Curran

Umbrella.

Either the photos, or the sword and papers, probably originally came from the JSA auction site: http://www.l-wise.co.jp/super-jsa/aucti ... ode=detail Though the background wall is different, the format and the kake are the same. It goes without saying, careful with Craig's list. Also, at this price you can get some very nice papered swords from list members, or at San Fran, or the Tampa show.

It is with hesitation here that I speak up, but no one else has. I am not sure if Ford is being polite, so guess it falls to me. The signature does not look correct for shodai or nidai. There are too many variations for me to consider it within possibility. I am not skilled enough with a Picture editor to visually highlight it, but there are multiple missing direction strikes from the examples given in the .pdf Ford provided and from a papered example here: http://www.seiyudo.com/TU-080812.htm. I have not opened Wakayama to see if there is a similar variation. I would be interested in seeing the other signatures. Reason being: Being non Japanese, I tend to error strictly on the side of caution with signatures. Over the last decade, I've had 100% accuracy in anything signed that I submitted to NBTHK or NTHK has passed. That is [i]disconcerting[/i], because not being Japanese... I'd expect to have been wrong a few times. The conclusion is that I am following the books too much, and I think the NBTHK has been doing so recently too, at least at the Hozon level. The well known joke from Yoshindo Yoshihara was that as he carved a mei one day, he hit it wrong and cursed under his breath. He looked up at his visitors watching him and said, "In a hundred years, this is Gimei". I've recently seen a Hamano Shozui fuchi-kashira that I feel is exactly this. I believe the workmanship is his, but the variation on the signature is enough that I think the NBTHK would deny it for papers. Curran

Many a risque kozuka I have seen, in no small part thanks to our wayward old friend Milt Ong. He is much missed, though I think he had retired his nihonto interests. BaZZa.... I don't think I have ever seen a tsuba depicting nude women. As happily married as I am, I am still curious to see it. Just no touching allowed.

I blush to try and imagine. Knowing nothing of Japan's courtesan culture, any chance the Madam of the hen-house would be permitted a weapon? Though they look like phallic friends or protective sheaths, could they not also be a Lorena Bobbitt warning if placed on a tanto? Sheer or ~shear~ speculation?

Searching on ko-Mino menuki, stumbled on something else. This is a bit off color, so don't click on the link if you would be offended by Porn nihonto (Not = Nihonto Porn). Having seen many many menuki designs, but not sure I've come across these before: http://page4.auctions.yahoo.co.jp/jp/auction/d128410116

Different iron. Looks like the outer ring was added later. Who knows why... (a) No initial outer ring, and it was decided it would be better if it had one (b) Outer ring damaged, and this is the replacement © Outer ring removed, then this is the later replacement Any way, it isn't a great job since things don't quite connect right. Mediocre repair.

I was suppose to consult with Skip for a friend's question about metal Okimono. In the waves of the Tampa show, I forgot to do so. Though Skip and I have spoken by phone a number of times, I cannot find his number. Could someone PM his phone number, or let him know to give me a call here in Florida? Curran

Stephen, I am sorry you are going through this. Last year I couldn't believe the customs hassle I had with sending tsuba to Japan. That was ludicrous. It seems the last year has seen Nihonto have many mailing problems from tsuba being "weapons" to same being now protected/controlled import-export by the Department of Game and Wildlife. I've dealt with issues to Europe many times. Most of the problem items were books under $100 in value sent to France or Germany. Only one time did the item never turn up. The other dozen times, often it was simply held in Customs for about 1 month.... perhaps because they are low priority. Once in there, it is incredibly hard to shake loose. But it usually makes it to the destination. Curran

Agree with Mark. The volume was definitely up, but quietly so. Much of it was negotiated, and it seems many many transaction went off at end of show, after hours, or via email (or phone call) afterwards. I put out 7 items and had about 12 offers. Took 2 and probably would have taken 2 more if I was still motivated as I was the first day of the show. The Juyo I was after seems to have gone to someone else, and a higher level tsuba I went back for was on HOLD when I finally got up the gumption to go over and take it. Thereafter I came away with a nice Hozon papered Hirata tsuba I've envied for a while. In post show correspondence, some nice items are still changing hands. I was emailed today about a nice sword coming to market I last saw many years ago. If in the same condition as I last saw it, there is definitely some good stuff moving around.

Markus, Very much looking forward to this. Thank you.

http://www.choshuya.co.jp/sale/new_gene ... w_gene.htm Eric- I was about to say that was a particularly nice one. Then I saw the caption of Myoju. It would have just been an echo after that. There is also the Great Book of Horimono. I am surprised no one here has mentioned it. About 3.5cm thick book on everything you want to know about horimono and how certain ones are kantei points.

The blade is a nice simple Echizen Shimosaka Yoroi-doshi. Over 1cm thick, but otherwise nothing special. The spring mechanism has a pin locking system inside the little box carriage. It locks and unlocks as smooth as clockwork.

Not sure the picture will fit. You've probably seen it before. Piece is understated, but matching down to the shibuichi habaki. TH papers at present.

Poke poke. One tsuka looks modern. The one in the book does not. Earthquake Catfish? I don't know the mythology, but Earthquake Catfish are popular Higo design. Personally I like the ones with the nearsighted catfish that falls in love with a gourd or eggplant fallen into the water...

The saya alone is a beautiful example of Owari style lacquerwork. I've seen one of these damaged and deconstructed. The style is quite a bit of work. Don't let the saya get dinged. If you collapse one of those ridges, they are a devil to restore. Really a very complete koshirae. I regard these as very rare now outside of Japan. Even in Japan a piece is often missing and cannot be replaced tastefully. I have one (only one) complete original koshirae that has been a favorite of my collection for 8 or 9 years now. Beautiful koshirae. Got to do a complete photography catalog of it at some point. A serious of short tracking videos and a few still pictures. Or an Richard K. George hemiscope of it.

What Peter said: You can take 5 pokerchips and spin them frisby style as far as possible into the Tampa Main Room. At least 4 of the pokerchips will land on items better than these menuki. The 5th chip will probably peg someone in the eye or smack into a forehead. Make multiple passes around the room. Be polite in asking to handle things, and most people will talk to you. Don't feel a need to buy, though my increasing opinion is that US sword show is the best place to do so nowadays. Just talk to people and learn as much as possible. Try to assimilate it. Volunteer for a half day at the Shinsa if you think you have time. That was an excellent though exhausting experience for me in 2002 and 2006.

Eric, I thought the same. I did not confirm with books.

Petersan or Rich T can correct me on this, since I know myself to be a bit imprecise with terms. Mito does not mean Mito Shoami. There are many many outstanding artisans in the Mito school and many branches that are their own subschool of very distinct work. I have one signed piece that I would stack up next to any Yoshioka, Ishiguro, or even later mainline Goto work in terms of quality of shakudo and workmanship. Mito Shoami term is used a bit more negative zone in the Venn Diagram of Mito, and can often be dismissed as such due to cheap gold/silver gild over copper insert, usually in a very mediocre iron plate. It is like saying Kyoto work vs Kyo Kanegushi (thought I confess I really like some of the Kyo kanegushi stuff). Your tsuba feels more on the Mito side of the pool, though shinsa brains might still chalk it up to Aizu Shoami. Sometimes they can be knee jerk reflex based on design, and these things can't tell us the true answer. __________________________________________________ We can't know for sure. I recently saw a signed an papered Omori f/k that I would never have guessed was Omori work were it not for the signature. I would have sworn it was Goto or Kaga Goto.

Genuine. Mito Shoami work. Squarely 1800s work. Mito Shoami has some decent pieces, but school really debased its reputation with mass production work in later years.

Looks so much more fun than dayjob. Cathartic.

Please show us the tsuba, unmounted, if you have the time.

Awesome undertaking. I looked at some of your smelting process photos recently (FIB or NMB ?) and hope that some day I will follow in the same footsteps.

It was at Tokugawa Art. It sold. Theme is said to be sukashi face of a cheery chubby cheeked girl. Mark, I believe one of the artisans on FollowingtheIronBrush made a nice gendai copy of it. I don't recall who, but I have seen a gendai copy. I liked this tsuba and considered making a trade+cash offer for it, but it sold before I ever did.

Thank you in return. We lost Sachiko Prough recently, and I am still gobsmacked by her sudden passing. To many passing and too few entering.