//Gold
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    Copper tsuba with a mythical creature motif. Edo period.

    $1,780.00

    Copper tsuba of slightly elongated round form carved in low relief (usuniku-bori, katakiri bori) with the design of a mythical creature: a horse, however, with divided hoofs, with anthropomorphic (human-like) face though with a vertically positioned third eye on the forehead, and a corn. Certain elements of the image accentuated with gold iroe. On the back: flowers and grasses carved in katakiribori technique. Shakudō fukurin.

    Edo period.

    Dimensions: 70.7 x 70.2 x 3.7 mm In a custom wooden box.
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  • Copper tsuba with Daruma motif. Edo period.

    $1,550.00

    A copper tsuba with ishime-ji ground carved and polished (migaki-ji) with sitting Daruma; his eyes are inlaid with shakudo and he has a golden earring. The reverse carved with four characters: 廓 然 無 性 (Kakunen-mushō). It is a Zen proverb that goes back to Bodhidharma (Daruma), meaning "boundless expanse and nothing that can be called holy." [Markus Sesko translation]. Shakudo fukurin.

    Unsigned.

    Edo period (circa 1800). Dimensions: 68.2 x 65.5 x 4.8 (center) x 3.2 (rim) mm
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  • Nara school tsuba by Sugiura Jōi with dreaming Rosei motif. Edo period.

    $1,500.00

    Copper tsuba of slightly elongated round form carved in low relief (shishiaibori and sukisagebori) and inlaid in gold, silver and shakudō with the design of dreaming Rosei (Lu Sheng): he is half-sitting by the pillow with his eyes closed, holding his fan, with a scroll by his feet, surrounded by flying butterflies.

    Edo period, first half of the 18th century.

    Dimensions: 70.8 x 67.1 x 5.0 mm. Signed on the reverse: Jōi (乗 意) + Kaō. Sugiura Jōi [杉 浦 乗 意] (1701-1761) was a master of Nara School in Edo; he was a student of Toshinaga [M. Sesko, ‘Genealogies’, p. 32]. “Sugiura Jōi (1701-1761) made many fuchigashira and kozuka, tsuba are rather rare.” [M. Sesko, The Japanese toso-kinko Schools, pp. 148-149]. On Rosei (Lu Sheng) dream's legend see Legend in Japanese Art by Henri L. Joly (1908 edition) on page 293.
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  • Iron tsuba with spotted deer motif by Hamano Noriyuki. Edo period, 18th-19th century.

    $1,300.00
    Iron tsuba of ryō-mokko-gata form decorated with a spotted deer (Nara deer or sika deer) motif in low relief carving (sukidashi-bori) and flat silver inlay (hara-zōgan); deer's eyes and details in gold inlay. Signed on a copper cartouche: Noriyuki. Grass in low relief carving on the reverse. There were two Noriyuki in Hamano school - father (Noriyuki I, 1736-1787) and son (Noriyuki II, 1771-1852). Frankly speaking, I don't know which one made this particular piece. Edo period, late 18th or early 19th century.

    Size: 71.5 x 70.0 x 3.0 mm.

       
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  • Chōshū school tsuba with ivy motif, 19th century.

    $980.00

    An iron tsuba of slightly vertically elongated circular form carved and pierced with a mass of ivy (tsuta) leaves and tendrils, details damascened with gold in nunome-zōgan technique. Hitsu-ana with raised rim.

    Unsigned.

    Chōshū school.

    Height: 72.0 mm; width: 69.0 mm; thickness: 4.7 mm; Weight: 92 g.

    According to John W. Dower, "ivy bears fairly close resemblance to both maple leaf and grape leaf". However, I consider this tsuba decorated with ivy leaves for several reasons, such as the lack of racemations in the presence of tendrils.
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  • Nomura school tsuba by Masaharu, Kazuyuki, and Yoshikazu, 18th century.

    $800.00

    Iron tsuba of mokkō-form with a pine and a frog on the face and a snail on the back, carved and inlaid with gold. Each figurative element of the design is signed on three inlaid cartouches: Masaharu (正春), Kazuyuki (一之), and Yoshikazu (良一) [read by Markus Sesko]. Snake, snail, and frog together make a design called "SANSUKUMI" - Three Cringing Ones [Merrily Baird]. The snail can poison the snake, the frog eats the snail, and the snake eats the frog. It's unclear whether the pine replaces the snake on this tsuba, or the snake is hiding in the pine? Anyway, the frog and the snail are clearly represented. "Maybe we have here a joint work with Masaharu (the silver cartouche next to the pine) being the master and making the plate and Kazuyuki and Yoshikazu as his students carving out the frog and the snail respectively". Copper sekigane.

    Dimensions: 70.9 x 67.2 x 3.0 mm. Edo period (18th century).

    Markus Sesko writes: "I agree, the frog and the snail most likely allude to the san-sukumi motif. It is possible that we have here an artist's choice to deliberately leave out the snake, maybe he thought that the motif is already obvious and there is no need to add a snake to make it clear that the tsuba shows the san-sukumi motif." [Markus Sesko].

    Kazuyuki (一之): adopted son of Kumagai Yoshiyuki, student of Ichijō (Gotō-Ichijō Scool) [M. Sesko 'Genealogies', page 19.] Masaharu (正春): Kasuya fam., student of Masamichi (1707-1757) who was the 4th generation Nomura School master in Edo. [M. Sesko 'Genealogies', page 49.]
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  • Iron tsuba with design of scholar and attendant in landscape. Edo period, 19th century.

    $700.00

    Large oval form tsuba decorated with two human figures (scholar and attendant) under the pine tree admiring a view of a waterfall on the face of the plate, and with stylized dragons carved on the reverse among the symbols of thunder inlaid in gold. The plate is carved in low relief with details inlaid with gold and silver.

    Signed: Yamashiro no kuni Fushimi no ju Kaneie [Kaneie of Fushimi in Yamashiro Province] [山城國伏見住金家], with Kaō. It is a fake signature (gimei).

    Size: Height: 91.9 mm; Width: 85.6 mm; Thickness: 3.4 mm; Weight: 169 g.

    This is a late Edo period, 19th-century export work to cater to the tastes of the European tsuba collectors. It does not have anything in common with the work of great Kaneie masters.

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  • Shibuichi kozuka by Hamano Haruchika with design of a Chinese scholar reading by moonlight. Edo period, 19th century.

    Shibuichi Kozuka carved in low relief (takabori, usuniku-bori) and inlaid in gold and silver with design of Shoko, reading by moonlight, thatch, pine rosettes, and fool moon. According to Henri L. Joly [LEGEND IN JAPANESE ART. London, 1908; LIB-1416 in this collection] Shoko was a Chinese student of Taoism who was so poor that he had no money to buy illuminating materials and read by moonlight. Shoko mentioned in the article about another Chinese character - Shaen, who was reading by the light emitted by glow-worms (see page 310). Signed on the back: Haruchika (春親) + kaō. Size: 97.3 mm (H) x 14.8 mm (W). Edo period, mid 19th century. NBTHK Certificate № 449542. Hamano Haruchika from Edo was a student of Haruyuki in 1848-54; Hamano School, Etchū Toyama Branch, according to M. Sesko's "Genealogy", page. 34. Most probably it is his work. Following the MFA data, it is also possible that "our" Haruchika is indeed Nara Haruchika or Tsuchiya Haruchika from Nara School; though I did not hind such artist in Markus Sesko books. However, in his "Toso-Kinko" on page 177 there is certain Shingorō who carried out his business under the name of Yanagawa Haruchika (1791-1857?)  
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  • Fuchi-kashira with a bat and fruit motif. Edo period.

    Fuchi-kashira made of shakudō carved and inlaid with gold and red copper with the design of a bat and a fruit (persimmon?). Nanako surface.

    Fuchi: 37 x 19 x 7 mm. Kashira: 34 x 16 x 5 mm. Main material: shakudō. Other metals: gold and copper. Surface treatment: nanako-ji.
     
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  • Yamagane tsuba with wisteria motif. Momoyama period.

    A yamagane tsuba of oval form with green-ish black patina decorated in usuniku-bori carving and gold iroe with wisteria (fuji) motif plus nanako-ji ground on both sides. Kozuka-hitsu-ana possibly cut later.

    Unsigned.

    Momoyama or may be even Muromachi period. Dimensions: 70.0 x 61.2 x 5.0 (center) mm
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  • Kaneie tsuba with design of ginkgo leaf and plum blossoms. Momoyama or early Edo period, c. 1600.

    A very thin kobushi-gata form iron tsuba decorated in openwork (sukashi), some openings filled with grey metal (silver or pewter) treated in a way to resemble cracked ice, ginkgo leaf to recto and plum blossoms to verso in low-relief (takabori) and gold inlay (zōgan), and unevenly folded over rim (hineri-mimi). The overall theme of the piece is linked to the icy ponds, falling ginkgo leaves and blossoming plums in the late winter.

    Size: 84 x 80 mm, thickness (center): 2 mm.

    Signed: Yamashiro no kuni Fushimi no ju Kaneie [Kaneie of Fushimi in Yamashiro Province] [山城國伏見住金家], with Kaō.

    Probably the work of Meijin-Shodai Kaneie (c. 1580 – 1600).

    The silver or pewter inlays likely a later work that may be attributed to Goto Ichijo (1791 – 1876) or one of his apprentices in the late 19th century, possibly as a tribute to the great Kaneie masters. Here is an article by Steve Waszak dedicated to Kaneie masters and this tsuba in particular.

    Kaneie

    For many tosogu aficionados, this name reigns supreme among all tsubako across Japanese history.  The first Kaneie is celebrated for many things.  He is recognized as being the first ever to bring pictorial landscape subjects to a canvas so small as that of a tsuba plate.  His skill in being able to render classical Chinese landscape themes while working with a material as unyielding as steel, and to do so with the sensitivity he does, is nothing short of astounding.   The quality of his workmanship — especially that of his exquisitely carved motif elements and the extraordinary deftness of his tsuchime (槌目 or 鎚目, hammer-blow) utilizing such thin plates — astonishes even to this day.  His sensibilities concerning the shaping of his sword guards and the presentation of the rims were no less innovative than his subject matter.  He was among the very first to regularly sign his name as a tsuba smith.  And it is likely that he served the great warlord Toyotomi Hideyoshi in the latter years of the 16th century.
    Despite the great fame and reputation of Kaneie, very little of the lives of the two men who are seen by most scholars as the “true Kaneie” tsubako of the Momoyama and earliest Edo Periods is known to us now.  They were both smiths working in steel, with occasional added soft-metal inlay (usually serving to highlight features), and both made sword guards of the same style, using subject matter focused on landscapes, allusions to historical events, or religious themes.  The first of these men is often referred to as “O-Shodai,” or Great First Generation, while the second is known as “Meijin-Shodai,” or Famous First Generation.  While some see subsequent generations stemming from these first two men, others have the O-Shodai and the Meijin-Shodai as THE two true Kaneie and make a sharp distinction between these two smiths and any others who may share the name.
    The work of the O-Shodai may appear with two different mei.  One of these is written “Joshu Fushimi Ju Kaneie,” while his work may also carry a mei reading “Yamashiro no Kuni Fushimi Ju Kaneie.”  It is thought by some scholars that the earlier works present with the “Joshu” mei, while his later works feature the “Yamashiro” mei.  However, there are only some five or six tsuba extant with the “Joshu” signature, so we should not necessarily see works with the “Yamashiro” signature as dating only to the latest years of his working life.  The answers to the questions of exactly when Kaneie might have begun his life as a tsubako, or how old he was when he moved to sign his works with the “Yamashiro” mei, will probably remain shrouded in uncertainty.
    The association between Kaneie and Toyotomi Hideyoshi is speculative, to be sure, but the circumstantial evidence is tantalizing.  The area of Fushimi is thought to have been an entirely unremarkable land prior to Hideyoshi’s building of a castle there, so it would seem unlikely that the first Kaneie would have been working in such a nondescript place, much less including the place name in his mei, before Hideyoshi’s putting it on the map, so to speak.  Why emphasize such pride of place in one’s signature unless the place itself carries a certain weight?  The name “Kaneie” translates roughly to “gold family,” which, given Hideyoshi’s notorious love of gold, would seem too much of a coincidence when combined with the explicit mention of Fushimi in the signatures.  Combine this with the consideration of what is an equally compelling relationship between the celebrated tsubako Nobuie and Oda Nobunaga (“Nobuie” means roughly “of the family of “Nobu”), whom Hideyoshi served as a top general until Oda’s demise in 1582, and the circumstantial evidence becomes even harder to deny the plausibility of.  Oda, ever the innovator, may have been the one responsible for birthing the practice of tsubako regularly signing their works.  Having a superb smith like Nobuie affix the name to the tsuba as a regular practice establishes a sort of “brand name,” a brand coming with the seal of approval of Oda Nobunaga.  It is more than possible that Nobunaga may have then used these valuable sword guards as rewards given to vassals and other important relations to honour them for their services to him, a practice that would have allowed Nobunaga to avoid having to use gold, guns, swords, horses, or land to do so.  The awarding of a magnificent Nobuie tsuba to a deserving warrior, an appreciated ally, or a family member would bring honour to the recipient, of course, but would also honour the maker of the sword guard, and even the giver of the object. Such a way of thinking would be absolutely typical of him, and given that both Oda Nobunaga and Nobuie were men of Kiyosu in Owari in the early Momoyama Period, it does not strain credulity to imagine that the above dynamic could have occurred in just this way.  If indeed it did, Toyotomi Hideyoshi is unlikely to have let this pass unnoticed.  He may even have been so honoured himself!  When he rose to power very shortly after Oda’s death, then, and when he reinforced and consolidated that power in the late 1580s and early 1590s, which included the building of the castle at Fushimi, perhaps he sought to emulate the Oda vision and practice of establishing a “royal tsubako.”  If so, Kaneie would have been that smith.
    As noted, this scenario is speculative, and not a little romantic.  This does not mean, however, that it is in fact not likely, for there would be a number of coincidences involved for it to be entirely false.
    Tsuba scholars will say that Kaneie’s skills in the making of his sword guards indicate an armour-making background.  This is an interesting viewpoint, but one can’t help but wonder how many armourers were possessed of such fluent literacy in lyrical Chinese historical tales that they could then represent them as motifs on steel plates.  Kaneie subjects often are in the form of Chinese landscapes and allusions, as noted, one of which — The Eight Views of the Xiao and the Xiang — was very well known as a famous subject of Chinese painting and poetry from the Song Dynasty.  There exist Kaneie tsuba which depicts at least some of these “views,” and it seems unlikely that if one or more of them were to be created, not all of them would be, in a sort of “series.”  The cultural and literary fluency Kaneie would seem to have had, then, may suggest a Buddhist background, and indeed, some of the subjects seen are explicitly Buddhist in nature.  Perhaps his background then, somehow offering a dovetailing of metalwork and Buddhist teachings; in any event, we are all the richer for at least some of the works of Kaneie to have survived to reach us today.
    One of the hallmarks of Kaneie tsuba (real ones) is the extreme thinness of the plate, combined with utterly superb tsuchime expression of that plate.  To be able to hammer the plate to achieve such strength of expression while the plate is so thin is seen by the Japanese as practically miraculous.  A notable and important kantei point between the early masterpieces by the two “Shodai” Kaneie and the tsuba made by followers is this thinness of the plate.  Another kantei point:  because the plate is so thin when raised areas representing motif elements are present, they are inlaid into the plate, because trying to carve them from such a thin plate would be practically impossible:  the likelihood of piercing the plate would be high, and the plate in that area, even if not pierced, would be significantly weakened by trying to manage the raising of a motif element from the plate.  In real Kaneie works, then, one would expect any raised motif elements to be inlaid.
    Other highlights:  the “Shodai” Kaneie are famous for the kobushi-gata (拳形) or “fist-shaped” design in their work, but despite this, there actually aren’t that many extant sword guards boasting this shape.  Another feature for which the Kaneie are justly famous is their folding over of the lip of the rim onto the plate in a very tasteful manner, just here and there, rather than uniformly across the tsuba.  However, again, this feature is actually not commonly seen, either.  The combination, then, of a kobushi-gata shape with the rim folded over in just a few areas is that much rarer.
    Which brings us to the featured piece.
    Here is a Kaneie tsuba, a “Meijin-Shodai” Kaneie, which presents with a very thin plate, being between 1.5 and 2mm in thickness.  The motif elements are inlaid, as we should expect.  The sugata (姿, shape) is Kobushi-gata with the rim folded over in only a few places, representing a relatively infrequently encountered form, as stated.  The tsuba here is fortunate not to have any added hitsu-ana, unlike many or most other Kaneie do.  The sukashi elements are fascinating to consider, being difficult to determine the meaning of; however, the raised elements clearly point to a seasonal motif, with cherry and plum blossoms on the omote for Spring, and ginkgo on the ura for Fall.  The inlaid metal in two of the openings — silver, shibuichi, or pewter, perhaps — is very likely a later addition, probably 19th-century, and more specifically, late-19th-century.  The finishing on these inlaid portions has all the hallmarks of Goto Ichijo workmanship.  Namely, the treatment of the surface of the inlay to resemble fallen snow (in the Japanese sense of things) is expressed in a very Ichijo sense of things, and, given the great importance of Kaneie tsuba, and the seasonal expression the motif of the guard has, it is plausible that the inlay is Ichijo work or that of one of his top students.  In any event, this inlay complements the rest of the tsuba beautifully.  The inlay also resembles the art of kintsugi (金継ぎ, golden joinery) or the Japanese practice of ceramic repair using lacquer when a piece is particularly special or important.  In this way, a nod is given to Tea Culture, too, creating a wonderful blending of associations and allusions, typical of the highest Japanese aesthetic sense.
    At 8.4cm, the tsuba is of an excellent size and is in great condition (no rust, no deep rust pitting, no fire damage).  There is, intriguingly, one small sign of battle damage at 6:00 on the guard:  it would seem a sword blow cut into the tsuba at the rim, and penetrated slightly into the plate.  The superb repair represented by a little stitch or two right at the rim and along a few millimetres of the plate is visible on very close inspection.  The repair is old, probably nearly contemporary with when the tsuba was made.  Given the high status of Kaneie in their lifetime (as tsubako for Hideyoshi, one might imagine their importance), and given the obvious high quality of this piece, it is not surprising that the finest repair efforts were put into its care.
    The name Kaneie justly enjoys its fame and accolades as pre-eminent among the tens of thousands of tsubako in Japanese history.  We are fortunate indeed to have had a small number of the works of the early masters survive to this day.  The first of their kind, and as most scholars and aficionados would wholeheartedly agree, the best of their kind, Kaneie sword guards remain among the very finest examples of the Japanese metal-working traditions.
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  • Shakudō tsuba with insects and grass motif. Edo period.

    Shakudō tsuba of the slightly vertically elongated round form (nagamaru-gata) decorated by gold in flat inlay (hira-zōgan) with three insects (cricket, locust, and praying mantis), grass and dewdrops motif. Kogai hitsu-ana is plugged with gilded soft metal. Height: 70.2 mm; width: 66.4 mm x Thickness at seppa-dai: 4.5 mm. Edo period (from ca. 1700 to ca. 1850) Unsigned. Attributed to Kaga School or Murakami School. Almost identical tsuba (no dewdrops, though) is illustrated and described at page 60 of Kokusai Tosogu Kai. 7th International Convention & Exhibition, November 1st, 2011 at Tokyo National Museum, page 60. It is attributed to the Kaga School, Mid Edo period (Late 17th - early 18th century). Dimensions: 70.5 x 66 x 4.5 mm. "The rich black shakudo plate has been slightly lowered (dished out) and then polished. Gold insects crawl amongst grasses, depicted by Kaga style hirazogan (flat inlay). One tendril of the mantis overlaps onto seppa-dai. The mantis boldly looks out from the tsuba in a curious way. This style of Kaga tsuba was popular during the Genroku era (1688-1703)."

    7-U17. Ron Hartmann Collection.

      Another source is Japanese Sword Fittings. A descriptive catalogue of the Collection of G.H. Naunton, Esq., completed and illustrated by Henri L. Joly, - 1912:
    Kanazawa in Kaga was a centre of fine metal work during the whole of the Tokugawa period. At first the inlayers of Fushimi following the Daimyo Maeda went to Kanazawa, then some of the Gotō masters proceeded from Kyoto for short periods to work for the Daimyo, so that their influence was strongly impressed upon Kaga work..." A somewhat look-a-like tsuba is illustrated at plate XXVIII, Kaga Inlay, №653 with the following description at page 52: "Shakudō, inlaid with five insects in gold: crickets, praying mantis, grasshopper, in the style of Takagawara Ujitsugu.
    According to M. Sesko, Ujitsugu was a master from Katsuki and Kaneko School in Kaga, son of Ujihira. Ujihira's father Ujiyoshi died in 1802. This brings us to the mid-19th century, instead of mid-18th or earlier. On the other hand, a very much look alike specimen at MFA collection (ACCESSION NUMBER 17.1061) has the with the following description: Edo period. Late 18th–early 19th century. Murakami School. Main material: shakudo; other metals: gold; decorative technique: iroe hirazogan.

    MFA # 17.1061

    A detailed account of Murakami school can be found at The Japanese toso-kinko Schools.// Lulu Inc., 2012 by Markus Sesko, on pages 235-239. All-in-all, it's either Kaga School or Murakami School, either ca. 1700 or ca. 1850. Quite a range! SOLD
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  • Iron tsuba with skull and grasses motif. Edo period.

    An iron tsuba of round shape inlaid with shakudō, gold, and silver with a motif of a weather-beaten (nozarashi) skull and grasses growing beside as well as through the eye-pit, and a crescent moon above the scene. Grasses on the reverse. Unsigned. Dimensions: 71.7 x 70.6 x 4.2 mm Reference: Skull, bones and grave markers SOLD  
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  • Nobuie tsuba with the eight-petalled lotus motif. Momoyama period, c. 1600.

    Iron tsuba in a form of an eight-petalled blossom (lotus) form, petals separated by linear low-relief carving, both hitsu-ana filled with gold plugs, the surface decorated with tsuchime-ji, rich grey-brownish patina, niku from 4 mm in the centre to 6 mm at the rim. Strong (futoji-mei) Nobuie [信家] signature to the left of nakago-ana. Attributed to the 2nd generation of Nobuie masters (Nidai Nobuie).

    Size: outer diameter  84 mm, thickness at centre: 4 mm, at rim: 6 mm. Wight: 167 g.

    Signed: Nobuie [信家]

    Probably the work of Nidai Nobuie (c. 1600).

    The gold plugs are likely a later work.
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  • Copper tsuba with a cormorant fisherman motif by Ichinomiya Nagatsune, circa 1750.

    Copper (suaka) tsuba of oval form carved in relief, pierced and inlaid with soft metals (gold, shakudō, shibuichi or silver) with a cormorant fisherman (ushō) and moon motif on the face and a boat among the bank reeds on the reverse. Signed: Nagatsune. Box inscription: Tsuba with cormorant fishing, made by Nagatsune. Dimensions: 62.7 mm x 53.2 mm x 4.2 mm (at seppa-dai) Edo period: 18th century. Nagatsune (1721-1787), 1st generation master of Inchinomiya School in Kyoto, adopted son of the gilder Nagayoshi, student of Yasui Takanaga [M. Sesko 'Genealogies', p. 26]. Detailed account of the school is given at The Japanese toso-kinko Schools.// Lulu Inc., 2012 by Markus Sesko, pp. 104-108. Nagatsune's biographical sketch can be found there on pp. 104-106. "What Sōminis in the East (Edo), Nagatsune is in the West (Kyōto)." “Since Nara period, Japanese fishermen in small boats have used cormorants (u) to catch river fish at night, binding the necks of the birds so that the fish are not swallowed. […] The bird and the work it performs are symbols of selfless devotion to one’s master and keen eyesight.” – from Merrily Baird 'Symbols of Japan. Thematic motifs in art and design.' //Rizzoli international publications, Inc., 2001; p. 104. See also in this collection: TSU-241 and TSU-0096

    The design was popular among the tsuba makers. We find one in the Alexander G. Moslé collection [Japanese Sword Fittings from the Alexander G. Moslé Collection; Sebastian Izzard LLC, 2004, page 90, №123] signed Nagatsune with kaō: Tsuba with cormorant fisherman, moon, and boat. Squared-oval shibuichi plate, slightly raised rim, engraved, pierced, and inlaid with soft metals in relief. 6.7 x 5.8 cm.

     

    Alexander G. Moslé collection  №123.

    Another reference: Lundgren Collection, 1990, page 86 №207:  Sword guard with design of ushō (person who fishes with cormorants). Signed by Nagatsune. Ichinomiya school. 6.45 x 5.95 x 0.40 cm. Polished shibuichi taka-bori relief, gold and silver inlay. Edo period, 18th century.

    Lundgren Collection №207:

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  • Iron tsuba with the Sennins motif. Edo period, ca. 1700.

    Iron tsuba of oval form with the design of two immortals (Gama Sennin with the toad upon his head and Tekkai Sennin with his iron crutch) beside a waterfall carved in low relief with a high relief effect (takabori) and with details inlaid in gold. A waterfall carved on the reverse. Nakago-ana is plugged with copper sekigane. Unsigned. Allegedly, Mito School.

    Edo period, ca. 1700.

    Size: Height: 87.0 mm; Width: 82.8 mm; Thickness: 4.4 mm; Weight: 179 g.

    No longer available.
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  • Iron tsuba with a cormorant fisherman motif. Edo period.

    Mokkō form iron tsuba carved in relief and inlaid with soft metals (copper, gold, silver) with the design of a cormorant fisherman on the face and a boat on the reverse. Unsigned. Dimensions: 77 mm x 69 mm x 3.0 mm (at seppa-dai) Edo period: 18th or 19th century. "Since Nara period, Japanese fishermen in small boats have used cormorants (u) to catch river fish at night, binding the necks of the birds so that the fish are not swallowed. [...] The bird and the work it performs are symbols of selfless devotion to one's master and keen eyesight." - from Merrily Baird. Symbols of Japan. Thematic motifs in art and design. Rizzoli international publications, Inc., 2001; p. 104. See also in this collection TSU-0212 and TSU-0241.  
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  • Iron tsuba with spider motif by Yatsushiro Jingo, Higo school. Late Edo period, ca. 1840.

    Very fine iron plate well hammered and turned, tapering and rolling to the rounded edge. Tsuba of a cross-form mokko shape (juji-mokko-gata) decorated with spider web inlaid in gold on both sides. The face is carved with a silver-damascened spider holding a gold-damascened butterfly (nunome-zōgan). Kozuka and kogai hitsu-ana of inome (boar's eye) form. The udenuki ana may be of purely decorative purpose.

    Signed: Yatsushiro [八代] Jingo Saku [甚吾作], a signature of Chisokutei Amatsune, one of the last Jingo masters.

    Late Edo period, Tenpō era, 1830-1844.

    Size: Height: 77.5 mm; Width: 72.8 mm; Thickness: 4.1 mm; Weight: 141 g.

    In a custom wooden box.

    Here is what Markus Sesko wrights in his book The Japanese toso-kinko Schools, 2012, on page 374:
    An artist who worked in the style of the Shimizu-Jingo school was Chisokutei Amatsune (知足亭天常). He was actually a samurai from Yatsushiro who made tsuba as a sideline. An extant old hakogaki of one of his pieces mentions that he died in Edo in the sixth month of An'ei eight (1779) at the age of 73. But the era of An'ei is probably wrong because Chikokutei (sic) is today dated by most experts around Tenpō (1830-1844). His relationships with the Shimizu school or under which Jingo master he had studied are unknown. From the point of view of production time and the finishing of nakago-ana, he is rather associated with the 5th and last gen. Shigenaga who died in the seventh year of Kaei (1854). A peculiarity of  Chisokutei was that he signed his Jingo copies with  "Yatsushiro Jingo Saku" ([八代甚吾作) but added the small syllable "chi" (チ) or the character "Chi" (知) for "Chisokutei" to identify them as copies.
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