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There is a simple solution to this. Buyer is not happy, send sword back. Seller refund buyer when sword arrives. If seller wont refund buyer than that wont help with future sales.

The tag looks questionable to me. The town’s name Miyajima-cho (宮島町) was used after 1950. If the tag was written just after the end of WWII (1945), the town’s name should be Itsukushima-cho (厳島町). At the time, Hiroshima-ken was most likely written as 廣島縣. There are three 島 kanji on the tag. They are all wrong characters. 宮 looks strange. It looks like 官

The blades are radically different — different traditions, different aesthetics, different emotional impact. In some ways, asking whether the Jūyō Iwato Ichimonji or the Jūyō Sa Yoshisada is “better” is like asking which classic Hollywood star was more beautiful. There is no objective answer. The real question is: what are YOU looking for? Do you want the flamboyant, aristocratic elegance and luminous choji of Ichimonji? Or the darker, more intense, more inwardly powerful atmosphere of late-Soshu Sa work? Those are fundamentally different experiences. At the Jūyō level, you are already operating in rare air. Many collectors on this board have never even handled a Jūyō blade, let alone had the opportunity to choose between two. Is this an investment question? A market-value question? A “best bang for the buck” question? A school popularity question? Or is it about which sword actually moves you when you hold it? Because ultimately, that is the only thing that matters. The sword you keep coming back to in your mind — the one that pulls at you a little — is probably your answer. On the matter I will say only this: there appears to me to be no shortage of Ichimonji or Rai school blades out there in the market. If you miss one, another one will come along, both better and worse. The same can't be said for blades directly attributed to Sa School smiths. But, again, it all comes down to what moves YOU. Nobody here can answer that but YOU.

Note, I have made a change to the above template, and added a "Returns Policy" to the template. Note, nothing is mandatory about the fields in the template, but sellers should consider using it, and consider adding your returns policy clearly, for buyers to make a decision on a purchase. It is highly recommended and I think a good thing to consider and clarify before making a purchase.

The Birmingham Arms Fair is coming up (14th June) so here are some poor images of assorted kozuka that I will be taking (Table 81) Mei include Goto, Hamano, Issando Joi, Hirata (the incredibly rare enamelled tigers) etc. Quality ranges from “OK” to very fine (imo🙂) Hope to see some of you there. All the best. Colin

I am not trying to be difficult here but the questions really don't make a lot of sense to me. For example, please define what you mean by "history" of the blade? Are you talking provenance? The history of the period when it was made? How the smiths and schools were seen by history? Given that one sword is attributed to a smith who was the son of one of the most important sword makers in Japan, and the other is broadly attributed to a school, is that the kind of historical touchstone you are referring to? These decisions for many collectors are normally based on their own interests and collections. If you collect Nanbokucho Soshu, then the Sa blade fits. If you collect Kamakura Bizen then Ichimonji would be the way to go. Other collectors just buy what moves them. Some just buy Juyo. Some want blades w/cutting tests or battle damage. Some want swords from particular time periods or schools. Now, broadly speaking Iwato Ichimonji is viewed as the least prestigious of the four Ichimonji traditions, the others being Ko-Ichimonji, Fukuoka Ichimonji and Yoshioka Ichimonji. Hard core Ichimonji fans love the first two. But it ultimately depends on the sword, because even the worse Ichimonji can be great. That said I have seen MANY ho-hum Ichimonji. In fact, I was kind of unimpressed with the hype surrounding Ichimonji swords until seeing Paul Davidson's Yoshioka Ichimonji two years ago at Sothebys. It was like a revelation, like seeing a sword for the first time: a brilliant habuchi with choji that looked almost three dimensional; layers of floating utusuri like the clouds a plane passes through on its way to a landing. Never handled one like that before. I've seen some nice ones but this was the first and only one I ever handled where I remember thinking: "So this is what all the Ichimonji excitement is about." So, If my pocket were full of change, and if I were hunting for an Ichimonji blade, I would want something at least which approaches that. But that's aesthetics, not history. Elias, while I appreciate your desire to touch history, my recommendation is almost like a mantra or broken record on this board: keep your money in your pocket. Study. Look at as many swords as you can. And when you decide what school or time period moves you, then go shopping. Until then, keep your powder dry and your mind open. Buying swords is easy. Buying the right sword takes study. Best of luck.

Up for offer is an extremely large (95 x 95mm) and impressive Myochin tsuba. Some tsuba-ko replicate the image of a kabuto, but this one is made in the style of a suji-bachi kabuto, consisting of 25 individual plates of iron, containing 50 rivets. The size and technique give this a dominating presence amongst other tsuba and would be the central point of an iron tsuba collection. An Akita Shoami coiled-dragon tsuba is given for comparison (and not for sale). It also comes in an unusually large deluxe box. SOLD

関住兼松一則作 – Seki ju Kanematsu Kazunori saku (Kazunori’s family name is Kanematsu.)

With reference to the replies now moved elsewhere: Guys, this is NOT the place for this, and it sets a really bad precedent. I do not want this sort of thing happening in sales posts, if we allow it then it becomes a free for all. That said, we are here to protect the community and also cannot just ignore it when sellers or buyers have an issue, and they need to hash it out with right of reply and people can make up their own minds. I have a Catch 22 here. Allow it and open the forum for fights on every sale post, or delete it completely and then we are not looking out for the community. So I am going to take the middle ground and continue with the policy of not allowing this sort of thing in sales posts. BUT I am shortly going to split this into a new thread and put it in the Sales/Sellers section, where people can discuss good and bad deals with sellers. I hope everyone understands that is best compromise I can come to right now. Shortly this will be moved, and will formulate a title there where seller/buyer can discuss this and lay out their case.

What I find surprising is that a collector/dealer did not notice a chip to the kissaki mune…..the kissaki is one of the first things you look at very closely. Also the mune ware are clearly visible…ok, not massive but they are there. That rust looks to have pitting, ok again not a massive area but does not look a few weeks old imo, especially as the sword was shipped oiled. And afaik an Iai koshirae is not an assembly of Frankenstein adapted parts but one that can be safely used for Iai As said above….lessons to be learned by both parties. A dealers reputation is hard won and easily lost. Buyers have to ignore all the sales BS and focus on asking the questions that are not answered in descriptions. Bottom line…..if you are going to buy from images you’d better know and be able to trust the seller. ……and the best way to deal with a rightfully aggrieved customer is to apologise and refund his money….as Alex says above. But then I’m very “old school” with an exaggerated sense of transparency and fair play.

The Iwato Ichimonji has passed through several dealers after passing the Jūyō shinsa. 2021 - https://web.archive.org/web/20210612111517/https://katananokura.jp/SHOP/2105-K02.html (without koshirae) 2025 - https://web.archive.org/web/20250322181409/https://www.samurai-nippon.net/SHOP/V-2114.html 2025 - https://www.toukentakarado.com/item-tk017-juyo-den-iwato-ichimonji 2026 - https://www.aoijapan.com/katana：mumeiunsigned-den-iwato-ichimonji-65th-juyo-token/

I'm assuming Elias has put a hold on both swords and is now trying to decide which to buy. With all due respect, if you are asking these questions you are not ready to make such a purchase, especially a Juyo level sword sight unseen. I was where you are a few years ago. The excellent advice I received back then was to learn as much as I can about Nihonto, invest in good reference books, see high quality swords in museums or sword meet-ups eg NBTHK-EB (since you're Germany-based), the annual Japan Art Show in Utrecht etc. You need time to educate your eye and sense of appreciation. This invaluable time spent researching will help you to define what interests you most. There are so many blades available from all eras, traditions, schools, different blade shapes. With that knowledge you can begin to make a decision thats right for you and not someone else. Thinking about financial appreciation with regards Nihonto, Tosogu etc is wrong. These are not investment vehicles or a way to diversify your investment portfolio. Chances are you will lose money when you sell especially after you add 19% VAT and import duties to those prices. The blue chip investment pieces are healthy, signed, ubu blades by important makers. Personally I would take a step back. Spend 6-12 months researching nihonto then visit Japan if possible, or attend a show like the JAS in Utrecht to find a blade that speaks to you based on some criteria you have established for yourself. Photos are not a good way to determine whether a particular blade is right for you. And I certainly wouldn't put much weight behind a dealers marketing fluff. At the end of the day you have to make the decision, but that right decision for you will be very different to that made by someone else.

Inoue Shinkai. Dated Enpo roku nen ni hatsu hi. (井上真改 / 延宝六年二月日 - A day in the second month of the 6th year of Enpō, 1678) Echigo no kami Kanesada, made with nanbantetsu. Sagami no kuni Tsunahiro, dated Bunka go nen hachi gatsu hi (相模国綱廣 / 文化五年八月日 - a day in the eighth month of the 5th year of the Bunka era, 1808)

Good afternoon Raouf, What you have is a perfect study piece for you at your stage in the great game. What you have paid is what is often referred to as "School Fees" in the Antiques Trade. Now you need to get to see as much of the best quality as you can, either physically at museums or using Google Museum search etc, and compare it to what you have, in a positive, take it on the chin and move on manner. I can remember my first purchase of an armour, way back, it cost me £20, an absolute fortune in those days, when woke meant something to do with the interim betwixt sleep and awake and Nihonto were dumped into old Tea Chests at the back of the Antiques shop with a standard price of £4 Ten shillings for a Wakizashi and £ 5 Ten shillings for a Katana. (As you are in the Americas, I think that would probably equate with a Burger and Fries for the wakizashi and a Burger and Fries and a Milk shake for the Katana....... and a slap up table for two at Dennys for the armour. But to a 12 year old, Fledgling Katchubunny, I thought it was amazing, and I was absolutely sure that Toshiro Mifune had worn it at the Battle of Sekigahara......... I looked at it so closely, every rivet, every delamination of the Urushi, every rust hole and fraying of the Blue odoshi, that it became like a road map. So, have the courage to fail old chum.

Hi everyone, I just wanted to share this easy option for displaying your tsuba on your desk. I got these acrylic glass light boxes for about 15 Euro on amazon and I think they make a pretty neat display. I would love to see how you display your tosogu!

I thought you might want a picture of my railroad tassel. Tom

As others have said, JAS is not about the level of the blades on offer but having an immersive experience in a very well appointed venue. As a noob to the field its a unique opportunity in Europe to handle many swords up to Juyo level. Yes, the quality as a whole is average but several dealers including Touken Takarado, Ginza Seiyudo and Daisuke Hataya will have upper tier TH (with Juyo potential) and Juyo papered Koto swords. And if Katchu is something that interests you, there are specialist European dealers in attendance too. It really is a one stop shop to ignite a passion and make connections. The potential networking benefits should not be overlooked, especially if you are fishing in the Juyo and Juyo+ pool. Where else in Europe are you going to have such an opportunity? In the US, with the annual Chicago, SF and Orlando Shows you are spoilt for choice. We Europeans are not so lucky.

I think we have a couple photos showing NCOs with officer gunto. If anyone knows where they are, please add to the thread. But what I found today is an officer gunto with a wrapped surrender cloth of a Sergeant Major. Found on this Gunboards Thread. The cloth says: ""243rd Infantry Reg., 5th Co., Army Sgt Maj. Nishikawa Yataro" with the flip side reading "One Nihonto sword including leather scabbard cover and handle cover" - translation by Edokko, Gunboards. The blade is an undated, large Seki stamp, Kanemasa. I mention that because later in the war, the uniform regulations were amended to allow NCOs to carry civil swords. This one is in a leather covered wooden saya, but there's nothing about the blade nor fittings that says "civilian sword refitted for war." The company grade tassel could easily have been added by an owner over the past 80 years, but if original, would be another one of those mysteries. Was the Sgt Major being promoted to officer rank? Who knows. My Army son-in-law said "Sgt Majors are at the top of the food chain, like a General or Admiral. They do whatever the fxxx they want to do."

As others have said, you need to determine your aesthetic preferences first and then also fine tune your technical knowledge. I would not be too harsh on you here as both swords have similarish notate hamon outline (at least the Kesho outline) but Ichimonji has more choji and slanting gunome. That aside, it is clear to me you like robust-looking (both have very similar moto/sakihaba) older swords (14 century Koto). Look at how healthy the Iwato is. It is 50% heavier for only 10% more length. Also look at the jigane. While the setsumei (narrative) of the Juyo certificate of the Sa comments about it being kenzen (well preserved and healthy), I would say the Iwato seems healthier and also the jigane is tighter. The koshirae are both average (at best) typical Aoi add-ons, adduced by Aoi to make the “packages” more attractive to a foreigner. Don’t be skewed by them. Utrecht is helpful but don’t expect heaven and earth. After all, it is only 8-9 dealers. And if you can, visit Utrecht, visit collectors, go to the DTI. The latter is the real eye opener as that is where you see the top quality which Utrecht cannot give you (you will see JuBi and if you are lucky the occasional JuBu, lots of TokuJu and countless Juyo). Tune your eye and understanding.

Go to Utrecht then. Best opportunity to see irl what world of nihonto have to offer, at least in Europe.

Hi Andy, I think the translation that you have for the tag is accurate: 広島県 – Hiroshima Ken - Hiroshima Prefecture 佐伯郡 - Saeki Gun - Saeki district 官島町 – Miyajima Machi - Miyajima town 一四六 – 146 海軍大佐 – Kaigun Daisa (Navy Colonel) 松井島吉 – Matsui Shimakichi (Given name) I don't know anything about Japanese Navy ranks, however, when I put "Daisa" into the online dictionary that I use, the definition comes back as "colonel; (navy) captain" so it might just be a semantic thing. https://jisho.org/search/daisa That said, how convinced are you that the surrender tag is genuine? It looks practically pristine and the ink is so black it could have been written yesterday...

With that many sales listings you would hope for a gold membership to support the forum.....

入隊時の中隊長殿（十九年四月一日） - The company commander when he enlisted (1944, 4th month, 1st day). 陸軍中尉　堀米昇殿 – Army lieutenant, Mr. Horigome Noboru

藤次郎作 – Tojiro made 白紙 – Shirogami Tojiro is a trademark of the following kitchen knife manufacturer. TOJIRO Japan I More than just sharpness Shirogami is a brand name of carbon steel made by Proterial, Ltd.

I would agree with this, if you agree its far more important for a seller to ACCURATELY describe their item for sale in the first place instead of trying to deceive a buyer with poor pictures and false descriptions.

Well, I would try to keep things in perspective. Statements like “...so far, I've always come across honest people,” or “...I definitely feel cheated” imply that the other person is dishonest and a cheater. A situation like this is always very emotional and, in a way, understandable, but I would still be cautious with such statements. If no consensus can be reached, the only thing left to do is to warn others: “...hey, this and that happened to me recently. Make sure to ask for better photos if necessary, or explicitly inquire about specific details that are important to you!” Because what is of great importance to one person may not be a priority for others. This is a very simple thing I can do as a buyer, and something I can fully understand as a seller as well. “Everything has always been fine so far, and I’ve trusted the seller” is therefore rather childish and naive. Anyone who’s been involved in this hobby long enough has surely had to gain enough experience of their own and could tell similarly unpleasant stories involving much larger sums. I found my visit to the last DTI—and, in that context, to several dealers—particularly noteworthy, as it was a mix of highs and lows. Some pieces turned out to be better than expected, while others I would describe as “skillfully photographed.” The blades’ weaknesses were also definitely not described on the dealers’ websites. And this was true even for dealers who are highly regarded here. That was quite sobering, but also a wake-up call, because by then I had come to believe I was quite good at interpreting photos.

Hi! This is 濃州関住美濃守源貞継謹作 Noshu Seki-ju Mino no Kami Minamoto Sadatsugu Kinsaku 昭和十六年極月 Showa 16 (1941) Gokudsuki (December).

From the series 風流花鳥尽 (Compilation of Tasteful Flowers and Birds) by Hiroshige 2nd. 雉子つづじ　Pheasants and Azaleas きくうづら　Chrysanthemums and Quail 藤の花つばめ　Wisteria and swallows Some of these are in hentaigana, so they look different to what I've written above

I do think it can often be confusing when lot of different status levels are thrown in for the swords. I do understand it is the easy way in differentiating perceived quality levels and for seasoned collectors it is fairly easy to grasp. However I do think it can be difficult for new enthusiasts, sometimes I think the appreciation status level can be overriding the actual item. In my personal opinion Iwato Ichimonji is a minor branch of Ichimonji school. I do feel the only smith of true importance is Yoshiie. I do have recorded signed items from 5 other Iwato Ichimonji smiths but it is very minor school. The two items by Yoshiie are quite nice. 83,5 cm tachi that is held by Yoshikawa Local History Museum (tachi is Jūyō Bijutsuhin) and a 61,5 cm naginata that is in the collection of Ōyamazumi jinja (naginata is Jūyō Bunkazai). Both are also dated around 1330 and feature Iwato in their signature. I have seen the naginata several times when visiting the shrine and while as naginata lover I do agree it is amazing item and has huge historical importance, I have to say in just pure quality aspect I am not too sold on the item. I just remember always liking other naginata at the shrine a lot more than this particular one. In the beginning I would just recommend looking into different time periods and seeing various items in general. Like how will Osaka-Shintō blades look like, what would be the Kotō Yamato schools like, how Bizen area was churning out various swords throughout history. How different can tantō be next to one another, how short and long can some katana be, how were Japanese polearms. Looking into smiths and schools that might be interesting, rather than going for status level like Jūyō etc. I do think any event with swords will be great for looking at different things. I attended few of the early Utrecht shows and I liked the athmosphere and met so many friends around Europe in there. I think for me the social aspect might have been more important than the swords.

Lots to be learned here by both buyers and sellers. Ok, so 25mm and 10mm respectively. So now all we need is @djcollection to explain why this is not a clear misrepresentation of his description stating "NO FORGING FLAWS". Those are YOUR words, are they not?

Azalea and pheasants? The second one seems to read Quail in Chrysanthemums. Kiku Uzura Some kind of red-throated birds in Wisteria flowers.(?) Just off the top of my head in order to get the ball rolling!

Utrecht is a no brainer for people in the DACH and BeNeLux regions. Even if you don’t buy, the social element and window shopping justify the expense. And it is also a great experience for the beginning collector in terms of viewing, handling and establishing useful contacts in the community. One does not need to stay at the expensive Karl hotel arranged by the organisers as there are a few budget-friendly and sensible hotels within 10-15 min walk. For a true top-level experience, the DTI is unparallelled worldwide. And given the FX, I think it is a very sensible buying proposition if one is brave enough to carry their blades across borders and sort out taxes and tariffs. It is all about having the appropriate documentation and being eloquent, clear and detailed in one’s written and verbal explanations to officials. It is surmountable, at least for Europe, while the US recent executive orders and legislation have made it trickier. Brano is right: without the correct introductions and relationship building, one might see some great blades at a dealer, among the ordinary, but not a full line-up. That takes years of relationship investment. Furthermore, dealers like “testing” you and ascertaining where a visitor is in terms of knowledge, experience and collecting interests. And in any case, people who go to the DTI, go to Japan for at least a week and combine that with visits to dealers, museums and of course the expo itself. So, abundant learning experiences apart from the DTI itself. Here the OP is not just any beginner but someone who feels ready to deploy substantial capital to start up. Therefore a person like that will benefit immediately from exposure to top blades in order to differentiate average from top from substandard. That is not to say that one should buy [only] at the top, but at least be able to appreciate and discern among the diversity of offers. Going back to the blades, I don’t think the OP will find a suitable quality blade in Europe to the Iwato (which it think is the superior of the two due to health, hamon, relative prestige of the school etc etc) at a similar price. I think the European dealers will price a blade like that at least at a 20% premium. My first Ichimonji experience was with Yoshioka and I ended up with two such blades with excellent hamon, Utsuri and jigane. Then I had the pleasure of owning a zaimei Norifusa, which I warmly recommend as an underpriced /undervalued alternative to top Fukuoka. In fact, Norifusa is a Fukuoka Ichimonji smith who migrated to Katayama and set up a new branch of the Ichimonji but he still is a Fukuoka smith, who combines the finest jigane of all Ichimonji (in my view) with flamboyant Fukuoka hamon. If, however, the OP likes Nambokucho grandeur, then I would recommend he consider the more mature Katayama Ichimonji (large Naginata style, boisterous saka choji hamon) within the Ichimonji school. Of course, Sa remains an alternative but there are better alternatives (sorry Mushin) in Katayama Ichi, Chogi, Kanemitsu etc.

It wasn’t uncommon for a 曹長(Sergeant Major) to carry a non-Type 95 NCO sword. According to the 1945 regulations, NCOs were permitted to carry their own gunto or similar sword. What’s particularly interesting here is that this sword is fitted with an officer's tassel (company-grade), which technically shouldn't be the original match.

Please post the Original Sale Description

This seems fairly simple if someone can post a link to the original sale thread. Either the flaws pictured above were clearly stated in the original sales post or they were not….period. This is a contract dispute fellas, either the description of the sword was accurate or it wasn’t, this has NOTHING to do with how anyone “felt”.

Hello everyone, Iron tsuba from the Akao school. Edo period. Beautifully crafted in sukashi (openwork) depicting a Japanese bird called a chidori against a full moon in the background. Dimensions: 71 x 68 mm. Thickness: 4.5 mm. The Akao school was founded in the 18th century by Akao Yoshitsugu shodai, a samurai in the service of the Matsudaira clan, lords of Echizen province. It was later transferred to Edo by his son, Yoshitsugu nidai, but the Echizen branch was nevertheless preserved. The work of this school is characterized by openwork motifs influenced by the Kawaji and Kinai styles. The Akasaka style developed later within the Edo branch, where the positive silhouettes of natural or artificial objects are reduced to such conventional forms that they sometimes become unrecognizable. 450 € (plus shipping)

This JAF fair edition is something special for the Japanese Armor Society. For the very first time, a shinsa will take place outside Japan. 3 Japanese NKBKHK shinsa members will come over to evaluate armor related items. The team will be in contact with the Japanese jury during the evaluation. Unfortunately, the session is fully booked, I hope we can do this again in the future. For the record, since last Year the NKBKHK is recognised by the Japanese Governement.

I was told there was an issue but by the time I logged in, all was working fine. The whole of SA has had some serious internet disruptions the past few days. Apparently massive DDOS attacks launched against all the ISP's, and most have had some serious problems, so I'm guessing that was part of it. No-one knows why or by whom, but it's a large one, and taken down most of the providers for a bit. I expect there may be some lingering issues over the next few days.

Haynes lists a Meiju as a student of Araki Tomei (H09800) working about 1865-75 and that there is a relationship, or the same person as Inoue Akiyoshi (H00089) The kanji are the same. I have a tsuba signed Akiyoshi which was an early name used by Kiyotoshi (H03368.0, 1804-1876). Not sure if its the same guy. An entry in ‘The Early Famed Works of the Kyoto Smiths (Kyomono no Ko-Meisaku)’, tanslated by Gordon Robson lists a tsuba by Akiyoshi with a shakudo ground. The text states that ‘Akiyoshi is among the skilled kinko of the Aizu during the late Edo priod’ ‘There must be some connection with Kawano Haruaki, and because of his signature and kao, we can agree to such a conjecture.’ There appears to be a similarity between the kao on this tsuba and examples attributed to Kono Haruaki, so it looks like the artisan of this tsuba is probably the one referred to. Akiyoshi seems to have worked around the mid 19thC and changed his name several times Not sure if this helps, or just muddies the picture further. Best regards, John

Sa blades attributed to specific smiths tend to be highly valued blades. They are considered a big step above the more numerous Sue-Sa and O-Sa Ichimon attributions, and thus are prized. Yoshisada has to his credit 56 recorded blades, including two Jubis, four TokuJus and 42 Juyos. Not too shabby by any standard. That said, top tier work like this is not that common and the setsumei is certainly very positive about the attribution and the quality of the blade. For me, a Sa School lover, I think the price isn't unreasonable at all especially with the current exchange rate for a Juyo work from a good session and great setsumei. And comparing the quality to other Soshu-adjacent schools and smiths, I think they represent probably some the best value in Nanbokucho Soshu works. The value of Sa blades within the Soshu pantheon was something that even Darcy commented on. And while Yoshisada's works are not as well-regarded as some of the other inner Samonji circle such as Yukihiro (my favorite) and Yoshisada's older brother, Yasuyoshi, his work is considered closer to his father's (Samonji) work style than is Yasuyoshi. (Kunihiro mentioned above was also good but was later and not necessarily among O-Sa's inner circle of children and early students.) Yes, there are lots of options at this price range, but if you are looking for a Juyo blade with excellent Soshu pedigree and supreme clarity of the steel and such a wide bright habuchi, I am not sure you are going to find much better at this price. Just my humble opinion. (And FTR, the only reason I didn't jump on it is these days I only collect tanto. My safe and closet are grateful!)

長船 Osafuné 郷 normally read as Gō Heavy? One kilogram or more? Be careful though as there are many Sukenaga fakes, making for a wide disparity in values. The real Sukenaga worked around 1830-1850 ish

Hi! The last word is 造(made by...) in Chinese seal script, often used on bronze products. Working on the rest...... Wait, if this is posted on May 17, then why am I seeing this popping off my feed just now orz Ah! This says 義道造, Yoshimichi Zou, made by Yoshimichi in Japanese, in Chinese seal script font.

Interesting and informative comments from @uwe Again stressing my beginner status on armour, the use of nerikawa during the peace times of Edo was popular because you got the look but not the weight or the cost. Parading around on horse or foot in a heavy iron yoroi, especially the Kabuto, Menpo and Sode would be rather uncomfortable on neck and shoulders I think? So the lighter nerikawa was widely used (or so I have read) including by higher ranking Samurai. Couple that with the more luxurious lacing and a Kabuto/shikoro and Menpo that I personally found attractive with its high central ridge (ignoring condition) and you may have bought something that was once really quite decent. But of course I could be spouting rubbish🙂…..someone correct me if I’m wrong please.

Hello, John. I believe the two should not be confused with each other. The Edo period of Japan marked the golden age of netsuke craftsmanship, while China was in the late Ming and early Qing dynasties during the same era. Back then, China also had ornaments made of bone, wood and other materials, such as pendants for scholars' folding fans, clothing accessories, and handheld curios for appreciation. From my perspective, it is impossible to draw a definite conclusion about which country such craftworks as netsuke originated from. Similar artifacts in different regions developed independently and in parallel. I I am also a carving enthusiast. I prefer to call my works bone carvings rather than netsuke, for my master is a bone carving artisan. What I am doing now is to refine my carving skills and infuse my creations with modern ideas and insights. This is one of my small pieces. Some people may find it unpleasant or even repulsive. It depicts a modern baby lying on the skull of a primitive human, connected by an umbilical cord. I intend to convey that modern humans share the same bloodline with our primitive ancestors, and that humanity has continued to reproduce and thrive through generations. Admittedly, this work may not appeal to everyone. To my mind, whether it is bone carving or netsuke, the essence lies in the inner meaning and cultural heritage. I have always looked down on those who merely copy works and make counterfeits for profit. t is just that Japanese netsuke gained widespread popularity and public attention. Influenced by this, many Chinese craftsmen in modern times have begun to create works in the style of Japanese netsuke, and even produce counterfeits for sale.

Dear Elias, Welcome. Many people here have provided excellent answers. I will just chime in on one point your raised: In terms of prestige, a good estimate is to look at designation (how many elite designations relative to less elite designations) and provenance (who owned it and was proud of it). For example, if the extended Tokugawa family held many swords by a smith compared to other families (high GINI coefficient) - you can infer that prestige during the Edo period was high. Importantly, also look at the classical indicators, Fujishiro (the "Saku" ratings) and Toko Taikan (market price observations during his life). They all more or less depict a similar prestige landscape, with some divergences here and there, and their own types of flaws, which you don't need to delve into too much. You can learn about the Sa school here: https://nihontowatch.com/artists?school=Sa And the Iwato Ichimonji school here: https://nihontowatch.com/artists?school=Iwato+Ichimonji&q=iwato Of course, first and foremost, the work must stand on its own merits, a point which has been well made. At the level of investment you're considering, it's important to understand how rare designated works are, if there are any top class works (TJ and above), to understand the long tail of excellence and appreciation, the history of the smith, his archetypical style, and so on. Finally, before you buy a sword in Japan at this level, I always recommend to get due diligence done in Japan by a third party. I can point you to how you can organize this, PM me. I hope this helps, Hoshi

@TLD Where did you find this sword? There’s a new grifter on eBay selling swords out of CA, but the seller is actually based in China. Looks like it could have come from this seller.

I think Masatsune is a possibility for your sword.

The Toronto Tōken Kai will be hosting a display of Japanese Swords and other items of interest as part of Toronto Doors Open at the Japanese Canadian Cultural Centre this Saturday and Sunday (May 23 and 24) from 10 am until 5 pm. This event is open to all and is free of charge. Come by and see us! The JCCC is located at 6 Sakura Way in Toronto, Ontario. Take the Wynford Drive exit from the DVP and go west to Sakura Way. Some map software may still list Sakura Way as Garamond Court.

@Sukaira Yea i ve accepted that I ll always have a Kiyomitsu 😆 And yes a lot of intense chikei and kinsuji.

I was talking to Ray Singer about this yesterday. The problem here, as we discussed, is the connection with the Tokugawa. That association is such that few are going to ever say it is a fake, even to this day. Cultural respect, etc. But the fact that sword has no official status -- not Kokuho,Jubi, JuBun or any flavor of Juyo -- is telling. So it appears to be exactly as labeled: a sword signed Sadamune that was owned by powerful member of the Tokugawa family. No more. No less.