Bob M.

Hi George , Re Item No. 53 Many thanks for your extensive work on this - The only thing I know for certain about this tsuba is that it has been in the West for over 110 years. It might have entered the Naunton Collection anything up to 20 or 30 years earlier , there is nothing to say one way or the other. As with Item No. 50 , I guess it would need to go to Shinsa... Regards

Re Item No. 53 , Any thoughts about the artist - are Masayuki and Shozui the same person ? Is the quality of work up to what you would expect ? Are either Wakayama or Haynes any help ? Thanks for your help...

Item No. 53 - Tsuba in a very dark Shibuichi or Shakudo ?, with shakudo and gold detailing 7.12 cm x 6.65 cm x 0.48 cm Subject is a temple nightwatchman out in rain , next to Japanese cedar trees . Another tsuba that looks better in hand - the treatment of the trees and rain slanting through them is very nice - at top centre on the reverse there is a shadowy detail or silhouette of what looks to be a torii , poking through the trees , half hidden by the driving rain. Signed Masayuki -19th century Hamano School ? Again no mention of him in Sesko that I can see .This is ex Naunton Collection which lists it as an 18th century work by Shozui ( Hamano Shozui , founder of the Hamano School ). Opinions please ? Provenance - Ex Naunton Collection item No 1428 Ex McNair Scott Collection Ex G F Hearn Collection

Item No. 52 Iron tsuba with brass & gold highligths / inlays 8.22 cm x 7.68 cm x 0.31 cm over plain , 0.44 cm over rim. Plain iron plate with a smooth finish , Brass inlay of cord or rope , Mimi shaped as a stylised long handled cutting tool with remains of gold highlighting on the blade. Simple but nicely done tsuba. Mumei , acquired as part of an auction lot about five years ago.

Hi George , Yet again , Thanks for your input re Item No. 51. The info you have posted would put the age of the tsuba at somewhwere between 220 and 250 years old , if I am reading it correctly. That is certainly a lot older than I was expecting. Regards

Item No. 51 Tsba in Shibuici with gold, silver and shakudo detailing 7.64 cm x 7.53 cm x 0.49 cm Two butterflies , three spiders webs and large dragonfly on a fine Ishime ground. Signed Nara Tadashige and Jochiku with a kao . This is therefore a dai-saku work from the Nara and Murakami Schools from the 19th cent. Looks considerably better in hand than in photographs - the very fine Ishime giving a matt surface finish , very evenly applied . The webs glow and almost jump out from the tsuba in the right light and the detailing on the insects is very well done. Just as a bonus , the dragonfly's eyes are inlaid with a striking green iridescent mother of pearl/ abalone , that really stand out . Have been unable to place Nara Tadashige - does not appear to be shown in the genealogies book . Also there are two artists shown as signing Jochiku in the Murakami school.... Any Haynes or Wakayama references would , as usual , be much appreciated.

Hi Ron, For something similar , see item 6b on my ' Series of fittings' thread - could be a pattern book design or adaption of. Seven cranes on the front and four on the reverse on the tsuba I posted. Sorry , no school suggestions at present. Regards

Re. Item No. 50 Hi George , Thanks for your research and commentary . On the face of it , the tsuba should be sent to shinsa , but the decision could go either way... I think I have a few more pieces where the same could be said - but we move on and take each as it comes. _________________________________________________________ First 50 up ! 167 more to go. Is everybody reasonably happy about the way these are being shown ? Regards

Well , I tried to take some better views of the Monkey King , but cannot improve on pictures already posted. While trying , my wife remarked that when you hold the tsuba in hand , it is all but impossible to see his eyes , but that under magnification , they seem to shine and bring the King to life. Yet another example of the Japanese talent for including hidden detail , not apparent unless under the closest scrutiny... Something that Dirk O also hinted at in his post. As usual , thank you to everyone for their contributions / comments. Regards

Re Item No. 50 Has anybody come across this or this type of signature before ? Perhaps there is something in Wakayama ? Thanks ! Also , have just taken a quick snap of Monkey King from a different angle to help show the depth of the modelling. Will try to take some better pictures in natural light tomorrow.... Regards

Item No. 50 Brass tsuba with raised rim , ishime ground , gold ,silver , copper and shakudo inlays 8.20 cm x 7.45 cm x 0.47 cm over plain , 0.71 cm over figure Subject of Monkey King , Songoku standing on a cloud , exhaling a crowd of small armed figures who are attacking / frightening off an Oni . King Oni maybe ? The rear uses gold dust to create the impression of mist With a grass script ? signature Natsuo. Studio ? Could perhaps do with a light clean , there seems to be detailing hidden ... Any views / comments ?

Hi Mark, Personally , I wouldn't go any further - it is not a brand new piece and should be allowed to show some age . The tsuba might benefit from a thin coating of almond oil , patted dry or left in acid neutral tissue to absorb excess. Quite a transformation from your starting point ! Regards

Item No. 49 - Iron Tsuba with gold highlights 7.45 cm x 7.34 cm x 0.47 cm Choshu tsuba from Inoue school , signed Michitaka Saku ( the second master of the school ) . This would place its date of making to around the year 1780. In almost pristine condition , exceptional for its age . Purchased from a senior member of this forum 12 years ago. Can anyone identify the species of tree ?

Hi Grev , Re Item No. 48 Thanks for your suggestions. Kinai was my initial thought also , just wanting to get some other opinions...

Hi John , Re Item No. 46 - Namban Tsuba I do not know the answers to the questions you raise , but as far as I recall , the fashion for Namban tsubas/fittings arose quickly following successful military campaigns by the Japanese in China , with some of these pieces being brought back as trophies or spoils of war . It is possible ( although just speculation on my part ) that the sudden requirements meant the available craftspeople in Japan would have been overwhelmed , and commercial logic would dictate that the original sources in China would be used to try to satisfy the demand. I believe that the Chinese possessed the capability to produce iron castings at that time and I wonder if standard blanks with the outer rows of decoration in place were produced and exported to Japan and internally, where the carvings etc. could be applied to order ? The quality of iron being good , the tsubas would be pretty resistant to corrosion - at least in the early years , until inevitably , corners would be cut in the pursuit of extra profit. Just a few thoughts ... Regards

Item No. 48 Iron Sukashi tsuba with gold , silver and copper dot highlights 7.9 cm x 7.54 cm x 0.48 cm Two dragons amidst turbulent waters - good detailing. Unsigned - not submitted to Shinsa. Any ideas on school / period ? Purchased from an American seller on Ebay in 2002.

Thanks everyone for your contributions - I knew the polearm belonged to the Chinese general but had never heard of it being called the Green Crescent Dragon blade before. Learn something every day...

Item No. 46 Iron Sukashi Tsuba 7.40 cm x 7.00 cm x 0.55 cm A typical Namban Tsuba in good order , with two dragons and pearl , sparse gold highlighting . Old green Tok. Kicho NBTHK papers Purchased on ebay from a Japanese seller 16 years ago. Item No. 47 Kozuka in Shibuichi with gold copper and silver highlights Unsigned , with generic polearm design...

Some additional views showing wear from use , extra detail etc...

Item No. 45 Kozuka in Shakudo with gold and silver highlights Subject of cherry blossoms with cutting tool - are the blossoms tied to a pole of some sort ? Is this something to do with the cherry blossom festivities ? Fine nanako and engraving Over 450 years old , from late Muromachi period. Unsigned but papered as Ko - Goto by the NBTHK. Bought direct from Japan some 8 years ago.

Item No.44 - Kozuka in Shibuichi with gold highlights Subject Shoki and Oni Finely engraved with Katakiri work , Shoki is looking up into a tree where a rather annoyed oni is trying to hide. Signed Rakuosai Michiyoshi - Sano School - Haynes H 05079. Probably dates from around 1800. Purchased 8 years ago from auction in Germany. NBTHK papered.

Item No. 43 - Fuchi Kashira in Shakudo with gold , copper and silver highlights. Inscribed as Toshinaga + kao. Subject of Shoki and Oni Acquired about 8 years ago as part of a lot. Doubtful about the signature on these , although the signing in itself looks quite convincing - it is just the overall quality of the F/K leaves something to be desired , in my opinion. A set that ' flatters to deceive ' ? Any thoughts anyone ?

Item No. 41 - Kozuka in Iron with silver , gold , copper and shakudo . Item No. 42 - Kozuka in copper and shakudo with gold , silver and shakudo highlights. Same subject , different artists - Takanori , disguised as a farmer , wearing a mino and straw hat , writing his poem for his Emperor's eyes on a cherry tree. item 41 , signature ( very difficult to make out ) appears to be Hamano Masayuki ( second pair of pictures ). Item 42 , signature Kitosai Terumitsu + kao - Omori family ?

Hi George , Once again , Thankyou for your contribution - Item 39 is now pretty certainly shown to be 3rd generation... I posted item 40 early because I knew that I wouldn't have time to do it on Tuesday ,so , you are not behind , it is me who is in front . Regards

Item No. 40 Iron sukashi tsuba 7.93 cm x 7.74 cm x 0.65 cm This tsuba is a modern made Utsushi of a Tadashige Akasaka piece. I am having some problems with the Tadao (' Tororo Aoi ' ) signature as the plant depicted appears to be Tadao - used in the making of Japanese paper . The roots however seem to be Blue Yam . This has puzzled me ever since I bought the tsuba , 10 years ago direct from Japan , but I have enjoyed it for what it is - a beautifully crafted homage to a classic design . The chocolate brown patina and smoothness of carving, tapering to a rounded mimi , make for a supremely tactile piece , and the addition of silver sekigane and solid gold hitsu-ana liners only enhance... Shows that although the capability is much diminished , some quality work can still be produced in Japan.