Shugyosha

Hi Steve, Looking again, I managed "Showa" and "hi" and of the name I have "Kanzan" as the first two kanji which suggests that "Sato" ought to follow, but I can't spot the kanji even though I ought to be able to get the last one as it looks familiar... Gambarimasu!!! Best, John

Hi Greg, Better eyes and brains than mine are required: On the lid: 鐔 - tsuba At the bottom of the second line - 美濃 - Mino Third line: 烏銅七々子地 [木瓜]??形 - Udou nanako ji [mokko?] gata From Markus Sesko's encyclopaedia: Sometimes in old references shakudō is written with the characters (烏金) or (烏銅). These read actually as ukin (lit. “raven gold”) or udō (lit. “raven copper”) respectively. So shakudō can also be called ukin or udō. Er - that's my lot, sorry. Best, John

The Stibbert Museum, Florence.

Can't you see the naked lady?

祥 = Shyou - auspicious, good fortune, good omen.

I think that Brian has put this rather well. From my point of view, I've been happy to sit back on this thread and gather what information I can and file it away for (hopefully) future use. I don't know enough to weigh in with views of my own on this subject but have enjoyed reading and respect the opinions of those who have contributed. Best, John

Hi Tom and Bazza, This is by way of an apology to Tom for doubting his intentions on a previous thread. My stab at the translation will normally be corrected by one or more of the better linguists on the forum. I've added in the entry from Markus Sesko's Swordsmiths of Japan as well which explains the signature. AKIHIDE (昭秀), Shōwa (昭和, 1926-1989), Tōkyō – “Kurihara Akihide kore o kinsaku” (栗原昭秀謹作之), “Shimotsuke no Kuni-jūnin Kurihara Hikosaburō Akihide saku” (下野国住人栗原彦三郎昭秀作), “Tekka Nyūdō Akihide saku” (鉄火入道 昭秀作), “Kun-yontō Akihide saku” (勲四等昭秀作, “Akihide, bearer of the Order of Merit fourth class”), real name Kurihara Hikosaburō (栗原彦三郎), born on the eighth day of the second month Meiji twelve (1879) in Sano (佐野) in Tochigi Prefecture, there he studied under the local smith Inagaki Saijirō Masanori (将応), later he became also an apprentice of Horii Taneaki (堀井胤明), he was a member of the Lower House of Tochigi Prefecture and opened on July 5th 1933 in Tōkyō´s Akasaka-Hikawashita (赤坂氷川下) the famous training site Nihontō Tanren Denshūjo (日本刀鍛錬伝習所) which gave rise to many of the later leading modern smiths, he died on May 5th 1954 at the age of 76, gō Tekka (鉄火) 為奉祝皇紀二千六百年靈山神社御遷座祭 Tame Hōshuku Kōki ni sen roppyaku nen Ryōsen Jinja (no) Go Senza sai Senza sai is a ceremony for the movement of a deity to a different site. This took place in the 2600th year of the imperial era in Japan. 栗原 米 司献之 Kurihara beishi mitsugu kore The Kurihara rice (production?) bureau dedicated this. So, if I have read correctly the sword was presented to the Ryōsen shrine by the rice production bureau of Kurihara to commemorate the movement of a deity in the 2600th year of the imperial calendar (1940). A really nice thing to own - can we see some pictures of the blade please Tom? Best, John

Some other examples here: http://www.militaria.co.za/nmb/topic/23518-unusual-tsuba/

Another option on woodblock prints: https://japaneseprints.net/

There's this guy, but I don't know anything about him: http://www.malcolmfairley.com/&w=1366 Best, John

Thanks for the discount Grev - I've ordered your "50 Selected Tsuba". Best, John

I thought the Satsuma katana might be worth a closer look - I think there's potentially some value there if genuine. It all looks a bit less attractive when the buyers' premium gets added on though - 28.8% with VAT!. http://www.thomasdelmar.com/Catalogues/as051218/lot0004.html

Gentlemen, This is another Karl Peter Smith type magical mystery tour. Remember the guy who insisted that there was some hidden meaning in Hizento signatures? The modus operandi is very similar. I suspect that the issue with the tang on the sword in picture is the straw man...wait for the trolling to follow. Best, John

Hi Tom, Firstly, I rarely have a clue as to attribution even with the sword in my hand, in perfect light and with a flashing neon sign pointing me in the right direction. I can't do anything with a bad photo of a tang, even with four mekugi ana. Secondly, my understanding is that the Bishu/ Bizen thing doesn't matter before Onin (1467??) and my best guess would be that the sword in the picture predates that time. After that, when the warring states period got into full swing one or the other can indicate a custom made sword as opposed to one that is mass produced, but I can never remember which way around it goes. Usually a longer signature with a family name as well as an art name indicates chumon uchi. Best, John

Maybe this one, but the first couple of kanji aren't clear and, whilst it looks a bit like "Hamamatsu" I could be wrong - there aren't many to choose from though. KANEAKI (兼明), Genroku (元禄, 1688-1704), Tōtōmi – “Hamamatsu-jū Kaneaki” (浜松住兼明) Best, John

Withdrawn from sale. If I can't give this stuff away I won't. I'm happy for the thread to be added to the archive for reference purposes if that fits in with the forum rules.

Hi Mark, Yes, looks like second generation: TAMEYASU (為康), 1st gen., Kan´ei (寛永, 1624-1644), Ōmi/Kii – “Kishū-jū Tosa Shōgen Tachibana Tameyasu” (紀州住土佐将監橘為康), “Tosa Shōgen Tameyasu” (土佐将監橘為康), real name Tomita Shōgen (富田将監), he came originally from Ishidō (石塔) in Ōmi province, he was the father of Bitchū no Kami Yasuhiro (備中守康広), later he moved to Kii and is considered as one of the ancestors of the Kishū-Ishidō school, flamboyant chōji-midare in the style of the Ichimonji school, wazamono, chūjō-saku TAMEYASU (為康), 2nd gen., Kanbun (寛文, 1661-1673), Kii/Settsu – “Mutsu no Kami Tachibana Tameyasu” (陸奥守橘為康), “Mutsu no Kami Tameyasu” (陸奥守為康), real name Tomita Rokurō´emon (富田六郎右衛門), oldest son of the 1st gen. Tameyasu, older brother of Bitchū no Kami Yasuhiro (備中守康広), he moved later to Ōsaka and worked in the style of his father, flamboyant ōbusa-chōji, gunome, but the bōshi is mostly sugu, wazamono, chūjō-saku From eSwordsmiths of Japan. Best, John P.S. - cracking blade.

This nakago is something I haven't seen before - trying to replicate the tang on archaic blades? https://www.token-net.com/token/201806-11.html

Hi James, Beyond a few areas of o hada which I don't feel are out of keeping with the age of the blade, I can't really see any significant detractors. I remember asking the same question about a Rai school blade that didn't go and the answer that came back was "price". I guess ultimately if the price is appealing, stuff sells and if not it sticks - again it doesn't seem to be excessive to me so maybe it's just an anomaly. Best, John

A small addition to this thread - which I should have read before I tried to ship from the UK to USA via Parcelforce Global Express. I've had the parcel returned to me asking for further details including a VAT number which I couldn't supply as I don't have one, but which was stated as being optional on the form. According to the guy at Parcelforce, FedEx's tracking system requires a VAT number or the package can't be entered into the system, explaining why there was no movement from the receiving depot. This isn't the case with Global Priority - so if the matter can't be sorted out between the two carriers, it can be moved over to a different bag and go via a different route.

Thanks Chris. Actually it's not papered but I'm guaranteeing that it will pass shinsa. Now sold. Thank you!!

On hold.

Bit of choji oil and she'll be apples.

Hi Dave, I think that whoever you get to look at it is going to be hampered by the condition - specifically in terms of how deep the rust is. If you can do a bit of work with oil and paper to maybe reduce that it might help with an opinion. Also, if you want to PM me an address I can send you an uchiko ball - basically a cloth bag on a small stick filled with stone dust used to clean swords. It will take some patience but it might have a positive effect on the less affected areas. Grev Cooke ("Grev" is his handle on here) is in Coventry and he might be able to look at the blade for you. Alternatively, I'm a fairly frequent visitor to south Leicestershire and so I might be able to arrange something but I don't believe I'm an expert and neither should you. I'm happy to trawl my reference material to see if I can come up with some sample signatures by this smith which might give an indicator of whether or not it is genuine but, like you didn't find much via Google. I'm fairly sure that Markus Sesko will have used most of the more respected references in compiling his work so I wouldn't expect too much on my shelves. That will be next week though as I'm heading away for a couple of days. Best, John

Hi Dave, I'd agree with what Steve says - if the signature is good, the most likely candidates are a couple of smiths whose working life was from the early to late 1500s. This is from Markus Sesko's eSwordsmiths of Japan: MASAKIYO (正清), 3rd gen., Tenbun (天文, 1532-1555), Bingo – “Bishū Mihara-jū Masakiyo” (備州三原住正清) MASAKIYO (正清), 4th gen., Tenshō (天正, 1573-1592), Bingo – “Bingo Mihara-jū Kai Masakiyo” (備後三原住貝 正清) The signatures quoted, however, aren't an exact match for the one on yours. That doesn't automatically mean that yours has been faked as Japanese sword smiths varied their signatures but my gut feeling is that the condition of the signature seems too fresh for a blade from this time frame. That's just a feeling though. I'm not an expert on the various flavours of rust but I wonder whether it might be worth trying to do something to limit the damage to the blade. What is often quoted is to wrap the blade in newspaper soaked in oil and leaving it for a week or two. When unwrapped some of the rust should come away and the detail in the blade may be revealed to some extent. Perhaps others can chip in with some advice on this. DON'T DO ANYTHING WITH THE TANG! Sorry to shout but cleaning the tang is a big no-no with Japanese swords as the patina is an indicator of the age and affects the potential value of the sword and should be left in place. Best, John