Kevin Adams

It depends. Court koshirae followed a very strict design sense (lots of thematic "matching") and palette of materials. Non-court koshirae would reflect the aesthetic sense (refined or not), station and general wealth of the owner. A set of fittings needn't "match" in the sense that we associate with the word, but each piece would have had some sense of meaning and/or continuity to the owner (for instance, a set of menuki with a monkey on one and a moon on the other) based on their level of artistic and cultural exposure. The "match" is in the cultural or personal symbolism - so the combination you describe (which admittedly is quite random) may not have been so random to the original owner. It's up to us to study the thematic content, the quality of work and the materials used - and their place within Japan's cultural symbolism.

I'm not convinced that the previously posted example is genuine Yokoya, it strikes me as more modern work. Here's one from Bob Morrison's collection (I hope he doesn't mind) that is a genuine piece. I've adjusted the levels on the main photo to show the detail better - the colour off as a result.

Nice one Barrie, I was (unsuccessfully) looking for that very reference when this thread was started. All comments about papering aside, the workmanship on the piece in question just isn't what one should expect from Goto Ichijo. I'd steer clear of this one.

Definitely an iris, although crudely rendered. There are three heart-shaped leaves above a cluster of stems at 7 o'clock, and the two "holes" are intended to represent the negative spaces between the upright leaves ("standards").

The desire for personal validation is an astonishing thing, sometimes.

Head over to bladesmithforum.com, do a search for "meteorite" and read up. I don't know about swords, but the smiths over there are making knives and experimenting with pattern-welding using meteorite.

It doesn't need to be nanako-ji. As Ford mentioned in the quote you made, light is merely being refracted from the metal's surface and some variables are corrosion and patina composition. I would add alloy composition and surface polish/reflectivity to this list - I've seen some lovely refractive effects on the surfaces of copper, shibuichi and steel as well. Also, If you want to seriously discuss a business proposition with Ford, I suggest you get in touch with him directly via PM rather than a random post on a forum. He's very busy at the moment, and you'll need to meet him halfway to even get his attention.

Ford is making one.

Actually, there have been very regular updates on the project for backers of the project. There's a timeline on the link posted above with the last update being in April, just before Ford started his US and Canadian teaching tour.

Just like the title says - what kinds of things do you look for in a book about tsuba, or fittings in general? I've been perusing my references recently, and have been a bit frustrated by image quality, image size, poor colour correction, lighting, etc. It got me thinking about what it seemed I was looking for in the photography, and how it was lacking. How would your ideal tosogu publication look?

Thanks gents! It's been a bit of a surreal morning. I had less than 24 hours between when I finished my entry and when I couriered it out to Japan so there aren't many photos, but here's one I posted in the Izakaya back in April.

Just bumping this to the top as a reminder to members. Space is filling up quickly, so don't put it off if you're interested!

Toronto. More making than collecting, but slowly building a small study collection as well.

I’m very excited to announce a short series of Ford Hallam’s “Iron Brush” workshops here in Canada, as a conclusion to his North American spring teaching tour. A new metalworking studio is in the process of being set up in Hamilton, Ontario by Tamahagane Arts. This is intended to be a Canadian base for a future series of Iron Brush workshops and programs, as well as a wide array of metalworking and smithing programs and workshops. The studio is located at www.270sherman.ca. Setting up the studio is in its initial stages and the course fees are estimated, but the workshop dates are set! Registration inquiries and deposits can be directed to allen@tamahagane.com. _____________________________________________________ May 22nd – 1-Day Kebori (line carving) introductory workshop 8 students Students will learn to make and use an “iron brush”. They will shape and prepare a v-chisel from a provided blank, and participate in a series of carving exercises. Tools will be supplied at the studio, and the course fee includes a hammer and two chisel blanks for students to take home. Estimated Price: $300 CAD _____________________________________________________ May 23-25 – 3-day Basic Tsuba-Making introductory workshop 6 students Using provided copper ingots, students will shape and patinate their very own tsuba. Tools will be supplied at the studio. Estimated Price: $900 CAD _____________________________________________________ While I’m happy to answer any questions about the workshops (since I’ll be present for them), all inquiries about program registration should be directed to Allen Rozon at allen@tamahagane.com. Thanks, and see you there!

All sold. Thank you so much, everyone!

Great idea Brian - there's much cultural cross-pollination between the various crafts and art forms, and this could be an opportunity to study some of those complexities.

Have I mentioned that these tsuba were used as set dressing in a television show? Back in October, barely a day after I finished the eight tsuba for the "Stories in Steel" exhibit, I got a call from a friend advising me that I'd be getting a call from an art director that works in television. They were gathering "stuff Japanese" to dress a set for a new show they were making in Toronto, called "Man Seeking Woman". This screenshot is from episode 5, and is the first instance they've appeared in the show. I'm quite pleased to finally have seen them on screen. $750USD each for the "3 Cranes" and "Seasonal Grasses" tsubas (plus Paypal fees if applicable and shipping), or $1400USD for both.

Many thanks to everyone that has expressed an interest in these tsuba and made purchases, Ford's wine rack has been well-stocked during my time in Torquay! However, there are still two pieces available, and I'm hoping to recoup some of my travel costs through their sale. $750 each for the "3 Cranes" and "Seasonal Grasses" tsubas (plus Paypal fees if applicable and shipping), or make me an offer for the two together. Thanks again!

I MIGHT consider an offer for the two remaining tsuba as a single sale...

Thanks Reuben! I am indeed working on a competition entry for this year, very different from the work posted here. In fact, it's one of the reasons I came over the Torquay to work with Ford this week, to get some insights and to have him looking over my shoulder from time to time. More to come on THAT when it's a bit further along, though. "3 Cranes" and "Seasonal Grasses" tsubas still available.

Thanks gents! As previously mentioned, the "3 Cranes", "Higo Hayashi Ume" and "Seasonal Grasses" tsuba are still for sale.

No sir! The "3 Cranes", "Higo Hayashi Ume" and "Seasonal Grasses" tsubas are still available. And the wine rack is still not quite full.

Bell Cricket, Moon and Grasses tsuba is now sold.

That's very kind Brian, thank you. The Pine Tree tsuba is now sold.