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I’ve spent hours looking at some of my newer blades under many different conditions and sources of lighting but it intrigues me that a picture under the right lighting can capture details that I never was able to pick up on until reviewing the pictures. Most of the pics however never turn out well but once every blue moon…. Kinda like Slender man in the background of a YouTube video or seeing Jesus in your breakfast toast. I have much respect for those of you on this board that have perfected this talent into an art form. I know Ray has a very informative thread on this subject.

So. The plot thickens. I'm fairly certain that is a Matsu stamp: I don't see evidence of a number, although corrosion could have destroyed them. Making this more interesting, if it is a Matsu stamp, is that the majority of Matsu stamps have been found on blades made in the Niigata prefecture. We have 2 recorded from neighboring Nagano, and now this one from either: Aichi, Mino, Dewa province (which back then included Yamagata), Yamagata, or Gifu, which is where the known Kaneyoshi smiths operated from. As you can see, they all neighbor Niigata and Nagano, so I'm starting to think this stamp was an Army stamp used for certain areas, like the katakana stamps we see with numbers. @george trotter - thoughts?

The paper is an export license application for the katana issued in 1967 when the owner brought it back to the US with him. The small card is a registration paper. The katana is unsigned.

Mark, The armour itself appears to be complete matching set, the finishes and fittings are decent, but not the highest quality and the condition of the various components is pretty good overall. I would treat the kamon as later additions, always buy the armour not the story. If you have any specific questions feel free to ask. I would not trust the attribution papers, the Myochin are well known for making inaccurate attributions and stretching the truth, both the kabuto and Menpo do not reflect their attributions in my opinion. All that being said, the papers were respected and taken very seriously at the time they were issued, they appear to be inline with period of manufacture and add credible provenance to the armour. If the armour was submitted for papers it would likely pass without any issues, at the price point I am a little surprised it is not already papered. 10,000,000 JPY is a lot of money and there are a lot of options at this price point, it might be worth shopping around and reaching out to some other dealers to see what is available. I hope this helps.

All insect themed tosogu for me! Thanks to friends on the board for the great discussions and sharing of some of these

Hello Krystian, I would read the mei as ‘Ryūfūken’ (柳風軒) ‘Tomohiro’ (友廣) Ps. that’s a lovely set of fuchigashira.

Thank you very much Thomas @Iekatsu. You've answered all the major questions I had. I was especially dubious of the menpo attribution and I thought the kamon looked to be a later addition. I too was surprised by the lack of contemporary origami. With your advice in mind, I'll not jump on this suit and instead take a few months to explore.

Wow! There are some really great tsuba in this thread. Scrolled up and down, up and down trying to pick a favorite. Can't settle on just one. I only picked up a few this year, a nice Soten, an Akasaka Tadashige made at age 73 and a Tokuho Kanayama.

Our fifth Katchū is on the road for our members. Enjoy!

As mentioned above, good matching set in good (restored!) condition! Thomas and Piers have given good advice especially in terms of origami. I don’t want to go into the translation (description) of the papers on the website for the time being…

Hi. It depends on the asking price. Keep in mind the sode do not match the dou, different colour silk. The dou needs to be relaced, it’s fragile. Given the condition, unless it’s cheap, I’d wait for a better buy to come along. Not sure about the mon. Condition is so important with these things. I’d keep walking. Mark

My guess is that the price reflects the quality and rarity of an armour in such pristine condition. If I had the ready cash then I’d be happy to have this on display at home. Aoi Art are probably happy to have it there, knowing they will not find a replacement too easily. It sounds as if you are not too keen on it though anyway, going off the boil so quickly, so no point in making them a cheeky offer, right?

Is it possible that the Sarute Hatome passes through the nakago? It looks long enough…

Kimura Yasutoshi F/K Daisho

Here are a few I picked up (all from Yahoo.jp), in no particular order. These three are Higo, Satsuma koshirae and Umetada.

Here are two of the tsuba added to my collection this year, both depict shishi and peonies. The two tsuba were probably made about 200 years apart and show differing aspects of the subject. Shishi are mythical guardian animals in both China and Japan and the peony is regarded in Japan as the king of flowers and symbolises bravery, honour and good fortune. Consequently the two are often depicted on tsuba together. The first is a shakudo tsuba, signed Masanaga, plus kao, with a pair of shishi on the omote and a peony on the ura. The tsuba was catalogued as Haynes Index no. H 04250, which identifies the artist as Chosuke Masanaga (d. ca 1700), who was a student of Nara Toshinaga (Markus Sesko) or Ito Masatsugu (Haynes). However, there were two generations of Masanaga in the Nara School and both used the same kanji for their signatures. The first generation, Seiroku, was a student of Toshinaga (either the 3rd generation master of the Nara School or a student of the same name). His (adopted?) son was Gihachi Masachika, who signed Masanaga for a while after his father’s death and was from the Kawakatsu family and a nephew of Sugiura Joi. The Nara tsuba artist Gohachi Masachika may have been an alternative name used by either of the other two Masanaga (see gen chart). Consequently, there is some uncertainty as to the identity of the artist who made this tsuba (assuming, as always, the signature is genuine). Specification: Height: 7.6 cm, Width: 7.4 cm, Thickness (rim): 0.4 cm, Weight: 216 g This tsuba was purchased by Edward Wrangham from the Roland Hartman Collection of Japanese Metalwork (Christies, 30 June 1976, Lot 130). I was told by the late collector and friend, Sidney Divers, in about 1976 ‘Start collecting tsuba. They will soar in price.’ In 45 years this one barely doubled. The second, a copper tsuba, is a radically different interpretation of the same theme and was made by a modern artist, Yanagawa Morihira (1899-1971). Apparently Ichiyushi/Shinryuseki/Shinryoso) Morihira was a Tokyo artist. From the age of 14 he studied with Yoshioka Mitsushige (who died 14 September, 1923, in the Great Kanto Earthquake). He then studied with Toyokawa Mitsunaga (second generation) and took the name Mitsuo until he established himself. The front (omote) of the tsuba shows both a shishi and peonies, whereas the reverse (ura) only shows the shishi. Interestingly, the shishi on the omote has a silver body and a golden mane and tail, whereas the combination of silver and gold is reversed on the ura. The heads on both animals is copper. Shishi are often represented as playful creatures, but these two are muscular with a fearsome pose and the silver shishi has a head which looks rather like Hannya, the Japanese female demon. The engraved peonies on the omote are coloured with silver and gold gilding and the petals are in a darker shade of silver. The gold and silver seem to be painted on, i.e. amalgam. The outlines are defined in katakiribori (half cut carving) and kebori (hair carving) and, particularly the silver, darkened to add extra tonality to the design. The nagako ana has four 32(?)-petalled chrysanthemum punch marks on each side, purely for decoration. There is also a single kozuka hitsu ana, filled with a gilt cat scratched plug. Shishi is also the name given to a group of political activists (Ishin Shishi 維新志士) in the late Edo period who opposed the westernisation of Japan. I think that it is likely that this tsuba was made in the 1930’s when Japanese militarism was at its peak, which is probably why I got it below estimate. Specification: Height: 8.75 cm, Width: 8.4 cm, Thickness (rim): 0.7 cm; Nakago: 0.4 cm, Weight: 254 g A very similar tsuba to this, in terms of technique, by Morihira is currently for sale by Aoi-Art (https://www.aoijapan.com/tsuba-morihira-sinryuseki/). I bought this tsuba in memory of my nephew, Gary, who died a few weeks before this tsuba originally came up for sale in 2020. It was unsold and came up again at the next auction (2021) when I decided to buy it. I would not normally have purchased this tsuba but Gary was an extrovert party guy whose group of girlfriends gave him the nickname Simba. This over the top depiction of shishi will always remind me of Gary. All the best for 2022, John

Hi you all wanted opinions for this sword I have the blade is mint scabbard a little split on top but sound I normally see 2 hangers where mine has one don’t know if this hurts the value and what is the value for this sword steve

Since its (almost) the end of the year, let's see what treasures you've acquired this year - I seemed to have gotten entirely too many pieces this year, but here are some of the top ones, in no particular order: 1. Killer kanayma: 2. Monkey/moon themed ko-shouami: 3. and just to make your skin crawl, here's a millipede themed tsuba attributed to Myouchin: 4.Kodai Jingo 5."ume" tada: Enjoy, rkg (Richard George)

i have a wakizashi in shirasaya. It has 2 long columns of sayagaki. I can make out some, i can see Meiji 34, 5th day, but some of the rest is beyond me, the first part seems worn or "distressed" not sure if someone tried to remove or hide that part. I would appreciate some assistance Thanks in advance !!

Looks like an end of war blade hastily pressed into service, pictures of the nakago will be telling. The quality of the blade looks decent from first glance though.

Hi Mark, Know nothing of armour but living in the UK, id be tempted to get in touch with David Thatcher to see if he is selling or knows anyone that is selling something that may suit, always a chance, i suppose, David Thatcher – Katchushi Koubou – Japanese Samurai Armour Studio (yoroi.uk)

Difficult Jon, from the dimensions it kind of reminds me of a mid 1600s blade. Perhaps if you joined something like the Token society you would get more advice. Last i heard we were down to one experienced polisher and he lives in Scotland. Perhaps have a word with him about what he thinks. If you do get the blade polished then its best to have a new shirasaya made too, another expense. A case or working out what is what and how much you want to spend. You do see some questionable polishing about in the UK, commercial polish. Im not sure who does these but wish they would stop. Mike Hickman-Smith is well known for Shirasaya, lacquer etc, perhaps speak to him also.

From the initial puctures it is really difficult to asses what this is. At a glance it looks to be a Muromachi blade that has been shortened, worst case it could be much later and doesn't have the requirements for value on a later period blade. I feel it should just be left as it is.

Hahaha. I might just do that.

Haha, well after that experience, now you know the worst they can do! To tell you the truth I have never had any dealings with them, so I have no right to advise. Surely though you have the right to make them an offer, even warn them in advance, or ask them if they’d be open to a deal, or interested in cash on the barrelhead…? (I’ll get my hat and my coat on the way out.)

If they are post war I can't see the appeal beyond a good condition sword using mostly original parts. Nice for display/gift? Or as Bruce says, a bookend in Gunto history.

The cloth tag has a date of 昭和拾六年 written on it which in the Gregorian calendar is 1941. Is this sword dated by chance? I would suggest getting this cloth tag translated in full. 拾 = 十

Cross-Reference to a 7th series Mantetsu in Type 97 fittings. Kanji signature characters on the thin edge of nakago Tang top: と 五六二 = to-562. Obverse: 昭和庚辰春 = 1940 Spring. Reverse: 興亜一心　満鐵作之 = Kōa Isshin　Mantetsu saku kore.

Thanks for the update. I agree with Bruce. This is the first reported Mantetsu that is fitted out as a Type 97. The Mantetsu blade was a commercial product so one was bound to make an appearance sooner or later. That string is part of the sword and is depicted in a 1937 book. Please look after it as they are not common. See link below. Launch documentation for the 1937 introduction of the new Navy Gunto, Post #34 When you have a few hours, the thread below is worth a read in regards to Mantetsu and the swords made by them. Attention Mantetsu Owners: A Survey And finally, you seem to have a knack for locating unusual items!

I have currently no answer Bruce. Guess we have to dig a bit….

@Kiipusorry for delay as holidays caughtup with me. Here are pics of the Mantetsu sword. Also @Bruce Pennington

I'm going to hazard a guess, looking at beautiful swords from this smith, that whatever original sword that once was in this saya, is long gone and replaced with the one pictured.

Hi @Kiipu thank you--fascinating! Here are the photos.

something doesn't look right- feels chinese

To add my brother also gave me my first M1 Garand with a lot of barrel left in it with matching parts which is rare…sorry getting off topic

If you haven't read the article on these, it can be found here: I have one because I feel they are the "book-end" to Japanese war swords, meaning, the last swords made by Japan for war. There is a chance that some of the blades were surplus, made for war but never used. So, in that regard, some of them likely carry the last blades made for WWII. I think most of them were made after the war, but that's speculation. They usually have nice, stainless steel blades. The fittings, in hand, are fairly light-weight, and while they look good, are somewhat cheaply made compared to the war fittings. All in all, I'm glad I own one. They tend to sell in the $400-500 USD range. Any sold higher than that are due to the buyers (and sellers) thinking they are kaigunto.

Second Tsuba - in Shakudo , Ishiyama Mototada , NBTHK papered , subject of Male and Female tigers

Didn't really get much in 2021 generally speaking it has been a hard year. Here is my only memorable purchase from 2021 per Richard's request. A middle Edo Period Yagyū Tsuba. More information can be found on my website about this tsuba: Tsuba Gallery #4 | Tsuba Otaku. It is the second tsuba from the top on the webpage.

Akasaka Tadasiga , Akasaka Tadamasa II , Katchushi .

It was a busy year with not much time for Tosogu, but I came away with 3 or 4 things that I will enjoy for a while. I do not currently have photos of the ko-goto kogai, but it came from a friend... as most of my pieces seem to do these days.

Thought I would consolidate some mon being discussed on 2 or 3 other threads, having to do with stars. And please correct me if one or more of these are something else, but there are some mon having to do with 5 stars, 7 stars, etc on habaki and even a kaigunto tsuba. Here they are: This one posted by Gareth, @Butch: This one posted by Rob, @robinalexander: And this one by David, @m4l700:

Yes, from those photos alone it seems to be original, Tosei Gusoku. There were several varieties of crab Mon, in fact you can see some in the Crab Sukashi tsuba thread here on this site. As to price, it depends who is selling or buying. Ballpark figures. The Do could be worth300-500 USD or more, the Sode 200-300, and the haidate perhaps 250+/-...? How does the Do look inside? The condition is not great, and the cord at the back is not quite right. (It lacks some other parts too.)

For the last 15 years, I've only owned two blades. One of them is a partially signed Omiya. I had it out last night and was appreciating it. Beautiful balance. Opinion: Omiya + 1

Like others have said above it is very nice sword. I feel the quality is definately there as it looks very nice in the pictures. However as I am personally very focused on shape & size, I would rather choose different type of Nanbokuchō item. Here are 6 other Ōmiya attributed mumei katana that are/were around this same price point for comparison purposes. http://www.nipponto.com/Sword/detailomiyaden.html https://web.archive.org/web/20160817205440/http:/www.nihontocraft.com:80/Japanese_Sword_Bizen_Omiya_Katana.html https://www.aoijapan.net/katana-mumei-unsigned-attributed-as-oomiya-school/ https://eirakudo.shop/token/tachikatana/detail/852780 https://www.aoijapan.net/katana-mumei-omiya/ https://www.nipponto.co.jp/swords6/NT330431.htm Of these I would personally go for the last two, and even though the last one is in rougher condition it is my personal favorite as it has grand shape and size. Only negative thing size wise is the short length but that is often encountered with very wide swords.

Yes, it is for real. The sword looks to be as advertised. The diagram is a modern re-creation of an older one famously known; it details the various kinds of cuts that could be done. Often times, the sword will have what kind of cut was used inscribed on the nakago.

Yip. NOT for use on polished blades. But ones out of polish with stains or amateur hadori, they can assist with showing some features. Just remember, NO uchiko on blades with professional polish and if in doubt, none at all.

The Saya looks like post war parts bodging: Type 3 drag, black lacquer saya, Type 98 and combat ashi and Type 98 kuchigane. You may as well put some Type 95 NCO sword parts on there and have parts from all major swords types fielded from 1934 to 1945 in one handy reference package

I bought all this equipment to polish old blades, now you tell me it's not appropriate? You sure know how to rain on a guys parade! (This should get me kicked off the forum for a while!).