//Edo Period (1603 – 1868)
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    Utagawa Kunisada. A young woman reading a book in the light of a lamp, ca. 1844.

    Utagawa Kunisada (Japanese: 歌川 国貞; also known as Utagawa Toyokuni III (三代歌川豊国); 1786 – 12 January 1865).

    A young woman reading a book in the light of a lamp. Series: Arigataki miyo no kage-e (Shadow Pictures of an Auspicious Age). There are five known prints, half-length portraits of beauties, in this series, designed by Kunisada in ca. 1844. Another print from the series in this collection: SVJP-0306.2020: A young woman adjusting her hairpins in the light of a paper lantern.

    Signed: Kōchōrō Toyokuni ga (香蝶楼豊国画).

    Publisher: Maruya Kiyojiro.

    Size: Vertical Ōban (37.5 x 25.4 cm).
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  • Utagawa Kunisada. Time at Fukagawa, Iyo Province / Fan print, 1855.

    Artist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865). Signed: Toyokuni ga [豊国 画] in a red toshidama cartouche Block carver: Yokokawa Takejirō [横川竹二郎] (Japanese, fl. 1845 – 1863); seal: Hori Take [彫竹]. Publisher: Iseya Magobei [伊勢屋孫兵衛] (Japanese, fl. c. 1794 – 1868); seal: Hanmoto, Masu [板元, 益] (Marks 19-039 | 150d). Date-aratame seal: Ansei 2 (1855). Title: Time in Fukagawa, Iyo Province (Fukagawa Iyo setsu). Ref.: [LIB-3008.2022] Andreas Marks. Japanese woodblock prints: Artists, publishers and masterworks, 1680 – 1900. — Tuttle Publishing, 2010; p. 221. –> 1855 Kunisada. "Iyo Province-time at Fukagawa" (Fukagawa Iyo setsu). Fan print. Japan Ukiyo-e Museum, Matsumoto.
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  • Katsukawa Shunkō. Actor Matsumoto Kōshirō IV, late 18th century.

    Artist: Katsukawa Shunkō [勝川 春好] (Japanese, 1743 – 1812).

    Actor: Matsumoto Kōshirō IV [[松本幸四郎]; other names: Omegawa Kyōjūrō, Ichikawa Komazō II, Ichikawa Somegorô I, Ichikawa Takejūrō, Segawa Kinji, Segawa Kingo] (Japanese, 1737 – 1802).

    Signed: Shunkō ga. Size: Hosoban; 14 x 33 cm. SOLD
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  • Utagawa Kunisada (Toyokuni III). Married woman blackening her teeth in a mirror / Fan print, ca. 1830.

    Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). No publisher seal, no date or censor seal; probably a private printing. Signed: Kunisada ga [国貞画] in a red double gourd cartouche. Media: Untrimmed fan print (uchiwa-e), 231 x 294 mm, with the use of mica and black lacquer.    
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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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  • Akasaka tsuba with bamboo and sparrow motif by Tadamasa II. Early Edo period, 17th century.

    Iron tsuba with design of bamboo and sparrow (take-ni-suzume) in openwork (sukashi). Rounded rim. Copper sekigane. Akasaka school. Unsigned. Attributed to second generation Tadamasa Shōzaemon (died in in the fifth year of Enppo, 1677). Early Edo period: 17th century (Kan-ei / Kanbun era). Height: 79.0 mm. Width: 77.5 mm. Rim thickness: 5.5 mm. Center thickness: 6.6 mm. Provenance: Sasano Masayuki Collection, № 222: "It is believed that sparrows nest in a bamboo grove". According to Merrily Baird [Merrily Baird. Symbols of Japan. Thematic motifs in art and design. Rizzoli international publications, Inc., 2001], "a bamboo grove is said to be emblematic of security as the bamboo is resilient even in the face of high winds and heavy rains. [...]  The association of the sparrow (suzume) with bamboo is an old one found in Japanese poetry, paining, and design. The bird is said to be obsessed with its honor, especially the repaying of debts".  
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  • Utagawa Toyokuni I. Actors and Women in the Snow. 1809.

    Similar image at MFA under title: Actors and Women in the Snow MFA ACCESSION NUMBER: 11.13568 Date: 1809 (Bunka 6), 12th month Artist: Utagawa Toyokuni I (1769–1825) Publisher Tsuruya Kinsuke (firm name Sôkakudô), № 554 in Marks's "Publishers". DIMENSIONS: Vertical ôban; 38.2 x 25.8 cm (15 1/16 x 10 3/16 in.) MEDIUM OR TECHNIQUE: Woodblock print (nishiki-e); ink and color on paper. Signed: Toyokuni ga (豊国画) Censor's seals: kiwame (改印：極) MFA assumes that this may be "one sheet of incomplete triptych?"  
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  • Suzuki Harunobu. The Ide Jewel River, a Famous Place in Yamashiro Province. Ca. 1769–70.

    Suzuki Harunobu (鈴木 春信; c. 1725 – 15 July 1770).

    The Ide Jewel River, a Famous Place in Yamashiro Province (Ide no Tamagawa, Yamashiro no meisho), from the series The Six Jewel Rivers in Popular Customs (Fûzoku Mu Tamagawa).

    Signed: Harunobu ga

    Inscription - Poem: Koma tomete/ nao mizu kawan/ yamabuki no/ hana no tsuyu sou/ Ide no Tamagawa

    References:

    MFA # 21.4540.

    Waterhouse cat. #562; Pins, The Japanese Pillar Print (1982), #139; Ukiyo-e shûka 4 (1979), list #795.4, and supp. 2 (1982), pl. 565; Gentles, AIC cat. II (1965), p. 125, #201.

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  • Utagawa Kunisada, a.k.a. Toyokuni III . Twelve Hours of a Modern Clock (Imayo tokei jûniji) 1824

    Utagawa Kunisada (Toyokuni III). Eight prints from the series Twelve hours of a modern clock (Imayo tokei jūniji), 1820-22.

    Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Publisher: Matsumura Tatsuemon [松村辰右衛門] (Japanese, fl. c. 1793 – 1832). Year: c. 1820–22 (Bunsei era). Signed: 五渡亭国貞画 – Gototei Kunisada ga. Censor's seal: kiwame 改印：極
    Utagawa Kunisada, a.k.a. Toyokuni III . Twelve Hours of a Modern Clock (Imayo tokei jûniji) 1824

    SVJP-0179-6.2014

    		 The Hour of the Dragon, Fifth Hour of Day (Tatsu no koku, Hi no itsutsu toki), from the series Twelve Hours of a Modern Clock (Imayo tokei jūniji) 「今世時計十二時　辰ノ刻　日ノ五つ時」 MFA impression: 11.15315.
    Utagawa Kunisada, a.k.a. Toyokuni III . Twelve Hours of a Modern Clock (Imayo tokei jûniji) 1824

    SVJP-0179-1.2014

    		 The Hour of the Rabbit, Sixth Hour of Day (U no koku, Ake muttsu toki), from the series Twelve Hours of a Modern Clock (Imayo tokei jūniji) 「今世時計十二時　卯ノ刻　明六つ時」. MFA impression: 11.15317
    Utagawa Kunisada, a.k.a. Toyokuni III . Twelve Hours of a Modern Clock (Imayo tokei jûniji) 1824

    SVJP-0179-2.2014

    		 The Hour of the Monkey, Seventh Hour of Day (Saru no koku, Hi no nanatsu toki), from the series Twelve Hours of a Modern Clock (Imayo tokei jūniji) 「今様時計十二時　申ノ刻　日ノ七つ時」 MFA impression: 11.39692
    Utagawa Kunisada, a.k.a. Toyokuni III . Twelve Hours of a Modern Clock (Imayo tokei jûniji) 1824

    SVJP-0179-8.2014

    		 The Hour of the Horse, Ninth Hour of Day (Uma no koku, Hi kokonotsu toki), from the series Twelve Hours of a Modern Clock (Imayo tokei jūniji) 「今世時計十二時　午ノ刻　日九つ時」. MFA impression: 11.15314
    Utagawa Kunisada, a.k.a. Toyokuni III . Twelve Hours of a Modern Clock (Imayo tokei jûniji) 1824

    SVJP-0179-4.2014

    		 The Hour of the Boar, Fourth Hour of Night (I no koku, Yoru yottsu toki), from the series Twelve Hours of a Modern Clock (Imayo tokei jūniji) 「今世時計十二時　亥ノ刻　夜四つ時」. MFA impression: 11.15552
    Utagawa Kunisada, a.k.a. Toyokuni III . Twelve Hours of a Modern Clock (Imayo tokei jûniji) 1824

    SVJP-0179-3.2014

    		 The Hour of the Tiger, Seventh Hour of Night (Tora no koku, Yoru nanatsu), from the series Twelve Hours of a Modern Clock (Imayo tokei jūniji) 「今世時計十二時　寅ノ刻　夜七つ」. MFA impression: 11.15313 Ref.: Izzard. Kunisada’s world [LIB-2970.2022].
    Utagawa Kunisada, a.k.a. Toyokuni III . Twelve Hours of a Modern Clock (Imayo tokei jûniji) 1824

    SVJP-0179-5.2014

    		 The Hour of the Ox, Eight Hour of Night (Ushi no koku, Yoru no yattsu toki), from the series Twelve Hours of a Modern Clock (Imayo tokei jūniji) 「今世時計十二時　丑ノ刻　夜ノ八つ時」. MFA impression: 11.26906
    Utagawa Kunisada, a.k.a. Toyokuni III . Twelve Hours of a Modern Clock (Imayo tokei jûniji) 1824

    SVJP-0179-7.2014

    		 The Hour of the Rat, Ninth Hour of Night (Ne no koku, Yoru kokonotsu toki), from the series Twelve Hours of a Modern Clock (Imayo tokei jūniji) 「今世時計十二時　子ノ刻　夜九つ時」. MFA impression: 11.15312
     
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  • Utagawa Yoshikazu. Customers queueing outside a sake-selling shop / Fan print, 1861.

    Artist: Utagawa Yoshikazu [歌川芳員] (Japanese, fl. c. 1850 – 1870). Publisher: Wakasaya Yoichi [若狭屋与市] (Japanese, fl. 1794 – 1897). Combined date seal and kiwame censor seal: 1861 (Man'en 2 / Bunkyū 1, from 19/02).
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  • Utagawa Kunisada, a.k.a. Toyokuni III .

    Utagawa Kunisada (Toyokuni III). Cool Breeze on Tenpōzan Hill in Naniwa / Fan print, 1847-50.

    Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signed: Toyokuni ga [豊国 画] in a red toshidama cartouche. Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, c. 1815 – 1869). Block carver: Yokokawa Takejirō [横川竹二郎] (Japanese, fl. 1845 – 1863); seal Hori Take [彫竹]. Double nanushi censor seals: Mera & Murata (1847-50). Title: Cool Breeze on Tenpōzan Hill in Naniwa [浪花天保山の涼] (Naniwa Tenpōzan no ryō). An uncut fan print (uchiwa-e), depicting a gentleman (most probably kabuki actor Nakamura Utaemon IV) holding a pipe with the view of Tenpōzan Hill [天保山] in Naniwa (Osaka) in the background. A distinctive structure on the left is the Sumiyoshi Lantern [住吉高灯篭] (Sumiyoshi takadōrō), which was destroyed by a typhoon in 1950. The character 翫 – moteasobu – on the gentleman’s robe means "take pleasure, play an instrument". Nakamura Utaemon IV [中村歌右衛門] (Japanese, 1796 – 1852); other names: Nakamura Shikan II, Nakamura Tsurusuke I, Nakamura Tōtarō. The character is visually similar to a gentleman drinking tea on a veranda under the shining moon from the series ‘Moon, Sun, Stars’ [月日星] (Getsu hi hoshi), see SVJP-0211-1.2016: The Moon. Utagawa Kunisada. Fan print triptych. Jitsu getsu sei no uchi. Moon. Circa 1850. As noted by Horst Graebner, the gentleman also resembles the character on another Kunisada's actor print, published in 1852 (Waseda University Cultural Resources Database № 114-0232):    
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  • Utagawa Kunisada. Saiko, from the series ‘Chronicles of Elegant Women’ / Fan print, 1859.

    Artist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865). Signed: Toyokuni ga [豊国 画] in a red toshidama cartouche Block carver: Yokokawa Takejirō [横川竹二郎] (Japanese, fl. 1845 – 1863), seal: 彫竹 – hori Take. Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1845 – 1847). Media: Untrimmed fan print (uchiwa-e), 238 x 304 mm. Title: Saiko (West River) [西江]; 西江 means the Xi River in China. Series: Chronicles of Elegant Women [風雅女史傳] (Fūga joshiden). Combined date seal and kiwame censor seal: Ansei 6 (1859). Other prints from the same series in this collection: SVJP-0216.2016 — Princess Sotoori:

    SVJP-0343.2021 — Tamagiku:

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  • Utagawa Toyokuni I. Onoe Matsusuke II as Katsugiino and Sawamura Tanosuke II as Otsuyu. Circa 1810.

    Utagawa Toyokuni I. Onoe Matsusuke II as Katsugiino and Sawamura Tanosuke II as Otsuyu. Circa 1810.

    Utagawa Toyokuni (歌川豐國); 1769 – 24 February 1825. Actor Onoe Matsusuke II as Katsugiino (right), actor Sawamura Tanosuke II as Otsuyu (left) 尾上松助（二代目）in a role  かつぎいの; 　沢村田之助（二代目) in a role おつゆ. Play: "Yuki to Tsuki Hana no Kuronushi". Theater: Nakamura. Publisher: Mikawaua Seiemon (1805-1829) [Marks: 328]. Circa 1810.  
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  • Iron tsuba with design of slanting rays of light or clock gear. Early Edo period.

    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.  
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  • Harukawa Eichō (Shunsai Eishō). Sumo wrestler Kuroyanagi Matsujiro. Circa 1820-40.

    This print was sold to me with the following description:  "Ikkansai EISHO (Fl. early 19th c.). A portrait of the wrestler Kuroyanagi Matsujiro, ring name Kumagatake Inosuke. Eisho was a pupil of Eishi. Published c. 1820s by Uoya Eikichi. Signed Shunsai Eisho ga." As a result of our joint effort with my beloved sister, we have so far found the following: The artis is mentioned in The Hotei Encyclopedia of Japanese Woodblock Prints, 2005, Vol 2; p. 438 under the name of Harukawa Eichō. From this source we learned that the artist was active from about 1818 till 1844, and was a print designer in Kyoto. He was a student first of Harukawa Goshichi and later studied in Edo (Tokyo) with Keisai Eisen, when he assumed the art name 'Eichō'. Other names: Shunsai. The Japanese web page dedicated to Harukawa Eichō provides more details: The artist lived from the 4th year of Tenmei ( 1784 ) to the first year of Kaei ( 1848 ). He was a student of Harukawa Goshichi, Kikukawa Eizan as well as of Keisai Eisen. His popular name was Kamenosuke. He was from Kyoto. He took "gagō" (artistic names) of Eishō when he was a student of Harukawa Goshichi; later, when he became a student of Kikukawa Eizan and Keisai Eisen he took the name of Kikukawa Eichō. The artist was mostly known for his bijinga (beautiful women) prints as well as kanazōshi illustrations. Nothing is said anywhere about his sumo prints, though the reference to another Kyushu sumo wrestler portrait has been found. The sumo wrestler Kuroyanagi Matsujiro is also a somewhat obscure figure: information about his life and career is quite inconsistent. It may so happened that two different persons were combined together. Wikipedia page about Aoi Aso Jinja, a Shinto shrine in Hitoyoshi in Kumamoto prefecture, tells us the following:
    Kuroki Matsujiro (黒木松次郎) was born in the village of Itsuki in Kuma district, Kumamoto prefecture, island of Kyushu in Bunka era, 4th year (1807). Since from his childhood he was blessed by great physique and tough strength. He had affection for sumo. At the age of 18 he became a sumo student of Kumamoto Shimakawa Ikuhei and took the name of Toyama Hidekichi (遠山日出吉). At the age of 23 (1830), he entered sumo stables in Kyoto, mastered the art of taming of young horses, and his talents improved. At the age of 31 he went to Edo, and became a disciple of the ōzeki Oitekaze Kitaro of Hirado domain in Hizen province, also from Kyushu island. After that, he changed his name and became Kuroyanagi Matsujiro (黒柳松次郎 – as on the print). In 1847 (Bunka era, 4th year) he distinguished himself by advancing to the first grade, and at the age of 32 he was promoted to ozeki level, becoming sekitori. After changing his name to Kuma-ga-take Inosuke (熊ヶ嶽猪之介 / くまがたけいのすけ) he displayed further efforts, and became one of the strongmen that fermented sumo wrestling in Edo.　 In 1853 (Kaei era, 6th year) he retired and returned to his village, becoming an employee as a strongman of Sagara domain (相良藩), and worked hard as instructor of the sumo training hall to train successors until 1855 (Ansei era, 2nd year) when he passed away at the age of 48. Even today Kuma-ga-take's home exists in Itsukimura (his native village). Also, on those grounds a descendant of Kuma-ga-take runs minshuku (guest house) that bears the name of "The Kuroki Pension (lodging) ", and tourists come to visit from various parts of Japan. In 2015, tenth month, within the borders of Aoi Aso Shrine there was built a gravestone publicly honoring Kuma-ga-take Inosuke, sumo wrestler from Edo / of Edo period.
    This information has some inconsistencies already. If our hero was born in 1807 and promoted to ōzeki at the age of 32, it should have been the year 1839, not 1847. I found Kumagatake Isuke at "Sumo Reference" website:
    Highest Rank Maegashira 4
    Real Name Kuroki
    Birth Date 1815
    Shusshin Kumamoto-ken, Kuma-gun
    Death Date March 6, 1855 (40 years)
    Heya Oitekaze
    Shikona Kuroyanagi Matsujiro - Kumagatake Isuke
    Hatsu Dohyo 1836.02 (Sandanme)
    Intai 1853.02
    The real name is the same, the ring name Kuroyanagi Matsujiro is the same, however, the date of birth here is 1815.  He fought from 1836 till 1853 - which is quite similar to "At the age of 31 he went to Edo, and became a disciple of the ōzeki Oitekaze Kitaro". Though, in 1836 he might be 29 years old. His bouts are listed from spring 1841 to spring 1848 under the name of Kuroyanagi and from winter 1848 till spring 1853 he listed under the name of Kumagatake Isuke [Inosuke].

    On another important sumo history website, I found that Kuroyanagi first appeared at ring in the spring of 1823 (he might have been 16 years old then, which does not seem right). Then, in the winter tournament of 1848 Kuroyanagi took the name Kumagatake. At the spring tournament of 1853 Kumagatake (Kuroyanagi) retired. This is quite consistent so far.

    Then, I found Oitekaze Kitaro, allegedly the teacher of Kuroyanagi.
    Highest Rank Ozeki
    Real Name SATO Matsujiro (Matsutaro#)
    Birth Date 1799
    Shusshin Kanagawa-ken, Tsukui-gun
    Death Date May 4, 1865 (66 years)
    Heya Oitekaze
    Shikona Kuroyanagi Matsujiro - Kuroyanagi Sumiemon - Oitekaze Kitaro
    Hatsu Dohyo 1817.10 (Jonokuchi)
    Intai 1839.03
    Everything look good with an exception of ring names (shikona): Kuroyanagi Matsujiro (1823-1828) - Kuroyanagi Sumiemon (1829-30) - Oitekaze Kitaro (1831-1839). May it be that Sato Matsutaro fought under the name of Kuroyanagi Matsujiro until Kuroki Matsujiro took this name from his master? I don't have another explanation of the enigma. What we know is that we have a portrait of a sumo wrestler called Kuroyanagi Matsujiro from Kyushu, but we don't know whether this was the one from Kumamoto (Kumagatake Inosuke, 1807/1815-1855) or the other from Kanagawa (Oitekaze Kitaro, 1799-1865). Subsequently, we may declare that the artist is Shunsai Eishō, a.k.a.Harukawa Eichō from Eishi school (The Hotei Encyclodepdia, p. 524), we can date the print from 1818 to 1844, and only tell that the wrestler is Kuroyanagi Matsujiro from Kyushu (either Kumagatake Inosuke or Oitekaze Kitaro). The publisher of the print is Moriya Jihei (Marks №353, p. 243-5). That's it.
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  • Iron tsuba with a bird, bucket, and well motif. Edo period.

    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
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  • Utagawa Kunisada (Toyokuni III), Utagawa Kunihisa II. A geisha eating edamame aboard the boat of the Atari-ya teahouse, from the series ‘Three summer women’ / Fan print, 1860.

    Untrimmed fan print (uchiwa-e), 231 x 300 mm. Title: A geisha eating edamame aboard the boat of the Atari-ya teahouse. Series: Three summer women [九夏三婦久] (Kyūka sanfuku). Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Artist: Utagawa Kunihisa II [歌川国久] a.k.a. Katsuda Hisatarō, Ichiunsai, Ritchōrō, Toyonobu, Yōryūsai, Yōsai] (Japanese, 1832 – 1981). Block cutter: Yokokawa Horitake [横川彫武] a.k.a. Yokokawa Takejiro [横川竹二郎] (Japanese, fl. 1860s). Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. C. 1845 – 1847) Combined date seal and kiwame censor seal: 1860 (Ansei 7 / Man'en 1 from 18/III). Signed: Toyokuni ga in toshidama cartouche, and Kunihisa ga. Provenance: The Collection of Paul F. Walter, Christie's, New York, 2017, lot 341; sol together with 5 other fan prints for $25,000. Before: Israel Goldman, Japanese Prints, Catalogue 9, 2003, no. 35. Ref: [LIB-1693.2018] The Collection of Paul Walter. — NY: Christie's, 2017, p. 363. Ref: Israel Goldman, Catalogue 2018, № 52: "Utagawa Kunisada (1786-1865) and Utagawa Kunihisa II (1832-1891) A Geisha Eating Edamame Aboard the Boat of the Atari-ya Teahouse. From the series Kyuka sanfuku (Three Summer Women). 1860. Fan print. 22.7 x 29.6 cm. Provenance: Israel Goldman, Japanese Prints, Catalogue 9, 2003, no. 35. The Collection of Paul F. Walter, Christies, New York, 201, lot 341. Fine impression, colour and condition. The title is a pun on “kyuka sanpuku” meaning the hottest point of the summer. The background view is by Kunisada’s pupil Kunihisa."
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  • Utagawa Kunisada. A Parody of Sugawara Stripes / Fan print, 1849-52.

    Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signed: Toyokuni ga [豊国 画] in a red toshidama cartouche. Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, c. 1815 – 1869). Double nanushi censor seals: Hama & Magome, Kaei 2-5 (1849 – 1852). An uncut fan print (uchiwa-e, 220 x 292 mm) depicts a beautiful woman sitting on a balcony overlooking a bay and reading a book. Above the book, there is an obi with a pattern of stripes or modified key fret motif, with lettering that reads: 菅原島 [Sugawara-jima] and 美立 [mitate]. The lettering and the blossoming plum branch next to the obi provide an allusion to  Sugawara no Michizane [菅原 道真/菅原 道眞] (Japanese, 845 – 903) - a prominent scholar and poet of Heian period exiled from Kyoto to the island of Kyushu as a result of another courtier's slander. A legend says that his beloved plum tree was so fond of its master that it flew to Kyushu with Sugawara. The Davis Museum at Wellesley College describes the print as belonging to the series A Parody of Sugawara Stripe Patterns (Mitate Sugawara-jima). To make the fact of an allusion transparent, Kunisada had changed the usual way of writing "Sugawara stripes" from 菅原縞 to 菅原島 and "mitate" from 見立 to 美立. An unusual spelling was also used to provide additional information to the reader in other cultures. E.g. during the Prohibition Era, the West Coast United States speakeasy bars and bordellos misspelt the items on a menu ("scollops") or in a neon sign ("Martuni's") to tell: here we have more pleasures for you than you may have expected. After Tenpō reforms, the printing of bijin-ga (美人画, "picture of beautiful woman") images was restricted. Our print disguises a typical bijin-ga as an advertisement of an obi (帯, a kimono sash) fabric pattern. "The market of portraits was satisfied and the authorities fooled" [Rebecca Salter. Japanese popular prints. — Honolulu: University of Hawaii Press, 2006].
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  • Utagawa Kunisada. Gotenyama, from the series ‘A Collection of Mountains’ / Fan print, 1859.

    Title: Gotenyama [御殿山] – one of the most popular cherry blossom viewing spots; it is a hill at Shinagawa [品川], the second station on the Tōkaidō road [東海道], located on the shores of Edo Bay [江戸湾]. Series: A Collection of Mountains [山つくし] (Yama tsukushi) Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 12 January 1865). Block carver: Yokokawa Takejirō, seal: [彫竹] – Hori Take. Publisher: Yama-Ta; seal: [板元, 太] – Hanmoto, Ta; Marks 19-044 | U421b: An unknown publisher in Edo, fl. c. 1815-61. Combined date seal and kiwame censor seal: Ansei 6 (1851). Signed: Toyokuni ga [豊国 画] in a red toshidama cartouche. Size: Fan print (uchiwa-e) 227 x 287 mm.
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  • Tsukioka Tanka. Picture of Fuji, Tsukuba and Sumida River / Fan print, 1833

    Artist: Tsukioka Tanka [旦霞] (Japanese, fl. c. 1830s – 1840s). Publisher: Enshūya Matabei [遠州屋又兵衛] (Japanese, fl. c. 1768 – 1881); seal: Enmata. Title: Picture of Fuji, Tsukuba and Sumida River [富士筑波隅田川の圖] (フジ ツクバ スミダガワ ノ ズ | Fuji Tsukuba Sumidagawa no zu). Date seal 巳 + kiwame: Tenpō 4 (1833). Media: Fan print (uchiwa-e, 団扇絵), 235 x 302 mm, aizuri-e. Only four prints are known from this artist, all fans: (1) National Diet Library 2542868:
    (2) Ritsumeikan University mai30_07: (3) RISD Museum 34.334:
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  • Shunga. Woman dreaming of making love.

    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).
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  • Shibayama Fan - Autumn

    Shibayama Fan – Autumn

    Late 19th-century (1850-1870) Japanese export fan. This fan has a double leaf painted with a different design on either side. Ivory encrusted with gemstones and other materials. Subject matter such as women wearing kimono is also more typical of export than domestic products (V&A). Autumn theme on the reverse.
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  • Copper katakiribori kozuka with Daruma, by Yasuchika. Edo period

    Kozuka made of pure copper with Daruma motif. The engraving technique is known as katakibori ("half-cut carving"). Signed on the back: Yasuchika. Size: 96.5 (H) x 14.5 mm (W). Edo period (Late 18th century). The technique of Katakiribori was developed by  Yokoya school of artisans. Detailed account of Yasuchika family of kodōgo carvers is given at Japanese Sword Fittings from the Alexander G. Mosle Collection; Sebastian Izzard LLC, 2004 on page 64. The article ends with the following statement: "Given the popularity of his style and his many students, it is not surprising that a number of works bearing Yasuchika's signature are today disputed." S. Izzard attributes Yasuchika masters to Nara school. Yasuchika-signed kozuka in Important Japanese Swords and Sword Furniture and Works of Art [November 5, 1980, sales "Kotetsu". New York, Christie, Manson & Woods International Inc., 1980, pp.92-93, lot 172 and 173] are stylistically very different to our example. A shibuichi katakiribori kozuka, bearing the signature of Yashuchika, is illustrated at The Hartman Collection of Japanese Metalwork [sold at auction by Christie, Manson & Woods Ltd. June 30 and July 1, London, 1976] on page 82, lot 291. It depicts Daikoku and stylistically similar to ours. The description on page 83 says: "signed Yasuchika, and inscribed "drawn by Hanabusa Itcho" (Yasuchika IV, school of Iawamoto konkan, circa 1800)". A detailed account of Yasuchika signatures is presented at Masterpiece tsuba and kodogu from the Hans Conried and Alexander G. Mosle collections. Important woodblock prints by Utamaro, Hokusai, Hiroshige, Yoshida and other masters. San Francisco, September 1-25, 1983. Catalog #7. Robert E. Haynes, Ltd., pp. 141-174. The example that looks like ours is on page 146: Though we have to admit that the example from Catalog #7 by Robert E. Haynes looks much stronger.    
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  • Utagawa Kunisada. A young woman adjusting her hairpins in the light of a paper lantern, ca. 1844.

    Utagawa Kunisada (Japanese: 歌川 国貞; also known as Utagawa Toyokuni III (三代歌川豊国); 1786 – 12 January 1865).

    A young woman adjusting her hairpins in the light of a paper lantern. Series: Arigataki miyo no kage-e (Shadow Pictures of an Auspicious Age). There are five known prints, half-length portraits of beauties, in this series, designed by Kunisada in ca. 1844. Another print from the series in this collection: SVJP-0309.2020: A young woman reading a book in the light of a lamp.

    Signed: Kōchōrō Toyokuni ga (香蝶楼豊国画). Publisher: Maruya Kiyojiro.

    Size: Vertical Ōban (37.5 x 25.4 cm). Utagawa (歌川) SOLD
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  • Ko-Shoami tsuba with deer and maple leaves motif, c. 1575-1625.

    Iron tsuba of round form decorated with a deer and maple leaves in positive silhouette openwork (ji-sukashi), with details finely carved in low relief (kebori). Nakagō-ana plugged with copper fittings (sekigane). Traces of lacquer on the surface.

    NBTHK: Hozon, №424947.

    Design: An autumnal tsuba with an allusion to Kasuga Shrine in Nara.

    Attributed by NBTHK to Shoami. Age: Probably the Momoyama period (1574 – 1603) or early Edo period (1603 – 1650), but judging on the item's substantial size (diameter 86.6 mm) and considerable thinness (3.4 mm) may be attributed to earlier times (late Muromachi period, 1514 – 1573).
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  • Utagawa Kunisada, a.k.a. Toyokuni III .

    Utagawa Kunisada (Toyokuni III). Edo Murasaki – Fake Murasaki’s Rustic Genji / Fan print, 1853.

    Utagawa Kunisada [歌川 国貞]; a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signed: Toyokuni ga [豊国 画] in a yellow toshidama cartouche. Publisher: Unknown, seal [久] Kyū (Japanese, fl. c. 1851 – 1861); (Marks 07-023 | U176a, possibly Sagamia Kyūzō). Date seal and double nanushi censor seals: Fuku & Muramatsu, Kaei 6, 2nd month (2/1853). Inscription in a red cartouche: Purple of Edo // Purple of the Bay Capital [江都むらさき] (Edo Murasaki), alluding to Murasaki Shikibu [紫 式部] (Japanese, c. 973/8 – c. 1014/31), the author of Genji Monogatari [源氏物語] (The Tale of Genji), a Heian period novel which was the source of a parody Nise Murasaki Inaka Genji [偐紫田舎源氏] (Fake Murasaki’s Rustic Genji) by Ryutei Tanehiko [柳亭種彦] (Japanese, 1783 – 1842). According to Horst Graebner: The actor is most probably Iwai Kumesaburō III. Iwai Hanshirō VIII [岩井半四郎] (Japanese, 1829 – 1882); other names: Iwai Shijaku II, Iwai Kumesaburō III [岩井粂三郎], Iwai Hisajirō II. One of the series of Kunisada's fan prints in this collection:
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  • Utagawa Kunisada (Toyokuni III). Kabuki actors Sawamura Tanosuke III as Princess Wakana and Sawamura Tosshō II as Ashikaga Sanshichirō / Fan print, 1864.

    Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Artist signature: By the brush of the 79-year-old Toyokuni [七十九歳豊國画] (Nanajūkyū-sai Toyokuni ga). Publisher: Ebiya Rinnosuke [海老屋林之助] (Japanese, fl. c. 1832 – 1895); seal: ト/ 海老林 (to, Ebirin). Block carver: Matsushima Masakichi [松島政吉]; seal: carved by Masa [彫政] (Hori Masa). Combined date seal and kiwame censor seal: [子極] 1864 (Bunkyū 4/Genji 1). Media: Untrimmed fan print (uchiwa-e), 223 x 297 mm. Inscription in the cartouches: (R) Wakana-hime [若菜姫], Sawamura Tanosuke III [沢村田之助]; (L) Ashikaga Sanshichirō [足利三七郎], Sawamura Tosshō II [沢村訥升]. Play: Kinoene Soga Daikoku-bashira [甲子曽我大国柱], performed at the Morita theatre [森田座・守田座] (Morita-za) in 1864 (Bunkyū 4/Genji 1), 2nd month (see playbill at MFA-Boston Collection). Playwright: Muraoka Kōji II [村岡幸治]. Actors and Characters: Sawamura Tanosuke III [三代目沢村田之助] (Japanese, 1859 – 1878); other names: Shozan [曙山] (poetry name), Sawamura Yoshijirō I [初代沢村由次郎], here in the role of Princess Wakana [若菜姫] (Wakana-hime) (R). The story about Princess Wakana, Shiranui Monogatari, was written by Ryukatei Tanekazu [柳下亭種員] (Japanese, 1807 – 1858) and published as a 90-volume book of comics between 1849 and 1855. ...The tale revolves around the clash between the Kikuchi and Ōtomo clans. Princess Wakana’s father Ōtomo Sōrin [大友 宗麟] (1530 – 1587) was killed in a battle, and his spirit demanded revenge. To appease her late father's spirit, Princes Wakana acquired the power of the Earth Spider. She often appears in prints with a magic scroll, which helps her fight various enemies. Sawamura Tosshō II [二代目沢村訥升] (Japanese, 1854 – 1879); other names: Kōga [高賀] (poetry name), Sawamura Genpei II [二代目沢村源平], Sawamura Sōjūrō [澤村宗十郎], Suketakaya Takasuke IV [四代目助高屋高助], Sawamura Tosshi VI [六代目澤村訥子] (poetry name), here in the role of Ashikaga Sanshichirō [足利三七郎] (L) with a horse. According to Markus Sesko, the scene comes from the kabuki play Umakiri (馬斬り) by Tatsuoka Mansaku [辰岡万作] (17432 – 1809), which premiered in 1794. It was later assimilated into the Kabuki play Kozotte Mimasu Kuruwa no Datezome [襷廓三升伊達染], which was staged in the 1st lunar month of 1853 at the Nakamura-za. Umakiri is based on a Kyōgen play featured in Hideyoshi’s biography Taikōki [太閤記]. Its plot is that Ashikaga Sanchichirō Yoshitaka [足利三七郎義孝・義高], who is supposed to allude to Nobunaga’s son Oda Sanshichirō Nobutaka [織田三七郎信孝], attacks and kills a horse that is carrying 3,000 ryō (金三千両), money Mashiba Hisayoshi [真柴久吉] (an allusion to Hashiba Hideyoshi [羽柴秀吉]) had sent to be donated to a shrine on Mt. Kōya. The surrounding people try to catch him, but when they hear it is Yoshitaka who killed the horse, they fall to the ground and prostrate, and Yoshitaka leisurely leaves with the money. The plot is very simple, but Yoshitaka’s dashing appearance makes it very pleasing to watch. There are also prints that quote the main protagonist as Ashikaga Sanshichirō Harutaka [足利三七郎春高], and there is another title for the play, Sanzen-Ryō Kogane no Kurairi [三千両黄金蔵入] (Pocketing 3,000 ryō of gold). For reference, see also the BLOG. What these two characters are doing in one play remains a riddle. As Mr Graebner comments: "Most kabuki plays were only performed for one season (two months), and the books were lost. The playwrights have repeatedly used parts of plots from other plays, they have adopted characters, sometimes with the same or similar names. What can be found is the Kabuki Playbill (Tsuji banzuke) with cast and roles; the content is lost".

    MBA-Boston Accession number 11.28192

    Acknowledgements: Special thanks to Horst Graebner of the Kunisada Project and to Markus Sesko of The Metropolitan Museum, NY, for the analysis of the image and their invaluable contribution. For reference, see also:        
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  • Utamaro. Seiro ehon nenju gyoji (A Picture Book of Annual Events in Yoshiwara). 1804.

    Utamaro. Seiro ehon nenju gyoji (A Picture Book of Annual Events in Yoshiwara). 1804.

    Seiro ehon nenju gyoji 青楼絵本年中行事 (A Picture Book of Annual Events in Yoshiwara). Block cut by: Fuji Kazumune (藤一宗). Printed by: Jakushodo Toemon (霍松堂藤右衛門). Written by: Jippensha Ikku (十返舎一九) (text, kyoka 4 & 12). Published by: Kazusaya Chusuke (上総屋忠助). Print artist: Kitagawa Utamaro (喜多川歌麿). Written by: Sandara Boshi (三陀羅法師) (kyoka 1). Workshop of: Yashiki no Katamaru (屋職堅丸). 1804 (spring); Edo. Reference: British Museum; Fine Arts Museums of San Francisco.
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  • Yagyu tsuba with wheel motif by Fukui Tsuguzaemon. Early Edo period, 17th century.

    Iron tsuba of round form with design of wheel (kuruma) in openwork (sukashi). Squared rim. Copper sekigane. Yagyu school. Signed of the face: Fukui Tsuguzaemon. Early Edo period: Late 17th century (Kanbun/Enppo era). Height: 76.7 mm. Width: 76.8 mm. Rim thickness: 5.2 mm. Center thickness: 5.6 mm. Provenance: Sasano Masayuki Collection, № 203: "This design of spoke wheel relates to the 'circular principle' found in the Yagyu philosophy. Although it is very faint, Fukui Tsuguzaemon's signature is visible. Without a signature and based on appearance alone, it would undoubtable attributed to a later period".

    Merrily Baird in her book "Symbols of Japan" [Merrily Baird. Symbols of Japan. Thematic motifs in art and design. Rizzoli international publications, Inc., 2001] provides the following explanation of the Wheel-of-the-Law symbol: "The Wheel-of-the-Law or Golden Wheel (rimbo, kinrin) has its origins in India, where it is known as chakra. [...] In Buddhist practice, it has been represented with eight spokes, reflecting the eight-fold path to overcoming worldly desire, and it signifies that all illusions will be crushed by the faith's enlightenment. [...] The Wheel-of-the-Law is an attribute of such deities as Senju Kannon, the Thousand-Armed Kannon, and Dainichi Nyorai, the all-illuminating solar figure who is the principal deity for Shingon Buddhism. From the Edo period on, the wheel also has been used in a secular manner", e.g. on family crests.

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  • Utagawa Toyokuni I. The Maiden at Dōjō Temple. Circa 1815.

    Artist: Utagawa Toyokuni I (1769–1825) Title: Actors Bando Mitsugorō, Ichikawa Danjūrō, Onoe Kikugorō in play The Maiden at Dōjō Temple. Presumably Bunka 13 (1816) at Nakamura Theater in Edo. Publisher: Mikawaya Seiemon (c. 1805-1829); Marks' "Publishers" № 328, p. 235. Size: Vertical ôban MEDIUM OR TECHNIQUE: Woodblock print (nishiki-e); ink and color on paper. Signed: Toyokuni ga Censor's seal: kiwame Detailed discussion on the topic can be seen at: The Maiden at Dōjō Temple    
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  • Iron tsuba with a bat and moon motif. Edo period.

    Iron tsuba of mokko form with rough surface decorated in low relief carving (sukidashi-bori) and openwork (sukashi) with a flying bat, a crescent moon, and a cloud over the moon. Bat's eyes inlaid with gold. Crescent moon and cloud on the reverse. Copper sekigane. Kogai hitsu-ana plugged with shakudō.

    Unsigned.

    Edo period.

    Size: Height: 83.7 mm; Width: 80.3 mm; Thickness: 2.9 mm; Weight: 141 g.

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  • Katsukawa Shunshō. Standing portrait of a young man holding chrysanthemum flowers. Ca. 1776

    Katsukawa Shunshō ( 勝川 春章; 1726 – 19 January 1793).

    Signed: Katsukawa Shunshô ga (勝川春章画).

    The size is somewhat larger than the standard pillar print (hashira-e): 16.3 x 67.7 cm.

    No references found so far.

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  • Utagawa Kuniyoshi .

    Utagawa Kuniyoshi. Prince Hanzoku terrorized by a nine-tailed fox, from the series ‘Japanese and Chinese parallels to Genji’, 1855.

    Title: Lyon Collection: Genji, Chapter 21, the maiden (otome - 乙女): the nine-tailed fox woman (kayō-fujin [花陽夫人]) terrorizing Prince Hanzoku (足王) and his servant from the series Japanese and Chinese parallels to Genji (wakan nazorae genji - 和漢准源氏). British Museum: Otome 乙女 (Maiden) / Waken nazorae Genji 和漢准源氏 (Japanese and Chinese Comparisons for the Chapters of the Genji). Schaap: Prince Hanzoku terrorized by a nine-tailed fox; Series: Wakan nazorae Genji (Japanese and Chinese parallels to Genji) Artist: Utagawa Kuniyoshi [歌川 國芳] (1798 – 1861). Publisher: Iseyoshi [伊勢芳] (Marks 25-013 | U095); seal [イせ芳]. Block carver: Hori Shōji [彫庄治] (Lyon Collection; BM); Hori Takichi [彫多吉] (Schaap). Date-aratame seal: Ansei 2, 7th month (1855). Ref: Jack Hillier. Japanese prints and drawings from the Vever Collection (3 volumes). — New York: Sotheby Parke Bernet & Rizzoli International, 1976; vol.3, p. 868, pl. 847. Robinson (1982): p. 161, S88, № 21. Schaap (1998): p. 115, № 107. SOLD
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  • Utagawa Hiroshige. Water, from the series The Pride of Edo Compared to the Five Elements / Fan print, c. 1844-46.

    One of five fan prints from the series The Pride of Edo Compared to the Five Elements [Edo jiman mitate gogyo]. Artist: Utagawa Hiroshige [歌川 広重] a.k.a. Andō Hiroshige [安藤 広重] (Japanese, 1797 – 1858). Publisher: Ibaya Kyubei [伊場屋 久兵衛] (Japanese, fl. 1804 – 1851). Signed: Hiroshige ga Censor’s seal: Muramatsu Publisher's seal: Kinseido (Ibaya Kyubei) The text in the fan-shaped cartouche reads: "Water: The Square Aqueduct that Crosses by Suido Bridge Suggests the comparison of Ochanomizu to Water [Mizu: Ochanomizu josui no himasu Suidobashi areba gogyo no uchi mizu ni nazorau]". Ref: Rupert Faulkner. Hiroshige Fan Prints. Victoria and Albert Museum. Far Eastern Series. Hardcover - Harry N. Abrams, Inc. - 2001 [LIB-1344.2017] № 22, p. 51. Comment from Sebastian Izzard: This series of five prints features full-length figures of women set in landscapes around Edo compared to the five natural elements: fire, water, earth, wood, and metal. A preparatory drawing for the “Wood” image, featuring a woman crossing a bridge in the snow at the timber yards of Fukagawa, is owned by the Kanagawa Prefectural Museum of History in Yokohama. A preparatory drawing also exists for the “Earth” image, which portrays a woman seated on a bench at Nakabashi, for which no print is extant. Two examples exist of the “Fire” subject, which pictures a woman holding a lantern at night on an embankment, while in the river behind her fishermen employ fire to trap their catch. The “Water” image depicts a woman on a pleasure boat on the Ocha-no-mizu waterway. One example of the “Metal” subject is known, which was included in Izzard's Important Japanese Prints 1830–1860 March 14–20, 2020 exhibition [LIB-2398.2020], as №. 51.

    Metal. Izzard, 2020.

    Fire. Faulkner, 2001.

     
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  • Utagawa Kunisada (Toyokuni III). Pine, bamboo, and plum: Three delights / Fan print, 1855.

    Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signed: Ichiyōsai Toyokuni hitsu [一陽斎豊国筆]. Inscriptions:  [松竹梅] Shochikubai = pine (matsu, 松), bamboo (take, 竹), and plum (ume, 梅) – an auspicious grouping known as “The Three Friends of Winter“; [三福追] (Sanpuku tsui) – the three delights, or pleasures. Date seal and aratame censor seal: Ansei 2, 1st month (1855). Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, c. 1815 – 1869). Block carver: Yokokawa Takejirō [横川竹二郎] (Japanese, fl. 1845 – 1863); seal: Hori Take [彫竹]. Kabuki actor Onoe Kikugorō V [五代目尾上菊五郎] (Onoe Baikō V, Ichimura Kakitsu IV, Ichimura Uzaemon XIII, Ichimura Kurōemon, Japanese, 1844 – 1903) giving candies to the memorial portrait of his predecessor, Ichimura Takenojō V [市村竹之丞] (Ichimura Uzaemon XII, Ichimura Kamenosuke, Ichimura Toyomatsu, Japanese, 1812 – 1851); the latter is dressed in a green robe adorned with a crest (mon) of a kōrin-style crane in a tortoiseshell (octagon), the hanging scroll border decorated with bamboo under snow; the collar of Onoe's kimono decorated with plum blossoms, another plum blossom arrangement decorates the screen behind him. Actors identified by Horst Graebner. Two fan prints from this series in Varshavsky Collection:

    SVJP-0335.2021
     
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  • Heianjo tsuba with the Myriad Treasures motif. Momoyama or early Edo period (1574 – 1650).

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