Grey Doffin

The new board is working well but I do have 2 thoughts. I think having to confirm that I want to mark a forum as read is unnecessary (and annoying); I can't imagine clicking Mark As Read by accident. And -- this one has been with me for a long time -- I wish the ENTER NMB page said "I agree to the terms below" rather than "I agree to the below terms". And if neither of these happen, somehow I'll survive. Thanks, Grey

In my humbled opinion: On this tsuba the design is partially on the seppa-dai. There are 2 types of tsuba where this is expected: Very late Edo/ Meiji pieces made by top quality kinko artists who were working largely for a western, tourist audience because the Japanese market for swords and kodogu had dried up, and modern fakes. This tsuba isn't one of those in the 1st category. I know this is a great generalization and there are exceptions to every rule but, in this case I think I'm right; this is a stinker. Grey

Hi Mike, Bishu Osafune Sukesada and Yoshinaga, I think. Grey

Hi Scott, Not an expert but the Kanji on your sword read Katsumitsu, which is the sword smith's name. Can't see a lot from your pictures but I can tell you that the sword predates WWII, maybe by a lot. This is a traditionally made Samurai sword and should be handled carefully. Here's a care and etiquette brochure you should read: http://nbthk-ab.org/cleaning-maintenance.php I'm in the States also. If you have questions you'd like answers for feel free to call. Best, Grey Doffin 218-726-0395 central time

Hi Joe, The better Choshu tsuba have a blue tint to the iron, which it appears to be the case with this one. There is a spot of rust at 10:00 in your picture; a bit of fussing with antler/ivory should improve this and is well worth the effort. Grey

Hi Mike, To answer your question about which wood to use for shirasaya, you want something with a low acid content. This leaves out oak, which is known for its tannic acid. I think you'd want to work with something a bit softer than a dense hardwood like oak or maple and straight grain will make the work easier. You also want to use a glue that won't tarnish the blade or cause problems if any squeezes into the cavity during glue up. Glue made from sticky rice is the traditional answer. Grey

Hi guys, Markus Sesko came to the rescue with a translation. See it and more (maybe better) pictures of the piece here: https://www.japaneseswordbooksandtsuba.com/store/tsuba-%26-kodogu/f208-special-order-kotsuka-okikazu-spectacular-dragon Thank you all, Grey

Thank you John, I also have a problem with that 2nd kanji; it doesn't appear in the dictionary. Does anyone know what it is? Grey

Hi Guys, May I have romaji and translation for the gold inlay and mei on this kotsuka? It will be for sale. Thank you, Grey

Hi Mike, The mei is Jumyo. It is a real sword but not even close to being worthy of restoration; don't spend any more money on it. Learn what you can from it and then try to move up to something in much better condition. Grey

And if one of the polishers is in San Francisco and it is not Jimmy Hayashi (who is a classically trained polisher and who does excellent work), don't go there. There is an organization in San Francisco that advertises restoration but they have a well deserved terrible reputation. Grey

Hi Phil, Best guess is that this is the end of a broken sword repurposed after WWII to sell to members of the Occupation Forces. No real tanto is ever shinogi zukuri; that is an easy clue. Grey

Thanks Brian, I'm in. Grey

I am unable to log in using my name and the password I've had for years. I think I'm able to post this because I created a new account as Icant Getin. I have run into so many dead ends; so very frustrating. The procedures necessary to accomplish just this simple post were so needlessly complicated. Mark Jones has the same problem. Can anyone set me straight? If you send an email to grey at japaneseswordbooksandtsuba.com I'll be sure to see it. Thanks, Grey Doffin

Hi Kubur, The Art of the Japanese Sword by Kaap & Yoshihara is very good at telling you, with tons of pictures, how Nihonto are made, polished, and mounted. Out of stock on my site but you should be able to find a copy someplace. https://www.japaneseswordbooksandtsuba.com/store/books/b964-art-Japanese-sword-kapp-%26-yoshihara Grey

Hi Adam, I don't currently have a copy to offer but I am in the Nihonto book business and I've been told by customers in the UK that there is no import duty on books. Are you sure you have that right? Grey

Hi Niall, You would be doing yourself a huge favor if you didn't get either sword polished now. If you decide to study and collect Japanese swords and if one or the other of these swords is deemed worthy of the time and expense of polish and if at that point you decide that this is the sword you want to make the effort on, then have it polished. Right now you don't know enough to make an informed decision. Take some time to learn before you start throwing money at a project that might not make sense. Polish does nothing to preserve the sword; a light coat of oil does that. Go slow Grasshopper. Here is a care and handling brochure you should read: http://nbthk-ab.org/cleaning-maintenance.php Best, Grey

What Mark said. Grey

Hi Andrew, Unless something about the last owner is written on the tang (nakago), which would be highly unusual, there will be no way to identify the last owner. If you don't want to keep the sword you should research the reasonable retail value and sell it to someone who will appreciate and care for it. Grey

Hi, name please, Here is a short paper on care and maintenance that will show you how to properly handle and protect your sword. http://nbthk-ab.org/cleaning-maintenance.php Nothing has to be done to your sword now; it will be fine if left alone with maybe just a fine coat of oil (as explained in the paper). I don't think you want to go to the expense of a polish unless you plan to become a collector of Japanese swords or, at the very least, until you have learned more about the sword and know how to care for the polish so it isn't messed up shortly after you've paid for it. You should be looking for someone knowledgeable and honest who can see the sword in hand and tell you more about it and please stay from polishers who don't have the proper training (99% of those in the US who claim to know how to polish Japanese swords). Grey

Hi Adam, I'll start off with the horimono. Given the odd placement on just one side of the blade I would guess that it was added to a sword with serious defects to disguise. And I don't agree with the description, "done quite reasonably well". It leaves a lot to be desired. Grey

Hi Alex, You would be very smart if you didn't try to fix anything. Nothing about this sword needs to be dealt with now, and any future work should be done by someone with proper training. Well meaning amateurs have done serious damage to their swords and, since your sword may be important, you don't want to be one of them. Leave it alone, please. Grey ps. And for all of you who are quick to give do it yourself restoration advise to those who come here with a sword they know next to nothing about: please stop.

Hi guys, It has just been announced that the show, end of July beginning of August, will happen (unless the State of California shuts down again). Here is the notice: http://www.ncjsc.org/SF_token_kai.htm Curious: how many of us are planning to attend? Thanks, Grey

Hi Mark, To add to what Ken has said, shortening was very common. If the sword was made in Koto (old sword, pre 17th century) time, odds are pretty good that it is now shorter than it used to be. This was done because of changes in fighting styles and personal preference, as well as to conform to the regulations Ken mentions. Swords sometimes were shortened to hide defects; a ha-giri close above the machi would disappear into a new nakago if the blade was shortened. Damage in battle usually affected the other end of the sword and was less likely to be the impetus for shortening. Grey

Hi Mark, The new nakago/old polished portion may be annealed (unhardened), new yasurime (file marks) are added, and the area is either allowed to develop a patina or is patinated to match the old nakago. Grey