Shogun8

As well as being the founder of the school, Ietada was perhaps the most creative and prolific as well. There are many "non-standard" kabuto by Ietada, including variations of koboshi, shiinari, shinomi nari and even kawari kabuto. It would be helpful to see both kabuto to make a proper assessment. The above Ietada mei seems pretty crisp to me. And if the signature is lacking "Joshu ju" then it may be an early one.

What Piers said.

I agree with Piers, that certainly looks like byakudan on the reverse of the tare. If I had to guess, I think this tare is not original to the mask because the guruwa usually extends to the tare itself. In other words, the plates that would attach to the hinges and which encircle the back of the neck, would be mirrored on the tare itself. See attached image.

Charles, In general, guruwa and menpo with guruwa were mostly seen in the late Sengoku period, particularly the Momoyama, since protection was paramount. Guruwa on menpo were uncommon probably because they were naturally more difficult - and more expensive - to make.

The hanbo seems to have once had a guruwa (additional plates which protect the back of the neck), judging by the remnants of the hinges at the rear of the jaw. This is a rare feature for a hanbo.

Also agree with Luc and the others - very nice, robust kabuto. However, it is missing a few key Ichiguchi features.

Kaga, late Edo. Is the dou tetsu or nerigawa?

Hi Geraint, Of course! Duh - thanks for setting me straight...

Hi Dee, I clicked on the link but it brought me to a different object (a candle holder). A few years ago, I visited the Ajuda National Palace in Lisbon and was shown by the curatorial staff a few items that had been gifted to Portugal by Japan, including some interesting horse armour (in fact, the horse armour they had was much more important than any of the actual armour!). After taking some pictures, I sent them to the mother branch of the Japanese Armor Society (on whose board I sit), the NKBKHK in Tokyo and we were able to identify the items as being quite rare and important. Perhaps you could send me your email address in a PM and I may be able to point you in the right direction.

I thought that you were perhaps referring to something supernatural...

How so?

True and decent menpo, Steve. Made by the Haruta in the Nara region (as Uwe mentioned) in relatively great numbers. Many armours have such menpo. Regarding your question about similarities between nihonto and armour makers, there are some similarities but also some great differences such as the fact that you won't find any signed armour pieces pre late-Muromachi. I also think top end armour pieces are more difficult to find than top end nihonto. Additionally, I don't think that armour has yet reached the heights of nihonto when it comes to the highest prices (i.e million and multi-million dollar), since the historic pieces that would command such prices are esconced in shrines and museums.

My first impression of this hachi is that it has some age (the excellent condition not withstanding). The shape, koshimaki meant to fit a manju shikoro, the robust haraidate with fairly deep irihasso and the mabezashi connected by iron sanko no byo would not point to a late Edo dating for me. Do you have pictures of the interior of the hachi?

Hi Majus, First of all, congratulations on trying to tackle this esoteric art. I fully agree with all of Colin's comments about the huge differences between the early Myochin work and pieces from the workshop of Takase Kozan vs. the cheap, rudimentary pieces that we often see on the market. Judging by your work so far, I don't think you're trying to monetize your craft by creating the cheap knock-offs. I especially like your carp. As I'm sure you're aware, there are a very few other artisans working in the space, most notably Haruo Mitsuta. What I think differentiates Mitsuta's work is that he's not simply trying to copy the old Myochin or Kozan work, he is actually breaking new ground by making examples of creatures that have not been made before and using materials that add to the realism. I understand that there is someone in Europe who is making fairly good copies of iron jizai (I haven't seen them, so I can't attest to their quality) and trying to pass them off as old examples. Although I have some contemporary pieces in my collection (including by Mitsuta), I would personally stay away from work that is trying to be passed off as an antique. As a collector, my advice to you is if you're serious about making this a vocation, try making new subjects or creatures. Of course, there may be collectors out there who may want to buy copies of old items or may even commission you to do so, which is ok as far as I'm concerned.

I'm with everyone else - very impressed!

I haven't seen or heard from Ian in years. Does anyone know how he's doing?

Agree with Uwe and Piers - decent kabuto.

Good comments from both Piers and Uwe. Two observations: the first armour has a fairly uncommon feature - the hanagami-bukuro - which is that small pouch on the lower left of the dou the second armour looks more ensuite, but the nose on the menpo is a replacement (and not a very good one at that) Overall, the first armour is more martial but composite and the second one is likely to attract more attention (due to the kamon on the dou, fukigaeshi, etc.). For your budget, they're both decent.

Fully agree here.

Indeed, John. Ieyasu had 2 armours with zunari kabuto, albeit his were in gold.

Uwe, I know the piece you refer to here and I love it. In fact "art", like beauty is in the eye of the beholder. With pieces such as this, I think context is important. It was made in the time of battles, when they had to churn these things out to meet demand, so they didn't have the time and resources to devote to making them. Yet, they still achieved a very serviceable helmet, that even today, looks streamlined and beautiful and because of it's shape and lightness was effective for its time. I know that I'm preaching to the converted here, but I write this for others who might not fully appreciate these old items.

Understood, Colin - it was only a mild, off-handed criticism. After all, I didn't see the kabuto in the state you started with - and you're correct, the shine will fade!

Another nice and proper kabuto, Colin - one doesn't usually see fukurin and the fancy knots on this type of kabuto as Piers and Uwe have mentioned. I think eboshi are very under-appreciated (and thus undervalued). My only criticism would be the polishing and waxing...only because I like things as ubu as possible.

As Uwe has alluded to, I see no issues with the quality of this kabuto. It is a proper, battle-worthy specimen that hasn't been tatted up. In my eyes, kabuto like this are more respectable - and harder to find - than the usual run-of-the-mill late Edo stuff that attract most collectors.

Hi Howard, Agree with Luc and Uwe on their assessments. I should also add that older kabuto - especially toppai nari - often had very thin lacquer applied, ostensibly for weight considerations. Nice kabuto!