Spartancrest

Looks good to me as well -

One other museum has some questions to answer. In 1907 the Metropolitan Museum of Art was gifted three tsuba from the Goda Masa Uji collection. Two of those guards caught my attention. Accession Number: 06.1265 & Accession Number: 06.1266 You can see from the images that both had ategane at the time they were given to the museum, however sometime before 1924 both of these guards had the ategane removed [or stolen?] Both guards remain on display in the museum to this day - but what happened to the ategane? If you read the rather heartfelt letter from Goda himself on why he gifted the guards, it is very sad that his trust in their care was so let down. "On July 29th in the 38th year of Meiji (1905), Prof. Bashford Dean, Curator of Arms and Armor of the New York Metropolitan Art Museum, together with Mr. Amagasa Isao, a student of law of the University of Kyoto, called at my residence in the latter city, and stated that he (Dean) had learned in Tokyo that I possessed a large collection of Japanese armor and arms and expressed his desire to be permitted to see them. I consented and thereupon brought out and exhibited to Prof. Dean various articles of armor, etc. Among the things shown were six tsuba made by Kaneiye. These he asked me to sell him, but I declined to do so. Then he requested me to sell him three of the number, but this also I declined doing. Subsequently he called twice upon me and again on the evening of the 20th of October, 1905, when he requested me to loan the three tsuba for a period of five years to be exhibited in the Museum for educational purposes. This, however, I also felt constrained to refuse, yet when I reflected over the persistent zeal exhibited I could but admire the same, and considering that the request was on behalf of an American institution, while unable to consent to receive any compensation, I determined to make an offering of the desired objects rather than exhibit them as requested, and I stated that such was my desire. To the inquiry thereupon made by Prof. Dean as to my motive in this act, I replied: That at the time of the Tokugawa Shogunate I was a military attendant and resided in Osaka at the Castle. When I was yet a child eight years of age Commodore Perry came to Uraga, Sagami, for the purpose of opening our ports to foreign trade and commerce. A promise to that effect having been obtained by him from the then government, from that time on until the present Meiji period our intercourse has spread far and wide with all foreign nations, and that our honored flag should float to-day over all the seas was largely due to the friendly offices of the American Republic. Again during the recent conflict between the Empire of Japan and that of Russia thanks to the warm and friendly attitude of the President of the United States in his successful action in putting an end to that deadly conflict by bringing about the Peace Conference at Portsmouth, with results yet to follow though still unknown I felt much gratitude for the many and valuable services rendered by America to my country. So therefore when Prof. Dean continued to express so great a desire for some of the objects in my treasured collection, I consented to part with the same and send them to the Art Museum of New York as an evidence of my warm personal regard for the American people. Upon this, my statement to Mr. Dean, he was and expressed himself to be extremely gratified, and said that upon his return to America he would bring the same to the knowledge of his Government and that upon receipt of the necessary notification to be sent me by the Governor of Kyoto after a request to that effect by the proper Japanese officials thereunto moved by a communication from the Embassy of the United States at Tokyo, I should forward the articles offered. This was entirely satisfactory to me. Meanwhile as I was growing old and at any time I might be overtaken by death, I had the promise of those of my household surviving me to execute and fulfill my undertaking to the letter. On the morning of 2Ist October, 1905, Prof. Dean left Kyoto and returned the following year to his country passing through India. I saw him off from the Kyoto station, bidding him farewell. On the 26th of January of this year (1907) I received a communication from Ambassador Wright offering kindly to transmit through his office to America the three Tsuba referred to herein." (Signed) GODA MASA UJI Samurai Masaouji Goda died in 1917

There may be a little explanation here https://www.trocader...ae-Sukashi-Mon-Decor http://www.trocadero.com/stores/spoilsoftime/blogpictures/1342321-catphoto.jpg "This tusba is of the Yoshiro-zogan style. It issues from the Heianjo-zogan (inlaid tsuba of the so named city in Mino province - not the jidai [period]) but demonstrates an evolution in design and execution. In both styles, work originating from the Muromachi period were brass inlaid iron. At the time, brass was more scarce than gold and was considered quite valuable - more so according to some literature. The Yoshiro style is named for an artist of Echizen (or Kaga) who worked in the 16th century. While Heianjo-zogan tsuba had inlay higher than the surface of the iron plate, Yoshiro-zogan inaly was comparatively flush with the iron surface of the plate accomplishing a relatively smooth feel. The designs also evolved from the Heianjo to the Yoshiro style. The algae and sukashi mon devices shown here are distinctively Yoshiro-zogan in manner. The sparse missing inlay is actually quite modest and some inlay loss is expected from brass inlaid tsuba from the Muromachi period (1392-1573)." I guess what they are saying is Heianjo-zogan evolved into the Yoshiro style, so the paper might be going back to the roots of the tsuba? Odd though, it is like getting a reference for yourself by listing what your grandfather did - would it be relevant? [probably not!]

Sorry but this must be the most out there description I have seen from a museum. https://spencerartap...-search#/object/4922 Description: Tsuba, foolish crow tries to dive like duck, drowning verso. No one is "drowning" and the jury is still out on the crow thinking it was a duck! Apparently birds are not allowed to just sit on a tree stump in this particular marshland - perhaps there is a parking meter or it was in a handicap zone? [Parking meter - that would explain the suicide attempt!] Hold that thought - maybe this is the most out there description! Description: Tsuba, man washing potatoes with two sticks. Exactly where are the potatoes? A man or a woman? Looks like laundry day to me - no real idea but like I say "where are the potatoes?" Those two sticks wouldn't wash a potato they would more likely mash them! Also that is the strangest colour of iron I have seen. Anyone with a spare set of glasses for the museum staff? https://spencerartap...-search#/object/4903

Well balanced - [more than can be said for me! ]

I have two overly large guards, one like David's [mine has wider spokes]. The other kobushi shape. They do exist but there remains the possibility that many of these very large guards could have been cut down in size over time, particularly the solid plate ones. You will notice both guards are larger than 10 cm - I wonder just what the upper limit might be? Sasano has a couple in his book "Early Japanese Sword Guards: Sukashi Tsuba" https://nihonto.com/5-6-22/ A large Ko-Katchushi http://www.nihonto.us/UTSUSHI OF ASHIKAGA TSUBA.htm this one could be an 'utsushi' of the one in Sasano's book Have a look at the size of this Kabuki actor's sword-guard.

I just noticed a very small detail on an image sent to me by Steves87 on a namban guard. It struck me as being similar to the Mon from the Yoshiro guard [described as 'Kinai' by the museum] with the addition of two flower racemes. Just a coincidence?

I would say world market, just from the diversity of members on this forum alone. Not too sure if China or a couple of other countries are interested? The Japanese themselves have a great interest as do a lot of European countries and Nth America. I suggest you look at auctions where half the world will be asleep at the time - it might help to lower the odds and therefore the prices. [Sometimes works for me ]

I did some extrapolation on the nakago-ana file work and conclude that after the original hole was cut, two changes followed. The red markers indicate the original, the green a slightly shorter cut - I can't be sure how far down it went as it looks covered by the "new" sekigane but you can see the green arrow following the slope would not meet the base of the nakago-ana and there is an open band above the top sekigane. The yellow is the final shape. Who knows? It could have been mounted four times or more?

Authentic, mid to late Edo? Seppa shadow. It has been mounted at least twice and the gold nunome is mostly intact - the hole in the bird cage could even be intentional, it has allowed the birds to escape? It could do with a little "bone" or "Ivory" work on the upper right hand on both sides, luckily mostly away from the nunome which should be left alone. This was the only tsuba with "something?" like a basket in a tree - not even close to the design you have though. Coppy cat copper version https://www.jauce.com/auction/j651589542 NO GOLD DETAILING HERE!

I am being very very silly but this is what I think of when I read "Sprinkles on a Tsuba" [Feel free to delete this post ]

The Museum even has school programs where they get students to design their own tsuba - and the Fan guard is used as an example https://education.as...ign-your-own-symbol/ & https://education.as...n-sword-guard-tsuba/ Let us hope this may inspire future generations to become collectors or even modern craftsmen of the art.

I have been collecting images of the "rain dragon" tsuba for several years now [134 so far] and I came across this one today. https://www.jauce.com/auction/m1146338096 It immediately stood out to me as a modern fake. Then having a closer look I noticed the seppa-dai had rows etched across it and certain areas showed concentric ridges following the contours all over the "metal". What I can't figure out is was the entire guard 3D printed or was the blank used for casting purposes printed? [Let us for now ignore the dragon has no eye, there is a seam running around the edge of the mimi and that they have modeled the nakago-ana on a coke bottle!]

I had another look at that particular museum and found this : https://spencerartap...-search#/object/4788 Interesting Shoami design - I wonder if the Saotome school would have other ideas on the subject? https://spencerartap...-search#/object/4727 What do we think of the possibility this guard is by the Sōten School ? [highly unlikely IMHO ]

That is what I thought - never seen that before, not sure I like it much as a design - looks like something went wrong [That's what happens when you mix Yoshiro with Kinai ]

Yes there are models made see this thread:

The Spencer Museum of Art in the University of Kansas has a nice modest collection of tsuba - around 250 https://spencerartap...#/search/works/tsuba But I don't know who is describing the collection or how much they know about the more common schools of artists. Kinai School Description: Tsuba, radish and leaves pierce work. [ Not even close!] https://spencerartap...-search#/object/4756 https://spencerartap...-search#/object/4888 A cast copy [very common] see https://www.ebay.com.au/itm/226138221756 https://spencerartap...-search#/object/4836 Description: Tsuba, two leaves (blood stain corrosion) [clearly Kinai school design, "Blood stain corrosion" - how do they make that conclusion?] https://spencerartap...-search#/object/4818 Description: Tsuba, shibuichi nanako - kiri and passion flowers and leaves. Then they go on to say made of Iron - obviously Sanmai construction. Wrong descriptions are not restricted to just this museum of course - you need to be vigilant and keep your eyes open though.

I know we are talking almost microscopic details here but I can't help noticing the nunome scoring has skipped over the petals in one segment. Early type of work or a rushed job? [I think OLD - IMHO] What could have caused this? Tagane-ato gone wrong?

Jean, I don't like those two pins on the rim. I wish museums would use softer materials or at least restrict possible damage by using the nakago-ana. I found the same guard here https://searchcollec...8d3b0a22d131ed&idx=2

https://spencerartap...-search#/object/3290 Is it just me or do you think the comb teeth could do with a clean?

Well Peter I took your advice: Just to set the record straight. To be honest I never thought Amazon would take it on board

Years ago I bought these sizzle plate tsuba - the set was 2,000 yen, I guess you could use them as trivets ? About saucer size. Set of coasters going on ebay https://www.ebay.com.au/itm/201551561416

Another from a Yahoo auction in the past.

Yes it is a cast copy, a lot of cast examples have been highlighted with touches of gold - it is a way of suggesting they are older than they really are. Another like yours here: https://www.trocader...d-TSUBA-forest-items Both examples have not been mounted. Another image here from some old source back in 2015: I would not count on any "sound" made by striking the guard, that is more myth than fact, imagine if you will how a sukashi guard would "ring" - not at all, even if hand forged. Also you might realise bells are cast yet they certainly ring.

They missed out on a trick - kozuka on a kozuka on a kozuka