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TWO VIETNAMESE BRONZES.
19th / 20th Century.
24 / 27cm H. (2)
£200-300
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A BRONZE 'QILIN' CENSER.
Ming Dynasty.
Seated on its hind legs, the head turning to the left, hinged to the body to form the cover, the mouth open for the release of smoke, 33cm H.
£300-500
| The following twenty-five lots (500-524) are from the collection of P.H. (1926-2016). | Collecting was in P.H.'s blood, and following in footsteps of his parents, Sir Ian and Lady Heilbron, whose important collection of English porcelain was dispersed by Sotheby's in the 1960s, he began collecting Chinese art through Bluetts in his early twenties. Heilbron gained employed at the Kodak Company, and was stationed at their Bombay office in 1948 where he began to develop his lifelong interest in Indian bronzes.
Heilbron returned to England in 1959 and was offered a position at the British Museum by his close friend, Douglas Barrett, Keeper of Oriental Antiquities since 1963. Heilbron instead sold his collection of Indian bronzes through Sotheby's in 1963, and used the proceeds to set up his own business. His personal archive, sold here as lot 518, includes correspondences with the Victoria & Albert Museum, the British Museum and the Philadelphia Museum of Art as well as with Spink & Sons, all of which he supplied with pieces to help expand their collections. A further sale of Indian bronzes was held at Christie's New York in 2007. The present collection comprising snuff bottles, Chinese works of art, art reference books, Indian sculptures and archival correspondences and photographs perhaps presents the most personal of his collections to come to market.
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A TURQUOISE 'LADIES' SNUFF BOTTLE.
19th / 20th Century.
Deeply incised with a lady holding a lingzhi spray beside a bat on one side and a lady with birds on the reverse, beneath the shade of a pine tree, original turquoise stopper, 5cm H.
Provenance: Collection of P.H. (1926-2016).
£120-150
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A YANGZHOU SCHOOL BROWN OVERLAY GLASS SNUFF BOTTLE.
Qing Dynasty.
Of flattened rectangular form rising from a short straight oval foot ring, finely carved through the layer of pale brown overlay to the opaque milky white glass, with squirrels and grapes on one side, treasures and flowers on the reverse with an inscription, stopper, 8cm H.
Provenance: Collection of P.H. (1926-2016).
£200-300
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A GLASS SNUFF BOTTLE.
Qing Dynasty.
Once side carved with a pair of flowering plum trees in pots, 6cm H.
Provenance: Collection of P.H. (1926-2016).
£100-200
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A FAMILLE ROSE 'INSECTS' SNUFF BOTTLE.
Qing Dynasty.
Delicately painted around the body with two confronting insects with overlapping antennae, Yongzheng nianzhi mark, 6cm H.
Provenance: Collection of P.H. (1926-2016).
£150-200
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A MODELLED PORCELAIN 'EIGHTEEN LUOHAN' SNUFF BOTTLE.
Qing Dynasty.
Finely modelled and painted with figures against a gilt ground, 6cm H.
Provenance: Collection of P.H. (1926-2016).
£200-300
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TWO BLUE AND WHITE 'BUDDHIST LION DOG' SNUFF BOTTLES.
Qing Dynasty.
One of pear-shape form the dogs painted beside a wall on a crackle ground, Qianlong nianzhi mark to base, stopper, 4.5cn H, the other of cylindrical form decorated with a continuous scene of numerous dogs, the base painted with a dragon, 4.5 / 6cm H. (2)
Provenance: Collection of P.H. (1926-2016).
£200-300
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A ROCK CRYSTAL SNUFF BOTTLE.
Qing Dynasty.
Carved on one side with Liu Hai beneath a flowering peach tree, beside a deer, carved twin lion head ring handles, stopper, 7cm H.
Provenance: Collection of P.H. (1926-2016).
£200-300
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A PORCLAIN MOULDED 'CORN' SNUFF BOTTLE, TOGETHER WITH A 'LOTUS LEAF' SNUFF BOTTLE.
Qing Dynasty.
The corn bottle moulded and painted as borne on a leafy branch, the other bottle glazed in turquoise, aubergine, green and yellow as a large leaf with conjoined flowering branches, stoppers, 9.5cm H. (2)
Provenance: Collection of P.H. (1926-2016).
£200-300
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A PAIR OF MINIATURE WHITE GLAZED VASES WITH MONKEY HEAD HANDLES.
Qing Dynasty.
6.5cm H. (2)
Provenance: Collection of P.H. (1926-2016).
£300-500
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A RUBY-GLAZED QUATREFOIL WATERPOT AND COVER.
Qing Dynasty, Qianlong mark and possibly of the period.
Of quadrilobed form with a spreading foot, the top with a cylindrical finial, the interior and base with turquoise glaze, original metal spoon with ruyi head handle and decorative wan. Qianlong nianzhi mark to base. 5.5cm H.
Provenance: Collection of P.H. (1926-2016).
£200-300
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TWO BLUE AND WHITE 'DRAGON' SEAL PASTE BOXES AND COVERS.
Qing Dynasty.
The cover of each decorated with a dragon encircling a central flaming pearl, among flames and scrolling clouds, the exterior of the base with a ring of rocks and waves, 6 / 8cm diameter. (2)
Provenance: Collection of P.H. (1926-2016), acquired from Bluetts and Sons.
£300-500
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Y AN IVORY 'BUDDHIST LION DOG' SEAL.
17th Century
The fanged beast seated with the front right paw raised on a rectangular plinth, 4cm H.
Provenance: Collection of P.H. (1926-2016).
£300-500
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A JUN-STYLE BOWL.
Late Qing Dynasty.
Wood stand, 22cm diameter.
Provenance: Collection of P.H. (1926-2016).
£200-300
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A PALE BLUE BACKED BLUE AND WHITE BOWL.
Ming Dynasty.
8cm H, 16.5cm diameter.
Provenance: Collection of P.H. (1926-2016).
£200-300
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A JADE BANGLE WITH INSCRIPTION.
Qing Dynasty.
The exterior inscribed with characters in seal script between lipped edges, 6cm diameter.
Provenance: Collection of P.H. (1926-2016).
£400-600
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A CARVED JADE 'MONKEYS' PENDANT, TOGETHER WITH A JADEITE NECKLACE.
Qing Dynasty.
The rectangular pendant carved and pierced in the form of four cavorting monkeys, 4cm H. (2)
Provenance: Collection of P.H. (1926-2016).
£200-300
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A COLLECTION OF CARVED WOOD STANDS.
Provenance: Collection of P.H. (1926-2016).
£100-200
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THREE CHINESE ART AUCTION CATALOGUES.
A Collection of Fine Chinese Porcelain, The Property of John F Woodthorpe, Sotheby's 1954; the Eumorfopoulos Collection, Sotheby's, May 28, 29, 30 & 31 May 1940; Illustrated Catalogue of the Remarkable Collection of Ancient Chinese Bronzes… the American Art Galleries, New York, 1914. (3)
Provenance: Collection of P.H. (1926-2016).
£100-200
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THE ARCHIVE OF P.H..
Includes photographs of Indian and Tibetan bronzes, correspondences with the Victoria & Albert Museum, the British Museum and the Philadelphia Museum of Art as well as with Spink & Son. (Qty)
Provenance: Collection of P.H. (1926-2016).
£100-200
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A COLLECTION OF ART REFERENCE BOOKS ON CHINESE AND TIBETAN ART.
(Qty)
Provenance: Collection of P.H. (1926-2016).
£100-200
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A COLLECTION OF ART REFERENCE BOOKS ON INDIAN AND SE ASIAN ART.
Including Sir Aurel Stein, On Ancient Central-Asian Tracks. (Qty)
Provenance: Collection of P.H. (1926-2016).
£100-200
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A BRONZE FIGURE OF GARUDA.
17th Century.
Kneeling on the right knee, on a circular base, the hands raised and open, the wings on the shoulders curved slightly forwards at the ends, 18cm H.
Provenance: Collection of P.H. (1926-2016).
£800-1,200
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A MINIATURE STONE CARVING OF SIMHANADA LOKESHVARA.
Nalanda, East India, circa 12th Century.
9cm H.
Provenance: Collection of P.H. (1926-2016).
£400-600
Simhanada, also known as 'Lion's Roar', Avalokiteshvara is associated with medicine and is invoked in the treatment of disease, particularly leprosy. In this form Avalokiteshvara resembles Shiva the Ascetic, unadorned with sumptuous bodhisattva jewellery and having the snake-entwined trisula that is common to both deities.
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A BRONZE FIGURE OF BALAKRUSHNA.
14th / 15th Century.
The crawling figure adorned with multiple necklaces and jewellery, the head with a high cylindrical headdress, 8cm H.
Provenance: Collection of P.H. (1926-2016).
£100-200
Literature: For a related bronze see Pal, Asian Art at the Norton Simon Museum, vol 1, cat no 201, p 277.
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Y TWO BRONZE FIGURES, A BRONZE VESSEL, A CARVED IVORY ELEPHANT AND A GOLD THREAD TEXTILE.
17th Century, and later.
9cm H. (5)
Provenance: Collection of P.H. (1926-2016).
£100-200
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AN EAST INDIAN BLACK STONE CARVING OF SIMHANADA LOKESHVARA.
Pala Period, 9th to 13th Century.
Depicting Avalokiteshvara seated on a flower patterned cushion supported by a lion crouching on a lotus pedestal, the animal's head turned back the mouth baring fangs, a flower head issuing from the pedestal at the rear of the simha, the bodhisattva resting in regal posture, rajalilasana, his left hand resting on the cushion behind and holding the stem of a lotus, the right elegantly poised over the raised right knee, a yajnopavita falling from the deity's left shoulder, and draping the right thigh, the knotted hair enlaced with strings of jewels and tied with a diminutive crown, a small figure of Amitabha, Avalokiteshvara's spiritual progenitor, seated beside the double lotus throne, 28cm H.
Provenance: Collection of Ian Schultz, acquired in France in the 1950s.
£6,000-8,000
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A BRONZE FIGURE OF PARVATI.
16th / 17th Century.
Cast standing on a lotus base, on a rectangular plinth, wearing a long dhoti with sash and further body ornaments, her face flanked by elongated earlobes and surmounted by a tall headdress, 23cm H.
£5,000-8,000
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A COPPER ALLOY FIGURE OF JINA.
11th / 12th Century.
Standing in kayotsarga on a circular base over a stepped plinth, the arms extended along the sides and the face with large almond-shaped eyes beneath incised brows, 13cm H.
£2,500-3,000
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A LARGE GILDED RED LACQUER MANUSCRIPT CHEST, SADAIK, AND STAND.
Burma, Mandalay period, 19th Century.
Of rectangular form with hinged cover, decorated with figurative scenes in gilded moulded relief work supported on the original four carved wood elephant-form feet, 75cm H.
Provenance: From the collection of Sir Arthur Havelock (1844-1908), thence by descent to the present owner, acquired whilst he was Governor of Ceylon between 1890 and 1896.
£800-1,200
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THE ARCHIVE OF FRANCES RICE MORTIMER (1913-2007).
Consisting of photographic prints, negatives and personal notes, much of it relating to her work with the Kabul Museum, including manuscripts and maquettes for books including Art in Afghanistan: Objects from the Kabul Museum, London, Penguin, 1971, much of the material apparently unpublished. (Qty)
£300-500
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A BRONZE BUDDHA.
19.5cm H.
£1,200-1,500
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A COLLECTION OF WAR PROPAGANDA WOOD BLOCK PRINTS BY KIYOCHIKA.
19th Century.
Fourteen Oban tate-e triptychs, senso-e, of the first Sino-Japanese War (Japan-Qing war) (1894-1895) including Search Light at Pyong Yang dated Meiji 27 (1894), and Attack on Enemy's Camp at Chiuren Castle at Rainy Night, dated 1894, all signed Kiyochika except one. (14 sets)
£300-400
532
A QUANTITY OF WAR PROPAGANDA WOOD BLOCK PRINTS.
19th Century.
Forty five oban tete-e and senso-e by various artists including Gekko, Koitsu, Toshihide, Chikanobu, Ginko, Nagatoshi, Gessan, Beisaku and Kokunimasa, mostly published in Meiji 27 (1894). (45 sets)
£300-400
533
A GROUP OF WAR PROPAGANDA WOOD BLOCK PRINTS.
19th / 20th Century.
Comprising nine Oban triptychs senso-e of the Russo-Japanese war (1904-1905), seven other triptychs of senso-e including some battle scenes in Korea, and four oban tata-e, each depicting a famous army officer, by Nobuchika, Toshihide and others. (16 sets and 4 single prints).
£300-400
534
A QUANTITY OF WAR PROPAGANDA WOOD BLOCK PRINTS.
19th Century.
Fifty two oban triptychs by various artists including Toshikata, Nobukazuk, Gekko and Beisaku, senso-e of Sino-Japanese war, mostly of the battle of Pyongyang in Korea which took place on 15 September 1894, published Meiji 27 (1894), good impression and colour. (52 set)
£300-400
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A GROUP OF PARODY PRINTS BY KIYOCHIKA AND OTHERS.
19th / 20th Century.
Comprising twenty oban prints entitled 'Nippon banzai hyakusen hyakusho' (Hurrah for Japan! One hundred selections, one hundred laughs) by Kobayashi Kiyochika, published by Matsuki Heikichi in 1904; three harimaze prints by Kawanabe Kyosai; and sixteen other oban prints by various artist, mainly incomplete triptychs; together with four miscellaneous engraving and prints.(43)
£300-400
536<\o>
THREE WOOD BLOCK PRINTS BY ELIZABETH KEITH (1887-1956).
20th Century.
Entitled Night scene, Peking dated 1922, depicting food stands at night; another print of a street scene with food vendors, untitled, dated 1924; and Lamia Temple Peking dated 1922, all with pencil signature, framed and glazed, 58.5 x 36cm / 56 x 43cm and 37 x 48cm with frames. (3).
£500-600
537
FIVE WOOD BLOCK PRINTS BY ELIZABETH KEITH (1887-1956).
20th Century.
Entitled The Wonsan Scholar and his disciples, dated 1921; A seated Korean boy in formal costume in fur, entitled Wedding Guest, Seoul, dated 1919; Country Wedding Feast, Korea, dated 1921; Buddha's Birthday showing a Korean boy in holiday dress, dated 1919; The scholar, Korea showing a seated scholar in blue costume against a painted screen, dated 1921, all with pencil signature except the Wedding Guest signed in ink, framed and glazed, the largest 53 x 38.5cm. (5)
£500-600
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THREE WOOD BLOCK PRINTS BY ELIZABETH KEITH (1887-1956).
20th Century.
A large print showing a snow covered temple gate in Korea, undated, signed in pencil in the bottom margin; another print with a temple gate on a cliff over-looking the river with a boat, signed in pencil; a landscape shape print depicting a farmer with his horses in the country, signed in pencil, framed and glazed, the largest 48 x 64cm. (3)
£500-600
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THREE PRINTS BY LILIAN MILLER (1895-1943).
20th Century.
Three wood-block prints, the first entitled Japanese dwarf plum tree B showing a white bonsai plum tree with white flowers against a grey background, signed dated 1928, with a seal; the second, oban yoko-e, showing snow-covered temple roofs, without signature and the title, with a seal; and the third, a small print of garden lanterns at night, inscribed in the margin For Miss Ball-with best thanks and signed in ink, 39.5 x 27cm, 26.7 x 36cm and 19 x 10.5cm respectively. (3)
£200-300
540
A LARGE GROUP OF WOODBLOCK PRINTS BY KAMISAKA SEKKA.
20th Century.
Forty-three loose prints from the set of albums Momoyagusa (A World of Things), depicting classical themes of landscapes, figures, animals and flowers including Spring Rice Field, Green Dragon, Puppies and Snail, Fishing Village and Fuji, sumptuously printed with gold and silver pigments, 30 by 44.5cm, each.(43)
£800-1,000
541
A WOODBLOCK PRINT BY URUSHIBARA, TOGETHER WITH OTHER PRINTS.
20th Century.
Oban yoko-e, wood block print by Mokuchu Urushibara (1888-1953), Stonehenge at Night, published by Ken Hoshino & Co, together with and seven Meiji colour prints for advertisement of shops selling tea, kimono, paints, and lamps. (8)
£200-300
Born in Tokyo, Urushibara travelled to London in 1908 as a part of the group of craftsmen who exhibited at the Anglo-Japanese Exhibition. Following the exhibition, he remained in London where he was employed by the British Museum and collaborated with English and French artists including Sir Frank Brangwyn, till his departure for Japan in 1940.
542
A SMALL PRINT BY MUNAKATA.
20th Century.
A wood-block print in ink, a bust-portrait of a girl wearing zukin covering her head and mouth, signed in pencil Shiko Munakata with a red seal, framed and glazed, 13 x 9cm.
£300-400
543
TWO HASHIRA-E PRINTS.
18th Century.
The first by Isoda Koryusai, a parody of the most famous scene from the kabuki play Chushingura depicting a man unrolling a long letter whilst another man hiding under the floor reading the end of the letter; the second by Katsukawa Shun'ei, depicting a young man helping a girl climb up a tree so that she can retrieve a letter from a monkey, 71 x 15cm / 69.5 x 13cm with frames. (2)
£500-600
544
THREE VOLUMES OF SHUNGA BOOKS.
19th Century.
The frontispiece given the title, Kari makura ukina no adanami, (a fuss over a little nap in the floating world) by Utagawa Kunisada II (1823-1880), each with four double pages including double fold- out pages and one single colour illustration of erotic scenes, and 10-12 pages of text, signed Bukiyo Matabei (nom-de-plume of Kunisada II) on the screen in the picture. 23 x 15.2cm each. (3)
£300-350
545
A LITHOGRAPH BY LEONARD TSUGUHARU FOUJITA (1886-1968).
20th Century.
Lithograph in colour, 1964 on paper, Madonna and child, signed L Foujita in pencil, no. 88/100, 49.5 x 69cm.
Provenance: Gift of Madame Kimiyo Foujita in late 1980's, thence by descent to the present owner.
£400-500
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AN INK PAINTING ATTRIBUTED TO TSUGUHARU FOUJITA (1886-1968)
20th Century.
A landscape with pine tree against the lake, in ink and slight colour on paper, signed Tsuguharu in Japanese, 88 x 32cm.
Provenance: Gift of Madame Kimiyo Foujita in late 1980's, thence by descent to the present owner.
£1,000-1,500
Like many of the iconic Modernist artists of the early 20th Century, Foujita was drawn to Paris, arriving in 1913 after graduating from the Tokyo University of Fine Art. At the same time as Chinese artists in Paris such as Xu Beihong, Lin Fengmian and Sanyu were creating a new visual language based on a dialogue between Chinese ink art and European Modern art, Foujita forged his own unique stylistic innovations applying traditional Japanese ink and brush with an oil-primed canvas. After a successful solo exhibition at Salon d'Automne, Foujita quickly gained a reputation as a figurative artist.
Back in Japan, however, where he returned before the outbreak of World War Two, Foujita was little known, and was much criticised by his pacifist peers for work he undertook as a war artist under the employ of the Japanese government in 1939.
It was during the war that Foujita reconnected with sumi-e (traditional Japanese ink and brush painting). Fine examples of his works in the medium are illustrated in Buisson La Vie et L'Oeuvre de Foujita, 1987, p.442. In the final days of the war, the artist evacuated to a small village in Kanagawa and is said to have visited a fellow artist who stayed in a boathouse near the Sagami Lake, the possible location in which the present landscape was painted.
The present lot, with its gnarled pines and open spaces (yohaku), perhaps reflects the inner turmoil of the artist at this difficult time. He left his homeland in 1948 never to return.
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A HANGING SCROLL.
Edo period.
Painted in ink on paper, with a Chinese poet, Katao (Jia Dao) wearing a long robe riding a horse, unsigned, The box cover entitled the painting of Katao riding on the horse, the inscription of the underside of the cover reads I thought this painting was from Sessu school when I first saw it. The exquisite and delicate use of brush and ink are very close to the style of paintings from Song and Yuan artists, therefore I recognise this painting was by a famous artist. I enjoyed looking at this painting so I sign and write the inscription. A winter day in the eighteenth year of Meiji (1885) Kokoku Denshuku, with two red seals, 80.5 x 31.5cm
£200-300
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TWO HANGING SCROLLS.
19th / 20th Century.
The first, a collaborative work by Shijo school artists, painted in ink and colour on silk, depicting a floral arrangement of bamboo, chrysanthemum, orchids, pomegranate, a chestnut with its shell and a kaki fruits, signed by five different artists, 194 by 55cm, with fitted wooden box; the other painting possibly a part of a screen, depicting a goose amongst rocks, 117 x 50cm. (2)
£100-200
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PAIR OF TWO-FOLD PAINTED SCREENS.
19th / 20th Century.
Both painted in ink, colour and gofun on paper, one screen depicting bamboos and sparrows against gold flake background; the other boldly painted with Sho Chiku Bai, three auspicious things' a pine, bamboo and plum blossoms beside stylised rocks against gold background, each 170.5 x 186cm. (2)
£200-300
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A LACQUER AND GILT SUTRA BOX AND STAND.
19th Century.
A rectangular box containing three volumes of sutra, Sanjo Wasan (Three Buddhist Verses) wood block printed in ink, dated Kaei 1 (1848) resting on a tiered stand with pierced and carved decoration of stylised waves and clouds, in lacquer and gilt, the box 21.5 x 17cm, 22cm with stand.
£100-200
551
A LACQUER PICNIC BOX.
18th / 19th Century.
A Sage-Jubako, the rectangular frame enclosing four- tiered Jubako, a tray, a sake cup, two pewter sake bottles, and two drawers, decorated in gold hiramaki-e, with maple tree against bamboo blinds, 26 x 26 x 15cm.
£200-300
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A SET OF NINE GILT-PLATED SILVER CUTLERY WITH KOZUKA HANDLES, A BRONZE FISH AND TOBACCO POUCHES.
19th Century.
A set of nine French P. Morin Knives with kozuka handles in a wooden pot, a bronze model of a leaping carp, and two leather and one linen tobacco pouches, the knife 20cm long, the fish 17cm H, the largest pouch 15 x 9cm. (5)
£150-250
553
A WOOD TONKOTSU AND A PIPE CASE.
Meiji period.
In the form of an aubergine with an inset picture engraved with Mt. Fuji and falcon feathers, attached with an ivory ojime and netsuke, together with a bamboo pipe with copper mounts, the tonkotsu 9cm, the pipe 22cm long, the netsuke 3.5cm long.
£300-400
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AN UNUSUAL LACQUER KOBAKO.
19th Century.
In the form of fukurokuju, one of the Seven Lucky Gods, his face and robe are thickly modelled by moriage technique with slight colour, gilt and kirekane, the interior of nashiji decoration, 13cm, L.
£500-700
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A WOOD AND LACQUER OKIMONO OF A DRUM ON A STAND.
20th Century.
A wood box in the form of a drum decorated in gold and colour lacquer and aogai inlaid with inset pictures of a seated geisha, a pagoda beside a stream, a bamboo garden fence with chrysanthemums, and a bamboo, with a red lacquered wood stand, the drum 31cm x 17cm.
£100-150
556
A LARGE BAMBOO ROOT BASKET BY KYOKUSHOSAI.
20th Century.
The natural bamboo roots loosely gathered together and bound at various points forming a boat-shaped ikebana vessel, signed on the base Kyokushosai saku (made by Kyosushosai), approx. 122cm, L.
£300-400
Suzuki Kyokushosai (1872-1936) was born around Tokyo and had a shop in the Nihonbashi area. He exhibited at the Nitten and Shototen exhibition of applied and industrial arts.
557
A BAMBOO BASKET BY TANABE CHIKU'UNSAI.
20th Century.
A tall ovoid-form Ikebana basket woven in multiple techniques with a loop handle, a bamboo container inside. Signed Chiku'unsai on the base. 43cm H.
£500-700
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AN UNUSUAL BAMBOO IKEBANA BASKET
20th Century.
With a towering foot broadly flaring at the base, supporting a manju-form top, unsigned 44cm H.
£500-700
559
TWO BAMBOO BASKETS.
20th Century.
The first of hexagonal shape body with a tall narrow handle, signed Chikuho, 34cm H, the second hanakago woven with split flat bamboo, with a twisted handle, unsigned, 42cm H. (2)
£200-300
560
A LARGE WOOD AND LACQUER FLOWER VASE.
20th Century.
A natural wood trunk forming a flower vase, decorated with bamboo and sparrows in gold lacquer hiramaki-e and inlaid aogai. 43cm H.
£150-200
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TWO JAPANESE SADDLES AND ONE TIBETAN SADDLE.
19th Century
Two Japanese wood and lacquer saddle frames (kura); the first decorated in gold lacquer hiramaki-e with stylised leaf and arabesque pattern; the second, disjointed Japanese kura, thickly decorated in takamaki-e with shishi lions and bamboo, 38 x 29cm; one Tibetan saddle, the arch-shaped front and back panels fitted with finely chiselled iron mounts inlaid in silver and gilt foliage pattern, with a leather and padded cushion attached by metal buttons, 44 x 31cm. (3).
£300-400
562
A TWO-TIERED WOOD TANSU.
Formed as a Isho danse (clothes chest) in two sections, possibly hinoki (cypress) wood painted in red lacquer stain (bengara), with two large drawers at the bottom and three drawers in upper part, and one hinged door opening to reveal further small drawers, with iron fittings and handles, 116 x 121 x 44cm.
£300-500
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A GOOD KEYAKI TANSU.
20th Century.
Formed as a Choba-dansu (Ledge chest), in Keyaki (zelcova) wood, with two sliding drawers, the interior with one shelf and a small drawer. 74.5 x 94 x 47.5cm
£300-500
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A POTTERY BOWL BY MAKUZU KOZAN AND OTHERS.
19th / 20th Century.
Comprising a bowl modelled as a gourd with faceted exterior, decorated in green, blue, white enamel and gilt, painted with flowering ivy and a grass hopper, signed with impressed seal Makuzu with the original fitted box also signed Makuzu Kozan, 17.5cm, long; a domed paper box and cover with an all over design of raised gofun white chrysanthemums and green leaves, with random sprinkled gold, 21 x 16 x 9cm; and a framed lacquer panel, 25.5 x 34.5 x 2.5cm (3).
£300-400
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AN ATTRACTIVE KUTANI DISH.
Edo period, 18th Century.
A small lobed dish, decorated in iron-red, blue, green yellow and aubergine and black enamels, with a roundel enclosing a kingfisher perched on reed beside a stream, reserved in stylized karakusa pattern, a mark on the reverse 'fuku', 17cm, D.
£800-1000
Literature: A similar dish is illustrated in Susumu Shimazaki, Nippon Toji Zenshu, vol.26 Kutaniyaki, pl no 111.
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