Grey Doffin

And I can vouch for Mark; he'll treat you fairly. Grey

I think the blade was broken and the nakago was welded back on; no reason why a happy grinder would limit his grinding to such a small ring around the nakago. Since no effort was made to disguise the weld it was done to make the blade whole again, not to deceive anyone. Either way, there isn't a lot of value in the sword. Grey

Which is yet another reason why you don't want a poorly (or non) trained polisher working on your sword. A good polisher sometimes can see these coming and act accordingly. At the very least he can minimize the damage. A polisher without proper training stumbles on the fukure and tells you, "Too bad." Grey

The downside of a possible gimei pales in comparison with the downside of a nakago that has been welded onto the blade. Grey

I think the black is there to stay. It looks much better than it did when we first saw it; leave well enough alone. Grey

I was watching the ken: Noshu ju Kinju. The original Kinju was Masamune jutetsu (student of Masamune) and is considered the founder of Seki sword smithing. I was unable to find any reference to his signing like this; everything I saw was 2 character mei. My guess is a late Koto ken by a later generation. Both the price for the ken and that for the Nobufusa are much more than I would have chanced. Wish I had customers like that. Grey

Sue Koto can be ordered from Harry Watson, who handles supplies for the JSS/US. If there isn't a link at NMB links, just google afu and you'll find him. Another good book in English will be available soon. Kyomono no Ko-Meisaku by Mr Yoshikawa has been translated into English and will be printed later this month, I hope. This book covers great swords from the Yamashiro Den, most of them Koto, and great swords from other traditions also. This work also was made possible by the JSS/US (and all your memberships, hint). Once the book is actually available I'll post a message here on the Board. I can highly recommend this book; it's very good. Grey

For my money, the best reference in English for swords of all periods is the 59 volume set of "Token Bijutsu" English edition, put out by the NBTHK. There's usually a set available somewhere; expect to pay close to $1,500. Both my "Index of Japanese Sword Literature" and the Rich Stein (hope I got that right) website have indexes to the set. The JSS/US has a 2 volume set in English titled, Sue Koto. 700 plus pages on swords of late Koto for $50. plus postage. Heck of a deal! Grey

Even mild steel is harder than brass, thus any sharpened sword, whether tempered or not, will cut into brass. Can't tell enough about the sword from the one picture; sorry. Grey

Marc Porpora, the big cheese of the Chicago sword show late this month, has asked me to post the following. His hotel is telling him that they aren't getting enough room reservations to justify the price they quoted him for the show. Marc knows that some guys who are staying at the hotel for the show aren't on the list the hotel gave him; he's not getting the credit he deserves. If you have made a reservation at the Marriott Chicago Schaumburg for the show, please email him to let him know. ichimonji7 (at) sbcglobal.net If you post on other Nihonto forums, please copy this message and place it there. Thanks, Grey

And don't try the finger stones either. Put on a very light coating of oil and leave well enough alone. Polish should be left to a properly trained professional. http://www.nbthk-ab.org/Etiquette.htm is the NBTHK/American Branch website's sword care and etiquette brochure. It will tell you what you need to know to keep the sword properly. Grey

Sandpaper is no way to remove paint; the paper just gums up and drives paint into the wood grain (I'm a furniture maker and restorer; I speak from experience). Another reason not to use sandpaper is it would likely introduce grit into the saya and scratch the blade. A cabinet scraper would be a better solution if you didn't want to strip the paint. No matter what you try, the proper surface of shira-saya will be gone and will need to be redone. This is definitely an after market paint job (done in the States, not in Japan). A real saya-shi wouldn't put up with those paint drips. Grey

Paint stripper is the obvious answer for getting rid of the paint but that will most likely change the patina of the saya. If you do use stripper, don't clean it with water (even if the can says to use water). Denatured alcohol will clean off the stripper and paint but won't cause the saya to fall apart and won't introduce a lot of water into the saya where it can rust the blade. If you do this be sure to let the saya air out for a week or so before returning the blade to it. A better solution would be to send the sword to a saya-shi (scabbard maker) and have him do the job. If you chose the right person (John Tirado comes to mind) you know you'll get a proper job. To remove the handle, follow directions you'll find here: http://www.nbthk-ab.org/Etiquette.htm on the NBTHK American Branch website. If that doesn't work for you (if the blade hasn't been out of the handle for 60 years it may be stuck) try this. Place a bath towel on a kitchen counter, with an inch or so of the towel hanging over the edge. Remove the pin (mekugi) from the handle. Lay the blade on the towel with the handle over the edge of the counter. Slide the handle into the edge of the counter, gently at 1st, and with increased vigor, until the blade comes loose from the handle. Grey

Hello folks, Many of you are familiar with my "Index of Japanese Sword Literature", but for those who aren't: this is a combined index of 60 or so periodicals and books. If you want to know where to look for information/oshigata on a sword signed, "Unshu Ju Kiyonori", you can look him up in the index and it will tell you which of the included references cover the smith. 3 indexes actually: one on smiths (over 3,000), one on kodogu artists, and the 3rd on articles (polish, grain, etc.) I've done the work but the index belongs to the JSS/US. We last published it in 1997 but since then it has been kept current and expanded greatly, on my computer. We, the JSS/US, would like to make the index available to everyone, free, as a searchable database on the JSS/US website. That's where I'm hoping one of you might be able to help. I don't know enough to convert what I have on my computer to what will work on the website; I need a computer person. If there's a chance you might take this on, send me an email (link below) and I'll get back to you with what I already know about the project. Take care, Grey

Makes me feel better about being called a loser. Wonder how he managed to keep 100% positive feedback. Grey

Once again I have someone wondering if the sword they have listed on ebay is real or fake, and not anxious to take my word on it. If you wouldn't mind, check out this sale: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=110237277705&ssPageName=ADME:X:RTQ:US:1123 and give us your opinion. Thanks, Grey

I wouldn't use oak of any type as a tsunagi, for 2 reasons. First, oak splits easily along its grain and is more prone to checking than many other hardwoods; I would expect trouble in areas of short grain. Also, oak has a naturally high tannic acid content and any iron in the koshirae might be corroded from contact and humidity. I don't think a tsunagi has to be as hard as oak either. Soft maple doesn't have the negatives and it is straight grained, easy to work, and readilly available. Some of the birches, basswood, and popple also come to mind. If I were making a tsunagi blind (without a blade to copy, something I've actually done, by the way), I would start with cardboard. Once I had a shape that fits easily into the saya I'd transfer to a piece of wood of the proper thickness and plane the surfaces. The tsunagi doesn't have to be a tight fit in the saya; the habaki (also wood) does that. Because oak splinters more easily than other hardwood, it might not be the best choice for a boken either. Maple or beech seem appropriate. I've been a professional furniture maker for over 30 years, which is why I think I know a bit about wood. Grey

Actually, there are quite a few fakes of lesser known smiths. If you make a fake of a famous smith you have to be pretty talented to fool the unsuspecting; a fake of a lesser artist is easier to produce. There are many references for the famous smiths; easy for the buyer to check the work. With chu-saku and lower smiths there aren't as many oshigata for comparison. I've seen a few Gunto (WWII era swords) that have had their nakagos patinated and signed with the signature of a nearly unknown earlier smith, a total nobody. Impossible to check those signatures against oshigata In other words, you still have to study. There are no short cuts. Grey

Mariusz, I see what you're asking about. It looks from the pictures as if the nakago might have been reattached to the blade, either through a weld or some sort of glue. If there is a weld I wouldn't expect a hamon at the machi, unless it is cosmetic. I've never heard of nakago being glued on, although I spose it's possible. Of course, this is just conjecture; I can't be certain one way or the other based on photos. Tsuba wear might be another explanation. If you were thinking about bidding you should write the seller and ask him what's happening there. Grey

You could cut a new ana, but then it would be much easier and achieve the same results, if you instead gathered together a bunch of your money and set it on fire. Don't do this! Please! Grey

Hello, Your read of the signature is correct. My guess is that this is gimei. Not only does this mei differ a lot from the example in Fujishiro (my reference of choice to turn to) but the yasurime are totally wrong also. Grey

The blade has been shortened. If the lower mekugi-ana is the original, the blade had a very short hi that did extend beyond the habaki. If the original hole has been lost (below the current nakago) then the hi would extend even further above the habaki. In other words, the hi never was in the nakago only, until the suriage took place. Grey

The first instance of sukashi hori on a tanto that I can think of was done by an obscure smith from Soshu: Masamune. Grey

To avoid duplicate efforts, I sent Phil oshigata from Yushuto Zuroki, volume 1, and Nihonto Zuikan. Grey

Dino, 2 obvious choices are Sukashi Tsuba: Early Japanese Sword Guards, by Sasano, and Sasano: Japanese Sword Guards Masterpieces from the Sasano Collection, by Sasano. The 1st is out of print but found occasionally (I just sold a copy) and the 2nd is available (I believe) from Robert Benson in Hawaii. Check on his webpage found in the links on NMB homepage. Grey