THE
R. E. HAYNES & E. D. LONG
COLLECTION



TORAN-KEI Tsuba
    Inquire Only

Early period tsuba termed Toran-kei, Toran meaning 'egg-shaped'. This type of tsuba is among the earliest works of Japanese tsubako. Cast of yellow bronze, then gilded in gold, some of which remains on both sides of the plate and within the six sukashi openings around the nakago-ana.
Most of these types of tsuba have come from ancient Japanese burial mounds, making them around 1500 years old, and thus making them the predecessors of all other tsuba. They date to the period when Buddhism was introduced to Japan, and when the Imperial lineage was solidifying its status in Japan. (Long)

TACHI KANEGU-SHI  
  Inquire Only   
Early Muromachi period, ca. 1400. (Long)

TACHI-STYLE TANTO Tsuba
    Inquire Only

A tachi-style, mokko shape tsuba for a tanto belonging to a high ranking Samurai. Dates to ca. 1400 or early Muromachi period. Copper center with Shakudo fukurin, both seppa's are shakudo with inlays of gold, silver, copper, and shakudo. (Haynes & Long)
NERIKAWA Tsuba
    Inquire Only

"Extant Edo neri tsuba tend to date to the late Edo through Meiji periods, and in terms of production were often the domain of lacquerers who used them as an alternate medium to exhibit their skills. They tend to be detailed and show a great skill in execution. They are often crisp and retain most of the lacquer which is often in excellent condition and can exhibit a wide range of colors and techniques." (Haynes, Long, Markhasin)
KO - KATCHUSHI
    Inquire Only

"Large square iron plate nicely forged and hammered with excellent patina and color. Further study and description coming soon." (Haynes & Long)
KO-KATCHUSHI
    Inquire Only

Write up coming soon. From the Kamakura period to early Muromachi period.
KATCHUSHI
    Inquire Only

"Rare Katchushi with brass nunome inlay remnants. The dote mimi is very well done and seems to be folded over the plate. It is of a size that would be used on a large battlefield sword (o-daichi) with no hitsu.
The sukashi of two kasa is very sophisticated for the period. The plate on the face has simple parallel crosshatching in the shape of three battledore that were once covered with thin line type brass inlay. The back has three more of the battledore with very few pieces of brass inlay remaining.
Dates to ca. 1500." (Haynes & Long)
KO-TOSHO
    Inquire Only

A robust and well forged Tosho tsuba in maru-gata shape. On close inspection, hammer marks as well as pock marks from age can be observed in the tetsu-ji. This creates a very robust appearance. The work demonstrates access to good quality iron and the proficient skill of its maker. The sukashi is undoughtedly that of a Tachi. The normal round openings under the nakago-ana are simply a udenuki-ana.
Dates to the early Muromachi period.
KO-TOSHO    Inquire Only
"An iron mokko gata shape tsuba with inome motif at the four indentations.
Circa: Muromachi period, Ca. 1400 or earlier. Even though it remains curiously controversial, the age of the earliest ko-tosho rests on evidence of when they were first worn on swords, either tachi or uchigatana. This tsuba is rather small, as ko-tosho were towards the end of the Kamakura period. The presence of the kodzuka-hitsu, while somewhat perplexing, was a value adding modification and a frugal use of something old at a time when kodzuka were eventually incorporated into the uchigatana koshirae." (Haynes) NBTHK Hozon origami.
HAZAMA
Inquire Only
"Unsigned HAZAMA tsuba are rare. This classic example has pine and bamboo design in line-style inlay.
The box (Hakogaki) is by Amiya (Ogurma Saemon) and extremely rare today. Dated 1944. Interestingly the box cover states Kanayama Tsuba.
Also is accompanied with N.B.T.H.K. Hozon paper, dated 1989.
'TOSHU JU MYOCHIN MUNETERU'    Inquire Only
"Write-up to follow" (Long)
'MYOCHIN OSUMI KAMI MUNESUKE'    Inquire Only
"An exceptionally well made iron mokume tsuba signed and dated by 'Myochin Munesuke', the 24th mainline master of the most prestigious school in Japan. He is considered the foremost Myochin armorer during the Edo Period. Munesuke has a very long and prolific working period (ca.1680-1730), and is known by two art names: 'SHIKIBU' and 'OSUMI no KAMI'. Late in life, he started listing his working age on pieces, and examples are known from his 76th - 82nd years." (Long)
7.60cm x 7.50cm x 0.55cm
TOSA MYOCHIN    Inquire Only
Write-up soon. (Long)
8.15cm x 7.85cm x 0.60cm
 
Inquire Only
"Attribution and write-up to follow." (Haynes)
 
Inquire Only
"Attribution and write-up to follow." (Haynes)
 
'KAEI   TSUCHINOE-SARU   FUYU
ENAMI   ITCHIN' and Kao
(H 01973.0)
    Inquire Only
Provenance:  Robert E. Haynes
Write up to follow.
 
'ISHIYAMA MOTOTADA SAKU'
(H 05940.0)
    Inquire Only
Provenance:  Robert E. Haynes
Write up to follow.
'TOSHU JU MYOCHIN MUNETERU'    Inquire Only
"Write-up to follow" (Long)
'Chrysanthemum Mei'    Inquire Only
"Write-up to follow" (Long)
'UMEMURA KIBEI'    Inquire Only
"Write-up to follow" (Long)
HOSOKAWA Family    Inquire Only
"Write-up to follow" (Long)
1st TADAMASA
AKASAKA MUSHASHINO
     Inquire Only

A exceptional tsuba attributed to the First Master TADAMASA, H 09096.0. The quality of this work is, as Dr. Torigoye said, "a masterpiece."
The only illustration I can find is in the 'TOSO SORAN', 1978, by Dr. Torigoye, page 241, bottom illustration. At that time it belonged to Tetsu Kariya.
This tsuba should have never left Japan, as I cannot find a better example of the work of the First Tadamasa illustrated in any book." (Haynes)

1st TADAMASA AKASAKA     Inquire Only

"A rounded square shape with the motif of bamboo in the wind. The seppa-dai is pointed, there is linear tekkotsu in the rim, the metal is of very good quality, the surfaces appear polished, and the forms are thick and full-bodied. The guard has a look of antique elegance. It gives sufficient evidence of the style of the first master Tadamasa."(Long)

2nd TADAMASA SHOZAEMON     Inquire Only

"Slight oval shape iron tsuba with sukashi of Musashino subject design of marsh plants, pampas grass with a dew drop, and alighting goose forming kozuka hitsu.
Dates from ca. 1650.
Though unsigned, appears to be the work of the 2nd Tadamasa (H 09097.0). The style of the 2nd Tadamasa resembles the later work of the 1st Tadamasa, however, the shape of the seppa dai is koban. The refined iron, and sophisticated design and finish define the skill and talent that is typical of the 2nd Akasaka Master Tadamasa." (Holbrook & Long)

7.15cm x 7.4cm x 0.4cm
Akasaka      Inquire Only

"A plum tree forms an irregular shape of the whole, with branches within the rim. The base iron is well forged. A carefully finished appearance gives a calming and quiet visage. The attribution is by 'TOEN SHA', dated March 24, 1974. The named club is Murakami Tadasuke. The owner at this time was Kawatsuchi." (Long)

KO-SHOAMI    Inquire Only
Two vertical arranged gingasa support the seppa-dai. The full-bodied texture of the iron (tekkotsu) is revealed on the rim. The very high quality finish and the elegance of its age elevates this masterpiece to amoung the best and earliest examples of Ko-Shoami tsuba.
Dates to ca. 1400 or earlier
7.82cm x 7.78cm x 0.54cm.

KO-SHOAMI    Inquire Only
Two full circles, the outer making up the rim and the inner circle are the frame work for this wonderful first class piece. The two remaining circles, each as half circles, arranged symetrically add strength and spirit to the design. The rim of this expressive sword guard displays linear tekkotsu in abundance. The very high quality finish and the elegance of its age elevates this masterpiece to amoung the earliest examples of Ko-Shoami tsuba.
Dates to ca. 1400 or earlier.
7.95cm x 7.92cm x 0.48cm.

Ko-Shoami    Inquire Only
"Write-up to follow." (Haynes)
Ko-Shoami    Inquire Only
"This style of Ko-Shoami is very rare with so much of the original gold nunome inlay still intact. Many of the works we call Katchushi etc., are in fact Shoami but the nunome inlay is gone and we do not know what decoration it might have had. This piece dates to ca. 1500." (Haynes)

Umetada Gohei & Map of Japan    Inquire Only

"Umetada school iron tsuba. Motif of a Shinto spiritual implement called a Gohei, used for ritual blessings on one side, and an old map of Japan on the other. The Gohei is inlaid in silver and gold. The map shows the old provinces of Kyushu, Shikoku and Honshu, each with their names inlaid in gold. Hokkaido was not yet part of Japan at that time. Finely inscribed waves surround the islands - a nice touch. The inlay on both sides is executed in nunome-zogan. The carving on both sides is done in sukidashibori, meaning that the plate has been carved down slightly from the mimi and seppadai to define the motifs, with finer carving tools used to add details and scribe lines for the inlay. The tsuba is in excellent condition, with almost no loss of inlay.
Measurements: 8.4cm x 7.8cm x 0.4cm.
Early Edo Period, 17th century." (Long)


HOAN


KISHU HOAN     Inquire Only
(Long)
7.0cm x 7.3cm x 0.42cm
HOAN     Inquire Only
"A very fine Hoan school tsuba of maru-gata shape with a hira dote mimi (flattened embankment rim). This tsuba is from the strong and powerful Owari Hoan school. This tsuba supports a wonderful rich dark patina as you can see by the images. This school is known for its strong designs. The smith has used the Tomoe-sukashi (comma cut outs). This would be a very typical tsuba used by the fighting class samurai of the period. Form and function and simplicity were the hallmarks of the warrior class samurai."(Long)
8.40cm x 8.40cm x 0.30cm (seppa)
HOAN   
Inquire Only
"A well forged iron plate with a motif of the Taise Tsuho coin. The sukidashi-bori and very apparent yakite-kusarashi treatment points to excellent Hoan work.
Considering the NBTHK paper, the example in the KTK catalog and the Nakamura attribution, there seems to be a sort of consensus that these are Hoan tsuba." (Waszak & Long)
7.20cm x 7.20cm x 0.45cm
HOAN  ?Proto?   Inquire Only
"Well forged soft iron plate with sukashi design of four drawer handels. The kozuka hitsu is original. The plate shows many tekkotsu (iron bones) of various sizes and shapes.
Examination of the plate in good sunlight shows this work to date ca. 1450-1500. This is at least 100 years before the HOAN school was formed. Who might have made this tsuba is unclear." (Haynes)



'JOI'

'BUJO  AKASAKA  INSHU  RAKU  JOI  NAGAHARU  TSUKURU'

PROVENANCE:    Robert E. Haynes
                                            Elliott D. Long
Collection Tsuba, Please Inquire
 
"A large round copper plate of katana size with the face showing Hotei riding on a horse, that looks much like a mule, or perhaps a Mongolian pony. His staff and fan are carved and inlaid on the reverse side. The plate surface is ishime of very fine grain. The horse, robe and staff are in pure shishiai style. The head, body and arm of Hotei are above surface inlay, as is the fan on the reverse side. The clouds are carved well below the plate surface and have gold inlay touches and a silver moon on the back side. The amount of detail carving is hard to see in some cases, as it is so fine. The quality of this tsuba is far superior to that of many others with this same subject, and shows the true ability of the work of Joi.
Read complete descriptive article by Robert Haynes titled 'The M. Arthur Kay Sugiura Joi Tsuba HERE.


HAMANO School


One of the most noted pupils of Toshinaga I was Shozui or Masayuki (1695-1769), who founded the Hamano school, whose members created some of the finest objects of metal-work, primarily in fittings for the sword. Like those of his master, most of Masayuki's designs are taken from the history and folk-lore of the country, although he and his followers show great originality, as well in the portrayal of nature subjects.



PROVENANCE:    Robert E. Haynes
                                            Elliott D. Long
                                            Lawrence Neirmeyer
'YURAKUSAI   SEKIBUN'
SOLD

See complete write-up and images HERE
"Oval shakudo plate with a deep blue hue. The face with the legend of Choryo and Koseki, at the time Choryo was retrieving the shoe of Koseki from the river inhabited by a dragon. Koseki is on horseback, top left and Choryo is bottom right, with a gold shoe in hand, beside the dragon (read the legend HERE). The inlay is of copper, gold, and silver. The carving style and the subject remind one of the work of the Hamano school at this same time. The reverse of the plate has a water fall, clouds, rocks and plants in the river very boldly carved and inlaid in gold and silver.
The face is signed on the right side of the seppa-dai: 'Yurakusai Sekibun', H 08118.0.
This is the rather early work by the first Sekibun, born in 1790, and died in 1872. In 1790 he was adopted by the Hamano family of artists and was a student of that school until he went to Shonai in 1824. So it would seem that this tsuba was made by him before 1824, when he was still working with the Hamano family school. This just might be his earliest work so far recorded.
There were three generations of the name Sekibun and the last two worked in Shonai. This example of the very early work of the first Sekibun is very rare and shows his great ability at a very early age." (Haynes)
  


The   BIZEN   SURUGA   MASTERS



Shodai Bizen Suruga Master
Early Edo period.
Round iron plate with characters 'Haku-Raku-Ten' pattern in positive and negative sukashi.
Sup: Hakkyoi, a great Chinese poet, lived in Middle T'ang from 8th to 9th century. He is known under the pen name 'Hakurakuten.'

Early Edo period.
Round iron plate with ten sword beans in positive sukashi.
Kaku mimi ko niku.
Thickness: 2.79mm.
Sup: Notice Kuchi-beni.

Unsigned.
In the style of first Suruga (ca. 1625).
Note copper plugs at top and bottom of central opening, typical of this school.
Thickness at center, 3.25mm; at edge, 4.0mm.
Robert E. Haynes owned this tsuba in 1963.


From TSUBA KANSHOKI, 1965. pg. 27
(seal belongs to Robert E. Haynes)
"Round iron plate with kaku mimi ko niku, ji sukashi of two rings, and lead-filled hitsu-ana.
Signatures both sides are being studied (very faint) to confirm evidence of being made by TAKATSUGU (in early life called Haruta Chuzaemon)."(Haynes)
Accompanied with N.T.H.K. Kanteisho Certificate No. 6053 dated 2017.


Nidai Bizen Suruga Master
"Round iron plate with sukashi design of five boat paddles. This is the work, though unsigned, of the 2nd Bizen Suruga Master. He is Haruta, later Suruga, IETSUGU (H 01834.0). He worked in the Momoyama to early Edo period at Okayama city in Bizen Province for the Ikeda Daimyo, as did a number of the later generations of this family school. Besides the style and subject matter we can see the hand of this master in the copper plugs that he insert at the top and bottom of the nakago-ana, which his father had used before him, as did several of the later generations. The bottom copper plug has been removed in this example. This master often used the designs of his father, such as we see in this example, but in later life he created many designs of his own. A very fine classic example of the early work of this artist." (Long)


Sandai Bizen Suruga Master
"Round iron sukashi tsuba with design of a rudder. Symbolic meaning of steering a boat and guiding a samurai. An excellent example of the work of the 3rd Suruga Master. The surfaces have no flaws or any signs of rust or corrosion and appear as if polished (meigaku-ji). There are few iron bones (tekkotsu) present in the rim. The sekigane is in classic Suruga style and in tack. This style of sekigane is called kuchi-beni - "open mouth red lips".

The signature (mei) reads 'INSHU JU SURUGA SAKU'. He is the 3rd Bizen Suruga Master, H 09041.0. This family name was used by the later members of the original Haruta family school, after they moved to Suruga Province. The third generation signed Inshu Suruga or Inshu Suruga Saku." (Long)

"Iron plate shape of the Uzume mask (Otafuku), and with a bold carved rope rim. The hitsu-ana in the shape of the half Matsukawabishi mon. The ishime ground of the plate still retains some of the original black lacquer surface, mostly on the face. The original copper plugs at the top and bottom of the nakago-ana have added copper when this tsuba was remounted at a later date.

The face is signed: 'INSHU JU SURUGA SAKU'. Muneie was the third generation of the Bizen Suruga family school. He was born at Okayama in Bizen Province in 1625 as the son of the second Bizen Suruga master, Ietsugu (H 01834.0). He went, it is said on June 4, 1632 to Totori in Inaba Province, with Lord Ikeda when he was posted to Inaba, and thus he was to sign, as this tsuba, Inshu (Inaba) Suruga saku." (Long)

SURUGA   
Inquire Only
"Write up soon." (Haynes & Long)
SURUGA   
Inquire Only
"Write up soon." (Haynes & Long)

From 'TSUBA, An Aesthetic Study' by Kazutaro Torigore & Robert E. Haynes.

In its early stages the Suruga school was a branch of the Haruta school living in Suruga Province. In the past it had been thought that the first Haruta did not make any tsuba. Now there is good evidence to show that the first Haruta did make tsuba, but probably not before moving to Bizen. His work is exceedingly rare and no known signed pieces.
The genealogy of this family is certain. The first, Takatsugu lived at Fuchu (now Shizuoka) in Suruga Province about the Tensho era (1575-1592). He was a samurai in the service of Lord Ikeda, and from Suruga followed his master to Yoshida in Sanshu (Mikawa Province). In Keicho 5 (1600) he again followed his master to Himeji when Lord Ikeda became master of Himeji Castle. In the first year of Genna (1615) he came to Okayama Castle when Lord Ikeda was made governor of Bizen Province. The second master of this family was Iyetsugu (Haruta Chuzaemon). In the first year of Genna (1615) he came to Okayama with his father. His signature is Suruga or Bizen Suruga, with or without "saku". The third artist of the family was Muneiye (Haruta Chuzaemon). In Kanei 9 (1632) he went with Lord Ikeda to Tottori in Inaba Province.

As stated previously, Takatsugu did not sign his work. The reason for this may be found in his origin as a katchushi style artist. The second generation signed Bizen Suruga saku, Bizen Koku (no) ju Suruga, as well as Bizen Suruga. The third generation signed Inshu Suruga, or Inshu Suruga saku. The fourth, fifth and sixth generations signed Inshu Suruga. After the seventh generation it is common to find the personal name of the artist inscribed following the province and surname. The style of the school changed during the sixth generation. Takuiye introduced the style of the Ito school of Edo into his work. By the eigth generation the production of the school was almost wholly in Ito style.

A distinguishing characteristic of the tsuba of the Suruga school is the use of kuchi-beni. The Suruga kuchi-beni are semicircles of copper inlaid at the top and bottom of the nakago-ana flush with the surface of the plate. They were inlaid by the artist who made the tsuba and are not later additions, although their shape may have been altered later in mounting. Occasionally they have been removed entirely. The Suruga were not the only school to use this style of kuchi-beni. Some of the artists of the Akasaka, Hoan, and the kinko used a very similar style of inlay. Though the Suruga tsuba always have kuchi-beni their presence does not assure a piece being the work of this school.




'JOSHU JU NOBUIYE'
Published: NOBUIYE TSUBA
by Iida Kazuo, Tokyo, 1981.



'JOSHU JU NOBUIYE'

H 07066.0
"Momoyama/Early Edo Period. Mokko form with high raised mimi (the rim of this tsuba shows great cleverness and ability in its foundation, displaying every kind of tekkotsu), engraved with an overall design of scrolling foliage, probably Hagi plant, in kebori above two udenuki-ana. The ryohitsu plugged with thick gilt metal." (Long)



'KIKUOKA   MITSUYUKI' & Kao

PROVENANCE:    Elliott Long Inquire Only
A large shakudo plate in slight mokko shape, the four indentations almost unnoticable. The surface finish appears polished, much like the surface treatment created by Rakuju. Dr. Torigoye refers to this surface as 'crepe - silk' surface texture.

Description of legend soon.



8.40cm x 9.00cm x 0.25cm




'YAMAKICHIBEI'    Inquire Only
"Bold and powerful, excellent iron plate and finish with a classic motif rendered with more life and energy than we see in any other masterworks.
Signature: 'YAMAKICHIBEI'." (Haynes)

'YAMAKICHIBEI'    Inquire Only
"Bold and powerful, excellent iron plate and finish with a noticable motif rendered with more life and energy than we see in any other masterworks. Comes with NTHK paper.
Signature: 'YAMAKICHIBEI'." (Haynes)

'YAMAKICHIBEI'    Inquire Only
"Bold and powerful, excellent iron plate and finish. NBTHK green paper.
Signature: 'YAMAKICHIBEI'." (Haynes)

'YAMAKICHIBEI'    Inquire Only
"A very fine example with family mon and dragon fly motif. The design and treatment of the plate, featuring outstanding tsuchime and horizontal yasurime, tekkotsu, and yakite treatment, confirms the superb ability of this smith, all in a mokko-gata shape.
MEI: 'YAMAKICHIBEI'. This signature is illustrating the features that differentiate it from that of the Meijin-Shodai: a low central stroke in the 'Yama' ji; the close together and parallel form of the two horizontal strokes in the 'Kichi' ji; the manner of rendering the bottom character being farther apart in the 'Bei' ji. This confirms a master work by the fourth 'YAMAKICHIBEI'." (Long)

ONIN   Inquire Only
"Write-up to follow. The seppa-dai and both original hitsu-ana are marked by the thin inlaid brass wire. The designs are different on each side consisting of animals, plants and mon's.
This piece is both prolific and extravagant, yet is very pleasing to the eye. The majority of the designs used in its decoration are but an infinite variation of a similar theme." (Haynes & Long)

Brass Inlay Tsuba   Inquire Only
"A very rare and highly important brass inlay tsuba. Of almost round shape and to be mounted on a very large tanto, sometimes seen in the Muromachi period. The design is of branches of kiku with five on each side, large open blooms and three large buds, also on each side. This brass inlay is pre-cast, with flange edges and then inlaid in precut areas of the plate and the flanges then covered with plate metal to secure them in place. This style of work is most notably seen in the work of the Higo Jingo school, but almost two hundred years later. None of the inlay has fallen out and the color is original." (Haynes & Long)
6.50cm x 6.50cm x 0.35cm

ONIN   Inquire Only
"Write-up to follow." (Haynes & Long)

SOUTH ASIAN   
Inquire Only
"Write up soon." (Haynes & Long)
'BUSHU no JU MASANOBU'   
Inquire Only
"Write up soon." (Haynes & Long)
SATSUMA   
Inquire Only
"Write up soon." (Haynes & Long)

KYO-SUKASHI
Inquire Only
"Write-up to follow." (Long)
size

KYO-SUKASHI
Inquire Only
"Write-up to follow. NBTHK Hozon Attribution." (Haynes, Long)
size

OWARI  School.  Inquire Only
"Iron sukashi tsuba with symetrical design. The N.B.T.H.K. Green Paper says OWARI. A very rare design for this school. Those who like such things will see a cross at the top center. But if you extend the cross-bar it matches the design on each side." (Haynes)

"KATSUMITSU"
Inquire Only
"Iron tsuba that is well hammered and formed in a deep cup shape, the repousse from inside to get higher relief design of a dragon in waves. The high relief dragon is carved from the plate and is not iron on iron inlay. Only one hitsu-ana of kogai shape.
Signed: 'KATSUMITSU SAKU'
See Haynes H 02830.0." (Haynes & Long)
8.10cm x 8.00cm x 0.7 cm deep.
'SASHU JU TOSHIUJI'   
Inquire Only
"Write up to follow.
Signed by 'SASHU (Sado Island) Ju TOSHIUJI'.
H 10631.0" (Long)
'SOTEN'    Not For Sale
Write-up to follow. (Haynes)
  

"TOSHICHIKA"     Inquire Only


"Write-up to follow. Attribution by NBTHK." (Haynes)
'JOEI'    Inquire Only
"Write-up to follow" (Long)
'GOTO RENJO'    Inquire Only
"Write-up to follow" (Long)
  
HAMANO   Inquire Only
"Write-up to follow." (Haynes)

SHONAI W/ MEI     Inquire Only


"Write-up to follow." (Haynes)

'YOSHU JU SHOAMI TANESHIGE'     Inquire Only


"Write-up to follow." (Haynes)


SENDAI KIYOSADA    Inquire Only
"Write-up coming soon" (Long)
YOSHIOKA    Inquire Only
"Write-up coming soon" (Long)
YOSHIMITSU    Inquire Only
"Write-up coming soon" (Long)
'NAGATSUNE' & Kao    Inquire Only
"Write-up to follow." (Haynes & Long)
'ECHIZEN no DAIJO MINAMOTO NAGATSUNE' & Kao
Inquire Only
"Attribution and write-up to follow." (Haynes & Long)

HIGO     Inquire Only


"Write-up to follow. Attribution by NBTHK." (Haynes)

HIGO     Inquire Only


"Write-up to follow. Attribution by Shibata Natsuo." (Haynes)

HIGO HIRATA     Inquire Only


"Iron plate tsuba in mokko shape with tsuchime ji, a rough surface resembling the natural surface of stone. This creates an air of dignity, and refinement. The entire edge of the guard covered with a shakudo fukurin for artistic value or to hold missing plates on both sides. It is very rare to find a tsuba with a ryo hitsu-ana small enough that it must have been for an Umibari. There is a copper pillow in the larger hitsu-ana.
Dates to Muromachi period, ca. 1500." (Long)

70.1mm x 64.7mm x 3.3mm (seppa)

'TSUGUYOSHI' SAKU     Inquire Only


"Write-up coming soon.
Accompanied with NBTHK Hozon." (Long)

7.10cm x 7.70cm x 0.40cm(seppa)

KUMAGAI HIGO     Inquire Only


"An iron plate in 'okaku maru', largely squared circular shape, the surface showing nice variations proving superior ability in hammering. The color of the iron is dark with a subdued luster and rich color which adds to the contrast of the gold inlay. The technique of applying the inlay is very good as no inlay is missing. The inlay of the two different mons and of karakusa appears on both faces and on both sides of the rim. Dates to ca. 1800." (Long)

7.50cm x 6.80cm x 0.50cm (rim)




BELOW TSUBA ACCOMPANIED WITH HAKOGAKI BY DR. KAZUTARO TORIGOYE.

'YAMASHIRO KUNI FUSHIMI JU KANEIYE'

PROVENANCE:    Elliott Long
"An iron tsuba in rounded square form, with punch marks in the nakago ana. Both surfaces display a fine patina. It is provided with two kozuka ana, one being plugged with shakudo, and are original to the piece. The design is of two gourds in sukashi, the largest being among its stem with leaves in gold inlay. This same stem and leaf design appears on the reverse but across from the large gourd.
This tsuba is signed: 'YAMASHIRO KUNI FUSHIMI JU KANEIYE'. H 02464.0.



8.00cm x 8.80cm x 0.50cm
Comes with Hako-gaki by Dr. Torigoye


'YAMASHIRO KUNI FUSHIMI JU KANEIE'



KO - TOSHO

PROVENANCE:    Elliott Long Inquire Only
Very large, powerful Tosho tsuba, nicely forged and hammered with excellent patina and color. The hitsu-ana is original to the tsuba which was made prior to the Edo period.
Sukashi of two interlocking rings having a Buddhist symbolism meaning Unity of Strength and Love, Mind and Body. Very important to the Samurai.



7.9cm x 7.8cm x 0.40cm
Comes with Hako-gaki by Dr. Torigoye
in 1970 on a lucky day in June



BIZEN SHOAMI

PROVENANCE:    Dr. Kazutaro Torigoye
                                            Elliott D. Long
Inquire Only
An excellent round sukashi iron tsuba, the style being rich in its decorative quality. The design of fishing nets under flowers and clouds is naive yet very tasteful. The subject of this tsuba is applicable to the countryside, having a strong and bold quality. They are decorated with gold nunome inlay. Early Edo period.



8.0cm x 8.0cm x 0.25cm
Comes with Hako-gaki by Dr. Torigoye
in 1964 on the 7th month, 17th day.



'JOSHU  JU
SAOTOME  IESADA'

PROVENANCE:    Dr. Kazutaro Torigoye
                                            Robert E. Haynes
                                            Elliott D. Long
Inquire Only
H 01803.0

"Iron plate of a deep purple black color of great richness. The oval plate formed as 42 petals of a chrysanthemum bloom, with a leaf of the plant folded over the left and right sides. The right leaf showing the face and the left leaf showing the backside. Of katana size (see below). It is interesting to note that this tsuba is very "heavy" and dense when compared to others of its size and form. It may contain meteoric iron.

It is signed on the face: 'JOSHU JU' (Hitachi Province) on the right side of the seppa-dai, and 'SAOTOME IESADA' on the left side.

The kozuka ana is filled with a shakudo plug." (Haynes)
"There was more than one Saotome Iesada (see H 01803.0). This would seem to be the work of the "first" master of that name, ca. 1550. There is a dated example signed by Iesada of Tensho 5, August, which is 1577. This example would seem to fly in the face of what I have said for the entry of this name, as this example IS signed and certainly is of the date mentioned above. All of this adds to the revival of our research concerning this artist." (Haynes)
8.2cm x 8.2cm x 0.4cm.

"This tsuba is contained in a box having a hako-gaki as follows: TSUBA, SIGNATURE, JOSHU JU SAOTOME IESADA, IRON PLATE, KIKU BLOOM SHAPE, MEASUREMENTS IN RIN AND BU, A TRUE WORK AS SIGNED, DATE OF SHOWA FOUR (1929), with RED SEAL AND SIGNATURE, SODO, and KAO, of a pre Edo period work. The Sodo name is very rare and seems to be one of the earliest art names used by Dr. Torigoye." (Haynes)

"This tsuba was a gift to Robert Haynes from Dr. Torigoye about fifty years ago." (Long)


'JOSHU JU' (Hitachi Province) right side, 'SAOTOME IESADA' left side



'AKASAKA YOSHISUMI SAKU'

PROVENANCE:    Elliott Long Inquire Only
A round iron sukashi tsuba with eight cherry flowers in positive sukashi. All flower petals are very well carved.

MEI: 'AKASAKA YOSHISUMI SAKU'. Of the Kogawa family working in Tokyo. Was a student of the second Unno Yoshimori.



6.80cm x 7.10cm x 0.50cm
Comes with Hako-gaki by Dr. Torigoye in 1957



'IWAI YOSHIMICHI'

PROVENANCE:    Elliott Long Inquire Only
Well hammered iron plate in 'nade mokko gata' shape. Nobuiye and other early tsuba makers used this shape which, when mounted on a sword, is even more striking in appearance than as a separate piece. Its gentle curved shape has a feminine quality, reminding some of 'otafuku' or of 'okame' shapes and such were consequently called by these terms. This shape was also called 'tate mokkogata' and 'nade mokkogata' in Edo.
The raised rim was formed by being beaten from both the outer circumference inward, and from the inside of the rim flange outward, known as 'uchikaeshi mimi'.
Mei: 'IWAI YOSHIMICHI' H 11831.0.
Made in the style of Nobuiye (H 07061.0) about ca. 1800.
Art name Seiryusai. Worked primarely in Edo.



8.60cm x 9.10cm x 0.25cm (seppa)
Comes with Hako-gaki by Dr. Torigoye



'UMETADA'

PROVENANCE:    Elliott Long Inquire Only
Write up coming soon.



Comes with Hako-gaki by Dr. Torigoye in 1965



'UMETADA TACHIBANA SHIGEYOSHI'

PROVENANCE:    Elliott Long Inquire Only
A maru gata iron sukashi guard of five kiku flowers that are very well carved. Appearing on the rim is a scroll design done in very fine gold nunome.
MEI: 'UMETADA TACHIBANA SHIGEYOSHI'. This was the Shigeyoshi who was said to have taken the Umetada school from Kyoto to Edo.



7.70cm x 7.80cm x 0.40cm
Comes with Hako-gaki by Dr. Torigoye in 1956



'TADATSUGU'

PROVENANCE:
Mr. Matsuo (former student of Dr. Torigoye)
   Elliott D. Long
Inquire Only
Iron plate in marugata shape, one hitsu-ana in suhama-gata filled with lead with sekigane. The sukashi design in positive silhouette of Daruma 'sitting in front of a wall'. The meaning of the upper left kanji is 'faith' (men) and the lower left kanji is 'wall' (heki). This depicts the Daruma as he sat silently wasting away in meditation.

Signed: 'TADATSUGU'. H 09190.0.

The delicate subject, careful finish and refined iron establishes this tsuba as a work of perfection.



7.86cm x 7.80cm x 0.44cm
Comes with Hako-gaki by Dr. Torigoye in 1973



'TENKA CHUKO KAISAN SHOAMI JIROHACHI'

PROVENANCE:    Robert E. Haynes Inquire Only
Write-up to follow.


Comes with Hako-gaki by Dr. Torigoye



KANAYAMA

PROVENANCE:    Elliott D. Long Inquire Only
"The iron bones of the edge are strong and natural. The surface is glossy black soft steel. The smooth surface is due to the high heat used in the forging. The quality of the iron is excellent. The shape is known as yatsu mokkogata (eight lobe shape). The design as ji-sukashi, is naive in a simple naturalistic style.
Dates to Momoyama period."


7.20cm x 7.10cm x 0.44cm (edge) to 0.52cm (seppa)
Comes with Hako-gaki by Dr. Torigoye



SAOTOME KO SAKU

PROVENANCE:    Elliott D. Long Inquire Only
An excellant, strongly forged iron ground Saotome tsuba with sukashi of two family mon design. Probably the prized tsuba of a very skilled samurai.

The Saotome school originates from the Myochin school, and were very skilled at producing superior iron and iron tsuba.


7.85cm x 7.52cm x 0.28cm
Comes with Hako-gaki by Dr. Torigoye



EDA KIKU ZU

PROVENANCE:    Elliott D. Long Inquire Only
"chrysanthemum-shaped iron plate, 8-lobe design, both hitsu-ana original and plugged with shakudo, Heianjo kiku flower, "


7.70cm x 7.20cm x 0.30cm
Comes with Hako-gaki by Dr. Torigoye



KAMAKURA-BORI

PROVENANCE:    Elliott D. Long Inquire Only
"A thin iron plate with a low relief carving of warabi-te design. Kamakura tsuba were made from Late Muromachi to Edo period. They are usually thin iron ita-tsuba with uchikaeshi-mimi and mostly large dimensioned carvings. They bear similarities to Katchushi tsuba and Onin-tsuba. All of them are unsigned so there is no information about their makers; from an overall interpretation, it seems likely that they were made by craftsmen from the Katchushi group. They were quite popular. The name “Kamakura tsuba” derives from a type of engraving called Kamakura-bori (Kamakura carving), a Chinese engraving technique originally used on lacquerware, that by Muromachi period was being applied also to tea utensils, Zen-related implements and eventually to tsuba decorations. There exist both large and small examples of Kamakura tsuba: most of them are in round shape, but there are also examples in irregular kawari-gata or lobed-shape as seen here. In most cases the iron is not high quality (even though there are exceptions), they are thin ita tsuba with large-dimensioned pattern carved out in sukidashibori, often accentuated with kebori and the carvings are not very crisp. The seppadai is in almost all cases left raised in sukinokoshi manner, so is the rest of the motif, and thus it has the same height as the patterns. The rim area is slightly thinner than the seppadai and most Kamakura tsuba show a kaku-mimi ko niku in a raised sukinokoshi interpretation. They can come with or without hitsu-ana, one being subsequently opened here.
The warabi-te design is a style of ornamentation which features a curved design based on curling bracken shoots."


8.30cm x 8.24cm x 0.27cm
Comes with Hako-gaki by Dr. Torigoye



YAMAGANE MON TSUBA
Published in Toso Soran, pg. 26.

PROVENANCE:    Robert E. Haynes Inquire Only
Write-up to follow.


Comes with Hako-gaki by Dr. Torigoye






KYO - SUKASHI



PROVENANCE:    Robert E. Haynes Inquire Only

Iron Kyo-Sukashi tsuba with Dr. Toregoye Hakogaki, Edo period, Second class. Write-up to follow.





Kyo-Sukashi iron tsuba with Dr. Toregoye Hakogaki, Pre-Edo, First Class.
Further write-up to follow.









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