Jump to content

Livio 3rd

Members
  • Posts

    34
  • Joined

  • Last visited

1 Follower

Contact Methods

  • Website URL
    http://www.spoilsoftime.com

Profile Information

  • Gender
    Male
  • Location:
    USA

Profile Fields

  • Name
    Livio Cillo III

Recent Profile Visitors

311 profile views

Livio 3rd's Achievements

Explorer

Explorer (4/14)

  • First Post
  • Collaborator
  • Conversation Starter
  • Reacting Well
  • Week One Done

Recent Badges

6

Reputation

  1. I believe Heianjo, referring to a style or school, could be as late as early Edo. Yes, I believe Kaga artists are thought to have carried the Heianjo art further - Heianjo having progressed from Onin (Please correct me, someone, if I am a bit off or way off.)
  2. Helpful information here - thanks. I agree with the Kaga line of reasoning (Yoshiro's flush inlay comes to mind) but maybe a little earlier to Momoyama. I have a very similar tsuba in work and feel but with more the attitude of a tachi fitting - probably the same circle of tsubako and also missing inlay (not so uncommon for this type but maybe more so with lack of care in its history). I don't think the inlay was later added. Looks like one of the hitsu-ana was though. Lee
  3. No problem I just didn't want to seem to contradict myself by saying the tsuba is the same width all around (not that a mm or so is terribly significant, or that anyone would mistake 3mm for the width). Your example's greater width is more apparent at 2mm more than height. Cheers, Lee
  4. Hi Greg, Do you mean width of the mimi (thickness of the tsuba)? It is fairly consistent at nearly 3mm thick all around. The slightest variance along the rim appears to have no correlation to position along the circumference. A bit unusual, I think, for a Kyo Sukashi tsuba to have so much uncarved, positive space in the design. I imagine it could paper differently if submitted again (last time was 35th year of Showa, October - 1961 I believe). Lee
  5. Hello Grev, This tsuba, papered to Kyo Sukashi, is little more than 79.5 mm high and 81 mm wide. So the horizontally oriented decoration isn't all that contributes to the full, wide appearance. It is rather thin at less than 3mm (perhaps that at the seppa dai). Lee
  6. That does square with examples I now find (though designed/decorated differently). I had discounted Tatsu/Toki, thinking the rendered character was closer to the formal Kanji for more commonly used Naga. I should have looked for examples of that reading. Thank you again, Lee
  7. Thank you. Comparing this with some online mei examples with "Efu Ju" confirms that likelihood. Interesting that the location characters are more legible in my photo than on the tsuba (reverse of the usual) where the surface is a bit rough. Any other info, anyone, on an Efu Nagatoshi would be appreciated. Thank you, Lee
  8. Greetings, A recent acquisition, this tsuba was said to be Higo. That fits for me, but does anyone have any literature regarding a Nagatoshi tsubako, from Higo or elsewhere, fitting this style? The location inscription looks like a town name (doesn't match any of the old provinces.) Hawley's list of town names doesn't have a match for this. Any help would be appreciated. Thank you in advance for any guidance, Lee
  9. The single, small shakudo tiger menuki has been sold (this time for good - elsewhere). Lee
  10. I have been asked about availability of a 'rat and kabuto' menuki but have not received a response to my reply so am hoping to reach the interested party here. As we do not have a menuki with both rat and kabuto, we are including pictures of a rat menuki, a kabuto menuki, and one of Daikoku with rice bales (upper-right and perhaps mistaken for a kabuto with rats - I can see how that might happen.) The single rat would be $40 (nice, black surface on copper-rich alloy with some fine work suggesting hair). The kabuto would be $45 (good, old black patina with some inlay and traces of gilt overlay - may be easier to pair with another, accoutrement menuki). The Daikoku with rice bales and rats would be $50 (the back actually suggests decent, old patina on copper-rich alloy and the face with gold overlay). [these prices include free USPS 'Small Flat Rate Box' shipping within the United States] See our earlier pictures which also include the backs of these three. Recall that these were pulled from a chadonsu and therefore have solder traces on the backs. Not having previously included prices in our posts to the 'menuki orphanage', we will extend this exercise if there is interest. Lee
  11. That appears to be the best answer. The kashira must have been that hinged or fitted cover (ergo the filled shitadome).
  12. Just a guess that the tsuka may have served as a container (for what?) requiring the fuchi be filled. Not suggesting it be forced, is the mekugi easily removable?
  13. That it is not flat on one side would seem to discount the possibility that it was a later modified mirror. I have seen an example of an apparently modified mirror form but never functional as such (both sides with relief decoration.) This would make the second example. Perhaps transitional between modifying a mirror and emulating mirrors but with full seppa-dai (may make a case for being early.)
  14. The inspiration, if not the object itself, could certainly be "Chinese". Japanese mirror making originated from Chinese mirror making (so could be Japanese if kagami-shi). I find (via Google Images) this Chinese mirror with similar shaped (if not all "raised") center decoration. The tsuba listed by Steve is iron and is decorated also on "the other surface" - both departures from mirror making taken by tsuba makers in the kagami tradition. I can accept that it might be Namban and not influenced by mirror design, but I would also be interested (for my own improvement) in seeing some basis for that suggestion. Here is the link from which the illustrated example came: http://arts.cultural-china.com/en/30Arts9416.html
×
×
  • Create New...