ROKUJURO

Dale, I think I have seen this design (O-TSUBO; big storage jars) before in a KO-TOSHO or KO-KACHUSHI TSUBA. It is difficult for me to make a statement on the school; I don't think this one is so specific to relate it to one. For my old eyes it is the complete loss of patina - probably the result of a steel wire brush treatment - which makes it look so new or 'cast'.

Loyer (is that your real name? If not, please sign all post with one), your are better off when you post your request in the "Wanted to buy" section!

Hacsek (is that your name?), it depends on what you want to own. This one is not a traditionally made sword, so you have to compare with militaria items. There are collectors of these as well who might be interested in the good condition of the mountings. Age is not a factor - an excellent GENDAI TO might cost much more that an EDO JIDAI sword from a lesser smith or in not so good condition. This KAI GUNTO is a decorative item in good condition, but it is not (as stated by AOI ARTS) a true NIHONTO. The value is - as always - related to its desirability by the collectors.

Tom, the TSUBA is a genuine one. The whole looks a bit assembled, as the mounts are from different times and sources. The brass HABAKI is probably a later addition, the TSUKA looks like military, as does the SAYA. It is difficult to state something substantial on the blade. I have the impression that the blade is sharpened down to the HABAKI, so there is a slim chance that it might be a pre-war one, but the condition of the blade will make any judgement difficult, even with better photos. If possible, show the blade to an expert or a NIHONTO club near you.

James, are you sure it is a TSUBA? It looks much more like a SEPPA, but there is no way to compare the size on a photo. The material reminds me of German silver (a copper/nickel/zinc alloy), but I am not sure it was used in Japan.

Rodriguez, I can't read the characters on the OMOTE, and I am not sure that they have a meaning. They are probably not from the smith's hand. On the photos it looks as if someone had messed up the (MITSU-?) MUNE. I cannot comment on the polish; no photos of the blade itself.

In former times, horsetail was used as a mild abrasive because of its content of crystalline silicon dioxide, especially for pewter kitchenware. Hence the name "Zinnkraut" in German.

Ford, actually, TSUKUSHI is not exactly a fern (although from the basic family and a similarly old species), but a horsetail (EQUISETUM ARVENSE). I like it a lot, and it seems indeed skillfully made. Thank you for showing these special MENUKI!

Congratulations, Chris! Then I see no obstacle to show some photos and references of the swords that got these papers.

Ken, the HEIANJO looks genuine; a nice one! For that amount of money, a very good deal! The other ones could still serve as washers.....

Ken, I am afraid this does not look like a genuine TSUBA. Signature reads ISHIGURO MASAAKI.

Chris, what a pity! On the photo it looks as if someone has hit something hard with the blade. The bends and the chips are a result of such a rough handling, and it would not surprise me to see HAGIRE in exactly this place as another effect. A good polisher will see more, I am sure....

Josh, for your research: MEI/smith is KANEMICHI.

James, this one is easy: BISHU OSA (unsually followed by FUNE no JU plus smith's name).

....which this sword shows in the MUNE (first photo). A typical welding flaw.

James, the original TSUBA was probably signed MITSUNAGA SAKU. Yours is obviously cast. Please compare with similar TSUBA originals where you can see the traces of the chisel work clearly. FUCHI and KASHIRA look like lower end work to me, especially the NANAKO. TSUKA-ITO is not well done, perhaps not of Japanese origin.

James, it is just a layer from the folding of the steel. In most swords the steel is so refined that only the fine structure of the HADA is present. Together with certain blade construction principles, this phenomenon can also indicate the 'border line' between two different steel alloys.

Wouter, to my eyes this looks more as if the original was a painting and not a print. Just my 2 ¥.

Bob, how thick is the blade (KASANE at MUNE-MACHI)? A YOROIDOSHI should be considerably thicker than a TANTO, so more than 9 mm. Although simple, I like the TSUBA!

Gentlemen, there is a whole world between steels that can be water quenched and those that have to be oil quenched. Hand-forged blades from traditional TAMAHAGANE steel require a rapid cooling process (water) while the same procedure will cause a blade made of modern industrial steel to crack. This has to do with different content of alloy metals in the latter such as manganese, chromium, nickel, silica, molybdenum, vanadium, and many others. TAMAHAGANE on the other hand is an almost pure alloy of iron and carbon. Without going deeper into metallurgy, we can say that different steels require different heat treatments and show different results.

John, both MEI are not readable to me. The first is too small, the second is not focused. Please try again, vertical position/tip up makes it easier to read..

Rob, I have never seen a YARI without YAKIBA. Have a look at pictures, most of them are clearly differentially hardened, which is not a big deal in the production process of a YARI. I do not think that there are slashing techniques with short YARI, besides parrying. I once have seen a wide and long (if I remember correctly, more than 60 cm plus NAKAGO!) YARI which might have been suited for that, but they are mainly pole arms for stabbing, unlike NAGINATA. I can understand that you do not like to see your precious YARI in the hands of a simple ASHIGARU, but of course there were SAMURAI fighting with YARI - not all were on horseback! (See: After the rain - https://www.youtube.com/watch?v=TBp2TN8m4ws)

Rob, a nice addition to your collection, and not so small! It is a SANKAKU-YARI, and they were mostly used by foot soldiers (ASHIGARU).

Nick, that is really a nice one! The sea turtle being looked at from the underside lets me believe that the bark-like lacquer is possibly meant to imitate the water surface. The glossy part of the SAYA lacquer seems to imitate cherry tree bark. The third dividing part of lacquer looks like AOGAI. Somebody obviously had a nice concept of a beautiful KOSHIRAE and the means to make some artists do their best!

Jim, the photo is difficult to read as it is upside down.