//2014
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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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  • Nishigaki tsuba with paulownia motif by Kanshiro III. Edo period, early 18th century.

    Iron tsuba of oval form with design of stylized paulownia (nage-giri) in openwork (sukashi). Leaf veins carved in kebori technique. Rounded rim. Copper sekigane. Unsigned. Attributed to Kanshirō, third generation Nishigaki (1680-1761). Edo period: Early 18th century (Kyoho / Genbun era). Size: Height: 77.8 mm. Width: 71.9 mm. Rim thickness: 5.9 mm. Center thickness: 5.0 mm. Provenance: Sasano Masayuki Collection, № 264: "Nishigaki. Third generation Kanshiro (died in in the eleventh year of Hohreki, 1761 at the age of eighty-two). This oblong shape appears a little amateurish at first, however, it was done intentionally to add flavor to to the design. The neat composition is a feature of the third Kanshiro."  
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  • Ōnin ten-zōgan tsuba with design of full moon and bamboo shoot. Muromachi period.

    Ōnin shinchū ten-zōgan tsuba. Iron tsuba of round form decorated with full moon and bamboo shoot (takenoko) motif executed in openwork (sukashi) and inlaid with four concentric rows of brass dots (ten-zōgan). The innermost row of dots as well as the sukashi openings outlined with the inlaid linear brass wire. Late Muromachi period, 16th century. Diameter: 82.0 mm; Thickness: 2.8 mm Cited from Merrily Baird. Symbols of Japan. Thematic motifs in art and design. Rizzoli international publications, Inc., 2001, p. 72: "In Japanese art, the appearance of bamboo shoots is often without symbolic meaning. In other cases, however, the shoots are emblematic of Moso (Chinese: Meng Tsung/Meng Zong), a paragon of filial piety who dug through snow to find shoots for his mother. ... especially in miniature art forms, let bamboo shoots alone speak for the full story." The full story is this (See THE TWENTY-FOUR PARAGONS OF FILIAL PIETY [ERSHISI XIAO]):
    Tears That Brought Bamboo-shoots From the Frozen Earth: Meng Zong Meng Zong lived during the Three Kingdoms Period of China's past. His father died when he was young, and he and his mother struggled to survive. One winter his mother was stricken with a serious illness, and craved some bamboo-shoot broth as medicine. But in the depths of winter, with snow and ice blanketing the ground, where was anyone to find fresh bamboo shoots, shoots that emerge only in the warm months? Nonetheless, Meng Zong, to avoid disappointing his mother, bravely fetched his shovel and went out into the white landscape in search of bamboo shoots. In the thicket he found only frosted leaves and green stalks coated with snowflakes and ice. Look as he might, there were simply no fresh shoots growing in the winter. The thought of his poor mother lying sick on her bed, waiting for bamboo-broth medicine, made his heartache. Uncontrollably, tears began to fall in rivers to the ground beneath the tall, emerald canes. Even now, as his tears flowed down, he kept a light of faith in his heart. If he was truly sincere in his search, perhaps.... Just then Meng Zong nearly tripped and fell over a sharply protruding lump of earth. He quickly knelt down and knocked aside the dirt with his trembling fingers. How uncanny! Underneath his frozen hands he discovered a bed of fresh, tender bamboo shoots! Overjoyed, he gathered up a coatful and carried them back home. The broth that he quickly set stewing in the pot soon cured his mother's illness. The neighbors, hearing the story, exclaimed that it was the strength of his sincere, unselfish, filial resolve that inspired heaven and earth to respond, and to bring up, out of season, the fresh shoots that cured his mother's disease. Before Meng Zong's prayers generated this miracle, it was normally considered impossible for bamboo shoots to grow in the winter. After the nmiracle took place, however, people were able to gather and to eat bamboo shoots all year round. The winter variety that existed hereafter became known as "winter shoots." The villagers were deeply influenced by Meng Zong's courage and devotion. They renamed the spot where the event took place, "Meng Zong's Bamboo Grove". We can now enjoy bamboo sprouts during the winter as well, and as we do so, it is fitting to recollect Meng Zong's outstanding example of filial respect, and reflect on our conduct as sons and daughter of our parents. A verse in his honor says, His teardrops transformed winter at the roots; Up from the ice crept tender bamboo shoots. Instantly, the winter-sprouts matured; Heaven's will: a happy, peaceful world.
     
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  • Ōnin ten-zōgan tsuba with two overlapping lozenges. Muromachi period.

    Onin Tsuba with two overlapping lozenges, or interlocked diamond shapes. Iron and brass. Sukashi and ten-zogan technique. Muromachi period. Diameter: 81.0 mm; Thickness at seppa-dai: 3.2 mm The symbol of two overlapping lozenges (or, interlocked diamond shapes), presumably a family crest (kamon) may be deciphered as chigai kuginuki (nail extraction tool => 'conquered nine castles' ) or as chigai bishi (overlapping lozenges). Similar symbol can be found at Butterfield & Butterfield. IMPORTANT JAPANESE SWORDS, SWORD FITTINGS AND ARMOR. Auction Monday, November 19th, 1979. Sale # 3063], №94 with the following explanation: " This was the mon (crest) of the Yonekura family of Kaga Prov., at Kanazawa". An interesting insight is provided by Robert E. Haynes at Important Japanese kodogu, gaiso and works of art. San Francisco, April 9-11, 1982. Robert E. Haynes, Ltd., № 36 (see photo): "This would seem to be the Yonekura family mon. They were Seiwa-Genji Daimyō family made noble in 1696 and resided in Kanazawa in Kaga". Would it be possible that this is a late 17th century Ōnin tsuba?

    Robert E. Haynes Catalog of April 9-11, 1982, № 36.

     
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  • Ōnin/Heianjō suemon-zōgan tsuba with Wheel-of-the-Law motif. Muromachi period, ca. 1500

    Iron tsuba of round form represents an eight-spoke Wheel-of-the-Law and in the same time (because of the inner shape of cut-outs) - a sixteen-petal imperial chrysanthemum in openwork (sukashi). Decorated on both sides with vines, leaves, and tendrils in suemon-zōgan and sen-zōgan. Spokes and hitsu-ana decorated with rope-like linear brass inlay (nawame-zōgan). A somewhat look-a-like tsuba is referenced in Gary D. Murtha's Japanese Sword Guards. Onin-Heianjo-Yoshiro book on page 61. Mr. Murtha attributes his piece to Heianjo school of Azuchi-Momoyama or early Edo period. However, tsuba in this collection looks older and bolder than the one in his book. It is larger (84 mm vs. his 66 mm), the spokes are longer, the inlay is of better quality, it is relatively thin, with deep black patina, and with the traces of lacquer (urushi). This may indicate that this tsuba belongs to Ōnin school and dates at least to late Muromachi period, ca. 1550, if not 1450 AD. Mid to late Muromachi period (ca. 1450-1550). Dimensions: 84.3 x 83.2 x 3.2 mm "In Japan, the Wheel-of-the-Law is an attribute of such deities as  Senju Kannon, the Thousand-Armed Kannon, and Dainichi Nyorai, the principal deity of Shingon Buddhism [Merrily Baird]. May be used as a family crest (mon).

    Gary D. Murtha's tsuba on page 61.

     
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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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  • Owari tsuba with wild geese and dewdrops on pampas grass motif. Early Edo period, 17th century.

    Iron tsuba of slightly elongated round form with design of wild geese and drops on pampas grass (masashino) in openwork (sukashi). Rounded rim. Copper sekigane. Owari school. Early Edo period: early 17th century (Kan-ei era). Height: 78.8 mm. Width: 76.3 mm. Rim thickness: 6.1 mm. Center thickness: 6.4 mm. Provenance: Sasano Masayuki Collection, № 169. A description of musashino symbolism can be found at Symbols of Japan by Merrily Baird [Merrily Baird. Symbols of Japan. Thematic motifs in art and design. Rizzoli international publications, Inc., 2001]: Musashino - "the plain of Musashi - a large expanse in the Tokyo area, was celebrated in poetry for the grasses that grew there before the recent era of industrialization... The use of Musashino themes was particularly common in the Momoyama and Edo periods". Pampas grass with dew drops and wild geese in flight collectively provide strong autumnal connotation.  
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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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  • Shimizu Jingo Tsuba. Dragon and Vajra. Edo period

    Shimizu-Jingo tsuba with a dragon and vajra (on reverse) motif. Unsigned. Possibly, 3rd or 4th master of Shimizu-Jingo family in Higo province. Iron. Low relief carving. Edo period, 1700's. Height: 75.4 mm, Width: 72.2 mm, Thickness at seppa-dai: 4.0 mm
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  • Shimizu tsuba with yatsubashi motif by Jingo II. Edo period, 18th century.

    Iron tsuba of oval form with design of iris and plank bridge (yatsubashi) in openwork (sukashi). Rounded cornered rim. Unsigned. Attributed to Jingo - 3rd generation Shimizu, 2nd generation Jingo (1691-1777) [M. Sesko, Genealogy..., p. 94]. Edo period: Late 18th century (Hohreki / Meiwa era). Height: 69.5 mm. Width: 65.2 mm. Rim thickness: 4.6 mm. Center thickness: 4.8 mm. Provenance: Sasano Masayuki Collection, № 251: "Shimizu. Third generation Jingo (died at 87 years of age in the sixth year of An-ei, 1777). The eight-section bridge with irises are arranged to create the design of 'yatsubashi'. The features are unique for the Shimizu school and show no influence of the Hirita, Nishigaki or Hayashi schools". The design visually resembles a butterfly. As described in Family Crests of Japan by Stone Bridge Press [Family Crests of Japan; Stone Bridge Press, Berkeley, CA, 2007], and also in Japanese Family  Crests by Yuzuru Okada [Yuzuru Okada. Japanese Family Crests // Series: Tourist Library: 37. Board of tourist industry; Japanese Government Railways, - 1941], there is a special technique used in construction of family crests, called 'reshaping' by the former and 'reconstruction' by the latter: "reconstruction is realized when a motive has its general shape composed of the detail of entirely different motive as, for instance, the crest of a butterfly formed of pine-needles. [...] The fanciful and ingenious forms evolved in this way may be represented by the kasiwa-giri or 'oak-leaf-paulownia', the ogi-bisi or 'fan-lozenge', the matuba-zuru or 'pine-needle-crane', the omodaka-kotyo or 'water-plantain-butterfly', etc." In our case we can call the motif yatsubashi-chocho or 'Iris-and-Bridge—Butterfly'.  
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  • Shingen tsuba with mukade-zōgan. Edo period, 17th century.

    Iron tsuba of round form inlaid with brass, copper, and shakudō wire fastened to the surface with metal staples (mukade-zōgan); Scalloped brass inlay around the rim. Early Edo, 17th century. Height: 84.8 mm; Width 84.8 mm; Thickness at seppa-dai: 3.7 mm. Weight 161.6 g. Design is thought to resemble a centipede. "Centipede-like inlay (mukade zogan) of alternating iron and brass staples produce an appearance that was particularly favored by Takeda Shingen (1521-1573), one of the most powerful warlords of his time. The centipede is sacred to Bishamon (God of War) and especially propitious for a warrior. Shingen type, 16th century.” [The Peabody Museum collection of Japanese sword guards with selected pieces of sword furniture, by John D. Hamilton. Photographs by Mark Sexton. Salem, MA, 1975.] See also: http://varshavskycollection.com/shingen-tsuba/
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  • Shingen tsuba with mukade-zōgan. Edo period, 17th century.

    Iron tsuba of round form with circular iron wire fastened to the surface with iron and brass staples (mukade-zōgan); brass ring about 2.5 mm wide along the rim with chisel marks. Design repeats on the reverse. Copper sekigane. Early Edo, 17th century. Size: Height: 83.3 mm; width 83.9 mm; thickness at seppa-dai: 4.5 mm. Weight 173.6 g. Design is thought to resemble a centipede. "Centipede-like inlay (mukade zogan) of alternating iron and brass staples produce an appearance that was particularly favored by Takeda Shingen (1521-1573), one of the most powerful warlords of his time. The centipede is sacred to Bishamon (God of War) and especially propitious for a warrior. Shingen type, 16th century.” [The Peabody Museum collection of Japanese sword guards with selected pieces of sword furniture, by John D. Hamilton. Photographs by Mark Sexton. Salem, MA, 1975.] See also: http://varshavskycollection.com/shingen-tsuba/ SOLD
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  • Shingen tsuba with mukade-zōgan. Edo period.

    Mukade-zōgan tsuba with two types of wires. Iron, inlaid with brass and iron wire fastened to the surface with metal staples (mukade-zōgan); Brass inlay around the rim. Design is thought to resemble a centipede. "Centipede-like inlay (mukade zogan) of alternating iron and brass staples produce an appearance that was particularly favored by Takeda Shingen (1521-1573), one of the most powerful warlords of his time. The centipede is sacred to Bishamon (God of War) and especially propitious for a warrior. Shingen type, 16th century.” [The Peabody Museum collection of Japanese sword guards with selected pieces of sword furniture, by John D. Hamilton. Photographs by Mark Sexton. Salem, MA, 1975.] Height: 85.8 mm; Width 86.2 mm; Thickness at seppa-dai: 4.3 mm. Weight 177.6 g. Early Edo, 17th century. http://varshavskycollection.com/shingen-tsuba/
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  • Shingen tsuba with woven wire pattern. Muromachi period

    Shingen school tsuba with woven wire pattern. Iron core, woven brass wire. Height: 72.5 mm; Width 69.8 mm; Thickness at seppa-dai: 4.0 mm. Weight 88.8 g. Late Muromachi, 16th century. SOLD http://varshavskycollection.com/shingen-tsuba/
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  • Shoami tsuba with ginger and double diamonds motif. Early Edo period, 17th century.

    Iron tsuba of round form with design of ginger and double diamonds (myoga-ni-nigaibishi) in openwork (sukashi), details carved in kebori technique. Slightly rounded square rim. Copper sekigane. Shoami school. Early Edo period: Late 17th century (Kanbun/Enppo era). Height: 80.1 mm. Width: 79.8 mm. Rim thickness: 5.0 mm. Center thickness: 4.7 mm. Provenance: Sasano Masayuki Collection, № 110.  
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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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  • Sukashi iron tsuba with folding fan motif. Momoyama period, 16th century.

    Iron tsuba of round form with three stylized folding fans motif  in openwork (sukashi). Kogai-hitsu-ana with shakudō sekigane. Iron bones (tekkotsu) on the rim. Momoyama period or earlier. Possibly, Ko-Shōami school.

    Size: 76.8 x 75.7 x 4.0 mm.

    [Seller alleged that the motif is "Buddhist wheel", which seems unlikely.
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  • Sukashi iron tsuba with horse trappings motif. Momoyama period, ca. 1580.

    Iron tsuba of oval form with the motif of horse trappings in openwork (sukashi). Copper sekigane. Iron bones (tekkotsu) on the rim.

    Size: 80.4 x 75.8 x 5.2 mm

    NBTHK Certificate №454567, allegedly saying that it is Akasaka School, Muromachi period. A look-a-like tsuba in Robert. E. Haynes Catalog #7, 1983 on page 57 under №48 is described as follows: "A masterpiece second period Owari sukashi tsuba. The plate is of beautiful color and quality almost like velvet. The design is very hard to discern, it might be the horse trappings, or even a moon. The style and type of Owari tsuba shows the great tradition of the Momoyama period and why it was the renaissance in time, as well as the arts produced, through the long history of all Japanese art. Ca. 1580. Ht. 7.7 cm, Th. (center) 5.5 mm, (edge) 5.25 to 5.75 mm."

    Robert. E. Haynes Catalog #7, 1983, p. 57, №48.

    I believe we can safely attribute this tsuba to Owari School, c. 1580.    
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  • Sukashi iron tsuba with Star of David motif.

    Iron tsuba of round form with two overlapping triangles (uroko) motif  in openwork (sukashi). Triangle patterns usually associate with 'fish scale', mon of Hojo family (and others). Edo period or later.

    Size: 71.4 x 70.2 x 5.2 mm.

    An association with the Star of David is doubtful if not impossible.  
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  • Sukashi tsuba with slanting rays of light (tokei) motif / Edo period, 17th century.

    Iron tsuba of round form with slanting rays of light (shakoh) Christian motif (Jesuit's IHS symbol) in openwork (sukashi). Traditional description of this kind of design is called "tokei", or "clock gear". Edo period.

    Size: 77.7 x 76.1 x 6.7 mm.

    For information regarding shakoh tsuba see article 'Kirishitan Ikenie Tsuba" by Fred Geyer at Kokusai Tosogu Kai; The 2nd International Convention & Exhibition, October 18-23, 2006, pp. 84-91.  
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  • Suzuki Harunobu . Man sucking woman's breast and a cat sitting under a bonzai tree. 1770

    Suzuki Harunobu. Love interrupts the making of silk wadding, c. 1768.

    Artist (attributed, no signature): Suzuki Harunobu [鈴木 春信] (Japanese, c. 1725 – 1770). The title is taken from [LIB-1478.2013] Gian Carlo Calza, Stefania Piotti. Poem of the pillow and other stories. — Phaidon Press, 2010; pp. 148-9. Alternative title: Man sucking woman's breast and a cat sitting under a bonsai tree. The open book beside the couple reads 子春 (Koharu). Woodblock print from the series Mirror Picture of Japan (Wakoku kagami);  Size: Horizontal chuban; 21 x 26 cm.  
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  • Torii Kiyonaga. The Takarabune: The Seven Gods of Fortune on a Treasure Boat. Ca. 1780.

    Torii Kiyonaga (鳥居 清長; 1752 – June 28, 1815) Signed: Kiyonaga ga (清長画)

    References: No references whatsoever, not in Pins.

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  • Tsuba with slanting rays of light (tokei) and other symbols / Edo period, 17th century.

    Iron tsuba of round form with a dense combination of symbols: slanting rays of light (shakoh) Christian motif (Jesuit's IHS symbol), also often described as "tokei" or "clock gear", wild goose in flight, bracken, and lozenges in openwork (sukashi). Copper sekigane. Edo period.

    Size: 76.0 x 72.6 x 6.2 mm

    Unsigned.

    For information regarding shakoh tsuba see article 'Kirishitan Ikenie Tsuba by Fred Geyer at Kokusai Tosogu Kai; The 2nd International Convention & Exhibition, October 18-23, 2006, pp. 84-91.

     
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  • Tsuba with slanting rays of light (tokei) motif by Ujishige / Edo period, 17th century.

    Iron tsuba of round form with slanting rays of light (shakoh) Christian motif (Jesuit's IHS symbol) in openwork (sukashi). Traditional description of this kind of design is called "tokei", or "clock gear". Edo period.

    Size: 83.4 x 83.1 x 4.4 mm

    Signed Bushū-jū Ujishige saku (武州住氏重作) [Markus Sesko]. Ujishige (died 1677), 3rd generation of the Katsuki-Gondayu line; 1st gen. Ujiie came from Kyoto to Kaga to work for the Maeda family. There was another Ujishige, 4th generation Kaneko (?), who died in 1867 [M. Sesko, Genealogies...], but this tsuba looks a bit earlier than that. This particular Ujishige states in his signature that he is from Bushū, or Musashi Province, modern Tokyo Metropolis. He might have moved from Bushū to Kaga, of course. There is no artist with the name Ujishige in Bushū-Ito School anyway.

    For information regarding shakoh tsuba see article 'Kirishitan Ikenie Tsuba by Fred Geyer at Kokusai Tosogu Kai; The 2nd International Convention & Exhibition, October 18-23, 2006, pp. 84-91.  
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  • Utagawa Kunisada, a.k.a. Toyokuni III . Twelve Hours of a Modern Clock (Imayo tokei jûniji) 1824

    Utagawa Kunisada (Toyokuni III). Eight prints from the series Twelve hours of a modern clock (Imayo tokei jūniji), 1820-22.

    Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Publisher: Matsumura Tatsuemon [松村辰右衛門] (Japanese, fl. c. 1793 – 1832). Year: c. 1820–22 (Bunsei era). Signed: 五渡亭国貞画 – Gototei Kunisada ga. Censor's seal: kiwame 改印：極
    Utagawa Kunisada, a.k.a. Toyokuni III . Twelve Hours of a Modern Clock (Imayo tokei jûniji) 1824

    SVJP-0179-6.2014

    		 The Hour of the Dragon, Fifth Hour of Day (Tatsu no koku, Hi no itsutsu toki), from the series Twelve Hours of a Modern Clock (Imayo tokei jūniji) 「今世時計十二時　辰ノ刻　日ノ五つ時」 MFA impression: 11.15315.
    Utagawa Kunisada, a.k.a. Toyokuni III . Twelve Hours of a Modern Clock (Imayo tokei jûniji) 1824

    SVJP-0179-1.2014

    		 The Hour of the Rabbit, Sixth Hour of Day (U no koku, Ake muttsu toki), from the series Twelve Hours of a Modern Clock (Imayo tokei jūniji) 「今世時計十二時　卯ノ刻　明六つ時」. MFA impression: 11.15317
    Utagawa Kunisada, a.k.a. Toyokuni III . Twelve Hours of a Modern Clock (Imayo tokei jûniji) 1824

    SVJP-0179-2.2014

    		 The Hour of the Monkey, Seventh Hour of Day (Saru no koku, Hi no nanatsu toki), from the series Twelve Hours of a Modern Clock (Imayo tokei jūniji) 「今様時計十二時　申ノ刻　日ノ七つ時」 MFA impression: 11.39692
    Utagawa Kunisada, a.k.a. Toyokuni III . Twelve Hours of a Modern Clock (Imayo tokei jûniji) 1824

    SVJP-0179-8.2014

    		 The Hour of the Horse, Ninth Hour of Day (Uma no koku, Hi kokonotsu toki), from the series Twelve Hours of a Modern Clock (Imayo tokei jūniji) 「今世時計十二時　午ノ刻　日九つ時」. MFA impression: 11.15314
    Utagawa Kunisada, a.k.a. Toyokuni III . Twelve Hours of a Modern Clock (Imayo tokei jûniji) 1824

    SVJP-0179-4.2014

    		 The Hour of the Boar, Fourth Hour of Night (I no koku, Yoru yottsu toki), from the series Twelve Hours of a Modern Clock (Imayo tokei jūniji) 「今世時計十二時　亥ノ刻　夜四つ時」. MFA impression: 11.15552
    Utagawa Kunisada, a.k.a. Toyokuni III . Twelve Hours of a Modern Clock (Imayo tokei jûniji) 1824

    SVJP-0179-3.2014

    		 The Hour of the Tiger, Seventh Hour of Night (Tora no koku, Yoru nanatsu), from the series Twelve Hours of a Modern Clock (Imayo tokei jūniji) 「今世時計十二時　寅ノ刻　夜七つ」. MFA impression: 11.15313 Ref.: Izzard. Kunisada’s world [LIB-2970.2022].
    Utagawa Kunisada, a.k.a. Toyokuni III . Twelve Hours of a Modern Clock (Imayo tokei jûniji) 1824

    SVJP-0179-5.2014

    		 The Hour of the Ox, Eight Hour of Night (Ushi no koku, Yoru no yattsu toki), from the series Twelve Hours of a Modern Clock (Imayo tokei jūniji) 「今世時計十二時　丑ノ刻　夜ノ八つ時」. MFA impression: 11.26906
    Utagawa Kunisada, a.k.a. Toyokuni III . Twelve Hours of a Modern Clock (Imayo tokei jûniji) 1824

    SVJP-0179-7.2014

    		 The Hour of the Rat, Ninth Hour of Night (Ne no koku, Yoru kokonotsu toki), from the series Twelve Hours of a Modern Clock (Imayo tokei jūniji) 「今世時計十二時　子ノ刻　夜九つ時」. MFA impression: 11.15312
     
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  • Utagawa Kunisada, a.k.a. Toyokuni III .

    Utagawa Kunisada (Toyokuni III). Matsumoto Kōshirō V as Nikki Danjō Saemon Naonori, 1863.

    Kabuki actor: Matsumoto Kōshirō V [五代目松本幸四郎] (Japanese, 1764-1838); other names: Ichikawa Komazō III, Ichikawa Sumizō I. Role: Nikki Danjo (仁木弾正): "Evil retainer Nikki Danjo who plots to overthrow his lord in the play Precious incense and the bush clover of Sendai (Meiboku sendai hagi)" [R. Kruml]. Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Block cutter: Horikō (Kiyomizu) Ryūzō [彫工 柳三]. Publisher: Ebisuya Shoshichi [恵比寿屋庄七], Kinshōdō (Japanese, fl. c. 1846 – 1883). Year: 1863 (Bunkyū 3), 7th month. Size: Vertical ōban, hōsho paper. Signed: Nanajuhassai (aged seventy-eight) Toyokuni ga within toshidama cartouche. Censor’s seal: date-aratame. This print is from a series of portraits that Kunisada undertook very late in life and has been named Kinshodo-ban yakusha okubi-e (Kinshodo’s Large-Head Actor Portraits) in reference to the publisher, Ebisuya Shochochi of Kinshodo. The series depicted great actors in their famous roles from the past and present. Ref.: (1) [LIB-1212.2017] Robert Schaap. Kunisada: Imaging, drama and beauty. — Leiden: Hotei Publishing, 2016, p. 118 and 167 (№ 42): Ref.: (1) [LIB-1197.2016] Arendie and Henk Herwig. Heroes of the kabuki stage: an introduction to kabuki with retellings of famous plays, illustrated by woodblock prints. — Amsterdam: Hotei Publishing, 2004; pp. 243-249.
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  • Utagawa Kunisada, a.k.a. Toyokuni III . Mitate sanjurokkasen no uchi

    Utagawa Kunisada (Toyokuni III). Poem by Ariwara no Narihira Ason: Actor Ichikawa Danjūrō VIII as the ghost of Seigen, 1852.

    Poem by Ariwara no Narihira Ason: (Actor Ichikawa Danjûrô VIII as) Seigen, from the series Comparisons for Thirty-six Selected Poems (Mitate sanjûrokkasen no uchi)「見立三十六歌撰之内　有原業平朝臣　清玄」　八代目市川団十郎. Poem: Yo no naka ni/ taete sakura no/ nakariseba/ haru no kokoro wa/ nodokekaramashi. Kabuki actor: Ichikawa Danjūrō VIII [八代目 市川 團十郎] (Japanese, 1823 – 1854); other names: Ichikawa Ebizô VI, Ichikawa Shinnosuke II. Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Block cutter: Yokokawa Horitake [横川彫武] a.k.a. Yokokawa Takejiro [横川竹二郎] (Japanese, fl. 1860s). Publisher: Iseya Kanekichi [伊勢屋兼吉] (Japanese, fl. 1840s – c. 1875) Year: 1852 (Kaei 5), 10th month. Size: Vertical ōban; 36.5 × 25.4 cm. Signed: Toyokuni ga, in toshidama cartouche [豊国画(年玉枠] Censors' seals: Fuku, (Muramatsu), Rat 10. Ref: MFA Accession № 11.36779.43.
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  • Utagawa Kunisada, a.k.a. Toyokuni III . Geisha with a clock / Preparatory drawing drawing for a fan print

    Utagawa Kunisada II (Toyokuni IV). Geisha with a watch / Preparatory drawing for a fan print, c. 1870.

    Artist: Horst Graebner positively attributes the drawing to Utagawa Kunisada II [歌川国貞] Japanese, 1823 – 1880) a.k.a. Toyokuni IV, though Israel Goldman attributes it to Utagawa Kunisada [歌川 国貞] (Japanese, 1786 – 1865) a.k.a. Utagawa Toyokuni III. Title: Geisha with a watch / Preparatory drawing for a fan print. Media/Technique: Ink and colour on paper. Signed: Toyokuni hitsu [豊国筆].
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  • Utagawa Toyokuni I. Actor Matsumoto Kōshirō V as Ikyū. 1811.

    Artist: Utagawa Toyokuni I (1769–1825) Actor Matsumoto Kōshirō V plays the role of Ikyû in the drama "Sukeroku Yukari no Edo Zakura". The roles of Sukeroku and the courtesan Agemaki are played by Ichikawa Danjûrô VII and Iwai Hanshirô V". Ichimura Theater in Edo in 2nd lunar month of 1811. Publisher: Chōjiya Kichi (1811-1826); Marks' "Publishers" № 028, p. 103. Size: Vertical ôban Woodblock print (nishiki-e); ink and color on paper. Signed: Toyokuni ga My print is the right sheet of a triptych (see: Rare books exhibition in January 2013). A lookalike triptych by Kunisada can be found in Ronin Gallery: Data from Kabuki21: Stage names: Matsumoto Kôshirô V, Ichikawa Komazô III, Ichikawa Sumizô I Guild: Kôraiya Line number: GODAIME (V) Poetry names: Kinshô, Kinkô Existence: 1764 ~ 10th day of the 5th lunar month of 1838 Connection: Father: Matsumoto Kôshirô IV Sons: Matsumoto Kôshirô VI, Ichikawa Sumizô II Disciples: Matsumoto Kojirô, Matsumoto Kingo I, Matsumoto Hidejûrô II
    Matsumoto Kôshirô V was one of the Kabuki giants, a senryô yakusha, during the Bunka, Bunsei and Tenpô eras. In his 20's he was a tachiyaku actor excelling in nimaime roles like Soga Jûrô Sukenari in sogamono dramas. He started to perform jitsuaku roles from the 11th lunar month of 1798 and quickly became one of the best actors for villain roles, especially in Tsuruya Nanboku IV's kizewamono. He had a considerable influence on actors like Onoe Kikugorô III or Ichikawa Danjûrô VII. The kata he deviced for some of the most famous roles in Kabuki history, like Gonta ("Sushiya") or Nikki Danjô* ("Meiboku Sendai Hagi") are still used nowadays. "The fifth Kôshirô had a very large nose and his eyes were close together, two facial defects the print artists were fond of depicting, so that this Edo actor is easily picked out in the pictures illustrating the theatre of this time." (Zoë Kincaid in "Kabuki, the Popular Stage of Japan")
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  • Utagawa Toyokuni I. Actors and Women in the Snow. 1809.

    Similar image at MFA under title: Actors and Women in the Snow MFA ACCESSION NUMBER: 11.13568 Date: 1809 (Bunka 6), 12th month Artist: Utagawa Toyokuni I (1769–1825) Publisher Tsuruya Kinsuke (firm name Sôkakudô), № 554 in Marks's "Publishers". DIMENSIONS: Vertical ôban; 38.2 x 25.8 cm (15 1/16 x 10 3/16 in.) MEDIUM OR TECHNIQUE: Woodblock print (nishiki-e); ink and color on paper. Signed: Toyokuni ga (豊国画) Censor's seals: kiwame (改印：極) MFA assumes that this may be "one sheet of incomplete triptych?"  
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  • Utagawa Toyokuni I. The Maiden at Dōjō Temple. Circa 1815.

    Artist: Utagawa Toyokuni I (1769–1825) Title: Actors Bando Mitsugorō, Ichikawa Danjūrō, Onoe Kikugorō in play The Maiden at Dōjō Temple. Presumably Bunka 13 (1816) at Nakamura Theater in Edo. Publisher: Mikawaya Seiemon (c. 1805-1829); Marks' "Publishers" № 328, p. 235. Size: Vertical ôban MEDIUM OR TECHNIQUE: Woodblock print (nishiki-e); ink and color on paper. Signed: Toyokuni ga Censor's seal: kiwame Detailed discussion on the topic can be seen at: The Maiden at Dōjō Temple    
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  • Yagyu tsuba with wheel motif by Fukui Tsuguzaemon. Early Edo period, 17th century.

    Iron tsuba of round form with design of wheel (kuruma) in openwork (sukashi). Squared rim. Copper sekigane. Yagyu school. Signed of the face: Fukui Tsuguzaemon. Early Edo period: Late 17th century (Kanbun/Enppo era). Height: 76.7 mm. Width: 76.8 mm. Rim thickness: 5.2 mm. Center thickness: 5.6 mm. Provenance: Sasano Masayuki Collection, № 203: "This design of spoke wheel relates to the 'circular principle' found in the Yagyu philosophy. Although it is very faint, Fukui Tsuguzaemon's signature is visible. Without a signature and based on appearance alone, it would undoubtable attributed to a later period".

    Merrily Baird in her book "Symbols of Japan" [Merrily Baird. Symbols of Japan. Thematic motifs in art and design. Rizzoli international publications, Inc., 2001] provides the following explanation of the Wheel-of-the-Law symbol: "The Wheel-of-the-Law or Golden Wheel (rimbo, kinrin) has its origins in India, where it is known as chakra. [...] In Buddhist practice, it has been represented with eight spokes, reflecting the eight-fold path to overcoming worldly desire, and it signifies that all illusions will be crushed by the faith's enlightenment. [...] The Wheel-of-the-Law is an attribute of such deities as Senju Kannon, the Thousand-Armed Kannon, and Dainichi Nyorai, the all-illuminating solar figure who is the principal deity for Shingon Buddhism. From the Edo period on, the wheel also has been used in a secular manner", e.g. on family crests.

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  • А. И. Богданова. Жизнь после смерти / Роман. — Київ: Радянський письменник, 1990.

    Hardcover, 17.2 x 12.5 cm, brown cloth-backed pictorial paper boards, lettering to front and spine, pictorial endpapers, pp.: [1-4] 5-430 [2], total 432 pages; collated in-16mo: [1]-1216 138 1416, total 216 leaves. Print run: 65,000 copies. A real history-based fiction about doctor Nikolai Sudzilovsky [Nicholas Russel] (Belarusian, 1850 – 1930). Title-page (pictorial): АЛЕКСАНДРА | БОГДАНОВА | ЖИЗНЬ | ПОСЛЕ | СМЕРТИ | Роман || Imprint:  Рецензент доктор филилогических наук Н. Г. Жулинский. Редактор В. А. Лигостов. Богданова А. И. Жизнь после смерти: Роман. — К.: Рад. письменник, 1990. — 431 с. ISBN 5-333-00201-0. Colophon: Литературно-художественное издание. БОГДАНОВА АЛЕКСАНДРА ИВАНОВНА | Жизнь после смерти. Роман. Киев, издательство «Радяньский пысьмэннык». Author: Богданова, Александра Ивановна (b. c. 1950).
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  • Вс. Соловьев. Волхвы, Граф Калиостро (Роман). - Издание М. Дидковского. Рига, 1928.

    Вс. Соловьев. Волхвы (Граф Калиостро) / Роман. — Рига: Издание М. Дидковского, [1928].

    Title: ВСЕВОЛОДЪ СОЛОВЬЕВЪ | ВОЛХВЫ | (Граф Калиостро) | РОМАНЪ |[…]| ИЗДАНIЕ М. ДИДКОВСКАГО | Рига, Ткацкая 9 || Pagination: [1-2] 3-187 [188 blank], [4] advert., in original pictorial wrappers by Г. Дайберъ [Heinrich Deiber]. Size: 21 x 15 cm Allegedly, vol. 1st of 2 vol. edition.
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  • Е. Н. Данилова. “Завещание” Петра Великого. М.: Историко-архивный институт, 1946.

    Елизавета Николаевна Данилова. "Завещание" Петра Великого / Под ред. Александр Игнатьевич Андреева. // В сборнике: Труды Историко-архивного института, том 2, 1946. (Кафедра вспомогательных исторических дисциплин). – с. 202-270. Москва: Главное архивное управление МВД Союза ССР. Историко-архивный институт, 1946. Тираж: 3000 экз.
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  • Замечательные полотна: Книга для чтения по истории русской живописи XVIII – начала XX веков. — Л.: Художник РСФСР, 1961.

    Сборник. Редактор Г. Н. Павлов, оформление И. З. Копеляна. Description: 8vo, 23 x 18 cm, grey cloth with black lettering, pictorial dust jacket. Inscription to front pastedown: “Дорогой | Броне Ароновне | от финансистов. | 31 октября 1961 г. | г. Ленинград.” Collation: 8vo; [1]-238 246; total 190 leaves with numerous b/w in-text illustrations plus 11 colour plates extraneous to collation. Pagination: [1-4] 5-378 [2]; total 380 pages. Print run: 25,000 copies. Articles by Sergei Varshavsky: Ф. А. Васильев. «Оттепель»; А. И. Куинджи. «Лунная ночь на Днепре»; В. Е. Маковский. «На бульваре»; И. И. Левитан. «Свежий ветер. Волга». Sergei Petrovich Varshavsky [Сергей Петрович Варшавский] (Jewish-Russian, 1906 – 1980)
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  • Одесский мартиролог: Данные о репрессированных Одессы и Одесской области за годы советской власти (Серия «Одесского мемориала»); Том 1 / Сост.: Л. В. Ковальчук, Г. А. Разумов. — Одесса : ОКФА, 1997.

    Hardcover volume, 24.5 x 17.5 cm, bound in black buckram with blind barbed wire design and silver lettering to front cover and spine, pp.: [2] 3-750 [2]. Одеський мартиролог: Данi про репресованих Одеси i Одеськоï областi за роки радянськоï  влады (Серiя «Одеського Меморiалу») (Том 1) / Уклад.: Л. В. Ковальчук, Г. О. Разумов— Одеса : ОКФА, 1997. Title-page:  (in rules) СЕРИЯ «ОДЕССКОГО МЕМОРИАЛА» | ОДЕССКИЙ | МАРТИРОЛОГ | ТОМ 1 | Одесса | ОКФА | 1997 || ISBN: 966-571-065-9 Ковальчук, Лидия Всеволодовна Разумов, Георгий Александрович
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  • Одесский мартиролог: Данные о репрессированных Одессы и Одесской области за годы советской власти (Серия «Реабилитированные историей»); Том 2 / Сост.: Л. В. Ковальчук, Г. А. Разумов. — Одесса : ОКФА, 1999.

    Hardcover volume, 24.5 x 17.5 cm, bound in black buckram with blind barbed wire design and silver lettering to front cover and spine, pp.: [2] 3-799 [800]. Одеський мартиролог: Данi про репресованих Одеси i Одеськоï областi за роки радянськоï  влады (Серiя «Реабiлiтованi iсторiэю») (Том 2) / Уклад.: Л. В. Ковальчук, Г. О. Разумов— Одеса : ОКФА, 1999. Title-page: Научно-документальная серия книг | «РЕАБИЛИТИРОВАННЫЕ ИСТОРИЕЙ» | ОДЕССКИЙ | МАРТИРОЛОГ | ТОМ 2 | Одесса | ОКФА | 1999 || ISBN: 966-571-035-4 Print run: 1,000 copies. Ковальчук, Лидия Всеволодовна Разумов, Георгий Александрович
    Pages 515-531. 13. Постановление помощника уполномоченного Одесского окружного отдела ГПУ Найдмана по делу сотрудников Индо-Европейского телеграфа, репрессированных в 1927 г. по обвинению в шпионаже. […] ВАРШАВСКОЙ Эльзы Филипповны, 45 лет, уроженицы г. Одессы, по национальности – еврейка, происходит из купеческой семьи, подданства УССР, образования среднего, замужняя, не судившаяся, беспартийная, в союзе не состоит, без профессии, проживавшая по ул. Хмельницкого в д. № 18, в совершении преступлений, предусмотренных ст. 54-6 УК УССР, нашел: […] Note: ст. 54-6 — шпигунство: позбавлення волі на строк не менш як 3 роки, з конфіскацією всього або частини майна, аж до вищого заходу соціального захисту — розстрілу.
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  • Процесс “Промпартии” (25 ноября – 7 декабря 1930 г.). Стенограмма судебного процесса и материалы, приобщенные к делу. — М.: ОГИЗ “Советское законодательство”, 1931.

    Softcover, 24 x 18 cm, black and white original wrappers, lettering; pp. [1-6] 7-541 [3]; purple ink library stamps and numbers. Title-page: ПРОЦЕСС “ПРОМПАРТИИ” | (25 ноября – 7 декабря 1930 г.) | СТЕНОГРАММА | СУДЕБНОГО ПРОЦЕССА | И МАТЕРИАЛЫ, | ПРИОБЩЕННЫЕ К ДЕЛУ | 1931 | ОГИЗ — “СОВЕТСКОЕ ЗАКОНОДАТЕЛЬСТВО” — МОСКВА || Процесс Промпартии [Industrial Party Trial] Андрей Януарьевич Вышинский [Andrey Vyshinsky] (Russian, 1883 – 1954) – chairman. Николай Васильевич Крыленко [Nikolai Krylenko] (Russian, 1885 – 1938) – public prosecutor.
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