Caracal

Hello, Now I have managed to open my Teppo. It was very hard at first. No one has opened it in many years. I found a signature and hope someone can interpret it for me. I do not know if the pictures are upside down but I hope you see it. All information about this Teppon is gratefully received // Robert

HI Can anyone tell me about the Shonai school that made Tsuba. Where were they made in Japan and under what part of Edo. Was it a small school and was it part of a larger school. How popular is the school and - Where can I read about this school? // Robert

Thank you all for the information. I have now received help from NBTHK Scandinavia which helps me totake apart theTeppo. I'll let you know if there is a signature. Thanks Anders! // Robert

Thanks for all the information about the sword. I have one more question. To this sword comes a certificate for Koshirae or saya, can anyone look at what is written regarding the certificate. How should I read the certificate? There is a separate certificate for Tsuba // Robert

Hello, Thank you for my thoughts on this teppo. I searched on google and found this on the Royal Armories Collection https://collections.royalarmouries.org/object/rac-object-1866.html (Matchlock carbine (teppo) (1801-1830) by Kunitomo Kubei. Place: Japan, Omi Province. How can i disassemble the barrel to see if there is any signature // Robert

Hello I bought this Teppo many years ago and now I wonder when it may have been made. Do It differs from other rifles in manufacturing appearance etc .. // Robert

Hello I need help translating NBTHK paper as should be from 1973, is the date correct? One is papper is on a saya and is it written in Kanji or Kanji/calligraphy? Have they rated the whole of Koshirae (拵 え) or just the Saya (鞘) The other is a 63 cm Katana that should be signed Masamitsu ( Izumi Dai jo Masamitsu) is that correct? Is there anything more written about the smith? full name, when it was made, province etc etc.? Grateful for any help //Robert

Hello It is on auction for 2300 usd with old NBTHK paper kicho... // Robert

Hello All, This katana is made by Izumi Dai jo Masamitsu Edo period. He was a Shin Shinto blacksmith from Aki today Hiroshima province (correct me if I am wrong) I want comments about the blacksmith and the sword. Was he a famous blacksmith or a moderate blacksmith What can one appreciate the value of this sword (on the pictures only). Old polishing but in good condition. Grateful for any answers. // Robert

Can you say that this Tsuba is by Tadatsugu from the Umetada school or only a tosho style tsuba? // Robert

Both INRO were paid for the price 700 usd each on the auction // Robert

Hello, Is it a Tosho-Tsuba or a Katchushi-Tsuba. Would like comment and translation of NBTHK paper for this smith. Where did the blacksmith work and which school did he belong to? // Robert

The auction expert says. INRO Japan, Meiji (1868-1912). Signed Decor with cranes on both sides against a gold-plated base. Six parts. Length 8.5 cm. With netsuke in bone, diameter 4.5 cm. INRO Japan, Edo 1800s One side with decoration of lobster, the other with decoration in relief of plants, length 8.5 cm. with sculpted netsuke in wood in the form of fruit. Length 4 cm. // Robert

Thank you very interesting. I will talk to them at the auction house as they seem to have an Asian expert but there is no guarantee of authenticity. // Robert

Is there any connection between the number of boxes on the Inro and age. Did they made different designs depending on the time period and Is there anything you can see depending on the time period. La Mode probably already existed during the Edo period. Some other characteristics of a good Inro. // Robert

Thank you for the answers. The auction is in mid-december. Are there more who can comment on these Inro, you are welcome....... //Robert

These Inro are at auction so I need help with an assessment of whether they are worth placing a bid on Starting price is 500 usd - 700 usd each //Robert

Hi I am interested in knowing who signed this intro and what one appreciates the value of it. It is said to be from the Edo period. Same for number 2 (said to be from Meiji) without signature. // Robert

Thanks, yes that was also what I thought a Nara Tsuba, but nice to get it confirmed. // Robert

Hello I have a question if this could be a Nara school Tsuba. If not .... What do you think it could be? // Robert

So then you recommend that if you think it is polished with polishing cream first clean with isopropyl alcohol to remove the old polishing cream. Then oil with Tsubaki oil or machine oil, not Weapon oil? What is the negative effect on the sword with Choji oil because you recommend it to old polish? //Robert

Good explanations thanks you all....... Thanks Robert

I have read that some retailers polish their blades with the help of polishing cream to get more effect at a sale. The question is how much it damages the blade and destroys for future treatment with Choji Oil and Uchiko Ball. I have also read that some Japanese retailers recommend good weapon oil instead of Choji oil, what do you say about that? //Robert

Thank you all for your answers to my question. The question is whether it has any effect (negative) on the sword in a real fight. I still wonder why the smith makes a hamon that is also found in shinogi. I have seen a hamon structure that is similar to choji-ashi along the entire shinogi/mune and it looks deliberately made. It may also have happened by mistake after clay has been put on the blade and after yaki-ire. Can you imagine that it happens by mistake and that it is a beauty defect and that it does not affect the hardness of the sword or that the hardening can mainly lie on the surface? Or is it deliberate to get extra beauty in the sword when selling to merchants during the Edo period. I understand that you are thinking of hitatsura leaves with spots of tobiyaki etc. but I wonder if it is negative for the actual effect of the blade in a real fight. Correct me if I'm wrong. // Robert

Hello everyone, What is it called when a tosho has made a clear hamon / hardening on the edge and on both jihada and shinogi and why did a tosho do it? Did not the sword then become too stiff for these swords? // Robert