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Dear All. Very pleased to have received this one in the post today, much better in hand than the rather sketchy photographs would indicate. The patina appeared washed out in the photographs but is a lovely deep brown, there are scattered silver and shakudo inlays of shells on the carved wave background and the obligatory dragons and sacred gems. I have long fancied to add one like this to my collection but assumed they would be forever out of reach. Somehow this one slipped through the auction net and is now mine, just wanted to share it with you as I know some here are interested in this school. Enjoy! All the best.

Swords from the Kasama Shigetsugu Mon: 於相武台下歓喜入道昭秀作之 "Made by Kangi nyūdō Akihide, in Sōbudai 1943" 酒井一貫斎繁正彫同作 "Sakai Ikkansai Shigemasa, at the request of Iwate Takeshi 1943" 塚越繼延 三代川英雄所持"Tsukagoshi Tsugunobu for Hideo Sanyogawa/Miyokawa 1944"

Well here it is. 14 3/8 inches long. Of joy. It was polished by the great Woody Hall. I had some people give there opinion. And after some research. I think it maybe an Nakayama Ikkansai Yoshihiro. Well thats what I hope.

It is also possible that the gaku-mei was false (it had a gimei inscription) and the mei was removed while the plate was left inlaid into the nakago.

Type (Tachi, Katana, Wakizashi, Tanto, Naginata, Other) : Katana Ubu, Suriage or O-Suriage : Ubu Mei : (Mumei, Signature) : Bizen (no) Kuni Junin Ichiryushi Nagamitsu Kore O Kinzo (備前国住人一龍子長光謹造之), Showa Mizunoto Hitsuji Sai Go Gatsu Hi(昭和癸未歳五月日) Papered or not and by whom? : not necessary Era/Age : Showa May 1943 Shirasaya, Koshirae or Bare Blade? : Koshirae Nagasa/Blade Length : 66,5 cm Sori : 12,5 mm Hamon Type : Choji-Midare mit Ashi in Nioi Deki Jihada : Itame Other Hataraki Visible : - Flaws : nothing Sword Location : Germany Will ship to : Europe and US Payment Methods Accepted : Paypal Price and Currency : 4500€ Other Info and Full Description : Hello Gendaito lovers, since a new door has been opened for me and I am taking the chance, I have to sell this rare Gendaito by Ichirhara Nagamitsu with date. I don't need to write much about the smith here. More infos here: https://japaneseswordindex.com/naga.htm This is a great blade and I hope someone takes the opportunity. The price is very fair. A Nagamitsu with BoHi, long Mei and date is hard to find.

Hard to believe how quiet this thread has been, it would be nice to see more quality Gendai posted again. Tsukagoshi Tsugunobu Katana dated 1944, made for a Hideo Sanyogawa/Miyokawa. Tsugunobu originally signed as Kaneharu and hailed from Gunma. He studied under Ryuminsai Kanetomo before becoming the 16th student of Kasama Ikkansai Shigetsugu. He was an RJT smith and rated Joko No Retsu by Akihide, and East Komusubi on the Gendai Tosho Banzuke. While clearly a well accomplished smith, there aren't too many swords available online. Good Kai Gunto mounts with Mon, tassel, and leather cover. The Kanji on the Tsuka are interesting in that they note the fleet assignment and have a different officers name, presumably Lt Matsuoka ordered the sword for Lt Sanyogawa/Miyokawa, who is listed as graduating in the 74th class at Etajima Naval college. The blade is the classic Shigetsugu style Bizen Den. 四海軍予え- (Fourth Naval Fleet Preliminary/Reserve) 松岡大尉 - (Lieutenant Matsuoka)

Ok, enough of this. For the record, I asked no-one for any information about anyone. The idea that I "prompted" anyone to ask for info is just a flat out lie. This forum requires people to use a real first name, and we accept that people are who they say they are. Of course there are many posting under pseudonyms. Many with second accounts for various reasons, some of them valid, some for deception. The software tells me most of these duplicate accounts, and most I leave unless there is an issue. No...using a VPN won't fool the software, there are 4 methods it checks. Anyways, people are entitled to their opinions. But those that cause disruption here usually don't last long. Some we tolerate, some reach my limit and are removed. I've been more than tolerant with some insults I've been sent. This thread is a train wreck, and not worth continuing. So another one for the lock. If anyone does care...do I think "Dee" is who she says she is? Not a chance. Do I think "she's a she?" Nope. But I can live with that. Do I think "she" is in the USA? The software says no. Are there other accounts linked to this one...yip. In fact, the software says "she's" in Japan. Go figure. Take that as you wish.

Remember that If Tanobe-sensei didn't agree with the mei, he would not have made the Sayagaki. The mei varies, has distinct phases through the smith's career, and Tanobe wrote extensively on the smith in the past. In fact, he's singlehandedly push the the frontiers of knowledge on Ko-Osafune substantially. So you are good. That said, it's absolutely the good approach to analyze it for yourself. That's how one learns. You are dealing here with one of the unicorns of Nihonto. There is a grand total of 29 zaimei Mitsutada tachi. Out of these, 13 can be legally exported out of Japan. Out of the 13 that can be exported, half are going to be locked up permanently in museums or whale collectors that intend on creating museums. So that leaves about 7 Mitsutada Tachi. Out of these 7 that are not in quasi-permanent lock-up, probably 2 are closer to the early style of Nagamitsu and hence late work or even Daimei, and 2 other are likely in Ko-bizen den. They are all wonderful and important, across all style. That said, If you're looking for the archetype Osafune Mitsutada, you can count them on the fingers of your hand, at best. This one is close to the zaimei archetype, which is on the quiet side, with less of a Ko-Kyomono kitae. The mumei archetypes are the super flamboyant ones with Kawazuko choji and Ko-Kyomono jihada that is at the level of Awataguchi, plus prominent midare utsuri to top it all. It feels midway into his transition from Ko-Bizen to his prime style, with still some Ko-Bizen vibes and executed of ko-nie, with lots of gunome and activities such as Kinsuji and tobiyaki. Of course, it was more flamboyant out of the forge, and lost some width, the shape of its kissaki went on the chu-side of things, and overall it's fair to say that part of its shape, due to polishing and repairs, was diminished somewhat. Remember that it's 750 years old so, it's a miracle that it is the way it is, still. The jihada has taken a hit as a result and it's not representative of his skill, but it must have been lustrous back in its glory days. Is it the amongst the best? No. but is it a legitimate Mitsutada? yes. Is still a good sword and important sword, including as a historical reference? No doubt. It's also better in hand than in the photos. At 20M yen it's the lowest priced legitimate Mitsutada tachi. The gravitational pull of Ladder theory is exerting its influence on the price. Pass Juyo? Absolutely, one day, no question. Maybe this year, maybe in five years, maybe ten, but it will pass. I think there are worst Mitsutada at Juyo than this one. Now, there is an oscillation at the NBHTK between "all mastermiths go juyo automatically" and "let's have some differentiation and make TH meaningful for mastersmiths also" - it just ebbs and flows, and patience is certainly required. Good sayagaki don't have a 'causal' impact on Juyo. In fact, according to some, it irks the judges. There are people that deliberately submit without Sayagaki. Now, it could also be a superstition and the effect is neutral, or even positive. But it's not strong. Does it correlate highly with Juyo? Yes, for obvious reason. But then again Tanobe-sensei focuses on the best aspects of the sword in his Sayagaki, it's not easy to ascertain what a truly positive sayagaki is or isn't, there are clear cases sure, but there is also a grey-zone. That's just the way of things and It's normal. He must have been very happy to see this piece, as he's been assiduously collecting all known signatures in his studies. He wrote a long sayagaki, because its a topic that interest him deeply. Very rare, very precious.

Nothing unusual, the nakago has been completely re-shaped/filed down during the suriage/machi-okuri process. The line you see on the nakago is where the re-filing stops to preserve the mei, you’ll see this every now and then. Actually unusual is the migaki, or lack of migaki in the shinogi-ji… bizarre. https://eirakudo.shop/999434

Hi Bruce, It occurred to me that I could perhaps save a bit of time in future by knocking up a crib sheet for the alternative forms for numbers and I thought I may as well share. I got the information from Jisho, the on-line Japanese dictionary so it's as good as the information available there and may not be comprehensive: 1. - 壱 2. 弐 or 貮 or 貳 3. 参 or 弎 4. 肆 or 亖 5. 伍 6. 陸 7. 漆 or 柒 8. 捌 9. 玖 10. 拾 100. 陌 or 佰 1000. 阡 or 仟 10,000. 萬

Yes, I'm aware there was a themes hiccup, and some may have been set back to the default theme. If you used another theme, just select it again in your settings or below the forum. Was doing some maintenance, and had an issue. In the next few months, we will likely update to a brand new software version, which will be exciting and offer many new features, but there will be some changes (shudder, you guys don't handle change well) but there will be plenty of advantages. In the meantime, one thing that will definitely change is that you will need to login with your registration email address as username, not your current display name. But this is a while away, so you don't need to do anything now. But prepare by checking in your profile what email address you use, so that you are prepared. This is a standard thing where all forums are going, due to the fact that publicly displayed usernames make hacking much easier, as they are readily visible. By using emails (which are not visible to anyone) you add a layer of security. I'll be updating the news over the next few months, but no need to panic now. All remains the same.

No secret that with my health see-sawing the past few months, and also the amount of new members and off topic stuff going on...it is putting a lot of strain on myself and the maintenance of the forum. I haven't heard from @Jean in a while too. Has anyone heard from him over there in France? We need to check on him and see if all is ok. That said, it is definitely time to consider another moderator or 2. Preferably one in USA and one in UK/Europe area, maybe one in Australia timezone. Need to carefully consider who will be impartial, well liked but strict, and who will get on with most members. I have a few names in mind, but before I mention any, I would need to check if they are willing. Not a lot of work. Mainly editing the occasional post for mistakes, moving threads around, and deleting any spam etc. But that person would need to be online fairly regularly, preferably have been a member for a few years, and most of all, be willing to do it. I may even consider moderators just for certain sections. So here's your chance to maybe nominate or discuss any choices. Thanks all.

I’m flattered to be considered. I have always respected the way Brian runs things here, and if chosen I would do my best to moderate the way he does. I am sorry to hear about your health Brian, and I’ve always been impressed that you’ve been doing much of the moderating on your own for so long. Whoever you choose to help out, I trust in your judgement. -Sam

Gassaku work by Kasama Ikkansai Shigetsugu and Kato Masayoshi in March 1944. Masayoshi forged the blade and Shigetsugu tempered the blade, which is the hardest part of sword making. Kasama Ikkansai Shigetsugu was a leading swordsmith, so it must have been a great honor for Kato Masayoshi to have received this lesson from a smith outside his "own group". Itame and Masame Hada with Nie, wild Choji-Midare Hamon. Kantei-sho origami. Shirasaya and Type 98 Koshirae in hight quality.

Singnil is me, will show the papers once I receive the sword

Hello NMB, I wanted to show you my recently acquired Mumei Osuriage Nio katana with Tokubetsu Hozon papers. The blade to the second picture's left next to my Ko-Mihara Nanbokucho jidai katana. The blade features a 74CM nagasa, and a 2.8CM sori. It was attributed to Nio, and has (in my opinion) the characteristics of the Ko-Nio school. The seller told me it's Late Kamakura jidai, which I would agree with. The blade has a few imperfections on the Shinogi-ji, and features a Homare Kizu on the mune close to the kissaki. The beautiful hada is mostly why I purchased this sword, I have always wanted a sword that had its jigane flow through to the hamon. I have tried my best with the pictures here using Jean's advice. I have a question about one certain point of activity on the hamon, (encircled on the image). The seller told me this piece of hamon is Mt Fuji, it has a distinct shape that resembles the Mt Fuji-type hamon that I have seen in my books. Would you agree? The boshi was particularly hard to photograph. I would like to hear your insights on this blade. Any questions are welcome.

Wow! Well spotted Sam! I'll be looking much more carefully at blades registered in those two prefectures from now on. Plus, I was just looking more closely at the sword which is the subject of the OP and the totally clean nakago appeared unnatural to me - so I enlarged one of the photos. It's the first time I have ever seen a signature chiseled after the nakago-ana has been drilled (obvious from the burr on the side of the hole). 🤔

Just saw this...sorry to Brian...I know how he feels. About filling the needs of NMB, I agree, the proposed moderators and the dividing up of the sections and tasks seems the best solution. I my case, thank you for the confidence shown to me . I am here to help contribute to gendaito/gunto matters if needed but must say that I am afraid I am about past my 'use-by' date as a moderator . I am definitely no longer on top of any technological needs for being useful on this board, I think I am really just here for giving advice and assisting as I always have as a contributing member. Thanks guys, but I can't moderate.......I'm sure you will fill the gaps as necessary as there is plenty of talent among you all.

Here’s a picture of my set up at the SOS. It’s always a great show to see new things and catch up with friends. I look forward to this event every year not just for swords but for military collectibles of every genre. It’s amazing the “stuff” you see there! Tom

For sale Ko-wakizashi from Hasebe school Blade passed Juyo 50 Details of the blade from setsumei Measurements nagasa 31.4 cm, sori 0.6 cm, motohaba 2.9 cm, nakago-nagasa 9.0 cm, only very little nakago-sori Description Keijo: hira-zukuri, mitsu-mune, wide mihaba sunnobi, thin kasane, shallow sori Kitae: rather standing-out itame that is mixed with mokume and nagare-masame and that features plenty of ji-nie and chikei Hamon: nie-laden and wide notare with a wide and overall rather subdued nioiguchi that is mixed with gunome, ashi, yō, kinsuji, sunagashi, and along the fukura with tobiyaki, yubashiri, and muneyaki, making this area tend to hitatsura Bōshi: on the omote side notare with a ko-maru-kaeri and hakikake at the very tip and on the ura side midare-komi with a ko-maru-kaeri which runs back in a long fashion and connects with the muneyaki Nakago: ubu, shallow kurijiri, katte-sagari yasurime, two mekugi-ana, mumei Explanation Together with the Nobukuni (信国) School, the Hasebe (長谷部) School is regarded as the most representative lineage of Yamashiro smiths of the Nanbokuchō period. Outstanding masters from this school were Kunishige (国重) and Kuninobu (国信) who focused on a hitatsura, an interpretation that emerged at that time, but also worked like here in a midareba that bases on a notare that is mixed with gunome. This wakizashi is ubu and mumei and was handed down as work of the Hasebe School. Only the area along the fukura tends to hitatsura, but is still not a full hitatsura, the composition of the ha however with prominent notare, the jigane showing a tendency towards masame, and the very thin kasane do represent the characteristic features of the Hasebe School. Supplied with shirasaya Shipped from Slovakia Price: 24k EUR (includes shipping within continental EU) + PP fee

Hi everyone, I enjoyed watching this video as it's well researched and puts the Shin Gunto into a clear historical context. I thought others here might also like it. Dee Reclaiming the Sword - The Story of the Shin Gunto - YouTube

@george trotter 陸軍主計中尉 Army Paymaster/Accounting First Lieutenant 势(Ikioi)IJA Unit Designation=2nd Army(第2軍） 第八移動xxx（ 8th Mobile xxxUnit），it's possible 第8野戦憲兵隊 8th Field Military Police Unit.

鐔縁頭小柄 – Tsuba, Fuchi-Kashira, Kozuka 銘□　知昆 – Mei: Tomoyasu 素銅地　枝葉毛彫 – Suaka-ji, Leaves and branches, Kebori 鐔　長丸形　竪弐寸弐分　横壱寸九分 – Tsuba: Oval shape, Long axis 2-sun 2-bu, Short axis 1-sun 9-bu 縁　刃宗　壱寸弐分五厘 – Fuchi: Long axis 1-sun 2-bu 5-rin 頭　刃宗　壱寸壱分五厘 – Kashira: Long axis 1-sun 1-bu 5-rin 小柄　長サ　参寸弐分五厘 – Kozuka: Length 3-zun 2-bu 5-rin 右正作也 – These items are genuine. 昭和丗年七月七日 – Showa 30th year, 7th month, 7th day 草堂 – Sodo

The first character is a bit odd. Man'yōgana should be (波) for Ha, but it looks like it is either(柀) or (披), which do not read ha. But anyways, we have here a poem by Matsuo Bashō about early spring, with the last two elements, moon and plums (tsuki to ume) being a rebus as shown on the tsuba and not spelled out in the poem. 披る茂屋々 けしき登々乃ふ Haru mo yaya keshiki totonou tsuki to ume. "The scenery of spring is almost in place, with the moon and plums"

I don't think the kissaki was reshaped. I think its the original kanmuri-otoshi style. The origami doesn't mention any reshaping of the kissaki. In the section under the heading "nakago", it notes that the butt-end of the tang was cut off and is now "kuri-jiri" style. I don't think this sword would be designated Juyo if the kissaki were altered. It is still called "ubu" because the machi have not been significantly altered. I'd just note to Nathaniel not to expect consistency in sword or tosogu terminology, especially with these earlier papers. It's maddening, but one learns to live these oddities.

Hi Brian, genuinely honoured that you would even consider me for such a role having only been on here a short time. Trouble is I would not describe myself as being very moderate, I’d probably end up recommending myself to be banned. I would prefer to stick to participation and leave moderation to impartial level headed folk. Always happy to help in any informal way. Best. Colin…and of course good luck on the health front.

Dear members, as I regularly hold seminars on forging knives and tools, I thought it might possibly interest some of the esteemed members to try their hands on forging their own TSUBA from historic bloomery iron (ca. 300 years old, quite similar with TAMAHAGANE). I have prepared a leaflet (funny enough, it is called "flyer" in colloquial German ) with basic information which you will find in the attachment. I would appreciate any feedback, interest and suggestions. TSUBA forging workshop 2025.doc

Yesterday, the Japanese Consul General officially opened our display of samurai art here in Melbourne, at the Box Hill RSL. It was a special event, having it attended by a Japanese Government representative was great. The RSL really have done a fantastic job hosting our display.

Maybe you need to tell people you are a beginner and ask for gentleness before you pose your question.(?) e.g. “Genuine question here, but…” etc. For example your question above, after a sale has gone through, might seem to be a subtle criticism, throwing doubt at the seller as if you know more than them. When people are confused by your motivation in asking the question, they might chose a confused face.

I’ve “built” a set of sengu armour (that fits me 😁) from scratch and learned loads along the way. Photos at attached

Good post, Glen. Thanks for this. Yes, the Low-Crossbar smith was undoubtedly part of the early group of Yamakichibei smiths, well predating the Sakura Yamakichibei smith by as much as half a century. The daisaku/daimei phenomenon associated with the Low-Crossbar smith, though, clearly (to me) locates him later in the Momoyama Period to earliest-Edo period. These daisaku/daimei guards carry a definite Low-Crossbar mei, which differs sharply in many ways from that of Yamasaka Kichibei or of the Meijin-Shodai. This daisaiku/daimei phenomenon is culturally and temporally consistent with social evolutions in craft "factories" that emerged and grew after the dawn of the 17th century. The huge quantity and relatively low(er) quality of these Low-Crossbar-signed daisaku/daimei works is in keeping with the kind of production we would expect to see out of a higher-volume/output "factory" context. Since there are FAR more of these Low-Crossbar daisaku/daimei tsuba extant than all other Yamakichibei sword guards combined, we cannot logically locate their production time to the beginning of the Yamakichibei atelier. The actual Low-Crossbar master's workmanship is much superior to what we see in even the best daisaku/daimei tsuba, but the Low-Crossbar smith's guards are notably distinct from either the Meijin-Shodai's or Yamasaka Kichibei's. The difference between Low-Crossbar work and that of the Meijin-Shodai, in particular, is rather stark. Low-Crossbar work is often more overtly dramatic and bold, featuring plate work (tsuchime and finishing) that is significantly more pronounced than the Meijin-Shodai's, whose plates are usually relatively quiet and reserved (for a Yamakichibei work, that is). See images below. The large mokko tsuba is a Low-Crossbar piece; the other two (with the long-eared rabbits or dragonflies motif, and then with the suhama motif, respectively) feature plates whose expression is more subdued, but still resonant with strength, of course. As for the actual Shodai, this would undoubtedly be Yamasaka Kichibei. There can be no logical dissent here. It simply would not be done -- and would not even be conceivable, culturally, really -- for a later Yamakichibei smith to be audacious enough to ADD another character to the already-established Yamakichibei art name, when that art name had been decided by a different (would-be founding) smith. Moreover, the workmanship and design choices seen in Yamasaka works and then in works by the Meijin-Shodai show a clear and strong relationship between them, much more so than in any would-be relationship between Yamasaka and the Low-Crossbar master. The frequent use of kuruma-sukashi designs, additionally, locates them as contemporaneous with the Nobuiye smiths and with Kawaguchi Hoan, as all four of these smiths -- working in Kiyosu in Owari Province -- would have been in "design dialogue" with one another, as, in keeping with Japanese traditions, craftsmen in the same field often lived in the same neighborhood. Meanwhile, of the many Low-Crossbar pieces I've seen, there have been no kuruma-sukashi works, even by the daisaku/daimei workers. Evidently, that vogue had passed by the time of the Low-Crossbar smith. Even the Nidai Yamakichibei was scarcely making such kuruma-sukashi pieces: I have seen only one such piece by him in all the time I've been focused on this group. While none of the above may amount to "hard factual evidence," and may indeed be "only" a theory, I honestly do not see any other theory that does have merit. The Low-Crossbar-smith-as-Shodai theory does not have any merit, in my view. The evidence for it is so weak that it does not stand up to even the most casual scrutiny. This said, it is clear, as I stated to begin with (and echoing you, Glen), that the Low-Crossbar smith is indeed a part of the early Yamakichibei atelier, and that works by him are not "gimei" as the Shinsa results would have it. I am amused, actually, by the dynamic that explains why Low-Crossbar works may be papered (implicitly) as Shodai: the work is so good that it simply cannot be fake, yet the signature differs radically from that of the Meijin-Shodai. Rather than recognizing the obvious (the original understanding of the Yamakichibei group is wrong), they instead contrive the notion that the Meijin-Shodai changed his signature in all these different ways. Such "understandings" do a great disservice to tsuba scholarship. Low-Crossbar Yamakichibei. Mokkogata. Bird-and-kama motif. Meijin-Shodai Yamakichibei. Nagamarugata. Long-eared rabbit or dragonfly motif. Meijin-Shodai Yamakichibei. Mutsu Mokkogata. Suhama motif.

My all time favorite

The blade and hilt is from a Type 95 Military Sword while the scabbard is from a mass produced Type 100 Sword. Sometime in fiscal year 1943, Nagoya Arsenal started mass producing the Type 100. They were made in large numbers and production even exceeded that of the Type 95. The veteran removed the scabbard retaining assembly from the handle so that the scabbard would slide all the way to the crossguard. The Type 95 locking latch protrudes beyond the crossguard and would prevent the scabbard from closing all the way. This sword is the earliest known Type 95 from Nagoya Arsenal with an unfullered blade. 関202446 Fullered blade. 関203348 Unfullered blade. Thanks for sharing Dev and good luck with the sale.

Very nice find, Geraint, very good condition as well.. Here is my tsuka:

Ura side....

Gimei is gimei and that's that. "nihonto-museum" is no valuable reference at all. And yes: Guido is a real character, always was. Sadly enough he is not able to participate anymore. As for you , "Dee", I have my doubts who you really are. Playing the "Lady-bonus" here for somebody else ? reinhard

Hi Alex, Try Tobiguchi.

A simple "OH! Haven't seen that thread" would sufice. Nothing I like better than hoping to read about swords, then spend the rest of the morning reading people arguing.

The subject of this poem is the peony – a flower of great cultural significance in China. It flowers for a short time in late spring. Anyway, translating poetry is hard... Here's my clumsy attempt: As spring fades, the flower goddess falls silent in her palace The nobles of the capital hardly know her face anymore People have always envied her beauty Do not let her red sleeves lean on the railing

I am not Brian's Lackey I was here before he was I don't do his Dirty Work I have my own mind I'm not someone's boy. I was champion of beginners from the get-go when Brian took over he made me monitor, that didn't last long because I was going through personal PTSD crap that's beside the point I stopped helping beginners because I always got burned. Got that off my chest carry on.

Chris, WW2 shingunto Type 98 signed "Seki ju Kanesada" and probably early part of war. Kanesada” (兼貞), and given name 吉田 is read (and reported) as Yoshida Sadaichi (吉田貞市), but also as Koda and Furuta. Possibly it was read Furuta. He registered as a Seki swordsmith in Showa 14 (1939) October 27 at age 34. . He was born Meiji 37 (1904) July 5 and he died Showa 49 (1974) May 29 at age 69. He did not make swords post-war. He is listed as a Rikugun Jumei Tosho as Koda Kanesada. Are there any stamps on the blade? He made oil tempered Showato as well as traditional blades. Yours is signed katana-mei (cutting edge up) and looks to be Showato, but could be a custom order. Below are 2 examples from Japan sales sites (they read as Yoshida): Left: mei: "Yoshida Kanesada saku" (as tachi-mei = cutting edge down), dated : Showa 17 (1942) November. length 66.8 cm sori: 1.6 cm. Hamon is straight suguha. No stamp seen. [e-sword, Japan] Right: mei: "Noshu Seki ju Kanesada saku" (as katana-mei = cutting edge up). No date. Hamon more active notare-suguha. No stamp seen. Length: 69.2 cm sori: 1.4 cm [Meirin Sangyo Co Ltd]

Late to the conversation, sorry, busy day yesterday. Seems like a moderator for each forum would be ideal. But that's coming from my world where I only study 1 thing - military gunto. Tough topic to discuss openly, I'd hate to hurt anyone's feelings by not naming someone, but hey - we're all big boys (and girls!), right? I'm online everyday, quite often only once per day, but could do it if only the Military section. Life puts too many demands on me to consider more than that. Some names I would consider: Experienced guys I've never seen say a cross word: @george trotter @mecox @Grey Doffin @b.hennick @Bugyotsuji @uwe @Nobody @Kiipu @BANGBANGSAN (and I'm missing somebody that I can't remember their name!!!) Newer guys, but same deal: @John C @Scogg @Conway S Heck, more names are coming to mind, but this would be a good start. It would be an honor to help, yes.

Sam, you're one of my top picks. I'll be in touch in a day or 2 to work it out. Will be great to have you as one of the admin team. Sorry to put people on the spot, and I understand if people don't want the task, but I'd love to have @Bruce Pennington to help moderate the Military section, and @SteveM to help with the Translation section if they are willing. Maybe doing just one section would be less work and more acceptable for some, while some may be ok with multiple sections. @Matsunoki would be great in one or 2 sections if he's willing. Few others I'll mention soon.

忠綱 – Tadatsuna 昭和十八年十二月 – Showa 18th year (1943), 12th month

Should be working, deadline approaching, but just a small update. Not too long ago I had a chance to purchase a tanto in nice koshirae. A now-you-see-it-now-you-don't kind of auction setting. (I was saving to buy a second car, but when I boldly told her, the wife exploded, ...so I had a secret little down-payment stashed away.) Whenever this happens my friends usually laugh and warn me not to spend any further cash on it, such as a polish, and/or a tsunagi and shirasaya. Still, I like to add something positive to a blade if possible, but I usually end up letting the fish go on its merry way, taking a loss into the bargain. I always learn a little something, and with burnt fingers I take another long break. This time too I was reminded firmly that there is no point sending good money after bad. "And whatever you do, do NOT show it to your Sensei or the people at the local NBTHK meetings." Well, on Sunday I went to the monthly meeting and asked quietly about the possibility of getting a shirasaya made. To me it is a quiet, unpretentious blade, with little to see. This time, however, the reaction was quite strong. "Definitely spend money on this one!" my Sensei said. The Togishi had a look and he too was impressed. "A rare bade!" he commented. It's a mumei So-Shu Masahiro wakizashi (or sun-nobi tanto) of just over 30 cm. Second half of Namboku Cho. Tokubetsu hozon, NBTHK. They didn't even write 'den' before Masahiro. No photos as it's away at the Shirasaya-Shi. Just debating whether a gentle polish might bring up the hataraki, or more shingane. This time will it be a keeper? And the moral of the story is... well, wodja reckon?

Sorry Stephen, but I am going to chip in here, because I think it is important other voices are heard on this topic. I agree with @Hokke and @Natichu. The internet (and wider world) is a rather different place than it was 20 years ago - does it even matter if someone uses a different name, gender, or profile picture? Suppose for a brief moment that Dee is indeed Dee, what on earth does this make us all look like? This thread seems to have strayed from the normally friendly and educational environment I really like about this forum (Not to say that fraudulent selling isn't a big problem - it is, but such scrutiny shouldn't apply to people just being regular members of this forum IMHO)

Hi Grev, Your question is a good one, and a bit more complicated than it might appear. The short answer to your question is yes, Yamakichibei tsuba with a Low-Crossbar mei have indeed passed shinsa; in fact, one of the 11 or 12 Juyo Yamakichibei guards features a Low-Crossbar mei. I know of several others with this mei that are papered as well. Here's the catch, though: tsuba with this mei that have passed shinsa are papered as though they are Shodai work. The truth, however, is that they are not, as close analytical comparison of Low-Crossbar-signed guards with actual (Meijin-) Shodai guards will clearly show, both in the workmanship of the tsuba themselves, and in the rendering of the respective signatures. The rationale for papering Low-Crossbar Yamakichibei works as (Meijin-) Shodai works is explained as follows: "Changes in the way that the Shodai inscribed his signatures are recognized and accepted." This is nonsense, I'm afraid. As I say, the actual workmanship of the tsuba made by the Meijin-Shodai Yamakichibei differs significantly from that seen in the works produced by the Low-Crossbar smith. Beyond this, though, the Low-Crossbar signature is radically different from the Meijin-Shodai's. Every part of the signature, from the "Yama" ji to the "Kichi" ji to the "Bei" ji is not only dramatically different, but the differences are consistent in the works of the two. Moreover, there are no sword guards that I have seen (and I have been studying this subject for more than twenty years) that could remotely be identified or described as having a "hybrid mei" -- one that has elements in the mei drawn from a typical Meijin-Shodai tsuba and also elements drawn from a standard Low-Crossbar work. It is abundantly evident that the Shinsa teams are either genuinely erring in their papering of Low-Crossbar works as (Meijin-) Shodai works, or are motivated by some other factor. For a far more detailed analysis of this subject, see the article I did on the Yamakichibei group of tsubako, available in the Articles section here on NMB. Hope this helps, Grev.

Interesting, Marzio. Sgt. Jesse W. Scott. Born 1924, in Kentucky - enlisted in Ohio in 1943. Died 20 Dec 1996. The 873rd was an Airborne Engineer Aviation Battalion that fought most of the big campaigns in the pacific and were stationed in Japan until 1946. They were primarily responsible for repairing bomb-damaged airfields. Looks like Sgt. Scott picked up the sword 13 Dec 1945. pic 1 = their unit patch pic 2= part of the battalion, probably the Philippines (Could he be in there?) John C.

one of my favorites... shodai komiya shiro kunimitsu from august 1937 in shirasaya. Itame hada, suguha hamon with light waves with Nie and Imozuru