A Pair Of Original Japanese Circa Early 20th Century Paintings

A matched pair of original Japanese paintings from the early 20th century often combines refined materials, sophisticated brushwork, and thoughtful pairing conventions rooted in centuries of practice. For appraisers and collectors, understanding the period context, reading signatures and dates, evaluating condition, and recognizing market drivers can turn a “beautiful pair of scrolls” into a well-supported appraisal with clear comparables and actionable recommendations.

Below is a structured guide focused on pairs attributed to the late Meiji, Taishō, or early Shōwa eras, roughly 1890s–1930s.

Period Context: Late Meiji to Early Shōwa (ca. 1890s–1930s)

• Transition in styles: The early 20th century in Japan saw two influential currents:
  • Nihonga: “Japanese-style” painting using mineral pigments (iwa-enogu), ink (sumi), and traditional supports like silk or paper. Prominent schools and circles included Maruyama–Shijō, Kanō survivals, Rinpa revivals, and the growing mainstream of Nihonga guided by artists such as Hashimoto Gahō, Takeuchi Seihō, Uemura Shōen, Kawai Gyokudō, and Yamamoto Shunkyo.
  • Yōga: Western-style painting using oil or watercolor naturalism, perspective, and chiaroscuro. Yōga occasionally appears in Japanese formats, but Nihonga dominates traditional scroll pairs.
• Patronage and exhibition culture: Works were created for domestic patrons, temple or tea settings, and increasingly for exhibition circuits (Bunten and its successors), with some export trade via curio dealers. Paired works were popular for alcove (tokonoma) display and seasonal rotation.
• Pair logic: Pairs could articulate seasonal harmonies (spring/autumn, morning/evening), complementary animals (crane/tortoise, hawk/heron), or landscape diptychs with a continuous composition. Matching textiles and rollers reinforced unity.

Understanding these currents helps place a pair stylistically and suggests likely schools and subjects without over-claiming authorship.

Formats, Materials, and Techniques

• Common formats for pairs:
  • Hanging scrolls (kakejiku): The most encountered. Each scroll has the painting (honshi), top and bottom brocade (often gold-thread ichimonji), middle fabric (chūmawashi), a roller rod (jiku), and roller knobs.
  • Framed paintings: Nihonga on silk or paper framed under glass—less traditional but seen in the early 20th century, especially in export contexts.
  • Folding screens (byōbu): Pairs of two-panel or six-panel screens also exist, but scroll pairs are more typical for private collections today.
• Supports:
  • Silk (most valued for refined Nihonga): Fine woven ground with visible silk sheen and grid. Older silk can show “silk burn” or embrittlement.
  • Paper: Handmade washi; often sized with animal glue (nikawa). Good for literati ink-work (nanga) or soft mineral pigments.
• Pigments and binders:
  • Iwa-enogu (mineral pigments): Ground azurite, malachite, cinnabar, etc., bound with animal glue. Shell white (gofun) from calcified shell often used for highlights.
  • Sumi ink: Carbon-based, applied in layered washes for nuanced tone.
  • Metals and effects: Gold or silver leaf (kinpaku, ginpaku), gold dust, and kirikane (cut-gold lines) in decorative passages; mica (kira) may be sprinkled for sparkle.
• Technical hallmarks:
  • Tarashikomi: Pooled, layered ink/pigment associated with Rinpa revival effects.
  • Bokashi: Graduated washes for mist and depth in landscape.
  • Mokkotsu (“boneless”): Forms painted without outline, common in flower-and-bird (kachōga) motifs.
  • Brushwork should show energy at starts and stops, tapering lines, and layered tonality under magnification—key in distinguishing painting from print.

Tip: Under a 10x loupe, look for raised pigment edges, animal-hair brush splitting, and subtle color layering rather than dot matrices or uniform halftones.

Signatures, Seals, and Dating Conventions

• Signatures:
  • Many artists signed with a gō (art name) and a stylized monogram (kaō). Signatures may be in ink at the lower left or right, often accompanied by a red seal.
  • Studio or collector seals may appear on the painting or mounting edge; these can be helpful but require caution in attribution.
• Seals (hanko):
  • Typically red cinnabar stamps. They can be square, rectangular, or oval. Characters may be intaglio (white characters on red ground) or relief.
  • Seals can denote the artist, studio, or collector; pairs often have matching or complementary seals.
• Date notations:
  • Era name (nengō) plus year: e.g., “Taishō jūnen” (Taishō 10, i.e., 1921). Earlier Meiji-era works can be similarly noted.
  • Sexagenary cycle (eto): A 60-year stem-branch combination (e.g., “kinoe-ne”) sometimes follows or replaces the era format.
  • Seasonal or New Year dedications may appear, occasionally with a brief colophon describing the subject or occasion.
• Reading direction:
  • Classical layout reads right-to-left. In a pair, the right scroll is often the “first” panel, with complementary action or inscription flowing toward the left scroll.
• Mounting labels:
  • Some early 20th-century works bear dealer, framer, or export labels on the roller ends or storage box (tomobako). Tomobako inscriptions—artist’s hand or later brush inscriptions—can be crucial for attribution and dating.

Caveat: Seal charts are helpful, but many artists had multiple seals across their career. Cross-check seal forms with period-appropriate materials and style; a modern impression on aged paper is a red flag.

Subject Matter and Iconography in Pairs

• Landscapes (sansui):
  • Continuous composition across two scrolls: waterfalls on the right, misted pines and pavilion on the left, for example. Boats traveling right-to-left imply narrative flow.
  • Literati (nanga) influence shows in spare ink work, poetic inscriptions, and scholar’s retreats.
• Kachōga (birds-and-flowers):
  • Seasonal pairings are common: plum and bush warbler (spring) matched with chrysanthemums and quail (autumn); peonies and butterflies paired with maple and deer.
  • Shell white (gofun) may build volume in petals; fine-feather brushwork identifies quality.
• Figures and bijin-ga:
  • Elegant women (bijin) in two contrasting scenes—morning/evening—echo seasonal balance. Mood often conveyed through textile patterns and posture rather than facial detail.
• Animals and auspicious sets:
  • Crane/tortoise, hawk/heron, carp/lotus—reflect longevity, perseverance, or status. Gold accents often heighten the celebratory tone.
• Rinpa revival:
  • Bold shapes, tarashikomi pooling, and lavish gold grounds suited to paired compositions; the symmetry between scrolls is intentional and decorative.

When assessing iconography, confirm that the pair is truly matched: same silk/paper type, congruent mounting fabric, identical roller style, proportional dimensions, and complementary subject logic. Mismatched mounts or different format proportions suggest later pairing.

Condition, Conservation, and Market Value

• Typical condition issues:
  • Foxing and toning: Brown spots (paper) or diffuse yellowing (silk). More prevalent in humid storage.
  • Creases and planar distortion: Caused by rolling/handling, improper humidity, or weakened backing. Horizontal break lines near the roller ends are common.
  • Silk burn: Structural weakening and loss where pigments or adhesives reacted over time.
  • Flaking pigment: Mineral pigments and gofun can lift if the glue binder degrades.
  • Insect damage: Tiny losses from silverfish; frass within roller cavities; nibbling along edges.
  • Stains and tide lines: Water exposure leaves clear “bathtub” marks. Mold shows as fuzzy or clustered dots.
• Conservation approach:
  • Always consult a paper/Asian paintings conservator. Interventions may include surface cleaning, consolidation of flaking pigment with compatible adhesives (e.g., funori), stain reduction, and remounting with traditional methods.
  • Remounting: Replacing backing papers, new brocade, and a new roller can stabilize and rejuvenate a work. Costs vary widely based on size, materials, and complexity—expect from the mid-hundreds to several thousand (per scroll).
  • Environmental control: 45–55% RH, low light (ideally under 50 lux), UV filtration, and limited display cycles (e.g., a few months per year) preserve longevity.
• Authenticity red flags:
  • Printed dot patterns, consistent crosshatching, or regular moiré under magnification.
  • Flat, uniform color fields without brush-drawn boundaries; lack of pigment ridges.
  • “Shiny” resin varnish layers inconsistent with Nihonga surface.
  • Mismatched pairings assembled for sale (different brocades or roller knobs; different paper tones).
• Market drivers and indicative ranges:
  • Subject and quality: Finely painted kachōga or literati landscapes with strong brushwork command more. Iconic motifs in balanced pairs outperform single examples.
  • Signatures and attributions: Documented artists or well-followed schools (e.g., Kyoto Nihonga) can see strong demand. Anonymous but high-quality works remain salable if condition is good.
  • Condition and mount: Freshly conserved, clean mounts raise confidence. Severe silk burn, heavy foxing, or water damage depress value substantially.
  • Provenance: Tomobako inscriptions, old dealer labels, or exhibition history add weight.
  • As a broad orientation (not a valuation): Early 20th-century anonymous/mid-tier school pairs might trade in the low four figures; quality, signed pairs by recognized Nihonga artists can rise to mid–five figures and beyond. Rarity, scale, and subject matter can move results in either direction. Seek recent auction comparables for the closest match.

Note: Pairs often carry a premium over single scrolls because they complete a visual and conceptual set.

Collector’s Toolkit

Quick Appraisal Checklist

• Confirm “pairness”:
  • Matching dimensions, brocades, roller style, and paper/silk tone.
  • Compositional flow or complementary subjects consistent with a designed pair.
• Medium and support:
  • Under magnification, verify brushwork and pigment buildup (not printed).
  • Identify silk vs paper; look for mineral pigments, gofun, and gold/silver applications.
• Marks and text:
  • Record all signatures, seals, and inscriptions with clear photos.
  • Translate any date/era notations (nengō) or sexagenary cycle marks.
  • Photograph tomobako inscriptions and any dealer/collection labels.
• Condition grading:
  • Note foxing, toning, stains, creases, flaking, silk burn, and insect losses.
  • Check structural health of backings and roller assembly.
• Provenance and documentation:
  • Gather bills of sale, exhibition cards, or appraisal documents, if any.
• Value research:
  • Identify school/region/period traits; locate recent auction comparables for similar subjects, sizes, and quality, with attention to condition.
• Conservation strategy:
  • If unstable (flaking, severe tears), pause handling and seek an Asian paintings conservator before further assessment.

FAQ

Q: How can I tell if my pair is Nihonga or Yōga? A: Nihonga typically uses mineral pigments and ink on silk or washi, often with gold/silver embellishment, and is mounted as scrolls. Yōga adopts Western mediums (oil/watercolor) and perspective; early 20th-century Yōga pairs in scroll format are less common.

Q: The seals look similar to a famous artist’s. Is that enough to attribute? A: No. Seals alone are insufficient. Compare quality, style, inscriptions, and era-appropriate materials, and look for corroborating documentation (tomobako inscription in the artist’s hand, exhibition records). Seek specialist opinion before making an attribution.

Q: One scroll is cleaner than the other. Does that hurt value? A: Yes, mismatched condition can reduce the pair’s appeal and price. If only one scroll needs conservation, ensure treatments preserve visual unity (matching brocade tone, sympathetic cleaning) so the pair reads as a set.

Q: Should I remount before selling? A: If the paintings are unstable (flaking, torn) or the mount is severely degraded, professional remounting improves stability and marketability. However, it is an investment—balance likely value uplift against conservation cost using recent comparables.

Q: Are there prints mounted as scrolls that mimic paintings? A: Yes. Some woodblock prints and collotypes were mounted as scrolls for export. Under magnification, prints show repeatable dot/line matrices and lack the varied brushwork and pigment relief found in hand-painted works.

A pair of original Japanese paintings from the early 20th century rewards careful looking: materials, technique, and pairing logic all carry information. By verifying medium and support, reading marks correctly, grading condition, and situating the works in their art-historical context, you can arrive at a confident appraisal—and a sound plan for preservation and, if desired, sale.