Vermithrax16

Been a bit since I posted, just not much to show. I was able to get this kozuka a while back. Love the motif, and it's a rich shibuichi, the type I love but don't see so much. A good friend suggested Mototada was a maker to compare to, and I have to say, he was spot on as usual. Certainly that deep relief style, though I am not sure it rises to the Mototada level. Shinsa soon. I love the piece, but it was in somewhat rough shape. Enter Ford Hallam, who did his magic of cleaning and restoration. Now the piece is as deep and lovely as I imagined. Excited for this one:

And some get a call out if left field, as we well know Jean. 😀

Thanks for sharing. Very good sword, as of late we don't get to see many.

The drum is a real highlight.

A Sa blade needs a long kissaki for me to want it. That said, both are weak for Sa.

I don't think of the Gokaden outside of the koto era. One of the examples from OP, Kunikane, often signed Yamashiro on his mei, it was regional at that point. Jason, if masame is exciting to you, you have excellent taste (I am biased). Please check out Darcy's site for Hosho works from Koto era. In the Han write up you mentioned, the kantei to Norikatsu, once you see his later works, will make sense when looking at a true Hosho. But there is no relation. Norikatsu worked with and studied with many of the top makers of the shinshinto era, but refined his work to classic levels IMO.

Picture this mounted, with the nice work showing on the edge.....very nice.

Goto Teijo (Mitsumasa) was the 9th generation mainline master. His works cover many motifs and are always a treat to see. Happy to be the new caretaker for these 2 kozuka. A long eared rabbit theme done in copper with rabbit done in silver. Nanako is small and fine and the detail of the rabbit body hair and ear features is excellent. A massive drum on shakudo, gold uttori. Again, the nanako it's excellent and while I tried to capture with photos, how pronounced the drum figure looks in hand is quite spectacular. This piece has a special meaning due to where it came from. Both feature a kiwame-mei by the 15th generation master Shinjo (Mitsuyoshi) which attributes both to Teijo and states they are as Teijo made them without alteration ('saku'). A very exciting Friday to say the least.

A little background and color on the Haruaki piece: http://www.aisf.or.jp/~jaanus/deta/g/gamatekkai.htm https://art.thewalters.org/detail/25617/tsuba-with-the-taoist-immortals-tekkai-and-gama/

Brian had a post about spending time appreciating and learning from the most skillful works when one can. I agree. Most of us mere mortals cannot afford most of the finest maker fittings, or even get access to them. But that should not dissuade from seeking them out and study. From examples, you can learn to spot poor work (inlay, engraving, patination) from good work. You can internalize the clever use of space as a medium in fittings, as it's surely a tool that makers used often. Themes and legends are often represented, from well rendered works one can lend that to evaluation of good works of the same. A couple of examples from "Pinnacle of Excellence: Sword Fittings of the Mitsumura Collection" that I have spent a lot of time looking at are posted below. I don't think posting a million pictures from books is a great idea, but I use this as a starter. We can resurrect this thread:

A fun and wonderful write up of some records sleuthing and effort sure to bring a smile to any nihonto lover's face: https://blog.yuhindo.com/the-hoshizukiyo-masamune/ Listing with unreal pictures: https://yuhindo.com/hoshizukiyo-kencho/

Why offer $700? Explain if you want.

Will check. Any to sort by new listing?

$1000? You can do WAY better in this market.

Blade looks very stout! Do you have any dimensions? Thanks for sharing.