Peter Bleed

Indeed, this is an interesting post. I have seen - and even owned - some of the Dixie Gun works repro matchlocks, but had no idea that Pedersoli had made them. This deserves some research,,, please! Peter

I write in sadness to say that my friend Phil Wilsey died today. Phil and I were the Japanese Sword Society of Nebraska and in that role we arm wrestled and swapped together for nearly 40 years. We got along largely because Phil made gendai-to his specialty. He contributed insights and oshigata to several of the early treatments of gendai-to. That focus left occasional older blades to be available to me. He once found an orikaeshi-mei Sendai Kunikane katana that I still own! Clearly, a generation of collectors is passing. And I miss a friend! Peter

Man at Arms, a journal for gun and sword collectors, regularly features letters about readers’ interest. The latest issue - 44, no. 5:35 October 2022 - had a brief letter from Zack Marotte (address unknown) saying “I would be fascinated in learning more about Japanese Katanas used during the Second Sino-Japanese War (1937) and the Second World War (1939-1945).” The Editor’s response was positive and wondered if anyone might want to take on this challenge. People here on NMB certainly have the expertise and ability to produce the kind of article that is called for here. And it would be easy to point Zack and others to available sources. It might also be good for sword collecting and for the NMB. Sharpen your pens, colleagues. Peter

I get to do so few "deals" these days, it is hard for me to think of a 'deal breaker.' I see every opportunity as a discovery. I tend to move toward swords that might be interesting research problems, and away from blades that will easily turn out to be ordinary. Adventure is the key. Peter

Kiril is correct, and Kaga call on the basis of nakago-jiri is apt. Peter

Friends, this has been a very useful thread. Thank you. MNB at its best. I think I know much more about brass inlay than I could have suspected. The quality of the work is clearer to me. I thinking my assessment of early brass inlay is not higher than it was (I still find it challenging) but as a result of this thread I feel we/I understand it better. Like I said, Thanks. Peter

Yesterday I fell heir to an obscure – but interesting - bit of Japanese sword literature. Since I already own a copy of this item, and since “we” discussed it a decade ago (!) here on NMB, I am offering it here as a fund raising exercise. The item is a nice clean edition of the August 1966 SAGA magazine which presented an article by Allen Schwartz entitled “Million Dollar WWII Swords.” Frankly, the ‘article’ ain’t much, but it offers a couple of color photos of swords from the collection of Bumpei Usui along with a disjointed text. What IS remarkable is a list of 14 kokuho blades that disappeared into the Occupation Army. This list has become rather luridly famous – Sgt Coldy Bimore and all that. This article attributes the list to Albert Yamanaka, but I was never able to find it in Albert’s Newsletter. A fragmented copy of the article appeared here on NMB a decade ago. But if someone out there wants to own their own copy of this bit of incunabula, they can own this one if they contribute $50 (or more) to the Nihonto Message Board. You send a check to Brian, I’ll mail you the magazine. Slam dunk! Peter

I don't care what you CALL it, but it sure was nice having the Show right there in the airport! Peter

I would like to see more details of this blade and more specific description of the hada. Please! Peter

OK, I'll say it -- could this be a tricked out plane "old" disc with a variety of "coarse" elements? The Momoyama date is certainly a challenge, Apprentice exercise??? P

Luca, You present a very interesting challenge. Indeed, I have an opinion (and a personal judgement about the guard), but not nearly enough expertise to express it.... Peter

I am very interested in collecting so I am very pleased with this question and topic. Thank you GP It seems to me that “collections” can be judged from two sides: 1 1. the STUFF in them OR 2 2. the COLLECTOR who put them together. If you are interested in the first option, then a “good collection” would reveal accurate, useful information about the stuff being assemble - dinosaur bones, salt and pepper shakers, or Japanese swords. Making that assessment requires knowledge of BOTH subject matter – and relevant “background knowledge” – like evolutionary theory, popular culture, and Japanese history. If you take the other approach, and try to judge a collection in terms of the person, institution, or process that gathered it, then there are three – 3 – goals that have to be considered. These are 1 1. the size – generally big is better, the more in merrier. Was this collector happy ... or driven? 2 2. the range – does it reflect the full breadth and diversity of the material being treated and this requires mastery of the background – all those books. 3 3. the quality – does it focus on the really good stuff, ie pieces that are big, pretty, valuable. This requires mastery of both the background AND lots of money!

Michael, I sincerely hope that you will tell us the story. I also hope that you will do it in a way that you find agreeable and fun. For most of us, "collecting" is something we do for fun. We all have had "adventures" and made a range of discoveries. We all, also, have things to learn from the experiences of others. Peter

I am interested in assembling stories about how collections get dispersed. If anyone has information about how collections have been “dispersed,” I’d love to hear them. When do collections typically get dispersed. What have been good - and bad - strategies? What happens to the “objects “ when a “collection” gets dispersed? I would be very interested in hearing about things other than Japanese swords. Peter

Friends! We are tending toward negative(and, Ian, suggesting that 180 miles is too far to travel to see a sword is - well - laughable to someone from Nebraska - we drove that far for coffee). I think we should be looking for ways of 1) looking at things, 2) judging them to expand our understanding, and 3) discovering things we do OR DON'T need. Experts are nice but not essential. We need to support them, not add to their burdens. How hard would it be to set up occasional ZOOM chats were somebody shows something to whoever tunes in? Peter

A week ago I tried to ask a question about steps that organizations might take to keep the collecting community involved and active. My takeaway conclusion is that ORGANIZATIONS – as good as they may be – have a hard time doing this. But then I realized that there is a way of studying swords every day. In addition to dropping by NMB, I spend 5 minutes or so everyday visiting Aoi Art. Everyday, Aoi-sama rolls out a bunch of interesting stuff. I start with the Nihon-go, which is good exercise, and then I switch over to the English (to see what I got wrong) and there it all is, laid out and clear. Are organizations obsolete?

I think this has been a useful discussion, and, as Tom says, it does little good to belly ache. We all want to make sword collecting better Indeed, I was NOT complaining, but rather trying to find a way of encouraging exactly the kind of communication that Tom calls for. As Jeremiah says, I try to participate in on-line discussions when I am aware of them. I recently posted a green papered tsuba on the NBTHK-AB site (but so far I have had no feed back). Communication is tough, but if somebody is here on NMB, that shouldn't be either ignored or dismissed. Should the leadership be involved - at least listening to this community? Likewise, it behooves the leadership to welcome and encourage members' participation. My interest in sword collecting is basically Japanese social history - as it was manifest in Sendai during the Edo period. That is pretty esoteric and very hard to link to the monthly kantei puzzle. I would, however, like to take part in the discussion. I am sure that regional groups in Japan work together. Would it be possible for us to arrange a ZOOM discussion of the monthly challenge? Peter

Thank you very much, Ian. Indeed, I am once again planning to work on this project so I appreciate this encouragement. It arrive at the right time. Malleable brass rod is a bit of challenge, but I have some that will respond so I'm looking forward to the work. I have no power equipment so I am expecting to "forge" the piece. Slow pounding and frequent annealing! THANKS for your help! Peter

Well, gee. I have spent more time on this signature than I ever have on similar swords. I am challenged by a "Seki" character. And thru it we get some insights into the Amahide thing and we have ALL seen lots of them. They don't get much respect today, but I bet in a century or two they will be considered worthy of study. In that light this sword may be worth documentation. Peter

See, I wasted a moment, getting out Slough's book and Steve beat me to the answer. Ahh, the joys of collecting in the modern era! P

Dude's name was Fukumoto Kanemune. He made swords during the War Peter

So, do we think that tsuba/seppa was polished by the sailor - - or is it a post War treatment? Peter

The July issue of Token Bijutsu arrived today and I have to confess some dissatisfaction. I joined the NBTHK in 1968 and have always felt that being a member of THE sword society was a good thing to do, but now I am sincerely wondering if I should continue my membership. I find the web-page hard to access and unwelcoming. I don’t enjoy playing magazine kantei – and I am hardly the only one who feels that way. TWO Americans took part last month. What am I doing wrong? Can I make better use of the Organization? Is there something that might be done to help it? Am I missing secrets about how to use the organization? Or is it time to give it up? Peter Bleed

Wow, This is a wonderful thread. Indeed, I had eye-balled the guard that Roger used to open the discussion. I passed because I couldn't decide where it was created- initially - but it clearly wears a history of use on the continent. And then Grev showed us that it is a "type". WOW! Thank you all! Peter

I was about to just let this one pass, when I saw Sa (something) Kanetoshi. P