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Lot Essay
THE BLADE IS BY JIROBEI (NO) JO HARUMITSU, SON OF THE CELEBRATED JIROZAEMON (NO) JO KATSUMITSU OF OSAFUNE AND IS ILLUSTRATED IN J.HONMA, KANTEI HIBI SYO, OTSUKA KOGEISHA, (TOKYO, 1984). THE THICK LOWER PART OF THE BLADE EMPHASISES THE DEADLY NATURE OF THE DOUBLE EDGE OF THE UPPER PART OF THE BLADE, ALTHOUGH THIS MAY HAVE BEEN ENHANCED BY LATER POLISHING. MANY DOUBLE-EDGED TANTO WERE MADE BY THE SUE-BIZEN SMITHS LIKE KATSUMITSU AND SUKESADA DURING THE 16TH CENTURY, AND WERE USED TO CUT AND STAB UPWARDS THROUGH THE GAPS IN ARMOUR. THIS TANTO IS AN EXAMPLE OF THE FINEST BIZEN WORK OF THE PERIOD AND REMININISCENT OF THE BEST WORK OF KATSUMITSU.
IT IS NOT CERTAIN WHICH MITSUNOBU MADE THE MOUNTS. HAYNES LISTS 15 ARTISTS WHO USED THE SAME KANJI FOR MITSUNOBU, THE OTHER ARTIST, HARUSHIMA NOBUMASA (HAYNES #07115) WORKED IN EDO IN THE MIDDLE OF THE 19TH CENTURY, HE WAS A PUPIL OF MIYATA NOBUKIYO, SAMPLES OF HIS WORK ARE ILLUSTRATED IN H.L. JOLY, THE NAUNTON COLLECTION OF JAPANESE SWORD FITTINGS, (READING, 1912), #2667 AND 2668 ILLUSTRATED ON PLATE LXXXII AND JAPANISCHE STICHBLATTER UND SCHWERTZIERATEN SAMMLUNG GEORG OEDER, BERLIN, 1914 PAGE 185 #1742, THE PEA-FOWL INLAY IS REMINISCENT OF WORK BY THE ISHIGURO SCHOOL.
IT IS NOT CERTAIN WHICH MITSUNOBU MADE THE MOUNTS. HAYNES LISTS 15 ARTISTS WHO USED THE SAME KANJI FOR MITSUNOBU, THE OTHER ARTIST, HARUSHIMA NOBUMASA (HAYNES #07115) WORKED IN EDO IN THE MIDDLE OF THE 19TH CENTURY, HE WAS A PUPIL OF MIYATA NOBUKIYO, SAMPLES OF HIS WORK ARE ILLUSTRATED IN H.L. JOLY, THE NAUNTON COLLECTION OF JAPANESE SWORD FITTINGS, (READING, 1912), #2667 AND 2668 ILLUSTRATED ON PLATE LXXXII AND JAPANISCHE STICHBLATTER UND SCHWERTZIERATEN SAMMLUNG GEORG OEDER, BERLIN, 1914 PAGE 185 #1742, THE PEA-FOWL INLAY IS REMINISCENT OF WORK BY THE ISHIGURO SCHOOL.