Matsunoki

Where doubtless it is slowly deteriorating …….or being stolen! Sad but same old story with museums.😡

Hi Howard Maybe the middle panel depicts a sennin/arhat/(whatever we call them) reading an unrolled scroll. The missing door would have depicted a similar subject, not necessarily any particular story or theme…..but others with greater religious imagery knowledge may disagree.

Thanks Piers…I thought it was more modern so that’s a nice surprise. As for the crack, it is now “out of sight out of mind”🙂

Please can anyone tell me what this says (from a large hanging scroll that I just couldn’t resist, plus it is the perfect size to cover a crack in a wall). Many many thanks. All the best.

Are you sure the material you are reclaiming is actually shakudo? I recently had cause to examine a few such tsuba when I stumbled across them on another thread…..and I have my doubts. There are several alloys used by the Japanese to create a shakudo effect (see Nagoya mono) and given that these tsuba are largely very cheaply made imitations of the real thing I wonder why they would use any of the most expensive alloy in their manufacture. Even if they are shakudo, chances are that the gold content will be very low which coupled with the very thin plate then maybe the tsuba, even if in rough condition will still be worth more as tsuba than as atoms of gold?

I’ve got several teeth I could pull out and buy a food processor instead.

Happy Christmas Jean! Nice bold tsuba.

…….unless you’re an elk☹️

Yes shakudo does contain gold in varying proportions. ….and therein lies the crux of the matter. lower quality compared to what? Compared to other similar tsuba (Soten or otherwise….iron or otherwise)? Compared to other Shakudo tsuba? Compared to Nagoya mono? (search on this forum for this topic……you will find it enlightening and a great place to start) How long is the proverbial piece of string? …..and it also depends on your own “taste”

Like Lewis (great advice there), I say this a lot as well…… One of the best ways to start developing an “eye” if you cannot physically handle a lot of pieces is to study past auction results. Usually you get a few decent images and can often see the price they sold for, when and where they were sold etc. Images can be enlarged if of sufficient quality enabling the finer details to be examined. You will not learn everything but you will start to be able to discern what “quality” looks like and what quality costs. It’s just my opinion and others will disagree but I think it’s far more important to recognise quality, both in artistry and manufacture than it is to chase Mei. It’s the same principle that is applied to swords……buy the item, not the Mei A good place to start….(and your tsuba is fine around that price imo) https://www.bonhams.com/search/?chronology=past&query=Tsuba

That depends on what your local ivory laws are. It’s an admirable objective but the law might get in your way☹️ If it is legal to sell them where you are you could just put them in a sale and donate proceeds to a suitable charity. Google should tell you. I join you in your hope! All the best.

Sadly your hunch is correct. It’s a very sad state of affairs which the politicians and law enforcers of the world have all failed to deal with for a variety of reasons…..mostly ignorance or monetary.

Correct.

Also it’s worth knowing that nowadays one of the more commonly used methods to restore gilding on Japanese metalwork (including tsuba) is not done by amalgam nor by zogan (of any type) nor by foiling or leading, ….it is done using modern masking fluids and electrolysis whereby immersion in the gold plating fluid deposits gold on the exposed areas ie it is electroplating. Modern masking fluids can facilitate very precise plating and different colours of gold are available. The skill lies in the base preparation and the precision of the masking. This is where these overflows and “bleeds” can occur. In the past I have had tired shakudo tsuba both repatinated and then re gilded in worn areas by someone who knew what he was doing. When done well it is virtually impossible to tell it from gold butter gilding. When done badly or carelessly the results can look like the tsuba in question. But anyway, it may be totally original but simply not the best quality.

Simply looking at the quality, imo this is not made by any “master” let alone a highly rated one. The workmanship is very basic…..and that’s being kind.

Victor, I am not seeking an argument, merely pointing out what I see on the tsuba in question……which is poor quality workmanship in my opinion and possibly touched in with later restoration. Unless we have it in our hands we cannot be certain.

Zacke do make some very optimistic comparisons …….citing other auction results. Good marketing but always best ignored.

Just for comparison…….

I am very suspicious. It lacks the typical Japanese precision in the gilt work. When you look closely a lot of the “gilding” looks like very careless restoration or maybe even paint. Look at the way it has “bled” beyond its intended area. I haven’t compared it to a lot of other Soten but to my eyes it’s dubious. Could be genuine but just tarted up. Personally I’d be asking them to have a closer look…..and I would not pay yet.

They are made in two different ways….. 1. “Proper shakudo plate with proper mixed metal zogan or 2. shiremono pressings with just multi-patination onto a plain thin copper sheet ie as per many kozuka 1. are usually fine work and if recognised….expensive 2. Usually fool innocent eyes and are thus horribly overpriced and result in buyers remorse …..but sometimes you get lucky🙂

Saw these thought of you 🙂 Stumbled across these which suggests buttons/studs. They are nothing to do with any netsuke.

One thing to bear in mind….. usually it is better to leave something unrestored than to restore it badly (that applies both aesthetically and financially) Bad restoration can leap at your eyes far more harshly than the consequences of the passing of time. Also be careful when using modern materials especially glues that do not allow a second chance.

Mick, whoever did those legs was seriously good. That is excellent restoration work of the highest quality (imo). They look original to me.

@Davis Mick, did you replace some of those leaves in the first image? which pieces have been replaced in the second image?

This veneer is about 0.3mm thick and very difficult to work on without shattering or cracking. Also it would give you just a flat surface whereas the missing flowers will be several mm thick with quite deep carving. Moulding from an existing good flower will give that depth and detail and probably give a better impression than just a flat surface. Also beware inhaling the dust when grinding….