Mr. Gregory Irvine

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  www.jsnet.org/2006/03/index.php - [Cached Version]
  Published on: 3/1/2006    Last Visited: 3/26/2007  

  Gregory Irvine of the Victoria and Albert Museum will give an overview of the historical background to collecting Japanese art in the UK, and a brief outline of the many types of institutions in which Japanese art collections can be found.

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  >Name Goes Here< - [Cached Version]
  Published on: 1/26/2006    Last Visited: 10/3/2008  

  I want to record my thanks to Mrs Alicia Cropley, daughter of B. W. Robinson, who has given me welcome advice particularly about her father's early life, Mr Gregory Irvine, Curator of the Far Eastern Department at the V&A, Mr Eric Alberts, lecturer at the Art Students League in New York City, sword collector and friend for some twenty years.

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  >Name Goes Here< - [Cached Version]
  Published on: 11/8/2006    Last Visited: 10/3/2008  

  On Tuesday 7th November, Victor Harris (British Museum) Greg Irvine (Victoria & Albert Museum) together with myself and Fred Stride representing To-ken Society of Great Britain, were invited to Southend police station to receive a Japanese sword.

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  A.A.O. - Association Amigos do Oriente - [Cached Version]
  Published on: 3/8/2006    Last Visited: 6/24/2007  

  Gregory IrvineCuratorAsian Department, Victoria & Albert Museum

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  Asian Art in London - Calendar of events - [Cached Version]
  Published on: 4/21/2005    Last Visited: 9/6/2006  

  Speakers include: Victor Harris, Emeritus Keeper, The British Museum; Gregory Irvine, Victoria & Albert Museum; Dr. Clare Pollard, Ashmolean Museum, Oxford; Tim Clark, The British museum; Dr. Nicole Rousmaniere, Sainsbury Institute for the study of Japanese Arts & Cultures; Shaun Garner, Russell-Coates Art Gallery & Museum.

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  BOOK REVIEW: The Japanese Sword - The Soul of the... - [Cached Version]
  Published on: 1/26/2006    Last Visited: 10/3/2008  

  by Gregory Irvine
  ...
  Mr. Gregory Irvine is a curator in the Far Eastern Department of the Victoria and Albert Museum in west London, where he is obviously well placed to study the Japanese art in the museum's collection.In this book he has used well-produced photographs of a number of swords from the V & A's collection, whilst he has also been able to access a number of further photos of well-known swords from the Tokyo National Museum at Ueno.As well as swords from the V & A collection, Mr. Irvine has reproduced in full colour, a number of wood-block prints from the V & A's prestigious ukiyo-e collection.These illustrate legendary swordsmiths at work and armoured samurai in combat and compliment the text in an interesting manner.
  
  The book's purpose is to describe the historical context in which the Japanese sword in particular and other arms and armour in general, developed from the earliest time beginning with the excavated swords from the Kofun period (AD 300-600) continuing through to the post Pacific war and into modern times.Photographs of swords illustrate most periods.The fact that the characteristics (shape, construction etc.) of each type of sword are accurately and clearly described, shows that Mr. Irvine has a good understanding of this difficult subject.
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  For instance, Mr. Irvine shows an impressive suriage Nambokucho period tachi that has a kinzogan-mei (gold inlay inscription) attributing the blade to Tomomitsu as the maker and the date as Kemmu Ninen (1335).
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  I am not sure that a hira-zukuri tanto signed Kanemoto, complete with fully developed sanbon tsugi hamon and an elaborate horimono of bodhisattva Monju standing on a shishi, can possibly be as early as the 1530 date Mr. Irvine gives it, but this is speculation.I also question the wisdom of including swords with obvious fake signatures such as the Bizen Kanemitsu blade dated 1362 which, Mr. Irvine quite rightly I think, believes to be a 19th century piece from the Bizen Yokoyama school.This is another example of how the study of Japanese swords has progressed since this sword was acquired by the museum and what were previously readily accepted as genuine blades, with the benefit of better study and education, are now obvious fakes.Further I doubt that I would not have used a Kanefusa tanto, the genuineness of which Mr. Irvine admits is questionable and the quality of which is not immediately apparent, both inside the book and as an illustration on the outside back cover.

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  Cloisonné History In China | Beijing Factory - [Cached Version]
  Published on: 12/26/2007    Last Visited: 10/3/2008  

  3. Gregory Irvine, Japanese Cloisonné Enamels . Victoria & Albert Museum

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  Fathom :: The Source for Online Learning - [Cached Version]
  Published on: 1/31/2006    Last Visited: 5/22/2009  

  Gregory Irvine
  
  Gregory Irvine is curator in the Far Eastern Department of The Victoria and Albert Museum, responsible for the collections of Japanese metalwork, particularly arms and armour. As well as extended periods of research into collections of swords and armour in Japan itself, his other research areas include the philosophies and social context behind the use of weaponry in Japan's historical period.

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  Fathom :: The Source for Online Learning - [Cached Version]
  Published on: 10/9/2004    Last Visited: 6/21/2006  

  Gregory Irvine
  
  Gregory Irvine is curator in the Far Eastern Department of The Victoria and Albert Museum, responsible for the collections of Japanese metalwork, particularly arms and armour.As well as extended periods of research into collections of swords and armour in Japan itself, his other research areas include the philosophies and social context behind the use of weaponry in Japan's historical period.

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  Japan Foundation - [Cached Version]
  Published on: 3/22/2006    Last Visited: 2/15/2008  

  Gregory Irvine ( Victoria & Albert Museum ) will provide historical background to collecting Japanese art in the UK.

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