DirkO

Thanks Morita-san and Malcom, However, I don't assume my "Kagaku" 華 岳 + kao is the same person. It's a nice Sansui kakejiku and the reading is correct - but although I bought it roughly 10 years ago, the kao doesn't match? The mei does seem to match this one though: http://page10.auctions.yahoo.co.jp/jp/auction/m140810277 Here's a very old picture of mine (currently at work, so can't take a new one)

Thanks for the help with the kanji John! I also think Suitake would be the most probable reading.

Hi, Can't really read this one.... 華缶 Hanakan? Do I have the kanji correct? Is there anyone who knows something about this artist? Any help greatly appreciated!

Though in the middle of a heat wave, the meeting was well attended with 17 members. Mr. Eschbaum has started the meeting with a short introduction. The meeting continued with kantei part. The following two blades were provided for the kantei: 1. Tanto by Rai Kunitsugu (NBTHK Tokubetsu Juyo).It is fantastic, signed and absolutely typical work from Kamakura Rai. The blade is in sunobi style with no sori and over 1 shaku. The steel has very nice “wet” look. Rai Kunitsugu was younger brother of Rai Kunimitsu and one of the students of Masamune. The sword comes from Ōkubo family collection and has old Honami papers from year 1660. 2. Katana by Echizen Yasutsugu 1st generation (NBTHK Tokubetsu Juyo) The blade is typical for Yasutsugu and done in Keicho Shinto form. It was forged with (at least some) namban tetsu steel. The hada of the sword shows typical dark Echizen-gane. The kantei was discussed by Mr. Eschbaum. A lively discussion on Echizen steel and on origins, quality and quality of namban tetsu steel used for forging of Japanese swords followed resolution of the kantei. The second part of the meeting was dedicated to Hira-Zogan inlay of Kaga and Umetada schools. Mr. Peuker and Mr. Eschbaum have started it with introduction into hira-zogan and history of Kaga school. The survey was illustrated by outstanding works from early Kaga school as well as pieces from the fist and the third generations of the Kuwamura branch of the school. From Kaga school the discussion went to Umetada school. In the account Mr. Eschbaum has drawn a comparison between Umetada, Higo and Matashishi zogan as well as discussed in detail differences between zogan of Umetada and Kaga schools. Umetada zogan usually stands somewhat out from the surface comparing to Kaga works. Between representative pieces selected from Umetada school a tsuba by Umetada Shigemitsu with an Obi motive (around 1640-1650) has provided a finest example of kodôgu making. Works of some excellent artists, who worked in Kaga style, completed the presentation, among others: a tsuba by Takase Eiju (Mito school) depicting cherry blossom in the morning mist, a later piece from Washida Mitsunaka of Shonai school in the style of Kaga Yoshiro and an extreme fine tsuba by Murakami Jochiku with depiction of snow on bamboo.

If anyone could get their hands on the catalogue, I'd be more than interested in getting a few copies

Here's another 4 for sale: http://yushindou.com/%E6%9E%97%E8%97%A4%E5%85%AB%E3%80%80%E9%89%A2%E6%9C%A8%E9%80%8F%E5%9B%B3%E3%80%80%E9%89%84%E7%A3%A8%E5%9C%B0%E3%80%80%E8%8F%8A%E8%8A%B1%E5%BD%A2/ http://yushindou.com/%E6%9D%BE%E4%B8%8B%E4%BA%AD%E3%80%80%E5%A1%A9%E5%B1%8B%E9%A2%A8%E6%99%AF%E5%9B%B3%E3%80%80%E8%B5%A4%E9%8A%85%E9%AD%9A%E3%80%85%E5%AD%90%E5%9C%B0/ http://yushindou.com/%E6%B5%9C%E9%87%8E%E3%80%80%E8%98%87%E6%9D%B1%E5%9D%A1%E5%9B%B3%E3%80%80%E8%B5%A4%E9%8A%85%E5%9C%B0%E3%80%80%E9%87%91%E8%A6%86%E8%BC%AA/ http://yushindou.com/%E5%A4%A7%E5%B0%8F%E6%8F%83%E3%81%84%E9%8D%94%E3%80%80%E5%B0%BE%E5%BC%B5%E3%80%80%E4%BA%8C%E5%AD%90%E5%B1%B1%E5%89%87%E4%BA%AE%E3%80%80%E6%B5%AA%E8%BB%8A%E5%9B%B3%E3%80%80%E9%89%84%E5%9C%B0%E3%80%80/ As said - TH is not that difficult :-)

http://www.wakeidou.com/smarts/index/10/ 5 here to get you started ????

Also, the Koson kao is very poorly done - lots of issues comparing it to true examples And the stamp at the back isn't for the headline master (which Koson was) - it was for one of the sidelines... Headline master stamp

I'm still in the first 10 years - but your reasoning is sound and it does help a lot in the assessment of unknown swords. I actually plan to do the Shijo Kantei from now on. So at first I will be , but after a lot of practise I hope to get (for the old school gamers - and probably wishfull thinking!)

Hi Mitch, Logically speaking you have the NBTHK paper to Ko-Uda (which I personally think is a card they pull out too often) - on the other hand you have an anonymous sayagaki saying Yukimitsu. Seeing the sayagaki is anonymous, it is likely that the person who wrote it either did it for his own record keeping or, if it was for 'public purposes' - didn't sign it, because he didn't want to put his name on the line. Any of these 2 options fail against NBTHK Shinsa. Like Guido said, shinsa is a very learned opinion and the organisation stands by its conclusion (there will always be sparse exceptions). Only in very rare cases can a sayagaki or hakogaki trump shinsa, usually only if done by a person who has really specialised in a certain area, whereas the shinsapanel is expected to know a lot about everything. But it's the collector/owner who should assess the weight and value of this. There's no hard and fast rule.

+1 - Paul's very knowledgeable, as is Jean - so it's safe to trust their advice

Some additional resources: In the WL Behrens Catalogue (1966) Volume 3 - Page 112: 2860 Wakizashi, blade 15J ins. long, Bizen Osafune Kunimitsu, mounted in a guri lacquer scabbard and haft, wooden tsuba Sotheby Parke Bernet Inc 1981 Item 39 - Rare Wood Tsuba, 19th Century, heavily carved plate, carved with ato ana, applied with a puff fish in bone, signed ________

Hi Markus, You changed the display text but not the actual URL of the footer

Hi Fleck, try the Mishina school, lots of Yoshimichi there, however your kanji michi seems off....

Couldn't find much:

John and Jussi are right with the kanji "sha" 冩. I have it on one of my pieces as well.

Hi Geraint, Thanks for the info, but I don't think this is a naginata (yes I know, it has a naginata hi) - because it lacks curvature and ends more in a stub? Just goes to show that smiths were very creative, even in form. Just noticed I put in the wrong link on top. http://page.auctions.yahoo.co.jp/jp/auction/197962597

How would this be correctly identified? Kogarasu maru on a stick? I'm intrigued by these more utilitarian formats you sometimes find, like that Saneo from Tsuruta. They usually seem to resemble farmer tools, which is to be expected. http://page24.auctions.yahoo.co.jp/jp/auction/q67341621