Two signed by Kunitoki are Important Cultural Properties, one held at Kakegawa Shrine in Kōchi and one at the -gū in Wakayama. Both are with a , forged in and tempered in , and both are recorded as work of the period. Kunitoki belongs to the school, and the published sources set its origin plainly: "the founder of the school was Kunimura", a smith said to have been a grandson of Kuniyuki of Kyōto. The group flourished in the Kikuchi district of from the late into the period. Kunitoki is named as one of its best-known and representative smiths. Tradition makes him Kunimura's son, and the sword-name compendia, as one entry notes, record him as either son or younger brother. Kuniyoshi, Kunisuke, Kunitai and Kuninobu emerged at almost the same time, and the name Kunitoki itself continued through successive generations into the period.
The temper is the constant of his record. Every blade carries a base, often a , into which small enter with and , the well formed. The published sources describe the school as broadly in the manner but quieter, noting that "compared with work the and are somewhat weaker". In their account the commonly shows little activity and a subdued impression. Against that baseline the signed transmitted in the Date family is singled out, because "within the the are frequently prominent" and its internal activity is comparatively abundant. That also shows and a slight tendency toward , and in places the is stained.
His is a tightly packed with and fine . Several entries note a slightly whitish cast to the , and on the Date a whitish rises over an that flows in places and mixes in . On an of the thirty-first session the is tight and rises slightly, the thick and the delicate, and the commentary judges the forging as one in which "the forging is unmistakably good". The runs straight to a with a short return. On that same it tends toward and returns shallowly, which the published sources say "shows the characteristics of the school".
His record divides between signed and attributed work. The Date is slender, with a high -zori and a . Its tang is apart from a slight , and it bears a large two-character signature cut with a somewhat thick chisel. Both faces carry a with squared ends, and near the base a with a above it. A shortened signed in the prewar is read by its commentator as the work of the first generation. The attributed blades are of standard width and point, among them a judged as Kunitoki and the gold-inlaid of the twelfth session. That blade is inscribed in with the name Kunitoki and a two-body cutting test, and its temper is a broad mixed with . There the judges call the manner typical of the school yet caution that "there are, on the contrary, no decisive points by which it should be determined as Kunitoki".
Within his own school, whose smiths the published sources find to have little marked individuality, Kunitoki is recognised by the activity of his . The and that enter it give his best work a richer character than the quiet norm. The deep and thick of his attributed sit beside a whitish , and the commentary describes one such temper as a "reminiscent of the school". This places him in the founding generation of the line, the Kyūshū branch that worked in the manner.
He has no National Treasures. His seven designated works on record comprise the two Important Cultural Properties at Kakegawa Shrine and the Wakayama -gū, two prewar , and three blades, signed, gold-inlaid and . One of the , a Kunitoki , is now held by the Sano Art Museum. Two pieces carry notable provenance. The signed was transmitted in the Date family and is accompanied by a mounting in gold okukakeji, and an keeps a Kōchū of Kyōhō 6 valuing it at 700 . With only three blades in the tier and the two signed held by shrines, a signed Kunitoki comes to light only seldom, and a privately held example is a notable thing for a collector to encounter.