The shape is kawari mittsu mokko gata (変り六ッ木瓜形) wich referes to an unusualy 8 sided mokko gata shape, the mimi is Kaku mimi koniku (小肉角耳) and there are two histu ana (ryohitsu shitate 両櫃仕立). The tsuba is constructed of Yamagane 山銅 (copper) and is carved in Sukidashi bori (鋤出彫 ). The surface is migaki (磨き polished surface) the seppa dai is finished in nanako (魚子) and there is a shakudo fukurin (赤銅覆輪). The colour of the brass ji is a vibrant light redish brown. The kiku and maple leaves are finished in kin iroe (金色絵). The overlaping flowers and leaves are offset in a lovely and suptle 2 tone effect of slightly different coloured golds. The attribution to Ko Kinko is interesting but the colour would be deeper in Ko Kinko. There is also a Kao (花押) and it is widely considered that there are no signed Ko Kinko works in existance.
The theme is Kiku no Kyoyou no Zuruga 菊の紅葉の図柄 (crystanthinum and maple theme) On the yamagane plate, waves are carved in sukidashi bori, and the kiku an dmaple are set in Usuniku bori (薄肉彫り low relief). The design is finished off with a shakudo fukurin. Henri Vever, a famous French jeweller, author and art collector, who along with his brother, amassed one of the largest collection of European, Islamic, and Asian art in the world; Vever was renowed for his collection and astute eye which made him an influential figure in the twentieth century art world. The tsuba itself is a pleasing piece from the Momoyama period and is attributed in the 1972 Sotheby’s catalog as Ko-Kinko. The patina on the copper is especially pleasing as is the dual gold foil work on the chrysanthemums on one side and maple leaves on the other. The piece is signed only with a (kao) which is in of itself quite rare for early kinko pieces. The workmanship and style definitely place it as a early Kyoto piece.
The dimensions are 69mm x 67mm x 3mm (4.5mm at mimi)