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I could not make out the last as tada at all. Thanks for the input.

Thanks Dale. Happily it also fits the sword I bought if for perfectly.

Thanks guys, I was wondering whether the first two were actually one kanji. Is it possible the last character could be Nari? Also, it looks like the nakago-ana was fashioned in two orientations. Or is that a design?

Hi All, I tried searching different combinations of possible mei kanji on this Tsuba and couldn't find anything. Unless I'm reading it completely wrong the first kanji is either Shiro, Kiyo, or Haku and the second kanji is Shin or Naka. Does any name come to mind? I've included pictures and over-written the kanji marks as I see them. These are the best angles I could get as the iron is somewhat degraded around the nakago-ana. Thanks

Thanks Jacques. Late muromachi/early Edo is the right time frame for the school I am leaning toward.

@Jacques D. sori is 3 mm.

Oh, nakago has not been cleaned. It was simply angled to see the end of the hamon. It is still dark rust.

Any thoughts on what might be "wrong" would be appreciated. If something has been manipulated can it be fixed?

Ok, let me in on it please? Have I provided the info you need?

Hi, the tanto dimensions are, Width: At end of habaki 23.7 mm At top of nakago 20.9 mm Thickness: At end of habaki 4.5 mm At top of nakago 4.9 mm Nagasa 20.9 cm Nakago 7.8 cm Hamon ends at top of end of nakago On closer look, it doesn't look like the top end (ken) of the horimono has the same width and precision as the lower lines. Is it possible someone could have added that later? The depth is much shallower there. Let me know if the attached closer pics help. Thanks

So, modern repros then with gimei?

Thanks for bringing this back to the blade in question. I will add more pics and the measurements. My impression is that the nakago is ubu, and it does really look like later Horikawa school to me. But for you to judge. Will upload soon. Thanks

Thanks Peter. It does.

Hi all, I'm wondering if Edo schools made multiple/mass copies of tsuba or if this is a modern ruse. Several years ago I acquired this "Masahisa" cloud tsuba and recently saw another very similar copy but with unique markings and signature for "Masahisa." Was it that copies were made or are these modern repros? Thanks!

Hi All, I have this wak that seems to exhibit some old Yamato characteristics. The mei is Hiromitsu and I can't find any reference styles close to this other than Taema school. Any other leads?

Michael, apologies if I came across as being dismissive of quality. I really was speaking to value of the object in the ethereal sense, exclusive of quality. Why a sword might be more or less valuable to an individual. I wasn't monetizing the value of a sword in that regard and am truly in awe of the skill in creating swords of high quality. Like all art, appreciation of nihonto is subjective.

And apologies that's not addressing your question. It's interest popped in my mind when you all were discussing this school. Any insight would be appreciated.

Did any of the Ko- Mihara smiths sign Masa with the "heart" kanji (like how Muramasa signed)? I have a very tired katana that is signed Masamitsu and was wondering if it might be from this school/era. It is so badly out of polish that the features are hard to make. Also, it might be an ato-mei by the suriage smith.

What about this one? Is there a sudden rash on available swords?? https://www.ebay.com...r=artemis&media=COPY

Understood. Probably a conversation with no end. I personally imbue little added value to a sword specifically made for a client as it was made to the specifications of that client; unless of course if they were a historically relevant figure. A sword used in a historically relevant battle to me is more important than a sword made by some schmuck who wanted to prance around with it. 😂 To each their own...

While the translation might be literal maybe that's not the correct term for today's context. I understand the intent and that kazuuchi-mono may have been forged quickly and initially not provided a great polish, but they would not have been stamped from a press as is the current definition of mass-produced. There was some skill involved and saying "mass-produced" does cast a dark light on the entire spectrum of builds. I get the picture. Thanks

Mass-produced at a time of demand makes more sense than single use. Having a signature on a custom-made sword is completely understandable. If I were to have a sword made I would insist the smith signed it. There are however multiple examples of unsigned swords attributed to great smiths throughout history, whether within or outside a period of increased demand. Are those of less value because they're not considered a custom (signed) job? Value is in the eye of the holder and, for example, historically the desire for a particular sugata is a characteristic that assigns value to the bearer. To that, if it was designed for a particular customer's liking but in a manner that is not appealing to someone else then it should be if less value to others, regardless of the maker. Ultimately, I suppose there is no greater value than sentimental value and probably why more than just custom-made swords have survived with great care to this day. Informative discussion.

It does escape logic that a sword would be made to barely survive one battle. I wouldn't care to go to battle with such a weapon, although they may not have had a choice and hoped the battle would be resolved that day. If the sword survived to this day I expect it had some value otherwise why preserve it over the centuries. Or I suppose a bird in hand is better than any in the bush. 🤷

Just realized the last two file formats didn't convert..

Hi again, I appreciate your insights on mumei nakago. Still on the kick with this tanto. Attaching newer pics that I hope reveal features better and also have done a little more research. Could it be from early Shinto Yamashiro Horikawa Kunihiro school? Like this smith?: https://nihontoclub.com/smiths/KUN863