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Good mounts can be an indicator of a decent blade, but never a guarantee.

NO NO NO! Sorry Pown, these are always cast! 99% also have lost the face of the man - it was "glued" on and not truly inlaid. There are two sizes as well [The horses head is positioned slightly differently]. The difference in detail is because the moulds wear out - some were reworked but minimally Very rare "intact" version Don't feel too bad the Victoria & Albert Museum [V&A] also has one in its collection - so I guess you could say you have a "Museum Quality Tsuba" https://collections.vam.ac.uk/item/O466167/tsuba/ or in reality even the biggest museums have little idea of the authenticity of their pieces. Is it too late to send the thing back and ask for a refund?

@Jussi Ekholm That walking around part, I did that once and got lost, lol. Walked too far... That was before the smartphone era. A retired local taxi driver "rescued" me and when he asked me what I was doing and I explained I am a sword nerd, he drove me around to show me all the historic sword making sites. He had to quickly stop by his house to tell his wife he will be late for dinner that day, haha. Fond memories.

I'm happy to announce that my Yagyu utsushi tsuba ranked Nyusen 4th in this year's NBTHK contest. Despite being ranked lower than last year it's still a positive result.

Greetings, Mr. Pennington! I saw this post when it was first out, but I couldn't find anything about this 一簷子保隣, only the Kinko 保隣 like the others had pointed out, so I didn't reply. 一簷之下，可以保隣 or similar variants I tried show no hit on the Chinese internet or on the https://ctext.org/ (Chinese Text Project, a digital and searchable pre-modern Chinese texts project), so it's perhaps just AI hallucinating again.

Thank you very much Dale for your information. Best regards Pown.

Here is my second tsuba. Couple of days ago three tsuba popped up on a local internet auction. And again, one of them caught my eye mostly immediately. Its simple elegance stole my heart, and something that looked like mei caught my mind. So I bought it. It arrived very quickly and indeed it had mei. Due to that double cut-out it was quite simple to narrow style and mei to Tetsunin/Tetsujin. Actually, this very board has several topics on the Tetsujin tsuba: www.militaria.co.za/nmb/topic/12900-tsuba-mei/ www.militaria.co.za/nmb/topic/26575-tetsunin/ www.militaria.co.za/nmb/topic/26665-tsuba-etc/ www.militaria.co.za/nmb/topic/48180-what-does-artificial-patina-look-like/

Owari? doubt it

Reminds me somewhat of uma-no-ha midare.

I'm not sure the presence of a mon would suggest anything about the blade itself. The reasoning behind my thinking, is that you often find mon on those Kyu Gunto parade/dress sabers, that have dull edge and artificial hamon. Best, -Sam

Ohmura's website is a godsend; it's fabulous. Sometimes my computer decides to translate it a little funny, but otherwise it's an invaluable resource. Off of the web, my favorite publication about Military Swords of Japan is the following: Dawson, Jim. Swords of Imperial Japan, 1868–1945. Cyclopedia ed. Newnan, Ga.: Stenger-Scott Publishing, 2007. And for those who want to go even deeper, our very own Kiipu put this incredible bibliography together. Proved an invaluable resource while writing my Type 95 monograph:

Ohmura's site is the Premium spot for that: Military Swords of Imperial Japan I also own an RJT gendaito in the steel saya. These tend to be a darker, mid-level brown as opposed to the lighter tan. A 1945 Kunitoshi I did a survey of RS fittings, and of the 75 with RJT star blades, there were 15 in the mid-brown metal saya. The rest were custom.

G Bryant, your sword is signed 虎徹 (Kotetsu). It would be more helpful if you could take better, clearer photos. Swordsmith information (create an account to access). https://nihontoclub.com/view/smiths/meisearch?type=All&mei_op=contains&mei=虎徹 Examples. https://www.google.com/search?sca_esv=6de80325d8c97b9b&rlz=1C1ONGR_enUS1136US1136&sxsrf=APpeQnsD-W631RT89SOJ9p08pR9QSnwb2g:1782318299769&udm=2&fbs=ABfTbFVyMZGZf1hfvX9uKjN_-G8c4u0nXx4bEIpwm1lnNH832VTJOOCxW_fyN-Q_ezyf8gI6tmCs2mGkqzilSWVScXUu-36F1xwJ6s2wRb7OWrvmXKhJLrQZNmI9gm2AYQW4Uizn2b8TkT7RybSEBZdtaCwnr8ep1FfDZpTyTkz03KmpKMoTvXnkTHHyQHvNfMh4ViFw0QP3ntipu8Gg32MSfCIb3zcfbg&q=長曽祢興里入道虎徹&sa=X&ved=2ahUKEwiXmomJpaCVAxXEliYFHZAJNNQQtKgLegQIFxAB&biw=1536&bih=791&dpr=1.25 https://www.google.com/search?q="okisato+nyudō+kotetsu"&rlz=1C1ONGR_enUS1136US1136&oq="okisato+nyudō+kotetsu"&gs_lcrp=EgZjaHJvbWUyBggAEEUYOTIJCAEQIRgKGKABMgcIAhAhGKsCMgcIAxAhGKsCMgcIBBAhGKsCMgcIBRAhGI8CMgcIBhAhGI8C0gEHODI3ajBqN6gCALACAA&sourceid=chrome&ie=UTF-8 A togishi in Australia. https://touken-togishi.com/ WWII Army koshirae. https://web.archive.org/web/20250228085100/https://ohmura-study.net/900.html

Because you can imagine a line evenly extending across the top of the choji due to the consistent height of the choji, I see this as suguha-based rather than midare-based. So I'd probably call it chu-suguha-choji.

“Almost always” being the key words. I believe Hamfish sold a star-stamped Kaneshige on NMB a few years ago in Type 3 koshirae with a steel saya. Sometimes, the Type 3 lacquered saya and tsuka ito can be found on late war showato, such as the example below: But I do agree the Type 3 is the model where the fittings most closely correspond to blade quality.

Interestingly, I only have two other blades by him, with Showa stamp, and he used different dating 'language' on each one! Standard Imperial

The Rinji seishiki (Type 3, etc) is the only model that has a clear distinction in blades between the standard, light tan saya vs the custom saya with double release buttons. You almost always find a gendaito in the custom Rinji fittings.

Very nice, congratulations! My Yagyū Seigōryū battō training sword has a Yagyū Utsushi made by @Manuel Coden back in 2020.

Hi Chen, from looking at the additional photo, I would say Ko-Shoami group or early Edo Period Shoami School. The rim shape in particular does not look like the workmanship of the Owari group to me. The surface looks very damaged likely by sandpaper or something similar (hard and abrasive) was used to remove a lot of active rust from the surface as noted by @Bugyotsuji.

Indeed, sometimes it's the mounts themselves that are what the collector was interested in, and they selected a junk blade to hold it all together rather than shell out for a custom tsunagi.

Dear Tony, It's a hybrid signature, with mei in kaku and nengo in sosho. The change from one style to the other wasn't immediate; there was a transition period in which the mei continued to be kaku with the addition of the kanji Tsuda (Family name) and the nengo in sosho. I can't read the nengo, but the reference period for the hybrid mei should be from 1668 to 1674, if I remember correctly. Compared to the blade, when the hamon is suguha, Sukehiro always tends to have variations in height, it's never completely uniform, as you can see in the oshigata posted by Uwe. All the best Giordy

This sounds like a healthy dose of “sour grapes”….and it is misplaced. That sounds a bit “show off” to me. Erm….. There has always been and will always be wealthy people who love Art in its diverse forms. Many of the worlds great collections….swords….netsuke….whatever have been assembled by these patrons of the Arts who have ensured that these masterworks are recognised, recorded, protected and conserved for future generations. The netsuke market is not governed by snobbishness, it is governed by the usual rules of supply and demand. In my experience, the buyers of high end Japanese Art are truly passionate about the subject and are prepared to go to whatever it takes to acquire a treasure. The fact that pieces do sell for big money is just evidence that there is a strong demand pitched against a limited supply.

I still have a few favorite Netsuke which I simply cannot part with. One is the Rat Catcher. These were quite often for lack of a better term IDIOTS, often hunch back. The one I have in Ivory is quite humorous in that he forgot to completely fasten his loin cloth and consequently his testicles are hanging out. Another is Ebisu, the Japanese God of fishermen. He too is in Ivory with so much detail that even his feet leave the correct anatomical footprints when pushed into plasticine. The carver was so talented he even undercut the eyelids. People used to ask me, How do you tell a Netsuke is of good quality and I used to say if he looks ready to get up and walk from the palm of your hand he is most certainly genuine. If a Netsuke of a Crane appears to be ready to spring from the water and fly away, ... it is genuine. One other point I should like to make is that on older genuine netsuke one of the cord holes is often much larger in order to conceal the cord knot. On a genuine netsuke are no sharp edges to catch on the silk kimono.

March 1944

Hi Chen, it looks as if someone has used a wire brush there to remove rust.

Ron, good to see you commenting here, and you touch on some excellent points. I have a few of those Chinese toggles too, interesting in their own right. I have never been able to compete with those millionaire collectors, but by biding my time I have managed nevertheless to find many intriguing, perhaps exceptions to mainline 'Western collector' rules, i.e. 'genuine' (made and used for purpose within the generally accepted time frame) netsuke. Also I have some examples of those 'sticks' that you mention, plus earthen fishing weights and holed stones, fangs and bones that also must have seen early or rudimentary use.

I should have added that I have owned a couple of Chinese Toggles over the years. I found them very utilitarian with little for me at least to call ART. There is an excellent book on the subject for those interested : SUBSTANCE AND SYMBOL IN CHINESE TOGGLES by Schuyler Cammann published by The Trustees of the University of Pennsylvania, Library of Congress Catalog Number 62-7202

I believe Tadatsuna (upside down) showa 19 (1944). Please wait for confirmation, however. Could be the first listing on the attached. John C.

I have owned many Netsuke over the years, mostly in Ivory but now with the ban on Ivory of any kind and due to the fact I am getting too old to collect anything but my old age pension, I have bowed out. I hesitate to add that the Ban on Ivory came about because of people in China like Mr. Zhangshilong who carve what can only be called pseudo netsuke. The Chinese have been carving TOGGLES since at least 1280 AD long before the appearance in Japan of Netsuke. The Japanese needed some way to fasten their Tobacco Pouches to their body and since the Kimono has no pockets, the only logical choice was to fasten it to the Kimono Belt ( Obi ) by passing a cord from the tobacco pouch with some object fastened to the cord to have enough mass and weight to hold the tobacco pouch securely in place. The first Netsuke were no doubt small sticks, which later were carved to give the stick some artistic merit which was pleasing to the eye. This object we call a netsuke derived as a direct consequence of the introduction of tobacco into Japanese Society. Later Scholars fastened their ink and brushes to the Obi and the Ink container became the Netsuke and the Writing Brush became the tobacco pouch so to speak. The reason collectors shy away from buying Netsuke is that the Chinese began flooding the market due to there being many fine Carvers of wood and IVORY in China and wages in China lagged behind the rest of the World. When the wealthy SNOBBISH American and equally snobbish Europeans found a new trinket to add to their collecting ADDICTION and when one sees that Sotheby's or Christies Auction Houses but to name only a couple often sell Netsuke that fetch bids in the thousands of dollars and I've seen a couple of Netsuke sell for over $ 100,000.00. This is a one up man ship that only multi millionaires can indulge in. Don't tell me this is for the love of ART, ... this is pure showoff ! I collect ONLY Edo Period Netsuke and only from Internationally respected dealers. It matters little that my preference is IVORY, as there are equally fine carvings in Wood and other materials. I simply enjoy the medium ( material ). There are many very talented modern carvers, but they do not fit the criteria of having been used for the purpose they were designed for and I therefore correctly call them pseudo netsuke.

Sword was purchased directly from the vets family. Army air corps. Stationed in Japan from 45-46'. Not sure exactly how it was acquired but was definitely never carried or used. Perhaps being slapped together to sell to GIs like the PX swords? But its definitely not a newly put together.

I might have found the answer. A "old fashioned" kanji for 10 was 拾, right?

Perhaps, I have struggled to identify this smith. He does not appear in my Sesko swordsmith books, or on any of my Fuller/gregory/slough oshigata publications. The TOSHI is signed different than the one above, on the nakago, TOSHI is signed like this: 利

Some more pictures

Hello everyone, I am very tempted by a sword that has come up for auction at Aoi: https://www.aoijapan.com/katana-mumeiunsignedtakada-schoolnbthk-hozon-token/ It is quite large and the sugata is a 10/10 for me. It also shows some nice activity in the hada. However it seems to have some quite large kitae-ware... especially in the carved part of the shinogi-ji. As I am still a bit new to this hobby, I have difficulties to estimate the impact these flaws have on 'desireability' and if this would bother me in the future. I would love to hear your opinion on flaws like these and if they would be a no-go or can be easily overlooked. also would a blade like this be considered 'tsukare'? thank you, Max

If tsuba were still in boxes You get these for box price.

Pete: I realize this is just nickpicking, however it may help in your research. I know nothing of saddles, however it could either be Edo period if it were for samurai or Meiji if were not. The Meiji restoration disbanded the samurai class in 1868. So the saddle could be made in the Meiji period, however it would not technically be made for a samurai. If it is indeed legitimate (made for a samurai), then it would probably date from the Edo period. John C.

I have encountered nice mounts with machined blades like zoheito

iv found and seen many yasukuni-to in run of the mill type 98 mounts. a kanenaga in plain gunto mounts etc

one more picture,I’m perplexed by the faint fine horizontal striations on the surface.

Thank you for the wonderful historical info package Bobby. There was so much going on in the area during Muromachi period. I think it is possible that I could very well mixing up ruler patronage shifts from one lineage to another etc. There was so much going on in the area historically. It was great riding with Piers as he explained the geographical shifts in the area while we drove past certain areas. Would be awesome some day spend a long time just walking around the various historical areas of Bizen swordsmithing.

Hi! This looks like 濃州関住藤原兼廣作 昭和十二二年二月日 Noshu Seki-Jyu Fujiwara Kanehiro Saku Showa 14 a day in February. This is one of those cases where it's 十二二 ("ten two two") instead of the regular 十四/fourteen because 四/Shi sounds like 死/death/Shi.

Jussi, while I don't know the story about Katsumitsu fleeing the village, what is clear is that by 1560, the situation in Osafune had changed considerably. The glory days of the Katsumitsu line were already in the past. The atelier appears to have been much smaller than it had been during the time of Ukyo no Suke Katsumitsu and Sakyo no Shin Munemitsu, and it was operating alongside a number of related Osafune branches, particularly the descendants of Jirobei Harumitsu, the second son of Jirozaemon no Jō Katsumitsu. The Harumitsu branch seems to have specialized in higher-quality and often more individual commissions, producing many tantō and the occasional longer uchigatana. Also, by the Eiroku era, the economics of sword production had shifted dramatically. Demand generated by the Sengoku wars encouraged the large-scale manufacture of kazuuchimono, and the principal beneficiaries of that market were the Kiyomitsu and Sukesada groups. These two houses grew into the dominant producers in Osafune, overshadowing many of the older family lines in both size and output. At the same time, Bizen's political landscape was also changing. Since the death of Akamatsu Masanori, the province had been dominated by the Uragami clan, who were also big patrons of the Katsumitsu. But by the mid-sixteenth century the Uragami were weakened by internal divisions and increasingly dependent upon their powerful retainer, Ukita Naoie. During the 1560s, Naoie expanded his influence while maintaining a nominal loyalty to his lords, eventually emerging as the effective ruler of Bizen. Such political and economic upheavals almost certainly affected the fortunes of the Katsumitsu line, as they did many other Osafune families. Against that backdrop, the placement of Kiyomitsu's name before Katsumitsu's becomes easier to understand. Whether the order reflects seniority, prestige, commercial influence, or simply the circumstances of the commission cannot be known with certainty. However, by the Eiroku period the Kiyomitsu workshops were among the most prominent and productive in Osafune, while the Katsumitsu line no longer occupied the commanding position it had enjoyed a century earlier. On the issue of Katsumits fleeing the village, I have not seen and can't find anything to support this, but I guess it's possible. The documentary record for many late-Bizen smiths is fragmentary and not all of it is available online. What is striking,though, is that when the Yoshii River flood of 1590 devastated Osafune and effectively brought the great Bizen tradition to an end, the powerful Kiyomitsu line disappeared from history. Among the few branches that survived were members of the Sukesada line and descendants of the Harumitsu branch. In that sense, although the Katsumitsu family had long since lost its former prominence, its bloodline appears to have been among the last remnants of the classical Osafune tradition.

Russ: the link works for me; there are at least four version of the go players in a fruit in the BM collection, which one is your favorite? https://www.britishmuseum.org/collection/search?keyword=netsuke&keyword=go&view=grid&sort=object_name__asc&page=1 John C.: decent figural netsuke can be bought already for a few-hundred $/£/€ when one knows what he/she is doing, the problem is distinguishing them from the 99% of modern fakes.

I have to correct myself, I’ve never heard of this plant before. The Trillium plant indeed could be found in Japan (Trillium camschatcense), specifically on Hokkaido. So this seems to be the right track. Perhaps a northern clan?

Hello I have this tsuka When I removed the fuchi, I discovered a signature on the wood just below it. Can someone translate it for me? Thanks.

The more examples that are shown it would appear it was simply a nicer version, hence why often seen on better than average mounts.

Similar mon tsuba found in Grey’s site. https://japaneseswordbooksandtsuba.com/store/tsuba-kodogu/t157-iron-sukashi-tsuba-higo/

From my F/K Piers.....the likeness is very similar to your netsuke....

A true beauty. Sometimes if you refresh Eirakudo's page and switch languages a few times, a bug will happen where you can see the ask prices. I have had it happen a few times.