The Hazama school of tsuba makers is thought to have arrived in Kameyama in Ise province from Omi and were likely a branch of the Kunitomo School of matchlock makers that resided there.

At the opening of the Edo period as Tokugawa Ieyasu consolidated his power and solidified his new government, matchlock demand diminished due to the cessation of large-scale conflicts that formerly implemented mass formations of them. For some makers of weapons such as matchlocks and armor, the natural transition was to re-tool and reorganize to sword and sword fitting manufacture. Two other notable examples of this kind of trade-craft shift would be Okisato Nyudo Kotetsu who was formerly an armor maker, and Noda Hankei, who was a gunsmith. Both had deep familiarity with working iron and steel in their original trades, thus stepping into sword craft would be a fairly natural transition.
Obverse

Hazama school works are alternatively known as “Kameyama” and the lines of their succession are a bit indistinct. Several different extant signatures can be found, Teiei, Shoei, Masanaga, and often just Hazama (é–“). Their archetypal work is a solid round iron plate in either dished or lenticular form that which is well forged and incised with a design that is then filled with an alloy composed of copper, tin, lead, and zinc, called “sahari”. Sahari inlay is a trademark of Hazama works with a great variety of designs, and being non-ferrous, does not shed or corrode as iron does over time. Thus, many extant Hazama tsuba exhibit the interesting characteristic of the inlay standing proud of the surrounding iron surface plate. Whether this is an indication of diminished health, natural wear, or intentional alteration is subjective discussion, but the resultant look provides further dimension that some collectors find appealing regardless of cause. Pierced works from this school do exist but are uncommon. Sculpted works in multi-metal on-lay also are very uncommon, making them rarer among the already rare.
Reverse

This fine example of Hazama work is notably special among its peers. It is a composition that employs a well forged round iron place, joined with sculpted non-ferrous metal, which has also been treated with a fine layer of the trademark sahari alloy. The treatment of the sahari in this particular, and singular example I have yet seen, is most interesting indeed because it has been applied as a thin layer on top of the copper as a complimentary aesthetic detail to the subject, rather than a wholesale palate material to illustrate an image in whole as was their usual practice.

The theme on the obverse is gathered paper strips composed in copper and shakudo. On the reverse is a Sensu (hand fan) also sculpted in copper base metal, with shakudo hinge pin detail, and an intriguing layer of sahari that has been applied to the fan membrane. The look and impact are both bold and charming with a rustic charm. Noting further details, in the crevices of the sculpting there can be seen brown/black lacquer has been applied providing yet more warmth to the details and an organic feeling to the entire work.

The tsuba is signed “Seishu Kameyama Ju Shoei Saku”.

Dimensions: 7.9 cm x 7.95 cm

I was immediately impressed with this tsuba when I first saw it. The theme, composition, materials, and details are unique among most Hazama tsuba, and I feel it likely this was commissioned as a gift. It is an extraordinary tsuba and would be a proud and special part of any collection.

It is accompanied by NBTHK Tokubetsu Hozon certificate validating its authenticity.

Signed : Seishu Kameyama Ju Shoei Saku

He was the brother of Shodai Hazama Teiei

Sizes : 7.9 cm x 7.95 cm & in great superb minty condition !