Advice for new collectors from an old dog

[Tsuku]

I think it is necessary to distinguish between the intellectual/academic aspect of studying and the financial realities of collecting.

 

Consider Rayhan's list, which I will paraphrase here:

• Suriage and/or mumei is okay in pre-Muromachi work and not afterwards.
• Buy swords in good polish.
• Make sure any koshirae fits.
• Buy swords and not papers, but consider papered blades first.
• Upgrade swords when you can.

These rules are mostly about the financial aspect of collecting: bluntly, it is easier to re-sell a blade that meets these criteria.

 

So now let us consider the intellectual/academic aspect. Suriage is less than desirable because it does two things: it changes the sugata and we lose material (both overall and potentially a mei). But if you wanted the "best" ko-Bizen, and you had your pick of every blade in existence, and price was absolutely no object — you would probably pick an ubu zaimei example. So really, from an academic perspective, suriage and mumei are NOT okay, REGARDLESS of the period. We want ubu zaimei. But here practical reality kicks in. We do not have the pick of every blade, we do not have infinite budget, and we have to make some compromises.

People should buy the things they can afford and that they like. If someone wants to have a collection of kazu-uchimono, there is nothing intrinsically wrong with that. The problem is when there is a misunderstanding of the commercial realities of the market or a gap in scholarship.

 

If someone thinks a kazu-uchimono is on par from an academic/historical perspective with a Gojo Kanenaga or Tomonari or whatnot, I think this is a failing of their education. But that doesn't mean their kazu-uchimono collection doesn't have a story to tell. You do not have to spend a lot of money to have developed meaningful understanding.

 

I have more than a few things that I bought because I liked them, not because they were "important." But that doesn't mean that I can't understand the nature of what "important" means and why something the example I own is not going to command the highest prices in the market.

[Rayhan]

12 hours ago, Alex A said:

Cheers Michael

 

 

Rayhan, On one point about Suriage. I do tend to agree but eventually came to my own conclusion.

 

For folks wanting top name smith swords such as Tadayoshi, signed swords that have slight suriage can open doors for those that don't want to or don't have the funds for Ubu swords. In other words, there are bargains to be had for higher quality works.

 

I am in the signed camp, even if part of the mei is gone.

 

Best

Alex thank you for this view. I completely understand where you are coming from, I think to also get to this level of understanding a new collector would have to be in that zone, aiming for Shodai Tadahiro at suriage but Zaimei is not something to scoff at and will still be pricy and probably have Thozon papers. I would say ok you have walked an analytical road that has led you to an amazing smith and pursue that. But my message is for a NEW collector to take their time to go down the road and then get to that threshold rather than what we see people buying all too often. The context of my post is what to look out for in the beginning. 

 

11 hours ago, Lewis B said:

How do you feel about gakumei and orkaeishimei? It often surprises me that this isn't encountered more frequently. The big name early Koto smiths  eg the Soshu and Rai grand masters, were already highly prized when the blades were being shortened be it for practicality or changes in battlefield tactics. But little effort was made to preserve the mei with the blade after suriage.

 

This is one of my favourite gakumei swords. The jiba is quintessential Norishige

Again as I have answered to Alex the premise would be the same for me. I think having the turn back mei on swords can be perilous sometimes we see Edo swords trying to be passed of as something they are not via this technique so should one choose this path, knowingly and understanding the pitfalls then that is completely their prerogative and I wouldn't say anything negative about the choice of path, but as long as they came to it from a long study and said "This is what I want because I understand it" All too often we will see people duped into buying items that they should not be starting with at all. There are still gems for starter swords if people are willing to wait and make an informed decision. 

 

10 hours ago, Hoshi said:

Hi, 

Priorities changed over the eras. 
 

Shortening during the turbulent Muromachi times were motivated by having the best, most functionally advanced sword by your side. It was life and death, no time for nonsense. It wasn’t seen as disrespect for Grandpa’s heirloom - the opposite in fact, it was given a new life to do what it was supposed to do: battlefield duty to protect grandpa’s family lineage. 
 

Oda Nobunaga was a serial O-suriage enjoyer and big collector. He wanted the option to use it. 
 

Only the curious dreams of the Uesugi Daimyo somehow led to a family-wide proscription on chopping up heirloom nakago. 
 

Later you see more refined approaches. Gakumei, Orikashi Mei, Kinzogan Mei, and so on and so forth. They are the fruits of a time where life and death battle royal wasn’t the only grand imperative. 

And again, it was seen as a sign of respect to the sword to be able to wear it in court. 

 

Remember that a Kinzogan Mei by the Ko-Hon’ami was seen as equivalent to a signed sword. You still have this attitude in Japan, where a Kochu Kinzogan or Origami is often said to be equivalent to a signed sword by old collectors. 
 

Gakumei were also susceptible to forgeries. You can always transplant a mei from a burned Norishige on your Ko-Uda, and make shenanigans. The alternative is the shenanigan-proof Orikashi mei. But It came later. it was also carried out outside of Hon’ami/Umetada shogunal institutions. 
 

And sometimes Mei were messed with for strategic reasons. At some point it became very risky to own a signed blade from a grandmaster for a small, or even large clan. There was always a bigger dog that would gently ask you to part way with the sword in a way you couldn’t refuse. Gakumei swords, swords with defaced mei (filed, chopped midway, half erased by the bohi extension…) - these were protected as they were considered less appropriate for gift giving. 
 

The Satake clan is noteworthy for having filed, defaced, extended bohi etc on all their family top swords. They probably got badly burned at some point and took drastic action. 
 

There are a lot of social circumstances surrounding nakago condition, and it is quite a fascinating topic. 
 

Personally I find Gakumei, Orikashi Mei, ko-Kinzogan, defaced Mei, and partial Mei swords wonderful. They tell the story of their times. 
 

Best,

 

Hoshi
 

Hoshi has this way of taking us back in time and I always appreciate that  But completely agree on that point. 

 

2 hours ago, Tsuku said:

I think it is necessary to distinguish between the intellectual/academic aspect of studying and the financial realities of collecting.

 

Consider Rayhan's list, which I will paraphrase here:

• Suriage and/or mumei is okay in pre-Muromachi work and not afterwards.
• Buy swords in good polish.
• Make sure any koshirae fits.
• Buy swords and not papers, but consider papered blades first.
• Upgrade swords when you can.

 

These rules are mostly about the financial aspect of collecting: bluntly, it is easier to re-sell a blade that meets these criteria.

 

So now let us consider the intellectual/academic aspect. Suriage is less than desirable because it does two things: it changes the sugata and we lose material (both overall and potentially a mei). But if you wanted the "best" ko-Bizen, and you had your pick of every blade in existence, and price was absolutely no object — you would probably pick an ubu zaimei example. So really, from an academic perspective, suriage and mumei are NOT okay, REGARDLESS of the period. We want ubu zaimei. But here practical reality kicks in. We do not have the pick of every blade, we do not have infinite budget, and we have to make some compromises.

People should buy the things they can afford and that they like. If someone wants to have a collection of kazu-uchimono, there is nothing intrinsically wrong with that. The problem is when there is a misunderstanding of the commercial realities of the market or a gap in scholarship.

 

If someone thinks a kazu-uchimono is on par from an academic/historical perspective with a Gojo Kanenaga or Tomonari or whatnot, I think this is a failing of their education. But that doesn't mean their kazu-uchimono collection doesn't have a story to tell. You do not have to spend a lot of money to have developed meaningful understanding.

 

I have more than a few things that I bought because I liked them, not because they were "important." But that doesn't mean that I can't understand the nature of what "important" means and why something the example I own is not going to command the highest prices in the market.

I completely agree, but just to get to the terminology "Kazu -uchimono" one has studied the lengths and breadths of this topic. They would have gone through quite a road themselves and then said ok, thi is for me and I love it. Let us also not forget that even in Kazu-uchimono there exist some very nice blades, excellent  in fact, not everything was just a beater. I think the more we study and observe the more we get "what we like and love" but avoiding pitfalls is avoiding the disappointment that can hurt that love or passion for this hobby. Buying a sword and then being told it is not worth the postage paid is one of the worst feelings especially when one is embarking on this from the standpoint of love and passion that inevitably involves academics and money. 

 

All i am saying is, if you are new to this please be wise and spend so that you invest in you passion growing and not your disappointment. 

 

[Mushin]

6 hours ago, Tsuku said:

I think it is necessary to distinguish between the intellectual/academic aspect of studying and the financial realities of collecting.

Awesome observations, GP. Well said and brilliantly presented. And many of these “truths” don’t just apply to collecting Nihonto, but also fine art, Chinese ceramics, snuff bottles, antique American Colonial furniture, etc. Just watch a few episodes of Antiques Road show and corollaries to Rayhan’s basic rules are there in one form or another all the time. We collectors are bound by market realities, disposable income, object scarcity and the pursuit of perfection from an artistic and intellectual perspective. Many of these points are being presented here for newbies and collectors with limited budgets who may be in the early stages of their collections. But even more experienced collectors have to face these same realities. For example, I am fortunate to have in my collection some very special and important pieces, but I often have to settle for mumei or suriage swords or examples with orikeishi or gakumei. Do I understand what I have acquired? Absolutely! Would I have preferred to get ubu zaimei Soshu works? You betcha. But the scarcity of those works and the resulting financial forces of the marketplace combined w/my financial realities, mean that I have to make compromises. So chances are that ubu Juyo Soshu Hiromitsu is beyond my grasp, but perhaps a mumei Juyo or Tokubetsu Hozon example might not be. I understand that and I save and network and try to source and buy accordingly. Now might someone with a few Tokubetsu Juyo Hiromitsus look at my puny sword with its naked anonymous nakago and my treasured attribution papers and tell me, “It would have been better to buy a higher-ranked signed piece with perfect jigane.” Or “That’s nice, but it will never go TokuJu or even Juyo.” Yes, and they would not be wrong, but for the fact that those kinds of pieces may be out of my financial reach or not even available to me. Doesn’t mean I bought incorrectly, or failed to study, or that I don’t recognize what makes a great sword. What it means is that I followed another rule that I don’t see in Rayhan’s list: I applied my study and knowledge and bought the best piece I could at my budget. Which is what GP and I believe Rayhan are alluding to. It’s what everyone means when they tell newbies to buy books before blades. While I get that, I am also of the opinion that books are just not enough — you need to see swords, as many as you can and this exposure over time teaches you what is right and wrong, desirable and lamentable. So, I am not sure that even with the best advice in the world it is possible to prevent others from making the same mistakes that Rayhan talked about in his opening post. In fact, I would argue if Rayhan (and me and many of my friends in this hobby) hadn’t made those mistakes, we wouldn’t have the collections we do today. I’m sorry but mistakes are part of the learning process and failure is probably the best teacher there is. What Rayhan I think is trying to say is please be careful that that mistake doesn’t cost you big time. And Ray is not wrong. At the core Ray has offered from his own experience good rules that should be on every collector’s mind whatever their level or interest. 
 

Now, here is my take on gakumei and orikeishi mei. Like Hosho, I like them, but before I explain why, I think it’s important to understand the reasons behind them. These are methods designed to honor the sword’s maker; to protect and preserve their connection to the sword, which may have been damaged or was shortened because of changing fashions hundreds of years ago. They are a way to safeguard the facts of the sword’s history for posterity. But like all technologies, they can just as easily be used for evil as for good. In this case, to create a forgery meant to deceive or fool a would be buyer for the financial gain of the seller. So the other rule that that should be applied to all signed works whether original or preserved: always try to match the work with the mei. If you can’t, walk away. So we are back to the need for study. Enough. So, why do I like them? In someways it is linked to my earlier remarks about availability and budget. Often times, folded and framed signatures are great ways to get a signed blade by a great smith at an affordable price. That’s the financial reason. On a deeper more emotional (and intellectual level), I see properly salvaged signatures as an act of love by a former owner from long ago who cared deeply about his sword. So, when I have the chance to own a sword with such a mei that I know is good, I get to feel like I am continuing where that erstwhile owner left off. And when the time comes, I get to pass it on to the next lucky soul who shares that sense of commitment. Below is my naoshi gakumei Sa Yukiyoshi, grandson of Sa Yukihiro, Samonji’s first student. One of only two known signature examples of the smith. It’s not one of my best pieces but it is one of my favorites because somebody went to great trouble to pass its history on to us.

 

[Rayhan]

27 minutes ago, Mushin said:

Awesome observations, GP. Well said and brilliantly presented. And many of these “truths” don’t just apply to collecting Nihonto, but fine art, Chinese ceramics, snuff bottles, antique  American Colonial furniture, etc. All one has to do is watch a few episodes of Antiques Road show and corollaries to Rayhan’s basic rules are there in one form or another all the time. We collectors are bound by market realities, disposable income, object scarcity and the pursuit of perfection from an artistic and intellectual perspective. Many of these points are being presented here for newbies and collectors with limited budgets who may be in the early stages of their collections. But even more experienced collectors have to face these same realities. For example, I am fortunate to have in my collection some very special and important pieces, but I often have to settle for mumei or suriage or orikeishi and gakumei swords. Do I understand what I have acquired? Absolutely! Would I have preferred to get ubu zaimei Soshu works? You betcha. But the scarcity of those works and the resulting financial forces of the marketplace combined w/my financial realities, mean that I have to make compromises. So chances are that ubu Juyo Soshu Hiromitsu is beyond my grasp, but perhaps a Juyo or Tokubetsu Hozon example might not be. I understand that and I save and network and try to source and buy accordingly. Now might someone with a few Tokubetsu Juyo Hiromitsus look at my puny sword with its naked anonymous nakago and my treasured attribution papers tell me, “It would have been better to buy a higher ranked piece with perfect jigane.” Or “That’s nice but it will never go TokuJu or even Juyo”? Yes, and they would not be wrong, but for the fact that those pieces may be out of my financial reach or not even available to me. Doesn’t mean I bought incorrectly or failed to study, or that I don’t recognize what makes a great sword. What it means is that I followed another rule that is not in Rayhan’s list: I applied my study and knowledge and bought the best piece I could at my budget. Which is what GP and I believe Rayhan are alluding to. It’s what every one means when they tell newbies to buy books before blades. While I get that I am also of the opinion that books are just not enough — you need to see swords, as many as you can and this exposure over time teaches you what is right and wrong, desirable and lamentable. So, I am not sure that even with all the best advice in the world it is possible to prevent others from making the same mistakes that Rayhan talked about in his opening post. In fact, I would argue if Rayhan (and me and many of my friends in this hobby hadn’t made those mistakes, they wouldn’t have the collections they do today.  I’m sorry but mistakes are part of the learning process and failure is probably the best teacher there is. What Rayhan I think is trying to say is please be careful that that mistake doesn’t cost you big time. And Ray is not wrong. What is saying at the core are good rules and should be on every collector’s mind whatever their level or interest. 
Now here is my take on gakumei and orikeishi mei. In someways it is linked to my earlier remarks about availability and budget. Like Hosho, I like them, but before I explain why, I think it’s important to understand the reasons behind them. These are methods designed to honor the sword’s maker; to protect and preserve their connection to the sword, which may have been damaged or was shortened because of changing fashions hundreds of years ago. They are a way to safeguard the facts of the sword’s history for posterity. But like all technologies, they can just as easily be used for evil as for good. In this case, to deceive or fool a would be buyer for the financial gain of the seller. So the other rule that isn’t here is the one that should be applied to all signed works whether original or preserved: you should always try match the work with the mei. If you can’t, walk away. So we are back to the need for study. Enough. So, why do I like them? Often times, folded and framed signatures are great ways to get a great blade by a great smith at an affordable price. That’s the financial reason. On a deeper more emotional (and intellectual level),  I see properly salvaged signatures as an act of love by a former owner from long ago who cared deeply about his sword. So, when I can the chance to own  one that I know is good, I get to feel like I am continuing where that erstwhile owner left off.  And when they times comes I get to pass it on to the next lucky soul who shares that sense of commitment. Below is my naoshi gakumei Sa Yukiyoshi, grandson of Sa Yukihiro, Samonji’s first student. One of only two known signature examples of the smith. It’s not one of my best pieces but it is one of my favorites because somebody went to great trouble to pass it’s history on to us. 

 

Thank you! Amazing post! 

 

To forge a billet we fold 8 to 12 times, we make thousands of layers. Think like that before you buy.

[Davo]

As a newbie to collecting I think Rayhan does give good advice of a way of helping to avoid “mistakes” for someone like me. I’ve read all of the replies and I can’t imagine being able to identify these distinctions when looking for my first Nihonto.  I think the long time collectors are maybe looking at the “suggestions” and analyzing them according to their own expertise?  Of course I don’t know if this is all true but I am commenting because I do not see any replies by new collectors. I know many things I reply will be wrong but I’m not afraid to reply if I know I will get relies to explain where my thinking may be off.   This is how we learn more. Thanks for everyone who has taken the time to comment in ways that are beneficial to learning and their intentions also are for this.  

[Rivkin]

.... how long this discussion can go on.

 

Its simple: you go by doing your sutff and suddenly you feel, hey boy, you want some action... you look... and its chikei... Smooth, silky, flowing chikei... and there is mokume... crusty and black... and there is inazuma.... and its hard... and thin.... and bright.... and there is like kinsuji... lots of it, dude....

 

And then like wow, your cash is gone. 

[Bazza]

Kiril Sir, this is the kernel of a brilliant haiku by someone...

 

BaZZa.

[Tsuku]

57 minutes ago, Rivkin said:

And then like wow, your cash is gone. 

 

Yes exactly. I do not understand how we keep having this discussion either. I am not saying anything new.

 

"I want an ko-nie like grains of perfect glittering sand and flowing sunagashi and inazuma and kinsuji and it should definitely have an ichimai-boshi and be ubu kenzen. But it's okay if it's not Juyo." — your problem is not that it's going to be juyo, it's that it's going to be juyo bunkazai. This is a failure of money or maybe understanding of market dynamics.

 

"I bought this out of polish Muromachi suriage mumei wakizashi for $100 on eBay, tell me it's a great sword" — your problem is that there is little for this blade to teach you. This is a failure of studying.

 

If you only have the budget for the second, that is totally fine. And anyone who sneers at you is misguided. There is always a bigger fish, unless you are Godzilla or maybe Mothra, and if you are a kaiju you are not on NMB and definitely not asking this question...

 

Anyways, just don't confuse the first and the second.

[Lewis B]

And not just seeing swords. You have to hold them and observe them under the appropriate lighting.

 

I saw a TJ Den Yukimitsu recently with a fineness in the workmanship that could only be fully appreciated with eyeballs a few inches away from the blade. If this had been displayed behind a glass panel with less than ideal lighting at the wrong angle, the beauty of it would have been missed.

 

When you hear people say they were almost moved to tears by a sword that Yukimitsu was a prime example. Thats when you really get it. 

[Stephen]

I also wonder if any more can be said, you could do as I did, buy high and sell low, do that enough times then you'll stop buying and pay attention to the sword.

go to shows develop a relationship with sellers when you know them and they know you, ask to see what they have under the table where the good stuff is go to exhibit room and study..... anything else is just repeat of above posts.

[Hoshi]

Hello, 

 

Failure of knowledge vs Failure of money is a critically useful distinction, thank you @Tsuku for laying it out so clearly. Too often these are conflated together and it blurs the conversation. 

 

Quote

Do I understand what I have acquired? Absolutely! Would I have preferred to get ubu zaimei Soshu works? You betcha

 

Very true. Here it is a success of both, with knowledge setting the lower bound, and money the upper bound. That thin slice in between is "your zone of operational success". It works! 

 

Quote

People should buy the things they can afford and that they like. If someone wants to have a collection of kazu-uchimono, there is nothing intrinsically wrong with that. The problem is when there is a misunderstanding of the commercial realities of the market or a gap in scholarship.

 

Wise words. 

 

[sabiji]

I don't want to be unfair, but I can still remember discussions here about what chikei actually are – and somehow we couldn't agree on a common denominator.

 

It's completely normal to be able to communicate well with each other when you have roughly the same level of knowledge.

 

But it's not easy to pass on knowledge to learners. It's a very individual thing, and you have to know your students very well in order to help them progress effectively. I need to know what they see and understand, and they need to be able to name it. Otherwise, I might as well be talking to a doorknob (excuse the exaggeration).

 

Of course, a lot also depends on the personal point of view of the “teacher.”

 

Just as an example: here, the advice was given that (o) suriage and mumei are acceptable for blades up to Nanbokucho.
Then blades from Kamakura or Nanbokucho, offered by Japanese dealers, are posted here by newbies asking for advice. “Uuuuhh, hands off! Tired, ground down, etc...” Answer: “But why do these blades have Tokubetsu Hozon if they are obviously junk?”
The advanced age of the blade and the fact that it still displays many characteristics typical of its school may be the reason for the NBTHK. 

 

But for a beginner, this is very confusing. On the one hand, a perfect blade is recommended, but on the other hand, others are able to overlook obvious flaws and appreciate the brilliance of the work in question.

 

And that's not far-fetched. An outstanding work by a very important master was on display in Berlin in May (and still is). And yet I have experienced a disparaging opinion based on its imperfect preservation, and that from someone who has been collecting for more than 40 years.

 

Today, I can only shrug my shoulders, but how would I have understood something like that 30 years ago? I would like to know that myself...

 

My best advice to newcomers: if you want to understand something, you have to question it. Don't expect to be spoon-fed, but develop a healthy urge to explore. Nothing comes from nothing.

 

And if it's just about the financial aspect: don't forget the wakizashi! Here you can find excellent, signed works by well-known smiths, sometimes at a fraction of the price of an average katana.

And by the way: there are a number of sword smiths from the early Edo period who produced almost exclusively wakizashi. Others, on the other hand, produced almost exclusively katana, so a wakizashi from a particular sword smith could be considered relatively rare. A wakizashi is therefore nothing to be ashamed of.

 

But you don't have to follow my advice. It's not that important. All the better, because then you can't snatch them away from me...

 

 

[Mikaveli]

The Nihonto community is a funny thing, on the one hand, we emphasize that we collect "art swords", but in the next breath we're told to accept a previously established order of what's best.

 

It seems the beholder isn't able to choose.

 

So then, rather than quality being subjective, it becomes objective - but all the objective qualities usually relate to utilitarian aspects, which we reject as unimportant to art swords, so the rationale offered only really boils down to a circular "someone else before said so" argument. 🙂

 

For me, buy what you like, pay what you're prepared to, and don't let other people spoil your enjoyment with their opinion. 

[Rayhan]

6 hours ago, Mikaveli said:

 

 

For me, buy what you like, pay what you're prepared to, and don't let other people spoil your enjoyment with their opinion. 

So with this kind of blanket statement I think examples should be shown to reinforce the "just buy what you like". I think my tastes changes over the last 2 plus decades, for example:

 

Attached are 2 swords I have had since the beginning.

- The Shinkoku was one of my first and bought because I liked it, over time had it papered and put i fittings. It was super economical and feasible well under 1000 GB Pounds. 

- The Masayuki came with no papers at all and it was in bad polish but I liked the Koshirae (I had no idea what Toppei Koshirae was but I liked it). In time I got it polished and papered. It is well, O-Kissaki loveliness that we all want and do not care who made it basically. 

 

Then there is what I also love now after 20 years of searching for the buy what you love feeling:

 

- Enju _ Taken from Hozon to Juyo

- Hasebe - Taken from THozon to Juyo

 

Things have changed dramatically. 

 

@Mikaveli could you share where you bought what you liked then vs now? Any others wishing to share their journey please?

 

If I had to do it over, I would have saved my money and waited and then gone where I find myself much later in my appreciation and collecting journey, and I would have had a much bigger budget to spare for what I love. In between the Shinkoku and the Hasebe are over a 100 swords I could have not bought, 100 very expensive mistakes to get here. 

 

 

[Scogg]

Unfortunately I don't have great pictures like the one's Rayhan has shared above. 

I'll just add a small and simple part of my journey: When I first started collecting, I had an interest in really flamboyant swords. I liked things with big and wild hamon, dramatic sori, and o-kissaki. My inherited sword has sanbonsugi hamon, so I think that played some part in my tastes at the time. 

Now, I prefer more restrained swords. I like suguha hamon, mokume, and masame hada. "flamboyant" is no longer what attracts me. I like the beauty in the simplicity, and I tend to be drawn toward those tiny kissaki . 

Been enjoying reading along. Good discussion,
-Sam

[klee]

My purchases is somewhat backward.

 

My first nihonto is still today my favorite and most cherished piece. And most expensive as well

 

I fell in love with Kiyomitsu and my first prurchase was a Tokubetsu Hozon "Bizen Koku Ju Osafune Kiyomitsu". Was a bit more than I wanted to spend but I had to have it. 70cm and a very heavy 850gram. Had shiage togi done by the great Woody Hall and it s even better than it was.

 

Found another one earlier this year . A Hozon "Bishu Osafune Kiyomitsu" dated Eisho 10 . Lovely blade but nowhere near the raw quality of the 1st one. I look through the net for Kiyomitsu almost everyday and Eisho 10 is the earliest I ve ever seen. So naturally as Kiyomitsu collector, I had to have it. Currently with Woody Hall for Shiage Togi.

 

My Latest which is still with Aoi and waiting export is Tokubetsu Hozon Ko-Kongo Hyoe. One of my absolute favorite school. Even with suriage it is personally the most beautiful blade I ve even seen on Aoi. So I absolutely had to have it.

 

Dont really care much about resale. They are from the smith/school I love and in my price range so thats all I care about

 

[Lewis B]

First blade purchased 14 months ago at the Japan Art Expo. A TH Yamato Shikkake in good polish. I played it safe and got a blade in shirasaya with Tanobe sayagaki and custom made Tensho koshirae created by the Osafune Museum workshop. Knew exactly what I was buying, thought about it for 3 days and then made an offer which the dealer accepted. Tanobe said it had Juyo potential and I found out later it had been submitted in 2023 but failed to progress. He suggested to resubmit and since 2023 was a tough year, I may do this in the future. Papers, at least trying myself to get higher level papers, are becoming less of a preoccupation as I progress in the hobby. 

 

 

 

 

 

 

 

 

[Lewis B]

Second sword was kodachi purchased a year ago from Ginza Choshuya. This was chosen more with the heart this time. TH, ex-Tsukamoto Museum blade, Yamato and Soshu features. Only shirasaya this time and I asked the dealer to see if Tanobe would add the sayagaki, which he agreed to do. The hataraki on the blade is more than I hoped. With a macro lens and the correct lighting all the fine Nie formations can be seen. 

 

 

Third and most recent purchase was purely acquired with the heart and a modicum of hope that others see what I saw. Horyu papers, out of polish, dated 1308 but Mei for a grand master. Tanobe has seen the tanto and agrees with the 2018 Shinsa panel that more research is needed to ascertain the veracity of the Mei.... at least he didn't give it the kiss of death and proclaim it gimei... so winning. Yes, it's not in the best condition but I bought it as a survivor that is worthy of saving. Not everything in the collection has to tick all the boxes. Would I buy another, probably not, but in this case I can justify it as part of the collection of Koto era swords. The price was OK at a fraction of what an ubu Kamakura era tanto by a big name goes for these days and came with a decent saya. Next purchase will be a statement piece which will check most of the boxes. 

It's currently being examined by a top level togishi who I hope will accept the commission. I'm certain he will do what is best for the blade to preserve it and bring out the finer detail in the hada which I'm sure is hiding behind the light surface oxidation. Whatever the outcome Tanobe says it has a sugata consistent with the date inscribed on the nakago and the Mei/date will not be removed even if, at the next submission for Shinsa, it fails to yield a positive result.