Steves87

It is exceptionally uniform and contrasting, I can't decide if it was intentional or purely just time induced?

I have seen a few (probably 4) Nara guards in the past with a zogan covered mei, it appears to be something they did. I have one myself, and if I'll take a semi-educated guess, I'd say your guard was similar to mine, and the zogan (however it was fixed) has fallen off. I imagine the base plate has the mei (as with your example) and then the zogan material is depressed into the mei characters. I have asked here on the forum about this practice with the mei, it was a few years ago, but I don't think there were any definite answers.

Yes, I've had it described as sho-no-fue. I don't have an example as shown (as you know), but I do have this one with the sho depicted on the reverse side. Edit: of note, the nobles cap is also depicted on guard too.

Mauro, exactly what I have been thinking for years (in terms of getting an item papered). The whole system of papering an item is very much a pre-web 2.0 system. I think it was important up until the 2010's, but these days it very much comes across as a boys club, or like you say, religion. Is there any transparency to the process/decisions when papering?

From those photos, that doesn't appear to be a faked patina. It may not be the original patina (tagane patina is very consistent), but who knows? In my experience with fake patina, the guards will have more of a black, or quite dark finish with a somewhat "dry" appearance. The biggest tell however, is by submerging the guard in static hot water, if the finish starts to leach, it is a fake patina. There are a few high volume sellers who's guards consistently leech when submerged, and at this stage I have about an 80% strike rate of calling a guard out, as having a fake patina (once in hand), but this doesn't always translate with photographs.

I understand what Florian is saying, however to me, I think it is maybe the head of the figure that is "off" and this seems to influence the rest of the feeling towards the guard. Don't underestimate the power of human faces depicted on Tsuba... I feel that is why Soten pieces do so well. The nakago ana is not typical for sure, but this dishing is not unheard of (although usually the whole way round or either side as Florian says). In the case of this Tsuba, if you look at the third posted picture, you can see a bulg in the ana wall, this is what would happen with a hammer blow, so I am certain it has not been carved out in this case. The iron is remarkably free of rust and the patina appears quite consistent in the photos too (including in ana and tagane). Is the guard attracted to a magnet? There are cases of zogan being applied to appear worn (suri-heri/suri-hegashi, can't remember which one is on purpose), so don't necessarily get hooked up on that. Below are a couple of similar nakago-ana

Good luck Grev! I tested the waters here in Perth Australia (where most people have never heard of a Tsuba). It was this January just gone. A super basic iron guard with a bit of copper ten zogan reached $100 aud, which is about three dollars in your currency, so I think you will do well with your examples. Buyers fees are 16.5% at this auction house.... 30% is insane!

I'm not sure if Geraint's first posted link was later made obvious, but there is a Haruta section in the Jameel centre - Church collection. This is the direct link: http://jameelcentre....ection/7/10237/10398

I would not have said that, no. I think that is also what Dale is hinting at too, that the description of that example is quite likely incorrect. I'd put more stock into the Montgomery collection description.

I love Ume guards. I do notice that the designs between guards are often closely replicated. Here are a few that I have, which are basically the same design. The shakudo branch versions are very close. Only the smaller branches are reversed (and in different locations)

Inspiration from Louis Tiffany? Reminds me very much of those early 20th century photos of his house before it was destroyed by fire. I've tried many different ways to display my collection, display boards worked well, but I didn'tlike the two differing materials making full contact. The most adjustable/adaptable way I have found is a shelf arrangement (with stands). I built this shelf while my wife was visiting family in the US, as I knew it would get a squashing push back if it was discussed. I think that once she saw it complete and filled, there was no arguing that there was a nice aesthetic to it (and she was too tiredto argue!). The stands are 3d printed from a design I drew up, so I basically have unlimited access to them, so long as my printer doesn't break. It would be great to have mirrors behind for the shelf backing to see the reverse sides, but my time and urgency in creation didn't allow this. This particular view is the initial view I get of the collection because of the door location.

Fwiw, I agree with you. That particular colour on the high points of the plate/details, definitely suggests wear. In the case of this guard, I think it has worked in its favour that the base colour has come through in those spots as it does look somewhat intentional.

quite interesting! I was re-reading a few Haynes articles to kill some time while the outside temps are 42 degc, and came across this article which has some relation to the thread: Haynes Article (shibuiswords.com) being from 1997, I found the quoted pricing also quite interesting.

That is what I was alluding to initially (substantially better than most, just dirty)

here are a couple of extra links for future's sake: Haynes Article (shibuiswords.com)

I have a couple of Kofu rain dragon Tsuba and a bunch of Namban guards with dragons, but I get the most wonderment out of an odd Shakudo/golden dragon guard.

Well, in my observations I see a lost tenzogan at the 4 o'clock (indicating actual inlay, at least for the spray)... and the guard's details are relatively crisp (although "dirty") compared to 99% of other Nagoya mono, especially in regards to the nanako.

That is very interesting. My vote is for a paper weight though.... the last thing you want is for a chunk of metal flying off during practice... they should have stoppers, but those things are useless for anything heavier than rubber or leather. On a side note, we used to try a whole range of different types for sparring applications. Solid 3d printed plastic worked well and was relatively safe for a clean sparring session, but one good hit and it shattered, so it was only good for a session or two. Metal was too dangerous for the reasons stated earlier, and leather/pigs hide was good until it deformed enough to not protect a miss-deflected bokken.

I would vote for those mei being "stamped" in (character line by character line), or indented/punched versus chiselled, ie no stock removal, just base metal displacement. And if that was the case, then it would stand more chance of surviving by not being cast.

Along the lines of Dale's post, there was a post here on NMB a few years ago where a member stated they kept the original peg (I think) and drilled two holes in it. They removed the nails then glued and tied (with string) the peg through the baseplate. I thought this was a good idea, so I 3d printed a ton of pegs. The pegs have two holes the whole way through, with a recess between the holes (on one face only) for the knot to sit in. You can subsequently cover/finish the peg as desired. Hopefully you can see these details on the picture. Mostly not my idea, but it works and has two stage adherence. If it does break off, it's relatively soft.

Great looking box there! I'm a bit of a carved camphor chest collector myself and those locks often come with the boxes without the key. If I move the box on, I usually keep the key-less lock, sometimes I get a box with a key stuck in it.. and no lock!

I agree with Jean also. There is tenzogan there (a pretty good indicator), and one of the hitsu-ana has a space for a sekigane, which regardless of the possibility of being put in post manufacture, I have yet to see one on a cast (or modern) Tsuba.

I think Darrel means: there were some cast Tsuba that were actually mounted, and these may show signs of wear, from where the seppa made contact.... how do you use the seppa indicator in this circumstance?

I don't want to go off topic too far, but on cast Tsuba within museum collections, it is likely they are part of a fonds and are significant not for anything other than their relationship within the fonds. Museum's may or may not know they are cast, but I would guess they likely do.

I think you have a classic re-seller caught out. It appears as if your example is the exact same example, only with rust cleaned out some. The rust spot at the bottom of the hitsu-ana on the ura face. That is too much of a coincidence. This has happened to me before also, a guard I have bought shows up in a much worse (previous) condition. I'd report the yahoo advert.