ROKUJURO

Brad, it is the bad AO no KAMI. You can chase him away with oil, but you have to oil the blade regularly to keep him away. Don't use too much oil, a very thin layer will be sufficient!

BANZAN, please sign all posts with your first name and an initial, as is a rule here. From a technical point of view, a MEKUGI does not hold a Nakago. It just secures the three-dimensional press-fit of the NAKAGO in the TSUKA, and as Joe and Ken pointed out, a good quality TSUKA is the main thing to prevent failure. When it comes to reliabilty, the SAMURAI era was a realistic field of test, and they rarely used more than one MEKUGI-ANA. MEKUGI have to be checked on a regular basis, and they will show wear in case the MEKUGI-ANA has sharp (not slightly rounded) corners. Understanding the mechanics of a sword is as important as the correct movements of the respective RYU.

Jon, keep this one healthy and never (ever) touch a blade with your bare hands!

Sorry, I did not see that!

Olivier, it is TACHI MEI which may give a hint to the maker and the period. Without seeing full size, well focused photos of the blade, it will be difficult to say something helpful. MASATSUGU is a very famous name (SHINSHINTO), and the signature could be GIMEI (faked). This 'original' Masatsugu was a son of Shirokuma Nyudo Suishinshi Masahide (NIDAI). He was born in Bunka 13th year (1816). He studied under Masahide first. He also studied under Taikei Naotane. His blades look like those of NAOTANE. He passed away in 1860. So please compare the features of the blade AND then the signature. If the papers are o.k. this could be a very valuable blade.

Ford, are you sure it is a SHINCHU TSUBA? On the photo, I have more the impression of YAMAGANE. Some aspects of the work remind me of JOI. Of course, he sometimes used a variety of different techniques in one work, and often mixed KATA KIRI with others, more sculptural ones.

Bojan, that looks like MICHIYUKI to me (with KAO).

Different blades, Jean!

Stephen, no pink please! Leave it as it is, looks really great!

Thomas, if you recall how a TSUBA is made, and then look at the rim (two last photos), it is difficult to explain the little protrusions. They are not TEKKOTSU in my opinion. The 4th photo shows an indentation on the right side, which cannot be explained by the forging process nor by later file work. On the photos, the surface looks plain black, but I cannot see if this is indeed patina or paint. These are just my observations from the photos. To be sure, you should perhaps show the TSUBA to Ford Hallam.

David, from photos you cannot see and judge too much, but it seems that the blade was traditionally made, so it is probably a real NIHONTO and has a value. If the signature confirms the properties and qualities, then you have something really good that may be worth a professional polish to bring out the beauty. However, if the signature is not from the smith, but from someone else who used this famous MEI to make some money (or for other reasons), the value might not be as high. Nevertheless, it may remain a nice sword. My personal opinion from the pictures of the NAKAGO is that the YASURI-MEI is too distinct and fresh to confirm with the alleged age of the blade. But that is just based on the photos. No real expertise (which I could not supply) can be expected without seeing a blade in hand.

Kurt, the KO-SUKASHI is a KOSHI-NATA (a garden hatchet) I think. It is a very common design. In the first photo the MEI looks like NOBUIE to me, and that would be also a MEI you will encounter quite often.

Stephen, It is a very nice design and the execution is really good, I think. The value depends a lot on the former owners or if it was shown in publications. If there was a renowned collector or author who called this a masterpiece it would go up the price ladder!

Yes, HISHU.

Thomas, some details, especially on the MIMI, let me believe that your TSUBA may not be handmade. But to be sure, one has to hold it and have a precise look at it.

Bruno, it may be the photo or my old eyes, but your TSUBA does not look like 18th century to me. Is the glossy surface patina or paint?

PAX VOBISCUM!

'PROSIT' is the Latin version ('This is meant to be beneficial'). 'Prost' is a German derivation of the word.

This could be an effect of folding.

Franco, yes, I had the same impression. Very much KAGA. Concerning the smell, soot itself does not really smell strongly, depending on the origin. Maybe there was something in the TSUKA? Perhaps a thin strip of wood glued in with natural (melted) resin?

Ken, 3.5 mm is perhaps not too thin for a HEIANJO TSUBA I think, but it would be too thick for an early KATCHUSHI or TOSHO TSUBA. On the other hand, there was not much sense in repurposing an old TSUBA plate, as making a new one was not so much work. In my understanding, using an older plate for decoration was not very often done, and in many cases, you wouldn't end up with a much better or more beautiful TSUBA. Just my two ¥.

There are indeed many very good Japanese potters! Among others I like ARAKAWA TOYOZO's style.

Luca, folding and fire-welding the steel of a TSUBA plate is a common process, especially for the earlier TSUBA. Scrap steel was often used to make these TSUBA, so some pieces were welded together and hammered out to a plate. In the case of your new TSUBA I don't believe in an early date (former KATCHUSHI TSUBA) because of the considerable thickness of the plate.

A silver "robster" of 23 cm length, weighing 45 g? Sounds a little questionable to me!

MATSUYAMA no JU KODA MUNEYOSHI. My feeling is that the signatures are not close..