Babu

I'm no expert but I'd be careful what you do with that sword it's already opening up on the hada from the last polish. My advice is to enjoy it as is but a good togoshi will offer more useful advice.

I saw one of these pop up at auction in the UK about 20 years ago. I helped the auction house to catalogue it. Memory fails me on the Smith but it was on research signed tachi mei and by a Kamakura Smith which was confirmed by another expert. It went for very good money for back then. Not everyone's cup of tea but still a wonderful item Mounts were 18th c

Cracking book Dale.there are two volumes of designs in the museum. One design in the volume you refer yo is a match for my Ranzan Tsuneyuki fuchigashira set which further backs up the mei as shoshin. Superb craftsman. Yamamoto family

#4. Shakudo Tsuba, gold and silver inlay, dragons around the rime with Ho birds and flowers on the plate.. 74mm X 67mm, 5mm rim, nakago ana 26mm X 7mm. $350 I'll take this please.

Pm for no 1&2 but only as a package deal.

That museum piece is very very fine quality. I like it a lot.

Sure

Nice 👍 tsuba krystian but that active rust needs stabilization.

Ah yes I remember now Bruno thank you. Yes he always signed on the right side of the Tenjo on FK unless there was a lengthy inscription. Some if the others at the school followed this pattern. The kao is also slightly wrong. I've used this argument for other people's OT signed stuff. I'm getting old. Thank you

Hi does anyone have the translation and the resources to be able to check this mei in Toso Kodogu Meiji taikei by Wakayama or any other good mei books? Thank you

That's quite probable John it's a neat slice as one would expect from a sharp edged weapon. I did a test on a tetsu tsuba and an old sword I had and the mark it leaves is a very fine line. VERY VERY FINE LINE. This seems to fall in line with other genuine Kirikomi. There is, as in my case, deformation of the blade as a result of this impact.

MODS please close this thread. It is done. As am I.

Bruce think Japanese made for the tourists and sold at the Yokohama docks to the low end punters.

Luca with all due respect I fail to see what this has got to do with you. I have asked George not to comment on my posts because he's not trying to help he is constantly trying to discredit whatever i say. I do have a right to be here, I've paid my money but if Brian wants to refund me my $60 I'll be gone in a flash because I'm getting sick if people telling me what I can and cannot do in here. Don't comment in so many posts ....,don't buy so much, people don't like it. What is this a dictatorship?? I do not want George commenting on my posts surely I have a right to request that he honours this I have been polite and asked respectfully? Anyone else can say whatever they like but after getting a PM from him telling me what I can and cannot do on this forum I've had enough.

Thank you Christian. That further enhances and corroborates what I am saying.

George, if I have politely asked you to avoid comments on my posts so regardless of how long you have been here I would expect you to honour and respect my wishes. Kindly do so.

As I've already said with all due respect please refrain from commenting on my posts. Thank you Adam

Hi Richard the only reason that your kirikomi doesn't appear to come to a sharp point is because of the bit if blade still in the scar. Look closely at your own picture you will see if you remove the piece of ha for mbthat other sword you have your V. Yours is true Kirikomi on that blade. Also your tsuba kirikomi cannot be unless you are suggesting that the mune made contact with the tsuba. That is not the indentation of a sharp object impact. Try this experiment..... Take a big kitchen knife and a piece of wood . With a nice downward chopping motion Hit the wood with the big kitchen knives cutting edge ,look at what you get. Same principles apply

It's Kanji Bruce for sure. Mitsu X Saku. X= I'm not at home to check this Kanji. Ah that's a bitsa sword I believe. Nice Samegawa and raiden?? Saya. Cast tsuba, showa WWII tsuka. All Cobbled together? Quite like the saya.

If they are sword cuts it's evident the wielder of this sword died. You really cannot use the Mimi of a tsuba in any defence stratagy. The one at the top for example if you fit a sword blade at that angle of impact your blade from your opponent is tipping into the forearm and hand of the wielder of your tsuba. You can also see that this steel is maliable so if you hit the Mimi of that tsuba with a hammer...... Therefore a fine edged blade will leave a very neat sharp V. Your right the characteristics of both are different but all that means is that the tsuba would be bitten into more deeply being softer. No one has to agree with my opinions though. They are just educated guesses after all.

Hi Luca looking at the nanako Done by Mrs Goto herself I would suggest it's not Goto school. It's imprecise. I'd be happy to have it mounted on my dragon blade though.:-) I think it a quite nice mino example.

Thanks George your zooming in on an area of damage not present on the other menuki. The foil in that area is a little stressed. I have to say I'm amazed at your ability to tell the base metals are different from those images but there you go. Did you know that if you look over your comments in all posts I started and that you felt the urge to respond to, you are only responding to throw doubt on my items or criticise in some negative way. Do me a favour and when you see my name on a new post please resist the urge to comment. This way I won't start building an impression, either true or false ,that your out to discredit everything that I might say. Thank you Adam

Bruce it's a nice tsuba. but, as I'm sure your aware the inclusions if air forming small surface bubbles and the lack of any real definition or detail seems to make it appear to be cast. So the mei could be genuine in that it's possible it's carved but it isn't indicative of any real quality. I may be wrong and I'm sorry if I am but it looks cast then hand finished to me. Regards Adam

Yes I try to find old tosogu boxes the rich wood colours appeal to me more and I think they are often better made.New boxes are so white. I like those eel menuki ,they are full of movement. Very well rendered.

The backs for the record the golds are identical in tone and colour, the chisel work is also identical on the strands if hair and the hair in the sceptre . If your seeing different it's either lighting or imagination. The backs also look the same workmanship and both came off the same tsuka that I removed old Ito from and was bought primarily for the Fuchigashira. However the power of suggestion is clearly at play here. Can we just confirm that in your opinion all menuki have to be exactly the same size? Only I've a great many that contradicts your assumption. Thank you