Matsunoki

Ran, to stand a better chance of a sale you need to provide much better images especially of the blade. It is impossible to tell anything from these few pics. Hada? Hamon? Boshi etc

But I think if you do that you will still have to find a slimmer fuchi because the ito would be impacted when refitting the wider fuchi ie it would crush up into the ito…..unless you then rewrap it!

Piers, had another look and a think. Does that fuchi look far too big and heavy for a Tanto? Has someone put a Fuchi on that is too deep? Loos more katana sized. Has it been packed out internally to make it fit?…..and thus it’s not allowing the tsuka ana to line up? Maybe an option (to create space for a [narrow] tsuba) is to find a thinner fuchi and then just take a slice off the end of the tsuka thus shortening it from the fuchi end. Can you show an image of the tsuka without the fuchi and the internals of the fuchi. I love puzzles like this but difficult to explain what I mean ….🙂

Hi Piers Looks an elegant ubu koto blade…..not everything has to be in perfect polish (imo!) ……lovely saya. Hamon/boshi looks healthy in these pics. Wonder if the fuchi is a replacement? Trouble with getting it repolished…..means shirasaya which then means tsunagi which then means the blade can’t really go back into it’s original saya which seems a pity…..but then I like “original packages” that can stay assembled together.

Skulls very common in some superb netsuke, okimono etc Several topics on this forum eg (Search Nozarashi

Stephen, I’ve often used the really thick cardboard tube that carpets are rolled on. Have you got a friendly carpet shop anywhere near? They usually have loads of them kicking around storage areas. They are strong as hell and can be cut to any length you need. You might have to ship the sword disassembled due to the curvature. I bolt the oiled and wrapped blade to a smooth pice of wood and pack the koshirae around it. Cap each end with plywood or similar. If done properly it is virtually bomb proof.

Many genuine swords from all periods have a straight hamon (suguha) but sadly this blade is a fake……but it seems you already knew this.

Hope you get sorted soon Brian. Wishing you the best.

Like I said earlier, it’s a matter of personal opinions/interpretations. There is no “legal definition” neither from the days of the Samurai nor in our modern world. It means different things to different people and it’s all been said before. I’m sure many martial artists have a good knowledge of swords, their history etc etc (many on this Forum) but I’ve also met some who talk the biggest load of bollocks and obviously don’t have a clue so I wouldn’t put too much reliance on that variety as being expert witnesses.

What constituted a daisho for the Samurai of the time would depend very heavily on how “wealthy” they were…anything from a matched pair of blades in matching koshirae (maybe some Daimyo) to any old two swords that hopefully looked roughly the same. Regulations existed but I doubt they were strictly complied with unless in important castles/court. Remember most Samurai were impoverished and though their swords were their most precious possession they were still governed by their budget. However our modern views on what constitutes a Daisho have been well debated here and really depend on our own personal opinions. There is no “hard and fast” single accepted definition. Again…anything from matching blades made at same time by same smith (in shirasaya with no koshirae) to the same but with matching koshirae (hugely rare) …..and then all the way down to any old two swords that have roughly the same looking koshirae…..or not! ….just an opinion.

Howard, dealing firstly with the construction, the dish itself will be copper and the rim and foot rim could be gilded copper or brass. Silver was rarely used for the actual body (apart from some ginbari enamels), not even by the likes of Namikawa or Hayashi. These dishes usually employ a brass alloy for the wires which is sometimes gilded. Silver wires are found on more expensive examples but from the images we can’t really tell what your wiring on the front is made from. The swirl pattern on the back will most likely be brass and the swirls are there to hold the counter enamel paste securely during firing. The reverse needs to be counter enamelled to keep it stable during firing or it distorts and cracks upon cooling. These plates and dishes were made in vast quantities during Meiji (this is Meiji C1890 ish) by numerous scattered studios and unless signed (very few are) it is not possible to pinpoint a maker…..there were many. They were aimed as usual at the gaijin market in Japan and later for mass export. The quality can vary hugely as can the aesthetics of the design. Hawks, falcons and owls were all massively popular subjects in Japan and yours shows a Goshawk (??haven’t actually checked the bird book) hitting a nest of sparrows. It looks a better quality piece with lovely colour graduation etc. The chick falling out of the nest is a bit sad🙂 Overall looks to be a better quality piece with a dramatic scene. ……hopefully not damaged?

Sorry Mick but it is reserved. If the deal falls through I’ll message you. Apologies. Colin.

Tsuba is 100% fake so chances are the rest follows suit.

Oh noooooooooo, the pain!!!!

Brilliant and interesting. I’d never seen this mark on any of the many Nogawa pieces I’ve handled. Probably very early in their output. They progressed onto making some of the very finest hira zogan mixed metal items, even their “average” was well above most other studios. Nogawa and Inoue developed at roughly the same time and pace but Nogawa always had the edge in quality and artistic terms…..imo.

Buy a thinner tsuba or reduce the length of the habaki by maybe 2-3mm (tricky if it’s a good foiled ptype) Just quick thoughts. I’d go thinner tsuba……much easier. .

Workmanship looks like commercial Innoue to me and they sometimes used a simple gilt seal signature…..however I couldn’t find an exact match and I cannot recall ever seeing this exact seal. That studio might be an Avenue worth exploring on the net.

Haven’t had my invite yet🙂……won’t get one now if they read what I’ve just said above. It’s difficult for the Dept Heads of small fringe markets to get any sort of serious corporate support when competing against Fine Art, Modern and Contemporary Art etc where the sale of one minor picture makes multiples of a whole Japanese sale. Still, they are giving it a go via the timed auction route thus keeping overheads down. It will be difficult for them to regain the Japanese scene given they let Bonhams just take it from them years ago……not that Bonhams are much better! Interesting to see if they publish the results.

Businessman Patrick Drahi bought them in 2019 which took them back into private ownership. A while ago a Middle Eastern venture capitalist outfit injected a load of money. Over the years Sothebys has fallen foul of its own ambitions and made some poor expansions and acquisitions…..losing their way a bit. I think the new guy has pruned a lot of the top heavy management structure and such a small market as “Japanese Art” counts for little within their priorities. They need to decide if they are auctioneers, dealers, or what the hell…..and consolidate their core business when they decide what it is…….imo! It will be interesting to see if their “personal shopper to the mega rich” machine can save this sale. Frankly I’m surprised they can even be bothered to hold a sale like this.

Having a new shirasaya made for a blade after it has been polished is fraught with danger. The precise process of fitting it to the blade requires much handling and thus scope for scuffs, scratches etc no matter how careful the sayashi is. Usually the s/s is made before polish I think. Finding small bits of wood on the blade is common especially if the s/s (or saya) has some age but it’s not something I would worry about if it is just the odd very small piece provided the blade is kept oiled and stored in the correct orientation ie edge up. It’s a tricky decision. Personally I’d just leave it and observe regularly.

Emil, it is very possible that the small dots are the remains of some tiny rust pits that have mostly been removed by the polisher but have now filled up with uchiko powder. If toothpick is too big try a wooden cocktail stick with very fine sharp point and use gently with great care! Rotating the fine point in the pit might reveal what the white stuff is. Can’t stress enough how careful you need to be …..use high power magnifier but let the oil sit on it for a while before trying.

Hi David, thank you for your past custom! …….obviously looking forward to seeing you again🙂! . PM me if you want anything in particular that maybe isn’t shown.

Re swords I’m taking to the November Birmingham Arms Fair…..In addition to the images posted earlier thought I’d show some of the descriptions…..something might be of interest. By all means PM me if you wish. I’m there to sell, not to pose and not to take ‘em home! Hope to see some of you there. Happy to consider part exchanges on any high quality antique pistols or seriously good Kinko tsuba.

Sothebys are not that “hot” on Japanese and their estimates are usually ridiculously high. I suspect not much of anything in this sale will sell unless their marketing machine is in full swing behind the scenes. Let’s see.

Nice bronze of Kwannon. Can’t find the signature/inscription, sorry. Looks late Meiji/Taisho.