First true Nihonto (now with slightly better pictures)

So it arrived yesterday after a few delays and I'm more than happy with it and have finally gotten around to taking some photo's and giving it a bit of a clean. Please feel free to share your opinions and I'm interested in knowing anything about the Tsuba as well. Photo gallery is linked here:http://imgur.com/a/cQ7Or/

Shinogi-zuruki, Iori-mune, Ubu, 1 Mekugi-ana

Signed Yasutsugu Motte Nanban Tetsu Oite Bushu Edo Saku Kore

Dated: Kanbun Shi Kinoe Tatsu Nen Ni Gatsu Kichi Hi (A lucky Day in February 1664, year of the Dragon)

Nagasa: 68cm

Motohaba: 31mm

Sakihaba: 24mm

Kasane: 8/9mm

Sori: maybe 12mm

Jihada: can't make this out in the current condition but it seems very tight.

Hamon: Suguha with some notare

Boshi: looks to be Maru but I can't see the turn back as it's obscured.

Nakago: Kengyo Nakogojiri, Katte sagari yasurime

The second image shows the only flaw I could find that may not polish out, it's a strange little pit with some ware attached, the steel is a very dark colour that may not show in the photo's but this matches what i've read about the smith. I'm also very interested in the Zodiac addition to the mei as it seems a little out of place and I don't recall seeing one like this before.

Thank you all for taking a look.

Anyone?

James,

Is the sword papered? Since the sword is signed, there isn't much guess work. What you will need to do is dig through your reference library (Nihonto Zuikan, Fujishiro, etc.) to find a reference mei and read up on the workmanship style of your smith. Then, decide if the mei is genuine or gimei, and/or if the workmanship of your sword matches the workmanship described in your reference library. It's fun research, and since you have the sword in hand, it's a great way to learn.

If, on the off-chance, you don't have a reference library, then it's time to consider building your reference library.

Regards,

Hoanh

Nope, not papered but everything I can see (which is not a lot of the hamon/hada admittedly) matches. It just seems a little odd to me that I could pull out a healthy blade by an ¥8m rated smith on my first attempt so I guess what I'm asking for is other opinions to confirm/deny what I believe or at least state it's not a complete waste of money on junk . My only concern is the date seems a little different to other dated works by the same smith.

Most people can't be bothered to follow external links.

At least post 2 or 3 teaser pics directly in the thread. The internet is a fickle thing and everything is done in a rush.

Brian

Ok teaser pics. These turned out a lot worse than i remember :/

Hi James, I’m new to Nihonto interest. Some time ago I had my first exposure to the art form and inspected a Yasutsugu blade that had military docs identifying it to the Shodai (1st generation).My research revealed that there were 15 generations and the first three were close in quality. The Shodai was from Echizen but at the shoguns request would travel to Edo to make swords as the Kaji for him. As a result Ieyasu Tokugawa 1, also authorized him to use the Tokugawa Kamon and allowed him to assume “yasu” in his name on the swords. This lineage utilized “barbarian steel” non-traditional, which is mentioned in the signature.The blade was classic Kanbun style and would likely be attributed to the third generation. The School split in two, one remaining in Etchizen the other in Edo. Good candidate for papering though your photos are not definitive. I believe you can find a wealth of info on this lineage, Good luck with it and I would submit it for shinsa if u are comfortable after research efforts. This is just me two cents and may not be reliable.

Respectfully, Ed F

James,

Looks like a decent candidate for shinsa. Don't pay too much attention to the Yen rankings. Has a good chance to be shoshin though.

I think it would polish up nicely. The tsuba needs some work to arrest the active rust, but looks ok. All in all, a nice package. I don't think the zodiac date changes anything.

Brian

Yes there seems to be a wealth of knowledge on these lines (first 4 gens of each branch anyway) and I think I now know as much about the school as I do about any other smith/school. I'm a little surprised that they don't appear to be as desirable as other contemporary schools, that may however be to the apparent sharp decline after the first four or five generations however they do seem somewhat under-appreciated despite the links to the Shogunate. It was a bit of a gamble but the price was good and everything I could see pointed more on the side of shoshin than gimei and since examining in hand I have found nothing that is opposed to the 3rd gens work except maybe the hamon might be lacking in flamboyance that he was know for. 1664 would place it right at the start of his dated works (1663 is the earliest) so that may explain some reservation?

I got it from a small auction house in the middle of nowhere in Ohio and it had the feel of being in someones attic since WW2 with the owner/auction house being a little oblivious to what they potentially had.

It was purchased with the intent of polishing and Shinsa no matter what so just waiting for the funds to be in place. I've spent a good couple of years studying books when I've had the time and I can attest to anyone else taking up collecting of Nihonto that it really pays dividends to wait until you can amass at least a little knowledge before buying.

I'm going to have to read up on dealing with Tsuba rust but do you have any idea on school or age? I'll also post the fuchi-kashira here once I can get decent shots to save creating a new thread on Tosogu. I'm thinking of splitting the koshirae as despite generally thinking koshirae shouldn't be split the menuki are missing, it needs a new Ito wrap, the saya is a bit damaged and all the fittings seem cobbled together already even if they are original.

Sugata does look like Kambun... 3rd generation sounds about right...(???).

Personally I have been underwhelmed by Kotetsu and Kiyomaro on many occasions, though their top works are extremely impressive.

Yasutsugu though, I've usually been impressed with. Both the variety of styles and the technical execution, I thought they represented work that was a rank higher than what Fujishiro assigned to these guys.

I haven't looked up any of my references, but I like the feel of it and the Yasutsugu kao, or whatever you want to call it. I am envious, as I have wanted a nice Yasutsugu example for some time. The ones that I have seen, including with papers, are often not "perfect" for some reason. Kiyomaro and Hankei have made the same impression on me. It appears that big open grain and minor forging flaws are expected for some top smiths. I am looking forward to hearing the shinsa results - where will you submit it? I also like the tsuba - looks like a very nice choshu guard that needs a little love, but is up to the hoped for quality of the blade itself. Do you mind my asking where you found it and how much it set you back?

Hello,

Have not checked the mei, however, this sword looks promising. Quality swords have a good shape! Something often lacking in many of the swords posted here seeking opinions. If it passes shinsa, please do yourself a favor and send it to a "really good" polisher, meaning Japan or one of two fully trained if you're here in the US.

Good fortunes!

Here are some valid mei from the sandai from Kanbun. Looks pretty close to me given the test photo isn't the best...Definitely one for shinsa...and a qualified togi-shi as mentioned...

Indeed Darcy, looking at examples of the first generation especially despite not being in hand they're particularly impressive in a lot of ways. From closer study of my sword "technical execution" would describe it perfectly. Everything about it seems very well done albeit lacking somewhat in regards to "Art" but that may very well come out in the polish. The only thing that seems lacking is the Suguta but that may just be my predilection for old Koto giving me an unfavourable bias, although saying that it looked good enough and was the thing that initially drew me to the sword

@Robert: I did plan to submit it to NBTHK while it's in Japan for a polish, I found it in a little auction house called Forsythe's somewhere in Ohio while browsing online. So far it's set me back just under £1600 including buyers premium, shipping and customs duty which I'm very happy with even if Gimei with the price of a polish it will still be good value imho.

Chris, that first example you've posted looks strange to me. One thing I've noticed from the 5 or 6 valid examples I've seen is that the original mekugi-ana is always placed between Yasu and Tsugu when signed in this way and also the Tsugu looks different and that is the defining feature when seperating generations. Are you sure this is the Edo Sandai?

Here's a good reference on the different generations for comparison if you scroll to the bottom:http://www.nihonto.com/abtartyasutsugu.html

It is said to be the work of the nidai and signed by the sandai. Tokubetsu Hozon kantei-sho that apparently notes this...

http://www.t-touken.com/archives/3630

That makes sense, lovely Horimono on that btw

Wow James, that is a great price if it's genuine! Are you in the UK? If so, do you mean Ohio USA or is there an Ohio in the UK? In any case, my gut tells me that it is genuine, and you have a great bargain. A sword that you can cherish and enjoy, and when you are ready to "deaccession" it, you can actually make money (assuming it is shoshin). Best of luck with it, and I'm truly impressed if it is your first nihonto! Cheers, Bob

Those Echizen roots I guess....

Personally, I have never been that attracted to the Yasutsugu group. No doubt the early generations did some wonderful work, but it always seemed to me that there were others that impressed me more.

Hankei, Kotetsu, Kiyomaro, and the like had interesting, dynamic lives that have stimulated the imaginations of many for a long while. There works have often been the subject of lore- cutting helmets, stone, men in half who kept walking, etc. The romance adds to their fame. Of course, they were all quite unique, strong personalities and that shows through in their work. If you see enough of their work, the quality of the steel and ha becomes apparent-if you believe Nakahara, it is all about the ha(buchi). With Hankei in particular, his unique forging is prone to ware and they are not looked down upon as much as they would be in the work of other smiths. I have seen Kotetsu and Kiyomaro work with ware as well but again, due to the overall quality of their blades, it seems they are overlooked, like similar flaws in koto blades often are. Most would prefer to own a Kiyomaro with a kitae-ware than a perfect blade by many, if not most, any other smith. Some may argue they are overrated but it is hard to argue that their workmanship is not unique and overflowing with what the Japanese call "hyakuryoku" 迫力 - intensity/impact/vigor.

Thanks bob, Yes I'm in the UK and Yes Ohio USA. You won't catch me anywhere near Bonhams or Christies with my bank balance and all the competition the big auction houses attract. Much better if you're bidding in auctions to go bargain hunting at small places where you may get lucky and be the only person with an interest and some knowledge of Nihonto. I believe what helped me out is it was poorly listed so most internet buyers wouldn't of seen it. I actually have my eye on something else with Bonhams etc having big sales at present it may slip through and I'll actually be able to travel and view in person beforehand.

If I were a swordsmith even being mentioned in the same breath as the likes of Kotetsu wouldn't be such a bad thing.

James,

I like the look of it. If shinsa comes back positive, I would consider that a major score! Good luck!