This entry covers a later Kaneuji of , distinct from the first-generation Kaneuji, the pupil of Masamune who settled at , who has his own entry. The published sources state that the name did not end with him: 「その後兼氏は数代あったと認められ、兼氏と銘する刀工は室町末期にも存在した」 (it is recognized that there were several generations of Kaneuji thereafter, and smiths signing Kaneuji existed even in the late period). Two designated works are assigned to this later Kaneuji, one appraised as Naoe work and one signed blade placed tentatively in the period.
The , designated at the 14th session in 1966, is and carries a gold-inlaid attribution to Kaneuji. The published sources do not accept it as the founder's work: 「この作は大磨上に兼氏の金象嵌があるが、作風は直江志津と鑑られるものであり、兼氏後代といえる」 (this greatly shortened blade bears a gold-inlaid Kaneuji, but its workmanship is appraised as Naoe , so it may be called a later-generation Kaneuji). It is a broad with a thin , a shallow and an . The is a dense with fine and . The is a with and , small , and a subdued with ; the is ending in with . run off on both faces, and the comes with a later in black lacquer, described as splendid.
The second work is a signed no junin Kaneuji, certified in 1935. The published sources place its maker among the later holders of the name: 「兼氏は同名が数代に亘って存在する。この太刀の作者兼氏もその一人で、あるいは室町時代にかかる者であろうか」 (Kaneuji existed across several generations of the same name; the maker of this is one of them, and may extend into the period). A further comment weighs its standing: 「多く見る室町時代中末期の美濃物に較べて、時代、位ともに高く、初、二代の兼氏とは一見相違するが、佳作である」 (compared with the many works of the mid to late period it is higher in both age and rank, and though at first sight it differs from the first and second generation Kaneuji, it is a fine work).
With two works on record, and neither firmly dated, this Kaneuji is known as a later bearer of the name in the Naoe sphere of .