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丸形鉄地地透 – Round shape, iron base, open work 無銘尾張 – Mumei, Owari 昭和丁未年夏 – Showa Hinoto-Hitsuji year (1967), summer 寒山 - Kanzan

Date is Tenshō 4 = 1576 The "double-two" is intended to be a replacement for the character for "four" (四), because the word for four is a homonym for the word for death (shi), and is therefore considered bad luck and is often avoided in inscriptions.

One thing to bear in mind….. usually it is better to leave something unrestored than to restore it badly (that applies both aesthetically and financially) Bad restoration can leap at your eyes far more harshly than the consequences of the passing of time. Also be careful when using modern materials especially glues that do not allow a second chance.

It was made by 月山貞一 SADAKAZU (貞一), Genji (元治, 1864-1865), Settsu – “Gassan Unryūshi Sadakazu” (月山雲龍子貞一), “Naniwa ni oite Kinpō-jōhen Gassan Sadakazu kore o tsukuru” (於浪花金宝城辺月山貞一造之), “Gassan Sadakazu” (月山貞一), “Gassan Hayato Minamoto Sadakazu tsukuru”(月山隼人源貞一造), “Naniwa-jū Gassan Unryūshi Minamoto Sadakazu” (浪華住月山雲龍子源貞一), “Naniwa-jū Gassan Yagorō Sadakazu seitan hori-dōsaku” (浪華住月山弥五 郎貞一精鍛彫同作, “carefully forged and carvings engraved by Gassan Yagorō Sadakazu from Naniwa”), “Dainippon Gassan Sadakazu horimono-dōsaku” (大日本月山貞一彫物同作), real name Gassan Yagorō (月山弥五郎), he was born in the second month of Tenpō seven (天保, 1836) in the village of Sugoshi (須越) in Ōmi´s Inugami district (犬上), he was adopted by Gassan Sadayoshi (貞吉) at the age of seven and was appointed teishitsu-gigei´in (帝室技芸員) in Meiji 39 (明治, 1906), this rank was about the predecessor of the modern ningen-kokuhō and Sadakazu was besides of Miyamoto Kanenori (宮本包則) the only swordsmith who held this important rank, his gō were Kōkensai (光顕斎), Unryūshi (雲龍子), and Suiyūshi (水勇子), he died on July 11th 1918 at the age of 84, we know dated blades from the third year of Kaei (嘉永, 1850) – he was 15 years old at that time – until his year of death in 1918, that means he was about 70 years active as a swordsmith, he mastered all traditions and is considered together with Honjō Yoshitane (本荘義胤) and Kurihara Nobuhide (栗原信秀) as the greatest horimono artists of the bakumatsu and early gendaitō era, he also played an important role in the transmission of the craft of sword forging to the later gendaitō smiths, so some count Suishinshi Masahide as founder, and Gassan Sadakazu als last great master of the shinshintō, his blades have a rather long nagasa, a shallow sori, a wide mihaba, and a chū or an ō-kissaki, that means altogether a magnificent shape, but also some sugata in the style of the early Muromachi period are known, blades made during the Keiō era (慶応, 1865-1868) are especially large, he made many copies of kotō works and worked after the ban on wearing swords also for the military where more narrow and shorter blades were in demand, he forged the ayasugu-hada of the Gassan school, a masame of the Yamato tradition, or also a mokume, ko-mokume, or itame, the hamon is a beautiful chōji-midare in nioi-deki with a narrow yakihaba and long ashi in the style of the Ōei-Bizen school (応永備前), a ko-chōji-midare in ko-nie-deki, a chū-suguha-hotsure in the style of the Yamashiro tradition, or a gunome-midare with thick nie and nioi and plentiful hataraki in the style of the Sōshū tradition, the bōshi is maru, midare-komi or yakitsume, various horimono are known, for example dragons, dragon and a plum tree, ken-maki-ryū, waterfall, Fudō-Myōō, bonji and many more, all done very elaborate and skilful, some remind of horimono of Ikkanshi Tadatsuna (一竿子忠綱), his tangs are long and carefully finished, they have a kurijiri and sujikaiyasurime with keshō, during the Keiō and Meiji eras he signed with a characteristical koku´in, in Taishō five (1916) he forged a tachi on the occasion of the enthronement of emperor Yoshihito (嘉仁, 1879-1926), jōjō-saku。

The mounts themselves appear to be original and of good quality, as you would expect with the Suya stamp. Suya Shoten was known to have supplied Koshirae for a number of Imperial clients, and Gassan Sadakazu was a Teishitsu Gigei-in. The blade itself is somewhat uninspiring for a Gassan work, but that could be the photos.

Sesson Shūkei (雪村周継 1504-1589) was a Muromachi Period Soto Zen monk and self-taught artist who is considered the most distinguished and individualistic talent among the numerous painters who worked in the style of Sesshū, the 15th-century artist considered the greatest of the Japanese suiboku-ga (“water-ink”) painters. The two are referred to as "Sesshū of the west, Sesson of the east". He studied the paintings of Shūbun (a suiboku-ga artist active in the first half of the 15th century) and later, from 1533, those of Sesshū and called himself Sesson Shūkei in tribute to the two masters. He worked in a dramatic style that generally accentuated idiosyncrasy, humor, and exaggeration in his approach to subjects, whether figural or landscape. This sansuiga (ink landscape painting) work is an excellent example of his almost calligraphic brushwork style. The boatmen are depicted in a sunset scene, but the foreground is indistinct, abstract, a bit ominous, and filled with yugen (mystery). He juxtaposes heavy black ink and different shades of grey wash. Although unsigned, the seal in this work is similar to one that appears in his self-portrait, which is a Japanese national treasure. Similar example Seal comparison

So blade was made pre great flood 1590-1591. Great help and blade. https://markussesko.com/2013/03/12/the-great-flood-of-the-yoshii-river/

Looks like your smith is Sugawara Kanenori. Made at age 84. May have to leave the rest to others…

Maedate is correct. The motif was simplified and adapted to the Tsuba shape, but if it is actually a kamon is in the eye of the beholder. After all those years I’m still fascinated by the way how tsubako used all sorts of motives to create an appealing composition in a small space.

That last one is a much better picture. It could indeed have been Heianjō - Masatoshi. The sword would validate the signature, but the inscription could plausibly be Masatoshi...a bit too degraded to say with confidence.

G'day Guys, The mei looks pretty good. There are a couple of unusual things, but it is close enough that I can't immediately call it gimei without further study and better photos. During this period, there is quite a bit of variation in Gassan Sadakazu mei. Cheers, Bryce

This gives the impression of being a Sue-Seki blade (late Muromachi period, 16th century, Mino province). While I do think this is worthwhile to consider for restoration, the condition is not abhorrent and it appears that everything can be seen and appreciated for the most part. So, you may want to consider keeping it in its current condition.

Hi guys this was on katana I brought couple years ago. No signature though.

Hello Steve, Thank you so much for the correction. I will now update the listing. Mistake on my end with the translation. Yes!

The upper part of the omote side is not taken in the pictures. I guessed the untaken characters in blue font. 能登守 – Noto no kami 帝室技藝員菅原包則八十四歳作 – Made by an Imperial Household Artist Sugawara Kanenori, 84 years old. 飯野吉三郎君 – Mr. Iino Kichisaburo 君万歳 – Long live you. 大正二年十二月吉日 – Taisho 2nd year (1913), a day in 12th month FYI: 飯野吉三郎 - Wikipedia

Hmm... so taking into account the cost of a polish and shinsa, someone's already pricing that as Juyo-grade Tametsugu. I do see some masame-like bands of sunagashi/yubashiri in the ha area and nagare in the shinogi-ji, and combined with the overall Mino look and the wildly active hamon, I'm guessing the buyer's punting on an upgrade to Shizu (or better) at Juyo shinsa. 75cm+ Juyo Shizu would definitely be a good investment for 3.5mil JPY + light polish to get the scratches out (and of course, if it goes to a higher smith than Shizu you're rolling in cash).

Had my eye on this healthy Tametsugu. Then bidding exploded in the final 30 mins jumping from the starting bid of 1.6milJPY to 3.5milJPY. Tsuruta says it would benefit from a polish. Based on the photos the fine scratches are quite obvious. It appears to be a Mino period Tametsugu from what I can see. https://sword-auction.com/en/product/29871/as25689-katana-mumei-attributed-to-tametsugunbthk-tokubetsu-hozon-token/

i will say this, im bloody jelious of your photographic skills. i have been taking pics of swords for years and i wish mine was as good as yours.

Just came across this rather ornate hybrid of a gunto koshirae. It looks to be a kyu gunto-parade sabre mix. Has anyone seen something like this before? It has a supposed Gassan Sadakazu blade.

For comparison:

One category Tim missed, * Weird. I have changed my collection preference to Kawari-gata - this can of course involve most if not all of the other categories that Tim has listed.

Great piece . Have a look at Fuller and Gregory's write up on Imperial household swords

Kyu Gunto, signed Gassan Sadakazu.

Just added this great Japanese Cabinet to our collection. It is almost 8 feet tall and 5 feet wide. As with almost all shibayama items found it is missing some inlay. Does anyone know if anyone sells carved inlay items that maybe used to restore this? It is missing flowers, birds and a childs head. Howard Dennis

Not much in British museum in terms of Nihonto. There were one smaller size katana by Sukesada. Nice Mokumegane vase. Description was that it is inlay... hmmm. Wallace was nice but did not find any Nihonto. Nice museum thought. BM was chaotic.

No, it dries like hard plastic. Not sticky or anything. The only risk would be getting some under a loose piece

Mick, whoever did those legs was seriously good. That is excellent restoration work of the highest quality (imo). They look original to me.

Kabuto/Maedate kamon? Kuwagata Kamon?

This scam site has been around for a long time. You click on a site (in this case skay.com.ua) and are redirected to their site then see an expensive blade at 50% off. A great deal! The problem is I already own it....wait....let me check my tanto kake......yep, still own it. https://whatdiscount.ru/product/286767908504 John C.

I first was thinking the bling was hurting your eyes, as it does many...but still I enjoy Inside is a very sturdy nambokucho blade with a length just a hair short of katana. The nakago is a keisho style o-suriage.

My Tomita Sukehiro is a sword with a flamboyant hamon. It has some scratches and would benefit from a polish. However there is a lot to be enjoyed without. Date: koki ni sen roppyaku ni nen gatsu (1942) Nagasa: 68,58 cm Sori: 1,27 cm Sukehiro was trained by his grandfather Kato Sanekuni and worked as a Rikugun Jumei Tosho during WW2. He was rated 1 million yen. This sword is in need of a New home. It is priced at €2100,-

Here is one of Ford’s early works from my collection. I cannot recall when I bought this from him. It’s one of the most tactile tsuba I own and has beautiful and playful subject. Its made of iron but carved as finely as it it were soft metal as was his rare talent. best regards Michael

Its previous owner did so! because of his ignorance! and I have suggested repurchasing it in this condition! It is on its way to me now! The above photos were taken from previous owners