Franco

Looks like a WWI era sword. Koto ... hmm, perhaps in someone's dreams.

Something to be aware of and keep in mind about cutting test swords. Arnold Frenzel would talk about the fact that cutting tests were often performed to test the integrity of the sword in addition to its cutting ability. Even then, flaws may not show up until later when the sword is put to polish. Ouch!

I don't know of anyone here in the States more knowledgeable about cutting test signatures than Brian Tschernega. Who can even restore missing cutting test inlay. It is almost for certain Brian will be in attendance in Chicago as well as all the other major Japanese sword shows. Regards,

This goose looks cooked. Dry, scaly, = fire damage. A polisher could/will confirm to be certain.

If you haven't read Yamanaka on the subject of utsuri vs utsuri like effect then you're missing something. And if you have read it, read it again. Although Yamanaka has a section on utsuri, you'll find other tidbits scattered about. Some of the information will only become clear when and after you actually see an example of what he's talking about. So that's what he meant! I've already mentioned the words intentional and incidental. In my experience utsuri can be both. Intentional utsuri becomes obvious. It has a definite pattern. It has uniformity. There's no mistaking it when you see it. Incidental utsuri will be more like an afterthought, it will have a randomness to it. An utsuri like effect will be dull and lifeless in comparison to real utsuri. The nioi and nie (if it can even be called that) will not be defined. It will lack reflectiveness, brightness, whiteness. Bizen nioi utsuri will be like looking at a surface covered in diamond dust. Rai and Soshu nie utsuri will appear like individual specs of diamonds clustered together. These descriptions are my own. On top quality A+ utsuri works, the steel begins to have that wet look that is only seen on top quality swords. Form follows function. Form follows function. Form follows function. One advantage of early swords were that swordsmiths had direct feedback. The teacher student relationship was chained and unbroken by disruption.

If you know how to look at utsuri why are you asking me? But, since you asked, utsuri? No, perhaps an utsuri like effect. Which is not the same. Saiha gives an utsuri like effect, but it's not utsuri according to Yamanaka. Effect is not the same as what my eyes are seeing. Even when you do see utsuri, it becomes apparent that certain types of utsuri are quite intentional. While other types are more incidental.

Normally it is done after the foundation polish is finished. Which allows the polisher to polish the hi that has been cut while finishing the rest of the sword. You can try asking Brian Tschernega.

Understood. Still, it needs to be made clear that there is a world of difference. Even between old swords there are significant differences between the types of utsuri. p.s. looking at your image again I would describe this utsuri as being more like a second hamon than genuine utsuri, a shadow of the hamon, a reflection of the hamon.

While this appears to be utsuri, and this smith may have discovered a technique for producing this utsuri, sorry to say that it is no where near the level, quality, and control of utsuri seen and produced on earlier Koto period swords. If only it were easy.

The name of this smith? Images of his work? Or even verbal descriptions? Type of utsuri he's producing? Thanks.

"Fell out of fashion." Hmm. I believe Albert Yamanaka would not agree.

Cannot speak to the genuineness or authenticity here. However, it is not unusual to see the same design with slight differences and variation by the same artist or even across schools. Over the years it was always of interest to run across drawings of fittings including tsuba, and then at some point actually running across and seeing the actual exact piece made.

Insight, a professional restorer would use both mechanical and chemical treatments depending upon what is found. This, in order to ensure the surface is stripped absolutely clean. Otherwise, there could be failure in the re-patination process resulting in an ununiformed finish. One shakudo tsuba I had professionally restored took five (tedious, careful, time consuming) mechanical cleanings before being chemically prepared for re-patination. Even then the success of the re-patination will depend upon the quality of the shakudo. Which to some extent will be an unknown factor. Eventually, the quality of the shakudo will become apparent in the final result. On an excellent shakudo tsuba the finish will continue to re-patinate and improve, even dramatically, over time. With this wave tsuba, not only is there the body to restore but the rim needs attention, too. Then there is the question of what to do about all of the silver? and/or gold? drops that are missing? Value? Worth restoring? Kantei gives an answer. Good luck.

https://www.youtube.com/watch?v=gxwWf-MfZVk&t=300s

For sword polishing; Shigekazu "Jimmy" Hayashi (CA), Woody Hall (NV), Ted Tenold (MT), Takeo Seki (BC, Canada) . Habaki; Brian Tschernega (WA), John Tirado (PA) . Shirisaya/Saya/Tsuka; Brian Tschernega (WA), John Tirado (PA) . Tsuba; Brian Tschernega (WA) . Others? Generally speaking, for a nihonto being considered for polish/restoration, it is advisable that the blade at minimum meet the following NBTHK level requirements; https://nihontocraft.com/2015_NBTHK_Nionto_Tosogu_Shinsa_Standards.html . There are lots of previous discussions about most or all of the above artisans/topics/subjects to "search" on this website. Take your time. Desire is the cause of suffering.