Lewis B

I’ve seen mino era Tametsugu that share a lot of the features exhibited here. Does the blade have a wide shinogi ji?

My apologies to Kevin. Samonji does indeed refer to a line of Smiths. Founder being Saemon Saburo Yasuyoshi or O-Sa. I particularly like the work of the early generations from this Kyushu-based School.

If you're referring to the one Kirill highlighted that was a Sadayoshi not Samonji. Sadayoshi was his student.

Well it could be a sunobi tanto and they can be well over 30cm. Need to see the blade in its entirety.

From Sesko KUNIYOSHI (国吉), Bunmei (文明, 1469-1487), Bingo – “Bishū Kuniyoshi” (備州国吉), Mihara-school, suguha, gunome, wazamono

It's on the Ha side of the nakago. Given the angle of the strike it could have been struck while in its saya and being worn. Either way not a good day for its owner.

Thanks Colin, it came back on the market so I was wondering where the market was for a piece like this. It is attractive in a rustic kind of way.

Was this for sale in the UK or USA? What was the price (PM me if you prefer)? Any further thoughts on the Mei and general condition?

Incredible blade, incredible price .... for TH. Must be one of those instances where those who know, know.....This is one blade I would love to see in hand. But it must be capable of higher Shinsa pass, with all the plusses, such as big name Daimyo association, strong push by Kanzan and Tanzan for an attribution towards Go, excellent polish, so wouldn't this be the perfect candidate to send forward? Would the possible risk of reattribution to Hasebe Kunishige or Kaneuji or ? and a consequent desirability/financial hit be causing some hesitation?

Fascinating we know the exact age of the smith when the blade was made 500 years ago. 56 and likely near the peak of his sword making abilities.

Gorgeous workmanship, and I don't consider myself typically an appreciator of Sue Bizen work. What I don't understand though is that Tanobe says the nakago is ubu but to my eye the last kanji is partially cut. Kiri nakagojiri isn't normal either. His tends to be ha agari kurijiri

Both mekugi-ana impinging on both the date and mei kanji is eyebrow raising.

I certainly didn't take anything negative. There are so many blades with 'atypical' Mei that have received a Shintogo attribution based on the quality of the forging. Like Norishige he has quite a distinctive forging style. I was merely making a statement about the status of the blade in my thread. The Shirasaya is being made, hibachi has been refurbished and then it goes for polish.

A signed Tametsugu is quite special.

Very early registration number for the torokusho, No74 from March 1951. Only seen one earlier which was No66 for a Sadatsuna Sekishu with Tameshigiri inscription.

Yep that thread became a deep dive for every signature nuance and subtlety associated with Shintogo Kunimitsu and his acolytes. I hope the information deposited there, distilled down to a few key points, will be enough to sway the Shinsa panel. If not then the quest will continue. Question now is does the forging meet Shintogo's very high standard. The togishi seems to think so.

And there are even doubts that 'Midare-Shintogo' is Shoshin. Its been suggested its the work of Yukimitsu signing daimei-daisaku.

I would say opportunity missed. The mei looks good to me for Sadakazu. He was also known for Katakiriha-zukuri For 42500 JPY someone stole it. Better to buy first and ask for forgiveness later.

Just to get you started. Check out the Mei on this signed Shintogo Kunimitsu dated 1315 that was part of the Sano Museum exhibition in the early 2000's. Several of the kanji are shared by your tanto and this example. Note the atypical style of 'mitsu' carving.

Interesting. Whats the nagasa measurement? Mitsu or iorimune?

Links not working for me.

Wonderful opportunity for seasoned collectors and novices alike. The more exposure we have to nihonto the better for the hobby. Word of advice. Gloves should be worn when handling the blades in shirasaya or displayed with a tsuka. Bare hands when holding the nakago.

Thats what I thought. Might the simplicity of the overall tsuba design and rough cutting of the open hitsu ana suggest its a provincial piece? The current sizing of the nakago ana fit my short Senjuin sword perfectly. This understated tsuba works nicely with the blade and doesn't detract. Now I just have to find a tsuka to complete the set.

I picked this tsuba up a while ago. My first one. Its simplicity and 'honesty' appealed to me and that it was mounted at least 2 times. Apart from the mokko gata shape the only other adornment is quite an intricately designed and execution of gold inlay in the filled hitsu-ana. The vertical lines scored in the material (I assume its lead alloy) are reminiscent of stems and the gold representing the flower heads eg iris. Could this embellishment have been added at a later date? Any ideas regarding period and maker/school?

It was more common during this period for short swords to be left mumei by the smith. Off the top of my head, Sa School (Sa Kunihiro), Masamune for example. The explanation I hear is that these could have been commissioned works and so the customer preferred not to have the name of the maker chiseled on the nakago I would make a purchase decision on a case-by-case basis. Requiring a signature and you might miss out on a Masamune .....