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Long time between examples - https://www.jauce.com/auction/q1228610297 Anyone seen a tsuba on a tsuba on a tsuba?

Sadayuki. I would look at one of the Muromachi period smiths who used the name Sadayuki and were working in Bungo province.

Nick, notice your original thread was still alive with more information.

Up for grabs is an absolutely beautiful tea bowl from one of the most highly regarded Bizen pottery kilns. Kaneshige Michiaki was born in 1934 as the eldest son of the legendary Kaneshige Toyo and studied under this father for many years before taking over the kiln. This bowl was made in the late 1980’s during his peak and shows a mastery befitting of his name and lineage. The form is regal and dignified, with the subtle throwing lines adding grace and movement, as if the moment it was thrown was frozen in time. The famous Kaneshige clay which takes years to process is on full display, blessed with an absolutely unreal color from the firing and soft feel in hand despite the very high fired nature of Bizen. Stamped on the base with the artist’s arrow mark and includes its original box, cloth and paperwork. Measures 13.5 x 8.3 cm. $200 shipped to the USA, international buyers please contact me for a shipping quote. Please let me know if you have any questions or need additional pics. Thanks for looking!

I am offering for sale one of my Type 95 swords. These are machine-made blades, entirely NOT traditionally made. Produced during World War Two. This example was made later war in 1944/1945. It is in particularly excellent condition with matching scabbard number. No chips or bends in the blade, and no rattle in the fittings. The blade may have been polished at some point, but is original and in great shape. I believe the paint is also original, but fading away. Variation #4 Type 95 Military Sword with Aluminum Hilt, copper ferrule, and Steel Tsuba made by Suya Shōten with Tokyo first army arsenal (TŌ / 東) inspector stamps and SHA stamp on the drag of the scabbard. Type (Tachi, Katana, Wakizashi, Tanto, Naginata, Other) : Machine made military sword of Japan / Katana Ubu, Suriage or O-Suriage : Ubu Mei : (Mumei, Signature) : None Era/Age : Later World War Two / 1944-1945. Shirasaya, Koshirae or Bare Blade? : Full original koshirae. Nagasa/Blade Length : 26.4 inches. Hamon Type : No hamon, non-traditional, machine made. Jihada : No hada, non-traditional, machine made. Flaws : Some light rust in the fuller/bohi, and paint faded over time. Sword Location : Oregon, USA. Will ship to : USA only. Payment Methods Accepted : Paypal Friends and Family, preffered. Price and Currency : $1250, Free Shipping in USA If sold here, I will donate $50 to the board. Suya 株式會社壽屋商店, Harp Logo = KK Suya Shōten = Suya Shop Co., Ltd. 東 TŌ 東京第一陸軍造兵廠監督課, Tōkyō 1st Army Arsenal Supervisory Section. Tokyo 1st Star 東京第一陸軍造兵廠標識 , Tōkyō First Army Arsenal trademark. Stamp on drag of scabbard = 社 = SHA = 各民間工場 , Each civilian/private factory.

Quite the scam. They purchase your book from the distributor (for which you get your measly royalty), send it to a book binder (rare biblio, in this case), then mark up the snot out of it. The silver lining? They at least market the heck out of it: "This title holds the distinction of being a Bestseller, highly praised by readers across the GLOBE. We are thrilled to present this literary gem exclusively to our elite readers, meticulously encased in our one-of-a-kind Premium Leather Binding." John C.

Thank you so much! A) for sharing that great tsuba, l love the color of the iron and also the motive is exquisite! B) for that correction, because I was actually not sure in the first place. What also kind of confused me, is that there was a french philosophy professor, also in the 1800s by the same name.

Just wanted to share this for anyone looking at Moses for polish - I recently received back a Taikei Naotane that was originally polished by a very elderly togisihi in Japan that had many problems. Finger stone marks left, hazy ji, a very scratchy surface etc. Now it looks incredible to say the least. The pictures do not do it justice, but I would highly recommend Moses. These pictures are very much a blue tone as his camera white balance must have been on the cooler side, but to the naked eye in real life, the hamon has a beautiful shade of light blue to it.

Dear all This little hamidashi tsuba just landed on my desk as an aside in a deal with a fellow collector. Dimensions 55.9 mm x 41.4 mm, thickness at seppa-dai 4.5 mm, at mimi 6.1 mm. It is made of concentric layer of copper and shakudo. Unfortunately there is significant delamination between the layers and the center of it is a little loose. It is decorated with a design of waves with very small gold drops, the ten zogan is very well executed. Without this defect it would have been a very nice piece. I have as few questions: The it can be classified as mokume-gane even though it just a made of concentric stripes of alternating metals? A tsuba with a similar layer arrangement in the collection of the Ashmolean collection is classified as mokumegane (https://jameelcentre.ashmolean.org/object/EAX.11192). Based on the design, workmanship and the use of mokumegane to which school it can be attributed? From a cursory research mokumegane was used by the Akita Shoami artist Shoami Dembei or by the Takahashi school (高橋派) a branch of the Edo Akao School. Any information is welcome, thank you in advance. Best Regards Luca

Today I had a chance to see it again, luckily at a time when there were fewer visitors, so I tried some different shots. A B

Dear Alexander, I finally had the opportunity to review your project: very interesting and exceptionally well done. It offers a historical perspective that is not often appreciated by modern collectors. I especially valued the inclusion of relevant bibliography for each chapter. Thank you for your effort.

Since we are showing off our early documented tsuba, here is one from the Mosle' collection. This one is described as number 804. TSUBA, thin iron, with two circular perforations, shigure-yasuri-me. Unsigned work of Prince Hosokawa Tadaoki (Sansai-Ko). 32. Higo province. Plates LX-LXIV Background on the Mosle Collection “Alexander Mosle’ (1862-1946) during several stays in Japan from 1884 to 1907 representing Gruson Werke, a subsidiary of Krupp, put together the core of his collection through Amiya with the advice and teachings of Akiyama Kyusaku. Back in Europe, he exhibits his collection in Berlin in 1909 (he will continue to buy until 1920). His collection was made of about 1600 pieces among which a unique group of some 300 Goto works, a number of which had the origami issued by Goto masters in works attributed to their ancestors before they were in the habit of signing. “(from 100 Selected Tsuba from European Public Collections, by Robert Haynes and Robert Burawoy)” Mentors of Mosle’ as listed in his 1914 catalog include: Paul Vautier (put together the Oeder collection) Wada Tsunahiro (put together the Furukawa collection) Akiyama Kyusaku Ogura Soemon (Amiya) “Mosle’ was one of the few devotees who actually lived in Japan (1884 -1907) during this historic period and had through his position as armament representative to Japan from the Gruson/Krupp company and as acting consul of Belgium to Japan access to experts in his fields of interest of the highest order. He counted as personal friends the likes of Tokugawa Iesato and General Nogi and mingled with the aristocracy of Japan. From this he was able to access information rarely accorded anyone, not to mention non-Japanese, and with his scholastic mind was able to document much research in these fields. (historic information has been taken from the catalog, ‘Japanese Sword Fittings from the Alexander G. Mosle’ Collection, Mosle’ and His Collection’, Sebastian Izzard LLC, 2004).

As per previous advice, kick up a HUGE storm. Email everyone from the CEO down. Emphasize that this is a unique, one of a kind item and is a cultural item, and that you are going to have to warn Japanese dealers against using USPS. Ask them who you put down as the person to contact since you will be opening a case with the police. Remind them that the Nihonto community is close, and that there have been a spate of these lately. Really go all out. It is my personal experience that the more you shake up the guys at top, the more change the item is "suddenly found" You have nothing to lose.

Thanks for the additions. Please take a moment and have a look at my page. You will already finde some essays: would love to hear your feedback Behrens: https://tosogu.eu/w-l-behrens-the-taste-for-the-archaic/ Church: https://tosogu.eu/sir-arthur-herbert-church-the-chemists-eye/ Joly: https://tosogu.eu/henri-l-joly-the-man-behind-the-catalogues/ Baur: https://tosogu.eu/alfred-baur-the-collection-that-became-a-museum/ Vever: https://tosogu.eu/henri-vever-the-art-of-seeing-twice/ Krohn: https://tosogu.eu/pietro-krohn-the-Japanese-argument-for-danish-design/ Halberstadt: https://tosogu.eu/hugo-halberstadt-the-collection-he-could-not-keep/ And the German collectors of course: Oeder, Jacoby, Brinkmann, Fahrenhorst, Tikotin...

I have done a three book set on the subject, along with five others centering on specific collections from the 19th century and early years of the 20th. Plus a few related design references - the books mentioned concentrate only on tsuba other objects from those collections are not included. Total pages 934 1924 100 pages 1894 > 1902 88 pages 1916 98 pages 1911 68 pages 1884 and 1898 82 pages I did the Wrangham collection along with the Hartman collection for my own study source. A thick book of 415 pages [I guess it is a "pirate book" as it is the only one in the world ] The Georg Oeder collection was translated from German to English - the original German is here: https://archive.org/details/japanischestichb00vaut/mode/2up Willkommen bei NMB, Alexander!

Specialised throwing spikes do exist in many Ryuha, but are of Iron as Brian says. In fact the Late Ōtake Risuke (1926 - 2021), Shihan of Tenshin Shōden Katori Shintō-ryū used a set made for him by the Swordsmith Yoshindo Yoshihara.

John I was asking If there could be used CNC like machine. With granite You can do 3D sculptures. Saku from this example especially in this Type 3 mint flawless mounting and freshly made polish gives me concerns. It looks like machine started doing saku and was corrected. Why put another horizontal stroke that way? Person doing mei couldn’t just extend existing strokes? Instead was doing parralel line.