Azzie b

Thanks to all for you replies and insights. The layered pieces on the tehen are not magnetic. They have a brass-like color but may be some form of gold-colored material applied over brass or other metal. There are rather intricate decorations of plants/flowers and geometric patterns on those pieces. And it does seem incongruent with the rest of the kabuto suggesting it was later add-on as Luc T noted. I'll explore under the lining and see what I find on the inside. I gather that is where signatures or other marks were put though I won't be sure what I am looking for. The different materials and patterns on the fukigaeshi are interesting. I'd love to see it all cleaned up. I too like the rivet patterns.

I am not well versed in all the relevant terminology or history, but I can try to describe certain elements based on the knowledge I have tried to gain online and will make an attempt to use some terms, hopefully correctly. And hope I have provided some images that are useful. I am grateful for any additions and corrections and would be interested in insights from your knowledge, history, experience or enthusiasm so I can better appreciate it and create a good description for my friend. I don't know if he has interest in restoring it, selling/donating it. 1. This suji bowl shape (hachi) is shiinari ("acorn") or toppai ("pointed") 2. 62 plates form the bowl that are 3. Standing rivets. They are in groups of 1, 2 and 3. 4. The opening on the top (tehen) is fitted with a tehen kanamono that seems to have 7 layers or pieces culminating in a solid (closed) top piece. 5. The plate at the center, back of the hachi has a ring (Kasa jirushi no kan ?) 6. The fukigaeshi seem to have some interesting patterned material under the layers of dust/dirt, with star or rosette shaped rivets or studs and a kamon on each side with Tachi Aoi (standing hollyhock)(?). Does this symbol represent a specific lineage or family crest? 7. The multi-lame skirt (shikoro) has three metal lames attached by multi-colored lacing (maybe a third of it missing)and with interesting "heart-shaped" metal pieces in outer corners of lower lame [wow, restoring lacing does look like it would be a challenging endeavor] 8. The helmet liner (Ukebari) is intact and chin cord (shinobi-no-o) is attached but degraded. 9. The visor (Mabizashi) is dented which has caused some cracking of the red laquer (paint) on the visor underside. Is there any reason to look for a signature or other markings and, if so, where or how? I think beyond a description like something above, he would be interested to know a general age or time period for the helmet and anything that might get him interested in doing something with it. Hate to see this just put back into a box for years and then likely to be found by someone who might then have very little interest in it. A lot of fine craftsmanship and beauty in this and even more so in the really fine examples I have seem during my internet explorations. Thanks for any input -- much appreciated, azzie b.