Curran

Doctor Liss., Thank you for confirming. Yes, stock and options markets has been like wading through severed limbs on the dance floor the past decade. Ed, no harm at all. You can call me Surely, you can call me Susan, or Betty, or Claudia.... but please don't call me 'Retentive' again. Flash backs to slang from 1980s movies. While I'm at it, let us use more smiles to grab a beer and popcorn to see US Congress muffs it up this weekend. Tick tock tick tock prats legislating around the clock....

When it looks like cross between Kaga and Mino, a good guess would be Kozenji work (Owari Kinko from Nagoya). But Kozenji work is usually incredibly precise. The nanako is tight and flawless. And the shakudo is very good black. This doesn't feel Kozenji, so probably best attributed as Kaga kinko?

viewtopic.php?f=9&t=6818 Nobody-san signs as he does, but autosign still gives his signature. Many or most of us have auto signatures. In fairness I should use my last initial too. I like Bizen, especially O-tantos with good (or interesting) signatures. At the length you have given for the blade, I guess I was more curious about the shape. We've got the "Ichi" implying Ichimonji. We've got what looks like "Ichi XXX MuneMori"(? faint writing), which I have no idea what to think without hitting the books. Mine are currently about 1200 miles from here. Quite the pleasantly casino (chaotic) nakago with an unusual signature dating the shortening of the blade. Infinitely more interesting than reading Business Law here at 10pm. I'm bored, and your nakago doesn't suck. Probably worth shinsa gamble at some point, though immediate gratification might be to see if NTHK still has that online service for some feedback. It won't be papers, but would green light whether to shinsa it. Curran C.

Ugh. Just trying to help newbie. Surviving nearly two decades on trading floors and trading ops with guys so scathing in verbal abuse that it would be preferable any given day to take multiple soccer kicks to the manhood, I don't know if offense is possible for me in this kindergarten. Ludolph was very helpful, yet I would think someone posted Haynes or confirm student relation in Baur Collection. Yes, the Hiro with that sort of cursive feel does seem to be a distinct to school.

KizuKazu, Love that name play there, but remember forum rules to sign with proper name. This looks like a very interesting sword, with the bonji appearing well done on one side, not so sure on the other side bonji, and then that odd handwriting above what Morita-san has translated. Would you be willing to share photos of the blade with us. Whatever the condition, it looks like it has had a long life.

With US$$ going into the toilet, and so many good collections here, yes the US is the place for the international community to buy Nihonto. But memorize those first two characters.... when you see them, drop it faster than a hot plate.

I thought I addressed this in the Translation section. Hirotoshi had quite a number of students, most using Hiro in their signature. Hirotoshi was a popularly forged signature, with about 7 out of every 8 I have seen being gimei- including at least one in a published America museum book. However I don't know if I've ever seen any of his student's work forged. Flowchart can be found in the Baur book, under flowchart "Mito Part 2". I won't be back any time soon, so maybe someone else will check it or scan it for you.

Going off Richter-san's examples from database, it looks good. Haynes 01300 ? Curious to look him up when I get home.

Impressive. Liked the poem.

Hirochika with kao I am traveling, ie. no books and I don't know this guy. Maybe someone else can look it up in Haynes and type or scan in the info. Hiro is the same version of the character as used by Hirotoshi (aka. Hironaga) and his dozen students in the Uchikoshi school. If someone has the Baur collection, they might see if Hirochika is one of the students listed on the family tree.

Wakayama-san's work was mostly published in the late 1970s, with his main set being c. 1982? Probably the bulk of Dr. Compton's collecting predates it and was sword centric. At his level of collecting, if he knew- he probably didn't care and enjoyed it for the workmanship. The longer I collect, the more open I am to owning a gimei or two if the workmanship is excellent. As for Christies, well... not my cup of green tea unless it has papers and I can go to the auction and inspect the items in person. Sometimes incredible items come through, but it certainly is Buyer Beware and there is significant legalese involved.

Hamano Naoyuki.

Have we not seen this habaki before in another thread a while back? The koshirae in the corner of photo 4 looks interesting, though the whale baline has seen better days.

Dear Ed, I regret to tell you I am fairly sure it is gimei. I heavily rely upon Wakayama's 3 volume set to confirm signatures. Even allowing for the variation of signature over Mitsuoki's long career, there are certain key points in his signature that remain incredibly consistent. I find yours has a few not large but distinct faults. As it has been noted, he was a very popular target for forging his signature. If it matters to you or anyone else, I've seen too many Mitsuoki signatures that were relatively close to 'correct' and show some familiarity with the particulars of his style. Given that he had so many students running around in his workshop and whatnot, I believe either some students signed works in his master's name (per workshop direction) or were responsible for the forgeries that are on the market. I don't have use of a scanner at moment, so I cannot scan in pages of Wakayama for comparison. Here is a kozuka for sale with a page from Wakayama: http://www.nihonto.us/OTSUKI%20MITSUOKI%20KOZUKA.htm Disregard the kozuka and compare the reference signature to your own. Focus especially on the second character of his name and the stroke order and directions of certain strikes. _________________________________________________________________ I do like the Ishiguro looking tsuba you have up. I'm not particularly strong on the Ishiguro school, and am not too confident it is Ishiguro work. Rather, it just seems a very good work- whatever it is. Keep them coming. I will be away on work next week, but will stop in NMB to see what you post. The exercise is good, and you've posted some good pieces so far. I'm hoping for a great one or two.

Piacere. What is the attribution of the blade, if we may be so nosey?

Q80: Mitsuoki, (of Otsuki school) eh? A popular name that is often forged. Without checking, my instincts looking at the signature think it is gimei. If you can provide a close-up, I will give a better yes/no on whether signature is legit. Never the less, the tsuba looks like a good nara-derivative work. If unsigned, I would think it from the Uchikoshi school of Ichijosai Hirotoshi and his many students. When a tsuba is nicer like this, I wouldn't mind owning it even as a gimei...but value is diminished. Q84: Will look at Haynes Index later. Nice enough tsuba, and description seems correct. Just the name is a bit of a mystery. Q86: At a glance, it seems correct to me. Nice well made little thing.

Veny & Morita-san, Horimono looks interesting. If you have time, could you provide an better image of the ken horimono? Especially at the tip of the ken from any angle that illustrates the depth and angle of the carving? I am wondering if the nakago is shaved for WW2 mounts? Have some patience with me, but dare are I ask is this another 'what is it?' and then gets flopped on ebay? Seems to be so much of that, even I have begun to be annoyed by it.

viewtopic.php?f=9&t=2482&hilit=sword+oil

Yeah, Henry and I look nothing alike! (Meant as a joke.) By Edo Higo, the emphasis is Edo. Ie. NOT Higo.... but rather later work done in Edo by artisans trained in the voguish Higo style. Without going into it in too much detail, the proportions of the tsuba are largish and slightly clumsy. The tsuba design is also a mix of Higo subschools, loosely imitating Jingo work with dashes of others. You might consider purchasing "Tsuba an Aesthetic Study" from: http://www.ncjsc.org/publications_for_sale.htm A softback but good sized photocopy of the original, at $25 it is one of the best bargains in existence and will serve as sort of a field guide to anything we say. I don't know how many fittings you intend to show, but if more that a dozen.... then get the book and settle in. ____________________________________ Moderator Brian forgive me for thread jumping, but I'm in a rush this morning.... The other thread you posted: Top one signed Masatsune- That would probably be Bushu Ito. Sub school could easily be looked up, though Masatsune is common name. Bottom one: Edo generic kinko without distinquishing refinement. Interesting only in the lining placed in nakago ana.

#89 Edo Higo #90 Uncertain. Probably 1800s Shoami. #85 Ko-Kinko. Nice little one.

Quoting a friend's recent help on a hakogaki from one of my tsuba: 寒山誌 - Kanzan Shirusu with kao = Kansan Sato

Thierry- the two tsubas are relatively identical, but have some distinct differences in certain details. Different designs at the end of the radial spokes, etc. Tom- that is a rather popular Namban design that I've seen in different sizes and shapes. I don't think it cast, though iron isn't very nice. I've held Namban I thought cast but weren't (ahem.... no comment, live n learn.) I have seen NAMBAN that I more certain are cast, but they have all been either distinctly dock work grade, or those heavily of Indo-China influences and possibly materials. I believed Dr. L has mentioned the importation of tsuba into Japan, if we were to review his book. Personally, I would expect some pre 1800 cast iron tsuba to pop up. In experience, I just haven't seen any outside of the Namban group that were pre 1800s. I can't say they don't exist. I can say that there is an almost entire 'lack' of those with age on them outside of the Nambans.

One look at the sori and shape- quick conclusion is that it is ancient. Might very well be unsigned or signature lost to age, if the sword is not preserved. Who do temples ask to preserve such works? NBTHK, NTHK, or sword shops? Or do they just ~leave well enough alone~ until it reaches a tipping point?

Yes. C'est la guerre. Thanks Peter and Piers. It would be a great piece that my wife and I both appreciate. But I cannot reward such behavior.

I agree with Grey. Nihonto has such a long history. It is necessary to have a very good foundation before trying a restoration project. Otherwise there are so many small mistakes you can make in having an item restored. Years later, you will see each mistake as big as the moon in the night sky. At present, your risk vs reward is very high. But at least you are asking for advice and sound open to hearing it.