Chigusa Sou-un (or Soun)
Born in Kyoto, first trained under Takeuchi Seiho and joined Seiho's
group, Chikujokai. Active in the National arts exchange organization
(Zenkoku kaiga kyoushinkai), Art institute of Japan (Nippon Bijutsu-in),
and the exchange between the two groups, art exchange alliance (rengo
kaiga kyoushin kai) and the national exhbition (naikoku kangyo
hakurannkai. In 1930 and onwards Soun submits several works for the
Shotoku Taishi exhibit, Kyoto Museum appreciation exhibit, and the
Kyoto City exhibit.
This is an important work of art. This
has been restored
With a specially made antique silk covered box £220
Pine Tree and Tori Gate-Sansui Ga.Signature and seal: Touho
Circa 1900 newly restored and with
a specially made antique shot silk covered box
Taking Tea and reading books-The Scholars Picnic-Painted circa 1850
newly restored and with a specially made period antique silk covered
The colour of the mountings are actually grey and not blue
Ontake. this wonderful Sumei-Ink Painting-
Painted in 1909
Shimazaki Ryu'o (1865-1937)Born in Edo-Tokyo. At first, he learned
Western painting from Kenkichi Sakurai. Later, he turned his painting
style to Japanese. Learned the techniques of the Yosai school from Fuko
Matsumoto, and also learned techniques of the Maruyama school from Gyokusho Kawabata.
He was also good at painting Japanese beautiful girls-Bijen.
180 x 54cm 71 x22 inches
This has now been restored and comes with a specially made antique Kimono Silk covered
Mount Ontake (御嶽山,
Ontake-san), also referred to as Mount Kiso Ontake
Kiso Ontake-san), is the second highest volcano in
Japan at 3,067 m (10,062 ft) located around 100 km (62 mi) northeast
of Nagoya. It is on the borders of Kiso and Ōtaki, Nagano
Prefecture, and Gero, Gifu Prefecture. It should not be confused
with Mount Mitake, a mountain in Tokyo written with the same
characters, and various other Japanese mountains which share the
name Ontake. A small pond located near the base of Mount
Ontake contains a number of koi that have achieved seemingly
impossible life spans. The oldest known vertebrate animal known to
recorded history was a koi named "Hanako," who died here in 1977, at
the age of 226 years—outlasting the world's oldest tortoise by 38
before restoration after restoration
Kashu Mynah on Camelia-Painting
Painting is 121x30 cm (47x12 inches) £1250. Restoration has been
Numata Masayuki, Bokusai, Kashu. A nobleman from Owari
province. Lived most of his life in Nagoya. Pupil of his grandfather
Numata Gessai who had studied ukiyo-e under Maki Bokusen and
bunjinga under Baiistu. Numata was sufficiently highly regarded that he
was commissioned by the emperor Meiji to decorate the Imperial Palace in
Famous for a three volume book that he wrote and illustrated called
Shucho Gafu between 1885 and 1916. This is one of his original paintings
Numata Kashu was from Nagoya and . He did a three
volume kacho-ga in the period from about 1885 to 1890 and it was
reprinted at least twice in the 20th
century. Original printings of his books like this one are harder to
find than the contemporary kacho books by Kono Bairei, Imao Keinen and
Watanabe Seitei (Shotei). Numata was more concerned with the birds than
with the flowers in his prints and his books are ornithologically more
accurate than most of the genre.
Each book included as introductory material accompanying 12 leaves,
printed both recto and verso, of striking color woodblock prints showing
various species of birds in their natural habitats, some of the prints
double page. Sm. 4to. Dec. stiff wrpps., tie-bound. Tokyo (Matsuyama-do
Shoten/ Shosando Shoten) 1916.
This is the specially made silk covered and lined box that we have
created for this wonderful scroll painting
From Amhurst College:
Shûchô Gafu (Pictorial Monograph of Birds) Volume 2 (?) only (of
three). 25.1 x 17.9 cm. 26 leaves including initial leaf of printed text
25 single- and 12 double-page colored plates and a final page (i.e. one
side of a leaf) of printed text. Contemporary plain blue wrappers
stitched Japanese style with red Japanese lettering piece on upper
(right) cover. Printed endpapers. Yellow upper endpaper. Tokyo, Nakamura
This is a beautiful work of the kachô genre with the wood blocks
printed in subdued colors that include green, yellow, red, brown,
orange, blue and dilutions of black. One or two of the plates are done
in pure sumi-e i. e. varying dilutions of black and gray. Amongst the
turn-of-the-century masters of kachô, including, besides Numata, Bairei
Kôno, Watanabe Seitei (Shotei) and Keinen Imao, Numata seems to have
been the most bird oriented, so much so that, according to Bartlett and
Shohara, his later works published in Tokyo, barely qualify for the “ka”
designation. His albums seem scarcer than those of the other artists.
According to the Yale catalog (their three-volume set is a 1938
issue), this work was published in three volumes beginning in 1885.
Bartlett and Shohara do not name this work but mention three volumes by
Numata of “beautiful bird and flower pictures in 1890...”.
Bartlett & Shohara, p. 241; Yale, p.212 (later issue)
Numata Kashû (1838-1901)
(Shûchô Gafu ?) (Pictorial monograph of birds). (Volume 3 of 3?).
25.0 x 18.1 cm. Laid paper in Japanese double construction (conjugate
leaves) sprinkled with mica. Red upper paste-down with Japanese
characters and 27 leaves. Japanese-style stitched binding. Bound
Japanese style right to left with patterned blue paper over card. Lacks
title label slip from upper cover. (Tokyo, Nakamura Sataro ?), 1889.
Red upper paste-down with characters; two leaves framed with
double-green lines containing Japanese characters and two red stamps; 17
single and eight double-paged colored woodblock prints within single
gray-ruled borders; final page of characters with two red stamps
(different from those at beginning).
Numata Kashu was from Nagoya and was sufficiently highly regarded
that he was commissioned by the emperor Meiji to decorate the Imperial
Palace in 1888. He did a three volume kacho-ga in the period from about
1885 to 1890 and it was reprinted at least twice in the 20th century.
Original printings of his books like this one are harder to find than
the contemporary kacho books by Kono Bairei, Imao Keinen and Watanabe
Seitei (Shotei). Numata was more concerned with the birds than with the
flowers in his prints and his books are ornithologically more accurate
than most of the genre. This one is exquisite with much brighter colors
than the first volume and with some gauffrage and mica-sprinkled paper.
Some of the color may have been applied by hand.
Bartlett & Shohara, p. 241
Oshidori-Mandarins in Winter. Signature: Koyo Seal:
A charming painting that has now been
restored at our workshop.
The specially made antique kimono silk covered
box reflects the colours of the scroll through the fan motif
A wonderful composition of mountains in Summer by Shunpo. This is now
Researching this: I think this is Yoshimichi Shunpô (Japanese,
born after 1899) £210
Blue Green Fujisan. recently fully restored with period silk covered
Tsuru Crane Couple . Painted by Taigen Koji c 1930
(also known as Nobuyoshi Nobutada / Etsuji Sanjin)
The Winter Mountain Farm
Tanaka Raisho (1868-1940) £220
After restoration in February 2011
Antique Japanese silk was used to make this lovely box for this
Landscape by Shinso Mizuno(1903-1995)
Width 29" : Height 71.1"
wonderful scroll has now been fully restored. 2011 £325
The grandson of
Mizuno, Toshikata (1866-1908) who was a famous woodblock print
Shinso Mizuna also created prints and was published a number of
times by Unsodo Publishers
Unsodo is the name of a large
Japanese publishing company with branches in both Tokyo and Kyoto.
Founded in 1891, this company is still in existence today. From the
1890s through the 1930s, the Unsodo publishing house was involved in
printing high quality pattern books for various crafts including
textiles and lacquer. They also published fine art books with color
woodblock print illustrations. After World War II, Unsodo became
associated with a number of different shin hanga artists. Unsodo
published several series of original landscape prints during the late
1940's, including 'Twelve Views of Japan' and 'Twelve Views of Kyoto'.
Mizuno, Toshikata (1866-1908)
Japanese-style painter, illustrator. Lived in Tokyo. First learned
woodblock printing from Taiso Yoshitoshi, then studied Japanese-style
painting with Watanabe Shotei. Also studied decoration of ceramics.
Member of the Nihon Bijutsu Kyokai and Nihon Bijutsuin, frequently
serving as a juror for these groups. Among his puils were Ikeda Terukata,
Ikeda Shoen, and Kaburagi Kiyokata. Painted genre subjects in a modified
ukiyo-e manner with Shijo-style background.
In 1887 succeeded Yoshitoshi as illustrator for Yamato shinbun. Designed
prints of battle scenes of Sino-Japanese War. At turn of the century was
designing illustrations, including fashion plates for a department
store. Frequent subjects were women and children in traditional garden
After restoration in February 2011
Mount Horai Dream Landscape Sansui Ga 1920 £225
.Width 20.8" : Height 74.2" ( With the original artists signed
*Otake Chikuha (1878-1936):
He was born in Niigata. He learned painting from Sasada Unseki of Nanshu-ha
he was given the pseudonym Chikuha. In 1891, he moved to Toyama with his
older brother and he made money by painting illustration for newspapers
or advertisement. His younger brother got a prize of the book named
Shokokumin, he started to send illustration to this book. After he moved
to Tokyo and learned under Kawabata Gyokusho, he got prizes that made
his painting very popular.
His pseudonym is Seppou.
Dated December of the 8th year of Showa ( 1933) celebrating the 70th
birthday for Nobuyoshi (?)
Signature: Koushou Senshi
Seal: Top seal: Kimura Gaitetsu Bottom seal: Koushou (?)
This is a scroll by an
outstanding artist Shuko(Shuka) . The scroll mounting has been replaced and a
new box made.
there was a tiny separation damage is at the bottom of the outside mount
and this has been fixed.
Shuka Takahashi (1877 - 1952 ) £355Japanese artist.
His real name was Toshita.
He was born in Okayama Pref. in 1877
and lived in Kyoto.
He studied painting with Syunkyo Yamamoto.
The artist's precise date of death is unknown but most research gives me
that he died in 1952.
Shuka did a ink and wash scroll painting in 1945
depicting the atomic bomb exploding on Hiroshima in 1945;
this "illustrated letter," created in the weeks after the bomb, to his
close friend, physician
Michihiko Hachiya, who stayed in Hiroshima to
treat victims of the blast
Tsurikichi nitsuite Taki
Fisherman under waterfall c 1930
restoration including Box
Scroll boxes recently made for existing scrolls in our collection:
A full restoration is done with silk mounts. We
use the existing scroll ends and silk tape if
these are in situ. Otherwise we completely redo
everything. If you want a box for the scroll we
make that as well.
Here are some prices.
A full restoration can cost between £95 and £190
( $150-$300) depending on what you want.
Replacing the top and bottom panels is £60
The centre panel border in silk can also be
replaced for £60 ($95)
New ends can be in dense Padouk wood and that is
£30 ($48) or in antique Bone, £45. ($70)
A new box made and covered in vintage Kimono
silk is £40. ($65)
if the painting is badly damaged , creased or
stained, I would need to quote on that. However,
most creases can easily be flattened and tears
are backed with new material. We cannot clean
paintings. Large holes may be
an issue but we can get round that. See the
Scrolls In Restoration
for some beautiful examples of our restoration
If you want the artist translated that cost is
£20 to £35 ($35-$60) depending on work -long
poems translated or simple signature and seal-
which is what we are charged by the specialist
Why should you restore? It really is up to you. If you like a scroll in your
collection or have a scroll where the mounts are old, damaged falling apart, but
you like the painting, then that really is the only reason. If its a very
valuable scroll what you have to weigh up is whether or not the scroll will be
devalued by a mount restoration. I do not restore the paintings, only the
mounts. I try to remove the creases as I reback a scroll and that often works
very well but I do not repair tears or discolorations. You can see examples of
my work on this page. One other thing to be aware of is that scrolls were often
remounted throughout their existence. Like changing the frame on a painting.
What was great in the 60's may not look so great 50 years later. You have to
live with art but sometimes you can tweak the surround in order that the art is
able to live with you.
To conclude, an average full remounting service plus box is £195
There is a backlog right now at the start of 2014 which is around four months.
All prices include postage
Notes; Scrolls in workshop:
We have around 35 scrolls being restored in our workshops at any one
Our scrolls are restored by a third generation Scroll Master and
carefully through each scroll until it has been brought back
to life as best as possible.
Some scrolls are very creased and while she can take out some
creases these are sometimes cracked creases as opposed to folded
Cracked creases are caused by storing in a very dry conditions
such as a centrally heated home or from a home in a desert region.
of moisture dries the paper out and when rolled the scroll can crack and
even break. These creases are very hard to repair within a reasonable
budget. Paint can be lost as the surface breaks apart. The creases may
still be seen but after rebacking the painting and flattening the
creases can visually be reduced . Museum restoration for
very important scrolls should be carried out by museum restorers but
that costs of these will
be very high. Up to 10 times what we charge as
a normal restoration. Folded creases are usually much easier as paint
has not been damaged.
We have restored many hundreds of scrolls and most
are restored to our Scroll Masters satisfaction and of course the
clients. We do not clean paper scrolls.
Silk Scrolls. These can be lightly cleaned through traditional
methods and all other mounting takes place after initial cleaning( if
cleaning is possible)
Please note that where there are older restorations, repairs done
before we remount the scroll, these are usually done using rice paper
and when we reback the picture these older repairs can sometimes show up
as lighter areas on the scroll. If we are able to identify these before
we start we will stop and let you know about these before we proceed
Otherwise they might just appear after we reback the painting. Rebacking
gives the scroll strength .