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Ray Singer

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Everything posted by Ray Singer

  1. On a blade that has lost so much material, additional polishes are even more likely to uncover issues and make the blade even more tired.
  2. This is the outcome after polish has resulted in a dramatic reduction in the width of the blade. This is seeing both in blades that have been polished many times over their life, and also due to the repair of damage (hakobore) requiring narrowing
  3. https://www.militaria.co.za/nmb/topic/12725-nakago-translation-request/
  4. Your sword appears to already have a Hozon kanteisho. Is your intention to resubmit it with a hope to get a different result?
  5. Thomas, I have the session 25 book here in my library. Please check your inbox. Best regards, Ray
  6. 天照山作 - Tenshozan saku https://www.google.c...yD_EQ0pQJKAB6BAgBEAI
  7. Before the thread gets shut down, I haven't generally found the yen values to be an accurate valuation that I would suggest anyone look at in a serious way. They seem more valuable for relative, comparative evaluations in the same way that other rating systems' tiers work. It may be that they were more relevant years ago when the Toko Taikan was written, but when I look at those values today and think of what a perfect, ubu Juyo example of a smith's work would list for the yen values do not line up.
  8. No, it does not represent your sword because the bio that you shared above is not the swordsmith your sword was attributed to. Your sword was not papered to Yoshimasa, so the rating of Yoshimasa is not applicable. Jo-saku is the middle tier of five tiers within the Fujishiro rating system.
  9. 3.5M yen in the Toko Taikan is a relative value (like a point value) and does not represent a real price estimate. You cannot use the Toko Taikan to price your swords or say that a blade is actually worth such-and-such million yen.
  10. This is not the same attribution. Your sword is not papered to Yoshimasa. As I said above it is papered to shinto Chikuzen Nobukuni.
  11. As far as the papers they only go as far as to say that this is Echizen Kunitsugu. And I believe this is an NBTHK kicho ninteisho, rather than an NTHK kanteisho
  12. Absolutely, current valid NBTHK papers do give added value. The attribution is shinto period Chikuzen Nobukuni.
  13. That's fantastic, congratulations Chris. Glad to hear the outcome.
  14. No generation is indicated, just the attribution you stated.
  15. It is definitely older than the 1940s. Perhaps an old Sue-Soshu blade, like Shimada. Late Muromachi period.
  16. Listing a very impressive ubu middle Nanbokucho tanto attributed to the Bizen smith Osafune Morisuke. The blade has two sets of NBTHK kanteisho, both Hozon and Tokubetsu Hozon, stating this attribution, along with the Tanobe-sensei sayagaki below. The hamon is ko-gunome and the jihada is a beautiful itame with utsuri. The nagasa is 9 sun 7 bu, and the sword has a wide mihaba. The nakago is ubu and typical of middle Nanbokucho Bizen. The overall sugata is very similar to Nanbokucho Bizen Tomomitsu and Yukimitsu tanto in my collection. This is now available on consignment for $6,750 + shipping & PayPal. 備前國⻑船守助 但⽣茎無銘也。時代南北朝中期同⼯ニハ延⽂及ビ貞治ノ年紀ヲ有スル在銘作ガ存在シ本作ハ其ニ頗ル近似シ出来優矣 本作刃⻑九⼨七分弱也惟時⼰丑季弥⽣良宜⽇探⼭邉道識「花押」 Bizen no Kuni Osafune Morisuke Tadashi ubu-nakag mumei nari. Jidai Nanbokuchō-chūki dōkō ni wa Enbun oyobi Jōji no nenki o yū-suru zaimei-saku ga sonzai-shi honsaku wa sore ni sukoburu kinji-shi deki iu nari. Honsaku hachō kyū-sun shichi-bu chaku nari Koretoki tsuchinoto-ushidoshi yayoi ryōgi no hi Tanzan Hendō shirusu + kaō Osafune Morisuke from Bizen Province [This blade has] An ubu-nakago and mumei. Morisuke was a smith from the mid-Nanbokuchō period and there exist work from him which are dated between Enbun (1356-1361) and Jōji (1362-1368) and which are very similar to this blade, which is of an excellent deki. Blade length ~ 29.3 cm Written by Tanzan Hendō [Tanobe Michihiro] on a lucky day in March of the year of the ox of this era (2009) + monogram
  17. This is a beautiful gendaito by Hizen Yoshitada which emulates the tradition of the Hizen Tadayoshi school in modern times. The Tadayoshi school was one of the preeminent groups of swordsmiths working during the Edo period, and maintained the high standards of quality during that time. This sword is by the gendai smith Kinoshita Yoshitada, who was a rikugun jumei tosho smith during the Showa period who won 1st seat in the 1941 shinsakuto competition. The hada is a fine ko-itame absolutely covered in ji-nie which reminds of the konuka-hada the Tadayoshi school was renowned for. The hamon is a beautifully executed suguha with deep ashi and yo (again, in the Tadayoshi style). The sword is in shirasaya with koppa-maki and has a gold foil habaki. The nakago is beautifully signed and has been maintained in excellent condition. The Yoshitada also has an accompanying shin-gunto koshirae with smooth green saya. Mei: Hizen (no) kuni junin Yoshitada kore o tsukuru Nengo: Showa ju shichi nen ni gatsu Nagasa: 60.8cm Moto-haba: 3.2cm Sori: 1.4cm Kasane: 0.78cm $4,250 + shipping & PayPal
  18. Listing this one on behalf of a good friend, and one who tries to only buy healthiest and most fault-free swords he can find. This is a very healthy, ubu, mounted katana by the famous Jojo-saku Shinto Horikawa school smith Dewa Daijo Kunimichi. The blade has a long nagasa of 71.8cm / 28.3" and a perfect nakago with clear mei. In high quality Japanese polish, two piece gold foil habaki, shirasaya and a nice koshirae with Soten style fuchigashira and menuki having a samurai theme. Being sold for $8k + shipping and PayPal. This is an excellent price for such a high quality, healthy and mounted Kunimichi in koshirae. KUNIMICHI (国路), Genna (元和, 1615-1624), Yamashiro – “Heianjō-jū Kunimichi” (平安城住国道), “Dewa no Daijō Fujiwara Kunimichi” (出羽大掾藤原国道), “Dewa no Daijō Fujiwara Rai Kunimichi” (出羽大掾藤原来国路), “Dewa no Daijō Kunimichi” (出羽大掾十一辻). He was first a student of Iga no Kami Kinmichi (伊賀守金道) but studied later also under Horikawa Kunihiro (堀川国広). He signed his name in his early years with the characters (国道). Another one of his early signature variants, (十一辻) for Kunimichi, is a wordplay: “Kuni” can also be written with the characters “nine” (ku, 九) and “two” (ni, 二), added-up “eleven” (十一). The character (辻) is read tsuji and has the meaning “road,” but road can also be written with michi (道・路). Sources that do not know this wordplay quote the reading of the characters (十一辻) for “Kunimichi” therefore incorrectly as “Jūichitsuji.” After his studies under Kunihiro, and at the latest from the 14th year of Keichō (1609) onwards, he signed his name Kunimichi with the characters (国路). The name change is probably not connected with the receiving of the honorary title Dewa no Daijō because he signed this title also in combination with the variant (国道) for Kunimichi. Kunimichi was active over a very long period of time. We know dated signatures from the 13th year of Keichō (慶長, 1608) to the second year of Kanbun (寛文, 1662) which makes at least 55 years. But regardless of this long artistic period, Kunimichi is also considered as one of the most productive smiths of the Horikawa school. His year of death is unknown but there exists a date signature of the fifth year of Keian (慶安, 1652) with the information “made at the age of 77” which calculates his year of birth as Tenshō four (天正, 1576), And the latest extant date signature is from the ninth month of Meireki three (明暦, 1657) and is combined with the information “made at the age of 82.” This signature is finely chiselled and it is therefore assumed that the blade is one of his latest works. The exact date when he received his honorary title Dewa no Daijō is not known. The earliest blade signed that way is dated with the eighth month Keichō 20 (1615). Therefore it is assumed that he received the title around Keichō 19 or 20. His use of the character “Rai” (来) in some of his signatures alludes to a connection to the Mishina school as certain Mishina smiths signed with Rai too. Another support for this theory is that he signed his name during his early years with the Mishina-michi (道). Kunimichi was active over a very long period of time. We know dated signatures from the 13th year of Keichō (慶長, 1608) to the second year of Kanbun (寛文, 1662) which makes at least 55 years. But regardless of this long artistic period, Kunimichi is also considered as one of the most productive – and also best – smiths of the Horikawa school. Thus we find blades with a Keichō-shintō-sugata and such with a foretaste of a Kanbun-shintō-sugata. We know works in the Keichō-shintō style of Kunihiro but his strong point was a flamboyant hamon with variation in the height and depth of the yakihaba and excellent nie and nioi-based hataraki. When working in the shintō style he forged a dense ko-mokume and the hamon is here an ō-gunome-midare that bases on an ō-notare, but also an ō-gunome-midare or gunome-midare is seen. Partially the gunome elments are densely arranged and look like single midare elements. The bōshi is a ko-maru agari that tends to midare-komi. When he worked in the Yamato tradition he forged a mokume mixed with a noticeable amount masame. The hamon is in this case a chū-suguha in ko-nie-deki with uchinoke and the bōshi is ko-maru or ko-maru agari. jōjō-saku
  19. Noshu ju Sukenobu saku 助信
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