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That's what it says, then oite Osaka (於大坂). "At Osaka". If it helps your research the date is to a day in June in the first year of Keio (1865) 慶應元年六月日 - Keio gan'en roku gatsu hi.

The statement of using gun bore cleaner and mineral spirits to clean Tsuba seems completely at odds with the below advice: https://japaneseswordindex.com/tsuba/tsubacln.htm

Hi there Fujidog, I would say it's definitely a gendaito and not a Showato. When I first started looking for a sword of my own, I was considering a gunto with a blade by this maker. So I did a lot of research on him and I've never seen one of his with a stamp. Good resource here: Japanese SWORDSMITH ISHIDO TERUHIDE

To avoid problems with humidity I keep inside the box a small bag of silica gel that is changed periodically. Also in some cases I add the lip you mention but mainly to avoid loose inlay to snag into the fabric. But put in the perspective of providing ventilation it make sense, I have always thought them to be there to avoid friction between the tsuba and the fabric... I will add them routinely now. It is relatively easy to make them and since I am already removing the central support that goes in the nakago-ana to replace the usually present nails with wood pegs it will not be a great inconvenience. Regards Luca

Thanks Geraint Found him! https://www.samuraimuseum.jp/shop/product/antique-Japanese-sword-katana-signed-by-chikuzen-no-kami-nobuhide-nbthk-tokubetsu-hozon-certificate/?srsltid=AfmBOooPkvTa18Hzr76TiPjxXT3xV1PcmcTzay3yTicmrpdtY8KOW5pz

Holy Moley If it is, Sai-jo saku

chikuzen no kami nobuhide ?

Nihontoclub index can still be accessed but you need to register as a member.

Thanks Geraint. I have a book that reference Takahashi Nobuhide, but not Taiara I obviously want now to compare meis before considering polishing and possible papers.

Dear Mark. I will have a look through my sources later on today but for now have a look here, page 31 I think, https://new.uniquejapan.com/wp-content/uploads/2015/06/21-Antique-Shinshinto-Japanese-Swords-For-Sale-From-Unique-Japan.pdf You know the mantra, big name smith likely gimei until proven otherwise, the fact that you do not see a match in a web search of papered examples suggests this to be true for your sword. Forgive me if I state the obvious but a Shinshinto sword, unless badly neglected, ought to have a nakago which shows clear detail and so the shape and the yasurime as well as the position of the mei should all be easy to see. Another factor is that some smiths have very distinctive 'handwriting' and that should be an easy thing to spot. If you have an image of the whole nakago that might be useful. I'll see what I can find for you later on. All the best.

Another casualty of the rapacious entitlement of the AI merchants (automated data harvesters for AI agents where overwhelming the site and they had to restrict search functionality to registered members). This is a win/win condition for the AI folks, because now the only way for the public to find that information will be however the AI models choose to serve up the data they harvested before Nihonto Club locked everyone out.

Steve, I know it seems like I'm always busting your balls but you really should try to use the resources on this forum before asking for help. If you go to the bottom of the index page there is a section called "Translating Mei" with all the Chinese characters you needed to decipher this name and date. I've taken screenshots and ringed everything for you to show you how it works. I know the dates can be very confusing but that two character name was really easy if you'd bothered to look. Best, Hector (No idea why this lettering all appears so big!)

Thanks Geraint But nihonto club smiths is now restricted I have just discovered, and the examples I have found are nowhere near a match Any other info / point3ers please?

WHOA! I just signed back in and this thread has gone in a completely different direction to what I originally envisioned. As it's obviously created some unintentional conflict then I'm happy for the admins to lock it any time. Best, Hector

Thanks, Trystan. So in re: my post above, does it mean "to inspect"? John C.

It’s 撿, but it should be 檢 — stamped the wrong character, like this one

Hello Steve, there is scant information on Tsugunobu available and you have most of it already. He originally signed Kaneharu and studied under Ryunsai Kanetomo, along with Tsugumasa and other Gunma province smiths. After that he became the 16th student of Kasama Ikkansai Shigetsugu and changed his Mei to Tsugunobu. He was ranked East Block Komusubi in the 1943 Gendai Tosho Banzuke list. His work (published online) isn't seen very often, if you have photos of a sword and Mei I would be interested to see them. The below is from Malcolm Cox: The following article has a good deal of information, although the lineage incorrectly placed Tsugamasa under Kaneharu: https://www.nihontocraft.com/Kanetomo.html George Trotter and Mal Cox provided the following entries from Japanese sources, included is a nice example in my collection that has a special order Mei:

Hello, Can anyone provide me with some basic biographical information regarding smith Tsukagoe Tsugunobu. I believe he worked in Gunma Prefecture. His work appears on page 179 of An Oshigata Book of Modern Japanese Swordsmiths 1868 – 1945 by Slough. Tsukagoe Tsugunobu appears on a period list of members of the Rikugun Jumei Tosho and he won Fourth Seat under the name Tsukagoe Kaneharu in the Sixth Exhibition of Newly-Made Japanese Swords held in March 1941. Any information regarding this smith will be greatly appreciated. Thank you and best regards, Steve K

Steve, Type 3? No stamps?

If so, it is a form of mental illness worth cultivating! :-)

Robert, I think that I have said this before in another thread (but can’t remember which thread!). I have experienced a few of my tsuba actually communicating with me. That is all I will say for now. I know, weird but true!

Robert, if we do not live this life in a way that fits us, in which life could we do it? I understand what you are saying, but it is probably not for everyone. You need to have a certain sense or sensibility for that. To me, it happens from time to time that I see a place in the forest or a hand-made item with age and use. It is as if there was something like a connection, but nothing you could really grasp. Perhaps it is only a form of mental condition?

I agree Robert. Better quality KIRIBAKO are designed that way.