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Superb Tachi-Length "Sukesada" Signed 16th Century Japanese Sword with Elaborate Tsuba and Tokugawa

Currency:USD Category:Firearms & Military Start Price:7,500.00 USD Estimated At:15,000.00 - 25,000.00 USD
Superb Tachi-Length  Sukesada  Signed 16th Century Japanese Sword with Elaborate Tsuba and Tokugawa
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Superb Tachi-Length "Sukesada" Signed 16th Century Japanese Sword with Elaborate Tsuba and Tokugawa Clan Decoration with Elaborate Display Stand

According to a translation supplied by the consignor, the signature on the tang is "Bishu Osafune Sukesada" indicating it as the work of the Sukesada family of smiths, descended from the Osafune School of Swordmaking, with an indicated production range of 1550-1570, putting the blade in the final Century of the Sengoku Period. Also known as the Warring States Era, Sengoku was a time of seemingly endless conflict between the various noblemen trying to take advantage of the weakening of central authority in Japan. While from a numerical standpoint sword production was at an all time high during this chaotic time, the overwhelming demand for functional combat swords took trained smiths away from the elegant yet deadly masterworks that require time and patience from a true master in favor of quick production; examples such as this, showing the kind of fine finish that one associates with top rate Japanese blades, simply were not made in quantity during the period. This era also saw the end of the Tachi style blade as a main line combat weapon, with the ascendency of the spear as the main weapon of the mounted soldier and the emergence of the katana style blade with it's greater draw speed and ease of use in tight quarters. Additionally, the fittings of this sword are extensively adorned with the "triple hollyhock" moon, symbol of the Tokugawa Clan, who would prove the final victors of the Sengoku Period by uniting Japan beneath the Tokugawa Shogunate and ruling the land through the 265-year Edo Period. Measuring 41 inches in overall length, the 27 1/4 inch blade shows a very straight hamon, with engraving on both sides; the left shows an elaborate, deeply cut fire breathing dragon, 12 1/2 inches in length, and the right shows a pair of equal-width kesso, 8 inches long with small figures at the end. The blade is set into a gilt habaki, with the Tokugawa Mon on both sides, an elaborate tsuba with a set of extending arms on each side to generate a four-lobed profile, and a set of contoured gilt seppa. The fuchi is engraved to match the tsuba, with the Tokugawa Mon repeated on each side, the kashira formed in the shape of the head of a ho-oh bird, and the grip furnished in white rayskin with 4 inch long dragon themed menuki, 13 gilt accent beads arranged in the front and back corners, and a metal mekugi with dragon themed tops. The placement of the gilt beads is very deliberate, resting cleanly in the palm and between the fingers in a conventional right hand dominant two-handed grip. An inspection of the tang shows signatures on both sides and a series of three mekugi-ana, one of which is concealed beneath the current tsuba. The wood bodied saya is finished in an attractive gold speckled lacquer finish, with a series of four golden Tokugawa mons on each side, positioned between the gilt accented metal fittings, which are engraved to match the tsuba and decorated with additional mons and dragon emblems. Also included with the blade is a traditional style daisho stand, hardwood construction with flecked gold lacquer finish, showing bronze butterflies inlaid among the arms and base, and the front showing a three dimensional floral arrangement, constructed from panels of gold and silver lacquer in combination with delicate mother of pearl panels.

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Excellent. The blade shows superb grain and finish throughout, with a tiny metal fissure visible on the back just above the habaki, a very strong hamon and sharply executed engraving. The fittings on both the hilt and saya show a fine dark color overall, with strong gold on the appropriate parts. A fraction of an inch of wood is visible at the seam of the rayskin, with some light cracks on the reverse, and a tiny amount of play is detectable in the ho-oh head. The saya shows a few minor flakes of the lacquer finish, with fine detail in the mons and sharp color overall. The stand is very good, with a mild chip absent from the right arm near the top slot, a small amount of flaking of the lacquer, and minor separation of the arms from the central panel. A superb piece, a rare sample of the artistry of Japan's master swordsmiths from a critical period in the history of the nation, and an artifact from the dynasty that ruled said nation for a quarter of a millennia, all in one beautiful piece.