I have recently seen a tsuba up for sale that screams to me work of a Nishigaki school artisan.
I owned a near identical one years ago, papered to "Nishigaki"
The one up for sale is unpapered. It has a kin zogan signature that I interpret to be an attribution.
But the "signature" is to a Jingo artist. Does the NBTHK kill this one as gimei?
____Please, no debate about whether the mei is right or wrong____
To simplify the question: How does the NBTHK regard incorrect kin zogan attributions on tsuba ?
________Mr Curran wrote the above:_________
Unfortunately without seeing the tsuba in a clear fashion, it is difficult to see if there is an actual kinzogan mei or an attribution put there properly (not trying to be a fake signature). As far as Higo tsuba go, those that are serious students know tha there are examples seen by Matashichi and Rakuju with kinzogan signatures that are have been deemed genuine. However, in my experience, I have not seen any examples of Jingo, Nishigaki, Hirata, Suwa, Kumagai or Toyama.... that have kinzogan mei that have been deemed genuine by the NBTHK. But in my experience, usually the NBTHK will A). Paper the tsuba if they deem the kinzogan mei correct such as in the case of Hayashi Matashichi or Kamiyoshi Rakuju. B). Fail the piece if they feel it is not an appropriate signature or attribution not deemed genuine not from a recognized appraiser (such as in the case of swords - the Honnami family or in the case of soft metal, attributions from the Goto family) C). Declare the piece as a "Horyu" meaning they are not sure at the moment and the piece requires more further study before determining either way.( There is no charge if a "Horyu is issued) or in a rare case issue a verdict on the piece regardless of the gold inlayed signature, but adding the fact that this item has a type of gold signature on it but not verified by the NBTHK. ex: nishigaki -but, blah blah blah kinzogan mei ga aru. But my feeling is that IF this tsuba is a nishigaki piece, but has a Jingo Kin in mei, most likely it will not achieve Hozon, but without seeeing the piece, my opinion at this point is moot point. But the 2 schools worked very close to each other in both style and technique.