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Dear Hokke, The topic is a bit more nuanced that throwing a "yes +xx% price per marks" but much of this is due to the framing. There something better out there that captures the essence of your question in a period-accurate way and reframes it: A recorded kiritsuke mei inscribed on the nakago that allude to battle circumstances and defeating certain prized foes and nemesis. Once such blade, a Tokuju Osafune Motoshige, had the name of the son of a Daimyo it slayed inscribed on the tang along with who performed the deed during the Sengoku Jidai. The blade was retired subsequently and kept as a family treasure celebrating the deed. The inscription is ancient, and the act recorded in the archives of the family. Does this increase its value? Of course, in front of the right buyer. I would go as far as personally to consider chasing only this specific Motoshige if I wanted to make an exception for a mumei motoshige blade (there are enough signed ones - 56 to be precise - to target signed). In the NBHTK setsumei: In addition, this piece preserves a carved inscription (kiritsuke-mei) stating that on the 13th day of the 6th month of Eishō 18 (1521), Hayashi Motokatsu killed Kageharu, the youngest son of Asakura Sadakage of Echizen. However: Would I be interested in generic but verifiable "kill notches" without further context, per se? Not at all, to the contrary. There is little historical and provenance value in my eyes. For the same reason, Edo period cutting tests are also not my cup of tea. Why? Some introspection: perhaps because war is necessary, high-stakes, and epic in the human story arch, but death itself is a tragic byproduct. Remove the battle, the stakes, the heroes and the villains - and leave only death as a memory - well - it does not appeals to my personal sense of life aesthetics. The Motoshige with kiritsuke mei recounts the story of defeating a family nemesis. This fits in the arc of the human epic and adds an enchanting element. More generally, is provenance valuable? It can be everything - take the following provenance extreme case: A gimei Kotetsu blade belonging to one of the famous Shinsengumi with kirikomi with ironclad provenance documentation. This blade is likely to be extremely valuable and command in the mid-to-high six figure results at auction. The price is solely driven by the provenance in this case. Famous historical figures and Daimyo collections, romantic Bakumatsu ronin stories, all of these hold a special place of interest to many collectors and have market effects, and no wonders - these are genuine moments of history that create enchantment in the experience of collecting and studying history. Long live epic stories, Hoshi

Sorry Dale but I have to strongly disagree; donating to a museum, local or otherwise, is a terrible idea. If donated the tsuba might be put on display for a short time but then will be relegated to the basement where they will rot away. If the collection is important and the museum has a serious interest in and knowledge of Nihont, that's another story but common stuff and a common museum is a recipe for ruin. Tsuba and all other Nihonto art are best kept by collectors who appreciate and know how to preserve them. Grey

I did spot one cast copy and possibly two guards made for replica tachi mounts. The rest are looking OK and there are one or two I would like myself! Just a suggestion, but as we are really just temporary custodians of these things - any thought of donating them to a local museum? Along with the story of how they were found would add local value to them and keep them together. [Like I say just a suggestion]

I got a surprise, didn't think I'd manage to get this close while I was checking koshirae examples for you. This sword was featured in Tokyo National Museum Uchigatana-goshirae exhibition which I think is the best resource for uchigatana koshirae of this time period. This sword is actually recorded in records of Katakura family (片倉). It seems they became Date retainers in 1532. This particular sword was actually wielded by Katakura Shigetsuna in Osaka summer campaign in 1615. And in the book it is written that this koshirae dates not older than 1615 but the tsuba is actually older piece that was fitted to this sword. However it is mentioned that the koshirae might be made in later years of Shigetsunas life and not in 1615. It is also mentioned that kurikata and kaerizuno are different and probably show local style. One problem with very old complete koshirae is that usually the ones that have been preserved have been owned by high level people and might not be comparable what your average person would wield. Or they might be very plain battlefield koshirae which I personally like.

Reminds me of this Tametsugu that was put on sale last year. I agree I also prefer a historical context to the carnage and annihilation attached to a particular blade. Kiritsuke-mei At the summer battle at Osaka Castle in Sesshu province Mizawa Magozaemon no jo "Took a head in a fierce battle".

I would not have a problem owning such a hypothetical sword. I already own swords that, based on their age, could have been used to kill but lack the hypothetical bodycount markings to document that history. I also own WWII German and Japanese firearms that were brought back by American GIs that were very likely used to kill Americans. I respect that this would really bother some people, and they would not want to own or even be around such items. I differentiate between the tool and the person using the tool, so I do not view these items as inherently bad or evil. And my interest in them is based on history, artistry, and technology instead of any macabre interest. That said, I would be less inclined to own a sword (or other weapon) that derives its primary value or interest from the macabre. For example, I would not want to own a test cut sword solely because it is a test cut sword. It would first have to be a sword I would appreciate if it did not have saidan mei. The saidan mei is still valuable to me--albeit secondary value--because it provides additional historical interest. The same goes for kirikomi or Hokke's hypothetical bodycount markings--they provide value to me that is secondary to the craftsmanship of the sword.

Blades do not kill people. People kill people. The blade is just an inanimate tool albeit it of varying quality or value or age. To me personally such hypothetical marks would be irrelevant if unproved. Who owned the blade (if substantiated) is a whole different ballgame……imo who owned it is the provenance worth considering.

Golden rule that applies to all antiques/works of art etc…….of any variety…. No repair is far better than bodged repair🙂 I suspect I am “teaching granny”……🙂

I dont have much experience yet, but I agree with Jeff. Over the past year or so I have been searching for a nice piece from the Kamakura era that peaks my interest. Plenty of Items on my wishlist sold out quickly over the past few months, most of them between 7 - 10kEuros. Some were sitting on sites for years making me think I have time to consider carefully which one to get and suddenly a lot of them were gone. Made me impulse buy a cheap Tanto I really really liked.

According to Ford Hallam, the finer AMIDA YASURI was not chiseled, but scraped with a sharp tool. Another YAMAKICHI BEI: A following YAKITE KUSARASHI treatment is very likely.

Hey Guys, Thanks for the expertise, was not too expensive and still looks nice. So will find it a nice place as decoration here. Regards, Kin

Some interesting ones. That cloisonné one would do well on an auction, international bidders seem to like them.

As a casual observer, with no stats to back me up, it seems good blades at 9k and up are moving. The middle level stuff is sitting and the low end seems to be scooped up.

Many interesting pieces here and none, as far I can see, is rubbish (which is a notable in a collection)...

Interesting story. We had a birthday party at our home this Saturday, and a family member was in my workshop and noticed a sword of mine. As we were talking about it he said he had a collection of tsubas and was wondering what he had and what to do with them. His parents, years ago like in the 50s or 60s bought a home. I know, get's your heart pumping as you know where this is going. They were cleaning out the basement and found a group of swords along with the tsubas. His brother has the swords, and he got the tsubas. He sent me pictures this morning. I'm looking for guidance to pass along to him. You can feel free to message me. I think he wants to sell them because he's had them for a long time and has never known how to approach doing anything with them. Is there anything that jumps out at you as "this could be worth something?" As a group if someone wanted to put a ballpark price on them that would be helpful. Fun story, and looks like some interesting ones for sure. Thanks for your help. And if there's anything in particular you'd like to see better images of let me know and I'll see what I can do. Thanks.

From the local internet auction. Dated by August 10, 1914 if I read the date right.

The problem with those adhesives is they are most effective bonding two flat surfaces. They hold well when pulling those surfaces apart but they are far less effective when it comes to shearing force.

Unfortunately true even in Japan. Many of the museums mean well, but they simply don't have the budget to hire an expert to take care of each of their various categories of exhibits, especially when said exhibits may spend the better part of the year sitting in a basement or warehouse instead of bringing in visitors and funds.

I would think nothing to worry about as one could support the menuki from crushing by putting in a post, or 'blob' of something like casting in a lump of 5-minute araldite or some such, or sticking in a small piece of protruding metal that would take care of the location/movement problem. It would be a rare case where you could silver solder a replacement pin. Just an idea 'on the run' before having lunch and trying to please my missus (not misses) by getting away from the computer and doing some work outside. BaZZa.

I think the stamped mark is dai, for size large. John C.

小林 - Kobayashi (family name)

Does not look like KAMAKURA (or HEIAN, for that matter) at all to me. It is either a blade for a SHIKOMIZUE (仕込み杖), or (very likely) a MAGURO HOCHO (= long Tuna knife).

Here is Shodai Hoan tsuba with a yakite-kusarashi (or kusarakashi -- the term is often shortened in usage) finish. The recognizable motif of a kiri-mon may be seen in the lower-left quadrant, and others appear elsewhere on the plate. I believe the effects are achieved via the process I described in my earlier post. Florian, as far as I know, the creation of amida-yasurime was often accomplished by painstakingly careful application of the chisel onto the plate, at least in the tsuba I'm familiar seeing this presentation in (e.g. some of the Owari province artists and groups, such as Yamakichibei, Toda, Fukui). Attached is a Nidai Yamakichibei tsuba where the amida-yasurime was first chiseled into the plate, and then (perhaps?) there was some application of acid afterwards to soften the effect. This is how it appears to me, anyway.

Gotō Mitsumasa (kaō)

A lot of explanation. But it is STILL what I said it is, and is oil quenched. Not a Nihonto, and common in the militaria market. Nakago makes it soooo obvious. You may not like the truth here, but it remains the truth. https://www.ima-usa.com/products/original-japanese-wwii-era-tanto-dagger-in-shirasaya-resting-scabbard-traditional-handmade-blade?variant=40457944268869 And they are wrong here too...it is clearly oil quenched. https://therionarms.com/sold/com195.html

A few more crumbs... AI now tells me that Seki-shi "Ko" (the neighborhood where this building was located) is part of what is today known as Hon-machi (本町) and Sennen-chō (千年町) near Heiwa-dōri (平和通). So I guess the building was quite close to where the Seki Swordsmith's Museum is located. https://www.google.com/maps/place/Seki+Swordsmith+Museum/@35.4824856,136.9151115,18z/data=!4m15!1m8!3m7!1s0x60030417b19c0539:0xa08c0b4e66285ed1!2sHeiwadori,+Seki,+Gifu+501-3874,+Japan!3b1!8m2!3d35.4830386!4d136.9134498!16s%2Fg%2F1pxyw_khs!3m5!1s0x6003043dea7ba5df:0xb88094cdce501761!8m2!3d35.4818101!4d136.9164444!16s%2Fg%2F121gzx98?entry=ttu&g_ep=EgoyMDI2MDUwNi4wIKXMDSoASAFQAw%3D%3D Maybe the old building was torn down to make space for this museum??

At Aoi we had announcement that prices goes up. Every blade is different. But no wonder that prices goes up as yen is in deep hole and it only started. Dollar isn’t in great spot itself… Yen to dollar chart:

Kin, this would have been a topic for the TOSOGU section. In my opinion. it is a tourist souvenir. I hope you did not pay much.

The 12th Orlando Japanese Arts, Collectibles & Sword Show (June 26–28, 2026) continues to grow and improve every year, and this year is shaping up to be the biggest and strongest yet. This year’s featured exhibition is “Masterpieces of the Yamato Tradition,” with a special educational display curated by Ray Singer and Joe Forcine highlighting important examples from one of the most influential traditions in Nihonto history. The dealer room is shaping up to be the strongest yet: 41 table holders spread across 60+ tables Dealers and exhibitors traveling from 12 states Seven first-time exhibitors, which means fresh inventory and new material that attendees likely haven’t seen before That combination of established dealers and new faces should make for an especially strong buying, selling, and networking weekend. In addition to swords, there will be: Tsuba roundtables Sword etiquette presentations Toyama-ryu demonstrations Hōzōin-ryū sōjutsu demonstrations Bonsai and ikebana exhibitions And plenty of opportunities to talk swords with fellow collectors from around the country One of the things that makes Orlando particularly easy is logistics: the venue is just minutes from Orlando International Airport, with hotel shuttle service available. Event Details: June 26–28, 2026 DoubleTree by Hilton Orlando Airport Orlando, Florida The hotel room block closes in 11 days, so if you’re thinking about attending, now is the time to lock things in. More details here: Orlando Sword Show If you’ve never attended, this is an excellent year to start. If you’ve been before, expect a bigger room, fresh material, and one of the best educational displays the show has hosted. Hope to see many of you there.

↑ It’s photographed very beautifully! The text in the first image reads: “MAINICHIKEN” (毎日軒) （Address: ）Osaka Sennichimae大阪千日前, just west of Nankai-dōri南海通西入. (This would be south of Osaka Castle, around the present-day Namba Station area.) when I hear the word ‘ken’ (軒) today, I tend to think of a restaurant, but at that time it may actually have been the name of a photography studio. The third image reads: 大正3年8月15日 August 15, Taishō 3 (1914) 歩兵 第８総隊 Infantry 8th Regiment Headquarters 陸軍中尉 服装 Imperial Japanese Army First Lieutenant’s Uniform （NAME）瀧澤繁信 Takizawa Shigenobu I think August 15 would have been a holiday period back then as well (the Obon season). I wonder whether the photography studio was open…？

https://nihonto.com/nakai-koshirae/

Tomorrow will be too soon but at least it is acknowledged Your shipment from IT0371 Mg Srl Czerny is on the way. Scheduled delivery date Wednesday, 13/05/2026 Must be a nightmare for the auction house Just wondering who to stab with my dangerous tsuba!!!!!!!!!

I used to believe in donating items to museums when convinced its one of a kind, unique artefact whose loss would severely affect our understanding of the subject. Anything below this level frankly should not be even considered. And even this being said - my experience is to postpone donation until the very last moment. Because there is always a chance somebody will start building a collection dedicated specifically to such subject and you already donated the crown jewel of it to a place which simply keeps it in storage.

Yep. Many a university museum has trays and drawers of tsuba sitting in the shadows. I won't say which Ivy League university, but one of them has quite the sea of tsuba tucked away in a basement.

I really like Hoshi's comment really takes this topic to a new level. Personally, I apply a sort of "Threefold Rule". I don't think long term I would be comfortable knowing the exact circumstances of a blades violent past, which could be heroics on the battlefield or killing civilians for the hell of it. Same goes for cutting test. I can appreciate the context but not something I want in the house.

Very interesting question and a lot has been said already! Another point we should not forget is the availability of such hypothetical inscriptions/marks. If everyone from Ashigaru to high ranking Samurai marked their blades, there would be an abundance of such and therefore no real reason to charge a premium. The only exception for this would probably be if the blade was wielded by someone important. That is a hard decision. If the blade is appealing to me outside of those marks, I would not be bothered by them I think. However seeking out blades for their marks would not be my first choice. You never know what kind of action your blade has seen in its life, with any Nihonto. Especially those shortened to due damage (and not Edo regulations) are prime candidates to have seen combat. Historically, such marks would be interesting, especially if they can be linked to certain events/battles, like the one Hoshi posted. It would help to trace the journey of a blade better, which is very interesting to me personally. So it would be a nice bonus, but not a requirement for me.

Absolutely excellent Hoshi, thank you for taking the time to post it.

An easy repair by a jeweller with low heat. Silver solder or similar. But I wouldn't bother, nothing to be gained from that.

That idea goes easy on the old ticker, Barry, and it makes sense! Thank you. (Just having a curry made by the missiz. This one’s a hit.)

People are always looking for provenance, anything that addss a bit of real history to an object If such marks were used then its my guess they would increase value as there are many people willing to believe whether provable or not. You see some swords with inscriptions that are either dubious or impossible to authenticate with owners that believe are genuine. From time to time see this scenario and think of them as “head in the sand” owners, just a thought that arises. Oh, and there are definitely people that will collect swords just because they have been used to cut through people, rather than the main interest being the sword itself. Thats the reality of people.

No way to ‘prove’ the kills. Another form of gimei?… or inflated prestige/valuation?

Recently I showed a menuki with a missing central post (tubular) to a couple of people, asking whether it could/should be replaced. The answer was no, as the use of heat would affect the gilding zogan on the front. No alternative solution was suggested. This answer was not really very satisfactory. Apart from aesthetics, is it really a problem to have a missing central post in one of a pair of menuki, or am I unduly worried? Asking for a friend from Ilkla Moor baht 'at.

I see a signed John Yumoto. Someone should be interested I am sure.

What a great story. Thanks for sharing. Folks here can certainly provide a lot of information if you can provide clear enough photos (front and back of each piece). They don't have to be huge in size, but clear enough to see the details and any signatures. This one here is somewhat similar to one hanging on the yellow board. I'm 99% sure that one has a signature. Another dragon one I saw is a typical cast piece, probably with the same maker's name. Regards Damon

Hey Bobby, not sure if its a typo on the flyer you posted or if Hilton hasn't updated their page, but according to the Hilton page, special rate bookings can be made through May 27th.

Very much looking forward to it. Will be my first Orlando show. It’s the Yamato masterpieces that really made me want to make the trip this year. Hope to see some of ya’ll there. -Sam

I love mushrooms, and the menuki are on hold for you. Thanks!

What did the mice say when they discovered there was no rice in the house? "Rats!"

This is what I think some of them could look like. https://forums.gunboards.com/showthread.php?168681-Is-this-a-Japanese-sword