A FINE SUIT OF ARMOUR AND MILITARIA FROM THE MORI FAMILY (YOSHIKI LINE)

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A FINE SUIT OF ARMOUR AND MILITARIA FROM THE MORI FAMILY (YOSHIKI LINE)
Edo period (1603-1868)

A NUINOBE RENJYAKU-DO TOSEI GUSOKU
The sixty-two plate koseizan hoshi bachi black lacquered with a leather covered tosei mabisashi edged with a fine quality shakudo fukurin, late 16th Century, the later tehen kanamono of copper gilt and shakudo, a maedate of a sixteen petal chrysanthemum and leaves and wakidate of the kiri-mon within a circle form the crests, the later Hineno-jikoro of kiritsuke kozane without fukigaeshi

A MEMPO black lacquered Nara style with red lacquer interior, typical stiff short hair moustache and copper gilt teeth, the ase-nagashi no ana with copper gilt rim, four-lame yodarekake of kiritsuke-kozane.

A NUINOBE-DO, a good quality black lacquered late 16th Century do remounted for use with o-sode having shoji ita and gumi added to the watagami, an agemaki bow to the back, the do fitted with renjaku still retaining its cords unusual for this style of mounting, with fine padded blue Dutch cloth brigandine tate-eri

The back of the do retains the machiuke (lower sashimono socket) for the sashimono (banners) but the gattari (upper sashimono bracket) has been removed, probably when the renjaku were added, kusazuri of kiritsuki kozane, the do finely mounted with copper gilt fukurin and kanamono bearing the mitsudomoe and kiri mon, saiha and tenugui no kan in copper gilt and shibuichi, detachable gyo-yo leather covered and bearing the kiri mon in shakudo.

O-SODE (large shoulder guards), of kiritsuke kozane, the kamuri ita covered in shohei gawa both fully lined with gold thread brocade and with copper gilt kanamono bearing the same mon as the do.

ODA-GOTE (sleeves) of fine quality black lacquered iron, mounted on cream and gold brocade, above the upper hyotan gane is a shaped plate with the kiri-mon in copper gilt in the centre, kawara haidate with blue "Dutch cloth" brigandine tateage

SHINO-SUNEATE (shin guards) mounted on brocade and tateage with a pair of blue tabi (socks)

The entire armour lacquered black and laced with asagi iro kebiki odoshi with the do in sugake odoshi

YOROI-BITSU, two black lacquered wood armour boxes each with its leather cover (restored) decorated with the kiri mon in gold

KAJI-ZUKIN (fire viewing helmet), the leather bowl black lacquered and mounted with silvered metal fukurin tehen-kanamono and fukigaeshi, the fukigaeshi with shakudo paulownia mon, a kasa-jirushi no kan to the back of the bowl fitted with a large mauve agemaki bow, the koshimaki fitted with fire cape of self patterned red 'Dutch cloth' overlaid with white paulownia and chrysanthemum mon, fitted with white belt, (upper edge of cape repaired)

KURA (saddle), of wood completely inlaid with awabi-aogai retaining its kagami-shihote loops for attatching the harness, the reverse side with a kao of the maker written in sumi (ink), mounted on a later black lacquered saddle stand

ABUMI (a pair of stirrups), russet iron decorated with silver cherry blossom and a butterfly mon, the wood interior red (old wear), signed Tomozane

ABUMI (a pair of stirrups), russet iron with a coiled dragon in silver to the front, the rest of the surface covered with a geometric pattern in silver, the interior covered with aogai and pierced with a trefoil to act as drain, signed Yoshitsugu

SAIHAI (batton of command), the large bunch of white paper strips attatched by a leather loop, the handle of plain black lacquered wood, the mounts engraved with tachibana-mon, the end pierced for the tasseled cord, mounted on a black lacquered wood stand

GUNSEN (war fan), the heavy iron decorated with a dragon and clouds in silver and gold nunome-zogan, one side with gold paper with a red sun and black to the reverse with a gold moon

AN ICHIMON-JI UCHIDASHI JINGASA, the russet iron boldly embossed with a design of dragon and clouds, edged with a copper gilt fukurin, the multi stage tehen-kanamono in copper gilt, shakudo, to the rear a copper gilt kasa-jirushi no kan with red agemaki, the interior red lacquered with its black velvet pad and loops secured by four kiku-no-byo

A SHINGEN-JINGASA of black lacquered leather, the lower edge ribbed and pierced by four inome, the crown with stippled surface, a copper gilt yotsume-mon and crescent moon maedate of copper gilt to the front, kasa-jirushi no kan with an agemaki bow to the rear, the interior lacquered with its pad and cords intact

HASAMI-BAKO (robe box), a black lacquered rectangular box and cover, entirely inlaid with aogai pieces with a geometric design to the cover, two sides similarly decorated with fine iron hexagonal lifting handles, in wood storage box

A LONG BOW, black lacquered wrapped at intervals with red lacquered bamboo, within the strung bow is the quiver, the shaft black lacquered and the leather pocket black lacquered with the kiri mon in gold, complete with eleven arrows

A PAIR OF ARCHER'S GLOVES of white doe skin with a maker's mark Baiken; and another pair with maker's mark

A SMALL LEATHER COVERED RECTANGULAR UTILITY BOX, three sides decorated with kiri-mon

A KAGO HANKYU (bow and arrows for use in palanquin), the red lacquered bow bound at intervals with bamboo with centre grip bound with black cord, copper bow string mounts to each end, the ebira made to fit inside the strong bow, the shaft of horn mounted in silver with the leather cup decorated with kiri-mon containing eleven red lacquered arrows with iron heads fletched with white and black feathers, one of pheasant

A JIMBAORI, the outer cloth of red wool with a paulownia mon in black hemp cloth edged with white cord to the back, armholes cut with a shallow curve, the shoulder stiffner covered in red cloth, the facing of deep peach coloured brocade fastened by four horn buttons and cords, the lining of black figured silk

A JIMBAORI, the outer cover of red wool, the armholes cut with an extended point, paulownia mon to the back applied in white cloth and the shoulder stiffeners overlaid with a corded design, collar of white laced brigandine, the facing of the same cloth as the outer and lined with fine cream and silk brocade

A JIMBAORI, the outer cloth of red wool, the paulownia mon in white cloth to the back, the armhole cut straight and the shoulder stiffeners covered in white cloth overlaid with gold thread, the facing and lining of rich dark blue and gold brocade

A JIMBAORI, the outer cloth of black with the paulownia mon in white to the back, the arm holes cut with a deep curve shoulder stiffeners covered in pale blue cloth and overlaid with gold thread, facings and lining of white and gold brocade

MANJYU-WA (under coat) of green silk covered brigandine threaded with white cord, the tatehire of white leather covered brigandine, lined with pale blue hemp cloth

KOSODE, a pair of blue and white silk under garments wax died with the design of kiri and scrolling vines

KOSODE, a blue under garment with collar of dark blue damask

HAKAMA AND KYAHAN (gaiters), blue and gold

HAKAMA of gold damask with geometric design

A ROBE BOX, plain black lacquered

A HIKITATE EBOSHI (court cap) of black silk with hachimaki
(white tape)

A FIRE PICK, black lacquered

WARAJI, a pair of straw sandals

A FINE HAN-DACHI, the blade honzukuri with silght curve of koshi-zori with ji-nie, extended chu-gissaki, yaki-naoshi (retempered) suguha of ko-nie, hakikake-boshi, full length broad grooves to both sides, o-suriage nakago, late 14th Century, 67.1cm.; contained in its gold brocade covered saya overlaid with bands of black lacquer, matching shakudo-nanako fuchi-kashira, koiguchi, kurikata, seme and kojiri decorated with gilt sagari-fuji (wisteria)-mon and gilt rims, gilt menuki with the same mon,iron aoi-tsuba with gilt rim, ishime-ji ground and integral o-seppa with gilt ken, signed Choshu ju Ujitsune tsukuru

AN AIKUCHI, the blade hira-zukuri, iorimune with a long broad groove to each side, itame hada with wide midare-hamon and deep valleys, ubu-nakago, signed Wakasa no (kami) Ujifusa and dated Genki (1570-72), 31.1cm.; contained in its black lacquer saya with lacquered horn mounts, black lacquer kashira and tsuba, mikaki-ji and shakudo-fuchi with a gilt rim decorated with a branch and foliage in a stream, Momoyama peirod (late 16th Century), shakudo and gilt menuki of maple leaves in a stream

A WAKIZASHI, the blade honzukuri, torii-zori, slightly tsukare, itame-hada with chu-gissaki wide suguha, the boshi obscure, full length broad groove on the ura, a short groove on the omote, o-suriage nakago, signed Bishu; contained in its black lacquer saya, shakudo-nanako fuchi-kashira with gilt rims, the tachi style kashira formed as a gilt kiku with foliage and gilt kiri-mon, the fuchi with gilt kiri-mon, shakudo menuki of kiku and fence, iron tsuba carved with a sage by a stream, silver and gilt details

Lot Essay

Provenance
By descent to Baron Chuzo Mori of Yoshiki
The Reverend William Arthur Richards

The collection was purchased by the Rev. William Arthur Richards on the death of Baron Chuzo Mori of Yoshiki in 1923, see Peerage of Japan, (Japan Gazette Co. Yokohama, 1912), p. 834. "Mori Chuzo; Second Baron, son by adoption, nephew of Baron Yoshihisa Mori, b. June 26, 1878, 2nd Lieutenant Eng. I.J.A., Engineer of the Imperial Government Railways, Jogoi (rank), succeeded Aug. 21, 1901, m. Dec. 24, 1904, Kazuyo, b. Apr. 25, 1884, daughter of the First Baron, and has issue, sons. Hidekazu, heir, b. Feb. 9, 1908. Tadao, b. Dec. 6, 1909. Nobuo, b. Jan. 7, 1912. daughter. Miyako, b. Apr. 7, 1906. His Lordship's father, Baron Jusuke Mori, b. Dec. 7, 1847, d. July 13, 1901, ex-President of the Japan Railway Co., Fifth Class Imperial Order of the Sacred treasure.

He arrived in Tokyo in June 1910 being sent there by The Society for the Propogation of The Gospels. He studied the language for two years and in 1912 received his first posting to Odawara, later in 1916 he moved to Hamamatsu where he started a small factory to produce bamboo items for export. However, due to competition from China the business failed. At about the same time The Gospel Society, being short of funds, reduced their missions in the field and The Reverend Richards was without a position. He was lucky enough to be offered a post by the Japanese Government teaching English at The Boys High School in Yamaguchi where he moved, in 1922. Shortly after his arrival he had the opportunity to purchase a number of items from the estate of the recently deceased Baron Mori Chuzo. The armour was sent to England where in 1927, the collection went on loan to The Birmingham City Art Gallery and Museum where it stayed until the outbreak of World War II. During war time, it was in storage until collected by Reverend Richards in 1949. From 1969 to 1979 it was on loan to The Manchester University Museum at which time it was sold to the present owner.
As a collection, it is probably unique outside of Japan.

The fine armour was mounted in its present style during the mid Edo period (circa 1750). The helmet bowl is 16th Century and retains its original fine shakudo fukurin to the mabizashi and has been fitted with a later tehen kanamono and shikoro. The do is of late 16th Century manufacture and was originally fitted for sashimono. It is very unlikely that it had renjyaku at this time and these were no doubt added at later date, probably at the same time as the addition of the o-sode with necessary agemaki bow on the back and the shoji ita and gumi to the watagami.
Jimbaori were worn by warriors over their armour during the Sengoku period. They were originally worn as protection from weather. They usually had large armholes to fit over armour, are vivid in colour with bold designs and were used as campaign coats, the main puopose being to create an impression. The early jimbaori were made of water resistant rasha (wool coarse-weave, from the Portuguese "raxa") which was imported from Europe. During the Edo period, the fashion changed and instead of being used for outer protection, they were used for outdoor occasions. See The Tokugawa Art Museum The Shogun Age Exhibition (Tokyo, 1983), p.52 and p.53 and The Metropolitan Museum of Art, Momoyama, Japanese Art in the Age of Grandeur (New York, 1975), p.96 and p.97.

We are grateful for the Mori Museum in Yamaguchi prefecture for the research and confirmation that the kiri and tomoe-mon were worn and used by the Yoshiki branch of the Mori family. .

Among the items bearing the Mori five-three kiri-mon and the hidari-domoe mon is the fine suit of armour, the interesting fire viewing helmet and the rare jimbaori. The chrysanthemum design which is used as the maedate and on the fire cape is not traceable as mon. It does appear as the centre motif on the neck chain of the insignia of a Baron, presented when Mori Chuzo was given the title. These deigns were probably added at that time.

Mr H Russell Robinson, Assistant to The Master of The Armouries, H M Tower of London in the 1950's was highly complimentary of the collection and proposed making it a centrepiece of an exhibition of Japanese Arms and Armour that was to be held in Edinburgh in 1959 to coincide with The Festival.

Illustrated
The suit of armour, in H. Russell Robinson The Manufacturer of Armour and Helmets in 16th century Japan (Chukokatchu Seisakuben) (The Holland Press, London 1964), pl.IX.

The suit of armour, in I. Bottomley and A.P. Hopson, Arms and Armour of the Samurai (1988) p.151.

The suit of armour, in H. Russel Robinson and Herbert Jewrins, Oriental Armour, pl. XXXII, B.

Stirrups, in I Bottomley and A.P Hopson, Arms and Armour of the Samurai (1988), p.152.

Fire viewing helmet and jimbaori in S.R. Turnbull, The Samurai, p.277, pl. 114 and p.132, pl.49.

Jingasa and hikitate eboshi, in Arai Hakuseiki The Armour Book in Honcho-gunkiko (London, 1964), pl. XIII, B. Jimbaori, as above (London, 1964), pl. VIII, A.

Kosode, as above (London, 1964), pl. XXIX, A and B.

Hakama, as above (London, 1964), pl. XXIX, C.

Jimbaori, in I. Bottomley and A.P. Hopson Arms and Armour of the Samurai (1988), p. 152.

Gaiters, tabi (socks) and straw sandals in Kozan Sakakibara, The Manufacture of Armour and Helmets in 16th Century Japan (The Holland Press, London, 1962), pl. XXIX,D.

Exhibited
The Birmingham City Art Gallery
The Manchester University Museum

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