Bob M.

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.

Re Item No. 20 Hi Barry - I have just had another close look at it , no coatings apparent...

Re item 19 - Thank you Koichi-san for your reply. Do you or anyone else think that these signatures might mean the tsuba is dai saku ?

From the ridiculus to the sublime , to coin a phrase - Item No. 20 Iron Mokkogata Tsuba 8.58cm x 8.28cm x 0.39cm ( 0.55cm over rim ) Shakudo plugs , sunburst pattern engraving. Fantastic patina with an oily lustre , deep chocolate brown on the field of the tsuba with the rim showing an almost charcoal grey. Much better in the hand than photographed. NBTHK papered to Myochin . Age unknown , but I would guestimate this to mid 18th cent. - please let me have your thoughts...

Hi Craig , Mount this on your sword , leave it for a few days and then decide. The problem is that sometimes you see too much , the previous modifications for other blades , scratches , loss of patina , etc etc. Once mounted , a lot of this will be concealed and the tsuba will look a lot calmer and less ' busy '. I have always believed that a piece that looks better in the hand than in a photo is the right way to go and , if it enhances the blade and / or its other mountings then great ! Regards

Thanks to everyone for looking / contributing - Supposedly inspired by Shinsui Ito , this Tsuba shows a scene from a bath house. A translation of the inscription would be most welcome... Certainly a striking piece of work , although maybe not worth waiting for. And so , for the ' reveal ' -

Hi Steve , Many Thanks for your input. I think the reference to Ito Shinsui as an inspiration makes sense. The tsuba will be revealed later today in the thread ' A series of fittings ' in the Tosogu section. Best Regards

No. 19 - A modern ( less than 100 years old ) tsuba 9.0cm x 8.5cm x 0.5cm . Copper with gold and silver inlays. Closest I could come up with , in keeping with the time of year. I have asked for an interpretation of the ' judgement ' from the very talented members in the translation section of the board , but please feel free to pass your own verdict. The rear of the tsuba is also shown - a little earlier than I would normally post - to give whoever is interested a bit of time to come up with what might be on the front . All will be revealed late tomorrow ( Thursday ) . Please do not worry , due gravity and seriousness will apply again from item 20...

Hi George , Thanks for your input - is there a reference in Haynes to a Sueshiro Magoyuki by any chance ? The ' made by the last of the family ' bit came from the description of the piece in the Naunton Collection book , but as you say , the ' leaving this for future generations ' interpretation is much more fitting . Best Regards

Hi , Could anybody please attempt a quick translation of the attached ? It is supposed to be by Kanzan , and will form part of the next item in my ongoing Tosogu thread . Sorry to be in a rush , time has , yet again , caught me out... Thanks !

No. 18 Iron Sukashi Tsuba depicting a rain dragon 7.66cm x 7.46cm x 0.57cm . Early ? 19th cent. Purchased at auction some 9 years ago . Ex. Clarence McKenzie Lewis Jr. collection Ex. Naunton Collection Plate XXXVII - No 902 Okamoto work Signed ( indistinctly ) Sueshiro Magoyuki . Also - Matsudai Ni Koreo Kosu which I believe translates as ' made by the last of the family ' I cannot find any reference to this artist in Sesko's Geneologies , is there an entry in Haynes ? Possibly a commision piece as the signature is on the rear. If last of family , presumably last of school ? A powerfully carved rain dragon amongst clouds , with unusual treatment of the scales running down the backbone , most clearly seen on the omote. Nice Iron in good order.

No.17 - Tsuba in sentoku and copper with gold , silver and shakudo highlights , beaded shakudo rim. 7.0cm x 6.4cm x 0.4cm. Possibly Nara school late18th/early 19th cent. An unusual combination of metals , acquired eight years ago at auction. Simple , nicely executed design , reminding me of scroll / screen paintings.

Never know what you are going to learn on this thread - autoeroticism replaced by raileroticism. Thanks George , don't want to go too deeply into this and where it leads - could have too many implications when sword handling and cleaning...

Thanks to all for the info. - No 15 is now conclusively Kyo Shoami ! Hi John, in regard to my remarks on iron 'bones' , I view these pieces as being analagous to 1st and 2nd qualities in china/porcelain . Whilst , as you can see, having some items displaying 'bones', or other problems, in the collection is not a problem to me , my objection relates to the selling of these pieces as having extra desirable attributes. Furthermore the use of ' wabisabi' is mainly a cynical marketing exercise by dealers , with profit the only motive. I guess what I am saying is , try and fight back against the bull... However - this is only my opinion , I do not claim to speak with any authority on the subject , but neither will I bow down to those who only have a monetary interest and self promote themselves as experts. In regard to my getting involved with collecting sword fittings , it developed at the same time as collecting swords ( which had followed on from metalwork - cloisonne , bronzes etc ) . Some years ago , I sold off most of the blades and concentrated on the freer artistic forms as expressed in fittings , my current position being shown in this thread. Thanks for your contribution !

No 16 - Fuchi Kashira with lots of wild water , deep undercuts , silver and gold highlights etc Signed Teruhide - Opinions ?

No.15 - Iron tsuba with gold / copper / silver inlays & highlights - mumei. 7.92cm x 7.85cm x 0.42cm ( 0.50cm over rim ) No idea as to school / period. Have seen the odd example of this design for sale elsewhere so maybe pattern book or a particular school 'signature' piece.

No.14 - Iron Sukashi attributed as Owari. Mumei , probably mid edo period 8.75cm x 8.51cm x 0.49cm , but over rim , 0.55cm Simple design of vertical stripes gives an strong , almost brutal impression. Acquired 15 years ago, direct from Japan. Iron bones appear on edge - I never really think of bones as a desirable feature these days , surely they are just visible evidence of poorly worked iron ? Or is this another manifestation of selling indifferent workmanship as something special - a bit like Wabi Sabi ? Please let me have your thoughts....

Hi Greg, Thanks for joining the thread. The Hallam tsuba was made around 2010 , if memory serves. Few more of his pieces to come... Regards

No. 13 - Kinko Tsuba in shibuichi with highlights in silver , gold, shakudo ,copper etc 6.4cm x 5.3cm x 0.4cm Woodman sitting , gazing at the moon as clouds move in front of it , with a bird of prey ? flying overhead. Very fine detail - under magnification even his toenails are visible ! The composition possibly inspired by a silk brush painting ? Not submitted to shinsa , could this be Mito ?

No. 12b - another large iron tsuba 9.7cm x 9.7cm x 0.55cm from the same auction lot as No. 12a . Again , no real idea of origin or age, but could this be trying to be Kacchushi or perhaps more likely Kowari or Ko-Tosho ?

No .12a - Large mokko iron tsuba , thin plate , brass inlay with some losses . As this tsuba appears to have been mounted at some time , I guess some loss was inevitable. I have no info. on age or origin , any ideas? Size 10.1cm x 9.9cm x 0.3cm.

Thanks to every one who has helped with this - I have to ask , I have a few more pieces which could do with your expertise. When the time comes to post them ,would you be O.K. to help out again ? Regards

For anyone who is interested , the Tsuchiya kozuka , posted a few items ago ,has been posted also on the Translation Assistance area of the Board. Thread titled Kozuka Calligraphy. A translation of the calligraphy has been given by Morita-san ... Many Thanks to all who have helped/contributed to this !