Bob M.

Re Item No. 308

Seems as though there is a poignant back story to this kozuka.

I suppose that I should not be surprised, bearing in mind the Japanese traditions and awareness of the transience of time and the ephemera of life itself.

In the making of this piece, Noriyuki has poured all his effort into producing an item worthy of the memory of his parents .  

The fact that we see it today and talk about him and his relationship to his Mother and Father shows that he succeeded in fulfilling the old saying that no-one is truly dead whilst they are still remembered. ( Even across many generations ).

As usual, many thanks to George for his illuminating contributions.

Item No. 308  Kozuka in shakudo with shibuichi, gold and copper

Subject of a pair of mandarin ducks ( symbolising fidelity ) by Hamano Noriyuki II .

Once again a piece carved with incredible attention to detail - not easy to properly photograph. There is a copper inlay under the female duck that is practically impossible to see with the naked eye and details such as the pupils of the ducks' eyes, which measure 0.004 inch ( four thou. or 100 microns ) diameter. Water weed is seen under the flowing surface of the water and the bank and grasses are painstakingly depicted.The male duck seems to be encouraging his mate to follow him on their shared journey. The ishime ground is beautifully rendered and the whole piece gives an impression or atmosphere of reverence and respect.

Together with an elongated signature translating -At the foot of Toeizan Temple Mountain in the Negishi District at the location of a drizzly village in Autumn, Hamano Noriyuki carved this - the Kozuka seems to have held a special significance for Noriyuki.

This kozuka is one of my personal favourites, easy to overlook but greatly rewarding to study.

Ref. Item Nos.  306 & 307 Katsuhira Tigers

The tiger was finished in Late October and was presented by invitation at the 5th International Convention and Exhibition of the KTK ( Kokusai Tosogu Kai ) on 30th October 2009. A rough draft of the documentary film was also shown , both receiving a positive reaction from the delegates and visitors to the Convention.

A few months later , the film was edited into its present form and released on Ford's site , with links from the NMB.

The question of the accuracy of the rear view was one that we thought would be lost to us but, amazingly, nearly two years later Ford received an email from a Herr Franz Hutzler , a netsuke carver and knife maker based in Germany ( check out his website ).

He had seen the Utsushi film on you tube and found a catalogue showing that the original tiger had been sold at auction by Nagel Auktionen of Stuttgart . Their sale no. was 29A , lot no. 2561 , the auction taking place on the 6 - 8th June 2005. This sale had occurred over a year before I bought the smaller piece from Darcy.

Herr Hutzler also kindly sent some images ( see below ) from the sale , showing the missing view of the majority of the back of the tsuba.

The main deviation between the original and the Utsushi appears to be the bamboo leaves at the bottom of the tsuba. As these were completely hidden from view on the black and white picture , this is not surprising . In fact Ford's version is more complex ,showing the tiger's paws.

Otherwise the pieces are not too dissimilar , although Ford did inlay both the eyes and pupils whereas on the original they were mercury gilded.

Altogether a great piece of deduction and craftsmanship by Ford.

The sharp eyed among you will see that the dimensions given in the auction catalogue are somewhat larger than the size of the replica. This does not scale with the previously available black and white pictures and is almost certainly a typo. The other possibility of course is that this is an entirely different piece made to a different scale by the same artist ! That is not a path down which I wish to travel for the time being...

I hope these ramblings about the background of the Tiger Utsushi and how it came about etc. have been of some interest. 

P.S. If anyone has a copy of the Nagel auction catalogue featured , it would be good to have a full set of the relevant images- Thanks !

Ref. Items 306 & 307   Katsuhira Tigers

Background continued -

The question of authenticity of the original piece was raised .

When I bought it from Darcy , he was most unhappy that the tsuba , having been submitted for papers with, I think, one of the travelling NPO or NTHK shinsa teams, had been knocked back as gimei. This was one of the main reasons why he abandoned fittings for many years, preferring the greater certainty of high end blades with NBTHK papers.

See Darcy's original sales ' flyer ' below.

As usual with this quality of workmanship, the tsuba looked even better in hand than in his excellent pictures. Once I was able to study the tiger , the more I looked at it, the more I convinced myself that the shinsa verdict was incorrect . It was as if confirming an attribution to Katsuhira was ' too big a call ' for the judge to make. 

When Ford first saw the work close up, he was able to reference the piece against other examples of Katsuhira's work shown in his extensive library and was also convinced that the tsuba is sho-shin.

I decided to proceed with the making of the Utsushi of the missing piece, hoping that I was not taking too big a risk that we were not just making a replica of part of a gimei dai-sho set.

Looking back on it now, the authenticity question seems almost irrelevant. We set out on a path which, in the end, has much more to do with the continuation of the Japanese Metal Working tradition ( even if more so in the West than in Japan itself ) and ultimately that is more important than an opinion on a signature.

In a sort of sideways corroboration, a few years later, we were provided with documentation concerning the sale of the ' missing ' piece at a well known and reputable auction house. They do not seem to have had any real concerns about whether the tsuba was authentic - although, as all auction houses do, they covered themselves by describing the tiger as ' marked Hagiya Katsuhira '.

The fact that it made the money it did, also seems to point to the purchaser being happy with the attribution.

More to follow...

Ref. Items 306 & 307  -  Katsuhira Tigers

A bit of background -

I bought a number of swords from Darcy Brockbank around 2005/6 . He had also been selling a few fittings , but decided that he was going to concentrate on blades. I bought the last three tsuba that he had, one of which was the tiger licking its paw .

Having assumed that this was a 'stand alone' piece, I was very surprised to see an illustration of it with its larger brother in an old exhibition catalogue from 1964. This was the Arms and Armor Exhibition which ran from February 19th to March 22nd 1964 and was Chaired by Dean S. Hartley with Fred Martin and Bob Haynes as Co-Chairmen. 

After speaking to Darcy , it became obvious that the pair had been split up with no way of tracking the whereabouts of the larger piece. Having been impressed by and purchasing some of Ford Hallam's work , I broached the subject of making a replica of the missing piece using the very fuzzy black and white image from the catalogue and also the smaller tsuba as a guide.

At that time, Ford was living and working in Cape Town, so I flew down to meet up with him and discuss the idea.

Ford told me about his background and love of Japanese art and particularly sword fittings, against the situation of almost complete loss of the art metalworking tradition within Japan. The making of swords etc. although much diminished, is still widely practised but fittings making, on a professional basis, is practically extinct. We were keen therefore to document the making of the Utsushi so that some record should remain of the processes and skills involved.

At first we thought about photographs taken at various stages together with a written explanation , but we soon realised something more was needed . We tried setting up a video camera to record ' live action ' but it was too awkward to change settings , positions etc. and impossible for one person ( Ford ) to both operate the camera and work at the same time.

Through a friend of his , Ford got in contact with Brad Schaffer, a full time film maker. He agreed to meet and discuss the idea, then becoming enamoured with the project. Brad was able to get involved from day one of the making of the piece with the result being a unique video documentary now viewed in all its parts nearly 750,000 times.

More to follow....

Item No. 307   Tsuba in shibuichi with shakudo and gold   7.45 cm x 7.08 cm x 0.55 cm

Subject of tiger and bamboo by Ford Hallam 2009.

An utsushi or respectful copy based on a black and white image from an old Californian show catalogue.

The lengthy period covering the research and making of this piece is the subject of the video to be seen on Ford's you tube channel , also linked above in the pinned threads.

Subjects including how accurate the copy turned out to be against later acquired images of the original, the reasons behind doing this in the first place etc. will follow on in a few days.

Re. Item No. 306

The error I had in mind was the rear feet ( foot ) being given 5 claws when the cat family only has four , unless they are polydactil .

I suppose we could stretch a point and say that Katsuhira's tiger was an example of polydactilism , unlikely as that would be, but I do not think that this in any way detracts from the quality and treatment of the work.

Just another talking point...

Certainly the vast majority of photographs show tigers with a black tip to their tail - well spotted, sir ! ( should that be striped ? )

Item No.  306  Tsuba in shibuichi with shakudo, gold and copper   7.02 cm x 6.65 cm x 0.38 cm

Subject of a tiger with bamboo signed Hagiya Katsuhira, late Edo/Meiji.

Superb workmanship, obviously made to order for a wealthy client ; the subtle treatment of the tiger's stripes and fur yet again are far better appreciated when held in hand.

Possibly familiar to some, this is a tsuba I bought from the late, lamented Darcy Brockbank some seventeen years ago.

It was bought as a ' stand alone ' piece although it was subsequently found to be one of a pair that had been split up. If any one has a copy of the catalogue for the California exhibition held in the early to mid sixties, the pair are illustrated in black and white. It would be good to have a copy scanned through for reference if possible.

The story of the making of a replica of this tsuba's companion will be expanded upon when the next item is posted to this thread.

There is, however, an error in the piece in spite of all the efforts made to depict a realistic tiger... can anyone spot it ? ( not easy ).

Re Item No. 304,

Following up Brians suggestion about closeups , the problem is that the closer you get to the piece with a camera, the more you lose the visual context.

It really is a case of can't see the wood for the trees.

I will keep trying to get better images but will have to wait for optimal natural light conditions.

Thanks for the interest.

Item No. 304   Tsuba in shakudo with gold   8.00 cm x 7.33 cm x 0.39 cm

Subject of ripe millet stalks and heads by Ford Hallam - 2011.

A commissioned tsuba featuring in the documentary film ' Yugen '.

Although without verbal commentary, Yugen does illustrate thought processes as well as manufacturing technique in the production of a masterpiece.

Links to the film through this section of the Message Board ( above ) or through Ford Hallam's You Tube channel.

Re. Item No. 303

As mentioned above, the following commentary is received from George Miller with Many Thanks.

'  Fukurokuju and Karako.  Fukurokuju is one of the Seven Gods of Good Fortune. His name is made up of 'fuku' (happiness), 'roku' (wealth) and 'ju' (longevity). He carries a scroll that has everyone's lifespan in it and is said to be the only god who can resurrect the dead.

Karako is the generic name for small children depicted on tosogu in Chinese garb (kara=China and ko=small or child).

Fukurokuju is often confused with Jurojin - both have elongated heads. Some sources say that you can tell the two apart by the implements that they carry, and Jurojin carries a Chinese fan (like the one that the boy is playing with on your fuchi), but I have also seen Fukurokuju with that kind of fan.

I think that the look on Fukurokuju's face (and sleeping Karako on his head) on the kashira and the Karako using his magic fan to chase butterflies away on the fuchi allude to Rosei's Dream.

Rosei's Dream is a famous motif in Japanese art about a guy who dreams of great success (happiness, wealth and longevity). He is depicted in Japanese art with a Chinese fan (like the Karako is using on your fuchi) and butterflies flying around his head as he sleeps.

I think that your Fukurokuju is upset that the Karako is chasing away the dreams of success that Fukurokuju represents.  '

As usual, a fascinating back story that is hidden within the fittings and brought into the light for our education...

Thanks again, George !

Item No. 303  Fuchi Kashira in copper with gold and silver.

Subject of Fukurokuju being annoyed by some Karako . Signed by Joi ( Nara School ) 19th Cent.

Crafted with great attention to detail , the face of the god is particularly expressive and is carved in 3d  , wrapping around the side of the fuchi.

I should be able to post some background information in the next few days , courtesy of George Miller.

Re Item No. 302

George Miller has sent through the following contribution to this item regarding the positioning and style of the kao.

' My guess is that the kao on the back is a ' stamp of approval ' by Kiyotoshi of his student's work or a joint effort ( and that's why it is a combination of the two artist's kao and on the back ).  I haven't see this written about anywhere for Kiyotoshi, but it would make sense to me about why the kao is on the back. '

Many Thanks, George.

Any thoughts or comments on this from anyone ?

Item No.  302   Tsuba in Iron with gold, shakudo and shibuichi   7.54 cm x 6.85 cm x 0.43 cm

Subject of Tiger  with pine trees and crashing waves by Hoshinsai Toshikage ( Haynes 10383 )

Toshikage was a student of Tanaka Kiyotoshi and therefore worked in the Tanaka style.

Beautifully crafted with a lot of fine detail.

RIP Peter , do yourself some great deals in Nihonto heaven.

I used to do a bit of business from time to time with him - sadly, another Character exits the Play...

Bob

Re Item No. 301

The placement of the moss might also be an indicator as it only appears on the shakudo ( representing older ? ) bark/wood.

Item No. 301  Kozuka in Shakudo , Shibuichi and Gold

Subject of ants on bark , signed Haruchika , 19th cent.

Made in two separate sections of Shakudo and Shibuichi, joined with Gold clips and a dovetail joint, ants are inlaid onto a bark texture ground.

A pleasing, unusual piece which also has an attestation by Amiya Soemon on the interior of the box lid. Can anyone help with the translation please ?

Item No. 300   Kozuka in shibuichi with gold

Subject of a tiger glowering beneath stormy skies . 

A naturalistic rendition of the subject by Sasayama Tokuoki ( 1813 - 1891 )of the Otsuki School in Kyoto. The lightning bolt rendered in typical School fashion.

A Masterful carving in katakiri from the end of the Edo period.

Re Item No. 299

Before and after pictures - I'll leave you all to decide which is which.

Item no. 299   Tsuba in yamagane with gold  6.15 cm x 5.54 cm x 0.35 cm

Subject of autumn scene  signed Togakusai Keikan & kao, can anyone find a reference to this artist ?

This is truly one of my favourite pieces - although small and bearing a simple design , it is a tour de force of the carvers art. When viewed deeply or held in hand , it is easy to imagine yourself on the Musashi Plain or by a water margin . The day is crisp with the promise of winter to come and the Silver Grass is just on the edge of dying down . The geese are returning in skeins and their calls add to the feeling of fading seasons...

It may only be a tsuba for a tanto but in my view it is a sublime and evocative piece in the best tradition of Japanese Art.

The tsuba was so dirty and discoloured that the dealer I bought it off, some ten years ago, thought it to be Shakudo. Some TLC from Ford Hallam changed all that. I will try and dig out some old pictures for a before and after comparison.

Re. Item No. 298

Thanks once again are due to George Miller for the information below and background to this piece.

' The motif is very interesting and is allegory for proper Samurai behavior that comes from an actual historical event.

Fujiwara no Hidesato (aka Tawara Toda) was a famous Samurai from the Heian Period who helped quell the revolt of Taira no Masakado who had declared himself royalty in opposition to the Emperor.  Hidesato had met Masakado before and had deemed him to be a bad Samurai from some fairly minor transgression of eating food off the floor (shows you should always have good table manners…)  Masakado knew Hidesato was coming after him and he knew of Hidesato’s prowess with a bow, so he employed many doubles who dressed like him to try to avoid being shot by Hidesato.  Hidesato ended up cutting off Masakado’s head and was given many rewards for his valor in that battle.

There is a famous legend about Hidesato (also know as Tawara Toda or “My Lord Bag of Rice”) meeting the Dragon King (or his daughter) on the Seta Bridge and agreeing to help the Dragon King by killing a giant centipede that had been plaguing his family.  Many scholars believe that the centipede legend is an allegory for Hidesato’s action in killing Masakado on behalf of the rulers in Kyoto.   As the legend goes: Hidesato was walking across Setagawa bridge and saw a huge dragon laying across it.  Being courageous, Hidesato simply climbed over the dragon’s back and continued on his way.  Then he heard a voice calling to him from behind and turn to discover a feeble old man dressed like a king with a dragon crown.  It turned out to be Ryujin the King of the Sea (who represents the Emperor in this allegory).  Ryujin explained that he had been laying across the bridge for a long time waiting for someone courageous enough to walk over him because he needed an exceptional warrior to kill a giant centipede (which represents Masakado and his army) that had been eating his family members one-by-one.  Apparently dragons are only afraid of centipedes (and five colored cloth - but that’s a story for another time…)  Hidesato immediately agreed to help Ryujin and kill the giant centipede.  The giant centipede (omukade in Japanese) was coiled around Mount Mikami (the image of the centipede wrapped several times around a mountain represents the many Masakado troops filing down the road that spirals down the mountain).  Hidesato only had three arrows and the first two that he shot simply bounced off the centipede’s exoskeleton.  Then Hidesato remembered that human spit is poisonous to centipedes… so he licked his last arrow and let it fly - hitting the Giant Centipede in the forehead and killing it instantly.  Ryujin was delighted and insisted that Hidesato accept many gifts and rewards including and inexhaustible bag of rice (where Hidesato gets his nickname My Lord Bag of Rice) and the Bell of Miidera (which features in several other legends - like Benkei).  The story demonstrats proper Samurai behavior - helping the weak without asking for reward, being courageous, etc.

Tosogu artists refer to this legend in several different ways, sometimes with a bridge post and centipede, sometimes with Hidesato speaking with the Dragon King (or the Dragon King’s daughter in other versions).  Your kozuka has the added treat of Hidesato’s famous bow in kebori on the back. '

Item No. 298   Kozuka in copper , shibuichi , shakudo and gold

Subject of the Bridge Post of Seta with centipede signed Masayuki.

Interesting fitting recently purchased at auction.

The signature is likely gimei -( can be read shozui ) but an unusual subject nontheless.

The back story to this is being researched and I hope to be able to add the information in the next few days.

The kozuka has been in the United Kingdom for well in excess of a hundred years - auctioned 23rd November 1910 Glendinings lot 107 ( part ).

Re. Items 294 - 297

Many Thanks to George Miller for the following research and commentary on this set.

Re Item Nos. 294  - 297

The full set together in its box.