A78143(W6930)
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Wakizashi signed Echigo-no-kami KANESADA with) Ivy Arabesque Design Black Stone surface lacquered scabbard Han-Tachi-styleKoshirae

Shinto Early Edo period (around Enpo era/1673-) Settsu
Length of cutting edge 58.7cm Curvature 1.6cm Width of base 33.5mm Width of Yokote 22.5mm Thickness of base 7.5mm

NBTHK(Tokubetsu Hozon) certificate

with) Ivy Arabesque Design Black Stone surface lacquered scabbard Han-Tachi-style Koshirae

Blade construction: Shinogi-zukuri construction with a high Iori-mune (ridge), wide base, a firmly standing at the waist, with well-harmonized curvature in the middle, and an extended Chū-Kissaki tip. (Enlarged photo of the blade)
Engraving : There are round-ended bo-hi (grooves) carved on both sides.
Forging(Hada): Finely-forged Itame-hada (wood grain pattern) with a mixture of Mokume-hada (burl grain), creating a refined texture, with a swirl pattern near the base. Thick Ji-nie (small crystalline particles) covers the surface, with Chikei (dark lines in different state of carbonate ) appears.
Temper(Hamon): The Hamon begins with a long Yakidashi (tempered area near the tang) and features thick sparkling Nie particles. The pattern consists of Notare-midare (wavy) with double-triple layered small "Gunome" to form box-like "Hako-ba", large "Gunome" and some elements resembling ocean waves "Tōran-ha". Frequent Gunome Ashi legs radiate towards the cutting edge, the Hamon's interior filled with bright Nioi (soft, misty tempered area).
Temper of tip(Boshi): Temper of Boshi forms calms below Yokote then straight in medium circle turns back.
Tang(Nakago): The Nakago is ubu (unaltered). Yasurime (file marks) is slanting left with diagonal strokes resembling Kō-tsutsumi style. The tang heel is a V-shape Iriyama shape. One Mekugi-ana (peg hole). The tang bears a bold five-character inscription 'Echigo-no-kami KANESADA 越後守」包貞 near the Shinogi-side.

Here is a superb article by 2nd gen. Echigo-no-kami KANESADA 越後守包貞. It features an elegant shape with a slightly higher curvature. The well-forged Itame-hada with thick layers of Ji-nie presents a beautiful steel texture. The bright and fine Nie accumulate at the edge of boundary area, while the interior of Hamon filled with pure, radiant Nioi, resembling a clear spring mist. The gunome Ashi radiates toward the cutting edge, showcasing the best qualities of the Osaka Shintō style. The deep grooves on both the wide cutting edge and back ridge hodling almost original volume proves it's almost mint condition highly in praises.

KANESADA with Echigo-no-kami title 越後守包貞, later known as Sakakura Gonnoshin TERUKANE 坂倉言之進照包, was a smith from the Yamato Tegai lineage of Osaka swordsmiths. He studied under the first-generation KANESADA later became his son-in-law.
After the death of the first-generation KANESADA in Kanbun 5 (1665), he executed the title of the second-generation 'Echigo no Kami KANESADA 越後守包貞 until Enpō 7 (1679) on behalf of legitimate KANESADA’s son Iwamatsu 岩松 because he was still young to succeed the headship. Once Iwamatsu 岩松 came of age, he gave the 'Echigo no Kami' title back to legitimate son of Iwamatsu 岩松 and adopted the revised smith name as 'Sakakura Gonnoshin TERUKANE' 坂倉言之進照包 until Jōkyō 1 (1684).
In his later years, in Tenna 4 (1684), TERUKANE 照包 was granted the title of Echigo no Kami 越後守 again, and some of his works bear the inscription 'Sakakura Echigo no Kami TERUKANE'　坂倉越後守照包.

Accompanied by Han-tachi styple mounting with elegant fittings, adorned with high-relief and colored Ivy Arabesque scattered designs on a Shakudō Nanako ground.

Ivy Arabesque scattered Black Ishime Ground lacquer scabbard Han-Tachi Mounting (Full photo of the mounting / Enlarged photo of the fittings)
  • Full Fittings (Fuchi-kashira, Koiguchi, Kojiri, Kurikata, Kabuto-gane, Kojiri): Ivy Arabesque Design, Shakudō Nanako Ground, High Relief, Gold Iroe, unsigned
  • Tsuba: Design of Paulownia and Dragons, Mokko Shape, Shakudō Nanako Ground, Openwork, Iroe, unsigned
  • Menuki: Design of Kenuki-Ruler and KIRI Crest, Shakudō, High Relief, Iroe
  • Tsuka: Wrapped with white ray skin, black cord in Katate-maki style
Old polish/Condition scale: mint-exellent (using a scale of mint-excellent-very good-good-fair-poor)
Due to the sword being an old polish, there are some visible scratch marks, and rust can be seen on the Mune. Those wears will be blowed away next time for skilled polish.
Original copper Habaki collar, preserved in Shirasaya plain wood mounting.