Geraint

Dear John. I think that if you look closely at the top kuchibeni in the third picture you can see that they are solid inserts. All the best.

Dear Naftali. As Lewis has pointed out the ha machi and mune machi, the shoulders where the habaki sits, are not level and this is a characteristic of Chinese fake swords. However in this case I suspect that someone not familiar with Japanese swords has made a new habaki and modified the blade to 'make it fit'. A proper habaki should have a notch in the back that slips over the blade and fits against the mune machi, the step at the back, while the edge side should have a slot that fits closely around the edge of the blade. If you look closely at the shoulder next to the edge can you see if the blade has been recently modified there? If this is the case then an amateur habaki might also account for the extra set of seppa. All the best.

Dear Volker. I believe the paper specifies nidai, the two kanji in parenthesis after the signature line on the origami. All the best.

Dear Aaron. Welcome to NMB. You have done nothing wrong I assure you, it is simply that getting you any further forward is almost impossible. There are between forty and fifty smiths recorded signing Yoshikuni with these two kanji and while most of them can be discounted because of the age of your sword there are few indicators that might lead to an attribution. Add to this the possibility that this might be a spurious signature, called gimei, a very common thing especially with the names of good makers. However I think it unlikely that this would be the case with a two kanji mei like yours, after all why not go the whole way and sign the full mei if you want to deceive? To quote from a 2013 post by Gabriel, 'The second smith or smiths, Onizuka Yoshikuni (YOS 275-279, not clear which of these is one smith or multiple), is much closer in terms of the handwriting style, but close inspection yields several possible differences in chisel marks and angles. What is more, Onizuka Yoshikuni smith(s) allegedly signed with at least Onizuka Yoshikuni, not just "Yoshikuni" on its own. Based on these two points, I'm not certain one could connect your blade to this series of smiths based on the mei alone.' I am sure that others will add opinions, it would help to have some good photographs of the blade and its workings. Whatever the outcome it is a very attractive blade and I do hope you enjoy it. Your only certain option is to get the blade to a properly accredited shinsa team, sometimes these are arranged to coincide with Japanese sword shows in the US. All the best.

You did what? Most of us would have expected an extra nought on that I guess. Here is some relevant information from Markus Sesko, 'Shinto and Shinshinto Kantei' to be going on with, well worth getting a copy. All the best.

Steady Boy, steady! Whatever happens this is a very nice sword in attractive koshirae, you did well. It will still be that even if you conclude that it is gimei. Remember that big names are often gimei though it is distantly possible that this came to the UK soon after it was made. Lots of possibilities. Now come the hard yards. You need to start comparing papered examples and soaking up the detail, nakago jiri, yasurime, placement of the mei, style of kanji and so forth. Take it to a Token Society meeting and see what others think. ( Don't be tempted to take a low ball offer.) This is why this hobby is so exciting so enjoy! Just got back home so will do a bit of digging. All the best.

Dear Mark. I will have a look through my sources later on today but for now have a look here, page 31 I think, https://new.uniquejapan.com/wp-content/uploads/2015/06/21-Antique-Shinshinto-Japanese-Swords-For-Sale-From-Unique-Japan.pdf You know the mantra, big name smith likely gimei until proven otherwise, the fact that you do not see a match in a web search of papered examples suggests this to be true for your sword. Forgive me if I state the obvious but a Shinshinto sword, unless badly neglected, ought to have a nakago which shows clear detail and so the shape and the yasurime as well as the position of the mei should all be easy to see. Another factor is that some smiths have very distinctive 'handwriting' and that should be an easy thing to spot. If you have an image of the whole nakago that might be useful. I'll see what I can find for you later on. All the best.

Dear Sebastien. What a nice problem to have. Some questions to ask in your search. Are the HIrata the only people who understood shippo? Clearly not. Does this kozuka fit into the known body of Hirata work? Well most examples of Hirata work do not look like this. In another thread on NMB someone lamented that most of the pieces revealed by a search were attributed by Bonham's, herein lies the problem. Almost everything with shippo is claimed to be Hirata, especially by those selling the piece. Your butterfly appears to have gold cloisonnes and to be finely done. Is this a kozuka by Hirata or one with added decoration by them? A bit of information here, https://www.silk-road.us/hirata.html The tsuba in the link without the shippo would have been suggested to be Ichijo or one of his atelier, was he capable of doing shippo of this standard? Almost certainly so. Was the Hirata school capable of making a plate in this style? Certainly. Whatever you conclude this is a lovely piece to have in your collection. Enjoy as I am sure you will. All the best.

Dear Mark. Well you're in for some fun! Start researching Chikuzen Nobuhide. All the best.

Dear Marcus. What's not to like? Super blade in good polish with papers and accompanied by Naval mounts in great condition with a silver Saki mon. Pleased for you that your negotiations payed off and that it now resides in your collection. All the best.

Fukurokuju is often depicted with a scroll, and the pyramid shaped item on the fuchi is his backpack? Anyway, check him out and see what you think. All the best.

Dear Damien. You might have a look at this thread, Ignore the first one and take a look at the second example posted. Not sure how much you already know so please forgive me if I state the obvious. When a sword is signed by a well known smith there is always a high percentage chance that it is gimei, a false signature. The placement of the signature on the nakago, the style of the cutting, the file marks and the shape of the nakago all come into play. That may or may not be the case here but whatever the outcome this is still a nice sword and mounts. A picture of the whole of the nakago/tang might be helpful. Enjoy. All the best.

Dear Max. I don't see a problem with your tsuba. The auction house were optimistic likening it to lot 81 in the Goodman sale as that one is larger, signed and of better execution than yours, they would have been more truthful to compare it to this one, https://www.bonhams.com/auction/22472/lot/79/a-soten-style-tsuba-edo-period-19th-century/ Yours seems to have been mounted with consequent wear on the seppa dai but I can't see any red flags. Enjoy. All the best.

Dear Richard. I agree with Oliver that these are a nice pair of blades and that these are by the two different smiths. An examination of the three kani that the blades have in common suggests that they are by a different hand. Hawley supports the text that Oliver has supplied listing Unshu Takahashi Naganobu as a student of Tsunatoshi and working 1830 - 64 while Unshu Takahashi Ribei Naganobu, working at around the same time is the one for whom the brief note that 'he never signed the same way twice' is added. Looking at available papered examples on the internet I think I can see a pattern emerging where both these sets of kanji are echoed, also have a look at nakago jiri, again I think there are two styles. For what it is worth I take the remark about signature variations in Hawley to mean that he inscribed different things on his swords rather than that his handwriting, as it were, changed. (Given the change between kaisho and gyosho) If there are two smiths then for all the examples I have seen so far everyone assumes that their sword is by the most well known smith and hence the most valuable. Where biographies are given they are almost identical and probably from the same source. I have only done a fairly cursory search using easily available sources but if the nakago jiri on your swords are different then here are some possibilities for you to consider. 1 The same amith changed the way that he inscribed his signature and the nakago jiri that he produced, possible as a consequence of studying with Tsunatoshi and both your blades are by him but from different periods in his career. 2 Two smiths exist and you have a blade from each of them in your daisho. Have a dig around and see what you conclude. Of course it is possible that this conundrum has already been researched given the significance of Naganobu and that another member will come in with an authoritative answer. Hope that I haven't muddied the waters. All the best.

I do love the Wallace Collection. Not very much at all Japanese, last time I visited I think two or three swords, but extensive collections of European arms and armour including some very early pieces and a fantastic selection of very fine indo Persian weapons. If you don't know it there are some excellent videos with Matt Easton of Scholagladiatoria and Dr, Tobias Capwell from the Wallace Collection on Youtube. Might whet the appetite! All the best.

Dear Mike. The habaki is definitely on the wrong way around. If you slip the two pieces together and try then it should fit and provide a shoulder for the tsuba. If it really wont fit then it might not be the one for the sword as these parts are made very specifically for each blade. All the best.

Dear Yves. Certainly no way to tell if the kozuka and kogatana have been together for long, they are easily switched. The kozuka design looks familiar, if you tap it with a findernail youmight detect a tinny sound suggesting a pressing. The mei includes the tem Ason which seem to be your missing kanji. As has often been said mei on kogatana are not to be relied on too much. All the best.

Dear Mike. So far what we can see is that this is indeed a wakizashi, unfortunately now missing one or two pieces. The detent you speak of is I take it the slot on one side of the saya/scabbard. This would normally house a small knife with a decorated metal hilt called a kozuka. You seem to be lacking the two washers or seppa that fit on either side of the tsuba and with regard to Marcin's point about the habaki sticking through the tsuba it is just possible that you have fitted it the wrong way around? Below is an image of a typical wakizashi with all its parts just for your reference. Please do add photographs of the entire blade and the nakago/tang which will help us tell you more. All the best.

Tough call from that one photograph but the tsuba is a surprise to me, I might have expected something in iron with nunome. Can we see it all please? All the best.

Lovely looking Higo koshirae, Gordan. All the best.

Dear Sky. If you are studying Myoju then can I recommend Art and the Sword vol. 5 and 6 by the JSS/US? From that volume: 'Myoju was born during the first year of Eiroku (1558) as the second son of Shigetaka, the grandson of the 23rd generation Sanjo Munechika.' Sadly a little later in the same article by Kataoka Ginsaku ther is the following, 'However this family lineage is absolutely unreliable.' By western academic standards this is frustrating, we tend to assume that records exist and that they are to be trusted. But we are dealing with a society that understands lineage as significant but possibly open to creation when required. A comparable example is the oft quoted Myochin family tree which is now regarded as largely fictitious. If you want to assume the first bit of information is correct then there you are, however it would perhaps be better to hold that idea lightly. Hope that helps but in any case I do commend any and all of the volumes of Art and the Sword to you as excellent resources. All the best.

Dear Craig. Just to add to Brian's assessment the very slender and poorly formed 'habaki' are someone's half hearted attempt at DIY. Both blades are Japanese but I think both have been cobbled together with assorted fittings to run them into complete swords. Your photographs don't allow a detailed response but the shape of the tsuka and the wrap on the second look suspect. However if my sons had done this for me I would be very happy so don't let anything spoil that. All the best.

Dear All. I realise that these are not to everyone's taste but I have just picked this one up and thought some might be interested. 69mm by 72mm by 5mm. Small but heavy in the hand, shakudo fill to the kogai hitsu and signs of being mounted a time or two. 90 degree hatching under the nunome. The reverse identical to the face. Enjoy{or not of course}! All the best.

Dear Mauro. I had not thought to distinguish patina from kuro urushi, I was simply commenting on the base metal for the tsuba. I think the nicest thing about this one is the box it comes in and I would suggest that Curran is right with his suggestion that this is very late. The shaping of the kozuka hitsu is poor as are other things about it. Compare here, https://www.ricecracker.com/inventory/mf84_tsuba_kanshiro/mf84_tsuba_kanshiro.html Would you have a different opinion on the original tsuba? All the best.

Dear Hector. From the colouring in the image I would suspect that this tsuba is in fact in brass rather than shakudo. Of course it is not always easy to tell but where the patina is thin I would expect to see the reddish tones of copper if it were shakudo. All the best.