Trees

 

Scroll restoration. I have now retired from this aspect of scrolls and no longer do this work.

We used to restore many old scrolls where the painting deserves new mounts.
Some scrolls have not had the best life in their existence and creating new silk top and
bottom mounts and inner frame mounts can happily bring these old paintings back to life. .

For techniques of what we did please refer to our Scroll Making pages


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Sages in a Bamboo Grove62x190cm 24.4x 74.8 4 Recently restored with beautiful silk mounts. 195







Autumn Landscape 53" long by 36" wide

This very peaceful landscape scroll comes with an Antique Silk covered box. 215

It is exceptionally wide but not long and a feature for a large wall.



 

Hanzan Fuji san no Matsu Asahai Tsuru- Mount Fuji Pines and Rising Sun with a herd of Cranes, circa 1960

23.3 x 72.2 210 with Box

Matsukawa Hanzan (1922 - 1997)

 


 FUSUMA-E a Japanese sliding door for a room also referred to as a  Shouji Screen door

Notes on Sliding screen doors: Fusuma shouji-e 襖障子絵. Paintings on sliding-door panels

Fusuma (襖) are vertical rectangular panels which can slide from side to side to redefine spaces within a room, or act as doors. They typically measure about 90 centimetres (3.0 ft) wide by 180 centimetres (5.9 ft) tall, the same size as a tatami mat, and are two or three centimetres thick. . They consist of a lattice-like wooden under structure covered in cardboard and a layer of paper or cloth on both sides. They typically have a black lacquer border and a round finger catch.  Both fusuma and shoji (sheer, translucent paper room dividers) run on wooden rails at the top and bottom. The upper rail is called a kamoi (鴨居?), literally "duck's place", and the lower is called a shikii (敷居?). Traditionally these were waxed, but nowadays they usually have a vinyl lubricating strip to ease movement of the fusuma and shōji.The panels slide along grooves at the top and bottom of the door frame and function as doors and room dividers.
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The term *shouji-e 障子絵 was popular during the Heian period and still used interchangeably with fusuma-e, but the latter term is more commonly heard today. In addition, the term shouji-e in the strict sense includes paintings on free-standing screens, tsuitate 衝立, as well as fusuma-e. The earliest reference to paintings on sliding doors in Japan comes in the 8c in the Shousouin 正倉院 records from 762 . Although no paintings survive from the Heian period, many literary and pictorial references suggest that paintings on sliding doors were popular interior decorations in the shinden style, *shinden-zukuri 寝殿造, architecture employed for the palaces and residences of courtiers. Most extant fusuma paintings date from 15c on, and were done in ink painting, *suibokuga 水墨画, painting with bright colors against gold background, *kinpekiga 金碧画, and *yamato-e やまと絵. Fusuma-e were sometimes taken off their sliding door frames (in which case they are called mekuri めくり) and re-mounted onto folding screens, *byoubu 屏風, or large hanging scrolls,*kakejiku 掛軸, for preservation.
This section is cited to http://www.aisf.or.jp/~jaanus/deta/f/fusumae.htm
 


Landscape with cedars and birch, spruce and Pine.
Created by the famous landscape -Sansui Ga- painter Nakanishi Koseki (1807-1884)

Signed artist name "Koseki" and sealed. Nakanishi Koseki (1807-1884), scholar artist, active in Kyoto from late Edo to early Meiji era.
He was from Fukuoka-ken. He is the painter who played an active part in Meiji Era.

Biography Kseki, Nakanishi 耕石 中西

Koseki although born in Osaka he was brought up in Fukuoka Prefecture (福岡県 Fukuoka-ken) is a prefecture of Japan located on Kyūshū Island.
He studied under the great artist Oda Kaisen (1785-1862) a Nanga painter,in Kyoto. It was here that he established himself as a top rated artist. He also studied the Southern Chinese style. This resulted in a style which is typical for the Meiji nanga style. He moved back to Osaka when he was 26, and lived there for the rest of his life. He was very popular in the Kansai area. During the late Edo and early Meiji period he was considered one of the best landscape artists in Japan, alongside Taizan (Hine Taizan, 1813-1870). His works are in a number of private collections and museums, including the Ashmolean.

References:
Araki, Tsune (ed), Dai Nihon shga meika taikan, Tokyo 1975 (1934), p.1555
Roberts, Laurance P., A Dictionary of Japanese artists, New York, 1976, p. 91

With box this wonderful short scroll is 475