and after pictures of a 22 1/4" wakizashi signed "Dewa Daijo Fujiwara
Kunimichi". This one started out so bad, that I was concerned that
it wouldn't be salvageable. It was a very strong and well forged blade that came out nearly flawless.
Close up of a
wakizashi signed Hizen Kuni Tadayoshi with point damage and deep
Before and after of a very early Nobukuni tanto.
27 1/2" osruiage blade signed Echizen Kuni ju Kaneyoshi with double
grooves on both sides polished in a sashikomi style. This
blade has 4 peg holes and was originally 6 1/2" longer! This
was a pretty tricky polish because of the bad pitting rust in the
grooves. Also, this type of sashikomi finish is actually more
difficult to do well then the more typical keisho style finish.
See this page
for more information on the difference between keisho
and sashikomi finishing.|
This is the Before image
of mumei wakizashi
with papers attributing it
to Yosasaemonjo Sukesada circa 1504.
This is the same Sukesada
blade after full traditional art polish. See
the Recent Work
page for more pictures of this blade! This is finished in a
keisho style. See this page
for more information on the difference between keisho
and sashikomi finishing.
is a before image of an unsigned 15 7/8" wakizashi. The
starting condition is pretty terrible.|
is the same blade after full traditional art polish. An
unsigned, ruined condition little blade like this has very little
chance of ever making it to Japan for restoration due to the high cost,
complexity and risk involved with getting a blade over there and back
is a 17 5/8" wakizashi signed Iga no
Kami Kanemichi. This one was a real mess to start with.|
|This is the same blade after
full traditional art polish. The
completed blade of 2013!
|HEAD to HEAD COMPARISON
|This is a BEFORE
and AFTER comparison of a 29 7/8" katana attributed to Tango No Kami
Kanemichi. This blade started with a high quality 1970's vintage polish
from Japan along with a little tip damage. The hamon detail
very hard to see and it had what I felt was an excessive amount for
grain showing in the shinogi-ji.||The
original Japanese polish was very good. All of the lines and
geometry (most important part) were perfect. It just needed a
new finish that was up to modern standards. I fixed the point and
re-did the entire finish polish.
I kept the camera
settings the same so it would equally represent both finishes.|
|This is a 26 1/8" osuriage
mumei katana with a Fujiwara Takata attribution. This was
few years back
by one of the more well known
professional Japanese sword polishers in the United States. The owner was unhappy with the
thick and muddy appearance of the hamon and kissaki and sent it to me
to see if I could improve on this other polisher's work. This blade had also
been sent to Japan for shinsa and was somewhat scuffed up in
it is after I redid the
I had to take the
ji all the way back to the chu-nagura stones to completely remove the
heavy keisho finish. This blade was actually pretty
tough to improve on because the hardness contrast
the temper line and the body was very subtle.
It took a lot
meticulous work and my finest hadori stones, but I think the
results speak for themselves. I also repaired all of
along the edge and near the point. A more precise attribution
may be possible now that you can actually see the temper line.|
HEAD to HEAD with high quality Japanese polish
is a close up BEFORE image of a 15 3/8" blade signed Hakushu ju
Sadatsugu. It started out with a very high
quality professional polish by a well known Japanese
was given the daunting task of trying to improve on this
is the AFTER image, after I redid the finish polish. This was
sent to me primarily to improve the hadori work and make the true
features of the temper line more visible.|
Traditional Art Polish!
is a 13 7/8" wakizashi by Sukesada in rather rough condition.
This is the
same blade after
full traditional art polish. It's gone from ruined metal
stick to actually a pretty nice blade.
is a 28.5" orsuriage Oei Bizen masterpiece. All four of the
photos are of the same blade. This blade has great choji utsuri which
unfortunately can not be seen very well in the photos. I
full month working on just this one blade, confirming my status as a
interesting example of a FINISH polish only. Please do not
blade give you the wrong idea about finish polishes. Someone
fine finger stones to clean this blade, so it looks pretty gray, but
other than that it had a basically smooth clean surface.
scratches and small chips it had could not be removed with just the
fine finishing stones. I can't even tell you how many times
sent me a rust spotted sand papered mess and expected super fine
finishing stones alone to somehow clean it all up. This is
on both ends, so please read the description on the SERVICES page carefully
about what can and can not be fixed by finishing stones alone.
|Click here for more
examples of finsih polish only.|
is a 25 1/8" gendaito by Nagamitsu. It suffers from a low
early Showa era polish and a rather badly chipped kissaki.|
is a nice example of fixing a broken point. This is
same blade with the point re-shaped and just a finish polish.|
is a before and after picture of a
27 3/8" blade signed Oite Toto Kato Tsunahide tsukuru kore.
Dated Bunka ju
nen hachi gatsu hi or August of 1815. It is a very nice
but a bit blood thirsty. It got me pretty bad twice!
is gigantic 33 1/2" presentation sword by the early Showa era smith
Kajiwara Hiromitsu from Chikuzen. This blade had been
horribly abused over
the years. Before I started, I mapped out 14 specific
bends in the blade. The geometry had been completely ruined
severe rust followed heavy power sanding! Click on this
photo for a much larger image.