Circular tsuba, made of iron. Inside an exterior circle, eight smaller circles are placed with the same spacing. The eight circles are connected to the exterior circle as well as to the three center holes where kôgai, blade, and kozuka are placed. Each of the eight circles have a different family crests. The openwork technique seen here is called "marubori" (round carving). The surface is slightly textured by minute stippling.
Family crests were important markers of the samurai class, in which military and political connections and blood and marriage relationships heavily weighed and determined one’s social status. This tsuba with eight different family crests alludes that the owner has some kind of relationship to eight different households or lineages; either of his own household (One household used more than one crest, although usually there was one dominant than other crests), his relatives or his allies.
This small, flat metal piece has a circular shape and an openwork design. It has a triangular shaped sword hole in the center, flanked by two other holes, which are filled with shakudô (copper-gold alloy). The sword hole is mended with gold. Three crests, consisting of pawlownia leaves and flowers, are interconnected with vines. There are some abrasions on the center oval shape around the sword hole. The surface is slightly textured by minute stippling. The outer rim is slightly elevated from the inner design. This openwork carving technique is called "marubori" (round carving).
Tsuba (sword guard) is inserted between a sword handle and blade to protect hands from sharp blades. The center hole is where the sword is placed. The smaller holes are to insert kozuka (left), an ornamental stick, and kougai (right), a spatula-like stick which is said to be used for itching hair underneath hats or helmets. This particlar tsuba has three crests of "Gosangiri" (pawlownia with three-five-three flower petals), which perhaps was the family crest of the owner of the original sword.
One of a pair of doors that formed an arched entryway. In the upper two thirds of the door are opalescent square glass "coffers" in an arched composition that corresponds to the silhouette of the doors. The interior-facing side of the doors include curvilinear lead caming, inset with medium-sized beach stones, that frame the glass "coffers". The exterior-facing side of the doors has the "coffers" framed by patinated copper sheeting.
The doors from the Havemeyer house present different aspects: on the inside the warm wood tones and stones (traditionally thought to have come from beaches in Long Island and given to Tiffany to incorporate in the doors by Louisine Havemeyer) are lighter and more personal than the copper exterior of the doors. The exterior is darker and conveys the image of strength and security.
A round metal lock meant to lock a chest. The front of the metal disc is decorated with a line carving of a Korean character surrounded by multiple carved circles, but leave a rim of undecorated metal around its edges.
On the plate, l.r.: Callot fecit Israel excudit. On the plate, lower right margin: 18 On the plate, lower margin, six verse lines in groups of two disposed from left to right: Cet example d'un Chef plein de reconnoissance, Qui punit les méchans et les bon recompance, Doit picquer les soldats d'un aiguillon d'honneur Puisque de la vertu dépend tout leur bon-heur, Et qu'ordinairement ils reciovent du Vice, La honte, le mespris, et le dernier supplice.
Seen frontally is a building along a canal. In front of the facade is a brick or cobble pavement; steps lead up to a triple doorway entrance while laundry and windows complete the second story. To either side of the central steps are doorways that lead down. In each of the doorways and on the pavement are grouped figures of women and children. The lower portion of the print shows the reflections of the building and figures.
According to the Glasgow catalogue raisonné, "The shop front of No. 148 Lijnbaansgracht, near the corner of Laurierstraat and Lijnbaansgracht, in the city of Amsterdam, capital of the Netherlands. 7 Beatrice Whistler called it the 'Royen Gracht'. "