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Dear Lorenzo, thank you for participating. I'm just unclear with what you mean with the hole near the mimi, what might that represent? I'm fine with 2 & 3. Ed

Makes sence, I've noticed that in some cases the tsuba nakago-ana does not seem to be a fit to the tang or have sekigane, just married to it. Thanks again Ed

Dear Mariuszk and Lorenzo, Thanks for your assistance, I am a little supprised because the blade and mounts of Q68 look promising, the trditional blade has horimono and Q65 is on a wak signed Kosuke no Kami Kanesada, possible shinto, not to say its not gimei, which I am researching now. In any event, Thanks very much, regards, Ed

Dear members, I have been researching two similar iron mumei tsuba that may be somewhat related. The first one(Q68), is carved and engraved iron. The plate is a rich dark color, with a sukinokoshi mimi and the plate includes a fine nanako ground. It shows wear suggesting it an early piece. The mimi exhibits some very fine ware suggesting folded forging. I don’t see bones anywhere. The thickness at the seppa dai is 4mm and 5.5 at the mimi and the size is 6.8 x 6.5cm, The second tsuba (Q65), Has a different color and patina, a more artistic depiction, a maru-mimi and is close to the same size and 3.5mm thick. The designs are similar and the hitsu-ana appear original to each. I have looked at Nara, Shonai Shoami, Saotome, Nobouiye and Kaneiye among others but am still at odds. I have not seen another iron tsuba with nanako on it like Q68. Hoping that someone may have an idea of a school or period otherwise I hope you find them interesting. Thank you for your time, Ed.

Dear David and Fred, thank you for the link and opinions. I have researched the tsuba a pittle more and would agree with the heianjo school. Thanks again, Ed

Hi again Henry, FYI, this is why I was confused regarding the mon statement "Koike Yoshiro Naomasa worked from the Keicho to the Genna period (1596-1623). He arrived in Kyoto from Kaga and this tsuba was made in Kyoto, prior to this time he used his full name to sign his work. Most of his guards were katana or tanto size.” Regards, Ed

Dear Mr Wilson, thanks for your time and happy to hear from you again. I have done some research and became uncertain because I was looking at Onin, Hianjo and Yoshiro, with many similarities. I learned that Hideyoshi loved this combination and as a result named Yoshiro "best smith in the nation", Hideyoshi preferred the arabesque floral and as a result it became quite popular and I guess others copied it. (short story). I have a confirmed Koike Yoshiro that I posted some time ago with other tsuba. In any event I know this piece is tired but that weighed my conclusion that it might be late Momoyama. The plate looks somewhat similar including the arabesque design. Thanks, Ed

dear Henk-jan, I am hoping to attend the auction and hopefully acquire something. I do not have deep pockets and would not be much of a competive threat nor do I have a back door deal with anyone or deceptive agenda beside learning about them and keeping my word. No sorting all goes on the open mkt. My business is tanking because of this enduring poor real estate market which might prevent me from bidding. My commitment was to the owners that I would provide them with a listing of what they had to the extent I could and would not make appraisal for value as I was not qualified and they were comfortable with that. A good number of the blades are post showato and easily researched and some severly damaged blades not that I am an expert, but they simply didn't present the same challenges that I encountered with the older blades. I never realized how daunting a task this would be until I got well into it. I only have a limited amount of space and try to study them in small groups and then I post a few that I have question on. Thats why they come in blasts. There are over 100 of them including other items such as armor, german weapons, sets of WW11 spotting ship models etc. They advised me that they went to several big auction houses but they just wanted to cherry pick what they would sell or purchase the collection. Thank you for your participation, I hope this answers your questions, Respectfully, Ed

Dear Dr Bleed thank you very much for your continued time and effort. I’m a bit gun shy at this point but that aside, I pleaded with the owners to submit a number of their items including this one, for shinsa this past February? In Tampa as I recall. They just didn’t have the resources. I have reviewed many of your very informative posts in the forum and had no success digging up a two character papered signature that I felt fit. I will continue my research effort with your learned comments in mind. I will keep you posted if I should turn anything up, come across another, or if you should desire see beter photos just let me know. Respectfully, Ed

Dear Moderator Jean, I did not anticipate a frack with regard to my posts and apologize for raising your eyebrow perhaps I misunderstood its mission. I’m somewhat at odds with my apparent lack of forum etiquette and protocols. My pleasure in this forum has been to quench my desire to learn, support the preservation of this art form and collect a discipline that makes my heart sing, primarily because in addition to the aesthetic aspect, it captures an important cultural and spiritual qualities. For me membership is not for money but knowledge and understanding. How many more? Well, I am at a bit of a disadvantage because different issues may arise but I would guess 15-20 swords some of which may include fine koshirae/Tosogu. There are many more but I am confident I have gained enough knowledge to sort through them. This leads me to the question, as I acquire pieces for my anticipated collection and hopefully, continued membership can I make a post? I wish to apologize to the Board and any member that feels I took unfair advantage of their generous participation in my posts. That was never my intention and I thought in some cases was appreciated by members. Respectfully, Ed F

Dear Members, Without getting into confidential details these are the facts; I am in no way being financially compensated or otherwise gifted anything but the knowledge and time you have so generously shared with me. I have collected Asian art for years and always desired to collect Nihonto but never felt I possessed enough knowledge to make informed decisions, which in part is how I got into this position. Almost two years ago I was approached by a person that I know and was advised that they were in need of liquidating their dads collection of Japanese swords that had been is storage for many years, since his death. They explained how they could never get-together on them for years and finally, solicited several dealers that started making offers for the whole collection ranging from 5-55,000 US$, then concluded they could not trust them, hence, me. They are financially challenged, and so I volunteered to help them for free if I could select who and where they would be sold but never expected the quantity of items they (the siblings), months later, showed up with. So, I jumped into it, had joined the forum, invested in reference materials etc. Now they wish to put the items up at auction this summer so I’ve been spending every free minute researching and cataloguing the items. I’ve been careful not to cross forum guidelines and in addition, I corresponded with Brian before I began making posts. Keep in mind, I thought the postings and discussions may benefit other members, from a learning and topical standpoint as well as provide viewing pleasure for others. I also felt that it might be a good opportunity to a fellow member when and where the items will be sold in the event there was an interest, which some have expressed. I don’t believe I have ever inquired about the value of an item. Well, that’s the short of it, you may elect to ignore my posts or black-ball me, I don’t know, in any event I remain indebted, and grateful for your honesty, efforts and participation Respectfully yours Ed F

Dear Mariuszk, I have sent you a PM, Thanks Ed.

Hi chris, my mistake there my messy notes. Sorry Ill edit it Thanks Ed

Dear Members, I am seeking , opinions or thoughts regarding the period and or generation of this smith, assuming the sig in not gimei. The blade is out of polish and does not exhibit enough activity in the hamon or the hada, In some areas it suggests masame hada. I have included photos if they can be helpful Signed “Kunikane” (hooked variant “kane” kanji), Shinogi-zukuri, loss of yokote, Nagasa 57.7cm, Ko-kissaki , sakihaba 1.7cm, motohaba 2.7cm, iori mune, Torii sori 1cm. yasurime haagari, and takanoha jiri. The nakago looks un-altered. Thank you in advance Ed.

Thank you for your expert opinion and time. Answers questions I had on a few other pieces, thanks for assisting to improve my knowledge. Ed

Thanks for participating Ford, They have a silver-gray-color irridescence that i could not capture in the photos. This made me think shibuichi. Is this the result of a polishing? The blade has been in storage for almost 20 years. Edit Thanks for the link!

Thanks for your time Grey, In keeping with the spirit of the samurai, the directional aspect makes sense to me. Thanks for responding, Ed

Dear Members, I am seeking confirmation, opinions or thoughts regarding the placement, quality age and design of these fittings. All the fittings are shibuichi with gold inlaid eyes including the habaki, the ito/same appears to have been replaced in the past 25years. The engraving (IMO), is nicely balanced and tight and the fine line engraving, form and evocation of strength and speed of the menuki stands out. I understand (have read), that when animals, in motion, and are incorporated as menuki on the tsuka that the direction of their movement should face the kissaki. The opposite direction denotes escape or retreat; this makes sense to me so, should I assume that they (in this case), improperly installed? If so, let this be a lesson (if I’m correct, they should be reversed and on the opposite sides), to the newbie seeking to invest in new ito, this is not a cheap endeavor. Any comments on the quality, age, theme or opinion is welcome. Thank you in advance and enjoy the photos. Ed

Dear Members, I am seeking confirmation, opinions, age or thoughts regarding this tsuba part of an uchigatana. I think it is a Yoshiro school sukashi tsuba, iron plate with brass hira-zogan vines inlay, some loss, including small gold leaves, five of which have been lost to time. I’m leaning toward Momoyama period. It is mumei. I’m not sure what the design may represent perhaps someone else does. The plate is 7.8cm w x 8 cm H and 3.5mm thick at the marumimi. Thank you in advance, Ed

Thanks Dave, Thanks for participating and your time. I might have been letting the lacquer and modest gold inlay influence me. Thanks, Ed

Dear T Helm, Thank you for that and your participation, I have been under the impression that it was the reverse. The challenge of attempting to learn and grow my knowledge, digest a level of understanding, appreciation and comprehension of this art form. Being of the west, with limited resources and relying on leaning from electronic resources as well as the publications i own leaves me at a disadvantage in terms of accurately parseing the resulting information provided. Unrelated to your response I would like to compliment you on your posts (videos), that sends home (to me), your achievment in the artform of metalwork, I would be proud of anything you created, wish I had some $! at this time. Thanks again EdF

Dear Chris, Thanks, I'm trying to not be distracted by the signature, a possible tribute to, nara sanjo munechika, maybe to much (if i'm correct), with that translation on the blade. If i may give you a sincere compliment, IMHO, you possess a purist conviction in your appreciation and discretion of traditional nihonto blades to an extent that your opinion and perspective is invaluable to me, thanks. Ed

Dear Chris, The nearest thing i have encountered was a 16th cent mino gunome-madare which may fit this blade due to the variations however ,, the somewhat pointed peaks threw me, Is this correct? Ed

Dear Members, I’m perplexed after searching many sources and books on properly defining the hamon and bo-hi. I have included here some photographs exhibiting the issues I am challenged by. 1. The hamon that is visible appears to be Hako-madare but, there are maru valleys between each boxed shaped ones. Would this still be referred to as Hako-midare? Or what? 2. The second issue regards the bo-hi,. In this case there is a bo-hi on the shinogi that is small and 2/4 of the blade, together with a wide koshi-hi. How would this configuration be referred to? 3. Is this hamon characteristic of a school or smith? I cannot find the characteristic in many of the smiths I researched. Thank You in advance,EdF

Dear Eric, thanks for your time and interest. It was some time ago but I will make an effort, if i'm successful I'll post it. Thanks, Ed