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.

Just for the sake of reference, I have attached a photo of a Hamano Masayuki (Shozui) fuchi /kashira I own. It has NBTHK Hozon papers. The original Masayuki has what I find to be a distinct signature, though it evolved over his life. As for Haynes- well... he did that on quite a few people. Christies London insists that Hirotoshi is the wrong reading and that all educated Europeans know that Haynes is wrong. "What!?", I said. I tend to agree with Haynes. Thank you for the information Ludolph.

Your tsuba is Echizen. I should be able to read the name right off, but it escapes me at the moment and I am without my books. Your avatar is a nice tsuba. I owned it at one point. I found it in Japan. I know it doesn't show up in the photos, but have you noticed how the sukashi of the flowers floats on the grainline of the tosho tsuba? Good luck!

What Ted said- IYEHISA Kashira is Higo. Iron looks Higo or neighboring school, as sometimes they get very close looking. Gut reaction is that the inlay does not look Kaga, unless it is late Kaga. But shape of the fuchi is not quite what I would expect for main Higo school. I am away for the summer and do not have my references. Ah- I just read all of Rich T's post. I guess Haynes mentions two Kaga Iehisa working in silver hirazogan. Hmm. I would have thought it more Higo. I would have thought it later work.

Dear Rich, Send me a photo offline?

Peter, I was wondering the same thing. Anyone in Japan able to answer this?

I would give the blade the benefit of the doubt that it is actually Nihonto. I do not know that the signature is authentic. (Edited) Regarding the length of this tanto, I forget the rules on registration. I've owned an O-kogatana longer than this that had no registration problems in Japan, but not sure what the length rule is and how it works between tanto vs. an O-kogatana.

Dear Tree, I find those pictures a bit more helpful. If you have the Nihonto Koza Kodogu volume (Watson translations), look up the Satsuma tsuba section and see the related examples. I am not very knowledgable on Satsuma tsuba, and would try to go off the iron to give an opinion as to Satsuma vs. Shoami. Circling tiger theme, plus bamboo edges, and the gold vine paulownia scrollwork along the edge all look Satsuma at first glance. But looking at the seppa dai, spacing of elements, and (if in hand and I had a magnifier glass) how the gold has been applied might all point to it being a shoami tsuba. On the whole, a decent looking tsuba in my opinion.

Tree, I am surprised no one else answered. The cirlcing tigers and some other things point towards it being a Satsuma tsuba, though it may also be a Shoami copy as the design became very popular. That is my read on it. I will try to add more if you have better photos. Personally, I'm not too fond of tiger themes (or dragon themes)- but that looks like it was a good purchase.