DirkO

Well it's probably Fukurokuju (福禄寿) - with his staff holding the book in which the lifespan of each person on earth is contained. However, the orb is somewhat puzzling although he is said to be an incarnation of the Southern Polestar (that controlls the dates of death, whereas Northern Polestar dates of birth). But not sure on that.

Difference in seppa dai I think just proves it's a late piece. Regarding the ana, they have a Higo feel to them, that Higo influence can also be seen on the missing zogan, it's common for them to have a fabricated 'worn' look. I do stress 'influence' however, this isn't a Higo tsuba.

One for sale now: http://world.seiyudo.com/product/tu-011220/

Choshu Hagi ju Kaneko Jurobei Yukinaka - I always thought Choshu to be underrated - they did have some very good pieces, although the general ones are indeed so-so. Of the Kaneko family. He was called Jurobei son of Yukishige. He was skilled at carving plants and flowers. He used a somewhat wide mimi and carefully and tastefully inlaid gold. Kaneko school lineage (yours is the 2nd gen) Other example of the same maker:

Thanks for the update - good to see some familiar faces in that report and photo! I hope the NBTHK-EB will also resume their meetings in fall.

Regarding nr 61 it's probably a Japanese water wheel:

Originally Chinese, Sun Wukong (孫悟空) is the name given to this character by his teacher, Subhuti, the latter part of which means "Awakened to Emptiness" ; he is often called the Monkey King His primary weapon is his staff, the "Ruyi Jingu Bang," which he can shrink down to the size of a needle and keep in his ear, as well as expand it to gigantic proportions. The rod, which weighs 17,550 pounds, was originally a pillar supporting the undersea palace of the Dragon King of the East Sea, but he was able to pull it out of its support and can swing it with ease. The Dragon King had told Sun Wukong he could have the staff if he could lift it, but was angry when the monkey was actually able to pull it out and accused him of being a thief; hence Sun Wukong was insulted, so he demanded a suit of armour and refused to leave until he received one. The Dragon King, fearful of Sun wreaking havoc in his palace, gave him a suit of golden armour. These gifts, combined with his devouring of the peaches of immortality, three jars of elixir, and his time being tempered in Laozi's Eight-Trigram Furnace (after which he gained a steel-hard body and fiery golden eyes that could see very far into the distance and through any disguise), makes Sun Wukong the strongest member of the pilgrimage by far. Besides these abilities, he can also pluck hairs from his body and blow on them to convert them into whatever he wishes (usually clones of himself to gain a numerical advantage in battle). Futhermore, he is a master of the 72 methods of transformation (七十二变), and can transform into anything that exists (animate and inanimate).Notably, however, Sun cannot fight as well underwater. The monkey, nimble and quick-witted, uses these skills to defeat all but the most powerful of demons on the journey. Sun's behavior is checked by a band placed around his head by Guanyin, which cannot be removed by Sun Wukong himself until the journey's end. Brilliant tsuba you've got there with a lot more than meets the eye!

Hi Bob, indeed, a solid set, but maybe not as outstanding as other pieces. It's portraying sarumawashi, training a monkey to dance - but you already caught that.

Hi Bob, I think that kozuka might refer to the Otter Festival. Dassai Ki 獺祭忌（だっさいき）Dassai memorial day - Otter Festival Anniversary Dassai 獺祭 is a name of the Otter Festival, also an ancient name of part of the prefecture Yamaguchi. Fishotters catch fish and place them on the riverside, almost as if they wanted to show them as offerings. This custom has been the subject of many old poems.

Sorry Bob, late to the party, but here's that Wakayama entry: I remember chatting to you in Utrecht at your display - there were some real gems there from the hand of Ford. If anything, he's somewhat too much a perfectionist!

"Here's a side by side of your signature compared to the 1st 6 generations (papered authenticated examples)." was just making a case that the mei under discussion at the time was well off from any of the Kyo-Tamba generations. Which doesn't necessary mean gimei, but it doesn't help either.

https://www.iganinja.jp/?page_id=837 it exists, although just a tourist trap

Talked to him about swords once, he came up with a sword that I knew was for sale in Japan and offered it to me for 50% more. Never bothered after that.

Worked with him on several occasions. He never disappoints and goes the extra mile. He's an institute and can't be thanked enough for what he has done and is still doing for the western collecting community.

stylised usubata? they come in all shapes and sizes

Tsunenao, first name „Kyūbei“ (久兵衛), was a student of Nagatsune. He originally came from Takatsuki (高槻), in Settsu province. Haynes lists this kinkō artist as the same person as Sadanaka (貞中) but the „Tōsō-kodōgu-kōza“ lists the latter as an individual craftsman without any reference to Tsunenao. In a document which is based on the records of Nagatsune we find the entry „Tsunenao, student of Nagatsune“, followed by two similar but differently sized kaō. Incidentally, it has to be mentioned that in contrast to the Edo kinkō schools like the Hamano, Nara or Yokoya, the Kyōto-based schools did not in general allow their students to use the original family name which was handed-down in the lineage of the eldest son. (extract from Markus Sesko's Toso Kinko translation)

I have the "Sources of Japanese Tradition" books - quite in depth and based on various old sources. Sources of Japanese Tradition

Regarding the habaki, they do pop up from time to time, but uncommon to say the least. I have this one on file - by Funada Ikkin (Hozon papers) - so a work of art in it's own right (but used for mounting nonetheless)

Just a friendly reminder for all NBTHK members to keep filling out these online kantei - I almost forgot this month! https://www.touken.or.jp/english/nbthk/swordjournal_October.html

By the looks of it, this samegawa has never been mounted. I've seen a few with writing on the back like this one, usually information about the actual samegawa, although this one does seem quite elaborate.

Being on a kiseru doesn't stop them from getting papers. I've seen kiseru with NBTHK papers. However, if they aren't original to the piece, it's maybe better to try and remove them with as little as damage possible.

Bit late here - it's not gimei. It's published in Shinto Taikan + I was able to track down a very good match which is papered. However, they don't specify generation (rarely do for Mishina unless Kyotamba shodai). It was wrongly filed as 3rd gen Osaka Tamba on my PC - because it's not 3rd gen, too many clear differences in overall mei. This one does have the kikumon, which is a bit odd. There were a few Mishina smiths that moved from Kyoto to Osaka though. Further investigation needed.

Hey Piers - could you post a picture of the mei? I have amassed 100+ ref mei for Mishina work from all generations - so would like to see if I can find a good match. If it's not shodai, you have a very big chance that NBTHK will just confirm the mei.