The magnificent antique hand painted works of art show the
Japanese style of painting at its very best. Some of these scrolls are
very old and in some cases these have been
completely restored where the
original mounts were beyond repair. The original ends and boxes have
been retained but the silk mounts have been replaced with similar
to the original.
Nothing has been altered with the actual painting. Here a few examples of these wonderful scrolls listed below the images.
Kashu Mynah on Camelia-Painting
Painting is 121x30 cm (47x12 inches) £1250. Restoration has been completed.
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 1888
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.
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 Sataro, 1885.
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
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.
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 £450-(Please note that I will take some of the creases out before selling)
Hirafuku Hyakusui(平福百穂, 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 Kawabata Gyokusho (1842-1913)-see notes below.
Hyakusui Hirafuku Born in 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
National Museum of Modern Art Kyoto (MOMAK), Kyoto
National Museum of Modern Art Tokyo (MOMAT), Tokyo
Previous auction price for this artist
Mainichi Auction /Dec 13, 2008
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
8: Wader-A summer Scroll. A new set of Silks was needed for this very old circa 1850 scroll. SOLD
10: Kôun, Yamada 耕雲 山田 (1907 - 1989) A lovely scroll painted in the kachō-ga., flowers and birds study style With antique Kimono silk covered box £190
11: The Magpie in the Willow (Osier Sinensis)
He eventually became the first director of the China Art
Academy and the first Chairman
Magpies in China use willow as a nest building material and in the spring their chattering is easily heard in wet areas where willows grow.
12: This fine Hawk Scroll was remounted recently. It comes with a new box and the original painting dates to the second part of the 19th Century £275
The painter of this scroll is by the artist Yusin. Painted in the 1920's, Yuson has captured the Hawk watching carefully for its dinner
53x27 inches / 136x69 cms In its own box £275
13: This picture itself needs to be adjusted soon. The silk mounts are pale grey and not blue
This is a bird on a Cherry tree and symbolises Spring Being a shorter
scroll it is an
14: The Heron. .by Unkei. Recently remounted and restored. The silk mounts are antique Kimono Silk of Willow branches with a fan to emphasis being cool in hot weather. The silk is beautiful and comes with a matching box in the same silk . £245
15: The Herons Painted by the renowned artist Hoyo in 1900
With specially made box covered in Antique Kimono Silk £190
This is a painting that was on a scroll in the past. When I found this in Japan there was no scroll so I remounted the painting with silk mounts. The scroll has an Antique Kimono silk covered box £155
The Kingfisher: A subtle metaphor for 'Always Ready'. Newly restored with original ends and new Box. £175
17: The Eagle by Hu Ke Zhong 1991
This is a very special scroll painted by one of Chinas outstanding Scroll artists. His work is rare and few and far between so this is indeed a special scroll for the collector.
Sold at his exhibition in Japan in 1992. This was Hu Ke Zhong's last exhibition before he died.