An early ko-kinko tsuba with kikusui and choji motif.
More openwork than is usual for ko-kinko. The detail in the carving holds up even under a microscope, which is seldom the case. Sophisticated work in design and execution. In this case the ana is a safe bet to be original, if slightly altered. I’m left wondering what the rest of the mounting looked like.
This is a long one, and the study opportunity comes at the end.
I’d seen this tsuba on eBay before, listed by a Japanese seller, but didn’t pay much attention. When it came up again as an auction I noticed something I missed before.
The label on the side of the box looked like the ones Alan Harvie used on his collection. This is the only view of the box in the online listing. So, checking Alan’s sale catalog from Sotheby’s London, July 14, 2005 there it was:
“A KAMAKURA-BORI TSUBA, MUROMACHI PERIOD (C. 1500) of circular form with raised rim, the thin plate carved and pierced with a pagoda, warabi, flowers, hanabishi-mon and Genji chapter headings for Shigamoto and Agemaki, unsigned; with a tomobako, bearing a hakogai by Dr. Kazutaro Torigoe. 8.2 cm,
“Provenance Walter A. Compton Collection, sold at Christie’s New York, 22nd October, 1992, lot 19
“LITERATURE Sebastian Izzard, One Hundred Masterpieces from the Collection of Dr. Walter A. Compton, New York, 1992 £ 2,500-3,000
Not surprisingly there it is in the second Compton catalog.
“A KAMAKURABORI SUKASHI TSUBA MUROMACHI PERIOD (CIRCA 1500) The circular iron plate is pierced with a design of a stone lantern, a fern frond bud, hanabishi flower and Genji chapter crests (mon) and is carved in relief with a design of chrysanthemums, waves, fern scroll, pagoda, flowers, leaves and small and large dots of dew – height and width 8 cm, thickness 2.5 mm.
LITERATURE For a very similar example , see Joly (1912), no 9, pl. XI, p. 10. For the same design in brass inlay, see Shibata M,. Aigen-meisakushu (1961), no. 1 , p. 1.
Update: illustrations of both tsuba added at the bottom of the post.
One Hundred Masterpieces (1992), no 43.
“The pierced design of the Genji chapter mon at the top of the plate refers to the Agamaki chapter (on the face) and the Wakana no jo chapter (on the reverse) of Murasaki Shikibu’s famous novel The Tale of Genji. Both chapters are associated with elements in the design: the block or lantern on the face, and the young herb or bracken shoot on the reverse. $4,000 – 6,000
Slightly different takes, but the same story. The photos from 100 Masterpieces:
The caption is essentially the same as the above. The price realized at the Compton sale in 1992 was $3,080. This was shortly after I started getting interested in Japanese swords. I remember Bob Haynes mentioning the last minute downward adjustments to the estimates in fear that the market was past its peak.
At the time certified top quality swords and fittings were very scarce at US sword shows. “A Juyo” at a show was cause for excitement and inevitably the sword was under a table or up in a room. If there were any Juyo fittings around I didn’t hear about them. Alan Harvie built up a really top class tsuba collection for the time. His sale did very well, but came a few years after the point when the flow of superb fittings out of Japan really started picking up. Prices were very high for these pieces compared to the recent status quo, but the quality was a world above.
Alan had a number of previously “unobtanium” tsuba that would have been grail pieces if his sale had come a little earlier, but by 2005 better examples could be had from Japan. Still, when this Kamakurabori guard sold, it was $4,560 out the door. Obviously 2005 was a long time ago when it comes to prices for fittings and the words “way down” describe the trend since then.
A lot has been written about pieces offered at online auction by sellers in Japan along the lines that if the piece was worth the price it’s listed at (or more) it would already have sold in Japan, and that is good advice. Of course it is also perfectly OK if the item is genuine and the interest level where you are is higher than it is in Japan to pay the online price even if it might not be the lowest possible.
So either at Alan’s sale or sometime later, this tsuba found its way back to Japan. Oddly the seller did not mention or otherwise photograph the hakogaki, the very tail end stroke of which is visible in the first photo from the listing. Many of the seller’s other offerings are pottery and the signed boxes are featured. The starting bid was very reasonable, so why not cross fingers that things are what they seem and see what happens…
I was the only bidder and luckily all panned out fine. After all of the inside collecting talk above, the reason I wasn’t particularly interested in that tsuba the first couple of times I saw it is this:
Very similar, but not the same. Slightly larger and the carving and inlay are a bit more refined. Supposedly ex. Sasano collection, but I’ve never found it published. Side by side comparison of the details of the two guards below.
You’re probably tired of reading by now and I know I’m tired of writing, so I hope the photos can speak for themselves. The one on the right seems to have a bit more care taken in each case. Two workers in the same shop? One worker on a good day and then a better day? Or early career/late career work (or the other way around)? Would Dr. T have given the other guard a kao with only one tick mark (first rate example)? As usual, questions remain.
Thanks to RKG’s sharp eye – The first guard does appear to have a notch cut out for a fukurin down around 7:00. There are no other signs of one having been on there and there wouldn’t have been much room for one. In some lighting the notch almost disappears, but it is there.
Update: Additional examples from the literature:
There are some losses to the sukashi elements.
An Onin style interpretation of the same design. There are a number of apparently closely related Kamakurabori and Onin suemon zogan guards. The iron ground used by the two are very different, so it’s probably more a matter of following fashion trends than a common origin.