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Hey all, Just picked up this nice Hirata school tsuba. Any thoughts to which generation? 7.62 x 7.14cm.

Hell....you'll get a far better appraisal here for free :-) And trust me, if Ray says something, you can take that as fact 99% of the time

So back in November 2024 I made a thread about the first mid-high quality piece in my collection, a gimei "Shozui" piece. Whilst it is no longer the best piece in my entire collection I still use it as my profile picture on the forum to this day and the eye still fascinates me. Here's a link to the old thread for anyone curious: Recently as I was playing around with AI, I decided to use Gemini to see what it could tell me about the likely tradition of the piece or about the technique used for the eye and it pointed me in an interesting direction so I thought I'd make a thread about it. I uploaded some images and had an extensive back and forth with the AI: Eye Closeup: What the AI suggested is that the piece is likely either late Edo Hamano or Iwama school lineage with a gimei signature. Glass eye, mother of pearl, etc as many on this forum already know was a practice that mainly became popularised in the Bakumatsu Period. Based on the sort of "milky" opacity of the eye and the lack of colourful iridiscence reminiscent of crushed shell, the AI determined that the eye dome on this piece was most likely made from crushed stag horn using a technique known as Gyokugan. Gyokugan is a technique that originated from Buddhist statue carving however in the Bakumatsu Period, it (as well as other interesting techniques like Mother of Pearl or using bone, ivory inspired by netsuke craftsmen, etc.) was used experimentally by masters such as Hamano Noriyuki III, Unno Shomin or Iwama Nobuyuki who sought to make their work feel more "realistic" or "alive". The AI also provided some interesting information about the intricacies of using this technique (Gyokugan specifically...) on a small tosogu such as a kashira which appears to have been a very difficult process requiring precision. Here is a simplified outline, as I understood it: 1) The piece would need a carefully carved slot with a slightly raised rim in which the dome would be inserted. 2) Next, a properly fitted dome made of crushed stag horn would need to be shaped and slotted. 3) Taka-zogan would be shaped around the eye to give it its artistic appearance. 4) The artisan would also have to hit the metal around the dome tightly into place (seen in the brow here) to ensure that the piece retains its cohesiveness over time, as the stag horn material expands or contracts depending on hydration over the decades or centuries. * For this reason, Tosogu pieces that retain their domes (and are not later Meiji productions that use adhesives) are quite rare. 5) Finally, an incredibly small hole would be cut into the dome and a tiny shakudo peg inserted, or alternatively black lacquer would be used to form the pupil in the dome. ________________________________________________________________________________________________________________________________________________________________________________________ All of this interesting information about Bakumatsu Period experimental pieces aside, I figured this thread would be a space to share examples of tosogu pieces featuring mother of pearl, inlaid stones, bone, ivory etc. Most of all whilst I have found some limited information about this technique, most of what I can find relates to Buddhist statue carving. If anybody is able to locate information or examples of the Gyokugan technique used in other tosogu pieces, I would be very grateful! (Dale Sensei, I am hoping you can throw me another bone!) Post some crazy Bakamatsu experimental works! DISCLAIMER EDIT: Do also keep in mind that I am not 100% sure the eye is made using this technique. I am simply going off what the AI suggested... I just ran these images through ChatGPT which suggested Inlaid translucent stones like agate or chalcedony!! (This may however be ignoring the historical intricacies of Hamano style carving or Bakamatsu Period experimentation and going solely off the 100's of years dried out horn texture which looks rough like stone, so I think the Gemini assessment makes more sense. It's also a lot harder to hit soft-metal around precious stones without causing damage or breaking something!).

Hello, It contains a poem by Ono-no-Komachi, a 9th-century poet. It starts in the center, then moves to the left, and continues to the right. 心から　　　うきたる舟に　乗りそめて　ひと日も波に　　濡ぬ日ぞなき kokorokara ukitarufuneni norisomete hitohimonamini nurenuhizonaki meaning 「I willingly chose to board this painful boat, and not a single day passes without being drenched in tears (waves).」 （It expresses her lament over the suffering caused by a love she herself began.） Hiro

In all seriousness, if you paid someone to appraise your sword and they told you that it was a WWII era blade by Ichihara Nagamitsu and signed Bizen Osafune ju Nagamitsu saku you should ask for your money back. See below. On the left is an inscription by Ichihara Nagamitsu. On the right is an inscription by first generation Yasutsugu. Compare the kanji with what is inscribed on your sword. |

Hi Darin, not sure if this is the sword you intended to post but it is not a blade by Ichihara Nagamitsu nor is it signed Bizen Osafune jū Nagamitsu saku. The mei is Bushu Edo Echizen ju Yasutsugu and appears to be a Shinto blade, from the early part of the Edo period.

Really appreciate your help on the forum Hiro. With help from guys like you, Moriyama san, Morita san, Steve M, Ray Singer, Trystan and others that are too many to remember right now, we really do have a very solid "team" that is able to assist where few other places are able. On behalf of all of us, thanks to you guys who take time out to help so freely.

銘作もいらぬ meisakumo iranu 「I have no need for famous, highly regarded swords (authentic, signed blades).」 きさくて軽る軽ると kisakude karugaruto 「 with a light, easygoing spirit (also evoking the physical lightness of a wooden sword)」 　きさく　kisaku：It also brings to mind the images of “whittling wood” and “making something out of wood”. 　　　　　　　　　（気さくkisaku 　木・削 ki/saku　木・作 ki/saku） 浮世をさして　ukiyo wo sashite 浮世 ukiyo : a hedonistic world, 憂き世 ukiyo : the transient, sorrow-filled world さして sashite：「刀を差す katana wo sasu」… to wear a sword 　　　　　　 「刀を刺す katana wo sasu」… to stab with a sword 　　　　　　　 「目的地を指す mokutekichi wo sasu」… to make for one’s destination 　It seems to carry all of these meanings at once. 行そ木刀 yukuzo? bokutou 　　さして行そ sashite yukuzo「a declaration of intent to move forward in this way.←[差す/刺す/指すsasu] 」 　 行そ木刀 yukuzo bokutou「Let’s go, wooden sword.」 　　This also feels like it carries both meanings. Added note: “Zo” may also be used as a form of emphasis, stressing the preceding phrase. I truly hope that someone knowledgeable will come and explain this properly. Hiro

Freely composed poems are difficult…！Please assume that my interpretation is basically “incorrect.” I will only share a simple impression based on the wording. The rest, please leave to your imagination. （in the case of classical waka, the meanings are already established, so I can convey them accurately.） 銘作も いらぬ きさくて 軽る軽ると 浮世をさして 行そ 木刀 character: meisaku mo iranu kisakute karukaru to ukiyo wo sashite　yukuso? bokutou （reading: meisaku mo iranu kisakude karugaru to ukiyo wo sashite　yukuzo? bokutou） 圓正堂（en shou dou）or（en sei dou）

The inlay does appear to be in glass, and I coincidentally received this piece below just a few hours ago. Best regards, Ray

I'm going to make a combination of them, good luck to me

For some artisans from the Hirata, Hayashi, and Kamiyoshi schools of Higo tsuba, the punch marks are a defacto signature.

Singer sensei knows his stuff and generously shares his knowledge with the rest of us.

Look like 近江守助直 Omi no Kami Sukenao for the smith For the date... hard to read the first two... XX十一年二月吉日 (a lucky day in February, 11 years of XX period) Could be an attempt for Kanbun (but I could be wrong). If it is the case, it would place it in 1671. For reference : https://www.samuraimuseum.jp/shop/product/antique-Japanese-sword-katana-signed-by-sukenaonbthk-tokubetsu-hozon-certificate/?srsltid=AfmBOoqFBzvIQqRvZLHIVuerSmz8gYmMQlPAFpromZ5KjQ6AnIzs8klC

To recognise a fake you first need to know what the real thing looks like, all the component parts, blade, fittings etc.You need to understand quality and artistry. That takes time and determined study. Or you can deliberately study fakes…..there are dedicated topics on this forum for that purpose. Once you have done that you will be able to tell the difference. It takes some effort. Every component of your sword sadly screams fake from the rooftops……but only when you know what you are looking at.

Hi Markus, Your sword isn't a gunto (military sword). It is an older samurai sword. If I were in your position I would: 1. Whittle a new mekugi (menuki are the ornaments under the handle wrap; mekugi is a pin to hold the sword together) from a bamboo chopstick. The pin is incredibly important; don't delay. 2. Look for a collector/collectors' group that is strong on knowledge and honesty who can give you a better idea what you have. 3. If you are going to take other photos, use a dark background. Details will be more visible. Here you will find a care and handling brochure: https://nbthk-ab2.org/sword-characteristics/ You should read it. Best, Grey

Bless you, Sam—I admire the optimism. But I do think the question touches on something many collectors are fretting about: what happens after Tanobe Michihiro? The answer is that we just don't know. Since the end of the war, there has been a fairly clear intellectual lineage in the study and appraisal of Nihontō—from Hon'ami Kosson and Honma Junji, to Sato Kanzan, and then to Ogawa Morihiro and Tanobe-sensei. That continuity has provided a kind of anchor for the field. What is certain now is that nobody seems to know who the next generation will be and how to access their chops. The NBTHK these days is, by most accounts, something of a black box, and it’s not clear who the torch will be passed to—or whether it will be passed in the same way at all. I’ve heard some interest around figures like Hirosuke Sato at the Tokyo National Museum, but that’s a very different institutional lane from the appraisal world the market tends to care about. It may be as Sam suggests that the next generation is being quietly groomed and hasn’t yet stepped forward publicly. But I keep hearing about a crisis in the Honbu which is shaking lots of peoples' confidence. From the outside, there appears to be no clear consensus on who carries that mantle next. And that uncertainty, for a lot of people, is unsettling. Maybe somebody here has heard of a potential rising star, but I certainly have not. Scary, actually.

Update: I have been working on updating the site since returning from Japan Tuesday night. I think most everything is current. If you see something that doesn't look right, feel free to contact me. Ed Yakiba.com

A real tart up for grabs (IMHO, of course): Tachi tsuba, most likely Northern make, Muromachi period. Signed, but it is not a mei - looks like 小町 Komachi („small town”), too generic a name to pin a specific place or region. It’s likely a castle armoury mark. Very nice patina on this one. Measurements: 7.5x7.1x0.45 cm. $650 incl. shipping to EU or US, others please ask for a quote

https://www.town.okuizumo.shimane.jp/kosodate-kyoiku/kyoiku/bunkazai/1001000000611.html See No.62 圓正堂　圓正寺 At the end of the inscription we can see the word: 木刀 bokutō (not chatō)

There are two types, one is solid metal, the other is 2 thin plates. Usually the 2 plate types are shakudo or some precious metal. I think this is done to reduce material cost. The 2 plate type are generally Edo period installs, the solid type could be either pre-Edo or Edo. Normally the 2 plate type are glued in with a pitch filler in between the plates, which is frequently dried out. The solid type are frequently lead or copper and are held in with a force fit. Removal - As mentioned, a short wood dowel the right diameter is used as a punch. I have a block of wood with a biggish hole in it to support the tsuba, and the plug will drop through the hole. For the 2 plate type, usually these are so thin that denting them cannot be avoided. On technique to mitigate is to place the punch near the edge of the plug rather than the center and work around the circumference or go side to side and go slow. Another method is to use a thin piece of leather between the punch and the plug, until you get it moving. Usually solid lead plugs are so soft they are going to dent, but it is possible to retexture them if you decide to put then back in.

Not something you see every day. NBTHK papered Mogusa tachi from the late Heian period. Almost 80cm https://eirakudo.shop/651823/

A few more pictures

Hello, To my eyes it is much more likely that it is, indeed, the work of Yukimitsu, signed with the Shintogo Atelier mei. As we know, it wasn't just Shintogo himself signing Shintogo Kunimitsu. It was a brand for his workshop in Kamakura. My personal speculations on this is that there was, at the beginning, a single workshop: the Shintogo Atelier, producing highly refined daito and tanto for the warrior elite. Very much classical Awataguchi. Over time, Yukimitsu felt the creative urge deviate and to create pieces that fall outside of the established teachings of Shintogo. Creative minds are like this, they have an urge to innovate, and producing the classical tanto must have felt extremely limiting after many years. I can imagine that this tanto was such a radical deviation that it may have caused a spark between the master and the student. It was a risk to the Atelier's brand to introduce a different product. A decision may have been reached, at some point in time, to separate the workshops: one will continue to produce the safe product, headed by Shintogo's son and brothers, and the other atelier would produce something different and experiment freely. This is where Yukimitsu, Masamune, and Norishige come in. There was a rupture, and they split: This is why Yukimitsu started signing with his own name. Today, surviving Yukimitsu tanto are all over the place in terms of shape and deki. It is astounding range of workmanship and experimentation. So, to sum up, it can be argued that it was Yukimitsu, the true founder of the Soshu tradition. And with the range of work we see in Masamune and Norishige, Yukimitsu was eminently tolerant of experimentation - and even encouraged it, such that each member of the atelier could pursue his own dreams and desires. He flew from his own wings out of frustration, reached an arrangement with Shintogo to preserve the brand intact by signing with his own name, and started a parallel atelier that would not pose a threat to the brand integrity of the Awataguchi tradition. The rest is history. Best, Hoshi

For the interest of NMB members in the greater Los Angeles and SoCal area - The Orange Country Buddhist Church will be holding their annual Hanamatsuri festival this weekend, including an exhibition of Japanese swords and fittings curated by the Nanka Token Kai, Southern California Japanese Sword Sociey. There will be some goodies on display. Admission and parking are free and there is plenty to enjoy at the event, more info here: https://www.orangecountybuddhist.org/hanamatsuri Event Details Location: Orange County Buddhist Church, 909 S. Dale Ave Day/Date: Saturday/Sunday April 18-19, 2026 Time: 1:00-7:00 PM Exhibits: Swords, Tea Ceremony, Japanese Artifacts, Bonsai, Kimekomi Dolls, Ikebana, Calligraphy and Origami. Performances: Martial Arts, Taiko Drums, Nihon Buyo (Classical Dance) and Japanese Singing Plus: Food, Beverages, Crafts, Games, and more... Free Shuttle Service: A free shuttle service will run from the Western High School parking area to the festival from 12:30 PM to 7:30 PM. The parking lot entrance is off Orange Avenue. All are welcome and we look forward to seeing you there!

I do think the price estimations seem quite low to me, only a good thing though. Lot 4025 - For me the most special item is definately the one Brian linked above. This will start to be very fickle stuff with the designations as there are lots of categories which you could call that one but in my own personal opinion it is of very rare form 長刀 (Nagatō). I have briefly mentioned these on the few naginata presentations I have held. This form usually has swordlike blade and shorter handle length. I do think late Muromachi to early Edo would be my age guess for this one. If anyone from the forum ends up getting this one I would love to chat more about this (or if someone you know gets the item). Maybe some day I might even offer to purchase it if stars align. Unfortunately at the moment I cannot make a bid on any of the items. https://www.the-saleroom.com/en-gb/auction-catalogues/tooveys/catalogue-id-srtoo10562/lot-1c8ac754-b1a3-4f3f-9b1e-b42000e12482 Lot 4026 - I was surprised of the price this. I guess I shouldn't comment this too much without seeing this in person but just for the price I would skip this one. https://www.the-saleroom.com/en-gb/auction-catalogues/tooveys/catalogue-id-srtoo10562/lot-150b7b97-1509-401c-aa97-b42000e124d9 Lot 4039 - Interesting naginata package with very low estimate, unfortunately limited pics https://www.the-saleroom.com/en-gb/auction-catalogues/tooveys/catalogue-id-srtoo10562/lot-9101f1fb-683d-4bfd-8998-b42000e1299b Lot 4040 - Same as above. I like the koshirae of this more than the above item but blade less... https://www.the-saleroom.com/en-gb/auction-catalogues/tooveys/catalogue-id-srtoo10562/lot-32105988-f154-40f7-b52f-b42000e129f5 Lot 4041 - Pretty wild horimono, not my style but I think some will like this. In my opinion possibly a later Edo piece. I see the signature potentially as 国義 Kuniyoshi. https://www.the-saleroom.com/en-gb/auction-catalogues/tooveys/catalogue-id-srtoo10562/lot-f61afeae-a250-4d9c-8934-b42000e12a51 Lot 4042 - There is a signature 丹波守吉道 Tanba no Kami Yoshimichi. Unfortunately I am not well versed in the smith lineage as there are lots of generations. https://www.the-saleroom.com/en-gb/auction-catalogues/tooveys/catalogue-id-srtoo10562/lot-1666d620-198d-499a-a16a-b42000e12aa5 Lot 4043 - This is in my opinion very interesting one, unfortunately they cannot remove the blade from the shaft. It is supposedly signed too, however it cannot be confirmed right now. Unfortunately the condition of the blades is what it is but this might be my number 2 as far as interesting items go. https://www.the-saleroom.com/en-gb/auction-catalogues/tooveys/catalogue-id-srtoo10562/lot-1649c8f7-4508-4af1-a7e3-b42000e12afd Lot 4044 - This might be number 3 in my list. Unfortunately no pictures of the tang, as this too seems to be signed. In general I am not fan of such a strong sweep in the upper portion. https://www.the-saleroom.com/en-gb/auction-catalogues/tooveys/catalogue-id-srtoo10562/lot-b078239b-726a-43cb-921f-b42000e12b59 Lot 4059 - This seems way too cheap and would feel like a killer deal. I like the size and shape of this a lot. I almost missed this one. By shape alone I would think it could be tad older but when looking it as a whole I think Knutsen had it pinned as Edo period item and that would be fitting. There is a signature 正吉 Masayoshi. https://www.the-saleroom.com/en-gb/auction-catalogues/tooveys/catalogue-id-srtoo10562/lot-ac53fcea-86cc-4e0c-89ac-b42000e130aa These are the naginata in the sales lot. In overall I think the estimates are very reasonable. Of course the condition of the items needs to be taken into consideration but apart from that 1 item that I think they see as the prized one, everything seems to have surprisingly low estimates. If it would be possible for me, I would definately bid on few of them but this time I cannot.

One point where people might disagree is when we are starting to consider what items and authenticating bodies we see as legitimate ones. I am very allowing and I often accept museum and shrine items as legitimate ones, yet I know many people can disagree with this view. I feel I am not the correct person to judge authencity of the items. In my personal opinion some shrine items for example have much more interesting history than some newly minted NBTHK Tokubetsu Jūyō, still these are often just differences in viewpoints, For example here is a signed Masamune that I think is flying under the radar, named sword 夫馬正宗 (Fuma Masamune), no designation it is in the collection of Tokyo National Museum https://online.bunka.go.jp/heritages/detail/489835 https://meitou.info/index.php/夫馬正宗 Here is named sword 朱判正宗 (Shuhan Masamune), no official designation and currently in private collection https://meitou.info/index.php/朱判正宗 Named sword 島津正宗 (Shimazu Masamune), no designation, is in the collection of Kyoto National Museum https://online.bunka.go.jp/heritages/detail/565922 https://meitou.info/index.php/島津正宗 If you check Yahoo Japan auctions there are often Masamune being sold in there too... There is just lot of wiggle room depending on what you will accept as legitimate item.

Gentlemen, Dawson‘s book is what I would consider the gold standard. That being said, Plimpton’s book comes with a very high-level of photography that is second to none and amongst the best I’ve seen in any sword book. Headstamp publishing has a reputation to uphold. Best, Danny

Con, I didn't note the source (I'm better about that now, but for years, I only saved photos), but here are some more shots:

In summer 1977, there was a high-quality sword show in KOBE. With a preparation time of ten (= ten) years, they had gathered swords from private collections, and there were three MASAMUNE blades which had never been shown in public. I could imagine that there might be a few more hidden from view.

There are actually surprisingly many swords that are by Masamune or attributed to Masamune. So far I have 113 blades in my list. There are also several blades that have been historically seen as Masamune but modern organizations have reattributed them, those are excluded from that number. As I saw my own post there about 3,5 years ago, it seems I have found 10 Masamune from my references during that time.

Hi Kim! I found Nick Komiya's write-up on Suya Shoten where he posted this photo at the beginning - The Untold Story of Suya Shoten; Warrelics. I don't know why he chose this particular stamp, and I wish he had gone into the other variations. I have a few in my files, and after reviewing, I think you are right that they changed their stamping over time. Of course, it could be as you suggest that there were seperate shops for different products, as they made quite a few things. Here is what I have that seems to suggest a time progression: On an old kyugunto On a kyugunto made for the Chinese As seen on most gunto On an RS (Type 3/100/etc) tsuba

Check out 武蔵太郎安国 Musashi Taro Yasukuni (Mito) who also signed 左正安国

Bruce as You have wondered in fittings thread about snap variations I got this in Fuller’s Green book. I don’t know if this was repeated in Fuller’s and Gregory „white” one. Posting here as it is right within leather covers topic. And looks like haikan is covered with leather so great point to spot fake.

Bizarre: https://www.ebay.com/itm/157830755961

Armstrong Detroit Mich- The E.A. Armstrong Company was a noted 19th-century manufacturer of fraternal and military regalia based in Detroit, Michigan, often producing Masonic Knights Templar swords. Items with this marking are typically American-made, not Japanese, frequently featuring ornate designs and engraved names from the late 1800s. Does the sword, from the early Edo period, bear an etching of the E.A. Armstrong company from the late 19th century?

It’s not about swords, but… Nishiōeda’s handwriting is really clean and easy to read.（I think I’m getting tired of unreadable handwriting lol） He is said to have served as a clerical staff member [contract employee] at the Forestry Economics Research Institute in 1952. He died in 1958.

Found a photo of the whole thing posted by a guy named Willy. The reading/meaning hasn't changed. Its the Chinese zodiac name for the year 1660 ("Kanoe-ne", or year of the "metal rat").

I think I paid too much? Shoami Yoshihisa 32,000 yen.

I was wondering who ‘Nishioeda Yutaka’ was… it turns out it’s this person! Nishiōeda Yutaka（西大條 胖 or 西大条 胖） 西大條 胖 wiki-page (Japanese language only) (You might not need this, but …I’m writing this as a note for anyone may read this.） Hiro

Thank you all for the help - I think some lessons are learned the hard way. The condition of it should have been an indicator that it was not an authentic production. I really regret not choosing another tsuba as certainly there were some much older tsuba that were being sold at a similar price, and it should have been a red flag that the seller could offer any information on a lot of the tsuba. This was the first tsuba I handled and I think there was something very satisfying about the weight, that I let sway me. I almost certainly overpaid for it and it stings a bit - but I will use it as a learning experience to shop for another tsuba. If I were to start visiting antique sword shops around Tokyo what is a safe criteria to have when making a purchase - after a little research it seems like a traceable signature and Hozon Tosogu certificate would be a much safer bet. Thank you again -Kent

I started practicing kyudo in Boston in 2005 every weekend for about 1 years. With my move to Florida, practice was quite irregular. From 2015-2025, I didn't practice at all due to chronic pain from a nerve injury for which no form of therapy including surgery and every procedure and medication known to man provided even a little benefit. I stopped Zen practice. I stopped iaido practice. In my desperation and state of heightened anxiety, I convinced myself that the next procedure would be the magic bullet. However, even partial relief never came. There was no end to severe pain every waking moment. Then I realized that I had no weakness, no muscle atrophy, and no ongoing acute tissue injury. Every imaging and nerve conduction study was normal. The pain was just a loop that had taken up occupancy in my brain--just neurotransmitters running amuck. Pain-->anxiety-->more pain-->more anxiety, etc. I started to remind myself that there was no 5-alarm fire. The anxiety died down. About a year ago, I resumed daily kyudo, iaido, and Zen practice. Next weekend, I'm going to my first kyudo intensive in the past 20 years in nearby Eustis, FL. https://www.facebook.com/events/1392050959279976/?ref_source=NEWS_FEED Here I am in 2008. And here is a video I just shot yesterday. It's been a long journey...

Hi folks, As many of you know, Mark Jones & I bought a large chunk of the tsuba and kodogu left in Skip Holbrook's collection when he passed away recently; I have been vigorously listing them to my site ever since. We will have everything that hasn't sold on our tables in Chicago. We also acquired Skip's library and I have listed many of the books on my site. There were, however, many more books than I wanted to list. I will have 3 heavy boxes of Skip's books on our tables at serious bargain prices; please stop by and lighten our load. And, since I drive to the Chicago show, I can bring with me any book from my site you might like to own - no charge for post. Check my book pages and send me an email from the site to place an order. I have recently taken on 2 other libraries beyond Skip's; I have a great inventory of very useful titles. Thanks, Grey

Thank you Jean. The photo is making a lot of details look very off, chiefly the kiku which looks much more amateurish than it really is. The link is showing a blade by the first generation Yoshimichi, but I think mine is from the 4th Kyoto generation. I have compared it to many blades by that specific smith, and find the characters to be an exact match, with the kiku being the one detail that varies the most among different examples, namely the way the button is carved in. To illustrate my point, I made a superposition of this oshigata and the mei of the present sword. https://www.aoijapan.net/katana-kikumon-tamba-no-kami-yoshimichi-kyo-fouth-generation/

Couple more

Unfortunately I am not that skilled in kantei that I could tell the differences. However as I am slightly obsessive about data collecting I can provide that. I might have slightly controverisial view that I see only signed swords and attributed swords. I know many people might view kinzōgan, shumei etc. differently but to me it is just one form of attribution. Also over the years I have been starting to me much more relaxed about the attributions thinking it is just the best guess the organization (NBTHK or NTHK) giving as it is having in a fast paced shinsa session. With high level items and museum pieces for example I think the attribution will be much more researched. Here are some numbers for the Mihara smiths I will just have signed / attributed works Masaie : 16 signed / 18 attributed Masahiro : 32 signed / 16 attributed Masanobu : 4 signed / 25 attributed Other Ko-Mihara smiths 11 signed Ko-Mihara attributed mumei swords found so far 223

After some serious brow furrowing I dug up the small article on Lt General Nishieoda's sword, it appears in the Token Society of Great Britain Programme vol. 71. https://to-ken.uk/onewebmedia/Programme 71 November-December 1972.pdf

The monetary value? In the US? Are you wanting to guess what was paid for it at 'an antique shop' in Japan? I am guessing somewhere around $50 +/-. The real value surely lies in the symbolic gift, a link between you and your teacher, of an object that was made at a historical point in time as part of the long historical culture of Nihonto.

For comparison. I once owned a blade signed Osawa Kanehisa with seki stamp and kokuin. I sold it a couple years ago, but I always thought it was a relatively well made showato. -Sam