Grey Doffin

Katsumasa, I believe. Grey

I was thinking the same when I 1st saw these pictures, and also the pictures of the katana that Gary posted. I wonder if the extreme closeup picture might be part of the problem, if any nakago seen this close would look burnt. Gary, when you handle the nakago does it feel dry and coarse or smooth and waxy? If the 1st you might suspect retemper; if the 2nd it would be helpful if you could post pictures of the nakagos not quite so closeup. Grey

Hi guys, I'm proofing the next issue of the JSS/US "Newsletter" and just spoke with our editor, John Eliyas. John tells me that the Token Society of Great Britain has discontinued publishing their Newsletter (correct me if I'm wrong) and he has been contacted by at least one person with an article for the JSS/US that normally would have gone to the Token Society (I've read the article; it's great). If any of you are looking for a new home for your articles, John would love to hear from you. His email is eliyasj@comcast.net Thanks, Grey

You could try, also, David McDonald in Montana. He does excellent work. Grey

Tobacco pouch ornaments, I believe. Grey

Hi Bob, The problem with Never Dull is not just what it does to the hada; it tends to make the steel look like that of a low end gunto in polish: bright, shiny, and lifeless. Grey

As yet I've not come across dried old oil or cosmoline or whatever was used that didn't soften with an application of sword oil left in place for a day and then wiped off. Grey

Hi Robert, I saw this sale and was thinking Sukesada also. Mei looks poorly cut but that could be condition related. Stop with the Never Dull, unless you want it to look like a machine made gunto in good shape. Never Dull will make it look bright and shiny and featureless. Grey

I've never heard of filling the fukure with lacquer/laminate but it is done with steel on occasion. This fukure is so large and located in such a terrible spot that I doubt anyone would attempt the repair. The gun shop can sell the sword as is for any amount they like, to a willing, but not informed, customer. Grey

Hi Adam, Maybe lighting but I doubt it. I think retemper is more likely. The burst fukure may be the result of retemper but in any case I would consider it to be fatal. The blade is toast. Grey

Hi guys, 1st, let me say that this wakizashi appears to be a nice blade and what I'm about to say has nothing to do with it in particular. This post, another under Kodogu about a tsuba that may have been purchased too dearly, and so many other posts on NMB by beginners too anxious to own Nihonto, bring us back to a very familiar refrain. If you're new to this study and you have money burning a hole in your pocket and you simply must buy something, pretend you're listening to the chickens. Can you hear them off in the distance? Do you know what they're saying? Listen carefully. Book, book, book, book, book, book, book, book, book. Study first: attend shows; look at great stuff; ask questions; join organizations which publish; buy books; read and reread them; and then buy swords and kodogu. Only with knowledge will you make intelligent decisions about buying. Grey

Not sure about the wakizashi but the katana is signed Bishu Osafune Sukesada Saku and dated Tenmon 13, 8 month (1544). The katana has more problem than just the huge fukure; the patina on the nakago is messed with also. Grey

A swordsmith working about 1688. Grey

But, you could ask a polisher what it would take to fix the boshi. If it were my sword, and one I wanted to keep, and if I knew that the chip would bug me always (it probably would), I'd send the picture to Bob Benson or another properly trained polisher, and ask him what he could do and what it would cost. Easier to decide when you know what your options are. Grey

Hi Peter, The hada shows nicely but the hamon/yakiba have been obscured by the polisher's finish. All I can see is hadori. Grey

Thank you; much obliged. Grey

Hi guys, If someone would be so kind, I'd be most grateful. The Romanji, please for these 2 book titles. Thanks, Grey

There is a well written and thoroughly researched article entitled, "The Evolution of Habaki" by Andy Mancabelli in Kokusai Tosogu Kai: 5th International Convention and Exhibition. Grey

Hi Patrick, Don't want to damage the binding on a scanner; here are a couple photos. Grey

Hi Melissa, The signature reads, "Enju Minamoto Kunitsuna". None of the references in my index include him. Hawley's has him in Higo in 1830. Grey

Hi guys, I wonder if I'm not the only one here who'd rather not read between the lines. No one was arrested, the rumors can be put to rest; can't we all just agree that's good news, good enough, and get back to Nihonto? Please. Grey

Hi Edward, I don't have the answer as to which way the horses should face but the handle wrap (tsuka maki) looks very poorly done. I wouldn't be surprised if an amateur job got the menuki placed incorrectly, and no great loss if it needs to be rewrapped. IMHO. Grey

Oops; my bad. I have written to Stephen. Grey

Great idea, Brian. This is a wealth of very interesting information. If someone here would be willing to work on this, compose it into a series of articles or even whole issues of our Newsletter, please contact me. I'll give whatever help needed and let you take all the credit. Love to see this arranged logically in print. Grey. JSS/US Publications gdoffin@cpinternet.com

I understand that there exists a bias in Nihonto collecting circles against non-Japanese craftsmen/artists, and I suspect that this bias is unlikely to change anytime soon if at all, but I think it's silly. I can be proud to own tsuka-maki done by Dave McDonald, a fine habaki by John Tirado is no less fine due to his ethnicity, Ford's tsuba are art (no prefix necessary), and if I collected shin saku-to it shouldn't matter who made it, only how well it was made. Remember: buy the blade, not the name. Grey