DirkO

Direct link http://www.czernys.com/auctions_category.php?asta=59&catsel=17

The first two are commonly referred to as Fujishiro's (authors name) - It's a Shinto and a Koto volume. They're very handy and a must have imo :-) Well done. Third one is Nihonto Yogo Jiten (I think?) And the last one Yushu To Zuruko by the NTHK

I think they were aiming for Tango instead of Tamba?

yasurime - wrong patina on tang - awkard condition - poor signature - very questionable at best

I think the best is Nihonto Shubi - modern pictures and explanation by Tanobe. However in Japanese, ltd printing (500) and quite expensive. http://www.nihonto.com/12.3.14.html

Ah ok, now I understand ???? thanks guys

Thanks Moriyama-san - but I don't really understand what you mean by that?

Hi, A tsuba of mine has a kanji on each side of the seppa-dai. It's not a signature, more something added later to differentiate between ura and omote (I think?) One side is easy - Jo - 上 - above But the other one has got me beat. I would expect it to be 'below' or 'underside' or something along those lines? These were done very faintly in a shakudo tsuba with kasurakashi karakusa design.

That Hirata Hikozo with okina yasuri design is 1 of 2 with shippo zogan and has been extensively written about by Kubo Kyoko in the NBTHK Journals! All are excellent tsuba, Mike! This is just the Higo enthousiast in me speaking up - sorry if it's off topic :-) A collector I know wanted to try Juyo for a Jinbei tsuba. He knew one of the senior Juyo Shinsa members and talked about the chances it had of succeeding. He replied that while he and other senior members would agree to Juyo, the younger members would not, because they're too focussed on Kinko and don't understand the old iron tsuba on that level.

1\ National treasure level of swords are usually owned by government, hence the titel - they simply have quite a number of early swords and not all of them are unique or national treasures. However, they do command high prices. 2\ It's either the NBTHK or the NTHK (+NPO) - their origami are more a COA - blades aren't tracked at all. Blade can go Tokubetsu Juyo and be sold the next day for all they know. The goal of these organisations is to carry on the task of preserving and educating people about the Japanese sword. 3\ Swords usually live longer than their koshirae and kodogu, so every once in a while, a blade gets a new outfit. But tsuba, menuki, fuchi/kashira and full koshirae are also very collectible (depending on quality, age, maker,...) 4\ Nope - let's say you have a sword without mounts and you want new ones made. No matter the trouble you go through and the top pieces you use, it will always be a labor of love rather than a sensible financial thing to do. Same with polishing a sword. 5\ see 3 6\ I like to think Japan is actively trying to preserve it's cultural heritage and swords are a part of that. That being said - the younger people no longer have a strong interest in this, so our numbers are declining, although that could just be a temporary thing. All the above is just my opinion of course, other people are welcome to chime in :-)

6 - Awataguchi Hisakuni

Hon'ami Kokan shumei...

Thanks for clarifying Jean, I stand corrected.

Axel, it adds value because usually (not always, especially not on lower level swords) it gives more detail about the period and workmanship in the blade. I think it was Darcy who said that the more effort Tanobe-san puts in his sayagaki, the more valued the sword is. And if he puts chin-cho (or chin chin cho cho) well.... then you have a beauty. So let's say you have a sword with Hozon papers but Tanobe says chin chin cho cho, you can expect to pay Juyo price for that.

I would assume this poor horimono was done later (perhaps even in the West) to hide flaws.

I've seen them before on YJP - but didn't think people actually put value in them? Especially the radar chart seems arbritary.

Also see: http://www.touken.or.jp/english/shinsa_fees.html

Here's a papered example of 1867 - I'm not saying gimei or shoshin, Sadakazu was often faked. There are a lot of similarities, but also some differences.

Brian, a little nuance if I may. While museums or shrines aren't the best place to preserve swords, simply by the lack of means, they are one of the primary reasons one goes into collecting. So without museums and other public exhibitions, there would be far less collectors and this hobby/obsession (whichever applies) of ours would cease to exist quite quickly.

Hi Alan, I agree with Bill - Kyo-Tamba 4th generation. Here's a quick comparison from some papered 4th generation I have on file.

If it looks too cheap, it's usually for a good reason. This one is a very clear gimei....

I know the eagle to be Tokubetsu Juyo. But I agree those Jinbei tsuba are top of the line. I usually don't bother trying to find out all the levels of papers, but a lot of tsuba, koshirae and swords were indeed Juyo. The level of items on those meetings really is baffling. The nanako of the Ishiguro was the finest I've ever seen, so incredibly small and consistent. Impossible to photograph, although I just take mobile pictures. They're intended to give an idea of the items there, nothing more!

The first meeting of the year of the ape was well attended with around 25 attendees. I tried to make some more detailed notes than usual, but it might be I got some names wrong - if so, my apologies. It started with a minute of silence in remembrance of Michael Hagenbusch. His passing away was such a great loss for the club and he will he dearly missed but also fondly remembered. We had some top fittings related to the year of ape, brought along by Mr Eschbaum: - F/K by Omori Teruhide with playfull trained monkeys to ward of evil - Tsuba with monkey colony by Ishiguro Masayoshi From the same schools we also got to enjoy - Futatokoro mono with peony theme: kozuka by Omori Teruhide and kogai by his son - Mitokoro mono by Ishiguro Masatsune - very special mei seeing it mentions the nanako artist seperately. Next topic was Higo Shimizu fittings and koshirae. There was an excellent explanation by Prof Kremers. We got to know where Nobunaga utsushi koshirae got their name. Not from Oda Nobunaga, but from a wakizashi koshirae where the wakizashi was by a smith called Nobunaga. He also pointed out the typical traits and features of those Nobunaga utsushi koshirae, being same covered saya, brown leather wrapping at the handle, yamamichi kashira, leather fuchi (lacquered), ichimai and Higo tsuba with large sukashi. On display were a lot of fine Higo Shimizu fittings as well as 9 koshirae (although 1 was a Satsuma koshirae, brought along to point out how different they were compared to Higo koshirae). Prof Kremers also talked about the different styles in Shimizu tsuba and the wabi-cha influence on them. Had enough? Not really - we didn't have any swords yet! Although there wasn't a clear sword theme this time, members were encouraged to bring along swords for kantei. And they didn't disappoint - at all! 1. Sanekage tanto 2. Hosho (late kamakura) 3. KoHoki SIGNED Yasutsuna (orakeshi mei) - mid HEIAN! 4. Naginata naoshi Ukai Unju - around 1360 5. Yamato Shikake - early Nambokucho 6. Hizen Tadahiro nidai wakizashi 7. Enju - late kamakura The owners explained the kanteipoints for their items which is always very educational. All in all a great meeting and a big thanks to the members for bringing such wonderfull items to learn from.

It's a modern reproduction I'm afraid, not a real tsuba.