Leaderboard

At last year's exhibition at the Shusui Museum of Art in Toyama there were 3 blades with the Yoshihiro attribution The photos are not the best, the blades follow each other in a rightward motion https://eu.zonerama.com/Nihonto/Photo/12422673/496973394

Beautiful contributions by some friends above, who I know are fairly knowledgeable and I can attest they have handled numerous Go (as some of that was a joint opportunity). Elusive as Go is, they do come up occasionally in Japan and if one has the admittedly rare opportunity, they should study them. The nice organic hamon and clarity combined with the uruioi micronie in the jigane is beautiful. Apologies for the bad pictures below but this is what I currently have on my mobile below. I merely want to demonstrate with some photos the “connectivity” to Norishige (note that jihada in some of the Juyo Go photos below) and the lustre. That Go is not one of the most flamboyant but still educational. As Tsuki says, not as prominent chikei or very ostentatious kinsuji but they are still there.

Hello, These are indeed lovely pics of a magnificent nie-deki. We are lucky to live in a time where high-grade digital cameras can take incredible pictures to immortalize experiences, even behind museum glass. There is a point in life where collecting is not feasible anymore. Inevitably, taste outgrow wallets - and if not - the supply wall inevitably hits. The reality is that after some time, as the mind habituates, one comes to realize that there are only very few swords that truly feel otherworldly, and possess this mysterious grace that makes you question if a human could have made it. This is why collecting experiences is the more sustainable path to growth, and through the skillful use of photography, to preserve them and share them with others is a noble pursuit. Best, Hoshi

Children’s Day Sunday, actually part of the annual Buddhist Kuyosai ritual commemorating the souls of Osafuné swordsmiths. The day started off with speeches, incantations and pinched offerings of incense. Kōzuke Daijo Sukesada’s gravestone is here, behind the dark green bush. I went round later to have a look. “No photos allowed” the sign said. It was the first time I had been invited to do a stall illustrating Bizen guns. I unloaded the car and set up the display at 9:30 am. Imagine my surprise then, when they required my attendance in the special dignitaries’ tent, and to be called in turn by name to go and offer incense and prayers at the altar. I watched closely and tried to memorize the ritualized movements of the Mayor etc., giving an internal moment of thanks for the lives of all those Bizen smiths of yore. Various attractions and events were held during the day for the children, with whole families joining in. Most visitors to my little display were respectful and full of questions, but a couple of the hyper kids were grabbing antiques as if they were playthings, and needed close watching! Family sword play My table

I would be most grateful for thoughts and input on this katana. I posted a note some time ago when I first bought it but have since then had a heck of a time receiving it. Without being too boring about the subject , the auctioneers was first hacked and I nearly paid $3500us to scammers, finally it was sorted out and sent only to be stuck in customs in Canada where it was nearly seized. The shipper put in the customs documents “ not a sale “ and customs used this to fine me $2000 and threaten to seize it. A lawyer later no fine no seizure and surprisingly no taxes or duties ?! anyway I now have it A katana signed Bizen Osafune Kanemitsu machi okuri by about 1 inch kissaki bit shortened no fatal flaws nagasa 27 1/4 inches Sori 1 inch rest in cm: Mihaba 3.4 cm yokote 2.2 cm kasane 0.9 cm thick yokote thickness 0.5 cm Large burl wood grain and hamon mostly wider and straight with some areas of slight sanbonsugi I tried to get pics but my pics are crap my apologies Francis Any ideas on age etc ? thank you

I would agree with the view that Jacques has on this. I would think it would most likely be late Muromachi Bizen sword, wheter actually someone named Kanemitsu that I cannot say. However I would think the sword is in original state. I tried to do quick sketch with paint how I would expect it to look originally in fittings if it would have been machi okuri at your line, of course it is just a rough sketch to give an idea that I have in my mind. To me the hole placement looks perfectly normal now in current state, if it would have been machiokuri then the original hole would have been unusually close to the machi. . I do have some amazing resources on Bizen swords, however I have not been able to find a reference signature of any late Muromachi Kanemitsu. I am extremely grateful for this thread as I tried to search them and ended up discovering absolutely massive Nanbokuchō naginata by Kanemitsu that I was not aware of before. Finding items like that in Japan makes me very happy. One "cursed" thing about smith lineages where there are extremely famous ones is that then many later generations can fall into obscurity.

聖駕廣嶋大本営駐輦之砌明治廿七年極月 賜　上覧之栄而爾来翌年四月御通告 制間親□座右嘉賞為也 (unsure) <free translation> Emperor Meiji visited Hiroshima Imperial Headquarters in December 1894. We were honored to be inspected and later received a notification in the April of the next year, ……………………… for the award. 加藤友三郎誌 – Kato Tomosaburo wrote. Ref. Katō Tomosaburō - Wikipedia 左國弘 – Sa Kunihiro 寳永三年光忠折紙 – Hoei 3rd year (1706), Mitsutada origami 藝州浅野家伝来 – Hnded down through Asano family in Geishu 長壹尺壹寸壹分半 – Length, 1-shaku 1-sun 1.5-bu 昭和丁未年初冬 – Showa Hinoto-Hitsuji year (1967), early winter 寒山誌 – Kanzan wrote.

As this is for a good cause, I’ll add to my current bid, and make the current bid $850.

Hi guys, Could anyone find similar examples to the menuki below? It has silver back plate but the willow tree seems to have gold color, may be plated with gold. I tried to search online for similar examples but not seem to have any success. The design with egret and willow tree is very common in Japanese art and I have seem it often on kozukas and Tsubas. Based on the style I would say it is Goto school because I have seen one example from the 10th mainline master on a kozuka where four egret almost of the same design/gesture on a willow tree. However, I have since lost the link so not able to find it again. The closest example to it is the link below: https://collectorsfirearms.com/39515-kinko-menuki-mgj428.html/ but it has lower quality than the one I post. If anyone has something similar or can identify the possible school or maker I would appreciate it very much. My guess is a Goto school artist mid edo. BTW, I also wonder how gold is applied to silver base and why there aren't many silver based menuki around whereas shakudo and gold menuki seem to be more common. Thank you. Jack

Without their selfless generosity, none of this would be possible. Their contribution gives the forum a massive boost in funding and helps Brian continue the hard work of keeping our community connected. It’s gestures like this; that remind me what makes this place special. Every member benefits from this act of kindness, and i'm deeply grateful. To our anonymous supporter: thank you for making a difference. Your generosity means a lot.

Hello, Sorry to hear about your misadventures. It is indeed a "cursed" sword. The inscription is not genuine. Regarding age, difficult to tell. The hada has been acid etched and deviates completely from what you would expect from the Bizen Osafune school. It could be anything - Given the sugata and the hada, my guess is probably Shinshinto during the phase where they experimented with rather unseemly forms of O-hada, but it is not a high confidence call. Most likely, this is a shinshinto blade made to deceive, or later. You see these types of swords frequently, appearing without papers, on sites such as YJP. The gamblers that are fooled by of these swords on YJP, or elsewhere, often then seek out auction houses to flush away their mistakes to the next person. For "Big name" smiths, it's best to work with reputable dealers. Sometimes they'll appear on the NA market. You win a few, you lose a few, such is life. Good luck in your pursuits, Hoshi

備州長舩五郎左衛門尉清光 – Bishu Osafune Gorozaemon no jo Kiyomitsu 十五字ノ長銘並ビニ天文六年紀有之同工ハ清光ヲ名乗ル鍛冶中最モ上手デ次ヒデ孫右衛門尉ガアリ本作ハ其ノ真面目ナル静謐ナ直刃ヲ焼キ出来宜敷ク鍛錬モ秀デタリ - A long mei of 15 characters and a date of Tenbun 6th year (1537) are inscribed. This smith is the best skilled smith among other smiths named Kiyomitsu. The next best Kiyomitsu is Magoemon no jo. This fine work was done with neat and calm suguha and well forged. 長貮尺二寸三分強 – Length 2-shaku 2-sun 3-bu kyo (a little longer than 67.58 cm) 歳乙巳陽月 – Year of Kinoto-Mi (2025), October 探山識 – Tanzan appraised.

I am hereby offering this Echizen Rai katana. Specifications: Blade Length (Nagasa): 69.2 cm Curvature (Sori): 2.1 cm Mekugi-ana: 2 Nakago: Ō-suriage, mumei Dimensions: Motohaba: ~31.3 mm Motokasane: ~6.8 mm Sakihaba: ~24.3 mm Sakikasane: ~5.3 mm Bare Blade Weight: approx. 737.6 g Type: Shinogi-zukuri Blade Description: A stunning Nanbokucho period katana attributed to the Echizen Rai (越前来) school with recent NBTHK Tokubetsu Hozon papers, and previously attributed to Sa Kunihiro (左国弘) by Tokubetsu Kichō papers. Both attributions place this sword solidly in the Nanbokucho period. Although this sword clearly is not the work of Sa Kunihiro, the old paper was still preserved. I find it interesting to see how older NBTHK papers can differ from new papers. The blade exhibits classic Nanbokucho characteristics, including a wide Motohaba and longer kissaki. The jigane tight itame in certain areas, which can be well observed in some of my images. There is also Mokume, and overall Jigane that reflects previous older Rai works. There are sections where the hada stands out more prominently. Ji-nie is present throughout, giving the steel surface a rich, textured appearance. The hamon is a suguha-notare temper with activity visible, a lot of nie can be observed. See my Hamon images for a proper idea of the hataraki. The bōshi is Omaru, and is still very visible. The nakago is ō-suriage, typical for early Nanbokuchō swords, with two mekugi-ana. The sword is fitted with a habaki and comes in shirasaya (with reinforcing tape applied). Condition Some scratches can be observed, with one longer scratch visible on the images; all flaws have been photographed and are visible on the images. The scratches are shallow and do not distract from the blade itself. There are no significant ware of imperfections on the blade. It is a very clean Nanbokucho Echizen Rai blade that is ready to be appreciated. Image disclaimer The overview images of the entire blade had their background removed. Please do not use these images as a reference for the condition of the blade, as they have been altered. All other images are unaltered. Sometimes my camera can be seen in the reflection of the blade in the bohi. These are not imperfections. Price: €3700 Free shipping inside EU Shipping outside EU available for a small additional cost (€20–40) Shipped with UPS Express, fully insured to full value Located in the Netherlands – pickup possible Please feel free to message me if you have any questions.

Eight. I suspect that you won't believe me, but there's nothing I can do about that. This is indeed showing the signs of rapidly following Brandolini's law, isn't it?

Below is a list of the major variations of the Type 95 Military Sword. This list differs from others in that it factors in the blade. Keep in mind some variations were produced concurrently, for example variations 3 & 4, while other variations are unique to certain arsenals. Variation #; Blade; Tsuka, Ito Pattern; Tsuba: Latch; Saya; Pattern # 1. Fullered; Copper, Asymmetrical; Brass, 11mm; Top; Metal, Plug; Pattern 1 (Kokura). 2. Fullered; Aluminium, Asymmetrical; Brass, 9mm; Top; Metal, Drag; Pattern 2 (Kokura & Nagoya). 3. Fullered; Aluminium, Symmetrical; Brass, 9mm; Top; Metal, Drag; Pattern 2 (Kokura & Nagoya). 4. Fullered; Aluminium, Symmetrical; Steel; Top; Metal, Drag; Pattern 3 (Kokura & Nagoya). 5. Fullered; Aluminium, Symmetrical; Steel; Side; Metal, Drag; Pattern 4 (Nagoya). 6. Unfullered; Aluminium, Symmetrical; Steel; Top; Metal, Drag; Pattern 3 (Tōkyō 1st). ----------------------------------------------------------------------------------------------------------- 7. Fullered; Wood; Steel; Side; Metal, Drag; Pattern 5 (Nagoya). 8. Unfullered; Wood; Steel; Side; Metal, Drag; Pattern 5 (Nagoya). 9. Unfullered; Wood; Steel; Side; Wood, Chape; Pattern 6 (Jinsen).

The quality of blades attributed to Go are on a different level. This one went Juyo and was polished by Andrew Ickeringill https://www.facebook.com/photo/?fbid=1994822754423622&set=pcb.1994826924423205

Unfortunately to me the one with red background seems to be signed 備州長船清光 (Bishū Osafune Kiyomitsu). Kiyomitsu smiths were very prominent during late Muromachi. One thing that might be taken into consideration is that it is common for us to call a gimei for a big name smith, while there could have been other smiths signing the same way. Like for example for Kanemitsu we will easily not pay too much focus on Kanemitsu signed katana like the one in this thread as it does not be a work of Nanbokuchō Kanemitsu. Well that does not maybe make a huge difference to most if it would be by unknown Muromachi Bizen Kanemitsu or a gimei. I just think the Japanese sword appreciation is extremely top heavy as they are the ones featured in almost every reference.

It's blades like this that keep my fascination for Nihonto. This guy takes some amazing images of these superlative blades and all from behind glass. Kudos to the museum for getting the lighting just right. https://www.facebook.com/photo/?fbid=1996901080882456&set=pcb.1996902534215644

I agree with this sentiment wholeheatedly. And why membership and attendance at NBTHK-EB or AB meets is so rewarding. Many of the members are exceptionally generous with their collections and occasionally its possible to handle these otherworldly blades and not be restricted to viewing them through a lens.

Not a dog really - more likely a seven tailed fox? https://www.jauce.com/auction/d1209118140 looks like a shoami tsuba Kitsune.

上野守菅原助包 - Kozuke no kami Sugawara Sukekane

And a special thanks to the anonymous donor!

Hi Sam, If it has been sanded or buffed (including the tang/nakago) it is an unsigned wakizashi with defects (pits/openings) mounted in shirasaya (sleeping or storage scabbard) that is falling apart and, consequently, it isn't worth much. Maybe $200 or $300 if you can find someone who doesn't know better. Even if not buffed it is no treasure. Don't mean to be a downer but no sense sugar coating it. Nihonto is a fascinating field; you need to find a dealer you can trust to steer you towards better. Grey

In response to Steve's plea for more steel tsuba: Ex-Sasano (gold book Plate 75) Kanayama "Thunderbolt"

Noshu Seki ju niju sandai Kanefusa saku kore This was the 23rd generation of Mino Kanefusa. You'll find other examples of his work by searching the discussion board here.

There is a subforum for translation assistance, so you are better to post this there. Even better, pay @SteveM or another translator to professionally translate this for you. You’ll get a better result, especially since Tanobe sensei sometimes has some nuance in his commentary.

Maybe, 関住兼松一則作 – Seki ju Kanematsu Kazunori saku I am unsure about “作”.

David, it is YOSHISADA 義定: real name Ishihara Jō´ichi (石原錠一). Born Meiji 32 (1899) August 16. Registerd Seki smith . Showa 14 (1939) October 25 (age 40). Example mei: (“Seki ju Ishi hara Yoshisada saku” SHO). (“Seki ju Ishihara Yoshisada saku” SEKI). (“Yoshisada” “1942” SEKI). Noted yours has a SEKI stamp. One from Japanese sword Index: Also another : Seki ju Ishihara Yoshisada saku with SEKI stamp. This is a long blade nagasa of 75.1 cm and sori 1.5 cm so looks custom Seki work. (from Meirin Sangyo)

I can’t help but agree with Colin. You definitely shouldn't do anything, especially in such an “indelicate” way. Firstly, rust removers completely “eat up” the top layer of the tsuba metal, and patina no longer forms on it. Secondly, you should not use oils like WD-40, as they are hygroscopic and contain aggressive additives. And if you remove the natural plaque around the inserts, the tsuba as a whole will look much less attractive…

Takahashi Hidetsugu

I'm going to take responsibility and host it, with the caveat that it will be taken down if there are any objections from anyone connected to the book. It will only be of use to those with the book, and may even lead to people buying the book, so there is no downside to the publisher. Let's see. Will upload later today.

While inspecting the sword further I found the sword registration folded up inside another piece of paper under the snaps of the leather field cover on the saya.

Hi Jeffrey, Look here: https://nbthk-ab2.org/sword-characteristics/ for a brochure on care and handling; you should read it. If you'd like answers to a bunch of questions with one phone call, feel free to ring me up. 218-340-1001 in central time. I'm not an authority but I was where you are today 40 years ago and I won't ask you to sell the sword to me. Cheers, Grey

Hi all, this will be the first year I will visit this fair. I am expecting to see mostly world war items, but hope to see some good and interesting proper antiques for sale, including of course Nihonto. My last major collecting period was related to scientific instruments, where experience of related fairs was generally good, but with prices over and above those I was seeing elsewhere. Also in the general UK auction world scientific items are plentiful, and museum collections well represented, so a feel for what was right or not could be quickly built up. We all know this is not the case with Nihonto, to the casual observer and novice, most blades appear very similar, but prices vary wildly. For the blade itself, there appear no obvious reasons. So, first impressions are formed by where we can easily recognise different levels of quality, the sword furniture. So, I shall make sure I have a good loup in my pocket, try not to annoy dealers with a barrage of questions, and maybe find something I feel compelled to buy. Nick G

Putting these up (hopefully they don't degrade too badly) for anyone that wants to take an up close study of a Rai Kunimitsu that cannot view one in person. Cheers.

Forget the mei, this tsuba looks fake.

The iron of this TSUBA has some ductility as we can see from the TAGANE ATO in the NAKAGO ANA, so it is not cast. The cross-hatching to fix the gold NUNOME was definitely made by hand, so, as stated above, it is not a beauty, but I think authentic. Stylistically, it has HIZEN traits for me.

The original iron tsuba. Just poor quality, maybe someone's initial work)

Guys..seriously. If you are going to mention access issues, there is zero I can do about it unless you are VERY specific about what the issue is. I need exact error messages, screen shot if that is easier. What browser, phone, pc or mc etc etc. It is extremely difficult to know how to address issues if I don't know exactly what the error is. Some have zero issues accessing, others have a problem, which to me suggests it is overseas lines or related to cables somewhere, but I can't look into it unless I get as many details as possible. I would suggest starting at places like these, and see if the site is down for everyone else or just your location/country https://pulsetic.com/is-website-down/ https://semonto.com/tools/website-reachability-check https://www.websiteplanet.com/webtools/down-or-not/ https://www.site24x7.com/tools/check-website-availability.html

Another blade this smith, signature type C

You managed to pull together a nice display for that event. Well done Jan

寿孝作　Toshitaka-saku (Made by Toshitaka)

Congratulations @Justin Grant, you are the winner! pm incoming

Shodai, this is visible in his way of writing kanji kin 金.

You can find a decent write-up of Zohei-to in Mal Cox's article here https://www.militaria.co.za/nmb/files/file/118-showa-period-swordsmiths-of-fukuoka-prefecture-kyushu-and-the-kokura-arsenal/ Basically a machine made higher end sword than the Type 95.

Very early massive "proto-Akasaka" Kirishitan Ikenie.

https://www.aoijapan.com/katana：mumei-attributed-to-ko-naminohira-41st-nbthk-juyo-token/ A nice ko-naminohira tachi (albeit a bit tired) from the kamakura. Starting to understand why jussi like this school. Though why does the nbthk classify it as a katana even though its only a suriage and still has the shape of a tachi Jed.

I think for this sword NBTHK and Aoi Art have a differing viewpoint, pretty much the polar opposite views. NBTHK specifies in the paper that sword is ō-suriage and Aoi states that they see the sword as almost ubu. Unfortunately I cannot say which one is correct, and I could see both as plausible opinions by just seeing few pictures. Unfortunately I just have seen this in Jūyō book and now at Aoi website so I don't have it in any other sources. NBTHK can also judge suriage mumei blades as tachi but for that to happen I would assume a certain amount of original nakago must be present for that to happen.

My view may be biased when it comes to pricing, but I think it’s within the expected range. Matt is a good and reliable dealer; and both the tassel and the hanger can each be worth a couple hundred on their own, and both are hard to find. This transitional aluminum model with the mekugi-punctured ito was produced, according to my notes, in roughly the same quantities as the copper-handled versions. I have an estimated production figure of fewer than 6,000, and it’s anyone’s guess how many actually made it through the war. Just my opinion as someone who might like these "transitional patterns" a little too much -Sam

Checks all my boxes except the price… Looks like the saya cover was originally made for a Type 98 based on the indentations in the leather where the haiken is located.