//Objects
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    Ko-Shōami iron tsuba with design of latticework. Late Muromachi period, ca. 16th century.

    Iron tsuba of square with cut-off edges form (sumi-iri-kakugata) with lattice design in openwork (sukashi) and solid center. Hitsu-ana plugged with lead.

    Unsigned. Late Muromachi period, ca. 16th century.

    Size: 81.3 x 80.0 x 3.6 mm References: 1) Tsuba Kanshoki. Kazutaro Torogoye, 1975, p. 95, lower image. It's also called Kyō shōami. 2) KTK-11: Koshi motif, Late Muromachi (16th c.)
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  • Yoshirō mon-sukashi tsuba. Momoyama or early Edo period (1574-1650).

    Iron tsuba of round form decorated with eight roundels – circular emblems of flowers and/or family crests (mon) made of cast brass, pierced and chiselled in kebori, and with flat brass inlay (hira-zōgan) of vines or leaves all over the plate. Both hitsu-ana trimmed with brass. Nakago-ana of trapezoidal form. A distinctive character of this tsuba is a mon at 6 hours depicting tomoe (comma). Yoshirō school (Kaga-Yoshirō). Attributed to Koike Yoshirō Naomasa himself. Unsigned. The Momoyama or early Edo period, end of the 16th to the first half of the 17th century (1574-1650). Size: Diameter 82.0 mm, thickness 3.8 mm at seppa-dai, 3.4 mm at rim.
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  • Greek Apulian red-figure pelike. Ca. 330 BCE.

    Seller provided description:
    "Finely painted via the red-figure technique, an elegant pelike vessel of a classic globular form with a cylindrical neck rising to a flared rim, and twin fluted handles, all upon a raised, concave, disc foot.
    Side A depicts a winged Eros who stands in contrapposto facing toward the left, in the nude save sandals, bracelets, a beaded sash, and a stephane (wreath) holding a situla (pail) in his left hand and gesturing toward the seated maenad before him. Though with her breasts exposed, the maenad does wear a lower garment, and is bedecked with a stephane, multiple bracelets, and strands of pearls around her neck - all delineated in fugitive white and yellow pigment. She holds a mirror in her left upraised hand and leans upon a tambourine with her right elbow. Above and to the right is a maker's mark of a circular format with a central X that is further adorned by nested wedges and dot motifs. Side B presents two opposing standing draped male figures, the gent on the left leaning upon a walking stick. Complementing the figural program, is a lovely decorative program adorning both sides of the vessel, with bands of laurel leaves above and a repeating Greek key/meander below. An outstanding example, masterfully wheel thrown, so that we see absolutely no signs of any jogs in the transitions between the different elements of the vase. Moreover, it presents ideal proportions perfect for presenting the superb painted iconographic/decorative program. The painting was executed with the utmost skill and artistry - the red-figure technique enabling the artist to delineate the figures' musculature, facial details, as well as the cascading drapery folds with extensive fugitive paint embellishments.
    Expected surface wear with some scuffs and pigment losses commensurate with age, but the painted program is generally very well preserved. Area of repair/restoration to cloak of male on right (Side B). Minute nick to left of male on left (Side B). Nice root marks throughout and areas of encrustation. Thermoluminescence (TL) report: the piece has been found to be ancient and of the period stated. Equivalent age: 2400 +/- 300 years. Certificate of Authenticity from Artemis Gallery. Provenance: private East Coast, USA collection. Greece, Southern Italy, Apulia, ca. 330 BCE.
    Size: 6.75" in diameter x 9.875" H (17.1 cm x 25.1 cm)
    Polina de Mauny, being both attentive and knowledgeable, was the first who noticed a possible mistake in the description above. It is highly probable that the woman on side A is not a maenad but Aphrodite herself, holding a mirror and leaning on a shield. Maenads were "often portrayed as inspired by Dionysus into a state of ecstatic frenzy through a combination of dancing and intoxication". The situla, held by Eros, unequivocally alludes to Dionysian ritual, which has to do as much with maenads as with Aphrodite. The nature of two men on side B remain unclear.
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  • Yoshirō mon-sukashi tsuba. Momoyama or early Edo period (1574-1650).

    Iron tsuba of round form decorated with eight roundels – circular emblems of flowers and/or family crests (mon) made of cast brass, pierced and chiseled in kebori, and with flat brass inlay (hira-zōgan) of vines or leaves all over the plate. Both hitsu-ana could have been trimmed with brass now lacking. Nakago-ana of triangular form, possibly enlarged, with copper sekigane. All typical emblems with bellflower, two variations on suhama theme, and 3, 4, 5, and 6-poinitng mon variations. A distinctive character of this tsuba is a mon at 12 hours depicting water plantain (omodaka).

    “Omodaka was also called shōgunsō (victorious army grass); because of this martial connotation, it was a design favored for the crests of samurai families” [Family crests of Japan, Stone Bridge Press, Berkeley, California]. Yoshirō school (Kaga-Yoshirō). The Momoyama or early Edo period, beginning of 17th century. Size: Height: 81.4 mm; width: 81.2; thickness 3.8 mm at seppa-dai.
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  • 4-blade Ulster boy scout jigged bone plastic folding knife.

    Ulster Official Scout pocket knife with brown jigged bone plastic handles.

    Size: 93 mm (closed); 160 mm (opened); 70 mm blade.

    Tang is etched with: Ulster
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  • 8″ Brazilian horn Italian stiletto picklock Latama switchblade knife.

    Classical picklock Italian stiletto switchblade knife with bolster release, fixed guard, Brazilian horn handle.

    Size: 112 mm (closed); 240 mm (opened); 90 mm blade.

    Tang is etched with: Latama, Italy. SOLD
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  • 6.5″ Pro-tech Walter Brend custom amber jigged bone switchblade knife.

    Pro-tech Walter Brend custom switchblade knife with solid 416 stainless steel frame, amber jigged bone inlays, mirror polished 154-CM blade.

    Size: 94 mm (closed); 168 mm (opned); 74 mm blade)

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  • 9″ ivory picklock Havlin bayonet switchblade knife

    Classical picklock bayonet switchblade knife with bolster release, fixed guard, cream handles (ivory?).

    Size: 123 mm x 20 mm (closed); 220 mm (opened); 130 mm blade.

    Tang is etched with: Havlin.
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  • Nazca polychrome vessel with serpents motif. Ca. 220 BCE – 150 CE

    Pre-Columbian, South Coast of Peru, Nazca, ca. 22- BCE - 125 CE.Polychrome vessel of organic, phytomorphic form and thin walls finely painted with six slithering serpents and protruding floral motifs in hues of red, orange, cream, black, grey, and white.

    Chips of base and rim. Pressure fissures on and a bit above the base. Surface wear commensurate with age.

    Size: Diameter: 19 cm; Height: 16 cm; Mouth diameter: 8.5 cm.

     
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  • Ōnin ten-zōgan tsuba with design of dragonfly and tomoe. Mid Muromachi period, 15th century.

    Iron tsuba of round form decorated with dragonfly (tombo) and comma (comma-like swirl, tomoe) in openwork (sukashi) outlined with brass wire. The plate decorated with 5 concentric circular rows of brass dots in ten-zōgan. Center of the plate outlined with the inlaid circular brass wire (sen-zōgan). Ōnin school. Unsigned. Mid Muromachi period, middle of the 15th century. Dimensions: Diameter: 89.5 mm, thickness: 3.1 mm. Notes regarding design: "According to various sources, the dragonfly (tombo) is emblematic of martial success, as various names for the insect are homophones for words meaning "victory". The dragonfly is also auspicious because references in the Kojiki and Nihongi link it in both name and shape to the old kingdom of Yamato."  [Merrily Baird. Symbols of Japan. Thematic motifs in art and design. Rizzoli international publications, Inc., 2001, p. 108]. "The dragonfly (tonbo), was also called kachimushi in earlier times, and due to the auspicious literal meaning "victory bug" of the characters of this word it became a popular theme on sword fittings." [Iron tsuba. The works of the exhibition "Kurogane no hana", The Japanese Sword Museum, 2014, p. 13].   Helen C. Gunsaulus' description of the dragonfly emblem is as follows: "This motive, the dragon-fly  (akitsu), is generally accepted as a symbol of the kingdom of Japan, and the origin of the idea is traced to the legend recounted in the Kojiki and Nihongo of the Emperor Jimmu's view of the island from mountain top. He is said to have thought the kingdom looked like a dragon-fly touching its tail with its mouth. From this it received its name Akitsu-shima... etc."  
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  • Ōnin ten-zōgan tsuba with design of chrysanthemum, late Muromachi period (16 AD).

    Iron tsuba of 14-petal chrysanthemoid form (kikka-gata) with alternating solid and openwork petals, the latter outlined with brass wire (sen-zōgan) and the former decorated with brass dots (ten-zōgan), on both sides. Seppa-dai is outlined with brass wire. Small hitsu-ana probably cut later. Late Muromachi period (Ca. 1514-1573). Ōnin school. Unsigned. Dimensions: 87.0 x 87.8 x 3.2 mm. Similar tsuba in this collection: TSU-0420.2022 Other similar specimens can be found at: Henri L. Joly and Kumasaku Tomita, Japanese art and handicraft, "Swords and sword fittings" section, sub-section “Inlays of Ōnin, Kyoto, Fushimi-Yoshiro, and Kaga Province”, Plate CX, #128: Iron, chrysanthemoid, thin guard with alternate petals covered with brass spots. Ōnin style. 16th century.

    Japanese art and handicraft, Plate CX, #128.

    Compton Collection, Part I, #7: The iron plate is of flowerhead shape with each of the fourteen petals alternating between solid and openwork. The apertures are outlined in inlaid brass as is the seppa-dai and hitsu-ana. The remainder of the plate is similarly inlaid with plum flowers, birds, dots of dew, Genji mon and sambiki mon. 87 mm x 85 mm x 3.5 mm.

    Compton Collection, Part I, #7.

    And at Jim Gilbert website: Onin ten zogan tsuba, mid Muromachi. Size: 7.7 cm T x 7.6 cm W x 0.3 cm. Iron plate with brass inlay. Kiku gata. The Ōnin ten zogan style is characterized by the decoration of small brass “nail heads” and wires on a thin iron plate.  The iron often has a soft, granular texture and seems to be prone to rust.  Unfortunately, this rust will undermine the brass inlay and result in the loss of some of the inlay.  This example is in reasonably good but far from perfect condition.  As is often the case, the backside is better preserved, with the wire around the seppa-dai and kozuka-ana, and all petals still intact.
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  • Heianjō-zōgan mon-sukashi tsuba. Momoyama to early Edo period.

    Tsuba of oval form decorated with vines, tendrils, and leaves on trellis in brass inlay with details carved in kebori, and pierced with six family crests (mon) with two, three and four pointing stars in openwork, each outlined with brass wire and carved in kebori. Original hitsu-ana outlined with brass wire was probably enlarged later. Copper sekigane.

    Momoyama to early Edo period (end of the 16th - beginning of the 17th century). Dimensions: 68.3 x 64.5 x 3.4 mm.
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  • Heianjō-zōgan tsuba with design of clematis flowers and tendrils. Mid Muromachi period.

    Tsuba of oval form decorated with clematis six-petal flowers, tendrils, and leaves in cast brass with details carved in kebori, inlaid on iron plate carved in low relief  (kebori and sukidashi-bori). Hitsu-ana plugged with shakudō. Copper sekigane.

    Heianjō (or Ōnin) school. Unsigned. Mid Muromachi period (1454-1513). Dimensions: 87.2 x 84.3 x 4.3 mm. Tsuba is illustrated and described in Gary D. Murtha's "Onin-Heianjo-Yoshiro" book on pages 38-39. Mid-Muromachi is the age attribution by Gary. “A picture book of Japanese sword guards. Victoria & Albert Museum“, published in 1927 presents us with a somewhat similar tsuba: "Floral ornament. Iron, with brass incrustation". V&A attributes the tsuba to Ōnin style, 16th century.
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  • Heianjō tsuba with wood sorrel motif. Late Muromachi or Momoyama period, 16th century.

    Thin iron tsuba of round form pierced with six three-leaf wood sorrels (katabami) in ko-sukashi and inlaid with brass decoration along the rim. Kozuka-hitsu-ana probably cut at a later date.

    Late Muromachi or Momoyama period, 16th century. Dimensions: 78.0 x 77.7 x 2.5 mm.
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  • Kamakura-bori tsuba with design of reed, waves, clouds, and pagoda. Momoyama period, 16th century.

    Mokkō-form (kirikomi-mokkō-gata) iron plate of grey colour decorated on both sides with waves, reeds, cloud, pagoda, and thatched hut in low relief (sukidashi-bori). The kozuka-hitsu-ana is original, the kogai-hitsu-ana probably cut later (lacks raised rim, fuchidoru). Wide (5.7 mm) raised rim of rounded square dote-mimi type, decorated with fine cross-hatching. Momoyama period, 16th century. Dimensions: Height: 75.9 mm, width: 76.4 mm, Thickness at seppa-dai: 2.3 mm, at rim 4.4 mm. Kamakura-bori tsuba of such a form is unusual. The rim is also unusual; it is possible that cross-hatching was done as a preparatory step for damascening, or the the damascening (gold or silver) disappeared with passage of time.
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  • Tsuba with design of water wheel, cherry blossom, and waves. Momoyama period.

    Iron tsuba of round form decorated with design of sea waves in low relief carving (kebori) and pierced with design of cherry blossom in negative silhouette (in-sukashi) and water wheel in positive silhouette (ji-sukashi). The solid portion of the plate has a shallow groove just before the edge. Copper sekigane. School attribution is unclear. Unsigned. Momoyama period, 16th - 17th century. Dimensions: Height: 70.3 mm, width: 71.1 mm, thickness at seppa-dai: 4.4 mm, at rim 4.1 mm. Provenance: Robert E. Haynes, Mark Weisman. This is what shibuiswords.com says about this tsuba:
    "A very unusual iron plate tsuba. The solid plate is carved with waves on both sides. A cherry bloom in sukashi, lower left, and the right third of the plate in openwork with design of a water wheel. The rim with some iron bones. The hitsu-ana is original but the shape may have been slightly changed. One would expect this to be the work of the early Edo period, but the age of the walls of the sukashi would suggest that this is a work of the middle Muromachi period. This must be the forerunner for the Edo examples we see of this type of design." (Haynes)
    I managed to find a look-a-like tsuba in Haynes Catalog #5, 1983, pp. 20-21, №44: "Typical later Heianjo brass inlay example. Ca. 1725. Ht. 7 cm., Th. 4.5 mm., $100/200".

    Haynes Catalog #5, 1983, pp. 20-21, №44.

    We see that the  plate design of both tsuba is the same, and the only difference is the trim. It would be logical to assume that both pieces were made at about the same time, rather than 225 years apart. To be fair, let's accept that they were made in Momoyama period.
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  • Ko-katchūshi tsuba with design of gorintō, heavenly objects, cloud, snowflake, and Genji-mon. Mid Muromachi period, 15th century.

    Iron tsuba of round form decorated with design of moon, stars, cloud, snowflake, gorintō, and Genji-mon in negative openwork (in-sukashi). Raised tubular rim (dote-mimi). Deep black patina, traces of lacquer. Naka-daka type of plate (thicker in center, getting thiner towards the rim). Visible gap between the rim and the plate. Dimensions: Height: 91.7 mm; Width: 90.8 mm; Thickness at seppa-dai: 2.5 mm, plate before rim: 2.2 mm, of the rim: 5.6 mm. At least Mid Muromachi period, 15th century, but possibly earlier. In 'Silver Book', commenting tsuba №34 Sasano writes: "The technique used to create the rim is the same used for the peak (koshimaki) of helmets (kabuto) during the Kamakura and Nanbokucho periods." On the other hand, the abundance of sukashi elements points towards later times, perhaps late Muromachi or even Momoyama period. "Gorintō is a grave stone composed of five pieces, piled on one the other, representing, from the bottom upward, earth, water, fire, wind, and heaven, respectively" [Nihon Tō Kōza, Volume VI, Part 1.  AFU, 1993, p. 6. / LIB-1554]. A romantic description of the piece may look like this: The air is scented (incense symbol); it's a graveyard, marked by gorintō; a winter (snowflake) evening or night (moon, stars); mist is rising from a ravine towards moon. I did not manage to find a katchūshi piece of this design, only a few Kamakura-bori tsuba:

    100 selected tsuba from European collections. Catalogue by Robert Haynes and Robert Burawoy, 1984, page 16, №5.

    Japanese Sword Fittings. Collection of G.H. Naunton, Esq., by Henri L. Joly, - 1912; №9.

    While the upper tsuba is dated end of Muromachi, the lower is attributed to the 17th century - Momoyama or early Edo period, though the author put this attribution under question. Deciphering of the strangely shaped opening to the left of nakago-ana is sometimes "a conventional scroll", and sometimes - a fern or bracken. I think mine is a cloud or mist, but I don't have any material evidence proving this understanding and came to conclusion by context only. It may easily be a dinosaurs playing ball. The fact that this thing always accompanies the Genji-mon, or incense symbol, it may be a scent itself.
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  • Iron tsuba with design of slanting rays of light. Edo period.

    $600.00

    Iron tsuba of oval form pierced with design of slanting rays of light (shakoh), a Christian motif (Jesuit’s IHS symbol), and a pair of tassels in positive silhouette (ji-sukashi). Details on tassels carved in low relief. Traditional description of this kind of design is called “tokei”, or “clock gear”. Rounded rim.

    Unsigned.

    Edo period, 17th or 18th century. Possibly - Owari school.

    Size: 76.0 x 73.0 x 6.2 mm.
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  • Owari school tsuba with design of keys. Edo period, 17th century.

    $600.00

    Iron tsuba of round form decorated with design of keys to the storehouse of the gods in openwork (sukashi). Rounded rim. Copper sekigane.

    Unsigned. Early Edo period, 17th century.

    Size: 71.0 x 70.9 x 6.0 mm.

    Merrily Baird, Symbols..: The Key to the Storehouse of the Gods, one of the Myriad Treasures.

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  • Iron tsuba with design of jakago latticework. Edo period.

    Iron tsuba of oval form decorated with design of jakago (bamboo lattice work) in openwork (sukashi). Copper sekigane.

    Unsigned. Edo period.

    Size: 73.7 x 70.3 x 5.6 mm.

    Note regarding design: though some might think that this piece belonged to a member of the lost tribe of Israel, it did not. Jakago baskets were made of bamboo, filled with rocks and used to catch crabs (besides other uses).

    Jeanne Allen. Designer's Guide to Samurai Patterns. Chronicle Books, San Francisco, 1990; p.51, №57.

     
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  • Owari tsuba with double crossbar and family crests motif. Early Edo period, 17th century.

    Iron tsuba of round form with design of double crossbar and two family crests (hikiryo-ni-kamon) in openwork (sukashi). Squared rim. Copper sekigane. Owari school. Early Edo period: Late 17th century (Kanbun / Enppo era). Height: 80.9 mm. Width: 80.8 mm. Rim thickness: 5.0 mm. Center thickness: 4.6 mm. Provenance: Sasano Masayuki Collection, № 172: "A paulownia and a clover are diagonally opposite two crossbars. This expressive design suggests a Higo origin, but the iron and the finish are certainly of the Owari school. Work of this nature may have been influenced by Hayashi Matashichi (1613-1699)."
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  • Ōnin ten-zōgan tsuba with design of lake and rudder. Muromachi period.

    Iron tsuba of octafoil form with design of rudder (kaji) and lake in openwork (sukashi) outlined with brass wire. Thin plate also decorated with three concentric circular rows of brass dots (nail heads) in ten-zōgan. Center of the plate outlined with the inlaid circular brass wire. Cut-outs for kozuka and kogai probably added later.  Slightly raised rim between the indentations (suki-nokoshi-mimi). The inlaid metal of red-ish hue, so it may be copper, not brass. Sekigane, visible on the NBTHK paper photo, are missing, possibly removed by a previous owner. Muromachi period. Ōnin school. Unsigned. Dimensions: 81.2 mm x 81.8 mm x 2.7 mm. Weight: 79.0 g. Large nakago-ana: 34 mm high and 10 mm wide. NBTHK certificate №455786: Hozon. Note regarding design: it was quite hard to interpret the big oval opening. The first suggestion was 'sea cucubmer', and it was based on a design published by Kazutaro Torigoye [Kodogu and tsuba. International collections not published in my books (Toso Soran), 1978] on page 202: Katchūshi tsuba: Sea cucumber and butterfly. Look and judge yourself:

    Torigoye: sea cucumber and butterfly.

    The second suggestion - 'lake' - came from [Iron tsuba. The works of the exhibition "Kurogane no hana", The Japanese Sword Museum, 2014], page 14 №5:

    Ko-Katchūshi tsuba: Lake and pine.

    Opening on my tsuba looks more like the 'lake'. Also, rudder and lake make more sense than rudder and sea cucumber. At least to me...    
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  • Ko-kinko yamagane tsuba with waves and rabbit motif. Muromachi or Momoyama period.

    Ko-kinko ymagane cast tsuba of mokko form (kirikomi-mokkō-gata) with chiseled diaper pattern of double head waves on both sides and a rabbit cast and carved with its eye inlaid in yellow metal (gold or brass) on the face. Fukurin which holds together the sandwiched layers of metal (sanmai) is about 2.4 mm wide. A look-a-like tsub of oval form instead of mokko-gata  is illustrated at Robert E. Haynes's Catalog #3,1982 on page 11, lot 15: "Rare design in style of Sanmai (three layers) / Wasei work. With yamagane core and heavy rim cover. The web plates are carved with double head Goto style waves and the face has a fox. The web plates were riveted at the seppadai.  See Lot 4, page 8. Ca. 1350. Ht. 6.6 cm, th. 3 mm" [underscore mine]. Quality of photo is so poor that I decided not to provide it here. Muromachi (if we follow Robert) or Momoyama period. The Momoyama attribution is mostly based on a fact that "waves and rabbit" motif became most popular in Momoyama times. Size: 68.5 x 59.8 x 4.0 mm. NBTHK Certificate № 423120. This tsuba is listed at Yakiba website with the following passage: "Attributions as well as dating of this type of tsuba has been the subject debate over the years. There are those who believe these type of tsuba to be ko-Mino (early Mino School) tsuba, others believe them to be tachi-kanaguchi tsuba. Still others insist they are simply ko-kinko (early soft metal) tsuba. This tsuba was authenticated and determined to be "Ko-Kinko" by the NBTHK". Oval form tsuba with the same design can be found in this collection - TSU-0323.

    TSU-0323. Ko-kinko yamagane tsuba with waves and rabbit motif.

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  • Shibuichi kozuka by Hamano Haruchika with design of a Chinese scholar reading by moonlight. Edo period, 19th century.

    Shibuichi Kozuka carved in low relief (takabori, usuniku-bori) and inlaid in gold and silver with design of Shoko, reading by moonlight, thatch, pine rosettes, and fool moon. According to Henri L. Joly [LEGEND IN JAPANESE ART. London, 1908; LIB-1416 in this collection] Shoko was a Chinese student of Taoism who was so poor that he had no money to buy illuminating materials and read by moonlight. Shoko mentioned in the article about another Chinese character - Shaen, who was reading by the light emitted by glow-worms (see page 310). Signed on the back: Haruchika (春親) + kaō. Size: 97.3 mm (H) x 14.8 mm (W). Edo period, mid 19th century. NBTHK Certificate № 449542. Hamano Haruchika from Edo was a student of Haruyuki in 1848-54; Hamano School, Etchū Toyama Branch, according to M. Sesko's "Genealogy", page. 34. Most probably it is his work. Following the MFA data, it is also possible that "our" Haruchika is indeed Nara Haruchika or Tsuchiya Haruchika from Nara School; though I did not hind such artist in Markus Sesko books. However, in his "Toso-Kinko" on page 177 there is certain Shingorō who carried out his business under the name of Yanagawa Haruchika (1791-1857?)  
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  • Silver kozuka carved with a bijin-ga motif, by Koreyasu. Edo period, 19th century

    $700.00
    Silver Kozuka carved in kebori ("hair carving") with a ukiyo-e style half-length figure of a beautiful woman (possibly a courtesan) dressed in a splendid kimono and hair ornament (kanzashi). Signed on the back: Koreyasu/Zetai + kaō (是休「花押」)  - transcribed by Markus Sesko. Size: 96.8 mm (H) x 14.9 mm (W). Edo period, early 19th century. I managed so far to find the only mention of Koreyasu at Japanese sword-mounts. A descriptive catalogue of the collection of J. C. Hawkshaw, Esq., M.A., of Hollycombe, Liphook. Complied and illustrated by Henri L. Joly. London, 1910 [LIB-1439 in this collection], page 204: 2623. — F./v., nigurome, chased in relief and inlaid with Omori Hikoshichi (large faces). Signed : Koreyasu of Yedo. xix. 2624. — F.K., nigurome, chased and inlaid in relief with Omori Hikoshichi and the witch. Signed : Shinriusha Koreyasu. No pictures of items or signature provided.
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  • Ōnin suemon-zōgan tsuba with design of foliage and family crest. Late Muromachi period.

    Iron tsuba of round form inlaid with brass and shakudo (suemon-zōgan) with a design of tendrils, leaves, double gourds, and folding fan with two wild geese on the face and the same design only with a fan with two interlocked rings (wachigai) on the back. Design is supplemented with a round family crest (mon) of three fans in openwork (sukashi). Hitsu-ana and the mon are outlined with brass rope. Copper sekigane.

    Some attribute such tsuba as belonging to Heianjō or even Yoshirō School, and date them to Momoyama period. I keep this piece under Ōnin rubric, late Muromachi, but this is just a question of personal preference.

    Some inlay is missing, some repaired; traces of rust. Otherwise - decent condition.

    Late Muromachi period (1514-1573). Size: 77.4 x 77.1 x 3.8 (center), 3.2 (rim) mm
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  • Iron tsuba with design of scholar and attendant in landscape. Edo period, 19th century.

    $700.00

    Large oval form tsuba decorated with two human figures (scholar and attendant) under the pine tree admiring a view of a waterfall on the face of the plate, and with stylized dragons carved on the reverse among the symbols of thunder inlaid in gold. The plate is carved in low relief with details inlaid with gold and silver.

    Signed: Yamashiro no kuni Fushimi no ju Kaneie [Kaneie of Fushimi in Yamashiro Province] [山城國伏見住金家], with Kaō. It is a fake signature (gimei).

    Size: Height: 91.9 mm; Width: 85.6 mm; Thickness: 3.4 mm; Weight: 169 g.

    This is a late Edo period, 19th-century export work to cater to the tastes of the European tsuba collectors. It does not have anything in common with the work of great Kaneie masters.

    SOLD
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  • Nara school tsuba by Sugiura Jōi with dreaming Rosei motif. Edo period.

    $1,500.00

    Copper tsuba of slightly elongated round form carved in low relief (shishiaibori and sukisagebori) and inlaid in gold, silver and shakudō with the design of dreaming Rosei (Lu Sheng): he is half-sitting by the pillow with his eyes closed, holding his fan, with a scroll by his feet, surrounded by flying butterflies.

    Edo period, first half of the 18th century.

    Dimensions: 70.8 x 67.1 x 5.0 mm. Signed on the reverse: Jōi (乗 意) + Kaō. Sugiura Jōi [杉 浦 乗 意] (1701-1761) was a master of Nara School in Edo; he was a student of Toshinaga [M. Sesko, ‘Genealogies’, p. 32]. “Sugiura Jōi (1701-1761) made many fuchigashira and kozuka, tsuba are rather rare.” [M. Sesko, The Japanese toso-kinko Schools, pp. 148-149]. On Rosei (Lu Sheng) dream's legend see Legend in Japanese Art by Henri L. Joly (1908 edition) on page 293.
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  • Iron tsuba with a design of bracken and paulownia in openwork. Muromachi period, 16th century.

    Iron tsuba of round form decorated with a design of bracken scrolls and paulownia leaves and blossoms (kiri-mon) in openwork (sukashi). Details carved in kebori. Squared rim with iron bones (tekkotsu). Hitsu-ana plugged with shakudō.

    Size: 83.6 x 82.9 x 5.4 (center), 5.1 (rim) mm.

    Unsigned.

    Muromachi period, ca. 16th century.

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  • Higo school tsuba with a design of nesting crane in openwork. Edo period, 17th century.

    Iron tsuba of round form (tsurumaru) decorated with a design of crane and pines, or "nesting crane (sugomori-tsuru)" in openwork (sukashi). Details carved in kebori. Rounded rim.

    Size: 74.7 x 69.8 x 4.8 mm.

    Unsigned.

    Edo period, ca. 17th century.

    NBTHK Certificate № 463485. The certificate says it's a Higo School piece. The design was popular in both Akasaka and Higo schools. The Akasaka example: at Kodogu and tsuba. International collections not published in my books. (Toso Soran). Ph. D. Kazutaro Torigoye, 1978, p. 246: "Late Edo. Jiyūgata. Sined: Akasaka Tadanori saku."  

    Torigoye, 1978, p. 246. Late Akasaka.

    The Higo example can be found at Iron tsuba. The works of the exhibition "Kurogane no hana", The Japanese Sword Museum, 2014, p. 69, №56: Sugomori-tsuru sukashi-tsuba (Nesting Carne). Mumei: Matashichi (1st generation), early 17th century.

    Kurogane no hana, 2014, p. 69, №56. Higo tsuba.

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  • Iron tsuba with pines, crescent moon, and torii in openwork. Edo period.

    $710.00

    Iron tsuba of round form decorated with the design of distant pines, torii, and crescent moon in openwork (sukashi). Copper sekigane.

    Size: 84.9 x 84.8 x 5.8 mm.

    Unsigned.

    Edo period, ca. 1750.

    Tosa Myochin or Akasaka school.

    Japanese Swords and Sword Fittings from the Collection of Dr. Walter Ames Compton (Part I). Christie's, New York, March 31, 1992, pp. 28-29, № 53:

    "A Tosa Myochin School Tsuba. Edo period (circa 1750), signed Toshu ju Kuniyoshi saku. The round iron plate pierced with a design of a temple gate (torii) and a pine tree. It has a round rim and there are some carved details on the surface of the design. The Tosa Myochin school, despite its foundation in the classic Myochin armor school tradition, worked mainly in the style of Akasaka school of Edo. [...] Many are equal to the mid to later Akasaka school work and the two types have frequently been confused. Signed examples are rare. Estimated price $1,500-2,000."

    Compton Collection, Vol. 1, №53

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  • Iron tsuba with noshi decoration in openwork, by Kinai of Echizen. Edo period.

    Iron tsuba of round form pierced (sukashi) and carved (marubori) with a 'noshi' decoration design. Noshi - decoration made of dried abalone (awabi) and bearing an auspicious connotation of good fortune, prosperity, etc. Design was used as a family crest (mon).

    Size: 76.3 x 75.9 x 5.5 mm.

    Signed: Echizen jū Kinai Saku. Kinai school existed from mid 17th to mid 19th century; it is hard to tell which master (generation from 1 to 6) made this particular piece.

    SOLD
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  • Iron tsuba with a horse motif in marubori-sukashi. Edo period, ca. 1800.

    $890.00

    Iron tsuba pierced and carved (marubori-sukashi) with the 'horse in the round' design. Possibly, Bushū-Ito school, 19th century (ca. 1800). Kogai-hitsu-ana plugged with shakudō.

    Size: 67.6 x 66.8 x 5.1 mm

    Unsigned.

    See:

      1. Robert E. Haynes. Study Collection of Japanese Sword Fittings. Nihon Art Publishers, 2010, p. 120: Iron plate carved and formed in the round as a tethered bull...Signed: Bushū jū Sadayasu saku.
      2. Robert E. Haynes. Masterpiece and highly important tsuba, etc... San Francisco, 1984 // Catalog #9.: Signed: Bushū jū Yoshifusa. Ca. 1800, H 6.7 cm, Th. 4.75 mm.
      3. The Hartman collection of Japanese metalwork. Christie's, 1976, p. 29, №59: Bushū type, 19th century. Reference to Takezawa, Nihon Toban Zuetsu №411 for a similar design signed Bushū Yoshifusa.

    Hartman collection, №59. 

    4. Japanese Sword Fittings from the R. B. Caldwell Collection. Sale LN4188 "HIGO". Sotheby's, 30th March 1994, p. 17, №24: An iron tsuba, by Heianjo Sadatsune, Edo period (18th century). In the form of a horse, standing with its head lowered and a rope halter attached to its bit and trailing beneath. Signed Heianjo Sadatsune, 7.3 cm. With NBTHK Tokubetsu kicho paper, dated Showa 49 (1974). GBP 600-700.

    The Caldwell Collection. Heianjo Sadatsune, Edo period (18th century).

     
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  • Iron tsuba with a bird, bucket, and well motif. Edo period.

    Iron tsuba of elongated round form with brown (chocolate) patina. The surface is carved with file strokes (sujikai-yasurime) to imitate  heavy rain. The design of a bird drinking water from a bucket hanging on a rope  is carved in low relief (sukidashi-bori); the rope is inlaid in gold. The well structure on the reverse, carved in low relief. Nakago-ana is enlarged and plugged with copper sekigane. Unsigned.

    Edo period.

    Size: Height: 75.1 mm; Width: 68.3 mm; Thickness: 4.6 mm; Weight: 134 g.

    Unsigned.

    SOLD
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  • Heianjō tsuba with tiger and bamboo motif. Momoyama period.

    Large and thin iron tsuba of round form (width > height) decorated with the design of a tiger sheltering in bamboo in suemon-zōgan brass inlay. A fragment of tail inlay is missing. Bamboo leaves on the reverse. According to Merrily Baird [Symbols, p. 166], tiger sheltering in bamboo symbolizes "weak giving shelter to the strong". Momoyama period. Unsigned. Dimensions: 90.8 x 91.2 x 3.4 (center), 3.1 (rim) mm. Custom wooden box. NBTHK Certificate № 4001593.
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  • Fuchi-kashira with designs of a spider and insects. Edo period.

    Fuchi-kashira made of Shibuichi carved and inlaid with shakudō, gold, silver, and copper with the design of spider holding a fly on the fuchi, and other insects (ant-lion, wasp, and ant) on the kashira.

    Fuchi: 35.1 mm. Kashira: 38.7 mm. Main material: Shibuichi. Other metals: shakudō, gold, silver, and copper. Decorative technique: iroe taka-zōgan.
     
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