Lewis B

Exactly. Looks like a nice blade that is a good candidate for polish and restoration. But first I would take it to a sword show that has a Shinsa section. San Fran isn't too far from you. 2024 is over but there will be another next year. Looks older than WW2 production, and has 2 mekugi (holes in the tang) which is a good sign for an older blade. Can you measure the Nagasa? (measured from tip directly across to the mune machi (notch that the habaki sits against).

Interesting backstory regarding your Ko-Mihara/Aoe conundrum. I would also not have removed the remnants of the kinzoganmei. So how do you like it now that you've had a chance to study it in hand and reviewed the conflicting attributions. This is a good illustration of Tanobe not rubberstamping and echoing previous recent assignments. His considered approach backed by knowledge acquired over many many decades is why his sayagaki are highly sought after. You thought so too, as you asked him to write it knowing what attribution he would give. My comment was a general remark pointing to Tanobe's connoisseurship. His experience allows him to see past the minor imperfections and evaluate the blade in the context of Gokaden, era, smith and its position within a plethora of other works by the same School/swordsmith.

I've heard similar rumours. In fact collectors are sending their blades to Tanobe sensei for sayagaki while they still can. He's not getting any younger...... When the baton is finally passed who will you submit your blades to for a 3rd party opinion? Only Juyo passed blades will get a similar level of academic scrutiny. I'm sure someone will step up but I've yet to hear of anyone as recognised in the field as Tanobe. But I agree a consensus of opinion is preferred over a single source no matter who that might be. Everyone is fallible. In fact I have seen several Juyo swords with Kizu/Ware that had Chin Chin Cho Cho kanji.

Are you saying Tanobe will just ignore the mei and give his impression and opinion of the blade at face value? I see nothing wrong with that. A genuine Nihonto is worthy of considered opinion no matter what is chiseled on the nakago. Now if he was reading the mei and giving the same attribution then I can understand the consternation, but I have no evidence he has ever done that. Tanobe's sayagaki carry more weight from what I've read, particularly at TH and below level.

Very true. Took 8 months before I found my first blade. My second blade which I found a couple of weeks ago in Japan, is Yamato Senjuin per recent NBTHK papers, (although it has had a long time attribution as a Soshuden masterwork and was part of the Sozan Tsukamoto museum collection as such). Tanobe is writing the Sayagaki so I'm curious what attribution he gives, as its not classic Chu Senjuin. Possibly Ko Senjuin given the hada, hataraki and sugata. The blade, registered in 1966, has an interesting history which appealed to my collecting sensibilities. I tell myself my 3rd blade will be purchased in Japan next year when I attend the DTI. Patience is a worthy trait when it comes to collecting Nihonto.

Yes, seller says the attribution is 4th generation Uda Kunimune.

Have you tried using an auto translate app in your cell phone. While not perfect they can give you a good start

Not a good sign when the kanji are chiseled over corrosion. I say gimei.

@Keichodo may have a couple of suggestions.

Exactly, I look at the photos in some books, catalogs and online and wonder how on Earth anyone is supposed to glean anything of importance. Bonhams and Christies are good examples.

The route to enlightenment is never easy, so we're told. Books, the internet, NBTHK publications all play a key part in the journey. They provide a taster and allow us to interpret what we see. BUT there is no substitute for seeing and handling blades in hand. Unfortunately in Europe the options are limited. Museums in Europe are poor for this subject matter (although for paintings arguably the best), but there are bimonthly NBTHK-EB meetups in various locations, plus the fantastic Japan Art Expo in Utrecht. Both opportunities offer the Nihonto student ample time under good lighting conditions (key) to observe and contextualize the multitude of features and characteristics for specific Gokaden and schools. I have learned more at the two venues so far visited plus the trip to the Steyr City Museum than I could have imagined. But the books and external reference material lays the groundwork. Good food consists of many ingredients harmonizing together to create the experience. Same is true for most collecting too, including Nihonto.

And just to complete the reference matter, in case anyone is interested. First one is on the Masamune.

Confirmed by another very respected expert. Shame, it really seems that dealers were offloading blades with gimei to unknowledgeable buyers. The expert inspected a "Sadamune" from the Petermandl collection that was also gimei. Regarding the Masamune he said it was highly suspicious that all the mekugi ana are of a similar size. The suspicion being that the holes were punched at the same time rather than at different points in its history. This had never occurred to me but makes sense if you wanted to deceive and give a blade more historical context than it really experienced. So rather than being a red letter day, its turned out to be a rose coloured one. At least the museum won't feel the pressure to invest large sums to polish the blades.

Surely its a rare samurai bread knife.

Placed an order for 7 books. There is a difference between seeing and seeing & understanding. Good reference sources are key for the latter, as well as attending meetings to discuss specific blades and fittings. Hope my HD has enough memory

Currently continuing my vacation in Austria and Slovenia but will get to this when I have some time. Its a little more involved than posting a pic. I got video of the Masamune, the Bishu Osafune (#2) and the Sadatsugu (#3). The trouble is that these blades have 100 year oil residue smeared on much of the blades which is now solidified and sticky. They really needed a wipe with isopropanol.

Yes truly an exceptional and unique experience, probably once in a lifetime opportunity to see a 150 year old collection that really hasn't seen the light of day. Bit of an Indiana Jones moment But I think Kirill hit it on the head. There were a lot of low/mid range quality pieces that might have been upsold either through sayagaki attribution or gimei. I'll post the attributions and they should add a little more seasoning to the broth.

Thanks. So could #4 be the "Demonic Yukihira"? Yukihira (行平), who is traditionally dated to the Genkyū era (元久, 1204-1206) He seems to have been quite a character I took some video footage of 1-3, and these had some nice activity in the jihada visible even though in poor polish.

Katana/tachi #1 Katana/tachi #2 omote Katana/tachi #2 ura Blade 3 Tanto. This one had some age. My favourite short blade (sorry for the blurriness? \

Well you could well be right. Even so I had an absolute blast and got to see the entire collection of 60 blades of which 40 I removed from their shirasaya and inspected. The overall condition I have to say was a little upsetting. The blades have been languishing in a storage room since Anton Petermandl donated them to the museum in the late 19th century. The curator was more than gracious and allowed me to remove the tsuka and inspect the nakago of the 40 blades. I spent 3 hours in the room with the swords that were stored in 4 pull out drawers and could have enjoyed 3 days. When people say old polish that would have described these blades, probably rarely out of their saya in over 100 years. There were 2 Heian era blades and a total of 4 or 5 blades that had signatures. Then we can judge if Albrecht von Roretz had been taken for a ride. The Masamune is in desperate need for a polish. So much Ware and uchiko like scratch patterns it was almost impossible to see the finer detail hiding underneath. At first blush it looked like a good blade, whether it is up to the standard of the top Soshu master is yet to be determined. The motohaba was approx 2.9cm. I will post the photos I took of the sayagaki for the 30 or so blades that had attributions and the Mei on the Nakago. Maybe those more knowledgeable will be able to say who wrote the sayagaki. My first cursory inspection suggested there were maybe 5 blades that could benefit and justify the post of a proper polish. One Bizen blade and what might be a Go seemed especially worthy. Here's a teaser. I was a little perturbed a Masamune would have a copper habaki though.

This was the subject for the NBTHK-EB meeting back in June. Some amazing pieces were available for viewing.

Good news, Tanobe sensei has agreed to write the sayagaki.

Its not often an opportunity presents itself to handle a blade by arguably the most famous Japanese swordsmith, Masamune. The owner was Albrecht Von Roretz and he brought this blade along with 60 others from Japan in the late 1800's, after several years spent establishing a modern Western health system during the Meiji period. He had a keen interest in Nihonto which makes this particular Masamune worthy of a hands on viewing. Markus Sesko was supposed to inspect the collection but left for the USA before getting the chance. There are certainly some questions as to whether this is a genuine blade by the Master but given Dr Von Roretz's status, knowledge around the subject etc, its worth giving it a careful look. I will ask if I can take some photos and if possible, view the Nakago.

Excellent timing. There are 5 or 6 publications that are of immediate interest. Thanks for posting