Toryu2020

What if we think its legit? Just kidding! Tell him to run away!!

FWIW I vote for Tomomori as the personage alluded to when we see the anchor - one version of the story is that the young Antoku was frightened by the prospect of jumping into the sea - Tomomori knowing they had lost called to him "look my lord it is quite easy", tied the anchor to himself and stepped off his boat and sank into the waves, thus he is seen as a symbol of ultimate loyalty. The print showing the character "Suruga Jiro" is Kabuki and the anchor on the shoulder is meant to make him more powerful and heroic. I like your tsuba in the original post, at first I would not have said he was "wielding" it but if you look close there does appear to be someone cowering in the other boat (at 7 o'clock) Here is my poor contribution - Tochibata school...

Welcome Z - I wonder if that person was Ralph Bell? Regardless enjoy your journey! -t

This author suggests that Shikibu and Genzaemon would be classified as "Oei Nobukuni" -t THE NOBUKUNI KEI 信国派 | NIHONTO

Many many families adopted traditional mon after the Meiji restoration. Many many families had several sons and daughters each who earned the right to wear the family crest. They would have started branch families and perhaps changed names several times. Many many cousins, housemen, servants and advisors were given permission to use the mon by their lord. For this reason a single mon on a koshirae, fitting, item of clothing or armour is most often insignificant. The great houses had primary and secondary mon, three, four or sometimes more. The individual style and combination of these mon can sometimes help to assign something to a single family or a single generation. Without that second mon or some other information it is foolish to try and assign a single item to any one individual from a single example... -t

Anyone still considering on going, the room block is set to close TOMORROW! There are still discounted rooms available for Thurs, Fri, and Sat but you need to get your reservations in now. If you are being told the block is full - let me know as we may be able to help... -tch

Bill - sent you a PM

Juan - The NTHK would not fail a sword based on a poor horimono (ato-bori, dremel work, bubba cut) - however this can be an indication of issues with the sword so the overall condition needs to be considered. If that is the only "flaw" then the sword has a good chance. If anyone is coming to the San Francisco Show and considering a shinsa submission, you can come see me personally and we are happy to check the condition of your blade ahead of time - if it is in the proper state for an examination we will tell you and if it obviously is not we will tell you and this will cost you nothing. -tch

Eric - There are references out there with the information you seek. Also keep in mind they don't often put gimei on a bad sword - an unsigned work that is average or better garners more money with the big names - even in the days before widespread publishing people knew a crap sword when they saw one. There is a fine line for when restoration makes sense, in terms of art and finance. A tough spot to be in and I suspect many of us have that "one sword" that we ponder over... -t

Axel - you could ask to see his Super Bowl ring... -t

An interesting question - are you looking at all Yasutsugu or just one particular generation? -t

Fukunaga Suiken Sensei has a two-volume book detailing the collections of the Imperial Household and the major daimyo families - many of the most famous swords that we are all familiar with are listed there. As noted most are older blades by well-known artists, very few "royal" commissions... -tch

There is a "full version" out there and you can see the furnace...

The scene of destruction...

1. Look at the strength and cleanliness of the yasuri in the first example. 2. There is strength and confidence in the signature of the first. 3. Compare the "Ro" kanji in all three. 4. Compare the "Tsuki" hen in Fuji and Katsu. 5. I would also look at the dates - how is the "Tsuki" cut for the date. 6. His "Nao" tends to be squarish and only the very early signatures include the last vertical stroke as in number three... To my eye the first example looks the best and if I were putting money on it I would say that one is genuine. I was taught if you can find four (4) anomalies then it is highly suspect... -t

More randomness...

Sorry all I have are the pics Bruce - not my sword...

Apologies if these were posted earlier...

It is easy to see why you like it - I probably would have jumped on this too - I wonder if it is corrosion or something else with the condition of the Nakago that makes the Tagane look so different - I simply couldn't find any good matches in my books (incl Shishin-to Shu) I look forward to hearing any news from Japan... Thank you for sharing it. -t

In his "Tsuba no Kantei to Kansho" Tsuneishi gives genealogies for the three schools and lists some fifty smiths working in this area with their dates, relative values and in some cases work styles. Japanese text only no illustrations... -t

Always the workmanship will tell and if the polisher saw anything off I expect he would have said something before doing any work. Make sure Robert asks about the Kao-thingy! -t

Kirill - I am sorry you have had such a bad experience. While we can't recreate the high level kantei-kai seen in Japan (we don't have the swords) we do get together and share swords informally examining and learning together, it does happen and I am sorry you feel excluded. -tch PS I wish you would message me privately about any individual who acts in this way, I would not want any of my friends treating others in this way...

Both oshigata are of first generation Naokatsu. -t

THE ROOM BLOCK IS NOT FULL - Some folks are being told that it is when they call the reservation line. If this happened to you please PM me and we will get you the show rate. -tch

For comparison