietnam developed its ceramics production technology by producing blue and white porcelain, and began to export it overseas. During this period, China Ming Dynasty implemented a policy of lifting the ban from 1371 to 1657 and restricted foreign trade. This served as a good opportunity in the trade history of Vietnamese ceramics, and ceramic exports...

This dish is coated with a transparent bluish-white glaze over a thin white body. The center is incised with a design of lotus flowers and a bird, while the inner wall is encircled b...

This work is a group of Qingbai (青白磁) porcelain figurines produced during the Five Dynasties to the Northern or Southern Song period (10th–13th century). A transparent glaze is appli...

This pair of celadon vessels is entirely coated in a thick olive-green glaze, which retains a soft natural sheen. A network of crackles spreads across the surface. Along the ridges a...

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...

A square Chinese famille rose teapot, Tongzhi mark and of the period Period: Qing Dynasty Type: Teapot Medium: Famille rose, enamel * Famille Ro...

Tooth Chair in Cast Aluminium by Dongwook Choi. Dimensions: W 38 x D 70 x 45 cm. Materials: Cast aluminium. Dongwook Choi studied at Konkuk university, Seoul for BFA, majoring metal...

Sculptural Sofa Table by Dongwook Choi. Metabolic series. Dimensions: W 125 x D 95 x 35 cm. Materials: Urethane coated EPS, Plaster, metalic paint. There may be a visual difference ...

Set of 2 candy Dichroic glass coffee table sculpted by Studio-Chacha Dimensions: 40 x 40 x 56 cm 45 x 80 x 40 cm Materials: Glass with film Studi...

A bird on a tree. Stoneware with underglaze blue and painted green. The leaves were creatively expressed with green-glaze. The use of green overpainting, a distinctive element in Annamese ceramics, parallels similar examples documented in The Age of Discovery: Asian Ceramics Found Along the Maritime Silk Road, particularly on pages 59, 64, and 66 of the Annamese ship catalog. Such pieces were widely traded along the Maritime Silk Road, showcasing the rich cultural exchange between Vietnam and other regions. Dates : 15th century Le Dynasty Region : North Annam, Vietnam Type : Dish Found/Acquired : Southeast Asia , South China Sea, Hoi An Ship Reference : Double checked with reference to the original catalogue 1) Butterfield Treasures Hoi An Hoard Auction Catalogs / San Francisco Butterfields 2000 2) Asian Ceramic Found along Maritime Silk Route / National Maritime Museum of Korea * Vietnamese trade ceramics Around the mid-14th century, Vietnam developed its ceramics production technology by producing blue and white porcelain, and began to export it overseas. During this period, China Ming Dynasty implemented a policy of lifting the ban from 1371 to 1657 and restricted foreign trade. This served as a good opportunity in the trade history of Vietnamese ceramics, and ceramic exports...

This celadon vase features a gently rounded shoulder, a tall, slender neck, and a broad, flaring rim. Two small loop handles are applied to the shoulders. The body is finely incised ...

Set of 2 Heritage Giwa sideboards by Lee Jung Hoon Dimensions: D163.2 x W53 x H41.1 cm Materials: red oak The Heritage series, created by designer Lee Jung-hoon is a collection ...

Large sculptural ceramic works covered in a thick milky greyish-white glaze, showing fine crackle and natural burial traces accumulated over time. The upper section is formed by a ti...

Dichroic glass table sculpted by Studio-Chacha Dimensions: 85.5 x 69 x 40 cm Materials: Glass, film Studio-Chacha is a high-end art furniture...

Layered steel seat VIII by Hyungshin Hwang. Dimensions: D 30 x W 33 x H 42 cm Materials: stainless steel Layered Series is the main theme and concept of work of Hwang, who conti...

The "Imari Pavilion pattern" refers to a decoration pattern found on porcelains made during Early Qing Dynasty, influenced by Japanese Imari ware, which was produced in the Arita reg...

At the center of the vase, within a rounded frame, a bird is depicted perched on a small branch. The bird’s feathers and body are finely detailed, while the beak and eyes are rendere...

Wall Decor Handcrafted Mother of Pearl Chrysanthemum Painting on Wood Panel by Arijian.

The vessel is thickly potted, with an ovoid body divided into five horizontal lobes that gently taper toward the top. It is finely carved with rows of upright lotus petals beneath a ...

Five-lobed cup, featuring a delicate rim, is supported by a short, gently spreading foot. The accompanying stand rises elegantly from a broad base to a plate with an elevated, foliat...

Table 09 by Saerom Yoon Dimensions: D 75 x W 120 x H 70 cm. Materials: Acrylic. My oldest childhood memories go back to the time I spent in the Philippines with my parents. The gree...

The vessel has a rounded body rising to a tall neck, surmounted by a rare cover modeled in the form of mountain peaks. The entire surface is painted with layers of yellow, white and ...

Black ware pottery from the Majiayao culture. This vessel was crafted using a refined black-burnished pottery technique, with the entire surface carefully polished to a smooth, lustr...

Serene yet emotionally immersive, Humming Letter #86 captures Ji-an Kwon’s poetic interpretation of nature through a luminous landscape suspended between abstraction and memory. In t...

A monumental abstract composition by Ji-an Kwon, transforming sound, emotion, and nature into a vibrant landscape of color, texture, and movement. Humming Letter #155 is a captivatin...

Proportions of Stone Chair II by Lee Sisan Dimensions: W 40 x D 40 x H 80 cm Materials: Raw iron steel, natural stone. Each piece is made to order and uses natural stones, so please...

Gwol side table by Lee Jung Hoon Dimensions: D80 x W33 x H52cm Materials: Stainless steel, Iron Corrosion. This work is designed under the theme of coexistence between the past...

Proportions of stone chair by Lee Sisan, 2019 Dimensions: W 45 x D 41 x H 90 cm Materials: Stainless steel, natural stone Each piece is made to o...

At the center, within a shield-shaped frame, a delicate plant motif with slender stems and leaves is depicted, symbolizing the vitality of nature through simple lines. The shield-shaped frame harmonizes with the vase's curves, emphasizing the plant design. The neck features elongated leaf patterns, while soft cloud motifs are gracefully arranged along the body, following the vase’s natural flow. At the base, repetitive geometric patterns provide a sense of stability. This vase beautifully captures classical and serene beauty through the balance of natural harmony and meticulous craftsmanship. Dates : 15th century Le Dynasty Region : North Annam, Vietnam Type : Yuhuchun Vase Found/Acquired : Southeast Asia , South China Sea, Hoi An Ship Reference : 1) Art Gallery of Greater Victoria - A vase from the wreck of the Hoi An 2) Butterfield Treasures Hoi An Hoard...

A porcelain meiping vase decorated in underglaze cobalt blue with scholar and attendant figures in a natural landscape. The finely crackled glaze and soft brushwork evoke a sense of ...

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...