John C

I actually made that same argument on a different thread about a label used in the book. John C.

Interesting that the write-up includes the tsuba as being made of aluminum. Was that common? John C.

Tony: The complex damascus pattern is very typical of Chinese made blades. The Japanese, for the most part, do not use that type of technique. It may very well be a nice blade. It just isn't likely that it is Japanese. John C.

Possibly. But as noted in the document below from the late Nick Komiya, even donated swords had to have a blade at least 21.5 inches long. So I think the jury may still be out as to whether or not this was carried in WW2. John C.

There is always the option to have a "window" polished into a good area just to see what the sword would look like if restored. It's much less expensive than a full polish and can let you enjoy the details of the blade. John C.

I'll let others get into the details, however it is really two separate questions. In terms of the material used, it is definitely much harder to tell. In terms of the technique used, it is much easier. There are tell-tale signs of machine vs. hand forging and tell-tale signs of oil vs. water quenching. John C.

Bruce: The picture of the one on the wood table...is that number 33? John C.

Thank you, Mal. My thoughts as well on the type 32s. In fact, it is the only type I can find in the picture. John C.

Here is the front side. John C.

Hello: I recently bought an album of 80 or so pictures of Japanese soldiers. I think these are copies made in the 1960's. This one has the most writing on it. Normally I would at least attempt to translate. But I cannot make it out at all. Not 100 percent sure it is Japanese. I think the orientation is correct. Any help would be appreciated. Thank you, John C.

Thomas: Is that because of the seppa design? John C.

I was just lost a little trying to sort out the different stamps. This answers my question. Thank you. John C.

Sorry, Bruce. I lost you a little bit. To which stamps are you referring in this line? I know Kanehide used the small Seki stamp on his gendaito. John C.

Thank you Malcom. Some of that is still currently on their website, though it is unclear if they are currently making and selling it. John C.

Not sure how accurate google translate is, however it shows the mon as Toshi Hayashi. John C.

About 8 months ago there was one listed on Shopgoodwill. It appeared to be a very rusty type 95. It ended up going for 1400! John C.

Does the family mon point to either of those two? John C.

Just to clarify. The issue in this case is not with the sword...it is what it is. The issue is when a respected collector labels the souvenir sword as "late war". This makes our jobs much harder when trying to add validity to the concept of a post-war "souvenir." And it surprises me that Plimpton would do so. He held enough swords to know the difference between a "parade-quality" sword and one built for battle. I think to him, it was an enigma like it was to us before all of Bruce's (et al.) hard work. Remember, however, I am speaking about the entire rig and not just the blade. But the facts are that the fittings are not made for combat. Indeed, someone of authority (I cannot remember who) said that if the handle (and presumably the fittings) is not strong, the sword is useless. Moreover, as evidence of how the Japanese felt about the quality of their weapons, the late Nick Komiya talking about the Rinjiseishiki noted: "The printed memo further explained that the sword 'was made to be robust and practical in both blade as well as exterior fittings, based on lessons from the Incident'”. So in my uneducated opinion, the problem is the sword's designation in the book as "late-war" and the impression that the sword was somehow made for combat rather than as a souvenir for G.I.'s. John C.

Wow. I cannot believe anyone who has held one of these in his or her hands would believe it was for a war-time officer. Thin, cheap, and gaudy parts, cheaply lacquered saya, and no sakura on the kabutogane? Even late war, these should have been built to at least withstand some form of combat. In Plimpton's defense, however, he obviously did not have access to the documentation we have today on these. Just my opinion, others may differ. John C.

Agreed. As an example, this art piece I did for a wood project was simply silver foil treated with a potash solution and left in the sun. A simple salt and vinegar solution can age copper pretty quickly in the sun. John C.

Yep. That's where I found the article. It was stuffed between two pages of my copy of Nippon-to. The book had writing in it, though unfortunately it was not signed. John C.

The souvenir sure does look longer...and almost like they are cut from a long billet then shaped. John C.

I can say the bottom of mine has signs of being sheared or snipped (as opposed to being saw cut), so I suspect that would be easier when heated. In terms of the length, the tsuka on mine is the exact same length as my mantetsu (9 5/8 from the tsuba), which is a bit longer than the type 95 and a bit shorter than the rinji. So my guess would be the cut may have something to do with saving time during manufacturing? My initial thoughts were that they were cut to distinguish them from actual war-time blades, however there are some rounded/signed blades found in souvenir mounts so I doubt this is the case. John C. @Bruce Pennington do you have both souvenir and kai gunto mounted blades?

Personally, I would have difficulty indexing the blade without a reference on the handle. But it looks really nice and I hope you enjoy it. Any idea on a sheath yet? John C.

I found this one that is somewhat close. John C.