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Lot 353
' Mother of Invention ' limited edition print by Andrew Burns Colwill of Bristol. This framed and glazed action print depicts powerboat racing in Bristol Harbour, with four powerboats shown racing, with the S S Great Britain in the background. Limited edition print number 11 of 100 and signed by artist to bottom right. Measures 80cm x 76cm.
Lot 43
A limited edition print of Frankie Dettori racing by Stuart Herod, signed lower right and marked 45/500 lower left;41.5 x 55.5cm;a caricature of Frankie leaping from a horse55.5 x 41cm;together with a Frankie Dettori signed hardback book titled 'A Year in the Life of Frankie Dettori', the title page signed (3) Provenance:Frankie Dettori
Lot 9
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.
Lot 20
Hiroshi Yoshida (Japanese, 1876-1950). Japanese shin-hanga woodblock print titled "Yasaka jinja (Yasaka Shrine)" depicting the exterior of a shrine with several visitors outside. Pencil signed along the lower right; titled along the lower left. With the artist's seal in plate along the lower right; 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 1/4 in. Framed; height: 21 in x width: 15 1/2 in.Condition: No visible tears, losses or creases. There is toning throughout. There is undulation throughout the sheet. Along the top right margin there is a minute crease. There is foxing throughout, particularly along the left quadrant. There is discoloration along the right margin, due to the nature of the work it is difficult to tell whether or not this is original to the artwork. There is wear to the frame. Framed under glass.
Lot 33
Hirohito Norikane (Japanese, b. 1949). Woodblock print on paper titled "Farm House No. 5," depicting a small farm house. Pencil signed, titled, and numbered 76/100. With a label from Gallery B.O.Q. along the verso.Sight; height: 9 1/4 in x width: 7 1/8 in. Framed; height: 12 5/8 in x width: 10 1/4 in.Condition: No visible tears or losses. There is a horizontal crease along the upper left and right quadrant; across the tree in the image, measuring approximately four inches. The mat has slight toning throughout. Framed under plexiglass. Wear to the frame. Not examined out of frame.
Lot 320
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.
Lot 5
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.
Lot 7
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.
Lot 322
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.
Lot 19
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.
Lot 23
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.
Lot 29
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.
Lot 13
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.
Lot 319
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.
Lot 6
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.
Lot 25
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.
Lot 10
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.
Lot 12
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.
Lot 44
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.
Lot 21
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.
Lot 321
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.
Lot 30
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.
Lot 32
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.
Lot 15
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.
Lot 26
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.
Lot 40
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.
Lot 31
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.
Lot 18
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.
Lot 11
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.
Lot 17
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.
Lot 39
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.
Lot 8
Hasui Kawase (Japanese, 1883-1957). Japanese woodblock print titled "Bell Tower at Okayama" depicting a beautiful bell tower in traditional Japanese architecture style, 1947. Signature seal marked along the lower left in plate; ink titled along the left margin; seal marked along the lower right corner in plate; further signed along the left margin.Height: 15 1/2 in x width: 10 1/2 in.Condition: No visible tears, losses, or restoration under UV light. The paper is lightly toned and has no foxing or soiling. Light wear along the upper margin as shown in the listing image, original to the artistic practice. The color is bold and bright. Along the margins, there are light creases that do not affect the center image; please see the listing image. Along the verso, the paper is toned and has light skimming. Along the margins, there are old framer's tape adhered; they do not affect the recto. Along the lower margin of the verso, there is pencil inscription "MLK69EM" and "485".
Lot 35
Ted Colyer (Canadian, b. 1947). Woodblock print titled "Nanendo, Nara III," depicting Nanendo Hall at the Kofukuji Temple in Nara, Japan, 1977. Titled along the lower center, pencil signed and dated along the lower right, and numbered 74/80 along the lower left. With a label from Gallery B.O.Q. along the verso.Sight; height: 16 3/4 in x width: 19 in. Framed; height: 23 7/8 in x width: 26 1/4 in.Condition: No visible tears, creases, or losses. There is toning and foxing throughout, particularly in the upper right quadrant. There is discoloration throughout, in particular a few spots in the upper right quadrant. No signs of restoration under UV light. Framed under plexiglass. Wear to the frame. Not examined out of frame.
Lot 22
Utagawa Kunisada, also known as Utagawa Toyokuni III (Japanese, 1786-1865). Ukiyo-e Edo period woodblock print triptych. Depicting individuals gathered near a goldfish merchant, looking upwards as rain begins to fall. Each with seals in the print along the lower margin.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.Each, sight; height: 13 1/2 in x width: 9 3/4 in. Framed; height: 21 in x width: 38 1/4 in.Condition: No visible foxing or creasing. There are losses and tears throughout each image. Starting with the image on the right, there are losses primarily along the right margin and the bottom left quadrant, the largest being 1/2 inch long. The middle image has minute losses to each corner. There is a loss along the center of the right margin that is 1/2 inch. The image on the left has minute losses to each corner. There is liquid exposure along the bottom right margin. The mat is toned. Framed under glass. Wear to the frame and losses to the frame. Not examined out of frame.
Lot 14
Hiroshi Yoshida (Japanese, 1876-1950). Japanese shin-hang woodblock print titled "Approach to Agra No. 3" depicting a crowd moving towards Agra, a city on the banks of the Yamuna river in the Indian state of Uttar Pradesh, southeast of the capital New Delhi, 1932. The Taj Mahal in the background shines brightly. Jizuri seal along the upper 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. 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: 15 3/4 in.Condition: No visible tears, losses, or signs of restoration under UV light. The sheet is toned and has very light wear along the upper and right margins, original to the artistic practice. The color is bold and bright. Very light creases along the margins, which do not affect the center image. Along the verso, the paper is toned and has a light foxing began to form to the center of the sheet.
Lot 38
Clifton Karhu (American/Japanese, 1927-2007). One woodblock on paper print titled "Fishing Boats - Japan" depicting a peaceful scene of a boat dock in Japan in the artist's unique visual language, 1966. Pencil signed and dated along the lower right; titled along the lower center; edition 6/50 along the lower left.Provenance: The collection of Urban Couch, Minnesota; by descent from above to Dennis Morton, West Virginia.Height: 14 1/2 in x width: 27 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. Light creases throughout, particularly along the margins. The right margin is not clear cut, most likely original to the artistic practice. The color is bold and bright. Along the extreme edges, there are original paint residues. Along the yellow paint, there is a patterned area that the underlying paper is seen through; however, it appears to be original. To four corners, there are pinholes, original to the artistic practice. Along the verso, the paper is heavily toned and the paints are transmitted as shown in the listing image; the margins are slightly darker than the center area, which is possibly from an acidic burn.
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