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Few may remember my collection of tsuba with blossom petals in stream and wind. The newest member.

Hello Michael, There is a possibility that the sword and the wooden scabbard don't go together. I think it is unlikely because that wooden scabbard is one that wouldn't go to the battlefield. I don't know why or how it came in this condition into your family, but its not super important at this stage. (There are military scabbards that are specifically made for the wartime blades. This forum is filled with pictures of them if you look in any of the military blade sections. The handle (what remains of it) is actually a military-style handle. Again, why the blade has a military handle but a wooden scabbard is a mystery for another day. Right now its best to focus on the blade itself.) The butt end of the sword (the "tang", or in Japanese its called the "nakago") shows that it has been shortened at some point in its life by being cut-off. This means the sword was originally longer than it is now, maybe by a few inches. When it was shortened, the handle no longer matched up where the peg-hole in the tang was. Actually, it was shortened so much that the original peg-hole is now where the sword ends. So the owner had to have a new peg-hole opened up in the tang. Then, it looks like it was shortened again, so once again the owner had to place a new peg-hole in the tang, and had the 2nd peg-hole filled up with maybe a silver alloy. These are telltale signs of a traditionally-made, antique "samurai" sword. Multiple peg-holes are almost never seen in armory swords. (You might find a military sword that has been shortened once, but twice with one of the peg holes filled in would be almost unthinkable). Also, the tip of the sword has an elegant-looking longish pointed tip (called the "kissaki" in Japanese). This longish tip is almost never seen in armory swords. It is, however, one of the hallmarks of Shizu Kaneuji. So these clues tell us the sword is older, and traditionally made. The sword is in bad shape, but hopefully not in such bad shape that it can't be restored. Your job now is to make sure it doesn't get into worse shape while you decide what to do with it. You mentioned you already oiled it - hopefully with a lightweight oil like sewing machine oil or something similar. Any time the sword is handled, it should be wiped down again, using a soft cloth like the kind used for cleaning glasses or camera lenses - and then oiled again. Just a fine sheen of oil is all you need. You don't want so much oil that it will collect and pool up or drip anywhere. Then put the sword away out of sight, out of big swings in temperature or humidity. Leave the furnishings on display if you like, but I would put the sword away from curious eyes and hands. Then, you have a decision to make about restoration. I would forget about the guy that your grandma sought advice from, unless he's a Japanese sword expert. There are a few traditionally trained Japanese sword restorers in the US. Their names are available in a few posts on this site. Beware of any bubba who claims he can polish Japanese swords. You wouldn't take a Rolex to any dude with a set of screwdrivers and some power tools. You'd take it to a dealer or a repairman who knows Rolex watches. Its the same with swords. Unfortunately, youtube is full of guys who claim they can restore antique blades, and they end up ruining the blades. I mean completely ruining them - so that the blades have no value any more. The goal is not to make the blade shiny and sharp. The goal is to bring out the near-microscopic particles in the hardened edge. You can't do this with power tools, and you can't do it unless you know what you are looking for. The sword polisher should also know instantly what a "Shizu Kaneuji" sword should look like. I think the 3 or 4 guys in the US who are well-trained polishers will know this. Sword polishing is not cheap. Upwards of $3000 for this sword, I think. And, you will want a new wooden scabbard made for the sword, because that 100+ year old wooden scabbard is probably full of rust and mold and other funky stuff. Keep the 100+ year old scabbard because the writing on it is precious, but the sword will need a new, clean scabbard for storage. If you are ever in doubt, please ping us on this board, or get in touch privately with one of the dealers on this board, and we can give you advise. We are all primarily concerned with preserving these precious historical items. If you are interested, here is a thread from someone who, like you, had an antique sword that was a bit of a mystery. Your sword could be the same kind of story. Of course, your sword could also be something less than a masterpiece, or it could be cracked or flawed, and this would make it considerably less precious. Anyway have a read through this in your spare time. r

Katana , signed Mutsu no kami Fujiwara Tsunashige 70.5 cm Shinto Kanbun circa 1670 Student of Tsunahiro , Kotetsu was said to also have been a student of Tsunahiro NBTHK Tokubetsu Hozon. NTHK Hozon Tameshigiri or cutting test sword Recorded on the Nakago Shibazaki Denzaemon Masatsugu cut with this sword on the 28th day of the second month of Kanbun 10 (1671) year of the dog, through two bodies, the upper one across the collar bones and the lower at the lower abdomen ( the pelvis ) and entered the earthen mound below. Kao or personal seal of the tester This is a difficult cut for two bodies since most were alternated through the stomach. To go through the sternum and spine of the first body and pelvis of the second body is amazing ! The pelvis ( Riogaruma ) is the most difficult cut.

Thanks for the feedback everyone! I appreciate learning what others see, both the good and bad. In the end I went with it because it's something that fills some example gaps I wanted in my collection and I strangely wanted to get behind Naomune. When the sword was made it was still 65 years before Japan got electricity, still attempting to be closed off from Western Civilization and during the last generational breaths of the "old" ways before the outside world irrevocably changed Japan forever. I like that its an example of those just pre-Boshin War era's Samurai swordsmiths (thanks for sharing on that Thomas) , especially one that got into the publishing/writing end, living while the samurai roles were also slowly irrevocably changing. I have always had a strong interest in societies/culture, politics, governments, academics/intellects and my degree is in International Relations with minor in History (which speaks to what pulls at me) so I'm not shocked aspects of a maker like Naomune bleeds into my purchasing decisions. As to the blade itself, I definitely bought what I like. Then again I like a lot of things =|:^) I can love a tachi with naginata-hi and 32" nagasa in shirasaya with mystery writer sayagaki. I will keep the polish as-is and I can already tell you if you bring that blade out to non-nihonto fans it will give an impression. So I have a gateway piece to share with people that will catch an eye more easily like art does. Still with aaalllll that said, the logical side of me really hopes I'm not too far underwater on it =|;^)

Hi Adam, It looks like the blade, although still quite young, has already had quite a material demanding polish (or polishes). Since the monouchi area usually takes the brunt of the damage with use, the noticeable tapering there and the relatively narrow tip could be the result of a repair. It would not be surprising, because especially in the Bakumatsu blades were used again with pleasure, and such huge swords were enormously popular just in the time. The shape of the blade makes sense given the length. The Shinogi-ji sloping through the Naginata form from the Shinogi to the Mune saves material and weight. Personally, I would advise against asking Tsuruta-san for a different finish. The blade wouldn't get any better because I'm afraid he does it himself, whereas the current appearance of the Kissaki polish already looks a lot like him. Besides, with the blade length, it would add up to a pretty penny. Especially in the Shinshinto, samurai swordsmiths were nothing unusual. It was quite in keeping with the spirit of the times, partly out of necessity, partly as a hobby. Tsuruta-san already mentioned Mito-Rekko, the sword-forging daimyo. But also his aite like Katsumura Norikatsu, Masakatsu, Nagakatsu etc. had samurai status. Norikatsu studied with Hosokawa Masayoshi and was apparently even adopted by him. The Hosokawa school was known for its swordsmiths with samurai status. Kawaii Hisayuki also studied at the Hosokawa school. Hisayuki is probably the most famous samurai ( he was Hatamoto of the Tokugawa) who forged first in his spare time, and then in retirement. According to some sources, he was also a master and teacher of yari and naginata. Unlike many of his samurai colleagues, he seemed to have no financial worries and could choose his clients. Thus he forged a nearly 3.7 meter long nodachi for the Atsuta shrine in Nagoya, which was certainly not cheap. There are many other examples from the late Edo. In any case, enjoy your new blade!

That is something that could only be decided by an in-hand assessment; but also whether or not it should be polished is a togishi's call, not someone on an internet forum who is only looking at pictures. You're telling him to not pursue it on suppositions and what if's. His reasons are his alone. It might just be a study piece, or he might be thinking of restoring it. The best answer we should give him is to let someone whose career is polishing to decide.

He’s been on his Patreon site for a few years since his heart attack, and he was out and about enough to get Covid. I’m pretty sure he can still type. We all know he reads the NMB and is aware of this discussion so he must be keeping a low profile for a reason.

Nice piece.

When needlessly staring into the dark abyss of buyer's remorse, remember the wise words of Nakahara-san: "To begin with, when purchasing a sword, it should be judged on its own merits, not on the kantei-sho it holds . . . However, if both dealers and enthusiasts come to really understand swords and their actual quality, I believe the current deplorable kantei-sho-selling economy will eventually cease to exist. When this happens it will be a satisfactory state of affairs, and collectors and dealers will no longer need to use certificates. The next time you buy a sword with kantei-sho, remember this story. A man was buying a sword from a dealer. The dealer said, 'As this sword has kantei-show, I cannot reduce the price at all.' So the customer joked, 'Actually, I don't need the kantei-sho, only the sword. So just take off the price of the kantei-sho and I'll be on my way.' The sword dealer was not amused." I personally think your decision making is spot-on! When I manage to scrounge together enough for a fine quality blade (prob. around Stardate 47457.1) my first consideration will be the quality of the blade, second the history the blade saw from forging to now, third the story of the smith, and a far, far, distant fourth consideration will be the resale value.

Wakayama uses Hirotoshi for his first name. I'll take a deeper look - Wakayama's opinion sometimes differs from others. "Kanri" fits in with his teacher's "Konkan" (both use on'yomi). Best to backpedal from my earlier confidence and say for now that both are valid, pending further study. The last does indeed resemble fu (風).

Steve, having looked for Hirotoshi in my Japanese Kinko book, I was surprised to see him listed under Kanri and not Hirotoshi, which supports Bruno above where he says both readings were used. Interestingly, regarding the 'kao', consider the expression Nara-fu 奈良風 as in the style/tradition of Nara. I just wonder if the 'kao' may be some artistic rendering of 風... in homage to?

signed Katana mei.

Hello George, For everyone's sake, in the future, could you please downsize your photo templates before you post. Your current file size is unnecessarily large and take forever to open. I'm guessing (?) that I'm not the only one that has problems with opening huge photo files on this forum. Mark

I agree with that completely! You realize that people like to talk without thinking. Foot in mouth,

There are many cases where it is impractical, or perhaps insulting to ask a Togishi about restoring a sword. None of us are Togishi, but many of us have had experience with the process and can offer advice that came at a high price. It is just as arrogant to discount this experience, especially as not all Togishi out there are saints. In this case Yanchen is simply being fairly pragmatic and realistic. We would all be happy to see this come out as a beautifully polished sword with papers to one of the higher rated Uda Kunimune smiths.

I didn't tell him to do or not to do something. And the market price of a polishing service not decided by a certain togishi but decided by supply and demand in the market. He needs information from different sources to make decision, not be led by the nose by a certain togishi. Don't build information barrier.

The average polish cost for wakizashi is over $1000 now, it is difficult to find a togishi who would like to accept a lower price. And maybe there are more damage under the rust.

I remember I was in for just the signed book, and for me it was just written off as a support for the artist few years after the supposed delivery date. However I know there are some people that made very generous contributions towards the project. I know Ford is an amazing craftsman and researcher but unfortunately his business skills are quite lacking.

I have a dream to add one Naginata to my collection for a long time In the end, I succeeded and I think it's quite a nice piece So I share just for the pleasure of the eyes of nihonto fans Hizen Shodai Masahiro Mei: Hizen no Kuni Kawachi Daijō Fujiwara Masahiro Kanbun yonen nigatsu kichijitsu (February 1664) Nagasa: 40.8 cm

Studying this lovely tsuba with an eye to acquiring it. It is of shakudo and depicts butterflies, peony and plum blossoms. Notice the vertical (up and down) lines of nanako. The mimi appears to be part of the plate. Worn gold highlighting can be seen. The tsuba, I'm told, came from Dean Hartley's collection, so maybe the seller will remember it if on this group. My interest is judged by it being early work of the Momoyama period. I would appreciate having your thoughts on the tsuba. Whatever, it is worth taking a look at just to enjoy the tsuba. Ron STL

I'm surprised that no one has commented on the splendid nioi-guchi, Adam. That was the first thing that jumped out at me, & it almost always indicates a superioir blade. You did good.

I'm guessing Smith Sunshu Ju Kanesada, Edo period. Sunshu Ju Kanesada was working at Suruga province. The blade looks Koto feeling but I think that it is an Edo Naginata. The shape looks like a combination of shobu zukuri and unokubi zukuri. //Robert

I wonder why the hamachi and munemachi were moved up? For a longer tsuba? If so, that could have been a complicated and expensive move on the part of the previous owner.

I'm at the level of: I-know-how-to-read-words-in-books-about-pointy-things-from-half-way-around-the-world. At least it's gotten me on the hamster wheel.

Piers, once again you open new doors to me. Indeed this kanji 風 ( Kaze) either means "wind" or " in the style of" ://nihongoichiban.com/2011/05/25/jlpt-kanji-風/ Therefore it could mean "in the style of iwamoto Kanri/Hirotoshi". A copy of the Master style from one of his student for instance....

The third one may be based on a guard by Yasuchika - a close design from the Marquis de Tressan collection [circa 1913].

I'm not even on an amateur level of kantei, but only thing I got is Mino influenced

It is always important to buy what you like, collectors on the outside of your specific interest will invariably look more at the practical aspects of the blade (cost/polish/market value). You could arrange to have a Sashikomi done while it's in Japan?

There is something I need to point out: 1. What I said about rust and possible flaws is statement of objective fact. Another fact is, even the most experienced togishi can't tell if a rusted nihonto can be repaired because rust may hide damage (sometimes can be fatal damage) on the blade. I've seen a lot of swords being abandoned due to serious damage found in the repair process. Therefore, it is necessary for him to fully understand the situation before making a decision. 2.Togishi may mislead customers for their own benefit（actually there was a togishi who tried to steal my sword...）. It's always good to be able to hear different people's opinions, at least the people on the forum are not "Interested Person."

I am not recommending any particular togishi. Also, a person has to be extremely full of themself to think they know better than a properly trained togishi (they have to spend often a decade or more before being acknowledged as fully trained). In the end, the final word on if a blade is able to be restored/worth it is by togishi (note that the plural and singular form of that noun is togishi). I never once said he had to take the word of a SINGLE togishi as final judgement. In this case, I believe you're the one building an information barrier by insinuating the blade is not worth it to have restored (via saying there is too much rust, possible flaws [which can only be seen in hand on this particular blade], and citing cost as an issue). I agree that he does need information from different sources, but he should take anything anyone says regarding the possibility of restoration on an online forum with a grain of salt. In hand is ALWAYS better, and togishi judgement is the final word because they are the ones who do the work. If you think a togishi is leading someone by the nose, you either have a personal problem with that particular togishi, or you haven't given thought to seeking another togishi. I don't claim to be a togishi; I only acknowledge their mastery in this subject. George, this is your blade, and I agree with you that it is worth it to get it in the hands of a togishi for assessment and a possible window. Maybe bring it to the Chicago or San Fransisco shows if you can make it? I don't know if any/how many togishi from the states/abroad may attend, but you could at least hear other formative opinions from other collectors!

Throwing in with 3 month’s experience in all of this — Sadamune, Nanbokucho, Sagami province.

ive always thought petals blowing in the wind on that one.

Shi-sho

Not recent as from you getting it...but yes recent. Someone started to drill it and change ther mind it's pretty obvious. And no nothing fell out inlays not that deep.

Probably a spot where a bit of metallic or enamel inlay was and has since fallen out. Or could be recent and done by someone who had no idea what they were doing (trying to make a necklace and discovering the metal is harder than they thought or something like that).

That’s a fun theme to collect Stephen. They look great interesting that the sukashi pattern is at the top of the nakago-ana on the 4th one.

Thank you so much for the help. I really appreciate you taking the time.

It's definitely supposed to be Iwamoto Hirotoshi + kaō. So the question becomes; is it shōshin or gimei.

Here are 4 examples that have passed Jūyō.

A few more photos for you, alas my photo skills do not do these fittings the justice they deserve.

Stephen knows every one of those censorships comes with love.

I like those fittings a LOT. Fishing nets hanging in the wind. Very effective portrait with just a few strokes. Are they signed?

Like others, I hesitate to comment on this, because of the sensitive nature. I truly believe that Ford is adamant about finishing that book. However, reality is forcing him to review his priorities. For me, I'd rather have Ford and no book than a book and no Ford. This is just my 5p, I respect everyone's point of view in this.

Harry Watson never finished that 8th volume of the Nihonto Koza translations. People would come at him for a long time about that.

Iwamoto Hirotoshi used a Kao sometimes, but have you considered that this might be Gimei? (Just throwing out ideas here…) https://www.google.co.jp/search?q=岩本寛利&client=safari&hl=ja-jp&prmd=mivn&source=lnms&tbm=isch&sa=X&ved=2ahUKEwiJzIbZuev2AhVZ4GEKHSjEAm4Q_AUoAnoECAIQAg&biw=414&bih=715&dpr=2

HI Ron. Lovely earlier example. It is as you say, a Momoyama ko-kinko and close cousin to some of the Ko-Mino examples. The butterflies are more distinct than usual, and what makes this an interesting piece to me. Attached is one I purchased in 2014, papered TH and sold about 5 years later. The more I see, the more the early tsuba interesting examples like this are rare. In one of the Ko-Mino books there is a nice diagram page that breaks down the evolution of the rendering of the flowers. From that, you can hone in on a more specific date. I believe it is the 1990s Gifu Museum Catalog-Book on Ko-Mino. At present, I cannot find my copy.

https://www.kickstarter.com/projects/525883510/Japanese-metalwork-technique-by-ford-hallam/comments

I believe he had a heart attack so all work was stopped - not sure he's recovered enough to begin again. But you will get a response if you ask... -t

All the info is on the website Franco - https://nthkamerica.com/team-1

All those years knowing DB, and I never knew he was a fellow D&D geek. Hey DM, another roll of the 20 sided dice? I was always afraid he'd die on one of those dirt bikes. I always wanted one myself, but that ended one day when uncle's bike had a sudden mechanical issue and flung me head first over a hill into a full grown corn field. By the time I met DB, he'd already had two or three concussions from dirt bikes accidents. Montreal cops just loved him.