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The beginnings for the licensing system were bit funky. I believe the registering started at bit different dates in some provinces, some started earlier and some later. I did quite a bit of research about this in 2025 when I was calculating the total number of licenses issued. Now I can't even understand why I got so invested in quite useless information like that. The license in Gerrys OP is amongst the first issued in Shizuoka. The license in Johns post is from Tochigi. Here are some numbers from Tokyo that I have found, items highlighted in yellow are ones in which the numbering does not fit the running numbering. As you can see pretty much after S26 the running numbering starts to flow in Tokyo area. I think currently Tokyo must be passed 330,000 licenses issued, for comparison I think Tochigi is somewhere above 55,000 licenses and Shizuoka might be around 75,000 licenses (unfortunately the last certificate I found for each early last year when I searched were 2024, 2023 and 2018).

thanks Zack...appreciate your openness and honesty. My unsolicited advice? If your friend has asked you to sell it then do everything possible to make contact with the person who bought the tsuka etc and do a deal (this seems to be the universal term these days ) As I see it, what you are selling now is really not worth much. A collector won't be interested unless they have all the missing parts (UNLIKELY) and even then, its mismatched. A sword enthusiast is better buying something recently made and cheap, at least the bits would have been made together and it will cut (unlike a Type 95 blade). The person who bought the tsuka etc would be crazy not to pay a good price for the matching blade etc given they can put it all back together (or find someone who can/NMB will help there) and it will be worth a squillion more than it is now in two houses with two different people. and....you would be doing the collecting world a big favour! Rob

Here is an even earlier one, dated the first day registrations were possible under the modern system. Apparently there was a provisional registration in effect from late 1950. The number is 2048 so that confirms each prefecture had their own registration system and the numbers are by no means indicative of a nationwide order.

From memory the registration numbers were contextual to the prefecture. That seller has many suspicious items, the kinpun mei is dreadfully poor.

My problem with this is that the NBTHK has started just throwing into one single basket anything that is kinko and comes from that area. Kozenji and Owari Goto level workmanship vs Nagoya mono . Since 2014 or so, increasingly it is simply labeled "Owari kinko" way to dumb it down. ... way way down.

Just thought it'd be interesting to share... This listing just came up for a "Sa" blade, and it has a daimyo torokusho registration number of 24, which is the lowest I've seen yet. https://www.jauce.com/auction/d1227331676

We apologise for the recent lack of updates. We have now listed six new items on our website, featuring a strong mix of high-quality Koto, Shintō, Shinshintō, and modern works. Jūyō Token — Mumei (Attributed to Unji) Naginata An ubu (unshortened) mumei naginata attributed to Unji, dating to the 14th century. This is an exceptionally healthy example that has seen very few polishes, retaining an outstanding sugata together with excellent jigane and hamon. A rare opportunity to acquire a high-level Jūyō naginata in such condition. 🔗 https://www.toukentakarado.com/tk037-mumei-juyo-unji-naginata Tokubetsu Hozon Token — Mumei (Attributed to Tametsugu) Katana A Nanbokuchō-period katana with a bold and powerful sugata, displaying strong and attractive Sōshū-den characteristics throughout. A highly appealing work attributed to Tametsugu. 🔗 https://www.toukentakarado.com/tk036-mumei-tametsugu-th Yanagida Fukutsugu Daishō A purpose-made daishō by leading modern swordsmith Yanagida Fukutsugu, designated an Intangible Cultural Property holder of Moka City. Commissioned by Dr. Yoshiaki Sato for Mr. Hirata Fuhō, a 17th-generation descendant of Hirata Shōgen (Grandfather of Miyamoto Musashi). Executed in the style of Kiyomaro, both blades feature impressive ō-kissaki and commanding presence. 🔗 https://www.toukentakarado.com/tk038-yanagida-fukutsugu-daisho Tokubetsu Hozon Token — Sasshū-jū Kiyosada Wakizashi A Shinshintō-period Satsuma wakizashi with a bold and powerful sugata, representing a strong example of the Satsuma tradition. 🔗 https://www.toukentakarado.com/tk035-sasshu-ju-kiyosada-wakizashi Tokubetsu Hozon Token — Sanshū-jū Kunisuke Katana A long and dynamically shaped katana by a direct student of Koyama Munetsugu. Executed in a Bizen-influenced style with a tightly forged ko-itame jigane, and accompanied by Bakumatsu-period style koshirae. 🔗 https://www.toukentakarado.com/item-tk039-sanshu-ju-kunisuke Tokubetsu Hozon Token — Shinano no Kami Fujiwara Nobuyoshi Katana A refined Shintō katana featuring a tight ko-itame jigane and suguha hamon in fine nie-deki. Accompanied by a practical and understated ryaku tachi koshirae. 🔗 https://www.toukentakarado.com/item-tk040-shinano-no-kami-fujiwara-nobuyoshi-katana We hope you’ll take a moment to explore these new additions. Please stay tuned, as we will continue to list more of our inventory in the coming weeks. Please feel free to contact me if you have any questions. Warm regards, Nicholas Fu Touken Takarado 🌐 www.toukentakarado.com

Yes, I sent them an E-Mail last night. Haven´t heard back yet.

Hello everyone, I also wanted to share with you my result at the last NBSK contest. Last year, at my first participation, I received the “Kasaku” (佳作) award and it was a great honor for me, as well as seeing my work exhibited first at the Tetsu Museum in Sakaki machi (Nagano) and then at the Meiji Jingu in Tokyo. The results were published in last days, and I can proudly say that I have confirmed the Kasaku award for the second consecutive year, in a context where the level is extremely high and the pursuit of perfection is constant. This year, I decided to raise the bar with a more elaborate work and a more challenging execution technique: from the choice of an “archaic” hitatsura hamon, complex and highly dynamic, to the realization process itself, which led me to a nearly three-dimensional result. I worked in multiple layers, with different dilutions, using brushes and a shodō ink stick, following the teachings I received during my last trip to Japan and after countless hours of experimentation to find a balance that satisfied me. It was a process with no margin for correction. There are some imperfections but that's okay, we have to know how to accept them. It was a long process—a true pursuit of perfection—almost a form of active meditation in which time seems to lose its meaning. The choice of the kakemono (made in Japan), too, was not accidental: on the shirasaya there is an old label bearing the name of the blade, “Amanokawa” — the Milky Way — likely inspired by the long sunagashi and the brilliant nie that characterize it. For this reason, we chose a display that would evoke, even if only from afar, a starry sky. Below I leave you some photos, and thank you for your attention.

Thank you all for your feedback and kind words. I'll keep you updated on when the exhibition opens and whether there will be any special traveling exhibitions in Japan this year. The awards ceremony will be held in June. I attended last year for the occasion. I must say I found NBSK to be a pleasant and cordial place. It was an honor to be there with such excellent Japanese craftspeople. I'd like to take this opportunity to ask if any of you saw the exhibition at the Meiji Jingu Treasure Hall in November during the last DTI, and if you happened to have taken photos of the oshigata on display.

If you’re looking for a Sue Bizen…

I have not seen this kind of wrap before (not saying it doesn't happen, I just haven't seen it). I don't think the wrapping methods have changed. The nihonto world tends to resist modern materials and methods in order to preserve tradition. As to the paper, you are correct in that washi is glued to the top and bottom of the tsuka prior to wrapping. This allows the area to be built up to achieve the proper shape when the same (ray skin) is glued to the sides. During wrapping, small traingular folded pieces of paper are tucked under each side of the turned ito to tuck the edges under neath and smooth out the look. All of this (and the placement of the menuki) creates the proper shape so the tsuka fits comfortably in the hand. There should be plenty of videos on youtube, and even a link to a good one on NMB somewhere. John C.

With the parts you have, plus the parts pictured below. You should have a complete Type 95 gunto. Scabbard has likely been repainted since the war, but otherwise original. Like Rob has said, you would be preserving some history, it will be much easier to sell, and for more. Best of luck, -Sam

Oh wow, hi there. I didn't even see all this. A friend of mine drunk bought this off eBay a few months ago, tried to get the replaced tsuka off to put it back in the original, couldn't, sold the original tsuka, tsuba, and saya(because "the blade is glued inside", he said, wth?), told me about it recently and asked me to find a replacement for those parts because he regretted selling them and was going to have me put the blade in the repro tsuka. I got the wood tsuka off no problem, and then he told me he doesn't want to deal with it at all anymore and is having me sell it for him. Once I told him the tang doesn't have any engravings on it he just wanted to write it off completely. I told him that the mass produced models won't have that on there. So, here we are. It's pretty sad but he's a bit of a weeb and an idiot so I wasn't surprised when he told me the story.

@CrosshairOmega Hello Zack, the OP and following member comments certainly are of interest to many on this site. Probably because we all have fundamental interest in the continuing care and preservation of all Japanese swords. And for me and many others Type 95's hold a special place. Clearly, you are free to advertise as you have, and of course you are under no obligation to provide further information or comment. That's up to you, but I for one would really like to know what happened to this sword in its recent history in the context of the above. Every pancake has two sides. Regards Rob

Just for context, here's one of mine from November 4, Showa 27 (about 1.5 years after the OP) and we are already up to 7,775. Question: Did each Board of Education or Prefecture have it's own series of numbers? John C.

stupid peaple do stupid things

All, I am looking to reenter the habit after a long hiatus. For those that don’t know me, I used to focus on the Kasama Ikkansai Shigetsugu group and amassed a nice collection before life took a detour. I am specifically looking for the Miyairi school, Enomoto Sadayoshi group, and Minamoto Moriyoshi. I do like So Tsutomo and Matsuba Kunimasa as well, so while I do have a preference to these groups, I’m not locked into them. I do have a preference for shinsakuto, gendaito, and possibly shinshinto. I’m looking to get a couple of blades to get started. Feel free to message me if you have any excellent examples you’re looking to move - or know of any.

Good to have you back Joe! Hope things are stable and going well. For the record, there are a WHOLE lotta guys here that will vouch for Joe

Luke: In general, cotton, silk, and burlap were used commonly on swords. Have you ruled out asbestos? Just being cautious. Mulberry and washi paper were also used, if that helps. John C.

It looks like it was bought on eBay just a couple months ago in Febuary; was then stripped or parted out, and now is being sold here

What happened to the original and matching Type 95 fittings that this sword came with? They were with this sword very recently, but are now gone? (Tsuka, Ferrule/Fuchi, Matching Scabbard with stamp on the drag)

I always get tripped up by kissaki definitions - some kissaki that seem barely longer than a chu-kissaki will be described as "classic Nanbokucho o-kissaki" while others with kissaki that almost look long enough to be naginata-naoshi will be described as "extended chu-kissaki".

A shiny one over on ebay - asking far too much. https://www.ebay.com.au/itm/389909629724 AU $296.23 but the detailing looks "crisper" [Factory fresh?] This same piece is much much cheaper over on Mercari - https://jp.mercari.com/item/m39082170296 AU $70.13 When you find something you like it is often good to check other sites.

It may also be that NMB Members here who had a little more insight or contact with these organizations no longer post or post less than previously? Mike Y. or other NBTHK members - NBTHK Toryu2020 - NTHK Chris Bowen - NTHK-NPO

Offering this fuchi/kashira set depicting a kawasemi (kingfisher) perched on a branch, holding a fish in its beak. The patina on this set is particularly attractive (imo), and the pair would be excellent mounted. Size Kashira : 3.4cm * 1.9cm * 9mm Size Fuchi : 3.75 cm * 2.1cm * 1.3cm Size ana : 2.8 cm * 9.5mm 225 euros Shipping worldwide (excluding US as Japan Post do not ship there ) and kiri box included

I'm very surprised by the Omori School papers. Personally, I thought this was high grade Kaga Kinko up there with some of the examples in the Kaga Kinko Taikan.

Livio Cillo died in 2024.

I believe Mr. Cillo has passed. I used to see him at Gun Shows here in the Northeast USA in the 1980s. His table was literally heaped with Japanese swords. Steve

Just goes to show that not all swords owned by Daimyo were good swords.

They were original Amongst the last batch produced by Iijima and one of the last few produced with a brass tsuba. The scabbard also had matching numbers. Kind of significant to someone like me... Once they get parted out and sold separately , there's no getting them back together again. -Sam

Darn......guess I'll retract my bid. John C.

Tarzan?