The box lid reads “Tsuba worn by the family of the Shitahara swordsmith Terushige.”
An interesting guard with a motif of mulberry leaf and snow flakes. It has a tokubetsu kicho paper to Owari sukashi. There are no tekkotsu visible and the iron has a bit of an unusual texture to it. It is accompanied by a long hakogaki:
Thank you to Markus Sesko for the translation below.
“Provenance This tsuba with an openwork design of mulberry leaf and snowflakes was once a heirloom of the family of the Musashi-based swordsmith Yamamoto Terushige. It was also worn for generations, namely on a daishō with a niji-mei signed dai by the first generation Terushige and a goji-mei signed shō by the first generation Yasushige. When the pair was remounted later, this tsuba was given to me as a gift by Mr. Yamamoto Tajima. At first glance, it looks similar to an Owari-tsuba, but lacks that quality and has a more rustic flair. However, it is truly of classical elegance and may thus be the work of an unknown Musashi-based Shitahara smith who had specialized in the production of tsuba.
First third of May, Showa 40 (1965) – Kensō [pen name of Murakami Kōsuke] + kao”
A couple of tsuba from the literature with similar but not identical motif:
The tsuba doesn’t seem quite right for either Kyo or Owari although the date seems about the same as those above. Certainly a variety of signed Edo period tosho tsuba have survived, some of which are very basic and others quite sophisticated in design and execution. This example is well done, but the finishing, particularly on the rim, is a little rougher than usual for the period.
An Adobe Acrobat search of the Haynes Index turns up no names. Has anyone found a tsuba with a Shitahara signature?
A large Ko-Katchushi tsuba in very good condition and without hitsu-ana.
The rim is fairly high and is a separate piece from the plate. It is slightly rounded. The plate was spared heavy rust and shows almost all of the original surface. Note the seppa zuri showing wear when the guard was mounted. Published in Tagane no Bi where it is dated to mid Muromachi.
This is a very high rim. Between lacquer and corrosion I can’t make out whether the rim is attached or raised from the plate. Some original surface remains to the plate and fortunately the rust was never deep. Note that many ko-tosho and ko-katchushi tsuba today have no original surface remaining. Often the resulting rust pits are described as “bold hammer work.” Published in Sasano and dated there to the early Muromachi period. The kozuka ana has been filled.
This is a fairly common motif, but not usually seen with such an unusually wide mimi. Here the rim is clearly a separate piece and the lap joint can be seen at the 1:00 position.
The other side shows the same where the two ends were beveled and then overlapped. This is a younger guard than the ones above. The kozuka ana is clearly original given its inclusion in the layout of the sukashi design.
A ji-sukashi design rather than the usual mon-sukashi. This is probably early Edo period and has an airy, casual feel to the design. The rim is a separate piece.