Asian Art & Militaria Auction Catalog 2014

ASI ANART& MI LI TARI AAUCTI ON ROCKLAND, MA SUNDAY, NOVEMBER1 6 , 2 0 1 4

ASIAN ART & MILITARIA AUCTION Sunday, November 16, 2014 at 11:30 am

Preview: Sat., Nov. 15 - 11-5; Sun., Nov. 16 - 9:30-11:30

Holiday Inn, Rockland, MA

Directions: Exit 14 off Rte 3 onto Hingham St. toward Rockland, 929 Hingham St. www.willishenry.com

781-834-7774

wha@willishenry.com

Antiques and Estates appraised, purchased or sold on consignment 22 Main Street, Marshfield, MA 02050, 781-834-7774, Fax 781-826-3520 WILLIS HENRY AUCTIONS, INC

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Auction Information This sale has assembled some of the most wonderful items from quite a few important and varied collections.

The Priscilla Archibald Estate and the John P. Richardson Estate have both been featured in past Willis Henry Auctions, Inc. sales. This auction is no exception, with over fifty fine examples from both estates.

Also included in this sale is a phenomenal collection released from the estate of a private collector who was inspired by a trip to Japan back in 1964. He became captivated with the beauty and arts of the Japanese culture.

As his passion grew, so did this extensive collection of detailed Asian swords and tsubas. Most of the first one hundred items found in this catalog come from this multifaceted collection.

Credit A credit to Edward Fenochietti on his assistance in the identification and describing of many of the items found within this catalog. We at Willis Henry Auctions, Inc. thank you.

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Conditions of Sale The property listed in this catalogue will be offered and sold subject to the following terms and conditions.

1. Willis R. Henry, herein known as “The Company”, has exercised reasonable care to catalogue and describe correctly the property to be sold, but does not warrant the correctness of description, genuineness, authenticity or condition of said property.

2. Unless otherwise announced by the auctioneer at the time of the sale, all bids are to be for a single article even though more than one article is included under a numbered item in the catalogue. If, however, the articles under any one numbered item are designated as a “Lot” then bids are to be for the lot irrespective of the number of articles described in such item.

3. The highest bidder accepted by the auctioneer shall be the buyer. In the event of any dispute between bidders, the auctioneer may, at his discretion, determine who is the successful bidder, and his decision shall be final; or the auctioneer may reoffer and resell the article in dispute.

4. Any bid which is not commensurate with the value of the article offered, or which is merely a nominal or fractional advance over the previous bid, may be rejected by the auctioneer, in his discretion, if in his judgment such bids would be likely to affect the sale injuriously.

5. The name and address of the buyer of each article or lot shall be given to the Company immediately following the sale thereof and payment of the whole purchase price, or such part thereof as the company may require, shall be immediately made by the purchaser thereof. If the foregoing condition or any other applicable condition herein is not complied with the sale, at the option of the Company, may be cancelled and the article, or lot, reoffered for sale.

6. Except as herein otherwise provided, title will pass to the highest bidder upon the fall of the auctioneer’s hammer and thereafter the property is at the purchaser’s sole risk and responsibility.

7. Articles sold and not paid for in full and not taken by 5 p.m. the day of the sale may be turned over by the Company to a carrier to be delivered to a storehouse for the account and risk of the purchaser, and at his cost. If the purchase price has not been paid in full, the Company may either cancel the sale, and any partial payment already made shall thereon be forfeited as liquidated damages, or it may resell the same, without notice to the buyer and for his account and risk, and hold him responsible for any deficiency.

8. The Company, subject to these Conditions of Sale and to such terms and conditions as it may prescribe, but without charge for its services, will undertake to make bids for responsible parties approved by it. Requests for such bidding must be given with such clearness as to leave no room for misunderstanding as to the amount to be bid and must state the catalogue number of the item and the name or title of the article to be bid on. If bids are to be made on several articles listed as one item in the catalogue, the request should state the amount to be bid on each article, unless the article contains the notation “Lot” in which case the request should state the amount to be bid “for the Lot”.

9. Conditions of Sale cannot be altered except in writing by the auctioneer at the time of the sale.

10. Not responsible for typographical errors or omissions.

11. TERMS: Cash, good check, MC/Visa. All items sold “as is”. A premium of 18% will be added to all property sold, to be paid by the buyer as part of the purchase price.

Note: All purchases subject to Massachusetts Sales Tax unless holder of exemption certificate.

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1. SAMURAI SWORD

4. SAMURAI SWORD

Shin Gunto T94 Army mounts, in mint condition. Signed “EMURA”, also known to sign as Nagamitsu. Chounsai Emura was aligned with the Okayama Prison utilizing prisoners to assist in sword production. He was in Okayama prefecture (Bishu-mei).

Kyu Gunto (Army command or high official type 19 D guard), colonial occupation.

Hilt features four brass wire wrapped over white sami, twisted 2-wire rope flanked by two single wires, openwork cherry blossom design guard.

Around 1943 he was in Kochi prefecture (Doshu-mei). Probably, there was much transfer, since he was the head of the prison.

Emura swords of Doshu-mei were made around 1943. Blade Shinogi-zukuri, Iori-muni, Torii-sori 1.7cm, Nagasa 67cm. Suguha gunome ashi-iri. Silver mon on kabuto, indicating owner’s ancestral connection to the warring class clan.

Blade is a shinoge zukuri wakazashi, mumei evident loss of yokote, mumei, tang filed as if in haste to fit the hilt. Black lacquered wood saya and one ashi, natural wood with red band under ashi, missing leather field dress on saya.

2. SAMURAI SWORD Type 95 Non-Commissioned army officer’s shin gunto. Copper fuchi marked by Suya Sword Shop, Tokyo followed by inspectors mark and Tokyo First Arsenal stamp. In good + condition. Tang not inspected, Late War.

Shinogi-zukuri nagasa 57.7cm, Iori mune, Torii-zori 1.5 cm. A silver mon (Naito Clan) mounted on tsuka suggests an ancestral connection of the owner to the clan.

5. SAMURAI SWORD Shin Gunto Army Reg T94 mounting.

Signed Shinogi-zukuri, Nagasa; 63.5 cm, Torii-zuri 1.7 cm Iori-mune Hamon; active gunome both sides. Good polish not abused, tiny chips to kisaki ha (non-fatal). Tang signed “Hizen kuni Kanemitsu” and date on reverse “Showa 1941”.

6. NAVAL DRESS DIRK

3. SAMURAI SWORD Kai Gunto mounted sword missing ishizuki, black lacquered wood saya in poor condition, single hanger model. Nagasa; 63.5cm, torii-zori 1.2cm, Iori-mune.

Tang is standard with higaki file marks and “0 831” stamped into it.

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Rare early model Japanese Naval officers dress dagger with black lacquered leather scabbard and engraved brass engraved fittings, loss of gold gilding.

In mint condition, not abused. Wire wrapped sami hilt, 21cm hira-zukuri, suguba hamon/ o-maru boshi and a fuller (Bi), both sides. Tang not inspected and no other markings.

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7. JAPANESE SENSO-E TRIPTYCH Senso-e, rare triptych battle print, Kogyu (Tsukioka) 1904 to 1906 framed. May 1, 1898 “The American Asiatic Squadron under Commodore George Dewey aboard the flagship cruiser USS Olympia taking the Spanish Pacific Squadron Manila Bay, in the Philippines”.

This was the first major U.S. Naval wartime engagement (after their inception) of the Spanish-American War. This noteworthy artist and this subject are considered rare. Dewey can be seen commanding from the upper deck during the battle.

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8. TWO PRINTS Part of a triptych, Kunisada.

8 9. FRAMED TRIPTYCH Senso-e Triptych Nakamura Shuko (c. 1894-1904). “The Japanese Second Army Battles at Chinchou”. No information is available on this artist who created senso-e for both the Sino-Japanese War and the RussoJapanese War. He has also been named as being Nakamura Akika by Nicholas Chakin. The artist is likely not Tomita Shuko, the painter and illustrator active in the same period.

Very vibrant and powerful attack scene, in good condition, good color and crisp images. Margins trimmed bottom and right side. Framed and mounted under plexiglass. Overall size 21” H x 35 1/4” W. Face 14 1/2” H x 28 3/4” W.

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10. SAMURAI SWORD

13. SAMURAI SWORD

Shin Gunto, type 1934 army tassel, blue/ brown, company grade officers or officials.

Tang signed “Koa Isshin Mantetsu Saku”, and dated on reverse spring of 1943. Shinogizukuri Nagasa 66.7cm, Torii-zori 1.7cm.

Hamon; saguha, spine marked ka 242, kesho file marks. Includes leather foul weather guard.

Kai Gunto T97 Navy, black lacquered wood saya with gold gilt brass fittings and cherry blossom menuki. Blackened copper plate naga-maru tsuba with two large blackened o-seppa engraved as radiating sun rays together with two gold gilt seppa.

11. SAMURAI SWORD Type 95 Non-Commissioned army officer shin gunto with leather non-commissioned officer’s knot tassel. Mumei Shinogi-zukuri Nagasa; 67cm not abused, #159031 stamped above habaki on blade.

Copper fuchi stamped Iijima Swords Factory, Tokyo followed by inspector stamp and Tokyo First Arsenal. The logo stamp in the shape of a type 95 sword tsuba with crossed swords and two characters read “Masa Yuki” for the company founder and swordsmith Masayuki. Good condition.

12. SAMURAI SWORD Shin Gunto mod T3 mounted katana, (ICHIHARA) “Nagamitsu Saku” signed on tang. Saka stamp and #3728 on spine, Armycommissioned swordsmith for the Osaka Rikugun Zoheisho (Osaka Army Arsenal).

Known for medium-high grade gendaito rated 1M yen (see Slough’s p. 124). Blade: Shinogi-zukuri, Nagasa 62.1cm, torii-zori 1.5cm, chu kasaki, iori mune. Hada; Itame/ mokume (prominent), Hamon; Suguha based.

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Braided brown officer’s cord with slide knot hangs from the tsuka, brown ito wrapped over composite black sami on wood tsuka.

Shinogi-zukuri blade, nagasa 65.5cm toriizori 1.5cm iori mune. Signed: “Noshu ju Toki (2), Kanemasa Saku”. Showa stamp.

Hamon is notare and boshi O-maru. Good polish, no kizu, bends or chips, not abused.

White sock.

14. SAMURAI SWORD Kai Gunto T97 Navy with lock, black lacquer and polished sami on wood saya with gold gilt brass fittings and cherry blossom menuki. Blackened copper plate naga-maru tsuba with two large blackened o-seppa engraved as radiating sun rays together with six brass, copper and silver seppa.

Braided brown cord with wood owners tag hangs from hanger ring. Tsuka is wrapped with brown ito over black lacquer sami on wood. Overall good condition. Shinogizukuri blade, nagasa 61.6cm, iori mune, torii-zori 1cm, Silver wash habaki, Hamon Suguha with o-maru boshi.

Good polish, no chips, bends or abuse noted. Tang signed in five characters including “Ishihara Kanenao Saku”. Showato blade, seki stamp, higaki file marks. See Slough’s p.

76-79.

15. SAMURAI SWORD Non-Commissioned officer type Shin Gunto, leather field dress (dark brown), Shinogizukuri; 65.3cm, Torii-zuri 1.4cm, Hamon Sanbon-sugi, kesho file marks.

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16. SAMURAI SWORD

19. TWO TANTO

Shin Gunto T94 mounted, cloth surrender tag remnant. Saya with leather field dressing. Shinogi-zukuri blade partially signed “Kane Saku”. Nagasa 66.1cm, Torii-zori 1.8cm. Hamon; gonome with ashi, Itame hada, Showa stamp and signature on tang not translated.

#1) Tanto, Tessen, mounted and concealed as a fan. Sometimes carried by women, 19th c.. #2) Tanto (Kaiken), black lacquer with abalone saya/fixed. Brass with high relief floral mons/ ivory tsuka Kaiken mounted 9 1/4” Nagasa 15.5cm. uchi-zori 2mm.

17. SAMURAI SWORD

20. KOSHIRAE SAMURAI SWORD

Kai Gunto T97 Navy, black lacquer and polished sharkskin on wood saya with gold gilt brass fittings and cherry blossom menuki.

Blackened copper plate Aori-maru tsuba with two large blackened o-seppa engraved as radiating sun rays together with two gold guilt seppa.

Shinto or Shin-shinto mumei Kaga school Uchigatana mount, purple bag, Katana, Mumei. Shinogi-zukuri blade. Bamboo leaf brass fuchi-kashira and menuki ensuite mounts.

Hamon; notare. Nagasa 67.5cm.

Fittings are gold gilt iron except the fuchi and mouth of the saya are soft metal. Gilding is worn. Dark brown 1934 field grade officers tassel, late war was used for all ranks.

Large encircled Anchor stamp, mumei tang, Toyokawa Navy arsenal stainless steel. #572 Shinogi-zukuti blade, Nagasa 62cm, Iori mune, Torii-zori 1.8cm.

Ribbed black lacquer saya, glued seam separation. Tsuba is iron with brass and gold inlay arabesque vine design namban. Yoshiro school Momoyama period, sukashi tsuba.

Silver wash on copper habaki, Hamon Suguba with o-maru boshi. polish and blade in good condition, no abuse noted. “5-1-2” written in ink on tang.

18. THREE SHORT KNIVES Similar carved bone mounts, #1) Wakazashi and #2) tanto, both mounted in carved bone, design depicting Samurai, etc. 19th/20th c., some rust stains on blade. #3) Modern Aikuchi mounted tanto, various scenes in brass and composite relief.

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21. KOSHIRAE SAMURAI SWORD Wakazashi mumei with koshirae, red/black lacquer saya, with black sageo/nice mounts, shakudo/gold HF Shinto Kanbun blade: Shinogi-zukuri, nagasa 54.9cm Iori-mune torii-zori 0.5cm. Motohaba and sakihaba 2.8cm and 1.9cm, Ko-Kissaki.

Horimono: Suken on the omote and Gomahashi on the ura. Hada: Masame/Itame, Boshi Omaru, Hamon Chu-saguba. Tang: Ubu, 1 mekugi-ana, Kesho yasurime, Kurijiri. Golg dragonfly menuki, battle-style maki.

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22. SAMURAI SWORD Uchigatana koshirae, Shinogi-zukuri, loss of yokote, nagasa 65.4cm, 1.7cm torii-zori, iori-mune. Blackened brass mokko-gata tsuba, two seppa, blackened brass plain fuchi and kashira, Black ito over white composite sami and two black menuki indeterminate subject.

Black lacquer wood saya missing kurikata.

Poor condition. Shinogi-zukuri blade rust stains and some abuse visible to blade.

Hamon difficult to see, potentially out of polish. Tang signed “Seki Fujiwara Yoshinao Saku� (Yoshinao II), early 20th c. Considerable rust stains.

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23. SAMURAI SWORD Tachi Shobu-zukuri black lacquer uchigatana mounts saya missing shito-dome.

Shibuichi engraved floral vine design. Fuchikashira and menuki en suite, each menuki is an engraved galloping horse with gold inset eyes. Black maki-ito over white same tsuka.

Large 8.5 x 8cm tachi tsuba is a blackened copper plate in Egurikomi Mokko-gata shape. 4 seppa. Nagasa 61.7cm, Hamon difficult to see. No chips or apparent kizu, poor polish. Tang is Ubu, signed but illegible katte-sagari file marks Futsu-gata, Haagari tip. Teal and gold bag, green tassel.

24. KOSHIRAE SAMURAI SWORD Shinto Wakazashi, mumei, kozuka with grazing horses, two piece gold wash habaki.

45.5cm nagasa, dark mahogany lacquer saya, kozuka/good fittings, two warriors crossing the Oji River, mokume tsuba.

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25. KOSHIRAE SAMURAI SWORD Handachi mounted mumei ko-tachi, black lacquered leather ito wrapped on white sami tsuka and wakasa nuri urushi saya, solid silver en-suite fittings, fine engraved copper inlaid with silver menuki of cockle and hen/ chic, carved brass openwork dragon, finely carved openwork tsuba signed “Hikone ju Tsunemasa�, gold foil seppa.

Blade is a shobu-zukuri, mumei, yasurimesujichigai, tang end- kurijiri. Nagasa 51.4cm, torii-zori 1.7cm, Motohaba 2.4cm Sakihaba 1.5cm. Very fine black, gold and red urushi saya, brown sageo attached to kurikata.

Very good polish and condition, not abused.

Blade period not determined.

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26. KOSHIRAE SAMURAI SWORD Wakazashi and fine Koshirae, HF signed “Nagasone Kotetsu Nyudo Okisato” (Ko kanji in the “tora” form). This signature would have been used after a priesthood commitment.

Blade; Shinogi-zukuri with bo-bi kakinagashi horimono, iori mune, nagasa of 55.4cm, torii-sori of 1.7cm, moto-haba and saki of 3cm and 1.9cm., and chu-kissaki.

Tang Ubu, yasurime-kesho, jiri Kata-yamagata. Blade exhibits masame/itame hada, Hamon appears as chu-Suguba based with some sunagashi amid fine nie and nioi, boshi appears to be yakitsume (omote).

Fine abalone/swirl lacquer saya/fittings missing kojiri. Of special note with regard to the fittings: the Fuchi Koshira are of mixed metal including inlay of shakudo, gold, silver and copper depicting a seated scholar gazing upward contemplating in a pine forested mountain area that drops to the ocean and includes a rushing waterfall.

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The en-suite fuchi is signed Hirosada, Uchikoshi school (Konishi) or possibly 19th c. Myochin school, early 19th c. Green/gold bag w/orange tassel, damage to saya, minor nicks to blade.

27. KOSHIRAE SAMURAI SWORD Shinto Wakazashi, black lacquer, empty pocket, nice mounts. Shinogi-zukuri with choji-ashi hamon, torii-zuri 1.5cm, Nagasa 51cm. Fuchi-Kashira-menuki ensuite mixed metal of warriors.

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28. SAMURAI SWORD Shinto Uchigatana Wakazashi, Shinogi-zukuri (loss of edge of yokote), 34.4cm nagasa, 1cm Torii-sori iori-mune, out of polish, Bo-hi both sides extending to the yokote and halfway through the tang, ko-kissaki, ground down (abused).

Red lacquered leather covered black lacquered wood saya. Black ito wrapped sami tsuka with very fine kinko shakudo fuchikashira en-suite with high relief gold, copper and silver inlay depicting waterfront rural farmhouse and boats on very fine nanako ground. No menuki.

29. SWORD Shinto Wakazashi in a shira saya with sayagaki. Blade mumei, Shinogi zukuri, Nagasa 47.5cm, Iori mune, Torii-zuri .7cm. Translation of the Sayagaki as follows; Tsuka: Bibai Tanzan Goto Taro ( in Hokkaido). Saya Wakazashi; Mumei “Goto ke senzo den Rai” (From the ancestors of the Goto Clan).

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On the sword was a tag that noted it was recoverd in a cave next to a body in the 1940s.

The Bibai area was at one time a prosperous coal mining industry. This was a prized heirloom to the original owner.

30. SAMURAI SWORD Katana with Shirasaya signed “Seki Kanemune Saku”, likely Fukumoto). Nagasa measures 26 1/2” (66.67cm), Mino style with sanbon-tsuji hamon. The tani, or valleys between the gunome, have nioi forming thick ashi. Owner’s label on saya. Listed in Slough’s.

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31. SAMURAI SWORD Shinto Uchigatana Wakazashi, signed; “Kunikane” two character signature, preShinto style. Well forged tang may be earlier.

Shinogi zukuri blade, saguha hamon,toriizori, nagasa 58cm, blue/gold bag. Black lacquered saya (damaged), Ubu tang.

32. SAMURAI SWORD Shinto Wakazashi, signed “Soshu (no)Ju Sagami Tsunahiro”, some rust spots.

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33. SAMURAI SWORD Early Kai Gunto mounted Naval officer’s katana, 19 3/4” (Nagasa). Tang engraved “Izumi (no) Kami Fujiwara Kunihiro” (Omote), “Echizen Ju” (Ura), Shimosaka School.

Blade: Iori mune-hikushi, 1.27cm, torii zori.

Very active hamon. Custom mounting of the sword is mint including silvered fittings ensemble, and the blacked copper alloy Aorigata tsuba has a woodgrain etching where exposed large silver o-seppa engraved with radiating sun rays.

Polished dark brown lacquered same saya, black lacquered same and brown ito to the Tsuka and three-disc five petal naval menuki. Some kizu, not fatal.

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34. KOSHIRAE SAMURAI SWORD Wakazashi with wari-bashi and kozuka, menuki, fuchi-kashira en suite with shishi dogs and birds including tsuba, which is a marugata blackened copper plate with nananko and high relief inlaid gold shishi, gold engraved fukurin. Kazuka may not match.

Brown lacquered ribbed saya with ironkojiri and horn koiguchi, shito-Dome with black sageo. Mumei Koto Hirazukuri, torii-zuri 1cm, Iori-mune, Boshi has long turnback, Nagasa 34.75cm mokume and itame hada.

Tang furisoda-gata kiku, One mekugi-ana, katte-sagari file marks. Brown/gold and color mon design bag.

35. SAMURAI SWORD Shin Gunto, Army mounted Gendiato, shinogi zukuri blade signed “Hibino Kinmichi�. Gunto swordsmith (1926-45), (Gifu) died 1945. Sword looks to be pre-1926 based upon the tang.

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His civilian name was Hibino Ichiji, lineage uncertain. Nagasa 70.7cm, Torii-zori 1.7cm.

Tang 21.1cm. Hamon visible entire blade both sides, good polish. One dent on saya below semegane.

36. KOSHIRAE SAMURAI SWORD Nagamaki blade, Yamato school blade mumei (unsigned, shortened tang- three mekuki-ana). Naoshi mounted with brown, green, gold with orange cord tassel bag.

Shobu-Zukuri blade. Nagasa 60cm, torii-zuri 1.9cm, iori-mune. Unusual reworked polearm tsuba with mixed-metal on steel softmetal applique of forest subjects. Some loss of lacquer to saya.

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37. SAMURAI SWORD Wakazashi, in marked Shira-saya (sayagaki), owner’s name and location, blade signed “Daido”.

Blade: Shinogi-zukuri, Nagasa 51.4cm, Toriizori 1.3cm, Motohaba 3cm, Sakihaba 1.5cm, iori-hikushi mune, Ko-kissaki, Yasurimi Takanoha, Kurijiri. Medium to narrow suguha hamon itame hada difficult to see.

Some rust stains, not severe.

38. SAMURAI SWORD

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Wakazashi, HF signed “Kosuke no Kami Kanesada”, Shakudo boar menuki, hakomadare hamon, nagasa; 44.5cm, some kizu on blade, non fatal.

39. SAMURAI SWORD Wakazashi, Shinogi-zukuri. Nagasa 44.1cm, nice polish, four small light rust stains. Tang standard, mumei, two mekugi-ana, kattesagari kurijiri end.

Old mounts gold inlaid iron fuchi-kashira, shakudo and gold habaki, iron kojiri with silver inlaid dragon. Old tag with sword reads “1700”.

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40. KOSHIRAE SAMURAI SWORD Wakazashi and Koshirae, Shinto blade, mumei, three mekugi-ana. Matching fuchikashira, iron with gold inlay of birds perched on a branch. Black ito on white sami and two menuki soft metal of bird and an emerging turtle. Blade is Koto-mino Shinogi-zukuri, Nagasa 37.7cm, Torii-zori .7cm, iori mune.

Iron plate maru-gata tsuba with shakudo fukurin. No kazuka. Crushed pine needle urushi lacquer saya.

41. BOOKS ON COMPTON COLLECTION #1) Cased hardbound book; 100 Masterpieces from the collection of Dr. Walter A Compton. Published 1992, Christie’s, Manson and Woods, International Inc. Features dust jacket and slip cover. Very Good - Fine condition. #2) Three Christie’s catalogs with jackets.

“Dr. Walter A. Compton Collection 1992”.

Very Good condition.

42. CASED SAMURAI NINGYO DOLL Cased Samurai warrior Ningyo doll, elaborately attired and armed with naginata in hand and katana standing in a defensive position. He stands on a raised plank platform together with gold lacquered furniture detailed with scenes.

The original glass and wood case measures 13” H x 11 1/2” W x 9 1/4” D. The lacquered three-drawer stand and a lacquered covered box are functional (Priscilla Archibald Estate, Duxbury, MA).

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43. RANK BADGE 18th/19th c., 6th rank (Egret) man’s badge.

Extensive use of silk embroidery (forbidden knot). The egret with blue legs, crest and beak, one raised facing the sun on the right is perched on a mountain on a body of water with Buddhist symbols as though floating in turbulent waters, a peach tree with fruit to the left, flowering peony to the right side.

Above field with clouds in the form of “lingzhi”, sacred mushroom and flying bats.

Mounted on a mirror, 10” x 11” (sight) under glass, 37” x 13” (mirror frame size), hangers at top.

44. TSUBA Christe’s NY Dr. Walter Compton Sale, Lot 38 12/17/92. Ishiguro style tsuba, Edo period- circa 1800. This is an oval shakudo plate including high relief carved and inlaid gold, silver and shakudo of a cherry tree and peahen on a nanako ground, and the reverse depicts a low relief carved stream with inlaid gold bamboo and rocks.

7x6.5cm and 5mm thick. Looks to be in perfect condition. Very fine nanako ground on both sides including on the mimi, unsigned.

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45. TSUBA Christe’s NY Dr. Walter Compton Sale, Lot 104 12/17/92. Edo (1800), Sendai Sadamasa school signed, “Sadamasa Kao”.

Round brass dished to the sepa-dai, carved with shakudo, gold, silver and copper high relief inlay. Student of Kusakari Sendai Sadamasa and considered his equal. A willow tree is carved on the reverse. H 6.7 x 6.4cm x 5.5mm.

46. TSUBA Christe’s NY Dr. Walter Compton Sale, Lot 11 3/31/92. Edo (1625), Koike school tsuba, signed “Koike Yoshiro”, four lobed Mokko oval iron, dished to create a raised rim, with flush brass plate and wire inlay including the rims edge. Dimensions: 5.7 x 5.1 m., center at 4.5mm and edge at 5.5mm.

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49. TSUBA Edo Kinko Tsuba period, inscribed “Hamano Naoyuki” on front (late 18th/early 19th c. Hamano school was founded by Hamano Shozui (masayuki), (1696-1769).

47. TSUBA Christe’s NY Dr. Walter Compton Sale Lot 49 12/17/92. Edo (1800), kinko tsuba, rounded corner rectangular, polished copper carved and inlayed in high relief with gold and shakudo including a shakudo covered rim signed “Nampo”. Dimensions: H 6.4 x 5.8cm, thickness 4mm.

The Hamano of Edo, was the most prominent of the schools. Shibuichi oval plate with carved high relief, carved and inlaid with shakudo, gold, silver and copper. The front depicts two figures approaching a seated figure occupied with sword in hand and jacket removed. The two subjects one on horseback the other holding a yari.

The plate also includes low relief carved detail on the ura side of a rushing mountian brook and bridge under a carved, high relief pine tree. The workmanship of this piece is very fine and well executed. 6.5x5.9cm. 3mm at the slightly rounded mimi and 4mm at the seppa dai.

48. TSUBA Christe’s NY Dr. Walter Compton Sale. Mitsuoki, (of Otsuki school). A popular name that is often forged. The signature is “gimei” (false, confirmed by Morihito Ogawa).

Nevertheless, the tsuba looks like an excellent Nara-derivative work. If unsigned, likely the Uchikoshi school of Ichijosai Hirotoshi and his many students. Dimensions: 6.6cm H x 6cm W x 4.5mm.

50. TWO TSUBA #1) Edo period-Kinko Maru gata (7.3 x 6.8cm), burnished Suaka refined copper plate. The plate thickness tapers (niku), from 4mm to 1.5mm at the kaku mimi. The inner rim of the nakago ana is fitted with what appears to be a silver liner. Though simple in design, the workmanship and utility of the piece appears well made. Small scratches on both sides. #2) Edo Period unsigned Maru gata Iron plate engraved and inlayed with copper, shakudo, silver, brass and gold. Fan design over a low relief ishime-ji (rock face). Partial loss of inlay on both sides. The Kogai hitsu ana includes lead ategane (plug). Dimensions: 7.6 x 7.3cm and .4cm thickness at the seppa dai and kaku mimi.

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51. TSUBA This large Edo-Higo mokko gata iron plate is inlaid, with gold dragon and clouds (hira zogan), the reverse includes line engraved ancient characters (seal script), possibly a religious incantation.

The ategane are gold plugs with an interesting granular surface finish and matched shape. The raised border ring encircling the seppa dai and separating the lobes of the mokko shape. The inner ring has a fine cross-hatch engraving with traces of silver nunome inlay.

The plate overall features an archaic look Edo period. On the reverse side the five ancient kaji characters engraved into the plate, possibly a Buddhist passage. 8.572cm x 7.742cm Maru-mimi .304cm Seppa-dai .442cm, Nakago-ana 2.769cm x 1cm.

53. TSUBA Unsigned Kaku maru tsuba (6.9 x 6.7cm), with sukinokoshi mimi (5mm), sentoku plate with high relief carved and inlaid gold, silver, shakudo and dark copper including engraved and carved low relief of the shoreline and waterway depicting geese, bamboo and a figure in a small boat with gold basket, 19th c. The seppa dai is 4mm. Nakago ana is 2.5cm x 0.9cm, the original height (absent the sekigane), is 3cm.

54. TSUBA Oval openwork positive silhouette, polished brass tsuba depicting a water dragon encircling the seppa dai. Mumei, The mane being fine line carved. This theme is Chinese influenced and was popular during the Edo period, in kofu school tradition (6.5 x 5.3cm x .5cm, 19th c.).

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52. TWO TSUBA #1) Nagoya-Mono tsuba, Nagoya mono were made to resemble Mino-Goto School.

Partially signed “Choshu Hagi Ju Chika� on back side. Mokko-gata shape. The nigorome plate includes a nanako ground with carved high relief flowering cherry blossom trees silhouetted above and behind what appear to be gable end building roof lines on both sides.

The entire mimi and the kozuka hitsu ana rim and mimi are finished with a raised large grain nanako with gold nunome on the buildings. The purplish-black luster is only visible on the seppa-dai and portions of the tree trunk. 6.733 x 6.119cm Nakago-ana 2.459cm x .826cm. #2) Possibly a Jingo style Shoami tsuba, 16th c., unsigned. The thick Naga maru iron plate has its outer edge raised forming a 16 petal chrysanthemum bloom carved in a double row on both sides that extend outward from the center. The outer edge of the mimi is carved in high relief with a meandering continuous vine.

The kogai hitsu ana is plugged with a lead ategane that is engraved with a tree bark or scratch design. The kozuka hitsu ana is open.

The thickness at the nakago ana (seppa dai), is 3mm and 4.5mm at the mimi.

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55. TSUBA

57. TSUBA

Signed Masatsune, likely a work of the Ito school of Bushu Ito school. Edo period.

Maru gata (7.6 x 7.3cm) openwork three dimensionally carved and polished iron plate with two shakudo agatane (plugs), and gold highlights with a beautiful dark chocolate brown patina plate in very good condition.

Nice Ko-Kinko tsuba likely dating to the early Momoyama period. Very interesting mokko gata soft metal tsuba. The mimi looks to be a copper alloy fukurin. The ji, with traces of black lacquer on the surface, initially looks like yamagane but could be a brass alloy, possibly shinchu.

The well carved openwork (sukashi) subject matter is in a positive silhouette. The nakago ana is 2.8 x 0.8cm. The thickness at the seppa dai and the mimi is .45cm. A smith signed “Masatsune” in the same manner, he was referred to as “Jingoro of Ito”, possibly a second generation.

The random design motif is stamped kiri and kiku crests. The kozuka hitsu ana was added later. The ji includes traces of lacquer on both sides. Shape: Mokkogata 5.85cm x 5.34, Mimi 3.91mm.

58. FUCHI-KASHIRA Fuchi and Kashira ensuite. Mixed metal copper plate depicting an applied gold forest foreground, gold clouds above and silver inlaid peaked Mt. Fuji beyond. Nice detail work to the foreground.

59. PAIR OF MENUKI

56. TSUBA Shoami or possibly Kyo-Kinko Edo period.

Mokko gata shakudo plate including high relief carved gold dragon, the body is moving in and out of the nicely engraved clouds or water from one side of the plate to the other.

The kogai hitsu-ana ategane is gold with an interesting surface finish. The dimensions are 7 x 6.4cm x 0.4cm at seppa dai and 3mm at mimi. The nakago ana is 2.4cm x 7mm.

Fair condition.

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Menuki #1), paired Edo period, Boat manned by samurai warriors. Soft metal, shakudo, with gold gilding, one with samurai holding a katana, the other holding a naginata. Menuki #2) paired Edo period, elegant cluster of reed, shakudo and gold.

60. FUCHI-KASHIRA Shibuichi Fuchi signed Tadamichi and Kao, engraved and in high relief of flaming dragon emerging from turbulent waters and waves with inlaid gold highlights.

Kashira in deeply carved meandering vine with fruit and copper inlaid dew drops.

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61. FUCHI-KASHIRA Shibuichi plate fuchi-kashira consisting of shakudo/gold/copper inlay depicting a figure yamabushi (mountain priest) in high relief on the kashira and an engraved brook with inlayed high relief gold, and shakudo turtle emerging, wooden staff and fan.

Fuchi signed “Hirochika and Kao”. Excellent workmanship. Possibly Hojiusai Hirochika of the “Uchikoshi (Konishi) School. See “Joly”, Plate CXII #840, p 164.

62. TWO KOZUKA #1) Kozuka kogatana Shibuichi hitsu with three-brass inlay and engraved Tokugawa Aoi mon. Late Edo period. Blade signature: “Shizu Saburo Kaneuji”. This may be a commemoration to the famous swordsmith. #2) Kozuka-hitsu with bow, arrows and abumi on a black fine nanako plate, gold wash and signed Sekijo.

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63. COLLECTION OF FITTINGS Lot of sword fittings, including two kozukahitsu, Edo period, four Fuchi including gold, silver and shakudo inlay in high relief on nanako ground, two shakudo plate, one sentoku plate and one iron plate with three gold fujimon. Two Kazuka hitsu, one with crane and flowering tree, the other a dragon on nanako ground.

64. TWO TANTO WITH KOSHIRAE Red lacquer Aikuchi mounted hira-zukuri blade, musori, 19.37cm nagasa, and iorihikushi mune, kasane at habaki 6mm. Gunome hamon, bright nioi/ashi, Kaeri buka boshi.

Koshira fittings include kozuka, gold silk sageo, buffalo horn kuchi-gane, fuchi-kashirakurigata, engraved high relief copper cherry blossom menuki, Kazuka-hitsu signed “Masayasu and Kao”, engraved iron ishizuke fitting on the saya, leather ito wrapped over sami tsuka.

Menuki: engraved copper surface mounted menuki. Tsuka wakazashi, early one handed iron fuchi-kashira, Tsuka shin Gunto mod 97, missing fuchi.

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65. TANTO-YARI Tanto Yari (Hirasankaku 17cm), Koto period, mounted as a tanto, mumei and tang shortened. Fabric covered aikuchi saya, unpolished sami tsuka with silver menuki, two silver puppies playing on a roof tile, inlaid eyes and gold traces on dogs, kashira missing. The saya is covered in a silk brocade fabric that has been lacquered together with a kazuka and blade.

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66. TANTO Tanto and Shira saya, light and dark wood, mumei, short end 12 1/2” overall, Shobu-zukuri Iori mune very slight sori nagasa: 19cm.

Togare hamon no turnback. Gray bag.

70. TANTO/KOSHIRAE Tanto, lacquer aikuchi and kozuka (kozuka signed “Inoue”), fittings en suite, silvered copper and brass. Blue bag green tassels.

Blade mumei, Hira-zukuri, Nagasa 22.7cm.

Iori mune, unable to see hamon or hada.

67. TANTO/KOSHIRAE Tanto, brick-red lacquer with Autumn leaves, Aikuchi mounted. Shinto Blade; Moroha, Doran hamon, Nagasa 18.5cm.

Tang with one mekugi-ana, possibly shortened. Katte-sagari file marks. Saya in black lacquer with bamboo and cherry blossoms in gold, green and red. Missing kurigata, some damage. Each Menuki is a group of shishi in brass. Frolicking horses on nananko fuchi, koshira with pine tree on nananko ground. Blue and white bag with green tassel.

68. TANTO/KOSHIRAE Tanto black lacquer koshirae ribbed over wood, 11 1/4”. Loss to end of saya. Hirazukuri, iori mune, uchi-sori 3mm, Nagasa 17.8cm. Blade with two grooves omote, one groove ura. Blade out of polish, jigani and hamon difficult to see. Tang not inspected (mekugi will not unscrew). Blade in poor condition. Grey bag.

69. TANTO Shinto Tanto, in Shira saya 12” signed “Masayoshi”, in gold. One mekugi-ana, unaltered tang. Hira-zukuri with Iori-mune, mu-zori, Hada; Itame-mokume, Hamon; notare, very long turnback ko-maru or elongated jizu, boshi, Nagasa: 19.3cm. Shiribara-gata Tang: katte-sagari file marks, kurijiri tip.

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71. TANTO/KOSHIRAE Tanto mounted in dark wood (Koshirae), with horn ends, and inlaid silver and mother-of-pearl mons on both sides of the tsuka. Shinto Blade kanmori-otoshi, Nagasa 16.7cm, sanbonsugi hamon, slight zori, signed “Munechika”.

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72. TANTO/KOSHIRAE

75. TANTO/KOSHIRAE

Tanto and Koshirae in white bag. Koto Muzori hira-zukuri signed and partially translated “Munehiro”. Brass bamboo menuki, Fuchi-kashira and kurikata en suite in silver black lacquer scabbard and black sageo.

Tanto and kaiken Kashirae. Tsuka needs repair to mekugi-ana. Saya is dark red nishiji lacquer, some chips and scratches (repairable), with engraved brass fittings inlaid with silver.

Tsuka-ito black on white sami. Oval shakudo tsuba with a brass fukuri in the shape of a rope. Tang has two mekugi-ana.

The tsuka is gold lacquer on sami and polished smooth. The koshira is an engraved copper crouching shishi looking upward, as if on alert with gold inset eyes and traces of gold to the body. It is secured to the tsuka by shakudo clasps (ears). Silver wash habaki.

73. TANTO/KOSHIRAE Shinto mamori-gatana, black lacquer aikuchi with brown/gold bag. Nagasa is 13.8cm.

Hira-zukuri blade, iori hikushi mune, point curves upward, kaga tang, kiri-manji and signed “Kashu Ju Fujiwara Kiyomitsu Saku”.

Black sageo and engraved Shibuichi kozuka, inlaid with silver, rhombus mon form and engraved blade. Considerable damage to lacquer mounts.

74. TANTO/KOSHIRAE Koto Tanto, black lacquer/silver aikuchi Kaiken style with gold mori-Kamon mekugimenuki on tsuka/silk bag. Shobu-zukuri, signed “Bitchu kuni ju Tsunetsugu”, Shinogitakashi, iori-mune, horimono: ken with sankozuka, Hamon is ko saguha with ashi, Hada masame, Nagasa is 17.2cm. Katte-sagari filemarks. Horimono worn at the the vajra hilt under the habaki.

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Blade mumei is a Hirazukuri, nagasa; 18.5cm, Shallow Iori mune with uchizuri of .5cm, motohaba is 2.5cm. Blade in need of polish, some areas exhibit gunome hamon where visible, hada is not clear. Tang mumei, shows sujikai file marks, one mekugi-ana, sotoba-gata and iriyama-gata tip.

76. TANTO/KOSHIRAE Tanto in dark gray nishiji lacquer koshirae with horn kurikata and black sageo. Engraved brass fuchi/kashira en-suite. Black ito over white sami. Shobu-zukuri blade, slight upward curvature. Nagasa 14.7cm, Tang mumei, Torii-zuri, iori mune. Hamon not visible. No damage noted.

77. TROUSSE - CHINESE Chinese trousse, wood/silver colored metal, 19th c. with fabric hanger. Blade marked and in good condition.

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78. SWORD/KOSHIRAE Wakazashi and fine lacquer koshirae including kozuka and fittings en suite. The saya includes two different mon (Maeda & Mimura) of different lacquer treatments, a horn kurigata with gold grommets and black segeo.

The fuchi and kashira set is Shakudo with gold mons and signed “Iwamoto Tomitoshi and Kao”. The menuki are descending birds in flight, are engraved with gold highlights and appear to be shakudo. The tsuba is a lozenge shape cloisonné of floral design on a turquoise ground and clouds on the reverse, on a copper plate, with shakudo fukurin. The seppa and habaki are gold gilt. The tsuka is select sami with blue ito.

The blade is hira-zukuri, shallow iori mune, torii-zuri 8mm, nagasa 33.7cm. Hamon is suguha and maru turnback at the boshi, the jigane is a mix of itame and masame, The tang is mumei, funagata with three mekugiana and kesho file marks. Comes with a red lined brown and gold floral motif bag.

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79. SAMURAI SWORD Shin Gunto, T3 Tex black saya, large black German style officer’s knot (introduced 1912) in mint condition. Shinogi-zukuri.

Iori-mune, Torii-zori 1.4 cm, Nagasa; 63.2 cm Hamon is saguha.

Very small chips, less than 1mm. Tang signed “Ichiryushi Saku” (art name for Ichihara Nagamitsu), #2349 on spine. Sloughs p. 124, Hawleys NAG-296. Medium to high grade gendiato.

79A. SWORD/KOSHIRAE Wakazashi, Shinto Shinogi-zukuri, nagasa; 42.4cm, mumei. Choji hamon with ashi, slight turnback on boshi, some kizu.

Mounts include Kozuka with abalone shells on shoreline next to turbulent waters and a shakudo/gold fuchi-kashira.

Crushed pine needle lacquer saya, missing kurigata, minor ito work required, green ito has come loose. Orange/gold bag with nautical scene design.

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80. KOSHIRAE SAMURAI SWORD Katana and Koshirae, Uchigatana, rare find, 38” signed (sho stamp), “Noshu Seki Takeyama Yoshinao Saku”. Hamon similar to sanbon style, maru-boshi oil tempered, gold wash on copper habaki, nagasa 27 1/2” (69.85 cm), Torii-zori 1.8cm Iori-mune.

Black lacquer Saya missing kutikata and fuchi, 10” tsuka, brown ito over composite white sami over wood matching brass metal kiku-sui fuchi-kashira, pair two-shi-shi cub menuki, early thick iron plate maru-gata tsuba with wood grain “mokume Jitate” on the front side , kaku-mimi, kogai and kozuka ana, signed “Seshu Ju Nobuchika” 6mm thick.

81. KOSHIRAE SAMURAI SWORD Uchigatana Shinogi-zukuri. Blade signed “Kanesada” and dated Showa 1944, nagasa 25” (63.5cm) tachi. Hamon: saguha, good condition, not abused. Saya gold flake, brown urushi, some dents and loss of kurikata. Nice aoigata cherry blossom design tsuba, fuchi/koshira ensuite engraved dragon amid clouds, menuki- pair of shishi cubs each side. Damaged saya.

82. SAMURAI SWORD Shin gunto army mounted showato katana.

Signed and dated including saka stamp, “Takamasa”, dated 1944, likely Yasuda Takamasa (started in Seki on 10/27/1942, per Slough’s). Shinogi-zukuri, Nagasa 66.6cm, Torii-zori, Iori-mune 1.5cm Saguha hamon and maru turnback on boshi. Kesho filemarks.

83. SAMURAI SWORD Shin Gunto, T94 Type Army, blade is a Shobu-zukuri, Nagasa is 66.5cm, Iori-mune, Hamon; gonome, Mumei tang

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84. SAMURAI SWORD Shin Gunto T3 w/ lock mounted, late WWII Army mount. Blackend iron fittings, single hanger, blackened copper naga maru gata tsuba. Saya marked 472 under two illegible characters. The tsuka is brown ito over composite sami on wood.

Shinogi-zukuri blade, Nagasa 66.8cm, iori mune, Torii-zori 1.5cm, gold guilt habaki, Hamon Suguha with o-maru boshi. Good polish, light rust, no chips, bends or abuse noted. Tang signed “Yoshitada” 5th day, 20th year Showa (1945).

85. SAMURAI SWORD Uchigatana mounted wakazashi, Mumei, shinogi-zukuri, Nagasa 56.3cm, Torii-zori 1.4cm. Tang with two mekuki-ana, kengyo end. Hamon appear like sanbonsugi with bright ashi. Hada is itame/mokume. Marugata Tsuba with raised relief of various plants and flowers, lacquered black with gold highlights. Two seppa, copper habaki.

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Natural wood saya with owner’s tag attached (paper on saya). Fuchi-Kashira en suite with meandering vine engraved, silvered brass alloy. Menuki each appear to be shakudo with gold highlights of a dragon.

86. SAMURAI SWORD Kai Gunto T97 Navy, black lacquer wood saya with gold gilt brass fittings and cherry blossom menuki. Blackened copper plate naga-maru tusuba with two large blackened o-seppa engraved as radiating sun rays together with two gold gilt seppa.

Braided brown cord with wood owners tag hangs from tsuka, brown ito wrapped over composite black sami on wood tsuka. Shinogi-zukuri blade, Nagasa 63.5cm,Iori-mune, Torii-zori 1.1cm. Silver wash habaki, Hamon Suguha with o-maru boshi. Tang file marks are higaki and “664” stamped in. Good polish, no chips, bends or abuse noted.

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87. SAMURAI SWORD

90. SWORD WITH BAG

Uchigatana mounted Shobu Zukuri Tachi blade. Black lacquered wood saya, two-piece shibuichi habaki, iron sukashi maru-gata tsuba in the image of a Genji wheel, approximately 8.2cm wide.

Shinto Uchigatana, mounted mumei tachi, missing kojiri and kurikata shobu-zukuri, considerable rust stains, nagasa 61.9cm, Iori mune, Torii-zori 7mm, motohaba 3cm, sakihaba 2cm.

Nagasa 73.7cm, iori mune, Torii-zori 7mm.

Blade out of polish, hamon difficult to see.

Motohaba 3.3cm, saki-haba 2cm. Mumei tang with two mekugi-ana.

Three memekugi-ana, shortened, menuki; birds in flowering trees in mixed metals.

Tsuba carved metal plate with inlaid mixed metals of battle scenes. Loss of an inlay portion of samurai. Blue/gold bag, purple tassel.

88. MILITARY SWORD Shin Gunto Tachi Type 94 including two 1934 company grade officer’s tassels (brown/ blue). Blade signed and dated “Koa Isshin Mantetsu Saku”. Reverse dated the Spring of 1942, saka stamp, and #744 on spine (South Manchurian Railway Co.), Dalian Factory.

Shinogi-zukuri, nagasa 67cm. No sarute.

Not abused, great condition. See Slough’s p.

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91. TANTO Tanto Shira saya/horn 12” Shobu-zukuri, musori, Nagasa 18.2cm, koshi-bi and longer groove on the ji above the hamon. Hamon appears to be irregular gonome-midare with pointed some tani valleys. Boshi looks to be ko-maru. Tang is funa-gata, mumei, one mekugi-ana and katte-sagari visible in the shinogiji both sides.

89. COURT SWORD - TACHI Formal court sword , mumei, Ito-maki tachi in nashiji red lacquer/gold flake saya including sword bag. Overall 40”. All fittings are matching ensemble, engraved brass of meandering vine motif.

The gold colored ito on the saya is over a light green silk brocade with gold metalic thread, some loss of silk. The tsuka includes brown ito over sami and two large finely engraved brass dragon menuki, one clutching a pearl, each approximately 3”.

Iron Kaku Tachi tsuba with openwork boars eye at the corners and a large engraved copper o-seppa on each side. Shakudo habaki.

19th c. or earlier. Blade out of polish some damage to saya.

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91A. SAMURAI ARMOR 18th/19th c. samurai armor consisting of helmet (Kaji Kabuto for fire official), dou/ six gessan, sode (pair), suneate (pair), Kote (sleeves pair), appear related. The presence of stenciled leathers and the copper kanamono were reintroduced during the Edo period as the prospects for war diminished.

This is a kirritsuke iyozane ni mai dou (in two parts joined by a hinge lacquered to look like iyozane and kozane scales). It is laced in the mitsu suji gaki style in which three lengths of braid are used rather than the usual two, a more deluxe option. This is not common at all and it is a good quality piece.

The inner surface of the dou is laminated with black lacquered leather.

91C. KABUTO HELMET Hineno zunari kabuto/shikoro, Momoyama period or early edo. six plate haribachi with mabisashi and shikoro (neck guard) attached. Style most preferred in battle by samurai.

The hineno-jikoro is the creation of an armorer known as Hineno Oribe-no-Kami, who was very popular during the later part of the 16th c. The helmet is lacquered red with a large gold on black dragon mon on each side. Very nice, some small chips otherwise very good condition. No signature noted.

91B. SAMURAI ARMOR 17/18th c., consisting of Dou/gessan, suneate, Kote (sleeves), and a Tate-eri collar cushion with protective kikko neck plates for the neck (unusual black velvet fabric likely introduced by the Dutch traders, all original and related), plus sode and haidate. The Dou is a dangaye ni mai dou (in two sections, hinged) with more than one lacing style in the torso. Iron lame construction built-up to appear like sugake laced iyozane at the top and kirritsuke laced kozane at the waist and gessan. Most lacing was replaced in recent years. The dou is known as a dangaye dou, one that has the part covering the torso constructed in two layers, sugake laced iyozane (wide scales with spaced lacing) and above, kebiki laced kozane (small scales with all over lacing) down to the waist. Both sections are false scales made from solid iron lamelar plates modelled with lacquer to look like scales, hence they are kirritsuke iyozane and kirritsuke kozane. The rare lacquer finish on the dou is known as byakuden nuri, done by applying a transparent (plant oil based), lacquer over gold lacquer. The gessan, below the yurugi ito, (long lacing) from which the gessan are suspended, are kirritsuke kozane.

The bottom lame on the seven gessan may have been covered in fur or leather originally. The dou interior is lined with black lacquered leather.

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91D. HANBO/FACE ARMOR Rare Hanbo, Tsubame-gata, 16th/17th c. with rare tate (neck guard/cushon), mumei, two iron plates with asa nagashi no ana.

Three laced single-hinged (rare), iron lames, lacquered (dark brown) in and out.

The lames having a central hinge is unusual.

Traces of what may be gold gilding on the inside of the hanbo. The recent tare blue lacing is incorrectly attached to the face plate otherwise correct.

This design of face armor, protecting the chin and jaw, was most preferred in battle by the Samurai. It prevented chafing from the chord and secured the kabuto firmly in vigorous activity. In mint condition with no chips.

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91E. MENPO/FACE ARMOR Menpo, Classic Edo Iron Ressei style (Furious Power), Men-po with detachable hanano-ita (nose armor), pos. Nara area. Tetsu kuro deep brown, urushi nuri Ressei (ne no shita men style). Three lame Tetsu deep brown urushi nuri kiritsuke ko-zane yondan kebiki odoshi tare.

Edo period Menpo. Of noteworthy mention is the well executed silver-gray lacquer painted detail of a kuchi hige and ago hige (moustache and goatee), of individual whiskers by brush strokes as if inlaid silver.

The inside of the men-po is lacquered in shu (red), urushi nuri.

The lower brass teeth are applied to the kuchi hige (main body of mask), and the upper teeth to the hana no ita. Odome posts intact both sides. Under the chin is an asa nagashi no ana (opening), for perspiration. Deep blue indigo tare (lacing) is correct and intact.

91F. KUSARI ARMOR Rare chain mail (Kusari) sash armor. Of Japanese construction, as opposed to Nanban, 17th c. or earlier. Very rare under-armor item. Japanese style, Futae Kusari obi 36�.

Used under the armor behind the long laces attaching the gassen attached to the dou to protect the hips from sword blows. Over the centuries most of these have been lost.

91G. QUIVER Rare 18/19th c. quiver (shiko yebira). The hinged iron fitting arrow hold at the top is iron with stitched-on skin membrane cover to prevent rust, other fittings include copper and a black lacquered leather yanone pocket with gold lacquered kamon. In excellent condition.

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91H. SAMURAI ARMOR SECTIONS Three 18th/19th c. dou sections, two are the hinged type for the back, the third is the breast (front) section. All are lacquered iron lamelar. Two appear to have a leather membrane over the lamelar on which they were lacquered. The inside is lined with black lacquered leather.

91I. AORI HORSE ARMOR Pair of leather embossed and lacquered saddle flaps. Designed to protect the sides of the horse from bramble and branches in the forests. It attaches to the underside of the saddle. The subject is lacquered with a leaping tiger, head turned back in a forest setting. The borders include embossed threeclaw water dragons, 21” H x 27” W.

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91J. SUMO WRESTLER’S CEREMONIAL APRON Mid 19th - early 20th c. Custom original wood box 29 1/2” H x 17”W, one slat missing with owner’s professional name (Suminoya) painted on the top and list of sponsors on the interior.

Exquisitely embroidered felt employing metallic gold and silver silk threads, cartouched in the form of a rope with Suminoya’s name.

Two confronting dragons and a wish granting jewel or sacred pearl also visible.

The base is trimmed with heavy shaped gold wrapped tassels. Apron size: 35” L x 26”W; entire cloth: 8’9”. One of the dragon’s glass eye is missing. The loincloth area has some tears and holes, but the decorative apron itself is in good condition. Only contending wrestlers who had attained a high degree of success were allowed to wear this.

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91K. TWO SWORD HANDLES #1) Early Wakazashi Tsuka, iron fuchi/kashira black tsuka-ito soft metal menuki for (one handed sword), black ito intact. #2) Shin Gunto Tsuka, WWII army with brown ito over same and menuki, good condition, missing fuchi.

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92B. COMBAT KNIFE AND SHEATH 92. TANTO Tanto in Shira saya marked Kaneuji and dated 1736. 10. 1/2” “Shizu Saburo Kaneuji” engraved on blade above silver color habaki.

Fullered blade in poor condition. Tang is mumei, no visible file marks. Nagasa 15cm, iori-mune and mu sori. Naginata-hi. May be a tribute to the smith.

92A. BAYONETS AND SCABBARD #1.), German WWII 1943 K98 Bayonet, scabbard and leather frog , mfg by R. A Herder. Celluloid grooved grip not cracked, 10” blade, original blue, no scratches.

Ricasso “5650” over “H” and on the reverse “43 FNG”. Scabbard also marked “5650”. #2.) WWI Bayonet including frog, wood on steel hilt, no cracks. Ricasso marked “5050” over “A”, and “S/176K”. Pommel has a logo over “77”, scabbard marked “5050”, frog not marked. 10” blade false edge. Blade not abused. Belonged to Arthur Whittemore (former Supreme Court Justice) while in Europe during WWI.

Marked “US- L. F & C. 1917” on upper guard (1st model). Commando fighting knuckle-duster d-guard combat knife and original lacquered leather and steel sheath with belt hook, marked on leather “JEWELL 1918”. Triangular blade (spike), sharp edges and perfect point, eventually prohibited by the Geneva Convention due to the nature and shape of the wound it inflicted. Wood grip no splits, wood grip carved one side with a “P” and “G-9639” on the reverse.

Scabbard fittings marked “M.S.”. Original green paint on leather intact with very little loss. Minty not abused, stored properly for years.

Provenance: Belonged to Lt. Col. Bernard C. Gorfinkle, later (after being wounded twice at Verdun France) was promoted to Captain and eventually, General. He was among the first 50,000 dispatched to France in 1917, 101st Ammunition train, 26th (Yankee) division. Many other noteworthy credits and accomplishments listed includes military aide to President Woodrow Wilson (John P. Richardson Estate, Hingham MA).

#3.), Post-WWII Bayonet manufactured in Czechoslovakia, wood grips, leather frog, marked “CSZ” over “D” and “E, rampant lion 26” on reverse, the side of the guard has a circle with “Z” in it, all in excellent condition. 11.75” blade 99% bluing, not touched or abused, with original scabbard, hook marked “53” over “CSZ” over a hallmark.

Leather frog not marked. #4.), Leather scabbard with silvered metal fittings including hook for frog, no frog, metal fitting throat stamped on rear side “25.R.2167”. A small hallmark on the fittings is a crown over a gothic character (John P. Richardson Estate, Hingham MA).

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92C. BOWIE KNIFE

97. NAZI DRESS DAGGER

Custom made bowie knife with fine leather grip, unmarked. Purchased from a cowboy around 1916 in the El Paso area. Mint condition, appears unused, with fine leather belt, sheath and tie, (John P. Richardson Estate, Hingham, MA).

German Army (Heer), officer dress dagger, type 1935, original Sr. Army officer’s silver portepee/hanger marked “D.R.G.M.”, wear evident, and officer’s knot damaged guard, missing swastika, no cracks to hilt. Marked with squirrel. Slight dent to scabbard.

93. NAZI DRESS DAGGER

98. NAZI DRESS DAGGER

German Nazi party, early issue NSKK “SA” (Storm Detachment) double edged blade, etched slogan “Everything for Germany”.

German 1936 Nazi party “SS” officer’s sword, early 1936, double edged blade, etched slogan “My honor is named loyalty”. Marked “RZ 1163 /38-SS” (F. A. Helbig, 1938). Includes original hangar strap marked “ADPCM”, blade marked “RMZ M5/8”.

Marked; RZM M7/13, RZM indicates that the blade was manufactured by “Arthur Schuttelhofer & Co, Solingen - Wald”. Natural wood handle, black/chrome scabbard/ fittings.

94. NAZI DRESS DAGGER Standard German Army Officer’s (Heer) dress dagger, type 1935, including original Army officer silver portepee/deluxe hanger, blade marked with shield and “Z”, Clemen & Jung (prior RZM). In excellent condition, not abused, no cracks.

95. NAZI YOUTH KNIFE/SCABBARD

99. DRESS DAGGER German Fireman Dress dagger/frog. Frog looks original to knife. Partially signed “Carl Buss MAINZ”. Small chip on grip.

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Nazi party Youth knife/scabbard, original belt strap, black cross-hatched celluloid grip, minty-no cracks, red/black/white enamel swastika insert like new, excellent condition blade marked, RZM M7/13 indicates that the blade was manufactured by “Arthur Schuttelhofer & Co, Solingen - Wald”.

96. NAZI “SS” DRESS DAGGER German Nazi party “SS” double edged combat trench dagger, with Knuckle Bow guard, possible presentation piece, etched with engaged infantry scene and enclosed with an open winged eagle on each side, standing on a swastika globe supported by oak leaves.

Tang nut stripped of thread. Not abused, but wear shows.

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99A. NAZI PARTY BELTS/BANNERS #1.), Original Earlt WWII Nazi Party Police official’s black leather belt (38”), and aluminium buckle, two piece construction with scoop catch. Buckle reads “Gott mit uns”, (God be with us). In very good condition, no rot, not marked, metal detail excellent, little wear. #2.) Early brass SA belt and buckle, 37.25”.

Buckle is an early two piece construction, scoop catch example, the belt hook is brass plated, rivet on steel shows wear. The leather belt is marked “CROUPON over 857”, just about perfect. Leather is soft and healthy with good color and little wear. A very good buckle with a fabulous belt. #3.) Rare arm band, early 1930’s NSDAP, stitched construction armband. Band also enjoys a black ink stamped division logo.

Appears to read “Der Stahlhelm” on a helmet, this logo represents the War Veteran Assocociation. Very good condition and original. #4.) NSDAP banner fragment (2/3), of German WWII double-sided NSDAP Party Banner, originally 22” x 14” overall. Center roundel is approximately 11” dia. Light cotton stitched construction. Color is very good. On the lower end corner handwritten in ink “Berlin 1945” (John P. Richardson Estate, Hingham, MA).

99B. GERMAN MAGAZINE AND CARDS

99C. FIVE NAUTICAL HISTORY BOOKS All in Very Good condition with minor edgewear, pages nice, and binding tight.

Includes: “The Battleship”, “The Story of the Sea” in 2 vols., “Naval Ordinance and Gunnery (NAVPERS 16116)”, and “Men and Ships of Steel” (Priscilla Archibald Estate, Duxbury, MA).

99D. BOOKS ON U.S. NAVAL HISTORY Large collection of 21 books on U.S. Naval history. All are in Good to Very Good condition with excellent boards and nice pages.

Some books include: “Naval Actions of the War of 1812”, “Naval Officer’s Guide,” “Naval Customs”, “Naval History of the United States” (Cooper, 1839), and many more (Priscilla Archibald Estate, Duxbury, MA).

100. EARLY BAYONETS #1) Early bayonet/frog type A98, original frog, marked “W K C #954”, spine “#35”, scab throat “#7222 d Jos Corts S 1937” d. #2) Pre-WWII Army bayonet, blade not marked. Frog marked “GEBR PRESSLER PLAUEN”.

#1) Vintage WWI Illustrirte Zeitung 1936 Nazi Magazine (text in German), color and B&W. November 1936 publication. Cover features a Nazi soldier holding his rifle with everyday scenes in the background. Soft edges on cover with some tears about an inch long. Parts of spine chipping or missing. 322 pages full of German advertising, propaganda, and stories. Overall Fair condition. #2) Original Pre-WWII Nazi Party build-up propaganda intended to win public support.

A historical snapshot captured by Hitler’s personal photographer, Heinrich Hoffmann.

These cards were issued in packages of cigarettes.

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101. FOUR FENCING SWORDS #1) Rare early antique fencing foil epee sword. Engraved fancy silver colored cup guard, pommel and multi strand wire hilt.

The blade is signed “Brumon a Cotatay”. #2 & 3) Pair of early fencing foil epee swords, manufactured by Couleaux Cie Klingenthal, cup guards and twisted copper wire wrapped shark skin grip with conical pommels. #4) Early Italian made fencing foil, cupped D guard and twisted copper wire wrapped shark skin hilt grip with metal back-band.

Hallmark on ricasso not attributed. Light rust, needs cleaning, slight bends, chipped paint on guard. #5) Antique fencing head mask with leather liner, #6) Postcard photograph of fencing instructor (Priscilla Archibald Estate, Duxbury, MA).

103. SWORDS AND MACHETE Three swords and a machete without scabbards. #1) Societal or militia ceremonial sword with brass hilt featuring clam shell guard with eagle clutching arrows and olive leaves, wings spread outward and classic shield on breast. The grips are missing and the pommel is an armor helmet with feather. No maker marks found. #2) Machete marked “Clark & Parsons Co. East Wilton, ME. USA, AeroFino, Calidad Garantizado No 22”. In addition, there is an arm cocked back holding a machete over “Relampago”. Overall; 31”, 26” blade and five rivet horn handle, 19th or early 20th c.

No damage, very light rust spots but blade bright, can be easily cleaned up. Popular in Cuba. #3) Rapier with open work guard and wood hilt. May have been ceremonial or dress use.

Makers mark engraved, illegible. Blade 30 3/4”.

102. FENCING FOILS Five assorted antique Fencing foils, Soligen, Klingenthal, Cotatay, one is signed “Brumon a Coltatay” (very rare).It is also marked “Partridge Boston”. All blades marked “#5”.

Light rust and require cleaning, slight bends, chipped paint (Priscilla Archibald Estate, Duxbury, MA).

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#4) Antique (early 19th c.) light Cavalry type saber. Not marked, not certain of origin.

Openwork iron d-guard, twisted copper wire wrapped wood grip, no splits, 32” fullered (partial two-thirds both sides) blade. Light rust except tip area a little heavier. The top 8-10” of the blade appears to have been double edged but slightly dull now (Priscilla Archibald Estate, Duxbury MA).

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105. NAVAL SWORD Rare French Model 1833 Naval Cutlass. This was the premier naval cutlass for most of the European navies throughout the 19th c. and was a prized weapon of the enlisted sailor.

104. TWO BAYONETS #1) Rare Pre-WWI US Springfield Armory long bayonet and scabbard. Blade marked “S A” over logo, “1906” on the ricasso, the reverse “US” over “172/59”. Fullered blade 16” with double edge at top. Not abused, no rust, scratches, bends or chips, bright finish.

Wood hilt, no cracks/splits.

Scabbard locking button works fine. Scabbard consists of canvas and leather removable field jacket with belt hook, leather marked “H.B.” over “R” over “1915”, below that are three illegible letters. No splits, tears or wear. The scabbard consists of wood with stitched over sinew covering and soft metal (brass) throat with lock-hooks. For mod 1903 Springfield rifle. #2) Rare, clearly marked British Victoria Regina 1892 Sanderson, Sheffield Bayonet and scabbard with 12” blade. Potentially for the 1888 303 Enfield. Ricasso also shows War Department and inspection marks.

Very light rust and no splits to wood hilt or damage to blade. Scabbard is nickel plated steel, probably dress with metal belt clip, no dents, light rust can be cleaned up. This bayonet was utilized in the 2nd Boer War in South Africa but also in WWI (Priscilla Archibald Estate, Duxbury, MA).

This was such a sought after weapon that most Navies patterned their cutlasses after this French model including the US navy in 1860 for the Civil War. The Confederacy ordered many from France. Blade is excellent, not abused, anchor insignia clear on both sides, and inspector marks correct on ricasso and guard.

Guard retains 90% of its japanning or brass plating in and out. It is dated “1842 and the provenance in written script found on the spine of the blade states “MANUFre Rle de CHATELLERAULT Jaie 1842”.

The blade is 26 1/2” to ricasso. The scabbard is healthy, some cracks, and in good condition including the stitching and the brass fittings. The tip ball is 100% and only two small dents are visible (Priscilla Archibald Estate, Duxbury MA).

106. FRENCH CAVALRY SABER Rare French Model 1816 Calvalry Saber.

Spine marked “Manufactured by Imperial Châtellerault Arms Mod 1816 Cavalry 1829”.

In 1829 Chatellerault employed 40 workers and only produced 6,000 of these. Much less than Klingenthal’s 60,000 per year during the Napoleonic Wars.

The 31 3/4” blade comes with no scabbard.

Hallmark is barely visible on the side of the d-guard along with the number “904”. There are no signs of rust anywhere, however, the blade was nickel plated at some point in time. The hilt’s leather wrapped grip appears original but has suffered some loss.

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107. ETHIOPIAN BATTLE SWORDS

108B. “HISTOIRE DE LA GARDE IMPÉRIALE”

Two Ethiopian 19th/20th c. Abyssinian (formerly Ethiopia), double-edged battle swords, one 26”, the other 21 1/2”, curved diamond section double-edged blade with wooden hilt. Designed to strike over or around a shield, armor, or horse mounted soldiers from either direction. Original wood handles, no scabbards. Blades lightly rusted.

(4to) In French, by Émile Marco de SaintHilaire, 1847, First. Plain blue cloth boards mildly edgeworn, spine cover has some fraying to the upper right corner, gilt intact.

Pages have some minor toning and binding a little loose. All illustrations bright and accounted for. Overall Very Good condition.

Measurements: 11 1/4” x 7 1/2” x 2 1/4” (Priscilla Archibald Estate, Duxbury, MA).

108. THREE DAGGERS #1) Golok (Golang/Bendo), a favorite melee jungle knife or chopper also used at time of war. Turn of the 20th century. Carved wood hilt in the style of a dragon or a serpent.

Not damaged, missing one side of the wood sheath. #2) Early 20th c. German boot or fighting knife. Double-edged spear point. Celluloid handle ribbed, no cracks noted.

108C. NAPOLEONIC BOOKS “Life and Campaigns of Napoleon Bonaparte” (Arnault, 1847), “Life of Napoleon” (Arnault, 19th c.), “History of Napoleon” (Laurent de l’Ardeche, 1854), and “Memoirs of Napoleon Bonaparte” (De Bourrienne, 1885, three vols.). Books are in Good - Very Good condition. Most have edgewear to corners, mild scuffing, interior toned and intact.

#3) Dress dagger European 19th century, spike blade some loss of bright finish, no breaks or chips. Wood Hilt tapered hexagonal shape, no chips original finish. “S”shaped cross guard, each end finished with an acorn.

108A. “CAMPAIGN OF 1792” MONEY 1794 (8vo) Full title: “History of the Campaign of 1792, Bewteen the Armies of France under Generals DuMourier, Valence, Etc. and the Allies under the Duke of Brunswick; with an Account of What Passed in the Thuilleries on the 10th of August.” By J. Money, Marechal de Camp in the service of Louis XVI, 1794. Previous owner’s sinature on title page.

Quarter bound polished calf leather binding with cloth covers. Boards in good condition with some minor edgewear, some chipping ocurring near spine cover. Gilt on spine cover still apparent, though fading. Front free endpaper unglued from title page. Some small quarter-inch tears on the first few pages. Moderately toned interior. Binding still tight with all maps accounted for. Overall Very Good condition. Measurements: 8 1/4” x 5 1/4” x 1” (Priscilla Archibald Estate, Duxbury, MA)..

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108D. “PERRY’S EXPEDITION TO JAPAN”

112. TWO CHINESE BRONZE VASES

(4to) “Narrative of the Expedition of an American Squadron to the China Seas and Japan” by Francis L. Hawkes, 1857. Quarter bound leather binding with marbled paper covers. Boards showing some edgewear, corners near spine cover are starting to split, spine cover a bit rubbed with gilt still apparent.

#1) Antique baluster form with cloisonné archaic style dragons or birds on three bands, flared neck and lobed rim. A raised four character seal mark on base in seal script.

Approximately 11 3/4” H x 9 1/2” W.

Inside, pages are mildly toned with a hint of foxing. The binding is a little loose, but holding true. Wonderful illustrations throughout with a fold out map still intact. Overall Good condition. Measurements: 10” x 7” x 2 1/2”.

(Priscilla Archibald Estate, Duxbury, MA).

#2) Antique baluster form bronze vase with loose flattened oval rings at each side held on by a mythical one-horned beast with engraved mane. Two bands of engraved archaic geometric designs, base missing on interior. Oxidation overall, dented on one side. Approximately 16” H x 7” W (Priscilla Archibald Estate, Duxbury, MA).

109. CHINESE VASES Pair of Chinese crackleware vases with two five-claw dragons amid the heavens chasing the wish granting jewel. Dragons are brown and iron red, 8 1/2” H. No chips or cracks noted. Base marked “Cheng Hua Nian Zhi” but not of the period, these are turn of the 20th century.

110. JAPANESE STONEWARE BOWL Early. Possibly made for Vietnamese market, with white glaze and deep cobalt blue designs to the exterior and interior, approximately 7” W x 3” H.

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111. JAPANESE TEA CEREMONY BOWLS Collection of five assorted antique Japanese Banko stoneware tea ceremony bowls, one is marked. No cracks, chips noted. #1) White glaze, 2” H x 6” W. #2) Light gray-green, 3” H x 4 3/4” W. #3) Mottled beige, 2 3/4” H x 5” W, impressed seal next to rim on exterior. #4) Cream-beige coarse glaze, seal mark impressed next to rim on exterior, 3 1/4” H x 4 3/4” W. #5) Green and brown iridescent glaze, 3 1/4” H x 5” W

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113. JAPANESE BRONZE LOT

117. KUTANI COVERED JAR

Two jardinieres, and a candlestick with handle.

Finely decorated, gilt with a variety of floral and foliate cartouches with birds, signed on base, the lid with a square cartouche depicting a young man with a bundle of branches perched on a wooded mountainside observing a distant waterfall, 2” H x 3” W.

#1) Six-sided elongated shape with bamboo form feet and fretwork relief design to each side and applied birds to each end. Approximately 8 1/2” W x 6” D x 3 1/2” H. #2) Small antique Chinese hexagonal footed jardinere, with archaic design to the exterior, handles on both sides of mythical onehorned beast, 3” H x 5” W x 4” D. #3) Bronze footed candlestick including handle 9 1/2” L (Priscilla Archibald Estate, Duxbury, MA).

114. JAPANESE BRONZE CENSER Openwork lid and braided style handle.

The openwork top incorporates several raised symbols. On the interior bottom is an engraved scene of bamboo and cherry blossoms, rockery, a pond, and a bird in flight.

There is a raised four character signature on the left side of the image (Priscilla Archibald Estate, Duxbury, MA).

118. KUTANI COVERED JARS Late 19th/early 20th c. #1) Ovoid form, finely painted and extensive gilt including fan and moon-shaped cartouches with chrysanthemum, phoenix and cherry blossom, signed and seal marked on base. #2) Baluster form with cover decorated on the central band and top with a continuous flock of flying swallows, marked on base. No chips or cracks noted, very good condition.

115. JAPANESE IRON POT Jar form with basket weaving and foliate design at the top, including a loose bamboo modelled handle (Priscilla Archibald Estate, Duxbury, MA).

116. PORCELAIN KUTANI PIECES Teapot: hexagonal form and lid with the characters for good fortune and long life, a continuous scene of floral sprays with crickets and cricket cage. In iron red, black and extensive gold gilt, no handle, signed under lid, 6” H x 2 7/8” dia.

Small tea cup: very well executed with cartouches in the shape of fans, cherry blossoms, clouds containing floral sprays and flowering vines with a pair of red crowned cranes, delicately executed in polychrome enamels.

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119. KUTANI VASE

122. CLOISONNÉ CANISTERS

Kutani bottle-shaped vase, early 20th c., in iron red overglaze, extensive gilt with tall neck, approximately 14” H. “Fuku” seal mark (“good fortune”) in red on base. The neck is decorated with a three-clawed dragon descending from the heavens.

#1) Two five-claw yellow dragons chasing a sacred jewel on a black background amid the clouds on the sides, the top enjoys a frontal facing yellow five-claw dragon on a black ground amid the clouds surrounding a sacred pearl, 4 3/8” H x 4 3/8” W. Three chips to blue enamel on the interior, no other damage.

The globe is decorated with multiple bands of various intricate design patterns, thin primary central band with four cartouches, two with mythical phoenix and a Chi Lin, the other two with a turtle looking upward.

The base bands include leaf design.

#2) Two five-claw yellow dragons in two oval cartouches on a turquoise fishnet background chasing a sacred jewel on a black sky and encircled in brick red and turquoise border, 2 1/2” H x 3 3/4” dia. No damage or loss (Priscilla Archibald Estate, Duxbury, MA).

120. CHINESE VASE Chinese rose medallion bottle-shaped vase, 19th c., 12 1/2” H X 8 1/2” W. Well executed, traditional figural cartouches and floral sprays with birds and butterflies to the neck and body of the vase.

121. BRONZE BUDDHIST DRAGON VASE Baluster form, with high relief five-claw dragon coiled around the neck and two opposing five-claw dragons chasing a sacred gem encircling the body. Vase has silver inlay detailing clouds, flames, etc. The base is marked with a raised seven character mark including a Buddhist symbol.

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123. WWI HELMET German, WWI, original WWI Stahlhelm M1916 helmet. Good original condition, retains paint. Leather liner missing one flap. Inside shell stamped “ET64” (Priscilla Archibald Estate, Duxbury, MA).

124. WWI HELMET French steel Artillery WWI Adrian Artillery helmet M1915 with steel insignia device and leather liner intact (Priscilla Archibald Estate, Duxbury, MA).

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125. MARINE CAP AND BOOK #1) US WWI Marine Officer’s visor cap with with brass insignia device, 1917. Made by Saks and Gorman, Washington DC. #2) “Aerobatics” by H. Barber, 1918, signed half title page “Lieut. George H. Crocker Jr. First Marine Aviation Force 1918”. Very Good condition (Priscilla Archibald Estate, Duxbury, MA).

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126. RUSSO-JAPANESE WAR BOOK “Containing the photographic and pictures regarding the Russo-Japanese War” Kinkodo & Co. Tokyo Publishers, 1904. Green cloth boards with some edgewear. Front board has nice purple and gilt coloring. Spine cover fraying on the top and bottom.

Interior nice with binding a little loose, but still holding. Features photographs from the Russo-Japanese War from the Japanese lens.

Overall Good condition. Text in English, Chinese, and Japanese (Priscilla Archibald Estate, Duxbury, MA).

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127. “FIGHTING SHIPS” BOOKS Eleven books of “Fighting Ships” by Fred T. Jane. Years covered: 1899 - 1900, 1902 - 1907, 1909 - 1911, all Firsts. Most are in Good condition, with some of the spine covers chipped or loose. Binding on most are shaken, though still holding. All pages intact and moderately toned, else good (Priscilla Archibald Estate, Duxbury, MA).

128. AVIATION BOOKS Collection of eight books on US Aviation history. All are in Good - Very Good condition with nice boards, excellent spine covers, and nice interiors. Some books include “The Flying Book: The Aviation World Who’s Who” (Wade, 1918), “Aerobatics” (Barber, 1918), “Pictorial Manual Aircraft and Seacraft U.S.N.T.S.” (1942), “All the World’s Aircraft” (Jane, 1942), and others (Priscilla Archibald Estate, Duxbury, MA).

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129. TRUNKS WITH UNIFORMS #1) WWI cabin trunk with keys containing Naval/Marine officer’s uniforms, two officers visor caps with devices, two helmets, gas mask, dress belt, epaulets, buttons, collars and spats, etc. 5’ x 8” American Flag. #2) Steamer trunk with Army belt, canteens, misc. WWII items (Priscilla Archibald Estate, Duxbury, MA).

130. COAST GUARD CLOTHING Vintage Coast Guard jackets and shirts, slacks size 38, two flags, one “76” Bicentennial, 5’ x 8’ stitched unused (Priscilla Archibald Estate, Duxbury, MA).

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131. THEODORE ROOSEVELT LETTER Signed WWI Theodore Roosevelt typed letter, dated May 17th, 1917 on Metropolitan Magazine letterhead. Roosevelt started out as a political contributor and then became the magazine’s editor in 1914.

Before the United States entered World War I, Roosevelt met with Woodrow Wilson to form a volunteer Infantry division. This letter, addressed to George H. Crocker, makes reference to Roosevelt hoping Crocker can help him establish a volunteer division in Massachusetts. President Wilson would eventually deny Roosevelt’s request to form such a division.

As follows: “My dear Mr. Crocker: I am sure we can use you. I will have an application sent to you at once. Meanwhile, will you let me know just what you think you could do, and whether you think you could raise men in Massachusetts? I wish you could get in touch with Captain George A. Kyle of Boston, and Warren S. Patten of Cambridge, who also desire to go into the division.

Perhaps you three might begin raising a unit in Massachusetts. Faithfully yours, Theodore Roosevelt”.

On period linen paper, sharp corners, minor fold separations less than a 1/4”. Includes a brief war service biography of George H. Crocker (Priscilla Archibald Estate, Duxbury, MA).

131A. WWI EPHEMERA Large collection of letters and various ephemera relating to 2nd Lt. George Crocker, who served in the U.S. Marine Corps Reserves during World War I. Many excellent pieces from the U.S. government in good condition. Also includes “First Training Regiment of Business Men at U.S. Military Instruction Camp Plattsburg, New York 1915” in Very Good condition (Priscilla Archibald Estate, Duxbury, MA).

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132. CIVIL WAR MATERIAL The Captain Francis Edwin Goodwin collection of Civil War material to include: the Presentation Civil War saber with 31” blade, unsigned, with two fullers on both sides down three-quarters of the blade, openwork brass “D” guard engraved “Presented to F.E. Goodwin, Worcester, Mass.”, twisted brass wrapped fish skin, average to good condition, light rust on blade, with original leather scabbard with brass, scrape and hangers unmarked (leather is dried and slightly bent at tip), early tag in script reading “Captain Francis Goodwins belt buckle, sword and pistol...”; Captain F.E. Goodwin’s carte-de-visite photograph portrait of Frank E. Goodwin, Capt. 25 Regiment, Mass., marked on back by “Case & Getchell, Photographic Artists, 299 1/2 Washington Street, Boston.”; A Presentation Model 2 Army Smith and Wesson .32 caliber revolver, patent on the barrel “July 5, 1859 & Dec 18, 1860”, “Presented by G.G. Reed to F.E. Goodwin, Worcester, Mass. Serial #745”, marked “Smith & Wesson, Springfield, Mass.” on the top of the barrel (6”), tip-up, spur trigger, 6-shot revolver with rammer pin under the barrel, factory blueing is 80%, overall excellent condition, and possibly never fired; Hand-hammered belt buckle, with Federal spread winged eagle, and shield and banner of E Pluribus Unum above, surrounded with 13 stars, and holding arrows and an olive branch in talons, 2” x 3 1/2”; Leather belt holster with silvered brass closure and single belt loop on back, shows wear but overall supple condition, 11 1/2” l; Supple leather belt pouch with two flaps, top flap with strap for brass closure button, overall good condition with in-use wear, 4” x 4”; Packet of F.E. Goodwin documents to include the Mass. (Gov. John A. Andrew) appointment of Frank E. Goodwin of Worcester as First Lt. of Company A in the Twenty-Fifth Regiment, Oct. 12, 1861; and a second Mass. document appointing Francis E. Goodwin Captain in the 25th Regiment March 20, 1862; Documents of the Grand Army of the Republic, New Hampshire for F.E. Goodwin, 1869; Discharge for Captain Goodwin in Oct. 1864 at age 31; Bill of Sale for one sword strap - .75, one sword knot - .35, one coat sling $2.50, dated Oct. 25, 1861; War Department Orders, dated Aug. 1, 1864, to report to Col. John Hendrickson at Gallops Island in Boston Harbor per order of D.D. Townsend, Secy. of War, Asst. Adj. General; membership papers for the “Loyal Legion” April 1903; and the Marriage Certificate, 1904, to Emma Palmer of Roxbury, Mass., May 10; And an important Day Book/Journal “Marsh’s Long Octavo Diary: 1862”, traces of blood stain on front bottom of yellow pages, written in pencil daily, describes battles: 11/02/1862 - Battle of Rawls Mills (NC), short battle/skirmish, Union victory; 12/14/1862 - Battle of Kinston (NC), short battle, Union victory, lasted 10am - 2pm, “Terrible Battle both sides suffered severely. Captured 11 pieces of Artillery.”; 12/16/1862 - Battle of White Hall (Ferry), (NC), wanted to take the bridge at White Hall, Confederates burned the bridge rather than let the Union forces take it, contested victory; 12/17/1862 - Battle of Goldsboro Bridge (NC), Union soldiers successfully burned down the railroad bridge, Union victory, “We drove the rebels twice acrost [sic] the river and burnt the R.R. Bridge and tore up the track.”.

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133. “MANASSAS TO APPOMATTOX”

133C. NAVAL DRAGOON SABER

(8vo) Memoirs of the Civil War in America

by Lt. General James Longstreet, 1896, J. B. Lippincott Publishers. Autograph Edition no. 102 of 250. Front board free from spine, chipping where the board came free.

Civil War Naval dragoon cutlass/saber. Gold gilt on brass cup guard, USN model 1860 marked (ricasso), “USN D R” for Daniel Reynolds and “1862”, verso not legible. Serial “22M / 28. 26” ricasso to tip, large fuller both sides. Blade not sharp, shows signs (nicks) possibly from battle.

Quarter bound leather binding with marbled paper covers. Binding not found elsewhere.

Internally, pages nice and binding tight. All plates accounted for. Overall Good condition. Measurements: 9.75” x 6.75” x 2.5” (Priscilla Archibald Estate, Duxbury, MA).

133A. CIVIL WAR PORTRAITS Collection of four Civil War photographs of Union soldiers in cases (covers are off), (two ambrotypes and two tintypes); and a period framed oval lithograph of E.E. Ellsworth, “Col. of the New York F. Zonanes”, Published

by J.H. Bufford, 313 Washington St. Boston.

133D. CIVIL WAR CDV Period CDV of Civil War Major General Franz Sigel. Major General Sigel was a German-born immigrant that was endorsed

by Abraham Lincoln to serve in the Union Army.

He led the North at the Battle of Pea Ridge, where he defeated Major General Earl Van Dorn. This carte de visite is on Brady’s National Portrait Gallery stock. Excellent condition, though the Maj. General’s name is misspelled.

133B. CIVIL WAR CDVS Three carte-de-vistites of George Baird, Colonel of the 32nd Regiment Infantry U.S.C.T. (“Colored Troops”). Colonel Baird joined the Civil War as a soldier in the 1st Connecticut Light Artillery Battery in August 1862.

He was a Medal of Honor recipient and was distinguished for his role in the Indian Wars.

Two of the CDVs are printed on Cooley & Becket Savannah, GA stock and one is printed on J.E. McClees Philadelphia, PA stock. All feature Colonel Baird in full dress and are in excellent condition.

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133A

133B

133D

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133E. CIVIL WAR CANTEEN Cloth covered pewter stamped “6 MASS.” on the front. Originally from the Warren Jacob Collection in Hingham, Massachusetts.

The 6th Regiment Massachusetts Volunteer Militia was the first to arrive in Washington completely uniformed and equipped for service. On their way to Washington, they were ambushed by a mob in Baltimore resulting in four members killed and 36 wounded.

They were the first of many to fall in the Civil War. 134. FIVE BOOKS ON ARMOR “The Armourer and His Craft” and “European Arms and Armour in the University of Oxford” folios. Both First editions, Charles Ffoulkes, 1912. Red and blue cloth boards are in good condition with some minor edgewear. Gilt to both front boards, spine covers, and top edge of pages. Pages nice and crisp. All plates accounted for. Binding is tight. Measurements: 12 3/4”.

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“A Glossary of the Construction, Decoration, and Use of Arms & Armor” (Stone, 1934), “Arms and Armour” (Ashdown, 1909), and “Ancient Armour” (Hewitt, 1855). All books in Very Good condition (Priscilla Archibald Estate, Duxbury, MA).

135. “ALMAIN ARMOURER’S ALBUM” Folio. With introduction and notes by Viscount Dillon. Reproduced and printed by W. Griggs, London, 1905. Cream cloth boards with some edgewear and soiling. Paper spine cover has a small amount of chipping, not through to binding. Reverse board features some scuffing.

Gilt on front board, spine cover, and top edge of pages. Previous owner’s name on title page. Front and reverse endpapers free from binding, but present. Thirty-one plates all accounted for. Overall Good condition.

Measurements: 20” x 13” x 1” (Priscilla Archibald Estate, Duxbury, MA).

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136. IKEBANA BOOKS Collection of seven books on Japanese flower arrangement. To include: “Selected Arrangements of Moribana and Heikwa” vols i and ii, “The Master’s Book of Ikebana”, “The Art of Arranging Flowers”, “Japanese Flower Arrangement”, and others.. Some in English and a few in Japanese. All in Very Good condition with very little edgewear and bindings tight.

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137. FIVE ART BOOKS “Japan, Described and Illustrated by the Japanese”. Five folio volumes out of ten, edited

by Captain F. Brinkley, 1897. Rare Emperor’s Edition. All volumes have boards that have some scuffing and edgewear to corners.

Spine covers slightly chipping on all. Interior of all good with light toning as expected, binding holding true. Overall Good condition. Measurements: 16” x 12 1/2”.

138. SIX WOODBLOCK PRINTS Early 19 c. Two rare horizontal landscape scenes, signed “Utamaro Hitsu” (1753 – 1806). Three small unsigned Hokusai, multiimage and subjects.

Original signed “Hiroshige ga” published 1843-1847. Fudo Temple in Meguro, c.

1840’s. Lovely view of the sacred Fudo Temple at Meguro, with the large entrance gate in the center. Visitors stroll about the grounds and climb the stairs up the steep hill at right, tall trees dotting the hill. At left, pilgrims bathe in the pool, with streams of water spouting from sculptured dragon’s heads atop the stone walls.

The Boston Museum of Fine Arts has a similar edition in its permanent collection.

An attractive design capturing the secluded natural setting, a respite from the busy city.

10” H x 15” W including margins. The other unsigned characteristic of Hiroshige’s work.

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139. JAPANESE PRINT Signed “Utamaro Hitsu” (Kitagawa). Three fashionable bijin harvesting fruit in a private garden (1790-1802, John P. Richardson Estate, Hingham, MA).

140. JAPANESE WOODBLOCK PRINTS Four Hiroshige Ga, (Nidai Hiroshige II) woodblock prints. All from the same series, after 1858 views of places and poems, all signed. Provenance: from the personal library of the famous artist “Sir Lawrence Alma Tadema” (John P. Richardson Estate, Hingham, MA).

141. SEITI WOODBLOCK PRINTS Watanabe Seitei, bound woodblock print album, Kacho-e (Flowers and Birds). His personal seal in red on each of the seven original woodblock prints by the famous artist.

Seitei is considered to be the founder of the shin-hanga movement and new techniques.

His flowers and birds are considered the best ever executed. Likely self-published in the turn of the 20th century. Bound page fold binding with some separation. Acquired in the Alan Gay house in 1958 (John P. Richardson Estate, Hingham, MA).

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142. FOUR HIROSHIGE PRINTS

143. FOUR HIROSHIGE PRINTS

Hiroshige, Ando (1797-1858) Ukyio-e prints.

Hiroshige, Ando (1797-1858) Ukyio-e prints.

#1) “Hamamatsu” from the series “FiftyThree Stations of the Tokaido” (Reisho Tokaido, Gojusan-sugi edition). Condition: color and impression excellent. Never mounted or circulated. 14 5/8” X 9 1/2”, untrimmed, signed on verso, Romanised “T. Adachi” in black ink.

#1) “Gion Shrine Kyoto in the snow” from “Famous Views of Kyoto” series. Adachi seal mark on verso, inside of fold includes Adachi notation. Condition: color and impression excellent. Never mounted or circulated.

#2) “Autumn moon at Seba” #32 from the series “Sixty-nine stations of the Kisokaido”.

Never mounted. 14 5/8” X 9 1/2” untrimmed. #3) “Mishima, Setting off on horseback and

by Kado in Morning Mist”, series “Fiftythree stations of the Tokaido”. #12 in series, Hoeido edition. Note Watanabe’s seal lower left corner, carved into block. Condition: color and impression excellent. Never mounted or circulated. #4) “Ueno Taimeizan in the snow” from “Sixty Views of Odd Provinces”. In excellent condition. Never mounted or circulated. No publisher’s seal. Published, recut by Adachi Institute for Woodblock printing, Tokyo.

Mounted on archival folds and in archival jackets.

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#2) “Evening Snow at Asukayama” from the series “Eight Views in the Neighborhood of Edo”. Adachi seal present verso. Condition: color and impression excellent. Never mounted or circulated . #3) “Miya no Koshi” of the series “SixtyNine stations of Kisokaido”, station #37.

Adachi seal on verso. Condition: color and impression excellent. Never mounted or circulated. #4) “Cherry Blossoms at Arashiyama” from the series “Famous Places of Kyoto”. Adachi seal mark on verso. Wonderful crisp gauffrage of smoke from signal fire on bamboo raft. Condition: color and impression excellent. Never mounted or circulated.

All published by Adachi Institute for Woodblock printing, Tokyo. Mounted on archival folds and in archival jackets.

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144. THREE WOODBLOCK PRINTS Saito, Kiyoshi (1907-1997). Late 1950’s Sosaku woodblock prints. #1) Geisha/Maiko upper body facing left.

Signed in pencil and seal marked on image, self published. Interesting use of lacquer to white garment components. Excellent condition, never mounted or circulated. #2) Geisha/Maiko upper body facing right.

Signed in white ink and seal marked on image, self published. Lacquer to white garment components. Excellent condition, never mounted or circulated. In archival jacket.

146. KABUKI WOODBLOCK PRINTS Four prints by Toyohara Kunichika of kabuki actors in various roles (three unsigned).

One portrait print of the great Ichikawa Danjuro, depiction shown dancing in lion wig and peony (botan) hat, white areas and hair done with Kara-zuri. In fair condition, trimmed (John P. Richardson Estate, Hingham, MA).

#3) “Teahouse”. Signed in white ink and seal marked on image, self published. Excellent condition, never mounted, and in archival jacket.

145. TWO WOODBLOCK PRINTS Saito, Kiyoshi (1907-1997). Late 1950’s Sosaku woodblock prints. #1) Rural farm village (Aizu), “Farming”.

Signed in black ink and seal marked on image, self published. #2) Rural farm village (Aizu) scene with warehouses and a busy residence. Signed in black ink and seal marked on image, self published. Both prints in excellent condition, never mounted, and in archival jackets.

147. KABUKI WOODBLOCK TRIPTYCH Toyohara Kunichika, eight actors are depicted in the play “The Subscription List”, one of the masterpieces of kabuki.

Ichikawa Sadanji I is the actor on the far right playing the role of Togachi Saemon, Ichikawa Danjûrô IX is the actor with arm raised in the center playing the role of Benkei, and possibly Ichikawa Ebijûrô V is shown playing the role of Yoshitune in the lower left of the left panel. The other actors are unread.

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148. WOODBLOCK PRINTS

151. TWO FRAMED PRINTS

Three woodblock Ukiyo-e prints.

Ukiyo-e prints framed under glass.

#1) Signed “Hiroshige Ga”. Borders trimmed to margin lines. Mountain vista and roadway, perhaps an early edition. Wood grain visible in open areas. No publisher seal, trimmed off.

#1) Akasaka-Kiribata in the rain from a series “100 Views of Edo”, #43 Meisho-Yedo Hiakkei. Signed “Nidaime Hiroshige Ga”.

Framed 21” H x 16.75” W.

#2) Mountain scene by Kinchoro Yoshitora. Trimmed. Mid 19th c., good color and impression.

#2) “Hiroshige Hitsu” restrike by Takemura Hideo, 1930-40. “Maiko Beach at Harima”, good color and impression. Framed 19.75” H x 14.5” W.

#3) Unsigned print of rice farming and an array of dishes. Not trimmed, good color and impression.

149. KABUKI TRIPTYCH Toyohara Kunichika triyptych of the great Ichikawa Danjuro IX in the role of Ferryman Sendo Tombei, and Ichikawa Kodan playing the role of Nitta, a wanted man who has won the affection of Tombei’s daughter, Ofune (played by Sukedakaya Takasuke).

The central figure features deluxe treatments including extensive gaufrage (Kara-zuri) to the white hair. Prints trimmed, colors and impression good. Very evocative work.

150. WOODBLOCK PRINTS Two woodblock Ukiyo-e prints. Signed Toyokuni Ga (Kunisada) aka Toyokuni III. #1) Harbor scene with prince Mitsuiji on a boat overlooking harbor and Mt. Fuji in the distance. #2) Gengi, one of a triptych playing Koto, entertaining a lord or daimyo. Published

by Kawaguchiya-Uhei (John P. Richardson Estate, Hingham, MA).

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152. THREE WOODBLOCK PRINTS

155. PAINTINGS ON SILK

Evening and sunset seascapes on calm waters with boats, one includes a bridge similar to that of Hiroshi Yoshida, artist unknown, early 20th c. One print is seal marked. One 9.75” H x 15.25” W, two 10” H x 7” W (John P. Richardson Estate, Hingham, MA).

Japanese and Chinese ink and color paintings on silk.

153. HIROSHIGE UKIYO-E PRINTS #1) Entrance to the Sanno Festival, Procession to Kojimachi #43. Trimmed to margin line. Good color and impression, some woodgrain in open areas, no publishers seal.

#1) Japanese female diety in the heavens among clouds dropping flowers from a basket. Face 10.5” W x 13.75” H. #2) Three figures en route before a rockery and tree. Face 8.5” H x 8.25” W (John P. Richardson Estate, Hingham MA).

#2) “Famous Views of 60 Odd Provinces”, “Shisaku in Iki Province” #68. Published by Koshi-hei. Good color and impression, not trimmed. #3) “Gojusan Tsugi Meisho Zuye” tate-e edition from the series “Fifty-three Stations of the Tokaido” #44. Published by Tsutaya.

Good color, retention and impression.

153A. CHINESE SCROLL PAINTING Early antique signed and seal marked. Ink and color on silk of a crested bird on a branch with flower blossom and foliage on a gold silk background. 8.5” H x 11.5” W, mounted on silk floral brocade. Hanging scroll is 30.5” H x 13.75” W overall. One antique white scroll finial missing.

Scroll comes with a custom kiri wood box on which is extensive descriptive information and three seal marks to the exterior and interior of the lid. One scroll finial rest missing inside box. Not translated.

154. UTAGAWA KUNISADA PRINT Beautiful woman with samisen and an accounting of her accomplishments, early 19th c., and a reprint of Hiroshige’s “Fifty-Three Stages of the Tokaido” Station #49, Tsuchiyama: Spring Rain.

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156. TWO JAPANESE REPRINTS

158. JAPANESE PRINTS

#1) Eisho Zu deluxe reprint, early 20th c.

Yanaguchi-ya-Chusuke publisher’s seal.

Beauty with an embossed sheer-netted shawl overhead/shoulders, a neutral lacquered background with a mica flake technique.

10.25” W x 15” H.

#1) Hokusai reprint of “The Great Wave Off Kanagawa”, crisp impression and color, published by Takemura Hideo 1930-40. 10 7/8” H x 14 5/8” W (face), margins trimmed.

Excellent condition, impression and color.

Framed under glass, not examined, woodblock print by Harunobu of two figures with umbrella. Collected in the Gay homestead in 1958, Hingham, MA. #2) Harunobu reprint framed 1930-50. Two figures with an umbrella. Frame 16” H x 11 3/4” W (John P. Richardson Estate, Hingham, MA.).

#2) Early 20th c. by Nisaburo Ito (1910-88), well known Kyoto artist for his modern day Shin Hanga style and promoting the art.

Here a temple and pagoda on a rainy day.

Publisher seal lower left margin unread, not trimmed, good condition. Framed under glass 22 1/2” H x 18” W, face is 15 3/4” H x 10 1/2” W. #3) Print by Kawase Hasui. Prolific and talented Shin Hanga artist of the early 20th c., this work “Moon at Ninomiya Beach” published by Doi Teiichi (Doi Hangaten), Series: Hotei. Carver Endoh, printer Matsushita Tamotsu, active 1932-35. Not examined out of frame, good color and impression, may be first edition, slight toning to margin area. 14 1/4” H x 9 3/8” W face. Frame, 21 3/4” H x 16 3/4” W.

157. JAPANESE WOODBLOCK PRINTS #1) Woodblock print, Keisai sha, Kitau Masayoshi (Kuwagata Keisai), Kacho-e, 14 1/4” x 8 7/8”, pair of pheasants. Deluxe edition marked in pencil on reverse “7 of 125”, L 18”, 20th c. edition, good impression, color and execution of embossing to feathers, flowers and bokashi. Very well preserved.

The signature reads “Keisai sha” referring to Kitao Masayoshi (Kuwagata Keisai, 1764-1824). The left side of the seal reads “Masayoshi”. This is a later deluxe impression of one sheet from the album “Kaihaku raikin zui” (“A Compendium of Pictures of Birds Imported from Overseas”), with added signatures and seal. #2) Woodblock print, clutch of chicks, signed and sealed unread. #3) Rooster and hen, unsigned, good color and impression. Trim border.

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159. KAWASE HASUI PRINT

162. NAVY WWI POSTER

Shin Hanga print by Kawase Hasui (18831957), “Snow at Zozoji Temple at Shiba”.

Signed with seal mark “Hasui”. Published by Wantanabe between 1931 and 1941 (original edition was published 1925).

“The Sword is Drawn – The Navy Upholds it!

– U.S. Navy Recruiting Station, 2-1/2 North Main Street Concord” by Kenyon Cox, 1917.

A battleship sails in the background as Lady Liberty holds aloft a sword in her right hand and in her left a scroll reads “We Can Do No Otherwise”.

This print has foxing, toning and fading, but the gauffrage can be observed on the umbrella and some snow. This was by far Hasui’s most favored print.

Some border wear present, paper loss to edges, two fold separations about 4” on outer edges, 42” H x 28” W (Priscilla Archibald Estate, Duxbury, MA).

160. JAPANESE WOODBLOCK PRINTS Two Shin Hanga woodblock prints. #1) Rare Koson, Ohara woodblock print, Kacho-e, two geese, signed and sealed Koson, published (“Daikoku-ya”), early edition, 1912 to 1925. Measures 14” x 7 1/2”.

Very fine, vivid color and impression, sharp lines, very good state, masterful bokashi treatment of color and fine wood grain background (kimetsubushi), well preserved.

This print epitomizes his talent. Signed and sealed by artist, 13 1/8” H x 7” W sight, matted, unframed. Borders trimmed. #2) Framed signed/sealed Koson print. Subject is lily with butterfly. Trimmed, 12 1/2” H x 7” W sight.

161. AMMUNITION WWI POSTER “Ammunition! – And Remember Bonds Buy Bullets!” by Vincent Lynch, 1918. Depicts a soldier manning a large machine gun and reaching out to the audience for more ammunition, a pleading look on his face.

Some border wear present, pinholes, some paper loss to edges, 30” H x 20” W (Priscilla Archibald Estate, Duxbury, MA).

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163. WWI NAVY POSTER

167. WWI MOTORCYCLE POSTER

“Gee!! I Wish I Were a Man – I’d Join The Navy” by Howard Chandler Christy, 1917. In excellent condition with only slight pinhole damage. “2 1/2 No Main St. Concord” printed in red lettering along the bottom, 41” H x 27” W (Priscilla Archibald Estate, Duxbury, MA).

“Motorcycle Minute Men of America – Do Your Part to Help Your Country Prepare – For Particulars Ask”. Unsigned and exceedingly rare.

164. WWI BOND POSTER “Clear The Way !! – Buy Bonds – Fourth Liberty Loan” by Howard Chandler Christy, 1917. Naval gunners in action with Lady Liberty emerging from the ocean holding the U.S. flag. Some border wear present, pinholes, some loss to edges, 30” H x 20” W (Priscilla Archibald Estate, Duxbury, MA).

Depicts a soldier on a Harley Davidson motorcycle handing off a letter to an officer. In the background, officers are strategizing over a map and another officer is being driven by a soldier on a Harley Davidson. Some border wear present, pinholes, 38 1/2” H x 24 1/2” W (Priscilla Archibald Estate, Duxbury, MA).

165. WWI RED CROSS POSTER “Have You a Red Cross Service Flag? – 1918”

by Jessie Wilcox Smith, noted child illustrator, 1918. Depicts a young boy placing a Red Cross flag in the middle of his window underneath a Christmas wreath. Some border wear present, pinholes, some loss to edges, 28” H x 21” W (Priscilla Archibald Estate, Duxbury, MA).

166. WWI BOND POSTER “Over The Top For You – Buy US Gov’t Bonds – Third Liberty Loan” by Sidney Riesenberg, Depicts a soldier running forward with the American Flag trailing behind him. Has light damage to the right edge, otherwise in mint condition, 30” H x 20” W (Priscilla Archibald Estate, Duxbury, MA).

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168. ICONIC UNCLE SAM POSTER

173. WWI ARMY POSTER

“I Want You For The U.S. Army – Nearest Recruiting Station – 895 Elm Street Manchester, N.H.” by James Montgomery Flagg, 1917. One of the most iconic images in American history. Lower edges clipped, border wear, some paper loss, 40” H x 30” W (Priscilla Archibald Estate, Duxbury, MA).

“Columbia Calls – Enlist Now For The U.S. Army – Nearest Recruiting Station – 895 Elm Street Manchester, NH” by Vincent Aderente, 1916. Designed and with poem written by Frances Adams Halstead. Some minor damage to right edge, border wear, some paper loss to corners, 40 1/4” H x 30” W (Priscilla Archibald Estate, Duxbury, MA).

169. WWI BOND POSTER “Lend as They Fight – Buy More Liberty Bonds” by Sidney Riesenberg, 1918. Considered by some to be the most quintessential WWI action poster. Depicts one soldier wounded shooting his pistol at the enemy, while another soldier shoots at the enemy from above him, provided cover fire.

Some pinhole damage on the “g” of “fight”, minor damage to the top and bottom edge, 30” H x 20” W (Priscilla Archibald Estate, Duxbury, MA).

170. WWI NAVY POSTER

174. WWI AIR SERVICE POSTER “Join The Air Service and Serve in France – Do It Now” by J. Paul Verrees, 1917. Very scare WWI poster. Depicts two Army Air Service spotters and a biplane with the silhouette of a pilot. Some minor damage on upper right corner, border wear, some paper loss to corners, 36 1/2” H x 25” W (Priscilla Archibald Estate, Duxbury. MA).

“All Together! – Enlist in the Navy” by H. Reuterdahl, 1917. Depicts Navy sailors from the Allied Forces shoulder to shoulder. Some border wear present, paper loss to upper and lower corner, 31” H x 41” W (Priscilla Archibald Estate, Duxbury, MA).

171. TWO BONDS POSTERS “Come On! – Buy More Liberty Bonds” by Walter Whitehead, 1918. Both posters depict a soldier holding his bayonetted rifle over the corpses of dead German soldiers. Some border wear present, minor damage to edge, pinholes, fold separation about 4 1/2” on right, 30” H x 20” W (Priscilla Archibald Estate, Duxbury, MA).

172. WWI RED CROSS POSTER “Put Fighting Blood in Your Business” by Dan Smith, 1918. Depicts a wave of Marines charging into battle. An eagle holding a badge in its claws lists off Allied victories: “Cantigny – Chateau Thierry – St. Mihiel – Argonne – Marne”. Some minor damage to lower right corner, 25” H x 38” W (Priscilla Archibald Estate, Duxbury, MA).

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175. YAMASHIRO TEA CRATE

179. CHINESE PORCELAIN

Japanese shipping crate early 20th century.

Black lacquered wood box. Marked: “Yamashiro H & P No. 52 Extra Choice Picked Natural Leaf Japan Tea” on end. Three sides contain cartouches with various depictions of birds and fruit trees in gold blue and reds.

No lid. Wear and age loss to surface. Measures 15” H x 19 1/2” W x 14 1/2” D.

#1) Tung Chi Dynasty (1862-75) Ming style deep dish, 7 1/2” dia. Cobalt blue four claw dragon chasing a sacred jewel amid the clouds, emerging from the reverse side, upper torso and head on the face, lower body and tail on the reverse of the dish. Two character mark on base not translated. Jian Ding inspectors seal stamp (circa 1949). No damage.

176. JAPANESE CRABS Two bronze crabs, measuring 4 1/2” W, and one copper and reticulated, measuring 4” W. Two character signature partially signed “Hiro”. Chinese Rose Medallion tile, 19th c.

Four inverted triangles with figural scenes.

#2) Five 4 1/2” diameter Kangxi period saucers and three tea cups, all related, blue underglaze on white floral motif on face, blue underglaze on coffee color ground, the base blue on white with dual ring surrounding artemisia leaves. Saucers with very small chips to rim (three undamaged), 2 3/4” diameter cups. Small chip on rim and two have been repaired. #3) Two small 19th c. Canton plates in blue and white, chips to edges. #4) Six assorted saki cups in blue and white, two with galloping horses, four with dragon rondels.

177. ROSE CANTON CRICKET CAGE Calligraphy on one side, oval shape with lid, 19th c., unmarked at base, no damage. Measures 4 3/4” x 2 3/4” W x 1 3/4” H.

178. CHINESE PORCELAIN SET Blue and white porcelain Chinese chamber set, under glaze. Chamber pot and lid and handle, 6” H x 11” W. Water jug, 13 1/2” H x 9 1/2” W. Basin, 5 1/4” H x 16” W. All matching pieces with scrolling flowering vine design, exterior of basin includes four bats. Late 19th c. Hairline crack to base of basin, unmarked.

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180. MISC. JAPANESE PIECES

184. CHINESE SCHOLAR’S CHOPS

Two 19th c. page turners, 13” x 1 3/8”, with fine engravings of monkeys swatting away flying insects, slight pink and black coloration to face and eyes. Two page turners, 6 1/2” x 5/8”, with roof tops and trees engraved on one side. Parasol handle, intricately carved and undercut of a dragon, phoenix, cranes and birds amid clouds. Bamboo comb/hair pin, approximately 9 3/4”.

#1) Scholar looking toward blue sky on hillside, claire-de-lune glaze with black underglaze decoration, rectangular column, calligraphy on side, seal on bottom, positive strike, 3 1/4” H x 1 3/4” W. #2) Similar chop design with scholar holding staff looking out at open vista from hillside, seal on bottom, negative format, 3 1/4” H x 1 3/4” W.

181. FOUR CHINESE VASES Two pairs of turn of the century Chinese vases. #1) Pair of baluster form with flared mouth, loose rings suspended from neck. Cream and brown crackleware with a battle and a retreat of two armored warriors on horseback, 10”, marked on base brown seal mark Cheng Hua. Repair to mouth of one. #2) Pair of porcelain baluster form vases with continuous colorful scene of scholars and attendants in a peaceful garden.

182. TWO CHINESE VASES Tall cylindrical vases (12”). One in blue underglaze on white of a continuous outdoor scene of peony and chrysanthemums with birds among them. Chinese Imari with underglaze blue and iron red glaze of flowering peony.

183. CHINESE REDWARE I-Hsing teapot and lid (Zisha Ware) in a brick red, approximately 4”. Vintage Japanese redware vase with Tokoname dragon in clouds, 5 1/2” h. Both pieces in good condition, no chips or cracks.

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185. WITHDRAWN

190. WITHDRAWN

186. PEKING GLASS BOTTLE

191. WITHDRAWN

Peking glass simulating ruby in bottle form, flared neck, dished top. High relief “bat” ears on sides with carved Shou medallion on face and reverse. Raised oval foot, “Qianlong Nianzhi” (Chien Lung period made) inscribed on base. Measures 2 3/4”.

187. SNUFF BOTTLES

192. SNUFF BOTTLES #1) Peking glass simulating salmon colored coral, decorated with high relief carving of two ducks under lotus blossom in a pond.

“Qianlong nianzhi” (Chien Lung period made) inscribed on base. Flared neck and raised oval foot. Top not matching.

#1) Peking overlay glass snuff bottle, in milky white with rich indigo blue overlay.

Carving of lotus plants and flowers emerging from an open lotus flower at the base. The top is slightly flared and the base is blue, oval and flat, not signed. Some rotary grinding evident. Top appears to be coral, 3 1/2”.

#2) Peking glass snuff bottle simulating amethyst in tear-drop bottle form, footed with engraved two characters (“Qianlong”) inscribed on recessed base. Carved high relief continuous image of lotus and carp in a pond, 2 3/4”.

#2) Peking overlay glass snuff bottle simulating hornbill ivory. Rich opaque yellow with opaque red to orange overlay. High relief carving of fan tail carp front and back, one with lotus flower, the other with lily pads in a pond. Fluted neck, red oval flat base, unmarked. Ornamental metal finial on orange glass or stone top, 3”.

193. SNUFF BOTTLE

188. SNUFF BOTTLE White agate snuff bottle with polished crystalline face, the reverse with lavender clouding. Thin carved “Floater”, top surface of rim dished to opening, base with raised oval foot. Unsigned, 1850-1900. 3 1/2” with top.

Peking overlay glass snuff bottle of transparent glass, tinted red-orange at the top and shoulders diminishing to the bottom.

It contains silver metal flecks, the cobalt overlay carved in the form of two archaic style opposing dragons on each side. Blue flared top and blue raised rim base. The sides include a blue raised seal mark translating to “Qianlong Nianzhi” (Chienlung period made) 1736-95. Green stone top, 3”.

194. WITHDRAWN

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189. SNUFF BOTTLE Moss agate pilgrim flask snuff bottle, carved thin and well hollowed. Raised pierced ears on either side of neck. Moss inclusions evoking the image of a forest and trees reaching a mountain peak with distant mountains peeking through the mist on the face and continuous to reverse. Amber colored agate stopper. Flat oval base. Unsigned, 2 3/4”.

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196. SNUFF BOTTLE Peking overlay glass snuff bottle. Transparent glass with cobalt blue overlay carved depicting two immortals, one on each side.

Blue raised four character seal mark on face (lower right near base) reading “Qianlong Nianzhi”. Raised foot and slight flare to neck.

Coral colored stopper, 3 1/2”.

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197. WITHDRAWN

198. SNUFF BOTTLE Blue and white enamel on metal, snuff bottle with matching lid depicting many carp and lotus in a pond. Chien Lung period made.

Enamelled on footed base. Four characters on shoulder not translated. Slightly flared base with raised oval rim, 2 1/2”.

202. CHINESE RANK BADGE Framed under glass Military 1st Rank Badge (Mandarin Square for a man), silk embroidery of a kilin, a mythical beast. Authorized for a General of the Emperor’s military. This one depicts a Kilin perched on a stone platform rising from a turbulent sea containing Buddhist symbols, fruit and flowering trees with bats and lingzhi clouds in design on a black background. Overall size of square is 11 1/2” H x 12 1/4” W, frame is 19” H x 21” W.

199. SNUFF BOTTLE Leopard skin jasper snuff bottle. In flattened bottle form, oval raised rim foot. Coral colored glass top, 3”.

200. CHINESE SILK PAINTING Fine Chinese ink and color painting on silk (Northern Sung style) of horses and nobleman. Fine 18/19th c. rendition of Song Dynasty style. Two actively engaged unrestrained horses being observed by a contemplative nobleman or poet seated under a tree.

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Fragment from a larger painting calligraphic verso absent. Red seal mark lower left corner. Framed and matted under glass. Overall 20 1/2” x 22”, face 17 3/4” H x 15 3/4” W. Small tear upper left edge, small puncture upper right edge.

201. CHINESE SILK EMBROIDERY Blue and white enamel on metal, snuff bottle with matching lid depicting many carp and lotus in a pond. Chien Lung period made.

Enamelled on footed base. Four characters on shoulder not translated. Slightly flared base with raised oval rim, 2 1/2”.

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203. CHINESE RANK BADGE

205. JAPANESE KO-DAIKO DRUM

Framed under glass Military women’s 4th Rank Badge (Mandarin Square), silk embroidery of a tiger. Authorized for the wife, mother, or daughter of a Military official or lower ranking officer of the Emperor’s Military.

Black urushi lacquered byou-uchi Ko-Daiko (Nagado-Daiko 16 3/8” H x 13” W at the head), long bodied. Decorated with mineral pigment paint over black lacquer depicting two dragons chasing a sacred pearl amid lingzhi style clouds and lightning.

On yellow, a blue tiger is perched on a rock rising from the waters, looking back and up to the sun in the left corner of the badge. On the water are several Buddhist symbols. The tiger is flanked by flowering peony to the left and a pine tree to the right. Above fly bats amid clouds in the form of lingzhi mushrooms.

Very noteworthy is that the mitsudome design on the heads are encircled with a black chevron design that may be associated with the 47 Ronin of Ako. All tacks and the hanger ring are forged iron.

The border is comprised of interconnected fretwork symbolizing Buddha and shou at the corners. Badge is 10 1/2” H x 12” W. Overall frame is 19 1/4” H x 21” W.

204. BRASS BUDDHA FIGURE Antique Shakyamuni Buddha, Tibetan, or Nepali brass alloy figure, 15 1/4” H x 11 1/2” W at base. Buddha seated on an opposing double lotus blossom throne, right hand earth touching (bhumisparsha mudra), legs folded, feet up, ankles concealed and left hand open palm up, resting on the legs (dhyana mudra). No dedications appear on the item.

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In addition to the martial use of the drum in Edo times, they also held a strong foundation in the court style music called Gagaku, performed in the castles and shrines across Japan including processional ceremonies, but not limited to that. Gagaku alone is one of the oldest styles of court music that is still being performed in the world today.

The Saho (left side) ko-daiko exhibits a mitsudome design on both heads, and two dragons amid the clouds and lightning pursuing the sacred wish granting jewel signifying the thunder god. Rare, shows signs of use and wear but is in undamaged condition, likely 18th or very early 19th c. The most prized and expensive are the Zelkova (type of elm), hollowed from a single piece of wood which this item may be, given its age.

This may have been produced by the Asano Taiko Co. which has been in business since 1609. It is recommended that this be preserved for display or historic purposes and not used as a musical instrument.

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206. SPIRITUAL TANKA

209. CHINESE MASK

Antique Tibetan or Nepali spiritual tanka, possibly dyani, used for tantric meditation to achieve enlightenment through the Palace of Purity. Several round mandalas, guardian deities, and lineages.

Chinese processional or parade mask.

Carved wood lacquered in red/black.

The central Buddha at the top is seated on a blue lotus blossom in the heavens amid blue clouds, blue and red opposing dragons. To the right and left side of the large mandala are blue peonies. Mineral pigments with extensive gold highlights and accents on fabric superimposed over the heavens, mountains, rivers, and plains of the Himalayas.

Used as a meditation aid to achieve enlightenment, self-awareness, and direction.

Measures 14 1/2” x 18 1/2”. Not consecrated on reverse.

207. BURMESE KAMPI Burmese “Kampi” (Buddhist two-sided leafs from a sacred bible), including cover panel.

Red lacquer on cloth, gilt with gold and silver with Pali black script on both sides. A custom made silk display tapestry (for wall hanging) is included for display purposes.

Measures 29” W x 70 1/2” L.

208. SIX PANEL JAPANESE SCREEN Very early (possibly 17th c.), Kano School style, ink, color and gold on paper, depicting a scene from “The Tales of Genji”, a continuous celebration or a rally of clans, in a mountain palace setting, including drumming, preparing a feast, hosting the various Samurai and Courtesans.

The Daimyo (Minamoto Yoshitsune) appropriately dressed in elaborate robe and holding an open fan with mon, and holding the warrior’s banner. Very colorful, heavily gilded billowing clouds, 5’ 6” x 12’ (2’ wide panels).

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NOTES

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