Gents, there is a lot in between from Kiyosada school to Nagoyamono.
The subject is very Japanese (shōgatsu-kazari straw rope and tachibana fruits). The material, from the images, looks fine shakudō. The nanako-ji, thought not outstanding, is far better than usually seen in Kyō-kanagushi. The gold gilding shows minor wears as expected from a piece 200 years old or so.
So, why not an honest middle/late Edo Owari-kinkō or Kyō-kinkō?
NBTHK papers usually attribute sanmai construction to ko-kinkō tsuba (and, exceptionally, to Nagasaki and Umetada schools). The defining construction technique of a kagamishi tsuba, however, is casting (鋳造 - chūzō).
Hi Bernard, as Jean already said, the shape is not unusual. Here's one of my tsuba.
About the signature 國廣 (Kunihiro), it was supposedly used by several unrelated tsuba makers.
Actually most of tsuba appraised as tachi-kanagushi by NBTHK don't show a tachi style orientation. So, why not, tachi-kanagushi or simply ko-kinkō...
Regarding the sukashi it's quite surely sorrel (酢漿 - katabami).
WESTERN ART MESSAGE BOARD
An unusual depiction of Voodoo practice in Reinassance Italy
I wish to share my finding of a painting portraing a puppet stinged with pins in a well known black magic ritual:
- Sorry, the subject is Saint Sebastian, quite a common subject in religious art of Renaissance.
I know very well the saints, are always depicted with a halo behind their head...
- The presence of arrows clearly point to a scene of martyr persecution.
When I was a boy I used to shot with the bow, and the arrows were disposed differently on the target!
- Voodoo religion was not practiced in XVI century Italy.
I know what I see. Maybe the next time such a painting will be submitted to National Gallery appraisers it will be correctly denominated "Voodoo magic" instead of "Saint Sebastian"!
- ...