Hiroshi Yoshida (Japanese, 1876-1950). Japanese shin-hang woodblock print titled "Fuji San From Yamanaka" depicting a peaceful Mt. Fuji under a white snow blanket, 1937. Jizuri seal along the left margin. Pencil signed along the lower right; marked with Yoshida's seal in a plate along the lower right; titled along the lower left margin; 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 3/4 in x width: 15 3/4 in.Condition: No visible tears, losses, or restoration under UV light. The paper is toned as shown in the listing image. Along the right margin, there is light wear, original to the artistic practice. A few scattered areas with light creases along the margins; there is a 4 in long crease to the upper left corner; please see the listing image. No visible foxing or soiling to the sheet. To the upper right margin, there are white spots that are fluorescent under UV light. Along the lower margin, there are two networks of minute black dots; see the listing image. Along the verso, the paper is toned and has a few scattered areas of minute spots as shown in the listing image; they do not affect the recto. To the upper right quadrant, there is 3/4 in long spot.
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A very finely inlaid Chinese table screen with many high quality soapstone carvings of immortals in a garden landscape. The rosewood frame and stand is extremely well carved and all the hallmarks of craftsman ship of the late Qing.Height: 34 1/2 in x width: 22 in x width: 9 in.Condition: Wear, natural lines, and light cracks to wooden components throughout. The surface stretches along the edges. There are losses to the center of the screen, including to the tree, green cloth, cloud to the upper right quadrant, and to dragon along the upper margin. Dust collected to the surface and to recessed areas. Line of losses to the lower left corner, measuring 2 inches. Cracks along the margin. Along the areas where the center screen and the wooden stand meet, there is fabric adhered to protect the screen. Wear along the underside, consistent with age and use.
Chinese famille rose porcelain tankard or mug, mid-18th century. A large cartouche depicts a scene of a harbor with figures standing near a waterside with domed hills in the background. Intricately painted floral and foliate motifs throughout in pink, green, and gold interspersed with four cartouches depicting birds perched on branches. With an applied dragon-form loop handle.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: 6 in x diameter: 4 3/4 in.Condition: No visible chips. No major cracks or losses. No visible sign of restoration under UV light. Light wear throughout. Color glazing faded throughout. No visible chips to the rim and footrim. Original firing flaws throughout. Along the rim, there is a minute area where the surface is not smooth; however, it appears to be original. Along the areas where the dragon handle and the tankard's body meet, there is a minute crack near the head and near the foot. However, the dragon is firmly attached. The tongue of the dragon has a loss. Along the underside, the center is slightly recessed inward, which does not appear to be damaged but original. Along the underside, the area is lightly discolored and has unidentified accretions; please see the listing image.
Bidou Yamaguchi (born Yamaguchi Hiroki) (Japanese, b. 1970). Ko-omote "small face" Noh mask. Carved wood with pigments, lacquer, and gofun. Carved along the inside with Yamaguchi's mark. With a display case.Provenance: Distinguished corporate collection, Minnesota.Height: 8 1/2 in x width: 5 1/4 in.Condition: No chips, cracks, losses, or restorations. Very light wear throughout, consistent with age and use. Rubbing and paint loss where the display wire rubs against the wood. Minute losses and soiling along the extreme edges. Minute spots of soiling throughout.
Chinese ceramic sancai roof tile in green and ochre pigments in the form of a Qilin or Kylin. The mythical beast is modelled in the round with a scaled body and sitting perched atop the half-cylinder tile. A similar example is held in the collection of the Minneapolis Institute of Art.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: 14 1/2 in x width: 11 in x depth: 6 in.Condition: No visible chips, cracks or losses. There is light wear throughout, consistent with age and use. Dust has collected in the recessed areas and dirt/residue has pooled, behind the figure.There are losses to the glaze along the figure's eyebrows. Crazing throughout. There is a circle of adhesive residue along the right bottom edge of the tile. There is a minute chip along the front right of the figure's shoulder. There is a minute chip atop the crest on the figure's head. There is a minute loss to the figure's left eye and left side of mouth. There is a crack where the figure's tail and spine ornamentation meet. There is a pooling of glaze along unglazed ceramic section. The glaze does not cover the front of the edge of the tile. Along the underside of the tile there is drillhole that does not affect the topside/figure. The underside of the tile is not glazed.
An excellent collection of hundreds of Chinese PRC stamps, including premium issues such as the 1980 monkey. Housed in a silk binder.Provenance: Silverman Collection, Burrville, CT; iGavel Auctions, October 13, 2010; Private Minnesota collection.Height: 8 in x width: 6 in.Condition: Stamps are in great condition and kept intact in the binder. The binder has a very light wear throughout consistent with age and use. No visible sign of restoration under UV light.
Group of two Japanese cloisonne objects including a lidded urn and a plate. The plate decorated with butterflies among flowers. Inscribed and with a maker's mark along the underside. The urn is decorated throughout with flowers, butterflies, bats, and other creatures in cartouches.Plate; diameter: 8 3/4 in. Urn; height: 9 1/2 in x diameter: 8 1/4 in.Condition: The plate has no major cracks, losses or chips. There is a minute 1 inch layer of accretion along the edge. Along the edges of the bottom side there are minute losses to the enamel. The lidded urn has a small chip, approximately 1/2 in, along the edge of the lid. Along the top quadrants of the body there are adhesive remnants. There are minute enameling flaws throughout. There is wear and tarnishing to metal components throughout. No signs of restoration under UV light.
Japanese watercolor painted 6-panel floor screen. Depicting cranes gathered along the edge of a stream under the shade of a large tree. One crane swoops down from the sky to join the others.Height: 68 in x width: 151 in.Condition: The screen is structurally sound and stable. The colors are bold and bright. There are no major losses or restorations. There are small creases throughout. There are light scuffs and some small scratches throughout; there is a larger scuff along the lower margin of the third from the right panel. Some of the paper along the interior joints are fraying slightly and are worn. There is a large tear along the second from the left panel along the center right edge measuring approx. 7 inches in length. Along the extreme margins of all the panels there is chipping and small losses to the paint. Some evidence of moisture exposure along the lower margins. Some discoloration to the metal components along the sides. The silk border is in good condition. The paper along the back is in generally good condition. There is general wear along the outside edges consistent with age and use.
Chinese blue and white porcelain punch bowl, late 19th to early 20th century. Painted along the interior with a dragon in the center and a floral band along the rim. Decorated along the exterior with a landscape featuring the outer walls of a city and nature.Bowl; height: 5 1/2 in x diameter: 12 in. Base; height: 2 in x diameter: 8 1/2 in.Condition: No visible chips or losses. Light wear throughout as expected from age and use. There are firing and glazing flaws throughout. There is a crack extending vertically from the rim, measuring approximately two inches long. There is a network of hairline cracks along the interior of the bowl. There is wear to the footrim. No visible signs of restoration under UV light. There is wear and chipping to the wooden stand.
Chinese huanghuali recessed-leg side table. With multi-panel top set within a rectangular frame with everted ends above plain aprons and spandrels, the legs of rounded section joined to mate with two high stretchers.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: 35 in x width: 42 in x depth: 14 in.Condition: Possibly restored. Throughout the piece, along the areas where different pieces meet, there is a visible sign of glue restoration that is fluorescent under UV light. However, given that it is visible throughout the piece, it is difficult to disregard the possibility that it is original. No major dents, losses, or visible cracks. Consistent with age and use, wear throughout; finish color has faded along the top; please see the listing image. Wear along the underside as expected.
Chin San Long (Lang Jingshan) (Chinese, 1892-1995). Photograph depicting a single crane under a tree with towering cloudy mountains rising in the background. Silver gelatin print. Hand signed to the backing 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.Unframed; height: 14 1/4 in x width: 10 in. Matted; height: 20 in x width: 16 in.Condition: No visible tears, creases, or losses. No visible sign of restoration under UV light. The photograph is affixed to the mat. There is very light discoloration along the margins as shown in the listing image. The emulsion appears to be smooth and great. Along the negative spaces, there are lines that appear to be surface scratches; however, given that the emulsion is smooth and does not break, it seems reasonable to discern that the lines are not scratches but original to the photo-developing process. To the center of the right margin, there is an area with light brown mark that does not affect the center photograph. Along the verso of the mat, there is a minute grey accretion adhered to the upper right margin.
Kaneshige Toyo (Japanese, 1898-1967). Square formed Bizen ware ceramic vase or mizusashi, a fresh water pot used in tea ceremonies, 1964. Incised signature and date along the underside. Toyo was deemed a living national treasure in 1956 for his contributions to Bizen style ceramics.Height: 7 1/4 in x width: 7 in x depth: 7 in.Condition: There is a small crack along the bottom of the interior that extends through to the exterior underside. General light wear throughout consistent with age and use. No major chips, losses, or apparent restorations.
Japanese double gourd sake bottle with a Chinese jade ring, Edo or Meiji period. With an inscribed wooden box. The neck of the gourd is wrapped with cord.Bottle; length: 8 3/4 in x diameter: 2 1/2 in. Box; height: 3 1/2 in x width: 3 1/4 in x depth: 9 1/2 in.Condition: There are no cracks, losses, or restorations apparent along the gourd. Some fraying along the edges of the cord. A few dark inclusions to the jade. Some light wear to the box.
Tsuchiya Koitsu (Japanese, 1870-1949). Japanese shin-hanga woodblock on paper print titled "Natsu no Suki Miyajima (Summer moon at Miyajima)" depicting a peaceful scene at Miyajima island in Japan with the summer moon shining in the sky, 1936. Sealed with artist's seal ('shin') along the lower left in plate; ink titled along the right margin; further inscribed in Japanese along the lower right margin.Sight; height: 10 in x width: 15 in. Framed; height: 18 1/2 in x width: 23 1/2 in.Condition: The piece shows no visible tears, losses or restoration under UV light. The sheet is lightly toned, as shown in the listing image. The sheet is hinged along the upper margin with framer's tape. Along the upper margin there is undulation. Along the margins, there are light creases. Along the lower margin, there is old framer's tape adhered from the verso. Along the extreme edges, there are original paint accretions that do not affect the center image. No visible foxing or soiling. The mat is lightly toned. Inspected out of frame. Framed under plexiglass; the glass is not firmly attached to the painted wooden frame.
Japanese flambe blue glazed stoneware jardiniere.Height: 9 1/2 in x diameter: 9 in.Condition: No visible cracks, losses or chips. There are original firing and glazing flaws. There are minute scratches to the glaze throughout the exterior. There is light wear to the footrim as expected with age and use. No visible signs of restoration under UV light.
Chinese blue and white porcelain jar painted with figures in a garden.Height: 5 in x diameter: 5 1/2 in.Condition: No visible cracks or losses. No visible sign of restoration under UV light. No visible chips to the rim. Minute chips to the footrim. As shown in the listing image, light wear throughout and the glazing lightly faded throughout consistent with age and use. Original firing flaws throughout. Original glazing flaw near the rim; there is a 2 3/4 in long glazing crease. Along the underside, the footrim is discolored dark.
Hasui Kawase (Japanese, 1883-1957). Japanese woodblock print titled "Evening Moon at Nakaoshima" depicting a peaceful night scene at Nakanoshima sandbank in Osaka, Japan, 1933. Signature seal marked along the lower left in plate; ink titled along the right margin in plate; stamped along the lower left margin; further inscribed along the right margin.Height: 15 1/2 in x width: 10 1/2 in.Condition: The piece shows no visible tears, losses or signs of restoration under UV light. The sheet is toned and has no visible foxing or soiling. The color is bold and bright. The surface appears to be stable; there is light undulation along the upper margin. There are light creases along the margins; however, they do not affect the center image. Along the upper and left margins, there is very light wear as shown in the listing image; however, they are original to the artistic practice. Wood grain is visible in the upper portion of the sky, original to the artwork. In the lower right corner, there is light original paint residue. Along the verso, the paper is toned and has no foxing. Along the upper margin, there is skimming and brown accretions, possibly from the previous mat; they do not affect the recto.
Koichi Sakamoto (Japanese, b. 1932). Mezzotint etching titled "Late at Night," depicting snow covered homes under the moon. Pencil signed along the lower right and numbered 21/100 along the lower left. With a label from Gallery B.O.Q. along the verso.Sight; height: 10 in x width: 7 1/2 in. Framed; height: 14 3/4 in x width: 12 in.Condition: No visible tears, losses, or creases. There are minute accretions along the lower margin but due to the nature of the medium it is difficult to tell if it is part of the original artwork. There is toning along the mat and foxing along the lower margin. Under UV light, the left corner of the window cut of the mat shows a minute white splotch; there is a possibility of treatment but it is difficult to tell whether it is treatment or not. Framed under plexiglass and a window mat. Light wear to the frame. Not examined out of frame.
Countess Isabelle De Borchgrave d'Altena (born Isabelle Jeanne Marie Alice Jacobs) (Belgian, b. 1946). Large acrylic on paper painting in the form of a kimono in bright blue, orange, and green.Provenance: Distinguished corporate collection, Minnesota.Height: 56 in x width: 43 in.Condition: The color is bold and bright. Light creases and light wear throughout. There is wear and light tears to where the Kimono and the hanging nail meet. To both armpit areas, there are tears; please see the listing image. To the green areas, there are scattered areas with visible glue; however, it appears to be original. To the lower right margin, there is an area where the blue paint is not fully painted on the green paper; however, it does not appear to be a restoration but original. The backside of the Kimono could not be inspected to minimize the possibility of damaging the artwork. No visible sign of restoration under UV light.
Chin San Long (Lang Jingshan) (Chinese, 1892-1995). Photograph titled "Peaks Fantasia," depicting a pavilion with craggy mountain peaks rising out of the mist behind it. Silver gelatin print. Inscribed "Peaks and Pavilion" in ink along the verso.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.Unframed; height: 8 7/8 in x width: 16 1/4 in. Matted; height: 15 3/8 in x width: 22 1/8 in.Condition: The emulsion is smooth and without breaks. There are no major tears, rips, losses, or discolorations. No signs of restoration. Along the right and left side of the photo there are some minute areas of creasing. There are some marks along the surface throughout. There are some minute spots in the negative. There is some very light undulation along the left edge. The artwork was previously affixed to a matboard; there is discolored residue throughout the verso that does not affect the recto. The residue is a rough texture and discolored yellow. Some wear to the matboard; there is a large rectangular patch of residue where the photograph was previously attached.
Hiroshi Yoshida (Japanese, 1876-1950). Japanese shin-hanga woodblock print titled "Nikko kiri no hi (Misty day in Nikko)," depicting travelers visiting a shrine nestled amongst a misty forest. Pencil signed along the lower right; titled along the lower left. With the artist's seal in plate along the lower right and further stamped along the left margin.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.Sight; height: 15 1/2 in x width: 10 1/2 in. Framed; height: 21 1/2 in x width: 15 1/2 in.Condition: No major tears, creases or losses. There is foxing along the right margin, particularly the top right and bottom left corners. Light creasing along the top margin. There is light wear and undulation throughout the sheet. There is toning and discoloration throughout the sheet, especially along the top left corner of the margin. Framed under glass. Light wear to the frame.
Chinese famille rose porcelain round box with lid, Guangxu period. Painted with figures of a mother with a child and children with banners in a landscape. The underside and lid marked with a four-character stamp in red.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: 4 3/4 in x diameter: 4 1/4 in.Condition: No visible, cracks, or losses. There are minute firing flaws throughout. There are areas where the coloration of the paint has faded over time; there are losses to the gilding. There is a minute red spot along the exterior of the body; as seen in listing image. The bottom edge of the lid and the top edge of the box have wear, as expected from age and use. The footrim has wear, consistent with age and use. No visible signs of restoration under UV light.
Bidou Yamaguchi (born Yamaguchi Hiroki) (Japanese, b. 1970). Noh mask depicting Beshimi. Carved wood with pigments, lacquer, gofun, and gilt metal. Carved along the inside with Yamaguchi's mark. With a display case.Provenance: Distinguished corporate collection, Minnesota.Height: 8 in x width: 6 inCondition: There are no chips, cracks, losses, or restorations. Wear throughout consistent with age and use. Some light areas of soiling throughout. A few minute paint losses.
Utagawa Kunisada (Japanese, 1786-1865). Ukiyo-e woodblock print titled "Haru no yoru no on-asobi (Elegant Amusements on a Spring Evening)" depicting three individuals seated in an enclosed garden enjoying the music from the flute player. Seals along the lower left corner.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 1/4 in x width: 9 1/2 in. Framed; height: 19 in x width: 15 in.Condition: There are no visible rips, tears, losses, or restorations. Toning and slight undulation to the sheet throughout. Some Small stains throughout, most visible along the woman's face in the lower half of the work. Light wear to the frame; framed under glass; not inspected out of frame.
Bidou Yamaguchi (born Yamaguchi Hiroki) (Japanese, b. 1970). Group of two Otoko-men Noh masks. One depicting Kantan and one depicting Shintai. Carved wood with pigments, lacquer, and gofun. Each impressed along the inside with Yamaguchi's mark. Each with a display case.Provenance: Distinguished corporate collection, Minnesota.Orange face; height: 8 in x width: 5 in. White face; height: 7 in x width: 4 1/2 in.Condition: There are no chips, cracks, losses, or restorations to either mask. Light wear throughout consistent with age and use. A few areas of minute paint losses throughout. Rubbing and paint losses where the display wire rubs against the wood.
Group of five Chinese metal, likely silver, hairpins. One hairpin with a jade carved to resemble a flower. One large hairpin with a reticulated dragon flanked by a bat and a phoenix.Length ranges from 6 in to 7 1/4 in.Condition: All components are present and firmly attached. Some light discoloration and oxidization to the metal. The jade appears to be in good condition with no chips, cracks, or losses. There are heavy losses to the pigment of the metal components of the jade pin, the shaft of the pin is bent and the spring is slightly bent. The reticulated dragon moves well; there appears to be a repair with wire and the shaft is slightly bent.
Chinese famille rose porcelain lighthouse teapot, 19th century Tongxi Period. The upper register decorated with children serving seated elders and the lower register decorated with ribboned precious objects and floral sprigs. Of conical shape with a short spout, loop handle, and a domed lid with a knob finial. Marked along the underside with an apocryphal six-character Yongzheng red seal.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: 8 in x diameter: 4 in.Condition: There is a small restored chip along the lower rim measuring approx. 5/8" in length. There is a repaired chip to the knop along the lid. There is a small hairline crack measuring approx. 1" in length going upward from the lower rim. Some residual adhesive affixed along the exterior near the upper rim and along the lid. There is a minute firing flaw along the underside of the handle. Some losses to the painted decoration and gilt throughout. Light wear throughout consistent with age and use.
One 19th century Chinese rosewood altar table. Rectangular with plain apron; square legs with carved knees and scrolled carved feet.Provenance: The collection of Bruce Dayton and Ruth Stricker Dayton - Selections from The Marsh, Minnetonka, Minnesota.Height: 35 1/2 in x width: 59 3/4 in x depth: 17 3/4 in.Condition: The table is structurally sound and stable. here are some separations to the joints, particularly along the top, visible in the lot listing. General wear including light scratches and some small chips throughout. Some areas of uneven coloration throughout, particularly one spot along one of the legs. One spot along the top may have been repaired and has some cracks. There is one repair to one leg near the top. It seems to have been broken and repaired.
19th century Chinese Hong Mu Hardwood scholars or campaign desk. Separates into three parts for easy transportation. Fine hand made brass pulls. Stretchers in the form of interlocking coins.Height: 34 in x width: 61 in x depth: 25 3/4 in.Condition: Desk is structurally sound and stable. All drawers open and close smoothly. There are some minute losses to the carved decoration. There is separation to the joints along the top. There is a split to interior of the top right drawer. Some minor separations to the carved interlocking coin decoration along the lower edge. Some general wear including light scratches or scuffs throughout. Some discoloration to the metal components. Lacking the key.
Pair of 18th century Chinese export baluster porcelain vases. With bold stripes of pink, green, yellow, and black. Each with cartouches depicting figures in a garden, ribboned precious objects, and flowers.Each, height: 18 1/2 in x diameter: 8 in.Condition: Both vases show signs of minor wear. One vase has a crack along one of the main cartouches that extends horizontally to the right smaller cartouche. There is further evidence of repair under UV light in this area. The other vase has a small chip along the upper rim. Both lids have major repairs, visible under a direct light. There are minute white accretions throughout one of the vases, most visible along the black areas. There are a few areas along the painted stripes that appear to be touch-ups to the coloration; these do not appear to be restorations under UV light. General wear throughout consistent with age and use.
Group of two Cambodian silver betel nut boxes in the form of elephants. Their trunks are raised above their heads and they rest on bent legs. The larger box is marked along the underside "T90" (90%) silver.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.Larger elephant; height: 8 3/4 in x width: 10 1/2 in x depth: 5 in. Smaller elephant; height: 4 1/4 in x width: 5 1/2 in x depth: 2 3/4 in.Condition: Wear and minute dents throughout both items; dust collected along the recessed areas. Both items open and close easily. Light discoloration throughout both items as shown in the listing image. The bigger elephant has minute dents along the area where the lid and the body meets. Along the interior, there are several scattered areas with old polish; please see the listing image. There is a 1/4 in. minute crack to the back of the tail, which is only visible under careful inspection. The smaller elephant has minute dents along the area where the lid and the body meets. Along the interior, the surface is covered with old polish as shown in the listing. To the tip of the nose, there is green residue collected; along where the tusk and the face of the elephant meet, there is green residue adhered. To the side of the body, there is a minute loss. Both items do not have visible signs of restoration under UV light.
Group of three Japanese woodblock prints including:Toyohara Chikanobu (Japanese, 1838-1912). Right panel of a triptych titled "Snow Scene on the Banks of Sumida River" depicting two finely dressed women under an umbrella, 1891.Utagawa Hiroshige (Japanese, 1797-1858). Woodblock print titled "The First Race Course, Horse-Dealer's Street" depicting blue pennants strung up near a race track with a tower rising in the background, 1857.Utagawa Hiroshige (Japanese, 1797-1858). Woodblock print titled "Mount Atago, Shiba" number 21 from the series "One Hundred Famous Views of Edo" depicting the proprietor of the Atagoya teahouse dressed in an elaborate New Year's costume, 1857.Light brown frames, each; sight; height: 13 in x width: 8 3/4 in. Framed; height: 20 in x width: 15 in. Dark beige frame; sight: 13 in x width: 9 in.Condition: "Snow Scene on the Banks of the Sumida" -There is toning and undulation throughout. There is creasing in the lower right corner, one crease is measuring 3 1/2 inches. There is exposure to moisture in particular along the top of the upper quadrants. Framed with a window mat, there is moisture exposure along the top and bottom left quadrant. Framed under plexiglass, there is adhesive residue along the top center of the plexiglass. Wear and losses to the frame. "Mount Atago, Shiba"- There is toning throughout the sheet. Minute foxing and discoloration throughout. There is wear to the edges. Framed under plexiglass. Light wear to the frame. "The First Race Course, Horse-Dealer's Street"- There is toning throughout the sheet. There is minute foxing and discoloration throughout. Light wear to the frame. Not examined out of frame. No signs of restoration under UV light.
Chinese porcelain biscuit glazed mallet formed vase with applied decoration depicting a crane in a tree. The vase has been lamped.Provenance: The collection of Bruce Dayton and Ruth Stricker Dayton - Selections from The Marsh, Minnetonka, Minnesota.Height: 33 in x diameter: 19 in.Condition: There are no visible major cracks, chips, or losses. There are minute firing flaws throughout; one small firing flaw to the glaze along the shoulder. Light wear throughout. The lamp base appears to be affixed to the vase. The metal components are corroded along the underside and they are very difficult to remove; as such the underside has not bee inspected. The lamp has not been tested for functionality.
Chinese Guangxu famille rose porcelain covered kamcheng food pot, ca. 1900. Barrel shape with a fluted body painted with scenes of figures in garden landscapes and floral sprigs. With two handle loops along the body and a metal ring disc along the lid. With an apocryphal Qianlong four-character red seal along the underside.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: 6 in x diameter: 7 in.Condition: Overall no visible major losses. There is light wear throughout. There are minute chips along the toprim of the body piece. There are minute firing flaws throughout in particular long the interior of the rim. Throughout the item there are areas where the painting has faded. There are losses to the gilding, in particular along the handle loops upon the body. Along the interior of the lid piece there is adhesive residue. The footrim has wear consistent with age and use. No visible signs of restoration under UV light.
Early Japanese manuscript book by Honyo (1707-1789), the 17th priest of the Buddhist Jodo Shinshu sect. Along with an early lacquered document box. The Jodo Shinsu sect, also known as Shin Buddhism or True Pure Land Buddhism, is the most widely practiced form of Buddhism in Japan.Height: 9 3/4 in x width: 6 3/4 in x depth: 2 1/4 in.Condition: Heavy wear throughout. Toning and fraying to sheets. Losses to the cover. However, it appears there is no loss to the inner sheets; all pages are kept. There are some inscriptions that are covered with white substances and written over them. However, it does not appear to be a modern restoration, given two reasons: 1. The white substances covering the original inscription are not noticeably fluorescent under UV light. 2. The Japanese inscriptions that are written over the white substance appear to be written in the same era as when the rest of the book was written. It is a possibility that the aforementioned parts were amended after the original book was written; however, in such instances, the alteration appears to be made in the same era when the book was written- it does not appear to be a modern alteration or restoration. If you wish to see photos of the aforementioned white substances, please contact us. Wear to the box.
Hiroshi Yoshida (Japanese, 1876-1950). Japanese shin-hang woodblock print titled "Kinoe Harbor" depicting a peaceful harbor scene with boats with Mount Kinoe in Maine in the United States, rising in the background, 1930. With the jizuri seal along the left margin. Pencil signed along the lower right; titled along the lower left; ink titled along the lower left margin; marked with Yoshida's seal 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: 16 1/4 in x width: 11 in.Condition: No visible tears, losses, or restoration under UV light. No visible foxing or soiling. The color is bold and bright. The sheet is tone and has light wear along the upper and left margins, original to the artistic practice. Along the upper, lower, and left margin, there are light brown line marks that do not affect the center image; please see the listing image. Along the upper margin, there are minute creases that do not affect the center image. Along the left margin, there are two pinholes, possibly from the artistic practice. Along the right margin, there is an area with light area marks. Along the verso, the paper is toned.
Chin San Long (Lang Jingshan) (Chinese, 1892-1995). Photograph depicting a figure carrying a load up a curving path in the mountains. Silver gelatin print. Hand signed along the backing to the lower right of the photograph.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.Unframed; height: 14 3/8 in x width: 10 in. Matted; height: 20 in x width: 16 in.Condition: No visible tears, losses, or signs of restoration under UV light. The photograph is affixed to the board. The emulsion appears to be smooth and great. Along the upper margin of the photograph, there is a horizontal line area that appears to be discolored, as shown in the listing image; however, it is difficult to discern whether it is discoloration or original to the photo-developing process. To the upper right and left corner, there is a very light folded crease. To the upper part of the photograph, there are areas that appear to have surface stretches; however, given that the emulsion feels smooth, it seems reasonable to discern that it is original to the photo-developing process; please see the listing image. To the left upper margin of the mat, there are light brown accretions. Along the upper left margin of the verso of the mat, there is a minute light brown accretion; otherwise, clean verso.
Chinese Qing dynasty silk civil official's rank badge, fourth rank, depicting a wild goose. With a red sun set amongst clouds and surrounded by intertwining foliate and geometric motifs.Height: 11 in x width: 12 in.Condition: There are no major rips, tears, or losses. The two halves of the rank badge have been stitched together. The rank badge has been stitched to a silk backing. Light fraying along the extreme edges of the work. The badge is somewhat faded.
Utagawa Hiroshige (Japanese, 1797-1858). Group of three woodblock prints from the series "Gojusan tsuji meisho zue (The Fifty-three Stations of the Tokaido Road)," 1855. Including:Number 5 from the series, "Hodogaya: Distant View of the Kamakura Mountains from the Boundary Tree Posthouse."Number 11 from the series, "Traveling at Night Through the Hakone Mountains."Number 24 from the series, "The Suruga Bank of the Oi River near Shimada."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, unframed; height: 14 1/2 in x width: 10 in. Framed; height: 21 in x width: 16 1/2 in.Condition: Overall there is no visible foxing or tears. No major creases or losses. No visible signs of restoration under UV light. The sheet is affixed to the mat along the top margin with framer's tape along the verso. The sheet is toned as seen in the listing image; all four margins are visible under the frame. There is light soiling along the margins. The margins do not appear to be trimmed. The bottom left, upper left and upper right corners have light creases that do not affect the center image. There is a minute hole in the lower left margin; please see listing image. To the lower right corner, there is a light gray accretion; however, it appears to be a part of the original texture. Along the verso, there is light soiling along the edges and the original texture of the paper is visible. Along the lower right corner, handwritten in pencil there is a "7006". Framed under museum glass; very light wear to the frame.
Hasui Kawase (Japanese, 1883-1957). Japanese shin-hanga woodblock print titled "Rain at Ushibori" depicting a peaceful rainy day scene in the lakeside district Ushibori (present-day Ibaragi Prefecture). Signature stamped along the lower right in plate; titled along the lower margin; further inscribed along the lower margin.Height: 17 in x width: 12 in.Condition: The piece shows no visible tears, losses or signs of restoration under UV light. The sheet is lightly toned and has no visible foxing or soiling. The color is bold and bright, and the surface appears to be stable. Along the right and left margins, there are light brown spots; however, they are original to the paper. In the upper left corner, there are light creases that do not affect the center image. Very light wear along the upper margin which appears to be original to the artistic practice. Along the verso, there is a light crease to the lower left corner; to the center of the lower margin of the verso, there is a 1/4 in long adhesive tape residue that does not affect the recto, possibly from the old framer's tape.
Chinese famille rose porcelain plate decorated along the interior with a blooming flower, 18th century. Decorated along the rim with three sprigs of flowers, a dragonfly, a praying mantis, and a beetle.Diameter: 9 in.Condition: Overall, the item has no visible cracks or losses. No major chips; there are minute chips along the rim and footrim. Light wear throughout as expected from age and use. There are a few scattered areas where the coloration has faded over time; there are losses to gold gilding as shown in the listing image. Throughout the item, there are a few scattered minute blue spots that appear to be original. Along the underside, the footrim has an adhesive spot, measuring 1/2 inch. The underside has wear, consistent with age and use. No visible signs of restoration under UV light.
Early 19th century Chinese silk embroidered kesi or kossu panel depicting figures in a cloudy and mountainous landscape.Height: 20 1/2 in x width: 7 1/4 in.Condition: The piece shows wear throughout. The item is toned and has stains throughout as shown in the listing image. Light losses along the extreme edges. In the lower left margin in the center image, there is a 1/2in tear. In the upper left quadrant, the silk is not firmly attached to the board. The verso could not be inspected due to the nature of how the artwork is framed. The board affixed to the silk fabric has heavy toning, skimming, and losses along the margins; there are two lines of old framer's tape loosely attached, and along the margins, there are old adhesive accretions.
Large antique Chinese stoneware bowl with a green crackle glaze and impressed designs in a band along the lower edge and top rim of the bowl.Height: 6 1/2 in x diameter: 13 in.Condition: No visible losses. No visible chips to the rim; a minute chip to the footrim. No major cracks throughout item. There is heavy crazing to glaze throughout item, possibility of being broken beneath glaze. Throughout the item, there are a few areas with adhesive residue that are fluorescent under UV light. There are minute black accretions along the interior. Unidentified residue along the interior, possibly liquid, which can be easily cleaned. Light wear along footrim as expected from age and use; sticker adhered along center of footrim.
Utagawa Hiroshige (Japanese, 1797-1858). Ukiyo-e woodblock print titled "The Mouth of the Aji River in Settsu Province" from the series "Sankai mitate sumo (Wrestling Matches Between Mountains and Sea)" depicting a bird's eye view of ships in a harbor, 1858. With a cartouche along the upper right corner in the shape of a fan used by referees in sumo wrestling matches. Signed and titled in plate along the upper left an lower right corners.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: 10 in x width: 13 3/4 in. Framed; height: 17 in x width: 21 1/4 in.Condition: No visible tears. The sheet is affixed to the mat along the upper margin with framer's tape. Light creases along the margins. The sheet has toning and soiling along the margins, particularly to the upper right and lower left corners. Natural lines from the woodblock visible, most noticeably to the ocean. Light browning along the upper, right, and left edges. There is a minute crease to all four corners. There is a folded crease to the center of the sheet. To the upper right corner, there are minute holes that are restored with another sheet layer from the verso; please see the listing image. No other visible signs of restoration under UV light. To the lower center margin in the ocean, there is a minute area of ink loss. Along the verso, there is light skimming to the right margin. Framed under museum glass; light wear to the frame.
Chinese Guangxu Qing famille rose porcelain ginger jar with lid. Decorated along one side with five figures in a garden gathering flowers and with script along the other.Height: 13 1/2 in x diameter: 8 in.Condition: Heavy wear throughout as shown in the listing image. Original firing and glazing flaws. The coloring has faded throughout the item. Along the exterior, there are two minute spots with white accretions adhered. Along the rim, there is a visible sign of possible grind-down; the areas is discolored. Along the rim, there are minute chips. Along the footrim, there are several scattered minute chips, discoloration, and minute cracks that do not affect the sturdiness of the item. When inspected under UV light, there are networks of fluorescent spots along the interior; however, they do not appear to be a restoration but natural developed corresponding to its age. The lid does not appear to match the jar; the color is slightly different. The top of the lid has an area that has possible restoration; please see the listing image.
Japanese silk embroidery depicting two birds amongst foliage against an open landscape.Height: 13 1/2 in x width: 20 1/2 in.Condition: The piece is heavily toned and shows wear throughout. Throughout the recto, there is a horizontally patterned marking as shown in the listing image, potentially original to the fabric. The margins are darkly discolored. In the corners, there is potential liquid damage. In the upper right corner, there are brown accretions as shown in the listing image. In the lower left quadrant, a light foxing has begun to form. Along the upper side of the board, the fabric has a few scattered areas of tears and brown accretions. The verso could not be inspected due to the nature of the fabric being affixed to the board. From the back, the board is heavily toned and shows uneven coloration; please see the listing image; heavy wear throughout. No visible sign of restoration under UV light.
Chinese export British East Indian company Armorial porcelain tureen, ca. 1790-1810. Oval with a domed lid, fruit finial, and double-strap reeded handles. Decorated with point and pendulum banded rims and the armorial crest of the English Honorable East India Company (HEIC). In polychrome enamels of peach-brown, black, and gilt.Provenance: An English collection; The Oriental Impression, Ltd., October 1, 1987; 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: 7 in x width: 12 1/2 in x depth: 9 in.Condition: No visible cracks, chips, or losses. Light wear throughout as expected from age and use. There are losses to the coloration and the gilding. There is a minute crack along the top rim of the tureen. There is dust accumulated throughout the recessed areas. There are minute firing flaws throughout. Along the underside of the lid there is a small spot of adhesive residue. There is wear to the bottom, consistent with age and use. No visible signs of restoration under UV light.
Large Chinese export porcelain famille rose medallion or rose Mandarin floor vase, second half of the 19th century. Decorated with applied dragons and painted with birds, roosters, and butterflies among flowers.Height: 24 in x width: 9 1/4 in.Condition: General wear throughout as expected from age and use. There do not appear to be any major restorations when inspected under direct and UV light. There are several large, vertical, hairline cracks. One through the center of a large cartouche and one just to the right of the cartouche. There are minor losses to the paint throughout; minor losses to the gilt throughout. Along the underside there is a series of hairline cracks. There are four chips to the footrim.
Coral and spiderweb turquoise Indian necklace. With a coin and loop clasp and a woven textile chain.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.Length: 20 in.Condition: All beads are firmly attached and there do not appear to be any missing. All the turquoise stones are intact with no major chips or losses; due to the nature of the stone it is difficult to discern if there are any minute breaks. There are minute chips along many of the smaller beads. Some dirt and dust collected throughout. The coin is very worn and somewhat discolored. Some light wear to the cord. General wear and some areas of discoloration to the metal components.
Hiroshi Yoshida (Japanese, 1876-1950). Japanese shin-hang woodblock print titled "Fujiyama from Okitsu" depicting a beautiful village spring scene with flowering cherry blossoms and Mt. Fuji in the background, 1928. Jizuri seal along the left margin. Pencil signed along the lower margin; titled along the left margin; 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: 16 1/4 in x width: 11 in.Condition: No visible tears, losses, or restoration under UV light. Light wear along the upper and left margin, original to the artistic practice. The sheet is toned as shown in the listing image. No visible foxing and soiling. The color is bold and bright. Along the sky, there are several minute areas that appears to be a crease; however, they are original texture of the sheet. Along the verso, the paper is toned and has no visible foxing and soiling. To the lower left quadrant, there is an area with light brown spots.
Hiroshi Yoshida (Japanese, 1876-1950). Japanese shin-hang woodblock print titled "Three Little Islands" depicting a calm ocean scene with two boats floating peacefully floating on the water with three islands in the background, 1930. Jizuri seal along the left margin. Pencil signed along the lower right; pen titled along the lower left; ink titled along the lower left margin; marked with Yoshida's seal in plate along the lower right; 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: 11 in x width: 16 1/4 in.Condition: No visible tears, losses, or signs of restoration under UV light. The sheet is toned as shown in the listing image; no visible foxing or soiling. Along the margins, there are minor creases that do not affect the center image. Along the upper margin, there is a very light acidic burn possibly from the previous mat; please see the listing image. Along the upper margin, there are two pinholes, original to the artistic practice. Along the upper and right margins, there is wear, original to the artistic practice. To the lower left corner, there is the original ink residue. Along the verso, the sheet is toned.
Paul Jacoulet (French, 1896-1960). Woodblock print titled "Le Tresor - Coree (The Treasure - Korea)," depicting a mother and child. Titled along the lower right; signed in plate along the lower right.Image; height: 15 1/2 in x width: 12 in. Matted; height: 22 in x width: 17 1/2 in. Margins; right; 3/4 in x left: 1 1/2 in x lower: 1 1/4 in x left: 2 in.Condition: The print is in good condition overall with no major tears, creases, or losses. The print is taped along the upper corners with framer's tape. The paper is toned, browned, and has an acidic burn. The right margin is possibly trimmed. The upper, left, and lower margins have wear, visible in the lot listing. There is minor foxing to the lower right and upper left quadrants. There are minute blue paint marks to the lower left quadrant. There are several creases throughout. When inspected under UV light, there are white areas throughout the recto which indicates possible treatment. From the verso, the paper is toned and brown; it is stamped lower right quadrant. The mat is toned.
Chinese Han dynasty Proto-Yue stoneware vessel. Possibly a mingqi mortuary (funerary) or spirit object, or storage vessel. Of globular rounded form with three concentric registers or bands. With luted mask-form ear handles. Stoneware partially glazed with natural ash resulting in a mottled olive-green to yellow coloration.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: 13 in x diameter: 14 in.Condition: There are no major cracks, losses, or evident restorations. Crazing to the glaze throughout. There are light losses to the glaze throughout. Small chips to the bands around the vessel. Minute firing flaws throughout. There are a few small chips to each handle; shallow cracks along the bases, possibly original to production. Along the footrim there are two large spots of discoloration, likely original to the firing. Dirt and dust collected along the interior. Wear to the footrim consistent with age and use.
Henry Yu-Kee Woo (American/Chinese, b. 1927). Watercolor on silk painting titled "Autumn River" depicting a peaceful river scene with maple branches beautifully tinted red and yellow. Signed along the lower left. With a certificate of authenticity.Provenance: Arts Festival of Atlanta, March 21, 1976; Private collection, Minnesota.Sight; height: 20 1/2 in x width: 11 1/2 in. Framed; height: 27 1/2 in x width: 18 1/2 in.Condition: The pieces shows no visible signs of tears, creases or losses. No visible sign of restoration under UV light. The color is bold and bright. There is a very light undulation to the sheet. In the lower right quadrant, there is a minute dent. Along the huaxin (?), there are creases, and networks of light grey spots; please see the listing image. Framed under plexiglass; not inspected out of frame; light wear to the frame.
Japanese cloisonne vase with a pale blue ground and a landscape of Mount Fuji rising from the clouds. The cloisons have been removed, showing the skill of the artist in the creation of the vase. Similar to many vases by the Ando Jubei Company.Height: 6 1/4 in x diameter: 3 1/4 in.Condition: There is an area of overspray that measures approximately 2 inches x 2 inches, which has begun to flake and discolor. No other visible areas of restoration. No visible cracks to the enamel. There are a few minute chips to the enamel along the footrim. There are several areas of adhesive residue around the footrim. Some wear and light scratches throughout; light wear to the metal rims.
19th century Chinese silk embroidered robe decorated throughout with golden five-clawed dragons, a symbol of the imperial family. The golden dragons chase flaming pearls through the clouds and bats. Auspicious symbols embroidered with the forbidden stitch or seed stitch.(Approximate, flat) Width: 27 in x sleeve-to-sleeve: 24 in x length: 44 in.Condition: The robe appears to be in good condition. The colors are bold and bright. Some light wear to the interior, wear and stains to the cotton lining. There are some small areas of fraying throughout.
Persian or Turkish Quranic manuscript page with gilt details. Inscribed with "PAGE FROM THE KORAN INDIAN OR TURKISTAN 14TH CENTURY" in pencil along the verso.Sight; height: 13 in x width: 10 3/4 in. Framed; height: 20 1/8 in x width: 17 5/8 in.Condition: Heavy discoloration throughout the sheet. Wear to all edges. The left margin may have been trimmed. Losses and discoloration to the pigment throughout. Areas of the skimming to the top layer of the paper throughout. Along the left top and bottom corners there are large creases visible. Along the lower right margin there is a rectangular piece of tape that measures 2 inches x 3/4 inch. The page is floated in the frame. Light wear to the frame. Framed under glass. Not inspected out of frame.
Chinese export blue and white porcelain Cadogan dao guan hu teapot in the form of a peach, late 19th century. Decorated throughout with floral and foliate motifs and two cartouches; one depicting magpies perched among prunus flowers and the other depicting a three figures, one leaning against a prunus bole.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: 5 1/4 in x width: 6 1/2 in x depth: 2 1/2 in.Condition: Light wear throughout. No major chips, cracks, or losses. There is a minute glazing loss to the top of the handle. To the left of the loss, there is a light crack to where the handle and the body meet. Light minute chips to the tip of the spout. Along the footrim, there is wear and discoloration as shown in the listing image. Along the underside, there is a circular sticker adhered. No visible sign of restoration under UV light.
Chinese silk embroidery panel depicting intricately detailed butterflies among flowers and foliage. Bordered with dark blue flowers and butterflies. Housed within a wooden tray and framed under glass.Height: 2 in x width: 18 3/4 in x depth: 10 1/2 in.Condition: There are no major tears, losses, or restorations. There is some light wear along the extreme edges including one loose thread. There are several areas of dark stains throughout, most along the edges, visible in the lot listing. There is evidence of water exposure along the verso which has likely caused the dark stains seen in the recto. The colors are likely slightly faded. Some wear to the frame; the handles are slightly loose; framed under glass; not inspected out of frame.
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