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Hardcover volume, 35 x 27 cm, bound in grey cloth, blind stamped characters to front, brown characters to spine, in a glassine dust jacket, in a double slipcase, the outer case pictorial paper over cardboard, 36 x 28 cm, pp.: [4] [1] 2-124 (plates with photographs of 241 items), [2] 127-171 [3]. Kyō ware [京焼] (Kyō-yaki) – pottery from Kyoto. 日本の陶磁 – Japanese ceramics, series title. Contributors: Yasunari Kawabata [川端 康成] (Japanese, 1924 – 1972) – author. Tetsuzo Tanikawa [谷川 徹三] (Japanese, 1895 – 1989) – author. Seizo Hayashiya [林屋晴三] (Japanese, 1928 – 2017) – editor. Chūōkōron-sha [中央公論社] – publisher. -
Kyo school iron tsuba of round form decorated with an eight-plank bridge (yatsuhashi) and irises (kakitsubata) in openwork (sukashi).
Late Muromachi period, Tenbun era (early 16th centiry).Dimensions: 80.0 x 77.2 x 4.1 mm.
The design alludes to the scene in 'Ise Monogatari', where Ariwara no Narihira being exiled from Kyoto to the Kanto region crossed the eight-plank bridge at Mikawa looking at the irises in bloom and composed a poem expressing his desire to return to Kyoto. A lot of tsuba have been produced with the similar design.
Reference: Masterpieces from the Sasano collection, 1994, p. 98, №69. -
Description: One volume, 8vo, 22 x 14.5 cm, in brown paper boards with orange and black lettering to spine, pictorial dust jacket, unclipped “PRICE | 30s net | IN U.K. ONLY”, collated [A]-S8, pp.: [i-vi] vii-xiii [xiv blank], 1-273 [274 blank], 144 leaves total. Edition: 1st English edition. Original title: Das Sogenannte Böse: zur Naturgeschichte der Aggression. — Wien : Dr. G. Borotha-Schoeler, 1963. Contributors: Konrad Zacharias Lorenz (Austrian, 1903 – 1989) – author. Sir Julian Sorell Huxley (British, 1887 – 1975) – author of the foreword. Marjorie Latzke [Kerr Wilson] (American, 20th century) – translator from German. Methuen & Co Ltd. (London) – publisher. Cox & Wyman Ltd. (Fakenham, Norfolk) – printer. -
An annual publication of Kokusai Tosogu Kai / 16th International Convention & Exhibition in Hamburg, Germany: Museum Für Kunst Und Gewerbe / Museum of Arts and Crafts, September 11-12, 2020 and Berlin, Germany: Samurai Art Museum, September 13-14, 2020. Publisher: Tokyo: Kokusai Tosogu Kai, 2020. Pagination: [1-3] 4-103 [1]. Size: Medium 4to (30.3 x 21.6 cm), hardcover, original illustrated paper boards, in a slipcase. Tsuba from this collection depicted on the title page and pp. 59-60: TSU-0342.2017, TSU 0376.2018, and TSU 0379.2018. See also here. -
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. -
Woman Looking out a Round Window at a Woman with a Komusō Hat.Artist Koikawa Harumasa (a.k.a. Banki): fl. 1801–18. Wikipedia: Koikawa Harumasa (恋川 春政; active 1800–1820), later called Banki Harumasa (晩器 春政). Associated with Katsukawa school.
Signed: Banki ga (on the bamboo flower container in the background). Censor's seal: kiwame. Mark of unidentified publisher, Genshoku #1017; Marks U084 Ibiko, p. 387.
References:
Jacob Pins #828.
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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 with design of military commander's fan (gunbai) in openwork (sukashi). Square rim. Hitsu-ana plugged with lead or tin. Ko-tosho school. Mid Muromachi period. Late 15th century: Entoku era [1489-92] / Meio era [1489-1501]. Height: 80.3 mm, Width: 81.5 mm, Rim thickness: 3.0 mm. Centre thickness: 3.5 mm. Provenance: Sasano Masayuki Collection, №23 in Japanese Sword Guard Masterpieces from the Sasano Collection, 1994: Ko-tosho. Sukashi design: Military commander's fan (gunbai). Mid Muromachi period. Late 15th century (Entoku / Meio era). The military commander's fan (gunbai) was cherished by samurai warriors. This tsuba is relatively thick, with the large fan nicely positioned on the plate. -
A ko-tosho tsuba made of iron, of the round form (丸型, maru-gata), pierced in negative silhouette (文透, mon-sukashi) with the design of Shingon Buddhism symbols of vajra [金剛杵] (kongosho), Sun, Moon and Star [月日星] (tsuki-hi-hoshi) – three sources of light [三光] (sankō). Round rim. No hitsu-ana; the shape of nakago-ana may suggest use on naginata [薙刀. Muromachi period (1393 – 1573). Height: 94.4 mm, Width: 93.4 mm, Centre thickness: 3.1 mm. Another possible explanation for "The element at the 11-o’clock position is in my opinion a kemari ball for the courtly game of the same name (picture attached)" [Markus Sesko].
Tsukioka Yoshitoshi [月岡 芳年] (Japan, 1839 – 1892): Tokugawa Yoshimune [徳川 吉宗] (1684 – 1751) playing kemari [蹴鞠]
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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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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). -
Iron tsuba of square with cut-off edges form (sumi-iri-kakugata) with lattice design in openwork (sukashi) and solid center. Hitsu-ana plugged with lead.
Unsigned. Late Muromachi period, ca. 16th century.
Size: 81.3 x 80.0 x 3.6 mm References: 1) Tsuba Kanshoki. Kazutaro Torogoye, 1975, p. 95, lower image. It's also called Kyō shōami. 2) KTK-11: Koshi motif, Late Muromachi (16th c.) -
Iron tsuba of square with cut-off edges form (sumi-iri-kakugata) with lattice design in openwork (sukashi) and pierced center.
Unsigned. Late Muromachi period, ca. 16th century.
Size: 73.2 x 72.4 x 3.6 mm References: 1) Tsuba Kanshoki. Kazutaro Torogoye, 1975, p. 95, lower image. It's also called Kyō shōami. 2) KTK-11: Koshi motif, Late Muromachi (16th c.) -
Ko-kinko ymagane cast tsuba of oval form with chiseled diaper pattern of double head waves on both sides and a rabbit cast and carved with its eye inlaid in yellow metal (gold or brass) on the face. Fukurin which holds together the sandwiched layers of metal (sanmai) is about 2.7 mm wide. Possibly, early Mino (ko-Mino) school. Size: 66.6 x 59.9 x 4.0 mm. Some connoisseurs believe that this kind of tsuba was in mass production at the time. Small animal believed to be a fox, however some attribute it to a long-tailed rabbit or a squirrel. I am leaning towards the rabbit. Similar example is found at Robert E. Haynes Catalog №3, April 9-11, 1982 on page 11, under № 15: “Rare design in style of Sanmai (three layers) / Wasei work. With yamagane core and heavy rim cover. The web plates are carved with double head Goto style waves and the face has a fox. The web plates were riveted at the seppadai. See Lot 4, page 8. Ca. 1350. Ht. 6.6 cm, th. 3 mm” [underscore mine]. Quality of photo is so poor that I decided not to provide it here. The only difference betwen my tsuba and his is that his has a square hole on the right shoulder of the seppa-dai. Early Muromachi (if we follow Robert it is even Nanbokucho, 1337-1392) or Momoyama period. The Momoyama attribution is mostly based on a fact that “waves and rabbit” motif became most popular in Momoyama times. Mokkōgata tsuba of similar design in this collection - see TSU-0282.
TSU-0282: Ko-kinko yamagane tsuba with waves and rabbit motif.
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Ko-kinko ymagane cast tsuba of mokko form (kirikomi-mokkō-gata) with chiseled diaper pattern of double head waves on both sides and a rabbit cast and carved with its eye inlaid in yellow metal (gold or brass) on the face. Fukurin which holds together the sandwiched layers of metal (sanmai) is about 2.4 mm wide. A look-a-like tsub of oval form instead of mokko-gata is illustrated at Robert E. Haynes's Catalog #3,1982 on page 11, lot 15: "Rare design in style of Sanmai (three layers) / Wasei work. With yamagane core and heavy rim cover. The web plates are carved with double head Goto style waves and the face has a fox. The web plates were riveted at the seppadai. See Lot 4, page 8. Ca. 1350. Ht. 6.6 cm, th. 3 mm" [underscore mine]. Quality of photo is so poor that I decided not to provide it here. Muromachi (if we follow Robert) or Momoyama period. The Momoyama attribution is mostly based on a fact that "waves and rabbit" motif became most popular in Momoyama times. Size: 68.5 x 59.8 x 4.0 mm. NBTHK Certificate № 423120. This tsuba is listed at Yakiba website with the following passage: "Attributions as well as dating of this type of tsuba has been the subject debate over the years. There are those who believe these type of tsuba to be ko-Mino (early Mino School) tsuba, others believe them to be tachi-kanaguchi tsuba. Still others insist they are simply ko-kinko (early soft metal) tsuba. This tsuba was authenticated and determined to be "Ko-Kinko" by the NBTHK". Oval form tsuba with the same design can be found in this collection - TSU-0323.
TSU-0323. Ko-kinko yamagane tsuba with waves and rabbit motif.
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Two ymagane tsuba (daisho) with chiseled diaper pattern of waves. The larger tsuba (dai) is of mokkō form with a wide (4.6 mm) polished rim (fukurin?). Water spray is realized in copper ten-zōgan. Size: 75.0 x 71.6 x 3.2 (center), 4.0 (rim) mm. Copper sekigane. The smaller tsuba (sho) is of oval form, without a rim. No inlay. Size: 53.2 x 45.5 x 4.1 mm. Ko-kinko school. Muromachi period. In Kokusai Tosogu Kai; 5th International Convention & Exhibition, 2009 on page 51 under № 5-U8 there is a piece from George Gaucys collection, described as follows: Unsigned Tachi-Kanagushi tsuba, Yamagane base. Nami (wave) motif. Circa: Muromachi period (15th century). 6.88 x 6.81 x 0.45 (rim), 0.36 (center). The classic wave form is typically seen in Muromachi period tosogu. The patina is rich and rustic, which presents history and warmth. This tsuba may be interpreted as either tachi-kanagushi or ko-kinko work. Early tachi tsuba were symmetrical in design and also not very sophisticated, Design elements filled in up to seppadai as the waves do in this tsuba. There is a simple fikurin of the same metal and it is flat to the plate. On the ko-kinko side, the crests of the waves show more complexity than tachi works and less symmetry. A very intriguing tsuba from late Muromachi period."
Kokusai Tosogu Kai 5th, 2009, p. 51, № 5-U8: ko-kinko or tachi-kanagushi tsuba.
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A yamagane (unrefined copper) ko-kinko tsuba of slightly elongated round form with design of wisteria carved in sculptural relief (nikubori). Copper sekigane. Unsigned. Muromachi period, likely the 16th century.Size: 74.3 x 71.8 x 3.2 mm.
NBTHK certificate №4003986: Hozon (worthy preservation). In custom wooden box. -
Yamagane tsuba of round form with design of a 14 petal chrysanthemum (kiku) in cast openwork (sukashi), with slightly raised rounded rim. Early Muromachi period (1393-1457). Size: Height: 64.5 mm; Width: 64.0 mm; Thickness at seppa-dai: 4.1 mm; Weight: 52.5 g. Provenance: Sasano collection (though not illustrated in the book 'Sasano: Japanese Sword Guard Masterpieces from the Sasano Collection, 1994', which only covers tsuba made of iron). Wooden box (tomobako) with inscription (hakogaki) by Sasano Masayuki. References: Illustrated on p. 140 at Tosogu: Treasure of the samurai by Graham Gemmell in the article Muromachi period tsuba by Robin Peverett, London, 1991, pp. 131-145. Sold at Sotheby's, London, Thursday 10 April 1997 Sotheby's, London, 1997 [Japanese Swords and Tsuba from the Professor A.Z. Freeman and the Phyllis Sharpe Memorial collections], p. 16: "A ko-kinko bronze Tsuba, early Muromachi period (1393-1453) of circular form, with raised rounded rim, pierced with kiku petals and with a small elongated kozuka-hitsu, the work appearing to be cast and finished by hand. 6.4cm, thickness at centre 4.15mm, at rim 4.8mm. With a Tomobako, bearing a hakogaki by Masayuki Sasano, with rating Shu. Estimated: £1,000-1,500." Hakogaki (courtesy M. Sesko): 古金工 鐔 Ko-Kinkō tsuba 菊花透 無銘 山銅地透 時代 室町前期 古雅入念 秀作 昭和戊辰年伏月 素心鑑 kikka-sukashi, mumei yamagane, ji-sukashi jidai Muromachi-zenki koga nyūnen, shūsaku Showa tsuchinoe-tatsudoshi fukugetsu Soshinkan Kikka-sukashi, unsigned. Of yamagane and with ji-sukashi. Era is early Muromachi period. Excellent and carefully made work of classical elegance. June in the year of the dragon of the Shōwa era (1988) Soshinkan (pen name of Sasano Masayuki). -
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". -
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 round form decorated with design of pine tree mushrooms (matsutake) in openwork (sukashi). Hitsu-ana of elongated oval form. Raised rim (mimi) with iron bones (tekkotsu). Copper sekigane. Size: 84.5 mm x 85.1 mm; thickness: 3.0 mm (center), 5.6 mm (rim). Mid Muromachi period, 15th century. The shape and width of the rim, as well as the shape of the hitsu-ana, argue for earlier Muromachi. Tsuba is slightly wider than high, that might suggest middle of Muromachi age. According to Robert Haynes, circa 1450-1500. -
Iron tsuba of round form decorated with design of moon, stars, cloud, snowflake, gorintō, and Genji-mon in negative openwork (in-sukashi). Raised tubular rim (dote-mimi). Deep black patina, traces of lacquer. Naka-daka type of plate (thicker in center, getting thiner towards the rim). Visible gap between the rim and the plate. Dimensions: Height: 91.7 mm; Width: 90.8 mm; Thickness at seppa-dai: 2.5 mm, plate before rim: 2.2 mm, of the rim: 5.6 mm. At least Mid Muromachi period, 15th century, but possibly earlier. In 'Silver Book', commenting tsuba №34 Sasano writes: "The technique used to create the rim is the same used for the peak (koshimaki) of helmets (kabuto) during the Kamakura and Nanbokucho periods." On the other hand, the abundance of sukashi elements points towards later times, perhaps late Muromachi or even Momoyama period. "Gorintō is a grave stone composed of five pieces, piled on one the other, representing, from the bottom upward, earth, water, fire, wind, and heaven, respectively" [Nihon Tō Kōza, Volume VI, Part 1. AFU, 1993, p. 6. / LIB-1554]. A romantic description of the piece may look like this: The air is scented (incense symbol); it's a graveyard, marked by gorintō; a winter (snowflake) evening or night (moon, stars); mist is rising from a ravine towards moon. I did not manage to find a katchūshi piece of this design, only a few Kamakura-bori tsuba:
100 selected tsuba from European collections. Catalogue by Robert Haynes and Robert Burawoy, 1984, page 16, №5.
While the upper tsuba is dated end of Muromachi, the lower is attributed to the 17th century - Momoyama or early Edo period, though the author put this attribution under question. Deciphering of the strangely shaped opening to the left of nakago-ana is sometimes "a conventional scroll", and sometimes - a fern or bracken. I think mine is a cloud or mist, but I don't have any material evidence proving this understanding and came to conclusion by context only. It may easily be a dinosaurs playing ball. The fact that this thing always accompanies the Genji-mon, or incense symbol, it may be a scent itself.
Japanese Sword Fittings. Collection of G.H. Naunton, Esq., by Henri L. Joly, - 1912; №9.
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Ebisu drawing wakamizu, the first water drawn from a well on the New Year. Kitao Shigemasa (北尾 重政, 1739 – 8 March 1820). Signed: Shigemasa. Publisher's mark: Nishimuraya Yohachi.References:
Jacob Pins #547 [p.217] - Ebisu drawing wakamizu, the first water drawn from a well on the New Year. TNM II (Tokyo National Museum Catalogue vol. 2) #1373.
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Santō Kyōden (山東 京伝, September 13, 1761 Edo – October 27, 1816) was a Japanese poet, writer and artist in the Edo period. He studied ukiyo-e under master Kitao Shigemasa (北尾 重政) [see SVJP-0006], and began illustrating kibyōshi under the pseudonym of Kitao Masanobu (北尾 政寅).Signed: Masunobu ga.
"Parody of the Nō Play Chōryō" (elsewhere) or "Parody of Huáng Shigōng and Zhāng Liáng" (David Waterhouse, The Harunobu Decade, Hotei Publishing, 2013, v. 2, №651). "The story [...] is about an encounter between the Chinese government minister Chôryô (Zhāng Liáng) and the legendary elder Kôsekikô (Huáng Shigōng) in the 3rd century BC. While riding a mule across a bridge, Kôsekikô dropped his sandal. Chôryô returned it to him. As a reward, Kôsekikô gave Chôryô a book of military strategy. Later, Chôryô helped to establish the Han Dynasty (207 BC-AD 220)." [The Walters Art Museum]References:
Waterhouse, The Harunobu Decade (2013), #651; Ukiyo-e shûka supp. 2 (1982), pl. 625; Pins, The Japanese Pillar Print (1982), #274/p.145; J. Kurth, Die Geschichte..., vol. II, Leipzig, 1928; S. Kikuchi, Ukiyo-e, 1966.
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Artist: Kitagawa Utamaro [喜多川 歌麿] (Japanese, c. 1753 – 1806) "This uncommon half-size horizontal ōban ... is most likely one design from a set of twelve prints issued late in Utamaro's life" [Japanese Erotic Fantasies, Hotei Publishing, 2005, p. 143, pl. 47]. Half-size horizontal ōban must be 12.7 x 38 cm. Richard Waldman and Chris Uhlenbeck say it's tanzaku size (13 x 43 cm). In reality, the prints of this series measure 17 x 38 cm, which corresponds exactly to horizontal o-hosoban paper size. I managed to assemble 11 of allegedly 12 designs. 7 of them have genitals colored by hand. It's hard to tell whether it was done by the publisher on demand of a peculiar buyer, or by the owner of the prints who considered the black and white privy parts unnatural. My sequencing of the prints is arbitrary. Transcription of the text may help find the correct order.
As Japanese Erotic Fantasies put it: "a couple engaged in love-making, their stare fixed outside the picture plane". This is the only image of series that has a reference in available western literature, and the only one found in museum collections: Rijksmuseum Amsterdam (RP-P-1999-2001-16); reference: Fukuda (ed.) (1990), pls. 11-2.
The scene of this print looks quite similar to that of the Kiyonaga's Sode no maki:
The woman is "a young lady-in-waiting of Shogun's Court or Daimyō's Mansion, enjoying a rare outing from her tedious chores" [Richard Lane]. She is fully dressed in her outer cloak (shikake), white paper hat (agebōshi or tsunokakushi), and toed socks (tabi). A book or maybe, onkotogami (roll of tissues known as 'paper for honourable act' ) is still in the folds of her kimono. She is holding an open fan, either to cover her and her lover's faces from an unsolicited witness or to bring some fresh air to their joined lips. The pair just started their sexual intercourse.
A scene from medieval times. A courtier in eboshi cap having sex with an aristocratic young woman with a long straight hairstyle (suihatsu).
Completely naked couple in the moment of ejaculation. Lavish garments with paulownia leaves on a yellow background counterbalance the white bodies on red bedding. The form of a woman's cheeks is telling, but I don't know about what. Maybe her advanced age?
The pose of the couple and the overall composition are similar to that of the previous sheet. Though the lovers are dressed, and the woman's hairdo is well kept. The male looks older and the woman - younger.
A man takes a young maid from behind. She clenches the sleeve of her kimono in her teeth; it's either the moment of penetration (beginning of intercourse) or of her orgasm (the end of it).
This seems to be a forced intercourse between a lackey with extensive bodily hair and a young maid from the same household.
This design is very much like the other one presented below, which is described at Japanese Erotic Fantasies on page 136 (pl. 43b) as follows: "The viewer peers through a mosquito net to see a child fast asleep, while his mother or wet-nurse moves towards her partner. On our print there is no child; instead of a sleeping baby, there is a roll of onkotogami. Fewer objects make the overall image concise, almost laconic in comparison with the Ehon hana fubuki (1802) design:
A young couple in a moment of true love. He is listening to the beating of her heart.
This is a moment of true love between an old monk and a young samurai. The latter even did not take of his socks (tabi).
From Japanese Erotic Fantasies: "Boats played a crucial role in the workings of Yoshiwara, as they were the primary means of transport to the district. During the hot summer months, trips on pleasure boats were also a favourite pastime. Sex aboard a boat is a recurrent theme in shunga".
The last print that I am currently lacking and hunting for:
I know where it is, but I cannot reach it... yet. -
Kitagawa Utamaro. Illustration from the book Ehon koi no Onamaki. Cited at Hayashi Yoshikazu's 20-volume set Edo makura-e shi shusei: Kitagawa Utamaro. Size: Chuban (25.5 x 18.5 cm), two book pages glued together. -
Kitagawa Utamaro. Illustration from book Ehon koi no Onamaki, published in 1799. Reference found by Chris Uhlenbeck: he found one of the designs in Hayashi Yoshikazu's 20-volume set Edo makura-e shi shusei: Kitagawa Utamaro. Size: Chuban (25.5 x 18.5 cm), two book pages glued together. -
Kitagawa Utamaro. According to Chris Uhlenberg this is an illustration from the book Ehon koi no Onamaki, 3 vols, published in Kansei 11 (1799). Illustrated in b/w in: Hayashi Yoshikazu: Kitagawa Utamaro, in the series: Edo makura-e shi shusei, published in 1990, reissued 1994. Size: Chuban (25.5 x 18.5 cm), two book pages glued together. -
Kitagawa Utamaro (喜多川 歌麿; c. 1753 – 31 October 1806). Act III (Sandanme), from the series The Storehouse of Loyal Retainers (Chûshingura). Publisher Nishimuraya Yohachi (Eijudô). About 1801–02 (Kyôwa 1–2) Vertical ôban; 39.3 x 26 cm (15 1/2 x 10 1/4 in.). Reference: MFA ACCESSION NUMBER 11.14441 Ukiyo-e shûka 3 (1978), list #368.3; Shibui, Ukiyo-e zuten Utamaro (1964), 165.1.3; the series: Asano and Clark 1995, #s 383-5. -
Kitagawa Tsukimaro (Kikumaro): 喜多川 月麿, fl. c. 1794–1836.
Mother is playing with her child: they left playing with shadow lantern for freeing a turtle (Hojo-e, or "Rite for the Release of Living Beings").Signed: Tsukimaro hitsu (月麿筆); Publisher's mark; censor's seal: Kiwame + Yamaguchiya Tôbei gyōji seal (1811-14).
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Kikukawa Eizan (菊川 英山, 1787 – July 17, 1867) Signed: Eizan hitsu (英山筆)Jacob Pins #972/p.341. Leiden, Rijksmuseum voor Volkenkunde.
"The Lovers Miura-ya Komurasaki and Shirai Gonpachi: Tragic love stories taken from real life and dramatized were a staple of stage and print; the darkly romantic combination of desire and death was hugely popular in the eighteenth century. Hirai Gompachi was a warrior of the Tottori fief in western Japan who fled to Edo after committing a murder. He was apprehended and sentenced to death in 1679. His distraught lover, the courtesan Komurasaki, committed suicide at his grave." [MET]
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Softcover, in pictorial flapped wrappers, 28 x 21.7 cm, 7 entries, with colour illustrations. Catalogue # 13 of the sales exhibition on September 15-19, 2009 in NY; pagination: [1-3] 4-38 [2], ils. Contributor: Sebastian Izzard -
Iron tsuba of oval form carved with a landscape motif. Kogai-hitsu-ana plugged with shakudo. Sekigane of copper.
Signed: Chōshū Hagi-jū Tomohisa saku (長州萩住友久作).
Tomohisa, adopted son of Rokurō'emon, was 3rd generation master of Kawaji School from Hagi in Nagato (Chōshū), lived 1687-1743 [M. Sesko 'Genealogies', page 117].
Edo period, circa 1700. Dimensions: 71.1 x 66.8 x 2.9 mm For his adopted son Hisatsugu work see TSU-0103 in this collection. -
Iron tsuba of circular form with a branch of loquat (biwa) pierced in positive silhouette (ji-sukashi) and carved in marubori technique (marubori-sukashi). Kozuka and kogai hitsu-ana are plugged with shakudo.
Signature: Choshu Kawaji ju Hisatsugu saku. Chōshū school in Nagato province.
According to M. Sesko 'Genealogies' Hisatsugu was a 4th generation Kawaji School master from Chōshū (present day Nagato), with the name Gonbei, formerly Toramatsu, adopted son of Tomohisa (1687-1743) [page 117]. For Tomohisa work see TSU-0104 in this collection. -
The Seven Gods of Good Luck in the Takarabune (ship of fortune) with a crane (the phoenix) above them.Attributed to Katsukawa Shunshō, fl. 1726–92. Publisher: Uemura from Shiba (Edo). Marks "Publishers": U361|25-300: Uemura han (1793-1813). Marks "Artists, publishers...": Emiya Kichiemon (1688-1835). Artist signature absent. Looks very much like Pins #565 [p.223], but NOT the same. This exact design has not been found anywhere.
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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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Katsukawa Shunshō ( 勝川 春章; 1726 – 19 January 1793).Signed: Shunchô ga (春潮画); Censor's seal: kiwame (改印：極)
Publisher: Iwatoya Kisaburō (Eirindō); c. 1760s – 1832. Marks #173/p.169.
Reference: MFA ACCESSION NUMBER 11.21263. Not in Pins.
Act VII, Gion Ichiriki no ba ("The Ichiriki Teahouse at Gion") This act gives a taste of the bustling atmosphere of the Gion pleasure quarter in Kyoto. Yuranosuke is feigning a life of debauchery at the same teahouse to which Okaru has been indentured. Kudayū, the father of Sadakurō, arrives. He is now working for Moronō and his purpose is to discover whether Yuranosuke still plans revenge or not. He tests Yuranosuke's resolve by offering him food on the anniversary of their lord's death when he should be fasting. Yuranosuke is forced to accept. Yuranosuke's sword – the revered symbol of a samurai – is also found to be covered in rust. It would appear that Yuranosuke has no thoughts of revenge. But still unsure, Kudayū hides under the veranda. Now believing himself alone, Yuranosuke begins to read a secret letter scroll about preparations for the vendetta. On a higher balcony Okaru comes out to cool herself in the evening breeze and, noticing Yuranosuke close by, she also reads the letter reflected in her mirror. As Yuranosuke unrolls the scroll, Kudayū, too, examines the end which trails below the veranda. Suddenly, one of Okaru's hairpins drops to the floor and a shocked Yuranosuke quickly rolls up the scroll. Finding the end of the letter torn off, he realises that yet another person knows his secret and he must silence them both. Feigning merriment, he calls Okaru to come down and offers to buy out her contract. He goes off supposedly to fix the deal. Then Okaru's brother Heiemon enters and, hearing what has just happened, realises that Yuranosuke actually intends to keep her quiet by killing her. He persuades Okaru to let him kill her instead so as to save their honour and she agrees. Overhearing everything, Yuranosuke is now convinced of the pair's loyalty and stops them. He gives Okaru a sword and, guiding her hand, thrusts it through the floorboards to kill Kudayū. The main actor has to convey a wide variety of emotions between a fallen, drunkard rōnin and someone who in reality is quite different since he is only faking his weakness. This is called hara-gei or "belly acting", which means he has to perform from within to change characters. It is technically difficult to perform and takes a long time to learn, but once mastered the audience takes up on the actor's emotion. Emotions are also expressed through the colours of the costumes, a key element in kabuki. Gaudy and strong colours can convey foolish or joyful emotions, whereas severe or muted colours convey seriousness and focus. -
Katsukawa Shunshō ( 勝川 春章; 1726 – 19 January 1793).SIZE: 12.5 x 5.75 in.
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Ichikawa Ebizō III (Matsumoto Kōshirō II, Ichikawa Danjūrō IV, 1711-1778) probably shown as Shinozuka Gorō in the Shibaraku scene of the play Ōyoroi Ebidō Shinozuka, performed at the Nakamura Theater in the 11th month of 1772 (Meiwa 9). This was the occasion when he celebrated his name change, from Matsumoto Kōshirō II to Ichikawa Ebizō III. The lobster or giant shrimp (ebi) upon the Ichikawa family crest (three concentric squares - three measures of rice) on his garment underscores the fact of the name change (ebizō). -
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 -
Katsukawa Shun'ei. The Sumo Bout between Yotsuguruma (right) and Yamaoroshi (left). Date: 1800 or 1805/06. Similar sheet can be found at Edo Tokyo Museum. Size: Vertical Ōban. Sumo wrestler Yotsuguruma Daihachi (1772 - 1809) first appeared in the records of national tournaments in winter of 1794. Then he lost 3 matches and won zero. He first won in the spring tournament of 1797 in a match against maegashira (the fifth-highest rank of sumo wrestlers) named Kougamine. Yamaoroshi Gengo (born 1762) came in at the winter tournament of 1799 . He was much more successful in his career than Yotsuguruma, but he had never won a tournament. It was the time of great Raiden, who won most of them. In the spring tournament of 1800 Yotsuguruma and Yamaoroshi fought against each other for the first time. Yotsuguruma lost. The next time they met on the ring was at the winter tournament of 1805, and again in 1806. Both matches were won by Yamaoroshi. Yamaoroshi retired in 1809; Yotsuguruma died in 1809. -
Katsukawa Shun'ei (勝川 春英; 1762 – 1819).TITLE: Sawamura Sôjûrô III as Kakogawa Honzô.SERIES: Kanadehon Chūshingura (Kana practice book: Treasury of the loyal retainers").DATE: 1795Signed: Shun'ei ga (春英画). Publisher: Iwatoya Kisaburō, Marks 173/p.169. Vertical Ōban: 14.75 x 9.625 inchOn 4th lunar month of 1795 Sôjûrô plays the roles of En'ya Hangan and Kakogawa Honzô in the drama "Kanadehon Chûshingura" at Miyakoza theater in Edo. -
Print by Katsukawa Shun'ei that presumably depicts a kabuki actor Ichikawa Monnosuke II. I was not able to find any reference of the image. Size: Hosoban. SOLD -
Katsukawa Shun'ei. Signed: Shun'ei ga (春英画). Vertical Ōban. No reference whatsoever. Unidentified play, actors, roles, year, theatre. SOLD -
An unsigned print, presumably by Katsukawa Shunshō that presumably depicts a kabuki actor Ichikawa Monnosuke II. I was not able to find any reference of the image. Size: Hosoban. According to The actor's image. Print makers of the Katsukawa School. Timothy T. Clark and Osamu Ueda with Donald Jenkins. Naomi Noble Richard, editor The Art Institute of Chicago in association with Princeton University Press, 1994, Ichikawa Monnosuke II was born in 1743, in Ōji Takinogawa, Edo. He died on October 19, 1974. His specialities were young male roles (wakashu) and male leads (tachi yaku). He was considered to be one of the four best young actors of his day. -
Iron tsuba with hammer marked surface and design of a plum and cherry blossoms to the right of nakaga-ana in openwork (sukashi). Raised rim, typical to katchushi school. The thickness of the plate provides for later Muromachi period making.
Late Muromachi period (1514-1573). Size: 85.8 x 85.0 x 3.6 (center), 4.1 (rim) mm; weight: 136 g. -
Sheet № 20 from the series of 42 сhromolithography prints 'Skizzen und Bilder aus ROM und der Umgegend' (Sketches and pictures from Rome and surroundings).
Inscriptions:
Top left: LINDEMANN-FROMMEL’S Top right: Skizzen und Bilder aus ROM und der Umgegend. Centre below: No 20 | IL CASTEL E IL PONTE SANT ANGELO, | E SAN PIETRO. Bottom left: Imp. de JACOMME et Cie. R. de Lancry, 16 Paris. Bottom centre: Stuttgart, bei FRANZ KÖHLER. Bottom right: Paris, Goupil et Cie. Editeurs.Dimensions:
Plate: 372 x 473 mm Sheet: 372 x 473 mm
Contributors:
Lindemann-Frommel, Karl (French-German, 1819 – 1891) – artist. Jacomme, Claude (French, fl. 1838 – 1857) – printer/lithographer. Goupil et Cie (Paris); Goupil, Adophe (French, 1806 – 1893) – publisher Franz Köhler (Stuttgart); Köhler, Franz (German, 1805 – 1872) – publisher. -
Kanmuri - a classic court cap, made of lacquered wood and paper. It is traditionally made by creating a skeleton, or harinuki, of paper on a wooden form. The outside of the hari-nuki is lacquered so as to keep its shape, and then the body of ra silk is layed on top. The entire thing is lacquered stiff.Size: Height:20cm; Width: 21cm; Depth: 20cm.
Probably Taishō period (1912-1926), or later. Certain information is provided at http://www.sengokudaimyo.com/garb/garb.html In a wooden box without inscriptions. -
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 the Chinese character for cinnabar (shu-no-ji) in openwork (sukashi). Round-cornered rim. Copper sekigane. Kanayama school. Early Edo period: Early 17th century (Kan-ei era). Height: 70.0 mm. Width: 69.6 mm. Rim thickness: 6.8 mm. Center thickness: 5.8 mm. Provenance: Sasano Masayuki Collection, № 139: "Many areas have a coarse texture and strong tekkotsu, with the thickness of the metal graduating from the rim to the seppa-dai. The combined color of the iron and motif date this work to the 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. 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 decorated with a ladle, pestle, mortar, and rice sickle in positive silhouette openwork (nikubori-ji-sukashi). Slightly rounded rim with iron bones (tekkotsu). Seppa-dai plugged with copper fittings (sekigane). Silver patina. The design resembles mochi-making utensils; mochi (rice cake) symbolizes longevity. Kanayama school, c. 1590 (Momoyama period). Note: unusually large size for a Kanayama tsuba: diameter 79.5 mm, thickness at seppa-dai: 5.5 mm, at rim: 6.0 mm. Concerning the design: While the ladle and pestle are clear, the mortar (under the seppa-dai), and the sickle (to the left) require certain imagination. -
Iron tsuba of round form with design of two parallel crossbars and two rings in openwork (sukashi). Rounded square rim. Moderate iron bones (tekkotsu) allover. Copper sekigane. Kanayama school. Momoyama period (or late Muromachi). Size: 74.5 x 74.0 x 5.5 mm. The rings possibly represent the sun and the moon, or the stars. The parallel crossbars may represent the "two stripes" (futatsu biki) family crest (incl. Ashikaga family). -
The thin, four-lobed iron plate of brownish color is carved on each side with two concentric grooves in the middle of the web, and with four thin scroll lines (handles, kan) that follow the shape of the rim. The hitsu-ana were added at a later date. Copper sekigane. Kamakura-bori school. Muromachi period, circa 1400-1550. Size: Height 80.4 mm, width 79.0 mm, thickness 3.2 mm at seppa-dai and 2.7 mm at the rim. Weight: 97.7 g. NBTHK Certificate №4004241: 'Hozon' attestation. As for the motif: the concentric circles is a widespread and generic design. It is described by John W. Dower [The Elements of Japanese Design, 1985, p. 132, #2201-30] as follows: Circle: Enclosure (wa). As a crest by itself, the cirlce carries obvious connotations of perfection, harmony, completeness, integrity, even peace. [...] Ordinary circles are labeled according to their thickness, with terminology ranging from hairline to "snake's eye". The motif that is described by both Compton Collection and R.E. Haynes as "scrolls", presented by John W. Dower as "Handle (kan): Although probably a purely ornamental and nonrepresentational design in origin, over the centuries this motif acquired the label kan, denoting its resemblance to the metal handles traditionally used on chests of drawers. [...] Very possibly the "handle" motif represents an early abstract version of the popular mokko, or melon pattern." Early Chinese Taoists claimed that special melon was associated with the Eastern Paradise of Mount Horai just as life-giving peaches were associated with the Western Paradise of the Kunlun Mountains. [...] A design motif called mokko (also translated as "melon" in accordance with the two ideographs with which it is written) may have nothing to do with the fruit. Mokko designs... are widely used as crests of both private families and Shinto shrines and are repeated as background designs that evoke a sense of classicism" [Symbols of Japan. Merrily Baird, 2001]. There is a look alike tsuba at Dr. Walter A. Compton Collection, 1992, Christie’s auction, Part II, pp. 14-15, №16:
The description goes: “A kamakurabori type tsuba, Muromachi period, circa 1400. The thin, six-lobed iron plate is carved on each side with a wide groove that follows the shape of the rim, and with six scroll lines and a single thin circular groove. […] The hitsu-ana was added at a later date, circa 1500-1550. Height 8.3 cm, width 8.6 cm, thickness 2.5 mm. The tsuba was initially intended to be mounted on a tachi of the battle type in use from Nambokucho to early Muromachi period (1333-1400)”. Sold at $935.
And another one in Robert E. Haynes Catalog #9 on page 24-25 under №23:
R.E. Haynes description: “Typical later Kamakura-bori style work. This type of plate and carving show the uniform work produced by several schools in the Muromachi period. Some had brass inlay and others were just carved as this one is. The hitsu are later. Ca. 1550. Ht. 8.8 cm, Th. 3.25 mm”. Sold for $175.
