Ron STL

Yoshikage is a good call since he made many naginata (naginata-naoshi, today).

Thanks guys! I found this all very interesting, for sure. Amazing what those Japanese craftsmen can do. The long-short stitching sure sounds like the pattern my friend said his sword saya has on it's stitching. I believe he told me it was wrapped in cherry bark, like the pictured, George. Maybe a few other examples will show up here before this topic dies. Always interesting to see photos! Ron STL

Saya that are covered with cloth brocade or some other wrap-around material will have a "seam" down the back of the saya that, I guess, affixes the covering in place. It is quite interesting to see this technique used on a saya. I recall an NBTHK-American presentation several years ago during a sword show that talked about this technique and touched upon how it was done. I believe it may have been Gordon Robson who spoke about this at that show presentation. On a sword's saya here, the "seam" appears to be a solid strip of black "something." On a sword a friend recently purchased off Ebay shows a seam which (as he described it) has "repeated black dots and dashes" along the seam. The seller's photo sort of show this if one looks closely. My question is, can anyone explain in some detail how this was done when used on wrapped saya? Maybe there is a paper describing this somewhere or even a video. As with so many aspects of the Japanese sword, I'm amazed how things are done and how they can be so "perfect" when finished. It would be very interesting to learn more about how this seam was made. Ron STL

As was said earlier, an amazing number of gold menuki have surfaced here. While not my most important set (that being "round dragons" by Goto Tokujo) this daisho set depicting dragonfly are certainly favorites of mine. Hozon to Kyo kinko which would put them as late Edo. I couldn't resist them when seeing them on Nihonto.com (Fred Weissberg) and finally in-hand. Ron STL

Perhaps in the future, swords redressed by non-Japanese to today's Western standards will "stand out" (recognized) to future collectors as 21st century redressed koshirae. No doubt somebody will publish a book on them one day down the road. It always bothers me to see so many people so involved in practice of redressing a sword, but to each his own. Ron STL

Found a couple illustrations of tanto and as expected, neither show kiri-yasuri, so either this Nagasada is unique or simply gimei, not as signed. It would had been interesting to hear from somebody who has handled on of this smith's work. From the books it sounds like he did beautiful work. I believe in the latest NBTHK Token Bijutsu one of his swords, a katana, is discussed. Ron STL

Good thought, George. I'll search a bit further to see if a tanto can be found. There may be one illustrated in Shinshinto Taikan, I say that because of recalling a hamon (on a tanto?) looking very similar to my friend's tanto. Will check this out. Ron STL

A hirazukuri Ō-tantō (12.3") signed: Nōshū ju Nagasada (濃州住永貞) and dated: Ansei 6(1859) was brought to me to examine a few days ago. I was impressed with the sugata, the hamon and clear and crisp nie, and the nice, tight forging of the blade. If correct as signed, this would be Mino smith Okachiyama Nagasada – Nihonto Koza SS, p.139; Fujishiro Shintohen; multiple pages in Shinshinto Taikan and Mino Taikan. While I am trying to convince myself this is a work of this smith, there are questions. (Apologies for the poor photos, but all I got at the time.) Comparing the mei next to a book examples while holding the blade, I thought the mei looked (almost) correct. Questioned: 4th stroke of shū is cut straight, not slightly curved; 3rd stroke of Naga looked quite right to me. This is hard to see on the fuzzy photo. But what most worried me about the nakago are the kiri yasurime. All of the book examples and descriptions say this fellow used sujikai-yasurime with keshō. Obviously this tanto’s nakago is not finished as it should be. I do realize this is not good. But maybe somebody out there has an explanation for this deviation from the norm. Perhaps Nagasada might have used kiri-yasurime in his very early years? It seems strange that as good as the tanto resembles Nagasada’s work, that such non-typical finishing would had been used on the nakago. A long shot…but I’ll ask the questions anyway. Always the optimist! Ron STL

Thanks Andrey, appreciate clarifying this for me. Ron STL

I realize the paper for this tsuba reads: mei (kao), but on the left column is there anything that mentions a possible maker or school? This column typically is a description of the design, etc., but thought I'd ask. Ron STL

It's rather a shame that when a tsuba in this condition comes along that we tend to consider it not much more than nothing. It's still somewhat of a teaching tool when you think about it. Abuse from wear happens, but it is still interesting to try and learn from what we see. Quality of nanako has brought out some great comparisons of quality. I find it interesting that the nanako on the tsuba is mad in vertical lines as opposed to a circular pattern. I've always considered that being done on earlier works instead of later Edo works. Another thing that stands out to me are the very bold punchings around the nakago-ana much like you see on some Higo kinko. The Goto made tsuba like this but this one doesn't seem to fit Goto; not Goto quality. The missing mon also show how these mon were affixed to the tsuba. Tsuba of this type often have some attached mon missing. Just rambling a little on this, but if one is just learning about tsuba, there are things to be learned from this poor, abused tsuba. Two Hundred, maybe more years are a long time to survive unabused. Ron STL

Thanks Grey, Steve, Surprised this is available. Must think on it for right now, but may pop for it. Lord only knows I could use more books! Ron STL

I just came across mention of a publication, "Nokamura Kakudayu's Oshigata Collection of Nobuie Tsuba." This was in reference to shinshinto tsuba-ko Naoaki. Apparently he patterned a lot of his works on these oshigata. Does anyone know if this publication is available anywhere. I suspect it is one of those "rare" items to find, but thought I'd ask. Ron STL

Thanks for your thoughts on this koshirae. I've never really studied the different styles of koshirae other than simply looking at photos in the books. Meanwhile, I've attached four more photos that show a little more detail of the fittings and tsuka. Photography is certainly not the best; I've been having problems with my camera settings and need to resolve those. The fuchi is signed: Tokinori, most likely Haynes H09745.0 from what I can determine. The kashira is as you see. Visually, all of the tsuka fitting look good together but I'm not so sure fuchi and kashira are a true set. The tsuba is fitted with two large (lacquered black) seppa which were one affixed to either side of the tsuba so only the tsuba's carved rim showed. Beautifully made habaki of Goto (or is it Gassan) style. As for that rather crude horn mekugi, that was my first attempt at making a horn mekugi back when I first bought the sword. Yes, it looks terrible! Also, the saya was not shortened. It one had a horn Jiri glued in place; the glue remains in patches on the saya. Another thing I have wanted to do is have that replaced, but here it is 40 years later... Perhaps this discussion will get me to finally have these two minor repairs taken care of. Sadly, the owner had this and another sword stored in a window box and is suspected that piece may still be laying in that box today! By the way, the owner's husband bought this sword in Japan after the war from a sword shop. Not shown are a Kaga "checker pattern" waribashi and a quality kozuka. A couple months ago I made the kozuka a topic under Tosogu. Maker was a Showa-era maker. Ron STL

This is a beautifully mounted wakizashi that I've had since the 1970s. I've never been able to come up with a specific name for this style of koshirae. Maybe there is no specific name for this, but thought I'd throw out my question and see what happens. The sword by the way is by Bingo Kunitsugu - signed: Yamashiro Daijo Kunitsugu, Bingo kuni Fukuyama ju nin. Has an unsigned, undated kinzogan cutting test: do futatsu kasane saidan. An oshigata of the sword is in the old 1979 Chicago Meibutsu Catalogue. A similar koshirae (maybe?) is called kobusho in Kajihara's glossery, but...I've no clue what that translates to. Any comments are always helpful. Ron STL

Interesting nanako visible on the fitting behind the edge view of the Goto-looking tsuba. Notice the small "dots" between the larger nanako....I'm wondering if that fitting is part of this same mounting. Sword (blade) certainly looks interesting. Ron STL

An interesting discussion that has obviously generated a good deal of serious discussion. I've occasionally lost sleep when thinking about -- worrying about -- the bourdon put on the shoulders of my children when "Ol Dad" kicks off and there is a house full of "collectables' with some value, primarily swords and tosogu, awaiting redistribution. While it seems wise to dispose of major pieces while still alive, I find that tough; let's face it, at 78 I'm not ready to part with these beautiful and exciting pieces that still bring me (and my sword friends) great pleasure. Whatever the future holds, all most of us hope for is that our families realize a reasonably "fair value" for our treasures and that our collections find a good, appreciative home that will continue to appreciate what they are. Just sharing some personal thoughts on the subject. Thanks to Peter and Arnold and others who had more constructive contributions to this topic. Ron STL

Robert, having Ikeda san at the show is a big "Plus" for the show. Not only is it interesting to watch his work and to have him available to open windows on a sword, he is a very nice fellow who enjoys a little after-show lobby bar time! Thanks for bringing him to San Francisco! Ron STL

Looking forward to the SF show later this week. Always lots of high quality items available to study and purchase. Personally, I'll only be at the show until late Saturday afternoon at which time my daughter arrives and we head off for a northern Cal vacation. The only sword I'll have with me which I hope to find a buyer for is my Oya Kunisada (Shinkai's father, shodai) wakizashi. I'll mention this under F/S Items in more detail. Ron STL

Japan is out of the question but wow, that would be a great exhibit to study! Ron STL

Looking forward to enjoying the article, Mike. It'll be interesting and also thought provoking, I'm sure. I also wondered if smiths received inspiration from cloud formations. Back around 1986 there was a major sword event held in Hawaii and a working slob, I couldn't afford to attend. I recall sitting on my patio enjoying a particular Ichimonji-choji-looking cloud formation that made me wish... Ron STL

John, Honestly, I've no idea what a shallow marumune vs a more rounded/higher marumune indicates. Seems very little solid information is available regarding this, as opposed to mitsumune being wide or narrow often indicating age. Ron STL

Thank you Moriyama san, I can now see how that would be this difficult mei. I'll search the kogatana smiths to see if his name is recorded. It is an interesting kogatana that is very well forged. Ron STL

This is the kogatana that is mounted with the gendai kozuka by Yoshitoshi topic posted under tosogu. This kogatana is beautifully made complete with interesting hamon. The maker could be named ----yama? Fujiwara Kanetane, but I'm not totally convinced of that. I'd love to get a complete translation of the mei. Photo attached. Thanks Ron STL

Here is are photos of the Yoshitoshi kozuka. The kogatana that is mounted with this kozuka is also quite interesting. I'll post that under translation help in an effort to identify its maker. Ron STL