Bob M.

George , Thanks for another of your invaluable contributions - I did not realise the full significance of the imagery until your post. The piece looks better in hand , with the dark shibuichi not as noticeable as in the picture . Best Regards

Item No. 28 - Kozuka in shibuichi with inlays of gold , silver and shakudo - Ichinomiya school 19th cent. Subect of winter scene with Moso tying up a bundle of bamboo shoots. Snow has fallen on his hat and also lies on the ground . He also wears a cape with feathers ? against the cold. Signed Nagatsune with kao Ex C.P.Peak collection Published : Red Cross Exhibition Catalogue , London 1915 , Plate CXXXVI , no. 710

Hi Bruno, Thanks for quick reply - any idea which school , if any ? I don't have Haynes... Regards

Papers...

Item No. 27 Katana sized tsuba in brass and mixed metals inlay 7.81cm x 7.92cm x 0.44cm Theme of waves. NBTHK Hozon papers I have had this tsuba for over 18 years but it was not until writing out this post that I realised I do not have a translation of the signature or papers. If anyone can help , I would appreciate it... A scan of the papers is attached separately , as the signature itself is indistinct and is not easy to read. The tsuba looks different today from when it was papered - I have had the Hitsu-ana plugs removed . Where a tsuba has plugs which are the first things you see when glancing at it , then unless they are part of the original design , in my view have just been added to make the fitting more saleable to the Western buyer or tourist ( who like a bit of extra flash ). If the plugs are discreet or have been incorporated into the original design , then they are part of the history of the piece and should be left in place . Not in this case , however. Any alternative views ?

Item No. 26 - Tsuba in Sentoku with Gold and Shakudo takazogan highlights 7.2cm x 6.9cm x 0.4cm ( 0.5cm over rim ) Subject of travellers in a ferry boat with temples in the distance , boatman and river bank on rear. Carved using sukidashibori and shishiabori techniques with takazogan highlights. Signed Noda Yasunobu saku - According to Sesko Geheologies , page 22 , he appears to be the founder / head of the Uemura school in Kyoto. Ex Clarence McKenzie Lewis Jr. collection Ex Michael Tomkinson Collection Ex W.C. Hope Collection Quite heavily encrusted with dirt in places , could probably do with a light clean , but not to disturb the mature patina...

Hi Jussi, I seem to remember meetings in Stockholm and Utrecht ? One of the things with these meetings is that usually there is so much to see in such a short amount of time , it is impossible to take in more than about 10% . At least this way you can spend as much time as you want looking, ( although nothing beats having the piece in hand ) without having to move out of the way for the next person.

Just a few observations on ' A series of fittings ...etc ' Having just posted item No. 25 , I wanted to mention that this is a similar quantity to what I would take and show at a Token of GB outreach meeting , and this in part is the idea of the thread. As we have all been in various stages of lockdown , for probably a year or so , for most people , I thought that I would put my fittings on the NMB instead and give a wider access to those who are interested. The main difference is that the entire collection will be displayed , albeit one at a time , over the coming months . Of course this may be regarded as a ' look what I've got' vanity project , but that is not the intent - as I have stated in an earlier post , the good , bad, and indifferent will all be shown. I have numbered up all fittings and then generated a random sequence of them so that , with the exception of a few favourites which I am keeping to the end , any quality or type of fitting could appear next. No. 26 will be posted tomorrow ( Wednesday )....

Hi Grev , Glad you are enjoying the thread - lots more to come... I started collecting fittings late 2003 , together with blades , but have concentrated more on fittings for the last 10/12 years. Regards

Item No. 25 - Iron Mokkogata tsuba 8.9cm x 8.2cm x 0.43cm . Armillary sphere on a stand , a seven star constellation on reverse. Signed Joshu Nishijin ju, Umetada Tachibana Shigeyoshi , Keicho jusanen ( Umetada Shigeyoshi , 1608 ). Ex. Henri Vever collection. In a historical context - this tsuba was made in 1608 - 34 years before the death of Galileo , 34 years before the start of the English Civil War or even 12 years before the voyage of the Pilgrim Fathers.

Hi John , Re above , nice signatures on the tsuba. I have a few pieces coming up from the collection where the principal reason for acquisition was the quality of the signature in itself, rather than the art work . Do you know , has your piece / signatures been published anywhere ? Regards

Hi George , Thanks for your reply on item 24. An interesting signing on an unusual piece. Is there a tale in Japanese mythology or folklore that is being referenced here do you think Regards

Thanks for your positive comments ... Still trying to sort out if the longer inscription is a dedication... Any views ? Regards P.S. Apparently it reads - Nagasaki kuni ju Kounshi kore wo cho -

Thanks, both, for your help on this one . The inscription says , according to Bonhams , - Nagasaki kuni ju Kounshi kore wo cho - How would this translate into English ? Regards

Hi , Can anybody help with a reading and translation of the inscriptions on this tsuba ? This has just been posted on the 'Series of Fittings ' thread in the Tosogu section. Many Thanks !

Item No.24 - Iron sukashi tsuba - Yagami school , Hizen - late 18th century 7.60 cm dia Subject of three hares running with stormy waters Signed Yagami Mitsuhiro on rear - Can anyone translate the inscription on the front ? Is it a dedication for a commissioned piece ? Haynes Index no. H05200

Item No. 23 - Shibuichi Fuchi Kashira with copper , shakudo and gold inlays. Sparrows ? flying amongst stooks of rice , signed Yasuchika ?

Thanks , George - That's great...

No. 22 Iron Tsuba Mokko shape 8.04cm x 7.51cm x 0.49cm Signed Katsuhiro Sai Enju Tsukuru Theme of Chrysanthemums and flowing water NBTHK papered

No. 21 - A Washida school tsuba in Sentoku , details in silver , copper and gold. 6.96cm x 6.30cm x 0.41cm . Rounded square plate carved and inlaid with a bird - cuckoo ? on an old plum tree in spring . The reverse with a frog next to a stream. Signed - Yuzenkyo Mitsuchika + Kao A Tsuba for the Spring - again much better in the hand , catch the light and it Glows - very difficult to capture in a photograph. Fine detailing and craftmanship throughout. Signature published in Wakayama , Toso Kodogu Meiji Taikei , Vol.3 , p.34 ( Tokyo , 1979 ) Signature published in K.Kokubo , Shinsen Kinko Meikan , p.388 ( Tokyo , 1993 ) NBTHK papered Also in Vol .6 p. 174 Wakayama , Tosogu Kodogu Meiji Taikei ( 1978 ) - possibly an earlier edition to the above ? If anyone could oblige with pictures of the entries detailed above , I would be most grateful.

Hi Mark , Nice couple of tsuba with orchids / grasses. The simple styles are also my preference - give room for the design to ' express itself '. However when building a collection , my personal likes are not always the main consideration. Glad to have you on board...

Nice Tsuba , Barry. I wonder if these pieces have been ' fire glazed ' as a final step of manufacture . I have a few more Myochin in the collection , they will be posted in due course...

The Mimi is iron - at first I thought it was added after the making of the plate , but if so , it is incredibly well done , as there is no visual evidence of a join , either between the mimi and the face of the tsuba or on the perimeter of the Mimi itself.

Hi Barry , I can see part of a line with what appears to be change in metal structure on either side in one of the holes . This would be consistent with the direction of travel of the dividing line shown , which is also consistent on the other side of the hole. This looks as if two tapering pieces of steel have been fire welded or forged together. Could this have been done well enough around the edges to give a proper amalgamation and allow the mimi to have been carved from a 'solid ' block ?

The iron is smooth , but not so smoothed by any coating as to make the engraved 'rays' undetectable to touch . However , in photographing the interior surfaces of the sekigane , there is a difference in colour between them and the colour on the surface of the piece . Also , and I had never seen this before, the photograph shows clear evidence of a two plate construction. This of course , has implications for the mimi and it's fitting or carving or both. I guess that having a rim made from another piece of metal would explain the colour difference... Thanks for making me look a little closer ! Any comments as to the fit of the parts would be much appreciated. Hope you can see the detail from the attached picture.