marcus

Hi Tom, You can message me here or email at mcmetalarts@gmail.com if you are interested in commissioning a piece from me. Best regards, Marcus

Thank you to all who have posted here. I truly appreciate it. Best regards, Marcus

Hi Jean, I have been thinking about this as well. I am going to make some inroads on this front once the funeral has past and perhaps give the family some more time to grieve. Regards, Marcus

Hello all, If this is in the wrong spot feel free move it Brian. I just thought I'd share this here and provide some insight into this remarkable man. Hate him or love him he was indeed a unique individual. This is my meager attempt to express my feelings toward my teacher and dear friend. Thank you all. Ford Hallam At this moment in time I feel it important to somehow try to express what a huge impact Ford Hallam had on me and my life. It is plainly obvious that many other people have been touched very deeply by his generosity compassion, drive, intellect, diligence, humour, insight and his amazing skill as an Artist and Craftsman. I feel incredibly and overwhelming fortunate to have been granted direct access to that well spring. I cannot speak for anyone but myself, but he taught me, not only the Craft I now make my living from ,but also how to elevate that work into something more than just carving, sawing and filing. In the early days of the Iron brush forum I was initiated into this way of "seeing". He would critique and offer truly honest assessments of the work offered up trying to guide and I believe coalesce his ideas around teaching his art. Paralleled with that was his approach to how he went about making, as well. The Do, or Way of how to make was something that fascinated him. We spent many hours discussing the philosophy of the work and what that meant to him. His development of a Way of working directly that shared his view of the world, and his artistic expressions of it, was something that he diligently forged and eventually succeeded at brilliantly. I recall him telling me once that he was surprised that anyone would be interested in how he worked? He had honed these ideas over many years of work at the bench. Many of those ideas surrounding the aesthetic that he so successfully synthesized. As he coined it "uncontrived contrivedness". An extremely difficult concept to grasp, but one he was very passionate about. Some of the ideas were about ergonomics and the physical side of craft and came from his early training as a Goldsmith ,but also later from the first bout with his illness and ways to overcome it. He had a way of describing it all that was alluring and almost metaphysical, almost Zen to use a very overused term. It was this idea of working by hand directly and intimately with the material, that he and I shared a deep connection and mutual interest in. The Art itself would seem obviously the most important, but in my mind these ideas to him were one and the same. The Art and the Art of the Art, as it were. I think this conception and his actions upon it defined him as an Artist more than any other. These "hand conversations" with his chosen material allowed him to create things that almost defied human endeavor. He had his heroes and saw first hand under magnification what they were capable of. I always felt that this drove him to follow that path, because he saw that it was not only possible, but also possible to bring it forward and to have real relevance in the modern world. He saw that and wanted to share that vision with the world. Despite some of his own misgivings about this, I believe he succeeded. In these last decades, he more than anyone in the world, has shone a bright spotlight on the art of Japanese metalwork and generated a mini Renaissance surrounding it. His ripples have also stretched much further outward from that into many different areas of metal work, and I believe will continue to do so for a long time. He had many isms or saying that will persist in my mind until it's my turn to follow him. One in particular referenced craft and the use of tools and ones eyes. He'd say "Marcus, it's all the same, it's all the same." It took me more than a few years to realize what he was saying, but I have thanks to him. Sawing, filing, carving, scraping, looking and depending on how philosophical you want to get, life itself is "all the same". Another one that comes up often for me is "just do the work!" I'd be stuck on something or floundering for inspiration and I'd bring it up to him and he'd tell me again" just sit down and do the work...it'll come. Even when you don't feel like it . In fact, mostly when you don't feel like it, sit down and do the work. And if you really feel you can't sit ,clean ,sharpen and take care of your tools and studio." I adhere to this advice the best I can everyday. It's always a struggle as any artist will tell you. In fact, he himself struggled with that very thing. when I'm working and if I question something I'll often ask myself (WWFD) what would Ford do? and I hear him in my head. I told him about it and joked with him about getting those wristbands made up like the ones for Jesus on a few occasions. Despite me taking the piss with him I was serious, (not about the wristbands) and still do it to this day. He had a gift for expressing himself in a way that made what he did infectious. He was a gifted teacher and deeply cared about his students and those around him. I think this was something that many people underestimated about him. He would freely give way more of himself than he should have for his own good. Even when his health would suffer, he would push himself, especially at classes and while teaching. Few knew how difficult it was for him just to do the day to day living. Such was his dedication to his Art and passion to pass that on to his students. He took that responsibility very seriously and I think that was the catalyst for a few of the folks who he rubbed the wrong way through the years.. I will truly miss the early morning Skype calls with a cuppa Yorkshire Gold in hand and a good bit of toast and cheese. In those precious months where he generously invited me into his home and studio to study and learn. I will cherish those late, late nights where we shared way to many bottles of New Zealand White Zinfandel from the Marlborough region. We talked of life, history, philosophy, science and of course our shared passion, classical Japanese metalwork. Looking over his shoulder while he worked and trying to soak up everything that I could. He was encyclopedically knowledgeable and had an almost photographic memory for names, dates, schools, styles and really almost anything dealing with Japanese arts. The amount of research he had done on his book alone would have easily gotten him a PhD twice over had he been in academia. I'd set myself challenges of finding information that he had not already found. In all those years that happened only a handful of times. I'd excitedly bring something to his attention and he would then list off the book and chapter where it was located. And when he didn't know he was extremely grateful to add it to his knowledge base. Or, if there was a particular tsuba or artist that I was interested in, he would instantly know where a reference photo was in his massive library. If he didn't have it there he would know where to look. Also, where, when and how they worked, and most if not all of the Masters for that school. It was truly astounding. There is just so much I'd like to say and I could go on and on. I'm really not sure where to stop with all of this... I have known him and been his student for a long time, through thick and thin. Our relationship was the most unique one I've shared with another human. He changed the course of my life dramatically and opened up a world I now inhabit. He's had more impact on my adult life than anyone I've ever known, save my wife and children. How do you say goodbye to someone like that. How do I move forward and carry on without that human safety net and wellspring of knowledge, understanding and kindness that he was to me. I can only think of one, and that's to ask myself, what would Ford do? I will miss you ole chap, my dear friend, my teacher. I do not have enough gratitude to repay you all that you have given me. 10,000 thanks will not suffice. All I can do is carry on with our work and do my best to make you and Hallam-ryu proud. All my love and respect, Marcus

Hi Jay, Sorry I didn't see this post until now. It's really tricky to tell from the photos how the patina was applied? I would say it's possible to make some inroads lessening the damage and cleaning it for sure. If you are correct about the acid treatment/patina then you'll probable not be able to repair it without extreme measures. Marcus

Thanks Stephen. It's been a crazy several years, but I do have some work that I'm finishing up I'll share here when it's done.

Hi Grev, You should be able to see it here

Yes, this email is still good.

Thank you all for your input! I appreciate it greatly 🙏🏼 I have been very busy and haven't had a chance to respond until now. Here's another one that has come up in the search. Thank you again very much!! Best, Marcus

Hi all. I'm looking for further information on this later branch of the Umetada school, who signed the "Ume" character with a carved plum flower. I'm having difficulty finding much on who they were/where there were working. Any other images of examples and help would be greatly appreciated! Thanks!! *Image pulled from the MFA website and used here for educational purposes only.

I'm glad to hear you were able to finally get confirmation on the piece. I had very little doubt that it was the real deal. Congratulations! Cheers, Marcus

Thank you Gents! Very much appreciated ???? @ Brian- that's an interesting idea to consider. ???? Just to let you all know this piece is available if anyone is interested please don't hesitate to contact me. Thanks again! Thanks Stephen for posting it here much obliged. Cheers, Marcus

Thanks Markus! Will be getting the hard copy soon. Cheers, Marcus

Grev, Kevin and I have had discussions regarding the possibility of politics getting in the way. I hope that it is not the case but I am prepared for that possibility. I appreciate your comments on the work and hope you are right! Cheers, Marcus

Hello everyone, I'll first comment on the lovely piece Kevin has posted and say well done sir! And good luck my friend! I had a close call this year and almost missed the deadline but was able to just squeak under the wire... I chose to continue studying the work of the iconoclast Murakami Jochiku . This piece is housed in the MFA and I'm sure many will recognize it. I have long wanted to do an utsushi of this piece, and hope my work does it justice. Here is my piece for the competition this year. Cheers, Marcus

Hi David, PM sent

Good day to everyone, As some of you may know, I just spent the last two months in England learning the finer points of antique Japanese metalwork restoration under the tutelage of my friend, teacher and world authority Ford Hallam. I was fortunate enough to have the experience of working on a wide variety of pieces from iron jizai okimono, bronze vases, sword fittings and more. It was the most intense period of study that I have had in my life. I have been single mindedly pursuing classical Japanese metalwork for more than a few years now and was awarded Tokusho-The Sakaki Mayor's award at the NBSK competition this year for my entry. After completing these past two months specifically focused on restoration both Ford and I feel that I am ready to offer my restoration services here in the US. Ford has also graciously made himself available to me through Skype for consultation if something unusual should arise. My reasons for wanting to do this type of work aside from my art is many fold, it affords me an avenue of study that few will ever have, also very important to me, is that these works of art are treated as such and properly brought back to their original glory. If anyone here is interested in discussing the services I offer please feel free to message me here or email me at mcmetalarts@gmail.com Thank you for your interest in advance. Marcus Chambers

Stephen, Please do forward the images on. At some point in the future if you are in a position to have it done I would be happy to oblige. Cheers, Marcus

Stephen, I am terribly sorry that I missed sending the email to Ford. I was in the middle of preparation when I got the news that I needed to to be present in Japan and that sort of took front and center in my radar. I would still be happy to discuss the project and give you the same pricing structure. If you could please email the images as the links I have in the old email are not working. Again, I am sorry for my dropping the ball on this one. Thanks, Marcus

Here is an example of an Goto Ichijo from the Tsuba Shusei -Nakamura 1963 with the exact same mon stamp used on the piece in question. I think the craftsmanship actually is spot on for other papered and signed pieces in this particular style of his work. I'm not sure what else you could ask for from a piece in this style. The patina on the shibuichi is worn thin but this could be repaired with little trouble. The rest of the page from the same book to show some other examples he did in this style. Here also is a link to another example without a signature that has been papered. The shape and design is almost identical other than the ground materials and stamps used. Scroll down to see example. http://www.choshuya.co.jp/1/0805/member_frame_fittings.htm Sometimes I think you must judge a work not on the papers, but the merits and evidence presented by the piece. I have a feeling that many really great bargains are missed out on because of this way thinking. Could be a bargain considering what some of his other works go for and to my eye the signature is direct and very convincing. Cheers, Marcus

Thanks for the sticky Brian! Thanks for the kind words Jamie☺️ Cheers, Marcus

Hello All, I would first like to say how honored I feel having the opportunity to study with Ford in his studio! It has been my goal secretly since I started doing this type of work to do so. We both are greatly excited to start the foundation for this type of traditional studio outside Japan! It will be an exciting time to be sure! I hope some of you will take advantage of this rare opportunity, and give me an equally rare opportunity to study and bring back to their original glory, some of the fine works that I've have been seeing here for years! I plan on leaving for the UK by mid June, so if you want to avoid the customs hiccup as Ford suggested, please allow ample time make arrangements. Here is some pics my study utsushi of the Ebisu Daikoku tsuba by Murakami Jochiku: Again, please contact me by email: mcmetalarts@gmail.com or, Ford as he instructed above. Thank you for your interest in advance! Cheers, Marcus

Pete, Possible, but highly unlikely. You would be left with a pile of metal chips that would be usable again by mean of yet more time and resources. Again, the economy of time and materials was/is paramount in Japanese craft. It would again be far easier, more efficient, and save more material just to proceed as I have described earlier. This, after all, was a business, and they would have gone the most efficient time/money/materials saving way possible. And again, this kind of economy of materials was/is at the heart of Japanese craft. If you were running the business, would you not want to use the most time/money saving process for making your product? I know I would and do! Cheers, Marcus :D

Pete, It makes no sense procedurally, and goes against the Japanese idea of conservation of materials to cast the Mon into the plate. It would be much easier to inlay and the cut through both the inlay and the iron ground. The second image posted shows fairly clearly the distinct layer of brass and the iron underneath. Believe it or not, but it would be easier to cut through iron than brass of that thickness. Plus you are only doing it once. Your method would involve cut out the round hole, casting and then cutting out the brass. Why not just do it in one shot? Again, we are talking about economy of energy as well as materials, which is at the heart of Japanese craft. BTW, the example in your link would have been done by means of a thin strip of brass make into a hoop, and then inserted into the sukashi and worked down on both sides to secure it in place. Cheers, Marcus

Pete, I think you are half right in your description of the process. Logically, the plate would be formed, the design layout done, the inlay completed, the sukashi, the plug for the ana, the design finished with the kebori work, the patina on the iron, and then for the brass. To cut out the sukashi and then inlay on top of it makes no sense, as it would over complicate the process. With brass being very, very difficult to gild in the fist place, it also makes sense that copper would have been used. It is much easier to gild if that was the desired effect. Also, we have been told that shinchu, brass was extremely valuable when it was introduced from China, so again, why not end with the copper? On top of that, gilding would be quite problematic due to possible overheating the other fine inlay. I hope this helps clear, and not muddy the waters further. Cheers, Marcus