Page 68 - Sotheby's Paris June 12, 2018 Asian Art
P. 68

ANCIENNE COLLECTION
                                                                    WILLEM VAN HEUSDEN

                                                                    !1913"2009#



                                                                    8JMMFN WBO )FVTEFO  ᔚᔛ
                                                                    €          ϋ


                                                                    LOTS 185!190



                                                                    185

                                                                    LA DESCENTE D’AMIDA
                                                                    JAPON, ÉPOQUE KAMAKURA
                                                                    encre, couleurs et or sur soie, montée en rouleau, boîte
                                                                    couverte en bois (3)
                                                                    107,3 x 37,7 cm, 42¼ by 14⅞ in.
                                                                    PROVENANCE
                                                                    Acquired by Willem van Heusden in Japan before 1955
                                                                    (according to his wife).

                                                                    The descent of Amida
                                                                    ink, colour and gold on silk, hanging scroll, Japan,
                                                                    Kamakura period
                                                                    40 000-60 000 €
                                                                    381 000-575 000 HK$    48 600-73 000 US$

                                                                    ˚͉ 々ࡑࣛ˾ Г˙ɧ໋ྡ ணЍ຿͉ ͭൿ

                                                                    ‘The previous owner of this paintings has hopefully ascribed it
                                                                    to Eshin-Sozu himself. Since there are no known works of this
                                                                    master remaining and comparison is therefore impossible,
                                                                    such optimism is quite unwarranted. The Þ gure of the Buddha
                                                                    is painted in gold of two tints which enabled the painter to
                                                                    delineate folds in the robe and the patterned design thereon
                                                                    without using other colours. This technique is peculiar to the
                                                                    (Kamakura) period and was derived from China.’
                                                                    Quote Willem van Heusden in his notes accompanying the
                                                                    painting.

















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