Curran

Shinshinto. Have owned a nearly identical papered one. Price of a two piece gold foil habaki is not cheap, having climbed significantly in recent years.

Shinshinto yoroidoshi (armor sticker). Seem to have been in vogue c. 1860s. Often nice, but rarely exceptional. This looks to me a very typical example from the 1860s. It appears a nice habaki on it, though not sure what to think of the koshirae and the dark photos. Hard to be certain. (EDIT:) I see Tom posted while I was writing. He is right in that Nihonto.com seems to have recently acquired a few. Note that at least 2 of the 3 are from the 1860s. Probably the 3rd one is also c. 1860s.

Also recommend Sesko's "Generalogies of Japanese tsuba and toso-kinko Artists" p. 129 Genealogy of Goami. Thought the Silk Road tsuba has a mei that is considered Momoyama-very early Edo according to the genealogy, it seem a late Edo tsuba.

Dr. Joe Sorry for the small hijack, but do you know if Fred or someone else owns that softmetal Hirata version of the Namako pictured in the Northern California newsletter? I would very much like images of it for my files. I believe we have discussed the dozen or so iron Musashi Namako before. Do not rule out the iron "Musashi" Namako being Hirata work.

Jean, I am thinking more in terms of kantei. Technically "forge seams" is probably not be the correct term to define what goes on in a 1st period Yagyu along the edge. Maybe Ford H. (hardest working man now that James Brown is Dead), can comment specifically. He knows best, and I have seem him achieve a *slightly* similar result. For now I will simply call them "filo crust layers". ON the first tsuba Ed listed, I am willing to bet $500 that they are very distinct. When I own a 1st period Yagyu tsuba and get to study it for a period of time, then I can tell you what it is... For now I can only tell you what it looks like. I never see it anywhere else. Even the best Norisuke copies of Yagyu are not the same. If I have time this week, I will get out the best books I have on it and see if they explain it.... now that you have gotten me curious what it is exactly.

I have been away for a while and will continue to be away as I deal with business / family issues. This is just a quick drop in, and forgive me if I don't reply to any posts. Ed has posted some excellent true early and mid period Yagyy tsuba. I suspect he took these photos many years ago at the San Fran exhibit? It took me years to find a good mid-period Yagyu tsuba for my little collection. See 1 or 2 early period such as the Bamboo ones Ed has photographed and handle them, and you won't confuse other tsuba for them. See or handle one or two, and you have an education. *** Early period Yagyu tsuba have a very distinct multiple layer forging in them. I must strongly disagree with Rokujuro's comments. *** Who knows why or how this is, but it is very important strong kantei point. Even the most brilliant Norisuke copies don't get this aspect right. True early period Yagyu are extremely valuable and expensive ($10000 to $30000). They may not be your cup of tea, but take any opportunity you have to see them. Mid period are more in the $2000 to $10000 range depending upon design+condition and may lack the distinct multiple layer folding, but still the distinct grain iron is such that you will never confuse them with kodai Yagyu to be found. They are much much much more common and are worth $750 to $2000. An example of Kodai Yagyu is here: http://www.nihonto.com/11.2.09.html Just my opinion: 1 early period, for every 5 to 10 mid period, to every 50 kodai yagyu. Good early period Yagyu are rare, rare, rare. Most you see in books are Mid-period, or low end of 1st period. Many of those in the European NBTHK book strike me as middle period, and not even particularly nice examples. This tsuba for discussion might be kodai Yagyu, but probably it is just something else.

Ford, for whatever reason, you have PM disabled. Just for giggles, here is a cute copy for sale in Japan: http://page7.auctions.yahoo.co.jp/jp/auction/g111424128

To ask the almost verboten: does anyone think Skip would sell a cast? My cumulative experience opinion is "No". He has saved me from an error or two before. ~~In this instance David has the safety of purchasing from what I believe to be two reputable people. _______________________________________________________________________ My monitor and viewer isn't the best, and my photoviewer program is a laughable antique. I must admit I just assumed these were shakudo inserts. I do seem to recall that I have seen faux iron sekigane on a real tsuba before, though I readily admit it doesn't make much sense and I would be hard pressed to recall where or find a photo of it. I will try.

Don't forget the monkey at 2 pm position carrying the banner. Always one of them worked into the better pieces. I forget the significance. Nice example of Mitsuhiro. As the Doctor hints, the Bushido article is one of the best on these tsubako. ___________________________________________________________________________________ As to Namban, there is a Japanese paperback book on them. Not incredibly informative. You'd do as well or better to read Dr. L's book or Peter Bleeds writing on them. Many many are of low quality manufacture. Some are not. In the past 10 years I have seen many less of the higher end ones. Like WW2 swords, the good ones seem to be getting more respect during the last decade.

I see it as Malcolm did. 8 or 9 depending upon whether you count the central one.

I agree as to workmanship. I think there were a few especially good ones in that sell. I am curious who got the Ikkin. It was a subdued piece, but I thought it legit for maybe 2nd gen. These go for a good bit more in Japan. I owned one once and sold it to one of the big Japan shops. I see the mon clearly 8 times per side = 16 times (?) 4 times clearly in positive, and 4 times not so obvious in larger negative silhouette. I am not sure about counting the 9th as legit. Hayashi is the Higo school with which I have least experience. They are often the most 'exact' or precise of the Higo in terms of execution. It is easy to miss the secondary qualities such as the negative silhouette of the mon.

Mr. Stiles, I know who else was behind you in line to get this one. This solves the mystery of who got to it before him. I would need to go back to check the emails, but believe his attribution was close or same as yours. One of the tsuba most interesting to me from that sale is still available, but I find myself needing to be fiscally more responsible at the moment. Nice to see other people's good stuff, even if from afar.

Oh Christian... My hero! You have saved me from the sea of kodogu shiite flowing across... This is a nice Norisuke hommage to Saotome. It is not my favorite design, but such a nice tsuba. Image is from Nagoya NBTHK Norisuke book.

Why do you feel this one may not be legit?

Alex, The owner has been around NMB a few years and probably learned a thing or two. Please let him start off with his own observations and thoughts before we get very in depth on this one.

Eric: Love the antique #4. Beautifully understated piece. Who made #7. European artist? Ron: Concave? Yes, that is off the beaten path. Photo certainly doesn't show it. Any chance of getting a side or angled photo of it?

Seen this one many times over the years. I looked in a few lesser known / lesser owned books where I thought this tsuba might be presented. To my surprise, it wasn't represented in any of the ones I checked. Still a few to go. When researching a rare tsuba years ago, I old fashioned wrote and mailed to the NBTHK. I received _hand written_ in English replies that helped. You may be surprised by what they can provide to you in this manner. (?)

Shippo desu.

I like this thread. Favorite so far is the one RKG posted, though he must show the tanto that goes with it. I have a Goto menuki and kozuka set designed for a tanto that would go with his habaki, though it might be too much mon on a small blade? Here is an antique ones from a Yasumitsu sword.

THE CRAFT OF THE Japanese SWORD Leon & Hiroko Kapp, and Yoshindo Yoshihara Details the creation of the sword as the combined efforts of: the smith, polisher, habaki and fittings maker, and saya maker. The contributions of each is detailed with step by step photographs accompanying detailed text and many examples. In addition, comparisons of koto and shinsaku blades are included with color, b&w photos, and many illustrations throughout. 167 pages, 7½ x 10½" hardcover $45.00 -- I always forget this one. It is simple but excellent.

Bang on for early Saotome work.

David, How thick it the tsuba at the seppa dai vs at the mimi? Probably about 2mm to 3mm at the seppa dai?

WIth David's, the Christian cross theory doesn't hold water for me. I hope this doesn't turn into too much of a discussion along that path.______________________ The tsuba is a simple and nice tsuba probably of the Saotome school. If more photos were provided, it is probably very thin and of hardness that reminds one of point hardened tank armor. Had a bit of what I would call depleted uranium dark blue-black color to it. Some have more of a volcanic rock type of tactile black feel. Light, clean, nimble in design, and they fell almost impervious to rust. I am partial to them, though not so much to the Tembo hot stamp tsuba that came concurrently and thereafter. Earlier Saotome may not be very complex of designs, but are very functional and pleasant.

Mm. Nice example of Tohachi. Thank you for sharing that photo. Going to save me down a copy, and I should buy the Hayashi book sooner or later. I think I read that the design was started by Matashichi, but I cannot find the reference. Ito-san says in the Nishigaki section on Kampei that this design probably started in the Hayashi school. Anyway, lots of cross pollination among the original Higo artisans. ~And then there is the derivative Edo-Higo flashy knock-offs: heavy on design elements and light on quality. The Jingo wannabe tsuba that started this thread probably is a late Edo period knockoff for export or merchant grade ware. Good future reference point for comparison to a very nice Shimizu (aka Jingo). Photos rarely do the Shimizu proper justice. More so than with other schools, study of a good Shimizu en Vivo provides that Smack-Forehead-Now_I_Understand moments.

That would be a nice one to own for a few years. For comparison, here are examples of the Nishigaki design. I don't have the Hayashi book, so cannot show the original.