Janrudolph

I would have to admit there's a lack of a hamon under the pitting and into the nakago. Johan

Karusk, that bit was under the habaki. When I removed the habaki, there was a bit of resistance - I had to tamp it out gently. I wiped some gunk off the blade where the habaki come off. The habaki itself of the double (twin) kind - brass & copper. Johan

I'm hardly one to contribute my opinion of the blade, having very little practical experience, but what I do know is that I can cut ordinary folio paper with the blade. Its freaking sharp. I can feel the yokote (in comparison to another blade I have where I can see it but not feel it). I can see a straight hamon. The shinogi is sharp and very well defined. The area (flat section) between the shinogi and the mune is in good polish IMHO - to me it's mirror-like. I see little squiggles (hada?) and tiny impurities, which I feverishly imagine to be proof (!!!) that the steel is tamahagane. Please bring it on, guys; you see things I don't, and you view it in an impartial light. Those are the opinions I need to hear, and I'm grateful. Johan

I got both these kozuka and the hairpin as well. I suppose I can pick & choose which one will be best suited for the wakizashi. The other pics will follow. I suppose a kozukamaker crafted those kozuka, not the smith himself?

Thank you Ian, Barry and Karusk. I understand what you want to see. I'll get to it. BTW Barry, thanks for getting those tsuba pics right way up - I never ever recognized those decorations for what you showed me they were ...probably because I didn't associate Samurai with guns. Live & learn! Johan

It's clear why we are so interested in nihonto! Johan

I'm sorry that fuchi pic didn't come out too great! The octopus on the saya looks fine, I think. The saya has a hook and a kurigata, as well as a shitodome. Besides the octopus, there are four other sea-living creatures portrayed: a clam, a conch, some kind of seashell and something that looks like a flatfish. They look great under flash, but without much light they look quite dull. There's little contrast between the crimson of the lacquerwork applique and the black of the saya body. Johan

If you say that tang tip looks chopped off, you'd be dead right - that's what it looks like to me too. The nagging thought in my head is what happened that made it look like that. The fuchi is iron, decorated. Here's the pic. Johan

The pic of the complete wakizashi seems not to be too clear. Sorry. Here's the tsuba (iron). Tsuba width: 63 mm - oval as you can see. I'm thinking the decoration might be gold, if indeed this sword is an oldie. Johan

Good morning all. I was very pleased when this wakizashi turned up. There was something promising about it, but I could not escape the feeling that its just my imagination running away (as usual)! But I must admit, as a collector of edged weapons I can't help being enthusiastic. For many years it was the thing that has kept me up nights researching acquisitions. I'd like to post some pics - it might take awhile to get more running, but please bear with me. I apologise if the pics aren't very great. I hope they stimulate some robust discussion nevertheless - I am myself clueless about this waki. Length of blade from tip to the end of the habaki: 53 cm. Length of the tang from habaki to tang tip: 98 mm. Width of the iron tsuba: 63 mm. Johan

Thanks, Jean, I really do think you have given some valid points. Well, it seems this is the end of this thread, and I express my gratitude for all of you that have contributed something. I have been on a learning curve all the way. Johan

I think what I would like to show you all here near the end of this thread's running is some pics of the sword's habaki. Once again the question pops up: could this be period, or is it recent? To my inexperienced eyes it looks to be of very high quality, but it also looks to be in pristine condition. Please tell me what you make of it. Could this habaki have withstood the ravages of time since Enpo? Johan

Brian & Jean, thanks for comments. When my (our) research has been completed, I will have to decide which one of the kozuka suits the saya best. BTW, it looked very strange to me that the saya has two pockets for kozuka/kogai, one opoosite the other, but the one pocket is "blind"! Jean, I think what you said about this saya (that it could have been made from an older one with the help of the metal fittings), is spot-on. Johan

Hi Karusk! That's Hikoshiro Sadamune 1298 - 1349, is it not? Great smith, I see. It's true what they say: it's all about the blade. Johan

Brian, Geraint, Steve & Stephen, I want at the close of this thread to voice my sincere appreciation for the advice you have generously given. I have learned a lot in these few days. I'm new to Nihonto, and I must say I never thought I would ever be able to get hold of one here in SA. But like you have seen, the opportunity DID present itself for me to get one, and I am fortunate the blade is (as you have volunteered) "a good one". I feel convinced the tsuka itself with its same (without ito, fuchi and kashira) is period (c. 1680). The saya itself I cannot say, because the lacquerwork plus blossom applique is so pristine, but the kojiri and koiguchi are new. The fuchi and koiguchi are 925 silver (so hallmarked, I have just seen) but I am not sure about the metal of the kojiri and kashira. Seems silver, but I don't like the greyish tinge. The tsuba I believe to be period, but while I had thought it to be solid silver, it turns out (as kindly pointed out to me in the Nihonto-related forum) to be iron, by Echizen Kinai. So that's the wrap. Old sword, grand new koshirae. Thanks once again, guys! Johan