22 October 1992,
New York, Park Avenue
Price realised USD 14,300
USD 7,000 - USD 10,000
A MINO SEKI TANTO
MOMOYAMA PERIOD (CIRCA 1600), SIGNED HIDA (NO) KAMI FUJIWARA UJIFUSA
Configuration (sugata): of curved, wedge section (ohira-zukuri) with tri-bevelled back (mitsu-mune); length (nagasa): 1 shaku, 1 sun, 3 bu (34.3cm.); curvature (sori): 0.7cm.; carving (horimono): katana-hi ni tsure-hi on both sides.
Forging pattern (jihada): very fine wood grain (ko-itame). Tempering pattern (hamon): shallow waves and large invections (notare o-gonome) in very bright, fine nie.
Point (boshi): brushed tip (hakikake).
Tang (nakago). Shape (keitai): wide, tapering, ubu and with a moist, brown patina; file marks (yasurime): sloping (sujikai); end (nakagojiri): rounded (kuri-jiri); holes (mekugi-ana): two; signature (katanamei): Hida (no) Kami Fujiwara Ujifusa.
Tanto-koshirae (probably early Edo) comprising: a red lacquered saya and tsuka in the form of a lobster tail and fitted with dark shibuichi kojiri, kurikata, koiguchi, uragawara and fuchi kashira; the tsuka is set with two gilt mon; a set of Goto shakudo nanako kozuka and kogai decorated in gold and shakudo with woodland plants and butterflies, unsigned, probably 18th century--length of koshirae 51.2cm.; length of tsuka 12.8cm.; length of kozuka 9.5cm.; length of kogai 21.1cm.
Silk brocade and silk storage bags.
Accompanied by a tokubetsu kicho token certificate, no. 55505, Showa 36 (1961), issued by the N.B.T.H.K.
New York +1 212 636 2000
London +44 (0)20 7839 9060
Hong Kong +852 2760 1766
Shanghai +86 21 6355 1766
There were several generations of Ujifusa in the late koto and early shinto periods. This particular smith worked in Owari.
The well-made and handsome blade displays an accomplished use of a hamon in the style of the Muramasa smiths.
Joseph U. Seo, New York
SHINTO: VARIOUS SCHOOLS
Dina Zhang, Head of Sale for Asian Contemporary Art, explains how Hong Kong’s meeting of East and West has shaped her view of art
François de Ricqlès, President of Christie's France, explains how this exceptional work speaks to the Rockefellers’ mutually admiring relationship with France