A Superb Original Antique WW1 Leather Machine Gun Company Munition Case. A Very Rare Piece as Most Surviving Cases Were For Cordite For the Artillery, But the Machine Gun Corps Example is Very Rare Indeed

Part of a Superb WW1 Machine Gunner's Collection, British and German.
WW1 issue. Bearing the royal crest of King George Vth and British Army stamped for the 6th, 261 Machine Gun Company 6 261 MGC. Substantially strong and robust hardened buffalo hide. This is a particularly rare type, not the usual Royal Artillery version.
It is of very heavy grade solid leather, that is top, bottom and side, brass seam riveted, and with a wide leather carrying strap at the rear. The more common version used by the British army was a cordite carrier type, that are plain, lightweight and have no rivets, cork lined and are wide rim banded top and bottom. At the outbreak of the First World War in August 1914, the tactical potential of machine guns was not appreciated by the British armed forces. The prevalent attitude of senior ranks at the outbreak of the Great War can be summed up by the opinion of an officer (albeit expressed a decade earlier) that a single battery of machine guns per army corps was a sufficient level of issue.
Despite the evidence of fighting in Manchuria (1905 onwards) the Army therefore went to war with each infantry battalion and cavalry regiment containing a machine gun section of just two guns.
These organic (embedded) units were supplemented in November 1914 by the formation of the Motor Machine Gun Service (MMGS) administered by the Royal Artillery, consisting of motor-cycle mounted machine gun batteries.
A machine gun school was also opened in France.
After a year of warfare on the Western Front it was self-evident that to be fully effective - in the opinion of former sceptics - that machine guns must be used in larger units and some commanders advocated crewing them with specially trained men who not only thoroughly conversant with their weapons but who understood how they should be best deployed for maximum effect. To achieve this, the Machine Gun Corps was formed in October 1915 with Infantry, Cavalry, and Motor branches, followed in 1916 by the Heavy Branch. A depot and training centre was established at Belton Park in Grantham, Lincolnshire, and a base dep?t at Camiers in France.
The Infantry Branch was by far the largest and was formed by the transfer of battalion machine gun sections to the MGC. These sections were grouped into Brigade Machine Gun Companies, three per division. New companies were raised at Grantham. In 1917, a fourth company was added to each division. In February and March 1918, the four companies in each division were formed into a Machine Gun Battalion.
The Guards Division formed its own machine gun support unit, the Guards Machine Gun Regiment.
The Cavalry Branch consisted of Machine Gun Squadrons, one per cavalry brigade.
The Motor Branch was formed by absorbing the MMGS and the armoured car squadrons of the recently disbanded Royal Naval Armoured Car Service. It formed several types of units: motor cycle batteries, light armoured motor batteries (LAMB) and light car patrols. As well as motor cycles, other vehicles used included Rolls-Royce and Ford Model T cars.
The Heavy Section was formed in March 1916, becoming the Heavy Branch in November of that year. Men of this branch crewed the first tanks in action at Flers, during the Battle of the Somme in September 1916. In July 1917, the Heavy Branch separated from the MGC to become the Tank Corps, later called the Royal Tank Regiment.

The MGC saw action in all the main theatres of war, including France, Belgium, Palestine, Mesopotamia, Egypt, Salonika, East Africa and Italy. In its short history, the MGC gained an enviable record for heroism as a front line fighting force. Indeed, in the latter part of the war, as tactics changed to defence in depth, it commonly served well in advance of the front line. It had a less enviable record for its casualty rate, with 62,049 becoming casualties, including 12,498 killed, earning it the nickname 'the Suicide Club'.
A fabulous and beautiful artifact of WW1 Machine Gun Corps history, that is now perfectly useable as a stunning display piece, or stick stand or waste paper basket. Top section of rear leather strap handle is now detached, but it should be easily repairable. 14 inches high x 7.5 inches across  read more

Code: 20353

A Most Beautiful and Very Rare Medieval Tudor Period Erotically Carved Bone Hilted Knife or Dagger 500 to 600 Years Old

A most delightful and original piece of early carved erotica. That is also a functioning knife or dagger. Likely early Tudor Period, 15th to 16th century. Carved in form of a lady in traditional dress in a demi-seated position, exposing her decolletage and her lower legs, with her hand clasping the hem of her dress, resting at her knees. Single edged blade with natural well aged russeted sound blade The pose is most intriguing portraying semi nudity, in a bawdy and erotic pose. Knives of the medieval era could mounted with carved hilts for of those status and great worth, but it is very unusual to see an example with such an erotic figural design. Cutlery manufacture involved a number of specialists: the blademaker, grinder, hafter (the person who made the handle), sheather (the maker of the sheath in which the knife was carried) and the furbisher or cutler, who assembled the parts, forging the blade, and sold the finished items. The London Cutlers Company, set up in 1415, regulated the trade until the 18th century. It obliged cutlers to mark their wares with their personal devices. In the Medieval era men carried their knives, not in their pockets, if indeed they had any, but usually in sheaths hanging from a girdle which went round the body just above the hips. It was the business of the girdler, as he was called, to supply these girdles, and we shall see that in the inventory of a York girdler, dated 1439, there were many girdles and knives. Most knives although made for protection, could double as an eating knife.
There were few table-knives, in this era. and when at table nearly everybody used the knife of his or her own. In 1392 a lady bequeathed "my knife which I use," in her last will and testament. Even in the last century, in taverns, in many countries, particularly in some towns of France, knives were not placed on the table, because it was expected that each person should have one of his own. 8.25 inches overall.  read more

Code: 19762

A Wonderful Museum Grade, Rare 18th Century French Small-Sword of Parcel Gilt, Silver & Steel. As Fine As Anything Comparable in the Royal Collection, or Les Invalides Army Museum in Paris.

A stunning museum grade sword, decorated with purest gold, worthy of a finest collection of 18th century fine art and furnishings.

Likely made at Versailles by a Royal swordsmith of King Louis XVIth, such as the master swordsmiths of the king, Lecourt, Liger or Guilman. A very finest grade sword of the form as was made for the king to present to favoured nobles and friends. He presented a similar sword to John Paul Jones see painting in the gallery now in the US Naval Academy Museum. Three near identical swords to this now reside in the Metropolitan. This is a simply superb small-sword, with stunningly engraved chiselled steel hilt, overlaid with pure gold over a fish-roe background, decorated with hand chiselled patterns of scrolling arabesques throughout the hilt, knucklebow, shell guards and pommel in the rococo style. The multi wire spiral bound grip is finest silver, betwixt blued silver bands, with Turks head finials. The blade is in the typical trefoil form, ideal for the gentleman's art of duelling, and very finely engraved. The degree of craftsmanship of this spectacular sword is simply astounding, worthy of significant admiration, it reveals an incredible attention to detail and the skill of it's execution is second to none.

Other similar swords are in also in the British Royal Collection and in Les Invalides in Paris. Trefoil bladed swords had a special popularity with the officers of the French and Indian War period. Even George Washington had a very fine one just as this example. For example of the workmanship in creating this sword, for such as the King and Marie Antoinette, the keys for the Louis XVI Secretary Desk (Circa 1783) made for Marie-Antoinette by Jean Henri Riesener, one of the worlds finest cabinetmakers, and whose works of furniture are the most valuable in the world. The steel and gold metalwork key for Marie Antoinette's desk, is attributed to Pierre Gouthi?re (1732?1813), the most famous Parisian bronzeworker of the late eighteenth century who became gilder to the king in 1767. This sword bears identical workmanship and style to that magnificent key.

This is the quality of sword one might have expected find inscribed upon the blade 'Ex Dono Regis' given by the King.
Very fine condition overall, with natural aged patination throughout.

The painting in the gallery, is titled John Paul Jones and Louis XVI, by the American artist Jean Leon Gerome Ferris depicts John Paul Jones and Benjamin Franklin at the court of Louis XVIth and being presented a similar sword now in US Naval Academy Museum.

Overall length 35.5 inches  read more

Code: 23162

A Very Fine Original 16th Century Italian Field Armour Breast Plate Circa 1520

For field combat and with mountings for use in the tilt.

A very fine and original piece of finest Italian armour. Medially ridged breast plate with moveable gusset and roped arm and neck-openings. With two alligned holes for resting a lance for the tilt. The plate also has a key slot for an addition of reinforcing plate also for the tilt or joust. Jousting is a martial game or hastilude between two horsemen and using lances, often as part of a tournament. The primary aim is to strike the opponent with the lance while riding towards him at high speed, if possible breaking the lance on the opponent's shield or armour, or by unhorsing him.

Jousting emerged in the High Middle Ages based on the military use of the lance by heavy cavalry. It transformed into a specialised sport during the Late Middle Ages, and remained popular with the nobility both in England and Germany throughout the whole of the 16th century (while in France, it was discontinued after the death of king Henry II in an accident in 1559). In England, jousting was the highlight of the Accession Day tilts of Elizabeth I and James I, and also was part of the festivities at the marriage of Charles I. The medieval joust took place on an open field. Indeed the term joust meant "a meeting" and referred to arranged combat in general, not just the jousting with lances. At some point in the 14th century, a cloth barrier was introduced as an option to separate the contestants. This barrier was presumably known as tilt in Middle English (a term with an original meaning of "a cloth covering"). It became a wooden barrier or fence in the 15th century, now known as "tilt barrier", and "tilt" came to be used as a term for the joust itself by ca. 1510. The purpose of the tilt barrier was to prevent collisions and to keep the combatants at an optimal angle for breaking the lance. This greatly facilitated the control of the horse and allowed the rider to concentrate on aiming the lance. The introduction of the barrier seems to have originated in the south, as it only became a standard feature of jousting in Germany in the 16th century, and was there called the Italian or "welsch" mode. Dedicated tilt-yards with such barriers were built in England from the time of Henry VIII.

Specialized jousting armour was produced in the late 15th to 16th century. It was heavier than suits of plate armour intended for combat, and could weigh as much as 50 kg (100 lb), compared to some 25 kg (50 lb) for field armour; as it did not need to permit free movement of the wearer, the only limiting factor was the maximum weight that could be carried by a warhorse of the period

The suit of armour in the collection shown in the gallery, with a most similar breastplate, from the same period and country of origin, was manufactured in Italy around 1540. It would have been used in tournaments or battles fought on horseback. The armour is made of steel and also includes a tournament helmet, forged from a single piece. A holder for the kind of lance used in tournaments is bolted to the breastplate.  read more

Code: 22317

Truly A Samurai Tanto of Museum Grade & Quality. Worthy of the Finest Collection. A Stunning Samurai Aikuchi Tanto With An Around 500 Year Old Blade, Signed Kaneyoshi,

THE LANES ARMOURY, Supplying The World’s Collectors for Over a Century. We offer to you to view on our website all of our wonderful and exciting pieces, that we have the tremendous privilege of owning, even for just a brief period, and offering them to discerning clients around the globe. For example, we have one of the largest selections of original, antique and ancient Japanese weaponry for sale in the country, if not the world, and we have been doing so for just over 100 years. It’s our experience, based over generations, that we offer to all our clients, based on our established, world renowned traditions, offering wondrous delights, that we believe, one can simply not see in such incredible variety anywhere else in the world.

This is a simply fabulous tanto with its simply stunning and sublime full suite of original Edo period koshirae fittings including, the finest ‘lobster scale’ lacquer saya, decorated, with fantastic skill, and the fittings decorated with hand painted pure gold lacquer butterflies throughout, and its saya pocket is complete with a very fine quality shakudo and pure gold kozuka utility knife, decorated with a gold cockerel on a taiko war drum. The ‘cockerel on a drum’ is a combination often seen in netsuke art (or other forms of Japanese art), representing a symbol of peace and contentment, as legend says that a war drum was lying around for so long (during unusually peaceful times of the Edo period) that hens and roosters began to live in it. The rooster, is carved with the most finely carved plumage you can imagine. The skill of the craftsmanship is breathtaking. The Japanese believed that butterflies were the souls of people, according to Lafcadio Hearn in his book Kwaidan. Hearn wrote that the belief that butterflies were human souls was so popular that when a swarm of butterflies appeared over Kyoto just before a huge rebellion was about to take place, the Japanese took it as an omen that they represented the souls about to perish in the battle to come.

There were numerous important connotations of the butterfly in life in Japan------if a butterfly came through your screen door, it was said that the one you loved the most would soon visit. However the moth, like the butterfly, can be a symbol of the psyche. But, unlike the butterfly, it does not usually carry the sense of the psyche's rebirth.The tanto was designed primarily as a stabbing weapon, but the edge can be used for slashing as well. Tanto are generally forged in hira-zukuri style (without ridgeline), meaning that their sides have no ridge line and are nearly flat, unlike the shinogi-zukuri structure of a katana. Some tanto have particularly thick cross-sections for armour-piercing duty, and are called yoroi toshi. The tanto was invented partway through the Heian period. With the beginning of the Kamakura period, tanto were forged to be more aesthetically pleasing, and hira and uchi-sori tanto becoming the most popular styles. Near the middle of the Kamakura period, more tanto artisans were seen, increasing the abundance of the weapon, and the kanmuri-otoshi style became prevalent in the cities of Kyoto and Yamato. Because of the style introduced by the tachi in the late Kamakura period, tanto began to be forged longer and wider. The introduction of the Hachiman faith became visible in the carvings in the hilts around this time. The hamon (line of temper) is similar to that of the tachi, except for the absence of choji-midare, which is nioi and utsuri. Gunomi-midare and suguha are found to have taken its place.

During the era of the Northern and Southern Courts, the tanto were forged to be up to forty centimetres as opposed to the normal one shaku (about thirty centimetres) length. The blades became thinner between the uri and the omote, and wider between the ha and mune. At this point in time, two styles of hamon were prevalent: the older style, which was subtle and artistic, and the newer, more popular style. With the beginning of the Muromachi period, constant fighting caused the greater production of blades. Blades that were custom-forged still were of exceptional quality. As the end of the period neared, the average blade narrowed and the curvature shallowed. 22 inches long overall, blade 11.5 inches. The blade has three miniscule edge combat cuts, it would be fascinating to know their origins. Over the 500 years it has been repolished, but they have consistantly left the tiny edge cuts as signs of honourable combat scars. Maybe created in a most significant hand to hand combat of an ancestral owner. See photo 8 in the gallery, they are so small to be near invisible to the naked eye.  read more

Code: 23538

A Very Good MK IV D-Day Pattern Camouflage Helmet, With Original WWII Camo Netting. From a 1st Battalion The Duke of Wellington’s Regiment, Korean War Veteran

A nice example of a Camouflage MK IV Helmet, which were used by both Canadian and British Forces late in World War II and into the post war era. The helmet exhibits an overall “salty” appearance, with all its original textured paint poking through its camouflage net. The steel rim exhibits some minor paint loss which is common with these helmets. Net almost completely intact. This Camouflage Mk IV Helmet is complete with its original liner that exhibits somewhat stiff leather pads. The liner is also worn in appearance and is affixed by a replaced bolt. The helmet liner is double stamped, the first is CCL III 1952. The maker monogrammed CCL, is for either Charles Collett Ltd -- London, or, Christy & Co Ltd England. Liner makers from 1940 – 1945. {there is a debate as to the certainty of CCL representing which limited company}
They entered production in April 1944, meaning the helmets were designed for D-Day issue. This is a very nice British World War II Camouflage Mk IV Helmet that displays an honest “been there” combat appearance. These Mk IV helmets are hard to come by, especially with original camouflage net present and fully intact.

Historical Description: The Mk IV Helmet was based off its predecessor, the Mk III helmet, which was first developed for the British Army in 1941 by the Medical Research Council. Although designed in 1941, the helmet was not manufactured until late 1943 due to production issues. The Mk III helmets were first issued to troops in April 1944 and then worn in combat for the first time by both British and Canadian soldiers on D-Day. Mk III helmets were designed to provide better protection for the side of the head than its predecessor, the iconic Brodie helmet, which were worn by Commonwealth forces throughout both World Wars. Mk III and Mk IV helmets are sometimes referred to as the “turtle” helmet by collectors, because of their vague resemblance to a turtle shell. The Mk III gradually replaced the Brodie helmet from 1944 onwards and was itself replaced by the Mark IV helmet, which it closely resembled. The differences were that the rivets attaching the chinstrap to the helmet were placed much lower down on the shell and the use of a “lift-the-dot” fastener for the liner. These modifications allowed the Mk IV to be utilized for carrying water. The Mk IV helmet was finally replaced In 1985 by the nylon fibre Mark 6 helmet which ended this iconic design in the British military.

The 1st Battalion The Duke of Wellington’s Regiment, stationed in Minden, Germany, had been warned off for service in Korea in early 1952. Preparations and training was carried out in Minden and Pontefract, Yorkshire, before the Battalion sailed to Korea, aboard HMT Devonshire, on 22nd September 1952, landing at Pusan on 30th October 1952.

The Battalion joined the 29th Brigade and, on 16th November, 1952, the Battalion went into the line at Yong Dong, relieving the 3rd Battalion Royal Australian Regiment. After a month in this ‘quiet sector’ the Battalion moved to Naechon, relieving the Durham Light Infantry, just as the harsh Korean winter descended over the country, which made patrolling uncomfortable and difficult. The first casualty was suffered on 20th December, when Pte Kirkpatrick died of wounds. There was much more action in this sector, with fighting patrols clashing in No Man’s Land at night and a major raid to destroy a Chinese tunnel was conducted on 24th January, 1953.

At the end of the month, the Commonwealth Division was pulled out of the line and a hectic round of training and field exercises was conducted.

In April the Division once more went into the line and on 12/13th May the ‘Dukes’ took up positions on ‘the Hook’. A feature of great tactical importance as it controlled the entrance to the Samichon valley and through that to Seoul. It was a hotly contested feature and it had been known for some time that the Chinese intended to capture it. On 17/18th May the enemy began bombarding the position and on the 18th May a Chinese deserter brought information that a large attack was to be launched imminently. The Brigadier decided to leave the ‘Dukes’, who now knew the position and the defensive plan well, on the feature and a great deal of preparation, including bunker construction and strengthening, wiring and mining, the reconnaissance of likely enemy forming up points and many listening patrols, was carried out.

On 28/29th May the final enemy bombardment fell on the Hook position and a series of fierce enemy assaults managed to get into the positions held by D Company, and the entrances to many of the bunkers were destroyed with satchel charges. However, the Chinese were caught by the well planned artillery, tank and machine gun Defensive Fire (DF) tasks and the following waves were all but wiped out. A counter-attack by the Battalion reserve Company restored the situation and the Hook was declared clear of the enemy at 0330 hours.

There were many examples of bravery on that night, including the tenacious defence of his section position by Private Connor, for which he was awarded a posthumous Mention in Despatches, notified in the London Gazette on 14th August 1953. This honour is signified by the wearing of a bronze oak leaf on the ribbon of the relevant medal.
The ‘Dukes’ suffered three officers and 17 men killed, two officers and 84 men wounded, with 20 men listed as missing, most of these taken prisoner, during the battle. Estimates of the Chinese casualties were 250 dead and 800 wounded, largely as the result of over 38,000 artillery shells from the Divisional artillery and 1st US Corps Artillery Group.

For this action the Battalion was awarded the Battle Honour ‘The Hook 1953’. Later the 1st Battalion’s Headquarter Company was renamed ‘Hook’ Company.

At 2200 hours on 27th July, 1953, the fighting in Korea came to an end, with the formal declaration of a truce. The war between North and South Korea, though, continues to this day, with occasional flare ups and casualties on both sides.

Sir Michael Caine began his National Service with the British Army on 28 April 1952. A year into his National Service, Caine was given the option of either completing two further years standard National Service or completing only one year of Active Service in Korea. Caine chose to do the latter and set sail from Liverpool to the East Asian Theatre on the Empire Halladale. When he reached East Asia, he was based at Kure, the Southern Japanese mainland, for training. As part of the 1st Battalion of Royal Fusiliers, A Platoon, C Company, Caine was sent to the front line of the conflict - the 38th Parallel.

In an interview with the Daily Mail in 1987, Caine recounted some of his experiences while serving in the Korean war:
“...attack after attack, you would find their bodies in groups of four”-commenting on the human wave tactics employed by the enemy, which often involved groups of soldiers sharing a single weapon.
“We heard them talking and we knew they had sussed us…Our officer shouted run and by chance we ran towards the Chinese. Which is what saved us; in the dark we lost each other”. Explaining how while on patrol in a paddy field, Caine and the men he was with were nearly caught by enemy forces.

Finally, Caine’s national service was concluded by marching out of the Tower of London to the regimental march while wearing demobilisation clothes.
Later, Sir Michael Caine would draw upon his military experience in films such as A Hill in Korea, which tells the story of a group of British soldiers being cut off by Chinese forces.  read more

Code: 25617

A Beautiful Antique Samurai Wakazashi With A Fine Signed Blade. Kunitsuna（国綱）In Beautiful Polish Showing Narrow Suguha Hamon. With the Moon & Bamboo Kashira. Lobster Scale Urushi Ishime Lacquer Saya

Signed 越 echi 前 zen 住 jyu（越前住 It is pronounced Echizenjyu. The other side is 相模守 sagaminokami 藤 fujiwara. 相模守藤原.
The part below Fujiwara has been cut off to shorten its length.but it must be assumed that Kunitsuna’s name was engraved there. Kunitsuna（国綱）
Was a swordsmith who was active around 1648. He was an apprentice of the first-gen Echizen Kanetane. He belonged to Shimosaka School located in Echizen province (Today’s Fukui prefecture). He is also known as Taheibei (多平兵衛). He received an honorable official title of Sagami no Kami from the imperial court for his excellent craftsmanship. He moved from Echizen to Edo city in his career as well. It is said that the first-gen Yasutsugu was the founder of the Echizen Shimoasaka school. He was born in Shimosaka town in Shiga prefecture at the end of the Muromachi period (Late 16 century ). He built his career there until the beginning of the Keicho era(1596). However, he moved to Echizen province due to the relocation of the lord he served. He eventually was noticed and supported by Matsudaira Hideyasu, the third son of Tokugawa Ieyasu, who was the founder of the Edo government.

Hideysu was the feudal lord of Echizen province during the early Edo period. With the support of Hideyasu, the first-gen Yasutsugu was able to establish the Echizen Shimosaka school. And his school’s fame became nationwide. By Hideyasu’s recommendation, the first-gen Yasutsugu became Okakaekaji for the Tokugawa shogun family, meaning that he exclusively forged swords for the Shogun family. Yasutsu was acknowledged by the first and second Tokugawa Shoguns, Tokugawa Ieyasu, and Tokugawa Hidetada.

The first-gen Yasutsugu received 康(YASU) from Tokugawa Ieyasu and changed his maker’s name. He was also allowed to inscribe the holly oak symbol(family crest of Tokugawa) on the tang. The school flourished during the Edo period and trained many skilled apprentices. We believe Kunitsuna mastered superb level of the craftsmanship by belonged to this school.

Echizen province was prosperous during the Edo period, being ruled by the Echizen Matsudaira clan, a direct retainer of Tokugawa clan who ruled the Edo government. Many skilled swordsmiths moved to Echizen from different regions because of high demand among Samurai who lived there. Among them, there were many renowned swordsmiths who were originally from the Mino province (Gifu prefecture). They are called Echizen Seki swordsmiths. His master, the first-gen Kanetane was one of them.

All original Edo period mounts. The menuki are of gilded cranes in flight, wrapped under black silk tsukaito, over rayskin samegawa. the kashira is on iron with silver and gold highlights of a full moon in the background part obscured by clouds with a vole climbing a bamboo stalk in the foreground. The fushi is patinated soft metal inlaid with silver bamboo leaves. The tsuba is a round tettsu plate chisselled with a rain fall pattern and kozuka ana. The blade is in good polish showing a typical narrow suguha hamon with a nicely defined boshi with turnback.

The saya is ishime urushi lacquer finish with to top section in lobster scale ribbing and plain middle and bottom section in graduating mid brown at the top down to black at the bottom. Carved buffalo kurigata, saya jiri and throat mounts.

Wakizashi have been in use as far back as the 15th or 16th century. The wakizashi was used as a backup or auxiliary sword; it was also used for close quarters fighting, and also to behead a defeated opponent and sometimes to commit ritual suicide. The wakizashi was one of several short swords available for use by samurai including the yoroi toshi, the chisa-katana and the tanto. The term wakizashi did not originally specify swords of any official blade length and was an abbreviation of "wakizashi no katana" ("sword thrust at one's side"); the term was applied to companion swords of all sizes. It was not until the Edo period in 1638 when the rulers of Japan tried to regulate the types of swords and the social groups which were allowed to wear them that the lengths of katana and wakizashi were officially set.

There are many reasons why people enjoy collecting swords. Some people are drawn to the beauty and craftsmanship of swords, while others appreciate their historical and cultural significance. Swords can also be a symbol of power and strength, and some collectors find enjoyment in the challenge of acquiring rare or valuable swords.

One of the greatest joys of sword collecting is the opportunity to learn about the history and culture of different civilisations. Swords have been used by warriors for millennia, and each culture has developed its own unique sword designs and traditions. By studying swords, collectors can gain a deeper understanding of the people who made and used them.

Another joy of sword collecting is the sheer variety of swords that are available. There are swords in our gallery from all over the world and from every period of history. Collectors can choose to specialize in a particular type of sword, such as Japanese katanas or medieval longswords, or they can collect a variety of swords from different cultures and time periods. No matter what your reasons for collecting swords, it is a hobby that can provide many years of enjoyment. Swords are beautiful, fascinating, and historically significant objects  read more

Code: 25614

Superb, Victorian 1854 Pat. British Artillery Sword of Brigadier General Arthur Herbert Hussey. Commander of The Royal Artillery in WW1 Made by Wilkinson Sword Co. in 1882. Traditional 3 Bar Hilt Bright Polished Combat Weight Blade & F.S Scabbard

Brigadier General Arthur Herbert Hussey, of Scotney Castle, Kent, was the third son of Edward Hussey III. Born in 1863, he joined the British Army and served in the Royal Artillery from the age of 19 in 1882 until his retirement in 1919 aged 56. During the First World War Arthur was a Brigadier General, his role was Commander of the 5th division Royal Artillery. This was his sword from 1882 until the close of WW1.
During the First World War Arthur was a Brigadier General, his role was to plan and co-ordinate artillery fire to support the men in the trenches.

Monogramed blade of Brig.Gen. Hussey, AHH, serial numbered for its commissioning at Wikinson’s in 1882.
Overall in superb condition, with just very minor natural age service wear on the blade midsection. Superb condition field service scabbard.

This division was under command of II Corps and as such was part of the original British Expeditionary Force. It remained on the Western Front until late 1917 when it moved to Italy, returning to the Western front soon after. It is officially recognised as particpating in the following battles end engagements:

Under overall command of Major-General Sir C. Fergusson, & Brigadier General Arthur Herbert Hussey. Commander of The Royal Artillery

1914
The Battle of Mons (23-24 August) and subsequent retreat (to 5 September), including
The Action of Élouges (24 August; only 1st Norfolk and 1st Cheshire Regiment of 15th Infantry Brigade)
The Battle of Le Cateau (26 August)
The Rearguard Action of Crépy-en-Valois (1 September; only 13th Infantry Brigade)
The Battle of the Marne (7-10 September)
The Battle of the Aisne (12-15 September)
The Battle of La Bassée (10 October – 2 November)
The Battle of Messines 1914 (12 October – 2 November; 2nd King’s Own Scottish Borderers and 2nd King’s Own Yorkshire Light Infantry of 13th Infantry Brigade under temporary command of the Cavalry Corps)
The Battle of Armentières 1914 (13 October – 2 November; only 1st Dorsetshire Regiment of 15th Infantry Brigade under temporary command of III Corps)
On 18 October, with Major-General Sir C. Fergusson having been ordered home to take command of 9th (Scottish) Division, he was succeeded by Major-General T. N. L. Morland

The First Battle of Ypres in its phase the Battle of Nonne Bosschen (11 November; only the remainder of 15th Infantry Brigade and under temporary orders of 3rd Division under command of I Corps)
1915
The Capture of Hill 60 (under II Corps) (17-22 April)
The Second Battle of Ypres in phases
The Battle of Grafenstafel (22-23 April; only 13th Infantry Brigade under temporary command of V Corps)
The Battle of St. Julien (24 April – 4 May; again only 13th Infantry Brigade under V Corps)
On 15 July, with Major-General T. N. L. Morland having been promoted to command a corps, he was succeeded by Major-General C. T. McM. Kavanagh

In late 1915, some of the regular units of 5th Division were exchanged for those of 32nd Division, a newly arrived volunteer formation. The idea was to strengthen (“stiffen” in the jargon of the time) the inexperienced division by mixing in some regular army troops; even though by now many of the pre-war regulars had gone and the regular battalions themselves were often largely composed of new recruits.

1916
In March 1916 the 5th Division moved south to take over the front line between St. Laurent Blangy and the southern edge of Vimy Ridge, east and north east of Arras. This was a lively time, with many trench raids, sniping and mining activities in the front lines.

On 1 April, Major-General C. T. McM. Kavanagh was succeeded by Major-General R. B. Stephens

When the Franco-British offensive opened on the Somme on 1 July 1916, the 5th Division was enjoying a period of rest and re-fit and was in GHQ Reserve.

The Battles of the Somme 1916 in its phases
The Attacks on High Wood (now under XV Corps) (20-25 July)
The Battle of Guillemont (XIV Corps) (3-6 September)
The Battle of Flers-Courcelette (XIV Corps) (15-22 September)
The Battle of Morval (XIV Corps) (25-28 September)
By 5 October 1916 the 5th Division had left the Somme and moved to the quieter line near Festubert. There was a constant threat from enemy artillery and sniper fire, but in comparison with the Somme it was a relatively tranquil period that lasted until March 1917.

1917
The Battles of Arras 1917 in phases
The Battle of Vimy (under the Canadian Corps, 9-14 April)
The Attack on La Coulotte (Canadian Corps) (23 April)
The Third Battle of the Scarpe (3-4 May)
The capture of Oppy Wood (XIII Corps) (28 June)
On 7 September 1917 the division was finally relieved after several months of operations in the Arras area and moved out of the line for a period, being sent next to join the great offensive in Flanders.

The Third Battle of Ypres in phases
The Battle of Polygon Wood (under X Corps) (26 September – 3 October)
The Battle of Broodseinde (X Corps) (4 October)
The Battle of Poelcapelle (X Corps) (9 October)
The Second Battle of Passchendaele (X Corps) (26 October – 10 November)
A major change now occurred, with 5th Division being one of five British formations selected to be moved to Italy. This was a strategic and political move agreed by the British Government at the request of the Allied Supreme War Council, as an effort to stiffen Italian resistance to enemy attack after a recent disaster at Caporetto. Many diaries at this time, by men who had witnessed slaughter in the floods of Passchendaele, talk of the move and Italy as being “like another world”. Much work was done preparing to move into the mountainous area of the Brenta, but eventually the division was instead moved to the line along the River Piave, taking up positions in late January 1918. The division was recalled hurriedly to France, once the enemy had made an attack in overwhelming strength on 21 March.

1918
The Battles of the Lys 1918 in phase
The Battle of Hazebrouck (under XI Corps) (12-15 April) in which the battalion fought in the Defence of Nieppe Forest
On 15 July, with Major-General R. B. Stephens having been promoted to command a corps, he was succeeded by Major-General J. Ponsonby

On 14 August 1918 the 5th Division was withdrawn for rest and placed in GHQ Reserve. Two weeks later it entered into the “Hundred Days Offensive”. Fighting through Albert (back on the old and devastated Somme ground of 1916), to Irles, Beugny, Havrincourt, Gonnelieu and the River Selle, and finally into Valenciennes and the River Sambre, the division was in more or less continuous action until late October 1918.

The Second Battles of the Somme 1918 in phases
The Battle of Albert (under IV Corps) (21-23 August)
The Second Battle of Bapaume (IV Corps) (31 August – 3 September)
The Battles of the Hindenburg Line in phases
The Battle of Épehy (IV Corps)(18 September)
The Battle of the Canal du Nord (IV Corps) (27 September – 1 October)
The Pursuit to the Selle (IV Corps) (9-12 October)
The Final Advance in Picardy in phase
The Battle of the Selle (IV Corps) (17-25 October)
The 5th Division remained in the area of Le Quesnoy until mid-December 1918. On 13 December, the division began a march into Belgium, eventually reaching the area between Namur and Wavre. The first men were demobilised on 22 December and more followed at regular intervals through early 1919.

The National Trust opened a new exhibition in 2014. 'Arthur’s War' which gave a fascinating insight into the First World War through the thoughts and belongings of Brigadier-General Arthur Hussey, Commander, Royal Artillery, of the 5th Division.

Brigadier-General Hussey’s belongings were discovered in a black metal trunk by National Trust volunteers in 2011 at his former home of Scotney Castle in Kent, now a trust property, and contained letters, diaries, photographs and battle plans. The eleven diaries in the box were the first items to be read and they span Arthur’s time at the front from 1914 – 1918.
It took a team of eight volunteers over 1,200 hours to transcribe the diaries which include passages on the use of gas, wire cutting experiments and specific battles.

The exhibition had been a year in the making and staff and volunteers had been assisted in their research by The London Stereoscopic Company, Fortnum & Mason and the Lamberhurst History Society.

In the government art collection there is a painting that depicts General Hussey with King George Vth, the President of France and the allied General Staff at Merville France in December 1914. Painted by Herbert Arnould Olivier (1861 - 1952)
https://artcollection.dcms.gov.uk/artwork/3808/
{presented to the government collection in 1983 by the Royal Collection}  read more

Code: 25615

A Most Handsome Shinto Katana That Would Grace Any Museum Grade Collection. Signed Mutsu Daijo Fujiwara Kaneyasu

Late 17th century sword, bearing signature that approximately translates to "of the Fujiwara Clan, the Daijo (a honourific lordship title) of Mutsu Province, Kaneyasu made this''. With all original Edo period koshirae sword mounts, including a superb antique original Edo 'lobster scale' cinnabar urushi lacquer saya.

A truly stunning combination of materials that has created a iconic Japanese Art Sword of ancient tradition.
Cherished for its infinite versatility, urushi is a distinctive art form that has spread across all facets of Japanese culture from the tea ceremony to the saya scabbards of samurai swords

Japanese artists created their own style and perfected the art of decorated lacquerware during the 8th century. Japanese lacquer skills reached its peak as early as the twelfth century, at the end of the Heian period (794-1185). This skill was passed on from father to son and from master to apprentice.

The varnish used in Japanese lacquer is made from the sap of the urushi tree, also known as the lacquer tree or the Japanese varnish tree (Rhus vernacifera), which mainly grows in Japan and China, as well as Southeast Asia. Japanese lacquer, 漆 urushi, is made from the sap of the lacquer tree. The tree must be tapped carefully, as in its raw form the liquid is poisonous to the touch, and even breathing in the fumes can be dangerous. But people in Japan have been working with this material for many millennia, so there has been time to refine the technique!

Higo school silver inlaid tettsu fuchi kashira and iron plate tsuba. very interesting menuki of a panel separated and placed over two bows, decorated with relief kanji. Beautiful blade with a gradually undulating gunome hamon. An impressive sprauncy sword almost certainly made for a mounted samurai considering its power and dimensions.

Of all the weapons that man has developed since our earliest days, few evoke such fascination as the samurai sword of Japan. To many of us in the, the movie image of the samurai in his fantastic armour, galloping into battle on his horse, his colourful personal flag, or sashimono, whipping in the wind on his back, has become the very symbol of Japan, the Empire of the Rising Sun. And, truly, to the samurai of real life, nothing embodied his warrior's code of Bushido more than his sword, considered inseparable from his soul.

Indeed, a sword was considered such a crucial part of a samurai's life that when a young samurai was about to be born, a sword was brought into the bedchamber during the delivery. When the time came for an old samurai to die and cross over into the White Jade Pavilion of the Afterlife his honoured sword was placed by his side. Even after death, a daimyo, or nobleman, believed he could count on his samurai who had followed him into the next world to use their keen blades to guard him against any demons, just as they had wielded their trusty weapons to defend him against flesh-and-blood enemies in this life. In a samurai family the swords were so revered that they were passed down from generation to generation, from father to son. If the hilt or scabbard wore out or broke, new ones would be fashioned for the all-important blade. The hilt, the tsuba (hand guard), and the scabbard themselves were often great art objects, with fittings sometimes of gold or silver. The hilt and scabbard were created from the finest hand crafted materials by the greatest artisans that have ever lived. Often, too, they told a story from Japanese myths. Magnificent specimens of Japanese swords can be seen today in the Tokugawa Art Museum's collection in Nagoya, Japan. The saya has a few age seam lines, but at all detrimental to its beauty and entirely commensurate to its age
Blade 29 inches tsuba to tip  read more

Code: 24040

A Very Fine Yasutsugu School Katana, circa 1675-1684 Likely the 4th Generation, Signed, with Aoi Mon, Namban Tetsu Oite Bushu Edo Echizen Yasutsugu

With a stunning bi coloured, black ribbed and cinnabar red lacquer saya, hand decorated with a wonderful light feathering and a scrolling silver saya jiri bottom mount. The mounts [fuchi kashira and menuki] are gold and shakudo decorated of the chrysanthemum. The story of the Yasutsugu lineage starts with the birth of the first generation, Ichizaemon, who is believed to have been born around the middle of the sixteenth century. His place of birth was in Shimosaka of Shiga-gun in the province of Omi. Omi is next to Mino and contains Lake Biwa. Yasutsugu was born into a sword making family headed by his father, Hironaga, reputed to be the last descendent of Yamato no Kuni Senjuin. Though his father was from Omi, he was trained in the Mino tradition. Around the 11th or 12th year of this same period of Keicho (1606-1607), Yasutsugu’s fame reached the point that he was called to Edo (Tokyo) to share his forging skills with Tokugawa Ieyasu. About this time Yasutsugu was given the privilege of using the character “Yasu” (康) from Tokugawa Ieyasu’s (徳川家康) name. Thus, from that point on, he changed his name to Yasutsugu. About the same time (some feel it was a few years later) he was given the additional privilege of carving the Hollyhock crest (Aoi mon) on his blades. These privileges were given in perpetuity to Yasutsugu and his descendants. Thus the Yasutsugu swordsmiths became the kaji of the Tokugawa Family.
Yasutsugu worked in Echizen and Edo as was the custom with the Tokugawa family in those days. It was much like the practice of Sankin Kodai (alternate year attendance) that was required of the Daimyo of the country. He died in seventh year of Genna (1621) probably in his 70’s.

Upon the death of the first generation Yasutsugu , the family mantle was taken up by his son, Ichinojô.
Nidai Yasutsugu made swords in the same style as the first generation. Some say that his ability was nearly the equal of his father’s. While all do not agree, there seems to be a consensus that he was without a doubt a close second
The two branches of the Yasutsugu school continued for many generations. The Edo school continued through eleven generations. It is generally agreed that the only two smiths of the last eight generations that were of note are the fourth our sword and the eleventh generations. The fourth generation had the advantage of being trained by the third generation, a quality smith. In addition, the fourth generation left several works in which he collaborated with the well-known smith, Izumi (no) Kami Kaneshige. The fourth generation’s working period was from 1675, the third year of Enpo to 1684, the first year of Teikyo era.
Interestingly, the steel used to produce this sword was in part sourced from Europe, likely from
Dutch traders. This steel was known as “Namban tetsu”, (lit. Southern Barbarian steel). It would
have been expensive and unique to produce swords with steel from faraway lands in the late
1600s. Thus the nakago (tang) is chiselled with the words Namban tetsu.

it is mounted with An Antique Edo Period Iron Large Tsuba Inlaid with Silver Aoi Leaves
The Tsuba can be solid, semi pierced of fully pierced, with an overall perforated design, but it always a central opening which narrows at its peak for the blade to fit within. It often can have openings for the kozuka and kogai to pass through, and these openings can also often be filled with metal to seal them closed. For the Samurai, it also functioned as an article of distinction, as his sole personal ornament. The tsukaito is beautifully traditionally rebound as is the black ribbing lacquer, on its original Edo lacquer saya.
As can be seen it is likely in its last original Edo polish in stunning condition which is beautiful, with just the tiniest natural aged surface mark. The kashira is carved buffalo horn with an applied gold lacquer partially complete aoi mon

Overall length in saya 38 3/4, blade tsuba to tip 27 3/4 inches long  read more

Code: 24038