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SEIRYUKEN HIDENOBU: A LARGE AND SUPERB SENTOKU AND SUAKA MITO SCHOOL ‘ONI AND OBESHIMI
奥地利
06月13日 下午4点 开拍 / 06月11日 下午3点 截止委托
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拍品描述 翻译
SEIRYUKEN HIDENOBU: A LARGE AND SUPERB SENTOKU AND SUAKA MITO SCHOOL ‘ONI AND OBESHIMI MASK’ TSUBABy Seiryuken Hidenobu, signed Seiryuken Hidenobu with kaoJapan, dated 1845Published: Patrick Liebermann, Tsuba. Itinéraires d'une collection, 2016, p. 131, no. 84.Published & Exhibited: Samoura?s. Guerriers et esthètes, Bibliothèque Nationale et Universitaire, Strasbourg, 11 March-13 July 2022, p. 129, no. 113.Of kawarigata form, finely worked in sentoku and suaka, one side depicting an Obeshimi mask with a strenuous expression, the eyes and teeth in silver takazogan, biting its lip and the forehead showing veins. The reverse featuring an oni mask with bulging eyes and sharp fangs in gold takazogan. One side signed SEIRYUKEN HIDENOBU with kakihan (artist’s cursive monogram), the reverse inscribed Shoshun kore wo kizamu (engraved in the early Spring of the year of Koka 2 (corresponding to 1845).HEIGHT 7.4 cm, LENGTH 8.6 cmWEIGHT 248.5 gCondition: Very good condition with minor wear.Provenance: Ex-collection Ernest Le Véel. Beaussant-Lefèvre, 19 October 2011, Paris, lot 145. Ex-collection Patrick Liebermann, acquired from the above. An old label ‘145 [X]’ to the narrow side. Ernest Le Véel (1874-1951) and his wife entered the art trade at a very young age in the closing years of the 19th century, and were soon drawn to Japanese prints. They became acquainted with Japanese art lovers such as Louis Gonse, Gillot, Haviland, d'Ennery, among others, and gradually became their friends, suppliers and advisors. Over a period of almost forty years, they assembled a unique collection, which presents the widest possible range of Japanese prints and other Japanese works of art. Patrick Liebermann (1948–2023) was a passionate collector of tsuba (Japanese sword guards). His journey began in 1970 when he unknowingly purchased his first tsuba, unaware it was a sword fitting—an encounter that sparked a lifelong dedication. Over the course of more than fifty years, Liebermann assembled an impressive collection of over 200 pieces, always prioritizing quality over quantity. Rather than adhering strictly to specific schools, periods, or types such as sukashi or kinko, he was guided by the thematic content of each piece. His acquisitions were often made directly in Japan, with a discerning eye for originality and artistic merit. A selection of his collection was exhibited at the Bibliothèque Universitaire in Strasbourg in 2022, offering a glimpse into his refined and deeply personal approach to collecting.Seiryuken Hidenobu is listed in Robert E. Haynes, The Index of Japanese Sword Fittings and Associated Artists, p. 250 (H 01117.0). The artist was an excellent metalworker, active from the mid-19th century to the early Meiji period. Museum comparison:Compare a closely related Mito school tsuba of an okame and oni mask, dated to the late 19th century, in the Museum of Fine Arts, Boston, accession number 11.11951.

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