Identification of a fuchi-gashira ...

[docliss]

Dear colleagues

 

Can anybody please help me with the identification of this fuchi-gashira? It is of a darkly patinated iron and both pieces are decorated with hon-zōgan chrysanthemums. The stems and leaves, the latter with kebori detail, are silver. The blooms have alternating gold or silver centres and petals. Both have small, raised rims, the fuchi being tsuboguchi-gata (jar mouth shape) and the kashira natsume-gata. I wonder if they are early Higo work.

 

The mei, which I find very difficult to read, is silver hira-zōgan. Does this read NAGAHISA — I can find no trace of such an artist.

 

With many thanks, John L.

[Stephen]

Toshiyuki,,higo yes i think? they look very nice.

[docliss]

Dear Stephen

 

Thank you for your prompt and knowedgeable reply. I still can't find any reference to such an artist - do you know of one?

 

Regards, John L.

[Stephen]

this is about all i can find. not to say its him but its a start

 

Okamoto Tetsugendou Tetsugendou Shouraku is counted as one of the "Kyoto san meikou(three great craftsman of Kyoto)". His name was Genbei and signed Tetsugendou Shouraku and also Toshiyuki. In the prime of manhood, he changed the character of "gen". Tetsugendou was outstanding in technique of tetsu(iron) tsuba and was never second to none. To many people's regret, he died in An'ei 9th.

[docliss]

Dear Stephen

 

Thanks again - the possibility of it being an Okamoto Naoshige pair is very exciting, but didn't he use a different kanji for his 'yuki'?

 

John L.

[Ted Tenold]

Looks more like "Iyehisa" to me. I checked the Kinko Meikan there is one but he's of Umetada lineage and given the Higo"ness" of this set that's not where I'd go.

 

I checked Haynes and there are nine listed artists named Iyehisa. One of the things that struck me interesting about your set is the silver hirazogan on it which is not a real common zogan (at least as a dominant color) especially among Higo works I've seen. So, in Haynes there's an interesting note on two of the listed Iyehisa from Kaga province (Kashu Komatsu); "Did silver hirazogan on both tsuba and abumi". Looking at your set, this makes a lot of sense to me resembling that work style. Silver zogan on abumi is quite common.

 

Looks like a nice set.

[Stephen]

Thanks Ted for stepping in i have a toshiyuki and it looks close....like you said nice fittings, shisa quality i think.

[docliss]

Thank you both very much for your help.. It looks as though Kitamura Iehisa I (or possibly II) is the probable answer here. And Kaga rather than Higo work.

 

Regards, John L.

[Rich T]

Hi all, on first look. I have to admit, I agreed with Ted on his reading.

 

Iehisa - 家久

 

Stephen, I am unsure of the Toshi kanji you are reading ?, and I assume the yuki is as Kore and 之. Do you have an image of your pieces to compare ? The only Toshiyuki's I can fine that end with a kanji like that are from Nara and Myochin.

 

Looking at the silver zôgan though, I wonder if it is not one of the 2 Kaga Iehisa's I have listed that worked in silver hirazôgan in the early to mid edo area ?

 

NOTE: re reading through Ted's post (sorry mate, I should have done it properly inthe first place) I see I have echoed his find on the Kaga artists.

 

Cheers

 

Rich

[Stephen]

yuki is as Kore and 之, that was what i was going on id have to dig it out for the look at the toshi, sorry a rush to judgement.

[Curran]

What Ted said-

 

IYEHISA

 

Kashira is Higo. Iron looks Higo or neighboring school, as sometimes they get very close looking. Gut reaction is that the inlay does not look Kaga, unless it is late Kaga. But shape of the fuchi is not quite what I would expect for main Higo school. I am away for the summer and do not have my references.

 

Ah- I just read all of Rich T's post. I guess Haynes mentions two Kaga Iehisa working in silver hirazogan. Hmm. I would have thought it more Higo. I would have thought it later work.