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My New Tsuba


Grey Doffin

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Hi guys,

At the show in Tampa I picked up a tsuba I really love.  Deep black shakudo (a much glossier surface in person than in my pictures) with tiny, precise soft metal inlay, 6.1 x 6.5 cm.  I showed it around and received a few opinions about which smith or group to tie it to; Robert Haynes gave me his take also.  I could tell you what I heard but maybe we could have some fun guessing (no fair answering if I told you in Tampa).  If you have any thoughts about the theme post them also.

Enjoy.  Grey

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Mr. Ko-Kinko strikes again...... :-) 

 

Hi Grey,

 

I am going with Ko-Kinko styled tsuba made by Ford Hallam for a class on the patination of soft metals. 

 

P.S.  Before anyone takes my comment the wrong way the comment above was intended as a joke.  LOL!  :laughing:       

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Wow..talk about unusual. A real example of various patination techniques or mixed metal useage. I do like it. Shape reminiscent of ko-kinko, but like Mariusz I don't think it is of that school. Far newer than that.

I would also reach for Umetada, late Edo. Only theme that springs to mind is stars and/or constellations, but think I am probably way off there. Interested in other thoughts.

 

Brian

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Hi guys,

Umetada was the choice of a couple people who had the tsuba in hand at the show.  I showed it to Robert Haynes, a man whose opinion matters most, and he said possibly Kaga but he thinks most likely Sendai Kiyotoshi, because he was known for tiny, intricate inlay.

I'm not sure who Kiyotoshi was.  If any of you can shed some light it would be appreciated.

Grey

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I don't know who is "Sendai" Kiyotoshi. When I hear Kiyotoshi, I immediately think Tanaka school.

 

I forget what I said in Tampa, but probably felt it was Umetada on the earlier side. Not quite ko-Umetada, nor the feel of the kinko ko-shoami like RKG owns and shared with the NMB at one point.

I liked the tsuba much and enjoy these somewhat uncommon kinko examples. I would have enjoyed owning and studying this one for a while- **make you a nice trade for it?**

Probably you should keep and study that one for a while. It was interesting.

 

I don't agree with James 100% about the ability of modern artists to pull off ko-kinko works, but some like Grey's are extremely difficult to date without more scientific methods. There is a particular artists who seems a cross between Goto and Umetada work. No one can seem to agree with whether he was a 1600s original or 1800s revival artist. I think him on the 1800s side, but that is just my 'best guess' without some sort of testing.

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Everyone agreed that the fence like bits at the bottom are counters from the Genji Monogatari.  The seller I got the tsuba from says it is the night sky with stars and constellations.  Robert said the smith was showing off his skills at inlay, like a needle-point sampler, with no particular design in mind.

The fukurin also is impressive.  It sits loose on the plate (the plate moves inside a bit), which I was told is a mark of quality construction.

Grey

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A little late to comment on your tsuba, Grey, but my first thought was Higo Hikozo den. What made me think this was seeing those unique punchings (tagene ato) around the nakago-ana. I'll admit the design of the tsuba and specifically, the small zogan treatment, made me think Kaga zogan, but those punching really seem to point to Hilozo in my opinion. I have a similar "old looking" tsuba with those same punchings and it was papered to "Hikozo den" several years ago. Whatever the opinions, its a nice tsuba. I'm attached a photo of my tsuba.

Ron STL

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Hello:

Your fuchi does not look at the same workmanship. Sorry but Grey's is way better work. His is flat inlay and yours looks overlay. The base material looks to be different as well. Kaga work can have flat inlay as does Umetada. I have not seen similar pieces from either School to this tsuba. I did examine it in hand in Tampa. I was tempted but had spent my money :-)

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