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Hi, I am the proud owner of the Kanetomo , I had been after it for over 14 years , from its original owner who put it into Halls auction. It changed hands from Colin to our mutual friend Kevin. I did a deal with Kevin earlier this year and it is now polished . I’m very pleased to say it has turned out perfect not a blemish.

I just want to add that @GeorgeLuucas is approaching this in a very good manner - a learning exercise. Other people might disregard anything that doesn't fit their own conclusions, he's keeping an open mind. Social media, search engines, .... are geared nowadays to show you results or news along the lines of your interests. They will enforce your existing ideas and filter out anything with a critical note. People will eat it up as the comfortfood it is. It's something that most people aren't aware of.

A downvote on the message board is just a mark of disagreement based upon the conclusions stated in that specific post. It should not be viewed as any type of personal attack period. All personal attacks are not permitted here. Here is an article I have read years ago about cast-iron reproductions of tsuba made in Japan (cast iron (ksky.ne.jp)). Cast-iron reproduction tsuba with exceptionally large open work designs are weak and nonfunctional as indicated in the linked article. I really cannot be sure 100% @GeorgeLuucas until I examine your tsuba in hand to confirm, but based upon the photos provide it looks to be forged iron tsuba that does show some age-appropriate (for an antique from the Edo Period) surface damage caused by rust that has since been removed and the surface patina stabilized. I once had a cast-iron reproduction of a tsuba that was a convincing fake (it fooled me, the original owner, and the dealer who sold it to me) until you examined it very closely in hand and noticed the weight of (lack of weight) the tsuba you cannot be 100% sure of anything.

Some years ago I bought an iron mask at Olympia militaria. For a small horse or a large dog (?), I never did find out.

One tiny detail in the original images has me wondering? Is this an inclusion, a gouge mark or a sign of layering? One day in the future we might be able to "virtually" handle each tsuba and give a better conclusion. At the moment it is still informed guesswork for most of us. [still fun though! ]

Maybe a mere typo. 福本天秀 - Fukumoto Amahide

Information about Mizuno can be found via the link below. Has anyone come across this Stamp before??

These are all names of the people who signed the flag. Suzuki Hiroshi Noguchi Shizue Mizufune Isamu etc...

A bit daft - but effective. As I found out recently just dropping one accidentally on a tiled floor will give you results you don't want! To be fair Dan is not the first to espouse this method : - Museum Of Fine Arts Boston - Japanese Sword Guards by Okabe Kakuya I would love to see one of these Nagoya tsuba with a few dents. Does anyone know of any examples?

臼井定年 Usui Sadatoshi Kind of a mysterious smith. Made an appearance here on NMB a long time ago

A beautiful Akasaka tsuba for sale Video & more info here: https://tsubashi.com...tiful-akasaka-tsuba/ Iron, marugata, depicting three geese flying under the clouds in the moonlight. An elegant design reflecting the popularity of Akasaka-style tsuba throughout Japan in the Edo period. Two hitsu-ana The style of design is very similar to the second generation Akasaka master Tadamasa. Number “872” written inside nakago-ana indicates this tsuba have been part of a museum- or large collection. Asking price: $745 (or best offer) Mei/signature: Mumei School/province: Akasaka Period/age: Edo Measures: 7.55 cm x 7.15 cm x 0.40 cm

Soshu Masamune. This is gimei (a fake inscription). The paper is a torokusho, a sword license which does not authentic the mei. http://www.jssus.org...nese_sword_laws.html

That's not what I collected at all from the article posted above. There is one mei example which contains Bizen and is suspected to be a work of a student. Even the 2 vs 3 stroke "naga" kanji could have been a student emulating the work of Ichihara under the master's guidance. The most important part of the article is: "Therefore each blade must be judged on its own merits and not simply on its signature." Nothing else really matters until the quality of the blade is determined and if it reflects that of the master (Ichihara) or one of his students.

Thank you. The old ones get en-vogue for a while, but currently seem out of vogue. I thought it would sell fast at that price, but only not too serious tire-kickers. Things like Shingen tsuba, which you couldn't give away 5 years ago, currently seem to be very en-vogue.

Actually Colin, they had power happers back in the day, this was one of the reasons that certain workshops were situated where they were, fast flowing rivers to power hammers. An abundance of trees for charcoal and of course iron was also usually required if possible. Nes jernverk in Tvedestrand in Norway still have trip hammers that date back to the 1600's, and these are still used every year in demonstrations.

Ian Bottomley predicted years ago that collecting was ultimately doomed in the UK. With a Labour "woke to the max" government likely coming later in the year it's only going to accelerate the demise.

Thanks so much for the information Russ. I had given up on ever finding out what it was, and while reading this thread I suddenly remembered it and thought that you might be the very man to help! Quite topical with the Guards' horses bolting through London yesterday!

Awesome, thank you very much for that Piers, that is much appreciated. A chanfron (horses head) A modern made one though ! Miniature armour of all types is quite popular, as well as great fun to make. This is also how many people learn the various techniques needed to make armour. as it is much easier and cheaper in miniature. On full size chanfrons, or ones intended for use, the side panels are usually held by hinges, this makes it more secure, but also cuts down on noise, which helps to save the horse from getting scared. It takes quite a time to get a horse used to the noise of a man in armour, and even longer if the horse is wearing it too! Thank you again! On the subject of childrens armour, here is a childs armour that I have been making. Greenwich style, ca. 1590-1600. Here is a another view of it, in a much earlier state of completion, with a visiting school class. Note the teacher who is struggling to hold it! It weighs 9kgs (19.8lbs) and this is only a half armour down to the waist, as at this age , about 6yo, they were too young to have a horse, and thus didn't need legs for the armour. This is about the correct weight for an armour of this type and period. Just thought this might be of some interest.

The side plates are loosely held by simple rings. (Matchbox for size comparison) Reverse

Hang on then, I'll try and source a pic, Russ. (Probaby the latter, though...)

I don't suppose you have a picture of that on file do you Piers? Certainly in Europe, after the age of about eight, children of noble rank would have had a small horse, and that probably had armour too. It is thought that children as young as three would have had armour so that they could get used to the weight and the heat of it. At eight they would begin armoured horsemanship, and by about fourteen or fifteen, they were adults and took their place in the line of battle. Edward of Woodstock, the famous Black Prince 1330-1376, was only sixteen when he commanded a wing of the English army in the thick of it at the Battle of Crecy. So it was necessary for young nobles to get acquaited with arms and armour at an early age. So perhaps a small horses head (Chanfron) is possible. Dogs too had some armour, both for war and for hunting, though this is extremely rare. The other possibility is that during the 19th century there was a huge revival of all things medieval, and many extremely good items were made, and antiqued, to satisfy the market greedy for such historic artifacts. Many large collections were formed at this time and Pratt, Pigeon, Bacheraux and Schmidt were famous producers and suppliers of these items, many of which have fooled collectors and museums. Many of the items are beautifully made.

Auction houses should just buy a van and deliver it themselves They seem make enough money

I will just say this Colin. I don't collect high end swords because i cant afford them. If i did, and lets say i was posting something expensive or having one shipped here from abroad. I wouldn't be using Royal Mail, EMS, UPS or whatever. Would use a specialist shipper of the type mentioned above. When you think about it, it is crazy shipping expensive antiques in cardboard boxes with everyday couriers (especially without insurance), even for less expensive swords. My new philosophy, sell any bladed weapon that you don't cherish and wish to keep long term and avoid buying such items. Some of us not wealthy enough to own risks. However, for desirable swords of good quality , doubt the prices will drop.

No one can make a determination unless it is subjected to non-invasive metallurgical testing.(as I have stated before in several threads). Otherwise it is just a "best guess" by those that think they know!! This is the 21st century! There has got to be an inexpensive way to test these things! But does any seller really want to do that? Imagine the "dollar bills" that would be lost to sellers if a tsuba listed as "hand forged" turns out to be "cast"! My opinion, but it is all about the "dollar bill"! Just my opinion, my friends! With respect, Dan

I'm not sure I understand the extent of small rust spotting you are trying to see, but I have quite a few that once had localised rust areas. This is one of these examples.

It would be interesting to get a simple poll on this Tsuba to see where the forum really sits.... Is this Tsuba cast? Yes, No.... (no maybe) I honestly cannot be sure, but I think more points to it being traditionally made, versus cast. Iron sukashi is so "easily" reproduced, that is why I tend to focus on inlaid pieces. Having said that, some of the details supporting it as cast, are also found on Tsuba with heavy inlay... if a traditionally made Tsuba with inlay can share the signs we consider as "cast" traits, then why can't an iron sukashi Tsuba also have them without being considered a casting?

man that looks great!!

橙色 daidai-iro is a specifically Japanese colo(u)r originally named after a mikan-like citrus fruit. Slightly different from 'orange' in the western world, it has marked redness in it, and when the red quality increases it can be called 赤橙色 akadaidai-iro, or sekitoushoku, 'red daidai'. Many Satsuma saya are lacquered in versions of this colo(u)r. (To me it has shades of terra cotta and salmon pink in it.)

Hi Michael, you're right on the first one: 福本田秀 福本天秀= Fukumoto Amahide I'm not entirely certain about the second one and haven't been able to match it to any recorded smiths. My best guess: 臼田定年 = Usuda Sadatoshi? 臼井定年 = Usui Sadatoshi Third one: 兼宗 = Kanemune 昭和十七年 = Shōwa 17 (1942 CE) Edit: Silly mistakes on my part, thanks Steve and Koichi.

https://nihontoclub.com/smiths/NAG296 Looks to be this smith. Signed various mei, some including Bizen, some not. Ichihara Nagamitsu has a bunch of good information on the smith. This tidbit seems to be important when judging his mei: "Ichihara Ichiryushi Nagamitsu often carved mei using an unusual style of Kanji for the "naga" character. "Naga" is usually written with three horizontal strokes to the right of the top vertical stroke. On many Ichihara Nagamitsu blades the "naga" Kanji is written with only two horizontal strokes. It is my belief that this is a "trademark" of Ichihara Nagamitsu and an important kantei point in distinquishing his blades from those of other swordsmiths who signed Nagamitsu during this period. However, there are several Nagamitsu blades known signed with a standard "naga" Kanji which may be a variant and from the same forge as the others (see oshigata "T" and "V") and perhaps carved by a student or assistant. Much has yet to be learned about the blades of from the forge of Nagamitsu. Given the number of variations of signatures (mei) found on Nagamitsu blades, combined with the quantity of blades known, it seems unlikely that they are all the work of one lone swordsmith. It is likely that Nagamitsu had a number of students and assistants who also produced blades at his forge and who signed sword blades on his behalf. Therefore each blade must be judged on its own merits and not simply on its signature." Edit: Just saw that Brian posted much of the same information before I did!

Ichihara Nagamitsu was the wartime Gendaito smith, average to good quality wartime swords. https://www.japanese...rdindex.com/naga.htm Whether he added the Bizen location to his mei or not, doesn't really change anything really. Maybe...just maybe....it indicates one made by him instead of his students, but that isn't 100% foolproof. I guess the longer mei are a bit more sought after. But each sword would be judged on its own merits, quality varies.

If I had extra money for it, I would buy it in a heartbeat. I really like that one.

Agreed! Always a big help, and much appreciated. Thank you @Soshin and @Spartancrest; thanks to people like you, I learn a little more every day. I hope nobody thinks I was asserting that this Tsuba is cast. It was meant to be a question and not a statement of fact. My apologies. Curran, that old tsuba you have for sale is really stunning! Cheers, -Sam

+1 to David Styles and Tasmanian Dale Thank you guys.

Fear not! No hammer was used in the enjoyment of this tsuba . I would never. I also wish I could get it into David, or Jeans hands. If either of you ever attend the SF or Vegas sword show in the future - I plan to attend them and will bring it along. I appreciate the discussion, -Sam

I think you meant to say “with no respect”? why do you think it’s good advice to tell someone to “take a hammer to it” when you haven’t got a clue what it is?

Thank you for your input. I am very happy to hear that it’s not cast. I originally did not think it was cast at all. I’ve enjoyed it in my collection for about a year, and never even considered it being cast. Dan made the cast suggestion, and I admittedly am too new to argue it. So I added the question to the topic for confirmation from the more experienced like yourself, Jean, Brian and Dale. Im glad I did, because y’all have helped confirm it’s not cast. I enjoy admiring it, and have developed a liking to Owari in the process. Thank you for your input and help, All the best, -Sam

For those that have ever wondered about the reason (?) for the hairstyle, that became popular for Samurai and non-Samurai. Never really thought about it, had the NHK series on record and it just popped up. Appears full series here, SAMURAI CHONMAGE TRUTH - Time and Tide | NHK WORLD-Japan

No casting there imho.

Here is an old picture from 1980 with Robert Benson and Kareem Abdul-jabaar in Hawaii. Kareem is displaying his 29 inch Morimitsu dated Oei 2 1395 with beautiful Handachi Koshirae. At the time Kareem was an avid collector.

I agree with Jean Collin. I don't see any signs of casting on the tsuba. Nice one! Robert S

Coincidentally, the same sword was posted on reddit a couple of days ago (including pictures of the blade and koshirae and a note from the person who purchased it): https://www.reddit.c...vv/inherited_katana/

Bummer! Not doubting you, but would you mind pointing out where you see casting flaws so that I can see them? Admittedly, I’m not well versed in fittings Cheers, -Sam

The thing that amazes me Colin, is the skill with which the armourers of old managed to make such compound shapes, which today, while difficult enough to do in the traditional manner, are cosiderably easier given the homogenous state of modern smelted and rolled metals, ie. no slag inclusions. Some recent studies in armour metalurgy, have shown some armour ranges from almost pure iron to high carbon steel in just a few centimetres. This must have made forging plates extremely difficult, and the hardening process, where used, perhaps even more so. A true tour de force, made in 1543 by Filipo Negroli of Milan. This is all one piece of metal! Such superb mastery of his material is simply breathtaking. Perhaps the nearest in Japanese metalworking was Myochin Muneakira, who is known to have made somen in one piece! He was extremely adept at repousé.

I have spent some time in the workshops at the Tower of London. A wonderful experience for anybody remotely interested in armour. Ted smith (The head armourer there at the time) kindly showed me on one occasion a beautiful pair of mitten gauntlets, and a superb locking gauntlet.........................all of which just happened to have belonged to King Henry VIII ! The workshops at The Tower of London were in the same building as the New Armouries, that housed the Japanese and oriental collections. As you say, some of the tools are believed to have come from the Royal Workshops at Greenwich.

Rewrite 戸石合戦 (Toishi kassen) - The battle of Toishi - [村上義清 (Murakami Yoshikiyo) vs. 武田信玄 (Takeda Shingen), ca. 1550] 内藤 (Naito) - family name? 人馬トモ切落 (Jinba tomo (ni) kiri-otosu) - Cut off both man and horse. 光元 (Mitsumoto) Note; Imformation from morita san included

@Matsunoki Sorry if this is a bit off topic mods, but this was the sort of thing that I used to do..... Rough and clumsy compared to Colins exquisite handiwork, but great fun to do nevertheless! Basically, if I can hit it, I can possibly make it! A Roman helmet type C made for Harlow Museum, unfortunately the picture was taken after two school classes had handled it! A copy of the saxon 'Pioneer' helmet. Made from a sketch in the Independant newspaper, but which proved to be surprisingly accurate! When I was living in England I repaired quite a few antiques of various types for dealers, including repairing items of Japanese armour from time to time.

My photos, unedited: https://www.amazon.c...HTUnqbX9lRPZDnx-gwZI

Here are some overall shots of the little Satsuma Nami-no-Hira tantō.

BTW for those interested: found a Japanese site that lists all fake sellers on sites like jauce etc.: https://gansakubokumetsu.web.fc2.com/