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Tonkotsu

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Tonkotsu last won the day on November 10

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About Tonkotsu

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    Chu Jo Saku

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    North Eastern Pennsylvania
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    Japanese metalwork

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    Dick B

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  1. I don't know if this is appropriate to be posted here since this "trench knife" is half Japanese, half Chinese and used by an American who fought the Japanese in China. If this is not appropriate please delete. This Knuckle knife is made from the hilt of a Japanese army dress saber with the blade, scabbard and hanger from a Chinese dagger. The pommel has the name R.A. Tully and the date 1945 for his service in China. I believe the EGA on the pommel was added for a reunion of S.A.C.O. members since it dates from the mid 1950's. The U.S. Naval Group China, S.A.C.O. had reunions from 1955 to 2015. The Chinese belt was with the group. The dealer I bought the group from said it came from a Good Will Store. Richard Arthur Tully served in Company D, First Battalion, First Marines, First Marine Division in July 1942. Tully participated in the landing operations and capture of Guadalcanal Island, British Solomon Islands. He was involved in offensive operations against enemy forces from 7 August until 21 December, 1942. The First Marine Division received the Presidential Unit Citation. He then participated in landing operations against Japanese forces at Cape Gloucester, New Britain where he participated in the capture of the Japanese airdromes. Tully was engaged in offensive and defensive operations against enemy forces from 29 December 1943 to April 23 1944. In March 1945 Tully joined the U.S. Naval Group China (S.A.C.O.) and he served in Calcutta, Hankow, Shanghai and with the Yangtze Naval Unit. The Yangtze Naval Unit attacked river and rail traffic and ultimately severed Japanese supply lines in central China. Platoon Sergeant Richard A. Tully was discharged from the United States Marine Corps on December 29th 1945.
  2. These mixed metal fittings are on a sword discussed in the Nihonto section of the forum. Could you please give me information on the fuchi, kashira, menuki and tsuba? also how to safely remove the verdigris on the tsuba. Thank you, Dick
  3. Thank you again for all of your comments. From what I have read (being able to research the sword from all of the fantastic information members of the forum have given me) out of ten swords made by Nagasone kotetsu nyudo Okisato, eleven were fake. That does note bode well for my sword. Even if a fake I think the sword has a lot going for it from an artistic point of view. As far as the blade goes the horimono is not bad. Not the best by any stretch of the imagination, some horimono are amazing examples of the engravers art, but better than many of the images I have seen on line. I think the chiseling of the calligraphy on the blade was done by a very skilled craftsman. The characters flow beautifully. I wonder if this is the work of Kajihei who was an expert with the chisel and one of the best fakers of all times. I also think the fuchi, kashira, menuki and tsuba are very nice. All in all a sword with very artistic qualities. Thank you to everyone who has helped me in my search for information on my sword. Dick
  4. Thank you all for the information and comments. What should I do now???
  5. Here is a sword that I have had for decades. There is a dragon carved into the blade and I think it has a haiku or it was suggested a cutting legend engraved on the tang? Any help would be appreciated. There is also some verdigris on the tsuba. Can someone please suggest the best way of removing it without damaging the tsuba. Thank you, Dick
  6. Hi Steve, would the tanto be worth the large investment to have it polished? Dick
  7. Ray, Thank you for reading and translating the tanto for me. I never knew that I have two swords and a tanto that date from the late sixteenth, early seventeenth centuries. I appreciate the history of that tumultuous period of Japanese history. The fact that I am the caretaker of these weapons that were made to be used, and may have been used, rather than being status symbols is very exciting. Thank you again for your help. Peter, great comment. Thank you. Dick
  8. Here is a tanto that I have had for years that I know nothing about. I assume it has been mounted before. The tang is hard to read. I photographed it with different light sources and black and white reversed. I hope it is readable. Thank you for your help, Dick
  9. I think you may have hit the nail on the head.
  10. Hi JP, The Cotswold prototypes are made of different profile pieces of brass rod and different thicknesses of sheet brass. We made some of the weapons out of pewter and had them cast in the US. I had to be careful to make trigger guards and rifle barrels thicker than scale to allow for the shrinkage of the pewter when it cooled. The rifle stocks were made from epoxy clay. I also made 1/4th scale miniature weapons that actually function. I also worked for other toy companies. Here is the Phantom with his two guns.
  11. Here is my Kubikiri Tanto or Nata. My guess is that it is a bonsai pruner. Considering how valuable and prized many bonsai were and are a wealthy person would spare no expense on a special pruning tool.
  12. Thanks JP. It was a lot of fun making prototypes for Cotswold and it paid for my two sons to go to Penn State. Today prototypes are made with a computer. Here are a few figures and weapons I made for Cotswold. Dick
  13. I joined this wonderful site a while back and never properly introduced myself. I am a sculptor who has worked as a silver and gold smith, operated a bronze casting foundry where I cast my own sculpture and competed for sculpture commissions. I also worked as a freelance artist making prototypes for the toy industry. I worked for Cotswold Collectibles making metal prototype guns, swords, armor and anything else they needed for their line of twelve-inch G.I. Joe figures. The prototypes were created by handcrafting dozens and sometimes a hundred or so individual pieces of brass that were brazed and silver soldered together to form the final object. The prototypes would then be sent to China where a pantograph machining system would create injection molds to produce the final plastic toy. I also taught art at a High School for 38 years. Now I make one-of-a-kind medals using the same techniques used to make the toy prototypes. These pieces are small intimate medallic sculptures which are a combination of many different colored and textured metals. Many of my medals are fabricated from a hundred or more individually crafted pieces of bronze, copper, silver, shakudo, white and yellow gold’s. The medallic sculptures are patinated in many different colors to reflect nature. They offer a suggestion of a biome rather than simply a replica of individual plants and animals. “I create a format of an outer composition encapsulating a hidden inner one. The subjects are a frozen moment in the natural world.” Much of the inspiration for these pieces are Japanese mixed metal sword furniture and tobacco pouch clasps. Dick
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