Curran

I do not believe there are any English websites. I went to the two Japanese websites I knew that offered tsuba made by modern smiths. With the better smiths, prices have been escalating in the past few years. It seems now that almost all the tsubas have sold. There are only 2 or 3 left out there. Image attached is of my Issei Naruki. Obviously, I like his work. It is a great display piece. Curran

List- I firmly believe the second one to be a modern. HOWEVER: It has been intelligently argued with me privately that the first one might be real and just suffered a number of sequential abuses. In CSI investigation form, I see real value in the arguements. I don't know if the first one is modern or just an abused antique. I need to take a long look at this one. I did not like the 'rust' in the insides of the sukashi walls. If real, this one would be a project needing classical TLC. I do not like to gamble on ones like this, but I have once or twice before- usually on ones with unique designs. This design lends itself to forgery and has already been seen in modern repros. (In the spirit of Clint Eastwood's "Dirty Harry" character) We have to ask our punk selves "do (we) feel lucky?". By profession, I am a gambler. When it comes to my nihonto hobby, I really am not. Ceasar's praise to those of you who bet this is real and are right. Curran

Repros vs. Modern tsuba smiths... These repros should not slander some of the modern tsuba smiths. Like gendai swords, some of the gendai tsuba in the last decade have been phenomenal quality. These repros are getting much better. At first glance some fool me on the web. Yes, the way to know them is study, study, study. Often the repros are copies of better known or famous designs from books. If you know the originals, you have a good sense of the geometry being off, especially in the mimi or the spacing of the sukashi. So the repro makers do better trickery with simpler designs. Some are very hard to tell as repros from web photos looking only top down. In hand the patina and characteristics of the iron tell a lot. It is more difficult from a photo. With these repros that are pickled to make them older, the "correct" rust in the sukashi and other areas does not seem correct, etc. Then you look to other evidence. The evidence adds up and if I cannot see enough evidence in photos or know the seller, I just let it go past. Even the experts have difficulty. I know both the NBTHK and the NTHK (NPO) have both papered tsuba that I am highly certain were very skilled unsigned moderns . But the NBTHK & NTHK are also quick to bounce anything they think modern. I've known them to bounce fittings judged authentic by the other organization (NBTHK vs. NTHK). The Yoshikawa NTHK seems especially quick to "error on the side of caution". I cannot blame them, but it must be frustrating to the owners of the items. Curran

Dear Jake, Sounds like you have done fine reading the signature. Please post pictures of the signature, if you have them. Photos of blade are nice, but not necessary. Then someone might be able to comment on smith and particular generation. Other list members know considerably more about Masatsune than I do. Otherwise, state where you are (country, region, state, etc.) and list members will try to direct you to an appropriate person or club. last... list protocol is sign off with your name-- and last initial if there is a chance someone has the same name as you. Respectfully, Curran C. ...currently in Darien, CT

I would just say "Nara school" as a safe bet. Late Edo kinko tsuba that doesn't give much evidence. Someone else might be able to add more insight.

I've been sticking to fittings these days, but that 3000 UKP barrier is going to mean few tsubas, menuki, f/k in the auctions. I'm also curious what it will mean for some of the items like the Japanese prints. Will they just slowly kill off their Japanese departments? The interesting thing is many of the banks and investment firms are moving back in Japan real-estate and other avenues as it becomes an increasing trade partner with China & India (tariffs dropping) and finally betting on somewhat of a Japanese resurgence in the next 5 to 10 years. They finally burn through 20 years of bust and the bust-generation children come of age while the post war generation retires. Japan revival faces a lot of headwind (aging population, etc), but it will be funny if the auction houses zig away from the market, only to find demand increases. Who knows? The Asia department shift may just be selling new wealth China, just putting Japan kept on the back burner. But they have price a lot of us out of wanting to buy from them, and the photo quality / description accuracy so erratic that I am not sure I would bother with some of the catalogs.

I don't know what justifies the bump from +20% to +25%. Per my short conversation on the phone, the woman said roughly that it was their decision after having re-assessed the North American market. I think it is _only_ on the first $20,000 you buy. In some accountant's mind, that just means an extra $1000 out of Joe Schmoe's pocket and the rich don't care. Get that short term revenue up! Not their fault if they drive away more educated buyers. I assume this is all New York or North America auctions. Not just the Japanese/Korean one. But it does seem another nail in the coffin for Nihonto from the New York auction house. This can mean that the bidders will be more doctors, lawyers, finance gurus that know nothing about what they are buying; as the collectors like myself just are going to find it masochistic to try and buy from Christies. Having worked with a seller on a previous auction and seeing Christies screw up the photography, descriptions, care, etc.... I'd hesitate to sell throught them. If the items don't sell, they still skin the seller for shipping, photography, etc. You really stick your head in the lion's jaw and ask it not to bite too hard. Does Sothebys (forgive the spelling?) still have a Japanese sale in New York? I knew they took a bath on the Sept. 2001 auction since 9/11 effectively made sure no one was there to bid. Christies probably views it as "sink or swim". Nihonto is a tight market and if the Japanese items can't absorb an extra 5%... they will cancel Japanese auctions and have one more day for Impressionist or Modern art auctions. I hope Japanese auctions manage to hang around for a few more years, but not sure I will bid when there are better avenues than lining Christies' pockets with extra gold. It was just chance I read the right fineprint on the correct page. Otherwise I wouldn't have known until the checkout window. I don't think they've done anything to alert people to the extra 5%, so it should sneak up on a lot of people.

I spoke to Christies today. Per the phone call: P. 318 Buyer's premium of +20% (This page is wrong). P. 320 Buyer's premium of +25% (This page is correct). So it is now +33.375 % on top of hammer price. Curran

Yes, Mr. Morita said my exact thoughts... It is nice to see a blade well done in sashikomi polish. I see too many blades done in keisho that I think really should have been in sashikomi.

Dear Remy, Ah! Thank you for the explanation. I think I'll just go stand in the corner now, with my 'DUNCE' cap on.

Dear List, I picked up a copy of the latest NYC Christies auction for Sept 18th, 2007. After reading through it a few times, I checked the legalese in back. I have not done this in a year or two. Previously the buyer premium was +20%, but there in the fineprint was buyer premium at +25%. So is it now +33.375% (25% + NY sales tax)? Harsh.... It would scare me away as a potential bidder, and disinclines me to give anything to Christies to sell. Anyone know when the jump up occured? I'm curious to know, since Christies sales seem to have dropped a bit as of late last year. Curran

Ludolph- April Fool's Day joke? To me the reference mei and the photo signature look _exactly_ the same. Are the reference mei and photograph the same blade or is there some natural variation I am missing?

Dear John, I do not think I can add more here than you already know. In the past two years I've come across of highly talented artisans that are not listed in my references. I think Ludolph has even better resources than me.

Richard, Pretty awesome image. Ready for a bunch of us to ask you to photograph our swords?

My two cent opinion was that the boshi looked wrong for Kanemitsu, but Darcy already mentioned that. Darcy's Bizen book has a great write-up on Kanemitsu. I heard about that Enbun Kanemitsu, but did not know that people thought it gimei. I hope to see that blade some day, if it remains in North America.

huntershooter (Todd M.), Pear skin is difficult to photograph in a way that truely captures what it looks like on a long blade. It is often found in Hizen blades and is very tight or fine. Occassionally someone will try and claim a blade with little or no grain and old polish is nashiji hada, but not true (this is my own personal experience as a newbie many years ago). I am afraid this is something best seen in person. A member of the New York club that collects Hizen blades showed me a good example once- and it has been my mental reference since then. Maybe Darcy has a photo? Curran (aka. Curran Campbell)

Dear John, If you have a photo of the signature, please post it. Your f/k sounds similar in construction to a tsuba I sold earlier this year. Curran

Ricky- What day and time? 3rd Sunday of the month? I visited Bill today and looked at his sword. I'm fairly certain it is Yamato from the Nambokchu period. Probably Senjuin. The geometry was a bit deceptive in the photos. Great blade that has seen better days, but I don't see any fatal flaws. Hard to tell about the grinder damage. I don't know if it will survive polish, but much more interesting than most I see. I think Kodama or Kunio should look at it and either confirm or nix my opinion. If you have his contact info, let him know he should come in. Curran

Yes, Kunio is a great resource for ID of the blade. He is in lower Manhattan. Ironchef-, is that you Rick?. I don't have Kunio's contact info. Is the club still meeting at the Times Square location, Mr. Grannick's boardroom? Ultimately I recommend the NY club for info. Moses and Kunio are usually there, and hopefully Kodama too. Curran

Dear WM, My wife and I are renting here in Darien, CT. We are Florida residents that decided to avoid the hurricanes this summer. We were residents of Jersey City for over a decade, and I have remained a member of the New York club since it is a good club. I will be attending the September meeting. We are staying on Post Road near the Trader Joes. If you want to arrange to meet, then feel free to contact me at: neobliviscar@yahoo.com I claim to be a 'fittings' guy more interested in things like your menuki, but I have a very good foundation of knowledge with swords. I have one of my swords here in CT and can give you a crash course academic introduction. The only drawback is that my extensive library is in Florida. The most comprehensively knowledgable person in the NY/NJ/CT area is an older Japanese gentleman in Jersey City. Moses is a well recognized polisher, and has a technical eye that can assess how well the sword would survive polish and if any serious damage has been done by the 'sharpening'. He is almost always at the NYC club meeting. If you are local, we can meet up any time after this Friday. I would be glad to do it, as my personal belief is I would like to see as many of these functional works of art preserved as possible. Curran Campbell

Dear Bill, I am in Darien, CT and there is another knowledgable collector in New Canaan. I believe Moses is in Long Island. You should attend the next NYC meeting. It will be in September (no meeting in August because of the San Fran show). If you are in the area, let me know. If you are in New Jersey, there are several good collectors in Jersey City and we can put you in touch with them. Curran

Dear Hank, Darcy told me about your post. My interest is mostly fittings. Nice koshirae you have. It looks like a matching set of waki-Goto fittings. Probably no signatures on any of the fittings then? Maybe signed on the kogai? The saya lacquerwork is very nice with skilled use of the crushed abalone shell (?) to get that stardust glitter look. The tsuka wrap looks like it has been *very* well maintained since WW2 bring back. Instead of same under the tsuka wrap, it looks like brocade silk was used? Any menuki? If you still have that box of tsuba, I'd love to see them. Just spread them out on a blanket and take a photo. It is a fun challenge to play 'ID that tsuba'. Best o'Nihonto to you, Curran

If soft metal tsuba, I do not know if you need to add the copper. I'd recommend against doing it, and leave it to a professional. It is very easy to damage the patina of some soft metal tsuba. If iron, then there are a number of people who can add the copper for remount. I've only had it done once. Some people do not feel this is necessary if the seppa and tightness of the mount is correct, but I do not practice, so one of the "swingers" should comment here. As a side note, I've also seen and own tsuba with brass, silver, shibuichi, and lead in place of copper. It would be interesting to hear a swinger comment on the use of ~lead~. I would think it too soft if the tsuba had much play. Curran

Here is a Toppei koshirae I own. It has a locking mechanism I haven't seen elsewhere. Some of the Toppei can be very unique. They seem to fall either into "very military" or "very splashy western influenced".

Dear Ludolph, Ah yes... I am dense headed. I should have known that. I have never studied the Echizen Kinai very much. Dragon theme is common in that school. There was a book out about the Echizen school a few years ago, but I did not pick up a copy. It was not a cheap book, but someone might loan you a copy. I believe it is the one photographed in Ludolph's link.