Curran

Missed you in Tampa this year. I'd like to see that Antiques Roadshow sword some day. The Baxleys asked after you, and I let them know you probably weren't there on the basis of being a new papa (Ah-bu-ji).

Junichi, If you throw me a scan of Wakayama, I can give me 5cent opinion. Looking forward to having my books again in 1 month.

Looks quite real to me. Tengu and Whatshis name? Classic story here. Last year was reading it in the NY Met Museum of Art, but I don't recall it too well. Some people (usually martial artists into the the tengu mythology) really get into collecting these pieces with Tengu, thus rare I see one on the market that is of any quality.

Ford, Its more that I just enjoy that one work. Don't think much of his other work. Have done enough scuba diving where you go from the 2-D world on land to where suddenly 3-D is much more fluid and sometimes you find yourself looking up or down on something fearsome- and you can't respond as you would on land. Altered reality, yadda aydda, you get the idea I am sure. Stuckism- boy haven't thought on that one much in the last decade. Do remember trying to buy one or two of that guy Absolon's (sp?) stuff in wealthier days. Enjoyed most of the Spalding presentation. True to his trick, I preferred the sheep in the box to be Dolly the first cloned one. Much more interesting to me, just as would the tsuba that started this thread- if it had some historical significance that we could evidence and learn from. As is, it is basically what you said- very studiable forensically. It went through a whole lot of something, but is lacking certain signs of abuse I'd expect to go with everything else that has happened to it. Back to the silver mines...

Hazama and Kunitomo tsuba: boy what a difficult topic. Here is a posted article: http://www.nihontocraft.com/Hazama_Tsuba.html Yet even in this article there is a fair bit of what I consider mis-information. It doesn't pop up on a google search, but sahari inlay was going back at least as far as koryo celadon inlay. Sahari inlay isn't universally the same. I've owned two Hazama and 1 Kunitomoto Teiei. All NBTHK papered. Hazama sahari was of one sort rather visibly different from the Kunitomo Teiei. That of Teiei is more perfect, yet much darker. Different books say different things. Ultimately they are considered very desirable, but it is another in the eye of the beholder. The Kunitomo Teiei is a near perfect condition one with Tokubetsu Hozon papers and a decent hakogaki from big name. It is one of only a few I'd consider submitting for Juyo- yet it much more to the Japanese taste than mine. I prefer the Hazama with its flaws. The one you linked is a modern copy, and sort of screams it to me. It isn't just the inlay, but also the surface finish of the better Hazama that makes them distinct. That modern Nagatsugu signed one certainly lacks the surface finish.

Bowen-san: I thought they were allowed in the USA? I knew of one deemed okay in Georgia. David: I think you saw the Kunitomo Teiei Saku in Tampa. Close, but not the same thing. The Hazama didn't make it this year. No one except Skip wanted to buy it before it was papered. Everyone doubted it was authentic and just saw a less than perfect tsuba. Yeah, I like the new copper wave one too- but am undecided. I've got 1 vote for ko-kinko and one for early Higo. I'd like to see early Higo, but that may be wishful thinking. It is a bit small and tad crude to be early Higo, but there are some aspects that are more early Nishigaki. I just wish the carving was a tad bit deeper and more rounded. This one may go into shinsa, since yen is getting weaker.

How dare they knock a Suzuki Samurai Those were the divine winds of the 1980s, whipping around. They and the Ford Fiero "Go Grasshoppa!" were the dragonflies of that season.

At first glance, it would seem to say something about me- but I think that is a bit of significant misdirection. But I don't seem to mind it, so sure. Following what Tobias said, It simply isn't for me. It is as inorganic as inorganic gets, and looks like a hand grater if mounted, no matter where your hand goes on the tsuka. Eventually it contacts with this deathstone. I appreciate artwork like "The Physical Impossibility of Death in the Mind of Someone Living" , but don't want it taking a 1/4th of our great room. I also don't want to flick on the lights at 2am on the way to the kitchen for a late night snack and hafta look at that looking back at me as if I am a late night snack. We each have our own taste, and the short version is I tend to like that with some organic Fibonacci numbers to its design, as balance to the inorganic base. My most recent pick-up is attached. It is a little crude, but I've been into wave themes recently. Not sure what it is: ko-kinko or possibly early nishigaki- but works for me/ wabi-sabi or bori-bori aside. Have a go at it the wabi-sabi and/or skill or lack of skill. I've showed it to two people before now. One loved it, and the other quite did not. As long as we're in the wabi-sabi or bori-bori end of the pool, I might as well throw on a Hazama I picked up a while ago. Only Skip Holbrook seemed to appreciate it before it got papered. Was interesting to see people's like or dislike.

I said it was forensically interesting, because despite its decrepidation- it has either had removed or simply lacks some of the signs of true neglect. Looks to me like a meteor fragment. Yet this meteorite like scholar's stone of a tsuba has minimal wabi-sabi for me. It has led a disgruntled confused life, long ago having lost its purpose or ability to function. It has aged with lack of pattern or grace, with no sense of its life as it once was and how it came to be as it is now. It has simply continued to exist, without the conviction to die. It does not serve as an object with which to contemplate the accumulation of time and redistribution of life over time, but rather something that lost its way and plods towards decay without hope- yet never quite died or was buried. It has all the positive charm of a Doskeyevsky novel. For £28, perhaps such a homeless tsuba is worth it to others to contemplate of poverty, death, and dying. I've had my full share of it from cadaver class (anatomy), scraping motorcycle victims off the road, and the bagging of young suicides who decided to blow their heads off in their parents bedroom. At a certain point such death just ceases to be interesting, and how something chooses or manages to positively live with what I will only call a subconcious sense of 'grace' (whether a genetic print or learned aesthetic) becomes infinitely more fascinating.

Dear David Dude~ That is a horrible mug shot that looks like it was taken at the police station. I've seen this tsuba in person. The photo misrepresents it, or what it looks like at a distance with a flash or poor lighting. (hence why I missed it on the table in Tampa). In person, it looks much more like an early 1500s simplified version of this: http://yamabushiantiques.com/BM%20Kai%2 ... 0Tsuba.htm I've seen your other photo work, like with the kodai-Yagyu. This one deserves that, and also some scale perspective. I look forward to when you have time for the photos that really show this Warring Period heavily lacquered piece.

I believe the shinsa was in Japan, but you can ask the guy who sent it for papers. He was the founder of this board, though it has mostly grown under Brian's guidance. Lovely tsuba. I agree with the papers. I am surprised there aren't more chops on the papers. That does make me hesitate and wonder if it was an overseas shinsa, such as in Australia. The USA fittings ones usually have 3 or 4 on them for fittings. (It seems we were all writing at the same time.)

Wow.... ditto with what Boris said. Like a pool of ferrous cat barf. ~Forensically interesting, but not something I'd go remotely near.

Think I said 'Ko-shoami', but meant more 'Kyo-shoami'. I'd forgotten there was a similar one in Sasano. I don't have access to that book at the moment. Kinda splitting hairs, as I think it falls into late 1500s /early 1600s in that zone that is physically between Kyoto and modern day Nagoya (Owari). Ise, Iga, or Oumi ? I'm saying this from the iron a bit, as I don't think ore traveled very far at the time. I just sold a favorite 1500s Ise katchushi tsuba that has little tekkotsu, coloration and some similar feel to this one. Ise iron seems to be harder, darker, more blue with lower carbon content. As it gets a bit further north towards Mino and some of the "Oumi" (I think I was taught a different word for this region) stuff seems to have the same blue black iron with tekkotsu, but just a tad softer. I'm thinking/typing aloud, so I hope this makes some sense.

This thread is funny because they guys who don't like the Kamiyoshi probably will love David's other purchase. I think David's bold tsuba here would probably just get a general Kamiyoshi call. I cannot see it being called to any particular smith. I haven't seen the papers for the one on Silk-Road, but I doubt they say "Rakuju", otherwise that one is underpriced by a significant amount. Some of the criticisms of its 'simplistic' carving are the same criticisms I have of Kamiyoshi fittings in general. I tend to love their flawless iron, but often they are overpolished and over precise works. David showed me this tsuba I looked at it under a magnifier. Some of what looks like crude pattern is actually done with what seems to be a specifically designed punch to mimic some sort of skin. I thought calfskin grain, but think David is correct that it it closer to fine deerskin. I'd wondered why this one hadn't popped off Grey's site, and thought it much better looking in person. The size and boldness of it is very unusual and does scream late Edo. Thing is we in the west seem to poo-poo all but the best Kamiyoshi works, yet the Japanese seem to really like them. Every one I've ever owned has sold back to Japanese gentlemen. _________________________________________________ I look forward to David posting the other tsuba, as that is one I would have broken down and bought if I'd spotted it first. A low key gem that checked out underneath magnification, despite my initial suspicions that it was a revival piece.

I think I would have guessed wrong on the NBTHK attribution of this one. From the mimi I would have said "Owari", but think the NBTHK would have looked at the confusion of elements and gone "Ko-shoami or shoami". I might be simply reflecting the mindset of the NBTHK from 10 years ago, vs their current frame of reference. Interesting post.

What Flynn said I've listed two things on ebay. One of them is a nicer Akasaka tsuba that a dealer was offering me .60 cents on the $USD in Tampa. He came back at .66 cents on the $USD for 3 tsuba at the end of the Tampa show, 2:30-3pm on Sunday. Then it would be on his website at 120% of what I think is fair value, as he gets ready for haggling. For him it is 'just business and inventory', where he needs make it worth his time. I can't really blame him, as I understand time value very well. I'd had a good show and a decent experience on eBay recently, so decided to tell him 'No' and go home with the 3 tsuba. I was going to ship the Akasaka off to another dealer, let the dealer list it and take his commission. On a whim and a glass of wine, I decided to list it on eBay. Half way through listing, I almost cancelled it and said, "nah, off to the dealer". This is sort of an experiment as to whether I list any other tsuba on eBay. I like working with Ed Marshall as a collector who deals a bit (I think Fred Geyer falls into this camp too), but some of the others have a very interesting view of fittings. They view them as side-dishes not worth papers (many aren't on a financial % value basis), and descriptions or values are the wild west. I do hate how much crap is floated on eBay, but once in a while it is just easier to list a single tsuba or two there.

Mike said, "In this case he basically took a Hamano design and said I could make this more better by applying the high level techniques of the Omori kei." I like that explanation a lot. Hamano's supposed founder Shozui (aka. Masayuki) often worked with that depth of field. I've seen it several times, the most memorable being a deer on a fuchi walking towards the observer. It had one leg forward of the plate, as if just about to raise into the open air, two rendered at the level of the base, and the last leg cut into the plate. All trying to convey motion and depth. It worked, but sense of depth was a little bit bent or warped as with a fisheye camera lens. I think the top level Omori stuff is much better, but I haven't seen a lot of the authentic stuff outside of books.

Not the best example for your question, but a start: http://www.nihonto.com/5.10.12.html Ask Bald Mountain to see it in person at the next San Fran meeting.

There are much better ways to launder money without slippage. ~Fun stuff. The sort of thing bored senior accountants amuse themselves with. I've seen some auction house pissing contests, but usually it is over one or two items. Sounds like this was quite one for the record books.

Mark and Barry, Well, I didn't know that sword came from Mark. One of the other 'finds' I saw also came from Mark. Mark- I think I should have taken a longer look at your table. Barry, yes- in addition to yours, I saw that other sword too. Awful chemical polish on it, but once I looked past it- I agree with the restorer. That was a pretty insane deal. As Grey said, there were a large number of good books in excellent to pristine condition. I bought two, and about a dozen people tried to buy a hardback Owari/Yagyu one that I brought for reference to the Owari koshirae I had there. I try to stick to just kodogu/tosogu books, but there were quite a number of sword books that one usually must buy from a Japanese source. I'll be interested to see what Grey lists, as I am sure I missed a few. The storms did keep many people from the west from flying in. One long time attendee that I was suppose to deliver something to did not make it, and the weather also forced many people on Sunday to try to move forward their travel times.

Very different dynamic this year. I brought a few things to sell, but has a difficult time sitting at my table. Too many things to see, and too many people to talk with. Even then, didn't get the chance to talk to several people. We took over an empty table and Mike Y lead an impromtu cram session on Higo. I learned a few things, especially on f/k and some rare menuki. Envy the Hirata f/k belonging to one of the members of the group. I'd seen a previous photo, but wow that was a crappy photo compared to the real thing. Half dozen of us grew to about a dozen of us sort of throwing down a discussion, with specimens ranging from $100 in value on up to not sure ($40,000 or $50,000?). Casual, quick, lots of information. Though it wasn't all on the tables, the level of stuff floating around was some of the highest I've seen in Tampa. Boris was there. Also gentleman Corain (?) from Japan with the extremely high end stuff. I hadn't expected that caliber of items, and should have brought more money. When I could sit at my table, sold 4 of the 15 items I brought to offer out. A dealer made me a last minute offer of $2000 vs $2250 (marked down from $2550) on three tsuba, but he couldn't meet me half way at $2125 and we swapped cards- which means that is the end of that. Show was much more fun than I anticipated, and had 4 finds shown to me. I agree that at least 3 of them were excellent finds at 1/5th to 1/20th of what they should have been had the dealer known. One of them was right under my nose on a large table of tsuba, and I didn't see it until literally handed to me by someone later. Amused. I did cave in and buy a Kanshiro tsuba from a member I've known for years. (Edit:) He thinks nidai and I think nidai or sandai. My one major buy of the show.

Yeah, that tsuba was a nice little buy.

Yes, you should be jealous. Having more fun than anticipated. Seen better quality on some tables than in previous years, and some very nice things have changed hands at prices less than they would in Japan. Definitely much less than they would cost in Europe.

Tochibata. (see Nihonto Koza, Harry Watson's translations) also search on Tochibata on NMB. I believe we discussed a very similar tsuba in another thread.

BaZZa, That is the exact question I asked, knowing how it was with hashi. The answer I got with 'tsuba' was that there was no difference. I thought there must be, but there are many words in English where there is no difference.