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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.)

城州住国重 – Kunishige living in Joshu The first two kanji must be 城州 (Joshu). 城州 (Joshu) is another name of 山城國 (Yamashiro province). The first kanji on the tang may not look like 城, but it must be a variation of 城 character. Ref. 「城」（U+57CE） | 日本古典籍くずし字データセット

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.

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.

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!

Dear Rob, I can chime in. How should I understand this blade within late Muromachi / Sue-Bizen production? It is a blade of the late Osafune school, in its fourth phase of activity, the so-called "Sue-Bizen" phase that last until the flood of the river Yoshii. Bizen was the largest production center of swords, and produced both domestic and foreign exports to the mainland. If you want to really take a deep dive into the school to contextualize the work within the broader school period, check here: https://nihontowatch.com/lineages/osafune (note that it is a very early project, and will contains errors). I understand that many Sue-Bizen blades were made during a period of heavy demand, but this example is signed, dated, Tokubetsu Hozon, and appears to have been considered worthy of a Hon’ami Nisshu oshigata. Does this place it above ordinary wartime production, or is that still too broad an assumption? Because it is a finely crafted blade, in a period where quality varied dramatically based on the client demands. Contrary to an old belief, even in blades without the full artisan name spelled out, there are some high-quality pieces intended as top of the line products. Note that Hon'ami Nisshu was not a exceedingly good at kantei, some of his sayagaki call for enhanced scrutiny (i.e. are inflated or simply off), and one should have ideally the kiwame (appraisal) confirmed by Tanobe sensei. Why does the sayagaki use the fuller attribution “Gorōzaemon no Jō Kiyomitsu”, while the mei itself reads “Bizen Kuni jū Osafune Kiyomitsu saku kore”? The traits indicative of master Gorōzaemon's hand are apparent in the blade to the eyes of Hon'ami Nisshu, allowing for the narrowing of the attribution. Alternatively, In certain cases, it is a statement on the quality rather than a narrowing of the attribution range, a way to praise the sword above those bearing this signature type. You can learn about “Gorōzaemon no Jō Kiyomitsu” here: https://nihontowatch.com/artists/kiyomitsu-KIY173 Am I correct in thinking that the sayagaki is identifying the specific Kiyomitsu generation/title, rather than contradicting the mei? It is narrowing down to the author, there is no contradiction. Kiyomitsu is a lineage within Sue-Bizen, and many smiths operated under this name. Similar with the Sukesada line. I am also commissioning a new koshirae in Japan using selected antique fittings. The planned fittings include an Aizu Shōami iron tsuba, shakudō fuchi-kashira, antique menuki, black samegawa, dark brown silk tsuka-ito, black lacquer saya, and a custom satin silver habaki. I will attach some pictures below. As a general sanity check, does this seem like a coherent project for this type of blade? I am aiming for something understated, historically respectful, and not overly decorative. I think this is the right approach and you don't need the usual warning of avoiding the "koshirae americana" style. In my experience, it is useful to study books on Koshirae with historical photos, check Markus's Sesko website - there is, as I recall, a lovely illustrated book on Koshirae that he has translated. Do keep in mind that you are unlikely to recoup your investment, it is a labor of love and a to leave behind a testament of care to the sword for the next owner. Also, be aware that Tosogu are not 'modular' in their ability to fit blades, there is no standard rail measurements. Fuchi, Kashira, Tsuba, all need to be appropriately sized to the blade's proportion, and reworked in some cases. Avoiding excessive rework on precious tosogu is important, as it may lead to the proportions being off on top of it. For instance, Fuchi and Tsuba Seppa Dai need to be close in measurements, and the overall pieces need to be appropriate for the motohaba and kasane of the blade. Finally, I would appreciate a market perspective on the total cost. The whole project, including the blade, koshirae work, fittings, habaki, import and transport to Europe, will likely be around 1.750.000/2.000.000JPY all-in. I am not asking because I intend to sell it; I see it as a long-term collection piece. I simply want to understand whether this total cost seems reasonable for a complete, papered, signed and dated Kiyomitsu project in the current market. I think you may be underestimating the total cost or going for lower-level labor. It's also possible to achieve decent results this way, but keep in mind It is not easy work to get right, and you should make sure you have the right person to handle it in Japan. Koshirae outcomes widely differ in results. The best way to handle it is full art patron style: elect a promising craftsman who wants to compete in the fittings competition of NBHTK, give them artistic freedom. If the Koshirae is made for submission at the contest, it is the best way to communicate your intention of historical accuracy and high-quality work. Perhaps, best for the next sword. I hope this helps, good luck with your project, and we are looking forward to seeing the results. Hoshi

I don't think this is Nobu (信). The two angled strokes at the top of the character inscribed on this nakago are sort of floating in isolation to the rest of the strokes. The left angled stroke needs to have a vertical stroke centered directly underneath it. The right angled stroke needs to be more or less centered above the other horizontal strokes. And there would be a very boxy-looking set of strokes at the bottom of the character. None of these are present, so even giving a lot of latitude for artistic flourish, this character could not be 信. I don't think its 兼 (Kane) either, for similar reasons. Unfortunately, I can't offer a plausible candidate for what it might be. It doesn't look like anything other than some random strokes. I mean it kind of looks similar to 金 or 全 or even 年, rather than 信 or 兼, but none of those options look right either. So I'm at a bit of a loss. Random strokes by someone? An abandoned attempt at forgery?

Not that it means much, however I agree in principle with Calabrese - that if NMB is going to allow sellers to use the site as a business platform, they should be held to a higher standard than Ebay or some dodgy auction house. I've been burned by our "preferred" sellers as well. Before I purchased, I read so many posts about "buy from our sellers" when I, and other folks, had doubts on a purchase. Unfortunately, that trust was misplaced. Lesson learned. I think what gets to people the most is the feeling of betrayal. You expect to be ripped off on Ebay so you are somewhat mentally guarded, however this is different, this is community. Your guard is down when buying from the site. So I can see how tempers could be flared when a sale does not go as both parties felt if should go. Just my two cents on why this is more than just caveat emptor. John C.

Hey Bugyotsuji, sure, and thanks for the question. I'm a newbie so it's been quite a challenge so far and always looking for feedback Here a few pics from the lab in Japan working on the habaki, koshirae and fittings. I'm adding a picture of the sayagaki, seems like signed by Hon’ami Nisshu I decided to ask for a new habaki in silver satin the blade is authenticated also with a Tokubetsu Hozon Token here below the measures: Blade Length: 69.2 cm (27.24 in) Curvature: 1.7 cm (0.67 in) Mekugi Hole: 1 Width at Base (Motohaba): 3.14 cm (1.24 in) Width at Tip (Sakihaba): 2.00 cm (0.79 in) Thickness of Rim (Kasane): 0.74 cm (0.29 in) Sword Weight: 780 g Signature: Bizen Kuni jn Osafune Kiyomitsu saku kore

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."

チヤ (Chiya) Chiya is the name of a city that had a tatara furnace in it, and it is where he produced some swords.

應鈴木照雲師求源天秀鍛之 – Responding to the order from Rev. Suzuki Shoun, Minamoto Amahide forged this. I am unsure about 求.

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.

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...

Frank, I'm not a nihonto guy, but there are many blades with 1 fuller on one side and 2 on the other. It's a nice style, if you ask me. Also, the guys will no doubt want to know some measurements like:

That's unfortunate, and just is everyone is clear, it isnt because @djcollection hasn't been online. He has visited almost daily since this transpired, which indicates a purposeful intent to ignore the buyer and his communication. As an additional testament to his lack of professionalism, he has just posted another item for sale. Anyone looking with interest should do so cautiously and with great scrutiny. Choose your purchases carefully friends, look for feedback and reviews, but dont rely on them solely. Ask for additional pictures if any angles are missing. Save all communications until such time as the deal is done and you are satisfied. Return policies are important always, but especially when shipping is far and costly. Gone are the days when you can trust people at their word. Business is business and conduct yourselves accordingly. No, shortcuts and no ambiguity.

To anyone who is still interested. I didn't get any reply, nothing. I guess ignoring people is a working strategy for @djcollection after the sale is done. Think twice before you start doing business with him.

I feel the 珎州 that Piers posted would seem most resembling the last picture, however I have never seen that before, so my guess might be on 筑州住国重 (Chikushū jū Kunishige). In my personal feeling there seems to be different feeling between the first 2 and lower 3 kanji. Your sword seems to have very unusual blade construction as one side seems to be flat (hira) and another side ridged (shinogi), at least that is what I am seeing from the pictures.

Hi All! I'm from Ireland. Passionate about nihonto. I've been in Japan a few times and eventually I decided to take the big step and buy my first nihonto. It's a Kiyomitsu (Osafune) dated and signed I decided to go for a dedicated koshirae project, a new habaki and papered fittings. The whole project took a long time to select all the parts and now I'm waiting a few months for the koshirae. Looking forward to have it and study it. cheers

I echo Piers here, if you want a cool piece of history in your mancave, this is a perfect old item. The condition is too poor for a collector, and a decent restoration will cost you an arm and a leg. Enjoy it as it is, it is genuine after all, and better than a replica.

Sword is on hold pending purchase

Regarding the Mon, I had a katana with this mon on it, and the late Vic Harris at the British Museum ID'd it as the mon of the Sakai family, though this may well have been used by other families as well. As regards the armour, it is a great study piece, and while restoring it you will learn a tremendous amount for use in future. Years back I knew John Anderson and his fabulous collection, and as John said to me, 'Don't think that all these were in this condition when I got them, many certainly weren't ! He had a garage full of armour awaiting restoration. Enjoy your armour!

I think Suzuki Shoun was a sword dealer of some sort, for there was a Gunto (Japanese military sword) store named Suzuki Shoun Dou opened in 1923, run by Suzuki Akio, so Shoun might be his art name (Shoun/"shining on clouds" is pretty artty). Also explains why there are multiple Gunto with signatures like "made to Suzuki Shoun's demand". 師 (literally "teacher") could just be used as an honorific way of addressing someone, close to Master or Sensei, but often associated with religious (like Buddhists) or instructive (say, martial instructors) occupations.

I understand your position on comments and links in sale posts, it's perfectly reasonable. The NMB is just the platform and buyers are responsible for doing their own research before making a purchase. But, please dont be coy regarding this sale as if there is any question what happened here. It isnt about WHO is right or wrong, it's about someone using words to describe something, it is not. No forging flaws....No kite-ware and No kizu are absolute statements, PERIOD. The structure of that statement says very clearly that the blade has been inspected and those attributes are absent. The damage to the kissaki and the rust can both be explained beyond a reasonable doubt, which is why I can ignore them. However, 10cm and 25cm obvious flaws in the mune are impossible to miss and everyone who has ever oiled or maintained a blade knows it. NMB may not be able to sanction or step in on private sales, nor should it, but it CAN decide not turn a blind eye to obvious misrepresentation and dismiss it as something lesser. That is precisely the type of oxygen shady sellers rely on to continue selling irresponsibly unencumbered. Remember, all this seller had to do was NOT make an absolute statement. All he had to say was, "minor forging flaws" or "no flaws visible, but IM BLIND and cant see anything under 2.5cm in length". He chose NOT to do this which clearly shows either extreme carelessness or an intent to deceive. Either one, IMO, is contemptible.

I agree: Masauji Saku. Grey

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.

Just been reading this thread today, late to the party. There is plenty to learn and enjoy in this set, as Malcolm says, and you could even do some gentle cleaning yourself to make it more presentable. Ask for cleaning tips first! Stabilizing the cracking and huge lacquer flakes will take some thought. So much is lost on the kote that reducing them to bare iron could be a consideration. The kabuto looks nice underneath, and the overall shapes of the bowl and the shikoro look fine. The dealer probably knew little about it, as the sune-ate were upside-down. I'd look closely at the ho-ate though, as that could be (painted) fibreglass showing under the chin(?). I would mend or even change the maedate too as the destruction of the horn tips draws the eye and is ugly to look at. I feel that this armour will be happy that someone is giving it a home, and in return it should give you the new owner hours of pleasure. No need to listen to any negativity. Just save what you can of history, and eventually pass it on, hopefully in slightly better condition.

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).

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.

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.

Here you are Time span to 1340, Soshu school Short blades separately and long blades separately