Exclus1ve

The quality of the nanako is quite good at first glance on your kozuka. If possible, take better photos from different angles and in larger sizes.

Hello! I found a similar signature(mei) https://asahitoken.jp/contents/02_tosogu/details/tosogu-KZ/KZ084.html The author of Nao Kinao is Shoji Nara. According to the gold engineering book, Masatsugu is apparently a doujin with Masashiki, a disciple of Nara Masanaga, and is a metalworker in the mid-Edo period.

In this case, gilding is used. A gold emulsion is created, which is then heated until it turns red and hardens. This is a common method of gilding, as it uses less precious metal. Smaller elements are often inlaid. Large gold inserts are usually inlaid in exceptional-quality works. Sometimes, a thin gold plate is inlaid, and then the carving is applied to it. Often, you can distinguish the gilding from the pure insert by its color, as the patina on such parts, especially those that have been worn, is different and gives it away. I also recommend watching more Ford Hallam videos to gain a better understanding of the manufacturing processes for various Tosogu parts.

Although, considering that this is a ko-kinko, you must be right! https://www.bonhams.com/auction/22248/lot/1207/a-ko-kinko-tsuba-edo-period-18th-century/ In any case, it was interesting to compare!

Hello! I've also done some research on my Soten tsuba set. I'm inclined to believe that your tsuba was made by a follower of Soten with their own unique style. There are noticeable differences in the way the pine tree is drawn, with its more elongated needles(with an Italian accent)) joke), which is not as common in the Soten school. Additionally, the tops of the waves have a concave point, whereas Soten often uses a round point, and the overall style of the waves is different. A similar plot, I suppose) The precise depictions of the clans are also not typical of Soten, and I really appreciate this detail on your tsuba! I also found a potential pair that is slightly smaller in size, both in appearance and in terms of the additional seki gane insert. Best regards Viktor

Let's add an example related to the topic. In this case, there is no inlay, only a gold coating.

Excellent addition to the collection, Jake! It's time to start thinking about buying a camera))

Yes, that's right. It becomes perfectly clear when you see it in person. You can tell by the sharp, straight contour lines. Sometimes you can even see the incisor mark (about 50-100 microns thick) When a coating is applied, the contour becomes slightly blurred, and under magnification, you can see the difference in thickness.

Hi! Brian said it quite accurately. The mei can be in different places, sometimes even on a plate of pure gold inside. However, as with other tosogu items, it all comes down to the quality of the craftsmanship. The more intricate the work, the more likely it is that it was created by a renowned master who may have included a mei. In most cases, mei signatures are not present, which is normal. This item is genuine. Menuki are less likely to be counterfeited, and you can easily identify them.

It's not my, but it's a worthy example of "live" work.

I can't help but add the reference (in my opinion) quality of the nanako. I hope Marco doesn't mind if I post a photo of his Tsuba) Each point is perfect from any angle. https://www.tosogu.de

I believe that the Soten school or its followers are responsible for this. Most likely, the unusual shape of the cutouts is a result of the customer's request. The style and technique of the carving (the waves stand out particularly) are characteristic of Soten.

An example of good quality: https://www.ncjsc.org/photo-gallery/goto-mitsusuke-kozuka

I'm inclined to assume that it's gimei. The mei is different, but I'm more confused by the workmanship.… The nanako is not done neatly, as is the inlay. However, it's still an interesting kozuka with a classic Goto school theme.

From Bob Morrison collection

Video of one of the works:

Auction houses have always sold and will continue to sell fakes. Sometimes it's due to the incompetence of the auction house staff, but often they know exactly what they're doing — they just pretend otherwise.

Yes, it's casting. And of poor quality.

I've seen examples of Ford Hallam's work more than once, and it's amazing. Can anyone show examples of works of the same level from modern masters?

Absolutely everything is copied... When I was looking for information about my Soten tsuba, I found a similar creation)

Noda Masaaki (1784-1821), late edo. I agree, the works come from different schools, but the main theme is common and quite interesting.

And one beautiful piece of work Noda Masaaki. https://art.thewalters.org/object/51.1070/

Cormorant fishing

Could it be seaweed harvesting? Or fishing boat on moonlit…