Human, Flora & Fauna

An Aizu Shoami iron Tsuba in Mokkō-gata with a Hangetsu-gata (half domed opening) and Yamagata (half quatrefoil opening) Hitsu-ana. There is an Ishime-ji finish to the plate and copper Sekigane at the bottom of the Nakago-ana; additionally, Tagane-ato is located at the top of the Nakago-ana.

The Decorations are in Shakudō, copper, and brass Suemon-zōgan with silver Iroe on the Sakura (cherry blossoms). The eye of the horse is gold Ten-zōgan.

The trunk of tree is carved into the plate and continues over the Mimi.

Size: 82 x 75 x 4mm

A Shoami iron guard in Mutsu-mokkō-gata with an Iron base and a single Hangetsu-gata (half domed opening) Hitsu-ana. The Tsuba has Tangane-ato at the top and bottom of the Nakago-ana and thin copper Sekigane similarly at the top and bottom ends. Minor decorations details are formed using various Zōgan inlay techniques.

The theme of this Tsuba depicts Lao Tzu who is often represented as a man riding a bull sideways (or backwards). This particular Tsuba has Lao facing away and sitting sideways on the bull, with a posture more backwards facing (than forwards).

Size: 70 x 62 x 4mm

A Shoami iron Tsuba in Mokkō-gata with a single Hangetsu-gata (half domed opening) Hitsu-ana.

There is an Ishime-ji finish to the plate and copper Sekigane (top and bottom) to the Nakago-ana. Tagane-ato* is also either side of the Nakago-ana.

Decorationa are in iron, copper, and brass Suemon-zōgan with gold and silver Iroe. The eye of the bird is gold Ten-zōgan.

*May be considered as Yose-Tagane.

The theme of this Tsuba is captured in other guards held by leading museum collections and is said to represent the Waka poem: Matsuho no Ura (the bay at Matsuho). Matsuho has a meaning of pine and sails.

Size: 64 x 57 x 3mm

Iron in Mokkō-gata with a single Hangetsu-gata (half domed opening) Hitsu-ana.

The Mimi has a pillowed/beaded edge which was formed by removing baseplate material. There is a possibility that this may have once supported an Ito-fukurin, as evident in similar museum examples.

Suemon-zōgan using quality materials of gold, silver, and shakudō into a Mumon background depict Eboshi, Sensu, and Sho-no-fue, amongst maple and vine leaves. With these items together, the theme of this Tsuba would be a show of high status, refinement, and nobility.

The Tsuba shows qualities from the Nara school of Tsuba-shi.

Size: 66 x 59 x 4mm

A Nara school Iron guard in Nagamaru-gata (slight oval) with a single Hangetsu-gata (half domed opening) Hitsu-ana. There is a copper Sekigane at the top of the Nakago-ana, and a double stacked Sekigane at the bottom. Together, and with the Tagane-ato, this Tsuba will have been mounted at least two times. A Kaku-mimi Ko-niku is used at the Tsuba edge.

The character fishing is created with Suemon-zōgan of iron (body) and Shakudō (face) with gold Nunome-zōgan Iroe. Some facial features are further inlaid into the Shakudō. Brass Suemon-zōgan is used for the remainder of inlaid features, except the string of the fishing pole, which is in silver.

The Mei of this Tsuba reads “Naomasa” (a Tsuba-shi working in Nara) and is displayed within a gold stamp with a domed top. This was a common feature from this artist.

Accompanying this acquisition, is a bespoke Kiribako (box) with formed lining and cushions. The Kiribako contains Hakogaki with the some Tsuba details.

The theme of this Tsuba is occasionally seen in other collections, with varying ideas of it’s meaning. The character this guard represents is that of Jiang Ziya (also known as Jiang Shang). Although not known for his literal fishing abilities, he is known for his skilled ability to lure and catch powerful allies, metaphorically likened to catching fish.

Size: 66 x 62 x 4mm

Two Shoami Tsuba in iron with the Dai Tsuba in Nademaru-gata (rounded square) and the Shō Tsuba In Nagamaru-gata (slight oval). Both Guards have a double Hitsu-ana of Hangetsu-gata (half domed opening) and Yamagata (half quatrefoil opening).

The Nakago-ana on both Tsuba have Tagane-ato* either side of the opening in the typical style executed by the Shoami school. Decorations are mostly in iron, with gold Nunome-zōgan highlight, and copper Suemon-zōgan for character faces. The centre of the Matsu pine needles is in gold Ten-zōgan.

*May be considered as Yose-Tagane.

The theme for both of these Tsuba is that of the legendary Kanzan and Jittoku. Kanzan is often depicted with a broom (sweeper of the mind), and Jittoku is often depicted with a scroll (for gaining wisdom).

Dai Tsuba: 90 x 85 x 4mm

Shō Tsuba: 68 x 60 x 4mm

An Aizu Shoami iron Tsuba in Mokko-gata with a single Hangetsu-gata (half domed opening) Hitsu-ana. Copper Sekigane is used either end of the Nakago-ana, with Tagane-ato on the sides. There is a shadow from where a Seppa has sat during mounting, showing this guard has been mounted.

Copper, Shakudō, and brass Suemon-zōgan with gold Iroe, forms the figure on the Omote face. An Oni on the Ura face is executed in a similar way. Both sides of the Tsuba are finished with a Mumon background. Nawame- zōgan of brass is used for the depiction of the rope, and the robes of the figure continue over the Mimi edge from the Omote face. Ten-zōgan is used for depicting the Setsubun beans that the figure has thrown.

This Tsuba has a theme of Setsubun, where beans are thrown to cast out Oni while chanting "Oni wa soto, fuku wa uchi" ("Out with demons, in with good fortune").

Size: 67 x 60 x 4mm

A Shoami guard in Itsutsu-mokkō-gata with an Iron base. The baseplate is decorated fine, highly detailed carvings of Matsu pine tree and gold Suemon-zōgan bamboo leaves/shoots. The Mimi of the Tsuba is decorated with gold Karakusa-zōgan patterns.

The guard has a single Yamagata (half quatrefoil opening) which is filled with a copper Ategane. The Ategane is further decorated with gold Iroe and Neko-gaki (“cat scratches”). A Suhama-gata Hitsu-ana is a later addition and is evidenced by the lack of Niku surrounding the opening, and the abrupt disruption to the carvings. A Kaku-dote-mimi is used on the guard; although, this is “broken-up” by the perimeter indentations. The Tsuba has Tangane-ato around the Nakago-ana and copper Sekigane, indicating it was previously mounted (on more than one instance).

The Shoami school is large and acts as a “catch-all” descriptor for many types of Tsuba; however, there are off-shoot Shoami schools who in their own right, require separate classification (eg. Aizu Shoami).

Size: 77 x 76 x 5mm

Mukade iron Tsuba in Mokkō-gata with a single Hangetsu-gata (half domed opening) Hitsu-ana. The top of the Nakago-ana has a copper Sekigane, and some Tagane-ato can also be seen. Iron, copper, and gold Iroe (on copper) wires are individually set into the baseplate. Although the wires appear to be threaded through the plate from Omote to Ura, they do not penetrate the whole way through.

The design is said to be that of a Mukade (centipede), viewed from the top of the creature. Mukade are sacred to Bishamon (the God of war), the perfect symbol for a Samurai warrior heading into battle.

Mukade Tsuba are often referred to as a “Shingen Mukade Tsuba”; however, studies have concluded that disassociating the Mukade style from the Shingen name is descriptively beneficial as Shingen style Tsuba are vastly different in look, and construction.

Size: 74.5 x 67 x 5mm

Two Aizu Shoami iron Tsuba in Mokkō-gata. The Dai Tsuba has double Hitsu-ana of Hangetsu-gata (half domed opening) and Yamagata (half quatrefoil opening). The Shō Tsuba has a single Hangetsu-gata Hitsu-ana.

Both guards have an Ishime-ji finish to the plate; however, the Dai has extra curved decorations carved at quarter points. The Dai Tsuba has a copper Sekigane to the top of the Nakago-ana, and Tagane-ato to either side of the Nakago-ana. The Shō has deformations to the Nakago-ana, which indicate it has been fitted to a blade before.

Decorations for both guards are in iron, copper, and brass Suemon-zōgan with gold and silver Iroe to some features. The eyes on the crickets are ten-zōgan, and the antennae are also brass Zōgan.

Dai Tsuba: 78.5 x 70.5 x 3mm

Shō Tsuba: 68 x 61 x 3mm

Shoami Tsuba in iron, Mokkō-gata and a single Hangetsu-gata (half domed opening) Hitsu-ana. There is a copper Sekigane top and bottom to the Nakago-ana, as well as Tagane-ato* either side of the opening. *May be considered as Yose-Tagane.

Soft metal inlays and carving is used on the plate, and Ishime-ji finish is used on the background. The rabbit is likely inlaid iron and has a Ten-zōgan eye. Brass is used for the leaves (in typical Shoami form), and copper has been inlaid for the flowers and moon. The copper inlays have silver Iroe; however, the silver iroe on the moon has mostly worn.

The theme of this Tsuba is likely related to “Tsuki no Usagi”, which is a very common theme for Tsuba. Selflessness and sacrifice would likely be implied for the wearer of this Tsuba.

Size: 67 x 60 x 4mm

A Shoami Tsuba in iron and Nademaru-gata (rounded square). The guard has a double Hitsu-ana of Hangetsu-gata (half domed opening) and Yamagata (half quatrefoil opening), and the Nakago-ana has both copper Sekigane, and Tagane-ato. This Tagane-ato may also be considered as Yose-Tagane.

The face of the plate has an Ishime-ji finish which increases Niku to form an irregular Maru-mimi.

Suemon-zōgan using Shakudō and copper, forms a quality depiction of a blossoming Ume branch which penetrates through an Inome shaped window. Gold Iroe is used on the copper-based flower, and the Ume branches make use of the Shakudō metal.

Size: 83.5 x 78 x 4mm

An iron Shoami Tsuba in Mokkō-gata and a single Hangetsu-gata (half domed opening) Hitsu-ana. Brass, copper, and silver are used for Suemon-zōgan decorations, with Kebori carving and an Ishime-ji finish completing the plate. There are no Sekigane or Tagane-ato around the Nakago-ana; however, the Nakago-ana shows signs internally of modification (for mounting).

The theme of this Tsuba is that of a sitting horse (facing away) next to a straw mound with a floral arrangement protruding from the top. A moon can be seen towards the top of the plate (Omote face).

Size: 70 x 63 x 3.5mm

An Aizu Shoami iron Tsuba in Mokkō-gata with a Hangetsu-gata (half domed opening) and Yamagata (half quatrefoil opening) Hitsu-ana. There is a copper Sekigane top and bottom of the Nakago-ana, as well as Tagane-ato* either side of the opening. *May be considered as Yose-Tagane. The plate is finished with Ishime-ji and supports Zōgan using gold, silver, and copper. Features like the eyes of the characters are Ten-zōgan within already inlaid material.

The theme of this Tsuba is that of strength, resilience, and the ability to overcome physical limitations. This theme is a product by depictions of Gama Sennin (accompanied by a three-legged toad) representing longevity, transformation, and wisdom. Tekkai Sennin (with a wondering distant figure) who represents strength resilience and the ability to overcome physical limitations. Handaka Sennin (possibly Chinnan Sennin) with a conjured dragon, who represents humility, purity, and dedication to duties and moral principles.

Size: 83 x 80 x 3mm

An Iron Aizu Shoami Tsuba in Nagamaru-gata (slight oval) with double Hitsu-ana of Hangetsu-gata (half domed opening) and Yamagata (half quatrefoil opening).

There is a copper Sekigane to the top of the Nakago-ana, as well as Tagane-ato* either side of the opening. *May be considered as Yose-Tagane. Soft metal inlays of rocks, Ume (plum) buds, and blossoms with gold Iroe, are placed about branches and a tree trunk in high relief. Suri-heri/Suri-hegashi (abrased areas) are seen on the Iroe features. The plate has an Ishime-ji finish and is further decorated by carvings depicting water. The beak of a Hoo-oo (phoenix) located at the top of the guard, is inlaid with copper.

With the Ume representing resilience and perseverance, and the Hoo-oo representing grace and prosperity, the symbolic meaning of this Tsuba would relate to working through adversity and earning great success.

Size: 86.5 x 81 x 4mm

An iron Tsuba in Mokkō-gata with a single Hangetsu-gata (half domed opening) Hitsu-ana.

There is an Ishime-ji finish to the plate, and copper Sekigane to the top and bottom of the Nakago-ana. There is Tagane-ato either side of the Nakago-ana which appears to be done before the Sekigane. This indicates that the guard has been mounted on different blades. The charatcers, leaves, moss, and branches are Shakudō, silver, brass, and copper Zōgan.

The theme of this Tsuba is Chinese Poet Li Bai (aka Ri Haku) and Du Fu who look at the waterfall which gave Li great inspiration. This theme is inspired by Ukiyo-e woodblock print paintings and is often seen on Tsuba. There are other comparable Utsushi of this theme (and execution) in leading museum collections, with some bringing attribution to Nara and Mino schools.

Size: 65 x 56 x 4mm

An Iron base Tsuba in Hineri-kaeshi-mimi with Hangetsu-gata (half domed opening) and Yamagata (half quatrefoil opening). Fine Kebori carvings, along with gold Ten-zōgan creates a theme that is used often on Utsushi Tsuba. This theme is referred to as Sansui Tsuba. Sansui loosely translates to “mountains and waters” and is a term used for landscape.inlaid with gold; this is represented true to the style of the Kaneie school.

There is a Kaneie Mei signature, likely Ato-mei (or Gimei). The Kaneie Mei is one of the most used on Gisaku (forgery) Tsuba, as Kaneie guards are highly sought after in the world of private (and museum) collectors.

Size: 83.5 x 75 x 4mm

Shoami Tsuba in iron and Nademaru-gata (rounded square). The guard has a single Hangetsu-gata (half domed opening) Hitsu-ana. The Nakago-ana has Tagane-ato* either side of the opening. *May be considered as Yose-Tagane.

Brass Suemon-zōgan is used in the depiction of the two rabbits and grasses. Brass Ten-zōgan is also used as ground decoration. A silver Iroe moon at the top of the plate is visible and partially covered by carved-in clouds, and the plate background has an Ishime-ji finish.

The theme of this Tsuba is also likely to be related to “Tsuki no Usagi”.

Size: 70 x 63 x 4mm

An Iron Maru-gata Shoami Tsuba with a single Hitsu-ana of Hangetsu-gata (half domed opening). There is copper Sekigane present at the top of the Nakago-ana, with slight Tagane-ato towards the bottom. Brass Ten-zōgan are inlaid into the plate, and fine Kebori carvings depicting fish within waves, finish the design. A Namako-sukashi is also quietly featured within the design, maintaining a maritime theme.

Size: 77 x 76 x 3.5mm

A Shoami Tsuba in iron and Kaku-gata (Angular shape) with double Hitsu-ana of Hangetsu-gata (half domed opening) and Yamagata (half quatrefoil opening). Both Hitsu-ana are filled with Shakudō Ategane, and both feature Shigure Yasuri. The Nakago-ana has Tagane-ato either side of the opening in the typical style executed by the Shoami school, and Sekigane top and bottom. Decorations use gold Nunome-zōgan, silver Suemon-zōgan for the character face, and subtle iron carvings.

Although the figure is somewhat generic, it is likely to be a depiction of Tekkai Sennin with details such as his cane, emaciated appearance, and robing.

Size: 86.5 x 83 x 4mm

An Aizu Shoami Iron Tsuba in Mokkō-gata with a Hangetsu-gata (half domed opening) and Yamagata (half quatrefoil opening) Hitsu-ana. Suemon-zōgan decorations of bird, flowers, and rock with Kebori water carving and Ishime-ji finish to plate.

There are decorative Keshō-tagane either side of the Nakago-ana, which can be used for fitment to a blade, or for identification activities.

Size: 75 x 72 x 3.5mm

An Iron guard of Mito style, in Nagamaru-gata (slight oval) with a single Hangetsu-gata (half domed opening) Hitsu-ana. The Nakago-ana has copper Sekigane at the top and bottom, and there is very light Tagane-ato either side. The owl is copper Suemon-zōgan with further gold inlay for the eyes and beak. The crow’s legs and beak are inlaid, and its eye is gold Ten-zōgan.

The theme of this Tsuba before acquisition was said to be the Japanese tale: The Owl and the Crow. Both are said to be at odds and bully each other throughout the day and night. The crow has the upper hand with superior sight during the day, and the owl has the upper hand with superior sight during the night.

Size: 63 x 58 x 3mm

Iron Tsuba in Maru-gata with a single Hangetsu-gata (half domed opening) Hitsu-ana. Tagane-ato is located at the top and bottom of the Nakago-ana, and the guard uses a Kaku-mimi ko-niku (square with slight rounding). Suemon-zōgan is used on the guard for the Shishi (Foo dog), peony flower, and the stalk sections of the leaves. Ten-zōgan has also been used in the depiction of rocks, peony buds, and water droplets on the leaves.

The Shishi and peony theme is popular on Tsuba, and potentially symbolise protection, strength, and power (from the Shishi), as well as honor, fortune, and elegance (from the peony).

Size: 69 x 67 x 3.6mm

An iron Shoami Tsuba in Maru-gata with a single Hangetsu-gata (half domed opening) Hitsu-ana. There is a light Ishime-ji finish to the plate and Melon fruit in brass Suemon-zōgan.

Butterfly decorations were made using gold Nunome-zōgan, and water droplets of gold Ten-zōgan are also present on the plate.

The Nakago-ana is completely recessed on the Omote face, which is not uncommon on Tsuba.

There is a Mei that is in indistinguishable; however, other similar examples from other collecting institutions are signed with the names of Shoami Tsuba-shi.

Size: 69.5 x 69 x 4.5mm

A Bushu Iron guard in Nagamaru-gata (slight oval) with double Hitsu-ana of Hangetsu-gata (half domed opening) and Yamagata (half quatrefoil opening). The plate is filled with carvings of Sakura (cherry blossoms) and Kebori depicting water movement, which flows into a Maru-mimi. The Sakura centres have gold Ten Zogan, and the water carvings continue into the Seppa-dai which is somewhat unusual for a non Namban style Tsuba.

This theme is often done by the Bushu school and is said to be related to the Yoshino river and associated Sakura viewing, in spring. Other known museum examples hold Mei reading: Hidemasa (c. 1800).

72 x 72 x 4.5mm

An iron Tsuba in Mokkō-gata with a single Hangetsu-gata (half domed opening) Hitsu-ana.

The face of the plate has been carved away from the original metal face and forms the Maru-mimi and Seppa-dai. This carving also produces a slight pillowed effect. Suemon-zōgan using Shakudō, copper, brass, and silver forms a quality depiction of a blossoming Ume branch. Gold Iroe is used on the copper-based flower, and the branches make use of the Shakudō. Hammered Hegi-yasurime (or Tate-yasurime) forms the vertical background patterns.

Size: 76 x 68.5 x 4mm

An iron Shoami Tsuba in a “rotated” Mokkō-gata form (possibly considered Kawari-gata). There is a Hangetsu-gata (half domed opening) and Yamagata (half quatrefoil opening) Hitsu-ana, and copper Sekigane at the top and bottom of the Nakago-ana. The plate background is finished in Ishime-ji, and the guard has a Uchikaeshi-mimi.

Brass Suemon-zōgan has been used for the Kiri leaf decorations, and silver Hira-zōgan has been utilised for the Kiri flowers and frond-like branches.

The orientation of this Tsuba is quite uncommon.

Size: 70 x 66 x 4.5mm

An Iron Tsuba in Maru-gata with double Hitsu-ana of Hangetsu-gata (half domed opening) and Suhama-gata. Both of the Hitsu-ana are lined with a silver Fukurin. There is Udenuki-ana at the bottom of the of the guard and both of these are also lined with a silver Fukurin. The Nakago-ana is quite deformed from the Tagane-ato and has a copper Sekigane at the bottom end.

The Vines and leaves within the motif appear very similar to that of a cucumber vine and are Suemon-zōgan using solid silver.

Size: 76 x 76 x 3mm

An iron Tsuba in Nademaru-gata (rounded square) with a double Hitsu-ana of Hangetsu-gata (half domed opening) and Yamagata (half quatrefoil opening). The Nakago-ana has some deformations indicating past use. The decorations make use of carvings for tree branches and a tree trunk; additionally, Silver and copper Suemon-zōgan, forms flower blooms and blossoms. An Ishime-ji background is used for the remainder of the plate, finishing in a Maru-mimi.

Size: 82 x 76 x 5mm

An iron Tsuba in Nademaru-gata (rounded square) with single Hangetsu-gata (half domed opening) Hitsu-ana. Tagane-ato surrounds the Nakago-ana indicating past use. The decorations make use of carvings for tree branches and a tree trunk; additionally, Silver and copper Suemon-zōgan, forms flower blooms and blossoms. A Mumon background is used for the remainder of the plate, finishing in a raised Uchikaeshi-mimi.

Size: 68 x 60 x 4mm

A Shoami Tsuba in iron and Maru-gata with a single Hangetsu-gata (half domed opening) Hitsu-ana. Brass Zōgan typical to that seen on Heianjo Tsuba, has been used for the formation of smaller branches. Brass Ten-zōgan inlay has also been used for depicting the tree fruit.

The theme and its carvings (trunk and leaves) continue over the Mimi and on to the Ura face. Referring to the details of the leaves, the type of tree depicted in this theme, is likely to be loquat.

Size: 72 x 70 x 3.5mm

Iron base in Aoi-gata (Tachi-mokkō-gata) shape with Hangetsu-gata (half domed opening) and Yamagata (half quatrefoil opening). The Yamagata Hitsu-ana is plugged with Shakudō Ategane, and Inome boar’s eye (heart shape) Ko-sukashi is seen at quarter points. The leaf decorations have their veins and fruit inlaid with gold; this is represented true to the style of the Kaneie school.

The boar’s eye used as decoration, has a meaning of bravery and determination. A wild boar shows enormous amounts of bravery and determination when provoked by an attacker. These qualities would have been desired for, by any Samurai warrior.

Size: 68 x 64 x 4mm

An iron Ito Tsuba in Maru-gata with a single Hangetsu-gata (half domed opening) Hitsu-ana. Extensive Tagane-ato can be seen around the Nakago-ana.

The main Kage-sukashi decoration of a chrysanthemum flower and leaf is done with precision, and Ito-sukashi has been used for the stalk. A light Amida-yasurime finish has been given to the surface of the plate.

The Ito school of Tsuba-shi, are well known for their delicate Ito-sukashi cuts.

Size: 66 x 66 x 5mm

Deaccessioned 2024.

Umetada iron Tsuba in Kawarigata (14-sided irregular shape) with double Hitsu-ana of Hangetsu-gata (half domed opening) and Yamagata (half quatrefoil opening). A copper Sekigane is at the bottom edge of the Nakago-ana, and regularly spaced Tagane-ato is also either side.

The theme of the guard is a flower, and the whole guard is used in the flower depiction, with the help of fine Kebori carvings.

The Mei reads Umetada. Although the Umetada school has many examples of this finely carved design, they are best known for their guards which feature Hira-zōgan, an inlay flat to the baseplate, which can visually appear as an ink painting when Shakudō is used on a copper baseplate.

Size: 70 x 65 x 3.5mm

Deaccessioned 2024.

An Iron Shoami Tsuba in Aoi-gata (Tachi-mokkō-gata) shape with Hangetsu-gata (half domed opening) and Yamagata (half quatrefoil opening). The Yamagata Hitsu-ana is filled with lead Ategane, and “open” Inome boar’s eye (heart shape) Ko-sukashi is seen at quarter points.

Carvings depict the leaves and flowers of the Arrow plant (Sagittaria Sagittaefolia), and remnant Nunome-zōgan of gold and silver depict distant leaves and clouds in the background.

This Tsuba in this shape, is often signed by Shoami kanenobu and can be seen in prominent museum collections.

Size: 70 x 65 x 5mm

Deaccessioned 2024.

Myochin style Kikka-gata (chrysanthemum flower shape) with single Yamagata (half quatrefoil opening) Hitsu-ana. Tagane-ato surrounds the most of the Nakago-ana, confirming the guard has previously been mounted. Suemon-zōgan Ginkgo leaf decorations in silver, brass, and copper with gold Iroe.

It is believed that the ginkgo Zōgan is a later addition to the Tsuba.

Size: 69 x 64 x 5mm

Deaccessioned 2024.

An iron Tsuba in Maru-gata with double Hitsu-ana of Hangetsu-gata (half domed opening) and Yamagata (half quatrefoil opening). The Yamagata is filled with a copper Ategane with gold Iroe and Neko-gaki (“cat scratches”). The Nakago-ana has been quite deformed from filing and Tagane-ato, signifying the guard may have been mounted on more than one occasion. The decorative flower motifs have been carved into the face of the plate and gold Nunome-zōgan highlights are given at the tips of the petals.

The theme and highlights are in the faithful execution of the Suruga school where other examples contain a Mei reading: Inshu No Ju Suruga.

Size: 66 x 65 x 4mm

Deaccessioned 2024.

A Shoami iron Tsuba in Nagamaru-gata (slight oval) with a Hitsu-ana in Kawari-gata shape. The Kawari-gata Hitsu-ana is an incomplete hole as the outline is formed by a stylized water splash. The eyes of the monkey are brass Ten-zōgan, and there are three copper Ten-zōgan bubbles which appear to be later additions. This motif is not uncommon by the Shoami school, and all other Utsushi are without the three Ten-zōgan bubbles.

The theme of this Tsuba is the “monkey and the moon’s reflection”. A monkey sees the moon’s reflection in water and reaches out to touch it, thinking it is fruit. The monkey makes several attempts to grab the reflection without success. This is said to be a lesson on fleeting desires, and how they are often impossible to attain.

Size: 77 x 75 x 4mm

Deaccessioned.

An Iron Tosho Tsuba with an Ume Sukashi decoration. Amida Yasurime decorates the background of the guard.

Size unavailable.

Deaccessioned.

Iron Daisho Tsuba with a theme of windswept leaves in Kaneie style. These guards are typical of those made during the time of the Satsuma Rebellion.

Sizes unavailable.

Deaccessioned 2024.

Iron Shoami Tsuba in Maru-gata with double Hitsu-ana of Hangetsu-gata (half domed opening) and Yamagata (half quatrefoil opening). There is a raised Uchikaeshi-mimi with a secondary inset rim of Mokkō-gata.

Baseplate carvings depicting Kagome (basket weave) support the Suemon-zōgan of vines, leaves, and flowers. The inlay features have Suri-heri (or Suri-hegashi) areas of abrasion. These areas appeal to certain collectors as they suggest considerable age and handling.

Dome-ana is located at the 4 o’clock position on the Omote face.

Size: 80 x 75 x 3.5mm

Both guards are Iron in Nagamaru-gata (slight oval), and the Dai Tsuba has double Hitsu-ana of Hangetsu-gata (half domed opening) and Yamagata (half quatrefoil opening). The Shō Tsuba has a twin (mirrored) Yamagata Hitsu-ana. The background finish for both guards is Tsuchime-ji. Copper Suemon-zōgan is used on both guards and both are finished in gold Iroe. The Tsuba have Suri-heri (also Suri-hegashi) which are areas of abrasion; these areas appeal to certain collectors as they suggest considerable age and handling.

The theme of these two Tsuba are inspired by chapter 9 of, the Tale of Genji.

Dai Tsuba: 71.5 x 66 x 4.5mm

Shō Tsuba: 65.5 x 60.5 x 4.2mm

Heianjo style iron Tsuba in Maru-gata with a single Hangetsu-gata (half domed opening) Hitsu Ana. The Mimi is in Kaku-mimi with ko-niku (square with slight rounding). There is Tangane-ato and some deformation of the Nakago-ana, indicating it was previously mounted.

Flowers are inlaid in Suemon-zōgan and Vines are inlaid in Hira-zōgan style, possible depicting a stylised clemantis vine.

Size: 68.5 x 68 x 4mm

An iron Tsuba in Mokkō-gata with a double Hitsu-ana of Hangetsu-gata (half domed opening) and Yamagata (half quatrefoil opening). The Nakago-ana has some deformations indicating past use. The decorations make use of carvings for tree branches and a tree trunk; additionally, copper Suemon-zōgan with silver Iroe, forms flower blooms and blossoms.

An Ishime-ji background is used for the remainder of the plate, finishing in a Kauk-mimi Ko-niku.

Size: 79 x 72.5 x 4.5mm

Deaccessioned.

Iron Tsuba with two flying geese over a patch of grasses and flowers. A Suemon-zogan moon was once inlaid between the two geese (recess remains).

No size available.

Deaccessioned.

Iron Jakushi Tsuba in Kawari shape. Double Hitsu-ana and Mei reading Jakushi, and remnant gold Nunome-zogan.

This Tsuba depicts a dragon and is carved in the typical Jakushi style.

Size: 65 x 60.5 x 4mm