New York, Park Avenue
22 October 1992
AN ECHIZEN SHIMOSAKA OMI YARI
EDO PERIOD, DATED KAN-EI 5 (1628), SIGNED NI OITE ECHIZEN TOYOHARA--HYUGA DAIJO FUJIWARA SADATSUGU
Configuration (sugata): yari; length (nagasa): 3 shaku, 0 sun, 4 bu (91.6cm.); carving (horimono): outside (omote): bo-hi.
Forging pattern (jihada): straight wood grain (masame).
Tempering pattern (hamon): wide tempering with some irregular waves (suguba notare) in nioi and good nie and on both sides are large spots of faint tempering (hitatsura) in the forged area.
Point (boshi): small rounded (ko-maru).
Tang (nakago). Shape (keitai): long (87.7cm.), tapering, of rectangular section and ubu; file marks (yasurime): kiri-yasuri; end (nakagojiri): squared (kiri-jiri); holes (mekugi-ana): one; signature (mei): ni oite Echizen Toyohara--Hyuga Daijo Fujiwara Sadatsugu; date (jidai): Kan-ei 5-nen 8-gatsu hi--nijup'pon no uchi (a day in the 8th month of Kan-ei 8 , one of a group of twenty.
Cotton storage bag.
Accompanied by a tokubetsu kicho token certificate, no. 144699, Showa 43 (1968), issued by the N.B.T.H.K.
Waldhorn & Co., New Orleans
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Mino and Robinson (1983), no. 8.
Compton, Homma, Sato, Ogawa (1976), no. 41.
Sadatsugu was a student of Yasutsugu and two of his honorific titles included Hyuga (no) Kami and Hyuga Daijo. The inscription below the date states that this piece is one of twenty which he made that year in Toyohara.
Specialist Joy McCall answers key questions for collectors of the glassmaker’s exquisite pieces. Illustrated with lots offered in the Lalique sale on 15 May
Offered in May, a 1916 canvas that was included in every major survey of Malevich’s Suprematist works during his lifetime, and which revolutionised modern art