Matsunoki

Thanks for the mention @Lewis B….but….Apologies, I’ve sold my whole sword collection and will only have a few tsuba on offer plus the first emerging pieces from my gun collection. There will be a few regulars and I think a couple of other NMB members are going to have a table so should be things to enjoy and hopefully buy! @oldcodger…..come and say hello! Middle hall rear wall.

There are a couple of dodgy tsuba in this sale but most of the flashy stuff looks correct for Bakumatsu or Meiji. A few are outstanding examples of metalwork. These tsuba obviously appeal to a totally different customer base and they represent a different time in Japan. Many were made as artworks and never intended for mounting. The customer base were wealthy gaijin, merchants and the few image conscious Samurai that could afford such things. Some subjects are avidly collected now….anything Yokai, Bakemono, Oni, Monkey, Snake etc plus of course anything of the highest quality zogan. I think we will see some crazy prices. They are not likely to appeal to the purist iron tsuba collector base🙂

Forget the mei, this tsuba looks fake.

When overcleaned shakudo does look very much like copper. The blue/black patina is purely an oxide on the surface.

Simple……leave it.

The Japanese are experts in finding a quick way to create the impression of quality work especially during Meiji when the demand for their true high quality work (metalwork, tsuba, kozuka etc) boomed. Imo these are Meiji mass produced tsuba aimed squarely at the gaijin of the day (and later) who could not tell the difference. Any that are found actually mounted have most probably been mounted long after Samurai days….again to enhance the “flashiness” of a sword. We encounter exactly the same issues with other metalwork art where some short cuts quickly became so convincing that they still fool “experts”. A great example is Miyabe Atsuyoshi using shiremono pressings with clever patination to mimic true takazogan often of great apparent complexity but taking a fraction of the time. Such pieces still go through major auction houses at huge prices ……so no need to feel too bad about falling for a fake tsuba.

There is a lot of skill involved in the making of that one. Never encountered ceramic netsuke and maybe it isn’t quite 18thC Kyoto but it’s quite rare I suspect. As for a dealer putting the price up….very dishonourable! Golden rule…if you know more that the seller, keep quiet🙂

Does a magnet stick to the Menpo? ie is it iron?

When you look closely at the “gold” on two of the above examples it becomes clear that the quality of workmanship is appalling. To me it looks like modern gold plating fluid has been used with no attention to detail…..much overflow from the intended areas. The “red” areas can easily be achieved by masking and then copper plating with subsequent patination and silver can be achieved by first copper plating and then silver plating onto that. Not difficult once you know how. So, either outright clever fakes or older but terribly “reconditioned”. Either way, not “right” imo.

Some of these fakes are so good you need to handle them to determine if there is genuine mixed metal inlay or if they are very cleverly coloured and gilded. Some are very convincing including mei.

Candles have those hollow wicks so they splutter and flicker a bit?? They emit a lovely atmospheric light yes? Echos of yesterday, lovely.

Good luck! Remember the 7 P’s…….. ”proper prior planning prevents p1ss poor performance”🙂 Treasure images awaited🙂

Cancel that. I’ve amazed myself and found him. Miboku. Thanks for looking!

Please may I ask for your help on this…… Many thanks Colin

Finding something is always better than nothing🙂. Methinks you might have come home with treasure other than netsuke?

….and how was that luck?🙂

I agree Uwe……that one you show above is much closer. Where did you find it? I’m looking in the wrong place! (And I’m no tsuba expert)

Thanks Uwe, Some Umetada work have an unusual feature (see above) where the Hirazogan is allowed to casually drift into the seppadai….as it does on mine. I haven’t seen that feature on Kaga tsuba (yet🙂) I’m certainly not saying mine is an Umetada piece but maybe a gentle nod in that direction? Just musing….

A recent acquisition. I thought the gold hirazogan inlay was rather nice and reminded me of some of the work of Umetada Myoju (rightly or wrongly) and the Umetada school in general (but perhaps a bit “stiffer”?) The inlay is done with remarkable precision and has a bit of a katakiribori painterly style about it. It seems exceptionally heavy in hand for its size suggesting a good quality shakudo plate. Out of interest, if the gold content in the shakudo was just 5% that alone would be nearly £700 at todays values! The maker, Tohdo (Ozaki Tohdo) is an Edo period artist around 1775-1800 per Haynes and he had some obvious talent. Hirazogan is generally regarded as a more demanding technique than Takazogan. There is no room for even minor errors as they become clearly evident when the smooth flush surface receives its final polishing. Anyone else see Umetada influences?….or am I barking up the proverbial tree?

Bit more research……..I think it probably is silk dyeing in the moonlight. My kind of romantic subject! Just behind the hut can be seen what might be some sort of bamboo drying (?) frame…a bit dilapidated? Apart from admiring the actual craftmanship, there is much fun to be had in trying to figure the subjects, yes? Thanks to you all.

Recent acquisition, a shakudo piece with a tranquil design depicting what? I would guess something to do with textile dyeing/production….washing silk in the stream? but I cannot think of any specific “legend” or story that relates. Maybe for a posh silk merchant’s wakizashi? Very heavy for its size suggesting decent quality shakudo. Any other suggestions? Mei is “Shokodo Mitsuchika” and I’ve asked in translation section for help with the lid inscription.

Can anyone please help me with this inscription? (Recent acquisition) I believe the right hand column is the makers name ……”Shokodo Mitsuchika”…..(which matches the mei on the tsuba) but what does the rest of it say? Many thanks in advance for your time and expertise.

Indeed I wish you enormous luck, I also wish I was there! As I’m sure you know, here in the UK there are very few opportunities to go to decent fairs or markets and when you do go, like we did last week, with about 400 “dealers” (interpret that word loosely) there was nothing worth even picking up. Fake netsuke everywhere, fake chinese porcelain, one chap proudly showed me his 2 inro…..both fake! Let’s not even mention fake swords and tsuba. Arghhhhhhh!!!!

Hi Piers, I do envy you……being able to wander around and accumulate such charming authentic examples that illustrate a time and a lifestyle now somewhat lost.

Enryushi Kunihide in style of Ikkansai Yoshihiro