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Dear Rob, I can chime in. How should I understand this blade within late Muromachi / Sue-Bizen production? It is a blade of the late Osafune school, in its fourth phase of activity, the so-called "Sue-Bizen" phase that last until the flood of the river Yoshii. Bizen was the largest production center of swords, and produced both domestic and foreign exports to the mainland. If you want to really take a deep dive into the school to contextualize the work within the broader school period, check here: https://nihontowatch.com/lineages/osafune (note that it is a very early project, and will contains errors). I understand that many Sue-Bizen blades were made during a period of heavy demand, but this example is signed, dated, Tokubetsu Hozon, and appears to have been considered worthy of a Hon’ami Nisshu oshigata. Does this place it above ordinary wartime production, or is that still too broad an assumption? Because it is a finely crafted blade, in a period where quality varied dramatically based on the client demands. Contrary to an old belief, even in blades without the full artisan name spelled out, there are some high-quality pieces intended as top of the line products. Note that Hon'ami Nisshu was not a exceedingly good at kantei, some of his sayagaki call for enhanced scrutiny (i.e. are inflated or simply off), and one should have ideally the kiwame (appraisal) confirmed by Tanobe sensei. Why does the sayagaki use the fuller attribution “Gorōzaemon no Jō Kiyomitsu”, while the mei itself reads “Bizen Kuni jū Osafune Kiyomitsu saku kore”? The traits indicative of master Gorōzaemon's hand are apparent in the blade to the eyes of Hon'ami Nisshu, allowing for the narrowing of the attribution. Alternatively, In certain cases, it is a statement on the quality rather than a narrowing of the attribution range, a way to praise the sword above those bearing this signature type. You can learn about “Gorōzaemon no Jō Kiyomitsu” here: https://nihontowatch.com/artists/kiyomitsu-KIY173 Am I correct in thinking that the sayagaki is identifying the specific Kiyomitsu generation/title, rather than contradicting the mei? It is narrowing down to the author, there is no contradiction. Kiyomitsu is a lineage within Sue-Bizen, and many smiths operated under this name. Similar with the Sukesada line. I am also commissioning a new koshirae in Japan using selected antique fittings. The planned fittings include an Aizu Shōami iron tsuba, shakudō fuchi-kashira, antique menuki, black samegawa, dark brown silk tsuka-ito, black lacquer saya, and a custom satin silver habaki. I will attach some pictures below. As a general sanity check, does this seem like a coherent project for this type of blade? I am aiming for something understated, historically respectful, and not overly decorative. I think this is the right approach and you don't need the usual warning of avoiding the "koshirae americana" style. In my experience, it is useful to study books on Koshirae with historical photos, check Markus's Sesko website - there is, as I recall, a lovely illustrated book on Koshirae that he has translated. Do keep in mind that you are unlikely to recoup your investment, it is a labor of love and a to leave behind a testament of care to the sword for the next owner. Also, be aware that Tosogu are not 'modular' in their ability to fit blades, there is no standard rail measurements. Fuchi, Kashira, Tsuba, all need to be appropriately sized to the blade's proportion, and reworked in some cases. Avoiding excessive rework on precious tosogu is important, as it may lead to the proportions being off on top of it. For instance, Fuchi and Tsuba Seppa Dai need to be close in measurements, and the overall pieces need to be appropriate for the motohaba and kasane of the blade. Finally, I would appreciate a market perspective on the total cost. The whole project, including the blade, koshirae work, fittings, habaki, import and transport to Europe, will likely be around 1.750.000/2.000.000JPY all-in. I am not asking because I intend to sell it; I see it as a long-term collection piece. I simply want to understand whether this total cost seems reasonable for a complete, papered, signed and dated Kiyomitsu project in the current market. I think you may be underestimating the total cost or going for lower-level labor. It's also possible to achieve decent results this way, but keep in mind It is not easy work to get right, and you should make sure you have the right person to handle it in Japan. Koshirae outcomes widely differ in results. The best way to handle it is full art patron style: elect a promising craftsman who wants to compete in the fittings competition of NBHTK, give them artistic freedom. If the Koshirae is made for submission at the contest, it is the best way to communicate your intention of historical accuracy and high-quality work. Perhaps, best for the next sword. I hope this helps, good luck with your project, and we are looking forward to seeing the results. Hoshi

城州住国重 – Kunishige living in Joshu The first two kanji must be 城州 (Joshu). 城州 (Joshu) is another name of 山城國 (Yamashiro province). The first kanji on the tang may not look like 城, but it must be a variation of 城 character. Ref. 「城」（U+57CE） | 日本古典籍くずし字データセット

That's unfortunate, and just is everyone is clear, it isnt because @djcollection hasn't been online. He has visited almost daily since this transpired, which indicates a purposeful intent to ignore the buyer and his communication. As an additional testament to his lack of professionalism, he has just posted another item for sale. Anyone looking with interest should do so cautiously and with great scrutiny. Choose your purchases carefully friends, look for feedback and reviews, but dont rely on them solely. Ask for additional pictures if any angles are missing. Save all communications until such time as the deal is done and you are satisfied. Return policies are important always, but especially when shipping is far and costly. Gone are the days when you can trust people at their word. Business is business and conduct yourselves accordingly. No, shortcuts and no ambiguity.

To anyone who is still interested. I didn't get any reply, nothing. I guess ignoring people is a working strategy for @djcollection after the sale is done. Think twice before you start doing business with him.

Frank, I'm not a nihonto guy, but there are many blades with 1 fuller on one side and 2 on the other. It's a nice style, if you ask me. Also, the guys will no doubt want to know some measurements like:

In koryū we don’t use antique nihontō for regular training. A blade from the Sengoku or Edo period is a historical object, and even if it is still structurally sound, it carries fatigue, old polishing cycles, and sometimes hidden flaws that you simply cannot detect without risking the blade. For daily keiko we use modern steel blades (shinken or blunt steel), made specifically for training. They are consistent, predictable, and you can stress them without worrying about damaging something that survived 300–400 years. In Europe we are also fortunate to have access to good-quality 1060 / 1095 steel blades for practice. They are not nihontō, of course, but in terms of weight, balance and general geometry they can get surprisingly close to the feeling of a traditional sword, which makes them very practical for regular training. Antique blades are handled only for study: balance, geometry, sori, niku, and the feeling of how a real sword “lives” in the hand. That part is extremely valuable for understanding the old techniques. Personally, I would never use an antique blade for tameshigiri. Cutting puts real mechanical stress on the steel, and it’s not worth the risk. For kata, however, an antique blade can be used carefully, because the movements are controlled and non-impact. But even then, it’s more about understanding the feeling of the sword than about “training” with it. This is just my personal view as a beginner practitioner and someone who is deeply interested in the culture and history of nihontō. So yes , old blades are still “usable, ” in the sense that they can be drawn, felt, and studied, but not for repetitive cutting. Modern training swords for practice, antique nihontō for understanding. Thansk a lot and nice to meet you :-)

I would see it as 来倫国 Rai Tomokuni

This one deserved a hakogaky by Satō Kanzan sensei: 鬼鍾馗透鐔 ＊ oni Shōki sukashi tsuba 丸形 山銅地 ＊ maru-gata yamagane-ji 鋳金 銘 房吉作 ＊ chūkin mei Fusayoshi saku 昭和辛亥冬 ＊ Shōwa kanoto-i fuyu [1971, winter 寒山誌 ＊ Kanzan shirusu (kaō)

Very nice blade @RobDam 👏👏 I ve collected many Kiyomitsu and this one was tempting but I passed on bidding since I try to avoid blades with bo hi ( just personal taste ) While I love Hon'Ami Nisshu s caligraphy, he is known to be wrong often and this one was a bit surprising since Eiroku 5 ( 1562 ) is quite outside of his normal range. He produced most of his work in the Tenbun era. This falls right into Magoemon ( son/apprentice ) s time line who followed in Gorozaemon style. Regradless, it s a great sue bizen Kiyomitsu blade. One of my favorite era and smiths to collect I have currently have a Kiyomitsu waiting export in Japan. It is signed similar to yours but the NBTHK attributed it to Magoemon. Waiting to hear if Tanobe sensei can do a sayagaki.

Hi Hoshi, Thank you very much for taking the time to write such a detailed and helpful reply. This is exactly the kind of context I was hoping to understand. Your explanation of Sue-Bizen and the Kiyomitsu lineage helps a lot. I also take your point regarding Nisshu and the need not to treat every sayagaki as final authority. In this case, I see the NBTHK Tokubetsu Hozon paper as the main formal confirmation, and the oshigata/sayagaki as an additional historical/contextual element. I also appreciate your comments on the koshirae. My aim is definitely not to create anything flashy or “koshirae americana”, but rather something restrained and respectful to the blade. I understand that this will not be an NBTHK competition-level koshirae, the quote for the habaki+koshirae with AOI is 310k jpy. I see it more as a long-term labour of care around the sword. Regarding the cost, the blade itself was a significant investment, and the remaining amount is for the selected fittings, new koshirae work, custom habaki, import and transport. The work is being handled through AOI in Japan. I realise that a full art-patron approach with a top craftsman and competition-level ambition would be a different category altogether, perhaps something for a future project if I ever reach that level of collecting. Your point about tosogu not being modular is also very useful. In fact, one of the fuchi-kashira sets I originally selected was rejected by the workshop because it did not fit the project well, and they proposed another one from their own stock. That now makes much more sense to me. Thank you again. I will continue studying the Osafune/Sue-Bizen context and the Kiyomitsu lineage, and I look forward to sharing the completed koshirae when it is finished.

Sorry I didn't think that the picture would get compressed by the forum, here is a picture of the mei and added number 6.

I wonder what this could be, looks like 述 with a fancy 辶, or a ホ......with a fancy 辶 orz Edited: Forgot to mention that Katakana (like ホ) are sometimes used for inventory control purposes from the Edo period to pre-WWII.

Wakizashi tsuba with Wheel of Dharma and Vajra

This might be a bit off what everyone else is thinking but I think they could be added inventory numbering for the sword. I feel it could be 八三 - as in 83. As I personally love naginata, while it is very rare, some of the Muromachi naginata have "inventory numbers" carved on to them. Often these were made for bit more utilitarian weapons, and sometimes they were made quite crudely. Here is one example in naginata by Mino Kanenori where 六 - 6 has been added on to the nakago. (picture is not too good but unfortunately at the moment I don't have time to go through my books to take pictures of few different examples)

Here's a Kaneie style tsuba with an unusual religious theme. It appears to show a saint or bodhisattva, perhaps kannon, duking it out with a pair of oni. Is there a recognizable story here? For all kannon's popularity as a religious icon, it's rare to encounter her/him on fittings. Are there other examples out there?

I am sorry for the bad news, but this is not authentic nor Japanese. https://www.jssus.org/nkp/fake_japanese_swords.html

Hi @RobDam You are most welcome. Always love seeing fine Kiyomitsu blades come around. It is generally difficult to evaluate bo hi due to many variables. Yes they are somewhat time period / school /smith associated but there were always exceptions. And more importantly, they were often added later ( ato bi ). Meaning yours may have started without a bo hi but was added later. It s often hard to tell Your s ends in Maru-dome at the bottom which is a common feature of muromachi Bizen but it is also ryo chiri which could be considered an outlier. Again it is often difficult to evaluate bo hi so I wouldnt really worry about it.

The one Dale posted @Spartancrest is a very rare example. It looks like deliberate inlays of metal blobs to me. Here's a nice variant of the etched toadskin effect that is actually in the for sale section on NMB. I keep looking at it lol. I have a similar one in yamagane copper. It has the sort of splotchy fractal-esque pattern that you get when some solutions are subjected to conditions that cause them to clump and separate like that, using something called a "reaction-diffusion mechanism". Maybe misting on drops of something hydrophobic to cause the initial resist solution (maybe urushi lacquer?) to recede into clustered pools? That kind of process makes sense to me because it already exists in various "irregularly spotted" patterning effects seen in nature like in tabby cats and cheetahs. Varying the degree of the effect gets different patterning results, from something more stripe-like to something splotchy. I did my M.Sc. degree on pattern development in plants so it's something I am familiar with On a similar note, but different, misting water is also used in Western-style Raku firing of ceramics to get a linear fractal-like crackling effect. But, that's more because of rapid cooling and heat differential when the spray of cool water hits the red hot glaze, rather than hydrophobic/hydrophilic interactions. Hydrophobic/hydrophilic interactions will get irregular spotty blobs. I have also done this in person so have first hand experience with this too. Lots of fun.

WOW! Thank you everyone, this is a great help so far! I will take a bunch of pics and post them as soon as I can. It's hard to tell if it is chromed, I do not want to clean or alter it. Maybe with the pics someone else can tell. The double fullers on one side has me completely baffled; I have never seen a sword with fullers only on one side. I did remove the collar and the "chrome" underneath is pretty much intact; the "corrosion" starts exactly where the hilt was. Forgive my terminology :). Anyways, there is also the fact that it has two holes in the hilt for oyatsubu"?" but only one in the hilt itself. If someone was going to create a forgery, I would expect they would be consistent, such as fullers on both sides and only one oyatsubu hole. Is there anyone near New Hampshire USA that I could take it to to have a look at it? Again, thank you very much all, I wasn't expecting such an enthusiastic response and it says a lot about how cool the group is! Frank

From Sesko A-Z Japanese Swordsmiths:

The 1st gen was active around Tenbun era (天文, 1532-1555)

Thank you Jussi. That’s an interesting thought. Unfortunately I could not see them so well. I have some better shots of the hamon for analysis to go along with the full side shots for the sugata above. Maybe it will help. They’re not great definition as I cut them down to post but a good enough idea.

It is signed Taira Yukinaga.

I feel the 珎州 that Piers posted would seem most resembling the last picture, however I have never seen that before, so my guess might be on 筑州住国重 (Chikushū jū Kunishige). In my personal feeling there seems to be different feeling between the first 2 and lower 3 kanji. Your sword seems to have very unusual blade construction as one side seems to be flat (hira) and another side ridged (shinogi), at least that is what I am seeing from the pictures.

The inscription reads: 城州 住 國重 Which translates to: Joshu Ju Kunishige Which basically means: Kunishige made this in Joshu (or maybe in Chikuzen. Or perhaps in Chin-shu wherever that is). If my interpretation of the above is at all incorrect, I’m sure someone will correct me; and for Franks sake I encourage anyone to do so. You might think this would be enough for some detailed info, but unfortunately, nothing in Nihonto is that simple. There were many swordsmiths who signed “Kunishige” over the centuries, and unfortunately your blade does not appear to be dated (if it were dated, there would likely be an inscription on the other side of the tang). All hope is not lost though… Your sword looks interesting to me. We might be able to help narrow down a date range, but for that we’d need a lot of good photos. Primarily of the entire blade profile without fittings and the tip, both sides, and also both sides of the nakago up close. See my little photo guide below. All that said, even with perfect pictures, judging swords via photos is far from ideal. To get a really good idea of what you have, we always recommend getting it into the hands of a respected expert or togishi. -Sam

Only coz your bird’s feet reminded me of it, but here is a Kaga-zōgan kozuka with 5 egrets. Cousins? Congratulations on your tsuba!

I would like to post here some pictures related to shark skin. I hope that someone will find it helpfull.

Ciao Leonardo, welcome! I’m new here as well. Out of curiosity, from a koryū perspective, would you actually use antique nihontō for training, or only modern-made / dedicated practice blades? I would personally be very hesitant to mechanically stress a blade that is several hundred years old, even if it is still structurally sound. But I’m genuinely curious how this is viewed from the practitioner’s side: is an old blade still considered “usable” in a practical sense, or is the risk of fatigue, hidden flaws, or damage to the polish generally too high? I’d be very interested to hear your perspective, especially regarding balance, geometry and handling compared with modern training swords.

Thanks Jussi. The tanto got Hozon to Kawachi Daijo Masahiro

Thank you very much, that is extremely helpful! It is reassuring to hear this from someone who has collected several Kiyomitsu blades For me the main takeaway is that there is no contradiction with the mei, but rather a question of which Kiyomitsu within the lineage is most appropriate. I will treat the Hon’ami Nisshu note as valuable context, but not as final authority. About the bo-hi: I understand it is a matter of personal taste, but in my case I actually really like it. One feature I especially liked is that the hi appears to stop above the habaki rather than running down into the nakago. I have not seen many Kiyomitsu examples with this exact appearance, so it was one of the details that attracted me to the blade. Can you confirm it's not common? Very interesting that you currently have a similar Kiyomitsu in Japan attributed to Magōemon by NBTHK! I would be very interested to hear what Tanobe sensei says if you are able to get a sayagaki! Thank you again, this helps me understand the blade much better.

Hello everyone, my name is Leonardo. I practice an old koryu from the Edo period with roots in the Sengoku era, and I’m here to deepen my understanding of nihonto, especially blades from the Sengoku and Muromachi periods. I’m studying balance, geometry and historical context to better understand how these swords were actually used in daily training.Don’t worry, I’m not here to ask anyone to gift me a Muramasa… 😂, even if a blade like that would get more honest training with me than crying alone in a display case.

Thanks for the info!

I want to post some details of the fittings. Originally I wanted this fuchikashira: https://www.aoijapan.com/fuchikashira-bushu-ju-harima-taisei-kouchinnbthk-hozon-tosogu/ But the lab told me it was not fitting well and the lab proposed the one in the picture below "found in their treasure box" - however this one is not papered (the others are all papered) I would be interested to hear any thoughts on whether this seems like a good decision aesthetically and historically. This is a very special project for me. I spent around a year saving before being able to afford the blade, and now I am waiting more than six months for the koshirae to be completed. I still have not seen the blade in person, so I am trying to use this waiting time to study and understand the sword and fittings as much as possible. Thank you again for any comments or guidance.

Sorry! I misspoked. This practice can also be found in the late Muromachi, very close to the early Edo period, so Tenbun is possible. Also, here is a Yukinaga on the NTHK (not the NBTHK) magazine. I'm looking for more after dinner : ) .......and that's pretty much it, very few Taira Yukinaga found, plus this Oshigata, also from NTHK.

measures and description: Blade Length: 69.2 cm (27.24 in) Curvature: 1.7 cm (0.67 in) Mekugi Hole: 1 Width at Base (Motohaba): 3.14 cm (1.24 in) Width at Tip (Sakihaba): 2.00 cm (0.79 in) Thickness of Rim (Kasane): 0.74 cm (0.29 in) Sword Weight: 780 g Shape:This sword has a robust width, with a bo-hi (groove) carved on both sides.The kissaki (tip) is slightly extended, presenting a solid and well-balanced appearance. Jigane (Steel Surface):Well-forged ko-itame hada, showing a faint utsuri (shadow-like pattern). Hamon (Temper Pattern):Confirmed by Hon’ami Nisshu. The jigane is beautiful, and the hamon complements it elegantly. It begins with a straight temper line (suguha) transitioning into a mild notare, then a gentle gunome-midare with small ashi included—rich in variety. Something I really like is the bo-hi not going below/inside the habaki

I forgot the auction. Because I decided to buy another good sword. Also I didn't find same tang information and this was a big clue. Wow, fake.. very intersting. Thank you so much! Have a good day!!

By default I would consider this late Muromachi, but what it really needs much better and more numerous images.

The word for "Jew" in Armenian is HREA - the omote side of the guard has these letters - I am not sure this is relevant and would seem to be a bit of a stretch.

Here is a page of them from a Japanese publication. A friend has a brass one ,also with the Ebisu and Daikoku design, signed Yamoto ju Iyetsugu who Haynes lists as working C1700 . They all seem pretty crude . Does anyone know how you tell the real ones from what I presume are copies

Hey Bugyotsuji, sure, and thanks for the question. I'm a newbie so it's been quite a challenge so far and always looking for feedback Here a few pics from the lab in Japan working on the habaki, koshirae and fittings. I'm adding a picture of the sayagaki, seems like signed by Hon’ami Nisshu I decided to ask for a new habaki in silver satin the blade is authenticated also with a Tokubetsu Hozon Token here below the measures: Blade Length: 69.2 cm (27.24 in) Curvature: 1.7 cm (0.67 in) Mekugi Hole: 1 Width at Base (Motohaba): 3.14 cm (1.24 in) Width at Tip (Sakihaba): 2.00 cm (0.79 in) Thickness of Rim (Kasane): 0.74 cm (0.29 in) Sword Weight: 780 g Signature: Bizen Kuni jn Osafune Kiyomitsu saku kore

I don't think this is Nobu (信). The two angled strokes at the top of the character inscribed on this nakago are sort of floating in isolation to the rest of the strokes. The left angled stroke needs to have a vertical stroke centered directly underneath it. The right angled stroke needs to be more or less centered above the other horizontal strokes. And there would be a very boxy-looking set of strokes at the bottom of the character. None of these are present, so even giving a lot of latitude for artistic flourish, this character could not be 信. I don't think its 兼 (Kane) either, for similar reasons. Unfortunately, I can't offer a plausible candidate for what it might be. It doesn't look like anything other than some random strokes. I mean it kind of looks similar to 金 or 全 or even 年, rather than 信 or 兼, but none of those options look right either. So I'm at a bit of a loss. Random strokes by someone? An abandoned attempt at forgery?

Theme is Shoki fighting a demon. Mei is 山城國　吉久　Yamashiro-no-kuni, Yoshihisa

A Gama-hada tsuba from the A.H. Church collection [Ashmolean museum] Tsuba with gama-hada, or toad skin, surface (EAX.11186), Bequeathed by Sir Arthur H. Church, 1915.

Excerpts from a Gen AI research response (not verified or validated): "The mountain 双子山 (Futagoyama / Sōzan) is a real, named twin-peak feature on the slopes of Mt. Fuji itself, in Suruga province, on the Gotenba route at about 1,800–1,929 m elevation. It consists of two peaks (上塚 Kamizuka / Upper Mound at 1,929 m, and 下塚 Shimozuka / Lower Mound). It is also called 二ツ塚 (Futatsuzuka). This is exactly what 駿高双山 ("Suruga's High Twin Mountain") refers to — the twin peaks high on Mt. Fuji's eastern flank in Suruga province. The signature is saying: "Residing at the foot of the High Futagoyama in Suruga" — meaning the artist lived in the Gotenba / Subashiri region at the eastern foot of Mt. Fuji. This is a wonderfully specific and poetic location claim. The Gotenba / Subashiri area was in Suruga province and was part of the Odawara domain's territory at various points, and the foot of Mt. Fuji had a culture of mountain ascetics, literati, and craftsmen drawn by the sacred geography. The signature 駿高双山麓寓 — "residing at the foot of the high Futagoyama in Suruga" — points to the Gotenba / Subashiri area at the eastern foot of Mt. Fuji, on the Suruga side. The character 寓 (gū, "temporary lodging") implies the artist considered himself a sojourner there rather than a hereditary native — perhaps a ronin, retired samurai, or literati-craftsman who relocated to this scenic, semi-rural area. Name: 岩佐正 + kaō. With the kaō immediately following, the given name is a single character 正. The most likely readings are Iwasa Tadashi or Iwasa Masa(shi). Single-character art names with kaō were a common late-Edo / Bakumatsu literati affectation, modeled on Chinese-style scholar-artist signatures. The honest reality: This artist does not appear in the major standard references (Haynes, Wakayama, Sesko's Genealogies). The NBTHK Tokubetsu Hozon paper attests that this is a genuine and important work, but the artist is what specialists call a "rare master" or unrecorded smith — a skilled independent craftsman whose oeuvre is too small or too localized to have entered the major published indexes. The high quality of the work (Tokubetsu Hozon for an unrecorded maker is uncommon) suggests he was a serious artist, possibly: A samurai-amateur from the Odawara, Numazu, or another local domain, working in metal as a refined avocation A late student of one of the Nara-school descendants (Hamano, Yokoya, Yanagawa lineages) who left Edo to retire to the Mt. Fuji foothills A Bakumatsu literati craftsman who consciously cultivated obscurity as part of a wabi/recluse aesthetic — the elaborate poetic residence inscription is consistent with this" I'm not sure if this helps, or how accurate it is, but it sounds plausible and may provide some direction for additional research. Damon

I bought these just over ten years ago I was thinking about these menuki the other day and the comments made by Ford Hallam after seeing it in hand, stating the thin gold plating was a 'lost' process Anyone who knew Ford also knew he had a wicked sense of humour so what are the NMB members thoughts? Details but nothing confirmed School: Goto Circa 1700 Thin plate gold was used rather than gold leaf Gissha (Old oxcart for nobles) Shakudo and gold Size 32 x 14mm I'd welcome any comments

I agree the pieces by John B are etched. But I wonder how to get the smooth transition of the details in the first one. The dot like elements on the others remind me to aquatint, a special way of etching for artwork: Colophony powder is applied to the surface and heated until it starts to melt. After cooling it sticks to the surface and protects the surface in an etchant. In the result You have something like a dot matrix in which the motif is scratched in. Similar can be done with lacquer by dropping or spraying with a brush as Robert S mentioned.

1440$ [with premium] I tried. Let’s hope new owner will be happy.

Huh…This explained why 和平以靖国 has 0 hit on Japanese internet or library.

These guys bought replica and gave it to their dog for some bite marks. It must be made with fraud in mind, tassel is obviuously wrong. Now We have battle scarred war bring back

Watch out there tiger :] it’s a match. https://casiberia.com/product/yasukuni-captains-gunto/sh2444 https://www.samurai-katana-shop.nl/en/katana-samurai-sword/buying-sword-paul-chen/forged-katana-sword/yasukuni-captain-s-gunto @Scoggkick it to fakes @Bruce Pennington You asked for an opinion about boxed pair like week or 2 ago. And thanks for good opinion