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Not easy to date, but my gut feeling says mid to, more likely, late Edo period… A nice add on are also the kirigane (ornamental cut iron plates) bordering the upper edges of the hand guards (tekkō). The construction of the upper part of the sleeves is, however, rather unusual. They are made without the common horizontal top plate (kanmuri no ita).

Hi Charles, one can find these compartments from time to time on the forearm of some kote. Oda-gote /Fukube-gote for example. In these cases, mostly the hyôtan-gane are designed to be opened. Often used for storing medicines, but also other things are imaginable. Recently I saw a pair of kote in which writing materials were stored on the left sleeve (ink stone and pen)… However, it remains a rare feature and I’ve to admit that I never encountered one on a hijigane…very cool!

Depends on the “original” condition and in the other case the restoration (scope and quality of the work…materials used…etc).

Yes, there are some discussions about the period and there might were at least 3 generations with that name…

His signature differed from time to time... From what I can make out, it might be good. Luc is one of the autors of a book dealing with Saotome helmets. Maybe he can offer more detailed analysis here. A picture of the bowl can also help to identify the smith.

“家親” (Iechika).

You sure we talk about an Iesada signature. The last kanji is a bit concealed by the ukebari but doesn’t look like 貞…

“Shouriken“. I would go with your translation… 勝利 - conquest, triumph, victory 剣 - sword

I’m “afraid” that is a question of taste… The craftsmanship of both are of high to excellent quality. Ietada is said to be the founder of the school, hence earlier. But it is possible that his, as also the name Iesada, might be applied to more than one generation. What do you mean with “matching menpō”?

Yes, “Otsuryūken Miboku”!

“伯耆住金谷勝正作” (Hōki jū Kanaya Katsumasa saku). Dated “Shōwa 16” (1941)

刕

“中島政安”, as Ray said!

Habaki looks good 😊

Place is a prefecture/ city in north Kyūshū. The first character is a bit “freely executed”…

“宗峯子” “高房” [Hmm…Sōhō shi (ko) Takafusa?]. 宗峯 can also be read as Munetaka, so I’m not sure…

You remembered me of something, Bruce….Thx!

Like Ray pointed out “於東都水府住勝村徳勝作之” (Tōto ni oite Suifu jū Katsumura Norikatsu kore o saku).

During the Edo period the "竹村家" (Takemura family) used this mon. Allegdely descendants of Kusunoki Masashige from Takeuchi in Yamato...

Yes, made to revive an earlier style…late Edo? The partial too uniform rivet heads inside make me doubt. Try the mixture, it’s a good idea!

No eyebrows, Lewis These split shank rivets are for fastening the shinodare. I stick on my opinion for the time being, Edo period “revival” piece!

To be precise, it reads “Kusunoki Tamonbei Masashige” The maker is allegedly “Gorō Nyūdō Masamune” and it’s dated first year Genroku (1331), witch is a “tad” optimistic, IMHO…

Hi Charles, thank you for the additional pictures! Here are the signature of my example above:

...just stumbled over a specimen out of my archive: Guess we can be quite sure!

Charles, sometimes you can find remarkably diffrences in the way the kanji were executed in a mei. It depends on the person who carved the characters. You can run into simplifications, abbreviations, sôsho (grass script), or a mixture of all. There is still a lot left to explain.... However, I attached a picture of another example that might help! This single picture is not telling much. Can you provide images from the front, sides, back (all with the same angle), top and bottom?