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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)." -
Title page (with tall “s”): THE | ACCOMPLISHMENT | OF THE | PROPHECIES, | OR THE | Approaching Deliverance of | the CHURCH. | A work, wherein it is proved, that the Papism | is the Antichristian Empire; that that Empire is not far | from its ruin ; that the present persecution may end in | three years and a half. After which, the destruction | of Antichrist shall begin, which shall be finished in the | beginning of the next Age ; and lastly, the Kingdom | of Jesus Christ shall come on the Earth. | — | The second Edition Corrected and Enlarged by almost | a third part, and the explication of all the Visions of the Re- | velation, and of many Chapters concerning mystical Theology. | — | 2 vols. In 1, | — | Written in French by Mr. PETER JURIEU , the present | Minister of the French Church at Rotterdam. And from | this second Edition faithfully Englished. | — | LONDON , Printed in the Year 1687. || Pagination: ffl, [48] 1-271 [272 blank] + 3-99, 200-396, bfl. Note: part 2 starts with page 3, page 99 recto is paginated 200 on verso, instead of 100; total number of pages in part 2, thus, is 294. Collation is uninterrupted. Collation: *-**8 A-S8 + Aa7 Bb-Ss8 Tt4. Note: no leaf Aa1, leaf Tt4 unsigned; 307 leaves total. Binding: Full brown calf, boards ruled blind with double-fillet, flat spine stamped blind with a diaper, double-fillet ruled compartments, black label with gilt lettering. Printed on laid paper, with marginal notes. Yellow sticker to front pastedown G. Batenham, Bookseller, Northgate, Chester. Author: Pierre Jurieu (French, 1637 – 1713). Translator unknown. Publisher unknown.English translation of the book:Pierre Jurieu. L'accomplissement des Propheties ou la delivrance prochaine de l'Eglise. —Rotterdam: Acher, 1686.
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Iron tsuba of round form with design of ginger and double diamonds (myoga-ni-nigaibishi) in openwork (sukashi), details carved in kebori technique. Slightly rounded square rim. Copper sekigane. Shoami school. Early Edo period: Late 17th century (Kanbun/Enppo era). Height: 80.1 mm. Width: 79.8 mm. Rim thickness: 5.0 mm. Center thickness: 4.7 mm. Provenance: Sasano Masayuki Collection, № 110. -
Small iron tsuba (tantō size) of oval form carved with imitation of six overlapping plates, decorated with paulownia blossoms, leaves, and tendrils in brass and copper hira-zōgan. Copper sekigane. Open kozuka hitsu-ana.
Early Edo period, 17th century.
Size: 50.5 x 34.0 x 4.9 mm.
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Iron tsuba of the round form (maru gata) with a grey patina pierced with the design of slanting rays of light (Jesuit’s IHS symbol) and a pair of ginger symbols [茗荷] (myōga) at top and bottom, in positive silhouette (ji-sukashi). This design is often called “tokei” [時計] or “clock gear”. Rounded rim, large hitsu-ana, copper fittings (sekigane). Unsigned, unpapered. Owari school. Early Edo period, early 17th century.Size: H 71.9 x W 71.1 x Th (centre) 5.5 cm.
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. 
IHS emblem of the Jesuits
茗荷 Myoga or Japanese ginger
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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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Title: THE | GRAND CONSPIRACY | OF THE | Members again∫t the Minde, | OF | Jewes again∫t their King. | As it hath beene delivered in the | foure following Sermons, | BY | John Allington, [A ∫eque∫tered Divine.] | — | {ornament} | — | LONDON, | Printed by J.G. for R. Royston, | at the Angel in Ivie-lane, 1654.|| Contents: Grand conspiracy of Jewes against their King. A sermon preached in August 1647; Grand conspiracy of Jewes against their King. A sermon preached in January 1649; Grand conspiracy of Jewes against their King. A demonstration of the highest insolencies proceed from men of the lowest and most base extractions Pagination: [2] – t.p. / blank; 1-214. Collation: 12mo; A-I12. Binding: Hardcover; 15 x 9.5 cm, later blind-stamped morocco, raised bands, gilt lettering in compartments. Inscription: Ink by hand by John Bartham, January 30, 1665, to t.p. verso; Pencil by hand to front pastedown: Wing A 1209A. -
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. -
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. -
Title: ACADEMIE | DES | SCIENCES | ET DES | ARTS, | Contenant les Vies & les Eloges Historiques des | Hommes Illustres, | Qui ont excellé en ces Professions depuis environ quatre Siécles | parmy diverses Nations de l’Europe : |Avec leurs Pourtraits tirez sur des Originaux au Naturel, & plusieurs Inscriptions | funebres, exactement recueïlies de leurs Tombeaux | Par Isaac Bullart , Chevalier de l’Ordre de Saint Michel. | TOME PREMIER | {allegorical vignette, signed Abr. A Diepenbeke delineavit – Pet. Clouwet sculp.} | Imprimé par les soins de l’Autheur. | A AMSTERDAM, | Se vendent chez les Heritiers de Daniel Elzevier, 1682. || Pagination : [2] – h.t. / blank ; [2] – 1st vol. t.p. in black and red with vignette engraved by Pet. Clouwet after Abr. Diepenbeke / blank; [7] – dedication to Jacques Theodore de Brias {Jacques-Théodore de Bryas (Dutch, 1630 – 1694)}, [9] – preface, [2] – table demonstrative / stanza by Guilielmus Riverius, [2] vinette “Tardius sed grandius” with an elephant in ornamental frame / text; [2] – Advis au lecteur; [1, 2] – f.t. livre premiere, illustres politiques / blank; [2] – noms politiques / blank (A1, after f.t.), 3(A2)-421, [422-424] – table eloges. Collation: [*]6, **8, A6 B-Ggg4. (14 prelim. leaves, as in LIB-2675.2021; the LIB-2676.2021 copy has 12) Binding: 34.5 x 22 x 4.3 cm.34.5 x 22 x 4.3 cm, hardbound; full calf, raised bands. The title is drawn by Abraham van Diepenbeeck (Dutch, 1596 - 1675) and engraved by Peeter Clouwet (Flemish, 1629–1670). The first volume of a two-volume set contains 119 copperplate burin-engraved portraits of selected politicians, historians, jurists, writers, and Italian artists. 26 portraits engraved by Esme de Boulonois (French,1645 – 1681), 3 unsigned, and the rest engraved by Nicolas de Larmessin I (French, 1632 – 1694)Lavinia Vecellio, (Italian, 1530 – 1575), Titian' daughter, engraved by Lamerssin after Titian, Portrait of Jacques Auguste de Thou engraved by de Boulonois after Daniel Dumonstier. Politicians: Antoine Perrenot, Cardinal de Granvelle; Arnaud d'Ossat, Cardinal; Auger Busbeque; Bessarion, Cardinal; François Ximenes, Cardinal; George d'Amboise, Cardinal; Gille Albornoz, Cardinal; Guillaume de Croy; Guy du Faur de Pybrac; Jacques Auguste de Thou; Jean de Selve; Jean Zamoski; Jean de Barnevelt; Jean Armand du Plessis, Cardinal de Richelieu; Jule Mazarin, Cardinal; Michel de l'Hospital; Renaud Pole, Cardinal; Stanislas Hosius, Cardinal; Thomas Morus; Thomas Wolsey, Cardinal. Historians: Bertrand d'Argentré; Cæsar Baronius, Cardinal; Emanuel de Meteren; Enguerand de Monstrelet; Florimond de Remond; François Guicciardin; Fulve Ursin; Guillaume Camden; Henry Catherine d'Avila; Hubert Goltzius; Jacques Amiot; Jean Aventin; Jean Baptiste Platina; Jean Barclay; Jean Froissard; Jean Papirius Masson; Nicolas le Febure; Olivier de la Marche; Onuphre Panuinius; Pandolphe Collenuce; Paul Jove; Philippe de Commines; Pontus Heuterus; Regino Abbé de Prumy; Robert Gaguin; Wolfgang Lazius. Jurists: Alexandre de Tartagnis; André Alciat; André Tiraqueau; Antoine Augustin; Antoine le Febvre; Boece Epo; Charles du Moulin; François Bauduin; Gabriel Mudée; Jacques Cuias; Jason Mainus; Jean Wamese; Mathieu Wesenbec; Philippe Dece; Pierre Peckius; Pierre Pithou; Tibere Decian; Viglius de Zuichem. Writers/Linguists: Ange Politian; Demetrius Chalcondyles; Emanuel Chrysoloras; François Philelphe; François Raphelenge; Guillaume Postel; Jean Argyropilus; Jean Bocace; Jean Lascaris; Jean Passerat; Jean Pierius Valerianus; Jeanne Gray; Nicolas Clenard; Pierre Nannius; Rudolphe Agricola; Theodore Gaza. Italian painters, architects, and sculptors: André Mantegna; André Organa; André del Sarto; André Tafi; André Verrochio; Antoine de Correge; Antoine de Messine; Arnoud di Lappo; Baccio Bandinel; Balthazar Perusi; Bramante d'Urbin; Daniel Ricciarelli; Dominique Beccafumi; Donato; François Mazzuoli; François Primatici; Frere Philippe Lippi; Giorgion; Giotto; Jacques Barozzi de Vignole; Jean Antoine Licinio de Pordenone; Jean Cimabue; Jean d'Udine; Jean François Rustici; Jule Romain; Le Rosso; Leonard de Vinci; Masaccio; Michel-Ange Buonarotti; Perin del Vaga; Philippe Bruneleschi; Philippe Lippi; Polidore de Caravage; Propertia de Rossi; Raphael Sanzio d'Urbin; Sandro Boticelli; Simon Memmi; Taddée Gaddi; Titian Uccello. -
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. -
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 -
Iron tsuba of round form decorated with design of sea waves in low relief carving (kebori) and pierced with design of cherry blossom in negative silhouette (in-sukashi) and water wheel in positive silhouette (ji-sukashi). The solid portion of the plate has a shallow groove just before the edge. Copper sekigane. School attribution is unclear. Unsigned. Momoyama period, 16th - 17th century. Dimensions: Height: 70.3 mm, width: 71.1 mm, thickness at seppa-dai: 4.4 mm, at rim 4.1 mm. Provenance: Robert E. Haynes, Mark Weisman. This is what shibuiswords.com says about this tsuba:"A very unusual iron plate tsuba. The solid plate is carved with waves on both sides. A cherry bloom in sukashi, lower left, and the right third of the plate in openwork with design of a water wheel. The rim with some iron bones. The hitsu-ana is original but the shape may have been slightly changed. One would expect this to be the work of the early Edo period, but the age of the walls of the sukashi would suggest that this is a work of the middle Muromachi period. This must be the forerunner for the Edo examples we see of this type of design." (Haynes)
I managed to find a look-a-like tsuba in Haynes Catalog #5, 1983, pp. 20-21, №44: "Typical later Heianjo brass inlay example. Ca. 1725. Ht. 7 cm., Th. 4.5 mm., $100/200".We see that the plate design of both tsuba is the same, and the only difference is the trim. It would be logical to assume that both pieces were made at about the same time, rather than 225 years apart. To be fair, let's accept that they were made in Momoyama period.
Haynes Catalog #5, 1983, pp. 20-21, №44.
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Nevers faience footed plate with a hunter and his dog on a mound, in blue over white. Dimensions: Diameter 22.3 cm; H: 3.5 cm. Seller's description: Plat rond en faïence à décor en camaïeu bleu d'un personnage et son chien sur un tertre feuillagé dans un médaillon, frise d'entrelacs. Fin XVIIème. -
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. -
[Jean de LA FONTAINE]. Contes et nouvelles en vers. De Monsieur de La Fontaine. Nouvelle édition enrichie de tailles-douces. À Amsterdam | Chez Henry Desbordes, MDCLXXXV [1685]. — 2 vol. in 1. Pagination: [1] - frontispiece with pasted illustr., [*1] - title p. with blank verso, *2-*5 (only recto numbered) - advertisement, [1] - preface vol. 1, [2] table, 1-236; [6] - preface vol. 2, 1-216, illustr. (in text). Etched frontispiece plate and 58 half-page etchings at the head of each chapter as well as endpiece vignettes, all by R. de Hooge (Romeyn de Hooghe, 1645 – 1708, a Dutch painter, sculptor, engraver and caricaturist. First illustrated edition. "Publication of the scandalous fables was forbidden in France from 1674. According to Van Eeghen, this edition was published without the knowledge of La Fontaine. ...This is the edition with ‘Le Juge de Nêle’ (instead of Mesle) in the contents of the first volume, as well as page 211 for 'Dissertation sur la Joconde'; 16 lines of text on page 211; and 19 lines of text on the first page of the preface of volume 2" [1]. Pott 8vo (15.4 x 10 cm), hardcover; owner's later tan polished half-calf, marbled boards, marbled pastedowns and flyleaves, 5 raised bands, dark brown labels with gilt lettering and gilt roll patterns on spine, tail of the spine slightly damaged. Corners bumped, spotted stains on leather. Henri Desbordes (d. ca. 1722) was a Huguenot printer who was exiled from his business in France and set up as a publisher in Amsterdam in the 17th century. -
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 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.
