EZO KOGAI
Serious Inquiries Only
"Ezo kogai made of gold gilded yamagane, with motif of 5 peonies (botan), on a background of nanako. The motif has been carved in high relief, rather than applied to the plate. This technique is called takaniku-bori. This kogai was once fully gilded, but time-related wear has expectedly resulted in loss. In places, the remaining gold is visibly quite thick, almost a foil. The scoop or mimikaki is pronounced, as was common in some early kogai. No doubt, this was a kogai meant to be seen, and reflected the high status and wealth of its owner. Ezo kogai are very rare, and usually far less ornamental than this example.
The inline floral motif was a favored subject in early Japanese metalwork, and foremost was the peony. The peony holds a honored spot in the Japanese flower symbology. It is called The King of Flowers, and is a symbol of good fortune (carried over from Chinese concepts), though in Japan, it also came to represent bravery, honor and righteous spirit. No wonder that the peony became a favorite motif of the samurai. The inline 5 peony motif first appears on early armor O-sode kanamono of the Heian / Kamakura periods (12th - 13th c). The size of those armor adornments is similar in size to the decorative plate of a robust kogai, so the motif easily transferred. The motif remained popular in either 3- or 5-inline through the Muromachi period." (Markhasin & Long)

KOGAI with Ceremonial Pot
$750.00
Provenance: Robert Haynes
"A shakudo kogai with the ji-ita completely gold covered, including the nanako. The design is a ceremonial pot with a long handle, sometimes used to serve sake. This pot contains a large floral spray in high relief. There is also a pine branch and flowers next to the bowl. I do not know the meaning of this design and I was unable to find another example of it in the large book devoted to the study of the kogai." (Haynes)

IMPERIAL KIRIMON KOGAI
$2500.00
Provenance: Robert Haynes
"A very rare Edo period shakudo kogai, with gold kirimon on nanako ground. The shichi-go kirimon has seven blossoms in the center and five on each side. This is the Imperial form of the mon, and very rare in any design used on fittings. Only a high imperial court official would have been able to have such on his sword." (Haynes)

'GOTO   INJO' and Kao
$1500.00
"Classic Goto school shakudo kogai. With nanako ji-ita and relief design of a minogame (sea tortoise) with a gold covered shell, and silver lines indicating water. The reverse is signed 'GOTO INJO' and Kao. See H 01896.0." (Haynes)

'GOTO   INJO' and Kao
$4500.00
"A dignified and excellent kogai attributed to Goto Injo (1586 - 1663), the 7th mainline master of the Shirobei branch of the Goto family of sword furniture makers. Injo is not as widely known as his famous father Tokujo. His manner of using the chisel greatly resembled that of Kojo. The fidelity and chastity of his work force themselves into notice. During the Kwanyei era (1625-1643) his services were engaged by the feudal chief of Kaga and made it a custom to live in Kaga every second year.
The motif is of sea shells and sea weed. Injo used a broad palate of themes, metals and techniques. His father's work has the characteristic of strong surface modeling, and many specimens are scarcely distinguishable from Injo's motifs. Injo's work maintains the height and depth of carving, while moderating the size of objects and increasing the amount of detail and scope of composition. I believe this kogai reflects the mood and look of the late 16th century. I feel that the current attribution to Injo by Dr. Torigoye confirms a 1st class masterpiece." (Haynes & Long)

'GOTO   TSUJO'
$1600.00
"NBTHK (green) certificate dated June 3rd, 1972.
I have been privileged to be able to study in the last several months, kogai by 3 successive masters of the Goto main line. For reference, see kogai by Kojo's father Joshin here, and grandfather Sojo here. Take the time to compare and contrast the pieces, it's very educational." (E. Long & Haynes)

'GOTO   KOJO'
$5000.00
"A very rare kogai attributed to Goto KOJO (1529 - 1620), the 4th mainline master of the Shirobei branch of the Goto family of sword furniture makers. Kojo is widely recognized as among the greatest craftsmen of the school, and his works are highly sought after, becoming cornerstones of any serious tosogu collection. He was the son of Joshin. His work resembles that of Yujo in style. It is noble and dignified, neither too strong nor to weak. The impression it conveys is that of resting under the green shadow of a patriarchal pine and looking out on a glow of cherry bloom. It is generally said that Kojo's carving style is similar to the founders Yujo's. There are only several pieces of works which are inscribed his name. The shape of his kogai are often a bit more robust than those of his predecessors." (Haynes)

'GOTO   JOSHIN' and Kao
$4200.00
The kogai is made of black shakudo, with a very finely punched background of nanako, with selective application of gold foil, in a technique called uttori, where the gold is mechanically overlain, and affixed in very fine furrows around the edges of the motif. The artist would sometimes purposely remove areas of the gold foil to show windows to the base metal below. The fine nanako on the plate is worn down outside of the high relief motif, and along the edges. This is a normal characteristic of such old kogai. Gold inlay remains on the warabite, the decorative curvilinear carvings toward the back of the kogai. The NBTHK Hozon papers use an alternate term for uttori, in this case, kanabukuro-kise iroe, which literally means 'application of a gold bag [coloration]'. The motif itself is executed in high relief or takabori. (Haynes)

'GOTO   SOJO' and Kao
$4200.00
The kogai is made of black shakudo, with a very finely punched background of nanako, with selective application of gold foil, in a technique called uttori, where the gold is mechanically overlain, and affixed in very fine furrows around the edges of the motif. The artist would sometimes purposely remove areas of the gold foil to show windows to the base metal below. The fine nanako on the plate is worn down outside of the high relief motif, and along the edges. This is a normal characteristic of such old kogai. Gold inlay remains on the warabite, the decorative curvilinear carvings toward the back of the kogai. The NBTHK Tokubetsu Hozon papers use an alternate term for uttori, in this case, kanabukuro-kise iroe, which literally means 'application of a gold bag [coloration]'. The motif itself is executed in high relief or takabori. (Haynes)

'GOTO   RENJO' and Kao
$2400.00
The kogai is made of black shakudo, with a very finely punched background of nanako. The fine nanako on the plate is worn down outside of the high relief motif, and along the edges. This is a normal characteristic of such old kogai. The motif itself is executed in high relief or takabori. (Haynes)