Restored TSUBA on sale?

[ROKUJURO]

Gentlemen,

 

probably I am wrong with my perception that some TSUBA - perhaps not the finest on the market - look somewhat restored to my untrained eyes. I have seen some of these where especially the gold seems to be in pristine condition while the TSUBA shows considerable wear in other places. I may mention viewtopic.php?f=15&t=16472 or http://www.ebay.com/itm/330993555917. It is difficult to judge from photos, but is there something going on 'behind the SHOJI'? Could it be that TSUBA are processed and enhanced for the market?

 

I am very interested in the opinions of the experts here.

[Marius]

Jean,

 

the fukurin is in better condition than the plate, so it is likely a later addition. Other than that, the plate seems overcleaned at some point.

 

I have no idea what on earth can interesting in this item...

[kaigunair]

Jean,

 

As someone who has had tosogu restored by a professional tsubako, I have some interest in this question. My question is a generalization and not specific to any of the two pieces in your original post.

 

It is perfectly acceptable for a beat up blade with deep rust and pits to be sent to a polisher who removes more of the metal and then uses hadori to definte the hamon. Why would it be different for tosogu which have been damaged or neglected to receive a slight polish and some repatination? In both processes, age and neglect have caused the damage, and the restoration is done to bring the piece back to state where collectors can appreciate the original beauty. I can understand perhaps with old Iron pieces that there is a certain patina which is like furniture, but Edo kinko works, especially late Edo would seem more appreciated for the execution of the design, like an oil painting or nihonto.

 

I am NOT saying that any work done to kinko togosu qualifies as restoration. In fact, just like with nihonto, attempts to clean or remove rust and vertegris cause more harm than good and should reduce value. But if there are famous and recognized toshigi, wouldn't it be natural to have something similar for tosogu?

 

I guess I don't understand why some view tosogu, especially late edo kinko, more like antique furniture (any refinishing is very very bad) instead of nihonto or perhaps even oil paintings (repair/restoration is perfectly acceptable).

[ROKUJURO]

JUNICHI-SAN,

 

thank you for your thoughts about this subject. Maybe that it is indeed acceptable to 'renovate' a beat up TSUBA - I for one don't like it and I would not buy one.

 

What I believe to see in those 'treated' TSUBA is not subtle and fine restoration but instead it looks very bright and harsh, and often the gold is not only applied carefully on some detail but it goes somewhat over the lines (I have difficulties in finding the right words to express what I feel)

 

My question was basically if there might be a recent 'source' where cheap but original TSUBA are being treated to look more attractive to newbies. Is this 're-guilding' (which I believe to see) perhaps common practice with some high-volume dealers? Or am I seeing rain dragons in the clouds?

[kaigunair]

Hi Jean,

 

Just for clarification, I wasn't advocating the restoration of "beat up" pieces, ones where the inlay or carving or groundwork was damaged and a complete rebuildling is necessary. I was thinking more along the lines of quality kinko soft metal items that have been over cleaned or have some oxidation damage. But perhaps the restoration can also include inlaying missing pieces or removing scratches?

 

I wonder how many of the great Edo works from the Boston museums or other online catalogues which we see regularly posted up on the boards have been repatinated or prehaps had more extensive restorationis. I believe museums restore items on a regular basis prior to exhibition, and I doubt an exception is carved out for tosogu. In fact, restoration work is alluded to in the bio one of our esteemed members here. It is a perhaps a testament to his work and others like him that so many museum pieces are in pristine condition, and no one questions whether a restoration job was done at all.

 

I wonder how many papered items coming from dealers in Japan, who have more access to tosogu makers and where rokusho is also more commercially available, have been restored prior to papering. I believe kinko works are judged more upon the execution of the design elements and the signature, vs whether the patination is original or in the best condition. Would you skip over a Natsuo or Somin tsuba that had been repatinated due to bad storage resulting in oxidation, but whose original design was still original? If so, I'd love for you to send them my way!

 

Good discussion !