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Ok, I suppose there aren't any more people willing to offer a hypothesis, or everyone else is somewhat in agreement with what has already been stated, or just don't know... #1 Apparently made by Higo's Hayashi Matashichi (It's published in the Gustav Jacoby Collection... and if I am reading this google translation correctly, it was once in the possession of the Hosokawa and Nishigaki lineages up until the late 19th century. #2 NBTHK papers to ko-Akasaka (lacking in any sort of useful detail, as usual...) Google translation: No. 4015180 Certificate of authenticity 1. Tsuba (sword guard) with openwork design of ginger and wild goose motifs, unsigned, Old Akasaka. Chrysanthemum-shaped iron base with openwork, rounded rim. The item on the right has been authenticated as a preserved sword fitting by our association as a result of our examination, and this is certified. May 28, 2019 Japanese Art Sword Preservation Association #3 Nishigaki Kanshiro (according to a hakogaki by Sasano. This one is posted on tsuba.info and is listed as 2nd generation Kanshiro in the section on Higo tsuba. I was given the info through messaging with the owner of the tsuba, but I don't have any images to post of the hakogaki. I was also informed that this one has some signs of slight layer separation, opening the door to a possible Akasaka connection And just to muddy the waters.. here's yet another, actually closest to # 2 in that it has the larger proportioned hitsu-ana. #4 It's in the Owari section of Tsuba Shusei (the elephant book), and it describes it as: 65. Myoga and Chidori – A tsuba with a nice texture in a central recess. In an older style. Seppa-dai 3mm, kakumiri 6mm. And just to blur things even more... here's one from illustrations of ancient tsuba on uchigatana, by Keichiro Yokota #5 attributed to Myochin it's back to the smaller sized hitsu-ana but it has some alternate motifs at the top and bottom of the seppa-dai (instead of myoga/ginger), and a few other small embellishments in the way the sukashi elements were chiseled. So to sum up... a mish mash of attributions due to some overlapping physical features between schools and smiths. So we have published attributions and hakogaki to Higo's Matashichi and Kanshiro, ko-Akasaka, as well as Owari and Myochin. Then I also got some suggestions elsewhere for Kariganeya Hikobe as well. So the answer is ... still to be determined I suppose

An "Owari" you might notice the birds are inverted - pointing towards the seppa-dai rather than the mimi. https://www.choshuya.co.jp/senrigan/抱茗荷雁金透鍔（鐔）　無銘　尾張/鍔/尾張 Afew in this older thread https://www.militaria.co.za/nmb/topic/44479-wild-geese-in-the-clouds/

木瓜形鉄地 – Mokko-gata Tetsu-ji 鋤出高彫象嵌 – Sukidashi takabori zogan 無銘甚五 – Mumei, Jingo 昭和戊申新春 – Showa Tuchinoe-Saru, shinshun (1968, New year) 寒山誌 – Kanzan wrote.

Hello, Delicate questions. In general, I recommend staying clear from recent TH papers to big names if you cannot assess it in hand and with sufficient experience studying higher level designations for said master. If this is not possible, only go in after having it appraised by someone who can hold it in hand, and has such experience. This is the value that a trusted dealer or collector friend brings. The reason for this is that the Shinsa panel is in a succession phase where it has to invest into new judges and ensure proper knowledge transmission - and this is a bumpy road. I has been so for a few years, let's see what happens at the upcoming Tokuju Shinsa. The last session had some eyebrow raising anomalies. For pieces attributed to Awataguchi Hisakuni, Shintogo Kunimitsu daito, Go Yoshihiro, Masamune without historical kiwame a respected Hon'ami judge or an entry into the Kanto Hibisho, it is quite delicate at the moment. I would even be exercise caution right now with zaimei pieces. With this wide caveat in place, there are still incredible pieces that can surface from time to time. Value wise, every tier of paper de-risks the object, that's all it does, the object does not change, and it is this de-risking that drives market perception and creates the price premium. If I'm a dealer and I tell you I have one of the best Nagamitsu, and it's sitting at TH, and I ask you 40 million yen for it, you're going to think I'm crazy. You won't believe me unless you have the knowledge to truly and deeply assess it, in relation to the corpus, and come up with your own conclusion that it is, in fact, one of the best extant Nagamitsu. Now if I tell you it passed Juyo session 3, then Tokuju session 6, all of a sudden it's a different story probabilistically speaking it is very likely amongst the ultimate blades extant. Sure, it might be the 'lesser' of the series, but these sessions contained an incredible density of treasures and on average, they contained more peak works. Advanced collectors know this, and dealers too, forming common knowledge around these heuristics. On the other hand, if you're one of the most experienced collectors in Japan, and you've "seen it all" - you look at the blade and you just know. You don't need the Juyo or Tokuju paper, you know what's out there, you've experienced most of it, you've been in the circles. You're ready to pay 40 million JPY in a blink for that blade sitting as a TH Nagamitsu. What's the value of his top blades? It's price = n/a. And the dealer might be very relieved you recognized it as such, and happy to sell it to you, because time is money and waiting for submission cycles is financially painful. He will put you into his serious client book, and propose you more such pieces in the future. If by miracle you get handed to you a zaimei Hisakuni tanto with denrai to the Imperial family -at Hozon- in good condition, it will be millions of dollars, and now the paradox kicks in that the buyer will be even happier as it's a secret blade that isn't recorded anywhere as some collectors just enjoy the secrecy a lot. This can help - for artists you follow, as you're looking for comparables out there, check out NW's artist database: https://nihontowatch.com/artists/nagamitsu-NAG281 Just be careful out there, if it looks like it's too good to be true, it probably is. I hope this helps, Hoshi

Title is just a title, not a nobility. Think of it as incorporating protective spirits of a province, rather than as a lord (lit. defender) of it. Its more esoteric in roots, i.e. there were some swordsmiths and actually fittings makers who were outright capable of conferring protection or invisibility (similar things). For a long time however bushi was a blood distinction. You had to descend from the north, from people who went away with the first Minamotos, or at least claim so. Again, Japan is a society where a paper from the current Shogun testifying it is so carries more practical weight than most historical documents. You could be adopted and thus become samurai, but it was not too common, if only because you have a system where the clan lives off some income which is held officially by one person. And in Edo period court standing on inheritance claims against such adoptees became a bit more stringent. P.S. Suketaka is a major smith, but goes in the background of nidai Sukehiro whom he imitated. Sukehiro, Sukenao, Suketaka.

It's not signed, Viktor. Here you go:

It is most copied tsuba I saw :] that’s why sekigane is right away warning. Believe Me I stopped saving those knock-offs, simply way to much of them

Maybe 包守(Kanemori)?

Well maybe a Cheshire cat amongst the karigane!

Signed Tanto Osafune Sukesada Tensho in shirasaya NBTHK Hozon EU Specifications: Nagasa: 21.6 cm Sori: 0 cm Mekugi-Ana: 1 Hira-zukuri Period: Late-Muromachi period tensho Jidai. Blade Description: A signed and dated tanto by Osafune Sukesada, accompanied by an NBTHK Hozon certificate. The blade is dated to August of the Tenshō period, though the exact year is illegible. The jigane consists of a well-forged mokume hada with areas of masame hada visible, showing good overall quality, with some nice jigane patterns to enjoy. The hamon is a nioi-based midare gunome, displaying very nice hataraki throughout. The blade presents as a solid example of Sue-Bizen Sukesada workmanship, with good overall condition and healthy structure. The tanto is in good condition, but in older polish. All imperfections are visible in the photographs; there are no major flaws or issues. A genuinely nice and enjoyable tanto. PRICE: €1000 (EURO) Free shipping within the EU International shipping available (extra charge: €20–40) Express insured shipping (FedEx, UPS, DHL Express, etc.) Located in the Netherlands – Pickup available Payment Methods: Various payment methods are accepted, with bank transfer preferred. Please contact via PM to discuss payment options. Any questions are welcome. Feel free to contact me anytime.

SOLD

Dear Jay. We could do with some more photographs but this part is a genuine Japanese sword. It is signed Suishinshi Masahide who is a very big name but. (Piers has just beaten me to it). The problem of false signatures occurs a lot in Japanese swords and you will need to approach this one with caution. As I said, more photos please. All the best.

Here are some additional images of the Shirasaya, its in good condition. Greetings, Lex

There is great chaos under heaven; the situation is excellent. [Mao Zedong] Maybe the pieces in hand would narrow down a decision? Nope! It isn't science, it's a kind of kult. The experts don't consent even on the kind of birds... (clearly karigane, not chidori, IMHO).

Jared, I don’t know. The big problem is that there are very few detailed biographies of swordsmiths. They are craftsmen. Hardly anyone took the trouble to document the stages of their lives. There is virtually no data on the early Shoami artists, despite their immense influence on the development of sword ornamentation. Some Kodogu collectors consider attributions to Ko-Shoami to be rather absurd, since this area has hardly been researched yet. On the other hand, quite a lot is known about the Goto family. However, the Gotos are also of noble descent. In addition, the reputations of some swordsmiths only gained a certain significance in later periods, so that subsequent generations sat down and wrote something about their family trees. Take, for example, the 3rd generation Ujifusa (Bizen no kami). He compiled a family tree of the Seki-Kaji and wrote extensively about his grandfather Wakasa kami and his father Hida kami. Thus, Shodai Ujifusa received the title Wakasa-no-kami a full three days after being appointed Officer of the Left Honor Guard (Saemon-no-jo). He is not mentioned by name, but it is highly likely that Oda Nobunaga was the advocate for this swift appointment. Nobunaga granted Ujifusa tax-exempt land. He became Nobunaga’s vassal and received a substantial income. In return for following Nobunaga to Azuchi (and presenting him with a sword), he received a horse, a silk kimono, and 200 kanmon of silver from Nobunaga. His son (Hida kami) served as a page to Nobunaga’s son, Nobutaka. After Nobutaka’s seppuku, Hida kami was considered a ronin. As the head of the Seki-Zenjo school, the Kanefusa/Ujifusa smiths bore a family name. The moment Ujifusa became not just an employed craftsman but a vassal of Nobunaga, he likely also attained the status of a samurai. And that is probably also the reason why we know a little more about Ujifusa and his career than we do about other swordsmiths of his time. However, the genealogy does not reveal the significance of the conferral of the title Wakasa-kami for Ujifusa. One can only speculate that the allocation of tax-exempt land in Gifu and later in Azuchi, along with the relatively high income that allowed for the employment of additional swordsmiths under Ujifusa’s leadership, served as a prime example of the settlement of artisans in the castle towns of the Momoyama period. Just as it was a prime example of the extraction of important swordsmiths from the hitherto strong alliance of the 7 Seki schools in Mino. A title such as Wakasa kami would, in this case, have guaranteed Ujifusa a certain hierarchical position within a flourishing sword production center in Azuchi. With a title like that, one would be able to move in different circles. Such a title would likely open doors that remained closed to a simple swordsmith. But history turned out differently... I’m only bringing all this up as an example! You can’t apply this to Suketaka. This is an example from a completely different time with completely different circumstances.

Dale, your post implies an important question to me: In what direction do the CHIDORI fly when they are depicted that way? I always assumed the LONGER body part was the tail. Am I wrong? And there are more TSUBA with similar design out there! One from my little collection - no idea where to locate that one!

Hello Rixcy. You can try to check Events tab here at NMB. Brett @MassiveMoonHeh has been updating it with ongoing and upcoming events.

Really appreciate you sharing this sounds like an incredible visit! The variety in this year’s Juyo Token Exhibition lineup seems especially strong. That Hizen blade with hitatsura temper and 94cm nagasa must have been a showstopper pieces like that really highlight the craftsmanship depth in Nihonto. The Yasumitsu you mentioned sounds fascinating too. I’ve always found Bizen tradition blades to have a very distinctive character, especially when seen in person rather than photos. Also interesting to hear about the Awataguchi Kuniyoshi submission to TokuJu that’s definitely something to watch. Did you happen to notice how the condition and polish compared across the different smiths? And was there any particular piece that stood out in terms of historical significance rather than just visual impact? One thought I had since exhibitions like this are quite niche and not always widely promoted internationally, it can be difficult to keep track of when and where similar events are happening. It might actually be helpful if organizations explored something like a digital membership card or event pass, where enthusiasts could: get timely updates on upcoming exhibitions have quick access to event details or catalogs receive notifications for major showcases like Juyo or Tokubetsu Juyo Something like that could make it easier for both local and international visitors to stay connected and engaged with these rare events.

Good to see you again Jon. Hope things are well.

I had already considered it myself, without coming to a conclusion. Because of the many reproductions of a trendy design it is difficult to determine a school by pictures alone. Maybe the pieces in hand would narrow down a decision.

John, It's a messy, and made worse by the photo, small circled anchor. Excuse my horrid editing: Another one of those mystery rigs. Is the paint "3"? or is there a faded "1" on top, so "13"? For now, I'll call it a "3" which puts it (along with the black ito and 1-piece fuchi/seppa) into the first run souvenir swords using mostly surplus parts. Toyosuke, for the record.

Yumso, that seems to be the majority opinion. Thanks.

@Jussi Ekholm, @Hoshi Thank you so much for the insight as always 🙏🙏🙏 My interests are similar to Jussi as I favor schools that produce rustic/stout blades. The sort of blades that would be considered " lacking elegance" and "artistic value" 😅 I dont think I will ever reach the level of ever considering blades at these price levels but intricacies and nuances when evaluating such blades will always fascinate me. I am very grateful to have knowledgable forum members for whenever these questions eat away at me. Thank you again 🙏

Unfortunately, I don't have the book Gai Sō Shi – Study Collection of Japanese Sword Fittings by Haynes, but I would be curious to know how the supposed Gotō Teijō daishō is presented there.

Hi guys, Here is something interesting to show you. A set of f/k awarded to Kamiya Dōichi, by Lord Chimura Nakashige(千村仲展) in 1868. Who was Kamiya Dōichi: Kamiya Dōichi(神谷道一) Known by the courtesy name Shikan and the art name Kansai. He was a Karō (Chief Retainer) of the Chimura family(Hatamoto), Kukuri Domain of Nōshū [Mino Province], during the Restoration. During the Hokueutsu War (part of the Boshin War), he was dispatched as the Commander of the Second Unit. After the Restoration, he became a Negi (senior priest) at the Minami-gu National Shrine. Subsequently, he entered service in Gifu Prefecture, where he was tasked with the editing of historical records. In 1879, he became the first District Governor of Kani, and later served as the District Governor for Ena, Ono, Mashita, and Yoshiki. He resigned from office in 1885 and authored works such as the "Sekigahara Senki" (Chronicle of the Battle of Sekigahara). Translations made by Gemini so I'm expecting some errors, but you'll get the idea. Award for the Echigo Military Campaign. Plum Blossom Fuchi-Kashira. One Set. Meiji 1, Year of the Earth Dragon [1868], November 15th. From the village of Kukuri in Tōnō [Eastern Mino Province]. Humbly received from Lord Chimura Nakashige. [Signed] Kamiya Dōichi. At the time of the Meiji Restoration, the Kukuri Domain of Nōshū [Mino Province] joined the Imperial Army and dispatched troops to Echigo. My ancestor, Kamiya Dōichi, served as a military inspector and fought bravely. Upon his victorious return, the Lord of the Domain, Chimura Nakashige, rewarded his distinguished service by granting him this. From there, it was passed down to my late father, Yoshimichi. The writing remaining on the lid of this case was brushed by the old master Kansai Dōichi. Having escaped the war damages of the 20th year of Showa (1945), it still exists today. It should be deeply revered. Recorded by his grandson, Yasuhiko. Enjoy!

Yes, 寒山誌（花押）　Kanzan shirusu (it means "written/recorded by Kanzan" with his monogram at the bottom). I don't know if its authentic or not. There are a lot of fakes out there.

I am almost as far away from high end collector as you can be but I have spent lot of time with Jūyō data. First of all as a disclaimer I have to say I don't really like either of the swords. The den Gō should in my mind be a slam dunk for Jūyō - Date family ownership, excellent polish, Kanzan Sayagaki, Tanobe Sayagaki. Still every year I know that items that are in my mind bound to pass fail, and some other items that are unimpressive to me pass. The mumei Shintōgo Kunimitsu katana just passed Tokubetsu Hozon in 2025. Now take the following what I will write with a big grain of salt but I have sometimes really felt that way, just as a disclaimer I am not quality focused collector but historical. If you throw away the NBTHK papers attributing to Shintōgo Kunimitsu, would you pay 7,500,000 yen for that mumei sword? In my own opinion the NBTHK attribution sometimes carry too large value but market works how it works. Of course the fine workmanship of Shintōgo can not really be seen in few pictures. Still if I saw that mumei sword looking like it looks on the pictures I would just skip it without really even second thoughts about it, even if the price would be extremely lower than it currently is. I know it is a controversial take but hopefully it can get the discussion going.

I just found this in the second volume of „Hyaku Tsuba“ by chance: Not the same, but a similar design. Only the front is depicted. The hitsu-ana, however, are thicker than on the piece in question. The text says „Mumei Echizen“. Maybe it helps.

Bizen Shoami. The Shoami school has many branches.

This the one Dale mentioned

However, the state of the nakago looks reassuringly mature.

These are my tsuba from the auction. And, well, my only regret was not having a bigger wallet... Seeing all those tsuba together was like finding Santa's sledge parked in the backyard for a kid... The second tsuba has a paper, but it's a minus, not a plus... guess what's the attribution?

There have been a few requests for this topic, so let's have a go at it, shall we? Maybe @PNSSHOGUN, John, could create a Primer with the basics? I know this is out of the blue, so no worries if it's not possible at the moment. I will browse previous threads for useful info and link them here, in the meantime. I'll start with this chart created by Ernie @Stegel. Lots of detail, so might need to zoom in for specifics. Tassel Examples - Ohmura Website GENERAL GRADE TASSELS Generals Rank Tassel - Paul G Generals Tassels - David Flynn NAVY Legendary Zig-Zag Stich Kaigunto Tassel - PNSSHOGUN Unique Metal Tassel End; Navy Tassel - PNSSHOGUN "LATE WAR" ALL BROWN TASSELS All Brown Tassel for Gunzoku - Nick Komiya, Warrelics Breaking News on the All Brown Tassel - Bruce Pennington, NMB NORTH CHINA RAILWAY POLICE TASSEL - BROWN/TAN Help With Blade, Tassel, and Fittings - Michaelr NCO LEATHER TASSELS Another Leather Tassel Question [has some manufacturing info] - John C MISCELLANEOUS Cut Tassel Discussion - DWMC KYUGUNTO SWORD KNOTS These pages are from Dawson's book. {Posting for now. Will update as we go. Please feel free to post links or items that would add to the educational value of the thread}

Here is a really fascinating thread from Nick Komiya about the Type 32 Gunto production. It includes a document on a change in tassel production which I thought was interesting and attached below. https://www.warrelics.eu/forum/Japanese-militaria/system-kaizen-behind-type-32-gunto-production-1930s-788442/ I have two tassels that I beleive display the before/after of this change. Left tassel looks greasy from antique leather conditioner. Regards, -Sam

Some documents on the Type 95 Military Sword Leather Tassel. I'm neglecting to offer my google translations because they are not perfectly accurate; and I do not want to mislead in the interpretations. Source: Rules for wearing sword knot of saber Model 95 (remodeled sword guard): https://www.jacar.archives.go.jp/das/image-en/C01005289200 Firearms Section notification: Model 95 saber wearing and carrying guidelines: https://www.jacar.archives.go.jp/das/image-en/C01005222500

I got an unused field grade tassel from John, still in the box. Upgraded my dad's Mantetsu!

That’s a very nice field grade example John. I’ve been looking for one of those for my field grade E&F Horster/SUYA Kyu Gunto. A couple company grade kyu gunto tassels that I recently picked up. One is a bit worn and dirty, the other looks nearly new and in a box.

Original boxed tassels that have come and gone over the years: Company & Field grade General grade Field grade Kyu Gunto

Did someone ruffle his feathers?

Now you have put the cat among the pigeons, Mauro.