Lewis B

Thanks for the pictures. Its fascinating to see how newly discovered examples are changing the zeitgeist. Take the Yukimitsu for instance. Honma Junji stated not so long ago that he felt all zaimei tanto inscriptions he had examined were suspect requiring further research. With Juyo pass the Shinsa must have felt the mei was genuine, being an even more courageous decision, given the uniqueness of the hitatsura tempuring for this smith. From the Kanzan's Nihonto Taikan (Source Touken West - Nihontō Database) "Among Yukimitsu signatures I have examined, those I believe to be authentic are all two-character mei in a gyōsho (semi-cursive) style that is austere yet dignified. As noted above, long signatures requiring further research include "Sagami-no-kuni Kamakura jūnin Yukimitsu" (Kagen 2) and "Kamakura jūnin Yukimitsu" (Genkyō 2). " Whats the full signature here? Kamakura Jūnin Yukimitsu (鎌倉住人行光)

Totally agree. I saw this Kuniyuki last year along with a blade by his son Kunitoshi and grandson Kunimitsu. To see such high quality examples from 3 generations, all Juyo (possibly higher), in hand, was a unique experience. I believe the Kuniyuki is Juyo not Tokuju, but maybe you are referring to its quality possibly meeting Tokuju level.

Always fascinating to see tools used by swordsmiths. I assume a Sen was used, even in ancient times, to shape the blades prior to being passed to the togi-shi. I can certainly see how poor application of this tool could cause such imperfections. From what I can tell from the low Rez images are that some of the 'creases' are convex and others concave. I would say these were the result to reshaping or straightening after sustaining damage.

As a noob to nihonto collecting and study I feel I've entered in what could be described as a golden era. There are so many English language resources (thanks in no small part to Markus Sesko @Markus) and individuals like @Hoshi, @nulldevice and @Jussi Ekholm, just to name four. Special mention to @Brano for his incredible photography of some spectacular grandmaster swords. One might argure that doing the hard yards is part of the initiation into Nihonto, but having access to this reference material at our fingertips will certainly enourage others to dip their toe in the pool. Once that spark ignites a lifelong passion will follow. We can count ourselves as the lucky ones.

Nice video on the Honjo Masamune Ray. Begs the question why the blade was separated from its koshirae. I imagine that was quite common for swords when they were surrendered after the war, with the Japanese wanting to preserve a part of what they were losing, especially if valuable.

Top level work. Are the fittings signed? I can only imagine a grandmaster blade was worthy of such a koshirae. The quirky menuki design is just raises the whole a little bit higher from a viewers perspective.

Definitely not, at least not knowingly. Some are great blades in their own right which is how they can pass casual scrutiny especially by the unwary. It's like the super clone Rolex watches that are being made. Almost perfect right down to the minutest detail.

There are collectors who specifically search out Kajihei forgeries. Definitely a niche market that can command some significant prices.

Here's a Miyamoto Kanenori that just listed on Touken Komachi https://www.toukenkomachi.com/index_ja_tachi&katanaA040226.html

Unless there was more than one mumei Kanenaga in the Matsudaira collection I believe this could be the $11,4 mil sword mentioned above. Nagasa 71.8 and 1.7cm sori. From an exhibit at Touken World Nagoya The kinzogan inscription states it was owned by Honda Heihachiro Tadatame better known as Honda Tadaoki, grandson of famed Tokugawa general, Honda Tadakatsu. Perhaps it was this provenance that pushed the bidding so high, if its the same sword..... Edit: with further research this is a Tegai Kanenaga from the Matsudaira and not the Bizen Kanenaga that was sold in the auction.

Communication isn't the NBTHK's strongest suit. Try emailing info@nbthk.touken.or.jp It can take a few days to get a response. They do communicate in English. How long ago did you email them first time? Making payment via bank transfer is also a fun experience.

I agree it's the former. The technique is similar but the form of the precious metal is different. As I understand it, with kinzogan Mei the chiseled kanji are filled by hammering in gold wire then filed flat to the level of the nakago. In nunome zogan the gold, silver or copper elements are applied as thin sheets/foil using a hammer.

Thanks Jussi, that cleared up the inconsistency I had created. Confirms the Yamato influenced Kabuto-Giri Go was not unique and that there are in fact at least 3 blades exhibiting this influence in his work, including the Mori and Murakumo Go swords.

Much clearer thanks. To me this appears to be gilded copper inlay and not pure gold as would have be traditionally applied. Could also be brass based on the shade of yellow

I was recently made aware of the Murakumo-Go that shows strong Yamato influence. It was studied by Dr Honma in 1980 and he gave his opinion of the sword in his diary. Thats now two rare examples of blades with Yamato-influenced masame forging style, with the suggestion these are the earliest exemplars of Go's work. But there is an inconsistency. Both the photos (from a different source) and oshigata are said to be of the Murakumo-Go but clearly they are not the same blade. The photo is from the Encyclopaedia of Japanese Swords, the oshigata from Honma's KantoHibiSho Vol 8.

If I blow up the image I can see file marks. I think it's kinzogan Mei but very crudely carved and inlaid. Not quality work.

It's all relative. Give it a name and see the price hit the stratosphere. Marketing 101 even in the Edo period.

All good points although I have my doubts it was a Go. Wouldn't Go blades in a collection of the calibre of Matsudaira have had names. This Yoshihiro appears a little more 2nd tier.

Some surprising datapoints there. One might argue that nihonto values, in monetary terms, have diminished considerably over time and will continue on that trajectory as we transition more towards a hobbyists interest. Im not sure there is a critical mass of younger collectors with the necessary disposable funds and curiosity to invest in these god-level pieces. Case in point, the Kotegiri Go, which was sold at another auction in 1931, receiving a bid of only 2,131 JPY basically two thirds what was paid in 1918. A very poor investment at the time. The Maeda Masamune didn`t meet reserve in 1924 and went unsold. Any more info on the `Yoshihiro`? Is this a blade by Go or Senjuin Yoshihiro or a later Yoshihiro eg Sa Yoshihiro? Oshigata for 3 of the blades

Some really nice pieces there James. If you are in the Dallas, Houston or Austin areas you could start be visiting this store. They have a big selection of antique tosogu and could provide some information on your fathers collection. Call ahead and make sure the person in charge of that department is available for a consultation. https://collectorsfirearms.com The Tokenkai list shows one branch in Austin. No idea how up to date the info is but could be worth an email. https://japaneseswordindex.com/swordgrp.htm

My birthday was last month, I'll send you my address

Regarding origins. Are we thinking Japanese or Chinese? I found this Chinese blue and white example with 4 holes. Definitely made pre firing

If it is for plants I would say inside use rather than outside where a hole for drainage might be preferable. Perhaps for holding fruit or keeping something off a flat surface. The piece has a feel of age so there may have been other uses we in the modern world may not be aware of.

By inclusivity I was not focusing on fringe components of society but primarily those sections, read female, that might otherwise be averse to attending such an event given the obvious preconceptions. There is clearly a place for such an exhibition, duck riding samurai and all.

My guess. Its a plant hanger. Pot sits in the bowl which catches runoff. The theme being plants and butterflies sorta supports that theory.