These Scrolls represent some of the very best in
scroll art and design.
This is a very interesting item which I wanted to
share with my readers.
Portrait by Keishu Takeushi. Painted 1900. Initial thoughts are that its a
I would suggest considering a remount of this scroll and
attaching the original back signatures onto the new
This painting is from a novel about a young woman named Teru
and an artist named Michikage.
Because of the differences between their fathers the young
couple cannot marry.
In time Teru, like the merciful Kannon, devotes her life to
helping others who were unjustly treated by her father
Born in Edo (Tokyo) into a samurai family. Given name was
As a youth studied Japanese painting with Kano Eitoku. May
well have been a pupil of Taiso Yoshitoshi.
Known as a Woodblock/ Kuchi-e painter.
Kuchi-e are woodblock-printed frontispiece illustrations
produced for publication in Japanese novels and
magazines at the turn-of-the-century. Many of the leading
woodblock artists of the Meiji Period
worked in this genre.
The primary subject matter of kuchi-e are bijin - "beautiful
women". Kuchi-e reflect the romantic, idealised
women that was evident throughout the history of Ukiyo-e,
but the late-Meiji Period witnessed
the development of a
western influenced and more realistic style of graphic
Kuchi-e are approximately 22 x 29 cm in size and typically
have two fold marks resulting from the manner
in which they
were inserted in publications. Many kuchi-e display deluxe
printing techniques, including blind
printing, the use of
powdered metals and burnishing. These deluxe printings may
have been, in part,
a reaction against the newly-introduced
photographic and lithographic printing processes which
the popularity of the traditional woodblock
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Pheasant and Paeony Scroll dating from the 18th century.
Painted onto silk.
Beautifully and elegantly restored onto
new backing with new silk mounts.
Painted by artist Bei
The writing on the scene of two pheasants scroll is 'ten
thousand purples and a thousand reds',
it means the the colour is very bright and beautiful, this
is a literati way of describing the colours of spring.
This is a truly fabulous scroll. With box £395
Kimura Gaitetsu & Koushou
Matsu no Asahi-The old pine and rising sun.
A magnificent scroll that has now been beautifully
Dated December of the 8th year of Showa ( 1933) celebrating the
70th birthday for Nobuyoshi
Signature: Koushou Senshi
The Poem is by his friend Kimura Gaitetsu
Seals: Top seal: Kimura Gaitetsu Bottom seal: Koushou
A box covered in Antique Japanese Kimono Silk inside and out,
has been made for this special scroll.
Yamamoto Ryo sha and
sealed 1783-1856 68x13.2
with Box £750-Average auction
price for this artist is between 2 and 3 thousand dollars
Yamamoto Baiitsu [also
known as Yamamoto
Shinryo; Baiitsu; Baika; Gyokuzen]
1783; d Nagoya,
1856). Japanese painter. He was the son of a sculptor, who
worked for the Owari clan. He probably first studied with
Yamamoto Ranei, a minor Kano school artist, who later switched
to painting ukiyoe (‘pictures
of the floating world’). It is said that another early teacher
when Baiitsu was a child was
Yamada Kyujo (1747–93), a prominent exponent of literati (Jap. Nanga or Bunjinga)
painting in Nagoya, who died when Baiitsu was only ten years
old. However, it is more likely that Baiitsu studied under Cho Gessho
(1770–1832), a Shijo school painter
who was a pupil of Kyujo. Baiitsu also claimed to have been
influenced by the Nagoya artist Tanaka Totsugen (1767–1823),
founder of the Yamatoe revival
(Fukko Yamatoe) movement. The most formative influence on
Baiitsu’s approach to painting was that of his mentor, the
merchant and collector Kamiya Ten’yu (1710–1801), who also
patronized other literati painters, including Nakabayashi
Chikuto (1776–1853). Baiitsu studied and copied Ten’yu’s
collection of Chinese paintings of the Yuan (1279–1368) to Qing
(1644–1911) periods, a practice he continued throughout his
career and it is that influence that has given this scroll a
slightly Chinese similarity. He was also instructed by Ten'yu in Chinese painting
methodology and, under his guidance, developed an interest in a
variety of literati pursuits, including the collecting and
connoisseurship of Chinese painting, the preparing of tea in
Chinese style (sencha) and the writing of Japanese
classical verse (waka) and Chinese-style poetry. This
wonderful scroll encompasses all of this formative education and
is an outstanding example of Baiitsu's creative ability.
2: 'Image of a pair of Cockerels' signed by
Shouzui (or Shozui) himself (Shouzui Jitei, inscribed by himself,
Shouzui) in the spring of 1929. That is what has been written on
the artists box for this outstanding and very powerful depiction of
Cockerels. The quality of the art is quite amazing and the colours are
fresh and vibrant. This scroll has been exceptionally well cared for and
no wonder. Its a jewel.
This is a wonderful painting of a Cockerel and
family in the farmyard.
Year of the Rooster - 1921, 1933, 1945,
1957, 1969, 1981, 1993, 2005, 2017, 2029, 2041, 2053
The rooster is almost the epitome of fidelity and punctuality. For
ancestors who had no alarm clocks, the rooster's crowing was significant, as
it could awaken people to get up and start to work. Another symbolic meaning
the rooster carries is exorcising evil spirits. People used to worship
ancestors and believed in fortune telling for a long time.
Roosters are considered to be honest, bright, communicative, ambitious
and warm-hearted. They might be enthusiastic about something quickly, but
soon might be impassive. They have strong self-respect and seldom rely on
others. As most roosters are born pretty or handsome, they might have
several loves in their lives, treating each lover seriously. If they can
overcome their arrogance, they will make more progress.
Here are some images I took of wonderful Cockerels
and hens early 2011-Click for a bigger image
It has the signature of HYAKUSUI HIRAFUKU.
A truly outstanding work in completely original condition. I can have
this scroll restored, remounted etc but I felt that the scroll was in a
state that was entirely acceptable bearing in mind the importance of this artist.
The light creases will mostly come out when hung with Fuchin Scroll
Weights, that should be fine. Length 70.7" / Width 18.5" with the
original artists box signed inside as well. Date circa 1920
note that I will take some of the creases out before selling)
1877 - October 30, 1933) was a Japanese Painter, son of the painter
Suian Hirafuku,. He was the uncle of Kenji Tomiki, the creator of Tomiki
Aikido system. He studied under the great painter
Gyokusho (1842-1913)-see notes below.
Kakunodate in Akita Prefecture. After graduating from the Tokyo School
of Fine Arts, he founded the "Museikai" society and set out to
revolutionize Nihon-ga (Japanese style painting) with his naturalistic
style of Nihon-ga which incorporated Western realism
1899 Hyakusui Hirafuku, graduated from the Japanese-style painting
division of the Tokyo School of Fine Arts. He exhibited paintings at the
Bunten and Teiten, but he also turned his hand to lithographs, woodblock
prints and mixed-media illustrations. He contributed to many early 20th
century magazines, such as Hôsun. He published Fuji isshû - A
Tour of Fuji in 1907 and Sansui zuien ki - Travel notes on
mountains and sea in 1914. In the later part of his career he was
primarily a painter.
Collections containing works by this artist: Japan
Mie Prefectural Art Museum, Tsu City
National Museum of Modern Art Kyoto (MOMAK), Kyoto
Miyagi Museum of Art, Sendai
National Museum of Modern Art Tokyo (MOMAT), Tokyo
Previous auction price for this artist
Mainichi Auction /Dec 13, 2008
Price: €998.23 - $1300 US
Books containing references and works by this artist:
Kusamakura and Buncho. Translated by Umeji Sasaki. Illustrated by
Hyakusui Hirafuku. [Hardcover]
Soseki (Umeji Sasaki, tr.) Natsume (Author
Hirafuku Hyakusui sobyoshu (Japanese Edition) [Tankobon Hardcover]
Hyakusui Hirafuku (Author)
Kaiso Hirafuku Hyakusui Sensei (Japanese Edition) [Unknown Binding]
Ikuyo Matsumoto (Author)
Notes of Hyakusai Hirafuku's teacher:
Kawabata Gyokusho (1842-1913) was born in Kyoto City Takakura Nijo
Kawaramachi on April 14, 1842 (The 13th year of Tenpo) as Ryunosuke, the
son of Kawabata Sahei a lacquer artisan who did maki-e. He learned
Chinese poetry from his father and as well as the craft of maki-e.
Around 1852 (the fifth year of Kaei) Gyokusho learns Maruyama painting
style from Nakajima Raisho and learned Chinese and Japanese philosophy,
culture, and history as well as interpreting art from Oda Kaisen. In
1866 (the second year of Keio) Gyokusho moves to Edo and makes a living
making kaleidoscopes and woodblock print fold outs for magazines and
learns Western style painting. Gyokusho at that time earns his first
award at the Naikoku kangyo Exhibiton under the naikoku Kaiga
kyoushinkai. His skills were admired by Okakura Tenshin and asks
Kawabata Gyokusho to be his school, the Tokyo Arts Academy (Now Tokyo
University of the Fine Arts) to be its professor and serves from 1888
(21st year of Meiji) until 1912 (the 45th year of Meiji). Gyokusho
submitted art to the Nihon Kaiga kyoka who were a group who did
contemporary works as well as the Nihon Bijutsu Kyokai who were mainly
for the older styles. As being a center figure of the older school group
he was selected to paint the cedar doors of the imperial palace in 1888.
His works combine the Maruyama school with Western realist styles and
during his latter years he experimented with Bunjin styles. In the
latter part of the 19th century, Kawabata Gyokusho participates with the
Imperial Art board (Teishitsy gigei in) and in 1909 establishes his own
art school. In 1897 he is part of the board for the historical
preservation of temples and shrines as well as a member who examines and
appraises items to be selected to become national treasures. He was
known for his efforts in preserving ancient art and had wide influence
within artists circles. Gyokusho was also known by his other names,
Kyotei and Sho-ou (his choice for Sho-ou, the character shou if the
sections of the character are separated is the same as Gyokusho) His son
Kawabata Shigeaki was also an artist including Kawabata Gyokusetsu (a
member of the family) Shigeaki inherits the school and becomes the
second generation. His Grandson, Kawabata Minoru was an artist
specializing in oil paintings and was in New York as a researcher,
painter, and teacher at the New York School for Social Research.
Note on Crow Mythology in Japan:Yata-garasu is a giant three-legged
crow that played an important role in Japan’s creation myth. The son of
the Sun Goddess, he led the descendants of the sun Goddess to the
homeland of the Japanese in Nara Prefecture. Yata-garasu is the featured
on the emblems worn by the Japanese national soccer team
(1602-1674) A view of Fujisan through morning clouds painted c 1640 in
his ink style of the Muromachi period. This was one of the official
artists of the Tokugawa Iyeasu
This has been rebacked and restored . We then remounted onto suitable silk mounts
in grey and used Ivory scroll
ends from the same period. It comes with a Pauwlana box Tombako and a
Niju Bako- double lacquered wood box..
BAKO or Double Box. The inner box is plain while the outer box is
lacquered. Only used for very rare scrolls.
(1602-1674) A view of Fujisan through morning clouds painted c 1640 in
his ink style of the Muromachi period
Example of a
Tombako and Niju Bako
Kanō Tan'yū (狩野 探幽?, 4 March 1602 - 4 November 1674) was
one of the foremost Japanese painters of the Kanō school. His original
given name was Morinobu; he was the eldest son of Kanō Takanobu and
grandson of Kanō Eitoku. Many of the most famous and widely known Kanō
works today are by Tan'yū.
In 1617, Tan'yū was appointed by the Tokugawa shogunate to become one of
the shogunate's official artists. Over the following years, he was given
many highly prestigious commissions. Over the 1620s and '30s, he created
a number of large-scale works for Edo Castle, Nijō Castle, Osaka Castle,
Nagoya Castle, and Nikkō Tōshō-gū.
Prolific in a variety of painting styles, Tan'yū's most famous works are
probably those he produced for these large-scale commissions. They are
screens and panels, prime examples of the Momoyama style, depicting
natural subjects such as tigers, birds and plants, in bright colors and
with extensive use of gold leaf. The gold, often used to represent
clouds, water, or other background elements, would reflect what little
light was available indoors, brightening a castle's dark rooms.
Tan'yū was also accomplished, however, in monochrome ink painting based
on the prototypical style of the Muromachi period, yamato-e compositions
in a style similar to that of the Tosa school, and Chinese style
scrolls. His most famous yamato-e work is a narrative handscroll
depicting the life of Tokugawa Ieyasu, the first Tokugawa shogun and
major figure in Japanese history. It was after this commission, in 1640,
that the artist first took on the "artist name" of Tan'yū.
In addition to being a highly honored and respected painter in his own
right, Tan'yū was known as a collector and connoisseur of Chinese
paintings. He made sketches and kept records of many of the paintings
that passed through his studio, brought to him for authentication.
Three Cranes. 1750. A very beautiful study of a
family of three cranes. Excellent detail in the painting
and elegantly thought out. A very old scroll from the
18th century. The painting is fine with a little damage
on the silk in places therefore to stabilise the paining
the silk needed rebacking and the scroll master had to
remount the painting onto a new silk scroll. This is a
long an difficult restoration. It will come with a
beautiful hand made box covered with 19th century Kimono
Silk with embroidered cranes flying through the grey
blue sky. About this special Kimono Silk I had this
length of antique silk in my own collection for over 40
years and it dated from 1860. I decided to have this
length made into a few special boxes for some of our
crane scrolls.. £375
( The silk mounts are grey and not blue.)
This stunning landscape scroll by the artist Nanko ,
painted in 1819 has now been fully restored. The rising
sun over the mountains, deep pine forest and rushing
waterfall all add to the vibrancy and movement of this
wonderful painting. The Jiku -scroll ends, are made from
bone. I had this black on black pattern antique Kimono
Silk which we made into a beautiful box. £195
Haruki Nanko (1759-1839)
Nanko had become popular as a painter during the1830s
he had become equal
to one of the reigning artists at that time,Tani Bunchô
was also a friend .
It had taken Nanko some time to gain recognition in Edo.
The reason for this was his many
years travelling to study Southern Chinese painting. However,
in the course of his travels he gained many students.
When he returned
to Edo he introduced this Southern painting style where
all Nanga painters
in Edo still worked in the Northern style. His son
Nammei, (Haruki Nammei 1795-1878) was
his own style at
the time during this rise in popularity of
his father but
he became well known in his own right.
Japanese Hanging Scroll Painted middle to later 19th century.
Edo into Meiji Period.
Sumi-e-Ink wash landscape painting.
Title: Suiboku Sansui, Ink monochrome landscape. A view
of Fuji san in the clouds.
Artist: One seal saying:
Description: Japanese landscapes during the 19th century
evolved through the influences of paintings and artists
coming in from the Ming Dynasty and Qing Dynasty. As a
result, literati landscapes such as the Bunjin and Nanga
schools became popular during the 19th century. The Kano
school continued to do the traditional landscapes done
during the 15th and 16th centuries as their forefathers did,
but by the 18th and the 19th centuries most schools were
just copying the same styles as their predecessors did. This
work combines both elements of literati and some Kano school
elements. The hut pavilion and arrangements look literati
but the brushwork has resemblance of some Kano school
pieces. The odd part is the seal. The artist signed it with
the seal saying "tanto" which means overseeing or to
oversee, which is not used in artist names and it is not
used in older Japanese. One can only assume that the work
could have been done during the late Edo to the Meiji era.
The calligraphy was done by the scroll researcher in honour
of the painting using a poem from Hanshan, the 8th century
zen poet.(see below)
Scroll:27.1 inches x 47.8 inches or 121.5 cm x 63 cm / 69 cm
(with the ends). (approx.)
Painting: 15.35 inches x 19.68 inches or 39 cm x 50
Scroll Box: Yes
Condition: Restoration work has been done with the painting
restored and cleaned. The scroll is entirely remounted and
the painting can be enjoyed for the next century or so.
Roller Ends (Jikusaki):Black lacquered wood.
Hanshan (Chinese: 寒山; pinyin: Hánshān; literally "Cold
Mountain", fl. 9th century) was a legendary figure associated
with a collection of poems from the Chinese Tang Dynasty in the
Taoist and Chan tradition. He is honoured as an incarnation of
the Bodhisattva Manjusri in Zen lore. In Japanese and Chinese
paintings he is often depicted Hanshan was a sympathetic and
important figure for Beat Generation writers Gary Snyder and
Jack Kerouac. In the introduction to his translation which
appeared in the Evergreen Review, Snyder wrote of Hanshan, "He
and his sidekick Shih-te (Jittoku in Japanese) became great
favourites with Zen painters of later days -- the scroll, the
broom, the wild hair and laughter. They became Immortals and you
sometimes run onto them today in the skidrows, orchards, hobo
jungles, and logging camps of America." Kerouac's The Dharma
Bums closes with a vision of Hanshan, and at Snyder's
suggestion, Kerouac dedicated the book to the fabled poet
together with his sidekick Shide or with Fenggan, another monk
with legendary attributes.
- When people look for the road in the clouds
- The cloud road disappears
- The mountains are tall and steep
- The streams are wide and still
- Green mountains ahead and behind
- White clouds to east and west
- If you want to find the cloud road
- Seek it within
Nakajima Kaho-華鳳 中鳥:1866-1925
Showa / Meiji period
. Mandarin Couple
including original artists box. The scroll mounts are original and while
there is a tiny bit of damage on the scroll mounting at the very top,
(shown in the thumbnail above) this is minor and I did not feel
that it warranted a complete remount. However, if you would like this
remounted I will do that for £125. The Jiku-scroll ends are made from
Ivory and carved into rings. These are very beautiful and identify that
this is a very high quality scroll..
50.2x193.5cm / 19.7x 76.1inches
Nakajima Kaho-華鳳 中鳥:1866-1925-(1939-there
are two dates of his death for some reason)
Born in Kyoto, preferred the Maruyama Okyo style
drawing, and learned painting under Mori Kansai,and
under Tomioka Tessai.Often exhibited Naikoku Kangyo Hakurankai
and the other exhibitions.
Good at landscape and kachoga.
Kaho’s artistic mastery
includes his relaxed, evocative brushwork, his intriguing
composition, and his choice to omit everything nonessential. The cold
of the winter morning is left to our imagination,
as is the question of just what is the 'feeling' being portrayed. His
almost wild and loose brushwork signature on the box is indicative of his free
Fujii Kaho, an early
20th century Nanga painter.
Kaho Kawakita (1875-1940)
He was born in Kyoto in 1875.
His real name was Gennosuke Kawakita .
He studied painting with Baire Kouno and Hobun Kikuchi.
He died in 1940 at the age of 66.
Kaho Akira-modern living
Box: Blue-green cliffs and the river with a boat using its sail, painted
by myself (Toshu)
In the distances is the steep rocks of the eagle's three cliffs,
land is the tea fields where a spring is found in the field.
when that in Autumn the mountains, rivers and the landscape are seeking
the inevitable change,
Autumn tells me that I yearn to return to those fields.
Painted in the Autumn of 1940, beneath the northern face of the
mountain at Hyakuraku-so."
Seal on the bottom of painting says: 'Seeds and flowers float in the
water where the leaves are'
Painted by Toshu in 1940 with the original artists box.
An outstanding and very beautiful scroll.81 inches long x 22
inches wide £275
|Two paintings by
Born in Kumamoto pref. Painter, poet, calligrapher. He
was a student of Chokunyu Tanomura, Chikugai Himejima .
These have now been restored and mounted into a
pair of matching scrolls with a double Antique Kimono
Silk covered Scroll Box The scrolls are 32 inches wide
The set is £675
Eagle (t: 鷹: s: 鹰; pinyin: yīng) - strength This bird,
as a Chinese symbol, reflects the strength of a person.
Integrity, strength of will,
Research into this scroll was extensive and done by a
well respected Chinese Scholar, Shu Zheng Hsu(Xu)
Painting and calligraphy: '1992
Hu Ke Zhong held personal exhibitions in Japan to great
This news shows Hu Ke Zhong was member of the Literary
and History Association(文史馆)，
In the past, only older famous people could join such an
association. Most of them were former
members of Guomindang government.
From Mr Xu: We
found this link and called them. The director Mr.He,
told us that
Hu Kezhong (Ke
Zhong Hu) was indeed a very famous professor of Art in
China but has been dead for many years. This was the
artists last exhibition in Japan.
This scroll is an outstanding example of Chinese Scroll
art at the very highest level and comes with the
original artists signed box.
I have since found this extra
HU Cuizhong (1899-1974)
Seal prints: "Hu", "i HU CUIZHONG (1899-1974)
Description:signed and dated in Chinese, with a Chinese poem
and seal of the artist. Hu Cuizhong , born in 1899 in
Jiangsu. In 1924 and graduated from Suzhou meizhuan. Study
abroad after Japan, the Japan Art Institute engaged in
research at the University. Former President of the art of
Suzhou, Suzhou art and initiated the establishment of
associations. After 1949, successive Suzhou meizhuan
President and Professor, Jiangsu teachers ' College,
Professor of Arts in East China, Xian metallurgy College of
architecture, art director of the teaching of architecture.
Publication of the Hu Cuizhong watercolor sets, etc. Hu
Cuizhong, born in 1899, is a native of Suzhou, Jiang Su
Province. He is well known for his watercolor. After
graduating from Suzhou Fine Arts School in 1924, he went to
Japan and studied in Japanese Art Institution. Hu was the
chairman of Suzhou Artists Association. His publications
included Hu Cuizhong’s Watercolor Collection, etc.
This scroll is an outstanding example of Chinese Scroll art at
the very highest level and comes with the original artists
signed box. £450
Scrolls of Hu Ke Zhongs work now sell, I have been reliably
informed, for £2500 in China.
In Chinese Martial Arts, The Eagle Claw(grip)
Eagle Claw (Chinese: 鷹爪派; pinyin: yīng zhǎo pài) is a style of Chinese
martial arts known for its gripping techniques, system of joint locks,
takedowns, and pressure point strikes, which is representative of
Chinese grappling known as Chin Na. The style is normally attributed to
the famous patriotic Song Dynasty General Yue Fei. Popular legends
states that he learned martial arts from a Shaolin Monk named Zhou Tong
and later created Eagle Claw to help his armies combat the invading
armies of the Jin Dynasty. It was passed down until the Ming Dynasty
when the monk Lai Chin combined the style with another form of boxing
called Fanzi. Thus, the style took on long range strikes and aerial
jumps. During the Qing Dynasty, the military instructor Liu Shi Jun
became known as the modern progenitor of Eagle Claw and taught many
students. His student Liu Cheng You later taught Chen Zizheng who was
invited to teach the style in the prestigious Chin Woo Athletic
Association during the Republican era. The style spread as Chin Woo
opened sister schools in other provinces. Today, it is practiced around
Literary references to The Eagle:
(né Liu Jun)
b. 1963, Xuzhou,
Xi Chuan studied in
the English Department of
Peking University from 1981
to 1985 and became a
professor at the Central
Academy of Fine Arts in
Beijing in the 1990s. He
began poetry writing in 1981
and very quickly established
himself as one of the most
important new poets in the
1980s. His early poems, such
as ‘Gazing into the Starry
Sky at Ha’ergai’ (Zai
Ha’ergai yangwang xingkong,
1986), are short, lyrical
and meditative, even
sublime. They are concerned
mainly with an almost cosmic
nature, the universe,
history, tradition and the
individual. In the spring of
1989, his poet-friend Haizi
committed suicide, while his
other poet-friend, Luo Yihe,
died later that year. These
events had a profound impact
upon Xi Chuan, whose own
poetry took a radically
different turn in the 1990s.
In works such as ‘Salute’ (Zhijing,
1992) and ‘Discourse of an
Eagle’ (Ying de huayü,
1999), he experiments with
various hybrid forms of
prose and poetry to convey
what he now calls a
zhexue), inquiring into the
absurdities and previously
overlooked dark shadows of
history, human consciousness
Xi Chuan is the
winner of many literary
prizes. He has published
four books of poetry and two
books of essays and has been
Van Crevel, Maghiel
(1999). ‘Xi Chuan’s
Poetry in a Changing China’.
Modern Chinese Literature
and Culture 11.2 (Fall):
Xi, Chuan (2003).
‘What the Eagle Says’.
Trans. Maghiel van Crevel.
Seneca Review 33.2:28–41.
I envy the Eagle: A short biography of my friend
ShuZheng Xu:, Poet, Scholar and teacher.
Kanou Isen'in (1775-1828)
Setsu gekka 雪月花 (Snow, Moon and Flowers)
「雪月花」means the beautiful things of each season.
Isen Hogan Hude seal（伊川法眼筆）
Hanging scroll：ink and colour on paper
Restored in 2011 click for larger image
All the scrolls are the same size
Kanō Isen'in Naganobu (1775-1828) was the seventh generation
head of the Kobikichō branch of the Kanō school in Edo (modern
He was an artist of considerable talent, and was official
painter to the shōgun.
For this work he employed mild, graceful brushwork and
colouring, drawing on an older style of Yamato-e.
The secret of his success was said to have been that he combined
the qualities of gakuga (learned artistic ability), highly
prized by the Kanō school, with shinga (instinctive artistic
ability), which was customarily regarded as less important.
signature on the scroll reads Shibata Gito 柴田義董Japan,
1780 – 1819
Gito Shibata, 白川芝山.
Pupil of Go Shun 1752-1811 the
founder of the Shijō school of Kyoto
Shibata Gitô was
born in Bizen and moved to Kyoto, where he became a student of Matsumura
Goshun (1752-1811), the founder of the Shijô school of painting. Soon he
became an important member of this school, specializing in landscapes
and kachôga. His early
death prevented him from becoming more widely known and from becoming as
famous as Matsumura Keibun and Okamoto Toyohiko, the other two most
prominent members of the Shijô school.
He also painted in
the style of the Maruyama-Shijō school, whose founder Maruyama ōkyo
(1737-95) had developed a new, naturalistic style to depict, among many
other subjects, genre scenes of the urban life of Kyoto. Shibata Gitō
(1780-1819) was a pupil of ōkyo's contemporary Go Shun (1752-1811). He
died young and his works, characterized by fine brushwork and a
light-hearted charm, are relatively rare.
signature reads 'Gitō sha' ('Painted by Gitō')
Araki, Tsune (ed), Dai
Nihon shôga meika taikan, Tokyo 1975 (1934), p. 2210
Roberts, Laurance P., A
Dictionary of Japanese artists, New York, 1976, p. 32 Notes:
from a British Museum scroll:
Pictures of Flowers and Birds (Kachoga)
took as its main subjects birds, grasses, and flowers. Some focused only
on grasses and flowers, while in others insects such as cicadas, bees,
and butterflies appeared in place of birds. There were in fact a large
number of sub-types, including some that depicted animals like dogs,
rabbits, or deer, in combination with flowers or trees.
This scroll with box is £475
Seisen -Waterfall and Pine Taki Matsui 80x25 1978 with Box. £225
After being rebacked, creases removed and new silk
mounts with bone Jiku's'ends
Unrei Satomi-1890. 1849-1928. Born in
His teachers were Tariei Nakai and Nisho Yamagata. Most of his art works
were lost by the atomic-bomb. This was therefore a very rare example of
his surviving work .This unique and extremely rare scroll has now been
fully restored for November 2010. The scroll was carefully straightened
by hand, and the creases delicately removed, the painting was then
rebacked for strength and new silk mounts sympathetic to the original
remaining colours would be correct period of scroll mounts. The period
bone ends were added to complete the scroll. This has its period box to hold this wonderful
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Okamura Keiho (b c1920) Tora 1950
The style is from the post-war era more in the range of
1950s. It is a wonderful painting.
Keihi was born in the 1920's
This is a fascinating scroll both for the artistic quality and
Blue Tit and Peony. Fully restored
with new silk mounts,.
Kobayashi Ritsudo (1903-1974)Original
name: 小林 立堂 - 小林 良曹, ｺﾊﾞﾔｼﾘｮｳｿｳ
He was born in Tokyo and learned under Kawasaki Shoko. A very
competent painter with an eye for a very delicate image
(1886-1977) was a Nihonga painter from Gifu, who learned Yamatoe and fed
it back to his paintings in his initial career, but gradually began to
seek for his original style, like taking in a subject specific to oil
painting. His teac hing of Kobayashi illustrates this as the style of his
students work is almost like an oil painting.
£210 Including a specially made antique kimono silk covered box.
YOSAI OKADA. A.D 1784-1864. Born in KAGA clan (ISHIKAWA) 1840 seal
Portrait of a Quince. £375
Before restoration this scroll painting was in a bad state. Many
holes had to be repaired and the creases taken out as far as was
possible. It was a great deal of slow and careful restoration that took
a long time. However, as it is painted by a famous master it was
important to bring the scroll back to life. With Box.
Ran no zu (orchid painting)
The scroll was rebacked, creases taken out and new silk mounts.
The original scroll ends were badly damaged so we made new
scroll ends in a dense Chinese Rosewood.
The box is from silk that was originally used for a Kimono in
the 19th century. Heavily embroidered, this is truly a work of
art in its own right.
Artist: Kinoshita Itsuun (September 9, 1800-
September 12, 1866)
A wonderful small painting of
an orchid plant by Kinoshita Itsuun. Signed and sealed by the
artist. Kinoshita Itsuun is not too well known as a Japanese
artist but within the Nagasaki Nanga School he is considered as
a member of one the three great families of the Nagasaki Nanga School.
Kinoshita was born in Nagasaki City Yahatamachi in 1800 and was the
third son of Kinoshita Shigemasa.
At the age of 18 he inherited
the Kinoshita estate and in 1829 left his estate to his nephew
in order to fulfil his dream to became a doctor and entered Dokuseido a school that teaches the Dutch methods of treating
small pox and other Western medicine.
During his studies he
also took up painting under the tutorship of a well respected
local painter Ishizaki Yuushi, in order to learn the
Chinese style known as Tang painting and continued his studies with
some of the Chinese masters resident in Japan and especially with
Chen Yizhou, who had settled for a time in Nagasaki and
who, incidentally, also taught Western
He continued study of painting with his long time
friend, Tetsuo Somon gaining high praise from the great masters, Tanomura Chikuden,
Rai Sanyo, and Hirose Tanso. He was very successful as a teacher
by this time and students included Kawamura Ukoku, Ikejma Sosen, Tsuda Nanchiku, his nephew and younger
sister. Kinoshita was not just famous for his paintings, and
he was talented in many things including being known for his
calligraphy, seal carvings, his biwa solos, and sencha (loose
leaf tea ceremony). He was also known for developing the
chemicals to create Kameyama wares and their white celadon.
Through his background working with Chinese
masters, he could speak Chinese well and he was an assistant when Chinese emissaries came to
Nagasaki and helped develop China-Japan relations. However, when
he was returning from visiting Edo, he was on the English boat Kokuryu-maru and was involved in an accident near the shores of
Nagasaki and would never return to Nagasaki. He was 68 years
old. This is a rare work and has been respectfully restored..
With its special box the scroll is £325
Shien painted this very beautiful example of
the Manzai or Comedians. 43.8cm by 194.3cm / 17.2" by 76.4 Silk painting
with silk mounts and Bone scroll ends. Including an original
box. £275 Reserved
Manzai (漫才) is
a traditional style of stand-up
comedy in Japanese
culture, which usually involves two performers—a straight
man (tsukkomi) and a funny
man (boke)—trading jokes at
great speed. Most of the jokes revolve around mutual misunderstandings,
double-talk, puns and
other verbal gags
Originally based around a festival to welcome the New
Year, manzai traces
its origins back to the Heian
period. The two manzai performers
came with messages from the gods and this was worked into a stand-up
routine, with one performer showing some sort of opposition to the word
of the other. This pattern still exists in the roles of the boke and
Continuing into the Edo
period, the style focused increasingly on the humor aspects of stand-up,
and various regions of Japan developed their own unique styles of manzai,
such as Owari manzai (尾張万歳), Mikawa
and Yamato manzai (大和万歳).
With the arrival of the Meiji
Period,Osaka manzai (大阪万才) began
changes that would see it surpass in popularity the styles of the former
period, although at the time rakugo was
still considered the more popular form of entertainment.
The silk mounts are grey and not blue.
Mount Ontake is the second highest volcano in Japan at 3,067 m
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 technique of the Yosai school from Fuko
Matsumoto, and also learned technique of the Maruyama school from
Gyokusho Kawabata. Also was good at painting Japanese beautiful girls-Bijen.
180 x 54cm 71 x22 inches
This has now been restored and comes with an antique Kimono Silk covered
(Mynah) on Camelia-Painting
Fully restored onto new silk mounts with antique Kimono Silk box made
for this scroll Painting is 121x30 cm (47x12 inches) £1250.
Kashu NUMATA - 1838-1901
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.
Recently had extensive examination as to the authenticity of the
scroll and this is a painting and not a screen print
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
Please note that the top and bottom silk mounts are in grey and
not blue. Incorrect camera setting
scene Landscape by Shinso Mizuno(1903-1995)
Width 29" : Height 71.1" Now fully restored £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'.
scroll picture to go in here
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
Now fully restored £325