A Beautiful Quality Nanban Tsuba of Flying Dragons Over Scrolling Clouds With Gold Work. It Is Simply Breathtaking in its Beauty And Craftsmanship.

An unusual nanban tsuba of unknown origin. It is decorated in a style that reminds of some sawasa export wares. Both sides are carved with two sky dragons over a carved background of scrollwork. The reverse is carved to match, also with two dragon around the infilled hitsu-ana, and the kozuka-hitsu-ana with gold alloy, one domed the other conical. The scrolling, is in the form of an intricately carved cloud background. The rim is beaded. The seppa dai is carved with arked comb pattern overlaid in silver.

The fineness of carving and the fact that much of the overlay is done over a cross hatched background that is cut in three directions suggests the work is most likely done in Japan. Our thoughts are that it goes towards the nanban-style carvers in Yamashiro.

Nanban tsuba (Southern Barbarian sword guards) are 16th to 19th-century Japanese sword fittings characterized by foreign, non-traditional designs, primarily featuring intricate iron openwork (sukashi), beaded rims, and Chinese or European motifs. Originating from trade with foreign ships, these often-lavish guards were produced in China or by the Dutch East India Company and adapted for Japanese swords.
: "Nanban" means "Southern Barbarian," a term used during the Edo period to describe foreigners—specifically Portuguese, Spanish, and Dutch traders—who arrived by sea.
While the name implies Western influence, most designs actually show strong Chinese influence.

They are usually made of iron, featuring complex openwork (carved in relief or pierced), undercutting, and often feature "small balls" trapped in small compartments that can move. Common motifs include dragons chasing flaming pearls, foreign letters (like "VOC" for the Dutch East India Company), and arabesque designs.
Initial pieces were likely imported from China or Southeast Asia through Nagasaki from the late 16th century onwards.
Japanese craftsmen began copying these styles. They often added specific features for Japanese swords, such as the hitsu-ana (holes for the utility knife/hairpin) and modifying the nakago-ana (tang hole).
The Yagami School: Based in Nagasaki, this school specialized in this style during the 18th century, famous for intricate ironwork featuring Chinese-style dragons and, notably, "1000 monkey" designs.
Although foreign-influenced, they were popular among samurai as fashionable, often heavily gilded or inlaid with gold/silver. They were sometimes used to subtly showcase hidden religious preferences (e.g., small crosses) during the prohibition of Christianity

Nanban-style carvers in Yamashiro (modern-day Kyoto) refers to 18th-century Japanese metalworkers, specifically tsuba (sword guard) makers, who adopted foreign design elements—primarily Chinese, but also Portuguese and Dutch influences—into their craft.

These artisans are known for producing Nanban Tsuba (Southern Barbarian sword guards), which often feature intricate, openwork (sukashi) designs, such as dragons, vines, and lion-like figures, usually on an iron ground.
They utilized gold or silver nunome-zōgan (inlay) to highlight designs, frequently carving on a cross-hatched background to create a textured, luxurious, or exotic look.
While Nanban-style items were often associated with Nagasaki, Kyoto-based makers (Yamashiro) were known for producing higher-quality, more sophisticated, and detailed versions, often with better-finished carvings.
Connection to Heianjo School: Some of these designs are categorized alongside Heianjo-style Tsuba, which were established in Yamashiro and known for combining iron with brass inlays.

These carvers operated during the Edo period (1603–1868), with peak production of these refined, domestically made Nanban pieces occurring around the 18th century.  read more

Code: 26127

Superb & Rare Original, Solid Silver, Medieval Longbow Archer’s Thumb Ring, Mid 14th Century. Of the Battle of Crecy. From Our Latest Antiquities Collection Aquisition Recovered From Crecy, Azincourt and Other Famous Battle Sites in The 1820’s

For those bowmen that used them in the 13th to 14th-century, archer's thumb rings were essential tools of war. This example, being of solid silver would have been used by a high ranked yeoman archer, maybe a leader of a large section of archers within the kings army. it would also be worn as a symbol of his status

This archers thumb ring was made circa 1340, over 680 years ago, and this is a superb, beautiful and historical original artifact. Stunning age patination of the silver In superb aged condition.
A thumb ring is a piece of equipment designed to protect the archer’s thumb during archery. It is a ring of that can be made of leather, stone, horn, wood, bone, antler, ivory, metal {silver or bronze}, even ceramics, which fits over the end of the thumb, coming to rest at the outer edge of the outer joint.
Typically a flat area extends from the ring to protect the pad of the thumb from the bowstring; this may be supplemented by a leather extension. An absolute iconic original piece of British history. In superb battlefield recovered patinated condition, and very nice indeed. Beautiful Items such as this were oft acquired in the 18th and early 19th century by British noblemen and women touring battle sites in Northern France and Italy, in fact most of Europe and the Middle East, on their so-called ‘Grand Tour’. They were often placed on display upon their return home, within the family’s 'cabinet of curiosities', within their country house. Some significant British stately homes had entire galleries displaying the treasures and artefacts gathered and purchased on such tours, and some tours lasted many years, and the accumulated souvenirs numbered in their hundreds or even thousands. A popular pastime in the 18th and 19th century, comprised of English ladies and gentlemen traveling for many months, or even years, throughout classical Europe, and the Middle East, acquiring knowledge and education on the arts, and thus returning with antiquities and antiques as souvenirs for their private collections, and these travels have been thus called ‘Grand Tours’. We recently acquired some beautiful pieces acquired from the descendant family of the 10th Duke of Hamilton in the 1820's such as the archer's ring from just north of the Mave River at Crecy.

Although traditional English archers often used three fingers (Mediterranean draw) or finger tabs, but some were obviously trained in the Ottoman style of archery.

The Battle of Crécy took place on 26 August 1346 in northern France between a French army commanded by King Philip VI and an English army led by King Edward III. The French attacked the English while they were traversing northern France during the Hundred Years' War, resulting in an English victory and heavy loss of life among the French.

The English army had landed in the Cotentin Peninsula on 12 July. It had burnt a path of destruction through some of the richest lands in France to within 2 miles (3 km) of Paris, sacking many towns on the way. The English then marched north, hoping to link up with an allied Flemish army which had invaded from Flanders. Hearing that the Flemish had turned back, and having temporarily outdistanced the pursuing French, Edward had his army prepare a defensive position on a hillside near Crécy-en-Ponthieu. Late on 26 August the French army, which greatly outnumbered the English, attacked.

During a brief archery duel a large force of French mercenary crossbowmen was routed by Welsh and English longbowmen. The French then launched a series of cavalry charges by their mounted knights. These were disordered by their impromptu nature, by having to force their way through the fleeing crossbowmen, by the muddy ground, by having to charge uphill, and by the pits dug by the English. The attacks were further broken up by the effective fire from the English archers, which caused heavy casualties. By the time the French charges reached the English men-at-arms, who had dismounted for the battle, they had lost much of their impetus. The ensuing hand-to-hand combat was described as "murderous, without pity, cruel, and very horrible." The French charges continued late into the night, all with the same result: fierce fighting followed by a French retreat.

The English then laid siege to the port of Calais. The battle crippled the French army's ability to relieve the siege; the town fell to the English the following year and remained under English rule for more than two centuries, until 1558. Crécy established the effectiveness of the longbow as a dominant weapon on the Western European battlefield.
The 2009 Encyclopædia Britannica uses the figures of about 6,000 for the English and 20,000 to 30,000 for the French. Part of an original medieval collection we have just acquired, of Viking and early British relics of warfare some from ancient battle sites recovered up to 220 years ago.
When drawing a bow using a thumb draw, the thumb is hooked around the bowstring just beneath the arrow and its grip reinforced with the first (sometimes second) finger. The bowstring rests against the inner pad of the archer's thumb and the thumb ring protects the skin. The bowstring rests against the flat of the ring when the bow is drawn. Today, thumb rings are used by archers practicing styles from most of Asia and some regions of northern Africa. Ishi, the "last wild American Indian", used a thumb draw, but no skin protection.
Thumb rings have been in use in Asia since the Neolithic period. The first examples were likely made of leather,.

As early western armies mainly used peasants as archers, and bowmen fought on foot. some may have needed little training as they already were using bows to hunt, and were indeed required to be trained on archery, usually with a Mediterranean draw. Of course, armies fought foreigners, and probably learnt their opponent's methods/strategies, as well as travelers who brought back hunting/fighting technique, but it may have been marginal amongst archers as the thumb ring draw was difficult to learn.

The regular English and Welsh bowmen fought on foot, but while they fought the major battles on foot, there were mounted archers, those bowmen in the chevauchées against the French. Effective use of the longbow required regular practice and it wasn't easy to just pick up and use one (which is why inferior firearms replaced the bows - the firearms were easier to master). In this period, hunting was the domain of the uppermost classes. The land, and the animals in it, was the property of the king. Poaching could get you hanged.

In the chevauchées it would be unlikely longbows would be used while mounted. Unlikely dismounting to shoot, so using a smaller hunting bow is far more likely. Nobles hunted with shorter handbows commonly, but the bow and the technique were distinct from longbow. Both the length of the longbow, and the posture used for the longbow would make mounted archery quite difficult.

From our latest original antiquities collection arrival, that contain many pieces acquired from famous historical battle sites while on a ‘Grand Tour’ in the 1820’s, such as this superb piece, at Agincourt, and other pieces from such as Crecy and Poitiers, and Paris.  read more

Code: 26128

Welcome to The Lanes Armoury, Britain's Truly Magical Place, Where Original & Breathtaking Wonders Are For Sale

Our beautiful pieces from history are not always just for looking at, some can still be enjoyed and worn for every one to see.

We Are Not Just A Webstore, We Are Always Welcoming Personal Visitors To Our Gallery In Brighton Every Day*

Thousands of original pieces of history, for example, from Ancient Rome and Greece to Medieval Japan, and Viking Europe. Covering British, European, and in fact, all worldwide eras of historical events from the past 4000 years, with antiquities, weaponry, armour, object d’art, militaria and books from the bronze age to WW2.

Personalised Certificates of Authenticity can be supplied for every, single, purchase.

Our family have been personally serving the public in Brighton for generations, in fact, for over 105 years.

* Opening hours Monday to Saturday 11.00am till 4.00pm  read more

Code: 24055

A Rare 1853 Royal Warwickshire Regt. Historically Significant ‘Jamaican Rebellion’ Enfield Bayonet The Morant Bay Rebellion, From a Defender of Paul Bogle.

Regimentally marked bayonet for the 6th Regiment, the Royal Warwickshire. Maker marked by Deakin and full ordnance inspection stamps. A souvenir from a descendant of a defender of Paul Bogle’s, used with its service issue 1853 Enfield pattern rifle, in the Jamaican Rebellion in Morant Bay of 1864/5. The 1865 Jamaican uprising was put down by 6th Regt, The Royal Warwickshire soldiers. A leader of the Warwickshire Regiment, Colonel J. Francis Hobbs, led the British reprisals against Bogle’s community. Hobbs report to Governor Eyre (19 October) resulted in a commendation for bravery: "I found it most dangerous work crossing over the numerous rivers, which took the men above their waists. There was not a single non-commissioned officer or soldier who was not literally wet through, and every article of their clothing, saddlery, etc., utterly destroyed.

"Added to this, the entire darkness of the night made it a march never to be forgotten in the 6th Regiment. About daylight this morning, in passing through this village of cross roads, where the rebels destroyed everything, I found a number of special constables, who had captured a number of prisoners from the rebel camp. Finding their guilt clear, and being unable to take or leave them, I had them all shot. The constables then hung them up on trees, eleven in number. Their countenances were all very diabolical, and they never flinched the very slightest.

"From this we at once went to Stony Gut After partaking of some biscuits and rum in Bogle’s chapel, sending off his lamps as a trophy to his excellency the governor, and utterly destroying this rebellious settlement, I have returned with my jaded and sore-foot troops to this spot, where we bivouacked for the night in another ecclesiastical building, called the Chigoe-Foot Methodist Chapel.

"I must not forget to tell you that I have got Paul Bogle’s valet for my guide, a little fellow of extraordinary intelligence. A light rope tied to the stirrup, and a revolver now and then to his head cause us to understand each other; and he knows every single rebel in the island by name and face, and has been selecting the captains, colonels and secretaries out of an immense gang of prisoners just come in here, whom I shall have to shoot to-morrow morning."

Hobbs account of this bloody expedition was used as evidence in the Royal Commission of Inquiry which was set up to investigate Eyre’s role. Although it is doubtful whether Hobbs would have received the missive in time, he was certainly acting in the spirit of his commander’s instructions; the Deputy Adjutant-General John Henry Elkington (from a family of military officers with branches in Warwickshire and Leicestershire), had written to him on 18th October: "Colonel, I send you an order to push on at once to Stony Gut but I trust you are there already. Hole is doing splendid service with his men all about Machioneal" Paul Bogle (1822 to 24 October 1865) was a Jamaican Baptist deacon and activist. He is a National Hero of Jamaica. He was a leader of the 1865 Morant Bay protesters, who marched for justice and fair treatment for all the people in Jamaica. After leading the Morant Bay rebellion, Bogle was captured by government troops, tried and convicted by British authorities under martial law, and hanged on 24 October 1865 in the morant bay court house. The "Eyre Controversy" turned into a long and increasingly public issue, dividing well-known figures of the day. It may have contributed to the fall of the government. In 1866 John Stuart Mill set up and chaired the Jamaica Committee to examine the atrocities committed in Jamaica in the course of ending the rebellion. Thomas Carlyle set up a rival committee to defend Eyre. His supporters included John Ruskin, Charles Kingsley, Charles Dickens and Alfred, Lord Tennyson.  read more

Code: 21392

A Good WW1 14/15 Star 'South African' Trio With Transvaal Scottish Badge

8th Infantry, and further badges. All medals named. He served in the 7th and 8th Infantry. British TOE in April, 1916:
1st Division (Major General AR Hoskins)
1st East African Brigade- 2nd Loyal North Lancs, 2nd Rhodesia Regiment, 130th Baluchis, 3rd Kashmir Rifles/3rd KAR (Composite Batt)
2nd East Afican Brigade- 25th Royal Fusiliers, 29th Punjabis, 129th Baluchis, 40th Pathans
Divisional Troops- 17th Indian Cavalry (one squadron), East African Mounted Rifles, King's African Rifles Mounted Infantry (one company), East Africa Pioneer Corps (Mounted Section), 27th Mountain Battery, 5th Battery South African Field Artillery, # 6 Battery (four 12 pdrs manned by 2nd LNL), # 7 Battery (four 15 pdrs), 38th Howitzer Brigade (one section of two 5" Howitzers), Willoughby's Armored Car Battery, 2nd LNL Machine-gun Company.

2nd East African Division (Major General J Van Deventer)
1st South African Mounted Brigade- 1st SA Horse, 2nd SA Horse, 3rd SA Horse, 8th SA Horse (forming SA).
3rd South African Infantry Brigade- 9th SA Infantry, 10th SA Infantry, 11th SA Infantry, 12th SA Infantry.
Divisional Troops- South African Scout Corps, 28th Mounted Battery (six 10 pdrs), 2nd Battery SA Field Artillery (four 13 pdrs), 4th Battery SA Field Artillery (four 13 pdrs), # 12 Howitzer Battery (two 5" Howitzers), East African Volunteer Machine-gun Company.

3rd East African Division (Major General C Brits)
2nd South African Mounted Brigade- 5th SA Horse, 6th SA Horse, 7th SA Horse, 9th SA Horse
2nd South African Infantry Brigade- 5th SA Infantry, 6th SA Infantry, 7th SA Infantry, 8th SA Infantry
Divisional Troops- 1st Battery SA Field Artillery (four 13 pdrs), 3rd Battery SA Field Artillery (four 13 pdrs), 38th Howitzer Brigade (one section of two 5" Howitzers), # 5 Light Armoured Car Battery

Photos of soldiers of the Transvaal Scottish for information only, not included with the medals  read more

Code: 17538

A Super and Most Beautiful Koto Wakazashi Circa 1550 With Original Edo Koshirae of Shakudo, Silver & Gold with a Nagoyamono Tsuba in Shakudo & Gold Prunus Tree With Nanako Ground and a Nanako Rim

Koto blade circa 1550 with beautiful old polish, that is near mint, showing a fine gunome notare hamon. All the original Edo fittings beautifully compliment the wonderful blade, and the original edo saya is decorated in fine urushi in black lacquer Roiro-nuri (蝋色塗, Wax Colour Coating). The fuchi kashira are most charming, and a a mix of shakudo, gold and silver decorated flower heads over a nanako ground.
Shakudo is a billon of gold and copper (typically 4-10% gold, 96-90% copper) which can be treated to form an indigo/black patina resembling lacquer. Unpatinated shakudo Visually resembles bronze; the dark color is induced by applying and heating rokusho, a special patination formula.

Shakudo Was historically used in Japan to construct or decorate katana fittings such as tsuba, menuki, and kozuka; as well as other small ornaments. When it was introduced to the West in the mid-19th century, it was thought to be previously unknown outside Asia, but recent studies have suggested close similarities to certain decorative alloys used in ancient Egypt, Greece, and Rome.

The tsuka is bound in gold silk tsuka-ito over a pair of gold and shakudo menuki of the legendary phoenix fire birds, above fine samegawa {giant rayskin}. The tsuba is a Nagoyamono of gold shakudo over a nanako ground with a nanako rim.
Nanako Ji: "fish roe ground" A surface decoration produced by forming very small raised bosses by a sharply struck punch or burin called 'nanako tagane'. Shakudo is the metal most often used, but copper and gold are quite often employed. The harder metals, shibuichi, silver and iron are rarely decorated in this way. The size of the dots vary from 0.04" to 0.008" (25 to 125 and inch) and the regularity of the work is marvelous as the dots must be spaced entirely by touch. The dots are usually arranged in straight lines or in lines parallel to the edge of the piece being decorated, but sometimes in more elaborate patterns. Used on guards since the Momoyama period although the technique existed since much earlier periods. Usually done by specialist 'nanako-shi', but sometimes done by the maker of the guard himself.

As once told to us by an esteemed regular visitor to us here in our gallery, and the same words that are repeated in his book;

“In these textures lies an extraordinary and unique feature of the sword - the steel itself possesses an intrinsic beauty. The Japanese sword has been appreciated as an art object since its perfection some time during the tenth century AD. Fine swords have been more highly prized than lands or riches, those of superior quality being handed down from generation to generation. In fact, many well-documented swords, whose blades are signed by their makers, survive from nearly a thousand years ago. Recognizable features of the blades of hundreds of schools of sword-making have been punctiliously recorded, and the study of the sword is a guide to the flow of Japanese history.”
Victor Harris
Curator, Assistant Keeper and then Keeper (1998-2003) of the Department of Japanese Antiquities at the British Museum. He studied from 1968-71 under Sato Kenzan, Tokyo National Museum and Society for the Preservation of Japanese Swords

The world of antique sword collecting is a fascinating journey into the past, offering a unique lens through which to view history and culture. More than mere weapons, these artifacts serve as tangible connections to the societies and ancient times where they originated. Each blade tells a story, not just of the battles it may have seen but of the craftsmanship, artistic trends, and technological advancement of its time.

The swords mountings can be equally telling. Engravings and decorative elements may enhance the sword’s beauty and hint at its historical context. The materials used for them can reveal the sword’s age

Collecting antique swords, arms and armour is not merely an acquisition of objects; it’s an engagement with the historical and cultural significance that these pieces embody. As collectors, we become custodians of history, preserving these heritage symbols for future generations to study and appreciate.

We are now, likely the oldest, and still thriving, arms armour and militaria stores in the UK, Europe and probably the rest of the world too. We know of no other store of our kind that is still operating under the control its fourth successive generation of family traders

Every single item from The Lanes Armoury is accompanied by our unique Certificate of Authenticity. Part of our continued dedication to maintain the standards forged by us over the past 100 years of our family’s trading, as Britain’s oldest established, and favourite, armoury and gallery

It will come complete, with our compliments, with a display stand a most decorative damask storage bag, a pair of white handling gloves and a white microfibre cleaning cloth.  read more

Code: 26126

A Stunning Ancient Koto Museum Grade Long Katana, Circa 1480's Around 550 Years Old, all Original Edo Fittings, Entomological Kachimushi Tsuba and Suzumebachi Menuki

A beautifully impressive and long ancient samurai sword, worthy of a museum quality display, with a stunning Koto blade that has an amazing gunome hamon and it looks fabulous, as it last did 170 years ago, before it arrived in England from Japan, as a honorary gift from a member of the Japanese nobility. It is fitted with a very fine, large iron kachimushi decorated iron tsuba.

Just returned so new close-up photos of the fabulous ancient blade we now show { It looks amazing!!}
The whole sword has been untouched for over 170 years, yet still looks amazing as an incredible historical artifact of the ancient art of the samurai.

It has a very rare menuki of suzumebachi, giant hornets Vespa madarina Japonica, in pure gold overlay and shakudo, a subspecies of the world's largest hornet, with a wingspan of 2.4 inches. Giant hornets give spiritual protection for the sword. Stunning tsuba of a large tetsu ovoid plate tsuba with takebori dragonfly with gold legs, and crickets with gold antennae. Fuchi kashira in tetsu with silver inlays of vine tendrils.

Fine original Edo lacquer saya with two colour uruchi lacquer, partially ribbed and ishime, with a saya jiri iron mount inlaid with silver tendrils matching the tsuka's fuchi kashira. The seam lacquer has very fine line openings through its great age

Japan was once known as the “Land of the Dragonfly”, as the Emperor Jimmu is said to have once climbed a mountain in Nara, and looking out over the land, claimed that his country was shaped like two Akitsu, the ancient name for the winged insects, mating.

Dragonflies appeared in great numbers in 1274 and again in 1281, when Kublai Khan sent his Mongol forces to conquer Japan. Both times the samurai repelled the attackers, with the aid of huge typhoons, later titled Kamikaze (the Divine Winds), that welled up, destroying the Mongol ships, saving Japan from invasion. For that reason, dragonflies were seen as bringers of divine victory.

Dragonflies never retreat, they will stop, but will always advance, which was seen as an ideal of the samurai. Further, although the modern Japanese word for dragonfly is Tombo, the old (Pre Meiji era) word for dragonfly was Katchimushi. “Katchi” means “To win”, hence dragonflies were seen as auspicious by the samurai.

Insects in general have been celebrated in Japanese culture for centuries. The Lady Who Loved Insects is a classic story of a caterpillar-collecting lady of the 12th century court; the Tamamushi, or Jewel Beetle Shrine, is a seventh century miniature temple, once shingled with 9,000 iridescent beetle forewings. In old Japanese literature, poems upon insects are to be found by thousands, Daisaburo Okumoto is director of the Fabre Insect Museum. An avid insect collector and a scholar of French literature, he has translated many of Fabre's works. He ascribes the popularity of insects in Japan to national character. It seems like Japanese eyes are like macro lenses and Western eyes are wide-angle, he says. A garden in Versailles, it's very wide and symmetrical. But Japanese gardens are continuous from the room and also very small. We feel calm when we look at small things. The medieval Japanese monk Yoshida Kenko put it this way: “If man were never to fade away like the dews of Adashino, never to vanish like the smoke over Toribeyama, how things would lose their power to move us!

The original Edo period urushi lacquer on the saya is in simply beautiful and shows most elegant simplicity, yet a most intricate in the black and brown combination of lacquer. It reveals once more within that simplicity the finest craftsmanship and beauty worthy of a master of the art of urushi decor. Japanese lacquer, or urushi, is a transformative and highly prized material that has been refined for over 7000 years.

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.

It has been over one thousand years ago that the art of making swords appeared in Japan. The swordsmiths of the time may not have known it but they were creating a legendary sword. The Samurai sword has seen combat in many battlefields. From the early days of the Samurai warrior to the fierce battles in the South Pacific during WWII.

Each hand-made traditional Samurai sword was unique because it was forged using the finest skills known to man. A tremendous amount of work was dedicated to creating these pieces. They were an instrument of war as much as a beautiful artifact to adorn any decor.

The Samurai sword, from all eras, in all its forms, has grown to be one of the most highly desired and iconic military antiques of all time.

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.

** Authentic, currently, modern hand-made nihonto (Japanese sword blades) from top-tier, licensed swordsmiths in Japan today, typically start around $10,000–$25,000 for a katana, with prices often exceeding $60,000 for renowned masters or customized commissions. These, forged from tamahagane steel, require 12+ months to create due to strict legal limits on production, with some high-end, custom pieces from master smiths such as Yoshindo Yoshihara exceeding $10,000 for smaller tanto blades.
A brand new, katana blade from a reputable but lower ranked smith usually starts around $7,500–$10,000.
Master Smith Pricing, by high-ranking, famous, or award-winning smiths can range from $25,000 to over $60,000. With the added restriction that if the smith created a blade that was ranked high enough to be within the $ 60,000 range, it would be forbidden for it to leave Japan by law.
Japanese law limits smiths to producing roughly 24 long swords (katana/tachi) per year, significantly driving up demand and cost.

Every item is accompanied with our unique, Certificate of Authenticity. Of course any certificate of authenticity, given by even the best specialist dealers, in any field, all around the world, is simply a piece of paper,…however, ours is backed up with the fact we are the largest dealers of our kind in the world, with over 100 years and four generation’s of professional trading experience behind us.

Something else important to consider for potential collectors. Although it is fair to say that very fine, ancient, and available Japanese samurai swords are not the most inexpensive pieces to buy, compare them to the same equally highly ranked and available collectables in literally any other medium. The best available watercolour paintings will be priced from the hundreds of thousands to millions. The best available oil paintings will be from lower millions to tens of even hundreds of millions. The same for jewels, clocks, fine art, watches and certainly some rare vintage cars.

Of course, there are Japanese swords that can rank in value within the millions of pounds, in fact one of the most valuable works of art in the world, according to Forbes list, is a samurai sword, valued at 100 million dollars, and if a Masamune samurai sword ever appeared on the open market, it would certainly be priced at the ten’s of millions range. However, they simply are never available, but maybe, in theory, one 'might' appear on the open market but only every 50 to 100 years or so. However, the next level down within the world of collectable samurai swords, below the ‘very rarest’ of national treasure masterpieces, are available {and we have dozens of them} yet, they are still within the upper thousands to tens of thousand of pounds, which, by comparison, is utterly remarkable.
A wonderful Renoir, Cezanne, or any of best French Impressionist oil paintings are readily available though, in fact they appear for sale every month or so, in either London, Paris, New York or Tokyo, but, selling for tens or even the hundreds of millions of pounds range,and rare, early 1960's Ferraris can be also within that incredible range of value. So, where else can one find, within the collectable world of fine art, the finest ‘available’ collectable samurai sword, that can be less than one percent the cost of its equivalent competition. However, view a fabulous 500 year old samurai sword beautifully displayed and decorating a billionaire's home, and the uninformed will assume it will likely have cost millions of pounds, and it could certainly look as if it would have. But no, it will likely have been purchased for under £20,000.


The sword is 43.25 inches long overall, blade 28.25 inches long  read more

Code: 26111

A Fabulous Antique Shinto Samurai Aikuchi O-Tanto In The Design Of A Naginata Naoshi (薙刀直し) Combined With With An Unokubi-Zukuri {Cormarant's Neck} Blade Form. In Stunning Original Edo Mounting

This is a wonderful Shinto period, Edo era, original aikuchi o-tanto, likely for such as a high status samurai daimyo lord. This is refelected in its beauty and quality of its Edo period mounting. It has a full suite of shakudo fittings, beautifully engraved. The Fuchi kashira, upon the tsuka {hilt}, and the saya {scabbard} koiguchi and kojiri {the throat mount and chape} are all a fully matching suite. Kinko Meikan rank of artistic quality, Ryoko very nice work in kebori and katakiri-bori on shakudo. The saya {scabbard} is decorated with rich brown ishime {stone finish} lacquer, with polished buffalo horn kurigata and a Kozuka-bitsu which is a slot located on the reverse side of the saya to store the optional Kozuka. Kozuka is a small, utility knife, primarily used for carving wood or cutting paper. However during the Edo period, the optional sword fittings such as Kogai-bitsu, Kogai, Kozuka-bitsu, and Kozuka evolved into highly valued ornamental pieces rather than just practical tools. Beneath the gold silk tsuka-ito {hilt binding} are two very intriguing menuki {hilt ornaments} one is of two ponies laying upon ground, in deep takebori made of shakudo and pure gold. Bound on the inside of the tsuka is a currency pattern coin shape menuki of shinchu (真鍮). The blade is mounted within its hilt by a hand made bespoke copper habaki (throat mount) it has a partial patinated surface finish.

Naginata Naoshi (薙刀直し): technically means "naginata re-formed." It describes an ancient blade that has been cut down from a longer naginata polearm into a shorter form, often retaining the deep curve and wide geometry of the original weapon, however it became known for blades that were originally made in that rare form, not just adapted from other previous use pole arm blades. There is an old saying within the early Japanese world of sword collectors about Naginata Naoshi. It goes, “Naginata Naoshi ni Namakura Nashi, ” that roughly translates as, “Naginata Naoshi Katana, is never dull (always sharp). “

These blades often exhibit a wide base, a pronounced curve (sori), and may display unokubi-zukuri (cormorant's neck)

As once told to us by an esteemed regular visitor to us here in our gallery, and the same words that are repeated in his book;

“In these textures lies an extraordinary and unique feature of the sword - the steel itself possesses an intrinsic beauty. The Japanese sword has been appreciated as an art object since its perfection some time during the tenth century AD. Fine swords have been more highly prized than lands or riches, those of superior quality being handed down from generation to generation. In fact, many well-documented swords, whose blades are signed by their makers, survive from nearly a thousand years ago. Recognizable features of the blades of hundreds of schools of sword-making have been punctiliously recorded, and the study of the sword is a guide to the flow of Japanese history.”
Victor Harris
Curator, Assistant Keeper and then Keeper (1998-2003) of the Department of Japanese Antiquities at the British Museum. He studied from 1968-71 under Sato Kenzan, Tokyo National Museum and Society for the Preservation of Japanese Swords

The world of antique sword collecting is a fascinating journey into the past, offering a unique lens through which to view history and culture. More than mere weapons, these artifacts serve as tangible connections to the societies and ancient times where they originated. Each blade tells a story, not just of the battles it may have seen but of the craftsmanship, artistic trends, and technological advancement of its time.

The swords mountings can be equally telling. Engravings and decorative elements may enhance the sword’s beauty and hint at its historical context. The materials used for them can reveal the sword’s age

Collecting antique swords, arms and armour is not merely an acquisition of objects; it’s an engagement with the historical and cultural significance that these pieces embody. As collectors, we become custodians of history, preserving these heritage symbols for future generations to study and appreciate.

We are now, likely the oldest, and still thriving, arms armour and militaria stores in the UK, Europe and probably the rest of the world too. We know of no other store of our kind that is still operating under the control its fourth successive generation of family traders

Every single item from The Lanes Armoury is accompanied by our unique Certificate of Authenticity. Part of our continued dedication to maintain the standards forged by us over the past 100 years of our family’s trading, as Britain’s oldest established, and favourite, armoury and gallery

It will come complete, with our compliments, with a transparent display stand {not the antique one in the photos} a most decorative damask storage bag, a pair of white handling gloves and a white microfibre cleaning cloth.  read more

Code: 26125

A Most Scarce Edward VIIth 20th Hussars Cap Badge, Used in The Boer War and WW1

The regiment was not deployed to South Africa until December 1901 for service in the Second Boer War and therefore only took part in the final drives against the Boer commandos in spring 1902. The regiment was based in Ireland again from 1908 to 1911.

The regiment, which was based in Colchester at the start of the First World War, landed in France as part of the 5th Cavalry Brigade in the 2nd Cavalry Division in August 1914 for service on the First World War. The regiment saw action at the Battle of Mons in August 1914 and both the First Battle of the Marne and the First Battle of the Aisne in September 1914. It went on fight at the First Battle of Ypres in October 1914, the Battle of Arras in April 1917 and the Battle of Cambrai in November 1917. It later took part in the German Spring Offensive in 1918, the Battle of Amiens in August 1918 and the final push as the war drew to a close  read more

Code: 21116

An Absolutely Fabulous & Spectacular Javanese Kris Royal Dagger. With Pure Gold Snake or Dragon God, A 'Naga' Symbol Onlaid on to The Fabulous Pamor Serpentine Blade of 13 Lok or Waves. Boat Shaped Ladrang Scabbard of Javan Pelet Wood

Probably 19th to early 20th century., in overall superb condition for age.

In an esteemed London auction house, a most similar quality gold inlaid example, of the same age, sold four Decembers ago for just over £5,400 inc commission. This is simply one of the most beautiful we have seen on the market in over 20 years.

A sarpa lumarka wavy blade with a gold naga snake in sangkelat 13 waves, or lok. Ladrang form of wrangka hilt crosspiece boat form of a simply stunningly grained wood, which may well be Javan pelet, with a fine gilt metal sleeve covering the haft, with a most intricate and detailed pieced design on the obverse side. In Java, the metal sleeve is called pendokbunton, which is a full metal sleeve.

The keris or kris is considered a magical weapon, filled with great spiritual power. In Javanese there is a term "Tosan Aji" or "Magic Metal" used to describe the keris. The keris is replete with the totems of Malay-Indonesian culture of hindu and islam. The blade is a mixture of meteoric steel and nickel According to traditional Javanese kejawen, kris contain all the intrinsic elements of nature: tirta (water), bayu (wind), agni (fire), bantolo (earth, but also interpreted as metal or wood which both come from the earth), and aku (lit: "I" or "me", meaning that the kris has a spirit or soul). All these elements are present during the forging of kris. Earth is metal forged by fire being blown by pumped wind, and water to cool down the metal. In Bali, the kris is associated with the naga or dragon, which also symbolizes irrigation canals, rivers, springs, wells, spouts, waterfalls and rainbows; thus, the wavy blade symbolizes the movement of the serpent. Some kris have a naga or serpent head carved near the base with the body and tail following the curves of the blade to the tip. A wavy kris is thus a naga in motion, aggressive and alive; a straight blade is one at rest, its power dormant but ready to come into action.

In former times, kris blades were said to be infused with poison during their forging, ensuring that any injury was fatal. The process of doing so was kept secret among smiths. Different types of whetstones, acidic juice of citrus fruits and poisonous arsenic bring out the contrast between the dark black iron and the light coloured silvery nickel layers which together form pamor, damascene patterns on the blade. The distinctive pamor patterns have specific meanings and names which indicate the special magical properties they are believed to impart  read more

Code: 22745