Lewis B

Google Drive should be fine. It’s like posting a URL for an Imgur images file. I have a huge issue with zip files on the other hand. 

There is also a Kotegiri-Masamune

https://markussesko.com/2013/06/25/the-kotegiri-masamune/

15 minutes ago, Jussi Ekholm said:

Maybe Bruce is referring to this 本阿 (花押) - Hona (Kao).

 

I dont know my Honami lineages too well but I believe one doing the kinzōgan was family member 光温 in 1600's.

Correct. The kinzoganmei says Kotegiri Yoshihiro Hon'a (Kao) and the silver inlay "Possession of Inaba (Masakatsu) Tango-no-kami. 

26 minutes ago, Bruce Pennington said:

Brett,

I don't see him in Sesko.  Is he listed under a different name?

Its a named blade by Gō Yoshihiro

I don't find that Den Go very appealing.

Superb deal. This little tidbit just adds to the soup

"The nidai Masachika, Kaei (嘉永, 1848-1854), Musashi province, never signed with the same characters as his father, but instead used 正近. Of note, the nidai was executed in 1868 for producing gimei blades."

Although he could equally have been beheaded for politcal allegiances. Afterall Kajihei wasn't executed for his gimei foibles. Nethertheless an interesting historical demise. 

Something I just noticed on the two examples I posted is that the horizontal strike on mitsu appear deeper than the other strikes. Reminiscent of some Norishige mei when he carved the shige kanji. One smith influencing another?

11 minutes ago, Zoglet said:

That's exactly the theory that I read. The radical on the "mitsu" character is more Yukimitsu-esque, and, in general, the clustering of the nie along the habuchi does appear similar to Yukimitsu's work, at least to my eye. Generally, Kunimitsu's work seems to have a thinner clustering along the nioi-guchi. Cool to see that, if this is a Yukimitsu daisaku-daimei, then Yukimitsu is also capable of working in okina-no-hige along the boshi. Thank you for the references and added opinion from Tanobe!

 

All the Best!

Zoglet

I think we can say is that the Midare Shintogo represents an important transitional work. Call it a prototype, that establishes the first toe into the Soshuden pool. It would not surprise me if there was a difference to later works by Yukimitsu when working independently together with Masamune, as the forging style evolved.

If by Yukimitsu then the fact  it's signed 'Kunimitsu' is another indication it was made during his apprenticeship with the old guy. 

I'll play. This is a bit of the curve ball though. The Kaikuni Go has 2 quite different oshigata although the 1st one was probably drawn after it sustained fire damage and 2nd after an unsympathetic saiha. 

Echo's of this sorry workmanship

Having also encountered this controversy the suggestion is the Midare Shintogo was daimei daisaku by Yukimitsu. The deviation in the signature to which you're referring could be the absence of the north crown radical on the mitsu kanji. A similar discrepancy is found on the 1306 tanto to which Tanobe sensei suggested reminded him of Yukimitsu's Mei in Token Bijutsu #29. Compare to Yukimitsu's signature.

16 minutes ago, Brian said:

No, I think Ed is being very open and legit here. Katana is strictly speaking 60.6cm.
But yes...it does make a difference and only adds to the value that it's that close. Nice package.

Ahh OK, I hadn't read the full description and was thinking in integers. Yes, fractions matter, still, like you said, as starter blade in full koshirae + shirasaya and old papers, with some attractive fittings its a really good option. The minogame menuki or mythological turtles are very appealing?

Hard to say very much from those wide angle photos. We would need much closer images to offer any opinions. Have you researched the smith? He is suppossed to be an accomplished maker of Soshu utsushi, especially in the style of Kiyomaru. Closely examine his technique and understand how close he gets to genuine blades by Kiyomaru. Has any of his work achieved success in competitions? Judge the maker as well as the sword.

25 minutes ago, Brian said:

waki in polish with shirasaya?
 

Actually it creeps over into katana sizing.

And Nick is regular attendee at the Japan Art Fair in Utrecht so would worth asking if he could bring it to Europe as part of his inventory.

1 hour ago, Robert S said:

The second one (willows) is spectacular!

I came on to say the exact same thing. The observation and design elements work so beautifully together. Reminds me of the motif on the Kokuho Norishige wakizashi tsuba in Ian's possession. 

What surprises me is that the organizers had to borrow a kabuto for the exhibition. Wouldn't surprise if the owner told them it was early 14th century and they just printed that info. 

Excellent production values, descriptions and offers a good appreciation of the multitude of steps needed to create these blades. Enjoy

The yoroi-doshi arrived exactly as described. Alex was an absolute pleasure to deal with. 

Marius thought it was 3rd or 4th gen Fuyuhiro, with the possibility of it being gimei. After doing much research I am leaning towards shoshin. The jitetsu and deki is a good match for late work by the 3rd gen swordsmith in Wakasa, (only he and 2nd gen signed sanmei), so Marius' hunch was spot on. The muneyaki to hitatsura with connected tobiyaki Yaki-ire is a sign the sword was made by an experienced and competent smith. Very proud to be the new owner of this honest, workhorse of a blade. 

I think this blade will look amazing under a macro lens. 

Old thread revival but I thought the sword in question was worthy of an update @Surfson.  Did you get the Mei authenticated?  Having just purchased Alex's yoroi doshi I'm gathering as much evidence as possible to support an attribution to a particular generation Fuyuhiro and the period.

What was curious to me, as this is something I've not come across before, is the carving of Mei across and into the Hi? Is that a thing?

If there are any doubts on the authenticity of the Mei it will not get papers. At best Horyu, requiring additional supporting documentation. Site/link seems to be down today so can't double check. 

Nice effort but his focus control was not great. The blades were out of focus most of the time in the few vlogs I checked. So far the best work in this area is by Shiotsuna on Facebook. Shiotsuna's mastery of the nihonto photography using a macro lens and teleconverter, under exhibit lighting conditions and through glass, is unrivalled. 

The overall shape or sugata, the length of the blade, sori, shape of the kissaki and nakago, patina on nakago are often used as indicators of age and period of production. Take a look at the Sue Soshu yoroi-doshi tanto in the FS section I just acquired and you'll see some similarities. Based on my research that tanto is late work by 3rd gen Fuyuhiro putting the date around mid 1500's, towards the end of the Muromachi.

18 minutes ago, Mark S. said:

Uchiko from Robert Benson is of the highest quality.  The uchiko is already processed.  It just takes a day to put the ball together… 

That makes more sense then. 

Hamish sort of has a point. A day to prep an order doesn't instill an awful lot of confidence if as some say its an involved and meticulous process.

I decided to order an uchiko ball from an Osafune togishi via one of the vendors at the Japan Art Show. I'll pick it up in June. I saw it being used the last 2 years and seems to be quality stuff. Not cheap but by the time import duties and shipping are factored in the prices won't be too far apart. 

• Dealer claiming that because sword has early Torokusho registration papers (ca. 1951) it was previously owned by a daimyo family
• Attribution drag  Dealer suggestions of attribution fluidity eg "Because he inherited his master's style so perfectly, it is a consensus among sword scholars that many works attributed to Shizu were likely historically regarded as original Masamune blades"