//Edo Period (1603 – 1868)
  • Fuchi: 38 x 22 x 14 mm. Kashira: 33 x 18 x 9 mm Techniques: Usu-shishiai-bori (薄肉合彫) – low-relief, zogan.
     
  • Fuchi-kashira of copper, carved and inlaid with gold and shakudō, with the design of Kanzan (on kashira), Chinese: Hanshan, an eccentric poet of the Tang dynasty with a scroll (618-906) who befriended Jittoku (on fuchi, Chinese: Shide, a kitchen helper at a mountain temple, holding a broom). Fuchi is signed Josui (如⽔). Fuchi (Jittoku, holding a broom): 38 x 22 x 12 mm. Weight: 23g (Nakago hole: 27 x 8.5 mm); Kashira (Kanzan, reading a scroll): 34 x 17 x 9 mm. Weight: 10g. Materials: Copper, gold, shakudō. Techniques: Tsuchi-me-ji (hammer-marked surface); usu-shishiai-bori or usuniku-bori (low-relief carving which leaves the image somewhat higher than the surface - high relief effect); zōgan (inlay). Josui was a daughter of Jochiku Kamo (Markus Sesko, Genealogies).
  • Bando Mitsugoro II as Soga no Taro Sukenobu, the step-father of the Soga brothers, and Osagawa Tsuneyo II as Onio's wife Tsukisayo, in the play 'Omonbi Kuruwa Soga' performed at the Ichimura-za in the 1st month of 1799. Reference: Harvard Art Museums accession number 1933.4.525. Publications: Narazaki Muneshige, Ukiyo-e shuka [Collection of the Masterpieces of Ukiyo-e Prints in Museums] Volume 8: Foggu Bijutsukan [Fogg Art Museum, Harvard University], Neruson Bijutsukan [Nelson Atkins Museum]..., Shogaku-kan (Tokyo, Japan, 1980 [Showa 55]), Color Plate 107; p. 104 (entry p. 191). SOLD
  • Japanese lacquer writing box (suzuribako) with an eagle sitting on a pine tree over the see waves.  Rectangular box with rounded corners, slightly convex overlapping lid. Lacquer on wood with maki-e decoration in gold powder. The lid decorated inside with pine cones and needles over gold maki-e. Edo or Meiji period, 19th century.
  • Iron tsuba of oval form with design of  a gourd or aubergine vine with fruits, leaves, and blossoms climbing a trellis, and a fence in yellow brass and red copper flat inlay (hira-zōgan); inlay engraved. Two latticed windows represented by openwork (sukashi). The iron web has deep black patina. The seller attributes this tsuba to Heianjo-Namban school, whatever it means. Momoyama or early Edo period, 17th century. Kaga or Heianjō School. Unsigned. Height: 77.3, Width: 73.1, Thickness at seppa-dai: 3.6 mm.
  • Iron tsuba of quatrefoil form with design of bamboo stems and leaves, and a plank bridge in openwork (sukashi). Hitsu-ana of irregular form. Iron with smooth chocolate patina. Copper and shakudō sekigane. This piece is illustrated in Sasano: Japanese Sword Guard Masterpieces from the Sasano Collection, 1994 on page 295 under № 254 with the following description:
    Nishigaki. First generation Kanshiro (died in the sixth year of Genroku, 1693, at the age of 81). Sukashi design: Bamboo (take). Early Edo period, late 17th century (Kanbun / Enppo era). Height: 72.6 mm; Width: 71.5 mm; Rim thickness: .6 mm; Centre thickness: 5.1 mm. Rounded rim. The shape of this sword guard is a quatrefoil and the design is arranged in the form of a saddle flap. Two bamboo trunks with leaves comprise the design. Calm, soothing and sophisticated are the features of this artist in his later years. Such characteristics may remind one of the work of the first Hikozo.
    Provenance: Sasano Masayuki collection, № 254. What is interesting, and what had been found by Bruce Kirkpatrick, is that in the earlier photograph of the same piece ['Sukashi tsuba - bushido no bi' by Sasano Masayuki, photography by Fujimoto Shihara, 1972 (in Japanese), page 245, №201] we clearly see kebori - linear carving that decorates the bamboo leaves and the planks of the bridge. The said kebori have totally disappeared between 1972 and 1994. The tsuba became absolutely flat! Now we can only speculate about the reasons for such cruel treatment of the artistically and historically important item.

    Sukashi tsuba - bushido no bi. Author: Sasano Masayuki, photography: Fujimoto Shihara, 1972 (in Japanese). Page 245, №201.

  • Attributed to Suzuki Harunobu (Japanese: 鈴木 春信; c. 1725 – 7 July 1770). Sunga. Woman dreaming of making love. British museum attributes to Ippitsusai Buncho (一筆斉文調).
  • Utagawa Toyokuni I. Women Weaving and Boy Playing with Puppies. c. 1790's. Publisher Wakasaya Yoichi (Jakurindô). Vertical aiban; 32.2 x 21.5 cm (12 11/16 x 8 7/16 in.). MFA ACCESSION NUMBER 06.671. Signed Toyokuni ga 豊国画. Censor's seal: kiwame 改印:極 SOLD
  • The right sheet of (optional) triptych: Geisha (Geiko) and kabuki actor Iwai Hanshirō V as Katanaya Hanshichi from Three pleasures of present-day Osaka (Tōsei Naniwa no sankō)「当世浪花の三興 芸子」 「刀屋半七」五代目岩井半四郎. Publisher: Iseya Rihei [伊勢屋利兵衛] (Japanese, fl. 1790s – c. 1879) Year: 1821 (Bunsei 4). Size: Vertical ōban; 36.5 x 25.2 cm. Signed: 於浮瀬亭国貞画 – Drawn by Kunisada in Ukabuse (Ukabuse ni oite Kunisada ga). Ukabuse is the name of a famous restaurant in Osaka, this signature can be found only on a three print bijin series [Kunisada Project]. Censor's seal: kiwame 改印:極 Actor Iwai Hanshirō V [岩井半四郎] (Japanese, 1776 – 1847); other names: Iwai Tojaku, Iwai Kumesaburō I. Character: Katanaya Hanshichi  [刀屋半七] Ref: MFA ACCESSION NUMBER 11.21938LIB-2967.2022 Izzard. Full series (triptych) Three Pleasures of Present-day Osaka (Tōsei Naniwa no sankō):