New York, Park Avenue
22 October 1992
A MINO SHIZU TANTO
NAMBOKUCHO/YOSHINO PERIOD (MID 14TH CENTURY), SIGNED KANETSUGU
Configuration (sugata): of flat, wedge section (hira-zukuri) with tri-bevelled back (mitsu-mune) and a drop in the back towards the tip (uchizori); length (nagasa): 6 sun, 9 bu (20.8cm.); curvature (sori): none (muzori).
Forging pattern (jihada): wood and straight wood grain (itame/masame) of tight, well-structured configuration, the mokume of slightly elongated form.
Tempering pattern (hamon): narrow suguba in subdued ko-nie, increasing slightly in width at the hamachi.
Point (boshi): large rounded (o-maru) and with slight kaeri.
Tang (nakago). Shape (keitai): consistent width and slightly uplifted (furisode); file marks (yasurime): deeply sloping (o-sujikai); end (nakagojiri): rounded (kuri-jiri); holes (mekugi-ana): two, plus a kesho-ana (double); signature (katanamei): Kanetsugu.
Aikuchi-kaiken-koshirae comprising: a black lacquer saya and kaeshi-zuno and fitted with copper o-koiguchi and o-kojiri; the tsuka of brown same is fitted with plain copper fuchi-kashira and menuki in the form of Daruma, signed Yukimitsu (possibly Niita Yukimitsu).
Two silk storage bags. Wood storage box.
Accompanied by an origami by Hon'ami Koson, dated Showa 30 (1955) and a tokubetsu kicho token certificate, no. 38312, Showa 34 (1959), issued by the N.B.T.H.K..
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A Kanetsugu katana was sold in Part I of the Compton Collection as lot 287.
There were several artists who used the Yukimitsu kanji. The Shonai artist seems to be the best possibility.
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