Curran

Herr Richter, http://www.nihontocraft.com/japanese_sw ... se_sword_2 Your Kaneharu papers are very standard Tokubetsu Kicho papers. Not much specific detail. Did you have a specific question?

For whatever cosmic reason, my experience is things seem to pop up in sets of 3 before disappearing again for a while. #1: David's #2: http://page4.auctions.yahoo.co.jp/jp/auction/d117044346 #3: Was flipping through softcover version of Tsuba no Bi and saw another of this identical design, classified as mid-Edo.

My quick read of the tsuba was something Kyo-Owari ? I felt the theme was probably http://en.wikipedia.org/wiki/Matsushima and probably one of those that were seen in the wake of Matsuo Basho's poem and the praise of Hayashi Gaho (sp?). This was a sort of wave rising in the late 1600s. I do not believe I have seen this design on tsuba older than this time period, but stand to be corrected. I had an Akasaka version of this one. Probably c. 1725-1775. Pleasant theme saddened by the 3/11 Tsunami impact on Miyagi and the concerns for the survival of certain pine trees after all that happened. I am certain I have seen a one similar to David's in the books, but not sure which book. I would have thought the Nihon to Koza a likely suspect, but my copy is not accessible at the moment. ---------------- or, I could be very wrong. Given what looks like a gentlemans hat (?) being blown away, I still think it is the Matsushima theme. But what I took for Matsushima pine trees also look a bit like tree leaves? Design could just be more of a late summer / early Fall (festival) theme?

WTF? Blade looks like it might be real, but the signature looks like garbage.

Vaugh- Yes. Got shortened, and in the process lost part of the makers name. Lots of Seki WW2 smiths, so maybe Bowen or one of the Gendai smith knowledgeable can help.

Someone else will probably nail this, but looks like you have a bastardly version of "shige" So the name is "Shige _____" I cannot recognize the second character offhand, but first character is an offhand version of shige used by certain makers, mostly in 1800s.

Ah... listen to Chris B and the others. Once again I show my ignorance of Shin-Shinto.

Vaugh-san, Newbie clarification: (1) Is your blade real traditionally made Japanese blade? Evidence points to-> yes, very likely. (2) Japanese famous signatures are often faked. Is (Vaugh's) fake? Mmh. Not big name, so less likely to be faked. (3) Unshu = physical place Fujiwara= honorary title Naganobu= name of smith saku = made by Your blade is supposedly made by Naganobu during 1865. He is the student of a well known smith. Probably he has some talent too. Restoration of a blade is a difficult and expensive project- often the financial logic is ends up being more expensive to restore the blade than to leave it as it is. Your might be worth restoring, or selling to someone who will. Ps. Your sword is from the Shin-Shinto period (this means new new sword, or very new sword period). The major classification is koto (old sword) shinto (new sword) and shin shinto (very new sword). Like a person who is late teenager or early 20s... your sword is probably very healthy with little passage of age (if not used to chop the hedges, grass, trees, or gun barrels...). The mounts for your sword are from WW2. They are not as old as the sword, but probably have some value. Be careful with them too. Ie. do not rest them or the blade on slate, as in the photo. Kunitaro-san, Dr. Matt, and the others can probably tell you more. I am more interested in fittings, koshirae, mounts. Probably this is one sword you should consider keeping for at least a few years, and learn more about it. If you live in the USA, we can try to recommend a club to you, so you can go in person. Curran

Holy hana, Guido-batman. That pun was so bad, it rung my head like a Deacon Jones helmet slap. Let's face it- RKG can teach even me to do digital photography, but I have seen enough of the old art that Peter K, Reinhardt, and my wife all worshiped to agree something was lost with the /dark art/ of the pre digital photography.

Tim, I realize that your company is based in Indiana and arm's length 3rd party to this. Can you comment on whether or not this is one of the swords from the De Simone case prosecuted and evidence held in Providence, RI?

Really nice to see someone start on the right foot. I hope you stay with it, and end up as artistically addicted as us.

I replied privately about this, but guess it goes public. (1) I think the post is from the marketing company. Could be wrong. (2) Sword is in R.I. . From the De Simone case? If from the De Simone case, then the legalese is that the former owner can come forward and claim it later. My understanding is the service is selling you the legal liability in a fraud case. (3) Required to go to R.I. to pick it up before July 1st. I think it is an interesting deal, though the legalese is scary. However, I'll go on record as saying I will sell you an Omiya sword like this with papers at $8000. Omiya Bizen with little/no chance of Juyo is not same as Oei Bizen top shelf work.

Jean has a similar quality one, which is probably higher end Mito work or Umetada work.

Welcome. Very nice tsuba. After many years, one of my favorites remains a tosho tsuba with a similar story to it- former samurai who retired in late Momoyama / early Edo and took over making arrowheads, small blades, and some tsuba. I find the design interesting as it would look best when the blade is drawn. One question I have for others who read better Japanese than I do: is it not "Toshiyuki"?

Wrap is nice. Menuki design is interesting. The tsuba is perhaps worth more than the rest. I'd link to a similar but (my opinion) overpriced one on Aoi-Arts, yet site seems to be down at the moment. A little mismatch, but we get hung up on matchy-matchy in the west. As it is, the koshirae was probably rigged up this way long ago.

Please show the kissaki (tip) of blade, before we can comment. If kissaki is broken, it requires geometry shift of polish- which may increase expense. Others must comment on veracity of the signature. I have most koto references- very few shinshinto references.

That nakago. Cleaned within an inch of its life. Painful lesson to learn.

Brian- I was impressed by both BaZZa's and your guessed. The Ichijo students seem to command quite the wide spread of amounts, depending on which student and what theme. I didn't have a value in mine, though had seen 1 set of gold ones before- but on one of the higher mark-up sites. _A long time ago_----- I sold a hozon papered tsuba by this smith to one of the big dealers for about $4000. It had two family mon on it, and I got the impression (right or wrong) that the dealer wanted it for the mon as much as/ more than the maker. Otherwise was not a particularly good tsuba example of what this smith can do. Regarding Mike's: I wouldn't have guessed sub $3000 for signed, papered, boxed, solid gold ones that look in decent condition.

Fooled me. I was thinking Yasuchika having 'mailed it in' a bit on a doldrum week. Wasn't too sure because of the chidori being more (different) than I remember of Yasuchika. But I don't have the Nara San Saku or Yasuchika book, so didn't really check. If you say it is someone doing en suite with an existing Yasuchika work, makes sense. In other words, someone blending in? --------------------- (edit) I see Ford posted while I was typing the above. No idea then...

(( AH, c'mon. Why the Ford delete of the Youtube Hamlet Cigars link? That was funny stuff, even if off topic. Think I've had a few of those moments too. Particularly Custard's Last Stand. ))

Decent, but not great. Skilled individual not really taking any chances or pushing it too much. I'm curious if the other side has something more grand, so would turn it over right away. Take a shot in the dark here and say Kyoto / Nara area smith. Not really cracking open the books on it. Possibly one of those where the signature is make or break point in terms of value, just as some signed Ichijo f/k can be a bit boring. So flay me if I am horribly wrong. I'll join Mariusk as an archery target for the slings and arrows of opinion.

I'm interested in buying a particular ensuite original tanto/wak koshirae up for auction in Japan. The complicating factor is that the koshirae has a shin-shinto blade of about 12 inches length in it, for which the koshirae was probably made. Koshirae is probably worth more than the blade, but I wouldn't separate the two. I don't think either of the services I have used before can or will deal with the export issues on a blade. How would I best do this? Anyone have a bidding service or a person they can recommend to handle it for me? Feel free to PM me privately with any help, or post here.

What a sad bunch of broke bums we are these days. I'm still recovering from the April meltdown in Gold and Silver prices. Going to get me a Cardboard Sign, a dark crayon and write "Will work for Tsuba!"

On the contrary, the Umetada school is held in decent to high esteem. Shape changed a lot over the years. The early work and the more intricate work is extremely highly valued. Even the mid school work can be very valuable if an excellent example of what the school is most known: http://www.japaneseswordbooksandtsuba.c ... pper-zogan That one sold fast at that price, with several back up buyers. Towards late Edo they went a little overly commercial, as did many schools did. Their earlier soft metal examples are a bit more desirable. The cheapest softmetal one I've seen in a long time is here: http://www.nona.dti.ne.jp/~sword/tuba/t0423umetada.html but it is kinda a strange and weakly inlaid design. The later Edo Umetada iron ones are a bit more common and often signed, but I find many of them appealing. The supply vs demand is just such that they are not overly expensive. If I didn't limit myself to a strict # of tsuba, I'd probably own several examples of flower or vine designs by them.

Henry, I'm confident on the Umetada call for this one. Hamish probably doesn't know me any better than he knows Ghandi, so he can believe whomever is kind enough to speak up. Hamish- I have a strong disposition to nature themes in my tsuba collecting. Many years ago I owned a signed late Edo Umetada similar to yours. Someone had gone to the trouble of prying out about 80% of the silver, so I eventually sold it. By my reckoning, you overpaid a little. Not a lot.