Ray Singer

Kiyondo. http://e-sword.jp/sale/2012/1210_3009syousai.htm

I have always enjoyed Hayama Enshin's work. There are a couple of tanto for sale right now, and I included links to one additional (for reference) which just sold. - Ray http://www.seiyudo.com/ta-08101.htm http://www.e-sword.jp/sale/2012/1210_3003syousai.htm http://www.samuraishokai.jp/sword/11604.html

Or one could pay for a professional polish. The burnishing process does not simply create a mirror finish but is done in such a way that the hada can be seen and evaluated in this area (an important part of the kantei process). A DIY burnish with a dremel tool is not going to produce the same results. There is a reason this stage may take several days on a daito when done correctly, rather than a 30 minute express solution.

Hi Clive, there was a write-up on this sword attached to the sale of a Juyo Koyama Munetsugu hocho Masamune utushimono which sold at auction. Links below. http://www.christies.com/LotFinder/lot_ ... ID=4919050 http://www.christies.com/LotFinder/LotD ... ID=4919050 The long inscription states that the sword is a copy of the large Hocho [kitchen-knife] style wakizashi listed as by Masamune and a treasure of the Egara Shrine in Kamakura Soshu Province. The sword was exhibited at the Yasukuni Shrine in Tokyo between 2003 and August 2006 together with the original from which it was copied. An exhibition caption at the time told that the wakizashi known as 'Hocho Masamune', dating from the Nambokucho Period, was purchased on 4th November 1894 by, or for the Yasukuni Shrine, having been in the possession of the Egara Tenmangu of Kamakura in Sagami Province, and recorded in the Shuko Jushu of Matsudaira Sadanobu. The original piece in the Yasukuni Shrine has a straight utsuri with nioi-based hamon of midareba with ko-notare in gunome, and these characteristics together with the style of the so-no-kurikara horimono on the blade suggest that it might have been made by Tomomitsu, or another of the Nambokucho period Bizen smiths. Interestingly there exists another copy of the same Yasukuni shrine original which is signed Munehiro, who is assumed to be an otherwise unknown pupil of Koyama Munetsugu.

One of Atarashi's lacquer works sold at a recent Christie's auction. http://www.christies.com/LotFinder/lot_ ... ID=5253759 http://www.christies.com/lotfinder/Zoom ... 7/D5253759

太刀 = tachi

Congratulations Eric, looks as though you did well. I love to see swords of this period with the length intact (even if machi-okuri). Hope you will share photos when the Ko-Naminohira arrives from Japan. In addition to Bob Benson, who was previously mentioned, I have also used Tsuruta-san at Aoi Art. He will assist with shinsa submissions, even for swords not sold through his shop. I would also suggest having Tanobe-san do a sayagaki if it can be arranged through one of these agents. - Ray

The sword in this thread previously had a Hon'ami Koson kinpun mei to Rai Kunitoshi. The sword did not pass in its initial submission, but after the kinpun mei was removed it papered to Enju. viewtopic.php?t=6283 Also, not the stamp you are looking for but there are a number of examples online which may be good additional reference for your research. Sayagaki http://www.nihontoantiques.com/fss367.htm http://www.hizento.net/index.php?page=sell-S1 http://www.shibuiswords.com/papers1.htm http://www.nihontocraft.com/Sadahiro_Honma.html Kinzogan mei http://www.sho-shin.com/kanemitsu.html Kinpun mei http://www.nihonto.us/shizu_saburo_kaneuji.htm

http://www.ksky.ne.jp/~sumie99/sword20.html

Hi Adrian, I am glad to hear that you are doing this. After Jim passed, I archived all of his articles in PDF format. There are some images missing, but the text content is fairly complete. The only piece I am aware that is missing is the addendum to his article "Hard to kantei" where he reports that the tachi was papered to Fujishima Yukimitsu by Yoshikawa-san. These articles were some of my first nihon-to study material I encountered when I started almost 17 years ago. Jim is sorely missed, I will be glad to see this content available online to collectors again. I'll email the files to you. Regards, Ray

A large iron ball pommel does not sound like a Japanese Sword, perhaps Chinese? There are faux tanto koshirae that you occasionally see which are entirely hollow and designed to store or hide a scroll. I can recall at least three of these from past shows.

The Nobuyoshi line is considered Mishina school. The shodai was one of the Kyoto Go Kaji. I'd like to say that the shodai was a student of Iga (no) Kami Kinmichi, but I'm going off memory and am sure someone will correct me here.

This mei looks more like Morimitsu than Narimitsu to me. http://www.ricecracker.com/japanese_swo ... hi/sw2.htm

Hi Eric, at this price range you have a lot of options. This seems somewhat expensive for a mumei, Muromachi period sword. If your goal is, as you stated, to locate a Nambokucho or earlier piece, then it may be worthwhile to be patient and continue looking. There was quite a nice late Kamakura Enju tachi, healthy and flawless, that recently sold on Aoi Art for not a great deal more than this sword. - Ray

Thank you Curran. I would love to even see photos if the piece ever passes through your hands again. Tsuruta had one that also had the mantra done on the same writing style of the original Gohonzon text, but it sold almost instantly. I thought it may have been Umetada. Also worth passing on for reference was the shodai Tadayoshi which Fred sold at auction: http://www.christies.com/LotFinder/LotD ... ID=5253794 I had often wondered if these pieces which copied the writing so faithfully were treated as Gozonhon by their owners, as the literal object of devotion during their chanting.

Nam Myoho Renge Kyo. I would love to find a set with this motif, as my wife is a Nichiren Buddhist and this is the mantra which is chanted. And BTW, keep me in mind if you decide to sell them later. I always keep my eye open for kodogu with this theme, yet always seem to just miss them when they come up for sale. Gendai or not, they would be of interest...

A few years ago, Cary Condell gave me a microdear cloth from Etsumi to try as an alternative to uchiko. I have never gone back (at least as far as swords which are in fresh polish). Here is the cloth I have been using... http://www.amazon.com/Microdear-Microfi ... pd_sim_p_1

That you Ted. I just did a search online to see if there were any other Moritaka examples and it brought me back to an older NMB posting from 2006 with a Morinobu having both star stamp and Kao. http://www.nihontomessageboard.com/niho ... 77159a4b69

Yes, I had assumed so. Not so get too off-track from the stamps topic but is there any consistency in whether smiths who typically included a kao in their mei did so in star-stamped blades? I have seen a number of Kawano Sadashige, but it appears that he usually excluded his kao on blades which were arsenal submissions. Likewise, I recall a Gassan Sadakatsu with a star-stamp and no kao.

Another stamp example for the archives. I acquired a very nice Kongohyoe Minamoto Moritaka this past weekend. On the mune are two KUMA stamps. This is also the first Moritaka I have seen which did not include a kao. Photo below... - Ray

Does not answer your question, but thought you would be interested in seeing this Naomitsu which was just listed for sale. http://www.e-sword.jp/sale/2011/1110_4020syousai.htm

Looks like Seki ju Ishihara Yoshimune Saku. And as Jean said, not very old. A Showa period blade.

Yes, I am familiar with that piece. There is another Sadayoshi Sadahito gassaku for sale now in Japan. http://www.seiyudo.com/ka-081911.htm I used to own a very beautiful gassaku by those two smiths that appeared to have been done as a copy of O-Kanemitsu.

I know that there are some collectors on this discussion forum who are interested in shinsakuto and wanted to send over this link. http://www.sanmei.com/contents/media/S6 ... _PUP_E.htm I have not personally dealt with this seller, and cannot vouch for them, but thought this might be of interest to someone in the NMB. It is the first I have seen by Sadayoshi with ayasugi-hada, most of his works (and those of his sons) seem to have been done in the Soshu-den.

Alternately, gimei were added because a dealer or owner wanted to increase the value of the sword and can be seen as a defacement to an otherwise legitimate piece. I am very conservative about this kind of thing, but feel that a gimei should be removed when it a clear case of deception.