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.
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
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.
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)
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.
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 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.
Kanshiro III, early 18th century (Sasano 1994 №267)
Matashichi I, late 17th century (Sasano 1994 №270)
Shigemitsu II, early 18th century (Sasano 1994 №280)
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.
Netsuke with a design of a laughing peasant carrying a basket and holding a giant mushroom in his right hand.
18th century Dimensions: 55.7 mm tallUnsigned. According to Merrily Baird (Symbols of Japan, page. 93): ... This prominent use in the symbol-rich netsuke art form, however, reflects more their sexual symbolism than either their dietary appeal or interesting shapes. Mushrooms in Japan are generally a symbol of fertility, with some flat varieties, like shiitake, being associated with females. In contrast, the matsutake mushroom (Armillaria edodes) is a phallic symbol, as befits its thick, spearlike stem and the fact that it is consumed before cap opens.
Female Daruma Riding a Mushroom [女達磨]. Ippitsusai Bunchô (1765–1792). MFA impressions: 11.18513, 21.4758
Ivory netsuke with a design of a man (possibly - Ariōmaru) wrestling a giant octopus.
Circa 1850. Dimensions: 45.5 x 48.3 x 37.8 mmUnsigned.
Ivory netsuke with the design of wrestling Oni by Kaigyokusai Masatsugu [懐玉齋正次].
Signed: Masatsugu [正次] Osaka School. Made: 1850-1900; Late Edo - Meiji Period. Dimensions: 44 x 40 x 33 mm.The right hand of the upper Oni and one toe of the lower Oni are missing. Ref.: Raymond Bushell. Collector's netsuke. Weatherhill, NY, Tokyo; Ninth printing, 2002, pp. 84-87. "Kaigyokusai Masatsugu (1813-1892) was an Osaka based carver renowned for his flawless technique as illustrated upon this netsuke with its finely carved ivory form, with no staining and bright inlaid eyes" (V&A).
Queen Mother of the West is a calque of Xiwangmu in Chinese sources, Seiōbo in Japan. Peaches of Immortality (Chinese: 仙桃) are consumed by the immortals due to their mystic virtue of conferring longevity on all who eat them.
Provenance: Charles Ephrussi (1849-1905) acquired in the 1870s; a wedding gift in 1898 to his cousin Ritter Viktor von Ephrussi (1860-1945) and Baroness Emilie (Emmy) Schey von Koromla (1879-1938); retrieved post-war by their daughter Elizabeth de Waal (1899-1991); given by her to her brother Ignaz (Iggie) Ephrussi (1906-1994), Tokyo; bequeathed by him to his great-nephew Edmund de Waal (born 1964), London, author of “The Hare with Amber Eyes: a hidden inheritance”. London / New York: Chatto & Windus / Farrar, Straus & Giroux. ISBN 978-0099539551. https://en.wikipedia.org/wiki/Charles_Ephrussi. https://en.wikipedia.org/wiki/Ephrussi_family. https://en.wikipedia.org/wiki/Edmund_de_Waal.
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".
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).
