"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.
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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: -
Tsuba of oval form decorated with clematis six-petal flowers, tendrils, and leaves in cast brass with details carved in kebori, inlaid on iron plate carved in low relief (kebori and sukidashi-bori). Hitsu-ana plugged with shakudō. Copper sekigane.
Heianjō (or Ōnin) school. Unsigned. Mid Muromachi period (1454-1513). Dimensions: 87.2 x 84.3 x 4.3 mm. Tsuba is illustrated and described in Gary D. Murtha's "Onin-Heianjo-Yoshiro" book on pages 38-39. Mid-Muromachi is the age attribution by Gary. “A picture book of Japanese sword guards. Victoria & Albert Museum“, published in 1927 presents us with a somewhat similar tsuba: "Floral ornament. Iron, with brass incrustation". V&A attributes the tsuba to Ōnin style, 16th century.
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Iron tsuba of round form decorated with eight roundels – circular emblems of flowers and/or family crests (mon) made of cast brass, pierced and chiselled in kebori, and with flat brass inlay (hira-zōgan) of vines or leaves all over the plate. Both hitsu-ana trimmed with brass. Nakago-ana of trapezoidal form. A distinctive character of this tsuba is a mon at 6 hours depicting tomoe (comma). Yoshirō school (Kaga-Yoshirō). Attributed to Koike Yoshirō Naomasa himself. Unsigned. The Momoyama or early Edo period, end of the 16th to the first half of the 17th century (1574-1650). Size: Diameter 82.0 mm, thickness 3.8 mm at seppa-dai, 3.4 mm at rim. -
Small iron tsuba (tantō size) of aoi form with the design of paulownia leaves and blossoms in copper and brass flat inlay (hira-zōgan). Brass sekigane. Open kozuka hitsu-ana.
Early Edo period, 17th century.
Size: 53.4 x 40.7 x 4.4 mm; weight: 47.4 g
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Iron tsuba of round form adorned with the design of stars, wild geese, floating blossoms, leaves and tendrils realized in brass inlay. The inlay technique includes suemon-zōgan and ten-zōgan. Two smaller openings (hitsu-ana) surrounded by a scalloped brass border. The seppa-dai border inlay is missing, as well as a few other fragments of inlay on both sides. Sword cut at 12 o'clock on the reverse. A tsuba with a strong autumnal connotation, which once belonged to a great battle weapon. One of only three known jūyō Ōnin tsuba. Translation of the paper, issued by the Japanese sword fittings (tosogu) examination board: Designated as jūyō-tosogu at the 34th jūyō-shinsa held on April 14th 1988 Kaki-karimon zōgan-tsuba (花卉雁文象嵌鐔) — Tsuba with zōgan design of flowers and wild geese. Mumei: Onin (応仁) Tokyo. Nakasono Tokumi (中園とくみ) Measurements: height 9.5 cm, width 9.4 cm, thickness at rim 0.35 cm Interpretation: marugata, iron, brass zōgan, two hitsu-ana Time: end of Muromachi Explanation: Ōnin-tsuba are thin iron ita-tsuba which show a brass zōgan ornamentation. All of them are mumei and there is the theory that they were made in the Onin era (1467-1469) although today more and more the theory is accepted that they are in general late Muromachi period works. There are two kinds of brass zōgan interpretations: One depicts irregularly arranged tachibana branches, wild geese, chrysanthemums, flowers, or karakusa for example, and the other one shows punctual zōgan elements, which are referred to as hoshi-zōgan or ro-zōgan, and concentrical zōgan elements between the nakago-ana and the rim. The latter interpretations might also be accompanied by simple ko-sukashi in the form of butterflies, clouds, hats, or stylized mountains. This tsuba is a typical work from the former category. It is large and feels massive and the powerful and impressive zōgan and the excellent iron make it a highly tasteful piece. Back side: Issued to: Nakasono Tokumi Address: Tokyo-to, Suginami-ku, Kamitakaido 2-17-26 Date of issue: May 30th 1989 -
Iron tsuba of mokko form decorated with arabesque (karakusa) in low relief carving. niku from 4.0 mm in the centre to 5.1 mm at the rim. Strong Nobuie [信家] signature (futoji-mei) to the left of nakago-ana. Hitsuana plugged with pewter.
Size: H: 88.2 mm, W: 83.6, Th(c): 4.0 mm, Th(r): 5.1 mm Weight: 167 g.Signed: Nobuie [信家]
Probably the work of Nidai Nobuie (c. 1600).
Tokubetsu hozon certificate № 229324 of the N.B.T.H.K., dated 22.12.2010 -
Thin iron tsuba of round form with design of family crests (mon) and arabesque (karakusa) in brass or copper inlay (suemon-zōgan) and occasional scattered brass dots or nail heads in ten-zōgan. Seppa-dai outlined with brass wire in the shape of a rope; kozuka-hitsu-ana outlined with scalloped brass wire. Rounded rim with iron bones (tekkotsu). The surface covered with lacquer (urushi). Ōnin school. Late Muromachi period, 16th century. Family crests on the face: 1:30: Two lines (double stripe) encircled (maruni futatsu biki). 4:30: Stylized clove (choji). 7:30: Divided rhombus, or four lozenges incorporated in one (wari-bishi); it is also called Takeda-bishi, the family crest of warrior Takeda Shingen (among the others). 10:00: Stylized Genji-mon (Genji kō-zu) or incense symbol. On the reverse: 2:00 - "Chinese cloud" not a crest. 5:00: Bit (Kutsuwa) 7:30: Number four in a fan (ōgi-san) 10:30: Two dots in a well frame (igeta). -
The so-called Yoshirō-tsuba [与四郎鐔] with an iron plate of mokkō form densely decorated with floral arabesque and adorned with eight pierced, chiselled and inlaid brass roundels and signed on both sides 'Koike Yoshirō Izumi no Kami Naomasa'. Four of the roundels are pierced and have geometrical designs representing flowers (e.g. wood sorrel) or snowflakes. Four others are solid and represent family crests; on one side: Mulberry (kaji) – mon of the Matsunaga clan [松永氏], Bamboo Grass (sasa) – mon of the Takenaka clan [竹中氏]), Wild Geese (kari) – mon of the Shibata clan [新発田氏]), and Pine Needles (matsuba); on the other side: Nine Stars (kuyō) – the Hosokawa clan [細川氏], Paulownia (kiri) – the Toyotomi clan [豊臣氏]), Bamboo Leaves (take) – the Minamoto clan [源], and Seven Treasures (shippo) – Izumo Genji clan [出雲源氏]. Hitsu-ana obliterated with a nanako-treated pewter plug. Brass with rainbow patina. Artist: Koike Izumi no Kami Naomasa (Japanese, active late 16th – early 17th century). The Momoyama or early Edo period, end of the 16th to the first half of the 17th century (1574-1650). Size: 81.7 x 78.8 x 4.3 cm. Provenance: Dr. Kazutaro Torigoye. Special thanks to Markus Sesko for providing the translation of hakogaki. Hakokaki lid (outside): 小池与四郎 – Koike Yoshirō Hakokaki lid (inside): 銘曰小池与四郎 – Mei’etsu: Koike Yoshirō – Signed: Koike Yoshirō 和泉守直正 – Izumi no Kami Naomasa – Izumi no Kami Naomasa 木瓜形 鉄地 – Mokkōgata, tetsu-ji – Lobed shape, of iron 真鍮据紋象嵌 – Shinchū suemon-zōgan – with brass suemon-zōgan inlay 縦二寸七分横二寸六分 – Tate ni-sun shichi-bu, yoko ni-sun roku-bu – Height 8.2 cm, width 7.9 cm 右正真也 – Migi shōshin nari – Above described object is authentic 昭和廾九年八月十一日 – Shōwa nijūkyūnen hachigatsu jūichinichi – August 11, 1954 草堂「花押」– Sōdō + kaō – Sōdō [pen name of Torigoye Kazutarō, 鳥越一太郎] + monogram Ref.: (1) Tsuba Geijutsu-Ko by Kazutaro Torigoye, 1960; (2) Tsuba. An aesthetic study. By Kazutaro Torigoye and Robert E. Haynes from the Tsuba Geijutsu-kō of Kazataro Torigoye. Edited and published by Alan L. Harvie for the Nothern California Japanese Sword Club, 1994-1997, p. Yoshirō, 4. See also Yoshirō tsuba. -
Iron tsuba of round form decorated with eight roundels – circular emblems of flowers and/or family crests (mon) made of cast brass, pierced and chiseled in kebori, and with flat brass inlay (hira-zōgan) of vines or leaves all over the plate. Both hitsu-ana trimmed in brass. Nakago-ana of rectangular form, with copper sekigane. Four positive openwork (ji-sukashi) roundels at 12, 3, 6, and 9 o'clock; and four negative openwork (in-sukashi) roundels with cherry blossom, bellflower, and two variations on suhama theme. Yoshirō school (Kaga-Yoshirō). The Momoyama or early Edo period, late 16th to early 17th century. Size: diameter 81.4 mm, thickness 4.7 mmat seppa-dai, 4.0 mm at rim. Christie's lot description: AN IRON TSUBA; EDO PERIOD (17TH CENTURY). THE DOLPHYN COLLECTION OF SAMURAI ART. The round iron tsuba pierced with roundels of various floral motifs interspersed among scrolling foliage, all inlaid with brass. 8.1 cm. high. Provenance: Pabst Collection (no. 338). -
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):- Sake set [shuki, 酒器], namely flask, ladle, and cups
- Cloves [choji, 丁子]
- Purse of inexhaustible reaches [kinchaku, 巾着]
- Magic mallet [kozuchi, 小槌]
- Key to the storehouse of the Gods [kagi, 鍵]
- Rhombus, or Lozenge (hosho, 方勝), with the second ideograph meaning victory.
- Sacred (or wish-granting) gem, or jewel [hōju, 宝珠]
- Hats of invisibility [kakuregasa, 隠れ笠]
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Iron tsuba of round form decorated with eight circular emblems of flowers and/or family crests (mon) made of cast brass, pierced and chiseled in kebori, as well as with flat brass inlay (hira-zōgan) of vines, leaves, and flowers all over the plate. Yoshirō school (Kaga-Yoshirō). The Momoyama or early Edo period, 17th century. Size: diameter 80 mm, thickness at seppa-dai 3,6 mm. Symbols: [12:00 o'clock] - Wood sorrel (katabami) and swords ; [9:00] - Cherry blossom (sakura); [7:30] - Bellflower (kikyō), kamon of Toki clan; [3:00] - possibly, a six-petal Chrysanthemum (kiku) or a Passion flower (tessen); [1:30] - Hemp (asanoha). The symbols at 6:00, 10:30, and 4:30 o'clock seem to be geometrical patterns of auspicious meaning: a cross in a square, a four pointing star, and a diamond, respectively. Alternatively, we may look at this piece as purely decorative, with patterns at 12:00, 3:00, 6:00, and 9:00 o'clock in negative openwork (in-sukashi), and at 1:30, 4:40, 7:20, and 10:30 o'clock - in positive openwork (ji-sukashi, or yō-sukashi). Markus Sesko in his Handbook of sword fittings related terms [Herstellung und Verlag: Books on Demand GmbH, Norderstedt, 2011] discriminates this type of openwork in a separate class: Ranma-sukashi: "This term is applied to circular sukashi with family crests to their inside, which are arranged running along the rim area. The description goes back to the opened boards (ranma) between the sliding doors and the ceiling of Japanese rooms. Ranma-sukashi are mostly seen on old Heianjō- or Yoshirō-zōgan-tsuba but also on works of Hayashi Matashichi" [page 30]. -
Iron tsuba of round form decorated with eight roundels – circular emblems of flowers and/or family crests (mon) made of cast brass, pierced and chiselled in kebori, and with flat brass inlay (hira-zōgan) of vines or leaves all over the plate. Both hitsu-ana are trimmed with brass. Nakago-ana of trapezoidal form. A distinctive character of this tsuba is a mon at 12 hours, depicting paulownia, or Kiri-mon [桐紋] – a symbol of the Toyotomi clan, led by Toyotomi Hideyoshi (豊臣 秀吉, 1537 – 1598). Kiri-mon was also used as fuku-mon (alternative family crests) for the Imperial Family and Imperial Court. Another important emblem at 6 o’clock is the Katakura clan [片倉氏, Katakura-shi] family crest. Katakura Kagetsuna (片倉 景綱, 1557 – 1615), a retainer of Date Masamune (伊達 政宗, 1567 – 1636); Kagetsuna was operational in Hideyoshi’s Odawara campaign in 1590, which ultimately ended the unification of Japan. Unsigned but may be attributed to Koike Yoshirō Naomasa or his workshop (Yoshirō, orKaga-Yoshirō school). Dimensions: Diameter: 85.5 mm; Thickness at seppa-dai: 5.0 mm.
Kiri-mon
Katakura-mon
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Iron tsuba of 8-lobed form pierced with six openings (sukashi) and decorated with design of bamboo and arabesque in flat brass inlay (hira-zōgan). Two of the openings serve as hitsu-ana. The design on the face represents bamboo trunks and leaves, clouds, waves, and vines; on the back - vines and leaves, that forms an arabesque (karakusa) motif. Rounded square rim. 'Silver' patina. Hitsu-ana with copper sekigane. Heianjō (most probable) or Kaga-Yoshirō school. Late Muromachi or Momoyama period; 16th century. Size: Height: 74.6 mm; Width: 69.5 mm; Thickness at seppa-dai: 4.2 mm. Weight: 113.9 g. Provenance: Gary D. Murtha. This tsuba is illustrated at: Japanese sword guards. Onin - Heianjo - Yoshiro by Gary D. Murtha [GDM Publications, 2016, p. 48]: "Iron, 80x75x3 mm tsuba with brass karakusa vines and leaves on one side with bamboo, leaves, and clouds on the reverse. This tsuba is one of those pieces that might be classified as Onin or Heianjo work, but the flush inlay tips it to the Heianjo side. Late Muromachi period." I would like to add that it easily may also be classified as Kaga-Yoshirō. Robert Haynes in Study Collection.., page 32, illustrates a look-a-like example, and writes: "This style of inlay, where the designs on the face and the back are very different, was common to the work of artists in Kyoto in the Momoyama period." -
Well-forged iron plate of round shape (maru-gata) is decorated with water weeds or arabesque (karakusa) in flat brass inlay (hira-zōgan) all over and eight family crests (mon) of round form in cast brass with delicate linear carving (kebori) and openwork (sukashi). Crests represent: [at 9 hours] three counter-clockwise commas or swirls (tomoe); [at 10:30] plum blossom (ume); [at 12:00, 1:130, and 7:30] - stylized flower made by cutting out five suhama symblos (flower-shaped suhama); [at 3:00] bellflower (kikyō); [at 4:30] seven-star crest (shichiyō-mon); [at 6:00] cherry blossom (sakura). Brass-trimmed ryo-hitsu. Copper sekigane. Yoshirō school. Momoyama or early Edo period, end of the 16th to first half of the 17th century (1574-1650). Inscription on seppa-dai: 八幡 - Hachiman. Size: height 89.6 mm, width 89.3 mm, thickness at seppa-dai 3,0 mm. Weight 129.7 g. NBTHK certificate № 4007685, June 27, 2015: HOZON (Worthy of Preservation). As for the inscription, Nihonto Message Board blog discussion provides the following explanation of the inscription: "An expression of conviction as to being the best under the sun". On the other hand, there may be more in this confluence of symbols: the tomoe crest at 9:00 is "the kamon of Hachiman, the war god" [Family Crests of Japan; Stone Bridge Press, Berkeley, CA, 2007, p. 108]. The character 八 in the inscription cut stronger than the other kanji, and may be by a different hand in different time. 八 (hachi, eight): "The numeral eight was appreciated because its shape broadens toward the bottom, symbolizing eternal expansion" [ibid, p. 119]. It may be said that this tsuba is dedicated to Hachiman. Other crests (suhama, bellflower, seven-stars, plum and cherry blossoms) collectively allude to "good old times" when Fijiwara and Taira clans were in full bloom. Markus Sesko believes that the inscriptions reads: Hachiman: "the inscription is/was HACHIMAN (八幡), the God of War and a relatively popular inscription for tsuba, swords and armor." Elliott Long and Robert Haynes provide the following explanation of the inscription: "...hachi is correct and represents the name of the HACHI SHRINE. The inscription reads 'YAWATA' which is the name of the mountain in Mino Province where the HACHI Shrine is located". Details on Hachiman Shrine in Yawata (八幡市) can be found elsewhere, including Historical and geographical dictionary of Japan by Edmond Papinot. Van Ham auction house provides the following description: MON-SUKASHI TSUBA. MARUGATA. Japan. Momoyama period. Yoshiro school. Iron with inlays of brass. In hira-zogan technique with kebori engraving eight different family emblems (mon). An old inscription is dedicated to the deity Hachiman. D.4.5mm, Ø 8.3cm. Condition A/B. Supplement: Wooden box and NBTHK certificate.
