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Thank you for the update Morita-san. I only checked good´ol Hawley. Mea culpa.

Stephen is correct. The full mei reads: "Harima no Kuni Suzuki Gorô´emon no Jô Muneyoshi" 播磨国鈴木五郎右衛門尉宗榮 He worked between Kanbun (1661-1673) and Genroku (1688-1704) in Harima province. Subsequent generations Muneyoshi worked there until the end of Edo period.

Unfortunately the sword exhibition was only three days. Bad luck because I am in Amsterdam this Wednesday and Thusday. Well, a miss is as good as a mile...

Seems to be "Masumori saku" 増守作 Hawley lists a Bingo-Masumori group working in late Nanbokuchô, and a Bungo-Masumori group for the end of the Muromachi period. The shape of the entire blade would reveal more about the time of production.

Hi Todd, your tantô is signed "Mago´emon", the "Mago" character is just a bit weaker than the others. Great pics btw.

My pre-WM bet is still in the race: Finals Argentina - Netherlands :D I want to see Maradona holding this golden thing one more time in his hands...

Does anybody want to browse through the NMB in WM style? http://www.vuvuzela-time.co.uk/www.militaria.co.za/nmb/

At a glance, I thought about this reading too, but then the smith in question would be "meikan-more", i.e. not listed in any references. I also thought about "Masayuki" (当之) but ditto. Minamoto Moriyuki on the other hand is listed, and the artistic period is about matching. That´s why I tend towards Moriyuki.

Seems to be Minamoto Moriyuki. 源守之 Hawley MOR454.

I don´t want to go into detail about mizukage but as Franco suggested, you have to be careful at which blade you see one. A mizukage is regarded as characteristical feature for example of Ko-Ichimonji or Ko-Bizen (although it is not a must). As for me, if I had the money, I would buy it at a glance. Great piece of history too...

I think it oversea orders should be fine (at least it works to Japan;). But if anybody is interested and the ordering does not work, he can also get a copy from me personally (to be paid via PayPal + shipping).

Yes, I think it should be fine in a couple of days.

Hi everybody, I would like to give you notice of my latest publication. "Genealogies and Schools of Japanese Swordsmiths" It deals as the name implies with the genealogies of all of the major schools from kotô to shinshintô, but I would like to quote the rear flap text: Attached is a low-quality sample of one page (the other about 99 schools look quite similar As for the details, it is paperback A4, has 124 pages, and the price is 34,90 Euro. It can be ordered at amazon.com or at Books on Demand (bod.de). http://www.amazon.de/Genealogies-School ... 636&sr=8-2 http://www.bod.de/index.php?id=1132&objk_id=363611 Thank you for your interest.

Hi Andrey. Actually, that´s all. Koichi-san completed just the line which I missed whilst replying without looking back once more at the pic.

Translation: "mei ´Kaneshige´ Hôan family - called ´Hisatsugu´ ´Hisatsugu´ was the name with which the fourth and fifth generation Hôan signed as tsuba artists." However, also the second, third, and later generations Hôan beared the name "Hisatsugu".

Hi Barry. This is the character "fune" in grass-script. Here you see the tendency how the right-standing radical is abbreviated.

"Biyô Osafune-gô" (備陽長船郷) - "Osafune village of Bizen province". Just a way to express "Bishû Osafune-jû" in different terms, as a variety IMHO. Yokoyama Sukenaga used that kind of mei in combination with a "kiku-ichi".

I have to second Chris. It is as gimei as it can get. Please compare the original signature below. FYI: The other side of the tang bears the owner´s name: Mr. Asai (浅井氏)

I want to qoute Tanobe-sensei from his article on gimei. Here he writes on Yokoyama Sukesada: "Yokoyama Sukesada is not so highly valued today, but he nevertheless belongs to the smiths who were affected by gimei. This shows us that must had been quite in fashion during the Edo period. One of the characteristics of a shôshin-mei is the character for „sada“ (定), namely the start of the last stroke (the lowermost bow which ends to the bottom right) projects over the next to last stroke. One has to be cautious if this is not the case. But also the blade has to be examined, namely it is not so good when it shows a shallow notare in nioi-deki with a compact nioiguchi, because the strong points of this smith was a complex gunome-midare with variation in height as well as a nioiguchi with ko-nie." Picture below: shôshin-mei left, gimei right

Hi Malcolm, Yes, Tomotada is correct. He was one of the countless Bushû tsuba craftsmen. But you have luck Haynes lists him (died ca. 1800) with a kaô which is not identical but quite close.

At kanabô, I always have to think about these guys... (original picture is found here: http://www.neoniigata.com/photo/071014) BTW: "tetsubô" and "kanabô" is basically the same. The kanji (鉄棒・金棒) can be read vice versa, afaik. I think that no explicite differentiation was made in earlier times between what was called "tetsubô" and what "kanabô".

A copy of Shizu Saburô Kaneuji (志津三郎兼氏) by Masatsugu (正次). Dated Meiji 31 (= 1898)

Yes, out of date. Ôsumi Toshihira passed away in October last year too.

Mitsuyuki was one of the numerous names of Gotô Ichijô. So the piece must be rather young (as Curran stated, the signature is cleaner as usual). Looking forward for a pic of the front side. Ichijô used this name when he was quite young, namely from the age of 21 to 33.

I would follow George here, i.e. "segmented", when the kizami notches are wider apard. For a more narrow inro-kizami, the term "ribbed" is frequently used.