Iron tsuba of round form with brown patina decorated with the design of a Buddhist temple bell (tsurigane) in openwork (sukashi), with details outlined in brass wire (sen-zōgan), the outer ring decorated with two rows of brass dots (ten-zōgan), and the bell details carved in sukidashi-bori as on kamakura-bori pieces.
Ōnin school. Unsigned. Late Muromachi period, 16th century. Dimensions: 88.8 x 88.3 x 3.0 mm. As per Merrily Baird, two legends are usually associated with the image of tsurigane, a large, suspended Buddhist bell: one is that of Dojo Temple (Dojo-ji), and the other is of Benkei stealing the tsurigane of Miidera Temple. Interestingly, this type of bell (tsurigane) is not described as a family crest (mon), while suzu and hansho bells are.-
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Iron tsuba of circular form with design of pine trees (matsu) and monkey toys (kukurizaru) in openwork (ko-sukashi). Ko-Katchushi school.
Raised rim (mimi) with iron bones (tekkotsu). Size: Diameter: 99.5 mm; Thickness: 2.1 mm at centre; 4.3 mm at the rim.Early Muromachi period: 15th century (Kakitsu - Bun'an era, 1441 - 1449).
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Iron tsuba of round form pierced (sukashi) and inlaid in flat (hira-zōgan) and cast brass (suemon-zōgan), details carved in kebori, with design of two phoenixes, bamboo, and paulownia leaves and flowers (kiri-mon) on both sides. According to seller: Bizen-Yoshirō school (or Heianjō school). Unsigned.
Momoyama period. End of the 16th - beginning of the 17th century. Dimensions: Diameter: 99.5 mm; Thickness: 2.1 mm at centre; 4.3 mm at the rim. According to Merrily Baird (Symbols of Japan), "bamboo teamed with paulownia blossoms or with paulownia and the phoenix, in reference to the Chinese legend that the phoenix perches only on the paulownia and eats only the bamboo". Citation from http://www.clevelandart.org/art/1986.2.1: "The immense heraldic birds on display [...] reflect the Momoyama era's spirit of newly gained self-confidence and an affinity for grand expressive statements in painting, architecture, the textile and ceramic arts, as well as garden design. While that period preceded the arrival of prosperity, it clearly marked an extraordinary moment in Japanese cultural history, one frequently compared with the twelfth century of the Heian period. [...] Rather than an emblem of immortality, as it is in Western lore, in Japan, the phoenix evolved out of its origins in Chinese mythology to become, by the sixteenth century, an auspicious symbol of political authority. Together with clusters of the distinctively shaped paulownia leaves, this long-tailed, mythical bird [...] proclaiming an air of graceful command". -
Circular tsuba (marugata ) with design of futatsu-domoe (twofold tomoe) in negative openwork (kage-sukashi), folded-over rim (uchikaeshi-mimi ). The ‘head’ of the left tomoe altered to form an opening for scabbard accessory (kata-hitsu-ana), adorned with gold ategane fitting with file marks (tate-yasurime). The hammer-blow finish of the surface (tsuchime-ji). Signed to the left of nakaga-ana: Yamakichibei (山吉兵). Attributed by Steve Waszak a the Second Generation (Nidai) master.
NBTHK paper [translated by Markus Sesko]:Tomoe-sukashi-tsuba (巴透し鐔).
KANTEI-SHO (鑑定書) - APPRAISAL No 451718
Futatsu-domoe sukashi-tsuba (二巴透鐔) ‒ Tsuba with two tomoe comma openwork design
Signed: Yamakichibei (山吉兵)
Round shape (marugata ), iron, hammerblow finish (tsuchime-ji ), negative openwork design (kage-sukashi ), folded-over rim (uchikaeshi-mimi ), one opening for scabbard accessory
(kata-hitsu-ana) (with gold ategane fitting)
According to the result of the shinsa committee of our society, we judge this work as authentic
and rank it as Hozon Tōsōgu.
February 20, 2007
[Foundation] Nihon Bijutsu Tōken Hozon Kyōkai, NBTHK (日本美術刀劍保存協會)
Diameter: 76 mm, thickness at center 3.9 mm, thickness at rim: 5.1 mm; weight: 102.5 g
Tomoe (Comma): The character 巴 (Chinese pronunciation bā). A pattern resembling the two-comma tomoe (futatsu-domoe) has been found in ancient cultures on all inhabited continents. ...aside from their military function, a ritual or fetish value, perhaps related to their testicular shape. It also has yin-yang connotation. The gold sekigane confirms the high value of the piece to the owner.
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Iron tsuba of quatrefoil form with design of bamboo stems and leaves in openwork (sukashi) decorated with carving (kebori) . Copper sekigane. Early Edo period, late 17th century (Kanbun / Enppo era). First generation Kanshiro of Nishigaki school in Higo Province died in the sixth year of Genroku, 1693, at the age of 81). Height: 74.4 mm; Width: 74.2 mm; Centre thickness: 4.9 mm. Rounded rim. The design was quite popular among the Higo masters.
Kanshiro III, early 18th century (Sasano 1994 №267)
Matashichi I, late 17th century (Sasano 1994 №270)
The design of my tsuba closely resembles the one at the last example (Sasano 1994 №280), however, the form (mine is quatrefoil) and the execution (strength) are very different, which result in a very different spirit of my piece.
Shigemitsu II, early 18th century (Sasano 1994 №280)
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The sword mountings of Higo Province adapted from the Higo Kinkoroku of S. Nagaya by Gustav Jacoby, with 67 illustrations and an appendix listing the signatures of the Higo masters. Translated from the German by Emil T. H. Bunje, PhD.
Book size: 24.5 x 18.4 cm/
Softbound, original grey paper wrappers with black lettering.
Higo Kinkoroku, or Register of Metalworkers of Higo Province, published in 1902 in Tokyo by the Japanese Colonel Nagaya Shigena with a preface by viscount Nagaoka Moriyoshi, scion of the Hoshikawa family, Daimyo of Kumamoto in Higo Province.
Translated from the orignial: Die schwertzieraten der provinz Higo. Bearbeitet nach dem japanischen werke Higo Kinkoroku des S. Nagaya, von Gustav Jacoby. Mit 67 Abbildungen und einem Anhang: Die bezeichnungen der Higo-meister. 5. beiheft zum Jahrbuch der hamburgischen wissenschaftlichen anstalten. XXII. 1904. Hamburg, Lucas Gräfe & Sillem, 1905. - 62 p. illus., pl. [LIB-1947.2019] -
Book size: 25.5 x 21 cm. Hardbound: original olive cloth, lettering and elements on FC and lettering on Sp.
Ex Libris Dr. H. Smidt, with the motto: "Sapienti sat" and a naked bold man at the seashore, holding a fruit behind his back.
Full title: Japanische Schwertzieraten. Beschreibung einer kunstgeschichtlich geordneten Sammlung, mit Charakteristiken der Künstler und Schulen von Gustav Jacoby. Hierzu siebenunddreissig Tafeln in Heliogravüre. [The second volume, which conteined 'heliogravures' is missing and had not be found elsewhere].
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Iron tsuba with chrysanthemum design in openwork (sukashi). Copper sekigane.
Late Heian through Kamakura period (ca. 1150 - 1200's).
Size: 78.4 x 60.9 x 3.5 mm; weight: 45.7 g
Provenance: Boris Markhasin Message from Boris Markhasin (13-AUG-2019): It is a very rudimentary tachi tsuba, and the iron is old and really nothing to draw attention. However, this is a very old tsuba, and that is what makes it very special and an important study piece. This tsuba likely dates to the late Heian through Kamakura (ca. 1150 - 1200's) -- by consensus, since such examples are extremely rare, and none are mounted to my knowledge, so few direct analogues. The form is interesting for a variety of reasons. The smaller size, an oval form is associated more with 12th/13th c styles. The sukashi kiku motif is very interesting as it clearly pushes back the dating of large scale sukashi far back in time. This shouldn't be surprising, but for some reason, we (really mainly westerners) naively tend to associate sukashi with the Muromachi and younger. The two missing spokes are by consensus likely later removals to accommodate kozuka and kogai -- but this is not certain, and it could be an original styling. A key kantei point is the elongate, narrow, slightly squared seppa dai. This is a characteristic of early koshirae, which were much thinner and more delicate than the types we are used to seeing that date pretty much to the late Muromachi and later. I am always amazed when I have a chance to interrogate early koshirae at how thin they are - I want to call them fragile, but they were actually quite resilient. The walls were super thin, but the top and bottom edges were a bit thicker, providing a bit of structural support... but this is another thread topic. Of all the tsuba I have owned, this is the tsuba that has most clearly reflected the shape of the old style of saya / tsuka. -
Large iron tsuba with hammer marks on the surface, small oval opening to the right of nakaga-ana; yamagane fukurin chiselled with tortois shell diaper pattern.
Early Muromachi period (1393-1453). Size: 101.2 x 101.9 x 2.4 (center), 5.2 (rim) mm; weight: 148.4 g. -
Iron tsuba with hammer marked surface and design of a plum and cherry blossoms to the right of nakaga-ana in openwork (sukashi). Raised rim, typical to katchushi school. The thickness of the plate provides for later Muromachi period making.
Late Muromachi period (1514-1573). Size: 85.8 x 85.0 x 3.6 (center), 4.1 (rim) mm; weight: 136 g. -
Yamagane (bronze) tsuba (kagami-shi, or mirror-maker) with the design of a star (round opening), tomoe (comma), and suhama in openwork. Surface cast and chiselled with the design of foliage, vines, blossoms, pine needles, and fruits on both sides.
The end of Early Muromachi period (1393-1453), circa 1450. Size: 83.7 x 84.1 x 3.6 (center), 4.1 (rim) mm; weight: 135.5 g. KANTEI-SHO (鑑定書) - APPRAISAL [translated by Markus Sesko]. No 463341 Tomoe-suhama-sukashi hana-karakusa no zu tsuba (巴洲浜透花唐草図鐔) ‒ Tsuba with stylized comma and bay inlet openwork and a flower and arabesque décor Unsigned: Kagami-shi (鏡師) Round shape, yamagane, hammer blow finish, cast, negative openwork design, round rim. According to the result of the shinsa committee of our society, we judge this work as authentic and rank it as Hozon Tōsōgu. July 1, 2011 [Foundation] Nihon Bijutsu Tōken Hozon Kyōkai, NBTHK (日本美術刀劍保存協會) -
Yamagane (bronze) tsuba (kagamishi, or mirror-maker) with the design of tomoe (comma) and suhama in openwork. Surface treated with hammer marks and chiselled with the design of maple leaves and encircled two bars (maru-ni-futatsu-biki, Ashikaga clan family crest, or mon) on both sides. Raised rim or rim cover (fukurin). Custom kiri-wood box.
Size: 87.4 x 86.2 x 2.9 (center), 4.9 (rim) mm; weight: 120 g. -
Small iron tsuba (tantō size) of aoi form with the design of paulownia leaves and blossoms in copper and brass flat inlay (hira-zōgan). Brass sekigane. Open kozuka hitsu-ana.
Early Edo period, 17th century.
Size: 53.4 x 40.7 x 4.4 mm; weight: 47.4 g
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Small iron tsuba (tantō size) of oval form carved with imitation of six overlapping plates, decorated with paulownia blossoms, leaves, and tendrils in brass and copper hira-zōgan. Copper sekigane. Open kozuka hitsu-ana.
Early Edo period, 17th century.
Size: 50.5 x 34.0 x 4.9 mm.
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Iron tsuba of diamond form with rounded corners with the design of a double gourd on a branch in openwork. Dark brown patina. Ko-Shōami school. Custom kiri-wood box with hakogaki of Sasano Masayuki.
Momoyama Period (1574-1603)
Size: 77.1 x 75.7 x 4.6 mm; weight: 75.3 g.
Provenance: Sasano Masayuki[Translated by Markus Sesko]Hakogaki lid outside: 古正阿弥鐔 Ko-Shōami tsuba Hakogaki lid inside:Hyōtan-sukashi Mumei, Momoyama-ki saku Tetsu, ji-sukashi Koboku-aware no kasaku Heisei ninen Soshinkan Minazuki Openwork design of gourd Unsigned, Momoyama era work Iron, large openwork Masterwork full of classical charm. June of 1990, Soshinkan [pen name of Sasano Masayuki]瓢簞透 無銘 桃山期作 鉄地透
古撲惻之佳作 平成二年 素心鑑 水無月
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Iron tsuba of six-lobed (mutsu-mokkō-gata) form, with six wild boar's eye shape (inome) openings (sukashi). Ryo-Hitsu and the entire perimeter of tsuba have typical for this school raised rim; raised seppa dai. Lobes are decorated in low relief carving (sukidashi-bori). On the obverse: chrysanthemum, Genji mon, waves and rocks, grasses and star, bellflower, star and flower in tortoiseshell (kikko). On the reverse: Stars and different flowers, and flying geese. The plate is damaged to the left of nakago-ana and around the left hitsu-ana. Kamakura-bori school. Late Muromachi period (1514-1573). Diameter: 89 mm; Thickness at seppa-dai: 4.0 mm; Weight: 108.8 g [large]. There is a similar tsuba in this collection, TSU-0345.2018, but with a different motif and much smaller: diameter 74.3 mm, thickness at seppa-dai: 3.2 mm, weight: 62.8 g.Another look-a-like tsuba can be found at the Compton Collection, part II, pp. 14-15, №17, though his tsuba is more massive (80 x 84 x 4 mm).
Varshavsky Collection: TSU-0345.2018
This tsuba, TSU-0401.2019, is the biggest of all three (another mine and the one from Campton Collection). The presence of a flower in a tortoiseshell symbol (crest or mon) on this tsuba alludes to Izumo Shrine. The overall piece, with symbols of grasses, waves, flowers, incense, stars, and flying geese, is full of autumnal connotations.
Compton Collection, part II, pp. 14-15, №17: Kamakura-bori tsuba, ca. 1450.
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Iron tsuba of round form adorned with the design of stars, wild geese, floating blossoms, leaves and tendrils realized in brass inlay. The inlay technique includes suemon-zōgan and ten-zōgan. Two smaller openings (hitsu-ana) surrounded by a scalloped brass border. The seppa-dai border inlay is missing, as well as a few other fragments of inlay on both sides. Sword cut at 12 o'clock on the reverse. A tsuba with a strong autumnal connotation, which once belonged to a great battle weapon. One of only three known jūyō Ōnin tsuba. Translation of the paper, issued by the Japanese sword fittings (tosogu) examination board: Designated as jūyō-tosogu at the 34th jūyō-shinsa held on April 14th 1988 Kaki-karimon zōgan-tsuba (花卉雁文象嵌鐔) — Tsuba with zōgan design of flowers and wild geese. Mumei: Onin (応仁) Tokyo. Nakasono Tokumi (中園とくみ) Measurements: height 9.5 cm, width 9.4 cm, thickness at rim 0.35 cm Interpretation: marugata, iron, brass zōgan, two hitsu-ana Time: end of Muromachi Explanation: Ōnin-tsuba are thin iron ita-tsuba which show a brass zōgan ornamentation. All of them are mumei and there is the theory that they were made in the Onin era (1467-1469) although today more and more the theory is accepted that they are in general late Muromachi period works. There are two kinds of brass zōgan interpretations: One depicts irregularly arranged tachibana branches, wild geese, chrysanthemums, flowers, or karakusa for example, and the other one shows punctual zōgan elements, which are referred to as hoshi-zōgan or ro-zōgan, and concentrical zōgan elements between the nakago-ana and the rim. The latter interpretations might also be accompanied by simple ko-sukashi in the form of butterflies, clouds, hats, or stylized mountains. This tsuba is a typical work from the former category. It is large and feels massive and the powerful and impressive zōgan and the excellent iron make it a highly tasteful piece. Back side: Issued to: Nakasono Tokumi Address: Tokyo-to, Suginami-ku, Kamitakaido 2-17-26 Date of issue: May 30th 1989 -
Oblong round shape (nagamaru-gata) tsuba with design of dragonfly (tombo or katsumushi) and wheel (kuruma) in negative openwork (kage-sukashi), round rim (maru-mimi ). Copper sekigane.
Okamoto Yasukazu's Owari to Mikawa no tankō, №181 characterizes the tsuba as follows: "Katsumushi, kuruma-sukashi no zu (dragonfly and wheel sukashi). Mei: Yamakichibei (Shodai). Such small tsuba are rare for the Shodai. The nakago-ana is also small so it was probably intended to be mounted on a tantō. Regardless of its size, the iron is outstanding and the workmanship shows the characteristic features of the Shodai (first generation). The kuruma-sukashi design is interpreted here in a half-moon shape and only on one side of the tsuba. Such a design is also seen on works of the Nidai (second generation)...". Signed to the left of nakaga-ana: Yamakichibei (山吉兵へ). Attributed to the First Generation (Shodai) master.
NBTHK paper (translated by Markus Sesko): The Tokubetsu-Kichō Kodōgu. Kachimushi-kuruma sukashi-tsuba (勝虫車透鐔) - Tsuba with sukashi motif of dragonfly and cartwheel. Signed: Yamakichibei (山吉兵). Iron, marugata, ko-sukashi. Issued on April 1, 1977. [Copy only] Dimensions: H: 66 mm; W: 63.2 mm; Th(center): 3.8 mm; Th(rim): 3.5 mm. Weight: 68 g.
