• Iron tsuba of round form pierced with design of paulownia (kiri) in a circle in positive silhouette (ji-sukashi), details carved in low relief (sukidashi-bori). Hitsu-ana were cut later and then both plugged with lead or pewter. Brown patina. The most unusual characteristic of this tsuba is its 'positiveness': the absolute majority of Kamakura-bori tsuba are of ko-sukashi type, i.e. with small openings, presenting the motif in negative silhouette. Kamakura-bori school. Muromachi period (ca. 1450). Size: Height: 85.1 mm, width: 84.8 mm, thickness at seppa-dai: 3.2 mm, at rim: 2.8 mm. Weight: 79.1 g. A similar tsuba is presented at Japanese Swords and Sword Fittings from the Collection of Dr. Walter Ames Compton. Part I. Christie's, New York, March 31, 1992, page 11, №3: "A Kamakura-bori tsuba. Muromachi period, ca. 1450. The round iron plate is pierced with an openwork design of a paulownia crest (kiri-mon), the surface details of which are carved in low relief. The design is repeated on the reverse. The edge is slightly raised  and the rim has some iron bones. 78 mm x 77 mm x 3.5 mm. Hakogaki by Sato Kanzan, dated summer 1973."

    Compton's Collection, Part I, p. 11, №3.

  • Circular form tsuba made by a mirror-maker, i.e. kagamishi. Cast yamagane plate with design of six persimmons on their peduncles surrounded by leaves. Slightly raised rounded square rim. Hitsu-ana is brutally cut later in time. Copper sekigane. Early Muromachi period (1393-1457) or earlier. The inscription on the box reads: "Kamakura or Muromachi Period. Yamagane Tsuba". Dimensions: 81.9 x 81.6 mm; thickness at seppa-dai 2.8 - 3.0 mm, rim 3.4 mm.
  • Iron tsuba of mokko form decorated with brass flat inlay (hira-zōgan) all over on both sits and going over the rounded rim. Black patina, well-forged iron. Hitsu-ana outlined with brass inlay. Former owner's catalogue number in red paint reads 25-17-61. Gary D. Murtha provides detailed account of this type of tsuba in Japanese Sword Guards. Onin-Heianjo-Yoshiro book on pages 118-122. He calls this type of tsuba "Heianjo Mogusa Tsuba": "The term mogusa is commonly used for an inlay design that represents an aquatic weed, similar to a duck weed or sago plant, which is known to quickly invade and overtake bodies of water. [...] Perhaps the visual image has some cross-over meaning for samurai in that, like the plant, a small aggressive samurai force could conquer a larger foe/area." I tried to find any reference to "mogusa" in literature, - to no avail. Neither on the vastness of internet, including Wikipedia... I did find the "duckweed" (one word), but visually it has nothing to do with the pattern on tsuba. "Sago plant" probably stands for 'Sago palm", and there is some very distant reminiscence in the construction of the sago palm leaf and the said design of inlay, but I would not go that far. In the old catalogues, such as Naunton and Hawkshaw collections, this pattern as called "sea weed" and/or "conventional fir". I will stick to these descriptions, tested by the time, and leave the enigmatic "mogusa" alone. Obviously, this type of tsuba has transformed into Yoshirō tsuba, both in Kaga province and Bizen province. Momoyama period (ca. 1660). Dimensions: 74.5 x 73.7 x 4.4 mm.
  • 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.
  • Netsuke of Kimi no Eguchi on a recumbent elephant.  Signed: Toun. Circa 1850. 33.7 x 30.8 x 22.7 mm. The Courtesan Eguchi no kimi as Fugen, Bodhisattva of Universal Wisdom (Eguchi no kimi mitate Fugen Bosatsu). The imagery satirizes the Buddhist bodhisattva Fugen, whose iconographic mount is an elephant, by replacing the deity with a beautifully coiffed modern courtesan. Such a visual pun (mitate) was an artistic trope, popular in the Edo period. 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_Ephrussihttps://en.wikipedia.org/wiki/Ephrussi_familyhttps://en.wikipedia.org/wiki/Edmund_de_Waal.
  • Artist: Utagawa Toyokuni I [歌川豊国] (1769–1825). Publisher: Ibaya Senzaburō [伊場屋 仙三郎] (fl. 1815 – 1869). Signed: Toyokuni ga [豊国 画]. Publisher's seal: Ibaya Sensaburō (Marks 08-067 | 127b). Date-aratame seal: Bunsei 3 (1820). Size: Uncut fan print (uchiwa-e), 224 x 254 mm. Ichikawa Ebijūrō I as Nuregami Chōgorō [濡髪の長五郎], Nakamura Daikichi as Hanaregoma Oseki [放駒のお関], and Ichikawa Danjūrō VII as Hanaregoma Chōkichi [放駒長吉] in a kabuki play Futatsu Chôchô Kuruwa Nikki [双蝶々曲輪日記] (A Diary of Two Butterflies in the Pleasure Quarters (see: LIB-0879.2015 | Brandon, James R., Leiter, Samuel L.  Kabuki Plays on Stage: Brilliance and Bravado, 1697-1766 (Volume 1). — Honolulu: University of Hawai'i Press, 2002.) The play was performed at Kawarasakiza (Edo) in May of 1820. Actors: Ichikawa Ebijūrō I [市川鰕十郎] (Japanese, 1777 – 1827); other names: Ichikawa Ichizō I [市川市蔵], Ichinokawa Ichizō [市ノ川市蔵]. Nakamura Daikichi I [初代中村大吉](Japanese, 1773 – 1823); other names: Fujikawa Daikichi [藤川大吉]; poetry name Hajō [巴丈]; pen name Naruo Yatarō [藤川大吉]. Ichikawa Danjūrō VII 市川団十郎 (Japanese, 1791 – 1859); other names: Ichikawa Ebizō V, Ichikawa Hakuen II, Ichikawa Shinnosuke I.    
  • Underglaze cobalt blue and white porcelain plate decorated with a bamboo border, key fret above the blue ring, and a bush of chrysanthemums in the centre. The bottom is decorated with stylized clouds and flowers, a border of lotus petals and signed with a general mark in the centre. Diameter: 29.5 cm; Height: 3.5 cm.
  • Title: Ninth lunar month [菊月] (Kikuzuki no zu); Series: Fashionable Twelve Months (Imayo juni-kagetsu). Another version of translation: Modern Beauties of Twelve Months. Artist: Utagawa Toyokuni I [歌川豊国] (1769–1825). Pubisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, 1815 – 1869), seal: Dansendō [伊場仙]. Signed: Toyokuni ga and sealed with toshidama. Date-kiwame seal: Ushi (ox), Bunsei 5 (1822). Size: double-sheet uncut fan print ( aiban uchiwa-e), 219 x 295 mm.
  • Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signed: Ichiyōsai Toyokuni hitsu [一陽斎豊国筆]. Inscriptions:  [松竹梅] Shochikubai = pine (matsu, ), bamboo (take, ), and plum (ume, ) – an auspicious grouping known as The Three Friends of Winter; [三福追] (Sanpuku tsui) – the three delights, or pleasures. Date seal and aratame censor seal: Ansei 2, 1st month (1855). Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, c. 1815 – 1869). Block carver: Yokokawa Takejirō [横川竹二郎] (Japanese, fl. 1845 – 1863); seal: Hori Take [彫竹]. Kabuki actor Onoe Kikugorō V [五代目尾上菊五郎] (Onoe Baikō V, Ichimura Kakitsu IV, Ichimura Uzaemon XIII, Ichimura Kurōemon, Japanese, 1844 – 1903) giving candies to the memorial portrait of his predecessor, Ichimura Takenojō V [市村竹之丞] (Ichimura Uzaemon XII, Ichimura Kamenosuke, Ichimura Toyomatsu, Japanese, 1812 – 1851); the latter is dressed in a green robe adorned with a crest (mon) of a kōrin-style crane in a tortoiseshell (octagon), the hanging scroll border decorated with bamboo under snow; the collar of Onoe's kimono decorated with plum blossoms, another plum blossom arrangement decorates the screen behind him. Actors identified by Horst Graebner. Two fan prints from this series in Varshavsky Collection:

    SVJP-0335.2021

     
  • Artist: Utagawa Hiroshige II (二代目 歌川広重] (Japanese, 1826 – 1869). Signed: Hiroshige ga. Publisher: Enshūya Matabei [遠州屋又兵衛] (Japanese, fl. c. 1768 – 1881); (Enmata [遠又]), seal 22-009 (Marks). Block carver: Matsushima Masakichi (Japanese, fl. c. 1847-65); seal: [松嶋彫政] – Hori Masa (Frieze, 2009: 142). Combined date seal and kiwame censor seal: Bunkyū 2 (1862). Media: Fan print (uchiwa-e, 団扇絵), 230 x 298 mm Series: Three Famous Views in Ise [伊勢名所三景] (Ise meisho sankei).