Lewis B

The lower mekugi-ana if the original one suggests the blade has been shortened at some point after it was made? The position of the Mei would not be consistent with a much longer blade.

Doesn't the position of the lower mukugi-ana strike you as suspicious in the top picture?

Good question Benjamin. I think the reponses are going to be quite varied and informative. You should perhaps provide your experiences and goals as someone like me, a bit of a novice collector. I'll get the ball rolling. 1 - What is the "theme" of your collection ? (expl : gokaden ? That one smith ? That era ? Horimono-maniac ? etc..). Koto only and styles that appeal to my sense of aesthetics. This leads me to the Soshu, Yamato and Ichimonji Schools from the Kamakura and Nanbokucho eras 2 - What is the "aim" of your collection ? (expl : one of each type ? The one sword ? As much as possible ? etc...). I can't afford the best of the best for each School, so again I buy what appeals, initially the sugata, then the jihada and then the overall condition. The maker/School is secondary but still a consideration. Unfortunately blades from this era are mostly mumei and generally given broad attributions eg Yamato Senjuin, Ko Uda, Ichimonji 3 - What is the "border" of your collection ? (expl : only papered ? Not less than Jumyo ? Only tanto ? Always koshirae ? etc...) Only papered TH or Juyo. I am focusing on Katana and Tachi but will eventually get a tanto or 2. I feel with more knowledge my price threshold will be around 50-60k Euro and with that I hope to acquire an Ichimonji (preferably Fukuoka Ichimonji) or a Norishige. At this moment in time I think 25-30K is my upper limit for a Juyo blade. Very little interest in Koshirae although I'm warming to the Tensho piece that was made for my Y. Shikkake. Give me a shirasaya with sayagaki and I'm happy. 4 - What is your "behaviour" in collecting ? (expl : buying - learning - selling ? Making a museum-room at home ? Stocking until not knowing where to put them ? etc...). I buy for a couple of reasons. Historical significance, technological excellence and appearance. Secondary is investment. Koto blades are not cheap but I feel the monetary investment is justified. Call it portfolio diversification. I would rather put some money in a few blades than keep it in the bank, and actually enjoy the custodianship. My aires will know exactly what I have so that these assets will be handled appropriately for future generations. I also enjoy the learning process. As I've learned attributions are not always clearcut and open for discussion. My 2nd purchase is a good example. Papered for Senjuin but the polish is old resulting with a jihada with far more to offer. I intend to get it polished in Japan and resubmit. As part of this 'hobby' I enjoy the process of learning how to take a representative closeup photographic archive. A good macro lens will see so much more detail than these aging eyes ever will. I find the photos put up by online vendors fail dismally to offer an accurate impression of the blade, notable exceptions being Yuhindo (the late Darcy Brockbank and Ted Tenold) and Unique Japan (Pablo Kuntz and Eric B) 5 - What is your "purpose" in collecting ? (expl : knowledge ? Community membership ? Investment ? Pure appreciation ? etc...) All of the above tbh. I find connecting with like minded collectors to be a thoroughly enjoyable and rewarding experience. I especially enjoy the interactions on the forum and the in person connections at the NBTHK-EB meetings. Some people have an incredible knowledge base and understanding of Nihonto. edit : 6 - At what stade are you ? (expl : starting ? Achieved or nearly achieved ? evolving ? etc...) I had been pondering a Nihonto purchase for about 4 years before I took the plunge. Bought a couple of books, studied the internet, asked questions and attended the Japan Art Expo in Utrecht where I ended up purchasing my first sword, a Yamato Shikkake. I felt seeing the blade in person gave me the confidence to make an informed choice. Buying sight unseen on the internet can be a minefield. I also try to see as many Juyo and above blades to have a reference point so I can compare lesser or lower papered blades and make an assessment. Those are just a few quick musings during my lunch break. Look forward to hearing what others say.

Seppa looks stamped.

Smart move to walk. $100 is a $100 and this one doesn't seem to be worth that. Looks like something cobbled together for the unwary tourist.

Low rez Iphone image in ambient lighting + LED

Experimenting with different light sources I think I hit the sweet spot. High intensity halogen bulb really brings out the hamon and hataraki. High Rez images https://drive.google...BsZ2JdRviaaxy5A6Pma3

Probably not what you were thinking. Surprised me. https://www.christie...?ldp_breadcrumb=back

Doughnuts

This is wonderful news and fits with my schedule perfectly. I was hoping it would be early in Nov like this year. Looking forward to further updates in the coming year. I plan to be in Japan for 3 weeks and take advantage of the 21 day JR Rail travel pass, from mid Oct into Nov to attend the DTI.

Anyone have the details for the blades?

Only 4-5 hours. That could be overwhelmingly short. By all accounts its a massive event. I would certainly have 5-10 swords I really wanted to see. I'm curious how the prices compare to the gallery websites and the payment options. Paying a deposit seems the way to go and the balance when back home (unless they take credit card). You would have at least a 3-6 week wait while the export docs are prepared.

Hopefully earlier like this year.

You can see how someone might be fooled. They are remarkably similar. Both great looking blades.

Please report back. I'm planning to attend next years event. Enjoy the experience.

There is definitely something dodgy going on at the Russian Tamoykin Art Foundation.

I agree, a case of diminishing returns. I would take several high quality Juyo with attributions to well known makers than a mumei TJ for those numbers. I wonder what the kinzogan Mei cost.

Yes, probably a very good reason its on Jauce and not the website. Too many question marks.

The photos are from the Eirakudo website, as is the Jauce account. Its not listed on their website

How's the insurance claim going. Any pushback from USPS? Did you pay with a credit card? If yes, you may have some protections against theft for online purchases. Worth inquiring.

I did all of this when I had a sword shipped via EMS/DHL to Germany from Japan 2 weeks ago. No issues taking delivery but the German Zoll (Customs & Excise) changed the HS Code from 9706.10 to 9307.00, which does not take into account the antique status of the blade. All the supporting documentation and declarations from the NBTHK, Nihonto dealer, with translations were ignored. So instead of being charged the correct 7% tax rate they slapped on 19%. I have 30 days to contest the change and am currently doing that. The difference is only about 650 Euros but there is a principle involved. Hopefully your shipment is handled correctly and without these headaches.

Thank you for the insight. Just to be completely transparent I did not purchase this blade. It was offered to me and I accepted the kind gesture as an opportunity to learn more about the blade and some of its history, be it good or bad. The Gimei inscription is not a great start but I want to study the blade on its merits and if it turns out to be Chinese copy aimed to deceive or an older sword that was embellished with the inscription, its all good. The registration card dated back to the early 70's, so unless that was also fraudulent, then we can at least assume its more likely to be the latter.

If it's anything like Fedex, the employees have to walk through metal detectors entering and exiting the facility. Bit difficult absconding with a sword if there are checks at the Hub.

Who said chiefly? Of course there are many contributing factors, NBTHK papers being one of them

No prices listed for those blades on Tsuruginoya (I had to email) and Eirakudo usually have 'Ask' on most of their higher end pieces by important makers.