george trotter

Hi Brian, thanks for posting....amazing! Nice to see Civil War and Old West items of that quality. Regards

I haven't got all my books handy but being a Bizen Osafune mei I would think it may be one of the many Sukesadas. There were so many of them that to differentiate they used their personal name above their swordsmith name. I your case it is likely to be as follows: Bizen Kuni ju Osafune Shichi be i (cut) jo Sukesada (there is a Shichibeijo Sukesada in 1658 shinto hen 485)...or some other smith using this system. As you have the date it should not be too hard to pin it down to a couple of culprits working in this area and time. Good luck,

Hi Brian, very nice secure display. I don't see anything wrong with displaying your swords like you do, after all, it is done in nihonto museums in Japan. May I add a couple of comments...I would be inclined to display the nakago/mei as well? Just one word of caution to those who follow. Speaking as a former museum person can I say do not use any "compressed and glued" types of chipboard for your cabinets...the glue gives off a vapour, and over the years it can become detrimental to your blades, bags, papers and fittings. While there may be "neutral" products I am not aware of, I would urge the use of naturally seasoned wood. No glue, no vapour. Just my two cents. Thanks for sharing Brian.

Yes, a sad loss. The gang here in the west will all meet on Friday to farewell John. He will be missed. Sincere condolences to John's family.

I have seen several blades, including WWII Type 3 mounts, where the mekugi goes into a "blind" hole covered by same at the opposite side. Probably the only "easy" way to get it out is to make a small hole in the same and push it out, or do it using Denis' suggestion. Pics would help.

This signature could also be read Norimitsu. (sorry can't do kanji). There were a line of Norimitsu smiths who all signed "Bizen" and/or "Bishu", including in Eisho period. I don't have my Hawleys handy but you can check Fujishiro Kotohen pp.278-279 and the Nihonto Meikan pp.736-737. The quality of the blade seems better than the usual kazuuchimono of this period IMHO. The habaki is correct and seems to be of good quality. The menuki seem to be the usual Showa period pressed tin type seen on civilian blades taken to war. Hope this helps,

Hi Peter, Thanks for getting back to us on this. I have to agree that the blade was well worth polish and papers. A nice find. I know the paper does not confirm "Kiyo", but the pics of the mei make me feel comfortable on our original opinion that this is most probably Masakiyo. I would recommend that you never give up on checking every Masakiyo mei/oshigata that you come across and check carefully the blade features and the chisel strokes, yasuri of their works etc etc. ..and I expect one day that you will post a "breakthrough" discovery pic or some-such. Happy hunting and enjoyment of your tanto.

Well that is the first time in 40 years that I have seen a "family" blade mounted in a Type 3 gunto mounting. I refer to the Naminohira Yukiyasu (1866) blade. It says the blade was mounted for war in Sho 18. So glad, historically speaking, that they kept them together. Often wondered, but never expected to see one. Like they say...never say never in nihonto. Regards,

The kanji on top is "yama" and on the right is "roku" (six). Those on the left column are harder to read...maybe "x ta x ". Sorry, maybe Morita sensei or Moriyama sensei or Kunitaro sensei can read it for you? I think it is the fittings shop/order contract details....? Hope this helps a little bit,

The second inscription seems to be a slogan: maybe ICHI NO KEN JI (or fu, futatsu etc etc) I am not sure of the reading but maybe "double strength/health in the city and the field" probably meaning a good luck saying to a soldier wherever he has to fight. This is one for Morita sensei or Moriyama sensei or Kunitaro sensei I think. Hope this helps,

It looks like "gi" of gifu stamp. Top (mune) pic is too hard to see but since the lower pic is "gi" stamp (upside down), and they usually appear in several places on the nakago (and on the seppa dai on some Type 3 tsuba) then I say yes...gi of gifu. Hope this helps,

As james said above, surely overseas NBTHK members could apply to have their paper checked against an index of papered blades? The index is not open to all, but is checked by NBTHK staff. The NBTHK simply gives the paper number and date and the attribution (just the smith name/school name/date/length? would be enough to check your paper/sword against). If your paper with that number is different from the index, then you contact NBTHK for a new one (whatever the process is) and report the name of the person/dealer you got it from. I seems simple to me...maybe just offer this service to overseas members? Of course, it would bring in a flood of inquiries so maybe the NBTHK could charge members a checking fee and so make it easier on their costs in time and staff etc. Just thinking out loud....

I think Stephen got it first go...a thumbs up dude foot tapping his way to Nashville...oh yeah! Nice one Stephen.

Since ancestry has come up, I must say that I did not know that Bone was a French/Norman name. I have a Scottish ancestor named Sarah Bone 1784-1839 of Wigtonshire. I always though her name was a local spelling of the name pronounced Boone (as in Daniel Boone). Regards,

I might be wrong but I think the "French" spelling Stuart commenced officially around 1603 when James VI of Scotland became James I of England also. As for being related to a Stewart, I think most Scots are...all he did was go a-shaggin' every day.... :D Just the view of a sassenach borderer gomeral.

Motte Namban Tetsu kitae saku kore (Namban tetsu o motte, kore o kitae saku) forged/made this using southern iron. Is the mei one of the Yasutsugu den? Hope this helps,

That's a hard one Stephen. Probably Chris is the man for this one. I have had in hand: Kajiyama Yasunori (several - also his pre-Yasukuni work as Geishu ju (Hiroshima) Ujimasa) Kotani Yasunori (several) Shimazaki Yasuoki (one). This is only three smiths but I would put Kajiyama Yasunori at the head of these. Hope this helps,

Nicely written inscription. Who made the blade? Regards,

Actually, the original dragon? shown looks like Pictish art...I didn't know they migrated to the Middle Kingdom!

Hi Stephen, (last but not least), let me say...very tasteful. Refined and tasteful. I like them and the style. Congratulations. Regards,

While I initially raised the question of source material being a possible factor (I think it was me), I am also interested to know if utsuri is a "good" thing in terms of blade "quality for purpose". Does utsuri strengthen or weaken the blade?...is it deep? ...does it survive many polishes or is it soon polished off? I mean by this question, if high peaks weaken a blade by producing a hard brittle band almost across the blade, would utsuri not produce an overall harder blade, less able to diffuse shock? regards,

I know it does happen (pretty sure the Japanese word for doh! is kuso!)... I have a nicely signed gendaito and in the date he has left out the month, so instead of Showa 19th year 12th month lucky day (Dec 1944)...I have Showa 19th year 12th lucky day (which could be read Jan 12 1944) Guess these things happen....

Hi Paul, yes interesting and logical points. I just thought there may be a "major" link to the source metal, but as you say, (I think) it was different types of utsuri for different schools/locations and they were consistantly different, so it must include deliberate intention. I wonder if anyone knows some modern tosho who make utsuri...have anyone asked them about this (choice of metal...choice of forging temps/techniques) and such matters. Thanks for your responses regarding utsuri and hadori Darcy...especially your comment that utsuri can be seen on a hadori blade from any angle. Regards,

At the risk of being accused of trolling, can I ask two questions and make a comment ? Can I ask, (I think this was touched on) is it possible that certain groups known for utsuri were supplied from either the same iron source or the same type of iron from different sources? In other words, is it possible that it was some characteristic of the raw material that gave a propensity for utsuri to appear? Also, from the pics of utsuri that were posted, all but one polish looks like sashikomi, and the one pic that looks like hadori it is not really possible to see utsuri...can I ask, does hadori allow utsuri to be seen? Respectfully,

Haha...damn right it is... Just to be fair to hadori though, I must acknowledge that it has promoted the spread and use of Oshigata like never before. It was bound to happen of course as now that no-one bothers to look at the sword advertised in a photo - (just a featureless object), collectors all have to look at the oshigata published alongside to see what the hamon and activity looks like, so, a boom industry for sure. Maybe we should just start collecting oshigata? Just think...much cheaper, easy to see the real hamon at a glance and you can fold them! hahahahahah I love this board...