A signed Bishū Sukemitsu and dated the eighth month of Eikyō 9 (1437) is the earliest dated work of this smith, and the published sources call it an , signed in the manner known as Oei-, "an imposing work". His dated blades continue through Kakitsu, Bun'an, Hōtoku, Kōshō and Kanshō, and a of Bunmei 5 (1473) carries the name further. The lists seven smiths signing Sukemitsu, and the takes this one, judging from his dates, as the first among them. On several blades he adds the common-name title Rokurōzaemon no Jō, and those pieces identify him as the father of the brothers Ukyō no Katsumitsu and Sakyō no Jō Munemitsu. The proof is a Munemitsu dated Bunmei 9 signed " Sukemitsu's second son, Sakyō no Jō Munemitsu", a blade the published sources say shows well the transition from Oei- into .
His characteristic temper is a that opens wide at the waist, the , mixed with a little , -dominant with , with fine and running within and a bright . On the Eikyō it is mixed with pointed elements; on a Bun'an 5 it carries pointed and angular teeth and in places recalls . The published sources describe that Bun'an as full in its contours and healthy, a fine piece that "fully displays the height of his skill". It carries on the a gold-inlaid cutting-test inscription of Manji 1 by the tester Yamano Kaemon no Jō Nagahisa.
The is an mixed with , at times flowing or standing, with and well-entered , and over it a stands, faint on some blades and clear on others. The runs in a to a , or runs straight and points as it turns. A Bun'an 6 with slight shows the whole manner on a small scale: a standing with , thick , and , under a waist-open and - with abundant and a little . The published sources call it a superb piece "showing Sukemitsu's typical manner, its merits displayed throughout". It is incised with the deity name Ichinomiya Daimyōjin.
The published sources read his dated work as a single hand crossing from Oei- into . Of a Kakitsu 3 they write that the construction and the and still show an Oei- flavour, but that "the smaller amplitude of the and the inconspicuous show that the date has descended". A Kōshō 3 keeps the high of a with a waist-open mixed with , while a Kanshō 3 , signed in full with the Rokurōzaemon title and fitted with a brocade-wrapped mounting, has a -toned temper with and a tightening above. Of it the published sources write that "works with this signature are very few, its carving fine, and it is well made as ". His carving is notable throughout: , and sutra text, twin grooves, and sacred names.
He also tempered a . A of Hōtoku 3 is inscribed on the as made at Takehara in Settsu, a record of the period when smiths moved to work in other provinces, as Katsumitsu did in , Kojima, Kyoto and Ōmi. The published sources call it "not only good material for the study of the smiths but a fine work in ". The Bunmei 5 , recorded in Honma's inventory of the Imperial collection, is of the same quiet kind: an flowing slightly and standing, with a whitish , under a with a slight and , carved with and a over twin grooves and inscribed with the deity name Tenshō Daijingū. Honma gives the 's scheme of five generations of the name but adds that "whether this division is correct must await further study". He finds the smiths of the name "skilled in both and ", and calls the Tenshō Daijingū inscription "worth noting together with the faith".
For the collector, Sukemitsu's record is seven blades designated , every one signed and dated on an tang, with no blade in the higher tiers. No provenance is recorded for them. The published sources stress how few works carry his full Rokurōzaemon signature, and a dated, carved blade from the head of the family that led into the late appears only from time to time; it is valued as a document of the passage from Oei- to .