Lewis B

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.

What exactly do you want to know? An invoice confirms nothing. Does it have official papers from a body like the NBTHK or NTHK to provide an attribution? If you want us to comment on the blade itself we need to see high res closeup photos of the jihada, hamon, kissaki and nagaso. The fukure mentioned in the auction listing is a concern. Sometimes these can be fatal for the blade depending the location, depth and extent. Can you post an image of that?

They are called Bonji and usually have a Buddhist religious significance. The script is Sanskrit.

Anyone living the EU should make the effort to visit the annual Japan Art Expo in June in Utrecht. Its one of the best venues available to us to study high quality swords and fittings from most eras, in hand. The education is invaluable.

Seriously, the only absurdity is the inability to grasp why a Google search would be useful when the authenticity of a forum member is being questioned. Is this Kindergarten? Luckily for you Chandler spelled it out.

Directed so that the light isn't reflected off the blade itself. I have found the cheap Ikea LED Jansjo lamps to be great. Think I paid 20 euro for 4 off Ebay. These are widely recommended for anyone doing Macro work. For highligting activity in the hamon a high intensity 250W halogen lamp is my go to. With its dimmer feature I can optimise the light intensity. You can see some of the images I've captured when experimenting with light sources, camera angles etc here https://drive.google.com/drive/folders/19Lr1Ec-xuqVvj-eZWYtgSKfamVWFUlsO?dmr=1&ec=wgc-drive-globalnav-goto This for example was shot with the halogen lamp approx 18 inches away from the blade and 90deg wrt the camera angle.

Trial and error I'm afraid. Every blade is different. Thats the beauty of digital image capture, you can snap away to hearts content. Just remember to have the light source off axis and not reflecting on the blade.

Papers are from 1973 so the Tsuba could have been altered for a fitting within the last 50 years.

One of the biggest problems is Nicholas's use of the iPad camera to take pics. More manual control of aperture and focus is preferable. A macro lens works wonders but in lieu of that perhaps the use of a camera app that emulates a macro function.

Pablo Kuntz (Unique Japan) has an office in Tokyo and provides proxy services.

Part of your problem is that the images are very low rez. Can you get high rez images and then zoom in to reduce the file size. Or upload to Google Drive without compression/pixelation issues which are evident here. It kills the fine detail.