Livio 3rd

I believe Heianjo, referring to a style or school, could be as late as early Edo. Yes, I believe Kaga artists are thought to have carried the Heianjo art further - Heianjo having progressed from Onin (Please correct me, someone, if I am a bit off or way off.)

Helpful information here - thanks. I agree with the Kaga line of reasoning (Yoshiro's flush inlay comes to mind) but maybe a little earlier to Momoyama. I have a very similar tsuba in work and feel but with more the attitude of a tachi fitting - probably the same circle of tsubako and also missing inlay (not so uncommon for this type but maybe more so with lack of care in its history). I don't think the inlay was later added. Looks like one of the hitsu-ana was though. Lee

No problem I just didn't want to seem to contradict myself by saying the tsuba is the same width all around (not that a mm or so is terribly significant, or that anyone would mistake 3mm for the width). Your example's greater width is more apparent at 2mm more than height. Cheers, Lee

Hi Greg, Do you mean width of the mimi (thickness of the tsuba)? It is fairly consistent at nearly 3mm thick all around. The slightest variance along the rim appears to have no correlation to position along the circumference. A bit unusual, I think, for a Kyo Sukashi tsuba to have so much uncarved, positive space in the design. I imagine it could paper differently if submitted again (last time was 35th year of Showa, October - 1961 I believe). Lee

Hello Grev, This tsuba, papered to Kyo Sukashi, is little more than 79.5 mm high and 81 mm wide. So the horizontally oriented decoration isn't all that contributes to the full, wide appearance. It is rather thin at less than 3mm (perhaps that at the seppa dai). Lee

That does square with examples I now find (though designed/decorated differently). I had discounted Tatsu/Toki, thinking the rendered character was closer to the formal Kanji for more commonly used Naga. I should have looked for examples of that reading. Thank you again, Lee

Thank you. Comparing this with some online mei examples with "Efu Ju" confirms that likelihood. Interesting that the location characters are more legible in my photo than on the tsuba (reverse of the usual) where the surface is a bit rough. Any other info, anyone, on an Efu Nagatoshi would be appreciated. Thank you, Lee

Greetings, A recent acquisition, this tsuba was said to be Higo. That fits for me, but does anyone have any literature regarding a Nagatoshi tsubako, from Higo or elsewhere, fitting this style? The location inscription looks like a town name (doesn't match any of the old provinces.) Hawley's list of town names doesn't have a match for this. Any help would be appreciated. Thank you in advance for any guidance, Lee

The single, small shakudo tiger menuki has been sold (this time for good - elsewhere). Lee

I have been asked about availability of a 'rat and kabuto' menuki but have not received a response to my reply so am hoping to reach the interested party here. As we do not have a menuki with both rat and kabuto, we are including pictures of a rat menuki, a kabuto menuki, and one of Daikoku with rice bales (upper-right and perhaps mistaken for a kabuto with rats - I can see how that might happen.) The single rat would be $40 (nice, black surface on copper-rich alloy with some fine work suggesting hair). The kabuto would be $45 (good, old black patina with some inlay and traces of gilt overlay - may be easier to pair with another, accoutrement menuki). The Daikoku with rice bales and rats would be $50 (the back actually suggests decent, old patina on copper-rich alloy and the face with gold overlay). [these prices include free USPS 'Small Flat Rate Box' shipping within the United States] See our earlier pictures which also include the backs of these three. Recall that these were pulled from a chadonsu and therefore have solder traces on the backs. Not having previously included prices in our posts to the 'menuki orphanage', we will extend this exercise if there is interest. Lee

That appears to be the best answer. The kashira must have been that hinged or fitted cover (ergo the filled shitadome).

Just a guess that the tsuka may have served as a container (for what?) requiring the fuchi be filled. Not suggesting it be forced, is the mekugi easily removable?

PMs sent re #25 & #7 Lee

That it is not flat on one side would seem to discount the possibility that it was a later modified mirror. I have seen an example of an apparently modified mirror form but never functional as such (both sides with relief decoration.) This would make the second example. Perhaps transitional between modifying a mirror and emulating mirrors but with full seppa-dai (may make a case for being early.)

The inspiration, if not the object itself, could certainly be "Chinese". Japanese mirror making originated from Chinese mirror making (so could be Japanese if kagami-shi). I find (via Google Images) this Chinese mirror with similar shaped (if not all "raised") center decoration. The tsuba listed by Steve is iron and is decorated also on "the other surface" - both departures from mirror making taken by tsuba makers in the kagami tradition. I can accept that it might be Namban and not influenced by mirror design, but I would also be interested (for my own improvement) in seeing some basis for that suggestion. Here is the link from which the illustrated example came: http://arts.cultural-china.com/en/30Arts9416.html

Kagamishi I think... Stemming from mirror making tradition. Though this tsuba was never an actual mirror, it appears to continue from mirror design.

Having stumbled upon this thread, I am including for study two crenulated tsuba and one with similar repousse work: The first I think Ko-Nara or a faithful Mito emulation (acquired in trade at this February's Tampa show) The second a thin plated, simply decorated Heianjo tsuba with raised rim (acquired in the same Tampa trade.) The third, similar alternating/opposing protuberances but more precisely and closely executed repousse work - perhaps the work of a mid Edo, later generation katchu turned tsuba maker. (acquired at this spring's Chicago show.) In the last example, the decoration appears certainly to be original to the tsuba. But I have wondered about the other two. To what extent are crenulated tsuba originally so? Was it ever fashionable, at times in history, to add this feature to an old tsuba?

It would seem the single shakudo tiger menuki remains available. Payment never received and "buyer" (apparently newer and not active) not responsive.

Two single dragon menuki (one brass and one black alloy) from the second group, second frame listed on 4/24 are sold.

The small shakudo tiger in the second group, first frame posted on the 24th is sold.

The ken with snake menuki is sold

Here is the front and back of the first group of six which was out of focus in our first posting in this thread on the 24th. It is followed by front and back of a final group (which includes a square soft metal ornament likely other than a menuki.) I will have all of the menuki picture here (and more items) at the Chicago show for first hand inspection.

In response to need for a back view of the middle six, above, added earlier on 4/24. We will add back views by set upon inquiry of a particular menuki. The question is whether the fish is a menuki or clasp ornament. Good size and proportion for a menuki but, as noted in reply to inquiry, the fish is a bit on the thin side (doesn't appear to be stamped) and no center post on the back of the fish. As noted earlier, these pulls from a cha-donsu have solder evidence on the backs.

More orphaned menuki pulled from the cha-donsu. There is one more group which was out of focus. I'll add that later with a reshoot of the first group above (also a little out of focus.)

Some orphans pulled from a cha-donsu. Most were good old menuki (these 18 all are) and included a few pairs and a few more near-enough marriages. All have solder evidence on the back, otherwise good and presentable condition. Will post some more singles later.