ROKUJURO

Stuart, Straightening a blade is difficult! Especially mono-steel blades (no traditional composite construction) need very careful handling and knowledge of their manufacture. Traditionally made blades are straightened with a special three-point vise-like device to prevent flexing and over-bending.

He is listed as selling from YOKOHAMA as well as from New York at the same time. That is called 'bilocation'. Marvelous!

David, I am sorry, try that one: http://www.sanmei.com/contents/en-us/p1531.html. It is the first blade on the site of SANMEI (Wakizashi signed Chiku-shu-ju Onizuka YOSHIKUNI). In general, you will probably receive no MEI confirmation here, as it is very difficult to base an opinion just on photos. As you can read here on NMB in so many requests of that type, the features of the blade have to confirm the smith and the time it was made, and the signature is a nice extra if it is correct (which very many are not). In this case YOSHIKUNI was a well respected smith of the early EDO period who was copied many times. So keep that in mind when you search in the internet for genuine YOSHIKUNI blades and OSHIGATA for comparison. Please be so kind to sign all your posts with a real first name plus an initial, as is requested here.

Chris, there are several SASANO books, but I don't remember having seen similar TSUBA in one of them. Maybe with some data (measurements) and informations (do you see TEKKOTSU?) we can try to find a school. By the way, nice TSUBA, I like them.

David (is that your name?), did you compare the signature with those of papered blades? There is one on http://www.sanmei.com/contents/media/T115819_W7590_PUP_E.htm

Brian, in most cases NAKAGO-ANA are not drifted open to size as this would cause the SEPPA-DAI to bulge. As far as I know, traditionally made openings of forged TSUBA were chiselled to size. Later in EDO times, a fine saw was used with a thin wire, oil, and diamond dust as abrasive.

If my memory still serves, I think I remember a thread on NIHONTO photography here on NMB by a professional. Brian will know.

Does not look like military.

Is that where you live?

Pluto, please be so kind to sign all posts with a real first name plus an initial, so we can address you politely. And please do not give your KO-WAKIZASHI to an amateur who will very probably ruin your blade with his polishing attempts! Have a professional have a close look at it. You have KUNITARO-SAN in Amsterdam who is a member here!

Very nice, Peter! I would like to see pictures of your other rooms!

Mike, the decision is up to you of course, but go slow with it! Have a renowned expert (Japanese trained polisher) have a close look on it first! A blade in this condition might have issues (HAGIRE, WARE, burnt in a fire etc.) that are very difficult to see! It could well come out as an interesting blade with nice O-GISSAKI, and if the workmanship confirms an authentic signature you may consider having it polished. The quality HABAKI and the decorated SAYA (not so much the TSUBA) may suggest someone cherished this WAKIZASHI - probably a wealthy merchant and not a SAMURAI. Think of the costs you will have to face (polish plus SHIRA SAYA, possibly new HABAKI, paperwork, freight charges, handling agent...) and of the market value after all that.

Sean, nothing supernatural - I have been studying the subject for almost 40 years now and I am still a beginner. You have to look at many good samples, compare, read books and articles, visit expositions and museums, go to club gatherings and - if possible - travel to places where you can expect to see high quality. It may be a long way, but it is fascinating and rewarding.

Sean, it depends on what you want to collect - and why. If you are interested in SAMURAI culture and Japanese arts and crafts, then a handforged blade like the first could be the way to go. The second blade is probably a mainly mass-produced (partially machine-made) military asset with a certain historical value. The important part is your study of the subject. By reading here at NMB and good books you should achieve a level of knowledge which enables you to identify what you see. Then you can buy with (a certain) confidence.

What a wonderful piece of art came out under the 'protective dirt'! High quality, saved by Ford's magical hands!

Chris, you have to know what you have and what your idea of value is. When you put it up with a price, you will get the appropriate response! I like this TSUBA and I would buy it within my budget limits!

Chris, it has similar design elements, yes (ITOMAKI), but is not the same iron and not from the same hand and period. It may even be from a different school, I think. But it is a nice one; I like it!

Petr, it is certainly not a military blade! As Geraint said, SOSHU province is a possibility. This may come out as a nice one if properly restored in Japan!

Chris, a really nice TSUBA! Symmetrical design and KAKU MIMI may be a hint to OWARI, although it looks quite stout, so may indeed be EDO. Are there TEKKOTSU on the MIMI?

Luca, are you sure that this is a genuine TSUBA and not a cast copy?

Brian, the scar is in the OSHIGATA.

Lmoirkie, if this is not your name would you please sign all posts with at least a real first name plus an initial as per Brian's rules? If your blade is less than 606 mm long (tip to MUNE MACHI), then you have a WAKIZASHI. It seems to have been shortened at one time in its history. If the signature is correct and all features of the blade as well (compare with http://www.samuraisword.com/nihontodisplay/CUTTING_TEST/Nezu-Yoshitake/index.htm) you will find that YOSHITAKE was active around 1680. But the age of a blade is of lesser importance, the quality is what counts. It might be difficult to judge your blade in that condition.

Josh, why is that high-end, good condition EDO MUMEI KATANA not signed? Your question cannot be easily answered. You will have to compare the blade's quality which might be difficult if one blade is not polished. If both blades were on the same level, you should look at possible costs for restoration. Eventually, you have to decide following your taste.

That is the problem

Chris, looking at the photos I think the second buy is much worse in condition than the first. It looks as if the SHINOGI has been ground away, and there is a big flaw in the JI. In my knowledge this is probably beyound restoration, because grinding everything defective away wouldn't leave much to admire. Possible age and a signature are nothing that add to the value of a blade. The TOSOGU of the first blade have lost all their patination through 'cleaning', so this is worse than painting a Michelangelo statue in pink.....