Michael 101

Hi Marius, A great shame about the condition. I would say these are Higo in style but not made by the any of the main line schools. The fuchi has a indent for the kozuka - which higo versions do not. The tsuba design is higo but the size of the seppa dai area is too large for Higo main schools. Higo tsuba were very fashionable (and still are !) and therefore like all things in fashion they were much copied. Hope the tsuba cleans up OK. regards Michael

Hi John (Docliss) its believed that only the earlier Kinai masters signed on the omote, although some later masters switched between so its not a set fast rule. The example picture I loaded (ura view) is attributed to the last (7th) generation of the Takahashi family and was an exceptionally skilled carver. Kind regards Michael

Very nice example of the School. Hitsu ana were not always used by the school but I agree its a little less common not to see them. Gold aplication is far more common on the later 19th century work - although this example looks more 18th century and the inlay maybe Umetada influenced. The quality looks very good and I like the shakudo shim fitted which is a nice attention to detail and points to it being held in high regard by its orginal owner. I have attached another example without hitsu. Kind regards Michael

Agreed this one is a later Nobuiye but I am not convinced that its the 'Echizen' maker. The jigane doesnt look up to his level of skill and raised mimi work falls far short of the skilled work shown in the published example above and against other examples I have seen. My feeling on this one is that it dates much later than the Echizen worker and would consider it more likely a 1st quarter 19th century revival work when many artists were producing this style. Regards Michael

Hi Henry, Beautiful tsuba you have, completing a very impressive koshirae. The seppa dia shape and thickness (or rather thiness) make me think 2nd generation work. However their is a lot of kabori work for the early school which is fairly rare so it could be a 5th gen work going back to an earlier design. Which ever - its in top condition with very fine jigane and really rather special. Thanks for sharing Seasonal regards to all Michael

I dont think you are going to get much further information to what you have already worked out for this tsuba. I also think later Higo would be a good call, perhaps more 1800's than any earlier. Its doesnt appear to be any particular mainline school like Shimizu etc and the theme was common across all Higo works so no help here either. Looks a nice tsuba. Kind regards Michael

I agree (not with the ears but you never know) Genji mon is also my view on this subject. Genji were associated with the game of Kodo which was fasionable amoung the warrior ellite during the 15th and 16th centuries. I recall an explanation on tsuba as being a warriors wistful nostalgia for the arts of peace over warefare. The cut accross the nakago ana would be to accomodate a raised sword or yari nakago. Best regards Michael

Hi Peter, The design is named by Sasano as being sun rays but there are also other thoughts also on this design as being fans or even sections of armour plate. The origins of the design go back along way back with examples known from the 1400's Your tsuba looks as if it could be toshu or shoami school work - date is very difficult to place from pictures but could easily be pre Edo. Kind regards Michael

Thanks - probably explains why it parted company with the tsuba, another question answered - not bad two in one posting. Kind regards Michael

Interesting re the Hakogaki I believed it was for this tsuba as it is illustrated as being so in the Robert Haines catelogue no 7 for lot 46 (this tsuba). I thought the Torigoe Hakogaki described it as Kyo Sukashi under Owari school influence - which differs from his Toso Soran description - is this what you mean? It also featured in the AZ Freeman sale again a Hakogaki to the box was quoted - but not illustrated this time. Can anyone help with a full translation? Kind regards Michael

Pete thanks for this scan - sorry I gave credit to Martin in error as I thought it was part of his posting. Thanks again for the high quality scan provided its most appreciated. Kind regards Michael

Hi Martin, Thanks very much for your help on this. Yes this is the one, I new it was there just needed to know what was said about it. Being ex Lundgen collection is an unexpected bonus. The subject is called Hachi-noki by Sasano and is thought by some to represent the Japanese Noh play where an impoverished person is visited by a person of high rank and he cuts his only tree to cook some refreshment - thus showing sacrifice. Although it could also show an axe over a Mon perhaps in a warlike gesture. Would be interesting if any others can add to this. Now all I need to do is find the missing Torigoe Hakogaki for this tsuba which was pictured in Haines sale issue 7 lot 46 (see attached scan) as it came adrift from the tsuba over the last 10 years - which is a shame. Thanks again for providing another peice for my puzzle. Kind regards Michael

Would any member happen to have a copy of Toso Soran by Torigoe ? I am looking for a scan of a tsuba pictured on page 235 with the design of a axe over a matsukawanishi mon (three diamon or pine tree which ever way you care to look at it) and the releivant information given. Any one able to help me on this ? Kind regards Michael

Sorry Shan, have to agree with Brian on this one. Very crude work of the late Edo period. Not school specific as too late a period, probably made for merchants or even tourists. May have been made to go with many of the late "Soten" style tsuba that we see. Look at the lack of control on the nanako work in comparison with any published items. F.H. will no doubt love this one !! - Regards Michael

Well done Rich, Now all we need is one of our more computor literate members to load these two pictures side by side instead of using (my) Musashino tsuba to compare. Although we may need to check with Mantis man. I (rubbish at computors) have printed both off and the comparison is very striking. I agree with the Mantis website attribution to Akasaka and would have thought that it may even be 4th generation by the sloping of the walls to the nakago ana. Nice work. Comparison of the two shows:- 1) Obvoius heavy and offbalance to the kozuka ana (mentioned by all) 2) Course cut sukashi - compare the base of the mantis( heart shape and nice length of curls on the Mantis Dude version) , and its lumpy middle of three three legs against the mimi. Also uneven width of the sukashi eg its antenai. The whole cut below the kozuka ana is very crude in comparison to Mantis dude school master version. However - I do not think from the pictures that Chan's is modern made, although without seeing in the flesh couldnt be 100% certain as could any of us - unless we made it (I know Fords would be much better made - as I have some of his, LoL) My feeling on this "Akasaka style tsuba" is that it is a country copy, I will explain. Akasaka tsuba were incredibly popular in the late Edo period especially at the time when large numbers of samurai came from all provinces to Edo, many of whom would have bought Akasaka tsuba probably as momentos to their visit and on return home these tsuba would have been admired and copied by local craftsman - my own opinion is that this is one such example. Crude yes, modern I dont think so. Great link - really enjoying the debate, mostly very healthy stuff. Best regards to all. Michael

Hi Chuck, Thought I would add some detail about the maker for you. Haynes lists your man as working in Kii province circa 1852 and as being a retainer of the Tokugawa Daimyo of Kii with a two koku stripend (salary paid in rice). His family name was Kanahara. As for the size and nakako ana etc all points towards being made for a tanto, especially with the two hitsu ana. Nice buy Regards Michael

Must admit this one is a real puzzle. I have gone from no looks to new to yes its old and back to no its new several times with the addition of fresh pictures. Style wise its based on a early pre 4th master, but that heavy edge to the kozuka ana is very off design. The layering visible inside the nakago ana is quite typical of the school. The sekigane looks to have been added very recently. But rust on the inner sukashi cuts seem quite convincing - I would struggle to think this is very recently made, although without actual inspection couldnt say for certain. From pictures I would tend to agree that its a later made tsuba based on an early Akasaka school design - but how late is anyones guess from pictures. Regards Michael

Unlikely to be cast - the lines visible inside the nakago ana may well be fold lines. A good test is to hold at the centre between finger and thumb and tap it with a pencil, iron non cast tsuba ring cast give a dead sound due to the imperfections. A picture of the mimi (outer edge) would be helpful. Regards Michael

I would think this tsuba is far more likely to be Bushu school work. I have owned a couple of very similar examples signed by workers of this school. May be Choshu as very similar in late edo period but sticking to Bushu. Kinai I cannot see in this peice. Kind regards Michael

I agree with the last comments over the authenticity of this signature. I have a fuchikashi named to him - its fantastic work one of the nicest I own, which importantly is the reason I bought it. When we buy big names unless we're super rich and the item is papered my philosphy its best to think that its probably not by who its named too - but if the quality is high then you always have that little comforting thought that it just might well be so. Looks a nice set, but seems lacking the masters touch (although its never clear from just pictures) but a nice find whatever and certainly not trash. Regards Michael

Hi John, I have also seen Goto dragon tails ending this way rather than the sceptre etc and have attached by example one attested to Eijo (6th mainline). Not too clear in the picture (sorry) but the last section of the tail is straight and without scales, otherwise similar to yours - so it might not be damaged. Regards Michael

Hi Nick, Its signed Yaji Tomokiyo. I think this is the maker refered to by Haynes ref 09931. Good maker listed as head of the family school in 1722 an active 1700-1750 in Nagato province. Becam a priest in later life. Strangly enough I also have a tsuba by him but solid plate not sukashi. Sorry for my quick jump Kinai call !!! and thanks to John for making me look again. Regards Michael

Hi Nick, This is a good Kinai school tsuba from the province of Echizen. The Kinai school worked circa 1650-1875 and carry the same signature and its difficult to tell the exact age or generation. However your tsuba looks nicely carved and signed like the majority of school work. (there are quite a few crude copies nothing like yours) Slightly unusual in that it has no hitsu anna - but they did go out of fashion in the 19th cent - so might be a further clue to its age. I would guess that its original school work dating from the late 18th / early 19th century perhaps 4th / 5th master. There is quite good information on the web on the Kinai school taken from a Japanese book on the subject - which I would suggest looking up (even shows different style of signatures etc). Update - well must admit being suprised when read the signature - its Kinei style not school as pointed out by the far sharper next review - teach me not to look closely !! Kind regards Michael

Rick, another great thing with Haynes is that it also comes with a diskette version which is great for word searching artists which can be very useful especially when an artist used more than one name during his lifetime. Best money I have ever spent on research material. For pictures / general school info I would recommend the Baur collection. Regards Michael

Please find attached close up of the tsuba mei as requested and a couple of closer detail pictures to help members judge. I strugled with the second kanji and settled on Nori as being the most likely - but open to oppinion. Personally I really like the tsuba what ever its age - although if it is modern, I would love to know who made it so I could commision another for a diasho. Kind regards to all Michael