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Vintage Japanese Jewelry – Big in Japan

Vintage Japanese jewelry - like this elegant 1980s platinum, gold, sapphire and diamond brooch by Ito Hiroaki - is quickly finding an enthusiastic audience among jewelry lovers.
Vintage Japanese jewelry – like this elegant 1980s platinum, gold, sapphire and diamond brooch by Ito Hiroaki – is quickly finding an enthusiastic audience among jewelry lovers.

Vintage Japanese jewelry is sometimes overlooked by fine jewelry connoisseurs.  I should know because for a long time I was one of the collectors doing the overlooking.  Then, as I was browsing eBay a few months ago I unexpectedly fell in love.  I had stumbled upon an exquisite 1980s Japanese brooch of superb workmanship and quality.

But before I talk about that, let’s take a brief detour through the history of Japanese jewelry.

For most of its history, Japan did not have jewelry in a modern sense.  They did have ornamental objects crafted from precious materials, but these were nearly always functional items that had evolved to take on a broader prestige role in society.  Examples include women’s hair pins and hair combs, koshirae (samurai sword fittings) and inro (hard-cased wallets meant to be worn with a kimono).  Western jewelry forms such as earrings, pendants, bracelets or rings were nearly unknown in Japan during this time.

All of this changed once Japan ended feudalism and opened up to the broader world after the 1850s.  The island nation was suddenly flooded with foreign ideas and influences.  Western style jewelry was one of these new concepts.  And although it took a few decades to get started, by the late 19th century Japanese craftsman had begun experimenting with jewelry as we understand it today.

The house of Mikimoto is perhaps the best known creator of vintage Japanese jewelry.  Its founder, Kikuchi Mikimoto, created the first cultured pearl in 1893.  He then opened a retail shop to sell his pearl jewelry in 1900.  He also sent his artisans to Europe to study the latest advancements in jewelry making styles and techniques.  His eponymous firm quickly became the largest pearl jewelry company in the world.

Japanese militarism in the 1930s and then World War II in the 1940s largely interrupted jewelry production, making Japanese pieces from this time period scarce.  Likewise, Japan was still recovering from the devastation of the war throughout the 1950s.  As a result, fine jewelry production at scale only really resumed in the 1960s, accelerating dramatically during the 1970s and 1980s to match the red-hot Japanese economy of the time.  Therefore, most of the vintage Japanese jewelry you will find in the marketplace today dates from the 1960s or later.

In addition to Mikimoto, there are a handful of other well known vintage Japanese jewelry houses.  Founded in 1954, Tasaki is a pearl-centric firm that produces excellent quality jewelry.  Kyoto based atelier Niwaka has been creating treasures in gold and gemstones since 1983.  Japanese Jeweler Ponte Vecchio had its origins in 1981 and is best known for its delicate, playful style.

There are also a number of smaller independent Japanese jewelry studios in addition to those listed above.  A short (but not exhaustive) list of these artistic luminaries includes: Nobuko Ishikawa, Ito Hiroaki, Sachi Fukuhara, Koji Iwakura, Shunichi Tamura, Keiko Ikeda, Mitsuo Kaji and Ayano Kanazawa.  Vintage jewelry produced by these independents will tend to be a bit more adventuresome compared to the larger Japanese jewelry firms.

Japanese craftsmen are renowned as masters of the miniature, possessing excellent attention to detail.  This defining national characteristic is reflected in their jewelry making, which is often both precise in execution and striking in design.  In any case, Japanese fine jewelry is almost always of the highest quality, with clean metal work and quality materials.

Organic or natural themes – leaves, flowers, insects, fruits, animals, etc. – are ubiquitous among vintage Japanese jewelry.  Keeping in line with the Modernist ethos that has dominated jewelry design from circa 1960 to the present, simple geometric or abstract elements are also commonly encountered.  You’ll sometimes find traditional Japanese metalworking techniques/alloys such as shakudō (a dark-patinaed copper-gold alloy) or mokume-gane (different metal alloys layered together to create a wood-grain pattern) employed in vintage pieces, too.

Now that we’ve covered Japanese jewelry history, let’s revisit that stunning 1980s Japanese brooch that caught my eye on eBay.

Fabricated in 900 fine platinum and 18 karat yellow gold by respected Japanese jeweler Ito Hiroaki, the brooch features an oval ring with a hanging cluster of cabochon cut sapphire grapes accented by small brilliant-cut diamonds.  It is clear at a glance that this vintage Japanese brooch is more a work of art and less a mere piece of jewelry.  The workmanship of the brooch is nothing short of exquisite – a fact highlighted by several distinct features of the piece.

 

These marketing materials show Ito Hiroaki's rather high end "Basic Line" of jewelry from 1985.

Photo Credit: JapanDesigners
These marketing materials show Ito Hiroaki’s rather extravagant “Basic Line” of jewelry from 1985.

 

The heavy gauge platinum oval ring possesses a uniquely textured surface and is richly festooned with ropes of gold.  According to original marketing material from circa 1985, this brooch was part of a suite of jewelry Ito released to celebrate the 15th anniversary of the development of his signature “Mellow Gold” metalsmithing technique.

The luscious grape cluster that sits invitingly at the bottom of the brooch is actually articulated, meaning it moves independently from the main body of the piece.  This allows the grape cluster to swing with the movements of the wearer, causing the gemstones to effortlessly reflect any ambient light.

Designing and crafting articulated jewelry is a time consuming process that most jewelry makers avoid.  The last time (and only time, to the best of my knowledge) such a technique was in widespread use was during the mid-19th century when tremblers – brooches meant to quiver with the slightest movement – were popular among the wealthy.  These trembler brooches were invariably diamond-studded affairs set in lavish silver-topped gold settings.  You can just imagine how expensive they were; commoners need not apply.

The bezel set gemstones used in this masterpiece of vintage Japanese jewelry are also top-notch.  While not more than about 1/4 carat each, the midnight blue natural sapphire cabochons are of excellent quality: flawless, intensely hued and well-cut.  In addition they are perfectly matched for color, clarity and cut – a factor that significantly boosts the value of even seemingly modest stones.  Their total weight is also significant at 1.18 carats.

It is meaningful that we know the exact carat weight of the sapphires even though they are still mounted in the piece.  This is because Ito Hiroaki was thorough enough to stamp the carat weight of the gems used in the brooch alongside the standard platinum and gold purity hallmarks.  This is yet another sign of quality and attention to detail.

The small diamonds that accent the sapphire grape cluster are completely clean and white.  It is well known among jewelers that white metals like platinum, palladium and white gold are very unforgiving in regards to the color of any diamonds mounted in them.  When slightly yellowish or brownish diamonds are mounted in yellow gold it is hardly noticeable, but such a cost-cutting measure becomes immediately obvious in platinum.

However, there was no such cost-cutting here.

 

Designer Vintage Japanese Jewelry for Sale on eBay

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It is also notable that the piece drips with sapphires and diamonds and not lesser stones.  Back in the 1950s and 1960s, even mid-range fine jewelry heavily relied on the big four gemstones (diamonds, rubies, emeralds and sapphires) to achieve a luxurious appearance.  However, by the 1980s (when this brooch was produced) it was more common for jewelers to embrace lower value stones in an attempt to control costs.  This led to the rise of peridot, tourmaline, red garnet, blue topaz and other second tier stones in cost-conscious jewelry of the time.  Happily, this is much less common in vintage Japanese jewelry where creators like Ito Hiroaki stuck to the highest end materials available.

As a result, this vintage brooch is true extraordinary.

And here’s the best part: I paid less than $1,000 for this fantastic piece.  In fact I paid substantially less than $800.  Although it was originally listed for $757.05, the seller (Greeber Japan) was having a 15% off sale across their entire eBay store.  So I snagged this absolute designer jewel from the mid-1980s for a stunningly low $643.49.

Let’s slow down and think about that price for a moment.

Here is a gorgeous piece of vintage Japanese jewelry from the heyday of Japan’s glorious 1980s cultural apogee.  This was the time when Sony and Nintendo ruled the world.  This was the time when the Imperial Palace grounds in Tokyo were worth more than all the real estate in California.  This was the time when Japanese anime burst onto the international scene with classics like Bubblegum Crisis, Ranma 1/2 and Akira.  This was the Japan of perpetual nightlife, over-the-top parties and endless money.

Tokyo during the 1980s represented our glorious cyberpunk future, as shown in this YouTube video compilation:

 

 

So why was I able to buy a gem-studded piece of designer vintage Japanese jewelry from this mythical era for less than $700?

One of the things I always do before purchasing a piece of vintage jewelry is calculate its price per gram.  I know from experience that if you pay less than $100 per gram for a piece of gem-set, solid karat gold or platinum jewelry, you’ve done well.  This rule of thumb excludes low karat gold pieces (like 9 and 10 karat) and very common gemstones such as amethyst, citrine, small pearls and blue topaz.  In this case, I paid around $57 per gram.

How is finding a bargain this good even possible?  Is the vintage Japanese jewelry market broken?

I have a few theories about that.

First, demand for fine jewelry has been generally suppressed in the developed world ever since the Great Financial Crisis of 2008 – 2009.  This is because the world has been living through a depression for the last decade plus.  Slow job and wage growth has combined with an ever upward spiraling cost of living to eviscerate most households’ discretionary purchasing power.  Fine jewelry purchases must compete with exorbitant rents, utilities, grocery bills and car payments – a battle it rarely wins.

As a result, we still see fairly robust jewelry sales in the sub-$250 price range as most people have moved down-market.  Sales in the $10,000 and up luxury price range have also held up because the wealthy are still doing well financially.  But fine jewelry in the middle market, priced between approximately $250 and $10,000, has been left for dead – a doughnut hole attributable to the Silent Depression we have all been living through these past years.

 

Estate Mikimoto, Tasaki, Niwaka & Ponte Vecchio Jewelry for Sale on eBay

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Another reason my vintage Japanese jewelry find was so affordable is that brooches are hopelessly out of fashion right now.  There is an entire category of vintage and antique jewelry – brooches, stick pins, tie tacks, hair combs, tiaras and cufflinks – that I call fashion refugees.  These are types of jewelry that are rarely worn today because they are out of step with current trends in fashion.

While some of these forms of jewelry will probably never come back into style (tiaras are likely dead forever), I feel very strongly that brooches are an exception.  Brooches are one of the five basic jewelry forms alongside rings, bracelets, earrings and necklaces.  This alone almost ensures a renaissance for them at some future date.

But for now brooches are the red-headed step-child of the vintage fine jewelry market.  Brooches look best on lapels, collars and straps – more formal feminine attire.  Today’s extremely informal fashion for sweaters and t-shirts do not play to their strength.  That means that there is a healthy supply of vintage pieces on the market and limited demand.

This drives prices down, creating bargains for the discerning vintage Japanese jewelry buff.

 

This stunning vintage Japanese brooch by designer Nobuko Ishikawa is rendered in platinum, gold, diamonds and chrysoprase.

Photo Credit: Greeber Japan
This stunning vintage Japanese brooch by designer Nobuko Ishikawa is rendered in platinum, gold, diamonds and chrysoprase.

 

The third reason my vintage Japanese brooch was so affordable was due to the ridiculously low price of platinum.  As I write this, platinum is trading for about $1,000 a troy ounce, which is the exact same price it was selling for back in 2006.  That means platinum is priced at same level it was 18 years ago!

Can you name any other precious material that has stagnated in price for so long?  Silver is up 154% over that time period.  Gold is up around 262%.  Even colored gemstones – which have moved sideways in price since 2015 – are still up by 76% from 2006.

Remember, for the entirety of the 20th century and into the beginning of the 21st century platinum had always traded at a premium to gold.  It is only within the past 10 years or so that this normal relationship has been inverted.  This means that although platinum has traditionally been treated as the very finest of jewelry metals, it has recently been displaced by white gold when a white look is required.

This pricing anomaly in platinum gives jewelry collectors a golden opportunity to buy vintage and antique platinum jewelry for absurdly low prices.  And because the Japanese people have a strong affinity for platinum, it is commonly found in higher end vintage Japanese jewelry.  So I don’t find it very difficult to envision a future where platinum is once more priced at a premium to gold – with platinum jewelry regaining its ultra luxury status.  If this happens, vintage platinum jewelry will adjust upward in price rather quickly and violently.

The final reason for vintage Japanese jewelry being undervalued is really quite unexpected.  In the summer of 2024, the Japanese yen – U.S. dollar exchange rate hit a 34-year low of 160 yen to the dollar.  The last time the yen was this weak was briefly during 1990 and only on a sustained basis before 1987!

And because Japanese estate jewelry sellers’ costs are priced in yen, it means that your dollar goes further when converted to Japanese yen.  Their rent is priced in yen, their labor costs are priced in yen and even their utility costs are priced in yen.  As a result, they will often accept a lower dollar price if it gives them a similar or even higher yen price.

Let’s take the 1980s Japanese brooch I purchased as an example.  The price of $643.49 translates into just short of ¥103,000, assuming an exchange rate of 160 yen to the dollar.  But five years ago during 2019, that same $643.49 would have only been worth about ¥70,000.  This is because the yen/dollar exchange ratio was closer to 108 to 1 at the time.

So it’s easy to see how a Japanese seller might be motivated to accept a smaller number of dollars (or euros) today.  This gives lovers of vintage Japanese jewelry with access to non-yen hard currencies a special opportunity to buy fine pieces at deep discounts.

It took a confluence of these four factors I just mentioned for me to be able to purchase my exquisite piece of vintage Japanese jewelry at a sub-$1,000 price.  There is simply no way the price would have been this low under normal circumstances.  In fact, I suspect that if these four factors hadn’t been present, a reasonable price for my brooch would have been somewhere in the $2,500 to $3,000 range.

Now all of this might be a bad thing if you are looking to sell fine vintage Japanese jewelry, but if you are looking to buy it is truly wondrous.  I got an insane 75% discount from the fair value of the 1980s Japanese brooch I purchased.  And if I find any more great bargains I’ll happily snap them up, too.  I’m sure many other smart collectors are looking to do the same.

 

Fine Jewelry from Greeber Japan for Sale on eBay

(This is an affiliate link for which I may be compensated)

 

If you are interested in starting or adding to a collection of fine vintage Japanese jewelry I do have a few pointers.  Cufflinks and brooches – both fashion refugees – will give you your best bang for the buck.  But if you intend to wear the piece you buy, make certain it is a type of jewelry you like.  In other words, don’t buy a brooch just because it is cheaper if you hate brooches.

Next, consider purchasing vintage Japanese jewelry that is made out of platinum or mixed karat gold and platinum.  Only higher end pieces were fabricated from these metals and you are sure to get a bargain.  Of course, 14 karat or higher solid gold jewelry is excellent, too.  18 karat is the most commonly encountered gold alloy in Japan, so purity is rarely a problem.  Sterling silver (or mixed sterling and karat gold) is also perfectly acceptable as long as the piece is both impressive and rendered in a good Modernist style.

It is always nice when you can find vintage jewelry set with one or more of the big four gemstones: diamonds, rubies, emeralds or sapphires.  I would try to shoot for a minimum total weight of more than 1 carat, with each individual stone weighing at least 10 points.  These requirements are harder to meet than you might think at first.  But if the piece you love is set with second tier gems (tourmaline, tanzanite, fancy garnet, opal, spinel, jade, etc.) fear not – these can also be excellent finds if the price is right (and the stones are large enough).

Above all, make certain you skew towards quality.

Ideally we want signed pieces that have been painstakingly hand fabricated by a known firm or artist.  Always flip the piece over to view the back.  It should look almost as good as the front, without any unsightly blobs of metal, rough surfaces, damage or other distracting features.  Any vintage Japanese jewelry you consider should simply ooze quality, possessing a combination of high end materials, fine craftsmanship and original design.

Pricing will generally start at $400 per piece, escalating quickly if larger, more valuable gemstones are present.

Vintage Japanese jewelry is one of the great undiscovered bargains of the fine jewelry world right now.  And the fact that the Japanese yen is plumbing 40 year lows versus the dollar just makes the deals even sweeter.

 

Read more thought-provoking Antique Sage gems & jewelry articles here.

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Read in-depth Antique Sage vintage jewelry investment guides here.


Antique Samurai Sword Fittings – Tsuba, Fuchi, Kashira, Menuki & Kozuka

Antique Samurai Sword Fittings - Tsuba, Fuchi, Kashira, Menuki & Kozuka
A fine Japanese kashira and fuchi set from the late Tokugawa shogunate, circa 1840 to 1868.  While many antique samurai sword fittings are made from copper alloys, this rare set is made from solid silver with gilt edges (not visible in photo).  It is also decorated with the kamon of the respected Asano clan – two crossed hawk feathers within a circle.

Although we might not always realize it, myth is a vital part of human society.  And while the topic might first prompt thoughts of ancient Greek and Romans deities, there are other mythologies that are just as relevant to our modern era.  The specific myth I have in mind is that of the tenacious Japanese samurai warrior and his deadly sword.

The Japanese samurai has become a mainstay of global pop culture.  Classic works such as the 1954 movie Seven Samurai, the 2005 anime series Samurai Champloo and the 2011 video game Total War: Shogun 2 have all contributed to the modern myth of the samurai.  At this point, the samurai and his famous katana sword are recognized around the world as unofficial mascots of the storied island nation.

But what if I told you that you could afford to own a tangible piece of the samurai myth?  And I mean a real, historical bit of the legendary Japanese fighter – not some cheap, modern reproduction.

Antique samurai sword fittings – the metal mountings used to secure and decorate katana, wakizashi and other Japanese swords – are hand-forged works of art straight from Japan’s celebrated feudal past.  Most date no later than the end of the Japanese Tokugawa shogunate (circa 1868), making them at least 150 years old.  And they often have incredible attention to detail that must simply be seen to be believed.

These historically important items were used to display a samurai’s wealth and social prominence.  But even more importantly, antique samurai sword fittings represent the physical heritage of a proud warrior class who considered their swords to be sacred.  According to the great 17th century shōgun Tokugawa Ieyasu, the sword was the “soul of the samurai”; a katana’s mountings were no less hallowed.

 

Types of Antique Samurai Sword Fittings

There are 5 major kinds of samurai sword mountings: the tsuba, fuchi, menuki, kashira and kozuka.

Tsuba

The tsuba is a sword guard, meant to protect the sword-wielder’s hands from an opponent’s sword slashes.  While sword guards often took on elaborate basket forms in Renaissance Europe, the Japanese tsuba was a much simpler affair.  It was usually a flat oval or round disc of metal with up to three holes.

The central hole, or nakago-ana, is always present and accommodated the sword blade.  The hole on the left is called the kozuka hitsu-ana.  It was meant for the kogatana, a samurai’s small utility knife that was affixed to the outside of the scabbard.  The hole on the right is called the kōgai hitsu-ana.  It held a kōgai, a long metal hair-pin that samurai traditionally used.

Not all of these holes appear on all tsuba.  Some antique tsuba only have the central sword hole (nakago-ana).  Others have both the nakago-ana and the kozuka hitsu-ana for the utility knife.  Still others have all three.  It is common for earlier dated tsuba to lack one or both of these extra holes because they were designed solely as weapons of war – no extra frills necessary.

Fuchi

A fuchi is a metal collar sandwiched between the tsuba (sword guard) and the sword handle, right at the top of the hilt.  They are usually rather short, rarely exceeding a height of more than 15 mm (0.6 inches).

Menuki

Menuki are a pair of small, matching decorations placed on either side of the sword handle.  These were originally utilitarian, covering the steel pins that fastened the sword handle to the tang.  They later evolved into ornamental items as Japanese sword construction techniques advanced.  However, some modern-day sword enthusiasts claim that menuki give the swordsman a better grip on the handle.

 

Antique Samurai Sword Menuki for Sale on eBay

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Kashira

The kashira is the end-cap of a samurai sword, also known as a pommel in Western parlance.  It resides at the very bottom of the sword handle, helping to keep it firmly in place.  Because they are one of the most readily visible parts of a sheathed sword, Japanese kashira were sometimes elaborately decorated.  Fuchi and kashira were often made in matching pairs.

Kozuka

The kozuka is the metal handle of a samurai’s utility knife, or kogatana.  Although not technically part of a samurai sword, the kogatana/kozuka was often secured to the sword via the kozuka hitsu-ana hole in the tsuba.  These elongated rectangular handles rarely measure more than a few inches (10 cm) in length.  Their diminutive size did not stop the Japanese from lavishly decorating them, which also had the added bonus of helping a samurai maintain his grip on the small handle.

 

A Short History of the Samurai

I believe that in order to truly appreciate the mystique of antique samurai sword fittings, we must first understand the history of the samurai.

 

A Chronological List of Japanese Eras

  • Asuka period (538 to 710)
  • Nara period (710 to 794)
  • Heian period (794 to 1185)
  • Kamakura period (1185 to 1333)
  • Muromachi period (1333 to 1568)
  • Azuchi–Momoyama period (1568 to 1600)
  • Sengoku period, Aka the Age of Warring States (1467 to 1600)
  • Edo period, Aka the Tokugawa shogunate (1600 to 1868)
  • Meiji period (1868 to 1912)
  • Taishō period (1912 to 1926)
  • Shōwa period (1926 to 1989)
  • Heisei period (1989 to the present)

 

The origins of the samurai are murky, but are believed to date back to the early Heian period in the 8th and 9th century AD.  It was during this time that Emperor Kanmu in Kyoto resolved to conquer the Emishi people who resided in the northern part of the Japanese mainland.  He recruited powerful Japanese clans headed by shōguns to subjugate his enemies.  These tribal shōguns built large armies of strong mounted warriors who were skilled in archery and swordsmanship.  These mounted soldiers gradually evolved into samurai swordsmen, completing the transition by the 12th century.

Medieval Japan was a feudal society characterized by a strict caste system.  The shōguns (also known as daimyō in later eras) resided at the very top of society as feudal lords.  The samurai ranked just below the daimyō in terms of status, but owed them fealty and military service.  In return the samurai were paid a wage (usually in the form of rice, although payments in coin became more common during the late feudal period).  Most samurai were also granted land and servants, as well as the right to arbitrarily strike down any commoner who compromised their honor!

This system worked well enough until the Sengoku, or Warring States period (1467 to 1600).  During this time the Muromachi shogunate was theoretically in charge.   But in reality the Muromachi had lost their grip on power, allowing the rise of local warlords.  Each of these daimyō warlords had their own loyal samurai army, which they used when jockeying with other warlords for political power.

As a result, the Sengoku period was a time of unrelenting violence, famine and misery.  Many samurai during this period became wandering rōnin after losing their masters in battle.  Rōnin samurai were given little respect in Japanese society because they often resorted to mercenary work or banditry to survive.

The Samurai during the Tokugawa Shogunate

In 1600 AD, the warlord Tokugawa Ieyasu defeated his remaining rivals at the Battle of Sekigahara.  This allowed him to finally unite all of Japan under his undisputed rule, bring the long-running Warring States period to a close.  The Tokugawa shogunate dominated Japanese political life for the next 260 years.  This period was no less transformative for Japanese samurai.

In place of constant combat and social chaos, came peace, increased commerce and widespread prosperity.  Many of the Tokugawa samurai transitioned from full time warriors into largely administrative roles.  They still needed to be battle ready, however, and were required by law to carry their trademark swords with them in public.  But this new, much more peaceful Japan called for precious little bloodshed.

During this period many samurai became government officials in one capacity or another.  The shogunate or local daimyō paid these samurai a regular stipend in either rice or coin.  But wandering samurai, or rōnin, were forced to find peaceful employment elsewhere.  The most talented opened dōjōs where they taught their swordsmanship techniques to paying customers.

Another exceptional aspect of the Tokugawa shogunate during this time was its policy of strict isolation.  Trade with the West was made illegal, with the sole exception of the Dutch, who could trade with the Japanese via the tiny island of Dejima off the coast of Nagasaki.  No other Western countries were allowed to trade or interact with the Japanese during this time.  And any Japanese citizen who went abroad was forbidden to return to his native land, on pain of death.

The samurai were stuck in a time warp.  Even as the rest of the world experimented with and perfected the use of gunpowder, Japanese samurai still trained relentlessly with their swords.  Swordsmanship remained surprisingly effective in the island nation because guns were illegal, with only select parts of the military establishment having access to outdated models (by international standards).  In Tokugawa Japan, samurai still dueled with swords while police battled bandits with antiquated bladed weapons.

 

Japanese Edo Era Tsuba for Sale on eBay

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The Samurai during the Bakumatsu Period

The comfortable days for the samurai of the Tokugawa shogunate began to unravel in 1853.  That was the year that American Admiral Matthew Perry led a squadron of U.S. warships into Edo (now Tokyo) harbor and demanded the Japanese open trade and diplomatic relations.  The implicit use of force backed Perry’s demands.  This was no idle threat either; the American fleet of four massive warships was laden with cutting-edge Paixhans guns and over 1,500 well-equipped troops.

Officials of the Tokugawa shogunate panicked.  They knew Japan’s coastal defenses were in a shambles and utterly incapable of defending the capital city – much less the rest of the nation – against an American naval bombardment.  The Tokugawa were also painfully aware of how antiquated the bulk of their samurai army was when compared to Western military forces.  After delaying for a number of months, the Tokugawa finally submitted to American demands.

Foreign people, goods and ideas soon flooded into Japan, setting off an existential cultural crisis in the island nation.  Suddenly the Tokugawa shogunate, which had ruled unchallenged for hundreds of years, was revealed to be weak and incompetent.  Samurai factions arose that demanded the Emperor be restored to power, rather than remain as a mere figurehead.  Others simply wanted the foreigners out, even if it meant war.  But a few forward-looking Japanese officials and scholars saw that the nation desperately needed to modernize if it was to avoid being colonized by the European powers.

This era, which was known as the Bakumatsu, was a period of social chaos, political intrigue and rapid cultural change.  Foreigners were assassinated on the streets of Edo by sword-wielding reactionaries with stunning regularity, as were Japanese administrators and intellectuals.  Yet, the Tokugawa shogunate was powerless to stem the internal dissent.  It was obvious that feudal Japan was coming apart at the seams.

It was during this dark time that one of the greatest samurai organizations of all time was born – the Shinsengumi.  This samurai police force was established to patrol the streets of Kyoto, maintaining order in the name of the shogunate.  Although widely celebrated in modern Japanese culture, the Shinsengumi was only active in Kyoto for a handful of years, from 1863 to 1867.  And the elite force did not long survive its expulsion from Japan’s imperial city, disbanding in 1869 after backing the losing side in the Boshin War.

 

Antique Japanese Kozuka & Kogatana for Sale on eBay

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The Boshin War and the End of the Samurai

When it finally arrived, the twilight of the samurai came with stunning swiftness.  The Japanese provinces of Chōshū and Satsuma formed an alliance in opposition to the central Tokugawa authority and instigated what became known as the Boshin War.  The rebels ostensibly strove to restore the authority of the Japanese Emperor, which they claimed the shogunate had unjustly usurped.  Although considerably outnumbered by the shogunate forces, the imperialist soldiers carried the latest weapons imported straight from Europe.

While their clashes spanned from January 1868 to June 1869, the results of the conflict were inevitable.  The Tokugawa army, largely relying on traditional samurai weapons and tactics, was repeatedly overwhelmed by the superior firepower of the modernized rebel forces.

 

Boshin War Samurai

A gathering of Satsuma samurai during the Boshin War to overthrow the Tokugawa shogunate, circa late 1860s.  Photo credit: Wikipedia

After the dissolution of the shogunate, the new imperial Meiji government wasted little time in implementing major reforms meant to modernize Japan.  However, this was an unwelcome development for many samurai, who had been subjected to something of a political bait and switch scheme.

Originally, the anti-Tokugawa imperialists fought under the pretext of reestablishing traditional Japanese values and institutions.  This was best summarized by the famous 1850s-1860s Japanese political slogan “Revere the Emperor, expel the barbarians.”  In this context, barbarians referred to Westerners (Europeans and Americans) and their foreign influence.  In effect, many Japanese equated the restoration of imperial power with a return to Japanese isolationism.

Many samurai found this uncompromising philosophy to be deeply attractive and enthusiastically threw in their lot with anyone rebelling against the weak and corrupt shogunate.  But once the Meiji Restoration occurred, these same samurai were dismayed to find out that the new government had no intention of recreating a traditional, by-gone Japan.  Instead, the Meiji government systematically dismantled the samurai class.

The first blow fell in July 1871, when the central government formally abolished the feudal system.  Although many of the Japanese han (provinces) had already been confiscated from the Tokugawa and their loyalist during the 1868 Boshin war, most remained in the hands of their hereditary daimyō.  This changed in the summer of 1869 when the rest of the daimyo were coerced into surrendering their domains to the Meiji government in exchange for being appointed as non-hereditary governors of their former lands.  By 1871 the Japanese government formally eliminated the han structure and the feudal traditions attached to them.

At this point, political change came with unrelenting speed.  In August 1871, the government promulgated the danpatsurei, or Cropped Hair Edict, which encouraged samurai to cut their distinctive top-knot hair style.

In 1873 the Meiji government took a monumental step towards displacing the samurai class by establishing a western-style, professional army.  This deprived the samurai of their traditional role as the nation’s exclusive military force.

The final indignities for the samurai came in 1876.  This was the year the central government in Tokyo passed two culturally earth shattering laws: the Sword Abolishment Edict, or haitōrei, and the Stipend Measure, or chitsuroku shobun.

In March 1876, the haitōrei outlawed the wearing of weapons in public, including swords.  Only the military and police were exempt from this law.  The samurai, who defined themselves via their swords, could now no longer advertise their identity publicly.

A few months later, in August 1876, all samurai stipends were mandatorily converted into government bonds.  This effectively cut-off the samurais’ salary and replaced it with a bond that only paid out 25% to 90% of their lost wages.

At this point, the samurai were no longer really samurai.  Their official military role had been eliminated.  Their once mighty feudal lords had been turned into paper-pushing governors who had little true authority.  The samurai could no longer wear their beloved swords or traditional top-knots.  And they weren’t even paid to be samurai anymore.

Many samurai accepted this demotion in social status with surprising equanimity.  After all, by the late Edo era a great number of samurai were functionally bureaucrats themselves, far removed from their warrior roots.  But a few die-hard samurai clung to the old ways and refused to accept their diminished status.

These remaining fanatics coalesced around a charismatic leader, Saigō Takamori.  In 1877, he led a final samurai rebellion against the central Meiji authority in the southern province of Satsuma.  At this point, the remaining samurai had little to lose as all their prerogatives had already been stripped away.

Although they fought valiantly, the Satsuma Rebellion was doomed to failure.  Many of the samurai refused to fight with rifles, but instead chose to do battle with their traditional weapons: swords, naginata and bows.  They believed the righteousness of their cause and indomitable warrior spirit would carry the day.

They were wrong.

The Meiji government’s army of conscript peasants, armed with modern rifles and trained in the Western style, defeated the rebels in a series of pitched battles between January and September of 1877.  Saigō Takamori, who is sometimes referred to as “the last samurai”, was cut down in battle and his remaining forces crushed.  The traditional Japanese samurai died with him.

 

Identifying Antique Samurai Sword Fittings

One important way to identify antique samurai sword mountings is to determine the metal used in their construction.  Tsuba, in particular, can be divided into two categories: iron tsuba and soft-metal (kinko) tsuba.  All other samurai sword fittings – fuchi, menuki, kashira and kozuka – were usually fashioned from soft-metal alloys.  This is because tsuba could potentially benefit from the structural strength imparted by iron, while other mountings were largely ornamental in nature.

Iron is a metal most of us are familiar with, so I won’t spend much time on it.  In contrast, the soft-metal (generally copper-based) alloys the Japanese used are really quite unfamiliar to most people.  So they will get the bulk of my attention.

The Japanese employed a number of different kinko alloys to impart a specific look or feel to a finished article.  Contemporary medieval metalworking in Western cultures, in contrast, took a completely different philosophical approach to finishing metals.  Instead of relying on a profusion of different alloys for aesthetic effect like the Japanese, Europeans used surface treatments like acid etching and plating to achieve various finishes.

 

Edo Era Fuchi & Kashira for Sale on eBay

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Shakudō

Shakudō is one of the classic Japanese metalsmithing alloys.  Shakudō is an alloy of between 1% and 10% gold, with the balance composed of copper.  However, the typical shakudō alloy contained 2% to 7% gold.  Because of the expense of gold, cheaper shakudō alloys will tend towards the lower end of that range.  Only the very wealthiest and highest status samurai could afford high quality shakudō mountings for their swords.

This unique alloy naturally develops an alluring velvety bluish-black or purplish-black patina over time.  But Japanese craftsman more commonly induced the prized patina immediately via an oxidizing paste called rokushō.  Historical references to shakudō appear as early as the Nara period (710 to 794 AD), but the first surviving examples of the alloy date from the 12th century.  In any case, shakudō is one of the most important alloys used in antique tsuba, fuchi, kashira, menuki and kozuka.

Shibuichi

Shibuichi is another important Japanese metal alloy.  It consists of anywhere from 15% to 70% silver, with the rest being copper.  The addition of silver to copper produces a wide range of subtle grays, from an intense, charcoal-gray for low silver content alloys to a light, powdery-gray for high silver content alloys.  In some instances, shibuichi was further mixed with a tiny percentage of gold (usually 1% or 2%) to achieve other minor color variations.

Shibuichi’s origins undoubtedly date back to Japan’s medieval era, although it was first noted in early 18th century records from the Tokugawa shogunate mint.  This unusual metal was widely used by skilled Japanese metalworkers to create very fine samurai sword fittings in the 18th and 19th centuries.

The Western equivalent to shibuichi is an alloy called billon, which was composed of copper with less than 50% silver.  But unlike shibuichi, billon was only used in medieval European coins as a debased silver alloy.

Yamagane

Another Japanese alloy, yamagane, was used exclusively in older, pre-Edo era days (before 1600).  This metal was crude, unrefined copper, more or less exactly as it came smelted from the mine.  Due to its origins, it was sometimes called “mountain metal”.

Yamagane was commonly used in kinko samurai sword fittings from the Kamakura (1185 to 1333 AD) and Muromachi periods (1333 to 1568 AD).  This is due to the fact that the technology to produce refined copper (suaka) was expensive and not widely known during those eras.  Being a naturally occurring alloy, there was no explicit, set formula for yamagane’s composition.  But it is a good bet that most yamagane is around 95% copper, give or take, with small amounts of zinc, tin, lead, silver and arsenic making up the balance.

Yamagane is a deep, rich brown color, sometimes with hints of gray.  However, it takes some experience to distinguish raw, yamagane copper from refined, suaka copper based on looks alone.  You can expect to encounter yamagane only rarely due to the scarcity of surviving pre-Edo era samurai sword fittings.

Shinchu

Shinchu is what we would call brass today – an alloy of perhaps 75% to 85% copper, with zinc rounding out the balance.  Sometimes lead was added too, probably to change the final patination effect.  Shinchu has been continuously used in Japanese metalworking since the Nara period (710- 794 AD).

Sentoku

Sentoku is roughly the equivalent of bronze, an alloy composed mostly of copper and tin, with a small admixture of zinc and lead.  This produced a yellow-brown metal that wasn’t as bright as shinchu, but was otherwise quite similar.

Silver & Gold

In addition to the above soft metal specialty alloys, antique samurai sword mountings often have decorations crafted from silver or gold.  In many instances, the precious metal was inlaid into the underlying base metal.  On other specimens, the gold or silver decoration was applied as thick wire or sheet that stood in relief.  In very rare instances, the entire piece was made from solid silver (or gold, although such examples are quite uncommon).

The next identification method I want to discuss is a craftsman’s signature.  While many high quality antique samurai sword fittings were signed, not all masters saw fit to sign their creations.  In fact, there are many more unsigned samurai sword fittings than signed ones.  I would also like to note that it is more common for a tsuba to be signed than other mountings.

Unfortunately, translating the signature on an old tsuba can be quite challenging for those of us who are not fluent in Japanese.  But once a signature has been deciphered, the tsuba can usually be attributed to a specific artistic school and perhaps dated.  Below is a helpful guide to tsuba signatures that I’ve pulled from JSSUS (The Japanese Sword Society of the United States):

 

Signatures of the Major Tsuba Schools

赤尾 Akao 明珍 明弥 Myôchin
赤坂 Akasaka 明弥 紀 Myôchin Ki
Aoi 南蛮 Nanban
備前与四郎 Bizen-Yoshirô 奈良 Nara
武州 Bushû 西垣 Nishigaki
長州 Chôshû 信家 Nobuiye
大五郎 Daigorô 応仁 (應仁) Onin
越前 Echizen 尾張 透 Owari sukashi
Hayashi 早乙 Saotome
後藤 Gotô 志水 Shimizu
肥後 Higo 正阿弥 Shôami
平田 Hirata 秋田正阿弥 Akita shôami
平安城象嵌 Heianjô Zôgan 会津正阿弥 Aizu shôami
彦根彫宗典 Hikone Bori Sôten 備前正阿弥 Bizen shôami
法安 Hôan 古正阿弥 Koshôami
伊藤 Ito 京正阿弥 Kyô shôami
加賀 Kaga 庄内 Shonai
鏡師 Kagamishi 藻柄子宗典 Soheishi Sôten
加賀与四郎 Kaga-Yoshirô Sôten
鎌倉 Kamakura 太刀金具師 Tachi Kanagu-shi
金山 Kanayama 太刀師 Tachi sh
金家 Kaneiye 天法 Tempo
甲冑師 Katchûshi 土佐明珍 Tosa Myôchin
記内 Kinai 土佐 Tosa
金工 Kinkô 刀匠 Tôshô
古美濃 Ko Mino 埋忠 Umetada
古刀匠 Ko Tôshô 柳生 Yagyû
京透 Kyô Sukashi 山吉 Yamakichi
美濃 Mino 山吉兵 Yamakichibei
水戸 Mito 与四郎 Yoshiro

 

Sometimes a samurai sword fitting will be engraved with a family crest, known in Japan as a kamon.  While a kamon will not tell you who made a piece, it will tell you who it was made for, which is almost as meaningful.  A kamon provides a direct link between an old sword fitting and the samurai who commissioned it.

Kamon were popular with samurai because they instantly communicated clan affiliation and social status to any onlooker.  But kamon were most often displayed on a samurai’s clothing.  Adding one as a decorative element to the katana was completely at the discretion of an individual samurai.

Attributing a samurai sword mounting’s kamon to a particular clan might also reveal the geographic origin of a specimen, which is a nice bonus for connoisseurs.  Unfortunately, relatively few antique samurai sword fittings used kamon as decorative motifs, making this method of identification somewhat less useful than it would first appear.  This website on Japanese heraldry might prove useful for looking up any kamon you come across.

Being able to accurately describe the design or decoration on antique samurai sword fittings is another invaluable skill for the collector.  The design choices made by the artisans tended to reflect traditional Japanese aesthetics.  Major themes included geometric designs, animals, insects, holy men, ritual objects, demons, warriors and scenes from nature or daily life.

Because these motifs were recycled again and again throughout Japanese history, it is difficult, if not impossible, to date a samurai sword mounting from its design alone.  Still, it is imperative for the collector to know what is being represented and its importance in Japanese culture.

 

Dating Antique Samurai Sword Fittings

Dating old samurai sword fittings is notoriously difficult.  Traditional materials, forms, decorative elements and smithing techniques were continuously utilized for several hundred years with little change.  This leaves collectors in a quandary.  In extreme cases, it can be difficult to tell the difference between a 17th century tsuba and an early 20th century one!

In spite of this obstacle, it is possible to make some broad assertions that can help the aficionado to date antique samurai sword fittings, especially tsuba.

First, and perhaps obviously, early mountings are much rarer than later ones.  Any material from before the start of the Tokugawa shogunate (circa 1600) is scarce.  Being primarily weapons of war, these Kamakura/Muromachi/Sengoku era tsuba were almost entirely functional in nature.  As a result, most (although not all) specimens were made from iron in simple egg, oval or round shapes.  Decoration of early iron tsuba was generally restricted to simple pierced geometric motifs.  In addition, it was not unusual for one or both of the kozuka hitsu-ana and kōgai hitsu-ana holes on either side of the central nakago-ana hole to be absent.

 

Old (Pre-Edo Era) Tsuba for Sale on eBay

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According to legend, the first soft-metal (kinko) tsuba were produced in the late 15th century by the famous artisan and founder of the renowned Goto school, Goto Yujo.  I would take this folklore with a grain of salt, however, as it is impossible to verify with any degree of accuracy.

The rise of the Tokugawa shogunate in the Edo era fundamentally changed the role of the samurai class in society.  As real battles faded into the past and peace became the norm, samurai sword fittings became more ceremonial or decorative in nature.  A high-ranking samurai’s tsuba or kashira became the perfect venue for him to advertise his wealth, social status and power.

Because of this, samurai sword mountings became increasingly lavish over the course of the Edo era.  This doesn’t mean that extravagant tsuba, fuchi or menuki weren’t produced early in the Edo period – only that opulent examples are more common in the 19th century, as opposed to the 17th century.  The bulk of genuine antique samurai sword fittings available in the marketplace today are from 18th or 19th century Edo Japan.

The fall of the Tokugawa shogunate and the subsequent destruction of the samurai class in the 1870s created a crisis for sword fitting makers.  Most went out of business as demand collapsed, but a few still managed to hold on.  These tenacious survivors continued producing small quantities of high quality goods throughout the Meiji, Taishō and Shōwa periods.

It can be exceedingly difficult to distinguish a 20th century tsuba from a 19th century Edo example.  However, more modern specimens will often display a precision or crispness that is generally lacking in older pieces.  It is important to note that most of the samurai sword fittings created in the post Edo era were cheap reproductions intended for the tourist market.  Relatively few high quality mountings were handmade by skilled artisans using traditional methods in the 20th century.

I would also like to briefly talk about the impact of World War II on the Japanese samurai sword industry.

After Japan lost World War II, Allied occupation commander Douglas MacArthur ordered all samurai swords to be confiscated and destroyed on the grounds that they symbolized Japanese military aggression.  Although this law was soon amended to preserve historically significant specimens, a large number of very fine, very old swords had already been dumped into Tokyo Bay or melted down for scrap.  Presumably, an equally large number of magnificent antique samurai sword fittings were lost at the same time.

This single event was probably one of the largest art purges of all time, albeit unintentional.

Happily, American servicemen in Occupied Japan were allowed to take some surrendered swords home with them as war trophies.  Due to this historical good fortune, many artistically important swords (and their mountings) were saved.  It also means that a disproportionately large number of fine old samurai swords reside in the United States.

 

A Buyer’s Guide to Antique Samurai Sword Fittings

When investing in antique samurai sword fittings, the primary criterion is always quality.  You want a piece made by a master, or at least a skilled journeyman.  Good, investable specimens will always be finely finished, with incredible attention to detail.  This is true regardless of whether they are made from iron or a soft-metal, like shibuichi.

Unlike many antiques, age is a secondary factor when collecting tsuba, fuchi, menuki, kashira and kozuka.  Quality trumps everything.  I would much rather own a superb mid 20th century tsuba than a poor quality example from the 15th century.

Look for specimens that have an even, intact patina.  The exact appearance of a good patina will vary depending on the specific metal alloy used.  Unfortunately, this knowledge can only be gained through experience (looking through a lot of online auction listings can help).

Conversely, avoid anything that has been harshly cleaned.  Cleaned examples will often have an unnatural appearance that doesn’t “fit” with the purported age of the piece.  In addition, the absence of an appropriate patina may indicate a modern forgery.

It is also wise to avoid tsuba and other sword fittings that are crude or poorly finished.  Many vintage (and modern) reproductions were cast because it was a cheap and easy production method.  However, these copies often exhibit unfinished seams, porous surfaces and generally bad workmanship.

Watch out for damaged pieces.  With iron tsuba, this generally takes the form of fire scale, cracks, pitting or excessive rust.  Damage to soft-metal (kinko) pieces is often due to botched cleanings or other mistreatment that leaves deep scratches or mechanical abrasions on the surface.  Also, never try to clean an antique samurai sword mounting yourself.  You are likely to strip its patina and damage it, permanently reducing its value and desirability.

Don’t be put off by small chisel marks that you might see around the central hole on some tsuba.  These marks are not damage.  They are called tagane ato (literally translated as “punch marks”) and were made to tightly fit a remounted tsuba onto a new sword.  In fact, tagane ato can be an indicator that a tsuba has seen real use and is genuinely old.  This clue isn’t foolproof, though; tagane ato can be faked.

 

High-End Samurai Sword Tsuba for Sale on eBay

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I would also like to note that most fake antique samurai sword fittings in circulation today originate from China.  Therefore, it is a cardinal rule to never, ever buy old Japanese swords or their paraphernalia from China!  You are almost 100% guaranteed to get a worthless reproduction.

Stick to buying exclusively from trustworthy dealers instead.  Many of these established dealers are located in Japan, but sell internationally via eBay.  Respected dealers from the United States and Europe also sell on eBay.

Prices for old samurai sword fittings can vary greatly depending on quality, age and materials.  All else being equal, you should expect to pay more for a tsuba made of shakudō or a precious metal, versus one made of iron, copper or some other base metal.

Old samurai sword mountings that are richly decorated will generally be more desirable and expensive than those that are plain.  One exception to this rule is very old, pre-Edo era tsuba, which can be quite pricy even with little in the way of decoration.

Good quality antique samurai sword fittings start at just over $100, although I have heard of one lucky buyer picking up a genuine Muromachi era iron tsuba for $20 on eBay!  There are many fine specimens available in the $200 to $400 range.  If you’re willing to spend $800 or $1,000, you can expect to score a superlative piece, like this signed Edo era tsuba from the Ishiguro School.  At $1,500 or $2,000 you are easily into museum quality territory.

I find it amazing that you can hold a centuries old piece of the samurai legacy in your hands for only a couple hundred dollars or less.  It boggles the mind that these cultural treasures have somehow been overlooked in our modern age.  However, I don’t expect this opportunity to last forever.  One day these jewels of old Japan will be recognized for what they are, and prices will be much higher when that day comes.

 

Read more in-depth Antique Sage Japanese antiques investment guides here.

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 Read more in-depth Antique Sage militaria investment guides here.


Silver Trade Dollars of East Asia – Visions of Imperialism Past

Silver Trade Dollars of East Asia - Visions of Imperialism Past
Here is a spread of early 20th century silver piastre trade coins from the colony of French Indo-China.  Prices for these silver trade dollars, and others like them, have steadily risen over the past 10 years – particularly for problem free specimens in good condition.

In 1865 U.S. journalist Horace Greeley popularized the rallying cry “Go west, young man”.  The phrase was originally meant to encourage the enterprising and ambitious to strike out for fortune in the rugged expanses of the Western United States.  And yet, if you travel far enough west, you inevitably find yourself in the exotic and mysterious Far East.

In the 19th century, China, Japan, Korea and Southeast Asia were not only sources of curious philosophies and bizarre plants and animals, but also luxury goods of all descriptions.  So it shouldn’t come as a surprise that the unfamiliar, yet beguiling, cultures of the Far East fascinated the West.  Antique silver trade dollars – large coins minted to promote commerce in the region – perfectly exemplified this Western obsession with all things East Asian.

During the mid 19th century European trade with the Far East grew dramatically.  Europe imported massive quantities of Chinese silk, porcelain and tea, along with many other East Asian luxury goods.  However, the merchants of the Far East – and China in particular – would only accept silver bullion in exchange for their wares.

As the 19th century progressed and the European powers established colonial territories in East Asia, the need for standardized silver trade coins to facilitate commerce became acute.  As a result, the greatest empires and nations of the age – France, Great Britain, Japan and the U.S. – all minted impressively heavy silver trade dollars for exclusive use in the distant Far East trade.

Although I use the phrase “silver trade dollars” as a catchall term in this guide, calling these coins silver trade crowns would be more technically accurate.  A “crown” in coin collecting traditionally referred to an old British 5 shilling silver coin.  However, the term has also been adopted by the collecting community to refer to any silver coin that is similarly large in size.

Foreign silver crowns are avidly sought by coin collectors due to their imposing dimensions and captivating designs.  Silver trade dollars of the Far East are no exception to this rule.  With diameters generally varying between 38 and 39 millimeters (1.5 to 1.54 inches), they are similar in size to the venerable U.S. silver dollar.

In addition, these East Asian trade coins were struck from high purity, 900 fine (90%) silver.  They were among the largest, most splendid coins ever intended for general circulation.  Nothing impresses a potential trade partner like a massive hunk of almost pure silver.

Tragically, these historic silver trade dollars were usually treated as common bullion.  Although originally minted by the tens of millions, over the decades vast quantities have been damaged, excessively worn or melted down.  Consequently, these artistically crafted treasures of a bygone era are not nearly as plentiful as official mintage figures would indicate, particularly for examples in better condition.

One of the most beautiful and iconic of these silver trade dollars is the French Indo-China piastre.  Over a period of about 30 years in the late 19th century, France accumulated several territories that it eventually consolidated into French Indo-China.  The present-day countries of Vietnam, Laos and Cambodia were all part of this colony.  At the time, the French Empire was second only to the British Empire in terms of prestige.

In order to facilitate trade in French Indo-China, France introduced a new currency unit called the piastre de commerce.  The piastre was minted to a standard of 24.49 grams (0.7875 troy ounces) of pure silver.  The series ran from 1885 to 1928 and featured the personification of Liberty seated on the front.

The figure of seated Liberty on the coin looks uncannily like the Statue of Liberty in New York City’s harbor.  This isn’t just a coincidence.  France gave the famous landmark to the United States in 1886 as a gift for its (belated) 100th anniversary.  The reverse has a simple, yet elegant, wreath surrounded by a legend with the coin’s weight and fineness.

In 1895 the weight of the French Indo-China piastre was slightly reduced to 24.30 grams (0.7812 troy ounces) of fine silver.  However, the purity and design of the coin were left unaltered.  The French Indo-China piastre was minted primarily in Paris, but coins dated 1921 and 1922 were struck in Birmingham, Osaka or Hanoi.

 

French Indo-China Silver Piastre Coins for Sale on eBay

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Another silver trade dollar that is extremely popular with collectors today is the British trade dollar.  In the early 1890s, the British began looking for a new currency to promote commerce with China, as well as Britain’s expansive East Asian possessions.  As a result, the British trade dollar was minted from 1895 to 1935.  This coveted coin saw heavy circulation in Burma, British Malaya, British Borneo, Singapore and Hong Kong.

This attractive silver trade dollar shows Britannia – the personification of the mighty British Empire – standing proudly with her trident and shield on the obverse while the reverse displays the denomination in both the Chinese and Malay languages.  The British trade dollar contained 24.26 grams (0.7800 troy ounces) of fine silver and was minted in both Bombay (present day Mumbai) and Calcutta (present day Kolkata).

 

British Silver Trade Dollars for Sale on eBay

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The Japanese also felt the need to maintain their commercial interests by striking a silver trade dollar.  In 1897 Japan pulled over 20 million of its silver one yen coins from circulation and countermarked them with the Japanese word “gin” or silver.  These demonetized coins were then exported as bullion pieces to the Imperial Japanese possessions of Taiwan, Korea and Manchuria.  The “gin” countermark denoting these as special trade pieces was stamped on the reverse of the coins, to either the left of the denomination (indicating the Osaka mint) or the right (indicating the Tokyo mint).

The Japanese silver one yen coin contained 24.26 grams (0.7800 troy ounces) of fine silver and was struck from 1874 to 1897.  It featured an Asian-style dragon on the obverse and the stately Japanese imperial crest, along with a wreath and the denomination on the reverse.  These remarkable Japanese silver trade dollars were a far cry from the feudal-style, “samurai money” the Tokugawa shogunate had struck just a few decades before.

 

Japanese Countermarked Silver One Yen Coins for Sale on eBay

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Not to be outdone by its trade rivals, the United States also minted an East Asian silver trade dollar that is extremely popular with collectors today.  But this silver trade coin had a story behind it.

In the early 1870s the United States had two problems.  First, it needed to find a way to off-load massive quantities of silver that had been discovered in Nevada’s famous Comstock Lode.  Second, the U.S. was worried about the competitiveness of its existing silver dollar in the Far East trade versus the preeminent coin of Chinese commerce at the time, the silver Mexican 8 reales.  Foreign silver coins other than the Mexican 8 reales – like the U.S. dollar – were often significantly discounted in transactions.

As a way to address both problems at once, the U.S. authorized the striking of a special, slightly heavier version of the silver dollar.  This resulted in the U.S. trade dollar, a coin struck from 1873 to 1885 that was intended to circulate solely in China and the Far East.  The U.S. trade dollar showed Liberty seated on the front and an eagle with wings spread on the back of the coin.  The coin was struck in Philadelphia, San Francisco and Carson City (in Nevada) to a standard of 24.49 grams (0.7874 troy ounces) of pure silver.

 

U.S. Silver Trade Dollars for Sale on eBay

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An ambitious connoisseur could assemble a very impressive traditional collection of these large, enticing silver coins by date and mint.  Alternatively, one could assemble a good “short set” by acquiring a single example of each type of trade crown – a French Indo-China piastre de commerce, a British trade dollar, a “gin” countermarked Japanese yen and a U.S. trade dollar.

Another fine set would be a French Indo-China piastre from every decade of its production run – one from the 1880s, 1890s, 1900s, 1910s and finally the 1920s.  This type of abbreviated set would work well with the British trade dollar as well.

Yet another variant would be collecting every different date of a U.S. trade dollar struck at a particular mint.  A San Francisco U.S. trade dollar set would consist of six common-date coins and be eminently achievable.  On the other hand, a Carson City set – although the same number of coins – would be substantially more challenging and expensive to assemble due to their lower mintages and high collector demand.

When purchasing silver trade dollars it is important to acquire coins in Very Fine (VF) or better condition.  Coins in VF condition will retain most details on figures and devices, although the exact grading varies by the coin series.  One potential exception to this rule is key date coins, where a lower grade may be acceptable.

For example, the 1878 Carson City U.S. trade dollar only had a mintage of 97,000 pieces.  But according to U.S. mint records, 44,148 trade dollars were melted in that year.  Almost all of these were undoubtedly 1878 issues from the Carson City mint.  So it is likely that net issuance was only around 50,000 specimens, with many of those subsequently destroyed or heavily damaged.  Therefore, unless your budget is unlimited, acquiring an 1878 Carson City trade dollar below VF condition may not only be acceptable, but your only realistic option.

The other primary consideration when choosing silver trade dollars is ensuring the coins are problem free.  It is imperative to avoid pieces that are scratched, holed or damaged in any way.  It is also wise to bypass coins that have been harshly cleaned at some point in their lives.  A well-worn coin that is brilliantly lustrous is suspect and highly likely to have been cleaned.  Instead, look for examples with original surfaces even if it means the coin is toned, dark or slightly tarnished.

Some trade pieces have chopmarks.  These are Chinese characters stamped onto the coin by private Chinese banks or moneychangers to guarantee their silver content.  In years past, chopmarked coins were considered damaged and thus traded at a discount to non-chopmarked examples.

However, this outdated opinion may be changing as the market for these attractive coins matures and becomes more sophisticated.  At a minimum, chopmarks on a silver trade crown prove that the coin in question definitely circulated in the Far East – and more specifically the Chinese market.

With their impressive size, precious metal content and historical significance, silver trade dollars are highly desirable investments.  In fact, as of early 2018, prices for these stunning coins have risen by almost 50% in just the last few years alone!

In spite of these rising prices, good examples of common date French Indo-China piastre and British silver trade dollars are still available in the $50 to $250 range.  Countermarked Japanese one yen pieces run slightly more, with pricing starting at around $100.  U.S. trade dollars are the most expensive of the group with common date varieties in reasonable condition trading for over $200.

Scarce or key dates of any of the series can cost anywhere from several hundred dollars to several thousands of dollars, depending on condition.  Key dates of the U.S. trade dollar in particular are difficult to find and correspondingly expensive. However, even an abridged set of these celebrated Far East silver trade coins would constitute a magnificent and compelling tangible asset.

It has been more than 150 years since Horace Greely’s famous pronouncement to “Go west, young man”.  With the rise of China in the modern age, Horace Greeley’s illustrious advice to seek fortune on the edges of the globe has stood the test of time.  And there are few finer ways of honoring the spirit of that astute motto than by investing in the silver trade dollars of East Asia.

 

Read more in-depth Antique Sage rare coin investment guides here.

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Read more in-depth Antique Sage Japanese antiques investment guides here.


Samurai Money – Japanese Gold Coins of the Tokugawa Shogunate

Samurai Money - Japanese Gold Coins of the Tokugawa Shogunate
Here is a fine example of a nishu-kin (2 shu) gold coin minted during the Japanese Tokugawa shogunate between 1832 and 1858.  The pale gold color is due to the fact that this coin, like most Japanese gold coins of the period, was minted from a gold-silver alloy known as electrum.  Tokugawa era Japanese gold coins are often called “samurai money” as an ode to their feudal origins.

We live in a fake world.  We are surrounded by fake wood, fake leather and even fake breasts.  A world overrun by imitations isn’t a particularly new phenomenon either.  Even the ancient Romans were deceived by unscrupulous merchants who peddled brass as gold to the unwary.  The counterfeit has been with us for a very, very long time.

In modern times, ingenious humans have found innumerable ways to imitate the finer (and by implication more expensive) things in life.  But these unconvincing copies are pale facsimiles – mere shadows – of the real article.  Those who understand these subtleties also know that genuine items of great beauty and real value are still available for those willing to take the time to look.

Feudal-era Japanese gold coins are one interesting possibility.  Minted from the early 17th century until just after the fall of the Tokugawa shogunate in 1869, these distinctly Asian coins reflect the rich samurai culture of feudal Japan.  Feudal Japanese gold coins are remnants of a time when Japan was still largely agrarian, feudal and isolated.  At this point in its history, Japan was ruled by traditional samurai lords who had cultivated their warrior philosophy for more than a millennium.

The monetary system of Tokugawa era Japan consisted of a disorganized mish-mash of bronze, silver, electrum (an alloy of gold and silver) and gold coins issued in a wide variety of shapes and sizes.  Theoretically, 16 shu equaled 4 bu, which also equaled 1 ryo.  But, in reality, coins traded by weight as bullion pieces.  Shu denominations, the smallest of the three, were often, but not always, minted in silver.  Bu coins were either silver or gold.  Larger denomination ryo coins were exclusively gold.

The Japanese word for silver is “gin” and their word for gold is “kin”.  Therefore, a one bu silver coin would be called an ichibu gin, which translates as “one-bu silver”.  Likewise, a similar one bu coin in gold would be called an ichibu kin, or “one-bu gold”.  Most Tokugawa period Japanese gold coins available in the market today are smaller one (ichi) or two (ni) shu or bu denominations.  These coins are called isshu-kin (one-shu gold), nishu-kin (two-shu gold), ichibu-kin (one-bu gold) and nibu-kin (two-bu gold), respectively.

These smaller shu and bu Japanese gold coins from the Tokugawa shogunate have an unusual rectangular shape surrounded by finely beaded borders that is reminiscent of a miniature bar or ingot.  Covered in exotic Japanese calligraphy and stylized paulownia flowers, shu and bu gold coins unequivocally exude the style of traditional samurai Japan.  The warm, soft glow of their electrum alloy accentuates the intricate details of the pieces, giving them a compellingly tactile sensibility.

 

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Due to their high purchasing power, most Japanese gold coins only received light wear.  Instead, everyday purchases in Tokugawa era Japan were made using lower value copper or silver coinage.  Gold coins were generally hoarded by those lucky enough to acquire them.

For over 250 years, from 1600 to 1868, warlords known as the Tokugawa shogunate ruled over a Japan divided into fiefdoms, each controlled by a local daimyo, or samurai lord.  But this traditional feudal structure began to deteriorate in the face of external threats.  After maintaining strict international isolation for over 200 years, Japan finally opened to foreign influence and trade when U.S. Commodore Matthew Perry’s infamous “Black Ships” entered Edo (Tokyo) Bay in 1853.  Japan then spent the next two decades immersed in a complex crosscurrent of radical new ideas and intense political turmoil known as the Bakamatsu period.

The old ways were changing.  A progressive faction that wished to modernize the island nation struggled against reactionary samurai forces that wanted to isolate the country again.  These conservative samurai elevated the Japanese emperor, who had previously been a figurehead, to an almost mythical status while rallying around the slogan, “Revere the emperor, expel the barbarians (foreigners).”

Ultimately, this internal conflict undermined the rotting, ineffective Tokugawa shogunate, leading to its collapse in 1868.  This ushered in the Meiji era, a time of rapid modernization and industrialization in Japan.  Feudal Japan and the samurai warriors who ruled over it were irrevocably lost to the mists of time.

The Tokugawa shogunate, like many governments throughout history, had an overspending problem.  Maintaining the excessively lavish lifestyle of the shogun and supporting his numerous retainers required more money than the government could easily collect via taxes.  It also didn’t help that most peasant farmers paid their taxes in the form of rice instead of money.  Consequently, the Tokugawa regime almost continuously debased the currency during its lengthy reign.

Japanese gold coins from the early Tokugawa shogunate started the 17th century with a fairly high purity of over 84% fine.  By the mid 19th century some of these Tokugawa shogunate gold coins had fallen to just over 12% fine gold.  Debasement didn’t occur in a strictly chronologically linear manner however; the purity of feudal Japanese gold coins varied widely, depending on the denomination and era struck.  The shogunate diluted their gold coins with silver instead of a baser metal like copper, leading to the many electrum (gold-silver) issues of the late Tokugawa era.

 

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The nishu-kin (2 shu) gold coins most commonly found for sale today were minted between 1832 and 1858, in the Tenpo era.  They are composed of 30% gold and 70% silver and measure approximately 13 mm (0.51 inches) long by 7 mm (0.28 inches) wide.  They weigh about 1.62 grams (0.052 troy ounces) each.  These small, intriguing coins are “samurai money” in the truest sense of the term.

Their larger nibu-kin (2 bu) cousins have four times the nominal face value of the smaller nishu-kin coins, but are otherwise quite similar.  The nibu-kin type most frequently seen on the market today was produced during the upheaval of the very early Meiji era in 1868 and 1869.  These Japanese gold coins circulated in the tumultuous period of rapid change immediately following the disintegration of the Tokugawa shogunate.

These late shogunate nibu-kin coins are composed of 22% gold and 78% silver and measure 19 mm (0.75 inches) long by 11 mm (0.43 inches) wide.  They weigh around 3.00 grams (0.096 troy ounces) each and were the last Japanese coins made in the old, bar style.  All later coins of the Meiji era were minted in the Western, machine-struck, round style that is familiar to us today.

For those looking for the ultimate in samurai money, larger denomination gold coins were also produced: the koban (1 ryo), goryoban (5 ryo) and oban (10 ryo) denominations.  These impressively large coins circulated exclusively as bullion pieces, trading by weight.  The massive goryoban and oban coins are extremely rare and can command astronomical prices (up to several tens of thousands of dollars each) when they do come to market.  The smaller koban pieces are more common, though still scarce and highly desirable.

These large, Tokugawa-era Japanese gold coins are oval in shape, with flowing script and artistic flower seals against a background of horizontal grooves or crenulations.  The reverse is blank except for scattered hallmark stamps and sometimes an era indicator.  Few gold coins are as profoundly attractive as these masterpieces of the feudal Japanese coiner’s art.  As a result, they are in perpetually high demand with prices to match.

Regardless of the creeping infiltration of the pseudo into the modern world there is one thing that is certain – Japanese gold coins of the Tokugawa shogunate are as genuine – as real – as it gets.  As with most coins, the price of these cultural treasures is dependent on condition, rarity and the era minted.  It is recommended that that investors look for specimens that are damage-free and possess good eye appeal.

The more common nishu-kin (2 shu) and nibu-kin (2 bu) examples from the 19th century generally trade in the $50 to $300 range per coin, while koban typically start above $600.  Prices quickly escalate for scarcer pieces from the 18th century or earlier, especially kobans and other large denominations.  For investment purposes, acquiring more common examples in Very Fine or better in condition would be advisable.  Fine condition or better is acceptable for larger denominations or scarcer specimens.  Condition becomes a secondary consideration for extremely rare pieces, assuming they can be found at all.

The Tokugawa shogunate was a simpler time of noble samurai, elegant geisha and rough peasant farmers that succumbed to the encroachment of the modern era.  Feudal Japanese gold coins represent a satisfying and captivating way to acquire a physical link to this near mythical period in Japanese history.  In a world where so much is so artificial, a collection of gold “samurai money” possesses an allure that is difficult to deny.

 

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Read more in-depth Antique Sage Japanese antiques investment guides here.