Geraint

Fukurokuju is often depicted with a scroll, and the pyramid shaped item on the fuchi is his backpack? Anyway, check him out and see what you think. All the best.

Dear Damien. You might have a look at this thread, Ignore the first one and take a look at the second example posted. Not sure how much you already know so please forgive me if I state the obvious. When a sword is signed by a well known smith there is always a high percentage chance that it is gimei, a false signature. The placement of the signature on the nakago, the style of the cutting, the file marks and the shape of the nakago all come into play. That may or may not be the case here but whatever the outcome this is still a nice sword and mounts. A picture of the whole of the nakago/tang might be helpful. Enjoy. All the best.

Dear Max. I don't see a problem with your tsuba. The auction house were optimistic likening it to lot 81 in the Goodman sale as that one is larger, signed and of better execution than yours, they would have been more truthful to compare it to this one, https://www.bonhams.com/auction/22472/lot/79/a-soten-style-tsuba-edo-period-19th-century/ Yours seems to have been mounted with consequent wear on the seppa dai but I can't see any red flags. Enjoy. All the best.

Dear Richard. I agree with Oliver that these are a nice pair of blades and that these are by the two different smiths. An examination of the three kani that the blades have in common suggests that they are by a different hand. Hawley supports the text that Oliver has supplied listing Unshu Takahashi Naganobu as a student of Tsunatoshi and working 1830 - 64 while Unshu Takahashi Ribei Naganobu, working at around the same time is the one for whom the brief note that 'he never signed the same way twice' is added. Looking at available papered examples on the internet I think I can see a pattern emerging where both these sets of kanji are echoed, also have a look at nakago jiri, again I think there are two styles. For what it is worth I take the remark about signature variations in Hawley to mean that he inscribed different things on his swords rather than that his handwriting, as it were, changed. (Given the change between kaisho and gyosho) If there are two smiths then for all the examples I have seen so far everyone assumes that their sword is by the most well known smith and hence the most valuable. Where biographies are given they are almost identical and probably from the same source. I have only done a fairly cursory search using easily available sources but if the nakago jiri on your swords are different then here are some possibilities for you to consider. 1 The same amith changed the way that he inscribed his signature and the nakago jiri that he produced, possible as a consequence of studying with Tsunatoshi and both your blades are by him but from different periods in his career. 2 Two smiths exist and you have a blade from each of them in your daisho. Have a dig around and see what you conclude. Of course it is possible that this conundrum has already been researched given the significance of Naganobu and that another member will come in with an authoritative answer. Hope that I haven't muddied the waters. All the best.

I do love the Wallace Collection. Not very much at all Japanese, last time I visited I think two or three swords, but extensive collections of European arms and armour including some very early pieces and a fantastic selection of very fine indo Persian weapons. If you don't know it there are some excellent videos with Matt Easton of Scholagladiatoria and Dr, Tobias Capwell from the Wallace Collection on Youtube. Might whet the appetite! All the best.

Dear Mike. The habaki is definitely on the wrong way around. If you slip the two pieces together and try then it should fit and provide a shoulder for the tsuba. If it really wont fit then it might not be the one for the sword as these parts are made very specifically for each blade. All the best.

Dear Yves. Certainly no way to tell if the kozuka and kogatana have been together for long, they are easily switched. The kozuka design looks familiar, if you tap it with a findernail youmight detect a tinny sound suggesting a pressing. The mei includes the tem Ason which seem to be your missing kanji. As has often been said mei on kogatana are not to be relied on too much. All the best.

Dear Mike. So far what we can see is that this is indeed a wakizashi, unfortunately now missing one or two pieces. The detent you speak of is I take it the slot on one side of the saya/scabbard. This would normally house a small knife with a decorated metal hilt called a kozuka. You seem to be lacking the two washers or seppa that fit on either side of the tsuba and with regard to Marcin's point about the habaki sticking through the tsuba it is just possible that you have fitted it the wrong way around? Below is an image of a typical wakizashi with all its parts just for your reference. Please do add photographs of the entire blade and the nakago/tang which will help us tell you more. All the best.

Tough call from that one photograph but the tsuba is a surprise to me, I might have expected something in iron with nunome. Can we see it all please? All the best.

Lovely looking Higo koshirae, Gordan. All the best.

Dear Sky. If you are studying Myoju then can I recommend Art and the Sword vol. 5 and 6 by the JSS/US? From that volume: 'Myoju was born during the first year of Eiroku (1558) as the second son of Shigetaka, the grandson of the 23rd generation Sanjo Munechika.' Sadly a little later in the same article by Kataoka Ginsaku ther is the following, 'However this family lineage is absolutely unreliable.' By western academic standards this is frustrating, we tend to assume that records exist and that they are to be trusted. But we are dealing with a society that understands lineage as significant but possibly open to creation when required. A comparable example is the oft quoted Myochin family tree which is now regarded as largely fictitious. If you want to assume the first bit of information is correct then there you are, however it would perhaps be better to hold that idea lightly. Hope that helps but in any case I do commend any and all of the volumes of Art and the Sword to you as excellent resources. All the best.

Dear Craig. Just to add to Brian's assessment the very slender and poorly formed 'habaki' are someone's half hearted attempt at DIY. Both blades are Japanese but I think both have been cobbled together with assorted fittings to run them into complete swords. Your photographs don't allow a detailed response but the shape of the tsuka and the wrap on the second look suspect. However if my sons had done this for me I would be very happy so don't let anything spoil that. All the best.

Dear All. I realise that these are not to everyone's taste but I have just picked this one up and thought some might be interested. 69mm by 72mm by 5mm. Small but heavy in the hand, shakudo fill to the kogai hitsu and signs of being mounted a time or two. 90 degree hatching under the nunome. The reverse identical to the face. Enjoy{or not of course}! All the best.

Dear Mauro. I had not thought to distinguish patina from kuro urushi, I was simply commenting on the base metal for the tsuba. I think the nicest thing about this one is the box it comes in and I would suggest that Curran is right with his suggestion that this is very late. The shaping of the kozuka hitsu is poor as are other things about it. Compare here, https://www.ricecracker.com/inventory/mf84_tsuba_kanshiro/mf84_tsuba_kanshiro.html Would you have a different opinion on the original tsuba? All the best.

Dear Hector. From the colouring in the image I would suspect that this tsuba is in fact in brass rather than shakudo. Of course it is not always easy to tell but where the patina is thin I would expect to see the reddish tones of copper if it were shakudo. All the best.

Dear Hector. This is purely a personal take on the sword and might be way off. This didn't start in this shape. The nakago suggests a much shortened sword and the way the hamon runs into it adds to that feeling. Totally different yaurime. On one side there are some areas of shingane showing, on the other much more is evident. My theory would be that this is the top of a shinogi zukuri blade that has been turned into what you see now, removing the shinogi on one side leaving almost total shingane. I don't know if the term 'dog's breakfast' resonates but for me that is what this sword is. If you buy this I do not think it will provide you with much pleasure, and I speak from experience here, there will not be the delight of discovery each time you examine it and soon it will be sitting on your shelf largely unregarded and pretty much unsaleable. I am sorry to be so negative but in a sense this is me speaking to my younger self. All the best.

Dear Bruce. Here are a couple of links to help you on your way. https://www.aoijapan.net/wakizashi-bichu-kami-tachibana-yasuhiro-the-1st-generation/ https://nihonto.com/5-1-17/ The seller who suggested 1300 is flying a kite, trying to link to the Kiku Ichimonji swords, https://en.wikipedia.org/wiki/Kiku-ichimonji All the best.

Dear Rob. The sword is on handachi mounts, reminiscent of a tachi but still carried in the obi as a katana. All the best.

Dear Max. I did not mean to imply that your tsuba was not genuine. It is. This is not a modern casting, it is, as far as we can tell late Edo or perhaps earlier. If you look at the nanako under a magnifying glass you should see that it is quite well done compared to other examples from this group. Indeed sometimes these fetch quite good prices at auction and you quite often see them mounted on koshirae. The better ones are really quite appealing. With tsuba one needs to train the eyes and a detailed examination of your tsuba compared with say this one, should help you get started. https://nihonto.com/3-1-22/ Don't assume that you will ever finish this journey, there is far more to learn than can be encompassed in one lifetime, that is part of the delight! All the best.

Dear Max. Several schools of tsuba makers used designs many times. In this case your tsuba appears to be what would be called Nagoya mono or thing made in Nagoya. These are made from an alloy different to shakudo which you will see has a brownish tinge to it. Around the nakago ana there are usually quite distinctive tagane ato or punch marks. The quality varies a great deal, some are quite well done and some are embarrassing. In general the difference between these and a good kinko are the base material and crispness of execution, Nagoya mono are to a greater or lesser extent somewhat blurred and lack precision, see the waves at the top of your tsuba as an example. The quality of nanako also varies but is generally low. Signatures such as these two have are generally to be ignored. Have a look here for more information, Hope that helps. All the best.

Wonderful koshirae Bruce, thank you for sharing. The method of fixing the mei on the menuki is called tanzaku and is not that uncommon. All the best.

Dear Marcin. Three online examples all show a well shaped nakago. which this does not seem to be, with sujikai yasurime and kurijiri. The mei is cut with a more relaxed and flowing style than this example displays. I suppose it is possible that there is another Norihide.......... All the best.

Thank you for the correction Moriyama san. That, of course, makes much more sense. All the best. Geraint

Dear Brandon. Just to get the ball rolling, your tsuba is in copper with a specific technique known as katakiribori describing the engraving. The first two characters of the signature read Soten, the third is a kao or personal monogram. If you do some research then you will quickly see that the Soten school has a particular style that became very popular but is very different to your tsuba. Others with more knowledge of the school will be able to tell us if this is genuine or if the signature is fake. Either way this is a pleasant tsuba and it will probably have started you down the rabbit hole. Enjoy! All the best Geraint.

Dear G. Well so far this is not a military sword but rather a katana in samurai mounts. At the top of the page is a link to image resizing software that might help with adding more images but from what we have the scabbard or saya is covered with lacquered same, a type of ray skin. The soft metal fittings on the hilt ar probably shakudo, a Japanese alloy that is usually patinated to a blue=black colour though someone has had a go with the metal polish and ruined that. You need to take the sword apart, a routine process for Japanese swords but this one might be a tad awkward if it has been in storage for a long time. Some research will tell you how to do this but basically there is a single tapered bamboo peg through the hilt or tsuka, push or tap this from the smaller end and when it is out you should be able to remove the tsuka, keep a note of the order in which the parts come off. There may be a signature, there may not but don't do more than a gentle wipe with a cloth and send us the photographs. Looking forward to seeing what emerges. All the best. Geraint