Grey Doffin

I don't think I've ever seen an early Koto tanto in shinogi-zukuri. They were pretty much all hira-zukuri, weren't they? Grey

A big chunk of trouble in learning is that text books and online Kanji charts are print and the signatures on swords are handwriting; they often don't look alike. (Watch out for blatant self promotion) My Kanji Flashcards are handwriting. Email for details if you're interested. Grey

Not Takada; Fujiwara I believe. Grey

Yes, go! There'll be many times when your lack of language presents problems, but who cares? Japan is a perfect place to wander cluelessly; you can't get in serious trouble and if you get in middlin trouble someone will step forward and fix it. I'll let others who know more about the country than I do help with your other questions, but I know you'll be very happy you went. Grey

Since this will be a bunch of work, and tough to do from photographs, I think you'd be better off finding a Japanese person where you live or nearby. Since the writing dates to WWII, not that long ago, any reasonably well educated native speaker of Japanese should have little trouble reading this (at least that's my guess). Grey

If the menuki were signed on the backs then the shinsa team wouldn't have seen the signature and the paper has nothing to tell us about the validity of that mei. Or were the menuki signed on the side? Grey

Curran, I don't know the official answer but I would be very surprised if the NBTHK were to issue any paper, let alone a higher level, to anything with what they considered a gimei. My guess is that all signatures have been authenticated. Anyone have a different answer? Grey

Which Kanji for kura are you suggesting? Hawleys has 2 Kanekura listed with that kane and 2 different kura, but the kura don't look anything like the kanji in question. Whoever wrote the saya-gaki thought it should be read Kanemoto. Grey

Grand is US English for thousand: a few thousand dollars. Grey

Hi Ed, Second Yasutsugu, the smith mentioned in the other paper, was also well known. If Utsuki Shigeru, who wrote the papers, was/is a known authority on Nihonto his opinion should carry some weight and increase the value of the swords. If not, his opinion doesn't count for much 65 years later. However, the papers do add a bit of history to the swords and in that way they add to the value. Grey

Here is a picture of a sarute from an itomaki no dachi koshirae, from Meiji or not much earlier I believe. This isn't clasping hands but something similar. Is it possible that the gunto sarute was developed from the earlier design? Grey

Hi guys, Before I get to what I have to say, I want you all to know I'm not trying to make enemies (I have enough already) or ruffle feathers, and I'm glad you all collect what you do because I don't need more competition for what I collect, but I don't get it. 25 years ago when I first discovered Nihonto I could sell a gunto for $300. If it was signed "Nagamitsu" or "Emura" (didn't matter which; they were considered to be the same guy) I could sell it for $400, because of the story about him being a prison warden with a smith at the prison training the prisoners. The $100 premium wasn't due to quality; a gunto was a gunto. It was only because of the story. Is the value really there? For $3,000. you can buy a papered, in polish wakizashi by a decent Shinto smith. You can buy a Sue-Koto katana. You're not even sure all of the blades signed Nagamitsu/Emura were made by one or 2 smiths; these things are so common (at least they used to be) that some of them might have been made by others. Is the quality really there? Well, if nothing else maybe I've brought some excitement to the site. I've put the target on my back; feel free to open fire. Grey

About restoration: A proper restoration (polishing of the blade) is expensive, at least $2,000. I would recommend against a polish unless and until you decide you're going to get serious about Japanese swords and learn proper care and handling. Every polish, which is done with stones, removes some of the steel and eventually, after one too many polishes, some of the core steel of the blade shows through the diminished skin steel (we call this tired; it decreases value and artistic merit). Beginners have a tendency to muck up new polishes with scratches, dings, and fingerprints, and when the blade passes on to its next owner he wants it in polish and the blade has to suffer through another one. A polish isn't necessary for preservation; a very light coating of oil is all that is needed. Here is a link to a sword care and etiquette brochure that explains all: http://www.nbthk-ab.org/Etiquette.htm Grey

Here's a neat trick for determining the age of kin zogan (gold inlay). When the inlay is done the gold and surrounding steel will be at the same height. With time, the steel corrodes and expands a tiny bit; gold doesn't corrode so it stays the original height. If you can't feel a very slight difference in the 2 metal's heights, you can assume that the zogan was done relatively recently. Grey

Avolow, I can second what Reinhard said about study; there are no short cuts to understanding. That said, I do have a guide to fakes on my ebay ME page that should help a bit with the more flagrant fakes you're likely to come across. You'll find the guide here: http://members.ebay.com/ws/eBayISAPI.dll?ViewUserPage&userid=greyguy0 Grey

Hi Rob, I'm sure also that way back a Samurai sword didn't come with shira-saya. The sword was bought as a weapon, to be used as a weapon, and mounted accordingly. Now, though, when you give a sword to a polisher you usually ask for shira-saya. Old, used sayas usually have dust, grit, or worse inside and reinserting the newly polished blade is asking for scratches. It is possible to split, clean, reglue and reuse an old saya (shira-saya for sure; not sure how easily this could be done to a lacquered saya). I've had this done when the old saya had an old and valuable saya-gaki. Another thread on NMB raised the question, "when did shira-saya first come into play?" I'd love to hear the answer. When high ranking Samurai of Edo time had more than one set of koshirae per blade, did they also have shira-saya for the blade? Any case, that's what I think I know. Anyone else think they know different? Grey

May I be so bold as to offer an even less expensive but just as genuine, communicative, and trustworthy source of tsuba: http://www.militaria.co.za/nmb/viewtopic.php?f=4&t=5336 which are the 30 tsuba I have listed on NMB's for sale group. Grey

Hirotoshi. Grey

Hi Ed, The answer to all of your questions is to spend about 10 years in serious study; then you'll know how to do what you want. It won't be possible for someone at your level of expertise (judging by the questions you've asked; no offense meant) to properly catalog and appraise the collection. There are no short cuts to experience. You need help from someone both knowledgeable and honest. Best of luck. Grey

Ian, it is proof of exceptional versatility. Should you be walking through the dark woods and you're attacked by a brigand or 2, you have the sword to protect you. What's more, on that same stroll through the dark woods, if nature calls, you have paper. Grey

Here's a link to sword care and etiquette: http://www.nbthk-ab.org/Etiquette.htm Grey

I don't think we want to tell anyone to give a nakago a good cleaning. Traditional ink stone and paper oshigata aren't difficult and don't require messing with the nakago. There is no reason to use soot. Grey

I agree with Kunitoshi for the 1st oshigata. I haven't translated the others but I notice that they appear to have been made with the soot and cellophane tape method. This isn't good practice, as the soot will change the patina of the blade's nakago. Ink stone and fine paper do a better job and they do no damage to the sword. Grey

To my eye, the seppa-dai isn't off. I think the kotsuka hitsu-ana is what's making the difference. Grey

They have the signature on the blade wrong also. Reads Kane something. I have no idea why the semi circle cut out of the nakago; can't even think of a slightly plausible explanation. Someone please enlighten us. Grey