Custom made box with cushion and sayagaki by Kanzan
NBTHK: Tokubetsu Hozon (2023)
Price: €3500 / $3900 / ¥570000
Shakudonanako fuchi kashira made by Takase Eizui. Eizui was the son (and pupil) of Takase Eiju, who was a disciple of a famous craftsman of the Mito Tradition, Taizan Motozane. Takase Eizui was active during the late Edo Period.
The rooster itself is a symbol of the Japanese zodiac sign and therefore a common theme on Tosogu. Since the rooster is known for defending his family and territory, the design has a deeper meaning for a samurai who chooses this motif.
As such, this fuchi kashira has just been awarded tokubetsu hozon by the NBTHK and comes with an old custom made kiri box which has a sayakagi by Kanzan. Further this fuchi kashira was published in the official NBTHK monthly magazine Token Bijutsu Nr. 594.
Exceptionally, very well and detailed cut Sendai tsuba in sukidashi-bori technique with ajiro pattern. The shape of the tsuba is oval (naga maru gata) and it’s made from a very dark and heavy shakudo. It has two hitsu-ana, the hitsu for the kozuka is sealed with shakudo that was given a beautifully chiseled surface. The fukurin is plated with gold, this contrast gives the tsuba a very attractive aesthetic. The fact that the tsuba is unsigned, despite its elaborate and high quality, which certainly required a lot of time and work, suggests that it was made for a samurai of higher rank. The condition is breathtaking and to keep it in this pristine state the tsuba comes in a custom made box with raised base at the seppadai.
Please note that this is a modern replica of an Itomaki-no-Tachi Koshirae. But nonetheless – with the fine paintwork – it looks nice and is a decorative display piece.
Dai signed 伊勢国桑名住三品廣道作 Ise (no) Kuni Kuwana jū Mishina Hiromichi saku
Shō signed 伊勢国住三品廣道作 Ise (no) Kuni jū Mishina Hiromichi saku
Both are dated 元治元年八月吉日 Genji gannen hachigatsu kichijitsu (a lucky day in August of 1864)
shinogi-zuruki, low iori-mune
Sori, kasane and mihaba are moderate, strong hira-niku, chū-kissaki, fine ko-itame-hada, the shinogi-ji shows masame
hamon is ko-nie-deki gunome-midare with a bright nioiguchi; ashi, sunagashi, and kinsen; Profuse ji-nie, forming jubashiri towards the shinogi, typical Mishina-bōshi and –yakidashi
Polished by Ikeda Nagamasa
Dimensions Dai: Nagasa: 71.5 cm Nakago: 21.0 cm Sori: 1.6 cm Motohaba: 3.2 cm Motokasane: 0.8 cm Sakihaba: 2.3 cm Sakikasane: 0.6 cm
Dimensions Shō: Nagasa: 35.0 cm Nakago: 12.5 cm Sori: 0.5 cm Motohaba: 3.0 cm Motokasane: 0.73 cm Sakihaba: 2.28 cm Sakikasane: 0.56 cm
Price: €18750 / $20700 / ¥ 3000000
This is a very special and extremely rare item. A real daisho: both blades are made and signed by the same smith. Also, both are dated to the same day. Further, the style of the the blades, deki and hamon, are also equal.
Both swords are papered on the same Tokubetsu Hozon certificate by the NBTHK. You will not come across this very often, neither in or outside of Japan.
Both blades come in shirasaya and each blade is accompanied by a beautiful oshigata.
For the wakizashi a koshirae from the edo period exists, however, the one for the katana is missing.
Vintage doll of a performing Kabuki actor in a beautiful costume. Everything is handmade and the expressive facial expression is hand painted.
The frame of the showcase is made of black painted wood. The door and side walls are made of glass. The back wall and bottom are made of gold-colored thin wood or paper mache. A very impressive looking hand-made andh and hand-painted doll.
Kozuka from the Yoshioka school of sword fitting artist with the motif of a chrysanthemum arrangement. On the shakudo-nanako base we see a chrysanthemum flower arrangement which is also made of shakudo and accented with gold (iroe) and silver.
Kozuka from the Kaga school of sword fitting artist with the motif of a cricket. The cricket is made of gold and inlaid using a technique called hira-zogan, for which the Kaga school is famous. A decoration is added to the front which seems to be made from shibuchi that gives the kozuka a nice balance. Together with this tsuba it would make a wonderful set.
TSURUKAME (crane and turtle) is the title of a well-known NO theater piece and this is a pictorial representation of it. TSURU (Crane) and KAME (Turtle) are the symbols of happiness and long life. The crane stands for luck, prosperity and elegance. The long-lived turtle called minogame , recognizable by the long algae on its shell, stands for health and a long life. On this nearly round (maru gata) ji-sukashitsuba, the crane and the turtle are worked out of the iron base plate and show details of kebori carving with some accents in gold (iroe). The tsuba has two hitsu-ana, also with accents of gold.
It’s hard to imagine the painstaking work that went into this tsuba to create the shippo mon. The mon pattern also makes the two hitsu-ana look very unusual, making the tsuba appear even more interesting.
Very well cut Nanban tsuba with the motif of a – perhaps Portuguese – galleon. Please compare this tsuba to the very similar tsubashown in the book “Nanban tsuba” by Shigeta Yoshimura.
Tsuba comparison:
“Western Ship”
Figure taken from “Nanban Tsuba” by Shigeta Yoshimura
Tsuba comparison 2:
“Western Ship with Sailors”
Figure taken from “Nanban Tsuba” by Shigeta Yoshimura
Tsuba comparison 3:
“Western Ship” with gold coloring kin iroe
Figure taken from “Nanban Tsuba” by Shigeta Yoshimura
The Umetada School has existed since the end of the Muromachi period and has worked for the Ashikaga Shogun’s family for several generations. The Umetada masters were very versatile; In addition to swords, they also made habaki, seppa, fuchi kashira and tsuba. The Umetada were also responsible for shortening blades and creating kin-zogan signatures, as well as engraving Horimono.
Menuki, kogai and kozuka are not known from the Umetada, which is mainly because the masters of the Goto school were commissioned with this work.
The design “Budō-mon no zu tsuba” translates to “tsuba with the design of grapevines”, a design, for which some artist of the Umetada school are famous for. A tsuba with a similar design “Budō ni kochō-mon no zu tsuba” (see comparison 1) by Umetada Myōju is even designated as jūyō-bunkazai. Both tsuba have nearly the same size and are made from a polished shakudō plate, in which the grapes are inlaid in a technique called hirā-zōgan. The shape of the tsuba is tatemaru-gata (oval) with a fukurin (rim) made also from shakudō. The tsuba has one hitsu-ana and some sukashi elements. Umetada tsuba are known to have sukashi elements, particular also for this design, for example as the ito-sukashi on the tsuba in comparison 4. The sukashi on the presented tsuba are placed very delicately below the hitsu ana and underline the design very tastefully. A true masterpiece with the signature “Umetada”. (Please also note thistsuba by Umetada Shigeyoshi.)
Tsuba comparison 1:
“Budō ni kochō-mon no zu tsuba”
Designated as jūyō-bunkazai and signed “Umeta Myōju”
futatsū-mokkōgata, polished shakudō, hira-zōgan, iroe, dote-mimi, one hitsu-ana
Figure taken from “Tosogu Classroom” by Fukushi Shigeo
Tsuba comparison 1:
“Budō ni kochō-mon no zu tsuba”
Figure taken from “Tosogu Classroom” by Fukushi Shigeo
Tsuba comparison 2:
“Budō-mon no zu tsuba”
Signed “Umetada Shichiza”
Early Edo period (1624-1644)
Very simlar to the presented tsuba, but without sukashi and in futatsū-mokkōgata
Figure taken from “Tosogu no Kansho II”
Tsuba comparison 2:
“Budō-mon no zu tsuba”
Figure taken from “Tosogu no Kansho II”
Tsuba comparison 3:
“Budō-mon no zu tsuba”
Signed “Umeta Myōju”
futatsū-mokkōgata, polished suaka, hira-zōgan, iroe, dote-mimi, one hitsu-ana
Simlar to the jūyō-bunkazai tsuba shown above but in suaka instead of shakudō
Figure taken from “Tosogu Classroom” by Fukushi Shigeo
Tsuba comparison 3:
“Budō-mon no zu tsuba”
Figure taken from “Tosogu Classroom” by Fukushi Shigeo
Tsuba comparison 4:
“Budō-dana ni budō no zu tsuba”
Signed “Umeta Shichizaemon Tachibana Shigeyoshi saku”
tatemaru-gata, polished shakudō, ito-sukashi, hira-zōgan, iroe, shakudō-fukurin, two hitsu-ana
Figure taken from “Tosogu Classroom” by Fukushi Shigeo
Large Saotome tsuba with no hitsu ana. Due to the size above 9cm and with the typical Saotome Chrysanthemum design with no hitsu ana, it could have been made during the Momoyama period.
The term “Momoyama-Goto” covers the fourth to seventh generation of the main Goto line, also called the Shirobei line. So here we see menuki that may have been made by Goto Kojo (4th), Goto Tokujo (5th), Goto Eijo (6th) or Goto Kenjo (7th). What makes this menuki with dragons so interesting and sets it apart from other dragon motifs is the very fine, accentuated carving of the two dragons, which is very detailed. If we just look closely at the number of scales (or casing), these two are much better and more detailed compared to other Kaga Goto or even mainline Goto designs. These menuki are also slightly higher compared to other major works, which makes the dragon appear more alive. The two appear also very lively due to the deep carvings, perhaps not as austere as one would expect from a mainline Goto design. It’s really fun to watch as the dragon sticks out its tongue and holds the captured pearl in its claws. What is impressive is that these menuki, which were certainly mounted (recognizable by the slightly rubbed highest point), are in such great condition and all details such as spines, claws, tail and tongue are still preserved. Further research is required for these menuki to further pinpoint the Goto master who made them. Since it is now the Year of the Dragon, it is time to release the dragon into the wild.
Consisting of five interlocked parts, decorated in relief in red carved lacquer. Decorated with peonies on the front and stylized flowers on the sides. Otherwise everything is based on small, fine patterns.
Daisho fuchi made by the Mito artist Takase Eiju, who was a disciple of a famous craftsman of the Mito Tradition, Taizan Motozane. Eiju was active in the late Edo period. Recently, a tsuba belonging to Takase Eiju was recognized as juyo by the NBTHK.
These two fuchi form a daisho due to their similarity and slightly different sizes. Both baseplates are made from beautiful dark brown shibuchi and feature a hammered finish, a technique called (tuchime). Since the crows are made of shakudo, they stand out clearly from the baseplate. Details of the birds, such as eyes, legs and claws, are finely accentuated in gold. In addition, large leafless trees can be seen with a stream or river flowing beneath them, creating larger waves. One of the crows bathes in it while the other crow watches. Upon closer inspection, you can see that the crow’s body is smoothly modeled and has pronounced feathers on the wings and tail.
Takase Eizui was the son (and pupil) of Takase Eiju, who was a disciple of a famous craftsman of the Mito Tradition, Taizan Motozane. Takase Eizui was active during the late Edo Period.
This fuchi kashira has been well crafted using techniques called takabori zogan and iroe, related to the mito bori technique, named after the “Mito” region from which Eizui came. The landscape consists of a coastal slope with a large house or temple between large and steep rocks and a pagoda in the middle of a forest. We also see large pine trees and the traveler on his horse with a companion or servant walking. It’s really amazing to see how much detail you can find in this work. Starting from the well-crafted base plate from which the stones are carved, to the gold and copper colored details. To enlarge the proverbial canvas Eizui was working on, he also used both sides of the kashira, expanding the waves of the sea on one side and the mountains on the other.
This fuchi kashira has been awarded hozon by the NBTHK and comes with a custom-made kiri box. I expect it will also be awarded to tokubetsu hozon due to the excellent craftsmanship.
On this nearly round (maru gata) tsuba, carved from the iron plate using a technique called sukidashi-bori, we see cherry blossoms with touches of gold (iroe) and also a raft.
This design is called “Hana-ikada no zu tsuba,” which means “flower raft,” giving us a reference to the season of spring. The flower raft motif alludes to the romantic atmosphere when rafters are accompanied by cherry blossoms falling into the river in spring, a scene for which the rivers in Kyoto such as Ogigawa, Katsuragawa and Hozugawa were particularly famous.
Signature/mei: Josyu Nishijin Ju Umetada Tachibana Shigeyoshi
Material: iron, gold
Era/jidai: late Edo
Dimension: (h)83.9mm/(w)77.8mm/(rim)4.0mm
Custom made box with cushion
NBTHK: Hozon (2022)
Price: €1250 / $1390 / ¥200000
Located near Nara, the Tsudagawa River has long been known for its colorful fall foliage. On the slightly oval (naga maru gata) shaped tsuba, we can see the river waves and some leaves flowing on it, carved from the iron plate using a technique called sukidashi-bori. Parts of the leaves and some gout drops are carefully colored in gold. Nara is not far from Kyoto where the Umetada school was located, which makes this tsuba so interesting as it is signed by Umetada Tachibana Shigeyoshi. He chose a subject close to his own workshop.
Depending on the literature (Haynes, Fukushi Shigeo), there were three or four Umetada artists who signed “Shigeyoshi”. Therefore, it is difficult to determine exactly who made this tsuba. Some similar works can be found at The Met or in the Boston Museum!
The Umetada School
The Umetada School has existed since the end of the Muromachi period and has worked for the Ashikaga Shogun’s family for several generations. The Umetada masters were very versatile; In addition to swords, they also made habaki, seppa, fuchi kashira and tsuba. The Umetada were also responsible for shortening blades and creating kin-zogan signatures, as well as engraving Horimono.
These menuki show the motif “Hyōtan Namazu“, a catfish, which is made here from shakudo. His eyes, as well as the pumpkin bottle, are inlaid in gold.
The Ōnamazu (大鯰 ‘giant catfish’) is a fictional, giant catfish (namazu) that was supposedly the cause of earthquakes in Japan.
There are various variations of the “Hyōtan Namazu” motif, which can literally be translated as “bottle gourd catfish”. Sometimes a person is shown climbing onto a catfish with that (pumpkin) bottle or “riding” on the catfish. Another time a monkey is depicted instead of a human.
All of these “Hyōtan Namazu” motifs allude to the question or the Zen riddle of whether you can catch a catfish with a bottle.
The motif is a metaphor for the fact that even seemingly impossible tasks can be achieved through personal effort.
This motif was probably created in Ōtsu on Lake Biwa during the Edo period, the so-called Ōtsu-e colored woodblock prints, on which this metaphor was often used.
Ōtsu on Lake Biwa was the last stop on the Tōkaidō and Nakasendō highways before reaching the capital Kyoto.
To come back to the menuki, they also come from a studio in Kyoto and therefore have a Hozon certificate to “Kyo Kinko” (soft metal from Kyoto).
The term “Ko-Goto” covers the first three generations of the Goto main line, also called the Shirobei line. So here we see menuki, which may have been made by Goto Yujo (1st generation), Goto Sojo (2nd generation) or Goto Joshin (3rd generation) who lived and worked in the Momoyama period. The age of the menuki is also noticeable in the slightly rubbed gold plating, through which the base material, here shakudo, stands out. However, this is not a disadvantage; on the contrary, it contributes to the Japanese aesthetic. It also shows that these menuki were mounted on a tsuka and where they were used. The design of “Millet” also points to a work by Goto.
Along with the Yokoya and Goto schools, the Nara school is one of the three major kinko schools. They represent some of the most important schools of kinkotosogu. Later schools are often modifications or developments of these main schools. The school produced many students who were allowed to bear the name “Nara”. (Like this tsuba we see here in front of us.) Today we assume 7 generations of the mainline Nara school, wich in turn also had many students. The founder of the Nara School is said to have been Nara resident Toshiteru (1579-1629), but unfortunately not all details from this period have been preserved. Incidentally, the Nara artists were officially employed by the Bakufu under the title of “metal craftsmen” (kazari-shi), in contrast to the Goto artists who were employed as engravers (horimono-shi). Many famous artists emerged from the Nara School, to name just one: Nara Toshinaga. But big names like “Tuchiya Yasuchika” and “Hamano Shozui” were also students of Nara artists and were influenced by this school.
As is often the case, the patina on this brass tsuba has developed really nicely. The raised edge beautifully frames the scene of two swallows flying over waves. As if we were looking at a picture painted by this Nara school artist. Both swallows are decorated in shakudo with some fine copper and gold accents. Gold was also used for the gout drops created by the waves – reaching up to the ura side. The overall impression is clearly a Nara school tsuba. Luckily the tsuba is also signed with “Nara” and “kao”.
Tsuba from the school – or the region – Kaga, which when they where signed, are difficult to find, as most of tsuba or kodogu from Kaga was left unsigned. This tsuba shows a famous design: “Autumn insects with cage”. During the Edo period, some artists called “Tomomasa” were active in Kaga. Further research is needed to determine which Tomomasa made this tsuba and, more importantly, when. Here is another example for Kaga which would make a wonderful set.
The shape is a perfect mix of maru gata (round) and nara maru gata (oval) as it is slightly larger in height than in width, which is not noticeable at first glance but gives a more aesthetic taste to the overall impression. Even though it is more of a medium sized tsuba, the seppa dai is raised to the height of the rim, creating a small valley in the middle of the tsuba, making it very interesting to look at. While the decorative design elements are placed more on the right side, the upper left part remains untouched. This is of course intentional, because if the tsuba would be mounted on a sword, the sword wielder’s thumb would rest here. I don’t want to say that it was the thumb of a samurai: Since this tsuba was made during the Edo period, it is very likely that this tsuba was carried by a marchant. During the Edo period, merchants became a wealthy class and were allowed to carry a short sword, the wakizashi. Due to the size of this tsuba, it is surprisingly suitable for a wakizashi. Also the workmanship and the materials used for this tsuba suggest, that it would have been an expensice tsuba. As samurai became poorer and poorer during the Edo period, it seems that is was the tsuba of a merchant or a samurai of higher rank. Ultimately, the tsuba could have been a gift for simple viewing pleasure. Tomomasa put his signature on the backside, so that the omote is not disturbed when the tsuba is looked at when it’s not mounted. But there are some traces near the nakago hitsu ana that the tsuba in fact was mounted and used. As there are no tagane, I think the tsuba was mounted only on one sword, maybe even custom made to fit perfectly without further need of modification.
The subject of the tsuba is “Autumn insects with cage”. In Japan it was common to catch cicadas and place them in a special cage, so that the sounds the cidaca create, it’s music, could be enjoyed. On the omote we see two cicadas, inlayed with gold in a technique called hira zogan – “flat inlay”. The cicada itself is engraved with fine kiriba. It’s legs and antennas, as well as the cage, are inlayed in very small hairline carving, which is common and typical for kaga tsuba. Also some blades of grass are depicted in the very same technique.
Finally, we come to the ura side where also a bit of grass is visible along with the artist’s signature:
Unique and rare, very finely chased iron Myochin tsuba with the face of a grimly smiling Shishi. On the ura we find a very extensive signature:
Keio ninen hachi gatsu kichijitsu
Myochin Katsumi Ki no Munenaga saku
Sakamoto Naokata Ouju
On a lucky day in the eight month of Keijo two (1866)
Myochin Katsumi Ki no Munenaga saku
Made on behalf of Sakamoto Naotaka
The roots of the Myochin family can be traced back to the Heian period. During this time – and many generations later – the Myochin made armor for samurai and bridles for horses. It is amazing that the Myochin masters continued to be active for many generations until the end of the Edo period, producing iron works such as this unusual tsuba.
Edo Higo iron tsuba with diversely artistic designs in gold on the omote and silver on the ura side. The two hitsuana also are typical for a work by Higo artists.
This tsuba is a fine example of the famous Tanaka-Toryusai school.
Sometimes the design on tsuba can be sort of an abstract type. Then there are tsuba which depicts a design in the fullest of possibilities. And then there are tsuba, where you have to use your imagination to see the “whole picture” as parts of the design are missing or – more precisely – left out due to the limited space on these little works of art.
Here we have such a piece.
At first glance we see a tree placed to the very right carved in bold kiriba into the fine iron plate. At the base of the tree grow some bushes inlayed in shakudo and coloured with gold. A large branch of the tree, also in kiriba, reaches over the nakago ana far into the left side of the tsuba. The left side of the tsuba is mostly empty just balanced by the one hitsuana.
Just above the hitsu ana – inlayed in shakudo and accented with gold – we see a bird flying in front of the tree’s leaves. The leaves are represented as inlaid dots of gold.
The bird and the undergrowth together with the tree create two depth layers.
Then our gaze falls on the bottom of the tsuba. There is a larger sukashi (and a smaller one). The area around the sukashi is coloured in silver. But parts of the sukashi don’t make to the other side. So the larger suksashi isn’t so big after all and “inside” the sukashi we see something in silver…
The moon! The moon is just rising behind the tree, illuminating the area “around the sukashi” in soft moonlight. That the moon is placed behind the tree is only possible because the tree is on a very steep mountain, which of course we have to imagine. Such steep mountain landscapes are often found in Japan.
The moon adds another depth layer to the tsuba, transforming the steep mountain landscape into a late-evening, early-breaking scenery.
The design is repeated on the omote, here the branch of the tree is inlaid in shakudo and coloured with gold.
Simply beautiful and a clever design. A small masterpiece by the Tanaka-Toryusai school.
Many sakura blossoms are carved from the iron base plate. The blossoms extend over the rim and continue on the ura side of this wonderful tsuba. The iron of the plate is a hard and strongly forged iron. Two hitsu ana, the one for the kogai is closed with shakudo.
A perfectly round tsuba from the famous Akasaka school. This tsuba is from a later generation and thus dates from the Edo period. The iron is carefully forged and develops a beautiful patina that is in good condition. The kogai hitsuana has sekigane from shakudo.
Shakudonanako fuchi kashira made by the Mito artist Takase Eiju, who was a disciple of a famous craftsman of the Mito Tradition, Taizan Motozane. Eiju was active in the late Edo period.
A golden falcon is depicted on the very finely executed shakudo nanako ground of the kashira. We can now observe three golden herons in flight on the fuchi, also on a pristine shakudo nanako surface. The eyes of all birds are inlaid with small shakudo dots and the state of preservation of this fuchi kashira is almost perfect.
As such, this fuchi kashira has just been awarded tokubetsu hozon by the NBTHK and comes with a custom made kiri box.
Takase Eiju Juyo Tsuba currently on display at the NBTHK Museum in Tokyo
Lorenzo Amati, a pupil of Ford Hallam, made this modern interpretation of a mokko shaped ji–sukashi tsuba with sakura design. Two hitsu ana, copper sekigane in a custom handmade box with very nice fabric..
Koshirae from the Edo period in mint condition with only minor signs of wear. The tusuka is covered with ray skin with a light green wrapping. All fittings are made of copper and only the tsuba itself is made of iron with the rim being made of silver. Without any fancy decoration, it was worn by a simple samurai and the Paulownia-Mon menuki (made from shakudo) alone gives us an idea of where and how the original owner could have been classified. This koshirae would fit into any collection that focuses on genuine everyday items worn by samurai that are crafted for function rather than showiness. I highly recommend this koshirae due to its rarity. Its authenticity is confirmed by the accompanying hozon certificate and it will also receive tokubetsu hozon if submitted.
These menuki with the design of wasps are made of copper. The wings are covered in gold, while the wasp’s stripes are carefully inlaid with shakudo. A typical work of the Shonai school of swords fitting artists. Currently, there is no attribution by the NBTHK, but I guarantee at least for hozon.
The tsuba of this koshirae depicts a dragon in a cloud comes with a NBTHK hozon paper which attributes the tsuba to Wakashiba.
The design of the tsuba matches the fuchi kashira which also show dragons in clouds and continue the workman ship of the tsuba.
This type of finish is called kawari-nuri and the condition is absolutely pristine with no dents or cracks. A truly magnificent and rare piece of craftsmanship in this condition.
ery rare wakizashi koshirae, were the tsuka is wrapped in a black lacquered copper wire, which has been polished again down to the copper core. This is something you come across not often. Along with the other copper fittings and the dark green saya, this koshirae has a tranquil flavor that is believed to have been worn by an older samurai.
The reserved taste with the hut (on the tsuba as well as the complete kashira) and the chickens, which are a symbol of territorial defense, also indicate that the former owner carefully arranged this koshirae to his personal mindset.
Further this koshirae is complete and no fittings are missing. The conditions is superp so only a minimal sign of ware is shown on the lower saya.
The tsuba gives us a hint of the Mino tradition while the kozuka is by Goto and signed Hidenobu. What makes this koshirae special is the tsuka which is made of wood.
The condition is very nice, only some minor traces of wear on the lower saya.
Saya: black lacquered with mother of pearl (aogai)
Era/jidai: fittings late Edo
Dimensions dai:
Saya: 76.5cm
Tsuka: 24.5cm
Total: 101.5cm
Dimensions sho:
Saya: 52.0cm
Tsuka: 17.5cm
Total: 70.0cm
Price: €9950 / $10990
A very elegant Daisho Koshirae with an equestrian theme of horses and horseback riding.
The fuchi kashira and menuki represent horses and are made of shakudo and gold.
The tsuba of the Dai and the Sho are very similar. Both show two saddles decorated with gold and some other horse-related items such as riding crops. The fukurin is made of an alloy containing silver, which gives the koshirae a counterpoint.
Also made of shakudo and gold, the kogai and kozuka continue the theme of the tsuba by also showing a saddle each.
The saya is lacquered with black stripes alternating with stripes of fine mother of pearl particles (aogai) that glow like a soft night sky with colors. Due to the perfect condition I think it was made after the taisho period.
The tsuka has recently been renewed and is colour-coordinated with some of the aogai and the winding is of the finest quality. The menuki seem to float above the tsuka and the end is carefully braided above the kashira which looks absolutely gorgeous.
Published by Hirata Michiko in 2001, this book features high quality Tosogu from the museum in high quality color photographs. All descriptions are in Japanese, lucky titles are in English.
100 Masterpieces from the Collection of Dr. Walter A. Compton by Christies
Released in 1992 when the famous collection of Walter A. Compton was auctioned off by Christies. The 100 Masterworks are described in English and shown in high-quality color images for Tosogu and black and white images for Blades.
321 pages, hardcover, clothbound, dustcover, slipcase, good condition
Lethal Elegance – The Art of Japanese Sword Fittings by Joe Earle
This English language book was published in 2004 by Joe Earle (Boston Museum of Fine Arts). It shows 150 high-quality sword fittings with a focus on their style and techniques. Visual effects of different alloys as well as evolution and symbolism are also discussed and explained.
This book is a copy of the book on the famous Oeder collection. The condition is good.
If you manage to find the original book through the Oeder Collection, you will find it very expensive because it is very rare. But that is not necessary as this book provides equally good information about one of the famous Tosogu collections.
Selected fine Japanese Swords from European NBTHK Collections
Published in 2002 by the NBTHK European Branch, this books shows and describes in detail 45 swords, 6 koshirae as well as tosogu. It features an article about Yagyu tsuba as well.
Descriptions are in German and English.
The book is in used condition, all pages are fine, some discoloration due to age
Shibuichikogai made by the mito artist Takase Eiju, who was a disciple of a famous craftsman of the Mito Tradition, Taizan Motozane. Takase Eiju was active during the late Edo Period.
An octopus and two monkeys are put on the nanoko base. The octopus is made of copper while the monkeys are made of shakudo and what appears to be silver. The monkeys faces are accented with copper and their eyes are made of gold, like the eyes of the octopus. All the carvings are very delicate, Takase Eiju shows us how much detail can be represented in a small space. Since this kogai has a beautiful tapering, the appearance is rather elegant. I believe this kogai was worn by an older samurai who didn’t need a “flashy” kogai but something to reflect something personal to him. The NBTHK called the design “Octopus prisoner”. I believe there is a japanese fairy tail about an octopus beeing imprisoned by monkeys. Perhaps it was the favorite fairy tale of the samurai who wore this kogai on his koshirae.
A fine late Edo period ressei-type menpo. The ears and face are one plate, the nose and the lower part of the chin are separate. Attached is a three-layer iron and lacquer yodarekake with blue sugake odoshi. The iron has a beautiful brown patina and the face looks slim and noble.
Koshirae with the design of dragons in the clouds.
On the omote and ura side of the shakudo tsuba we see mostly nanako and the two hitsu-ana, as the clouds and two dragons are carved in the outer edge and around the rim. The dragons are coloured in gold which gives them a nice contrast against the dark clouds. The male and female dragon are carved symmetrical so that their heads or faces meet at the top and the tails at the bottom of the tsuba.
Menuki and kashira are made of shakuko and also depict dragons. The eyes of the dragons are coloured in gold.
Fuchi and kojiri are made out of horn, the kurigata is colored black.
The kogai and kozuka are a matching set also made out of shakudo but coloured in gold completely. Both have a shakudo nanako base plate on which a curled roundish dragon is placed: The dragons are also colored in gold what makes them stand out on the shakudo nanako. A nice little detail; on the kogai a male dragon is shown and on the kozuka a female dragon.
The blade of the kozuka is signed but due to some rust it is difficult to read. The other side is rust free and itame hada is visible with a suguha based hamon.
The saya has a black base colour which is mostly lacquered with little particles of brown, red and gold which form large round spots. The condition is perfect without any dents or cracks.
The tsukamaki is newly made and together with the sageo of matching colours, a light ochre to match the fine red-brown golden colours of the saya.
A real treat for someone who is locking for a koshirae with the most famous design of dragons in a perfect mint condition.
This tsuba has a slight oval shape (nara mru gata) and is made by Tsuneshige out of brass, a material rarely used for tsuba. On the omote we find the rakan Handaka Sonja (半托迦尊者), or Arhat Panthaka in Sanskrit. He is one of the sixteen disciples of Buddha. In most cases – like on this tsuba – he is shown with his pet dragon which he can keep in a bowl.
On the ura we can see a tree and his signature “Tsuneshige”. Currently the tsuba has no attrinution from the NBTHK. As the I believe the signature is genuine I guarantee at least Hozon.
On this round iron ji sukashi tsuba with two hitsuana we see in radial order a mix of turban snails (sazae), hora and awabi. Everything we can see on the omote side is exactly matched on the ura side. This is a very naturalistic depiction as it is not a simple copy of the omote. The surface has a beautiful patina as it is very soft and dark. The tsuba bears the signature “Echizen ju Kinai saku” as it was made by the famous Echizen Kinai school of tsuba artists. This wonderful carved tsuba is a very nice example of this school and I’m pretty sure it will get a hozon paper easily.
On this round iron ji sukashi tsuba with two hitsuana we see chrysanthemum flowers and leaves. Some leaves are decorated with gold iore. Everything we can see on the omote side is exactly matched on the ura side. This is a very naturalistic depiction as it is not a simple copy of the omote. The tsuba bears the signature “Echizen ju Kinai saku” as it was made by the famous Echizen Kinai school of tsuba artists. This wonderful carved tsuba is a very nice example of this school and I’m pretty sure it will get a hozon paper easily.
On this round iron ji sukashi tsuba we see four opened and two rolled up aoi leaves. The open leaves have some holes as sukashi openings and some leaf veins decorated in kiriba. Two hitsuana. The tsuba is signed “Kinai” and is made by the famous Echizen Kinai school of tsuba artists.
Here we have kozuka from Kenjo (Masatsugu), the 7th generation of the Goto mainline. He lived from 1586 to 1663 and was the third son of Goto Tokujo, the 5th generation of the main Goto line.
This very fine kozuka was made by Goto Kanjo, the eldest son of Goto Mitsumasa (Jujo) the 12th generation Goto mainline. Kanjo was also called Tadakichi and later Sadakichi, lived in Edo and died on the 7th February 1798.
Ikebana scissors is a rarely seen design on tosogu in general, but for Goto even more as it’s far from typical Goto designs. Even if the design isn’t typical for Goto, the kozuka has a strict Goto feeling which might be due to the superb nanako which covers the whole kozuka (only the backside has no nanako). The accurate placed scissors is perfectly aligned with the edge of the kozuka, which also gives the impression of a strict formal Goto design. The scissors and the aster branch rise high above the base plate and are of outstanding quality. Some water drops are inlaid in gold and silver. All in all this is a very rare kozuka and well suited for an ikebana artist or enthusiast.
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