Ford Hallam

You're most welcome, Eric...glad to have been of help. I love talking about my favourite subject :D btw; there are at least 20 pieces ( tsuba and kozuka ) in the Baur collection that bear Natsuo's name. Some may even be genuine... There's also a fairly convincing tsuba in the Ashmolean museum in Oxford. Oliver Impey was very proud of that one. There are a few in the V&A too. Can't remember if the British museum has any..., I can't remember ever seeing any there in the repository. But I blame Victor Harris for the memory lapses there....

Hi Eric, If you like you can get even bigger images of those tsuba from my Picassa gallery here. Natsuo was very famous in his own time so was very well collected. According to his own records his studio apparently produced, on average, 50 pieces a year. This was during his later years in Kanda, Tokyo. His assistants included some very skilled artists, Tsukada Shukyo in particular who was later designated a "Teishitsu Gigeiin" ( Artist to the Imperial Court ) just as Natsuo himself was one of the very first such appointments. Genuine work by the master was therefore always very highly sought after in Japan by the most refined connoisseurs. If you consider his later, mature style you'll notice an emphasis on fairly simple subjects, a wind blown peony, a single iris, and as we've seen also various studies of trees, in the wind and rain. His work becomes very refined and almost understated. Perhaps not quite to the taste of early European and American collectors and he was very expense then too. Such was his fame though,I'm pretty sure that most wealthy collectors of the time would have wanted at least one example from his hands and where there is a demand there will always be unscrupulous dealers to meet that demand. This is precisely why there are so many "fake" mei on tsuba purporting to be by Natsuo. In his case he was being faked while still alive. Some of the non-Japanese collectors had reliable advisors and bought through reputable dealers so we are in fact fortunate to have some extremely fine examples of his work in the Boston Museum collection. His Iris tsuba is in my opinion one of his greatest masterpieces...in the flesh it is quite tiny but it has all the presence of a work by Michaelangelo. It's worth going to Boston for that alone. As for why his ( genuine ) work rarely comes up for auction we can only speculate but one reason may be the serious desirability of the real thing. It may be quite difficult to get someone to part with one ...so you have to wait until someone dies and his family might sell the collection. Often, in cases like this, specialist dealers are the preferred route. The Hartmann collection had at least 5 tsuba with Natsuo's mei on; Lot's No; 255, 381, 406, 576, and 636. There was also a very convincing shibuichi tea-scoop signed with his mei. As for which of the tsuba were genuine...who knows? Certainly not all of them. The Carlo Monzino collection ( Sotheby's London June '96 ) one of the finest collections I've seen at auction in a long time, had one piece, a kozuka, with the Natsuo mei but was described as "after" ie, a copy...or fake. Lot no; 403 In the Sotheby's sale of July 2005 London, the excellent collection of Alan L. Harvie, there was a Myochin Muneharu tsuba with an inlaid panel signed "Natsuo" Lot no: 894. Sold for £4560. There was a pair of menuki ( probably genuine ) in the Bushell collection auctioned at Christie's in October '98 in New York Sotheby's London March '95 had a tsuba with Natsuo's classic peony design and signed with his mei. Lot No: 259...but described as a copy. So you can see, the real thing is not that easily acquired.

Hi Paul, The most recent work, to my knowledge, and the most comprehensive, is the 8 volume "Kano Natsuo Taikan" by Miyake 1990 It's bit pricey at about $2000. I was very fortunate to have been given a set by the author, via my teacher. Prior to that I only had the Kano Natsuo Meihin-shu by Ikeda 1972. That's more reasonably priced at about $70 ~ 80 The is also, if you can find a copy, a very nice edition of the "Nihon no Bitjutsu" series. Number 111. It focusses on Natsuo and Unno Shomin. That's obviously in Japanese. The NBTHK had a good article ( in English) on Natsuo also, in edition No 58, ( 1993) written by Mr Kobayashi Terumasa.

This last one might give a little idea of how he tended to treat waves and splashing water. These examples are taken from one of the most recent publications on his work and is beautifully illustrated, hence these very clear images. Please bear in mind also that the images you see are generally more than twice the size of the actual pieces themselves. I hope they serve to show a little of why he is considered to be such a great sculptor in metal. “The critic has to educate the public; the artist has to educate the critic.” Oscar Wilde :D

I hear what you are saying Eric, regarding Shinsa, and Juyo in particular. I don't think we'll get anywhere debating the accuracy of these sorts of institutions though...there will always be differences of opinion in the arts as long as humans think independently. The mention of the item having been in America for the previous 100 years jogged my memory. I was actually at that auction and remember now the discussion surrounding this piece. I don't recall anyone being particularly impressed or convinced. I've scanned in a few images of some more examples to Natsuo's oeuvre to compare with those we're discussing. I hope this isn't too much of a departure from Marc's initial posts regarding his own tsuba :? Perhaps, if it is, our heroic admin might split this off to form a new topic. Sorry if I've caused any inconvenience. :| The examples I've chosen to show illustrate the development of one particular ( I'd say his most notable ) style of Kano Natsuo. If you compare the first example you posted, Eric, you will see how it fits perfectly within the range of pine tree views he was clearly working through. and a more sophisticated expression of a similar theme. The reverse on this one also shows a remarkably similar treatment of the waterfall. This one is one of my personal favourites. It seems to be powerfully expressive to me. This is one of Natsuo's versions of a monkey in a tree. Not one of his most inspired works admittedly. Perhaps he made it as a commission.

On a long sword's saya the kurikata ( the bit that holds the cord ( sageo ) ) is typically about one fist width down from the koiguchi ( the mouth of the saya ) but as most Edo period samurai were quite little blokes I'd suggest 4 finger widths of the average adult male today. The point being you need to be able to comfortably grasp the area immediately below the opening, with your left hand, when drawing the sword with your right hand. If the kurikata is too close it will hamper that action.

Thanks for those additional pics, Eric. The front seems reasonably well done, not fantastic though, the dragon is quite weak in my opinion. The claws in particular lack any sort of feeling of power, they're just spikes. The back is as I surmised and the mei is not at all convincing. As for Juyo papers, I prefer to trust the evidence my eyes provide...and perhaps so did the bidders at that auction. If you consider the way the waves are carved on the back, where they splash, it is not well thought out at all. Natsuo never made mistakes like this. You are right about Natsuo making kagamibuta...but this is most definitely not one of them. As I said, this isn't even a particularly inspired bit of craft-work. Just have a closer look at the legs of this unfortunate creature...there is no real modelling there at all. The kebori is also only just competent....while Kano Natsuo was possibly one of the most sensitive handlers of the chisel ever. But of course I suppose we'll have to agree to differ in our estimation of what constitutes the work of one of the greatest masters in this art form. This is a genuine Natsuo kagamibuta that belongs to my friend Mr Ikeda Nagamasa, the togishi. His father was a leading authority on Natsuo and his family still retains a very impressive collection of Natsuo's work. There is a very similar one in the Boston museum of Fine Art. and this is greatly enlarged view of a portion of kata-kiri by him on a silver sake cup. The piece you see is about an inch across ( 25mm ) and sake drunk from this cup somehow tastes extra nice :D ...I know Hey Brian...thanks for catching me :D , I really must stop dropping those e's

I thought the menuki referred to this story; Watanabe no Tsuna click the link to learn more if you're interested. I admit the notice board has me puzzled although they were frequently posted at the entrance gates to cities and towns so could conceivably be an oblique reference to the Rashomon. The walking stick may have been used by the demon when disguised as an elderly lady

Hi Eric the first one might well be genuine and this is one I've not seen before. It's hard to say for sure based on the image though. It's very similar in treatment to a particular style of work of Natsuo's that I personally find very appalling and is a mode of expression that he did far better than anyone else, imo The moon has been over-cleaned though so this gives the piece a rather harsh aspect... The second one is much harder to judge but from what I think I can see of the lines of the waves it appears to be a bit awkward so I'd suggest not by the man. As for the third piece, the kagamibuta with the frog. Absolutely no chance whatever that is genuine...it's fairly generic work, technically competent but not much more than average craft. Certainly not an example of Japanese metal art.

...well that's clearly the severed forearm of an Oni, or more accurately a demon in this case...the story is obvious... I'm certain I'm not the only one who is familiar with this one

hmmm...interesting comparison with the Boston museum examples. However, it remains to be seen which, if any..., are ultimately appraised as being by Kano Natsuo My immediate doubts would centre on the copper one and the last, the Kwannon. The tsuba with the various panels is, to my knowledge, generally accepted as genuine but the monkey, while sharing some similarities with examples by Natsuo in the Tokyo national museum, seems a bit uninspired to me.

You're welcome Keith. Often, I think, the best we can do is explore a range of likely possibilities. We'll always have to acknowledge that these are merely speculations based on personal perceptions. I'd say that by comparison ceramics is fairly straight forward. Potters tended, afaik, to remain fairly faithful to their roots and regional traits. Metalwork studios seem to have been far more open to market place demands. regards, Ford

Hi Keith, A good, honest tsuba. My first instinct would be to suggest the Kanie group. The design and general treatment is very reminiscent of their work. I also agree with you that it appears a little older than mid Edo, perhaps quite early Edo period. The metal is a little too refined though so I also lean a bit towards it being a Nara piece made after the style of Kanie. The relative thickness, and robust appearance, of the rim along with the "honesty" of the decoration further convinces me that it's quite close to the original Kanie productions. I think it's a nice piece. regards, Ford

Hi Kevin, this type isn't particularly common but they do pop up from time to time. Occasionally as part of a complete koshirae that is treated in the same way. Tsuba, fuchi/kashira, saya and tsuka. This example appears to quite well made and the hitsu-ana are at least unusual. regards, Ford

For what it's worth...I think it's a cast reproduction. Possibly copper with a tiny percent of lead in the alloy to make for a more accurate copy in the cast ( lead does that ) and to yield a more chocolate colour rather than the more typical terracotta/ kaki-iro of copper. The gold details are merely plating. Regards, Ford

Here you go; link to collectors loot page. It's about half way down the page so if you hurry you might be able to make it yours :D

The 3 legged crow is also associated with certain schools of fencing and esoteric ( Mikkyo ) Buddhism. It's late now but I 'll see what details I can add from my books in the morning. regards, Ford

I thought the "yubashiri" quip was hilarious myself....but I'm also a sarcastic bastard . In any case, why should moderators always be moderate? As my brother always says; " don't waste time being reasonable with unreasonable people" regards, Ford

ergo; it's steel/iron The reason I asked is it's very good, and fine, work to be found on an iron ground, especially fuchi/kashira. Not all that common a combination I think.

The substance is almost certainly Pine rosin, matsuyani. It's a by-product of the extraction of turpentine from pine resin . Interestingly, the various bits of older material I've removed from Meiji period work smells much more of Pine than the new stuff. Obviously modern refining is more efficient It is always to hand in traditional workshops so makes for a very handy "glue". It's easily mixed with filler material and once cool is very hard. It sticks like baby poo to a blanket, looks like it too. You may find all sort of various filler materials but for general workshop use a mix of the rosin with ground fire clay powder ( it tends to provide body and a degree of grittiness depending on the fineness ) a little vegetable oil and often a bit of charcoal powder to turn it black as opposed to the natural ochre colour ( ie; baby poo ) It can be safely removed with cellulose thinners or certain paint strippers ( Nitromors, the brown tin ). Neither of which will harm genuine patinae. Sometimes though, the mix is simply too old and perhaps oxidised ( not sure ) in those cases it doesn't respond to much at all. Bare in mind that it's an organic material and will tend to degrade as such...albeit generally very slowly. You'll find an extensive discussion on the making and use of matsuyani by metalworkers here; on my forum

Looks to be very decent work, nice find. Is the base metal iron?

Hi Keith, Not a terrible tsuba in my opinion. It would definitely benefit from a little tlc though. I think this is quite a late work judging by the steel quality ( not great ), the degree of complexity of the design and the size being fairly large, a significant amount more than typical. Perhaps mid to late 19th century. The overwhelming impression I get is that it's from Higo province but I discern a little influence of the Tanaka family too. Maybe the artist saw some of their work while on his holidays There is a famous tsuba with 2 dragonflies in carved and pierced steel that is from Higo. The dragonfly on yours is quite reminiscent of one on this tsuba. I'll see if I can't dig out an image. I'd be keen to hear what some of our other tsubaphiles think though. regards, Ford

A slightly older plain steel guard with decoration added later. Judging from the type of wire inlay and the odd "stuck on" appearance of the inlays, the basket in particular, I suggest Meiji period. Most likely to make it appealing for foreign visitors. Just my impression. Regards, Ford

G'day Chris Let's see if I can ease your suffering First off I think the diagonal lines one each side of the tsuba are simply design elements that have been carved into the steel. Whether purely as a device to set the blossoms against or whether to suggest the edge of something is open to interpretation. The steel quality seems quite homogeneous to me, despite the apparent rough texture. I suspect that the surface has been created by mechanical means such as hammering, punching and chiselling. The need to work the steel in this way to create an interesting surface as opposed to treating the metal in such a way as to reveal the inherent qualities in the steel itself leads me to suggest a later Edo period date. The motif of plum blossom is often associated with the Umetada group, Ume actually means plum ( in reality a Japanese apricot...but that's a whole other story ) The style of modelling of the blossoms and the overall feel feel of the tsuba, and the design, wouldn't be too out of place with late work by this group. So I tentatively suggest a late Edo Umetada work. Fairly decent condition, reasonable quality workmanship and quite appealing design. regards, Ford

do itashimashite John San