sohei

Terrible news... He did a lot behind the scenes. Great person, he will be missed. God speed Paul.

Here is some more info: "The last two images repurpose the Ōtsue oni-priest for humorous purposes. In the first image, he’s carrying a maiden across a river on his back; the maiden is holding a sprig of wisteria. In fact, the wisteria maiden was another popular Ōtsue theme, so this is a humorous pairing of two Ōtsue in “real life.” The image of a man carrying a woman across a river on his back was a common one in depictions of the Tōkaidō, because most of its river crossings had no bridges; wealthy travelers could be carried across on a platform, while less wealthy ones rode on a porter’s shoulders or simply waded (like the down-on-his-luck Daikoku in the background). The oni-priest is rendered in humorously naturalistic detail, with his gong and mallet tucked into his robes and a decidedly nonplussed expression on his face." Here is the link to the site: https://glam.uoregon.edu/yokaisenjafuda/page/oni#?c=&m=&s=&cv=&xywh=0%2C-7007%2C32017%2C17870

Hi John, I believe this type of inlay is called fukiyosa, aka scrambled eggs by some American collectors. Gary Murtha in his book "Japanese Sword Guards, Art of War', which you could probably get direct or thru Grey Doffin, also calls it "Gomaku-zogan". He states "seem to have been made for those who could not afford the fine brass inlay pieces of Yoshiro, Kaga-zogan and Bizen-zogan, that were popular at the time.The plates are of good quality, but the inlay required less time, effort and skill". Hope that helps. Mike

Hi John, It is a nice late Edo design with no loss. Not sure what it is coated with, or if I would remove it. If you get the book 'Tanoshi Shinchu Zogan Tsuba 100' by Otani Sadao, it is roughly organized by era, and you can see what early ones look like. I think Grey Doffin sells it for less than $100. Well worth it if you like Heianjo/Onin tsuba. Nice tsuba. Mike

Looks like he is in Haynes as H 02910.0, Family name; Kawakami, aka: Seiryuken (as mentioned), Tatsukichi, Tatsunosuke. Worked in Mito in Hitachi Province, and later in Tokyo. Born in 1832, still alive in 1912. So worked in late Edo-Meiji period. Student of the first Hagiya Katsuhira, in the Meiji period he moved to Tokyo. His son was Yoshitada, and student was Tadatoshi. Looks like he signed with two different 'toshi' characters, Haynes has him listed with one, both both are in Markus' book with a picture of the mei, that looks very close to this fuchi. Mike

I use these: http://www.meadowsdisplaycases.com/displaycaseprice.htm#wood I use the ones made out of oak, and put kimono fabric behind the tsuba. Mike

On the fuchi: Could it be Tsurayuki (Haynes H 10982.0)?, Family name: Yanagawa, Art name: Ryusensai. Born Shonai in Dewa Province, later worked in Edo, died in March 1856. Student of Yanagawa Naotsura. Mike

I'll be there with some stuff never seen before also! Coming mainly for the shinsa though, THANK YOU Chris! Mike

Count me in! Thank you James for starting this project. Mike

Wow, you guys are going to love the next translation the JSSUS is doing for it's fall or end of the year issue. It's over 20 pages we have translated into English about "The Fascination of Midareba". Talks all about the different hamon, what the correct name is for the sutle variations and which smith made them his primary focus. It is going to be a great article with pictures. If you haven't joined the JSSUS, join today and get this excellent article as part of your membership. They even mention the clouds influencing the smith on his choice of hamon. Mike

Yes, John posted the artist. I don't see an example in the Kinko Meikan or Wakayama's, but Markus has one on page 622 of his book that looks very close. Tsukui family. It looks nice. Mike

The fuchi looks like Naoyuki to me. The Kinko Meikan has two examples. Mike

Thank you Chris. Looks like it will be an awesome research site. I appreciate the info. Mike

In response to Randy’s letter, I often thought that physical examples of sword flaws would be useful. But looking for them, I found that they were way over priced and stopped looking some time ago. There are a few websites that have digital examples. I have also personally experienced that the ‘lend-loan’ libraries of sword clubs have pretty much faded away. I know that many of the board members of clubs have jobs, families, a life, etc and can’t devote every minute to the club. Many retired people develop health issues that make volunteering impractical. So I have given up on the buying physical examples, and the lend-loan aspects of the clubs. But; I think that the clubs should be in the business of promoting knowledge and on that note: the JSSUS has contracted Markus Sesko to translate an article on ‘The fascination of midareba’, by Hajime Zenzai from Ginza Choshuya, this article will allow us English speaking collectors an overview of the different approaches in midareba (the hamon) by individual smiths and schools. Hopefully this will appear in clear contrast, similar to the Higo tsuba edition, in a JSSUS edition next year and will add to our knowledge. I personally believe that translating Japanese sword knowledge into English will expand and improve our collecting base. On a side note, I know the JSSUS is looking into Darcy's recommendations. Thanks, Mike

In Haynes, 3rd book page 1617, could it be: W: Chōyō Hagi jū, Nagato Province D: ca. 1750—1800 SCE. W—III—246 lower right SEIRYŪKEN H 08098.0 Also listed in Wakayama's third book, page 246. Hope that helps, if it is correct. Mike