Lewis B

Personally speaking the retempering would put me off at that price. It's no longer what the original smith intended. I would compare it to an old master that has had large areas overpainted by a second hand. Sort of related, but when a dealer sells something on consignment does it suggest they are not convinced either for some reason or another. It seems many of the these consignment pieces have a 'story'.

And the Vikings don't want to be left out. A pattern welded damascus-style Ulfbehrt

agreed

Some words of wisdom from Mr Sesko and appears to have been one of the Goban-kaji if Bizen Nobufusa. NOBUFUSA (信房), Genryaku (元暦, 1184-1185), Bizen – “Nobufusa saku” (信房作), Ko-Bizen school, he is known as father of the so-called Bizen san-hira (備前三平, the “Three Hira from Bizen”), i.e. Sukehira (助平), Kanehira (包平), and Takahira (高平), the Kotō Mei Zukushi Taizen (古刀銘尽大全) says that the niji-mei “Nobufusa” belongs to the Ko-Bizen smith and the sanji-mei “Nobufusa saku” to the Ko-Ichimonji smith of the same name, but such a distinct differentation is from today´s perspective no longer sustainable, Fujishiro gives Nobufusa the rank of a saijō-saku but dates him to the Ei´en era (永延, 987-989) – some sources even say Kanna-era (寛和, 985-987) – and says that the more – 786 – nie-laden ko-midare interpretations with a classically elegant sugata are probably works of the Ko-Bizen Nobufusa, but at the same time, he lists the other Nobufusa too as with a classically elegant sugata and a ko-midare, so between the lines we read that Fujishiro follows the amount of nie when distinguishing between these two smiths, incidentally, he lists the later Nobufusa not as Ko-Ichimonji but as Ichimonji smith ⦿ NOBUFUSA (信房), Jōgen (承元, 1207-1211), Bizen – “Nobufusa” (信房), according to tradition the son of Fukuoka-Ichimonji Nobuzane (延真), he was on the goban-kaji list of Gotoba that consisted of 24 smiths, according to this list he worked with Kanesue (包末) in the ninth month, real name Nagahara Gonnokami (長原権守), it is said that he bore the honorary title Nihon-kaji-sōshō (日本鍛冶 惣匠), about “greatest smith of Japan,” a title which was later adopted by Tokugawa Ieyasu and granted to the lineage of Iga no Kami Kinmichi (伊賀守金道), it seems that continued the nie-laden workmanship of Ko-Bizen Nobufusa and hardened a ko-midare but which got later a noticeable amount of ko-chōji, incidentally, Fujishiro dates him around Genryaku (元暦, 1184-1185) and ranks him jōjō-saku NOBUFUSA (信房), Kenmu (建武, 1334-1338), Bizen – “Bishū Osafune Nobufusa” (備州長船

Patrice, you can read one story here. Judged Gimei, Chinese certification that does not match the blade. Seller in Andorra bought the sword from Japan (sold on Yahoo.jp auctions), stripped it of its nice urushi saya and he replaced it with a cheap, poorly fitting part. Story starts on 2nd page. Buyer paid over 3000 euro for the sword and you can tell from his initial messages he was very excited. As the reality unfolded the whole experience soured the purchase, killed a budding interest in Nihonto, caused stress at home and he ended up donating it to me just to put the sorry experience behind him. Some responsibility for what happened has to be placed at the feet of the 'authenticator', although its the seller who is really to blame and Catawiki condones it. I have seen pics of a Juyo Senjuin Yoshihiro and based on my research, I believe one of my blades is by this smith. I have the Gimei one in the link in my possession and it has nothing in common with a blade from the late Kamakura, early Nanbobkucho eras. IMO it was created to deceive. PS Smart move kicking Catawiki to the curb.

And for the 99% here who don't speak French, just so we can all follow along: John, you're right, I'll write in French. I don't deny that there was an error on the part of the seller who had the certificate in his hand and that he could have seen that it didn't conform. As far as I'm concerned, it's very difficult to see on a photo, especially as the paper looked fine. I apologise for any problems this may have caused. Having said that, my criticism is that it would have been much more constructive and cordial to tell me nicely ‘look, there's a problem with this sword’. If a friend who is often on this forum hadn't told me, I'd never have known about it and I wouldn't have been able to take it off sale. I'm just asking people to be more benevolent and less accusatory and slanderous. I sincerely believe that there are real enthusiasts on this forum who are here to share and exchange knowledge, so please, ladies and gentlemen, stop systematically bashing people as soon as you see a mistake. To err is human and only the person who does nothing is ever wrong. Be kind, that's all I ask. Once again, please forgive me for my mistakes, when there are some and like everyone else I make them, and be cordial and less aggressive. You'll see that if you're friendly you'll get things done much better. Patrice I'm curious what you plan to do going forward to avoid these repeated issues. And since you have the ear of the owners of Catawiki, why do they allow repeat offenders, read scammers, to continue listing?

Another featuring the same scene. Sold on Bonhams site but no image of the Mei

Appears that piece was sold at auction sometime in the past https://www.gazette-...-a-superb-shakudo--- Here is a Goto Junjo Mei from AOI. I have my doubts based on the signature and quality of the workmanship that its genuine.

Great news Eric. Hopefully only the outer packaging was damaged. But at least you know someone within the organization knows where your package is.

Unfortunately I have to disagree and its not an isolated incidence (see thread from 2023 and 1st contribution on NMB). It is not the job of the viewer/potential buyer to police and rectify a mistake, honest or not. I would imagine many who buy on Catawiki are poorly educated on the field of interest eg Nihonto, Tosogu, Katchu etc and rely on the 'experts' expert opinion and sellers description, which can, at times, be best described as misinformed and at worst, downright dishonest. There is at least one recent example on NMB where such a novice buyer was effectively scammed by an unscrupulous dealer on Catawiki, with virtually no buyer protection and a very poor response from the dealer. That dealer is still active on the auction site, which is further evidence of the sites questionable ethical business model. If you claim you are overworked it maybe worth reconsidering the evaluation system on platforms like Catawiki. I assume you are paid by Catawiki on the number of listings you evaluate. Perhaps ~300/week is too many to do a proper and effective job. Would a retainer be a better system for services provided by independent, 3rd party appraisers?

I'm guessing we're discussing Hirata Harunari in the 1st post. Big name but that style appears atypical for the Hirata School. The work of his school seems far more ornate and refined. The Mei raises questions too. Many red flags.

The metal fittings appear to be cast. I don't know enough about this type of fancy koshirae to know if thats a red flag or not.

An interesting watch for anyone curious how armour is made and constructed

I will be attending again this year too. I bought my first Nihonto at last years event.

What was the final sales price?

Nicely put together website. I'm getting a Yuhindo.com vibe in the style, organization and content, which is obviously a compliment. Generally speaking are the Koshirae curated by your team or do they have historical connections to the blade? Can you organize Sayagaki by Tanobe-sensei?

Oh no it isn't.....

Torokusho registration started early 1951 as far as I'm aware

I got almost exactly the same feedback. And its justified in hand. Although for my Shikkake its the omote letting the side down. No Shintetsu but the polish according to Tanobe could have been better. I might get it looked at by a Togishi at some point and perhaps resubmit when the chance of passing improves. I would certainly think twice about submitting any blade (unless signed) at the moment based on the last 2 years Shinsa. But as Bobby says this strict Shinsa period could mean buyers have the opportunity to purchase some excellent blades without the Juyo premium.

Have you had any replies to the avalanche of emails I'm sure you've sent out by now? You may also want to consider posting an image of the blade so that if someone posts a FS ad without the koshirae or nakago showing it will be easy to spot.

Unfortunately true, and its not a trend that started recently. I know of several that switched to kitchen knife manufacture after an early career making swords. Some still make them well into their late '70's. I own several by Yoshiaki Fujiwara (nihonto name Kanekuni and a 3rd generation swordsmith), all forged and sharpened by the same guy. He is now semi retired at 80 but still producing at a slower pace.

I stand corrected, thank you John. A good case of dogma benefitting retailers. Heck, even some well regarded dealers use and perpetuate this as a selling point if it suits them. I found this excerpt from Nihontocraft that makes perfect sense as to why Daimyo and Shrine blades are overwhelming represented in the early Torokusho paper registrations. Q: Are blades with a Torokusho date of Showa 26 (1951) ones that came from top Daimyo collections? I have heard that only the treasured items like Masamune, Ichimonji, Sanjo Munechika, Awataguchi, Rai etc... from only old important families were invited / allowed to get registered in Showa 26 - 27. You are asking about the phrase of so-called "Daimyo/Kazoku" Torokusho registration some dealers/collectors like to use. This registration was based on the Culture Property Protection Law. Any swords that had artistic value could be registered. Even gimei and blades with any kind of kizu could be registered. This was not a shinsa. The fee was 230 Yen. This was established on Nov. 15 of Showa 25 and executed on Dec. 1, Showa 25. There is the factor that people in "the know" and in charge of important collections, would have been more aware of this new law than others and quick to react. But there is no evidence of special or private access. Please remember that at this time in sword history the total destruction of Nihonto was just barely avoided. Regular class people with regular class family treasures wanted them to be protected just as much as Shrines and Daimyos. Please see the collection of Showa 26 registration cards here (below). These are all regular class items. Yes, there were many meibutsu Daimyo/Shrine blades registered in 1951 but these years were not times when blades of that level were exclusively invited or permitted.

CHIKAFUSA (近房), Jōkyū (承久, 1219-1222), Bizen – “Chikafusa” (近房), Fukuoka-Ichimonji school, Chikafusa belonged to the goban-kaji list of emperor Gotoba that consisted of 24 smiths, therein we was working with Bungo Yukihira (豊後行平) in the fourth month, ko-midare mixed with ko-chōji in ko-nie-deki ◎ CHIKAFUSA (近房), Kōan (弘安, 1278-1288), Bizen – “Chikafusa saku” (近房作), Fukuoka-Ichimonji school, there exists a date signature of the second year of Kōan (1279), the hamon is more flamboyant than that of the Jōkyū-era (承久, 1219-1222) Chikafusa It would seem there is a 3rd Chikafusa from the Koan era (1278-1288). A signed and dated example exists for 1279. Definitely much research is needed to tie down an attribution to one of the three smiths. Interestingly Markus doesn't reference the Tanobe attribution for a Chikafusa from the Kencho period.

Don't feel too bad, the last 2 Shinsa have had extremely low pass rates relative to previous years. My Shikkake didn't pass 69th Juyo but Tanobe sensei said it has Juyo potential. I have a soft spot for Kashu Sanekage and considered buying one that was owned by your fellow Singaporean Mr Chua

I based my response on this article I read on Saturday. The description says the blades are displayed vertically to best appreciate the blades activity. "The sword "Spring Dawn (not for sale)", which won the Masamune Award in 2014, is also on display at the venue. Usually, when it comes to the exhibition of swords, it is placed horizontally, but this time it is placed vertically, and you can see its beautiful "figure 姿" and "refl 映り" up close."