Ted Tenold

Thanks guys. I went with my first impression. Congrats also to others making the Yamato Hosho calls.

Looks more like a "Marlin Maki" to me. Nemo is probably still revolving on the kaiten. Now where's my order of Dory Sashimi?? Look away kids......just look away. And just so my post isn't completely off topic..... Flaws are one of those things that are contextual in nature, which is pretty much where the discussion is going imho. Our eyes are naturally drawn to two things; beauty and detraction. If we're looking at a fantastic sword by say, Osafune Nagamitsu, with flaw such as this, the age in conjunction with the beauty and skill of the overall work can overrule the kizu that may be present. However in a Shinto piece, much less so, and a Shinshinto piece quite dreadful. On a mediocre, tired, low skilled (or all inclusive) sword of any period, well, then it's mearly a sharpened piece of steel with questionable functional durability. If function is all that's sought, there's lots of options for mediocre swords out there without flaws, so what was the question again??? :| So that riddle of "What is art?" starts rearing it's head again. A long time go I was looking for an answer to this and I asked a friend of mine (a prominent art dealer) how he defined the differences in art and I loved the answer he gave me; "I can't describe to you the differences between art and pornography, but I know it when I see them".

The shape and kitae are very nice on this sword. Definately a nice example for any collection.

You're just being modest Jean. A clear hit is a clear hit and you did it with conviction from the start, so kudos clearly earned and in order. "Luck" favors the prepared. :D You were so prepared in that you have seen prior works by the smith and thus listened to the input your brain had already cataloged. This is the essence of kantei and Atari for you. My point (and mea culpa ), exactly. I did overthink it after my initial first impression of "Sue Soshu". I should have listened to and expanded on that impression instead of literally walking myself down the kaido to Suruga province to receive a Tori Yoku answer. First impressions should be listened to very closely because they come straight from brain without much (or any) additional processing. If your first snap shot impression of the sword was "HuH????", well then "blind" guessing would be accurate. Fusamune bids earn a respectable Dozen and are very very close. Kunihiro bids are a bit confusing to me because he straddles the Koto/Shinto periods as well as provinces. Would he be Kuni Iri Yoku (correct province) or a Jidai Chigai Yoku (different period same province) call? Maybe Paul can explain/expand on this for us. What you have to ask yourself now Jean is what did you really learn from being "correct"? My point on this is really not directed at you, Jean, as much as everyone who hesitates to take a stand with a call. It's far better to try and be wrong than remain on the sidelines with apprehension. Certainly sometimes this includes guessing in the lack of any real instinctive response. But in kantei there are no penalties and certainly anyone that would chastise another's incorrect answer truely is without understanding of the entire exercise. A friend of mine once gave me some advice concerning kantei; "Make lots of mistakes, you learn much more from being wrong than when you are right". This is quite true. When you are right in kantei, it's more or less a lesson already learned. We explore deeper when we are wrong (or at least we should) and thus learn a great deal more. When we are right, we rarely hit the books again to figure out why we got it right, so learning more or less stops there. Keith Larman turned me on to a facinating book on the subject of first impressions called Blink, by Malcolm Gladwell. It addresses this very phenomenon which is a very powerful tool for kantei. http://www.amazon.com/Blink-Power-Think ... 0316172324 Congrats Jean and Brian, who settled onto a Tsunahiro bid as well, for your direct hits!

Tsuruta-san posted the answer to the kantei, and it can be yours! It is now officially for sale... http://www.aoi-art.com/sword/wakizashi/08207.html Interestingly enough I considered Tsunahiro for quite a while, but didn't see a kaeri long enought to make me comfortable with that call. Jean on the other hand didn't see a kaeri long enough to agree with my call to Gisuke. In looking at the jigane, I couldn't agree with Kunihiro because it didn't appear strong enough and seemed to fade in pattern and visability in the area above the machis and above the yakiba in the kissaki. It didn't quite look like the zangurihada I'd expect and there also was no mizukage apparent or mentioned (though the solitary lack of this feature wouldn't disqualify a Kunihiro work either). Also judging from the pictures (which we all know the dangers of...) the steel has a dark hue and lacks the luster I'd expect from Kunihiro. This weakness and coloration as well as the style of yakiba that is suguha between the individual gunome lead me down the path of Shimada.

Does anyone else get the impression that the horimono may be atobori? I get the feeling this tanto is by, shall we say, famous emulators... Jean, your spoiler was excellent. I am lucky this was not on the battlefield. I will treat French spoilers with much more respect in the future!!

Marcel, I wouldn't worry. You visited the smith and made arrangements with him personally. He's a member of the AJSA and a competitor in good light. I don't see that asking for a deposit receipt will be any problem either if for nothing else than for for good finacial record keeping. Transactions by and between Japanese craftsman and dealers are done all the time on little more than a handshake (or should I say a bow). Personal introductions, good translators, and clear information are all helpful. Yes indeed, be "Chill" :D

Richard, Regrettably, I have no written source to validate my statement. I was told this during a discussion of the same subject about three years ago and in looking at the examples I'd seen it appeared quite plausible. I'd agree they likely weren't the first concern for "rescue" when a fire broke out, but the length they offered would be somewhat of a natural choice if you had to demolish higher points of a building to create a fire break and there was neither a fire fighting crew around nor tool designed for the specific task. In the dash to defend other structures the weapons could have come from neighbors rather than the burning armory they were held. Interestingly enough, all those that I have seen with this damage were indeed Edo pieces. In them, one could clearly see the yakiba in the lower part of the blade. Approaching the Kissaki, the yakiba became sleepy then disappeared. If these things had been left behind to fully burn, the yakiba wouldn't be visable at all and I'd expect to see the nakago damaged as well, especially when considering the Ebu (shaft) is wood and would ignite the same as the saya would. Even today most of them that are seen in shops are hung on the walls or from rafters in the ceiling because their length prevents putting them elsewhere. This storage method would expose them to the extremes of the fire and promote more than just regional damage. I'd not read or heard about troops practicing this method of altering their weapons, but I wouldn't discount it either. It does seem odd that all the ones I've seen were Edo pieces though, and in a period without any larger conflicts it's curious why troops would alter what were then very new blades. Interesting stuff anyways....

John touches on a good point. People don't just want a "Samurai Sword" they want a Samurai's Sword. Waki don't bring that element of romance in general. Having one by a luminary like Umetada, Kotetsu, Shinkai, etc., is a situation of work trumping romance. Then again, those that can collect and appreciate the work of smiths such as those, have the ability to look past the rudimentary catagories anyway. Going back to the original question... (though enjoyable conversation, sorry for adding to the thread drift...) The shape looks okay, but shall we say, utilitarian in nature? But what's under the haze is the real question. I think I'd want some kind of inspection period concession to allow seeing it in hand. Because like Richard touched on, the lack of really good works in the Shinto period stacks the odds to unknowns being lesser quality and this maker is not running in the herd of big antlers. At the end of the day, I don't think anyone can really confirm or deny any post polish possibility from the images so you see it for what it is; an out of polish, shinto period, mediocre naginata. A candidate for restoration? Maybe. The thing is that these, along with yari and jumonjiyari, sometimes got poked into blazing buildings during fire fighting efforts just by necessity of their length. I've seen quite a few fire damaged ones where the tips had no yakiba, but the machis or mid-section of the blade had some yakiba left and the nakagos were still okay looking. Just thoughts.

Brian, Yes, there do appear to be a lot of inconsistancies in the mei. The condition of the nakago looks a bit more deteriorated than I would expect for the age of the sword too. Perhaps a bit contrived adding to the deception? Look at the crispness of the nakagoana edges and walls which don't really evoke the same deterioration level to me. The work in the blade is the important factor though. Gimei can be remedied with proper and judicious removal. If the shape and condition look like it might have some promise, have a window put in it and see what it has to offer. Might be something better, who knows.

I think what Brian's getting at is that essentially it comes down to numbers. There are a *lot* of wakis out there. Suriage'd swords contribute to the number greatly, but the numbers of smiths working in the Edo period was huge....so was the growth and success of the merchant class which were permitted to wear shorter swords like Waki and Tanto. Longer was better to the extent of the length they were permitted, and they had the funds to acquire them. Thus the increase in numbers of Wakizashi that were produced. If we look at many of the schools that fourished in Edo Jidai like Mishina, Tadayoshi, etc., and then the really spectacular smiths working like Kotetsu, consider the numbers of works that were Wakizashi. Who could afford these swords in the age of keeping Daimyo poor? The merchants of course. The general perception of the waki being the "indoor" sword is indeed valid, but a little overplayed. It was a backup, or additional weapon to weild by terms of a daisho, at least by Edo period standards. But we can't forget that somewhat oft confused term of "Uchigatana" which were made by the bundle in Sue-koto times. How many Waki sized swords signed "Bishu ju...bla bla" have we all seen? Of course lots of Tantos were made in sue-koto times (all the wierd Bizen shapes come to mind) carried by Bushi that needed close in fighting weapons that even uchigatana were too long for use, so those guys had a daito already anyway. So in this regard it was also the primary weapon if you weren't carrying or permitted to carry a long sword, indoor or not. We can also consider that tanto are not nearly as commonly produced by comparison in the Shinto period. It gets really tough to find Tanto made past Genroku period and they really only started to pick up more popularity into the Bakumatsu period with some really extravegant works being produced with stunning mounts. Again, this goes back to the merchants spending lots of money and dressing up nice. It seems folks view Wakizashi somewhat like "neither Katana nor Tanto" which is technically true of course but I'm specifically referring the mental image when considering a sword for a collection. Somewhere there's a blip they are somehow less a work of art than longer ones or shorter ones. I have a running joke with a friend everytime we encounter a sword that is 24 inches; "Well, it neither Katana nor Waki, but at least it's either Katana or Waki!".

I'd agree with Grey that they are uncommon, however there were some collaborations that were more common than others it seems. I've seen three collaboration works (Gassaku) by Yoshimichi school smiths. Also there is Bizen Katsumitsu and Bizen Munemitsu that are well documented with several gassaku blades by them. I guess that makes those uncommonly more common? Commonly uncommon? The variables of who did what in the process can be left to speculation, but as I understand it the common procedure is one forged the blade the other heat treated it. I remember seeing one sword signed as one smith forged and another did the yakiire (quench). Didn't say who put the clay on though, so I'm guessing it was the latter.

Hi Barry, That is Jabaramaki which basically defines that strings are used but there are different types of wrap styles with these strings (called Jabaraito) also. This one is more specifically Kumiagemaki or "braided" wrap with strings. Hope this helps! Ted

I'd have to agree that the mei is looks questionable. What bothers me also is the way the hi are cut and how far into the kissaki they extend. They look very awkward and bulbous, falling short of that harmonious elegance the Gassan are so meticulously skilled in creating. The tsuka looks new. The samegawa is bright white, the tsukaito is brand new, and the tsukamaki is poorly done. The menuki are also placed upside down. The fuchi is also made to accomodate a kozuka which isn't on the saya. The tenjogane has the ura facing depression, yet I see no images of a kozuka. The tsukashitaji also looks brand new. Lots of questions for that kind of money.

It saddens me to inform everyone of the tragic loss of our friend Ralph Bell. He apparently lost control of his vehicle while driving yesterday. Details are not yet clear on the cause. Ralph was a fixture in the Nihonto community for many many years. He tirelessly committed himself to the Northern California Japanese Sword Club and the San Francisco show, the NBTHK American Branch, and other organizations through generous extension of his time and study matter. He always brought fun and laughter to the shows with some of his antics, such as the infamous "screaming rubber chicken". Shows will not be the same without him. The family has requested that contact and condolenscences be directed to Fred Weissberg while they mourn Ralph's passing and tend to family matters.

I get the feel the blade is older than shinshinto but not quite koto either. The nakago doesn't have that short stout stubbiness koto bizen had so much of. I'd say early shinto. Bizen looking but with that boshi (which looks sugu komaru) I'd look to Shinto Bizen. Ishido favored Ichimonji styles of work, but has a whitish cast to the steel and different boshi. As Darcy pointed out, seeing if the yakiba continues through to the nakago would be helpful, but my first impression (gut feeling) is that it's ubu and the shape greatly resembles Yokoyama school style. Shinshinto Yokoyama sometimes have yakidashi that straightens out from vigorous yakiba patterns but that's more of a shinshinto thing from what I've seen and this blade doesn't appear to have that. That's my opinion anyway....worth exactly what I charge for it. :-) *edited for clarity*

This blade has clearly been etched. The yokotesugi has been "installed" by masking with tape. The kissaki finish is dull and the abrasions in the monouchi are of the same pattern, density, and direction transitioning across the yokote into the kissaki. If sand paper had been used on a traditionally polished kissaki, the yokotesuji would be obscurred and the transition rounded. In the habakimoto there is yet another tape line masking the nakago from etchant. The so called "shumei" looks like nothing more than regular brown urushi, and the script is poor. The kao does resemble Tanobe-san's but there is absolutely NO way any of this is by his hand. The hada is harsh while the background is chalky, dull, and lifeless. The striations in the ji have "jagged" edges as to those in the yakiba. The habuchi/yakiba is also chalky and dull looking and without brightness. My guess is that this is a showato or gendaito that's been, shall we say, "embellished".

Absolutely brilliant work. Love it. I'll bid:

The questions have been looming for a couple years now. Looks like we finally have some definitions. http://www.opsi.gov.uk/si/si2008/draft/ ... 10324_en_1 Effective April 6th, 2008. Cheers, Ted Tenold

Hi All, The Chicago area Midwest Token Kai is coming up soon, so make plans to get to this show. It is organized and run *very* well and you won't be disappointed if you attend. There are a number of lectures and events that will be hosted there by organizations such as the American Branch of the NBTHK and JSSUS. Darcy Brockbank will be attending for photography of high quality swords. Martial Arts demos are generally held as well. The showroom is well attended and there are always excellent swords, fittings, armor, and art offered. All the information on location, hotel accomodations, events, etc. can be found at: http://www.midwesttokenkai.com Many fellow NMB'ers will be in attendance so drop by and enjoy!! Cheers! Ted

In Rai and Ryokai, one would look for tighter more qualitative jigane and hada with not so much running masame. One would also see mitsumune more commonly and this one looks like Iori from the images. However it does show Yamashiro influence so that, along with shape and the with the other characteristics would lead possibly to very late Ryokai work after the school moved to Bungo province becoming "Chikushi" (or also Tsukushi) Ryokai.

Hi All, As a follow-up to clarify; The images that Mr. Bonsel pulled up from my site are still archived there from the time I offered the same sword for consignment sale on behalf of a client some years back. My client made other arrangements for the sword and the listing was cancelled from my site but the images and text will come up in some search engines caches. Mr. Bonsel and I have already corresponded privately on this subject. Glad he was able to find out about all this before shelling out a bunch of Euro. One would think by the appearance of the site that he could put those efforts to better and more legitimate uses. Too bad...

No commission cheque necessary. :-) I'm glad to see folks get some great tsubas. Enjoy!

Brian, I'd like to donate two books to the effort. The first is from Keith and I at Modern Tosho. The Art of the Japanese Sword, As Taught by the Experts By Kawachi Kunihira and Masao Manabe. A nice introductory book signed by Kunihira-san himself and a poem brushed by him. Excellent photography with good basic information in Q and A formats. Also some fun facts and storys. Soft bound with cover, 156 pages, color and black and white. The second from Legacy Arts (...me) is Yoshindo Yoshihara and The Yoshihara Tradition By Leon Kapp and Aram Compeau. This catalog was available during an exhibition of the Yoshihara swordsmiths at the Pacific Asia Museum in Pasadena, California a couple years ago. It is wonderfully illustrated and dives into the history and lineage of the Yoshihara forge as well as the Tosu related art his daughter creates. Very nice photography and brief biographies of several of the smiths and also some collectors. Soft bound, 72 pages, color and black and white. Postage will be prepaid to the winners of them. Good luck to everyone!

Check out Fred's Super Sale on Tsuba. There are some really nice ones at prices you can't even buy mediocre (or crap) ones for these days. http://www.nihonto.com/itemsale.html Jeez, a nice boxed Saga Kaneiye for $600 bucks? Better jump on these while you can...