tsuba gallery

TSUBA COLLECTIVE
FOR SALE

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ROBERT E. HAYNES & ELLIOTT D. LONG
"The tsuba presented here are pieces that Robert and I have cared, respected, appreciated and enjoyed everyday so that, in turn, future collectors can be afforded the same opportunity. We have bought and sold many pieces in our life and consider ourselves very lucky and truly rich to have been guardians to so many wonderful treasures. All descriptions are based on Robert Haynes's 70+ years of study and expertise and are his opinions.
Since establishing our relationship in 2005, we are proud to have assisted many collectors in their pursuits.

ALL PRICES SHOWN ARE NEGOTIABLE."
E-Mail with your questions and/or selections to elliott@shibuiswords.com

IRON TSUBA --> AKASAKA ~ BUSHU/CHOSHU ~ GOTO ~ HAZAMA ~ HEIANJO ~ HIGO ~ JAKUSHI-HIZEN ~ KAGA ~ KAGAMI-SHI ~ KAMAKURA-BORI ~ KANAYAMA ~ KANEIYE ~ KINAI/AKAO ~ MINO ~ MITO ~ MYOCHIN ~ NISHIGAKI KANSHIRO ~ NOBUIYE ~ ONIN ~ OWARI to MIKAWA ~ SANKEI ~ SAOTOME - TEMBO ~ SHIMIZU (Jingo) ~ SHOAMI ~ SHOKOKU ~ SOTEN ~ SUKASHI ~ TACHI KANAGUSHI ~ TANKO (KATCHUSHI & TOSHO) ~ UMETADA ~ YAMAKICHIBEI

SOFT METAL (KINKO) TSUBA --> JOEI ~ JOI ~ KANRI ~ KIYOSADA ~ KO-KINKO ~ MITSUNAGA ~ MOTOTADA ~ NAGATSUNE ~ SEKIBUN ~ SHIGENORI ~ SOCHI ~

TANKO (KATCHUSHI & TOSHO)

	KO - KATCHUSHI $6000.00 "Large square iron plate nicely forged and hammered with excellent patina and color. Further study and description coming soon." (Haynes & Long)
	KATCHUSHI $1700.00 "Presented here is a well forged iron plate in a gourd shape with Kotoru rounded edge. Both surfaces are expertly hammered. Eggplant sukashi at the lower quarter. This workmanship creates an indescribable atmosphere. Further study and description coming soon Attributed by NBTHK Tokubetsu Kicho (Green) Origami. Dated May 13, 1972." (Haynes & Long)
	KO-TOSHO $3000.00 "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." (Long)
	KATCHUSHI $1500.00 "The bright quality of this symetrical group of snowflakes and stars is not typical of katchushi guards. Although the plate has an old look, the intelligent and skillful nature of the open work suggests that this is not among the earliest guards. In all likelihood, it belongs to the middle or late Muromachi period. The design is excellent and carefully worked out." (Long) 8.30cm x 8.30cm x 0.51cm (rim) x 0.36cm (face)
	KATCHUSHI $2000.00 "Masterpiece Ko Katchushi tsuba with dote mimi, iron thin plate. The rim is peculiar to armorer's tsuba. Also, if you look closely at this background, there is a thin inlay, which seems to have been added later. Perhaps, it is considered that the samurai who inherited the tsuba later carved a pattern like a family crest inlay. The sukashi openings represent the moon and its reflection, and a star?" (Long)

MYOCHIN HA

	KAGA MYOCHIN $1200.00 "In this case the plate is very thick, more than the thickest Akasaka school plate. This example would seem to be the work of the Edo period Myochin school. The original Horai school was related to the Kaga Myochin group, and this example was probably made by a later master of that school. The plate has a very fine patina and the edge has some iron bones. There is fine line carving detail on both the crane and the tortoise (crane and tortoise emblematic of longevity). It would seem that this tsuba was made to emulate the original Horai examples, of the Momoyama period, some of which are signed." (Long) 7.9cm x 8.0cm x 0.7cm. thick
	'MYOCHIN NAGATO no KAMI FUJIWARA KUNIMICHI' $1000.00 "Hammer mark pattern on well-tempered iron ground, maru gata, with bamboo pattern carving. Mei: 'MYOCHIN NAGATO no KAMI FUJIWARA KUNIMICHI'. This is H 03612.0 in the Haynes Index. A tsuba craftsman working in Kanda in Edo ca. 1700-1750." (Haynes & Long) 7.65cm x 7.57cm x 0.40cm
	'MUNEHIRA' $800.00 "A round iron tsuba with inlays of a dragon and folage design. A wonderful example of this tsubaco's work. Signed: 'MUNEHIRA'. Refer to Haynes Index H06063.0." (Haynes & Long) 7.90cm x 7.90cm x 0.50cm
	'SHIGENOBU' $800.00 "Iron plate with rope styled shakudo fukurin. The three openings depict clouds possibly. Both hitsu kogai shape. Signature: 'SHIGENOBU'. This is the Myochin Shigenobu who worked in the Kozuke Province." (Long) 7.65cm x 7.70cm x 0.35cm

HEIANJO / ONIN

	ONIN $1000.00 "A well forged and hammered plate in mokko shape which is rare for Onin tsuba. Dating to ca. 1500. The seppa-dai and original hitsu-ana are marked by the thin inlaid brass wire. The second hitsu-ana is a later addition. 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) 6.90cm x 7.50cm x 0.24cm
	HEIANJO Tsuba $1700.00 "Large slight oval iron plate with brass inlay of four Dharma wheels. This is the classic style of early Heianjo suemon zogan tsuba. Both the plate and the inlay have their original patina. Heianjo tsuba are considered to have developed from the Onin work in the early 1500s. They are normally of the suemon type, but the inlay is cut out from sheet metal rather than cast in a mold. Any surface detail on the brass is carved in as seen here. This can be considered decorated Katchushi, although the plate tends to be of softer iron, perhaps to make the inlay process easier. The iron is very good, the overall conception is inventive yet subdued and elegant and the brass is well inlaid and carved." (Haynes & Long) 8.60cm x 8.00cm x 0.50cm
	EDA KIKU ZU $2500.00 "Chrysanthemum-shaped iron plate, 8-lobe design, both hitsu-ana original and plugged with shakudo, with Heianjo-zogan kiku flower. See TSUBA KANSHOKI (1975)." (Haynes & Long)
	SENDAI (Heianjo) $1200.00 "Four-way open tsuba of iron ground with mokko-shaped lobes, brass inlay with design of clouds of Heian-jo style, unsigned, both hitsu-ana filled with shakudo. I think it's the design of Heianjo inlay that was popular in the middle of the Muromachi period dating to ca.1400. The exact age is unknown, but it is quite old. It is a large size close to 9 cm. It was heavy and made light, and I think it was attached to a large sword. The color with the taste of brass inlay is a splendid gem. Since it is old, there are stains, rust, and missing inlays, but I think it is in relatively good condition." (Haynes & Long)
	HEIANJO EGGPLANT $900.00 "Presented here is a first class Heianjo tsuba with excellant color and patina. The inlay is rich and elegant with no missing areas. The design is of an eggplant done in a stylistic manner. This piece is representative of the quality of fittings in the Dick Dodge Collection of Japanese Art." (Haynes & Long)

KYO-SUKASHI, HEIANJO/ SUKASHI

	KYO-SUKASHI $2200.00 "This guard shows much of the feeling of age of Kyo-Sukashi works. The movement in the pattern and the wide seppa-dai are important characteristics. The forms of the leaves are varied, and the metal is thick and of slightly coarse quality.The depth of the feeling of the iron suggests that this work is old even among Kyo pieces. Seems to date to Middle Muromachi period. The theme of this tsuba is Ginko leaves. Ginko trees were planted around Japan beginning in the Muromachi period. They have a long history in traditional medicine and are able to survive in many areas. Large Ginko trees became the symbol of shrines and temples. They are called Goshinboku, 'sacred trees'. Attributed with a Hakogaki by Dr. Toregoye, dated 1967, 1st Class Pre-Edo Period." (Haynes) 7.70cm x 7.70cm x 0.30cm
	SUKASHI Tsuba $1500.00 "Presented here is a round iron katchushi tsuba with a design sukashi of four 'Kaburaya', arrow with a turnip-shaped head. The condition is excellent and very well tempered. Appears to date to ca. 1500. The Hakogaki is dated October 'on a lucky day', 1975 by Dr. Torigoye. Why his name has been removed we do not know and have never seen done before."(Haynes)
	SUKASHI Tsuba $2000.00 "We have no idea who this artist is - or how to read his name. With the 'fuji' ending kanji, he proports to be of the Fujiwara family line.Such an early ca. 1500 or so signature is very rare. Naturally, the N.B.T.H.K. paper says 'nothing', as usual." (Haynes)
	SUKASHI $200.00 An excellent study piece of a iron sukashi design. There are obvious traits of various schools: Akasaka, Owari, Shoami, and others. We may never know who actually made this highly refined and simple piece. 6.98cm x 6.52cm x 0.47cm

KAMAKURA-BORI

NFS	$5000.00	$4500.00
$2500.00	Not For Sale	SOLD

KANAYAMA

NFS	NFS	NFS
$2000.00	$4100.00	$500.00
	$3000.00

SHOAMI

	BIZEN SHOAMI $8000.00 "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." (Long) Comes with Hako-gaki by Dr. Torigoye in 1964 on the 7th month, 17th day. 7.95cm x 7.80cm x 0.40cm.
	'TENKA CHUKO KAISAN SHOAMI JIROHACHI' $3100.00 "Presented here is a very rare tsuba with Tomoe designs. It is a masterpiece with a strong iron aesthetic. This is Kyoto work done in ca. 1700." (Long) Comes with Hako-gaki by Dr. Torigoye First Class, Edo period. 8.05cm x 8.20cm x 0.35cm.
	'TENKA CHUKO KAISAN SHOAMI HIROYOSHI' $2800.00 "Hakogaki by author. Edo Period (ca. 1700). See Haynes Index H 01452.0. "A fine classic Kyoto style work on iron plate." (Long) Published in ZABO TANZEN, pg. 310 no. 339. 8.50cm x 8.20cm x 0.38cm.
	KO-SHOAMI $1200.00 "Presented here is a early Shoami tsuba around the late Muromachi/early Momoyama period (ca. 1550). In terms of era division, the Northern and Southern Courts, Muromachi, Sengoku, and Momoyama periods were traditional for Katchushi and Tosho style tsuba. This is a very bold, strong plate of well forged iron. The iron base has hammer marks as a whole, and the rim is square and stout. The sukashi openings represent a sake cup and gourd." (Long)
	AIZU SHOAMI $900.00 "Presented here is a well-forged iron plate tsuba of rounded-square shape with thick lustrous brass inlay of lotus plants. The blossoms, leaves and vines are pre-cast. These pieces are then inserted into 'reservoirs' cut to shape in the plate. There are no sharp edges as might be found on carved inlay. The design of the blossoms and leaves are carved after insertion in the plate. The broad areas of inlay are called suemon-zogan. A masterpiece of this school dating to ca.1700, mid Edo period." (Haynes & Long)
	Ko-Shoami $3200.00 "Write-up to follow." (Haynes)
	Ko-Shoami $1600.00 "Write up to follow. NBTHK 'GREEN' paper attribution." (Haynes) 8.90cm x 8.60cm x 0.40cm
	KYO-SHOAMI $800.00 A marugata niku bori ji sukashi tsuba depicting a table used on an alter of a temple to place offerings on top of. The entire surface of both sides and rim are smooth, made first by filing and then by the use of a whetstone. Dates to ca. 1700. (Long) 7.32cm x 7.33cm x 0.56cm
	KO-SHOAMI $500.00 "Iron square mokko shape (iri-sumi kaku) of sukashi design of a kanji meaning 'for you'. This was a gift tsuba. Remnants of gold and silver inlay, gold representing the sun and silver representing the moon. A fair amount of the inlay is missing but cherry blossom flowers can be seen. Dates to Momoyama period, ca. 1700." (Long) 7.90cm x 8.15cm x 0.45cm
	SHOAMI $1000.00 Momoyama Period (ca. 1600) "The elaborate and detailed design of cloves, the use of refined iron with abundant brass inlay, contribute to the strong impact of this masterpiece. There seems to be two different colors of brass inlay used. Fine tekkotsu on the rim. The representation seen here of cloves (one of the objects of the Takaramono, associated with the Gods of Luck), define Sweetness and Health. Only missing inlay at 8 o'clock position (see at right)." (Long)
	AIZU SHOAMI $300.00 "Aizu Shoami tsuba mostly have an iron ji, and kinko works are very rare. The shinmaru gata (true circle) shape is encountered regularly. Most round tsuba are a bit taller than they are wide as is the case here. Both hitsu-ana are often shaped like kogai-hitsu as opposed to the standard kozuka kogai configuration. A motif showing a person or thematic object with a natural landscape in the background is common. Motifs such as the Chinese subject shown here, are often seen. The bottom right section will contain the main design carved in takabori and/or detailed with nunome or inlay work, while the upper left section area is carved with comparatively less detail - moresoft and suggestive. This effect implies visual distance, draws our eye to the main section of the work and gives the illusion of depth to the overall design." (Long) 6.90cm x 7.35cm x 0.40cm
	SHOAMI $600.00 "A round iron plate tsuba with scalloped rim edge. The brass inlay of three leaf plant with vines occurs on both sides. On the ura side, left of nakago-ana, is carved 'Ten' meaning heaven, sky, the air, Imperial, etc. It seems this was added after the tsuba was made. The hitsu-ana show Shoami style influence. Dates to the Momoyama period, ca. 1550-1600." (Long) 7.30cm x 7.85cm x 0.45cm

KANEIYE TSUBA

$450.00	$400.00	$300.00
$900.00	$1000.00	NFS
$5200.00	$2000.00	$1200.00
	NFS

NOBUIYE Tsuba

Among his tsuba with various types of mei, there are a small number of katchu-mei (armor maker’s signature) pieces. These signatures have the same characteristics as those on his armor and the tsuba styles are slightly different. Upon examination of the shosaku (genuine work) of Nobuiye, these should be attributed as his own and all other mei-furi (appearance, or style of signature) pieces as those of his disciples. There is a distinction among the daisaku (ghostwriting; a stand-in; double) work; mei is separated with ko-sukashi and kikka uchikomi (chrysanthemum pattern hammered in), and there are other signatures with many kikko (tortoise shell) patterns, many with monji (Japanese written characters) designs, and some with jimon (patterned surface). To copy a style, one should try to create an extremely believable work. These Nobuiye have various mei-furi (style of a signature) with no evidence of copying, they all endeavor to demonstrate their skill. Perhaps it is closer to the truth to see them as daisaku (a stand-in; double).

	'NOBUIYE' $1200.00 "A round plate that is well hammered in true Nobuiye style with uchikaeshi rim. Kiri mon hot stamp appears at the same cross points on both sides. Almost all of the original black lacquer is intact with the exception of a few small areas. Signed: 'NOBUIE' H 07061.0. This is a masterly example of a Shoami Nobuiye tsuba. The shapes of the hitsu-ana and the surface treatment confirm a date of ca. 1500." (Long)
	'NOBUIYE' $2500.00 H 07072.A "Owari Nobuiye, H 07070.0 dates to 1700-1750. Sato Kanzan hakogaki 1963" (Long) 7.70cm x 7.10cm x 0.35cm
	HIZEN 'NOBUIYE' $2500.00 H 07072.A "Katana size iron mokko plate tsuba with the web carved in low relief of a male dragon in clouds. The seppa-dai is in the shape of the "Chinese" style often seen on the tsuba made in Hizen Province at the city of Nagasaki. The face is signed 'NOBUIE', in two large kanji. This style of the Nobuie signature does not match any of those recorded so far. It would seem this is an unrecorded Nobuiye who was living in the Hizen/Nagasaki area in the mid to later Edo period." (Long) 8.50cm x 7.50cm x 0.60cm
	MYOCHIN NOBUIYE $1200.00 H 07075.0 (ca. 1550) "This artist worked in Shiroi in Kozuke Province who made helmets and signed them with his full signature. Wakayama vol. II p. 294 has 3 examples of these signatures. They are a good comparison to the Nobuiye signature found on tsuba. Dense well-forged iron plate (kurikomi-mokko-gata) with ample tekkotsu on the mimi." (Long)
	'NOBUIYE' $1200.00 "Echizen Nobuiye, H 07064.0 dates to ca.1650-1700." (Long)
	'NOBUIYE' $1000.00 "A small iron plate with the cherry blossom and omodaka design of Nobuiye's. There are vestiges of the NOBUIYE signature, only the first kanji is visable." (Long)
	'MINAMOTO no YOSHIYUKI' $800.00 "Worked in the style and made copies of Nobuiye school tsuba. Large rounded square iron plate tsuba with raised rim, the plate carved with the classic tortoise shell pattern found on many Nobuiye tsuba. The plate surface well worked and showing the forging patterns that are famous in Nobuiye tsuba. The hitsu-ana are both kozuka shaped, one a little larger than the other. Mei: 'MINAMOTO no YOSHIYUKI'. See Haynes Index H 12327.0." (Long)
	SHOAMI 'NOBUIYE' $500.00 H 07069.0 (Hosoji-mei) (ca.1750-1800) "This artist was one of the last to use the Nobuiye name. He worked in Sanshu Okazaki ju, Mikawa Province using mostly the kinko style and did not make any Kiyosu Nobuiye tsuba." (Long)
	'IWAI YOSHIMICHI' $2000.00 "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." (Long)
	'NOBUIYE' $2000.00 H 07074.0 (ca.1600-1650) "There are examples of the Nobuiye signature that have come to be called, the 'wide spaced signature', these tsuba are signed just Nobuiye, but the kanji are carved at the top and bottom of the seppa-dai area. Possibly the work of two different artists and their relationship to the Kiyosu Nobuiye is not known, but the quality of their work is very close to that of the Kiyosu group." (Long)
	'NOBUIYE' $3000.00 H 07074.0 "Large oval mokko iron plate tsuba with raised rim, the edge and the plate carved with the classic tortoise shell pattern found on many Nobuiye tsuba. The plate surface well worked and showing the forging patterns that are famous in Nobuiye tsuba. The hitsu-ana are in the form of the Matsukawabishi mon, half forming each side. All these elements are repeated on the reverse side. The face is signed: 'NOBUIYE', see H 07074.0. This is a new, unrecorded example of what I have called the "wide spaced" Nobuiye signature." (Long)

YAMASAKA KICHIBEI YAMAKICHIBEI YAMAKICHI

'YAMAKICHIBEI' $2500.00
"A very fine example with family mon and dragon fly motif. The design and treatment of the plate, featuring outstanding tsuchime, tekkotsu, and yakite treatment, confirms the superb ability of this smith, all in a mokko-gata shape." (Haynes)

'YAMAKICHIBEI' $3000.00
"Fine granular tekkotsu in the rim gives a moist luster. The beveling in the rim is very fine and creates a distinctive mood. The shape, a variation of the mokko-gata motif, was a speciality of the Yamakichi school. This work is very powerful and reveals the strength of the first hereditary Yamakichi master. On the left side of the upper surface of the seppa-dai are the very indistinct letters of the name Yamakichibei.

Attributed with NTHK Kanteisho. With six Appraisers seals." (Haynes)
7.00cm x 7.60cm x 0.45cm

OWARI to MIKAWA

	OWARI School. $2500.00 "An iron nade-kaku-gata (square with rounded corners) shape tsuba with four plant stems with dew drops, a design that is symetrical and connects the rim to the seppa-dai. Each hitsu-ana has a brass pillow and the nakago-ana is completely lined with brass. This guard clearly has an Owari design, and the iron quality is excellent, a deep dark brown color approaching black. The rim is slightly rounded and is beautifully finished. Overall, this work is an expression of boldness and strength. Dating to the early Edo period, ca. 1600." (Long & Haynes)
	OWARI $2000.00 "An iron plate with tomoe motif. Dates to ca.1500, Muromachi period." (Long) 7.30cm x 7.00cm x 0.50cm
	OWARI $600.00 "An iron nade-kaku-gata (square with rounded corners) shape tsuba with four flower petal design carved symetrical and straight. Each flower petal is linked with two chidori. There is no evidence of tekkotsu. Overall, this work is an expression of boldness and strength. Many Owari features can be seen demonstrating the highly creative ability of the artist and is among the best of ji-sukashi sword guards. Dating to the Mid Muromachi period." (Long) 7.40cm x 6.70cm x 0.50cm
	OWARI $1500.00 "The guard depicted here, is a refined, solid-looking example. Its design is well balanced and the Ji-sukashi execution is sharp and crisp. The well forged iron has a dark, rich patina with a slight purplish hue. It is indicative of the quality of iron used for early Owari guards. The seppa-dai is somewhat elongated. The rim shows strong linear tekkotsu and its squared shape compliments the decorative forms." (Long) 6.60cm x 6.50cm x 0.55cm
	OWARI $900.00 "A hard, refined iron tsuba with dark brownish patina. The rim and body of the guard together have pleasing movement which enhances the floral motif of the iris. As a design, the iris motif followed the familiar course of first appearing as a purely decorative device on clothing and carriages of the court nobility and then later being adopted as a family crest in both court and warrior circles." (Long) 6.55cm x 6.70cm x 0.65cm

HAZAMA

	HAZAMA $1100.00 "The Hazama tsuba is one of the most sought after styles. The reason for this is the use of sahari inlay for the decoration of the bamboo. Sahari is an alloy of several metals that is very hard. The inlay is made from a combination of copper, tin, zinc, and lead. The mixture is then made into the shape of a stick. The stick is ground to powder and the powder is placed in the crevices on the plate that have been engraved to form the design. Then the powder is melted by fire. After the alloy has melted, and filled the areas of the design, the excess is filed from the plate and the surface is polished smooth to the face of the plate. Because the alloy fills the area of the design unevenly, and air pockets are left in the metal from the melting process, the resulting inlay has a corroded appearance. This is natural to the alloy and its method in melting. If it does not have this appearance it is not true sahari inlay." (Long) 7.90cm x 7.40cm x 0.20cm
	HAZAMA $1800.00 "Sahari is an alloy of several metals that is very hard. The inlay is made from a combination of copper, tin, zinc, and lead. The mixture is then made into the shape of a stick. The stick is ground to powder and the powder is placed in the crevices on the plate that have been engraved to form the design. Then the powder is melted by fire. After the alloy has melted, and filled the areas of the design, the excess is filed from the plate and the surface is polished smooth to the face of the plate. Because the alloy fills the area of the design unevenly, and air pockets are left in the metal from the melting process, the resulting inlay has a corroded appearance. This is natural to the alloy and its method in melting. If it does not have this appearance it is not true sahari inlay." (Long)
	HAZAMA $2100.00 "The technique is based on sand inlays on guns. This is created using a special inlay technique using lead called Sahari Zogan. The sand-bari inlay, which may seem plain at first glance, but when you look closely, it emits a unique iris, and even though it is plain, it has depth and is very wonderful. The NBTHK Hozon certification designates 'Mumei' to HAZAMA." (Long)

KINAI/AKAO

'ECHIZEN JU KINAI SAKU' $1500.00

"Kinai tsuba for wakizashi, maru gata, dote mimi, kozuka and kogai ana are filled. Katachi bori sukashi design of a single aoi leaf shaped to be rounded, convex on ura and concave on omote. Ura mei “Echizen no Ju” “Kinai Saku”, probably Yondai Takahashi, late 1700’s."(Long)

7.65cm x 7.64cm x 0.54cm (seppa)

"ECHIZEN JU" "KINAI SAKU"
$1200.00
"Dai (7.15cm x 7.40cm x 0.45cm) Sho (6.90cm x 7.20cm x 0.45cm) Kinai tsuba in the design of two aoi leaves with long stalk, showing front and back, nademaru gata, kaku mimi. Kozuka and Kogai ana filled with shakudo on Dai tsuba. Omote mei on both "Echizen no Ju" "Kinai Saku", both by same artist. A common decchi Kinai design of Rokudai period." (Haynes & Long)

GOTO

GOTO Den $4000.00

"It is the Hinode Tsuru figure tsuba that was identified as Goto Den, though it was unnamed. The workmanship is classified as mokko shape shakudo with fine nanako ground and takabori with iroe ornamentations resembling that of Goto Jujo. The carvings as the iroe are very delicate and result in a finely detailed and elegant style."(Long)

6.25cm x 5.55cm x 0.70cm (seppa)

KAGA

	BIZEN YOSHIRO Tsuba $3000.00 "An excellant example of a unsigned Bizen Yoshiro tsuba. The inlay is excellant and even extends over the edge of the eight-petal chrysanthemum area. The design between the mon are bamboo stems. Dates to the Muromachi period, ca. 1400." (Haynes & Long) 7.90cm x 7.90cm x 0.40cm
	YOSHIRO Tsuba SOLD "Presented here is a fine example of a YOSHIRO tsuba. In Edo this name applied to all brass inlaid tsuba with floral designs. Yoshiro tsuba originate from the Heianjo-zogan school and are not of independent origin. The term Yoshiro is but part of the name of Koike Yoshiro Naomasa. Naomasa worked about the Keicho era (1596-1614). The plate metal is iron of good quality and hardness like Heianjo-zogan work. The forging is very good. As seen here, the iron quality is good with the most admirable quality being the fine brass inlay making the contrast very elegant. An exemplary example of a YOSHIRO tsuba." (Haynes & Long)

	KAGA YOSHIRO Tsuba POA "A well forged iron plate with eight roundels - circular emblems of family crests (mon) made of cast brass, pierced and chiseled in kebori, and with flat brass inlay (hira-zogan) of bamboo stems between each pair of mon. There are eight different kamon in sukashi, which are obviously visible on both sides. These sukashi sections that are inlaid into the plate are refered to as ranma-bori because they have the appearance of the ranma (transom panels with openwork carving) that are seen in Japanese temples and other important buildings above walls and doorways. Dates to ca. 1450." (Haynes & Long) 7.95cm x 8.01cm x 0.30cm


	KAGA YOSHIRO Tsuba POA "A well forged iron plate with five roundels - circular emblems of flowers and/or family crests (mon) made of cast brass, pierced and chiseled in kebori, and with flat brass inlay (hira-zogan) of stems. This inlay style is Kaga Yoshiro zogan where the brass is inlaid into channels and then filed back to be flush with the surface of the iron plate. The hitsu-ana are outlined in brass. There are five different kamon in all on both sides. All kamon are in sukashi, which are obviously visible on both sides, are of various daimyo families. These sukashi sections that are inlaid into the plate are refered to as ranma-bori because they have the appearance of the ranma (transom panels with openwork carving) that are seen in Japanese temples and other important buildings above walls and doorways. Dates to the end of the Muromachi period, ca. 1500. Accompanied with a Hakogaki by Sato Kanzan" (Long) 8.15cm x 7.85cm x 0.35cm

	BIZEN YOSHIRO Tsuba $3600.00 "A maru-gata and maru mimi tsuba of well forged iron plate with six roundels - circular emblems of flowers and/or family crests (mon) made of cast brass, pierced and chiseled in kebori, and with flat brass inlay (hira-zogan) of vines with flower buds. This inlay style is Yoshiro zogan where the brass is inlaid into channels and then filed back to be flush with the surface of the iron plate. All inlay is present with the exception of four very small pieces. The rectangular hitsu-ana is original as is the kozuka-ana that is outlined in brass. Note the thickness of the sekegane in nakago-ana. There are six different kamon in all on both sides. All kamon are in sukashi, which are obviously visible on both sides, are of various daimyo families. These sukashi sections that are inlaid into the plate are refered to as ranma-bori because they have the appearance of the ranma (transom panels with openwork carving) that are seen in Japanese temples and other important buildings above walls and doorways. Appears to be Mumei but if close study under good light there are vestiges of a mei belonging to SABURO DAIYU. Dates to ca. 1500-1550. This is 100 years earlier than Naomasa." (Long) 8.10cm x 8.30cm x 0.30cm

	'SABURODAIYU' $8000.00 "This is the flush brass inlay artist often with designs of brass sukashi family mon with vines and tendrils with flower buds on the iron plate. Dates to Momoyama period, ca. 1500-1550. A very fine 1st class example of 'SABURODAIYU' of the Koike family. Worked in Okayama in Bizen Province. Refer to H 07660.0 in Haynes Index. Close relationship with Koike Yoshiro (H 06677.0) group.

	KOIKE YOSHIRO Tsuba $6000.00 "A well forged iron plate with six roundels - circular emblems of family crests (mon) made of cast brass, pierced and chiseled in kebori, and with flat brass inlay (hira-zogan) of tied bundles of plants separating each mon. There are six different kamon in sukashi, which are obviously visible on both sides. These sukashi sections that are inlaid into the plate are refered to as ranma-bori because they have the appearance of the ranma (transom panels with openwork carving) that are seen in Japanese temples and other important buildings above walls and doorways. It should be noted that these MON represent familys living in the Northern area of Japan. Dates Momoyama period, ca. 1600-1650." (Haynes & Long)

	HOKORU YOSHIRO $4000.00 "A large rounded square iron plate with gold inlay defined as 'Hokori Yoshiro.' Dr. Torigoye labeled this type of inlay as 'gomoku zogan' or trash inlay. There appears on both omote and ura three or four family mon, one being the Hosokawa Mon. A 1st Class example of this very rare style of zogan inlay and design. Dates to ca, 1600. A great deal more study is needed."(Haynes & Long) 8.00cm x 7.50cm x 0.45cm
	'YOSHIRO' $2000.00 "Presented here is a fine example of a YOSHIRO tsuba dating to the late Muromachi period. Yoshiro tsuba originate from the Heianjo-zogan school and are not of independent origin. The term Yoshiro is but part of the name of Koike Yoshiro Naomasa. The plate metal is iron of good quality and hardness like Heianjo-zogan work. The forging is very good. As seen here, the iron quality is good with the most admirable quality being the brass inlay making the contrast very elegant. The design here is a single tomoe with bellflower arabesque design. An exemplary example of a YOSHIRO tsuba."(Long)
	KYOTO YOSHIRO $1000.00 "The plate metal is well forged iron of good quality and hardness, normally used in Heianjo-zogan work. The most admirable quality is the fine brass inlay making the contrast very elegant. An exemplary example of a YOSHIRO tsuba."(Long) 7.90cm x 7.90cm x 0.45cm
	FUSHIMI YOSHIRO $800.00 "The school and style is of the Fushimi Yoshiro group. They were living at Fushimi at the same time Kaneiye was there. They did brass inlay but not of the Kyoto style and worked in a style all their own. Landscape and human figures were used in their designs. A well forged iron plate with a design of rain falling amongst the landscape. The plate in mokkogata shape with kozuka-ana. Dates to ca. 1550."(Long) 7.00cm x 7.50cm x 0.40cm
	YOSHIRO MON-SUKASHI Tsuba $600.00 "A well forged iron plate with six roundels - circular emblems of flowers and/or family crests (mon) made of cast brass, pierced and chiseled in kebori, and with flat brass inlay (hira-zogan) of stems. This inlay style is Kaga Yoshiro zogan where the brass is inlaid into channels and then filed back to be flush with the surface of the iron plate. The channels are visible in places where the brass is no longer present. The hitsu-ana are outlined in brass. The bamboo motif separates the mon. There are six different kamon in all on both sides. All kamon are in sukashi, which are obviously visible on both sides, are of various daimyo families. These sukashi sections that are inlaid into the plate are refered to as ranma-bori because they have the appearance of the ranma (transom panels with openwork carving) that are seen in Japanese temples and other important buildings above walls and doorways. The un-refined design and style confirm the date of ca. 1450-1500."(Long) 8.00cm x 8.10cm x 0.30cm

AKASAKA HA

	Proto Akasaka $6000.00 "Round (maru gata) iron tsuba with sukashi of bamboo and leaves. The bold, symetrical design and well forged iron with conspicuous tekkotsu and multiple layers of metal visable, seems to date this to ca. 1500." (Haynes & Long) 7.5cm x 7.5cm x 0.70cm
	'AKASAKA YOSHISUMI SAKU' $2200.00 "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."(Haynes & Long)
	Akasaka $1800.00 "Iron plate in the form of a crane over pine trees and clouds. A classic later Akasaka school design that is seen in many variations. Very fine thin line surface carving on both sides of the crane. A well done later Akasaka work in classical style." (Haynes) Origami of the NTBK, Nihon Tosogu Bi Kan group, dated February 26, 2001. States: 'Well done Akasaka work dating to ca. 1750 or later.' 7.60cm x 8.20cm x 0.45cm
	Akasaka $1800.00 "A large late Edo period (ca.1800) Akasaka tsuba with excellent black patina and fine tekkotsu. Highly forged iron is used; the hitsu-ana and seppa-dai are very well formed. The shape of the hitsu-ana can be classified as the work of the seventh master and the fourth Tadatoki (H 09168.0). The excavation of the seppa-dai was used by the samurai to conceal something of value, a prayer or gold. The imaginative concept and surprising design are testimony to the great genius of this Akasaka master portraying the energy of the school. A roof made of bamboo and the rectangle shape representing a framed plaque containing an inscription normally hung over a doorway, are two examples of Akasaka motif." (Long) 8.23cm x 8.39cm x 0.52cm

SAOTOME - TEMBO HA

	DAI SAOTOME POA "An iron plate tsuba that was mounted on a large katana, pierced in negative sukashi of a 64 petal kiku (chrysanthemum) flower. The spokes join in the center of the plate to the seppa-dai and single hitsu. The hitsu-ana has a pillow. Upon close and magnified study, all of the spokes are inlaid. This was done with precision and aggrandizes the quality of this piece. The age and quality of the work dates to ca. 1550-1600. The iron appears well forged and finished to represent great strength. Accompanied with a NBTHK Hozon certificate." (Long) 8.30cm x 8.20cm x 0.60cm
	SAOTOME KO SAKU $3300.00 "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." (Haynes) 7.85cm x 7.52cm x 0.28cm
	SANADA TEMBO $1000.00 "Scattered tsuba with iron mallet joint round inlay, unsigned, one hitsu filled. It is a blunt and artistic fukiyose brass inlaid tsuba. I think it's Sanada Tembo because it's made in a different place and has letters stamped on it. There is an explanation on page 15 of "The Beauty of Japanese Tsuba" by Arthur H. Church. Although there are stains, and rust over time, it is a gem with an old-fashioned taste." (Haynes) 8.39cm x 8.24cm x 0.45cm
	'ODAWARA SUMI SAOTOME IESADA' $7500.00 "Iron mokko form plate with well hammered surface. Fine iron bones appear on the rim edge. This Saotome school work shows the very best of this important school with the quality of the iron plate, the very fine hammer work, plus the excellant design. More of this write-up to follow. This example was made about ca 1450-1500." (Long) 8.60cm x 9.50cm

HIGO TSUBA

SHIMIZU-JINGO TSUBA

'SAN DAI MEI'  'AGE 72'  (Yatsushiro)   $5000.00

"Presented here is a fine example of the work of the 3rd YATSUSHIRO of the Shimizu Jingo family. His work shows the style and quality of his period and not that of the first or second Jingo. He was a retainer of the Hosokawa Daimyo from the age of 15, and it is said, became head of the family in 1710, at the age of 20." (Haynes)

'YATSUSHIRO  JINGO  SAKU'   $1500.00

"Presented here is a fine example of the work of a later generation of the Shimizu Jingo family. The inlay of the dragon is complete and very well done. On the reverse is a Buddhist Vagra.

Dr. Torigoye Hakogake dated 1956, designates this tsuba as 2nd Class." (Haynes)

CHISOKUTEI   JINGO     $1500.00

"An oval form tsuba, bearing a ground of stamped kokuin of flowerheads and engraved with a hawk and captured monkey. This design is of the JINGO family of the Shimizu school. It dates ca. 1700.
This appears to be the work of CHISOKUTEI    H 00315.0. He is of the Shimizu family and worked in Yatsushiro in Higo Province. He worked in the style of classic early Shimizu Jingo school. His relationship to the other members of the school is not known for sure. His work is equal to his contemporaries." (Haynes)
See Wakayama Takeshi; Toso Kinko Jiten, pg. 500 & Toso Kodogu Meiji Taikei, vol. III pg. 313.

6.5cm x 6.95cm x 0.5cm

CHISOKUTEI  JINGO     POA

"Write-up to follow" (Long & Haynes)

SHIMIZU JINGO    $1200.00

"Worked in Yatsushiro in Higo Province." (Long)
Under study at this time." (Long & Haynes)

6.50cm x 7.20cm x 0.40cm.

JINGO Style, HIGO   Tsuba  POA

"A large iron plate tsuba in aoi-jujigata mokko shape. The single hitsu-ana is rectangular in shape. Extending outward from the hitsu-ana are leaves, inlayed of brass. On the opposite side is a 'Thunderfish' inlayed of copper.

Under study at this time." (Long & Haynes)

8.50cm x 7.80cm x 0.30cm

JINGO     $4500.00

"A very noble iron plate tsuba belonging to the JINGO school. The iron is radiant, appearing wet in hand. The hitsu-ana are designs of gourds, being different shape and size. Because of the highly refined simplicity of the design and high quality of the iron surface, this is a 'classic' Jingo tsuba. Seems to date to the early Edo period." (Long)

7.55cm x 7.12cm x 0.45cm

NISHIGAKI KANSHIRO TSUBA

Nishigaki Kanshiro     $3000.00

"A classic design by 2nd. generation Nishigaki Kanshiro. See Haynes Index H 02673.0.
Accompanied with a Dr. Torigoye Hakogaki dated 1957." (Long)

KUMAGAI     $4000.00

"The theme of this tsuba is Dragon and Clouds. An iron plate in mokko shape with details in gold. Dates to Mid Edo period.
The Kumagai tradition was founded by Kumagai Yoshiyuki and worked as the official craftsmen for the Higo Clan in Edo. This tradition became popular and flourished based on the Higo Tradition and the use of their own techniques." (Long)

8.70cm x 7.90cm x 0.40cm


KUMAGAI FUJIEDA     $1500.00

"Write up to follow." (Haynes)


MASATOSHI     $2000.00

"Presented here is a perfect example of the work created by MASATOSHI, the younger brother of KAMIYOSHI RAKUJU. It is a beautiful iron masterpiece with very finely carved fronds creating the shape of the tsuba. He worked mostly in the style of RAKUJU but never signed his work." (Haynes)

HIGO Tsuba     $2000.00

"Iron sukashi Higo tsuba, with a classic Tsuru or crane motif, carved 'in the round', with outspread wings enclosing over its head. Details of the head, feathers and cross-hatching on the seppadai, are finely carved into the plate, and prominent eyes are inlaid with brass. Two large udenuki-ana holes detail the bottom of the tsuba." (Long)
7.72cm x 7.39cm x 0.50cm

'TSUGUYOSHI SAKU'     $2000.00

"An iron plate in aorigata shape with dote mimi. The theme of the entire piece is 'Dragons in the Clouds'. It was believed that the Dragon was the bringer of rain and good opportunity. It usually lives in the water, but when the time has come, it makes the sky cloudy, causing it to rain as it rises high into the sky. This motif made the Dragon a symbol of a successful leap and it was sometime used as the symbol of an Emperor.
The entire piece covered in gold nunome inlay. The dote mimi at one time completely covered.
Signed: 'TSUGUYOSHI SAKU'.   Haynes Index H 10770.0.
A member of the Tani family school of Higo." (Long)

7.10cm x 7.70cm x 0.40cm

HIGO HIRATA     $800.00

"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)

UMETADA HA

	'JOSHU NISHIJIN JU YOSHINAGA' $1900.00 "Presented here is a round shape iron ground tsuba of tortoise shell design. Intricate gold inlay of foliage in a scattered pattern. Signed: 'JOSHU NISHIJIN JU YOSHINAGA' a master craftsman of the Umetada family ca.1700. Illustrated in ZABO TANZEN, pg. 269, no. 319. Haynes Index H 11916.0." (Long)
	'UMETADA' $2800.00 "The Umetada school first appears in the Tensho era (1573), its pre-existence unexplained.It is necessary to begin the study of the Umetada with the first known, and greatest master, MYOJU. One would expect that such a great artist would have a well defined genealogy and a brilliant family history, but just the opposite is the case. It is unfortunate thatn the foundation and origin of the talent of MYOJU is one of the great mysteries in the history of tsuba." (Long)
	'TADATSUGU' $4800.00 "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." (Long)
	'UMETADA TACHIBANA SHIGEYOSHI' $4200.00 "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. Comes with hakogaki by Dr. Kazutaro Torigoye." (Long)
	UMETADA $1300.00 "Iron tsuba with brass fukurin, design motif of clouds and mist inlaid with brass." (Long) NBTHK Hozon origami.
	KO UMETADA Serious Inquiries Only "The metal parts of the four-petal flower design are full-bodied, the design has movement, and the metal is of fine quality and has a deep color. These traits and the aged look of the seppa-dai and the hitsu-ana indicate that this is a work of some antiquity. The elegance of the design is distinctively Umetada. Dates to Muromachi period, ca. 1500." (Long)
	'UMETADA SHICHIZAEMON TACHIBANA SHIGEYOSHI' $1600.00 "Large squared circular (okaku maru) iron plate with design of peony flower and bud. Signed: 'Umetada Shichizaemon Tachibana Shigeyoshi'. Ref. Haynes H 08573.0. Took the Umetada school from Kyoto to Edo." (Long)
	KO - UMETADA $5000.00 "Iron ji-sukashi tsuba with a design of a bridge for Koto. 'Nobility' is the keyword to describe this design. It is aesthetically satisfying in every detail. The surface of the plate is splendid and appears to be a little wet. The luster of the patina is in tune with the softly structured surface. Wonderful tekkotsu is to been seen in the rim. Dates ca. 1500-1550." (Long)

KAGAMI-SHI and TACHI KANAGUSHI Tsuba

	KAGAMI-SHI POA "A Kagami-shi tsuba dating about ca. 1400. The motif is very interesting comprising of various flora (aoi, omodaka, sakura), sake container, inro, and kettle being far from typical. This representational design of landscape with flowers and objects has a classical presence that is both naive and noble in concept. The ryohitsu shitate (hitsu ana) are of early design and original to the casting." (Long) 7.70cm x 0.30cm (seppa-dai) x 0.20cm (mimi)
	KAGAMI-SHI $5000.00 ""Mountain copper mokko shape carved of white radish leaves, one of the seven herbs of spring. Much of the black lacquer still remains. At first glance, it looks like the work of an old metalworker, but it is thought that it expresses the aesthetic sense of the third of the seven philosophers of Rikyu. Having gone through numerous battles, the state of 'wabisabi' has deepend more and more." (Haynes & Long)
	KAGAMI-SHI $2000.00 "Yamagane forged plate dating late Kamakura/early Nambokucho period, ca 1400 or earlier. The hitsu-ana reflect the shape of the kozuka and kogai used in early times therefore aiding in the dating of this tsuba." (Long) 7.50cm x 0.35cm
	KAGAMI-SHI $2000.00 "The yamagane is a nice dark reddish brown color which suggests a relative amount of copper in the alloy. There are areas of green verdigris remaining in the majority of small indentations which highlights the overall design very well. The oblong oval shape, known as hangetsu, of the large kozuka ana is original to the tsuba. Attributed to Kagami-shi dating to ca. 1400 or earlier. The design is of bamboo and both diamond and rounded shapes in a scattered placement with circular 'old mans beard' (see below) occuring on both sides." (Long) 6.10cm x 0.20cm (seppa-dai) x 0.50cm (mimi)
	KAGAMI-SHI $3000.00 "A maru-gata, yamagane tsuba with a large rounded mimi. The rim and surface has a worm-eaten effect called mushikui. On the inner plate both sides, appear sixteen mon of the chrysanthemum (kiku) within a hexagon shape forming a circular design. The deep black color of the yamagane in combination with the reflective sheen of the surface is very stunning. Dates to early Muromachi ca. 1450. This tsuba is especially powerful in meaning. One feature catching our attention would be the worm eaten surface. Its purpose might just be a reminder of the impermanence of all things, which is a standard theme in Buddhism." (Long) 7.60cm x 7.90cm x 0.40cm (mimi)
	KANAGU-SHI $2000.00 "Traces of lacquer over the years remain in the round forge of the mountain copper ground. A very rare example dating late nanbokucho to early Muromachi period. It is from the era when the sword is prized as a work of the Nanboku dynasty era and was used on the battle field with its basic appearance. If you look closely, you will notice the richness of its expression, such as the slightly hammered rim, the unfortunate chisel marks and the rubbed areas of the lacquer." (Haynes)
	KO - KINKO $1500.00 "Accompanied by a Hozon certificate number 433796, issued by the N.B.T.H.K. "Mumei and attributed to Ko-Kinko. Momoyama period, ca.1450-1500. A Mokko-gata tsuba with thin shakudo plates covering both surfaces. Autumn flowering plants are represented with ten-zogan and iroe. The rim is covered with Shakudo-yakitsuke fukurin." (Long) 6.46cm x 5.94cm
	KO-KINKO $3000.00 "Dates to mid Muromachi period. Write-up to follow." (Haynes) 7.25cm x 8.15cm x 0.25cm
	MIZUSHINKO MASAHIDE (seal) $500.00 "This iron plate shape is known as 'Tachi Mokko' which belongs to the mokko class, even though its shape was derived from the Aoi tsuba. Some call it Aoigata. The iron is of high quality and displays a fine patina. Seems to date to the Edo period." (Haynes) 9.00cm x 8.45cm x 0.45cm

BUSHU/CHOSHU TSUBA

	'BUSHU JU MASATOSHI' $1500.00 "Iron ground circular plowed hair carving, small openwork slight gold inlay. The shape of both hitsu are also unique and interesting, matching the grain of the cedar." (Haynes & Long) 7.51cm x 7.22cm x 0.55cm
	BUSHU JU MASAMITSU and Kao $800.00 "A very elegant iron plate tsuba in aoi gata shape. Various plants are finely carved in both positive and negative sukashi. At the four cardinal points are stems with inlay of gold. Both hitsu-ana are outlined in gold also. Mei reads 'BUSHU JU MASAMITSU'. There were a number of Masamitsu artists that worked in Bushu, which one made this is unknown. The Kao is unrecorded." (Long) 6.15cm x 6.80cm x 0.40cm
	"CHOSHU HAGI JU KAWAJI SAKU" $2000.00 "A very elegant iron plate DaiSho set in marugata shape. Various cherry blossoms, both in negative and positive sukashi, are finely carved. Mei reads "CHOSHU HAGI JU" "KAWAJI SAKU". Refer to Haynes H 02969.0. Done by a family member in ca. 1800. Which family member is unknown." (Long) Dai: 7.50cm x 7.60cm x 0.50cm. Sho: 7.00cm x 7.30cm x 0.50cm.
	CHOSHU TOUSEN Tsuba $700.00 "Iron mokko shape tsuba. The subject is a pair of "Morukoshi-fune", or "Tousen", or Chinese ships. The term was liberally applied to all foreign ships. Under Sakoku edicts most of Japan was cut off of foreign trade. Some Nagasaki carvers, like Onitake Toshiyoshi, were also known to have worked in Hagi, Choshu. They would have seen Chinese ships tied up at the docks, and Dutch vessels riding at anchor in the harbor. Seems likely the image was copied from a print." (Long) 7.70cm x 8.20cm x 0.32cm

MITO School

'KATSUNOBU'
$800.00
"Iron plate of rounded oblong shape with a slight raised rim and hammered mimi. The face with Mt. Fuji and two gold butterflies, and a carved poem. The back with a silver cresent moon and gold cherry flowers.
The face is signed: 'Shishido ju' (probably in Mito Prov.) and on the left: 'Shigyo Saku', which would seem to mean "I made this work as a gift."
On the back is: 'Oshoku Tadayuki ko' which means, made to the taste of Mr. Oshoku. On the left of the back is: 'Mito ju KATSUNOBU'. An unrecorded artist that now has the number H 02848.B.
All of this inscription is very unusual and it would seem that this was a very special order work and probably between friends." (Haynes)
6.80cm x 7.45cm x 0.45cm (rim)

JAKUSHI-HIZEN

	'JAKUSHI' $1800.00 "This piece illustrates the powerful influence of contemporary Chinese Nanga Literati painting. The use of soft metal (copper, gold, silver, shakudo) inlays to portray foliage, mountains, architecture, and human figures is consistant with the best workmanship of the Jakushi masters, Koreyuki and Koremitsu. The entire piece displays a high level of artistic refinement and sophistication. Exemplary Jakushi school tsuba, signed with two characters. One of the many examples of the sosho signature of the Jakushi family school. They lived and worked in Nagasaki of Hizen Province. Accompanied with NTHK origami." (Long) 6.85cm x 7.10cm x 0.55cm
	'JAKUSHI' $2500.00 "This piece exemplifies the powerful influence of contemporary Chinese Nanga Literati painting. The use of soft metal (copper, gold, silver, shakudo) inlays to portray mountains, architecture, and human figures is consistant with the best workmanship of the Jakushi masters, Koreyuki and Koremitsu. The entire piece displays a high level of artistic refinement and sophistication. Accompanied with NBTHK origami."(Long) 6.95cm x 7.25cm x 0.41cm
	'JAKUSHI' $1300.00 One of the many examples of the sosho signature of the Jakushi family school. They lived and worked in Nagasaki of Hizen Province. Accompanied with NBTHK 'Green' origami. 7.00cm x 7.20cm x 0.50cm
	HIZEN $1000.00 A presentation tsuba of mokko shaped iron plate covered with fine karakusa carving on both faces and the rim. There is an internal border just inside the rim of the same mokko shape, both sides. Also appearing are seven mon on the omote and three mon on the ura. 7.10cm x 7.73cm x 0.49cm
	HIZEN/KIRIFUMI work $800.00 A very nice example of Hizen work dating about ca. 1500. The design is of 'Chinese Good Luck Objects' which is seen often from this area. The Katchushi-style plate is of this same period, ca. 1500. The rectangular hitsu are typical of Hizen work. 7.51cm x 7.38cm x 0.55cm at seppa-dai.
	HIZEN/SAGA KANEIYE work $1400.00 "This fine iron tsuba for a Japanese sword has a maru gata circular form, with sekigane in the nakago ana, a look of great strength and a well patined surface. It has a filled kotzuka-ana. The well patined surface is carved in a delicate manner in katakiri bori on both faces. The subject depicts a peaceful landscape, with two Tsuru alighting above, and mountains rising in the distance. The design looks like a painting, it is in the tradition of Chinese Sung dynasty landscape painting, and of the ink drawings of the Japanese painter Sesshuu. 7.45cm x 7.65cm x 0.49cm (rim)
	HIZEN/NAGASAKI work $500.00 Edo era iron plate with carved wave design on both seppa-dai. A very large uchikaeshi rim. The plate is well-hammered to an almost polished finish. The finished plate was then placed inside the large rim. The piece is crafted very well. 6.63cm x 6.45cm x 0.40cm at seppa-dai, 1.40cm rim width.

MINO School

'KANEHISA'
$1000.00
"Iron maru-gata shape tsuba with maru-kaku mimi. A very rare Mino swordsmith tsuba by Kanehisa who was the son of Nao Shizu Kanetoshi during the period of the Northern and Southern Courts.
Certificate of Authenticity from NBTHK. Hozon Tosogu." (Long)
8.60cm x 8.50cm x 0.40cm

MINO BORI or EZO
UNDER STUDY
"Early Mino work often depicts gardens and insects, in deep relief, bringing to mind that the world is beautiful, yet risk is ever present.
A rare Mino Bori tsuba with design of cricket and chrysanthemums on both omote and ura. An iron plate of rounded square shape with gold gilded copper overlays. The fire gilding attaches very well to copper but not iron. The marks on the right side of seppa-dai have unknown meaning.
6.40cm x 6.80cm x 0.5cm
Dates to the Momoyama period." (Long)

'SANKEI'

KAZUTSUNE (H 03052.0)

$1200.00

SHOKOKU Tsuba


	'NAOMITSU YANAGAWA' $3000.00 "An iron plate (tetsu-ji) in 'Sumikiri Kaku' shape (square with slightly beveled corners). Motif of chrysanthemums floating on the water appear on both faces. Described in Japan as: Tetsuji Kikusui no Zu Otsuba Sendai. Inscription by Naomitsu Yanagawa, Senfu. This is Haynes H 06717.0. He was the adopted son and student of Yanagawa Naomasa (H 06695.0). He was a silversmith in his youth with the name of Koemon. At age 25 he took the name Sanzaemon. He was a retainer of the Soma Daimyo at Nakamura in Iwaki Province. According to what is written, this tsuba was ordered by Hou Date, the lord of the Sendai domain. "Osenfu" is engraved" (Long)
	"EFU JU TSUNEYUKE" $4000.00 "Oval shape iron plate tsuba with intricately carved clouds, and the constellation of the 'Big Dipper' with a Ken at the end of the handle. On the omote, appears a bat that has gold inlay on the tips of wings and is also very well carved. There are hitsu-ana, the kogai-ana being filled with lead. Signed: 'EFU ju TSUNEYUKI'. This is H 10950.0 in Haynes Index. 7.05cm x 7.35cm x 0.35cm
	'YOSHIHISA' & Seal $5500.00 "A masterpiece by YOSHIHISA. Art names: BUNSUKE, TASHICHI, YOSHINORI. See Haynes Index H11643.0. Unknown writer of Hakogaki. Published in ZABO TANSEN, pg. 212. An iron plate with two dancers inlaid with gold, shakudo, and copper. The lively expression brings out the movement of the dance." (Long/Haynes) 7.40cm x 7.20cm x 0.40cm
	KUTSUWA-GATA $2400.00 "Kenkyusha's NEW JAPANESE-ENGLISH DICTIONARY (Copyright, 1954) defines 'kutsuwa-gata', a Greek cross in a circle." (Long/Haynes) 7.61cm x 7.60cm x 0.61cm.
	'IKEDA KAZUHIDE' $3000.00 "It is a rare tsuba that shows a special tempered skin which may be called 'crepe' forged skin. The first person who trained in this work was the son of the famous swordsmith Ikeda Kazuhide (2nd Gen.) of the Shonai clan, and according to the inscription, he was also a gunsmith. Perhaps this unique and unusual tempered skin is the result of the application of gun manufacturing techniques and iron. The large mokko shape is hammered back with uchikaeshi rim, and the face is placed thickly so that it surrounds to form a circular phase. This is a design associated with the spirit of Zen and is considered to symbolize truth and enlightenment. It is also said to manifest a state of continuous flow without beginning or end, that is, a liberated mind." (Long)
	'MASANORI' $1900.00 "The signature is under study." (Haynes) 7.60cm x 7.20cm x 0.45cm.
	'SEIRYUKEN EIJU SAKU' and Seal. $2000.00 "Presented here is a set consisting of a tsuba and fuchi/kashira of iron. All pieces have a chiseled decor of plants. The style and quality of this set displays the high artistic ability of NAOFUSA. The signature on both the tsuba and fuchi read 'SEIRYUKEN EIJU SAKU'. He often signed his masterly pieces in beautiful cursive sosho (grass script) followed with a gold inlaid seal. This was the art name of NAOFUSA (H 06602.0). He was a student of Okamoto Harukuni (H 00810) and the adopted son of Okamoto Naoshige (H 06772)." Attributed here with a Hakogake by Dr. Torigoye." (Long)
	KASUGA SCHOOL $850.00 "Jiyu-gata (free-shaped) iron plate tsuba with the web carved with a design of a plum blossom branch. This example is remarkable in the very fine kebori carving and attention to detail. The center of each plum blossom is iron-on-iron inlay, four on the omote and five on the ura. It is possible that the thickest part of the branch on both sides has iron-on-iron inlay. In all respects, this is one of the finest examples of this school. Dates to ca. 1700-1750." (Long) 8.40cm x 8.60cm x 0.38cm (seppa).
	HORAI Design $2500.00 "Round (maru gata) iron plate tsuba with kebori carving of 'Horai Tsurukame', the symbolic design of the Horai family. The rim shape from a crane with spread wings and a minokame (mythical turtle) with bearded tail. Dates to 1800. All in all a very fine work by a very adept artist." (Haynes & Long) 8.05cm x 8.07cm x 0.50cm (seppa)
	'MINAMOTO MASAKUNI' $2000.00 "The theme of this tsuba is Dragon with Waves and Rocks. The work is signed with a long signature (see translation below). This craftsman's work can be found around 1779, Mid Edo Period. It is valuable as a historic item. There is not a lot written on this craftsman yet, but on this tsuba there is a lot of good information about him." (Haynes & Long) 6.40cm x 5.90cm x 0.40cm
	KARAHANA $900.00 "Iron ground Yagi quince stone-grained ground, delicate hair carving, single hitsu-ana. Although it is difficult to decide if Higo or Hizen, it has an indescribable charm. Certified by the N.B.T.H.K. to Hizen. Tokubetsu Hozon Tosogu." (Haynes) 7.72cm x 7.71cm x 0.43cm
	IWATA NORISUKE $1500.00 "Iron ground octagonal tsuba, dates to ca.1850 or later." (Haynes) 8.20cm x 7.40cm x 0.50cm
	SANSUI-GA $300.00 "Presented here is an 'ita' tsuba with both surfaces covered in a landscape design including a boar and plover. Possibly copied from a painting. The shape of the plate is known as 'Nade Mokko', smooth (sloping shoulders) mokko. Both hitsu are filled with shakudo. There appears trace amounts of gold inlay." (Haynes) 8.45cm x 7.85cm x 0.48cm
	European Tea Kettle Design $500.00 "Sukashi design of a European Tea Kettle. Seems to date to ca.1600. Not sure of school but a very rare design." (Haynes) 7.20cm x 7.30cm x 0.40cm
	'YASAKA EIKAN SAKU' $700.00 "Write-up to follow. See Haynes H 00438.0." (Long) 7.75cm x 7.80cm x 0.40cm
	'YASUTSUGU' $600.00 "A tsuba in 'kasanemochi' shape (heaped rice-cake) or otafuku mokko reminding some of the fat-cheeked girl. There is sukashi of open fan appearing on both sides of seppa-dai and a closed umbrella on the ura. After an intensive study of the signature, we conclude it could be 'YASUTSUGU' of the Shimosaka family, but a much later genration. This would be for the plate only. The inlay of silver and gold was either by a Tanaka or by a goldsmith. Appears to date ca. 1800 or later." (Long) 7.85cm x 6.92cm x 0.39cm
	'MUNEMASA' with Kao $700.00 "Irregular oval iron plate with smooth surface, and slightly raised rim. Hot stamped with the design of the symbols for the five mountain ranges of China. With original copper plugs at top and bottom of the nakago-ana, both with small chrysanthemum stamps on both sides. Udenuki appear in lower right quadrant. Signed: 'Munemasa' with kao, H 06130.0.This is the artist who lived in Hisai in Ise Province. Born 1817, died June 25, 1863." (Haynes & Long)
	'TSUNETOSHI' $900.00 A large and heavy iron mokko-gata shape tsuba for a very large Katana. The forging is extremely well done showing multiple folds in the steel. The hammer work is advanced, especially in the shaping of the rim. The sukashi in the lower quadrant is of landscape terrain and water. And two cranes above deciding where to land. This is very reminiscence of Kaneiye work. The signature that appears in the lower, right area, is of 'TSUNETOSHI' of the Miyaguchi family (H 10920.0). He was a swordsmith that made his own tsuba. (Haynes & Long)

SOFT METAL (KINKO) TSUBA

KO-KINKO, (Ko-Mino, Ko-Goto), and KINKO Tsuba

'JOI' 'Sensei'

'BUJO AKASAKA INSHU RAKU JOI NAGAHARU TSUKURU'

$10,000.00
"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.

'JOEI' 'Student'

'JOEI' $4000.00
"A brass plate in rounded corner square shape 'nadekaku' with a slight hammered (uchikaeshi) mimi. The carving of the design is very fine with inlays of gold, shakudo and silver. A first class tsuba.
Mei: 'JOEI', (H 02112.0). Of the Iwaoka family and a student of Sugiura Joi (H 02135.0)." (Long)

6.35cm x 6.85cm x 0.45cm

	'JOCHIKU' $10,000.00 "Genuine special valuable tsuba at Tokyo National Museum. Master craftsman Murakami sect. Inscribed "Jochiku (Kao)" Gyokuryu crest round inlaid colored picture tsuba. Jochiku: One of the most outstanding sword fitting metalworkers representing the late Edo period. He lived in Shinmonzencho, Edo Shiba, and is presumed to have died sometime between the Tenmei and Kansei eras. His names are Seijiro and Nakanori, and he has the other names of Mt. Muyang and Kanshodo. It is said that he first took over his father's business as a stirrup maker, but later switched to sword fittings. Inscribed [Nyochiku (Hanao)] This is a round-shaped inlaid color picture tsuba with a hazy silver polished ground with dragon design crest. Needless to say, this is a famous tsuba made by "Jochiku", one of the best craftsmen representing the late Edo period. The certificate, dated 1963, has been confirmed by the NBTHK and is consistent with this fitting. The mei reads 'MURAKAMI JO SAKU'." (Long) 7.08cm x 6.68cm x 0.56cm

	'ISSAI TOMEI' & Kao $7500.00 "Presented here is a DaiSho consisting of two tsuba. The Dai displays the activities of cranes during the daytime. The Sho displays their activities at night. Both tsuba have carved and inlays of marsh plants, cranes, clouds and moon, most inlaid with gold, silver and shakudo. The style and quality of this set displays the high artistic ability of Tomei. The signature on both tsuba read 'ISSAI TOMEI'. This is Tomei, H09800, of the Araki family. Received the 'TO' kanji of his name as a student of Goto Tojo H09719. Tomei was the art name given to him by the Goto, his given name was Hidenobu. Later he became a student of Goto Ichijo H01697 and took the art name of Issai." (Long)

	'MITSUNAGA' (Nidai) $5000.00 See Haynes Index H 05298.0. This work is a fairly large tsuba, and on a high-quality shakudo polished ground that has been polished like a mirror, various autumn flowers are beautifully carved with a single-cut carving that is good at the second generation Mitsunaga, and it can be said to be his transcendental skill. The feat of is unfortunately demonstrated. Tsuba production is extremely rare among Mitsunaga's works, and the number of works is limited, so it seems that this product in very good condition is a very rare work. Japan Art Swords Preservation Association Preserved Sword Appraisal Report With a copy of the special valuable sword fittings appraisal. (Long) 8.60cm x 8.20cm x 0.50cm.

	''ISHIYAMA MOTOTADA SAKU'' $1500.00 "He was the second son of Ishiyama Motooki a lower third rank court noble. As a metal worker he specializes in katagiri carving and incorporates the style of painting of the Kano school into sword fittings with the graceful touch of a court noble. See Haynes Index H 05940.0. "Hotei River Crossing" has been drawn by many artists since ancient times. It depicts the anecdote that when Hotei, who had accumulated his merits, tried to cross the river, he was reflected on the surface of the river as Maitreya. Although it is easy to overlook at first glance, this anecdote can be read firmly in the figure of Karako pointing at the surface of the river in this work as well. It is a elegant work that makes you feel the artist's high talent in the warm atmosphere and the expressions that are very aristocratic."(Long) 7.76cm x 7.58cm x 0.38cm.

	'ISHIYAMA MOTOTADA SAKU' (H 05940.0) $3000.00 Provenance: Robert E. Haynes "A very fine shakudo ground with gorgeous gold inlay work and a gold fukurin. The delicately carved horses, autumn grasses and mushi are realistic and show a high degree of ability and expressiveness." 6.90cm x 7.25cm x 0.35cm.

	'NAGATSUNE' & Kao $2000.00 "A very stylish 'shibuichi' plate in squared circular (Okaku Maru) shape. The carved and inlaid motif is about a traveler and his vassal in route to a sanctuary. Nagatsune studied painting under Ishida Yutei. The inlay is of gold, shakudo, copper and silver. Mei: 'NAGATSUNE' H 06539.0. This mei is done in Sosho style which is rare for Nagatsune." (Haynes & Long)
	'ECHIZEN no DAIJO MINAMOTO NAGATSUNE' & Kao $7000.00 "A slight oval shakudo plate with precise nanako. Both hitsu-ana are present and shows signs of being mounted more than once. A gold fukurin adorns the piece. The design is of Bamboo ("Take") and Tigers ("Tora"). Since its introduction to Japan, the Tiger in the Bamboo had been a preferred picture for paintings and for metal carving and inlays. The design was both carved and made separate then attached. MEI:'ECHIZEN no DAIJO MINAMOTO NAGATSUNE' & Kao. H 06539.0. Summarizing, he studied painting under Ishida Yutei, was a student of Yasui Takanaga, and received the title of Echizennodaijo in 1770." (Haynes & Long)

	"NAOKATSU" $3000.00 "A very fine shakudo plate with a delicate carving of a leopard frolicing in nature. There are various types of foliage and landscape on both faces. It is a very advanced work showing the delicateness of the carving of the leaves, flower buds and the leopards spots along with the rest of the design. Signed: 'NAOKATSU'. This is the son of Naoshige (H 06773) and a student of Yanagawa Naomasa (H 06690). He signed with both the Inagawa and Yanagawa family names and would use the same Kao with each, in some cases." (Long) 7.45cm x 7.65cm x 0.45cm

	A STUDY of OX POA A study of OX themed tsuba done by three different schools and their interpretation.

	'YASUCHIKA' (Seal) $3000.00 "This tsuba is of shakudo plate. The surface seems in various lights to have an almost serene quality about it. The plate is quiet and subtle in color and tone. The round shape plate has a smooth polished rim that goes over the edges. This style of rim is to be seen in other shakudo plate tsuba of this time, and sometimes they are of gold. The design on both faces are inlaid geese. The fowl on the front is highlighted in gold while the one on the reverse is inlaid in dark shakudo. Both have gold highlights. At the top on the front face is a silver moon. On the reverse is a gold inlaid branch and the 'Yasuchika' seal."(Long) 6.52cm x 6.18cm x 0.41cm
	'SOHO' & Kao $2000.00 "Presented here is a rare gem of the YOKOTANI School. The tiger diagram on the omote and the bamboo forest on the ura are expressed in one-sided carving which is the family art of the Yokotani school. The base material is made day and night with shakudo and copper ground. The edges of the hitsu-ana and the rim are decorated with gorgeous gold rings. The mei reads: SOHO & Kao. This is H 08891.0."(Long) 6.50cm x 6.70cm x 0.40cm
	'ENJUSAI KANRI' $1500.00 Oval copper plate with original patina in perfect condition. The design is of 'Mura-chidori', a flock of plovers. There are seven on omote and four on the ura. The flock is flying over a stream. The plovers are in gold, shakudo, and copper. See Haynes Index H 02661.0. Accompanied with NBTHK Hozon #2002120.(Long) 6.20cm x 6.60cm x 0.35cm
	NAGINATA Guard Serious Inquiries Only "Large round copper plate nicely forged and hammered with excellent patina and color. Further study and description coming soon." (Haynes & Long)
	'GENZAEMON KATSUHISA' & Kao $1400.00 "A copper base plate with the design of paulownia using the Katakiri-Bori technique. The rim is of shakudo. Mei: 'GENZAEMON KATSUHISA'. This craftsman, Kuwamura Genzaemon Katsuhisa, was born in 1694 and had the reputation of 'Joko'. He was the son of Kuwamura Morikatsu, who was a disciple of Goto Kakujo. See Haynes Index H 02774.0." NBTHK Certification. Hozon Tosogu. March 16, 2017. (Long) 6.60cm x 6.40cm x 0.50cm
	KO - KINKO Under Study "Iron stone mokko shape, engraved carving on a very large tsuba that is imagined to have been used for the Odachi sword of the late Muromachi period. After more than 600 years, the iron has developed a unique texture, and the scattered engravings such as cherry blossoms, chrysanthemums, bellflowers, and crests have been beautifully preserved." (Haynes)
	KO - KINKO POA "A slight oval shape shakudo kikka and fan motif, three fans depicted in positive silhouette sukashi set amid the petals of a partial 32-petal chrysanthemum on the ura. The petal surfaces are carved out sukidashi takabori and decorated with radiating lines of nanako. The omote is a surface design displaying more foilage including chrysanthemums, sakura, fern fronds and other plants on a background of nanako. The fans have iroe of 'worn' gold, kebori and nanako. The arrangement of fans and kiku is refined and very pleasing to enjoy." (Haynes)
	KO KINKO $600.00 "The tsuba presented here is a wonderful soft metal example with delicate Amida yasurime. This term - Amida - is the name of ancient Buddhism and it is interesting to speculate whether this finish was originally intended to have a particular religious meaning, such as to signify its owner's faith. There are two identical hitsu and extensive punch marks around the nakago-ana." (Long) 8.00cm x 7.70cm x 0.30cm
	KINKO $300.00 "A suaka (solid copper) tsuba with shakudo fukurin." (Long) 5.20cm x 4.50cm x 0.40cm
	SENDAI KIYOSADA $3000.00 "Though unsigned, this is the pristine work of Kusakari Kiyosada (H 03321.0) working in Sendai from 1781-1789. He was the son of Hachirobei (H 00720.0). A slight oval shape shakudo of dark black patina with the finest gold wire inlay. The design represents the 'Kotsutsumi', drums that are used in a Noh play. Mrs. Torigoye taught students how to play these drums." (Long) 6.55cm x 7.00cm x 0.40cm
	MACHIBORI $450.00 "A brass diamond shape (otafuka) tanto-sized tsuba with a well carved symetrical design of two dragons chasing a jewel. This suggests a theme of Qing Sino-Tibetan design. Dating to late Edo period. History tells us this design originated in ancient Mesopotamia, and repeated on 6th century Silk Road textiles from Central Asia. Now described as KANTON tsuba, which designates goods imported to Japan by Cantonese merchants in Nagasaki." (Long) 5.60cm x 6.15cm x 0.35cm (seppa) x 0.75cm (rim)
	'HOKURITEI RYOSAI' $1200.00 "Oval shakudo plate with design of a court official greeting traveling merchants. The rather high relief inlay is in gold, silver, copper, shibuichi, and shakudo. One should note the style of the eccentric trees and clouds which are either by this artist or from a wood block print. The remainder of the subject is seen on the reverse and all is under a rain covered sky. The face is signed: (in tiny kanji) 'Hokuritei' and 'Ryosai' with kao, (H 07603.0)." (Haynes) 6.15cm x 6.70cm x 0.30cm
	SANDO AWASE $800.00 Provenance: Elliott D. Long Accompanied by a Kicho (white paper) certificate number 610, issued by the N.B.T.H.K., dated Meiji 41 (1908). 'Shakudo Nanako-ji Marugata Iroe Kin Zogan Fukurin'. "Early Edo period. Design of battle at sea. Warships, Samurai, sea and plants in kin (gold) zogan." (E. Long) 7.7cm x 7.6cm x 0.5cm thick.
	SANMAI DAISHO $800.00 "Dai (7.50cm x 7.50cm x 0.30cm) Sho (7.10cm x 7.10cm x 0.27cm) Sanmai tsuba in the design of foilage, phoenix, temples and other scenic themes, showing on front and back, maru gata, both with fukurin of shakudo. Kozuka ana on each piece. Both Tsuba are made of Shakudo (alloy of copper and gold). All surfaces are Nanako-Ji. Only the Sho has zogan of gold. A very elaborate and tasteful Daisho" (Haynes & Long)
	SAN DIEGO Style $600.00 The 'San Diego' was a Portuguese ship that sank off the Philippines in 1601," which amongst its cargo were found numerous soft metal tsuba dating to the late Momoyama period. This is a very significant wreck as it illustrates the type tsuba, as well as likely a 'typical' export cargo in the late 1500's. "Carved Chinese dragon in clouds. Late Momoyama period ca. 1575." (Long) 7.0cm x 6.4cm x 0.3cm

'SEKIBUN'

POA, Please Inquire.
"A rounded square brass plate delicately carved named 'Maizuru Lakeside Ashizu'. The face is signed on the right side of the seppa-dai: 'Sekibun', H 08118.0.
There were three generations of the name Sekibun and the last two worked in Shonai. Born in 1789 with the surname Katsura, he was the leading figure in Shonai Kinko. At the age of 36, he became a member of the Sakai clan of the Edo Shonai domain and moved to Tsuruoka 1845." (Long)

	'SHIGENORI' $2000.00 "A shakudo plate in oval shape with inlays of gold, shakudo and silver. This is a classic representation of 'Dai-koku-ten'. Dai (Great) Koku (Darkness) Ten (Dharmapala) in Vajrayana Buddhism was the Defender Deity of the Law of Buddhism. In Japan, this deity is considered to be the Deity of Agriculture, Commerce and of Wealth. Mei: 'SHIGENORI' & Seal. This is H 08428.0. His teacher was Yanagawa Naomitsu." (Haynes & Long) 6.70cm x 7.00cm x 0.25cm
	'SHIGETSUNE' $2000.00 "Large rounded brass plate tsuba with a fine layered shakudo fukuren. The subject is Daikokuten, of the Seven Lucky Gods, who gives good fortune and treasure, looks at the pine tree with a gentle and warm expression. The back is signed: 'SHIGETSUNE', see H 10905.0. This artist is often referred to as "Nara Tsuneshige". He was a prolific artist of the later Edo period (ca. 1750), and a number of his tsuba are to be found in the West. Accompanied with NBTHK Hozon attribution." (Haynes) 6.50cm x 7.15cm x 0.58cm
	SATSUMA Mon $1800.00 "A brass sukashi tsuba with inner cross design depicting the SATSUMA mon. At a later date, the hitsu-ana was added. Fine hammer work with well carved waves on the edge. All covered with gold plating at one time. Made for a Daimyo or Priest sword. Dates to Momoyama period, ca. 1550-1600." (Haynes) 7.61cm x 7.57cm x 0.60cm
	SHONAI SHOAMI $650.00 "Brass plate with ishime surface and inlaid in shakudo, copper, gold, and silver with a design of a heron in reeds by a stream. The reverse with just reeds in the same metals. This is a classic example of the work of the Shonai Shoami school circa 1700. This type of tsuba was very popular at the time with the local samurai. It is very rare in the West to find this type of brass plate with the original patina intact. The plate has been fitted with a very fine shakudo rope design rim cover, which is probably original to the origin of this tsuba. As of now we do not have any signed examples of this type of work." (Haynes) 6.05cm x 6.30cm x 0.46cm
	SHONAI $950.00 "Red copper plate with hot stamps of cherry flowers on both sides. Shakudo rim cover. A classic mid-Muromachi (ca. 1450) Tachikanagu-shi example. Appears to have been mounted several times." (Haynes) 6.35cm x 6.65cm x 0.45cm Rim
	SHONAI-KINKO $2000.00 "A delicate soft metal plate of copper with shakudo fukurin and linings of both hitsu-ana. The areas of very fine nanako with branches of bamboo inlaid with dark shakudo, highlited with gold and with a few gold leaves. On the front face perched on a branch is a finely carved plover of gold whose eyes are inlaid with shakudo. The artist used a style of richness and splendor to create a masterpiece." (Haynes) 7.40cm x 7.65cm x 0.45cm
	'SHUNMEI' $1000.00 "Slight oval, tatemaru gata, copper plate with shakudo fukurin. Finish of the plate, both sides are of chirimen ishime ji, or "silk crepe" finish. Appears as a very smart finish of exquisite taste, which was believed to have been originated by Murakami Jochiku and his school. Dates 1800 to 1850." (Long) 6.60cm x 6.10cm x 0.50cm
	'SOCHI' $1500.00 "An oval shaped copper plate with very fine carving of 'Bukan' sleeping with his tiger next to a waterfall in the landscape. Bukan was a Zen monk and a poet who lived in the Tang Dynasty, and was known as a man of eccentricity who amazed people by riding around on his tiger. Mei: 'SOCHI'. This could be H 08860.0, of the Goto family ca. 1800. But further study is needed." (Haynes & Long) 6.50cm x 7.05cm x 0.40cm

If you would like to know more about any items on this website, or if you are considering a purchase, please send Elliott and Robert an E-MAIL ( elliott@shibuiswords.com ), asking us any questions you have or what pieces interest you.

NIHONTO and TOSOUGU ORIGAMI

Schools of Tsuba Artists HERE

Tsuba Identification Guide HERE

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	'SAN DAI MEI' 'AGE 72' (Yatsushiro) $5000.00 "Presented here is a fine example of the work of the 3rd YATSUSHIRO of the Shimizu Jingo family. His work shows the style and quality of his period and not that of the first or second Jingo. He was a retainer of the Hosokawa Daimyo from the age of 15, and it is said, became head of the family in 1710, at the age of 20." (Haynes)
	'YATSUSHIRO JINGO SAKU' $1500.00 "Presented here is a fine example of the work of a later generation of the Shimizu Jingo family. The inlay of the dragon is complete and very well done. On the reverse is a Buddhist Vagra. Dr. Torigoye Hakogake dated 1956, designates this tsuba as 2nd Class." (Haynes)
	CHISOKUTEI JINGO $1500.00 "An oval form tsuba, bearing a ground of stamped kokuin of flowerheads and engraved with a hawk and captured monkey. This design is of the JINGO family of the Shimizu school. It dates ca. 1700. This appears to be the work of CHISOKUTEI H 00315.0. He is of the Shimizu family and worked in Yatsushiro in Higo Province. He worked in the style of classic early Shimizu Jingo school. His relationship to the other members of the school is not known for sure. His work is equal to his contemporaries." (Haynes) See Wakayama Takeshi; Toso Kinko Jiten, pg. 500 & Toso Kodogu Meiji Taikei, vol. III pg. 313. 6.5cm x 6.95cm x 0.5cm
	CHISOKUTEI JINGO POA "Write-up to follow" (Long & Haynes)
	SHIMIZU JINGO $1200.00 "Worked in Yatsushiro in Higo Province." (Long) Under study at this time." (Long & Haynes) 6.50cm x 7.20cm x 0.40cm.
	JINGO Style, HIGO Tsuba POA "A large iron plate tsuba in aoi-jujigata mokko shape. The single hitsu-ana is rectangular in shape. Extending outward from the hitsu-ana are leaves, inlayed of brass. On the opposite side is a 'Thunderfish' inlayed of copper. Under study at this time." (Long & Haynes) 8.50cm x 7.80cm x 0.30cm
	JINGO $4500.00 "A very noble iron plate tsuba belonging to the JINGO school. The iron is radiant, appearing wet in hand. The hitsu-ana are designs of gourds, being different shape and size. Because of the highly refined simplicity of the design and high quality of the iron surface, this is a 'classic' Jingo tsuba. Seems to date to the early Edo period." (Long) 7.55cm x 7.12cm x 0.45cm

	KUMAGAI $4000.00 "The theme of this tsuba is Dragon and Clouds. An iron plate in mokko shape with details in gold. Dates to Mid Edo period. The Kumagai tradition was founded by Kumagai Yoshiyuki and worked as the official craftsmen for the Higo Clan in Edo. This tradition became popular and flourished based on the Higo Tradition and the use of their own techniques." (Long) 8.70cm x 7.90cm x 0.40cm
	KUMAGAI FUJIEDA $1500.00 "Write up to follow." (Haynes)
	MASATOSHI $2000.00 "Presented here is a perfect example of the work created by MASATOSHI, the younger brother of KAMIYOSHI RAKUJU. It is a beautiful iron masterpiece with very finely carved fronds creating the shape of the tsuba. He worked mostly in the style of RAKUJU but never signed his work." (Haynes)
	HIGO Tsuba $2000.00 "Iron sukashi Higo tsuba, with a classic Tsuru or crane motif, carved 'in the round', with outspread wings enclosing over its head. Details of the head, feathers and cross-hatching on the seppadai, are finely carved into the plate, and prominent eyes are inlaid with brass. Two large udenuki-ana holes detail the bottom of the tsuba." (Long) 7.72cm x 7.39cm x 0.50cm
	'TSUGUYOSHI SAKU' $2000.00 "An iron plate in aorigata shape with dote mimi. The theme of the entire piece is 'Dragons in the Clouds'. It was believed that the Dragon was the bringer of rain and good opportunity. It usually lives in the water, but when the time has come, it makes the sky cloudy, causing it to rain as it rises high into the sky. This motif made the Dragon a symbol of a successful leap and it was sometime used as the symbol of an Emperor. The entire piece covered in gold nunome inlay. The dote mimi at one time completely covered. Signed: 'TSUGUYOSHI SAKU'. Haynes Index H 10770.0. A member of the Tani family school of Higo." (Long) 7.10cm x 7.70cm x 0.40cm
	HIGO HIRATA $800.00 "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)