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Iron tsuba of mokko form (quatrefoil) decorated with a pair of cherry blossoms (sakura) in small openwork (ko-sukashi) and inlaid in brass (suemon-zōgan) with designs of waves, distant pines, chrysanthemum flowers in halves, tendrils and leaves, lightning or thunder symbol (inazuma), flying geese and family chrests (mon): two interlocked rings (wachigai) on the face, and three encircled stripes (maru-no-uchi-ni-mitsuhikiryo) - kamon of the Kikkawa clan - on the reverse. Hitsu-ana outlined with inlay of brass wire. Surface treated with lacquer. Copper sekigane. Though some consider this type of tsuba to resemble Heianjo school, “...the brass trim around the hitsu-ana is a characteristics of Ōnin work” [Japanese sword guards. Onin – Heianjo – Yoshiro. Gary D. Murtha. GDM Publications, 2016; p. 27.]. The Ōnin origin is reinforced by scattered ten-zōgan elements here and there through the plate. It is possible that the tsuba was initially of round form and later trimmed to mokko shape. Mid Muromachi period; 15th century. Dimensions: Height: 87.2 mm; Width: 87.9 mm; Thickness at seppa-dai: 3.6 mm. -
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. -
Iron tsuba of octafoil form with design of rudder (kaji) and lake in openwork (sukashi) outlined with brass wire. Thin plate also decorated with three concentric circular rows of brass dots (nail heads) in ten-zōgan. Center of the plate outlined with the inlaid circular brass wire. Cut-outs for kozuka and kogai probably added later. Slightly raised rim between the indentations (suki-nokoshi-mimi). The inlaid metal of red-ish hue, so it may be copper, not brass. Sekigane, visible on the NBTHK paper photo, are missing, possibly removed by a previous owner. Muromachi period. Ōnin school. Unsigned. Dimensions: 81.2 mm x 81.8 mm x 2.7 mm. Weight: 79.0 g. Large nakago-ana: 34 mm high and 10 mm wide. NBTHK certificate №455786: Hozon. Note regarding design: it was quite hard to interpret the big oval opening. The first suggestion was 'sea cucubmer', and it was based on a design published by Kazutaro Torigoye [Kodogu and tsuba. International collections not published in my books (Toso Soran), 1978] on page 202: Katchūshi tsuba: Sea cucumber and butterfly. Look and judge yourself:The second suggestion - 'lake' - came from [Iron tsuba. The works of the exhibition "Kurogane no hana", The Japanese Sword Museum, 2014], page 14 №5:
Torigoye: sea cucumber and butterfly.
Opening on my tsuba looks more like the 'lake'. Also, rudder and lake make more sense than rudder and sea cucumber. At least to me...
Ko-Katchūshi tsuba: Lake and pine.
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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 with design of water plantain (omodaka) and wild goose in openwork (sukashi). Slightly rounded, square rim. Copper sekigane. Kyo school. Late Muromachi period: Early 16th century (Tenbun era) [Sasano's attribution]. Height: 76.2 mm. Width: 75.8 mm. Rim thickness: 5.3 mm. Center thickness: 4.5 mm. Provenance: Sasano Masayuki Collection, № 68: "The water plantain (omodaka) first appeared as a design for sword fittings in the Heian period. From such early beginnings, this decorative plant has shared a long history with the samurai. Also known as shogun's grass (shogununso), it was held in high esteem as a symbol of victory". The same tsuba was found at Japanese Swords and Tsuba from the Professor A. Z. Freeman and the Phyllis Sharpe Memorial collections. Sotheby's, London, Thursday 10 April 1997, page 22, item 60, saying that this is a "Kyo-sukashi tsuba, early to middle Edo period (late 17th/18th century) [Sotheby's attribution], and that it represents "a small bird among omodaka and aoi plants". -
Iron tsuba of slightly elongated round form decorated with three pairs of snowflake-form small perforations (ko-sukashi), each outlined with brass wire; five concentric circular rows of dots inlaid in brass or copper ten-zōgan (some dots are missing). Hitsu-ana of oval form. Ōnin school. Unsigned. Late Muromachi period. Dimensions: 75.6 mm x74.6 mm x 3.0 mm. Weight: 78.0 g. Old NBTHK certificate (green paper): Tokubetsu Kicho - "Extraordinary Work". Unlike most Ōnin ten-zōgan tsuba this one does not have circular brass wire inlay inside the dots area; neither it has brass trim around seppa-dai or hitsu-ana. -
Relatively thick iron tsuba of rounded square form with slightly elevated rim decorated in carving (sukidashi-bori) and yellow brass (shinchū) inlay (suemon-zōgan) with legendary creatures (humans with cow heads) in a pine tree forrest on the face, and a horned man with a stick hunting a rabbit in the woods on the reverse. Large hitsu-ana possibly cut off later on. In the beginning of the 20th century such tsuba were usually attributed to Fushimi-Kaga school. This one may be attributed to either Ōnin or to Heianjō. The latter seems most plosible because of the thick web and dull patina. The technique may also be called "shinchū-zōgan". Momoyama or early Edo period. Unsigned. Dimensions: 72.3 x 68.4 x 4.1 mm -
Iron tsuba of 14-petal chrysanthemoid form (kikka-gata) with alternating solid and openwork petals, the latter outlined with brass wire (sen-zōgan) and the former decorated with brass dots (ten-zōgan), on both sides. Seppa-dai is outlined with brass wire. Small hitsu-ana probably cut later. Late Muromachi period (Ca. 1514-1573). Ōnin school. Unsigned. Dimensions: 87.0 x 87.8 x 3.2 mm. Similar tsuba in this collection: TSU-0420.2022
Other similar specimens can be found at:
Henri L. Joly and Kumasaku Tomita, Japanese art and handicraft, "Swords and sword fittings" section, sub-section “Inlays of Ōnin, Kyoto, Fushimi-Yoshiro, and Kaga Province”, Plate CX, #128: Iron, chrysanthemoid, thin guard with alternate petals covered with brass spots. Ōnin style. 16th century.
Compton Collection, Part I, #7: The iron plate is of flowerhead shape with each of the fourteen petals alternating between solid and openwork. The apertures are outlined in inlaid brass as is the seppa-dai and hitsu-ana. The remainder of the plate is similarly inlaid with plum flowers, birds, dots of dew, Genji mon and sambiki mon. 87 mm x 85 mm x 3.5 mm.
Japanese art and handicraft, Plate CX, #128.
And at Jim Gilbert website: Onin ten zogan tsuba, mid Muromachi. Size: 7.7 cm T x 7.6 cm W x 0.3 cm. Iron plate with brass inlay. Kiku gata. The Ōnin ten zogan style is characterized by the decoration of small brass “nail heads” and wires on a thin iron plate. The iron often has a soft, granular texture and seems to be prone to rust. Unfortunately, this rust will undermine the brass inlay and result in the loss of some of the inlay. This example is in reasonably good but far from perfect condition. As is often the case, the backside is better preserved, with the wire around the seppa-dai and kozuka-ana, and all petals still intact.
Compton Collection, Part I, #7.
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The thin iron plate of round form and black colour carved in sukidashi-bori with the design of rocks, waves, bridge, mountain pavilion and 5-storey pagoda under the moon, on both sides, alluding to Todai-ji temple in Nara. Slightly rounded rectangular hitsu-ana probably pierced later. Very narrow raised rim as usual in katsushi tsuba. In a modern wooden box.
Late Muromachi period, 16th century. Dimensions: 81.1 x 79.5 x 3. mm (seppa-dai), 2.2 mm (base plate), 4.4. (rim).Reference: “Art of the Samurai” on page 232, №140: ”Kamakura tsuba with Sangatsu-do tower and bridge. Muromachi period, 16th century. 83 mm x 80 mm. Unsigned. Tokyo National Museum. The mountain pavilion and bridge carved in sunken relief on the iron tsuba – both part of Tōdai-ji, a temple in Nara – are detailed in fine kebori (line) engraving. As a result of the chiselling used to create the relief, the ground of the piece is relatively thin”. Also page 41 in Tsuba Kanshoki. Kazutaro Torogoye, 1975 [LIB-1480.2018].
This tsuba is very much similar to TSU-0384. -
Iron tsuba with brown patina in mokkō-gata form with woven design. Size: 72 x 67 x 5 mm. -
Kyo-sukashi iron tsuba of round form with design of hollyhock (aoi ) and wild geese. Slightly rounded rim. Copper sekigane. Momoyama period, late 16th - early 17th century. Height: 82.6 mm, Width: 82.1 mm, Thickness at seppa-dai: 4.5 mm. NTHK (Nihon Token Hozon Kai) certified. -
Iron tsuba of oval form with the motif of horse trappings in openwork (sukashi). Copper sekigane. Iron bones (tekkotsu) on the rim.Size: 80.4 x 75.8 x 5.2 mm
NBTHK Certificate №454567, allegedly saying that it is Akasaka School, Muromachi period. A look-a-like tsuba in Robert. E. Haynes Catalog #7, 1983 on page 57 under №48 is described as follows: "A masterpiece second period Owari sukashi tsuba. The plate is of beautiful color and quality almost like velvet. The design is very hard to discern, it might be the horse trappings, or even a moon. The style and type of Owari tsuba shows the great tradition of the Momoyama period and why it was the renaissance in time, as well as the arts produced, through the long history of all Japanese art. Ca. 1580. Ht. 7.7 cm, Th. (center) 5.5 mm, (edge) 5.25 to 5.75 mm."I believe we can safely attribute this tsuba to Owari School, c. 1580.
Robert. E. Haynes Catalog #7, 1983, p. 57, №48.
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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 the round form (丸型, maru–gata), decorated with brass flat inlay (平象嵌, hira-zōgan) of bellflowers, leaves, and vines on both sides, inlaid brass is carved in low relief; wide rim (dote-mimi) also inlaid; the plate is pierced with hitsu-ana (probably original); nakago-ana plugged with copper sekigane. Dimensions: Height: 84.1 mm; Width: 82.0 mm; Thickness (centre): 2.8 mm; mimi is 11.8 mm wide and 4.7 mm thick. Produced at the end of the 16th century, in the Momoyama period (1674–1703). -
Iron tsuba of round form decorated with chrysanthemums, pine cones and needles, pampas grass, vines, cherry blossoms, and wild geese in brass inlay (suemon-zōgan) and pierced with designs of water clover (denjiso) and half bellflower (or karahana) to the left and to the right of nakago-ana as well as double bars above and below nakago-ana (possibly with the meaning of number 2 or ordinal 2nd). Most probably the sukashi elements here are the family crests (mon). Unsigned. Ōnin school. Muromachi period; 15th or 16th century. Height: 82.1 mm; Width: 80.9 mm; Thickness at seppa-dai: 2.4 mm NBTHK # 2003827: Tokubetsu Hozon Tosogu Kanteisho (特別保存刀装具鑑定書) - "Extraordinarily Worthy of Preservation". -
Iron tsuba of oval form carved and inlaid in gold and copper with cormorant fisherman in disguise. Unsigned. Dimensions: 67.7 mm x 61.5 mm x 3.8 mm (at seppa-dai) Edo period: 18th 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 TSU-0212 and TSU-0096 -
Iron tsuba of four-lobbed mokkō form decorated in brass and shakudō inlay on the face with design of rotten skull, fly, maple leaf, pine cones and needles, and on the back with design of rotten skull, wild boar, pine cones and needles. Scattered brass dots on both sides. Hitsu-ana possibly cut off later. Surface has traces of lacquer (urushi). Momoyama period. Dimensions: 67.3 x 61.5 x 4.3 mm A similar example can be found at Tsuba Kanshoki by Kazutaro Torogoye, 1975 on p. 61: "Heianjōzōgan tsuba. No sig. Iron: Pine-cone, seeds, ants & rock, brass zōgan. Kakumimi: C. 1.5 bu. Age: Momoyama. Sup. - Early work. Interest."
Tsuba Kanshoki, 1975, p. 61: Heianjō tsuba, Momoyama Period.
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Iron tsuba of round form with design of double crossbar and two family crests (hikiryo-ni-kamon) in openwork (sukashi). Squared rim. Copper sekigane. Owari school. Early Edo period: Late 17th century (Kanbun / Enppo era). Height: 80.9 mm. Width: 80.8 mm. Rim thickness: 5.0 mm. Center thickness: 4.6 mm. Provenance: Sasano Masayuki Collection, № 172: "A paulownia and a clover are diagonally opposite two crossbars. This expressive design suggests a Higo origin, but the iron and the finish are certainly of the Owari school. Work of this nature may have been influenced by Hayashi Matashichi (1613-1699)." -
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 -
Iron tsuba of round form with design of diamond-shaped family crest (waribishi-mon) in openwork (sukashi). Bevelled, raised rim. Kozuka-hitsu-ana plugged with tin or lead. Ko-Katchushi school. Early Muromachi period: Early 15th century (Oei era). Size: Height: 89.3 mm. Width: 89.0 mm. Rim thickness: 4.3 mm. Center thickness: 2.9 mm. Provenance: Sasano Masayuki Collection, № 41: "In this tsuba, a family crest incorporating four lozenges sits upright on the right side of the nakago-ana. The straight lines of the lozenge add substance and power. Initially, the crest creates confusion regarding the age, yet the overall impression is one lacking in vigor and probably dates rather later than Nanbokucho period". -
The chrysanthemoid (kiku-gata) iron plate with polished surface decorated with arabesque (karakusa) and paulownia (kiri) leaves and flowers in brass, copper and silver flush inlay (hira-zōgan) on both sides. Some of the inlay goes over the edge. Kozuka- and kogai-hitsu-ana are filled with lead plugs. Sekigane of copper. Chrysanthemum and paulownia are the symbols of imperial family. The face is signed: Izumi no Kami to the right of nakago-ana, and Yoshiro on the left; the back is signed Koike Naomasa. His signed work is considered by many experts to have been made-to-order only. The original wooden box (tomobako) with inscription (hakogaki) signed by Dr. Kazutaro Torigoye and dated Showa 39 (1964). The late Muromachi or Momoyama period, 16th century. Dimensions: 89 mm x 84 mm x 3.6 mm; Weight: 170 g. Hakogaki lid: Yoshirō kikka-gata Hakogaki lid inside: Iron, signed on the omote: Izumi no Kami – Yoshirō; on the ura: Koike Naomasa. Kikka-gata, pronounced maru-mumi, two hitsu-ana, karakusa, and kiri design in brass, silver, and suaka hira-zōgan. Height 8.5 cm, thickness 3.5 mm. Herewith I judge this work as authentic. On a lucky day in July of 1964. Torigoe Kōdō [Kazutarō] + kaō According to Robert Haynes [Catalog #7, 1983; №32, page 42-43] "This full form of the signature is seen very rarely". His example, illustrated in that catalogue, measures: height = 86 mm, thickness at seppa-dai = 3.75 mm and signed Izumi no Kami Yoshiro on the back and Koike Naomasa on the face. The further description of his specimen by Robert Haynes:"Early signed example of the work of Koike Naomasa. The kiku shape iron plate is well finished. The flush inlay is brass, for the scroll work on both sides, with the leaves and kiri mon in brass, copper and silver with strong detail carving. Some of the inlay goes almost over the edge, which is goishi gata. The large hitsuana are plugged in lead with starburst kokuin surface design. [...]The face is signed in deep bold kanji: Koike Naomasa; the back is signed: Izumi no Kami, on the right and Yoshiro on the left. There are one or two small pieces of inlay missing. Sold by Sotheby London, Oct. 27, 1981, lot 368. Height = 86 mm, thickness (seppa-dai) = 3.75 mm, (edge) = 4 mm."
Another similar example presented at: "Tsuba" by Günter Heckmann, 1995, №T55 — "Designation: Koike Naomasa. Mid Edo, end of the 17th century. Iron, hira-zogan in brass, copper, silver and shakudo, katakiri-bori. Tendrils and leaves. 87.0 x 78.0 x 4.0 mm." Reference: Japanische Schwertzierate by Lumir Jisl, 1967, page. 13. [SV: Actually, his tsuba is signed Izumi no Kami Yoshiro on the back; and Koike Naomasa on the front, exactly as Robert Haynes's tsuba. Dating this tsuba Mid-Edo, 17th century may be considered a misattribution]. More details regarding the Yoshirō tsuba. -
Iron tsuba of round form with dam-shaped rim (dote-mimi) pierced with hitsu-ana and two udenuki-ana (probably cut later on) decorated in flat inlay (hira-zōgan) with vines and symbols of thunder or lightning (possibly - family crest, mon). Hitsu-ana and nakago-ana with copper sekigane.
Ōnin or Heianjō school, or, possibly Kaga or Umetada school. Momoyama period or earlier (Muromachi), 16th century. Unsigned.Size: 64.5 x 63.8 x 2.2 (center), 4.2 (rim) mm.
Provenance: Lundgren Collection: [Japanese sword-fittings and metalwork in the Lundgren Collection. Published by Otsuka Kogeisha Co., Ltd., Tokyo 1992], №31; The Lundgren Collection of Japanese Swords, Sword Fittings and A Group of Miochin School Metalwork. Christie's Auction: Tuesday, 18 November 1997, London. Sales "GOTO-5881". Christie's, 1997, №2. Lundgren's description at Christie's: Heianjo tsuba. Unsigned. The circular plate decorated in brass hirazogan with flowers, plants and symbols of thunder, dote mimi and udenuki ana, late Muromachi period (16th century). Tokyo 1992 description: Sword guard with design of flowering plants and frets in inlay. Unsigned. Heianjo inlay school. 6.35 x 6.3 cm, thickness of rim 0.40 cm. Iron. Flat brass inlay. Muromachi-Momoyama Period, 16th century. Provenance: The Second John Harding. A somewhat look-a-like pieces can be found in various catalogues. The one in Naunton Collection, №172, is signed: Umetada of Yamashiro: "Iron, small, almost circular, with raised oval rim, inlaid all over with leaves and scrolls in brass hirazōgan." -
Iron tsuba of round form decorated with dragonfly (tombo) and comma (comma-like swirl, tomoe) in openwork (sukashi) outlined with brass wire. The plate decorated with 5 concentric circular rows of brass dots in ten-zōgan. Center of the plate outlined with the inlaid circular brass wire (sen-zōgan). Ōnin school. Unsigned. Mid Muromachi period, middle of the 15th century. Dimensions: Diameter: 89.5 mm, thickness: 3.1 mm. Notes regarding design: "According to various sources, the dragonfly (tombo) 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." [Merrily Baird. Symbols of Japan. Thematic motifs in art and design. Rizzoli international publications, Inc., 2001, p. 108]. "The dragonfly (tonbo), was also called kachimushi in earlier times, and due to the auspicious literal meaning "victory bug" of the characters of this word it became a popular theme on sword fittings." [Iron tsuba. The works of the exhibition "Kurogane no hana", The Japanese Sword Museum, 2014, p. 13]. Helen C. Gunsaulus' description of the dragonfly emblem is as follows: "This motive, the dragon-fly (akitsu), is generally accepted as a symbol of the kingdom of Japan, and the origin of the idea is traced to the legend recounted in the Kojiki and Nihongo of the Emperor Jimmu's view of the island from mountain top. He is said to have thought the kingdom looked like a dragon-fly touching its tail with its mouth. From this it received its name Akitsu-shima... etc." -
Iron tsuba of round form, tapering from centre to the rim, decorated with eight roundels – circular emblems of flowers and/or family crests (mon) made of cast brass, pierced and chiselled in kebori, and with flat brass inlay (hira-zōgan) of water plantain (omodaka) and seaweed all over the plate. Hitsu-ana outlined in brass. Four positive silhouette roundels are 3-, 6-, 9-, and 12 – pointing crests/flowers; four negative silhouette roundels – bellflower, cherry and plum blossoms. Yoshirō school (Kaga-Yoshirō). Unsigned. The Momoyama or early Edo period, end of the 16th to the first half of the 17th century (1574-1650). Size: H: 88.3 mm; W: 88.7 mm; Thickness 4.0 mm (Seppa-dai), 3,2 cm (rim). Other Kaga-Yoshiro tsuba in this collection: TSU-0334: 7.7 cm; TSU-0342.2017: 89.6 cm; TSU-0344: 8.1 cm; TSU-0329: 8.0 cm; TSU-0376.2018: 8.1 cm; TSU-0379.2018: 8.2 cm. We see that the usual size is about 8 cm; larger pieces, such as this one and TSU-0342.2017 dedicated to Hachiman, are rare. Article about Yoshiro tsuba. -
A cast iron painted 19th century style money box in the form of a negro, the arm articulated to insert coins. -
Iron tsuba of round form with design of slanting rays of light (shakoh) or clock gear (tokei) in openwork (sukashi). Commonly considered a Christian / Jesuit motif. Copper sekigane. According to seller, Owari School. Haynes writes that most tsuba of this design are Owari (Tsuba. Aesthetic Study). Unsigned. Edo period. According to F. Geyer, diamond-shaped vertical posts and long rays suggest that this tsuba was probably made between 1605 and 1630.Size: 76.9 x 76.0 x 5.4 mm
For information regarding shakoh tsuba see article 'Kirishitan Ikenie Tsuba by Fred Geyer at Kokusai Tosogu Kai; The 2nd International Convention & Exhibition, October 18-23, 2006, pp. 84-91. -
Iron tsuba of four-lobbed mokkō form (possibly it was circular and then altered to produce the mokkō) with slightly raised rim decorated with three kukurizaru ('tied up monkey' toy) in openwork (sukashi) next to kogai-hitsu-ana; inlaid in red-ish copper (suaka) with the design of bamboo stems and leaves, and shapeless masses which most probably represent snow. Kozuka-hitsu-ana plugged with shakudo. Probably original kogai-hitsu-ana. Copper sekigane. Surface still covered with lacquer (urushi). Late Muromachi period (1514-1573). Size: 86.1 x 85.8 x 2.6 mm NBTHK Certificate №4002543: Hozon - "Worthy of preservation" (Attribution: Mumei Heianjō Zōgan) -
Large and thin iron tsuba of round form (width > height) decorated with the design of a tiger sheltering in bamboo in suemon-zōgan brass inlay. A fragment of tail inlay is missing. Bamboo leaves on the reverse. According to Merrily Baird [Symbols, p. 166], tiger sheltering in bamboo symbolizes "weak giving shelter to the strong". Momoyama period. Unsigned. Dimensions: 90.8 x 91.2 x 3.4 (center), 3.1 (rim) mm. Custom wooden box. NBTHK Certificate № 4001593. -
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 a spindle shape (tate-itomaki-gata) pierced and inlaid in brass suemon-zōgan with bellflowers, vines and foliage, and a dragonfly in the upper right corner, on both sides. One of the hitsu-ana plugged with grey metal (led or pewter), nakaga-ana fitted with copper sekigane. The shape of the tsuba may be interpreted as four saddles connected to each other by horse bits. Such a design of sukashi and zōgan is usually attributed to Kaga Yoshirō branch of Heianjo school, active in the second half of the 17th century (c. 1650-1700). Size: 95.9 mm diagonal; 4.1 mm thickness. Tokubetsu Kicho certificate № 332 issued by NBTHK on October 12, 1965. -
Iron tsuba of round form with design of butterfly (left) and dragonfly (right) in openwork (sukashi), outlined with brass wire. Thin plate also decorated with five concentric circular rows of brass dots (nail heads) in ten-zōgan; brass wire outlines of the center of the plate. School: Ōnin ten-zogan. Late Muromachi period, 16th century. Diameter: 88 mm, thickness at seppa-dai: 3.1 mm. Another tsuba of similar design, Tōshō school, is illustrated in this collection; see TSU-0353.Reference to the design has been found at "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, item 37: "pierced with two large formalised butterflies...".
TSU-0353: Tōshō tsuba, Muromachi period.
A kamakura-bori tsuba. Momoyama period. Freeman & Sharpe Memorial Collections.
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Gomoku-zōgan tsuba. Iron, inlaid with brass scrap (gomoku-zōgan), and polished. Height: 75.3 mm; Width 74.9 mm; Thickness at seppa-dai: 3.6 mm. Weight 130.2 g. Edo, 18th century. Gary D. Murtha dedicates 10 pages to this type of tsuba: "...they were made by soldering brass overlay scraps to the iron plate". Actual gomoku-zōgan tsuba are seldom found in collections most likely because they have little if any artistic attributes. In addition, many have rough surfaces making them questionable for use on a sword. It is said that many of these were produced in Yokohama for export to the West during the late Edo period". G. D. Murtha then describes the technique of making gomoku-zōgan in every detail, and states that "The brass pieces are said to represent 'fallen pine needles', a description most likely created to add aesthetic value to help market the tsuba" [see:Gary D. Murtha. Japanese sword guards. Onin - Heianjo - Yoshiro. GDM Publications, 2016; pp. 160-161]. -
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 -
Iron tsuba of oval form decorated with design of jakago (bamboo lattice work) in openwork (sukashi). Copper sekigane.
Unsigned. Edo period.
Size: 73.7 x 70.3 x 5.6 mm.Note regarding design: though some might think that this piece belonged to a member of the lost tribe of Israel, it did not. Jakago baskets were made of bamboo, filled with rocks and used to catch crabs (besides other uses).
Jeanne Allen. Designer's Guide to Samurai Patterns. Chronicle Books, San Francisco, 1990; p.51, №57.
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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. -
Iron tsuba of round form with design of triple diamond (matsukawa-bishi) in openwork (sukashi). Square rim. Ko-Tosho school. Nanbokucho period: Late 14th century (Oan/Eiwa era). Height: 92.3 mm. Width: 92.3 mm. Rim thickness: 2.5 mm. Center thickness: 3.0 mm. Provenance: Sasano Masayuki Collection, № 15: "Two small lozenges are attached to each end of a larger lozenge. Most Ko-tosho tsuba have inspirational designs, however this has a rather casual appearance, although it represents the unstable political situation at the time". -
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.
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Iron tsuba of round form with a Marsilea (water clover, paddy plant, denjiso) in openwork (sukashi) and a cricket carved in low relief (katakiribori) with extremities and one antenna inlaid with brass; the other antenna is carved in kebori (which antenna is inlaid and which is carved alternates on the face and on the reverse). The plate decorated with vertical file stroke ornamentation (tate-yasurime). Raised dam-shaped rim (dote-mimi). Inscription from a previous collector in red oil paint: 22-71-1. Edo period, possibly 17th century. Katchushi school.Size: 75.0 x 74.4 x 3.6 (center), 5.0 (rim) mm.
The plant Marsilea (paddy plant, denjiso), common names include water clover and four-leaf clover because the long-stalked leaves have four clover-like lobes and are either held above water or submerged. In The elements of Japanese design by John W. Dower, this motif is listed under the numbers 634-35 Paddy Plant (denjiso). Obviously, as a four-leaf clover it is an auspicious symbol. The four leaves radiate out as the shape of the kanji 田 (romaji 'ta'), which means 'rice paddy'. This symbol may be used as a family crest (mon), and this would be the most probable explanation of the sukashi on this tsuba. -
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 could have been trimmed with brass now lacking. Nakago-ana of triangular form, possibly enlarged, with copper sekigane. All typical emblems with bellflower, two variations on suhama theme, and 3, 4, 5, and 6-poinitng mon variations. A distinctive character of this tsuba is a mon at 12 hours depicting water plantain (omodaka).
“Omodaka was also called shōgunsō (victorious army grass); because of this martial connotation, it was a design favored for the crests of samurai families” [Family crests of Japan, Stone Bridge Press, Berkeley, California]. Yoshirō school (Kaga-Yoshirō). The Momoyama or early Edo period, beginning of 17th century. Size: Height: 81.4 mm; width: 81.2; thickness 3.8 mm at seppa-dai. -
Six shot 11-millimetre Lefaucheux Brevete M-1854 single-action pin-fire revolver, serial #34755. French large calibre revolver features octagon to round barrel, non-fluted cylinder, walnut grips with the heavy pommel.
Manufactured in Paris.
Dimensions: L: 29.5 cm; H: 15.5 cm; Barrel: 16 cm. -
Iron tsuba of round form with design of rudder, paddle, and stars in small openwork (ko-sukshi) outlined with brass wire, and further decorated with inlay of five concentric rows of brass dots or nail heads (ten-zōgan) and circular brass wire inlaid inside the innermost row of dots. Two lower round openings may also serve as udenuki-ana. Copper sekigane. Unsigned. Late Muromachi or Momoyama period, 16th century. Diameter: 90.4 x 89.8 x 2.8 mm. -
Iron tsuba decorated with sparrows and bamboo inlaid and chiseled in yellow brass, with snow lying on bamboo leaves inlaid in silver-ish shibuichi. Copper sekigane. The kogai-hitsu-ana probably cut out at a later date. Heianjō school. Unsigned. Height: 86.0 mm, Width: 85.4 mm, Thickness at seppa-dai: 2.9 mm. Momoyama or early Edo period, first half of the 17th century. Merrily Baird, Symbols..., page 118: "The association of the sparrow (suzume) with both bamboo and rice heads is an old one found in Japanese poetry, paining, and design." -
Iron tsuba of elongated round form with brown (chocolate) patina. The surface is carved with file strokes (sujikai-yasurime) to imitate heavy rain. The design of a bird drinking water from a bucket hanging on a rope is carved in low relief (sukidashi-bori); the rope is inlaid in gold. The well structure on the reverse, carved in low relief. Nakago-ana is enlarged and plugged with copper sekigane. Unsigned.
Edo period.Size: Height: 75.1 mm; Width: 68.3 mm; Thickness: 4.6 mm; Weight: 134 g.
Unsigned.
SOLD -
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 round form pierced with the design of slanting rays of light (Christian motif, Jesuit’s IHS symbol) in positive silhouette (ji-sukashi). This design is often called “tokei” [時計], or “clock gear”. Nakaga-ana fitted with copper sekigane. Rounded rim. Unsigned. Higo school. Early Edo period, mid-17th century (1632-1650).Size: 78.3 x 77.0 x 5.3 mm
For information regarding this type of tsuba see the article 'Kirishitan Ikenie Tsuba by Fred Geyer at Kokusai Tosogu Kai; The 2nd International Convention & Exhibition, October 18-23, 2006, pp. 84-91. School and age attribution thanks to Bruce Kirkpatrick. . 
IHS emblem of the Jesuits
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Iron tsuba of oval form with design of cherry blossoms in positive and negative silhouette openwork (ji-sukashi and in-sukashi). Details chiseled in kebori technique. Rounded rim. Copper sekigane. Higo school, Hayashi sub-school. Unsigned. Attributed to third generation Tōhachi (1723-1791). Edo period, 18th century (Hōreki / Meiwa era: 1751-1772). Height: 78.7 mm. Width: 72.2 mm. Rim thickness: 5.2 mm. Center thickness: 5.2 mm. Provenance: Sasano Masayuki Collection, № 289: "Hayashi. Third generation Tohachi (died in in the third year of Kansei, 1791 at the age of sixty-nine). Early 18th century (Hohreki / Meiwa era). " -
Iron tsuba of 8-lobed form pierced with six openings (sukashi) and decorated with design of bamboo and arabesque in flat brass inlay (hira-zōgan). Two of the openings serve as hitsu-ana. The design on the face represents bamboo trunks and leaves, clouds, waves, and vines; on the back - vines and leaves, that forms an arabesque (karakusa) motif. Rounded square rim. 'Silver' patina. Hitsu-ana with copper sekigane. Heianjō (most probable) or Kaga-Yoshirō school. Late Muromachi or Momoyama period; 16th century. Size: Height: 74.6 mm; Width: 69.5 mm; Thickness at seppa-dai: 4.2 mm. Weight: 113.9 g. Provenance: Gary D. Murtha. This tsuba is illustrated at: Japanese sword guards. Onin - Heianjo - Yoshiro by Gary D. Murtha [GDM Publications, 2016, p. 48]: "Iron, 80x75x3 mm tsuba with brass karakusa vines and leaves on one side with bamboo, leaves, and clouds on the reverse. This tsuba is one of those pieces that might be classified as Onin or Heianjo work, but the flush inlay tips it to the Heianjo side. Late Muromachi period." I would like to add that it easily may also be classified as Kaga-Yoshirō. Robert Haynes in Study Collection.., page 32, illustrates a look-a-like example, and writes: "This style of inlay, where the designs on the face and the back are very different, was common to the work of artists in Kyoto in the Momoyama period." -
Iron tsuba of mokko form with slanting rays of light (shakoh) Christian motif (Jesuit's IHS symbol) in openwork (sukashi). Traditional description of this kind of design is called "tokei", or "clock gear". Owari school. Edo period.Size: 83.4 x 83.1 x 4.4 mm
NTHK certified KANTEISHO ("Important Work"). In a custom wooden box. For information regarding shakoh tsuba see article 'Kirishitan Ikenie Tsuba by Fred Geyer at Kokusai Tosogu Kai; The 2nd International Convention & Exhibition, October 18-23, 2006, pp. 84-91. -
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. -
Iron tsuba of round form with design of slanting rays of light (shakoh) or clock gear (tokei) in openwork (sukashi). Commonly considered a Christian / Jesuit motif. Round-cornered rim. Copper sekigane. Momoyama period: Late 16th century (Tensho/Keicho era). Height: 72.5 mm, Width: 72.2 mm, Rim thickness: 5.5 mm, Center thickness: 5.3 mm. Round-cornered rim. Provenance: Sasano collection. Sasano Masayuki, Japanese Sword Guards Masterpieces from The Sasano Collection, Part I, № 136: "The general belief that this design represents the gear of a clock is erroneous, rather it shows the slanting rays of light from a cross, with the small diamond shapes representing the upright and transverse bars. The Christian influence is obvious..." -
Iron tsuba of round form with design of lattice (kōshi-mon, 格子文) cut in openwork (sukashi), with low relief shallow linear carving along the bars. Well forged plate with brown-ish hue. To the right of nakago-ana there is a clear inscription of the character Shō (正), which is explained by Markus Sesko is follows: "The Shinsa obviously recognized more from the signature when having the tsuba in hand, i.e. they were confident to say it is signed "Shōami" but the rest is illegible (ika-fumei, 以下不明). That is, if they were just able to read the first character SHŌ (正) and saw that there were two more, most likely A (阿) and MI (弥), they would have put those character in boxes on the paper. Boxes around characters namely means that the character is not 100% legible but it can be assumed what it is." Momoyama or early Edo period. Dimensions: 85.9 mm diameter, 3.6 mm thickness at seppa-dai. Weight: 79 g. NBTHK certificate № 425069 with attestation: Hozon - "Worthy of preservation". A similar tsuba is presented at Japanese Sword Fittings from the R. B. Caldwell Collection. Sale LN4188 "HIGO". Sotheby's, 30th March 1994, №15. The description says: "A rare early Kamakura-bori tsuba. Nambokucho period (late 14th century). Of circular form, the dark plate carved and pierced with a gate design, the struts with double engraved lines. Unsigned. 8.5 cm." The lot was sold for 1,840 GBP.We have two possible explanations of the discrepancy between Sotheby's and Shinsa/Sesko attribution: 1) either Sotheby's or Shinsa/Sesko were wrong in their attribution or 2) these are two different pieces, one - Kamakura-bori from the 14th century and another - Shōami from 16th/17th century. Anyway, I would consider my piece as a Shōami tsuba of Momoyama - early Edo period, just for the sake of modesty.
Caldwell Collection. Sotheby's 1994, №15.
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Iron tsuba of round form represents an eight-spoke Wheel-of-the-Law and in the same time (because of the inner shape of cut-outs) - a sixteen-petal imperial chrysanthemum in openwork (sukashi). Decorated on both sides with vines, leaves, and tendrils in suemon-zōgan and sen-zōgan. Spokes and hitsu-ana decorated with rope-like linear brass inlay (nawame-zōgan). A somewhat look-a-like tsuba is referenced in Gary D. Murtha's Japanese Sword Guards. Onin-Heianjo-Yoshiro book on page 61. Mr. Murtha attributes his piece to Heianjo school of Azuchi-Momoyama or early Edo period. However, tsuba in this collection looks older and bolder than the one in his book. It is larger (84 mm vs. his 66 mm), the spokes are longer, the inlay is of better quality, it is relatively thin, with deep black patina, and with the traces of lacquer (urushi). This may indicate that this tsuba belongs to Ōnin school and dates at least to late Muromachi period, ca. 1550, if not 1450 AD. Mid to late Muromachi period (ca. 1450-1550). Dimensions: 84.3 x 83.2 x 3.2 mm "In Japan, the Wheel-of-the-Law is an attribute of such deities as Senju Kannon, the Thousand-Armed Kannon, and Dainichi Nyorai, the principal deity of Shingon Buddhism [Merrily Baird]. May be used as a family crest (mon).
Gary D. Murtha's tsuba on page 61.
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Iron tsuba of round form decorated with eight roundels – circular emblems of flowers and/or family crests (mon) made of cast brass, pierced and chiselled in kebori, and with flat brass inlay (hira-zōgan) of vines or leaves all over the plate. Both hitsu-ana trimmed with brass. Nakago-ana of trapezoidal form. A distinctive character of this tsuba is a mon at 6 hours depicting tomoe (comma). Yoshirō school (Kaga-Yoshirō). Attributed to Koike Yoshirō Naomasa himself. Unsigned. The Momoyama or early Edo period, end of the 16th to the first half of the 17th century (1574-1650). Size: Diameter 82.0 mm, thickness 3.8 mm at seppa-dai, 3.4 mm at rim. -
Serial number 8697, barrel 14.5 cm, calibre 9 mm Lefaucheux M-1858 double-action pin-fire revolver manufactured in the late 1860-s. Produced in France with no retailers marking but having French proofs on front of the cylinder and right side of barrel trunnion. The metal remains in the white with small gold wire inlays. Fluted 2 piece ebony grips. This pattern has been observed in civil war photographs and excavated from battlefields and camps in the United States. Dimensions: L: 25 cm; H: 13 cm; Barrel: 14.5 cm.
