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".  

Iron tsuba of round form decorated with the design of a butterfly in openwork (sukashi) with details carved in kebori. Eyes inlaid in brass (one inlay is missing). Unsigned. Attributed to Bizen Shōami school, early Edo period (17th century). Dimensions: 80.4 x 80.6 x 4.4 mm References At Haynes Catalog #6, p. 18-19, Lot 30: "Famous Ikeda butterfly design" (Ikeda family of Inaba and Okayama, and at least 7 other families). Ca. 1700. Shōami of Kyoto, no doubt. Ht 8.2 cm, Th. 5 mm. ["Important tsuba, menuki, bokuto, woodblock prints, koshirae, sword pistol and kana mono". San Francisco, June 1-26, 1983. Catalog #6. Robert E. Haynes, Ltd.] Similar tsuba at Haynes Catalog #9, p.71, lot 143: the classic Shoami tsuba of the mon of the Ikeda family. This example, as most, seems to be made by the same hand as the others. See Haynes sale number 6, lot 30, for an identical example. The eye is brass. From an old French collection. Ht. 7.9 cm., Th. 5 mm. Similar tsuba in the Randolph B. Caldwell Collection, 1994, page 24, №13: "A circular iron tsuba pierced in positive sukashi with a butterfly within an angular rim, details engraved. The eye inlaid in brass [in my specimen the inlay is missing on the omote side]. Unsigned. Bizen Shōami, Momoyama period. Dimensions: 8.0 x 8.2 x 0.5 cm. Similar example: Durand-Ruel, collection Ch. Gilloz, number 1302. [SV: that's possibly the 'old French collection' of Robert Haynes.] If we accept Haynes' theory regarding the genealogy and history of Bizen Shōami family, Momoyama period attribution would seem unlikely. I am leaning towards the early to mid 17th century.

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.    

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 round form pierced (sukashi) in a chessboard fashion and decorated with linear (sen-zōgan) and cast (suemon-zōgan) brass inlay, including symbols of the swastika, flower-lozenge, maple leaf, pine needle, etc. on both sides; rim and openings outlined with brass inlay. Nakagō-ana plugged with copper fittings (sekigane).

Momoyama period. End of the 16th - beginning of the 17th century. Dimensions: Diameter: 75.5; Thickness: 4.5 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 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);

7. Rhombus, or Lozenge (hosho, 方勝), with the second ideograph meaning victory.
8. Sacred (or wish-granting) gem, or jewel [hōju, 宝珠]
9. 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

Heianjō tsuba, carved and inlayed in brass with a somewhat primitive design of rocks, plants, and waves, and a man in a boat beside two jakugo stone baskets on the face and a religious structure (stupa, grave stone) on the reverse. Muromachi or Momoyama period.

Size: 83.2 x 82.4 x 3.6 mm; 149.2 g

The Carlo Monzino Collection of Japanese sword fittings and swords (Sotheby's, London, 18 June 1996. p. 12-13) №9 provides an illustration of the similar tsuba with the following description: Heianjo tsuba, carved and inlayed with rocks, plants, and waves, also pierced with a jakago [sic] (stone basket).

Gary D. Murtha in his Japanese sword guards Onin - Heianjo - Yoshiro (GDM Publications, 2016) on page 53 shows a look-a-like tsuba (though, with a kogai-hitsu-ana) with the follwoing description: Iron, 77 mm, tsuba with brass tree, snake, jakugo baskets, and curved brass pieces (representing water flowing over rocks). Buddhist halo to reverse. Although showing Onin traits, a Shoami Heiamjo attribution would fit better. Azuchi-Momoyama period.

Tsuba of oval form decorated with vines, tendrils, and leaves on trellis in brass inlay with details carved in kebori, and pierced with six family crests (mon) with two, three and four pointing stars in openwork, each outlined with brass wire and carved in kebori. Original hitsu-ana outlined with brass wire was probably enlarged later. Copper sekigane.

Momoyama to early Edo period (end of the 16th - beginning of the 17th century). Dimensions: 68.3 x 64.5 x 3.4 mm.

Iron tsuba of mokkō form (mokkōgata) pierced (sukashi) and inlaid with precast dark brass inlay (taka-zōgan) with somewhat abstract/geometrical design that can be liberally described as pines, mist, and snow.

Momoyama or early Edo period. End of the 16th - beginning of the 17th century. Heianjō school. Unsigned. Dimensions: 86.8 x 82.9 x 4.5 mm.

Iron tsuba of mokko form decorated with brass flat inlay (hira-zōgan) all over on both sits and going over the rounded rim. Black patina, well-forged iron. Hitsu-ana outlined with brass inlay. Former owner's catalogue number in red paint reads 25-17-61. Gary D. Murtha provides detailed account of this type of tsuba in Japanese Sword Guards. Onin-Heianjo-Yoshiro book on pages 118-122. He calls this type of tsuba "Heianjo Mogusa Tsuba": "The term mogusa is commonly used for an inlay design that represents an aquatic weed, similar to a duck weed or sago plant, which is known to quickly invade and overtake bodies of water. [...] Perhaps the visual image has some cross-over meaning for samurai in that, like the plant, a small aggressive samurai force could conquer a larger foe/area." I tried to find any reference to "mogusa" in literature, - to no avail. Neither on the vastness of internet, including Wikipedia... I did find the "duckweed" (one word), but visually it has nothing to do with the pattern on tsuba. "Sago plant" probably stands for 'Sago palm", and there is some very distant reminiscence in the construction of the sago palm leaf and the said design of inlay, but I would not go that far. In the old catalogues, such as Naunton and Hawkshaw collections, this pattern as called "sea weed" and/or "conventional fir". I will stick to these descriptions, tested by the time, and leave the enigmatic "mogusa" alone. Obviously, this type of tsuba has transformed into Yoshirō tsuba, both in Kaga province and Bizen province. Momoyama period (ca. 1660). Dimensions: 74.5 x 73.7 x 4.4 mm.

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

Iron tsuba of round form decorated with a design of bracken scrolls and paulownia leaves and blossoms (kiri-mon) in openwork (sukashi). Details carved in kebori. Squared rim with iron bones (tekkotsu). Hitsu-ana plugged with shakudō.

Size: 83.6 x 82.9 x 5.4 (center), 5.1 (rim) mm.

Unsigned.

Muromachi period, ca. 16th century.

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.