Franco D

This should top the list of things to do whether it be seeking help (the eye) from an experienced collector or even going so far as having a window opened by a polisher. Confirmation of the presence of the boshi will be the determining factor for what comes next.

I think someone in the To-Ken society of GB may be able to help put you in touch with Mr. Tanobe. This would be a good time and be very helpful for you to become a member of the NBTHK in this way too. Among some of the first nihonto I saw when beginning on this nihonto journey almost 30 years ago was a Ko Gassan which was quite impressive with its undulating ayasugi hada and the steel which had the look of silk.

This sword deserves careful attention. Meaning it deserves a good shinsa and an excellent Japanese polish. If it were mine, I would definitely seek out Mr. Tanobe's sans thoughts at the very least. Relaying the following thoughts from a good friend, a mentor, and a very experienced collector; "Yoshikawa Koan said , with saku it is ko Gassan, and pre Oei date. The sugata kind of match ." Congratulations.

Perhaps more ... https://www.google.com/search?q=Morimitsu+wakizashi%3A+(1%2C800%2C000+JPY)&oq=Morimitsu+wakizashi%3A+(1%2C800%2C000+JPY)&aqs=chrome..69i57&sourceid=chrome&ie=UTF-8 Length, plus, quality of polish, quality of koshirae, not to mention quality of the sword itself in addition to the presence of a date can quickly account for price differences. All of these factors have to be evaluated carefully. A discriminating collector will be searching and looking for the best example, top 10%, of a particular smith's work. Something that stands out. While shopping, especially with a reasonable budget, a reputable dealer(s) can help in finding an excellent example that meets all your objectives.

Here is a sword that may help bring this discussion thus far into better focus shall we say https://yuhindo.com/naoe-shizu-katana/ .

You may need to research multiple resources in order to find information on any specific maker, but in general Yamanaka's Newsletters revised, Nihonto Koza, Fujishiro/AFU, and Connoisseur's will cover the basic characteristics of what one should and will expect to see in the works of a school. The better known the maker and school the more information becomes available.

https://yuhindo.com/inoue-shinkai/ https://www.nihonto.com/shinkai/ If nothing else, there is no shortage of information on this sword maker. Verification as others have said is recommended.

To begin with http://meiboku.info/guide/form/sori/index.htm . Additionally, if not mistaken, I think that perhaps you intended and meant to write nakago, and not nagasa. Correct? This lesson really requires laying out swords from all the different time periods in order to study the similarities and differences in shape, and then, actually going sword by sword to measure and determine precisely where the sori of each is. It is immensely helpful to belong to a sword club or study group for such an endeavor. Otherwise, work with what you have, and practice. This would make for a good study session. I once knew an auto mechanic that said he could fix anything with just a hammer and screwdriver.

http://www.sho-shin.com/sai12.htm Generally, the term Takada indicates the Koto period, and Fujiwara indicates the Edo period with NBTHK papers.

Gee Luis, why doesn't any of your reply come as a surprise.

Based on the discussion so far, it would be most wise to choose an excellent polisher that is not only capable of excellent foundation work, but more importantly not rendering a mediocre final result, or worse, like screwing up. Not all polishers are equal and the responsibility falls back on the sword's owner to see that a correct polisher is selected.

You're welcome. Actually it's both together. For example, I think that all the descriptions and discussion about quality in Yamaka's Newsletters Revised make these books invaluable and well worth the price of admission especially once you pick up a sword and say, "Oh, so that's what he's talking about."

The Japanese tell us to study the best examples possible for good reason. One reason is that the student of nihonto will not begin to realize what is possible until they are able to see it ( nie, nioi, ashi, utsuri, yubashiri, chikei, ji-nie, sunagashi, hakikake, mokume, itame, masame, etc, etc, etc ... ), and more importantly understand the quality of what it is that they're seeing, as well as realize what they're not seeing. This requires studying numerous examples of nihonto, many, many, including those by the same sword smith side by side (if possible), along with those of smiths from all different levels. Another critical factor that cannot be overstated when trying to determine the quality of a sword is understanding (recognizing) the quality of the polish. A polish is NOT just a polish.

Sometime in the early 1990's I went to a local antiques show at a nearby college. An antiques dealer there was selling a number of these converted tosogu items. He told me that they came from a NYC jewelry outfit that was actively buying up these orphan fittings and converting them to jewelry. To date I have not seen any pieces of great significance altered. But, much like the problem with amateur nihonto polishers, sooner or later a significant piece will be ruined. One of the best Jochiku Murakami pieces I'm aware of is an orphan fuchi. Now just imagine if by some odd ball chance one day you came across the matching kashira hanging on a necklace or bracelet or placed on a ring. That's why not.

Darrel ... At risk of quoting myself; Yes, agree. Looks that way. These additional images are very helpful and make a significant difference, thanks for posting them.

Hello Krystian, I neither have the skill or knowledge to say how unfortunately. The only thing I can and will say is that some looks too clean, shiny if you will, while other parts don't look 'restored' quite enough. This contrast brings immediate unwanted attention from a discerning eye. I do believe Ford Hallam has posted images and videos of his work, even on this forum. Perhaps someone will be good enough to post links. Thank you.

The key to a "good" restoration is that the final result does not look or show that the item, or any part of the item, has had restoration work done. As I look at these pieces, based upon these images, I would have to say that is not the case. In fact it may take as much time, if not more, and even a greater amount of effort to return a "natural look" to a cleaned up piece. Granted, it is something very difficult to do, not to detract from the effort here.

Bob is a kind-big-hearted person who is very dedicated to nihonto with a tremendous amount of knowledge and experience. He has helped me many times over the years as well.

A word of caution, these can be genuine, valid, and just as well false, invalid. The sword confirms the mei, and not the other way around.

There are only two polishers in North America to my knowledge that have served full apprenticeships in Japan, Shigekazu 'Jimmy' Hayashi of San Francisco, and Takeo Seki in BC Canada. Both of whom I highly recommend from personal experience.

Sorry, no apologies for raining on anyone's parade here, but just as exciting as receiving a freshly polished sword may be, and it is, the truth is that unless the sword has been polished by an excellent polisher the end results may be in both the long and short term not quite up to par ending in disappointment. And what could be worse is that the recipient may not have the background to properly assess the result or know the difference. After all, ignorance is bliss. In the end the sword owner may find out by receiving a disappointing and poor shinsa result leaving them wondering how that was possible without ever understanding why. Oh, yes, a shiny "new" sword, but what if some of the most critical factors like foundation and finish were not executed quite up to snuff or even incorrectly (for the sword)? Since, according to the Japanese, kantei is the very foundation for nihonto appreciation, wouldn't that make the choice of selecting the right polisher for the sword most critical? Which brings up the question of how do we really know? By simply asking? By looking at actual examples of the polisher's work (traveling to sword shows or participating in club events where you have the opportunity to see polished swords)? Choose wisely, do your homework. Just food for thought.

https://www.nihonto.com/bungo-takada/

Shape is early, however, keep in mind that there was a period of time during the muromachi period that produced worthy copies of earlier swords, sometimes complete with a mei. A blueish tinge to the metal is one give away. Real or memorex?

Although reading kanji is not by any means my forte this looks to read Kane Mitsu. Corrections welcomed and will surely come along shortly. Which Kanemitsu made this sword needs to be determined. Images of the entire sword would be most helpful in making that determination and appreciated. Signatures (Mei) can be shoshin (genuine) or gimei (false). In general what is called a Shinsa can certify its validity and pinpoint the maker. The patina on the nakago (tang) hints that this sword is of some age and appears to be well cared for to this point in time, don't mess with it - carefully research proper Japanese sword care articles, there are many posted on this website.