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Bob M.

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Everything posted by Bob M.

  1. Re Item No.86 Some photos of the box as featured . This is made from over 1000 year old Japanese Cedar and still has the classic cedar fragrance. I understand that trees of this sort of age are classified in a similar way to ancient monuments. It is illegal to use any wood from them unless it is as a result of storm loss or natural death. This means that the wood is greatly sought after...
  2. Item No. 86 - Set for Daisho pair in mixed metals Related themes on a recently mounted set of fittings by Ford Hallam These were made approx 18years ago as a commission for a U.K. collector and show themes or associated subjects such as tiger and bamboo , dragon and rain ,the chinese ' four gentlemen ' , autumn leaves etc. I will post some additional views of the fittings seperately , also of the box.
  3. Hi Mauro , Re Item No. 85 I am sure you are correct about the scenes being Lake Biwa - you have reminded me that I did a little research when I first bought the tsuba , about 15 years ago , and Lake Biwa was mentioned then . I had completely forgotten about it . Re Item No. 84 Ko-Shoami was the attribution given by the auction house at the time ( it was part of a larger lot ) . Heianjo would perhaps suit better... Thanks for your comments !
  4. Item No. 84 Iron Tsuba with brass inlay 7.68 cm dia. x 0.50 cm Attributed as Ko-Shoami mitsudomoe design with vines and tendrils , early 17th cent. Nicely made iron tsuba , in good order with all inlay complete. Acquired at auction over nine years ago. Ex Clarence McKenzie Lewis Collection Item No. 85 Iron Tsuba with pewter ? inlays and gold decoration 8.32 cm x 7.85 cm x 0.46 cm Iron tsuba with a total of eight different scenes on inset plaques thought to be pewter , possibly illustrating part of the tales of Genji . Ichijo School. NTHK papered. Smooth , well worked iron tsuba , very tactile . The piece shows a few signs of having been mounted at some point . I have seen a number of these plaques in the past , mainly with tsuba , but these are the freshest that I recall. I think that they are little stampings ( rather than carvings ) which were produced in sets , but these were probably made when the stamps were new and still retained their original fine detail.
  5. Re Item No. 83 Is there sufficent similarity when the high resolution is viewed , to assign a known artist to the kao ? Does having a different kao necessarily take away from the authenticity of the tsuba ? - and if so are we putting a kao above the evidence of the workmanship ? Just a few thoughts , and after all there has to be a first time for everything , even Japanese art signatures / kao.
  6. Hi George , Many thanks for your work on this - you mentioned that the views of the kao were out of focus. I have taken a number of extra shots and this is the best of them , taken at a higher resolution - hopefully a bit clearer. Regards
  7. Bob M.

    Tourist Trap / Crap

    Hi Dale , Yes , the first one is in enamel , but it looks as if someone amateur was experimenting as to how to use it. Possibly following the design on a genuine piece ? The second and third are outsize tsuba like plaques . Funnily enough the third has quite a nice fitted box , which has a label stuck to it - perhaps I should see if someone could translate - although as the label appears to be printed rather than hand written , I would not expect much... ( attached ) The fourth is straight chinese rubbish . Fifth , sixth and seventh are all in soft metal with various coloured inlays / appliques as imitations of classic pieces - possibly Japanese ? Number eight seems to be a real tsuba , gold plated . I guess that you can still purchase iron tsuba in Japan by the kilo and then have them plated , enamelled , whatever , for sale to tourists in the markets or on auction platforms .
  8. Hi Matt , Thanks for your help - the tag relates to this , then - Regards
  9. Could anybody please give a hand with translating this tag ? It has become seperated from its fittings case.... Many Thanks ! Regards
  10. Hi George , Many thanks for your response - This would explain why I have additional info. about another tsuba , auctioned a few years after I got this one, stating signed Goto Mitsutoshi + Kao. Unfortunately it is impossible to compare signatures etc. as the resolution is too bad. Haynes H 5483 is also mentioned. My tsuba actually came from Aoi Art , and it is their description that I was using. Regards
  11. Item No. 83 - Tsuba in Shakudo 7.60cm x 7.11cm x 0.59 cm at centre , 0.38 cm on rim Repeating punched pattern on heavy shakudo plate , signed Goto Koju. Good quality workmanship , as you would expect from this school , with all punchmarks in nigh-on perfect alignment. Bought direct from Japan , 10 years ago.
  12. Acquired as part of a larger purchase ... Some Japanese , I think , as well as the usual Chinese garbage.
  13. Item No. 81 - Iron Tsuba - 7.61 cm x 7.35 cm x 0.46 cm Mumei Iron sukashi tsuba with a view of the front of a shrine with gate NBTHK Tokubetsu Kicho papers to Owari School Item No. 82 - Iron Tsuba - 7.22 cm x 6.93 cm x 0.57 cm Mumei Iron sukashi tsuba , Hachi Mokko Gata ? with eight interconnected circles Nice , crisp design with lovely deep , oily patina Have seen similar pieces attributed by NBTHK to Haruta school from Echizen. Apparently they were a family of armourers who made occasional sword fittings.
  14. Item No. 80 - Iron tsuba with shibuichi and gold - 8.05 cm x 7.38 cm x 0.38 cm Subject of pine tree , stream and moon , made approx. ten years ago by Ford Hallam A strong , stately pine tree partially depicted with branches and needles . The plugs shaded to represent the moon , reflected in the calmly flowing water . Overall a contemplative piece , with a quiet , soothing feel that evokes a similar response from the viewer , especially when held in hand. This tsuba was the first entered into the annual NBSK competition to win gold for a non-Japanese maker.
  15. Item No. 78 Been doing some looking around and it appears that this theme is actually ginger ...
  16. Hi Geraint , Yes , thanks for that - I had wondered if it might be Jakushi ,but something about it , or more probably , me over complicating what I was seeing , made me want to ask for opinions. Much appreciated Regards
  17. Item No .78 - Tsuba in copper with silver and shakudo inlay 8.26 cm x 7.94 cm x 0.48 cm on plain , 0.80 cm over inlays. Subject of autumn pine cones and grasses ?? on a textured field. Thought to be Shoami school around the 1780's . Heavy and substantial piece - any better interpretations of the theme ? The ' stippling ' of the background is nicely done , giving a fine overall texture . Nicely detailed inlays with some silver leaves included for effect on the shakudo ' grasses '. Item No. 79 - Iron tsuba with gold detailing - 7.28 cm x 7.00 cm x 0.48 cm Subject of dragon in full flame - signed in script Quite an involved pattern , with lots of gold lining and emphasis . Any suggestions please as to maker and period ? A tsuba that rewards looking at repeatedly...
  18. A lot of blades going back many hundreds of years made from ' Namban Tetsu'.
  19. Hi Tony, Nice to see the papers in hand - an investment in quality paying off. Regards
  20. Item No .76 - Iron Tsuba With gold highlights 6.97 cm x 6.78 cm x 0.46 cm Subject of Autumn . Gingko , oak , pine and maple - are these the ' four friends of autumn ' or something similar ? Unsigned , reasonable quality version of a popular design. Bought from a USA seller 18 years ago. Item No. 77 - Brass Tsuba with gilt detailing and shakudo plugs 6.86 cm x 6.68 cm x 0.48 cm Linear ground effect with three dragon roundels or medallions signed Yasutaka Ex Edward Wrangham collection
  21. Item No. 75 - Fuchi Kashira in Shibuichi with gold , copper , silver and shakudo Subject of ancient flowering cherry tree - Tsuji school mid edo , 18th cent. Provenence - G.H.Naunton Collection W.L.Behrens Collection Lundgren Collection , no.282 Published in - W.L.Behrens Collection by Henri L Joly , Volume 3 , plate LXIII , no.2394 All the above is quite impressive , especially for a F/K set that appears to be an associated pairing by different schools. The style of the blossoms differ , as does the colour of the base shibuici. To me , the design does not ' flow together ' between the pieces and there is also the matter of a signature appearing in the underside of the kashira ( unless it was just a fitting instruction , like ' this side down ' ). As usual , any comments please ?
  22. Hi Mauro , Thanks for your post - this backs up in a visual way , George's thoughts and contribution from a few days ago... As usual , I am indebted to everyone for their interest and help with this thread. Regards
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