Kano Tansetsu (?-?), Autumn landscape water (pine, maple, reed), Edo period, Japanese hanging scroll, kakejiku

Art work details

Shipping table

Setting weight
This piece weighs 0.8 kg and will be shipped in 80 size.

Material
Ink, Pale Japanese pigments on silk

Size
Overall: vertical 173.5㎝ × width 46.3㎝（68.31 in × 18.23 in）＊width does not include roller ends.
(the work: vertical 90㎝ × width 34㎝（35.43 in × 13.39 in）)

Condition
・There are burns, stains, wrinkles, floats, tears on the Japanese paper on the back of the cover.
・There are burns, stains on the image.
・There are burns, wrinkles, warp in the mounting.

Remarks
・Roller ends is lacquerware.
・There is no signature on the box.

Materials for mounting
All of them are made of silk.

Other
There is a note about shipping restrictions and VAT. Please check before purchase.
There may be a slight difference in color between the photo and the actual product.

Notes on shipping

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Biography
Kano Tansetsu (?-?)

He is thought to be a painter of the Kano school, but details are unknown.

*From the store

The details of the artist are unknown, but it is presumed that they were a late Edo-period painter influenced by the Kano school.

The surrounding mounting is also old, dating from the Edo to Meiji period, with no signs of having been remounted. As a result, the combination of an old painting with an equally old mounting (i.e., not remounted in a later period) enhances the piece’s historical charm.

Notably, the closest band to the painting, as well as the two hanging strips (futai) extending from the top, are made of kinran—a luxurious woven fabric incorporating gold threads. These sections feature embroidered floral and pine motifs. The subdued, elegant shimmer is a characteristic feature of aged gold threads.

Additionally, although difficult to discern in the images, the silk canvas of the painting has visible weave lines running both vertically and horizontally. This is a distinctive trait of old silk canvases, retaining traces from an era when silk threads were still fine and handwoven. By the Taisho and Showa periods, silk threads had become thicker, and advancements in textile techniques made the weave lines less visible.

The overall height of the piece is short, indicating that it was designed for an Edo-period home, particularly for display in a tokonoma alcove, when ceilings were lower. One theory suggests that ceilings were kept low as a security measure to prevent swords from being swung freely indoors.

A drawback is that the roller ends have been replaced with modern lacquered ones. Additionally, the box has been replaced with a Showa-period paulownia (kiri) box, which does not match the era of the painting. However, this box is of excellent quality, featuring straight wood grain and crafted from premium Japanese paulownia. Due to the rising cost of wood today, such a box is now quite valuable.

Furthermore, there are signs of aging damage, such as tears and lifting of the silk and washi paper on the back of the scroll. While it is possible to restore these by replacing them with new materials, doing so would require disassembling the scroll, which could risk damaging the artwork. Given that the damage does not affect its display, it is generally best not to intervene unless the deterioration is severe. Preserving the original materials maintains the historical authenticity of the piece.

If you are looking for an antique Kano school landscape painting, this is a fine piece that offers a rich sense of historical authenticity, regardless of the artist’s level of fame.