Matsunoki

Imo “fake” is the wrong word especially regarding this koshirae. The quality is too good. A better phrase would be “school of Teruhide” ie to recognise that we cannot be totally sure how many artists were involved. Whoever they were they were collaborating on making this set. None of the Mei on this have been added later. There is no fakery involved. As for the hay day…..dubious signatures have been a feature of most aspects of Japanese Art throughout history going back many hundreds of years. That includes swords and the associated fittings. As soon as a “genius” appeared on the scene others (often with considerable talent) started to “copy”, often while the genius was still alive and working! Sometimes it is obvious that a piece cannot be “right” but other times it is not quite so straightforward. It is an aspect of Japanese Art that we have to live with. It frustrates many, doesn’t bother me.🙂 (quality is quality)

?kata Kiri ha zukuri? ie Shinogi zukuri one side, Kiri ha zukuri the other. Not unheard of.

Hi Victor Without a doubt, the Omori signature was carved by a variety of different hands over the years and on a variety of different quality workmanship but to my eyes, which are old, this set looks like it is possibly by the same talented hand and was made as an en-suite set at the same time. I don’t think we know exactly what went on in some of these workshops….a bit like with swords….students signing work made by the master, students making and signing works with the masters name etc etc. I am also sceptical about the authentication of fittings. I have seen some dodgy stuff given Hozon and higher papers In the Mei examples shown by Mauro above there a large number of obvious differences in various kanji. I am not sure if they are all meant to be Teruhide “authenticated” or just a random selection of Omori mei. Victor, you have a great eye……do you think they are by the same hand or by various Omori “students” working to pull together a wonderful koshirae within an acceptable timeframe. For a single artist to make all of these would indeed take a very long time if working alone.

If we ignore the question re authenticity of the Mei and just look at that stunning work…..it is absolutely beautiful and in my opinion just about the finest quality. Whoever made that en-suite set was staggeringly talented. As for the Mei…..others are far more qualified to offer an opinion because personally I never pay much attention to signatures…….but that workmanship, well, it speaks for itself I only wish it was for sale🙂

What a strange one. As said, the Mei looks reasonably well cut (but I’m not a calligraphy expert) but the seppadai suggests to me that it’s actually been mounted, more than once.

Can we see the actual workmanship/design on the other components please? Looks a very nice koshirae with a popular theme.

Off for large parts of today as well. Hey-Ho.

Lex, wishing you the very best of luck…but really luck doesn’t come into it. Build and retain a solid reputation and you will do well.

Same here. “Server not found”. Off air for long periods yesterday.

Just to be clear, it is possible to relocate a yokote. It is a directional change in the use of the stones that can create that razor sharp line.

Ok,thanks. Obviously easier to see in hand than on that image. How about the Ha?

Nothing wrong with my eye. I still cannot see a boshi. What I can see is marked with a red line in this image.

Can you try another image…….i cannot see boshi, just where someone has ground the kissaki edge. Please explain what this feature running along the ha is.

Doesn’t matter what it says, it’s fake as you were told on your other thread.

Interesting and informative comments from @uwe Again stressing my beginner status on armour, the use of nerikawa during the peace times of Edo was popular because you got the look but not the weight or the cost. Parading around on horse or foot in a heavy iron yoroi, especially the Kabuto, Menpo and Sode would be rather uncomfortable on neck and shoulders I think? So the lighter nerikawa was widely used (or so I have read) including by higher ranking Samurai. Couple that with the more luxurious lacing and a Kabuto/shikoro and Menpo that I personally found attractive with its high central ridge (ignoring condition) and you may have bought something that was once really quite decent. But of course I could be spouting rubbish🙂…..someone correct me if I’m wrong please.

What I find surprising is that a collector/dealer did not notice a chip to the kissaki mune…..the kissaki is one of the first things you look at very closely. Also the mune ware are clearly visible…ok, not massive but they are there. That rust looks to have pitting, ok again not a massive area but does not look a few weeks old imo, especially as the sword was shipped oiled. And afaik an Iai koshirae is not an assembly of Frankenstein adapted parts but one that can be safely used for Iai As said above….lessons to be learned by both parties. A dealers reputation is hard won and easily lost. Buyers have to ignore all the sales BS and focus on asking the questions that are not answered in descriptions. Bottom line…..if you are going to buy from images you’d better know and be able to trust the seller. ……and the best way to deal with a rightfully aggrieved customer is to apologise and refund his money….as Alex says above. But then I’m very “old school” with an exaggerated sense of transparency and fair play.

The Birmingham Arms Fair is coming up (14th June) so here are some poor images of assorted kozuka that I will be taking (Table 81) Mei include Goto, Hamano, Issando Joi, Hirata (the incredibly rare enamelled tigers) etc. Quality ranges from “OK” to very fine (imo🙂) Hope to see some of you there. All the best. Colin

I am just a beginner on armour so this is just an unreliable opinion. Others on here will hopefully chime in. To me this looks a genuine un-messed with Edo era armour however the condition, especially the Kabuto and Menpo is pretty rough and unrestorable without considerable expenditure. It would require specialist knowledge and ability to fix it. The sleeve lacquer looks badly damaged also. Given that the bulk of the value usually rests on the Kabuto and Menpo it is not something to go mad on$ I’m interested to hear what others say….so don’t rely on what I’ve said🙂

These menuki look cast and then hand finished…imo.

Hi Grev Was he talking about mercurial gilding? That is indeed a lost process mostly because it can kill the user due to the release of mercury vapour during the firing process.

Yep, it is Chinese. Well outside of my knowledge! Looks old but the Chinese are masters of ageing things including ivory.

As Piers suggests……. “Signature” is not a Japanese one. Crudely carved and awkwardly orientated. The underside is not finished to Japanese standards. Can we see the okimono please? I feel this could be Mammoth tusk.

Not quite the same as our local horsetail grass but if it’s the same family…..it gets used in cosmetics for skin and hair. Perhaps I should try it 🙂

Sometimes it is not the importance or rarity of an object that warrants restoration or saving but it most definitely is the pleasure and peace that so doing brings. Reward of a different kind.

Bob and I have discussed this elsewhere but just to be clear this is definitely not shibayama mei or work as @Bugyotsuji correctly infers.