Ted Tenold

You can get the microfiber cloths here; http://www.adorama.com/CPCML.html

Mariusz, The bands are called "koppa maki". They're thin continuous strips planed from contrasting colored wood.

Hello Morita san, Thank you. I don't know exactly what it contains. It is noted in the Nihonto Koza as a "pamphlet" containing some information relating to the Shimada group. I'm doing some research on this subject right now and would like to read what it has to offer and add it to my library. If you know of a copy that is available, please let me know. It seems to me that the Shimada school is a little bit overlooked or disregarded in their time, but produced some significant works and this has driven my curiousity to examine them in more detail. I appreciate any help you may be able to offer. Thank you again!

Hi All, Looking for a copy of a pamphlet called "Shizuoka Meito Monogatari" by Matsushita Masahika, October 1962. If any one could point me in the direction of a copy, it would be greatly appreciated. Thank you!

Looks like a very nice sword by him at a good price. The mei reads Hishu [Yatsushiro] though, not 8 dai. Glad I'm not the only one that's made that mistake.

No, but I would really like to see this one in hand, and someday the Jubi work by him listed in the Zenshu. An oshigata of it is shown and it greatly resembles Rai Kunitoshi work but with a slightly different boshi, soft undulation to the sugu hamon and short saka ashi in places. It's signed sanjimei Rai Kunisuye. The Zenshu also notes him as the son of Kuniyuki which would make him the brother of Kunitoshi. That conflicts with other sources that he is Kunitoshi's son or brother in law. Since the Jubi looks much more like Rai Kunitoshi (sanjimei) work, than Kuniyuki, this might support Kunisuye being his son instead of Kuniyuki's.

Hi Jean, At the time I glanced over the thread, my caffeine level was not sufficient to recognize the friendly sarcasm in your response. :lol: As I see it, the description used by the seller as a kodachi would seem an effort to decribe the sword in terms of length/shape in conjunction with it's attributed period. Wakizashi, is indeed a classification of length but brings connotations of later periods. Semantics begins to emerge as technically, wakizashi did not yet exist in late Kamakura. Note that the drop down catagory it's listed under is wakizashi->kamakura jidai.

Jean, the site lists it as a Kodachi, but the paper catagorizes it as a Wakizashi. The papers also note "Den" above "(Rai Kunisuye"). Shirasaya says Niji Kunitoshi. The jigane is lovely and greatly resembles Niji work, but the yakiba (from what can be seen) is not quite as active as I would expect from Niji.

Paul, I absolutely agree with you. The provenance is the element that should be judged on quality. If the piece is documented from prior collections, estates, museums, legal affadavit, etc., then it's got a full measure of confidence. If it's merely a description from the auction house with questionable or inaccurate historic reference, then the provenance has to be judged in isolation rather than in conjunction. Therein lies the rub. Savvy buyers need to know as much about history as they do the item. They also need to have initiative enough to question the information prior to the commencement of the auction. "Because ""they"" said so" won't get far after the fact. At the end of the day the buyers have to determine their own comfort level and establish their own judgments, hopefully setting any emotionally driven enthusiasm aside. If not then bidding plants the seeds of hubris, and the phrase that comes to mind is: "the willing can't be raped".

Correction: Sgt. John Basilone While the prices achieved remarkable levels and the items of no greater quality than we're used to seeing in the mainstream, the buyers of these items aren't buying quality. They're buying history. They're concerned with condition and provenance. I collected militaria for over 25 years and still maintain interest in it. In militaria, the difference between average and rarified air is purely in the provenance. The story these items tell is the romance of collecting. The fact that a 48 star US flag is available at auction pales in comparison to a 48 star cotton US flag that is irrefutably tied to the USS Arizona being available at all. The sword in discussion does look dodgy, but the other one (the NCO Shingunto with the painted USMC unit, name, campaigns) is something that fills the niche that the militaria field thrives on. The fact that it achieved the price it did is remarkable, but then again so were many of the Nihonto prices I've see at auctions in the past. Let's not be glib; it's all worth as much as the next guy is willing to pay and as long as the provenance is accurate and true, the pieces are as represented, and the buyers accepted, free, and willing to bid, then there's little more to say.

First knowing what a truffle smells and looks like is pretty important too.

Gloves are a good thing to carry with you at a show as a measure of preparedness, but even if you do, first asking the owner what they'd prefer is the best approach. They may actually have their own gloves or cloth that they'd like you to use. The height concern has been mentioned already and with gloves yes, slipping is a possibility. However it's key to remember to examine and handle with *both* hands at all times and not just one. With really high end stuff I typically stay as low to the table as possible or rest my hands on the table top or case while looking because it's not all that unusual to get bumped unexpectedly in a crowded aisle. Another thing I'll mention is that on occasion I see folks with big rings or lots of big rings. It only take a brief and somewhat unseen contact with a ring shank to scratch or damage a rim or surface design. You probably won't notice until they're long gone. So if you have stuff on your own table, have your own gloves to offer them before handling. Microdear cloths are also as good for fittings as they are for swords. I think latex and gardening gloves are unnecessary and perhaps a bit overkill. Cotton works fine. Look to the owner for answers. They'll appreciate your concern in doing it they way they want. Bottom line, use common sense and courtesy. If it's in your hands, it's your responsibility. Junichi, my suggestion is that if you offer things for general display at a club or event, then clearly discuss your preferences regarding handling with the host/lecturer in advance so that they can inform the staff and attendees and monitor them appropriately. Offering anything from a collection for all to share and learn from is a noble and generous thing, but your preferences should be respected. If there is some kind of transgression during the event, it's best to casually and quietly inform either the host or perhaps one of the supervising staff of your wishes again with as little disruption of the event as possible. Sometimes eyes are focused another direction or the host is caught up in the lecture material, or there's so many pieces that it can be difficult to remember which were okay to handle and which were not. The host can then reiterate your wishes to the attendees with candor and maintain a nice study environment for everyone.

Bill Green is really putting the fuel to the show and truly deserves a huge kudos! Thanks Bill!!! The NBTHK American Branch will be hosting a lecture and display of excellent Oei Bizen swords. There will examples of the era's best makers. Most are signed, many dated, and even a very rare Bizen maker. These lectures are an invaluable opportunity to study fine examples in hand, ask questions, and get educated in a way not possible any other way than having them in hand. While these lectures are open to NBTHK members at large (Japan, American, and European Branches) non-members may also attend for a $20 fee which will be waived if you join the NBTHK/AB at the door. There will be printed material covering the lecture/display as well. If you would like to attend and are unfamiliar with the protocol of handling and examining sword blades, I encourage you to review this page; http://www.nbthk-ab.org/Etiquette.htm where you will find two sections on etiquette at sword shows, and etiquette at special displays by Grey Doffin.

Some flaws are tolerable for Hozon or even Tokubetsu Hozon. As an example, I know of a Magoroku Kanemoto Tanto that had no boshi (due to having been broken and the tip moved back) and it passed because the mei was a very rare variant and the remaining workmanship was indisputably correct. Had it not been a rare and unusual example of that mei, or perhaps even one of his more usually encountered, it wouldn't have held enough merit to deem it "worthy of preservation".

The NBTHK has become a bit more demanding of condition for any submission over the past few of years and not unreasonably so. The condition of the nakago and state of polish being the main focus. While some defects can be overlooked, remember that the higher the paper being sought, then so also must be the quality and condition of the polish. Swords have failed to pass Juyo because the polish was inadequate or poorly illustrated the work. I even heard of one sword failing to pass because the utsuri was found to be fake. The best thing to do is consult your dealer or broker prior to submission and ask their opinion. Bob Benson is always willing to recommend a course of action prior to submission, or if the sword is even a good candidate at all. Even if it costs you the postage for a recommendation, it can save you a lot of time, money, and disappointment.

Seen more than a couple that were stored in basements that looked quite similar too. Basements: another term for a dungeon for prized objects.

Forget the saku character, the second stroke (left leg) of the first character is double struck. Amateur night. The whole nakago looks contrived, and the workmanship isn't what I'd expect. The trimming of the ha on this is curious... and unfortunate. The shape, length, mekugi ana position, of the nakago look somewhat out of place to the shape of the blade. I wonder if this wasn't perhaps altered from a yari. From the images, the hamon seems to run into the nakago(?).

Grey, My impressions are; Shape is not right for inscribed era/maker. Mei is not inscribed quite as refined as it should be. The kanji are too big and way too stiff. As an example the "nin" kanji is quite obvious. Hiromitsu's have a look of softly bent at the knee of the right leg. The inscription is also too thin where a sharper edged tagane was used. It's also inscribed heavy to the mune side of the nakago. Hiromitsu inscribed in the center. The jiri is wrong, as looks the workmanship. The jiri looks like Shimada which because of their proclivity to Soshu copies would make sense for someone to gimei it to Hiromitsu or another Soshu maker of note. My guess from the images is sue-koto Shimada work. Just my opinion, worth what I charged.

Grev, In the image with the size the middle column says mid-Edo period.

Ed and I have done biz in the past too. Ed =

Excellent picture Morita san, thank you for sharing it with us. I would be very interested in obtaining a copy of publication with the interview. There were two Kanenori katana at the last San Francisco show. One was a subject sword in the nyusatsu kantei. It threw quite a few people to bidding it as a Koto work as it was deeply curved, slender, elegant, and light. It was a very nice example of his Bizen inspired work. The shape threw me off initially also, but the hada and hamon ended up steering me to bid Yokoyama Sukekane, his teacher.

Tobias, The only work I know of in english is by Herman Wallinga; Gendaito Made at the Minatogawa Shrine, September 2000, 35 pages. It's an informally printed soft cover book. It does have some oshigatas, images, and photos, as well as some background info. Information is not as abundant on Minatogawa because most records were lost or destroyed, and it was a smaller operation than the Yasukuni forge, so a work as comprehensive as what has been done on Yasukuni will likely be impossible unless new information surfaces in the future. Maybe Grey has or can hunt down a copy for you. Hope this helps.

My bid would be Ryokai as in the Tsukushi (Chikushi) Ryokai group, and no earlier than Muromachi. I think the suspicions of the nakago are based on the later Ryokai makers inspirations of Kamakura and Nambokucho works, but are lacking in terms of shape and workmanship .

Hi Nathan! Shibaraku deshita! I hope you are well! I agree with the view others have expressed here, and Franco's is spot on; Look at the shape and work of the blade above the habaki. It might also be helpful to keep in mind that it looks to have been "made into" a child's sword rather than "made as" one. My instinct is that it's a modification for 19th century export, and as such was altered for a saleable curio or novelty piece for display perhaps on Boy's day, but not for wear by a boy. Aside from the fondness that Mr. Hawley obviously had for it, the essential arithmatic is that it's a small, greatly altered, unpapered example. The conditional issues of it will preclude achieving a higher tier of paper that will in turn bolster a higher value. Aside from the validity of the mei, the work in the blade will determine if will acheive any tier of paper. Take Care and Good Luck! *edited for clarity*