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GARY WORTHAM

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Posts posted by GARY WORTHAM

  1. Greetings to all;

     

    Very interesting and diverse responses, contacts, and opinions on the dealings with Eric. For a further expansion of his works as an Ebay seller, I can provide personal contact feedback. if one looks at his selling feedback from a lot of buyers, they seem to be in agreement, except for one, on a very positive experience with him.

     

    Myself, from the Ebay sale of Eric's, was a direct as stated tachi, fully mounted, with Mino Goto mounts, in a reasonably decent polish. I opted to drive to his location, south of Monterey California, for a direct pick up of the item, with an inspection before approval and money exchange. I found Eric to be a very mature, educated, and very pleasant person to deal with. Just seems that he is doing his best, at his level of experience. I remember several individuals in past years, that were given a bad rap, but time improved their technique, and healed all wounds.

     

    I have found, over the years as a collector, student, and participant of this most complex lifetime hobby; that one must be sure in their monetary adult decisions, as it is an extremely complicated expenditure of money, with a most eccentric group of individuals, and you must do your research, on your choices, as you will have to live with them in the end.

  2. Hi Grey;

     

    I'll be sure and visit with you at your table, and see what books you bring for sale. Always in the market for a library update.

     

    I bet you have forgotten of the bottle of wine I owe you. I'll be dropping it of to you also, when we see each other at the show.

     

    The Hayne's catalogs, # 1, 2 & 5 are missing from my collection; and I my be interested in them; if they are among the items you are bringing for sale.

  3. Ok, I have a dead moment of time,so I'll pitch in my 2 cents worth;

     

    This is a movie, not a documentary. It will have really good actors, sets, story line, action, special effects. What more do you want or expect.

     

    Was the 13 Assassins, last year a true and accurate movie. I don't know, but it was well done, and entertaining. What I wanted and expected.

     

    Relax, enjoy what the movie will bring to the screen, and live in the positive world.

  4. Well, a question for those who may know;

     

    It's been a long time, since Harry has finished his last translated book of the series, Nihon to Koza. Myself, like many, have his complete 6 volume set, and have waited patiently for years, for the long awaited, Kodogu #2, to complete his work on this series. Many have gone so far as to pay, in advance, for this last book, expecting it to be produced.

     

    My question, as I'm sure is in the mind of many others; is when this volume will come to life, for all those who wait.

     

    Any and all info will be grateful, as I would love to have this volume, one day.

  5. I looked up the topic of " Rayleigh scattering ", and found it to be a very interesting effect and explanation, yet it seems to be of the rational of the " color spectrum " in application. The observation I am describing of increased visual clarity, is from that of the early morning Eastern sun.

     

    The enhancement of the activity in the jihada includes chikei, utsuri, sumigane etc.; as well of the yakiba with hakikake, ashi, kinsuji, kuichigaiba, etc; are my observations of reference. I am wondering if others, as well, related to this difference in their years of sword examinations. To add to that effectual difference, I wonder if there are those who photograph their swords in the " natural light ", and have observed this quality in their finished film product.

  6. Over the years, while viewing my sword blades, as well as those of others; in the natural light of the sun, I have found a dramatic difference between the effect of the early morning, Eastern sun, as to that of the evening, Western sun; in the profound appearance of both the hamon and jihada. The difference of the visual activity is amazing, and begs for an explanation.

     

    In my own home, the eastern and western exposure, are thru equal and direct compass directions, as well as comparable large windows, giving the fair comparison for effect. I was wondering what the logical & correct reason for this visual variance, from those of the enlightened, and I'm sure, others such as myself, would greatly appreciate, the discussion of the rational for the answer.

     

    Gary Wortham

  7. Just looked over the " motif / kanji " stamps the the kashira example, provided by Henk Jan. Here i see 2 different types of punch marks, and surely, these are not being used to move metal and adjust and opening. They are, for sure done in a purpose, as were done in the fuchi of Ken's example, with a purpose that has yet to be convincingly and factually proven.

     

    I know someone else has examples of these subtle punch marks, and the answer will be interesting.

     

    Gary Wortham

  8. Yes, everyone has an opinion and a reference source to substantiate their point of view. However, if the punch is to move metal in the fuchi, as in Ken's example, why the 2 different motif in the stamp, as well as the 2 other different one's in my 2 different fuchi.

     

    I think the answer is more to be discovered and not to be given the flippant answer that has manifested it's self. With the more fragile structure of the fuchi, as to that of a tsuba, the idea of a punch, as to a subtle file application to the fuchi, seems the obvious.

     

    Lucky for me that I will take the 2 fuchi in my possession to the 8/2012 San Francisco show, and run these by in the physical, for others to render answers; including the learned Japanese dealers and buyers, that frequent this wonderful show. I will have my usual table, if anyone from this board, cares to drop by and examine, discuss, hear my results from the local experts, and expand the discussion.

     

    Gary Wortham

  9. Greetings;

     

    As distinct as these 2 " different " as we are calling, "hallmark stamps ", are obviously shown by Ken's close up photos, we see they are not near the edge to adjust the opening of the fuchi, to fit a sword. As, Ken mentioned, the subtle use of a file would be best suited for any such needed change. Also, as Franco had suggested, as to this opening modification by a stamp, the use of 2 different and distinct punches, of a designated motif, would be a statement of identification.

     

    Seems a good idea for someone to show these stamps to a Japanese artisan, or other fittings experts. Surely, they are well know to someone, as well as a list of the various stamps used, and by who. Ken's 2 as well as my 2, are all different in motif, yet mine are of the style of the Dai character in the right of the photo, a deeper punch. Ken's other, show on the left, is of a flatter technique of application, and of a different kanji appearance by nature.

     

    Sure would enjoy a correct and factual conclusions to this mystery,

     

    Gary Wortham

  10. WELL !!!!

     

    Ken and I have both presented a question of a unique presence of various stamps, inside the fuchi. Ken's photo, shows, not just the single type, of which 2 of mine have, in a different kanji; but of an even more interesting and intriguing 2nd type, with the other.

     

    Surely, with the vast knowledge, opinions, and research minded scholars of this board; we would see an abundance of information materializing. This subject matter, is not the " run of the mill " subject material, and worthy of a hard look, with thoughts of discussion.

    Thanks.

    Gary Wortham

  11. Greetings to Ken;

    Very interesting topic, as I have 2 fuchi that are mounted with their matching kashira, on 2 different swords, that have similar type stamps located inside the fuchi, as you have shown. Have had these in my collection for over 15 years, and have never got a straight answer as to their origin or indication. If my camera was as good as yours, I'd post the stamps for viewing.

     

    The fuchi are from totally different schools, of different metals, as well as totally different subject matter, no similarity. I'm sure someone on this viewing board could enlighten us both, as well as others; as to the nature, origin, and reason of this stamped placement. Would be great to see if there is a listing of these stamps, for research into the one's in my collection, as well as others who my post an example of theirs.

     

    Checked my records for the 2 fuchi. One is from the ko Mino goto school and the other is kyo kinko.

     

    Looking forward to the post's to follow !!

     

    Gary Wortham

  12. Well, I don't see a name for " gunto ", so hears my comments to whom it may concern;

     

    What a great find !! I, myself, have a katana by Seki Zenjo [ Yoshisada ] Ogawa Kanekuni, that I find most pleasing to have in my collection. I'm sure it must be from the same smith, as mine is all but confirmed by the signature.

     

    It must be staggering, to find and secure such a wonderful blade, by such a great and well recognized smith. Almost can't stand the envy.

     

    It boggles my mind, as to the historical transaction, as to how this blade, made it from Japan, from such a smith.

    Surely, the original owner knew its source and value. And anyone there after, as a new owner, would continue the knowledge and value. I ponder as to how this sword fell from grace, to become so obscure, as to mistaken as a reproduction sword. This is a story I'm sure all would love to know.

     

    Please fill in the blanks of the history and story !!!

     

    Gary Wortham

  13. Greetings to all;

     

    John, those are most excellent examples of fine works of the schools of Mino & Kaga. However, what I might imply, is that we all strive in our collection, to acquire the best of the schools we prefer, at the monetary level at which we feel comfortable to expend. Therefore, the less than perfect examples of the schools, are less shown, less collected, and therefore not used in the comparison that I have suggested.

     

    The last comparison of fuchi kashira you provided, was a good example of the structural difference, I was referring to, between the Kaga " honzogan ' & Mino " kinko "schools. Now, here's were i get a little confused, as your Kinko fuchi / kashira example, of insects & kiku motif, to me is a straight forward example of Mino goto workmanship, yet it is labeled as Kinko. A little clarification, if you would indulge me.

     

    Yet to see the other branch schools, in a visual exploration, such as Waki goto; which always seems to be the identification of menuki in the dragon style; generally speaking. Oh yes, and Kyo goto fundamental appearance points would be of interested from those who know.

     

    Just thought of the other " fly in the ointment " of these sub school fittings discussions. Their usage; ex: " work vs dress ".

    The court and dress fittings are more than likely, not the one's fitted to their sword carried into the field & for warfare. I would submit that the really " fancy & pretty stuff " was for show and status; whereas the practical fittings had the durability but with style in the working environment. These pieces would seem to support the need of durability, I was referring to, of the surface structure of the Kaga vs Mino construction.

     

    Thanks to everyone for the informative input so far,

     

    Gary

  14. Hi John;

     

    Speaking in generalization, of the sharp contrast between the styles of Kaga & Mino goto; is the point I was implying; and their source of origin of workmanship. Of course, there are fine examples of the daimyo quality levels of Mino, as you has provided. The visual implication of the difference of the 2 schools, would be best shown, in examples of each; as menuki, fuchi kashira, and of course tusba; side by side. This may be at others capability, to provide such photos, to further explore this discussion.

     

    Gary Wortham

  15. Ok, you guys forgot about me in your educational challenges;

     

    Being that I collect fully mounted swords, with the hope they remained as true to possible to their original thoughts of the time. I find that those of the Mino Goto fittings, seem to be of the field / samurai type; whereas the Kaga Goto, of the fancy / elaborate designs, were reserved for the court / nobility type.

     

    Interesting that they are so diametrically opposite from each other, in their appearance & as well as situational function; yet, being evolved from the same mainline school of training.

     

    Anyway, my observation & opinion;

     

    Gary Wortham

  16. Greetings to all from the current responses and informative answers;

     

    I find that the connotation of Mino goto, seems to indicate the smiths original or location is Mino; whereas the Kaga goto, in turn, suggests the same of Kaga. Simple enough.

     

    Here lies, in my observation of the representative pieces and styles; a very dramatic difference.

     

    Mino goto fittings, for all general purpose, have the deeply carved surface of the for mentioned insects with floral images; and most on a nanako sub surface. And might I add, that the workmanship, is of a more unrefined nature, when placed for comparison, along side a Kaga goto representation piece.

     

    Kaga goto fittings, as a whole, are on the other side of the concept of style. They seem to have exquisite works of style of their architectural caliber of various designs; almost always on a high quality flat background, as well as brilliant use of mixed metals, They, to me, are almost an exact opposite, to that of the Mino goto.

     

    If these artists were trained, as was mentioned, with the skill and quality of the top Goto family head; as well as the equal availability of top material for use; how and what influenced the dramatic differences in end products structure and design ?

     

    Looking forward to the further understanding of this complex and most interesting subject matter,

     

    Gary Wortham

  17. Was at a recent meeting of the NCJSC, and fittings / schools, were within the discussion. Here began, the subject of; the identification / knowledge of the core, 17 generations of Goto school masters lineage, working for the Shogunate; verse the sub school smiths, who were not, of the privileged status.

     

    Here lies the throw down identity of Waki - goto, or described as a " side school ". Not privileged to have the availability of " gold ", with which to produce the perfect shakudo workmanship and color; and of course, combined with their skill.. Seems that Waki goto was characterized as a slightly brownish shakudo, or brassy gold, in color; due to the fact of the economizing of the gold, of the budget of the Tokugawa.

     

    Of even more variation, it seems that the term Kyo kinko, has been described as the term for workmanship of fittings that still look " nice ", but were even further from the quality of the mainline Goto masters.. Further diving into the lower levels of skill, draws the name of Kyo Kanagushi, [ Kyoto metal workers ]; who seems to be both unsigned as well as mediocre in quality.

     

    No doubt there are exceptions to the rule, in all categories, in the above classifications; but it seems a good subject of discussion to fill in the blanks, by those of the keeper, of wisdom; as well as examples of fittings, to justify & clarify said schools / smiths.

     

    Opps, I almost forgot the rest of my thoughts !!!

     

    The factions of the deeply cut, Mino Goto schools fittings, with the characteristic flowers & bug theme. Where did they settle on this technique & theme; and how do they fit in the main Goto school bloodline. ???

     

    And the highly skilled Kaga Goto school, with the dazzling ornamental objects, placed within their structured works. How did this direction come to pass for these artists, so different from the mainline Goto styles. Where did they come to pass in origin ???

     

    If that's not enough to work with, the ko Goto schools are ????

     

    A lot of thoughts rolled into one subject, with no simple or easy answer; yet others may have their unique parts to the puzzle.

     

    Gary Wortham

    • Like 1
  18. Tobias;

    For the sake of expanded discussion, on your sword storage boxes. Some have mentioned the heavy permanent type of a drawered cabinet, which is often seen, and the most common.

     

    The other type, katana zutsu, which is seldom seen, due to it's more fragile structure, and scarcity, is the sword " zutzu ". The zutsu is basically a 2 piece hinged, with locking apparatus; finely decorated with a skilled lacquer motif, and often, mons. It's design is to hold the entire mounted katana for transport.

     

    I could kick myself, for over looking several of these is the past years, when they were more often seen for sale, and in nice condition, and reasonable prices.

     

    Don't know why I wanted one, but when you see one in hand, it seems to attract your attention, particularly when you collect fully mounted pieces, as I do.

     

    If you do a search on the internet, you can see a few fine examples of this item.

     

    Gary Wortham

  19. Hi Paul; For the sake of further education for myself, Stefan, and other; it's good to explore this concept in depth. Over the years of countless swords seen at the shows, in personal collections, as well even within my own; i see excellent fitting habaki, that are in no way the one made for the present blade it is in; when we are dealing with fully mounted pieces. The new, custom fitted, made to be married to the sword, are by far, close to 100%, are attached to the recently or previously polished blades in shirasaya, or of the high quality, where a high grade polish has been applied,and the fittings adjusted accordingly. Of course, exceptions certainly apply in this study.

     

    It's not just the habaki fit, that is a difficult task to properly fit, but as many know; the tsuba as well. The opening for the blade seems to never be the exact snug fit of the original. Like mentioned before of the potential damage to the blade by an ill fitting habaki, a much heavier tsuba, carries with it the additional damage potential. And the saya, I see a ton of, ex. 19" blade with a 26" saya; now that's a mess, and I agree it could not be good for the blade as well as the overall appearance of the fittings package. Yet, if your totally fitted in old mounts sword, is missing a saya, it is a real freak of a piece to look at, when the 300+ year old fittings are matched with a new saya; even though I have seen great new saya, I would be proud to own.

     

    As an example story, of a great fit of a saya, to a Higo mounted, Sukenaga katana, bought at a show, years ago, with an ill fitted, not matched, saya; as our discussion has traversed. Held it, as is, for years, was at a friend who rebuilt saya, made shirasaya, wrapped tsuka; you get the idea. Showed him the Sukenaga and mentioned the poorly fitted saya; and he disappeared into the other room; returned with a beautiful & original, Higo saya, with all it's metal fitings in perfect condition. As a fluke and gesture of chance, we tried the katana in the saya; and !!!! ; was a perfect, must I say, more than perfect, not just fit, but match for the overall koshirae. I most certainly bought it !!! As of today, it is one of my favorite set of fittings, and I have yet to see, a fully mounted Higo piece, at any show to best it. So, although not much of a chance to find matches, it can happen, and this is where the great stories and feeling of success evolve from.

     

    Gary Wortham

  20. As with all discussions, there is always what we can and can not do, according to ?? Completely agree, with the statement that the habaki is unique, and made for that exact sword, but does a 500+ year old sword, still have it's original habaki; I seriously think not. Except for the most fortunate, and well preserved. Especially with the polishes and fittings changes, it must have experienced over the years. Also, Stefan expressed a desire to have fittings for his new sword, his choice, and what better way to learn, than to begin the long and cautious adventure of education, on how complex and difficult a journey it will be, to search for a way to obtain these koshirae, but not unobtainable.

     

    His expression and desire to want to study and collect nihonto, certainly would be advanced in the exchanges of dialog, with all whose path he would cross, in his search for such fittings. At all the shows over the years, the merging of the minds, furthers the knowledge of all. To stay with the current piece and study it, is a somewhat short sight, into any real depth of the sword, needing polish and all the surrounding info of such; since it was pointed out what smith it is not; where can he go with it in his study of this one example ??

     

    And cost, sometimes we who have, forget the current cost to those who have yet to have. Polishes are brutally expensive, and the new habaki as well as new shirasaya; really rack up a bill. So, for Stefan, with his new treasure, his adventure should be of what he can do, would like to do, and we should help his enthusiasm, as a budding student. The status of his sword, is that as would be enhanced in his opinion, and the level of its current status, would be more than unlikely to be damaged, with the proper instruction by others, in his search for fittings. I agree, that a blade of high quality, high value, high level of polish, etc.; would be a different critter than the one he is thinking of working with, so; he asked for opinions, and he should get all the aspects of his request for options.

     

    Gary Wortham

  21. Greetings to Stefan; Your 1st pictures showed the full blade and shirasaya as well as some paper documentation; which were to small to see. How about reposting them for all to see and review.The blade [ wakazashi ] looked nice for a 1st choice as a collectable piece, as I am parcel to the Soshu blades of the koto era, like yours. Also, I am a big proponent of fully mounted Japanese swords, and all of mine are in that condition.

     

    As far as koshirae for the blade, that will take some effort for a fit. I myself, over the years, have done this; with a great deal of time, effort, and great satisfaction. First, you need to have a huge source and selection of the parts you are looking for, one of the big sword shows, is your best on hand solution. This is where the most collected source of authorities, will be in one place, at one time. The proper fit, as well as the correct balance, of appearance of the fittings, is going to be tough. I'll run thru the scenario, from my own experience.

     

    The habaki is a real stinker to fit and match. Traditional color is gold tone for the koto era. To find an old saya to fit the habaki, the length & curve of the blade, compounds the issue. A tsuba to fit the size of the blade, as well as the correct spacing by the appropiate seppas, presents another challenge. Then, the matter of a tsuka that fits [ very tough ], and your need of balanced menuki, with fuchi & kashira; hopefully with the same theme, appearance, and subtle motif of Japanese ideology, would further extend your search. Then, if this is not difficult enough, you need this tsuka, wrapped by a skilled artist. Best bet, is to luck out, and find a fully mounted tsuka, of which there are quite a few, but to fit, is the issue.

     

    But, remember, this undertaking is fun, meant to enjoy & learn, and is a valuable tool in the study of the nice sword blade that you have.

     

    Gary Wortham

  22. Greetings to Curran; I actually think " simplistic ", would be better served, in the more descriptive form of " mute elegance ", referring to your example. I myself would be proud, to be the owner, of that which you sold !!! To quote a little more from the dialog of Robert E. Haynes' book; " the samurai class keep this style alive for more than 200 years, seeing in it, their own taste and reserve ". Nice endorsement of the earlier period productions, such as the one you sold. I went thru my Compton catalog #1, and looked at his Kamakura examples, and would take the one you, sold over his, any day.

     

    Gary Wortham

  23. Thanks for the example, Curran. Now that's a very nice looking tsuba, and helps me understand the the early Kamakura design and workmanship. From the book of Robert E. Haynes, the common motifs of plum flowers, cherry flowers, grass, etc., low relief carvings; really backs up your 1st period placement of your tsuba. The above discussed piece, which started this thread, is miles from the example you have provided. I can see how one would be lost in the transition, in linking the two, in the Kamakura school.

     

    Gary Wortham

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