Goto Sekijo?

[edzo]

Greetings to all,

 

Thanks to the generous suggestion of Mr Geo Trotter, I changed direction on "Ishi" and researched Seki, as the first character and came up with Goto Sekijo 石乗 (1609-1660) whose given name was Sonjuro. Later he took the name Yoshibei Mitsuyoshi. He became the hereditary 3rd head of the Goto Kihei family upon the death of his father Takujo Mitsumune. He lived in Kyoto. One characteristic of Goto work is the fine nanakoji which this has including and the ura is Hukumikin. I also noted that the signature is found on the edge of on this kozuka it is referred to as kibata-mei which was done by some Goto smiths. My concern is the extra stroke in the first character however I read that that was not unusual for some smiths. If anyone has a chance, any input or redirection would be appreciated, Thanks you all very much,

 

Ed F

[k morita]

Hi,

There is not the extra stroke in the first character.

[edzo]

Dear Mr Morita,

Thank you for taking the time and sharing the knowledge.

 

That is awesome morita san. I referred to my "Japanese names and how to read them", and it noted it as a variant i thought of Ishi, that must be what was meant in the book by the author.

 

Respectfully, Ed F.

[cabowen]

Maybe it is just me but the workmanship in this piece comes no where near the level I am accustom to seeing in genuine Goto work......

[edzo]

Dear Mr. CBowen,

 

Thank you for your interest and effort. I'm a beginner learning and researching this piece, among others. Many of the pieces that I have viewed (photos), did look more masterfully executed but this Kozuka has seen better days and the work looked somewhat comparable to a Goto Senjo and a Sekijo I found on the internet. Your suggestion is fodder for me to continue my research, my library is limited and am still waiting for more books to come. I did think that the Hukumikin was a little sloppy.

 

Thank You again for your generous input. Respectfully, Ed F.

 

Edit, I just wanted to add that you may be correct in your comment.

[k morita]

Hi edzo,

I only decipher the Sosyo Kanjis carved on the Kozuka.

The Kozuka is a real thing or not I did not refer.

[edzo]

Dear Mr. Morita,

 

Thanks again, I understood that to be the case I am seeking and research to determine if it is gimei, which may be the case. I am not qualified to make that determination but hoping some day to posses that skill. Thank You very much again. Ed F.

[cabowen]

With several shinsa scheduled in the US in the next year, including the one I am hosting this October in Minneapolis, you could submit this for an expert opinion.

[Pete Klein]

This is taken from 'Studies in Kyo Goto. Please notice the quality of craftsmanship and the mei:

 

[Brian]

As Pete suggests, this is not Goto work. You will usually know it when you see it. Quality of the nanako is not there.

 

Brian

[edzo]

Dear Members including Mr. Bowen, P. Klein and Brian thank you very much for your valued input on this thread.

 

Thank you Mr Bowen for posting the up-coming event in Minneapolis this October which I am aware of from a previous post that u made. I will discuss it with the administrator (owner), I previously recommended that they located and paperwork they might have and prepare for the possibility they may to invest $ (shinsa etc.), on part of their collection. I believe the issue for them is financial, the other is time.

 

Mr. Klein, thank you for the information that you so generously posted. I have only seen one other signature by this artist papered, see http://www.shibuiswords.com/goto-ryu_fi ... %25204.gif but after reviewing your example I most convinced the piece is gimei, that together with a more objective look at the workmanship, specifically the nanako in comparison to that found on their tsuba. And thank you Brian for that comment, the piece does not scream out.

 

Respectfully yours, Ed F.