Lewis B

I too find the design feature especially elegant as illustrated in your example. Looking more closely at the images in the listing I think its a silver insert as shown in Dale's but the facing edges have been stained black (you can see some run over in the side images) such that only the inner surface retains its shiny silver colour.

I will be attending Friday and Saturday and would be happy to meet up with other NMB members.

Construction appears to be different. I'm not seeing a silver insert. This is the original listing https://eirakudo.shop/487812

Gorgeous workmanship. What was interesting was the silver finish inside the various hitsu ana. Was that a common design feature?

Although not my style that Koshirae is super nice. And congrats on the nuptials.

And in Germany even if you have that evidence you have to demonstrate a particular historical significance for the object eg a blade by a founder of a school or Gokuden. One way or another the gov gets their piece of the pie.

The bad news is that it's cracked along the grain and not along the seam. If the latter it can fixed using Sakura Nori (rice glue) which is the traditional adhesive for shirasaya. You could try using it to fill the crack and then strongly bind until dry, but I have a feeling this will not be a permanent solution especially given your climate with its high heat and humidity. I think your best bet is to find a local togishi and see if they have a few options.

Links not working.

Can't be 100% certain from those pictures but have you considered that it might be a forging feature? Was it there when you got the blade?

The Rai Kunitoshi...... wowzers. The mumei Yoshioka Ichimonji was also strong.

Yes, they can occur at the time of manufacture but they can also occur far later in the blades history (unknown to the swordmaker) which is the point I was trying to make. I highly doubt the original buyer hundreds of years ago, would have accepted such a defect. After all a broken blade could have been the difference between life and death.

Hagire can occur decades and centuries after it was made. A tension in the ha during the forging or quenching can eventually lead to this fatal flaw. If the blade is sai ha (retempured) that could also result in hagire. Basically the smith may not have been aware there is an issue so can't take full responsibility.

Thanks for the headsup. Looks worse on the ura side.

One day left and the TJ Rai Kunitoshi has a bid at $80k + fees. Not much action on the other higher papered pieces. Kake still doing well as are the kabuto.

Genuine Kamakura era Mei (1st generation), although there were later generations also signing Moriie well into the Nanbokucho period.

There is mumei sunnobi tanto attributed to Tametsugu (TH papered) in Sesko's Swords from the Nihonto Club Germany p52-53. Dated 1368-75. But I get what you're saying about attributions with Tametsugu being the default if it's less than Norishige but better than Uda. Bit of a safe bet. I would suggest an earlier work from his Etchu period would be readily distinguished by the colour of the steel which tends to be darker (bluish).

I too miss the wealth of knowledge and insightful opinion that could be found on Yuhindo. Many of the articles are available on the Wayback site but without the images it's not so rewarding. Tametsugu (his pre Mino work) and Sanekage are two of my favourite smiths from the Nanbokucho era. In fact I almost bought a Sanekage Naginata Naoshi blade from a dealer in Japan. Unfortunately the ura side was not as accomplished as the omote with its clear kaeri boshi, which was the only image shown on the site. I look forward to reading your article over the weekend.

The venue is excellent. Plenty of space and not too overcrowded that you feel rushed. The vendors will invite you behind the display tables to have a better, less impeded in hand examination of the blade. Lighting is good enough to get see the finer details in the swords. I really enjoyed the 3 days I spent at the show last June.

Well what I can add based on what I see in the better photos is that you should send it for Shinsa without any additional polishing. Its an unnecessary expense and time suck for the level and purpose you are aiming at ie an attribution and confirmation that its not gimei. Congrats on the new pics. Your skills have improved immeasurably and it just goes to show how impt a good camera and lens plus the lighting is to take meaningful images. Totally changes the presentation and appreciation for the online viewer.

No apology needed. Its the best way to appreciate each piece. btw Do you remember the maker of the blade in the last photo? The info sheet is too blurred to make out the attribution.

Actually you would have a great opportunity to get an informal Shinsa assessment at the upcoming Japan Art Expo in Utrecht in June. Several experts will be on hand to give their opinions. This will be the first time such an opportunity has been offered at the Show. The 3 day event is also a great way for anyone, both new and experienced, to gain more knowledge about Nihonto and Katchu. Even the dealers have brought their personal blades to the event to have Daisuke Hataya give an opinion. Alternatively there are ways to get your blade to Japan without the usual shipping and import/export hassles by using an EU based intermediary. PM me if you want more info.

You might have a point. The blade should go to Shinsa. I wouldn't be surprised if it papered earlier.

Not sure if anyone answered but the white appliqué are otoliths... fish inner ear bones.

Thats pretty brazen. Either the seller is listing the same item on 2 different accounts or Treasure have 'stolen' the listing. I would contact DAIMYO and let them know another account is using their photos and description.

The quality of horimono carving is really good and nice to have it on both sides.