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Yes, 4-artist collaboration. Flying magpie = Tsutsui Resting magpie = Ezoe Bamboo = Baba Plum = Matsumoto (Sugimoto?) Can't quite figure out if its "auspicious day" or "spring".

This "mei zukushi" manuscript is a bit of a mistery to me. The first sheet is dealing with household economics of temples in Hizen and Chikuzen. Kasei in Japanese and of little interest to us. It is clearly structured and written with a subtle and well controlled brush. The second sheet however is a rather chaotic collection of "knowledge" about swordsmithing and was definitely written by another hand. It starts on the right with "Munechika Sanjo Kokaji" and ends on the left with a lineage of Awataguchi smiths. Inbetween the exact turns of the Go-Ban Kaji and another Sagami-lineage. However: It's just another collection of hearsay, no matter how old. For those of you interested in translation of old manuscripts I give you a version of sheet 2 with a few hints. reinhard

Variant of “検” or “𢮦”: Based on its structure (扌 + 㑒), this character is often treated in dictionaries as a variant of “檢” (simplified to “検” in modern Japanese) or “撿” (rare in Japanese, more common in Chinese). Some large databases, such as Kanji Jitenon, list it as a glyph variant of “撿”. It definitely should be 検/檢 for inspected.

Exactly - they tested the metal with a magnet device to confirm the magnetism. In terms of reviewing the signatures, they compared the export certification (which included photos of the tangs) with the actual blades, including comparing the signatures to verify that the blades at the airport were the ones approved for export. It was not a particularly comprehensive review, but they did do this comparison.

To lighten the mood a bit, I'll tell you a story. In 1990, Dr. Sempé passed away, and his widow, fearing theft, hid his Andean archaeology collection, along with 70 tsuba and kozuka, behind a platform in their country house. Thirty-five years later, their daughter-in-law undertook renovations and rediscovered these completely forgotten collections. Naturally, all the tsuba and kozuka were corroded with numerous spots of red rust. Last Friday, I bought three of these tsuba at an auction. Here are photos of one of them before and after the cleaning I performed (washing with soapy water, scraping off the rust with bone, then lightly oiling). No corrosive products were used, of course

Oh yes! I am very familiar with that old proverb/song. Six would have been better but then again, maybe not? That would be very romantic🙂 Thanks, that’s interesting. I appreciate this scroll even more now! Thanks gentlemen!

Good thing there are two magpies in the scene and not one "One for sorrow, Two for joy, Three for a girl, Four for a boy, Five for silver, Six for gold, Seven for a secret never to be told".

https://www.nilsjapan.com/news/?p=4562 In Japanese legend, Kasasagi (magpies) as messengers of the gods created a bridge for lovers to meet on 7th July. (Tanabata) Was this created to celebrate a wedding, perhaps, with ume and bamboo symbolizing a new start? (Four artist friends create something together for the couple?)

赤尾清夫 Normally Akao Kiyoo but that personal name (second two Kanji) could be read several ways. One of the Akao school. Seio, Seifu, etc. …(?)

OK, I'll give it a shot Kunimitsu (Shintogo), Yuki (Yukimitsu), Masamune, Kunimitsu (nidai?), Kunihiro, Kuniyasu (Daishinbo) I'm guessing this is Norishige. Not directly associated with the other Sagami smiths. Can anyone read the neighbouring kanji to give the name some context? I get the impression this manuscript is causing few ripples given its potential significance as the oldest Mei zukushi so far discovered. Reinhard says the hand is different (and clearly discernible) so do the experts/academics think this a far more recent text and this explains the apparent lack of interest, post initial furore. In other words the document is a bit of a red herring.

Found this video by one of the curators of the new Samurai Exhibition opening this week at the British Museum and was quite excited to watch it. He starts off explaining that the British Museum has one of the largest collections of Samurai artefacts outside of Japan. Unfortunately if you visit it you would not know as the permanent collection on display is rather poor. But hopefully the Exhibition will right this wrong... Unfortunately it appears it will not. The curator goes on to explain sword history but shows only one sword but does not even mention the smith and then focuses on the Koshirae of the various periods. Kind of like the Louvre explaining French history by their choice Louis Vuitton hand bags - cause they are pretty, rather than showing the Imperial collection. I guess it is interesting for a newbie but I was left very disappointed. I fear if this is the level we are engaging for the Samurai Exhibition, then unfortunately this Exhibition will leave the enthusiast and even the general public with a lot to be desired. Nice if you like unusual pretty things but otherwise very frustrating as they continue to hide the good stuff in their warehouse. I hope to be proven wrong.

These swords were not made in Manchuria. If any connection to China must be made, it is that in 1906 the Suya shop exported 900 swords to China（清國Qing Empire) The attached drawing indicates that they are similar to the Type 25/32.

Interesting. It sure looks like 撿 (or its variant 𢮦), but Japan really doesn't use this kanji. To my mind, it should be 検 (or its old variant 檢), which means "inspected" (i.e. the sword passed a quality control inspection.) So I have no idea why a kanji that isn't used in Japan should be stamped on a sword. Its not very likely that a Japanese sword shop would have a stamp of an unused kanji on it. Possibly it was made in China/Manchuria? Or, maybe there is some other explanation?

Because my case is a gun case, I got a lot of attention at customs (because everyone assumed I was transporting a firearm). Once I explained that they were authentic nihonto and 250-500 years old, they didn’t ask any other questions. No forms to complete or other declarations of any kind. Very easy on the US side. Also - I offered to show them my Japanese export certification, but they didn’t care/want to see it (which makes sense).

I think it says it’s a joint work between the four people named, dated an auspicious day of Showa 7. (Rich colours. Interesting thing! ) PS I am sure there are no cracks in your walls!

Hi all, A friend's company was gifted this many years ago by an old lady, and she asked me if I am able to get any info on it. Unfortunately there doesn't seem to be any painter/artist name on it, so I expect it's a low quality mass produced piece, maybe Meiji onwards? I am not sure if it's Chinese or Japanese, the gut feel is a Chinese landscape but maybe done by a Japanese person? Also not sure, but suspect it's done on fabric or silk. Is anyone able to assist with any info or a translation? I think a certain mountain is mentioned there. Thanks in advance.

This is the helmet

https://www.viewingjapaneseprints.net/texts/topics_faq/collaboration.html I own one of these as well, a collaboration between five different artists from some of the less prestigious branches of the Kano school (if they were from the more prestigious ones I wouldn't have been able to afford it - although it could still be a reproduction nonetheless) and also of birds, although in this case each drew a different bird.

@SteveM @Bugyotsuji Steve, Piers, many thanks for your help. Never seen such a collaboration recorded on a scroll. Wonder why so many artists involved and why two separate artists painted separate magpies? Any ideas? Thanks again.

I will be there for the third year as well, would love to meet some NMB members.

Referenced here:

Maybe 房宗 - Fusamune.

Cool. We probably meet there than!

Yes,It means inspected.

Totally agree.

Thanks everyone. This is helping to narrow down the actual meaning (and timing) of the stamps. I've tried to research the tensho script stamps and I'm finding more results in the Chinese charts than the Japanese charts. I had also entertained the idea the swords may have been made in Manchuria or Dalian. The journey continues..... John C.

I’ll be there. 3rd year.

Good to know Hector thanks And the names on the chart At least I know where to look Did you mean Japanese characters? Bruce I tried getting stamps and he said there wasn’t any I didn’t get photos I requested so i gave up Im working on the leather seppas I think Good Will is a place for leather belts or leather items Steve

Thanks for this, I also am going the gun case route to bring 3 back in a few weeks. Going in and out of Haneda, but my sellers in Japan have handled the export permits.

Customs would not touch the blades themselves. The asked me to handle them throughout the entire inspection process. We showed them the blades at the United check in desk (the United employee had to call them over) and just simply opened the case and unwrapped the swords so they could test the metal.

Hi Howard Maybe the middle panel depicts a sennin/arhat/(whatever we call them) reading an unrolled scroll. The missing door would have depicted a similar subject, not necessarily any particular story or theme…..but others with greater religious imagery knowledge may disagree.

An authentic antique Japanese sword. The wakizashi blade is signed Kiyoshige and the kogatana blade (small knife) is signed Daido.

The Italian auction company Czerny's has the Tsuba collection of R. E. Haynes up for an online auction that ends 18th March 2026. Auction catalogue with apparently a total of 267 lots up here: https://www.czernys.com/asta-158/?c=321

There's a small chance I may be going to assist someone to sell some high end armor. Hmmmmm

John, Thank you very much for this information. It is excellent and I appreciate your help. My sword is the one with the Mei pictured in the book (according to the seller). I will attach some photos of the Mei and blade. The blade is housed in standard wartime T98 fittings and metal scabbard. It has NTHK Kanteisho papers. Thank you again and best regards, Steve

Tried to include a few more few close-ups, showing the detailing of the mounts. Each of the components are adorned with cherry-blossoms, with finer-detailing to the backstrap. I suspect the Saya has been done in Dogfish/Eel skin, instead of conventional Rayfish Same- the texture appears very uniform and lacks any variation; being without any obvious "Nodes". One interesting feature to the sword is the folding "retention flap", which secures the blade within the scabbard

Thanks Piers…I thought it was more modern so that’s a nice surprise. As for the crack, it is now “out of sight out of mind”🙂

Thanks Geraint I am all excited now, and rarely get excited about anything I have or can have! I bought it for £500 without a clue; it was a punt. Cheers

It’s 撿, but it should be 檢 — stamped the wrong character, like this one

Dear Sebastien. What a nice problem to have. Some questions to ask in your search. Are the HIrata the only people who understood shippo? Clearly not. Does this kozuka fit into the known body of Hirata work? Well most examples of Hirata work do not look like this. In another thread on NMB someone lamented that most of the pieces revealed by a search were attributed by Bonham's, herein lies the problem. Almost everything with shippo is claimed to be Hirata, especially by those selling the piece. Your butterfly appears to have gold cloisonnes and to be finely done. Is this a kozuka by Hirata or one with added decoration by them? A bit of information here, https://www.silk-road.us/hirata.html The tsuba in the link without the shippo would have been suggested to be Ichijo or one of his atelier, was he capable of doing shippo of this standard? Almost certainly so. Was the Hirata school capable of making a plate in this style? Certainly. Whatever you conclude this is a lovely piece to have in your collection. Enjoy as I am sure you will. All the best.

I have several examples of tsuba with stacked sekigane in my collection and I always consider this a good thing as these tsuba are of a good enough quality where they have been taken care of and fitted for a blade more than once.

And for the tsuba Issando Joi: 一賛堂乗意 https://www.metmuseum.org/art/collection/search/25731

More photos!

Hi John, For the menuki 横谷英精 - Yokoya Eisei

Also agree with Curran and Okan. To me, it looks mostly like a late (modern?) work "inspired" by Owari sensibilities. The workmanship and finished look of the piece, though, do not conform to Owari sukashi, Kanayama, or Yagyu, in my opinion.

Missed my favourite programme… Just kidding!!! Monday TV is useless.