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![Les Bienfaits de L'Empire par Alexandre Bradier. — 8e édition. — Comité politique plébiscitarire. — Paris: Belleville, [1870].](https://varshavskycollection.com/wp-content/uploads/2021/02/LIB-1002.2016-a-500x500.jpeg)
Front wrapper: Comité politique plébiscitaire | 17, rue de Surène, PARIS, VIIIe | {Napoleon III portrait} | NAPOLÉON III, EMPEREUR | LES BIENFAITS DE L'EMPIRE || Title page: in a double-fillet frame with years in corners: 1848, 1851, 1852, 1870 || LES | BIENFAITS DE L'EMPIRE | PAR | ALEXANDRE BRADIER | {quotation from Napoléon Ier} | {quotation from Napoléon III} | {quotation from Prince Napoléon} | HUITIÈME EDITION | IMPRIMERIES BELLEVILLE | 29 — Rue du Moulin-Vert — 29 | PARIS (XIVe) | Tous Droits réservés || Pagination: [1-3] 4-62 [2 table] 15.5 x 12 cm brochure in publisher’s original lavender wrappers, front cover discoloured to grey, with publisher’s advert to back wrapper. Printed by Imprimeries Bellville. Published by Comité politique plébiscitaire. -
Photographic portrait of poet Joseph Brodsky, short half-length, turned to the left, with arms crossed on his breast. Pencil-signed on the mat: 7/45 • Mikhail Lemkhin; same inscription on the back of the print, and ink stamp ©Mikhail Lemkhin. Sitter: Joseph Brodsky [Иосиф Александрович Бродский ] (Russian-American-Jewish, 1940 – 1996). Size: mat: 35.7 x 43.3 cm; window: 19.5 x 23 cm; print: 20.3 x 25.3 cm. -
Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signed: Ōju Toyokuni ga [応需豊国画], in a toshidama cartouche. Double nanushi censor seals: Mera & Murata (1846-50). Publisher: Kojimaya Jūbei [小嶋屋重兵衛] (Japanese, fl. c. 1797 – 1869). A beautiful woman, possibly a kabuki actor Iwai Hanshirō VIII [岩井半四郎] (Iwai Shijaku II, Iwai Kumesaburō III [岩井粂三郎], Iwai Hisajirō II, Japanese, 1829 – 1882), tuning the samisen on a veranda under the shining stars. The complete set of series Moon, Sun, Stars [月日星] (tsuki-hi-hoshi/boshi), three sources of light (sankō) [三光]: -
Le Petit Chaperon rouge (Little Red Riding Hood), three wood engravings by Gustave Doré, 1864: "En passant dans un bois elle rencontra compère le Loup"; "Le Chaperon rouge fut bien étonné de voir comment sa grand'mère était faite en son déshabillé"; "Cela n'empêche pas qu'avec ses gran dents il avait mangé une bonne grand'mère". Engraved by Adolphe Pannemaker. Le Petit Poucet (Little Thumb), one wood engraving by Gustave Doré, 1864: "Une bonne femme vint leur ouvrir". Engraved by Héliodore-Joseph Pisan. La Belle au bois dormant (Sleeping Beauty), one wood engraving by Gustave Doré, 1864: "Il marcha vers le château qu'il voyait au bout d'une grande avenue où il entra". Engraved by Héliodore-Joseph Pisan. Medium: Paper; Wood engraving. Illustrations for P.-J. Hetzel's edition of Perrault's Fairy Tales (Les Contes de Perrault) by Gustave Doré published in 1864. Size: frame: 428 x 302 mm; sheet: 280 x 231 mm; image: 194 x 244 mm. -
Title: МИХАИЛ ПСЕЛЛ | ХРОНОГРАФИЯ |Перевод, статья и примечания | Я. Н. Любарского | КРАТКАЯ ИСТОРИЯ | Перевод | Д. А. Черноглазова и Д. Р. Абдрахмановой | «АЛЕТЕЙЯ» | Санкт-Петербург | 2003 || Series: Византийская библиотека. Источники. Pagination: [1-8] 9-396 [4], frontis. Binding: 21.5 x 15 cm; hardcover, crimson buckram, gilt lettering in the border, gilt serial device on black, map endpapers. Print run: 1,000 copies. ISBN: 5-89329-594-3. Михаи́л Пселл [Μιχαήλ Ψελλός; Michael Psellos] (Byzantine, 1018 – c. 1078). Любарский, Яков Николаевич (Russian, 1929 – 2003). -
Дело А. А. Лопухина в особом присутствии правительствующего сената. Стенографический отчет. С.-Петербург, типография Р. И. Арциви, 1910. С.116. Из библиотеки А. Я. Пассовера.
Суд проходил в марте 1909 года. Бывший директор департамента полиции А. А. Лопухин обвиняется в том, что выдал провокатора Е. Ф. Азефа партии социалистов-революционеров. А. Я. Пассовер защищал Лопухина на этом суде. Суд присудил Лопухина (1 мая 1909 г.) к 5 годам каторжных работ с лишением всех прав состояния. Решением Общего собрания кассационных департаментов правительствующего сената, в виду смягчающих вину обстоятельств, каторга была заменена ссылкой на поселение.
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Title page: Луи-Себастьен | МЕРСЬЕ | ГОД | ДВЕ ТЫСЯЧИ | ЧЕТЫРЕСТА СОРОКОВОЙ | СОН, КОТОРОГО, ВОЗМОЖНО, И НЕ БЫЛО | {device} | ИЗДАНИЕ ПОДГОТОВИЛИ | А. Л. АНДРЕС, П. Р. ЗАБОРОВ | ИЗДАТЕЛЬСТВО «НАУКА» | ЛЕНИНГРАДСКОЕ ОТДЕЛЕНИЕ | ЛЕНИНГРАД | 1977 || Frontispiece: Louis-Sébastien | MERCIER | L'AN | DEUX MILLE | QUATRE CENT QUARANTE | RÊVE, S'IL EN FUT JAMAIS | {device} || Pagination: [1-5] 6-240, 3 leaves of plates extraneous to collation. Collation: 8vo; [1]8 2-158. Binding: Hardcover, serial design green buckram with gilt lettering on an embossed scroll to front cover, gilt lettering to spine. 23 x 18 cm. Series: АН СССР, Литературные памятники. Autor: Louis-Sébastien Mercier (French, – Translator: Александра Львовна [Лейбовна] Андрес (Russian, 1907 – 1991). -
Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signed: Kōchō(rō) Kunisada ga (香蝶国貞画) in a red double-gourd cartouche. Publisher: Surugaya Sakujirō [駿河屋作次郎] (Japanese, fl. c. 1844 – 1865); Marks 06-005 | 501a. Single nanushi censor seal: Muramatsu (1843-6). The date is attributed to c. 1844. Title: Narihira [なり平]. Ariwara no Narihira [在原 業平] (Japanese, 825 – 880) – one of the Six Immortal Poets – The Rokkasen [六歌仙]. Series: A parody of six immortal poets [見立六花撰] (Mitate Rokkasen). Media: Untrimmed fan print (uchiwa-e), 227 x 293 mm, depicting a beautiful woman with a bow and arrows in her left hand. Series: Mitate Rokkasen [見立六花撰] – is sometimes interpreted as "A parody of six immortal poets" or "A comparison of six select flowers". [LIB-1212.2017] Robert Schaap. Kunisada: Imaging, drama and beauty. — Leiden: Hotei Publishing, 2016; pl. 28, p. 58. This is another fan print with another immortal poet, Bun'ya no Yasuhide [文屋 康秀] (Japanese, -d. 885?), from the same series, provided in the book:With special thanks to Horst Graebner for help with the description and date attribution: "The print can be dated to 1844: censor seal is Muramatsu (Muramatsu Genroku); he acted in 7/1844 and 4/1845 (and also later) as censor but Kunisada changed his name to Kunisada early in 1844."
Robert Schaap, 2016.
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Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Publisher: Nishimuraya Yohachi [西村屋与八] (Japanese, fl. c. 1751 – 1860), seal name: Eijudō. Date: c. 1821–22 (Bunsei 4–5) Size: Ōban tate-e triptych, each sheet 36.8 x 26.4 cm. Signed: 五渡亭国貞画 – Gototei Kunisada ga (on center sheet). Censor’s seal: kiwame 改印: 極 A view of the dressing room of a Theater in Dōtonbori, Ōsaka (Ōsaka Dōtonbori shibai gakuya no zu): Right sheet: Actors Bandō Mitsuemon I, Asao Tamejūrō III, Ichikawa Danzō V, Nakamura Utaemon III, Bandō Mitsugorō III (in a costume of Matsuômaru), Kiriyama Monji III, Nakamura Utashichi II, Arashi Shôroku IV, Nakamura Matsue III, Matsumoto Kōshirō V, Ichikawa Komazō V. Centre sheet: Arashi Mitsugorō III, Mimasu Daigorō III, Nakayama Bunshichi III, Ichikawa Ichizō II, Bandō Minosuke II, Ichikawa Omezō I, Arashi Kitsusaburō I, Nakamura Utaroku I, Kataoka Nizaemon VII, Ōtani Tomoemon III, Asao Yūjirō I. Left sheet: Asao Kuzaemon I, Arashi Hidenosuke III, Sawamura Gennosuke II, Iwai Ōginosuke, Sawamura Kunitarō II, Iwai Matsunosuke I, Ichikawa Sōzaburō IV, Iwai Hanshirō V (in a costume of Sakuramaru), and Ichikawa Shinzō III (L). The actors are making up for a performance of the “Carriage-Stopping” scene from Sugawara Denju Tenarai Kagami (Sugawara Denju and the Secrets of Calligraphy). References: MFA Accession №: 11.43384a-c; Catalogue Raisonné: Izzard, Kunisada’s World (1993), #34; Hizô Ukiyo-e taikan/Ukiyo-e Masterpieces in European Collections 5, Victoria and Albert Museum II (1987), pl. 22; Keyes, PMA Osaka cat. (1973), #250 and pl. 15 (The theatrical world of Osaka prints, by Roger S. Keyes and Keiko Mizushima, Philadelphia Museum of Art, 1973), pp. 70-71); Izzard, Kunisada's world revisited, 2021; V&A Accession № E.5995-1886. Kabuki actors on this print: Arashi Hidenosuke III [嵐秀之助] (Japanese, fl. 1794 – 1837); other names: Arashi Koshichi IV, Arashi Hinasuke IV, Arashi Sanjūrō VI, Kanō Hidenosuke II, Kanō Umetarō, Arashi Iwajirō III. Arashi Kitsusaburō I [嵐橘三郎] (Japanese, 1769 – 1821); other names: Arashi Kichisaburō II, Arashi Rikan I. Arashi Mitsugorō III (Japanese, ? – ?) Arashi Shōroku IV [四代目嵐小六] (Japanese, 1783 – 1826) Asao Kuzaemon I [浅尾工左衛門] (Japanese, 1758 – 1824); other names: Asai Kuzaemon Nakayama Tashirō II Takeda Nisaburō. Asao Tamejūrō III [三代目淺尾爲十郎] (Japanese, 1780 – 1836); other names: Asao Okuyama III, Asao Okuyama III, Asao Tomozō I. Asao Yūjirō I [浅尾勇次郎] (Japanese, 1782 – 1835); other names: Jitsukawa Gakujūrō I, Asao Gakujūrō, Nakamura Yaozō, Asao Yaozō. Bandō Minosuke II [坂東蓑助] (Japanese, 1802 – 1863); other names: Morita Kan'ya XI, Bandô Mitsugorō IV. Bandō Mitsuemon I [坂東三津右衛門] (Japanese, 1788 – 1846); other names: Bandō Kumahei [坂東熊平]. Bandō Mitsugorō III [三代目 坂東 三津五郎] (Japanese, 1775 – 1831); other names: Bandō Minosuke I, Morita Kanjirô II, Bandō Mitahachi I, Bandō Minosuke I, Bandō Mitahachi I. Ichikawa Danzō V [市川団蔵] (Japanese, 1788 – 1845); other names: Ichikawa Shikō I, Ichikawa Danzaburō IV, Ichikawa Danjirō I, Ichikawa Morinosuke I. Ichikawa Ichizō II [市川市蔵] (Japanese, 1806 – 1829); other names Ichikawa Ebijūrō II, Ichikawa Sukezō I. Ichikawa Komazō V [市川高麗蔵] (Japanese, 1812 – 1849); other names: Matsumoto Kinshō I, Matsumoto Kōshirō VI, Matsumoto Kinshi. Ichikawa Omezō I [市川男女蔵] (Japanese, 1781 – 1833); other names: Ichikawa Benzō II, Ichikawa Bennosuke. Ichikawa Shinzō III [市川新蔵] (Japanese, 1793 – 1837); other names: Ichikawa Sumizō III, Nakayama Tomisaburô II, Nakayama Kinsha, Nakayama Tomisaburō II, Ichikawa Komazō IV, Ichikawa Santarō. Ichikawa Sōzaburō IV (Japanese, ? – ?) Iwai Hanshirō V [岩井半四郎] (Japanese, 1776 – 1847); other names: Iwai Tojaku, Iwai Kumesaburō I. Iwai Matsunosuke I [岩井松之助] (Japanese, 1804 – 1845); other names: Iwai Hanshirō VII, Iwai Shijaku I, Iwai Komurasaki I. Iwai Ōginosuke (Japanese, ? – ?) Kataoka Nizaemon VII [七代目片岡仁左衛門] (Japanese, 1755 – 1837); other names: Yamazawa Kunigorō, Asao Kunigorō II, Nakamura Matsusuke. Kiriyama Monji III [桐山紋治] (Japanese, fl. c. 1803 – 1830); other names: Ichikawa Takigorō. Matsumoto Kōshirō V [五代目松本幸四郎] (Japanese, 1764-1838); other names: Ichikawa Komazô III, Ichikawa Sumizô I. Mimasu Daigorō III [三枡大五郎] (Japanese, 1782 – 1824); other names: Mimasu Seibē, Yoshizawa Kamezō. Nakamura Matsue III [三代目中村松江] (Japanese, 1786-1855); other names: Nakamura Sankō I, Nakamura Tomijūrō II, Ichikawa Kumatarō. Nakamura Utaemon III [中村歌右衛門] (Japanese, 1778 – 1838); other names: Nakamura Tamasuke, Nakamura Baigyoku I, Nakamura Shikan I, Kagaya Fukunosuke I. Nakamura Utaroku I (Japanese, ? – ?) Nakamura Utashichi II (Japanese, ? – ?) Nakayama Bunshichi III [三代目目中山文七] (Japanese, 1764 – 1853); other names: Nakayama Hyakka, Nakayama Hyōtarō I, Nakayama Tokusaburō. Ōtani Tomoemon III [大谷友右衛門] (Japanese, 1793–1839); other names: Arashi Shagan IV, Arashi Sanpachi II, Nakayama Monzaburō. Sawamura Gennosuke II [沢村源之助](Japanese, 1802/7 – 1853); other names: Suketakaya Takasuke III, Sawamura Chōjūrō V, Sawamura Sōjūrō V, Sawamura Tosshō I, Sawamura Genpei I. Sawamura Kunitarō II [沢村国太郎](Japanese, 1798 – 1836); other names: Ogino Kinshi, Ogino Yaegiri III, Ogino Kamekichi, Izumikawa Kamekichi. -
Front pictorial wrapper: ЛЕВ ТИХОМИРОВ | ЗАГОВОРЩИКИ | И | ПОЛИЦИЯ | С ПРЕДИСЛОВИЕМ В. И. НЕВСКОГО | МОЛОДАЯ ГВАРДИЯ || Title page: РЕВОЛЮЦИОННОЕ ДВИЖЕНИЕ В РОССИИ В МЕМУАРАХ | СОВРЕМЕННИКОВ | ПОД РЕДАКЦИЕЙ В. НЕВСКОГО И П. АНАТОЛЬЕВА | ЛЕВ ТИХОМИРОВ | ЗАГОВОРЩИКИ | И | ПОЛИЦИЯ | ПРЕДИСЛОВИЕ В. НЕВСКОГО | МОЛОДАЯ ГВАРДИЯ | МОСКВА – ЛЕНИНГРАД || Title verso: Обложка – гравюра на дереве | работы Н. П. Дмитровского | {printer’s device} | Издат. № 2633 | Ленинградский Областлит № 8371 | Тираж 5.000 экз. | 1928 г. Back wrapper: Заказы направлять: | [….] | {publisher’s device} | 1 р. 25 коп. | Р || Pagination: [1-3] 4-229 [3]; pp. 205-226 – notes, 227-229 – index. Collation: [1]8 2-148 154. Binding: publisher’s pictorial wrappers, lettering to spine and back cover. Print run 5,000 copies. Provenance: П. Ю. Перкон (to front cover nut-ink inscription: «П. Перкон», blue ink stamp to cover and t.p.: «БИБЛИОТЕКА | П. Ю. ПЕРКОНЪ | №» Personae: Перкон, Петр Юрьевич [Густавович] (Latvian, 1885 – 1938) — member of the communist party (Bolsheviks) since 05.1905; arrested: 05.02.1938, shot: 22.04.1938. — Previous owner. Невский, Владимир Иванович [Кривобоков or Кривобок, Феодосий Иванович] (Russian, 1876 – 1937) — arrested: 20.02.1935, shot: 26.05.1937. — Editor of the series and author of the foreword. Анатольев, П. И. [Фаресов, Анатолий Иванович; Faresov, Anatoly (Russian, 1852 – 1928). — Editor of the series. Тихомиров, Лев Александрович (Russian, 1852 – 1923). — Author of the text. Дмитревский [Дмитриевский; Дмитровский], Николай Павлович (Russian, 1890 — 1938) — arrested 15.12.1937 , shot: 02.01.1938. — Artist/engraver of the woodcut on the cover. -
Photographic portrait of poet Joseph Brodsky, head, shoulders, and hand, three-quarters to the right, wearing glasses and with a cigarette. Pencil-signed on the mat: 1/45 • ©Mikhail Lemkhin; same inscription on the back of the print, and ink stamp ©Mikhail Lemkhin. Sitter: Joseph Brodsky [Иосиф Александрович Бродский ] (Russian-American-Jewish, 1940 – 1996). Size: mat: 43 x 35.5 cm; window: 24 x 19 cm. -
Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signed: Toyokuni ga [豊国 画] in a red toshidama cartouche. Actor: Ichikawa Danjūrō VII 市川団十郎 (Japanese, 1791 – 1859); other names: Ichikawa Ebizō V, Ichikawa Hakuen II, Ichikawa Shinnosuke I. Character: Tanbaya Onizo [丹波屋鬼蔵] Play: Koi Bikyaku Yamato Orai [恋飛脚大和往来] Performance: Kawarasaki Theatre [河原崎座] in the 2nd month of 1851. Double nanushi censor seals: Fuku & Muramatsu, from 3rd month of Kaei 2 to 11th month of Kaei 4 (1849-51). Another fan print from the pair SVJP-0212-2.2016: Sawamura Chōjūrō V as Kameya Chubei.
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Folio (246 x 321 mm), hardbound in red-brown cloth with gilt lettering and decoration. Content, Introduction by J. E., September, 1873, Artist preface by Bertall, Paris, 1871-1873. Album with 40 hand-colored lithographs by Bertall, numbered 1 through 40, accompanied with extensive descriptions. Ex Libris: Baker. Carpe Diem. Markings: Janny M. Baker with J.L.B. Love, 19 March, 1878 in black ink. -
Title: К 550-летию великой трагедии | ВИЗАНТИЙСКИЕ | ИСТОРИКИ | О ПАДЕНИИ | КОНСТАНТИНОПОЛЯ | в 1453 году | Под редакцией | Я. Н. Любарского, | Т. И. Соболь | Санкт-Петербург | АЛЕТЕЙЯ | 2006 || Series: Византийская библиотека. Источники. Pagination: [1-5] 6-189 [3]. Binding: 21.5 x 15 cm; hardcover, crimson buckram, gilt lettering in the border, gilt serial device on black, map endpapers. Print run: 1,000 copies. ISBN: 5-89329-766-0. Michael Critobulus [Μιχαήλ Κριτόβουλος; Михаил Критовул] (Greek, c. 1410 – c. 1470). Doukas [Dukas; Дука; Δούκας] (Greek, c. 1400 – after 1462). Laonikos Chalkokondyles [Laonicus Chalcocondyles; Λαόνικος Χαλκοκονδύλης; Лаоник Халкокондил] (Greek, c. 1430 – c. 1470). Любарский, Яков Николаевич (Russian, 1929 – 2003). -
The Heads of Illustrious Persons of Great Britain Engraven By Mr. Houbraken And Mr. Vertue. With Their Lives And Characters by Thomas Birch, A.M.F.R.S. Two Volumes in One. Published for John and Paul Knapton, London, 1747. 108 engraved portraits.
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![Война мышей и лягушек. Батрахомиомахия / Пер. с древнегреческого, вводн. стат. и коммент. М.С.Альтмана. Иллюстр. А. И. Порет, переплет и обложка по ее же рисункам. С суперобложкой. — М.-Л.: Academia, 1936. — XV, [I], 21, [2] стр. (Античная литература под общей ред. Д. А. Горбова и В. О. Нилендера.](https://varshavskycollection.com/wp-content/uploads/2021/02/LIB-0985.2016-a-scaled-500x500.jpeg)
Description: white paper hardcover, lettered to front, 25.8 x 18 cm, in pictorial dust jacket; pagination: [i-vi] vii-xv [xvi] [2] 3-21 [3], errata slip bound in; one folding plate bound in after p.8. Title-page: ВОЙНА | МЫШЕЙ И ЛЯГУШЕК | (БАТРАХОМИОМАХИЯ) | Перевод с древнегреческого, | вводная статья | и комментарии | М. С. АЛЬТМАНА | ACADEMIA | 1936 || Opposite title: АНТИЧНАЯ ЛИТЕРАТУРА | под общей редакцией | Д. А. ГОРБОВА И В. О. НИЛЕНДЕРА | БАТРАХОМИОМАХИЯ | ACADEMIA | Москва – Ленинград || Title verso: ΒΑΤΡΑΧΟΜΥΟΜΑΧΊΑ | Иллюстрация А. И. Порет | Переплет и суперобложка | по ее же рисункам || Print run: 10,300 copies. Catalogue raisonné: Крылов-Кичатова № 798, p. 274. Contributors: Альтман, Моисей Семёнович (Russian-Jewish, 1896—1986) – translator, author Порет, Алиса Ивановна (Russian, 1902 – 1984) – artist. -
Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signed: Ōju Toyokuni ga [応需豊国画] in a toshidama cartouche. Double nanushi censor seals Mera & Murata (1846-50). Publisher: Kojimaya Jūbei [小嶋屋重兵衛] (Japanese, fl. c. 1797 – 1869). A gentleman, probably a kabuki actor Nakamura Utaemon IV [中村歌右衛門] (Nakamura Shikan II, Nakamura Tsurusuke I, Nakamura Tōtarō, Japanese, 1796 – 1852) drinking tea on a veranda under the shining moon. Series Moon, Sun, Stars [月日星] (tsuki-hi-hoshi/boshi), the three sources of light (sankō) [三光]: -
Iron tsuba of round form decorated with floral motif in brass or copper inlay (suemon-zōgan) and family crests (mon) in small openwork (ko-sukashi). Occasional brass dots or nail heads in brass ten-zōgan. Sukashi elements outlined with inlaid brass wire. Seppa-dai outlined with rope-shaped brass wire (nawame-zōgan); kozuka-hitsu-ana outlined with scalloped brass wire. Ōnin school. Mid to late Muromachi period, 15th or 16th century. Height: 88.9 mm; Width: 88.5 mm; Thickness at seppa-dai: 2.9 mm. Family crests (mon) in openwork: cherry blossom (sakura) - kamon of Sakurai and Yoshino clans, four-section lozenge (waribishi) - kamon of Takeda clan, the seven stars of the big dipper (maru ni nanatsuboshi) - kamon of Chiba clan, two encircled stripes (futatsubiki) - kamon of Ashikaga clan. Brass inlays represent flowers, branches and leaves, as well as halved plum blossom, halved chrysanthemum blossom, cloud, and chrysanthemum-on-water symbol - the mon of Kusunoki Masashige. Abundance of family crests of so many powerful warrior clans symbolizes heritage. "The brass trim around the kozuka hitsu-ana andd the seppa-dai are characteristics of Onin work" [Japanese sword guards. Onin - Heianjo - Yoshiro. Gary D. Murtha. GDM Publications, 2016; p. 27.]
