I tend to agree. The vertical lines likely are partially obliterated continuations; the horizontal line just raised the question in my mind, knowing the faint character of signatures by this carver.
Milton, I am a little puzzled with this statement of yours, as all the most attractive to me personally pieces currently attributed to Yoshinaga had a very prominent and well placed signature. Could you please elaborate further? Thanks
is a different carver than the Soken Kisho Koyoken Yoshinaga
. Miura used a different kanji for the character “Naga,” K186 永, not, as used by the more famous Yoshinaga, K272 長. The Miura Yoshinaga signature was often carved faintly or in an inconspicuous position. The Yoshinaga mentioned in the Soken Kisho usually signed with bold kanji, often within a reserve. The early collectors, such as Behrens and Seymour, failed to differentiate the later Miura Yoshinaga from the earlier Soken Kisho carver, although both collections appear to contain carvings from the later Miura.
If you have further interest, please see INSJ, vol. 31, #1, which contains an article on the netsuke of Miura Yoshinaga, as well as examples of the two different signatures. For those without access to that copy of the Journal, I enclose images of the different signatures from that article.
Bottom row depicts signatures of the Soken Kisho carver Koyoken Yoshinaga (uses "Naga" K272 長).
The other signatures are examples of Miura's use of the K186 永 kanji for "Naga", as well as the faint, scratchy style he often favored.