Auction Catalog Reference List

By Dr. Peter Klein DDS.

I have found auction catalogs to be a wonderful source of reference material for both pictorial and attribution/history in the study of fittings. However, not all catalogs have sufficient material to make them a viable investment for the research library. Over the past several years after accumulating over 150 such catalogs I have found that those on the following list have been of the greatest interest to me and I hope they will help those who are looking for a good cost effective source of information. It is important to be aware that they are not to be considered 100% accurate as they are not published to be reference texts but sales catalogs and no guarantee is given or implied to that effect by the auction houses. It should also be noted that many older books on this subject have this same deficiency so use them all as a guide but not as orthodoxy. As with swords nothing compares to in hand study and comparison along with the collective knowledge of others in the field.
Note: I have done my best to list these as they are printed on their respective covers to help in finding them through sellers. Any inclusions in parenthesis are my notes on the subject and not part of the title. They are listed in order of publication, oldest first.
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Sotheby
Catalogue of The Henri Vever Collection of Fine Japanese Works of Art
Part I: Tuesday, 24 October, 1972 and Wednesday, 25th October, 1972
Part II: Monday, 26th February, 1973 and Tuesday, 27th February, 1973
Part III: Tuesday, 17th July, 1973
Part IV: Tuesday, 11th December, 1973
Part V: Wednesday, 1st May, 1974

Fine Japanese Prints and Works of Art (contains the Ruth Schneidman Collection)
New York December 8 and 9, 1988

The Roy G. Cole Collection of Fine Japanese Sword Fittings, Lacquer and other Works of Art
New York Thursday, December 13, 1990

Japanese Sword Fittings from The R. B. Caldwell Collection
London Wednesday 30th March 1994

Japanese Works of Art Part II
Thursday 17th November 1994

The Carlo Monzino Collection of Japanese Sword Fittings and Swords / The Property of a Private Trust
London 18 June 1996

Japanese Swords and Tsuba from the A.Z. Freeman and the Phyllis Sharpe Memorial Collections
London Thursday 10 April 1997

The Lundgren Collection of Japanese Metalwork
Tuesday, 18 November 1997

Japanese Works of Art from Collection of the Late Charles A. Greenfield, Part II
New York Friday September 18, 1998

Japanese And Korean Works Of Art (contains the Alan L. Harvie collection)
London 14 July 2005
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Christie’s

The Hartman Collection Of Japanese Metalwork
June 30 and July 1, 1976

Japanese Swords and Swords Fittings from the Collection of Dr. Walter A. Compton
Part I: New York Tuesday, March 31, 1992
Part II: New York Thursday, October 22, 1992
Part III: Thursday, Decamber 17th, 1992

Important Japanese Swords and Sword Furniture and Works of Art
(Robert E. Haynes edited the fittings section and provided the attributions)
New York Wednesday November 5, 1980

The Russell C. Veit Collection of Japanese Sword Guards
Wednesday, March 21, 1984

Important Japanese Sword Fittings
Wednesday, March 20, 1985

The Soame Jenyns Collection of Tsuba
London Tuesday, 19 May 1992 at 10.30 a.m.

Japanese Swords, Sword Fittings, Guns, Armour and a European Private Collection of Tsuba
London Tuesday, 19 May 1992 immediately following the Soame Jenyns Collection at approximately 11.30 a.m.

The Raymond and Frances Bushell Collection of Japanese Sword Fittings Japanese Works of Art
Wednesday 28 October 1998

The Duncan Beresford-Jones Collection of Japanese Art from Important Historic European Collections
Wednesday 7 June 2000
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Robert E. Haynes Auction Catalogs — I through X
Early 1980’s
contain excerpts from ‘Tsuba, and Aesthetic Study’ by Torigoye, translated by Haynes.

The above was taken from a collection of over 150 catalogs so it is just a starting point but it should help to eliminate many catalogs with minimal listings or as in the case with catalogs prior to 1980 those with minimal pictorial reference. Most of the above were sales of large collections which due to their sales potential for the gallery received a higher degree of attention to detail in the researching and listing/photography.

Japan, August 2009

So, August was a quiet month on the blog, and with good reason. Over half of it I spent in Japan.

This trip was a little different than my last 2, as they were spent focusing almost exclusively on Kodôgu. This time however I spent more time as a tourist have a look at some of the sights of Tokyo and other area’s I have wanted to visit for some time but never got around too.

This trip, the first week was spent with my karate (JKA) friends and we did all the tourist sights of Tokyo I have not taken in before. Tokyo Tower, Sengaku-ji shrine and the graves of the 47 Ronin, the Sankeien Japanese garden in Yokohama, Kamakura, and for a good laugh, the Ninja Restaurant in Akasaka.

Tokyo City form the Tokyo Tower

Sengaku-ji shrine, Tokyo.

Edo period building, Sankeien Japanese garden, Yokohama

The first week also included trips to Ginza Choshuya, Ginza Seikodo and Sokendo in Harajuku. I also took in an amazing exhibition at the Edo Museum, Tokyo titled Sharaku, featuring famous works by the great master as well as Ukiyo-e of Hokusai, Hiroshige and other famours artists.

A Kotetsu Katana and Okimasa Naginata at Edo Museum.

Momoyama period Mempo at the edo Museum.

Next, I headed I headed south to Nagoya to catch up with some friends. I stayed at the Westin Nagoya Castle Hotel and I can assure you, if you are going down to see Nagoya castle, then this is the place to stay, the hotel, while a little expensive (about 18,000 yen per night) is a very nice hotel and first class. And if you go for a room with a castle view, then it all seems worth it.

I visited the Castle which takes a good 2 hours to see everything and also the Tokugawa Museum which would be one of the better museums I have visited in Japan, showcasing so many treasures of the Tokugawa family. All aspects of Samurai art are covered and I saw many new items for the first time I had not seem before. A mitokoromono by Gotou Sojou stands out as a highlight, unfortuantely I could not take any photo’s.

Nagoya Castle

Armour of the Hosokawa family

Next I visited Mishima and more specifically, Susono (裾野市, Susono-shi), a small hamlet where my best friend Shinobu’s parents live. We stood at the base of Fuji san, while the military conducted live fire cannon tests just a few k’s away which sent more than just the cursory shiver up my spine. After an amazing home cooked traditional Japanese meal that evening, we arose the next day and went to Hakone Sekisho, the only government gate left on the Tokaido road. It is of course a reconstruction as all the others have been destroyed, but it was pretty cool. It’s near sole purpose was to prevent women from escaping Tokyo. I am still yet to find out what it was all these women were running from. It is a beautiful lake area with many tourist sights and some crazy boats moving up and down the lake.

Fuji san

Making new friends at Hakone Sekisho (My friend Shinobu far right and her mother Keiko next to her)

Hakone Sekisho

Hakone’s Lake Ashi

After this I returned to Tokyo for my last week. I spent that time with my great friend Dr Gordon Robson and his lovely wife Noriko. Gordon and I spent the week potting about Tokyo, visiting sword stores, bars, pubs, micro brewers and more bars LOL. We had many many laughes as we always do, talked of study and generally had a great time relaxing. We visited one of Gordon’s friends brand new bars in Harajuku called the Tap Room and I recommend a visit if in the area. The beer is all locally brewed IPA’s and darker heavies and they serve Yakitori at the bar which is just excellent.

Amongst visiting all the sword stores and bars, one of our nicest days was visiting with Andrew Ickeringill, an Aussie mate from Melbourne doing his apprenticship as a Togishi with Takushi Sasaki sensei. We trained our way out (take a packed lunch if visiting LOL) to the wrong station, turned around and went back 2 stops and was then greeted by our smiling aussie mate at the station. We took a quick cab ride to the business of Sasaki sensei and were greeted by all the deshi and Sasaki sensei. Dr Robson put on a small kantei for the boys and Sasaki san showed us some pretty neat swords including an Ichimonji, and a Bizen Norimitsu that was just killer.

We chatted and laughed for a while before visiting the work rooms where we saw where the boys sat and worked all day. One thing we found impressive was that Sasaki sensei has two rooms instead of one large room, one for the dirty heavy foundation polishing and the other for all the light finishing work. This is a neat idea and both Gordon and I were impressed with the whole setup.

Dr Gordon Robson at the Irish Pub in Shibuya

Yours truly with a hoko made by Yoshihara Kuniie to be dedicated to Ise jingu.

Andrew Ickeringill at his workstation.

So, that is a rough outline of my stay in Japan. I had a ball and cannot wait to get back again next year.

Thank you for reading.

Richard

Ko Gotou Futokoromono 古後藤二所物

Mumei Ko Gotou Futokoromono 無銘 古後藤二所物 from the late Muromachi or Momoyama period 室町時代 – 桃山時 代. This set comprises a kozuka 小柄 and menuki 目貫. The Kozuka is constructed of Shakudo 赤銅 with a fine nanako ji 魚子地. The theme of a bee and an antler is carved in katachi-bori 容彫 meaning the motif is carved in full and is then attached to the kozuka. This technique is refereed to as Suemon 据文. The walls and back are covered in a sheet of gold and this is known as Ura-fukumi kin 裏哺金 where a sheet of gold foil is fitted to the back and sides and affixed by being placed in a furnace. This would have been a later addition, either to enhance to look of the kozuka or to cover a scratch or flaw most likely in the back.

This style of minimalist centred motif on the kozuka is in the style of Sojo and was again used in the Momoyama period by Koujou 後藤光乗 and Tokujou 後藤徳乗. The 5th master is considered the last of the Ko Gotou masters. I Suspect this may be the work of, or from around the time of Koujou 徳乗, the 4th Gotou master.

The menuki also have a rich dark Shakudo ji and there is kin iroe on the body. The hidari menuki had gold eyes and the migi, shakudo. There are small differences in where the iroe is placed between the two menuki. The bees are in flight and look to have purpose. There are posts just visible on the back but they are hard to judge as the hollowed out area on the back on both menuki is filled with pitch or resin and the insides are impossible to see.

The theme is described as Houroku Zugara 俸禄の図柄. The theme it’s self depicts Bee’s and Antler. This should in fact be described with the kanji 蜂鹿. Houroku written with 俸禄 refers to a payment, an additional payment made to a samurai for services rendered. However horoku in “stipend” can also be written as a play of words with the characters (蜂鹿). This is the same as in: ho (蜂) for “bee”, ko (猴) for “monkey”, fuku (蝠) for “bat”, and “roku” (鹿) for “deer” making “hoko-fukuroku” and this word (written usually with the characters [封侯福禄]), means congratulations on the appointment of land to a feudal lord.

However, as “horoku” refers to a salary in rice or cash for a certain duty or job, in contrast to a regulated stipend, it is quite plausible that such kodogu (and other items with that motif) were once presented quasi in place of the actual payment. We can assume that an educated bushi at that time understood the play of words with “ho” and “roku” when he saw the animals.

Lastly, as a third and in my opinion, a more logical option, there is a Japanese proverb that goes 鹿の角を蜂が刺す or Shika no tsuno o hachi ga sasu. This translates to “A bee stings an antler”. That means an imperturbable character, which is “to be incapable of being upset or agitated”, or not easily excited. The bee stings the antler and there is no response from the antler. It remains stead fast. This proverb is aimed at the samurai, who must try and remain focused no matter how much pain he endures This explanation make prefect sense for the koshirae of a samurai and while not in accordance with the kanteisho, it is probably a more logical reading of the design.

Provenance: 日本刀装具美術館 – Nihon Tousougu Bijutsukan – Japan Sword Fittings Museum.

Sizes

Kozuka: length 96mm, width 14mm.

Menuki: Hidari 左: 30mm x 18mm x 5mm. Migi 右: 29mm x 17mm x 5mm.

Thank you for reading

Richard

Kusanagi no Tsurugi 草薙の剣

Edo period fuchi kashira by Hosono Masamori 細野政守 and signed Masamori 政守. Dating from the the later part of the early Edo period to the middle Edo period 江 戸時代前期 – 中期 Edo Jidai Zenki – Edo Jidai Chuki. The base is contructed from Gin Shibuchi 銀四分一 (silver shibuchi). There is much fine Kibiro 毛彫, Kin Akagane iroe 金銅色絵 (gold and copper iroe). These Fuchi kashira were published in Dr. K. Torigoye’s book, ‘Tosou Soran’, ‘Kodogu and Tsuba: International Collections Not Published In My Other Books’, 1978; (see picture below with detail and descriptions)

The theme here is Kusanagi-no-Tsurugi no Zu 草薙の剣図. Yamato Takeru is pictured on the kashira, trapped in the field of long grass, as the fire approaches. He is standing, looking poised to fight, under a pine tree. On the fuchi, fallen soldiers lay in the grass, as they are engulfed in flames. Flying through the air above them is Kusanagi-no-Tsurugi magically dispersing the flames and grasses.

Kusanagi-no-Tsurugi is a legendary Japanese sword as important to Japan’s history as Excalibur is to Britain’s, and is one of three Imperial Regalia of Japan. It was originally called Ama-no-Murakumo-no-Tsurugi (天叢雲剣, “Sword of the Gathering Clouds of Heaven”) but its name was later changed to the more popular Kusanagi-no-Tsurugi (“Grass Cutting Sword”). This legend is famous in Japanese history.

Yamato Takeru was lured onto an open grassland during a hunting expedition by a treacherous warlord. The lord had fiery arrows to ignite the grass and trap Yamato Takeru in the field so that he would burn to death. He also killed the warrior’s horse to prevent his escape. Desperately, Yamato Takeru used the Ama-no-Murakumo-no-Tsurugi to cut back the grass and remove fuel from the fire, but in doing so, he discovered that the sword enabled him to control the wind and cause it to move in the direction of his swing. Taking advantage of this magic, Yamato Takeru used his other gift, fire strikers, to enlarge the fire in the direction of the lord and his men, and he used the winds controlled by the sword to sweep the blaze toward them. In triumph, Yamato Takeru renamed the sword Kusanagi-no-Tsurugi (lit. “Grasscutter Sword”) to commemorate his narrow escape and victory. Eventually, Yamato Takeru married and later fell in battle with a monster, after ignoring his wife’s advice to take the Kusanagi-no-Tsurugi with him.

http://en.wikipedia.org/wiki/Kusanagi-no-Tsurugi

Masamori’s full name was Hosono Souzaemon Masamori 細野惣左衛門政守 and used the Masa character ‘正’ in his early years. He worked in Odawara 小田原 in Sagami province 相模国 and also in Kyoto 京都. He usually worked with a copper and shibuichi (silver) base and carved sensitive kebori and inlay various kinds of metal.

The dimensions are Fuchi: 38.1 mm x 8mm, Kashira: 33.9mm x 19.4mm

This Hakogai 箱書き was issue by Dr. K Torigoye. it reads as follows.

Front

細野政守 – Hosono Masamori, 縁頭 – Fuchikashira. (there is also a Kiri mon)

Inside

銀四分一地, 銘曰 政守 – Gin Shibuchi Ji – silver copper surface – mei iwaku Masamori – signature says Masamori.

縁頭, 金象眼入 – Fuchikashira, Kin-zogan iri – with gold zogan.

草薙剣 (焼野) 図 – Kusanagi no tsurugi (Yakino) no Zu – Picture of the grass cutter sword (and burning fields).

徭 刃宗 壹寸貳分 (? ? ? 1-sun, 2-bu) ??????? I am unsure about this.

右正作而図面白矣 – Migi shosaku shikoshite zu omoshiroki kana – the right item is genuine and the motif is interesting.

昭和四十九年二月吉日 – Showa 49 nen 2 gatsu Kichijitsu – A lucky day in February, 1974.

XX (花押) – XX and Kao – Dr. Torigoye Kazutaro’s art name.

Note: I have yet to determine the reading of Dr. Torigoye’s art name on this hakogaki. If you are reading this and have an idea, please do not hesitate to contact me via the “about me” pageor leave a comments.

Thank you for reading

Richard Turner

Amida Yasuri no Zu 阿弥陀鑢図

Mumei tetsu ita tsuba attributed to Futagoyama Norisuke by the NBTHK 無銘 鉄板鍔 二子山則亮. This tsuba would date to the Bakamatsu period 幕末時代. Mokko gata 木瓜形, tetsu ji 鉄地 construction, this is very nice iron and is well forged with a dark and glossy patina. The mimi is Kan mimi kaku ko niku 環耳肉小角 (meaning a ringed square mimi with a small roundness). It is large and powerful and the iron is smooth and while giving the appearance of being a fukurin, is in fact masterfully carved from the iron plate. There are two hitsu ana (ryohitsu shitate 両櫃仕立) and both hitsu are filled with shakudo atagane 赤銅当金 that are finished with a very fine ishime 石目.

In regards to the theme, the motif is Amida Yasuri no Zu 阿弥陀鑢図. The radiating lines presented are cut from the centre out and this design has a strong Buddhist connection. Amida is another name for Buddha and this design represents Buddha’s aura radiating out to the world. These lines are extremely fine and are almost unditectable with the touch of the hand. The Norisuke masters were renound for making accurate copies of Yamakeichibei, Yagyu and other early Edo period works, but they also created their own design tsuba which were of a very high standard.

The Kan mimi (ringed rim) was common with both Niwa Norisuke 丹羽則亮 (shodai) and Iwata Norisuke 岩田則亮 (nidai) though in the book Futagoyama Norisuke Ko 二子山則亮考 by the NBTHK Nagoya branch there seems to be a leaning of this particluar variation to the shodai. With the theme of Yasuri though, this was very popular with the 2nd, and started larger and rougher at first, and becoming more refined as time went on.

In regards to these Owari artists, there are both a first and second generation using the same Norisuke signature. The first generation has the surname Niwa, and the second generation’s surname is Iwata and together, they are unique among the Bishu kinko of the Bakumatsu period. There are a large number of their products extant.

The first generation Norisuke was known by the personal names Jihei, Jihachiro and Jirouemon. He was born in the second year of Tenmei (1782), and he died at the age of 71 on the 17th of April, the fifth year of Kaei (1852) He was renound for his copies and forgeries of Nobuie, Yamakeichibei, Yagu and others with many close to their originals. He was also a masterful artist in his own right.

The surname of second generation Norisuke is Iwata, and his family name before that was Ito. He was known by the personal names Seisuke and Seibei. He was a student of first generation Norisuke, and he succeeded to the family as the second generation in December the fourth year of Kaei (1851) at the age of 35 at which time he inherited the name Jihei. He was born during the 14th year of Bunkyu (1817), and died at the age of 67 on the 22nd of June, the 16th year of Meiji (1883).

The dimmensions are 76mm x 69mm x 2mm (nagago ana) and 5mm (mimi)

Thank you for reading.

Richard

Ko Tosho Tonbo 古刀匠 蜻蛉

Ko Tosho Tonbo sukashi tsuba.

This is an excellent Uchigatana Ko Tosho sukashi tsuba that would date, I believe from the early to mid Muromachi period 打刀 古刀匠 透し鐔 室町時代初期-中期. Heavily modulated and rich in tsuchime 槌目, this tsuba displays many of the traits of the early Kamakura period 鎌倉時代 guards in both the Sasano and Kremmers books. While I guess it is possible that it is from this earlier time, I suspect a date of around the mid Muromachi period may be more fitting. The mimi is Kaku mimi koniku 小肉角耳 and there is tekkotsu 鉄骨. The tsuba also features Kata-hitsu shitate 片櫃仕立 (a single hitsu-ana ) for a Kozuka. The iron ji has a dark and lustrous tone, with many black and purple undertones. The mimi, with it’s abundant tekkotsu, looks to be almost finished with Yakite shitate 焼手仕立 as does certain flat points on the ji. I suspect though this is from the many years of ware.

It is widely considered that tsuba of this age were free of any hitsu at the time of their creation, and that any kozuka or kogai hitsu ana seen on very old tsuba are a later additions. While this is most likely true in many cases, there are some that believe, and I am one of them, that there must have been some tsuba with hitsu ana in these earlier times. Kozuka and kogai for example are well documented in the Kamakura period and perhaps even before this time. Surely there must have been some tsuba then that were able to accommodate these accessories. Now I am not saying one way or another if this is original to the guard, just surmising that it may be.

Whilst this tsuba is a little on the small side, it is known that Ko Tosho tsuba were common in a variety of sizes. Sasano wrote that he believes the smaller Ko Tosho guards to be from the Heian and Kamakura periods, and increased in size in the late Kamakura and Nambokucho periods. He also notes that sukashi on the earlier guards was larger and bolder and the later tsuba were smaller and more delicate. A consideration worth mulling over is that after the introduction of the uchigatana, the smaller Ko Tosho tsuba were simply more comfortable to wear in everday situations as well as a seated position, as apposed to the large and bulky 9cm + tsuba.

The theme is Kachimushi no Zugura 勝虫の図柄 and finished typically for a Ko Tosho in negative or ‘In’ sukashi (陰透). The sukashi on this work is delicate and masterfully done. The usual style of the tonbo’s face represented with 3 large circles is in this case expressed with 3 very fine entrants that average 1.5mm accross. This may be an indicator of the age of the guard. The wings which consist of two parts on each side, are seperated with a very thin wall of iron. The use of the dragon fly or Tonbo 蜻蛉 was popular the military men of Japan for at least 700 years. To the samurai, kachimushi were thought of as creatures that never took a step backward, but rather always moved forward, and because of that, were a preferred design and they were often used as a motif on tosogu, maedate (前立 plume or decoration on a jingasa) and on Jinbaori (陣羽織 sleeveless jacket) as well.

With the beautiful iron surface and sensitive cutting of the openwork, this guard has a subdued elegance that is as fine as any.

The dimensions are 7.35cm H x 7.20cm W x 3.3mm at the nakago ana and 3mm at the mimi.

Thank you for reading.

Richard

Kin Keshikomi Zôgan 金消込象嵌

Edo period shakudo fuchi kashira signed Yoshioka Inabanosuke 吉岡 因幡介. Dating to the mid Edo period, it is not possible to know who made these fuchikashira other than they would be from a later generation (mid 1700’s onwards), not an early one. Early generations did not sign their work. The design is described as Uma no Zu 馬図 or horse picture. 2 playful horses are carved in a fine line and filled with gold zogan. The effect is striking against the polished shakudo ji.

The surface is Shakudo mikagi ji (赤銅磨地) or a polished shakudo finish. The colour is a deep black and as fine as any Gotô work of that time. The design is carved in kibori (毛彫) and the gold treatment is Kin keshikomi zôgan (金消込象嵌). Keshikomi zôgan is an inlay technique where, after the design has been incised or carved into the ground or surface, powdered gold, silver or another selected fine metal, having been made into an amalgam by combining it with mercury (this is easily accomplished with all non-ferrous materials) is forced into the incised pattern in the ground. This is then heated which inturn evaporates the mercury, depositing the coloured metal on the ground, forming the inlay.

The effect of the rich gold over the jet black gloss of the shakudo is truly wonderful.

Some of the most intricate detail can be achieved with this method and it is amazing that such detail was accomplished in a time before microscopes. It is interesting read in Sôken Kodôgu Yôgo to Meishô no Kaisetsu that many tsuba/kodogu lovers do not approve of techniques like this, and believe that this scientifically clever but artificial and is more a chemical trick than true art.

The Yoshioka Inabanosuke linage worked for the Tokugawa bakufu as did the Goto family and Hirata family. Early generation works were not signed, and later generations all signed “Yoshioka Inabanosuke”. It is though, too difficult to distinguish individuals from these signatures. It is possible these works were signed by professionals employed to just add mei. As a result, the signatures are impossible to assign to individual generations. Haynes writes that the work of the Inabanosuke school was in many instances, equal of any of the Goto works of the time and was equally as important.

The dimensions are Fuchi: 38.1 mm x 8mm, Kashira: 33.9mm x 19.4mm

Thank you for reading.

Richard

Owari sukashi tsuba 尾張透鍔

Owari sukashi tsuba 尾張透鍔. I believe this tsuba dates to the early Edo period (江 戸初期時代 Edo Shoki Jidai). The iron is an excellent black colour with rich purple under tones and well forged with some fine surface texture. There are no tekkotsu but the mimi has some modulation. There are Ryohitsu Shitate (両櫃仕立) that are an interesting shape. The kozuka hitsu 小柄櫃 is large and elongated and would suit quite a big kozuka while the kogai hitsu 笄櫃 is a bit smaller. It is an interesting square design seen on Edo period Owari and Shoami tsuba. The mimi is fine and broad and makes this smallish tsuba look very powerful.

The design is Kiri no Zugura 桐の図柄 or a paulownia flower design. The 3 larger bodies that take up the lower left of the design are the leaves and the three kiri flowers are at the top right. This is a very common Owari design. The dimensions are 71mm x 70mm x 7.6mm.

There has been for some time, debate on both sides for tagane ato to be a form of signature. This is actually well documented in groups like the Higo and Akasaka schools but guards made in small shops or by individual artists that have little or no recorded history will only ever be speculation. The tagane ato or punch marks that surround the nakago ana on this tsuba however are very distinctive. An almost identical tsuba is published in 刀剣・小道具類 Token, Kodogu rui. Items of Token and Kodogu. 公開入札 オークション Kokai-nyusatsu, (auction open bid, auction) 全国美術 刀剣青年会 Zenkoku Bijutu-token seinen-kai (National art swords young men’s association). These tagane seem just too similar to be random, one has to wonder if they were produced by the same hand ?, or at last to have come out of the same shop. To produce at least 2 tsuba with this much detail in the tagane would suggest purposeful intent, and may well be the calling card for this particular tsubako.

Thank you for reading.

Richard

Ko Kinkô 古金工 tsuba

Mumei Momoyama period Ko Kinkô tsuba 無銘 桃山時代 古金工. The shape is Mokko gata 木瓜形, Shakudô construction. Shakudô nanako ji 赤銅魚子地. 両櫃孔 There are ryohitsu ana or the tsuba is finished with 2 hitsu ana. The mimi is finished with a shadkudô fukuri 赤銅覆輪. The style of carving is known as Sukidashi Bori 鋤出彫 where the design is left after the metal has been carved away. The mini is Sukinokoshi 鋤残耳 and this means it is slightly raised. This is also a result of the carved surface. The nanako is fine. The shakudô is a rich black and lustrous. The condition of this tsuba is excellent, it is a fine example of Ko Kinkô workmanship.

The kôgai hitsu intersects the design and the seppa dai in such a way that there is little doubt it is a later addition. The kozuka hitsu however looks to fit neatly into the design. There is plenty of ‘air’ in the design for me to suspect that the kozuka ana is original to the tsuba.

The theme is Akikusa no Zugara 秋草の図柄 or plants which flower in autumn. There are 3 varieties in this design and these include 菊 Kiku (Chrysanthemum), 撫子 Nadeshiko (Pink or Pink flower) and 竜胆 Rindou (Japanese Gentian). This style of work was common in Ko Mino and was also well covered by Ko Kinkô and Gôto artisans but the lack of depth in the carving excludes Ko Mino and it’s are preclude Gôto. The tsuba has been finished off with Kin zôgan 金象嵌 in the form of golden droplets of water.

The dimensions are 67mm x 60mm x 3mm

There is NBTHK Hozon Kanteisho 保存刀装具と鑑定書付 and Hakogaki 箱書付 by Kanzan 寒山.

Front

太刀師 – Tachi shi

秋草文 鍔 – Akikusa mon Tsuba

Inside

木瓜形赤銅魚子地高彫両櫃孔 Mokko gata, Shakudo, Nanako Ji, Takabori, Ryohitsu ana – Quadrilobe shape, Shakudo surface with nanako, Carved, 2 hitsu ana.

無銘　太刀師 – Mumei Tachishi – Unsigned Tachi shi.

見事一 Migoto ichi – Excellent item.

昭和己酉夏 (Shouwa Tuchinoto Tori Natsu) – Summer, 1969

寒山誌 – Kanzan Shirusu with kao

Interestingly, Kanzan Sato has labelled this as Tachi-shi 太刀師. This is probably just due to the thinking from that time, and the fact that the shape is Mokko. Modern thinking of course places this style of tsuba as Ko Kinkô.

Thank you for reading

Richard.

Ko Shôami 古正阿弥 tsuba

Ko Shôami 古正阿弥 tsuba that I would date from the Mid to late Muromachi Jidai 室町 時代中期-後期. This is an excellent old iron tsuba that displays much taste and character. The colour of the Ji is dark, almost verging on black and is highlighted with nunome 布目 petals. The iron is well modulated and has a rough hammered appearance. The tsuba is finished with a shakudô fukurin 赤銅覆輪. The size and thinness of this tsuba (2mm) denote an earlier piece.  

The single hitsu-ana (片櫃仕立 – Kata-hitsu shitate) is quite large for the tsuba which is interesting, obviously allowing for a larger than normal kozuka. It is lined with a shakudô sekigane 赤銅責金, then filled with shakudô ume 赤銅埋.

Interestingly, the plate looks quite similar to old Kamakurabori iron in that it is a little rough. Some believe that nunome could be in some cases, a later addition but I think that to add nunome to a plate with rust and patina would not work due to the fact that nunome needs to have sharp, clean crosshatching in the plate to make is stick and would require the area to be well cleaned before application. There would I think be areas showing this cleaning surrounding the nunome and there is no such visible sign here. I can then assume this nunome is original to the tsuba. It is possible that the tsuba was made by one artist, and then sent to another shop for finishing. Generally though, old tsuba with nunome get attributed to Shôami. I wonder if this could be some sort of transitional piece.

The theme is Kiku no Zuruga 菊の図柄. The design of the Kiku is accentuated with gold nunome 金布目 petals. Nunome in old tsuba does not usually last, but the Shoami group are renowned for the best quality nunome of their time and it usually lasts the longest of all the tsuba groups using this technique. This particular Kiku or Chrysanthemum has 16 petals. The significance of 16 petals relates to a connection with the Emperor. The royal crest is a traditional 16 petal chrysanthemum design and was used in many aspects of tosôgu.

The dimensions are 81mm x 78mm x 2mm .

Thank you for reading

Richard