The serial number, if genuine, would put it in 1988. However, a partial photo of the bell is never going to be conclusive as to authenticity (though if very badly done, it could be conclusive as to inauthenticity).I'm thinking thats an early Yani, like an 80s vintage. That does not look like current Yani engraving but more info is needed.
While the photo shows what is most likely an older Yany, the engraving on my new TWO1 is pretty marginal. The engraving on this model is not very extensive, but on mine it is not very well executed either. My theory is that their engravers learn on the WO1 line before they get to work on the WO10s and higher. Fortunately, it makes no difference wrt any other aspect of the sax.If its original thats some pretty sad engraving. Has presentation on pro horns come to this?
My suggestion that they practice on the less-expensive models (none of these are "cheap") was not serious, but rather a way to illustrate the truly second-rate engraving on this instrument. Nothing else about it is second-rate, but the uneveness of the engraving (both in the height and spread of the lines), the obvious overlaps where lines of engraving were stopped and restarted, and the shallowness of some of the engraving was surprising to me. I have a Taiwanese alto and a Vietnamese soprano, and both have beautiful engraving that rivals anything else I have owned. I was surprised by what I found on my Yanagisawa. Fortunately, the reason that I didn't notice while trying out the sax is that it is not that important. But, once I noticed it, I could not unsee it...Engraving accounts for an important part of the cost price.
I’ve met the Yanagisawa engravers ( they are not many as you may have thought) and I am not aware that they “ learn” on cheaper horns (can be done on a piece of brass tube no need to deface a finished horn) , but the qualified engravers may be doing this quickly.
I have met them in Frankfurt (and they also gave me a lesson)