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    Yoshirō brass inlay tantō tsuba by Koike Naomasa; Momoyama period (1574 – 1603).

    Small iron tsuba for a dagger (tantō), of quatrefoil form (mokkō-gata), with raised rim (mimi), decorated with flat brass inlay (hira-zōgan) to form an abstract design alluding to the mushroom of immortality (reishi). Opening (hitsu-ana) to the left of nakaga-ana probably cut later and fitted with shakudo sekigane. Maker's signature on seppa-dai: Koike Naomasa (小池 直正).

    Momoyama period: End of the 16th - beginning of the 17th century. Dimensions: Height 53.7 mm; Width: 45.5 mm; Thickness at centre: 3.5 mm; at rim: 4.9 mm. Other examples of signed Koike Naomasa work in this collection: TSU-0346. Reference: The closest example in literature is in Compton Collection (II): №11 with the description: “A Koike School tsuba, Edo period (circa 1625), signed Koike Yoshiro. Sheet-brass flush inlay of cloud forms and wire inlay creating the same shape. Koike Yoshiro Naomasa worked from the Keicho to the Genna periods (1596-1623). He arrived in Kyoto from Kaga.” [Japanese Swords and Sword Fittings from the Collection of Dr. Walter Ames Compton (Part II) / Sebastian Izzard, Yoshinori Munemura. — Christie's, New York, October 22, 1992]. See: Yoshirō tsuba.    
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  • Ko-Shōami iron tsuba with design of latticework. Late Muromachi period, ca. 16th century.

    Iron tsuba of square with cut-off edges form (sumi-iri-kakugata) with lattice design in openwork (sukashi) and solid center. Hitsu-ana plugged with lead.

    Unsigned. Late Muromachi period, ca. 16th century.

    Size: 81.3 x 80.0 x 3.6 mm References: 1) Tsuba Kanshoki. Kazutaro Torogoye, 1975, p. 95, lower image. It's also called Kyō shōami. 2) KTK-11: Koshi motif, Late Muromachi (16th c.)
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  • Moss agate snuff bottle with a jadeite stopper

    Agate snuff bottle of flattened rounded rectangular form, round neck, and flat base, semitransparent milky white body with dark brown inclusions of geometric form. Green jadeite stopper with a copper alloy spoon and collar. Qing dynasty [清] (1644-1912) Size: 7.2 x 4.3 x 2.2 cm
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  • Tōshō tsuba with design of dragonfly. Muromachi period.

    Iron tsuba of round form decorated with design of dragonfly in negative openwork (in-sukashi). It may be Ko-Tōshō (old Tōshō) or just Tōshō school, without a 'Ko'. Probably the dragonfly here is used as a family crest (mon). Muromachi period. However, Boris Markhasin and Skip Holbrook insist this is a 20th-century machine-made tsuba. Dimensions: Height: 95.0 mm. Width: 93.6 mm. Rim thickness: 2.1 mm. Center thickness: 2.3 mm. Nakago-ana: height = 30 mm, width = 7.8 mm. A dragonfly design is described by John W. Dower as following "During the period of feudal warfare, the dragonfly is reputed to have been am especially popular design applied to arrow quivers, and some warriors adopted it as a family crest. One reason for this was the insect's alternative names of katsu mushi and shogun mushi, both meaning 'victory insect'." Merrily Baird is even more talkative regarding the matter: "The dragonfly (tombo) in Japan is emblematic of martial success, as various names for the insect are homophones for words meaning "victory". The dragonfly is also auspicious because references in the Kojiki and Nihongi link it in both name and shape to the old kingdom of Yamato. This legacy has led to the use of dragonfly as an emblem on arrow quivers and as family crest. It also appears occasionally in conjunction with such imperial motifs as the chrysanthemum. Used in a context devoid of historical associations, the dragonfly is a seasonal symbol of late summer and early autumn." Dragonfly was an extremely often motif for the tsuba in all times, primarily in earlier times, before Tokugawa pacified the nation. The same motif is used on Ōnin tsuba in this collection:
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  • Maiolica vase, Palermo, Italy, 17th century

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  • Chinese sancai-glazed pottery bowl, Liao Dynasty [辽朝] (907 – 1125).

    Footed conical bowl decorated with green and amber bleeding concentric circles on cream background inside and outside. Diameter: 13.5 cm, H: 6.2 cm;
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  • Kamakura-bori tsuba with design of reed, waves, clouds, and pagoda. Momoyama period, 16th century.

    Mokkō-form (kirikomi-mokkō-gata) iron plate of grey colour decorated on both sides with waves, reeds, cloud, pagoda, and thatched hut in low relief (sukidashi-bori). The kozuka-hitsu-ana is original, the kogai-hitsu-ana probably cut later (lacks raised rim, fuchidoru). Wide (5.7 mm) raised rim of rounded square dote-mimi type, decorated with fine cross-hatching. Momoyama period, 16th century. Dimensions: Height: 75.9 mm, width: 76.4 mm, Thickness at seppa-dai: 2.3 mm, at rim 4.4 mm. Kamakura-bori tsuba of such a form is unusual. The rim is also unusual; it is possible that cross-hatching was done as a preparatory step for damascening, or the the damascening (gold or silver) disappeared with passage of time.
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  • Sancai tripod jar. China, Tang dynasty [唐朝] (618 – 907).

    A tripod earthenware jar with the upper half decorated with three-colour glaze in brown, green, and white, and the bottom half unglazed; spur marks to the mouth. Henan kiln. China, the Tang dynasty [唐朝] (618 – 907). Diameter: 22 cm; Height: 15.5 cm
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  • Yoshirō mon-sukashi tsuba by Koike Naomasa. Momoyama or early Edo period (1574 – 1650).

    The so-called Yoshirō-tsuba [与四郎鐔] with an iron plate of mokkō form densely decorated with floral arabesque and adorned with eight pierced, chiselled and inlaid brass roundels and signed on both sides 'Koike Yoshirō Izumi no Kami Naomasa'. Four of the roundels are pierced and have geometrical designs representing flowers (e.g. wood sorrel) or snowflakes. Four others are solid and represent family crests; on one side: Mulberry (kaji) – mon of the Matsunaga clan [松永氏], Bamboo Grass (sasa) – mon of the Takenaka clan [竹中氏]), Wild Geese (kari) – mon of the Shibata clan [新発田氏]), and Pine Needles (matsuba); on the other side: Nine Stars (kuyō) – the Hosokawa clan [細川氏], Paulownia (kiri) – the Toyotomi clan [豊臣氏]), Bamboo Leaves (take) – the Minamoto clan [源], and Seven Treasures (shippo) – Izumo Genji clan [出雲源氏]. Hitsu-ana obliterated with a nanako-treated pewter plug. Brass with rainbow patina. Artist: Koike Izumi no Kami Naomasa (Japanese, active late 16th – early 17th century). The Momoyama or early Edo period, end of the 16th to the first half of the 17th century (1574-1650). Size: 81.7 x 78.8 x 4.3 cm. Provenance: Dr. Kazutaro Torigoye. Special thanks to Markus Sesko for providing the translation of hakogaki. Hakokaki lid (outside): 小池与四郎 – Koike Yoshirō Hakokaki lid (inside): 銘曰小池与四郎 – Mei’etsu: Koike Yoshirō – Signed: Koike Yoshirō 和泉守直正 – Izumi no Kami Naomasa – Izumi no Kami Naomasa 木瓜形 鉄地 – Mokkōgata, tetsu-ji – Lobed shape, of iron 真鍮据紋象嵌 – Shinchū suemon-zōgan – with brass suemon-zōgan inlay 縦二寸七分横二寸六分 – Tate ni-sun shichi-bu, yoko ni-sun roku-bu – Height 8.2 cm, width 7.9 cm 右正真也 – Migi shōshin nari – Above described object is authentic 昭和廾九年八月十一日 – Shōwa nijūkyūnen hachigatsu jūichinichi – August 11, 1954 草堂「花押」– Sōdō + kaō – Sōdō [pen name of Torigoye Kazutarō, 鳥越一太郎] + monogram Ref.: (1) Tsuba Geijutsu-Ko by Kazutaro Torigoye, 1960; (2) Tsuba. An aesthetic study. By Kazutaro Torigoye and Robert E. Haynes from the Tsuba Geijutsu-kō of Kazataro Torigoye. Edited and published by Alan L. Harvie for the Nothern California Japanese Sword Club, 1994-1997, p. Yoshirō, 4. See also Yoshirō tsuba.  
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  • Yoshirō mon-sukashi tsuba. — Momoyama or early Edo period (c. 1600)

    Iron tsuba of round form decorated with eight roundels – circular emblems of flowers and/or family crests (mon) made of cast brass, pierced and chiseled in kebori, and with flat brass inlay (hira-zōgan) of vines or leaves all over the plate. Both hitsu-ana trimmed in brass. Nakago-ana of rectangular form, with copper sekigane. Four positive openwork (ji-sukashi) roundels at 12, 3, 6, and 9 o'clock; and four negative openwork (in-sukashi) roundels with cherry blossom, bellflower, and two variations on suhama theme. Yoshirō school (Kaga-Yoshirō). The Momoyama or early Edo period, late 16th to early 17th century. Size: diameter 81.4 mm, thickness 4.7 mmat seppa-dai, 4.0 mm at rim. Christie's lot description: AN IRON TSUBA; EDO PERIOD (17TH CENTURY). THE DOLPHYN COLLECTION OF SAMURAI ART. The round iron tsuba pierced with roundels of various floral motifs interspersed among scrolling foliage, all inlaid with brass. 8.1 cm. high. Provenance: Pabst Collection (no. 338).
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  • Ko-Shōami iron tsuba with design of latticework. Late Muromachi period, ca. 16th century.

    Iron tsuba of square with cut-off edges form (sumi-iri-kakugata) with lattice design in openwork (sukashi) and pierced center.

    Unsigned. Late Muromachi period, ca. 16th century.

    Size: 73.2 x 72.4 x 3.6 mm References: 1) Tsuba Kanshoki. Kazutaro Torogoye, 1975, p. 95, lower image. It's also called Kyō shōami. 2) KTK-11: Koshi motif, Late Muromachi (16th c.)
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  • Sancai earthenware tripod censer. China, Tang dynasty [唐朝] (618 – 907).

    Small six-lobed sancai (blue, amber, and cream) earthenware tripod censer with amber lead glaze mouth, an outer surface of the body decorated in a form of toad skin, the centre of the bottom unglazed, standing on unglazed beast's paws. China, the Tang dynasty [唐朝] (618 – 907). Diameter: 10.2 cm; Height: 9.2 cm.
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  • Tōshō tsuba with a butterfly and a dragonfly motif. Muromachi period.

    A very large and very thin iron tsuba of round form decorated with design of formalized butterfly and dragonfly in openwork (sukashi). The characteristics of the plate resemble those of Kamakura period ko-tōshō tsuba. However, the design seems too 'modern' to me, but it's hard to tell; it may be a late Muromachi or Momoyama period work. Tōshō or Ko-Tōshō school (or a Katchushi). Muromachi period. However, Boris Markhasin and Skip Holbrook insist this is a 20th-century machine-made tsuba. Dimensions: 99.6 x 100.5 x 2.1 mm. This is what Jim Gilbert says about old tsuba:
    "Traditionally the old iron plate tsuba are classified into Ko Tosho (old sword smith), and Ko Katchushi (old armor maker) styles. It is sometimes difficult to justify attribution of a given tsuba to the Tosho or Katchushi category. Generally guards with raised rims or relatively complex designs tend to be assigned to Katchushi. This is basically a convention we follow out of habit and convenience." [...] "In Token Kai-Shi part six, Articles by Akiyama Kyusaku, Robert Haynes comments: "…from 1300 to 1400 over 150,000 MOUNTED swords were made in Japan for export alone. This means that over four tsuba a day were made for 100 years. This would mean that at least 3000 persons were making nothing but tsuba, let alone all the other fittings needed to complete these swords. With sword smiths, fittings makers and all the other artists need to complete a sword for export, at least 10,000 sword artists were working together, in any one of these hundred years."
    Another tsuba of similar design, Tōshō school, is illustrated in this collection; see TSU-0319.2015. Reference to this design can be found in LIB-1359.2017 Japanese Swords and Tsuba from the Professor A. Z. Freeman and the Phyllis Sharpe Memorial collections, Sotheby's, London, Thursday 10 April 1997; p. 18-19, lot № 37: "A Kamakura-bori Tsuba, Momoyama Period. ...pierced with two large formalised butterflies..."

    A Kamakura-bori tsuba of octagonal form, Momoyama period.

     
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  • Blue and white porcelain plate with a crane, China, Ming Dynasty (1368 – 1644).

    Plate with crane, bird, plants, and four treasures. Porcelain with underglaze blue decoration and illegible factory mark to the bottom. Ming Dynasty [大明] (1368 – 1644); Wanli Era (1572 – 1620); Late 16th – Early 17th century. Diameter: 19.5 cm; Height: 3 cm
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  • Chinese small sancai-glazed pottery cup, Tang dynasty [唐朝] (618 – 907).

    Small stoneware cup with rounded sides raising from a short foot to an inverted rim; glazed inside with a green and brown six-petal design on a blue background with creem dots. Amber glaze outside, blue bottom, foot unglazed. Dia: 10 cm; H: 4 cm.
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  • Heianjō tsuba with wood sorrel motif. Late Muromachi or Momoyama period, 16th century.

    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.
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  • Ge-type ware double-gourd bottle. China, Qianlong period (1711 – 1799).

    A footed double-gourd porcelain bottle with iron and gold coloured crackle on grey background. China, the Qianlong period (1711 – 1799) of the Qing Dynasty (1644 – 1912). Diameter: 12 cm; Height: 21 cm.
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  • Heianjo tsuba with the Myriad Treasures motif. Momoyama or early Edo period (1574 – 1650).

    Iron tsuba of almost round form with a brass outlined circular opening (sukashi) in the bottom adorned with the Myriad Treasures [takaramono, 宝物] and winter motifs inlaid in cast brass (suemon-zōgan); hitsu-ana possibly cut later, both plugged with shakudo, nakaga-ana fitted with copper sekigane. According to Merrily Baird*) (2001), the symbolism of Myriad Treasures “is associated with the Seven Gods of Good Luck, who carry them in a sack”. Among the treasures, which are said to ensure prosperity, long life, and general good fortunes, are (reading clockwise from the top):
    1. Sake set [shuki, 酒器], namely flask, ladle, and cups
    2. Cloves [choji, 丁子]
    3. Purse of inexhaustible reaches [kinchaku, 巾着]
    4. Magic mallet [kozuchi, 小槌]
    5. Key to the storehouse of the Gods [kagi, 鍵]
    Then, Pine, Moon, and Bamboo (see below);
    1. Rhombus, or Lozenge (hosho, 方勝), with the second ideograph meaning victory.
    2. Sacred (or wish-granting) gem, or jewel [hōju, 宝珠]
    3. Hats of invisibility [kakuregasa, 隠れ笠]
    The Myriad Treasures is carried by the Seven Gods of Good Luck (a.k.a. the Seven Lucky Gods or Seven Gods of Fortune [shichifukujin, 七福神], who are transported by the Treasure Ship [takarabune, 宝船] during the first three days of the New Year. Pine, Moon, and Bamboo: bamboo [take, 竹] and pinecones [matsukasa, 松笠], or pine [matsu, 松] – two of the Three Friends of Winter [shōchikubai, 松竹梅] – symbolize fidelity, fortitude, steadfastness, perseverance, and resilience. The third ‘friend’  – plum, [ume, 梅] – in this case replaced by the Moon [tsuki, 月] – large (11 mm) circular opening at 6 o’clock; the three small carved dots represent the dewdrops. The other side is decorated with an arabesque (karakusa) of cloves and vines, with carved dots (dewdrops) along the rim. The overall New Year / Winter connotation of the tsuba is clear. The prominence of the Moon conveys purity, coldness (sadness/loneliness), and slenderness – the inherent qualities of a samurai. H: 93 mm x W: 90 mm, thickness 4.2 mm at the centre, slightly tapered towards the rim. *) Merrily Baird. Symbols of Japan: Thematic motifs in art and design. — NY: Rizzoli international publications, 2001. Seller’s description: École Heianjo - Début Époque EDO (1603 - 1868). Nagamaru gata en fer à décor incrusté en hira-zogan de laiton de tama, choji, jarre à saké et des attributs de Daikoku (maillet, chapeau d'invisibilité et sac de richesse) et de branches de choji de l'autre côté et ajourée en kage-sukashi d'un cercle. H. 9,2 cm
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