Exclus1ve

I think mei is correct. If we compare with the F/K set from the example above, the mei is different, but I think this is due to the fact that the work was done at different times, the mei could have changed a little.

Hello, Jake! Naonobu was a disciple of Yoshinao OGURI (Naozuke HAMANO) and lived in Takada in Kashiwazaki, Echigo Province, and since Kashiwazaki of the Matsudaira family of Seishu Kuwana Domain was a territory, he became a master craftsman of the Matsudaira family and called Seisendo, and became a skilled craftsman of the Hamano school. https://www.yamasiroya.com/tousougu/070/post_1.html And kozuka:

I agree with Curran. I am well acquainted with the patination of silver from numismatics. Pure silver oxidizes in a different way, even if you artificially apply a patina of this color to pure silver - one way or another the metal would appear (on the edges and impacts), such a patina is unstable. Alloy shibuichi seems very logical to me. The patina matches. And since the jeweler wiped the top layer on a rag, he just took silver oxide, which is certainly present in this tsuba, I think, at least 30%.

Hello everyone, I continue to study the quality works of the Mito and Unno schools. Does anyone have photos of examples of such works?(Probably photos from catalogs) I also compared a several mei, the differences in kao are minimal. I remember Ford Hallam saying that artists can change their signature over the course of their lives. If anyone has any more examples of Yoshimori's work, I'd appreciate it!

Colin «Matsunoki», thanks for the detailed answer!

Likewise)) The topic itself was about something else, and certainly not about the purchase. The theme is about decorative tsuba and their meaning. It was just an example, and not the worst one. I don't really care what you buy)

I compared all the small details, scratches and stains. This is this object, the photo of which I posted in 1 post. Specifically, it doesn't look like a cheap cast copy.… That's right, it fits)

Obviously, it wasn't about Ford's job. I've already found a similar item in a different design

Is this a modern casting of the 21st century? If so, there are no questions. I also find the following tsuba interesting: High art, but also not for sword?

Greetings to all! In a later Meiji or Showa, there are often tsuba for decoration or tsuba that are not intended for a sword. I'll post an example of such a tsuba, I don't understand one thing, why couldn't a proper seppa dai be done? One of my favorite tsuba made by Ford Hallam: This tsuba also has an inlay in the place of the seppa dai, but this does not prevent it from being installed on the sword. Ford himself said that practical importance comes first. So why did the craftsmen make decorative tsuba, if it would be possible to take into account the practical application? Kind regards, Viktor

Inlay with nanako looking neat. Judging by the execution of the work, it looks like the original, just a little worn. If you look at it without zooming in, you can see the effect of "silk")

So I can't find at least one reason why it was done in the 19th century) The quality of fakes is only increasing over time. In this case, all the same cast copies, and then they were given to a person for manual revision. However, this remains just a "coloring book".

It's an old but interesting topic. In Moscow, this quality of tsuba is being sold only now by 3 sellers. More than $1,000 for each one. I believe that they were produced at the end of the 20th century - the beginning of the 21st. I compared them thoroughly, the differences in relief are minimal. Obviously, they were manually modified after casting to make them different from each other. The sellers claim that these are copies of the 19th century. Who is closer to the truth? №1 №2

Greetings to all! I found information about this smith, correct me if I'm wrong. I will also add new photos of the seller. The problem is that there is a metal stratification. SSESHU JU MASAHIRO Tsuto School, Osaka district, 1650-1700. This is Master Massahiro, who lived in the province of Setsu, the eastern part of Japan, opposite the island of Awaji. Masahiro is a student of the school's founder, Sukehiro, who later adopted the name Tsuta.