TETSUGENDO

Stephen, I see no evidence of modern mechanical grinding on the surface of your tsuba. Sometimes the simplest way to solve a riddle is common sense. This is NOT the kind of thing that makes any sense to fake, certainly not with gold inlay ...not in the past....certainly not now. It is what it is, a simple honest piece of no pretense, not new, not fake, not of great antiquity or value. A lot of this quasi-early looking stuff was in vogue during the later two thirds of the 19th century, some of it was even made by informed amateur hands. Cheers, -S- p.s.-Mauro, I can see that. One of the biggest problems in making judgments from modern consumer level digital photos, and the photo processing means commonly used post shot, is that one is often left with a visual minefield of artifacts obscuring what we are trying to see.

I'd make a comment but I can't stop laughing! -S-

Stephen, Research is great, but in this case is not applicable to your tsuba: 1-your tsuba is not a casting. 2- simple direct observation shows that the inlay on your tsuba did not start out flat. 3- Mauros' exemplars show TWO distinctly different types of inlay, the first one shows RAISED dot inlay, the second flat inlay of an unrelated pattern so the point of the comparison....simply leaves me scratching my head? Cheers, -S-

Stephen, A side note- If mishandled (stored in unpadded trays,etc) for extended periods of time the highest quality inlays (solid gold) can flatten out rather quickly....this condition is referred to as 'cabinet friction'. Lower quality inlays of gilt brass or copper alloy will keep their contours longer but loose their coloring. Cheers, -S-

Hi Stephen, The inlaid dots you are referring to, generally start out as hemispheres and often become flattened down by wear and use. Cheers, -S-

Nobuyuki Tsujii- Dazzling performance, a metronome with flawless technique...astounding! Saw him at his Carnegie hall debut performance. Thanks Peter, -S-

Orin, Your Edo period Japanese wooden sword IS A 20th CENTURY CHINESE OBJECT, most likely as Stephen suggests a decorative letter opener/paper knife. The decoration is based on that found covering the surfaces of archaic Chinese bronze ritual objects. Sorry! Cheers, -S-

I have noticed a lot of of this odd looking material about, on certain sites it seems to make up much of what is presented. It looks to me like tired pieces that have been refreshed at minimal expense to catch the eye....both gilding and patina look fresh. This would be the 'restorers' version of the $99 automobile paint job. As Ford notes, the ill formed random circles/spots are very odd. -S-

David, There is a distinct difference between fancy and nonsense. Unless I've missed something I see no reason for an exit, besides many of us would miss your posts....don't be ridiculous ! -S-

David, Best not to get too carried away with oneself! Properly preparing the bowl for use, and the correct aftercare (as Mark noted) will prevent any unpleasant surprises. BTW, 'life is short', get yourself some palatable tea. -S-

That's a good looking bowl David, texture, color ,form very attractive! Hope you had some tea before you put it away, they don't come to life until they are in hand...filled with steaming tea Enjoy, -S-

Adam, They are identified in the post as by: Otsuki Mitsuoki, who is considered the best of the Otsuki school......the modeling is exquisite! Good examples of this motif are very desirable and sell quickly. Cheers, -S-

Very nice box David, when you get the thing safely opened we (NMB) will surely comment on the contents! When you have the time a Google search should offer plenty of interest, meanwhile, we'll all have to wait on the wife.... ! Cheers, -S-

OTSUKI SCHOOL by Tenkodo Hidekuni -S-

I should think so, this one hits THE spot! -S-

You did manage to highlight some extra details that weren't so evident in the sellers pictures, even lovelier the second time around! -S-

Frank, These are very elegant, beautifully executed pieces, therefore I'd say they were made no later than the early1840's.....well before the flood of revivals, foreign influences, and economic considerations set in. As for school and maker, Shinsa is your best hope for a useful answer, everything else would be a shot in the dark. -S-

Well done Brian! I can't think of anyone more deserving, BRAVO Peter! -S-

I completely concur, Peter has a real talent for mining great material. He has lead me down many facinating rabbit holes....one of the first things I always do on arrival here is to check out his recent posts! -S-

Dispelling long established 'lore' is tough going. Even when presented with irrefutable fact, these long held misconceptions die hard.....Ford, your post contains more than enought evidence to put this issue to rest. Don't know about the pouch, but the closure mechanism certainly does resemble the applied metalwork of this type of tsuba. -S-

My experience has been that they are in one or two solid pieces, sometimes gilt, covered in foil or veneered with another metal. I haven't seen hollow ones but, since Barry has, they obviously exist. BTW, some opulent decorated examples were produced by famous makers. -S-

Dion, It may no longer be a Tosogu collectors tsuba, but it is a completely legitimate war relic. -S-

Looks like a mid 17th/early 18th Century Heianjo type tsuba? Cheers, -S-

John, If you simply read your post you do, indeed, seem to have answered your own questions. These are inferior, relatively inexpensive products, it's doubtful Gold was used in their production. They are made of a copper alloy given a dark patina that would satisfy the indiscriminate. Ford should be able to give you info on the most likely composition of the alloy used. As far as the hitsu ume ("plugs") are concerned, they are often filled when mounted in a way that does not utilize the hitsu ana. -S-

Their visually arresting, I can see why they called to you. What's past, is past....no doubt, something wonderful awaits Cheers, -S-