Grey Doffin

I believe what Reinhard is referring to is the curve of the shinogi away from the ha between the 2 mekugi-ana. This isn't right and probably happened sometime after the original shortening. Perhaps a different mei was filed away? Grey

Yes, when you get the sword, Knorad, please post a picture of the tsuba. Be nice to see the whole of it unmounted. Thanks, Grey

Kalvin, I think Bruno was answering your question; it was made by Nagamitsu or one of his helpers. It is not uncommon in Nihonto history for a student to sign his master's name to a sword. In some cases the work of the 2 are close enough that it can't be determined which smith did the work; in other cases the works differ and if the blade were papered the paper would make note of this. In the case of the WWII era Nagamitsu, there are so many blades with this signature that it is certain they couldn't all have been made by the same man; assistants must have made and signed some. In most cases, however, the work isn't exceptional and there is no way to judge who may have done the work. It seems to me (put target on back) that the prison guard story that goes along with Nagamitsu swords has unrealistically inflated their value; they aren't very special. You did well to find one at a garage sale; you can sell it and buy something nice. Grey

Kevin, Checking my index I find that Kaneomi didn't make it into any of the 68 references included. If Chris Bowen hasn't had anything to say about him you may be out of luck. Grey

Hi Carl, The Connoisseur's Book of Japanese Swords by Nagayama (in English) might be helpful. It goes through the different aspects of Nihonto: grain, hamon, sugata, etc., and tells which schools/smiths would be expected to produce blades with the particular types of these aspects. See my book list on the 'For Sale' forum for a good price on a copy. Shameless self promotion courtesy of Grey

CJ Even taking the route suggested by Chris & Brian will cost more than the mounts will add to the values of your blades. For example, if a sword is worth $3,000 in shirasaya and you spend $2,000 having it mounted (cost of antique parts and labor to make and mount the tsuka and saya), it will likely be worth $4,000, not $5,000 when you finish. Difficult to believe, I know, but that's the market; collectors want original koshirae, not something put together yesterday by you (or most anybody). I think a better plan would be to leave well enough alone (leave these blades in shirasaya) and spend your money on something else with original koshirae. If you shop wisely you won't lose money in the process. But it's your call; you can do as you wish. Grey

Hi Darcy, If you need me I can proof. Grey

Hi John, 1st sword: handle wrap is wrong, the habaki is wrong, the tsuba appears to be iron and rusted (tsuba of this style are supposed to be brass, the fitting at the bottom of the scabbard is the same as the one at the top of the handle (should be different from the handle). 2nd sword: Chinese gobbledegook written on tang, weird angle where tang joins blade, drilled hole in tang (that, curiously, isn't corroded while the tang around it is. drilled after fake patina was applied), the fake patina on the blade stops half way down the tang (the faker didn't want to put his hand into the solution). There would be more if I spent some time looking but this much was obvious. Good luck with the auction house but don't be too surprised if you get stuck. Buy books. Grey

Hi John, Ditto; both fakes. You need badly to gain an interest in Japanese sword books and do some serious study before you buy another sword. Grey

Hi Andrew, Actually, the top Kunimune would be Bizen Saburo Kunimune, but Uda Kunimune was no slouch either. I don't think either of these smiths lived long enough to have made this tanto, they being of Kamakura and Nambokucho and the tanto looking like it was made in the 20th century. Look at the sugata: the blade is either too short for its width or too wide for its length to be early. The nakago isn't finished very well, a bit sloppily done. You never see this on the good stuff. Also, the nakago is too new; the yasurime and patina are too fresh to have great age. Any case, that's what I think. I'm not an authority; maybe others can tell you more or even the opposite. Grey

The 1st picture reads Kiyohisa; can't read the 2nd. Looks like a fake but I'm not 100% sure of that. Anyone else care to add? Grey

Hi Vitali, I probably missed it but I can't find where on your site the nuts and bolts are explained: Does the auction end at a set time or that time plus so long as there isn't a new bid? Do we pay through your site or with the seller by paypal or some other means? Please point me to answers to these questions and others I'm bound to think of later, or if they aren't on your site maybe you could explain more here. Thanks, Grey

A different take on crab sukashi. Grey

Hi (name please), Ask your public library to get you a copy of A Glossary of the Construction Decoration and use of Arms and Armor by Stone. Good chance you'll find this illustrated some place in the book. Grey

Definitely starts out, "Bishu Osafune Ju" and then maybe Hiroyasu. Grey

Doesn't look even close to Japanese to me. Don't buy a sword; buy a book. Grey

Hi Roy, I was in mind of something like Glenrothes or the 15 year Laphroig, either of which are great single malts without the silly price. Grey

Tsuba aren't great but nice enough. Send them to me and I'll buy you a bottle of very nice single malt. Grey

Jumyo. Grey

Hi guys, The JSS/US needs some help; We don't have enough articles for our Newsletter. This has been a growing problem for some time but it has become particularly so recently. We are currently in the beginning stages of 2 projects: translation and publishing, that I'm sure will be well received once we get them out, but work on them is dependent on having enough money coming in through member fees and member fees are dependent on having an interesting Newsletter to attract the members. If any of you would be willing to write for us we'd sure appreciate it. It doesn't pay much (nothing, to be exact) but it will look good on your resume'. Articles don't have to be especially scholarly (although we won't complain if they are), just interesting. If you have something to offer you can email it to our editor, John Eliyas: eliyasj at comcast.net Thanks, Grey, JSS/US Publications

Peter, I'll take a guess at Nagahiro Saku (not sure if Saku is there). It might be easier to read without the chalk. Use a raking light to pick out the strokes. Grey

Ever since this thread started I've been wondering who polished the sword. Can you tell us if he was classically trained, self taught, or something between? Grey

This is more common on naginata than on swords. My guess on this piece is that the lacquer was added to disguise a defect inside the hi. If not for that then it is cosmetic (flash); not much practical reason to add the lacquer. Grey

Hi Carl, If you live in a humid climate it is best to keep oil on the blade. If not in a humid area the oil probably isn't necessary. See the links above for the NBTKK American Branch Sword Care and Etiquette Brochure, which explains how to oil. Otherwise, keep it dry and out of the reach of those who don't know how to handle it. Grey

Hi Ray, Shows, not auctions. 3 days of buying & selling in a large room with about 100 dealer's tables. Website for Tampa: tampajapaneseswoedshow.com Chicago: midwesttokenkai.com San Francisco: ncjsc.org/SF_token_kai.htm And if there is a site for Minneapolis I don't know of it. Maybe CB can fill us in. Grey