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The image did not upload on the last posting, too large? Hope this works.

The theme/subject is unusual, possibly the New Year celebration (January 14th) , Niwa Taue 庭田植 (rice straw planting in the snow). Shakudo, White Shibuichi (?), gold. Size (cm): 7.35 x 6.98 x 0.60, Nakago 2.85 Weight (g): 156 The contrast between the deep black of the straw bundles and the bright white of the snow "Yuki-mochi" is striking. Unfortunately my pictures do not do the piece justice.

Hi All Haynes lists 4 artists using the kanji 勝利 (Katsutoshi) as an art mei. H 02905.0 Hoshi Katsutoshi, ca. 1875 H 02906.0 Kurowa Katsutoshi, Yashu ju, ca. 1750 H 02907.0 Nakagawa Katsutoshi, ca. 1800-1850 (Not listed by Wakayama) H 02908.0 Nakajima Sosa buro (Katsutoshi) ca. 1900-1920 H 02906.0 is the only listing with an illustrated Kao example. The tsuba in question is very similar in style to many of those illustrated Perhaps there is some confusion as to the different artists and or generations? Tsuba images to follow.

Would appreciate help confirming this Mei and Kao. Haynes describes this artist as "prolific", but I only have access to the following ; Three items in the Boston Museum of Fine Arts (2 Kozuka & 1 Fuchi-Kashira) and a tsuba in Christies Auction Catalog, Hartman Collection, Sale of June 30th 1976. Lot No. 266. None of these examples shows a Mei or Kao. Haynes illustrates 11 different Kao's for this artist. The Koa on this particular tsuba seems to be yet another variation (12th?). Haynes cites Wakayama as a reference. Toso Kinko Jiten : 297-L-3 and 304-L-6. Would be grateful if someone could post scans of the Wakayama listings for comparison. Thanks.

Hi Mark The theme is the Meoto Iwa (Wedded Rock or Husband and Wife Rock) a very popular tourist site not far from the Ise Shrine. The upper piece probably represents viewing pavilions set in pine trees looking out to sea, towards the 'husband and wife rocks', on the lower piece. Google - "Meoto Iwa" or "Husband and Wife rocks" for more info. The menuki probably date from the late Edo or Meiji period.

Hmm, where to start? Rich, apologies if I took your name in vain, I evidently misread the post. (Perhaps it was the shock of being put in my place by Ford, that threw me off.). Belated thanks to a "Mr Martin Hellmann". Ford, "Owari guards don't usually have raised rims" - re-read the post - the dealer (Boris Markhasin) who purveyed it described it as Owari. Although I have never seen another Owari piece with this type of mimi, I bow to his superior knowledge. "if the guard is made of iron, as you describe, then no hardening would be possible anyway" - Why not? As you well know, the term "iron" when describing tsuba, actually means "steel". And of course steel can be hardened, normalized, tempered, etc..etc... http://www.roymech.co.uk/Useful_Tables/ ... ening.html Are there not different degrees of hardness available to a skilled metalworker? I really do not understand the point that you are trying to make. ----- So lets start again ; I have a iron (a.k.a. steel) tsuba, the dealer (Boris Markhasin) who purveyed it described it as Owari, the iron is very dense black/dark brown color, it exhibits nie "like" qualities on the "road edge" of the mimi, the pics tell all. The tsuba, whilst in my care, has been periodically gently rubbed (polished?) with a pure cotton terry cloth. Notwithstanding the 300 year old "black rust" patina and old corrosion, something (approx 1mm in size) in singles and clumps, glitters and sparkles, it only does so in a specific area, it is easily observed with the naked eye. Pedantic semantics aside, can anyone tell me what it is we can see here? Is it nie? Is it martensite, austensite, pearlite, or troostite. Or is it something completely different? Is it possible that many years ago the tsuba was in a house/dwelling fire. Would this help explain the formation of the "nie like" spots or even the level of corrosion? Is it animal, vegetable, or mineral? or to paraphrase Ford, "if it's not an alien flying saucer then what the heck is it?" Given my location seeking a hands-on second opinion is difficult to say the least, perhaps it would be worth mailing it to someone better qualified to help explain this phenomenon? Thanks.

Ford While I respect your technical abilities to create/copy/mimic tsuba, I find your reasoning in this instance unconvincing. In regards to "nie or nioi in relation the tsuba" you may wish to consult this tread. http://www.nihontokanjipages.com/forum/ ... .php?id=35 At the foot of this particular page you will find; "What I could not capture in the pictures is the sparkling "NIOI-like" effect when handling the piece in (sun)light. This is quite astonishing ;o)" - Richard Turner It would seem that I am not the first to observe this phenomenon on an early iron tsuba. (To the best of my knowledge Richard Turner is not Japanese, but I think its fair to say that he is something of an "Western" authority) So I think using the term in relation to tsuba is valid. Which begs the question, If it is not nie (KAZUNOKO) on this particular piece, what is it? The "spots" in question are visible from many angles, "minor lumps and bumps of rust and simple textures from corrosion and hammering etc" does not explain what has happened here. The outer edge of the mimi has the same texture, color, rust etc... as the rest of the tsuba, yet is the only place where these "spots" occur. The tsuba-ko who fashioned this piece worked the edges of the plate out into thin lips and then hammered then back over the plate to form the mimi. A relatively soft/malleable iron would have been required/desirable for him to be able to work the metal, would it not? A final hardening of the mimi to preserve this labor intensive handiwork would make also sense. Perhaps the earlier pieces (Tosho, Katchushi, and early sukashi) were all hardened, whereas the later pieces were not. (Which may help explain their purplish/black color) Later tsuba were manufactured with a thicker plate, which was not hardened but still offered a similar level of protection. Dr. Kazutaro Torigoye offered the opinion that the very earliest tosho tsuba were approx. 2mm thick, those made later were always thicker, i.e. 2.5mm + He felt that Katchushi tsuba underwent a similar evolution, becoming thicker in later years. Perhaps It became cost effective in subsequent years not to harden the finished item, instead they used used more iron and less labor, thus avoiding your "waste of time and resources". One of the latter stages in the manufacture of swords, Kissaki-hizukuri, is the "clipping" off of the end of the tsunobe to create the kissaki. Could it be that these clipped off pieces were used in the manufacture of early tsuba. Would heat treating a plate made from such "scraps" that had already undergone significant hammering and folding, produce nie? If so, it still would not explain why they only appear on the outer edge, "where the rubber meets the road". Attached are close-ups of the "lips", notice the areas of corrosion/texture, with absolutely no sign of "nie" or "spots"? Take Care

Hi All I have a tsuba that appears to have a bad case of the measles, or perhaps even a bad case of the NIE. Dealers description ; "Owari Arrow Sukashi Tsuba This tsuba has very nice, bold and even granular tekkotsu giving it a soft and even dark brown-black iron patina. There are also some small nodules of larger tekkotsu in the rim as well. (1 o'clock Obverse) There is a small lamination separation on the face of the seppa dai which shows that this tsuba was folded. (10:30 Reverse) Dimensions: 7.0 cm x 6.85 cm x 0.25 cm at seppa dai and 0.5 cm at mimi Momoyama – Early Edo Period" The true colour of the iron is relected in the first picture (1-Owari Yabane Mimi True Color.jpg) As can be seen on the Obverse-Reverse montage the ji is quite rough, a combination of granular tokketsu and pitting (very old corrosion). (2-Owari Yabane Obverse-Reverse R.jpg). What was not mentioned by the dealer was the presence of nie. To be more precise ; ARA-NIE, i.e. large coarse nie or possibly KAZUNOKO (especially large nie) N.B., I use the term nie in regards to this tsuba based upon the following definition; The Connoisseurs Book of Japanese Swords, Kokan Nagayama, Page 91, Nie and Nioi. "Nie is the term used or individual particles that look like twinkling stars and that may be discerned wit the naked eye." And further on; "Nie and nioi are terms for two different instances of the crystalline effect known as martensite in Western metallurgical terms. Other terms such as austensite, pearlite, and troostite are also used for this phenomenon, but for our purpose these are all fundamentally the same. Nie is the term used for individual particles that look like twinkling stars and that may be discerned by the naked eye." And a little further on; "Other types - not considered particularly desirable (on blades) - include kazunoko ("herring roe") nie (especially large and partially scattered particle) ..." I have attempted to photograph these nie clusters, I trust that you can discern the shiny "spots". These pictures are "washed-out" to help illustrate the NIE, (3-Owari Yabane Mimi.jpg) And these pictures are closer to the actual ji color (4-Owari Yabane Mimi.jpg) Under natural light, and especially strong sunlight, these nie appear as large black sparkling spots. They are located only on the outer edge of the mimi, and the large clusters illustrated appear mostly, but not exclusively, between approx 4 and 9 o'clock. I suspect that the type of mimi may be a clue as to what occured in the creation of the nie. The tsuba plate was fashioned from folded iron, the sukashi were cut and filed out and then the mimi hammered into shape. The formation of the Uchikaeshi mimi (Hineri Mimi) probably required a relatively soft iron that could be easily worked (hammering out the 'lips' and folding them back) Once the desired shape was achieved the tsubako then heat-quenched (Yakiire process) the finished item to both harden and preserve his handiwork and the nie was thus created. Any and all thoughts or comments welcome.

Hi Doctor A few final "thoughts". Currently for sale on eBay (N.B. The seller does not claim that they are Goto work) http://daimyoubugu.web.infoseek.co.jp/C3-907/index.htm Almost identical to the two sets previously posted, but note the lack of definition in the carving, especially the scales. Here is a search string for The Boston Museum of Fine Arts http://www.mfa.org/collections/search_a ... ubmit.y=10 Zoom up the images to "full screen" and you can see how sharply defined, and alive, that true Goto work is. Even though most examples in the BMFA are gold, when the Goto used Shakudo the quality of their carving was always maintained. Apologies to Milt for hijacking your thread, and congrats on the recently acquired Ise-Ebi tsuba.

Hi Doctor Your menuki are definately quality pieces, as whether they actually are Goto is difficult to say. Goto artists were copied more than any other school. Your menuki appear to have depth to the carving, the tagane marks seem sharp, the general proportions seem right. Nice deep black Shakudo. Not so sure about the gold eyes. My impression is that they probably are Goto, although without having them in hand to examine closely its impossible to be sure. If you have any interest in Goto (Mainline) work then I would highly recommend ; SENGOKU BUSHO NO YOSOI (Sano Museum Exhibition Catalogue, 2006), Japanese text, its usually listed on eBay There are superb close-up images (many of the images are 300% lifesize) of Gold and Shakudo menuki, kozuka, and kogai. The book is 81/2 x 11, the cover photos give you an idea of the detail revealed by the images inside.

Papered or not, there is a still a nasty, and what looks like a very recent, "cut" into the copper base metal. Nonetheless I be surprised if these sold for less than 4 figures. Superb craftsmanship.

Hi Just stumbled across a little gem at http://www.archive.org Das kunstgewerbe in Japan (1911) - Otto Kummel (The Arts of Japan ?) A 200+ page German language booklet which has sections on Japanese Sword Fittings, Armor, Ceramics, etc... 20 page section on Schwertschmuck (sword jewelery) which includes images of some very nice sword fittings (Tsuba, Kozuka, Menuki etc..) from various sources including ; the Hamburg Museum, as well as the Jacoby, Mosle and Oeder Collections of approx. 100 years ago. A 14Mb PDF download. Heres the link. http://www.archive.org/details/daskunstgewerbei00km Enjoy.

Hi Ken Unfortunately JSTOR is for academics only. It would seem that knowledge is not to be shared with the hoi poloi. How did it ever come to this? Don't get me started! Apologies, I digress. There is a very interesting volume on the origins of alchemy, in which there are listed many sources (including T. A. Rickard (1941). "The Use of Meteoric Iron") on meteoric iron and its uses by various early civilizations. The Forge and the Crucible: The Origins and Structure of Alchemy By Mircea Eliade, Stephen Corrin. You should be able to read some excerpts here. http://books.google.ca/books?id=yydiffu ... Q#PPA29,M1 And it is currently in print and avalable here. The Forge and the Crucible: The Origins and Structure of Alchemy (Paperback) by Mircea Eliade (Author) "IT WAS inevitable that meteorites should inspire awe ..." http://www.amazon.com/Forge-Crucible-Or ... 510&sr=8-1 Happy Hunting.

Hi Ken Sorry I may have given you a bad/misleading link, try this http://www.jstor.org/pss/2844401 The Use of Meteoric Iron T. A. Rickard The Journal of the Royal Anthropological Institute of Great Britain and Ireland, Vol. 71, No. 1/2 (1941), pp. 55-66 (article consists of 14 pages) Published by: Royal Anthropological Institute of Great Britain and Ireland The image I posted is only the 1st page (?) of what is a 14 page article. Perhaps Japan and China are mentioned on other pages? Thanks.

Hi Ken I researched this subject some time ago for a short story, which unfortunately remains unfinished. I seem to remember googling "use of meteoric iron" The most interesting tidbit I found was at http://links.jstor.org/sici?sici=0307-3114(1941)71:1/2%3C55:TUOMI%3E2.0.CO;2-8 T. A. Rickard (1941). "The Use of Meteoric Iron". The Journal of the Royal Anthropological Institute of Great Britain and Ireland Hope its of interest.

Here is a very nice example of the masters work. I assume the image is copyright Sukagawa Museum Aotsu Collection, No 354. http://www.db.fks.ed.jp/txt/20011.002/html/00094.html Click on the image to enlarge. Yet another variation of his mei. The kao is obviously more flamboyant, he seems to have made full use of the space available.

Hi All I assume the image is copyright so here is the link to the Sukagawa Museum, Japan - Aotsu Collection. http://www.db.fks.ed.jp/txt/20011.002/i ... 093_02.jpg One of the better examples of this particular theme.

Hi Lee These pictures reminded me of a tsuba that was on ebay last year. Just checked my archives and confirmed that the same pictures were used for the following item; http://cgi.ebay.com/ws/eBayISAPI.dll?Vi ... 0117947970 Deeply carved Japanese tanto tsuba signed Mitsumori Item number: 250117947970 http://myworld.ebay.com/emalecollector/ Current bid: US $153.00 Reserve not met Buy It Now Price: US $625.00 Ended: May-27-07 18:19:44 PDT Shipping costs: US $14.00 (discount available) US Postal Service First Class Mail® Service to United States (more services) Ships to: United States Item location: Sedona, Arizona, United States History: 7 bids High bidder: Bidder 4 Description This is one of the best executed tsubas with the hawk & sparrows theme that I have seen. It is deeply carved and artistically rendered and has a lovely patina. The mei is Mitsumori. The only listing that I can find for this name is that this was a name sometimes used by Goto Keijo, the 14th master of the Goto main line. There are three kanji on the right side of the tsuba, the first of which is Go (Goto?). However, this could just be the beginning of a personal name like Gorobei. Anyway, this tsuba is certainly fine work and is being sold on its own merits. It is in excellent condition and measures 2.35 inches high by 1.80 inches wide. It is made for a tanto or small wakozashi and has hitsu for both kozuka and kogai. It is really a little jewel. I believe it was relisted and subsequently sold, presumably to you? Thanks.

Hi Koichi I appreciate your help. Many Thanks.

Hi Koichi Just realised I had not included the web URL of my last request (Satsuma Rebellion vs Boshin War) http://seinan1877.hp.infoseek.co.jp/tabaru3/tabaru3.htm Ishii Syoichiro, 石井省一郎 is mentioned in the text, enclosed in the white box, towards the bottom of the article. Thanks Again.

Hi Koichi I had wondered about that particular picture. It was on a Japanese web site embedded next to a small list which included Ishii Syoichiro. http://www.miyaginet.com/~miyaginet08/k ... naun02.htm The article seems to about the history/development of the infrastructure in a particular region of Japan. Re: Not a Civil Engineer http://www.miyaginet.com/~miyaginet39/8.html Is an article on the "Miyagi Canal" and Kitakami river system. At the bottom of the page, Ishii Syoichiro, 石井省一郎, is listed below the Emperor and the Interior Minister(?) Toshimiti Ookubo, but above the Dutch Civil Engineer Van Doorn. Is he the Director of Civil Works, the government bureaucrat responsible for the project? And finally : Not the Boshin War So the Satsuma Rebellion (西南戦争, Seinan Sensō (Southwestern War)) and not the Boshin War. Understood. But is Ishii Syoichiro, 石井省一郎 not mentioned in that section of text, as highlighted? And if so, what was he up to? 郵便報知新聞の犬養毅は、熊本県令事務取扱石井省一郎から熊本県小用係という辞令を受けて最前線に入り、熊本城入城まで野津少将の第１旅団に従軍 Google translated this as; Postal Hochi Shimbun dog Foster Yi, Kumamoto Prefecture Ordinance office handling Shiyouiti Ishii II from Kumamoto Prefecture小用clerk received a letter of appointment to the forefront entered the city triumphantly to Kumamoto Castle Notsu general of the first brigade army.? Many Thanks for your help Koichi.

Hi Jacques Thanks for the link. Alas no portrait of this particular gentleman.

Hi Carlo Appreciate the web link. It would appear that the text I used refers to the Satsuma Rebellion (西南戦争, Seinan Sensō (Southwestern War)) and not the Boshin War. See below. As to location, John is in the West, I am in the East. The width of the continent is between us, many thousands of miles! Thanks

Hi This request is related to my research into the recipient of a special order blade made by Hideaki in 1929 Ishii Syoichiro, 石井省一郎, (a.k.a. Ishii Ichiro, Ishii Sei-ichiro, Ishii Shiyouiti, et al..). He was a prominent member of Japanese Society from the Meiji through the early Showa periods. Attached are a few portrait pics that I managed to source. He was presented, very late in life, with this sword made by Zuisen Minamotono Hideaki (later known as Horii Toshihide). Small Itame hada well grained, Jinie. Nie-deki Cyoji midare Hamon and in the Ha, Sunagashi and Kinsuji work. Mei; Zuisen Minamotono Hideaki, Syowa 4 Nen 5 Gatsu Kichi jitsu (Zuisen Minamoto Hideaki, Lucky Day, May 1929) Kizokuin Ishii Syoichiro Syoji 89 Sai Okina. (The owner of this sword is Kizokuin (House of Peers) Mr Ishii 89 years of age) NBTHK Tokubetsu Kicho Showa 47, September 1972. I have found various Japanese texts on the Web. It is all information, on a biographical/personal level. It appears he was a Civil Engineer (and Japanese Minister?), involved in the building of a canal in the late 1800's. A set of Canal Locks (now an Important Cultural Property) bear his name. He was involved in the Boshin War (?). A politician (?), who became a Prefect (?) and subsequently a Nomarch (?) Later in life he was elevated to the House of Peers (Kizokuin) and was awarded the Grand Cordon of the Sacred Treasure. I have found a few references, potted biographies etc.., in Japanese but web translations can be quite vague. e.g. 石井省一郎 天保12年(1841)12月28日～昭和５年(1930)10月20日 父碕田勝助、母文子の長男として豊前国片野村（現北九州市）に生まれる 母方の石井家を継ぎ小倉藩藩士として藩校思水館に学ぶ 明治２年５月民部官書記 明治２年７月一揆鎮定のため信濃国に使わされる 明治３年周防国の襲撃事件鎮定にあたる 明治３年９月民部省庶務佑 明治３年11月土木権正内務省土木局長 明治17年(1884)２月26日～明治24年(1891) 岩手県令 明治24年４月～明治25年11月茨城県知事 明治30年貴族院議員 昭和５年10月20日89歳で没す　勲一等瑞宝章を賜る translated roughly as; Born 28 December 1841 - Died 20th October 1930 Born in Nomura, Father (?), Mother (Fumiko), the Eldest Son Ogura Clan retainer ? May 1869 appointed Clerk ? July 1869 - riot suppression (Boshin War)? suppression of 1870 anti-government riots ? September 1870 appointed as ? November 1870 Civil Engineering Bureau Chief ? 1884 - 1891 Iwate Prefecture ? 1891 - 1892 Nomarch ? 1897 Appointed to House of Peers (Kizokuin) Dies 20 October 1930, awarded Grand Cordon (1st Class Order) of the Sacred Treasure. also relating to his involvement(?) in the Boshin War 郵便報知新聞の犬養毅は、熊本県令事務取扱石井省一郎から熊本県小用係という辞令を受けて最前線に入り、熊本城入城まで野津少将の第１旅団に従軍 Google translated this as; Postal Hochi Shimbun dog Foster Yi, Kumamoto Prefecture Ordinance office handling Shiyouiti Ishii II from Kumamoto Prefectureå°ç”¨clerk received a letter of appointment to the forefront entered the city triumphantly to Kumamoto Castle Notsu general of the first brigade army.? My interest is in clarifying his Bio and what was his involvement, if any, in the Boshin War. Any help/thoughts/pointers/input would be appreciated. Thanks.

Hi John I concur with Ford, both scenarios are possible. As a matter of interest, there was a Late Edo artist, Wada Isshin (Signed ; Isshin Masatatsu) who produced a set of fittings with a copper ground, decorated with Shakudo, Shibuichi, Silver and Gold Zogan with a butterfly motif. The whole design is struck over in very fine nanako. The set was in some famous early 20th c. collections, Gaskell and W.L. Behrens, but was split up some years ago and the tsuba now resides in the Victoria and Albert Museum, London. The tsuba is illustrated in B.W. Robinsons 'The Arts of the Japanese Sword', plate 4. The Kozuka, Kogai, and Fuchi-Kashira were sold at Sotherby's in 1977 as part of the Peter Hawkins Collection. Stephen.