Curran

Kantei: Owari tsuba of a rare Dalek mon design. Perfectly Authoritarian, in keeping with the politics of that region.

Very off. An Akasaka design with a lot of fakes floating around. That and the Axe + Lightening design. Rust them up a bit, and someone might think they are real. ----Avoid----

Again, close to home. MacTavish <-> Campbell

"If you gaze long enough into an abyss, the abyss will gaze back into you" @Spartancrest Dale, I think you just pointed out the Abyss staring back at me. The tartan one sent shivers down my spine.

#1) Bushu - there is a lot of low end Bushu, hiding the fact that there are some very high end Bushu #2) Ko-kinko - same as above. There are low end ko-kinko worth $100, on up to high end ko-kinko worth $45k The wide spread in values of certain large groups results in a propensity to value some exceptionally fine tsuba downwards towards the center of the bell curve.

Nobody seems to mention waxing of tsuba. While I am not Pro Wax, it doesn't mean other people don't do it.

My problem with this is that the NBTHK has started just throwing into one single basket anything that is kinko and comes from that area. Kozenji and Owari Goto level workmanship vs Nagoya mono . Since 2014 or so, increasingly it is simply labeled "Owari kinko" way to dumb it down. ... way way down.

Very good point. There are some designs that just belong >95% to one school. I should have considered that. Also, I do not know Omori tsuba that well-- Which means that I would not know if something about the geometry of the tsuba was also more Omori than Kaga. I do think it a lovely tsuba. I hated living in Florida, but some of images of the coast are good ones in the memory banks. This tsuba has some of that.

Thank you. There are some good ideas in here. The leather and working around the circumference are both solid ideas.

For some artisans from the Hirata, Hayashi, and Kamiyoshi schools of Higo tsuba, the punch marks are a defacto signature.

Matt and I already spoke about this one. Though the punch marks on the seppa dai are not 100% classic, they also don't feel off. Nakago ana adjustment might be the answer. I am still thinking on it, though sometimes I can never come up with a real answer. So much feels right on this one, that I would have been excited to find it at a sword show. I am genuinely envious.

Muromachi or early Momoyana example.

Square or rectangular hitsu are not uncommon. This is a generalization, but they were mostly seen on 1500s tsuba. Then there were some Revival or Retro stretches during the Edo period where they'd come back into fashion for some tsuba and koshirae. Show us a picture, when you have time.

I don't know. It is not any easily recognizable metal. They've been patina treated in a strange way giving a f'ugly molting color. Given the patina treatment, I would guess they are copper. There would be a total of 6 per side to knock out. It is definitely meant to tart up the tsuba. --- Nothing precious like gold or silver. ---Nothing historical like certain type of lead or pewter plugs.

In 30 years of collecting, I don't know if I have every knocked out a plug from the kozuka or kogai ana. Anyone know how it is done safely? I'd been thinking about buying an iron tsuba with some very ugly plugs (probably early 20th century add ons to make it attractive to westerners). It is a kodai tsuba, from late in the school. Ie. Not worth really sending off to an expert. Any advice or instructions?