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Preisdatenbank abonnierenChinese 19th c. Peranakan ware porcelain vase. With a purple ground with floral and foliate motifs interspersed with colorful snakes, flying insects, and fruit. With four blue mask-form handles.Height: 13 3/4 in x diameter: 7 in.Condition: There are some repairs with repainting along the rim. Light wear throughout consistent with age and use, especially along the footrim. There are six rectangular felt pads affixed along the underside.
Utagawa Kunisada (Japanese, 1786-1865). Japanese Edo ukiyo-e woodblock print depicting a finely dressed figure wielding a painted fan. With the artist's Toshidama cartouche along the lower right.Provenance: From the collection of Frederick and Catherine Asher, Minneapolis, Minnesota.Frederick M. Asher and Catherine E. Asher were prominent scholars in the field of Art History. Both dedicated their lives to the education of students, teaching for many years as professors at the University of Minnesota. They both had a passion for South Asian art, traveling extensively throughout India, Asia, and the Middle East. Selections from their travels and careers as avid art historians are offered in this auction. Their collection includes Indian jewelry, Japanese woodblock prints, an incredible slide collection, and much more.Sight; height: 13 1/2 in x width: 9 1/2 in. Framed; height: 19 in x width: 15 in.Condition: No visible rips, tears, losses, or restorations. Toning to the sheet. Slight undulation to the sheet. Light wear to the frame; framed under glass; not inspected out of frame.
Yoshitomo Nara (Japanese, b. 1959). Offset lithograph on paper titled "Real One" depicting a young girl with a teddy bear holding a pair of scissors aloft, 2020. With a copyright from Dallas Contemporary along the lower right. Nara's works have often been compared to manga he would have seen growing up as well as the punk rock music of his youth. His works have been housed at the Museum of Modern Art (MoMA) and the Los Angeles County Museum of Art (LACMA).Height: 15 in x width: 17 in.Condition: The item is in excellent condition with no visible tears, creases, or losses. The color is bold and bright. No visible restoration under UV light. Along the verso, there is minute black accretions to the center; however, it does not affect the recto. There is a slight undulation to the sheet from being rolled.
Chin San Long (Lang Jingshan) (Chinese, 1892-1995). Photograph titled "Zhang Daqian (Cypress Trees)," executed 1963, depicting the painter Zhang Daqian (1899-1983), a close friend of Chin San Long's, seated on a stone with a staff under the superimposed image of a cypress trees. Silver gelatin print. Hand signed along the lower right.Chin San Long is known for his innovative art photography, particularly his signature "composite photography" technique. He was the first Chinese photographer to take artistic nude photos, and also specialized in nature photography.Provenance: From the collection of William Atkins.William Atkins (1919-2001) was a pilot for Northwest Airlines, who spent his career flying to Asia. He was an avid photographer who was involved in the Photographic Society of America, through which he developed relationships with photography clubs worldwide. It was through the photographic society in Taiwan that he met Chin San Long, with whom he became close friends. In the 1970s, he arranged an exhibit for Chin San Long's photography in Minnesota.Sight; Height: 11 1/2 in x width: 9 1/4 in. Matted; Height: 18 in x width: 14 3/4 in.Condition: No visible tears or signs of restoration under UV light. No major creases or losses. The photograph is affixed to the board. Throughout the recto, there are surface scratches and light creases, particularly along the margins. To the four corners, there are minute losses; please see the listing image. The verso of the photograph could not be inspected due to how the photograph is affixed to the board. The top of the board mat is detached from the part that the photograph is affixed to.
19th century Chinese bronze censor with four applied mask handles and four shou symbols. The body very thin and the underside bearing a well-carved seal mark.Height: 3 1/4 in x diameter: 4 3/4 in.Condition: No visible cracks, losses, or signs of restoration under UV light. No major dents; minute dents throughout the item as expected. Light discoloration throughout as shown in the listing image. Dust collected along the recessed areas. Along the interior, there is heavy discoloration and oxidation. Along the underside, there is oxidation and wear, consistent with age and use.
Group of three Japanese woodblock prints by Hiroshige, Chikanobu, and Toyohara including:Utagawa Hiroshige II (Japanese, 1826-1869) and Utagawa Kunisada (Japanese, 1786-1865). Print titled "Ume Yashiki" from the series "36 Views of the Pride of Edo" depicting figures smoking in a courtyard surrounded by flowering trees. Inscribed along the lower right margin.Toyohara "Yoshu" Chikanobu (Japanese, 1838-1912). Print from the series "Eastern Customs: Enumerated Blessings" depicting two women.Kunichika Toyohara (Japanese, 1835-1900). Print titled "I Don't Want You To Leave" from the series "32 Fashionable Physiognomies" depicting a young woman glancing behind her.Sight; height ranges from 13 1/2 in to 14 1/2 in; width ranges from 9 1/2 in to 10 in. Framed; height ranges from 20 1/2 in to 22 in; width ranges from 16 in to 17 in.Condition: Overall there are no visible tears or losses. No visible foxing on all items. The item shown on the lower left in the listing image has creasing throughout the sheet. There are minute ink marks throughout the item, they appear to be from the original printing. The item is toned as visible in the listing image. The recto is missing a protective rubber foot to the left corner. The item shown on the bottom right has no obvious creases. No signs of foxing. The item is toned as visible in the listing image. The verso has minute wear to the bottom extreme edge. The item shown on the top center has no visible tears or creases. There is a small surface scratch along the top center. The top right corner has an ink loss, however, this appears to be an original printing issue. There are dark accretions along the bottom right corner. There is a crease horizontally along the center, near the figure's face, measuring approximately 4 inches. There is minute wear to the bottom right and left corners. The verso has minute accretions of white paint along the right upper quadrant. No visible signs of restoration under UV light on all items. All items framed under glass. No items were inspected out of frame. Wear and losses to the frames.
Yayoi Kusama (Japanese, b. 1929). Two painted cast resin pumpkins with Kusama's iconic dot motif; one in red and white and one in yellow and black, 2013. Both with the artist's copyright along the underside. Produced by Benesse Holdings, Inc., Naoshima, Japan. Both with the original box.Each, height: 4 in x width: 3 1/4 in x depth: 3 1/4 in. Box; height: 4 1/4 in x width: 5 in x depth: 5 in.Condition: The pumpkins are in excellent condition. Both pumpkins show no scratches, losses, or restorations. The boxes show very light and minimal wear, mostly to the protective foam padding along the interior.
Group of five Chinese archaic bronze weapons including spear tips and blades.Length ranges from 5 1/2 in to 10 in; width ranges from 1 1/4 in to 1 3/4 in.Condition: Heavy wear and oxidation throughout the items. There are losses throughout, consistent with age and use. No visible signs of restoration under UV light.
Chinese white jade lock depicting mirrored dragons and bats with a symbol between them.Height: 2 in x width: 2 1/2 in.Condition: No visible dents, cracks, or losses. Very light wear and natural lines throughout. Dust collected along the recessed areas. No visible signs of restoration under UV light.
David Howard and John Ayers. "China for the West: Chinese Porcelain and other Decorative Arts for Export illustrated from the Mottahedeh Collection." Published by Sotheby Parke Bernet, London and New York, 1978. With a forward by Nelson A. Rockefeller. In two volumes with a case.Height: 13 3/4 in x width: 2 3/4 in x depth: 2 1/2 in.Condition: All pages appear present. No major tears, creases, or losses. Some light wear and small tears to the dust jacket. Some warping and wear to the case as expected from age and use.
20th c. Japanese embroidered moire silk reversible robe. One side in green with white semi-circular Buddhist wheels along the top and bottom hems. The other side with one half in teal blue with gold embroidery throughout and one half in plum red with floral and Buddhist wheel symbols throughout.(Flat, approximate) Width (wrist-to-wrist): 54 in x length: 50 in x waist: 25 1/2 in.Condition: The robe is in generally good condition with no major tears, rips, or restorations. There is soiling throughout, most noticeable in the white areas of the robe. There is evidence of minor amateur repairs throughout, especially along seams. Some light wear to the silk, consistent with use.
Chinese late Ming Wanli bronze incense burner or censer with original cover. The censer is decorated with a parcel gilt design of a horse and deer along its sides. Very rare.Provenance: Private collection, Europe; Private collection, Minnesota.Height: 4 1/2 in x width: 5 in x depth: 2 1/2 in.Condition: The body of the censor is in good condition with no major dents, losses, or signs of restorations. There are losses to the gilt decoration throughout. Some light wear along the underside of the feet and the upper rim. Heavy wear and discoloration along the interior consistent with age and use. There is an area along the lid with a possibly repair or damage; visible in the lot listing. The area is uneven. Light wear throughout the remainder of the lid, especially along the high points. Wear to the interior consistent with age and use.
Pair of 19th to 20th century Chinese porcelain blue and white urns or vases. Each painted with three circular depictions of phoenixes along the ovoid bodies. With an applied dragon and bat along the lip of each rim. Marked along the underside with a six-character Qianlong mark.Each, height: 7 1/2 in x diameter: 5 in.Condition: The head of one of the dragons along the top rim upon one the vases has been heavily restored. There is residual adhesive along the side of this vase. Along the underside of the other vase there is a small glazing flaw to the underside. Light wear throughout consistent with age and use.
Chinese blue and white porcelain covered ginger jar, mid to late 18th century. Of globular form with profuse floral and foliate decoration and butterflies.Height: 9 3/4 in x diameter: 9 in.Condition: The jar is in good condition with no discernable restorations, cracks, chips, or losses. Light wear throughout; slightly heavier wear to the top rim and the lid consistent with the porcelain pieces rubbing against each other. There is a piece of tape affixed near the top rim. There are three stickers affixed along the underside of the jar. Some small firing flaws visible along the interior and underside. Some wear and accumulated dirt/dust along the interior of the jar. No visible restorations when inspected under UV light and direct light.
Japanese pigeon blood red cloisonne vase depicting a spray of blooming flowers. With a pierced and carved wooden stand. Stamped along the metal footrim.Vase; height: 8 in x diameter: 7 1/2 in. Base; height: 1 1/4 in x diameter: 5 1/4 in.Condition: Light wear throughout; dust collected, particularly along the interior. No visible dents to rim or footrim. Along the flowers, there are a few scattered areas that show discoloration; however, they do not affect the overall appearance of the item significantly. Wear along the footrim. Along the underside, there is a network of surface that show surface bubble, which appears to be original. No visible sign of restoration under UV light. Wear to the base; there are four spots to the top of the base that appears to be adhesive residue from glue.
Indian painting on revenue stamp paper, 19th century. Depicting intricately detailed peacocks in a lush landscape with the stamp in an oval cartouche in the sky. The reverse with profuse script. In a double-paned glass frame so that both sides can be viewed.Provenance: From the collection of Frederick and Catherine Asher, Minneapolis, Minnesota.Frederick M. Asher and Catherine E. Asher were prominent scholars in the field of Art History. Both dedicated their lives to the education of students, teaching for many years as professors at the University of Minnesota. They both had a passion for South Asian art, traveling extensively throughout India, Asia, and the Middle East. Selections from their travels and careers as avid art historians are offered in this auction. Their collection includes Indian jewelry, Japanese woodblock prints, an incredible slide collection, and much more.Unframed; height: 12 1/2 in x width: 7 3/4 in. Framed; height: 7 1/4 in x width: 12 1/4 in.Condition: Toning to the sheet throughout. Stains, light creases, and expected wear throughout the sheet. One small tear near the top right corner of the painting. Several accretions to the verso of the sheet. The painting appears to be in good condition with bold and bright colors. Light wear to the frame; framed between glass; not inspected out of frame.
Pair of Chinese Qianlong famille rose octagonal plates, 18th century. Decorated with peacocks and blooming flowers with a border of hibiscus and lotus flowers.Each, diameter: 9 in.Condition: No major chips, cracks, or losses. Wear throughout. Throughout both items, the coloring has faded as shown in the listing image, consistent with age and use. Minute chips along the rim and footrim. To the center left of the plate captured left in the listing image, there is an area with adhesive residue which can be easily cleaned; to the right margin, there is a light crack to glaze, measuring 1 in. To the underside of the plate capture right in the listing image, there is a dark minute spot; see the listing image. In addition, to the center of the underside, there is an original glazing flaw. When inspected under UV light, there is no visible sign of restoration. No visible overspray. Wear along the underside.
Modern large life-size replica terracotta warrior statue. Modeled after one of the 7,000 warriors from the famous Terracotta Army found in the mausoleum of the first Qin emperor, Shi Huang.Height: 74 in x width: 24 in x depth: 24 in.Condition: Wear throughout. Structurally stable and sturdy. Throughout the statue, there are several scattered areas of finish color loss; please see the listing image. No major cracks or dents. Along the lower left of the statue, there are two areas of unstable surface. By the unstable area, there is a line of finish loss; please see the listing image. Throughout the statue, there are several areas that show color differences; however, it does not appear to be a restoration given that the areas are not fluorescent under UV light. Minute loss to the left side of the chest. Color paint loss to the left arm. An area with adhesive residue to the chin area. Wear along the underside, consistent with age and use.
Hu Yongkai (Chinese, b. 1945). Ink and watercolor painting depicting a woman with a fan seated on a couch in front of a calligraphy filled screen. Next to her rests a wooden stand with a box of text, one of which is open that she appears to be reading. A white cat lounges on the cushion opposite her.Sight; height: 18 1/2 in x width: 18 3/4 in. Framed; height: 25 in x width: 24 3/4 in.Condition: No visible tears, losses, or restoration under UV light. No visible foxing or soiling. The color is bold and bright. There is light craquelure began to form along the green areas and along the upper left quadrant. Along the light blue-grey background, along the upper right and lower part of the painting, there are areas where the paint is not applied evenly; however, it appears to be original to the painting. Framed under plexiglass. Inspected out of frame; however, the verso could not be inspected due to the nature of how the artwork is framed- the top of the mat is glued to the other side of the mat. Wear to the frame.
Katsushika Hokusai (Japanese, 1760-1849). Woodblock print titled "Two Fish and Shrimp" depicting the titular sea creatures in blue. Signed and with two seals along the center right margin. A third seal sits just above the fish's head.Unframed; height: 9 in x width: 6 in. Framed; height: 19 in x width: 13 1/2 in.Condition: The sheet is somewhat discolored and unevenly toned. Wear along the margins. There are a few small stains throughout the sheet. The colors are slightly faded. The sheet is floated in frame. Framed under glass; light wear to the frame; not inspected out of frame.
A striking and unusually large pair of 19th century Chinese immortals or scholars carved from soapstone and polychromed. Each figure stands on a well carved stylized craig of rock. One holds a small lion or foo dog.Each, height: 20 in x width: 7 in x depth: 4 in.Condition: Wear and discoloration throughout as shown in the listing image. Light cracks and natural lines in both figures. Both figures show scattered areas of paint loss around their faces. The figure without a dog is loosely attached to the stand; around the area where the figure and the stand meet, there is a visible glue restoration. Along the back of the shoulder, there is a circular area that appears to be restored; however, the area is not fluorescent under UV light; please see the listing image. Around the back of the neck, there is a crack as well. The other figure with the dog has a crack along the dog's leg; the crack on the neck is restored with glue. To the lower part of the figure, near the left leg, there is a hairline crack, approximately 5 inches long diagonally. Dust collected. Wear along the underside of each stand as expected.
Antique Thai chest or manuscript cabinet, likely Rattanakosin period, 18th century. With tapering black and red lacquered gilt wood. Excellent for holding a Bencharong porcelain collection.Height: 69 in x width: 34 3/4 in x depth: 30 1/2 in.Condition: The cabinet is structurally sound and stable. The doors open and close smoothly. There is some rubbing and fading of the painted decoration throughout. Some losses along the handles as well as the legs, visible in the lot listing. Small to medium chips, scuffs, and scratches throughout consistent with age and use. Along the back right vertical support there is separation to the joints, visible in the lot listing. There are some small wormholes throughout, visible when the doors are opened and the light comes through. The color of the finials appears to match that of the interior, though they have faded somewhat. Some wear to the textile lining of the interior.
Indian portrait drawing of a seated man, 18th or 19th century. He is well rendered with fine lines and features.Provenance: From the collection of Frederick and Catherine Asher, Minneapolis, Minnesota.Frederick M. Asher and Catherine E. Asher were prominent scholars in the field of Art History. Both dedicated their lives to the education of students, teaching for many years as professors at the University of Minnesota. They both had a passion for South Asian art, traveling extensively throughout India, Asia, and the Middle East. Selections from their travels and careers as avid art historians are offered in this auction. Their collection includes Indian jewelry, Japanese woodblock prints, an incredible slide collection, and much more.Sight; height: 5 in x width: 4 1/2 in. Framed; height: 12 1/2 in x width: 10 3/4 in.Condition: The sheet is toned and the ink is somewhat faded. There is a large C-shaped hole near the figure's feet. There are numerous marks along the surface, notably the orange marks along the right edge. Some undulation to the surface throughout. Some light wear to the frame; framed under glass; not inspected out of frame.
Chinese fan leaf painting depicting a landscape with a monkey. Ink and color on gold-flecked paper. With the seal of the artist affixed to a tag attached to the upper left corner of the fan.Unframed; height: 10 1/2 in x width: 22 3/4 in. Framed; height: 14 in x width: 25 3/4 in.Condition: This hand painted fan, which has been mounted to paper, shows extensive creasing from the time in which it was used as a fan. It also shows extensive restoration along the creases in the upper right hand corner. Inspection under UV light show restoration and in-painting.
Bidou Yamaguchi (born Yamaguchi Hiroki) (Japanese, b. 1970). Two masks including one Ko-omote "small face" Noh mask and one red mask depicting Shojo. Carved wood with pigments, lacquer, and gofun. Each carved along the inside with Yamaguchi's mark. Each with a display case.Provenance: Distinguished corporate collection, Minnesota.White; height: 7 in x width: 5 in. Orange; height: 7 in x width: 5 in.Condition: There are no chips, cracks, losses, or restorations to either masks. Light wear throughout and minute paint losses or areas of soiling; visible in the lot listing. Areas of paint loss where the display wire rubs against the wood. Some discoloration to the paint.
Chinese green chalcedony agate teapot. With a grape pattern throughout ranging from apple to dark green.Keywords: chrysoprase, chrysocolla, chalcedonyHeight: 3 1/2 in x diameter: 6 in.Condition: No visible chips, cracks, or losses. No visible signs of restoration under UV light. Very light wear throughout, most noticeably along the underside.
Yih-Wen Kuo (Taiwanese, b. 1959). Glazed ceramic sculpture from the "Eternal Home" series depicting an asymmetrical minimalist form. Incised signature along the underside.Provenance: Distinguished corporate collection, Minnesota.Height: 15 1/2 in x width: 11 1/4 in x depth: 4 1/4 in.Condition: There are no chips, cracks, losses, or restorations. Extremely light wear throughout, mostly along the underside, consistent with age and display. There are five pieces of tape affixed along the underside: four along the corners and one along the center with the artist, title, and dimensions in pen.
Two Chinese Imari porcelain plates, 18th century. One painted with precious objects surrounded by floral and latticework decoration. One painted with cranes and a prunus branch in bloom bearing fruit.Provenance: From the Estate of C. Curtis "Curt" Dunnavan, Long Lake, Minnesota.C. Curtis "Curt" Dunnavan (1926-2022) was a passionate world traveler and avid collector. It was through his travels that he was inspired to begin a lifelong relationship with the Minneapolis Institute of Art (Mia), becoming a major sponsor of the institute and facilitating the growth of their Asian art department, which is now one of the best in the country. His generous donations to Mia allowed them to establish a fund for the Deputy Director and Chief Operating Officer, one of the few endowed positions of this type in the museum field. He additionally served as a trustee of the institute, advocating for its operational growth. In its turn, the museum established a gallery named in his honor in recognition for his endowment fund and numerous contributions to their collection. The selections here showcase his talent and breadth of collecting, ranging from ancient statues to 19th-century woodblock prints. His appreciation for art persisted throughout his life and we are honored to offer items from his collection in this auction.Each, diameter: 9 in.Condition: No visible cracks, losses, or restoration under UV light. No major chips; both plates show minute chips along the rim and footrim. Wear throughout. The coloring throughout both items has several scattered areas that are faded; the gold gilding in both items has areas that are faded as well. Original firing and glazing flaws throughout. Along the underside of both items, there is an area with adhesive residue that is fluorescent under UV light, possibly from a previous sticker that was adhered to the surface. To the plate captured left in the listing image, there are uneven surfaces that appear to be original and do not affect the upper side; please see the listing image.
Hiroshi Yoshida (Japanese, 1876-1950). Double-oban Japanese shin-hanga woodblock print titled "Sailing Boats - Mist" depicting a sailing ship floating on the water, 1926. The detailed depiction of the reflection adds a peaceful atmosphere to the print, along with a man working alone in the boat. Jizuri seal along the left margin. Pencil signed along the lower right and titled along the lower left; titled along the lower left; marked with Yoshida's seal in plate along the lower left; further inscribed in Japanese along the left margin. The jizuri "self-printed" seal indicates that the printing process was directly supervised by him and that he played an active role in the creation of this print. These seals were typically reserved for only the highest quality impressions as decided by Yoshida.One of the leading figures in the Japanese Shin-hanga movement, Hiroshi Yoshida was born in Fukuoka in 1876. In 1893, he moved to Kyoto and studied yoga and nihonga styles of painting and watercolors. Later in his life he started collaborating with the shin-hanga publisher Watanabe Shozaburo. Despite his late debut as a shin-hanga printmaker, he successfully put himself on the map as the greatest artist of the shin-hanga style and is especially noted for his excellent landscape prints. His prints are highly recognized in both Japan and overseas.Height: 22 in x width: 16 in.Condition: No visible losses, or restoration under UV light. The sheet is toned and has light browning as shown in the listing image. There is light wear along the upper and left margins. Along the upper margin, there are two pinholes, original from the artistic practice. Along the left margin, there is a line folded crease. There is a minor crease to the lower right corner. No major losses- there is a minute tear to the upper right corner. There is a 2 in folded crease to the upper left corner. To the upper left margin, there is a foxing started to form. To the upper right margin, there is a straight line crease. Along the verso, the sheet is toned and has a light browning; There are throws square marks from the previous framer's tape along the upper margin. To the lower right corner, there is a skimming. To the upper left margin, there is a minor foxing. Along the lower margin of the verso, there is a pencil inscription "1074"; to the upper right corner, there is a pencil and pen inscription.
Utagawa Hiroshige (Japanese, 1797-1858). Ukiyo-e woodblock print titled "Tsukuda Island at the Mouth of the Sumida River" from the portfolio "36 Views of Edo." The print depicts boats fishing off the coast of Tsukuda with flares. Two large metal junks or ships are moored in the water. Signed and inscribed in plate along the upper right and lower left corners. Stamped along the lower left margin.Provenance: From the Estate of C. Curtis "Curt" Dunnavan, Long Lake, Minnesota.C. Curtis "Curt" Dunnavan (1926-2022) was a passionate world traveler and avid collector. It was through his travels that he was inspired to begin a lifelong relationship with the Minneapolis Institute of Art (Mia), becoming a major sponsor of the institute and facilitating the growth of their Asian art department, which is now one of the best in the country. His generous donations to Mia allowed them to establish a fund for the Deputy Director and Chief Operating Officer, one of the few endowed positions of this type in the museum field. He additionally served as a trustee of the institute, advocating for its operational growth. In its turn, the museum established a gallery named in his honor in recognition for his endowment fund and numerous contributions to their collection. The selections here showcase his talent and breadth of collecting, ranging from ancient statues to 19th-century woodblock prints. His appreciation for art persisted throughout his life and we are honored to offer items from his collection in this auction.Unframed; height: 14 1/4 in x width: 9 1/4 in.Condition: No visible foxing. No major tears, creases, or losses. No visible signs of restoration under UV light. The sheet is affixed to the mat with framer's tape along the upper margin along the verso; all four margins are visible under the frame. The sheet is toned as shown in the listing image. Soiling and browning. The margins do not appear to be trimmed. Skimming along the extreme edges. There is a minute tear to the upper right corner. Along the left margin, there are original blue paint residues that do not affect the center image. To the center of the left margin, there is a minute hole. To the right of the hole, there is another hole to the plate. Throughout the recto, there are original paper textures visible. Along the verso, the sheet is toned and has an old sticker adhered to the center of the lower margin. Framed under museum glass; very light wear to the frame.
Clifton Karhu (American/Japanese, 1927-2007). Woodblock print on paper titled "Katsura Gardens" depicting a colorful landscape of rocks and ponds. Pencil signed along the lower right; titled along the center.Provenance: The collection of Urban Couch, Minnesota; by descent from above to Dennis Morton, West Virginia.Height: 28 in x width: 24 in.Condition: The sheet is heavily toned as shown in the listing image. The color is still bold and bright. Wear along the edges. There is a major tear to the lower right quadrant; please see the listing image. To the lower left quadrant, there is a tear, diameter approx. 1 1/2 in. Along the margins, there are several scattered areas with minor tears. Along the lower left margin, there is original paint residue. To the upper left corner, there is a folded crease. Possible acidic burn from the previous mat, given that the margins are slightly darker than the center. Along the verso, the paper is heavily toned and has foxing throughout. To the right of the verso, there is light brown discoloration. Light creases throughout. To the upper right margin, there is a 2 inches long tear. The original paint from the recto has been transmitted. No visible sign of restoration under UV light.
Mirror pair of Chinese copper cloisonne or champleve duck form incense burners. Enameled throughout in turquoise with green, dark blue, red, pink, and gold archaistic scrollwork. A gilt lotus blossom, leaf, and seed pod wind out of the open mouths. With lotus root form lids and air intake holes along the underside of the tail feathers in the form of a cash coin. Each with a custom carved wooden display stand.Each, height: 8 in x width: 11 1/2 in x depth: 5 in. Base, height: 1 3/4 in x width: 9 in x depth:4 3/4 in.Condition: There are no apparent breaks, losses, or dents. Wear and slight soiling throughout, as seen in the listing photos. Some loss to the gilding. There is wear along the underside of the ducks legs, showing the copper coloration of the metal. Some verdigris patination throughout. Light wear to the stands.
Vietnamese Ly Dynasty (1010-1225) ceramic stoneware jar with cover. With a crackled light celadon glaze throughout. Barrel jars such as this were intended for storing food, water, or wine.Height: 8 in x diameter: 7 3/4 in.Condition: There is wear and crazing throughout. There are glazing and firing flaws scattered throughout, the largest measuring about 3/4 inch. There is a chip along the footrim, measuring approximately 1 inch. There is wear to the footrim.
Ohara Koson (Japanese, 1877-1945). Woodblock print titled "Geese on the Bank" depicting two white geese standing at the water's edge. ca. 1925. Signed with the artist's seal along the center right margin.Sight; height: 11 in x width: 7 in. Framed; height: 19 in x width: 14 1/2 in.Condition: The sheet appears to be somewhat toned. The colors are bold and bright. There are no visible tears, creases, or losses. Framed under a mat and glass; light wear to the frame; not inspected out of frame.
One Ko-omote "small face" Noh mask. Carved wood with pigments. With a Japanese inscription along interior of mask. In a wooden box inscribed along the interior of the lid.Mask; height: 8 1/4 in x width: 5 1/2 in x depth: 2 3/4 in. Box; height: 10 1/4 in x width: 7 1/4 in x depth: 4 in.Condition: No visible cracks or losses. No major dents; there are minute dents along the edges. Wear throughout, along with minute areas of paint loss. To the center of the face, there is a network of minute accretions that are fluorescent under UV light; please see the listing image. The face near the hair is darker than the center; however, it is difficult to discern whether it is original or damaged. The string is firmly attached to the mask. No visible sign of restoration under UV light. Light wear to the box.
Group of three ceramic mingqi mortuary or spirit tomb figures in sancai green and ochre glazes, possibly Ming dynasty. In the form of court officials with tall, brimmed hats in loosely fitting robes. Each figure stands upon a hexagonal base.Provenance: From the Estate of C. Curtis "Curt" Dunnavan, Long Lake, Minnesota.C. Curtis "Curt" Dunnavan (1926-2022) was a passionate world traveler and avid collector. It was through his travels that he was inspired to begin a lifelong relationship with the Minneapolis Institute of Art (Mia), becoming a major sponsor of the institute and facilitating the growth of their Asian art department, which is now one of the best in the country. His generous donations to Mia allowed them to establish a fund for the Deputy Director and Chief Operating Officer, one of the few endowed positions of this type in the museum field. He additionally served as a trustee of the institute, advocating for its operational growth. In its turn, the museum established a gallery named in his honor in recognition for his endowment fund and numerous contributions to their collection. The selections here showcase his talent and breadth of collecting, ranging from ancient statues to 19th-century woodblock prints. His appreciation for art persisted throughout his life and we are honored to offer items from his collection in this auction.Each, height: 15 1/2 in x width: 4 1/4 in x depth: 5 in.Condition: Heavy wear throughout consistent with age. All the heads have had the polychrome touched up in one or more places. There are losses to the glazing throughout, visible in the lot listing. One of the pair of figures has an iridescent sheen to the glaze. Crazing to the glazes. Some light accretions throughout. Along the bases of all the figures there are small chips. Some small chips and minute cracks along the necks. Some small chips to the heads.
Five small Japanese studio pottery cups in black, white, pink, red, and green glazes housed in the wooden presentation box. The cups are marked along the sides. The box is marked along the top of the lid.Cups; height: 1 1/2 in x diameter: 2 in. Box; height: 2 1/2 in x width: 12 in x depth: 2 1/2 in.Condition: No major cracks, losses or restorations to cups. Light wear throughout as expected from age and use. All have crazing to glaze throughout. The white cup: there are few small losses to glaze along the top rim, some discoloration to the glaze along the interior, likely from use. The box is structurally sound and stable, no major cracks or splits to exterior. Interior, two dividers are loose, one divider has broken in half, broken piece is included. Wear to the strap.
Group of two Chinese export porcelain famille rose sweet meat dishes, 19th century. Decorated along the interior with bats and along the exterior with figures in gardens.Provenance: From the Estate of C. Curtis "Curt" Dunnavan, Long Lake, Minnesota.C. Curtis "Curt" Dunnavan (1926-2022) was a passionate world traveler and avid collector. It was through his travels that he was inspired to begin a lifelong relationship with the Minneapolis Institute of Art (Mia), becoming a major sponsor of the institute and facilitating the growth of their Asian art department, which is now one of the best in the country. His generous donations to Mia allowed them to establish a fund for the Deputy Director and Chief Operating Officer, one of the few endowed positions of this type in the museum field. He additionally served as a trustee of the institute, advocating for its operational growth. In its turn, the museum established a gallery named in his honor in recognition for his endowment fund and numerous contributions to their collection. The selections here showcase his talent and breadth of collecting, ranging from ancient statues to 19th-century woodblock prints. His appreciation for art persisted throughout his life and we are honored to offer items from his collection in this auction.Each, height: 2 in x width: 8 in x depth: 5 1/4 in.Condition: The are no visible cracks or losses to both items. There is wear throughout both. There are minute firing and glazing flaws to both. There are minute losses to the paint and gilding. There are minute chips to the top rim of the item shown on the left in the listing image. There is wear to the footrim of both items, as expected from age and use. No signs of restoration under UV light.
Hiroshi Yoshida (Japanese, 1876-1950). Japanese shin-hang woodblock print titled "Kailasa Temple - Ellora" depicting a Kailasha, also known as Kailashanatha, temple, the largest of the rock-cut Hindu temples at the Ellora Caves near Sambhaji Nagar in Aurangabad district of Maharashtra, India, 1931. Jizuri seal along the left margin. Pencil signed and titled along the lower right; titled along the lower left margin; marked with Yoshida's seal in plate along the lower right; inscribed in Japanese along the left margin and further inscribed in English along the lower margin. The jizuri "self-printed" seal indicates that the printing process was directly supervised by him and that he played an active role in the creation of this print. These seals were typically reserved for only the highest quality impressions as decided by Yoshida.One of the leading figures in the Japanese Shin-hanga movement, Hiroshi Yoshida was born in Fukuoka in 1876. In 1893, he moved to Kyoto and studied yoga and nihonga styles of painting and watercolors. It came only in middle age he started collaborating with the shin-hanga publisher Watanabe Shozaburo. Despite his late debut as a shin-hanga printmaker, he successfully put himself on the map as the greatest artist of the shin-hanga style and is especially noted for his excellent landscape prints. His prints are highly recognized in both Japan and overseas.Height: 15 3/4 in x width: 11 in.Condition: No visible tears, losses, or signs of restoration under UV light. No major creases; there are a few minor creases along the margins, which do not affect the center image. The sheet is toned as shown in the listing image. There is light wear along the upper and left margins, original to the artistic practice. To the right margin, there is an original ink residue. Very light undulation to the upper part of the print. Along the verso, the paper is toned; to the upper left margin, there is a light brown spot that does not affect the recto.
Group of three Chinese ceramics including two hexagonal Ming or Qing jars and one Jin dynasty semi-circular pillow. Each with a green glaze.Jars; height: 3 1/2 in x diameter: 4 1/2 in. Pillow; height: 2 3/4 in x width: 6 1/4 in x depth: 5 1/2 in.Condition: The items are in fair condition. As shown in the listing image, heavy wear throughout. All items show crazing to the glaze. One of the jars has a crack that goes through half of the exterior; it has multiple others cracks stemming from the long crack aforementioned. The pillow has multiple losses along the edges; please see the listing image. All three items have residue along the exterior, visible under UV light; however, they do not appear to be a restoration attempt.
Hajime Namiki (Japanese, b. 1947). Woodblock and silkscreen on paper titled "Hibiscus" depicting a red hibiscus flower on a gold ground, 1988. Pencil signed and dated along the lower right; titled along the lower left; numbered 78/120 along the lower center. With a label from Gallery B.O.Q. along the verso.Sight; height: 7 1/4 in x width: 5 1/4 in. Framed; height: 12 3/4 in x width: 9 in.Condition: There are no rips, tears, creases, or losses. No evident signs of restoration. Light wear to the frame; framed under plexiglass; not inspected out of frame.
Hiroshi Yoshida (Japanese, 1876-1950). Japanese shin-hang woodblock print titled "Chikugo River" depicting a quiet night scenery of a riverside town in Japan, 1927. Jizuri seal along the left margin. Pencil signed along the lower right; ink titled along the left margin; seal marked along the lower right in plate; further inscribed in Japanese along the left margin. The jizuri "self-printed" seal indicates that the printing process was directly supervised by him and that he played an active role in the creation of this print. These seals were typically reserved for only the highest quality impressions as decided by Yoshida.One of the leading figures in the Japanese Shin-hanga movement, Hiroshi Yoshida was born in Fukuoka in 1876. In 1893, he moved to Kyoto and studied yoga and nihonga styles of painting and watercolors. It came only in middle age he started collaborating with the shin-hanga publisher Watanabe Shozaburo. Despite his late debut as a shin-hanga printmaker, he successfully put himself on the map as the greatest artist of the shin-hanga style and is especially noted for his excellent landscape prints. His prints are highly recognized in both Japan and overseas.Height: 10 1/2 in x width: 16 in.Condition: No visible tears, losses, or restoration under UV light. Along the right margin, there is light wear as shown in the listing image; however, it is original to the artistic practice. The sheet is toned and has no foxing or soiling. The color is bold and bright. Along the verso, the paper is toned has scattered spots that are fluorescent under UV light; however, they do not appear to be foxing. To the lower right margin of the verso, there are two minute black dots.
An antique Chinese jade carving depicting a beast, possibly a chimera. The carving has a cup along the back of the figure.Height: 3 in x width: 4 1/4 in x depth: 2 in.Condition: The piece is in good condition with no chips or losses. There is one large crack along the beast's back extending about an inch down each side, and another crack along the left horn. Both cracks fluoresce under UV light. A few light scratches to the feet. Light wear throughout.
Hiroshi Yoshida (Japanese, 1876-1950). Japanese shin-hanga woodblock print titled "Shalimar Garden, Lahore" depicting the peaceful scene of the Shalamar Gardens, 1932. Jizuri seal along the left margin. Pencil signed along the lower right; titled along the lower left; marked with Yoshida's seal in plate along the lower left; further inscribed in Japanese along the left margin. Shalamar Gardens, also known as "Shalamar Bagh" is a Mughal garden complex located in Lahore, Pakistan, which dates from the period when the Mughal Empire was at its artistic and aesthetic zenith. The jizuri "self-printed" seal indicates that the printing process was directly supervised by him and that he played an active role in the creation of this print. These seals were typically reserved for only the highest quality impressions as decided by Yoshida.One of the leading figures in the Japanese Shin-hanga movement, Hiroshi Yoshida was born in Fukuoka in 1876. In 1893, he moved to Kyoto and studied yoga and nihonga styles of painting and watercolors. It came only in middle age he started collaborating with the shin-hanga publisher Watanabe Shozaburo. Despite his late debut as a shin-hanga printmaker, he successfully put himself on the map as the greatest artist of the shin-hanga style and is especially noted for his excellent landscape prints. His prints are highly recognized in both Japan and overseas.Height: 15 3/4 in x width: 11 in.Condition: No visible tears, losses, or any signs of restoration under UV light. The color is bold and bright. The sheet is toned and has two pinholes along the left margin, original to the artistic practice. Along the upper margin, there is a straight line mark, possibly from the artistic practice. To the center, the right margin, and the left margin of the paint, there is a foxing began to form. Along the verso, the sheet is toned. Along the left margin from the verso, there is light browning. The foxing is also visible from the verso.
Chinese PRC export carved serpentine covered vase with a wooden stand. Carved on two sides with a phoenix and bird head and ring handles.Stand; height: 1 1/2 in x width: 3 1/4 in x depth: 2 in. Jade; height: 7 in x width: 3 3/4 in x depth: 1 1/2 in.Condition: No visible cracks or losses. No visible sign of restoration under UV light. No major chips. There are minute chips along the underside. Light wear throughout. Natural lines throughout. The lid is affixed to the body and cannot be removed. Light wear along the underside, consistent with age and use. Wear to the base.
Syrian mother of pearl inlaid wooden armchair. The intricately carved wood is inlaid with geometric stars in mother of pearl with the intarsia method. The chair is paneled throughout with mashrabiya style latticework. With an upholstered seat.Keywords: Levantine, Persian, Moroccan, Middle EasternProvenance: From the Estate of Horst Rechelbacher, Osceola, Wisconsin.Horst Rechelbacher, the founder of Aveda and Intelligent Nutrients, was a pioneer in the field of safe and eco-friendly cosmetics. The same curiosity that led him to explore ways to improve the beauty industry led him to travel the world, collecting rare and beautiful objects as he went.Height: 37 in x width: 27 1/2 in x depth: 17 in.Condition: The chair is in fair condition. It is structurally sound and there are no major losses. There is an area along one armrest with damage, possibly from an animal chewing on it; see lot listing photos. There are several small losses to the projecting decorations along the lower skirt. There is one mother-of-pearl star that has losses along one side; all other mother-of-pearl decorations are intact. Light wear to the feet. There is wear and areas of loose threads along the cushion.
Clifton Karhu (American/Japanese, 1927-2007). Woodblock print on paper titled "Mountains II" depicting a highly contrasted mountain landscape in red, blue, and black with a low sun setting in the distance, 1967. Pencil signed and dated along the lower right; titled along the lower center; numbered 8/50 along the lower left.Provenance: The collection of Urban Couch, Minnesota; by descent from above to Dennis Morton, West Virginia.Height: 13 1/2 in x width: 26 in.Condition: No visible tears or signs of restoration under UV light. Light creases long the margins. To the lower left corner, there The sheet is toned and has a potential acidic burn from the previous mat. To the lower left corner, there is a corner loss; however, it does not appear to be ripped. The color is bold and bright. Along the lower, upper, and left margins, there are original paint residues. From the verso, the sheet is heavily toned and has the original paint has been transmitted from the recto.
Large Indo-Heriz Indian hand knotted wool pile on cotton rug, late 20th century. With a large central medallion on a terracotta field with ivory, mustard, and green flowers. Four spandrels with a samovar (stylized turtle) in each corner. Navy blue border. Approximately 60-70 knots per square inch.Provenance: Oriental Rug Co., Edina, Minnesota, 1996; From the Estate of C. Curtis "Curt" Dunnavan, Long Lake, Minnesota.C. Curtis "Curt" Dunnavan (1926-2022) was a passionate world traveler and avid collector. It was through his travels that he was inspired to begin a lifelong relationship with the Minneapolis Institute of Art (Mia), becoming a major sponsor of the institute and facilitating the growth of their Asian art department, which is now one of the best in the country. His generous donations to Mia allowed them to establish a fund for the Deputy Director and Chief Operating Officer, one of the few endowed positions of this type in the museum field. He additionally served as a trustee of the institute, advocating for its operational growth. In its turn, the museum established a gallery named in his honor in recognition for his endowment fund and numerous contributions to their collection. The selections here showcase his talent and breadth of collecting, ranging from ancient statues to 19th-century woodblock prints. His appreciation for art persisted throughout his life and we are honored to offer items from his collection in this auction.Length: 9 ft 10 in x width: 8 ft 2 in.Condition: The rug is in overall good condition. There are a few minute spots with low pile, possibly from furniture, but otherwise the pile is even throughout. The color are bold and deep. Discoloration tot he fringes; likely some losses to the fringe. Light soiling throughout consistent with age and use. Light soiling to the verso.
Small 18th to 19th c. Chinese chalcedony cup with botryoidal crystals, possibly imperial. Carved for the Qianlong court.Height: 1 1/2 in x diameter: 2 1/4 in.Condition: The cup is in good condition with no chips, cracks, losses, or restorations. Natural lines throughout most visible under a direct light. Several minute spots along the exterior of the cup, likely original to the production; appearing as small black marks - visible in the lot listing.
Pair of Chinese silk embroidered kesi kossu panels, 19th century. Each depicting figures and buildings in a mountainous landscape. The borders with flaming pearls and foliate motifs.Each, unframed; height: 36 1/2 in x width: 11 1/2 in. Board; height: 37 1/2 in x width: 12 in.Condition: The piece has no visible tears, creases, or losses. The color has faded and there is light wear throughout. Both items are affixed to the board. To the item that has a pine tree to the lower side, there is a tear to the lower and the left margin. Light stains throughout the recto. The verso could not be inspected due to the nature of how the fabrics are affixed to the board. No visible sign of restoration under UV light.
A modern Chinese lacquered and jade inlaid chest of drawers with a lift top and two doors beneath. The decoration depicts scholars objects and boys playing. The sides have delicate lacquered decoration of flowers and gardens. Drawers and doors are fitted with high quality brass or copper fittings.Height: 36 1/2 in x width:24 1/2 in x depth: 16 in.Condition: No major chips, cracks, or losses. Structurally sturdy; however, the furniture does not appear structurally the most stable but it slightly wobbles. Doors open and close smoothly. Wear throughout and minute losses along the edges. Oxidation to the metal components. There is a minute dent to the upper right quadrant of the top. Along the left side, there are two areas that show unstable surface. To the front of the top, there is an area that lost its finish and was painted over. Along the underside, near the feet, there are line cracks; please see the listing image. Along the interior of the top, there are light line cracks along the edges. Along the interior, there are white pen marks. To the front of the cabinet, there are visible glues along the marble decorations; however, given that they are not fluorescent under UV light, they do not appear to be a restoration. Wear along the underside, consistent with age and use.
Japanese ikebana pottery bonsai bowl in the form of a basket or bag with a handle and two frogs. Marked "Made in Japan" along the underside, ca. 1914-1930's.Height: 3 in x diameter: 12 in.Condition: Wear throughout item. Original firing and glazing flaws. Crazing throughout.There are no visible signs of restoration under UV light. Dust collected along recessed areas. No visible chips along the rim; however, it is difficult to discern due to the original design. Along the underside, there are cracks, the longest measuring five inches; please see the listing image. Wear along the underside consistent with age and use.
Carved white marble stele depicting two vignettes of Buddha groups. The top scene depicts a central seated figure flanked on either side by two standing figures. The lower vignette depicts a similar scene as above but with two additional standing buddhas along either side. Both scenes are surrounded by billowing clouds.Provenance: From the Estate of Horst Rechelbacher, Osceola, Wisconsin.Horst Rechelbacher, the founder of Aveda and Intelligent Nutrients, was a pioneer in the field of safe and eco-friendly cosmetics. The same curiosity that led him to explore ways to improve the beauty industry led him to travel the world, collecting rare and beautiful objects as he went.Height: 29 3/4 in x width: 22 in x depth: 6 1/2 in.Condition: No major cracks or losses. No visible sign of restoration under UV light. Natural lines and wear throughout as expected from its age. Several scattered areas of dents, particularly along the edges of the underside. Along the underside, there are two patches and areas that appear that there used to be patches adhered to the underside. Along the front of the stele, there are scattered paint accretions as shown in the listing image.
Chinese Ming dynasty shipwreck jar or pot. With applied handles along the shoulder and incised decoration throughout. With a National Museum of the Philippines sticker label affixed along the side.Height: 8 1/2 in x diameter: 8 in.Condition: No visible chips or cracks. Wear as expected from age and use. There are losses to glaze and crazing throughout, one loss measuring approximately 1 inch long. Dust and debris have accumulated in the recessed areas around the handles. No restoration under UV light.
Pair of Nabeshima porcelain candlesticks, decorated with a pale celadon glaze.Each; height: 7 1/4 in x diameter: 4 3/4 in.Condition: No visible cracks or losses. No major chips. There is adhesive residue on the base of both items. Both items have residues of wax along the interior of the sconce. Both items have a few scattered minute blue spots that appear to be original. One item has a network of white accretions along the base. The underside of both items has wear, consistent with age and use. No visible signs of restoration under UV light.
Persian-Bakhtiari (Iran) hand knotted wool on cotton hallway runner rug, mid to late 20th century. With an allover pattern on a red field, with narrow borders with a barber-pole guard stripe. One end panel. Approximately 130 knots per square inch.Provenance: From the Estate of C. Curtis "Curt" Dunnavan, Long Lake, Minnesota.C. Curtis "Curt" Dunnavan (1926-2022) was a passionate world traveler and avid collector. It was through his travels that he was inspired to begin a lifelong relationship with the Minneapolis Institute of Art (Mia), becoming a major sponsor of the institute and facilitating the growth of their Asian art department, which is now one of the best in the country. His generous donations to Mia allowed them to establish a fund for the Deputy Director and Chief Operating Officer, one of the few endowed positions of this type in the museum field. He additionally served as a trustee of the institute, advocating for its operational growth. In its turn, the museum established a gallery named in his honor in recognition for his endowment fund and numerous contributions to their collection. The selections here showcase his talent and breadth of collecting, ranging from ancient statues to 19th-century woodblock prints. His appreciation for art persisted throughout his life and we are honored to offer items from his collection in this auction.Length: 12 ft 2 in x width: 3 ft 8 in.Condition: There are no major rips, tears, or losses. The pile is even and there are no threadbare areas.There are losses to the fringe on both sides. There is dirt and dust throughout. Light wear throughout, consistent with age and use. Light wear to the back.
Chinese export blue and white porcelain double-handled gravy or sauce boat, 18th century. Oval shaped with two spouts along either end and two huli jing "fox spirit" loop handles. Decorated throughout with floral and latticework painting.Provenance: From the Estate of C. Curtis "Curt" Dunnavan, Long Lake, Minnesota.C. Curtis "Curt" Dunnavan (1926-2022) was a passionate world traveler and avid collector. It was through his travels that he was inspired to begin a lifelong relationship with the Minneapolis Institute of Art (Mia), becoming a major sponsor of the institute and facilitating the growth of their Asian art department, which is now one of the best in the country. His generous donations to Mia allowed them to establish a fund for the Deputy Director and Chief Operating Officer, one of the few endowed positions of this type in the museum field. He additionally served as a trustee of the institute, advocating for its operational growth. In its turn, the museum established a gallery named in his honor in recognition for his endowment fund and numerous contributions to their collection. The selections here showcase his talent and breadth of collecting, ranging from ancient statues to 19th-century woodblock prints. His appreciation for art persisted throughout his life and we are honored to offer items from his collection in this auction.Height: 3 in x width: 9 in x depth: 8 in.Condition: No major chips or losses. No visible cracks. Wear throughout as shown in the listing image. Original firing and glazing flaws. The color has faded over time and use. Along the rim, there is a 4 inches long transparent residue that is fluorescent under UV light; however, it does not appear to be a restoration and not apparent under natural light. Along the rim, there are white minute accretions; please see the listing image. Along the interior, there are areas that are lightly discolored to light yellow. Along the edges, there are several minute chips throughout. Along the outer edge of the item, there are two 1/4 in long chips; one of them shows a sign of a restoration attempt. The heads of handles have light glazing losses; please see the listing image. Along the underside, there are two areas of light yellow adhesive residues; original firing flaws. The footrim is lightly discolored and has unidentified accretions and minute chips.
Stephen Little (b. 1954). "Spirit Stones of China," Art Institute of Chicago in conjunction with the University of California Press, 1999. Stitch-bound and in a blue clothbound case. Published in conjunction with the exhibition "Spirit Stones of China: The Ian and Susan Wilson Collection of Chinese Stones, Paintings, and Related Scholar's Objects" organized by the Art Institute of Chicago and on view from May 1 - August 1, 1999.Height: 10 1/4 in x width: 8 in.Condition: All pages appear to be present. No major rips, creases, or losses. Appears to be in unread condition. Light wear to the box.
Chinese carved banded agate snuff bottle with a jade and silver stopper. With taotie-style masks carved along two sides.Provenance: From the Estate of C. Curtis "Curt" Dunnavan, Long Lake, Minnesota.C. Curtis "Curt" Dunnavan (1926-2022) was a passionate world traveler and avid collector. It was through his travels that he was inspired to begin a lifelong relationship with the Minneapolis Institute of Art (Mia), becoming a major sponsor of the institute and facilitating the growth of their Asian art department, which is now one of the best in the country. His generous donations to Mia allowed them to establish a fund for the Deputy Director and Chief Operating Officer, one of the few endowed positions of this type in the museum field. He additionally served as a trustee of the institute, advocating for its operational growth. In its turn, the museum established a gallery named in his honor in recognition for his endowment fund and numerous contributions to their collection. The selections here showcase his talent and breadth of collecting, ranging from ancient statues to 19th-century woodblock prints. His appreciation for art persisted throughout his life and we are honored to offer items from his collection in this auction.Height: 2 1/2 in x width: 1 1/2 in x depth: 1 in.Condition: Wear throughout and natural lines to the jade components. Oxidation to metal components. There is a minute dent to the upper side of one of the handle carvings. Along the underside, there is a 1 inch area of loss and discoloration; however, it does not appear to be a restoration under UV light given that the part is not fluorescent under UV light.
A very fine group of four porcelain Chinese plaques from the PRC period; all framed and well decorated. Inscriptions with seal marks in the upper right corners. All depict courtly maidens in gardens in delicate famille rose enamels.Each, sight; height: 14 1/2 in x width: 9 1/2 in. Framed; height: 17 1/2 x width: 12 1/2 in.Condition: There are no visible restorations, cracks, major losses, or major scratches. There is some light rubbing to the surface along the upper left corner of the plaque pictured top right. Some extremely light wear throughout consistent with age. Wear to the frames including some splits to the wood. The verso of the plaques could not be inspected due to the nature of the framing.
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