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Andrew Ickeringill, Australia's own Touken Togishi (https://touken-togishi.com/) has been awarded 1st place Doryokushō (Achievement Award) in the 2026 NBTHK sword polishing competition. As a friend, fan and a client I cannot tell you how exciting this is for me - let alone him! I cannot be prouder of his achievement - anyone who knows Andrew will know that this is well deserved! He is a credit to this space. His work together with other winners will be exhibited at The Japanese Sword Museum from the 1st of August, so if you are in Japan at the time it will be worth the trip to visit! For complete honesty, I have pretty much completely plagiarised his Facebook announcement to share it with everyone here... because he is too humble to do it himself! Well done @Andrew Ickeringill!!!

Smiths_Soldiers_Diplomats_Block_Sesko-FINAL.pSmiths_Soldiers_Diplomats_Block_Sesko-FINAL.pdf Markus Sesko and I used to talk about how much we knew about Horikawa Kunihiro's life and travels compared to virtually every other smith before 1600. Then I came across Koyama Kanami's 1977 study of Akamatsu Masanori and his associates Katsumitsu and Munemitsu, I realized Kunihiro wasn't the only pre-Edo smith hiding in plain sight in the historical record. Markus and I began talking about a deep dive, and the result is the attached paper, which I hope stands out in a field where we know far more about the metallurgical features of great swordsmiths than about the men themselves. I am sharing it here with you guys first. It could not have been written without Markus's translations, discussions, and editorial judgment, which are evident on every page. I Hope you enjoy Smiths_Soldiers_Diplomats_Block_Sesko-FINAL.pdf

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.

That's just about all the "discussion" I will allow on this sale post. A warning to all, and I am not kidding. Stop the debates in other people's sale listings, or take a break. I have more important things to do that babysit people who are argumentative.

Hi. I recently secured this little treasure, a Toran Kei Tsuba from the Kofun period. I absolutely love it, the antiquity, rarity, beauty and charm. It measures about 7cm x 5.2. The wording placed over the tsuba is my instagram account. Mark

Just finished watching the four part series called The Samurai by Tom Holland & Dominic Sandbrook part of their podcast The Rest is History. For those who don't know Tom Holland, he is a brilliant British historian who eloquently breaks down world history. This series appears to have been influenced by the current Samurai Exhibition at the British Museum. It gives a wonderful account of the early history and rise of the Samurai in Japan. A must watch for anyone interested in Japanese Swords, Early Japanese Military History & Japanese Legends. I will leave a link to the episodes here: The Samurai - Episode 1 Samurai Japan was Brutal - Episode 2 Samurai Battles Were Worse Than You Think - Episode 3 The Samurai Civil War: Japan's Greatest Epic - Episode 4 Enjoy!

In 1937 an auction was held by The Tokyo Art Club containing most of Count Ito Miyoji's sword collection. Recently, I was able to purchase an Ichimonji katana that came from this auction and as part of my due diligence before purchasing, I obtained an original physical copy of the auction book from 1937. I went through and photographed all of the relevant pages and wanted to share them here, for anyone interested in the provenance and blades that were sold. I have already tracked a few of them down across the web, being on the open market at one point or another. I did not see this posted anywhere so hopefully it's not duplicated. I had my friend host the images on google drive. @Jussi Ekholm I was hoping this may help inform some of your Koto database as I only saw 1 or 2 Ito Miyoji denrai listings the last I checked. Anyway, enjoy and I hope it helps anyone interested. https://drive.google.com/drive/folders/1Pkkx8QewayhjQnrPRAfXbVMO2TcUpgZP?usp=sharing

鉄元堂- Tetsugendo 尚房 - Naofusa

Since the Shinsa panel will only judge the blade in front of them and not consider any external commentary or factor in any historical nuance without precedent I am resigned to the strong possibility it will come back Horyu. Even though its clear daimei/daisaku blades were being generated in the atelier as early as 1306. If it gets Horyu again, then Plan B is to put it through NTHK who operate a different set of standards when evaluating a blade and call it a day. I didn't start this project to squeeze monetary value out of the sword. For me its all about preserving history and giving the blade the best possible chance for future generations. Dogma changes and evolves over time, Shinsa panels come and go and new discoveries eg the dated Chogi blade, reset the history books. The sword is more important than any one organization and its draconian appraisal methods. Its survived 718 years, ubu and intact, I want it to survive another 718 years, with or without a piece of paper. The blade will be judged on its own merits as a late period Shintogo Kunimitsu and the unofficial comments of Tanobe and Saito sensei carry enough weight for me as its current custodian.

Hi NMB, I've been away from the board for a bit due to work but figured it was time to share my latest Hamano school acquisition. I picked this kozuka up direct from a Japanese dealer (shoutout Touken Matsumoto!) for what I think was a great price overall. This is a Tokubetsu Hozon papered kozuka by Hamano Noriyuki II, signed with his youthful gō prior to assuming his position as a master of the Hamano school (Norimasu). The piece features some beautiful takabori and the theme is Shinkiro (sea mirage) featuring shells which is a motif Noriyuki is famous for. The timing of this piece as it fits into Noriyuki's early career also makes for an interesting point of reference or study! I will keep looking to expand my collection of Hamano school fittings so that this piece has friends...

Hello everyone, I am very pleased to announce that I now finally have my own dedicated website! I made the website myself, so there could still be some small mistakes or bugs, but I am very happy to have it. The logo was made by me in Illustrator. I made the mon of the Hōjō clan the centrepiece simply because I always really liked it since it reminded me of the Zelda games I used to play when I was young. The website will still be in development. I will be adding more text and general information in the coming weeks. New stock will be uploaded on the website first before becoming available on NMB. Be sure to enter the newsletter as well so you won't miss out on any shop updates! Please have a look and let me know what you think! I am open to advice or suggestions. https://tokenoranda.com/ Greetings, Lex

@Bugyotsuji Piers, hello! I am intrigued. What made you pick this old thread up? Intuition? A silent whisper in your ear? I acquired this tanto in a package deal with Peter Yorke…..he had not recognised the significance of the smith. Sadly Peter has since left us.RIP. I miss you Peter. In the intervening 4 years much has happened. I let the blade go in a deal with a fellow collector. It changed hands a couple more times until a throw away comment at the last Birmingham Arms Fair a couple of weeks ago. Someone asked me “did I have a buyer for high end gendaito?” and having discovered that despite having sold my collection I really did miss the sword world I said yes. Next question was could my details be handed to a collector who owned another previous sword of mine (a stunning Endo Mitsuoki Tachi with fabulous horimono). Again answer was yes. This collector contacted me and last week I became the owner of another 6 swords including said Mitsuoki and guess what….this tanto was one of the six, except now it was in a superb new shirasaya and mint new polish. So, here it sits again….and I ponder what to do🙂….again. But I’m back in the game. I guess that does now make me a dealer except I’m not bothered about making money, instead, just having fun and being alive. Some very strange things happen in the sword world. Best. C.

The 1306 tanto would be a great sword to compare but I have yet to find high quality images. These are the images of the polished tanto. Not the optimum lighting or resolution but hopfully you can see the fine chikei that is so noticeable in the other examples. And is that nie-utsuri?

A little birdie told me yesterday that they now have only ¥100,000 to go before reaching the 3 million yen target. Congratulations! As part of their activities drive, there was a special panel discussion with invited swordsmiths and Togishi. A film crew from NHK turned up to cover the event. Sukesada blades from over the ages were laid out for viewing.

I go first! (This is from Fujishiro Sensei's Meito Zukan, episode 15, "the most gorgeous work" per Fujishiro Sensei, best 34900 Yen I ever spent on a book)

Why do I have to found this right before my party and away from Chengdu…… If I am not hungover too much tomorrow morning, I can help with this! Also I can't get Grammarly to work on my iPhone so I guess it's finally time for people to find out my illiteracy…… Wait, the drive to party is way longer then I imagined, so here is the Japanese text, might have some minor errors, working on the translation! 備前国住長舩清光作 Bizen no Kuni Jyu Osafune Kiyomitsu Saku 九字銘有之而製作年紀ガ消サレ二月日ノヲ(edited: ノミ)残存ス a nine Kanji signature with its date erased (or faded?), (edited: only) “a day in February” remaining 俗名無キト雖モ孫右衞門尉ニ紛レハ無ク Although not signed in Zokumei, no doubt a work made by Magoemon no Jou 蓋シ年號永禄ナラン the date should be Eiroku (1558-1570) Ok I think I have reached the appropriate amount of time looking at my phone at a party so…… edited: Phew! A full bottle of white wine and some Baijiu, nothing this Baby Joe chouldn‘t handle. Anyway…… 頑健ナル先反ノ造込而板目ニ地沸ヲ敷キ Robust and a Tsukurikomi with Sakisori, (Kitae-wise mainly) Itame and with Jinie, 肌目ノ立ツ鍛ヘニ得意ノ廣直刃ヲ焼キ足・葉入リ沸ツキ Hada Tachi, made in his signature wide Suguha (Hiro Suguha) with (many) Ashi and Ha and (Ha) Nie 横手下ニハ彼ノ個性ナル縦長ノ葉ガ見ラレ vertically long Ha can be seen under the Yokote as maker’s personal trait 其持味ヲ明示スル優品也 showing the smith’s charming characteristics, truly a great sword ("優品/Yuhin", as in Yuhindo’s Yuhin, literally “a superior work”, a very positive and rare comment by Tanzan Sensei, and long live Mr. Brockbank, a great person I never had the honor of meeting in person but from whom I learned so much, not just Kantei Kanshou but also how to act when faced with ignorance or greed. Very rough translation, more detailed information like “what’s Ashi, Ha or Hada Tachi” might be added in the morning when recovering from hungover orz ↑……Ok perhaps just googling them will do it orz

Every once in blue moon, a piece appears that checks all my wishful nihonto fantasy boxes https://eirakudo.shop/978749

I won this Kawari-gata "Nobuie" guard for ¥ 4,100. To be fair it was pretty dirty and rusty - but a little elbow grease it has come up a treat. Anyone got any idea of which "Nobuie" might have made it?

Hi, Go is first and foremost a kiwame given to particular group of traits, chief amongst them the clarity of the work. As I explained previously, deviations from these canonical traits will lead to different judgements (e.g., violently turning Kaeri will bring the work to O-Sa, etc), a more stormy character will lead to Masamune, and so on and so forth. Go is simply the pinnacle of Soshu clarity, with ichimai, some masame, etc as reinforcing concordant traits. Whether the historical person called Go made the sword is not an answerable question. However this is besides the point, the NBHTK states in its attribution that according to tradition and study of the canonical traits present in the blade, then amongst all historical person, it is most likely this specific historical person who made it. Now everyone can assign a percentage to this. There is a Juyo Sanakage that went Tokuju to Go. This is normal, judgement can shift upon further study and as new evidence emerges. It was sold on Christies shortly after. That some blades are in between, for instance - 50% Go / 50% Masamune is also possibility. This is the case with the extraordinary video of the Go shown above. This blade, in the eyes of Tanobe sensei, would have gone to Masamune was it not for the widely hardened near ichimai boshi. Kojo says Go, and hence there is no "Den" attached. The old judges are respected and on masters with no signed works, their opinions is the basis of the system for modern attribution. This is not a problem at all. One must simply accept that such Kiwame are simply the best possible opinions given the current state of knowledge. The sword in itself is magnificent, and the monouchi is simply out of this world. I call it affectionately the "8 centimeters of God" Go, and all who have seen it agree with this statement. The stormy character of the activity, with plentiful inazuma dancing in and out of the ha, are however more distinctively Masamune than Go, specifically the hatsuboku-sansui manner for which he is revered. The way the ha widens gently towards the monouchi, and the near ichimai qualities of the boshi are canonically Go traits. https://nihontowatch.com/artists/go-yoshihiro-YOS1434 One can adopt various beliefs in the matter: 1. Hon'ami Conspiracist: Go is a fabrication by the early Hon'ami masters serving Hideyoshi. No signed works exist, and the Muromachi period text as not hard evidence. They took a guy without any works left and made him famous for some occult purposes. (Imamura Chogi famously held this theory for Masamune, which nobody serious really accepts today...) 2. Uncertainty embracers: Go most probably existed, along with other famed masters without signed work lefts, but one cannot deny the existence of a certain high-class cluster of Soshu works with co-occurring traits that represent the Apex of Soshu-den. It is perfectly reasonable that Go, the historical person, produced such works. 3. Authority literalist: Attribution on top class mumei works pinpoint the historical figure with perfect accuracy. When there is a congruence between the best experts and bodies - Honma Junji, the old Hon'ami, Tanobe Sensei, and the NBHTK - then there can be no other possibility and it represents not simply the best theory, but absolute truth. And there is a vast continuum in between. One can be midway between 1 and 2, or between 2 and 3. Currently, I would rate myself at 2.3. This does not diminish the material value of the items themselves unless one collects because one insists on the "Authority literalist" stance in order to accept value. A masterpiece is a masterpiece, regardless of who made it. One must learn to separate the 'brand' from the 'work' from the 'historical person' - and while these are tightly interlinked and highly predictive of each other, the goal of study is to appreciate swords as Art Objects. I, for one, am completely comfortable when discussing my collection to state "Maybe Norishige, Maybe Go" - it's part of the beauty and mystery of the field. On collaboration And finally, a point that is often overlooked in the field, is that these smiths worked with each other. Most if not all top-grade Soshu works are collaborations. This is true for every school. Nagamitsu worked with Mitsutada and Sanenaga, they made blades together. In every prime and late period Mitsutada, there is some Nagamitsu, and probably some Sanenaga. Just as a late Nagamitsu has some Kagemitsu in them, and Kagemitsu has some Kagemasa. Awataguchi Kunoyoshi contains some Awataguchi Yoshimitsu. Masamune, Norishige and Yukimitsu made swords together, alongside Go and Sadamune, albeit later. Sword making was a collaborative enterprise. There are phases in a collector's life. Remember that the position you hold today may change in the future. Hope this helps, Best, Hoshi

“亮信” (Akinobu) is my interpretation… AKINOBU (亮信), Shōwa (昭和, 1926-1989), Gifu – “Akinobu” (亮信), “Nōshū Seki-jū Toki Akinobu saku” (濃州関住土岐亮信作), real name Toki Yūichi (土岐雄一), born January 2nd 1907, student of Kanenobu (兼延), died May 14th 1993, he was working as a rikugun-jumei-tōshō and member of the local Seki Tōken, PLC (関刀剣), he is also listed under the reading “Sukenobu” of his characters, jōkō no retsu (Akihide), Second Seat at the 6th Shinsaku Nihontō Denrankai (新作日本刀展覧会, 1941).

Hi Brett, This is a fascinating topic. This analysis is called "Pass factor" and was first proposed by Darcy Brockbank. You can find the original blog post here: https://web.archive.org/web/20210123052432/https://blog.yuhindo.com/pass-factor/ There are a couple of issues you will run into as you refine your analysis: 1. Small sample sizes: prevents you from drawing valid inference due to the statistical noise. 2. Unequal value of the higher designation: A Kokuho ought to be worth more than a Tokubetsu Juyo. 3. Contaminated categories: there are arguments in favor of excluding Jubi and Gyobutsu post-Nambokucho. 4. The condition confound: signed works can achieve high designation on a condition basis rather than workmanship. 5. Some elite smiths such as Tomonari or Masatsune are actually sub-schools within Ko-Bizen, but they are treated as a single individual. To solve for (1) you may try setting the different levels of thresholds on the minimum n of blades. Test 5, 10, and 20, and see how the ranking evolves. Alternatively, a more formal statistical way is to use a Bayesian Shrinkage estimate which is in my opinion the elegant path. Essentially, you have a prior that everyone is average, and the model must 'see data' in order to change its mind. To solve for (2), you can use a frequency-weighted approach (more defensible), or assign some other weights that fit your mental model of the gap between the average TJ and the average Kokuho. For (3), you can run the analysis excluding Jubi and excluding post-nambokucho Gyobutsu and see how the rankings evolve. Regarding (4), you can rerun the analysis while controlling for the ratio of zaimei to mumei works, but you enter rarified air territory. The best you can do is just accept the state of things and hope for statistical independence between the observations. Regarding (5), one just has to live with it. You can find a draft of an article on the topic here: https://nihontowatch.com/eliteranking This is what NihontoWatch uses under the hood for rankings. Here is Awataguchi Yoshimitsu: In the end, whatever method you choose, once you control for the unicorns by setting a threshold or a bayesian prior, you will converge on the traditional literature such as Toko Taikan and the list will begin to look very familiar. Personally, what I find most interesting is not where these analysis converge, but where they disagree: there are historically underrated smiths by Fujishiro and Dr. Tokuno that will "pop out" and this is what one should look for as it is the most informative. Correlation with Toko Taikan: Period-adjusted correlation with Fujishiro: Hoshi

The previously discussed sort of Yagyu mimi:

Dear fellow sword enthusiasts, We would like to let you know that the Dutch Token Society will be present at the Japan Art Fair in Utrecht this weekend. If you are visiting the fair, please feel free to stop by our stand, have a chat, and share our passion for Japanese swords. We look forward to meeting you there! Kind regards, On behalf of the Dutch Token Society, Leen van Ochten Chairman

G'day Jonathan, I have this koshirae which I think can be dated very close to this. The Gassan Sadakazu blade is dated 1866. The tsuba is also signed by Sadakazu. Cheers, Bryce

In the book Honma Talks by @Markus on page 193 there is a section where Junji speaks about visiting Count Ito's home. Apparently he had a very specific cataloging system, consisting of sayagaki paired with wooden tags where he would write super compact characters that Junji describes as "needing a magnifying glass to see". The sword I posted above still has those tags intact, and I was also able to find some other swords from the auction as I mentioned earlier. Linked below just a few https://www.nihonto-museum.com/collection/exhibit/hojoji-kunimitsu - lot 11 from the album I linked on google drive https://www.giuseppepiva.com/en/works/oei-bizen-tachi-yasunaga/ - must have come from a different auction of his collection, maybe its in your book @Ian B3HR2UH? http://www.japansword.co.jp/fine-soworde.html - (Norimitsu) not in the catalogue either https://www.connoisseurarms.com/swords-gallery.html - Sunnobi Tanto and you can see the wooden tags here as well (also not in my auction book) Wooden tags on the Ichimonji attached

Leen and I had a wonderful time representing the Dutch Token Society at the JAF. Thanks to anyone who came to have a nice chat. We look forward to seeing you again soon. Greetings, Lex

Hi George, I appreciate kind words regarding and restraint in not posting my work. I will add the the pics of the tsuba in question myself for you all One of the most beautiful things inherent in Japanese art is the act of allusion and the culturally shared stories told in this manner. As for the eye, it is indeed inlaid with mother of pearl, but the iris is not black bronze. The method I was taught, have seen on antique pieces, and repeated myself in this case , was different. I carved thin the iris area on the back of the polished MOP to make it more transparent , and then blacken it with sumi 墨 before setting it into place. Please let me know if you have any other question as I would be happy to oblige. I hope this info is helpful!! Best regards, Marcus

Today there was the ceremony for the NBSK contest, unfortunately I couldn't attend but a friend was so kind to send me some pictures. The exhibition will go on until August 30th.

Dear All. Just an opportunity to share a new addition. Hope you enjoy. (Not well lit, I'm afraid, the soft metals really pop in hand.) All the best.

You wonder about whether you paid too much. In Japan this is sometimes referred to as Jugyo-ryo 授業料 or tuition fees. = We pay to learn. We turn around and see the path we have walked so far…

Probably a Shinshinto Kinnoto?? And some other links Satsuma rebellion swords and Kinnoto 23 posts 14 June 2020 Gassan School Sadahide Kinnoto - First Blade 4 posts 4 Nov 2025 More results from www.militaria.co.za BaZZa.

I love this community! Just one Sayagaki and we have people from the USA, Australia, China, Japan & a nod to Canada all working together in a common cause to translate it! Let this never change!

The first part of the date desicription is 旹秊. 旹秊 (Jinen) – the year 旹 and 秊 are variations of 時 and 年 respectively.

Perhaps others have seen it before, but I just came across this YouTube video of an interview with Iida Yoshio san, current owner of the Iida Koendo sword shop in Tokyo. The shop deals mainly in high-level items, has been a family enterprise for several generations. The video is in Japanese with good subtitles, and gives some dealer perspective on the sword business, including a discussion on what defines a masterpiece -- linking to a thread on this forum last year: I have spoken with Iida san on several occasions at DTI. He is a thoughtful person who understands and speaks good English, and who has been open to interacting with foreigners who demonstrate some knowledge of swords and sword etiquette. I found his views worth listening to.

Time for the answer:

The gold standard for translations is Markus Sesko.

We here on the NMB are ALL proud of Andrew. He's one of us, and we are lucky to have him occasionally pop in. One of the guys I consistently hear nothing but good things about. On behalf of the forum, we all wish him a huge congrats and well deserved.

@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.

Some more pictures

You might be looking at the style the wrong way around - French Art Nouveau took its inspiration from contact with the Japanese. French Art Nouveau was profoundly influenced by Japanese art and design. This cross-cultural exchange—often referred to as Japonisme—sparked a revolution in European visual culture following the opening of Japanese trade in the mid-19th century. Art Nouveau artists broke away from rigid European traditions of perfect symmetry, favoring dynamic, off-center framing and diagonals inspired by Japanese masters. So I guess why it looks Art Nouveau is because the Japanese invented it! Perhaps the style should be called "Art Nihon"?

I would view it as swordsmiths are craftsmen… some of whom are able to elevate their craft to the level of art.

Chikuzen (no) kuni Katsutoshi.

佐藤兼住 - Sato Kanezumi He was one of WWII swordsmiths in Seki.

What an amazing catalogue of swords - thank you so much for sharing. My mouth just sat ajar as I went through every page. Those koshirae were magnificent. What an amazing collection. Some information on the man: Count Itō Miyoji 伊東 巳代治 was born on May 7, 1857 in Nagasaki, Hizen Province to a Samurai administration family. He excelled in languages, specialising in English. The Emperor sent him to Europe in 1882 with the future Prime Minister Itō Hirofumi to study European Constitutions and was instrumental in the drafting of the Meiji Constitution. He serverd in the Japanese cabinet and was later elevated to the House of Peers where he served in various Cabinet roles from 1890-1898. From 1899 he was selected to serve as a member of the Privy Council which he did through to his death. Even though he remained a member of parliament when opportunity arose he purchased the newspaper the Tokyo Nichi Nichi Shimbun (the predecessor of the current Mainichi Shimbun). This gave him a platform to trumpet his causes. He was made a Baron in 1907 and a Count in 1922. He died February 19, 1934. A great lover of swords he amassed a sizeable collection of over 500 from inheritance as well as purchases from the various Samurai families who after the Meiji Restoration became desperate for cash. He was a very proud man and took pride in his Samurai past which is why he was so moved to help so many Samurai who came knocking at his door. In this regard he tried to ensure all his swords were well dressed. This collection was as much a labour of love as it was a patriotic act! Among the swords he owned were the "Tachi Mei Sadatsugu" (sword inscription: Sadatsugu), which was owned by the lord of the Tsushima Fuchu Domain (present-day Tsushima City, Nagasaki Prefecture) during the Edo period, as well as the famous "Daihannya Nagamitsu" (Great Hannya Nagamitsu) that belonged to the Ashikaga Shogunate, Oda Nobunaga & Tokugawa Ieyasu. Both are now designated as national treasures and are housed in the Tokyo National Museum. Whilst he became a large land owner over the course of his life, the Great Kanto Earthquake of 1923 saw him stripped of a lot of his lands by the Japanese government who expropriated them for the rebuild - this is obviously something he bitterly opposed. After this he became very conservative in his views and became a strong critic of the government. Due to financial constraints after his death his family was forced to sell his the majority of his collection of swords which they did through various auctions and private sales including the two major auctions in 1937.

More Pictures. Tom

Hi nihonto community. Even though the USPS office of the inspector general is still looking for the Sanjo Chikamura blade, it still hasn’t been found. I have my fingers crossed that eventually it will be found and will find its way back to me! I do want to mention that Nicholas Benson has been a real gentleman throughout this whole process and we have come to a mutually acceptable agreement. As such, I am happy to continue to be one of his customers and have recently bought some juyo blades from him!

Hi George, Having koshirae made for a blade in shirasaya is a common desire of beginning collectors and it is almost always a bad idea. Let's say you spend $2,000 for the blade in shirasaya and another $4,000 for the kodogu and labor necessary to make the koshirae. When you are done, if the blade is nice and the koshirae is well done, you should have no trouble selling the set for $3,000 or so. When a collector wants a blade and koshirae, he wants period koshirae, not something put together yesterday by a western collector. If the aim is to have a nice blade in or with koshirae, that is what you should buy to begin with. If you want koshirae to go with your blade in shirasaya, consider buying an existing koshirae mounted on tsunagi (wood blade) to display next to your blade in shirasaya. The blade won't fit in the koshirae but it is best kept in its shirasaya anyway. This will cost much less than having koshirae made. My 2 cents, Grey

And the last pictures. Tom

Speaking of katchu this was easily the standout piece with a price to match. Just superb And in a similar vein the talk on Menpo was very educational. I learned a lot from John's presentation