TETSUGENDO

What a distressing tale, sometimes I think of all the wonderful things that have been 'repurposed' through the ages....without a second thought. The terrible thing is, inconceivable as it seems to us, someone somewhere has just done the very same thing. -S-

-S-

Feed me Peter, feed me! -S-

Hi Greg came across this online and thought you'd find it of interest. Obviously the work of a skilled metalworker. Which came first 'The Chicken or the Egg', or were they produced contemporaneously? Yours does look like it was made from a Kozuka, fine piece, do you collect Kiseru? -S-

Some very thought provoking commentary and discussion here. -S-

Stephen, Always the potential 'Pot stirrer', . Classic German fare, but I suspect dining on the cuddly creatures may not be enthusiastically embraced here.....better Pfeffernusse than Hasenpfeffer. -S-

From the MFA, Boston- Rabbits as Okaru and Kanpei in a Kiyomoto Danse Play of the Journey Scene (Kiyomoto Ochûdô, Okaru Kanpei). By Utagawa Yoshifuji (1873(Meiji 6), April. -S-

Good reading, and what a handsome fellow....could be a relation to the 'Bunny' that started it all! So nice it's worth picturing twice. -S-

Picture one is a piece sold as part of a lot of six other kozuka by a major auction house, they date the entire lot to Meiji and list this piece as : signed by Mitsuyoshi. Picture two is of a set of antique French flatware, the kozuka handles are reproductions. Such facsimile kozuka were produced both in Japan and Europe, so beware. BTW, this particular motif (Shimekazari & Ise-Ebi) was extremely popular, symbolic of New Year's it was considered a good luck talisman. -S-

Merci et bonne chance! -S-

Great news Glen. The card index/personal notes etc. of the early collectors are great research material, unfortunately many of the reprints are costly so few make the investment for the item/items they need to research. In addition, less have physical access to them. -S-

Sebastien, No point 'To put the cart before the horse', prior to conservation I suggest you look for some reliable opinions. If you can get to Paris the Musée Guimet and Musée des Arts Décoratifs would be good places to start. Either may help you, or could direct you to those who can. If you receive favorable commentary, and wish to do so, you should proceed with conservation before presenting it to Shinsa. -S-

Kevin, Jean and George have both given you accurate information. BTW, nice classic 'Chinese landscape' scene, enjoy! -S-

George, au contraire, I'm glad you didn't resist, I have found a place in the archives for it. One point of contention though, If you read my remarks you will note no backpedaling. Whatever the verdict, I still believe furthur investigation should be explored before moving on. -S-

Ford, I agree with the bulk of your remarks, hense my urging furthur investigation. Without going into a lengthy discourse, I am not a diehard Ikkin fan. I find his aesthetic curious and his execution spotty, to explain this by saying those less than inspiring works are fakes ignores all the papered and certified examples that are less than stellar. We can hypothesize many scenarios to explain this, periodic health problems, questionable atelier practices, etc. Ultimately we may never know. His work can be wonderful or not, for me, on a whole he does not scale the heights of those who directly inspired him, nor does he match the work of some of his contemporaries. To all who may be concerned, this is solely my personal take on the matter......your mileage may vary. -S-

Very droll, at this point a trip to hell is a bit extreme, is it not. A stay in purgatory perhaps..... Oops forgot, your already there! Keep laughing, the alternative puts people I'll at ease. Never surrender hope, -S-

Hello Sebastien, The signature and kao look in line with the exemplars for the shodai. The design and execution, including his signature kosuki-bori look promising, but this needs to go to Shinsa. BTW, most/all of the birds appear to be rather distressed, and are in serious need of attention. A highly skilled conservator is needed to do the work properly, it is a delicate and time consuming job that won't be cheap. With these elements as is it's difficult to evaluate the sensitivity of the modelling, quality of workmanship. If after your investigations you decide to right your tsuba, I suggest you consult Ford Hallam. Best of luck, -S-

Sounds like a cheerful letter from Gustave Doré! -S- p.s.- What is this "cunning plan"?

Terrible, at least you're spared the additional time and expense of ferrying it across the waters, small consolidation...but something. 'Time and tide wait for no man', still, you've got many Shinsa left in you! What to do,what to do, Cheers, -S-

Piers, Unless we can unearth your pieces twin, we are stuck between negativity and optimism. Any tsuba with an applied fukurin is possibly suspect?...decoration could have been added? In this case there are two solutions, we must find a documented exemplar or obtain a certified expert opinion.....or balance on a knife edge forever. -S- p.s.- Personally, I'm feeling positive today. Your choice, at this place in time, is a simple one.....the guy with the best 'papers' wins!

I like pigs.....de la charcuterie!

Piers, came across these two tsuba and thought you would find them of interest. Your friend/mentor probably saw something similar in the past and made the Onin connection on seeing your photo. As your piece is constructed very differently I don't think they are directly related, but share a superficial resemblance. I do find the kindred forms and dates....interesting. -S-

Приятен ! -S-

Indeed, the mind boggles! -S- p.s.- Steve