John C

Ron: Here is a diagram of what Grey was talking about. Getting a picture of the boshi will be important. John C.

Konrad: Just looking at this as a piece of steel, it is a hard question to answer. You have no idea what type of steel was used (i.e. 5160, 1095, 01 tool steel, etc.). The dark and light areas are done with an acid etch, which is also deceiving. You also have no idea how it was hardened (i.e., temperature). Does a magnet stick to it well? This means at least it is steel and not an alloy. Does it retain an edge when chopped into wood or something hard? Could mean the steel is good and the quench was successful. If not, it may be mild steel and cannot hold an edge. Regards, John C.

Konrad: Three tell-tale signs this is a reproduction: The "script" writing is not something usually done on swords; the "serial number" on the habaki was not done; and the "damascus" style pattern of the steel is not something the Japanese did. This is a western/Chinese imitation style. John C.

Terrance: Here is some additional info. You are correct in it being a type 98 and the date is August 1943. The scabbard is missing a few parts. A decorative collar and the end piece. The tassel is a company grade tassel, meaning it would have been used by a Captain, Lieutenent, or Warrant officer. The small square stamp above the signature is the Nagoya stamp and I think there is a remnant of the Seki stamp above the date. These would indicate a non-traditionally made blade. The numbers on the tsuba are 501 and would have corresponded to number stamped on the other parts as well as written in lacquer on the tang (appears to have been cleaned off at some point). Hope this helps, John C.

I couldn't imagine having the patience or skill to create something like number 18. John C.

If this were true, my guess is that it would not be from before or during the war. Sticker residue on the ito, or anywhere else for that matter, would not go over well. John C.

Lou: Here is some information about the two styles. The second paragraph talks just a bit about the differences. John C.

Mauro: If you don't mind, what does NBTHK think? I cannot read what they wrote. John C.

I'll chime in with my two cents as I too contact folks selling obvious reproductions. In my experience, 9 out of 10 ignore the information or disagree with it, even those who write in the description "we know nothing about swords." Ironically, they will ocassionally point to another auction fake as proof that theirs is real! I've given up somewhat on telling folks. But I too make the distinction between reproduction and fake, with a fake being a reproduction someone is passing off as real. John C.

Nazar: How difficult would it be to make a habaki using 3D printing for a bare blade? When I make shirasaya, I use the old school method of casting habaki (sand mold and pewter) which works well because the pewter is easy to work, however it's still a bit of drilling, file work and adjusting. I'm looking for an easier method to make a temporary habaki for fitting shirasaya. John C.

Are you recording the showato Katsumasa as well? John C.

My tastes are simpler, albeit impossible: just two shots of each of my swords. One with the smith making it and one just after original polish. John C.

Carrie: The road to possible papers would be two-fold. The first step would be to have the sword polished. As it is now, they would not try to evaluate it because the hamon cannot be fully seen. That would be about 1,800 to 2,200 as a guesstimate and probably take at least one year on the waiting list. Then the sword would need to be submitted to a NTHK shinsa at a participating sword show. I'm not sure how many times they have shinsa during a given year, however it is not many. And after all that, it might fail to get papers if the sword is gimei (fake signature). So while it is possible to have the sword professionally evaluated and papered, it is a slow and expensive process. Just something to consider. John C.

Carrie: You are correct that the stacked canon balls represent Tokyo arsenal. As for the other marks, I have not seen them before on a bayonet. The mark on the barrel lug is "hara" so person's name or school name perhaps? The other marks I'm not sure about. The habaki on the sword (with the serial number), consequently, is a common fake. John C.

Wow. Cobbled together piece. The tsuba is hand made from a thick piece of brass, much thicker than normal The kanji on the collar is "lan", or orchid. Not sure what that came off of. The design on the backstrap is reminiscent of India, possibly China. John C.

Andy: I think Grey and I are actually on the same page. And he had a furniture restoration business so he knows what he is talking about. Since the crack is on the seam, I would attempt rice glue. The good thing about rice glue, as Grey pointed out, is that it can be taken apart later if necessary. I have found, however, that if the wood warps at all, the glue won't hold. You can make the glue easily from instructions online. Just note that it sets up quickly so have all the parts ready. Also, make sure you scrape or clean the old glue off the seam before applying the new glue. An exacto knife or razor blade might work. Just be careful not to cut into the wood. John C.

Luca: One other thing to add. Given the era in which this was made, I suspect some sort of spray shellac or lacquer was used. I can see a shine in the picture. If that is the case, then it is an easy fix. BUT if any of the veneer is peeling, you will need to address that first. I would also expect a more modern glue was used, in which case an oil or wax finish would be fine. If, however, a traditional rice glue were used, the oil or heavy wax could possibly dissolve the rice glue and make it worse. I would have someone knowledgeable in woodworking where you live take a look at it to determine what kind of glue was used. John C.

Luca: I'll offer my two cents as a hobbyist woodworker. Depends on the original finish. Can you tell if the original finish is oil, shellac, or lacquer? (Note: A very small amount of rubbing [isopropyl] alcohol on a cotton swab dabbed in an inconspicuos place can give you an answer. If it gets sticky or tacky, it is shellac. If nothing happens, it is either oil or lacquer. Dull and still a little rough would be oil, smooth and shiny would be lacquer. If the original finish is oil, it can be replenished with a very light coat of tung oil (but be careful as this could also darken the wood). Shellac and lacquer can be resprayed. But in any case, a light coat of paste wax rubbed into the finish will protect the surface and not do any permenant damage regardless of the finish. It can always be rubbed off with a cloth if necessary. But I would first try to determine the original finish before doing anything else. John C.

Andy: As a woodworker, I have used home made rice glue on shirasaya, however the paste is relatively thick. I'm not sure it would go through a syringe. Considerations: 1) Where is the crack? Is it along the original seam or along the grain somewhere? If on the seam, I could see using rice glue. But if on the grain, something stronger will be necessary. 2) How wide is the crack? Rice glue will only work if the crack is not too wide AND the two sides can be held together tightly for it to set. 3) Are you trying to be as original as possible or just make it presentable? Remember that rice glue was not the only glue available to Late Edo period woodworkers. Hide glue, which you can by at a big box or hardware store, was also available and is much thinner and stronger. So it would still be "authentic" and work much better. Just my two cents without seeing the extent of the damage. John C.

Ha. I still practice EPAK after 40 years, however I too have to slow down the kicks. Can't risk sparring anymore either. John C.

Agreed. I also read the characters for Katsutoshi can be read as "victory" so maybe a play on words and not a living persons' name???? John C.

Hello: This sword is signed Chikuzen (no) kuni Katsutoshi. The way the kanji are formed, however, is confusing. For example, the one stroke on "zen" is not where it should be. Also, I cannot tell if the "kuni" character is trying to be the new version or the old version. It should be the older version. Has anyone seen this style of forming the characters before? Is there any region where forming the characters like this is common? Thank you for taking a look, John C.

I can't look at that without seeing sargeant stripes, especially on the shoulder. John C.

@Scogg Sam can give you more details, however it's a nice early example of a type 95. Now you just need to source a leather tassel to complete it. John C.

Don't be. We have a saying in collecting: you pay for an item or you pay for an education. Either way, you get something out of it. John C.