Japanese

A Super Antique Ancestral Japanese Sword. Koto Blade, Around 500 Years Old. A WW2 Officers Katana, Antique, Edo Period, Traditional Tsuka {Hilt}. Unusual Short Size, For Tank Officer Service

With original wood and lacquer Edo period traditional samurai sword saya {scabbard}. Wrapped in its WW2 issue camouflage combat leather field service cover, and a traditional military single ring belt mount. Early, and rare, top quality type 94 pierced military tsuba. The blade is in beautiful polish still showing a fulsome and elaborate midare hamon that is most stunning, and it also shows a super grain in the hada. The nakago is mumei, with numerous mekugi-ana. It has a good cat scratch gilt copper habaki {blade collar} with engraved 'rain pattern' that is named neko-gaki. The size of this katana was ideal for officer's serving in the IJA tank service, bearing in mind the size of their small tank's turret and interior. Somewhat short for traditional urban or jungle combat katana that would be used by a regular infantry IJA officer.

The original antique Edo tsuka has original silk wrap over the pair of stylized dragon menuki {hilt mounts} in copper, laid upon the traditional giant rayskin {samegawa}. Plain, patinated, antique copper fuchigashira, and the fuchi has a circular press-button aperture for an optional military button catch, as a way to lock the blade into the saya. The regulation saya retaining press button in the fuchi was often removed by the Japanese officer, and in fact was very often the case. On this sword the button was removed. The button clip was designed to hold the blade within its saya {scabbard} while ‘on the run” so to speak. This was a technical safety advantage, however, officers trained in iaido {the traditional martial art of the drawing of the sword from its saya} had no such fitting on regular katana, and if it was the button could cause a millisecond or even more of delay in combat, which by traditional swordplay standards is not only unacceptable it was also, potentially, a fatal drawback and disadvantage to the swordsman. Thus, they often removed and discarded this feature from the sword entirely.

World War Two
The tank force was primarily under the command of the IJA, and not the navy. Also, due to the nature of the Pacific theater, were operations mostly involved small islands ill-suited for tanks, these were deployed only in several large scale operational areas, were they could be effective in blitzkrieg-style tactics. These include China, the Philippines, Burma, Indonesia (Java), while some were dispersed in support of infantry units on Okinawa, Iwo Jima and several other islands. On December 22, near Damortis, on Luzon island (Philippines) the first clash between Japanese and US tanks occurred. They were opposed to M3 and M2A4 light tanks of the American 192nd Tank Battalion. The 57 mm (2.24 in) gun of the Chi-Ha, then the best frontline IJA tank, proved useless against their armour. In Burma, engaging second and third rate light tanks, and a few Stuarts from the 2nd Royal Tank Regiment, the Japanese proved deadly. By 1943, the SNLF, or Navy Armored Force, received its first amphibious tanks, like the Ka-Mi. 223 units would be built until 1945.

The blade is most beautiful, with natural age surface wear and thinning in areas, but no combat damage at all, without any edge chips or cuts present. The chape area of the leather has separated and a very small area of leather cover lacking.

See photo 10 that shows a tank commander, sitting on his tank and leaning on what appears to be his sword.

Overall length in saya 36.5 inches, blade tsuba to tip 20.75 inches
The Hamon is the pattern we see on the edge of the blade of any Nihonto (日本刀) and it is not merely aesthetic, but is due to the differential tempering with clay applied to weapons in the forging process. Japanese katanas are unique in the way of the forging process, where apart from the materials the system is tremendously laborious. In short, before temper, the steel has different clays applied that when submerged in water causing the characteristic blade curvature and the pattern of the hamon. This also causes the katanas to be flexible and can be very sharp, since the hardening of the steels at different temperatures causes a part of the sword to be softer and more flexible called Mune or loin and the other harder and brittle, thus having a High quality cutting edge capable of making precise and lethal cuts.
There are various types and variants, some simple and others very complex. Depending on how the clay is applied, it can form numerous forms and types of hamon.

According to legend, Amakuni Yasutsuna developed the process of differential hardening of the blades around the 8th century. The emperor was returning from battle with his soldiers when Yasutsuna noticed that half of the swords were broken:
Amakuni and his son, Amakura, picked up the broken blades and examined them. They were determined to create a sword that will not break in combat and they were locked up in seclusion for 30 days. When they reappeared, they took the curved blade with them. The following spring there was another war. Again the soldiers returned, only this time all the swords were intact and the emperor smiled at Amakuni.
Although it is impossible to determine who invented the technique, surviving blades from Yasutsuna around AD 749–811 suggest that, at the very least, Yasutsuna helped establish the tradition of differentially hardening blades.

Blade tip to kashira 30 inches or 76 cm long {out of saya}  read more

Code: 25426

A Superb Superior Gendaito Signed By Master Smith Ishido Teruhide. A Finest Grade Japanese Officer’s Katana, in Regulation Type 98 Koshirae.

This is 5 star grade sword by one of the highest regarded traditional sword smiths of WW2, In exceptional condition, with a beautiful, traditionally made gendai blade showing a remarkable hamon. Regulation 98 shingunto sword koshirae, in very good condition, The saya is traditional green lacquer painted with good brass type 98 fittings, single belt suspension ring and semegane; It has a tsuka of traditional wood, wrapped in brown silk Ito over white samegawa (ray skin), standard 38 pattern brass military mounts including, menuki, fuchi, tsuba with, kabutogane with sarute in brass with sakura, and menuki decorated with sakura and chrysanthemums.
The fuchi has a circular press-button aperture for an optional military button catch, as a way to lock the blade into the saya. The regulation saya retaining press button in the fuchi was often removed by the Japanese officer, and in fact was very often the case. On this sword the button was removed. The button clip was designed to hold the blade within its saya {scabbard} while ‘on the run” so to speak. This was a technical safety advantage, however, officers trained in iaido {the traditional martial art of the drawing of the sword from its saya} had no such fitting on regular katana, and if it was the button could cause a millisecond or even more of delay in combat, which by traditional swordplay standards is not only unacceptable it was also, potentially, a fatal drawback and disadvantage to the swordsman. Thus, they often removed and discarded this feature from the sword entirely.

The Ishido School has roots back to Osaka in the early Shinto Period. They made excellent swords in the Bizen Tradition. Tatara Nagayuki, the Ishido School’s most well regarded swordsmith, made swords that emulated, and sometimes rivaled those of the famous Ichimonji School of the Koto Period.

“Ishido Teruhide (b 1900; d 1982) was the 10th and last generation of the Ishido Korekazu line of swordsmiths in Tokyo (Toto). He was a descendant of very famous Musashi Daijo Fujiwara Korekazu.

During WW II, he made many swords for high ranking military officers, colonels and generals, and also made blades for civilians.
Ishido Teruhide was ranked betseki in the 1943 swordsmith rankings by the Nihon Token Tanrenjo and the Nihon Token Shinbunshi. “Ishido Teruhide (b 1900; d 1982) was the 10th and last generation of the Ishido Korekazu line of swordsmiths in Tokyo (Toto). He was a descendant of very famous Musashi Daijo Fujiwara Korekazu. During WW II, he made many swords for high ranking military officers and also made blades for civilians. Ishido Teruhide was ranked betseki in the 1943 swordsmith rankings by the Nihon Token Tanrenjo and the Nihon Token Shinbunshi.

Ishido Teruhide signed with both a long mei and a two character mei. Teruhide also signed simply Ishido saku kao. On some of his swords, Teruhide used a kao (carved personal seal) in addition to his signature (mei). Ishido Teruhide also signed as Ishido Mitsunobu also using the same kao as with his Teruhide mei. It is possible that the Mitsunobu signature is a dai mei signature (a signature where one smith signs for another). It could also be the case that both swordsmiths employed the same professional mei carver and that these signatures are examples of nakirishi mei. While these are possibilities, It is unlikely and that Teruhide and Mitsunobu are most probably the same smith. It is doubtful that a swordsmith would carve his personal seal (kao) if signing for another smith.

It has been suggested that he signed Teruhide when making blades by the traditional method but signed Mitsunobu on non-traditionally made (sunobe) blades. His signature (mei) is sometimes translated as Sekido Teruhide and Sekido Mitsunobu, although Ishido is the preferred reading.

An Ishido Teruhide blade was awarded HOZON origami in 1997 by the NBTHK and are judged as true gendaito (kindaito). His blades are found in standard shin-gunto mounts, Showa Era civilian buke’ zukuri style mounts, kai-gunto mounts and shirasaya. After the war Teruhide made wood cutting planes rather than swords in order to earn a living. The planes he produced cut well and sold for about 2,000,000 Japanese Yen.

The IJN launched a surprise attack on Pearl Harbor, killing 2,403 Americans and crippling the US Pacific Fleet. During the first six months of the Pacific War, the IJN enjoyed spectacular success inflicting heavy defeats on Allied forces. Allied navies were devastated during the Japanese conquest of Southeast Asia. Japanese naval aircraft were also responsible for the sinkings of HMS Prince of Wales and HMS Repulse which was the first time that capital ships were sunk by aerial attack while underway. In April 1942, the Indian Ocean raid drove the Royal Navy from South East Asia.

In 1943, the Japanese also turned their attention to the defensive perimeters of their previous conquests. Forces on Japanese held islands in Micronesia were to absorb and wear down an expected American counteroffensive. However, American industrial power become apparent and the military forces that faced the Japanese in 1943 were overwhelming in firepower and equipment. From the end of 1943 to 1944 Japan's defensive perimeter failed to hold.

The defeat at the Philippine Sea was a disaster for Japanese naval air power with American pilots terming the slanted air/sea battle the Great Marianas Turkey Shoot, mostly going in the favour of the US,126 while the battle of Leyte Gulf led to the destruction of a large part of the surface fleet. During the last phase of the war, the Imperial Japanese Navy resorted to a series of desperate measures, including a variety of Special Attack Units which were popularly called kamikaze. By May 1945, most of the Imperial Japanese Navy had been sunk and the remnants had taken refuge in Japan's harbours. By July 1945, Nagato was the only remaining ship of the Imperial Japanese Navy's capital ships that had not been sunk in raids by the United States Navy

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
26.75 inch blade tsuba to tip, overall 39.5 inches long in saya  read more

Code: 25415

A Beautiful Edo Period, 18th century Hanbo, A Samurai’s Face Armour Mask

Black lacquer decor throughout, with vermillion lacquer interior. The expression is fierce/noble with protruding chin, the shape is elegant and very well refined. three lame yodarekake, with hooked standing cord pegs. Face armour, of this type is called hanbo. They were worn with the Samurai's armours to serve as a protection for the head and the face from sword cuts. There are 4 types of face armour mask designs that came into general use in Japan: happuri (which covers the forehead and cheeks), hanbō (covers the lower face, from below the nose all the way to the chin), sōmen (covers the entire face) and the me-no-shita-men (covers the face from nose to chin). We can also classify those mask depending on their facial expressions, most of which derive from the theatre masks. It has an asenagashino ana [a hole under the chin to drain off perspiration] and orikugi [two projecting studs above the chin to provide a secure fastening to the wearer]. In the 16th century Japan began trading with Europe during what would become known as the Nanban trade. Samurai acquired European armour including the cuirass and comb morion which they modified and combined with domestic armour as it provided better protection from the newly introduced matchlock muskets known as Tanegashima. The introduction of the tanegashima by the Portuguese in 1543 changed the nature of warfare in Japan causing the Japanese armour makers to change the design of their armours from the centuries old lamellar armours to plate armour constructed from iron and steel plates which was called tosei gusoku (new armours). Bullet resistant armours were developed called tameshi gusoku or (bullet tested) allowing samurai to continue wearing their armour despite the use of firearms.
The era of warfare called the Sengoku period ended around 1600, Japan was united and entered a relatively peaceful Edo period. However, the Shoguns of the Tokugawa period were most adept at encouraging clan rivalries and conflicts and battles were engaged throughout the empire. This of course suited the Shogun very well, while all his subordinate daimyo fought each other they were unlikely to conspire against him. Samurai use continued to use both plate and lamellar armour as a symbol of their status but traditional armours were no longer necessary for war, but still for battle. The face armour was not designed to have any nose protection fitted, the lacquer is original Edo period throughout with vermilion red lacquer in the interior face portion, the exterior lacquer has a fair amount of age flaking over around 6-8% of the neck defence lames.
 read more

Code: 23686

A Fine Shinto Samurai Katana Signed By Mino Swordsmith, Nodagoro Fujiwara Kanesada Circa 1720 Around 300 Years Old, With a Horai-zu Style Tsuba

He also signed Kinmichi. [ see Hawley’s Japanese Swordsmiths, ID KAN533] who was active in the Mino province between 1716-1736. A beautiful sword with a fabulous hamon mounted han dachi style. The photos shown at present are before returned from polishing, which is truly amazing, new photos will be shown in two days. It is an original edo period mounted han dachi [semi tachi form] katana with iron mounts of fine quality. The original Edo saya has a beautiful rich red lacquer with flecks of pure gold. The Edo tsuba is o-sukashi, in iron, a Horai-zu style tsuba that has a motif of crane, the symbol of long life. The crane and/or turtle and/or rocks and/or pine trees and/or bamboo are often referred to as a 蓬莱図 (Hōrai-zu) crane pattern design. The sword was being worn more and more edge up when on foot, but edge down on horseback as it had always been. The handachi is a response to the need to be worn in either style. The samurai were roughly the equivalent of feudal knights. Employed by the shogun or daimyo, they were members of hereditary warrior class that followed a strict "code" that defined their clothes, armour and behaviour on the battlefield. But unlike most medieval knights, samurai warriors could read and they were well versed in Japanese art, literature and poetry. Samurai were expected to be both fierce warriors and lovers of art, a dichotomy summed up by the Japanese concepts of bu [to stop the spear] exanding into bushido (the way of life of the warrior) and bun (the artistic, intellectual and spiritual side of the samurai). Originally conceived as away of dignifying raw military power, the two concepts were synthesized in feudal Japan and later became a key feature of Japanese culture and morality.The quintessential samurai was Miyamoto Musashi, a legendary early Edo-period swordsman who reportedly killed 60 men before his 30th birthday and was also a painting master. Members of a hierarchal class or caste, samurai were the sons of samurai and they were taught from an early age to unquestionably obey their mother, father and daimyo. When they grew older they could be trained by Zen Buddhist masters in meditation and the Zen concepts of impermanence and harmony with nature. The were also taught about painting, calligraphy, nature poetry, mythological literature, flower arranging, and the tea ceremony. The blade had been untouched for 150 years, shows a super hamon, and polish with a couple of very small edge pits near the habaki on just one side. New photos have been added of the blade now it has been stunningly conserved  read more

Code: 23998

An Opportunity to Acquire An Original Almost 700 Year Old, Ancient & Beautiful Samurai Dagger, A Signed, 14th Century Nambokochu Period Ancient Samurai Tanto

Now showing a beautiful blade polish, with all its original, Edo period, fine quality fittings. Including a pair of shakudo and gold fuchi kashira, a gold onlaid tetsu tsuba, a signed blade kozuka utility knife, and a menuki, under the original edo period tsuka ito, of a samurai's pony with its samurai saddle and abumi [stirrup], being attacked by a tiger. The saya is elaborately decorated with inlaid shell and horn type pieces on the black lacquer background. with polished buffalo horn carved fittings and a silver and soft metal saya mount of two seated figures. The scabbard surface has had a few contemporary Edo period surface repairs.

The blade is of typical ancient Nambokochu form and shape with a signed nakago, and shows stunning grain, and a solid silver overlaid two part habaki decorated with an embossed geometric patterning.

It is an ancient samurai tanto, in incredible condition for its great age, it obviously shows signs of use fro the past 600 odd years, but what an amazing piece.

The tanto was invented partway through the Heian period, when it was mainly used as a weapon. With the beginning of the Kamakura period, tanto were forged to be more aesthetically pleasing, and hira and uchi-sori tanto were the most popular styles for wars in the kamakura period. 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 tanto 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. In Nambokucho, the tanto were forged to be up to forty centimetres as opposed to the normal one shaku (about thirty centimetres) length. The tanto 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. Blades could be of exceptional quality. As the end of the period neared, the average blade narrowed and the sori became shallow

Overall 20.5 inches long, with a 10.5 inch long blade from tsuba to tip.

As with all our original items, it will be accompanied with a bespoke and unique Certificate of Authenticity.  read more

Code: 24407

A Fabulous Shinto Katana Circa 1620 With Fine Edo Koshirae

The gently undulating yet exceptionaly deep hamon is very fine quality and this is a most beautiful an impressive katana. A very fine Shinto blade set in very fine quality shakudo, Edo period mounts, of multi coloured patination and pour gold onlaid d?cor. The saya has it's original Edo red lacquer, and the sword is mounted with it's koto period o-sukashi iron tsuba carved with profiles of flying geese. The production of swords in Japan is divided into specific time periods: jokoto (Ancient swords, until around 900 A.D.), koto (old swords from around 900?1596), shinto (new swords 1596?1780), shinshinto (new new swords 1781?1876), traditional gendaito (modern swords 1876?1945).

The first use of "katana" as a word to describe a long sword that was different from a tachi is found in the 12th century. These references to "uchigatana" and "tsubagatana" seem to indicate a different style of sword, possibly a less costly sword for lower ranking warriors. The evolution of the tachi into the katana seems to have started during the early Muromachi period (1337 to 1573). Starting around the year 1400, long swords signed with the "katana" signature were made. This was in response to samurai wearing their tachi in what is now called "katana style" (cutting edge up). Japanese swords are traditionally worn with the signature facing away from the wearer. When a tachi was worn in the style of a katana, with the cutting edge up, the tachi's signature would be facing the wrong way. The fact that swordsmiths started signing swords with a katana signature shows that some samurai of that time period had started wearing their swords in a different manner. However, it is thought by many, that as many as 70% of katana made were never signed at all.

The rise in popularity of katana by samurai is believed to have been due to the changing nature of close-combat warfare. The quicker draw of the sword was well suited to combat where victory depended heavily on fast response times. The katana further facilitated this by being worn thrust through a belt-like sash (obi) with the sharpened edge facing up. Ideally, samurai could draw the sword and strike the enemy in a single motion. Previously, the curved tachi had been worn with the edge of the blade facing down and suspended from a belt

The length of the katana blade varied considerably during the course of its history. In the late 14th and early 15th centuries, katana blades tended to be between 68 to 73 cm (26 to 28 in) in length. During the early 16th century, the average length was closer to 60 cm (23.5 in). By the late 16th century, the average length returned to greater lengths. However, with every new owner [and early blades may have had 20 owners] the blade could be reduced if required to fit, and the shorter samurai would need shorter swords however long the considered norm may have been. Overall 40 inches long in saya  read more

Code: 22659

A Stunning Shinto Period O-Tanto Signed Sukemune, Around 400 Years old. Now Fully Museum Grade Restored By Our World Class Artisans Shown For Sale Now As A Representation of the Skill of Our Artisans.

A super Japanese o-tanto with a most impressive blade and fine fittings of gold and shakudo on a nanako ground. Fine, deep horizontally ribbed lacquer saya with fabulous patina. It also has a beautiful pair of silver menuki of small animals that are wrapped under the new, traditional, Japanese gold silk Ito. The fittings are decorated in gold depicting a cat with two tails, called Nekomata , and a pair of leaping hares. One of the most famous accounts of nekomata is the 1708 Yamato Kaiiki (大和怪異記; Mysterious Stories from Japan) story The Nekomata Fire (猫股の火) which tells the tale of a samurai whose house is taken over by a poltergeist-like haunting that is only ended when the family cat is killed and revealed to have two tails. This story was later adapted by Mizuki Shigeru for his comic Nekomata.

This version of the nekomata has completely taken over the Kamakura period beliefs, and it is almost impossible to find a modern depiction of nekomata that does not show the split-tailed monster.

Signed, early Shinto Japanese tanto with a most impressive blade and fine fittings of gold and shakudo on a nanako ground.

Signed zenkoji ju ani sukemune ‘Kiku. Student of Tsuda Sukehiro (SUK130). AKA "Kojuro Sukemune".
It has a very beautiful blade now traditionally stone re-polished, that now looks as stunning as it once was. The blade had been left unattended without care for over a century and looked absolutely appalling, as you can see in the ‘before restoration’ photos. But now it looks as good as it did when it was new.

The blade is engraved with a carved horimono of a Buddhist ancient ken straight sword with the vajra, still bearing traces of the original blood red lacquer. A vajra is a ritual weapon symbolizing the properties of a diamond (indestructibility) and a thunderbolt (irresistible force). The vajra is a type of club with a ribbed spherical head. ... According to the Indian mythology, vajra is considered as one of the most powerful weapons in the universe.
We show some photos of it as it was prior to restoration, so our online viewers can see just how skilled our professional museum grade artisans abilities are, to restore a fabulous, early samurai sword, back to how it once looked several hundred years ago. The original Edo period saya and ribbed lacquer is totally original and its fine condition needed no attention or restoration, it just has a very few light natural age marks.  read more

Code: 23681

An Exceptionally Beautiful, Almost 500 Year Old Ancient Samurai Aikuchi Tanto, Signed Bizen Osafune Ju Sukesada

Aikuchi tanto are intentionally designed to have an uninterrupted profile, for ease of access, for the securing and withdrawing from an obi, and bear no tsuba sword guard. This is an absolute beauty, in fabulous condition.

It is from a museum grade small collection of remarkable and exceptional samurai tanto. Acquired by a discerning collector over many years seeking an example of all the varrying forms and styles of tanto and their blades, from the zenith of the samurai period of the Koto era and beyond.
Each one is a veritable work of art demonstrating the skill of craftsmen at the apex of their careers, as the very finest swordsmiths and koshirae fitting makers, that has been combined to create wonders of rare beauty. Not only to represent the acme of samurai art, but also functional and usable swords [in the culture of samurai, even small tanto are classified as swords] for the samurai of the highest rank and status, including daimyo and lords, from the Koto to Edo period.

It has a very fine signed Koto ancient blade, in superb Edo polish with a sophisticated, deep, straight hamon. The saya is an absolutely stunning, original Edo period beauty, of finest two colour urushi lacquer of cinnabar flecks red over deep lustrous black. The fabulous menuki are contrasting pure gold and copper gambolling ponies, and the kozuka is decorated a pair of mythical hooved beasts [similar to shishi lion dogs] on a nanako ground, and a small saya mount is Alison in gold and copper of two shishi puppies.

All the mounts are carved buffallo horn. The tsuka is bound with a very fine quality micro herringbone pattern ito, and intricate finely chiselled round, flowerhead form, gold mukugi rims.

Made and signed by one of the early Sukesada, from the Sukesada school of master swordsmiths, in around 1500, between around 500 and 530 years ago.

The highly regarded Sukesada line of swordsmiths descended in the Osafune school and are recorded as far back as the end of the Nambokucho period (around 1394). This blade here is placed it in the Sue-Koto Period (1469-1596).

The whole tanto is in very good condition with just a few natural aging small urushi lacquer surface nicks.

The original Edo period urushi lacquer on the stand is in simply excellent condition for age and shows most elegant intricacy, it reveals within that intricacy 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.

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!  read more

Code: 24538

A Delightful Armour Piercing Sengoku Period Samurai’s Dagger. A Period That Commenced in 1468. A Samurai Tanto From The Koto Era, Made Around 500 Years Old. Fully Mounted And Fitted With Original Edo Period Mountings {Koshirae}

The era is beautifully depicted in Akira Kurowsawa’s films called Jidaigeki. The Sengoku Period (1467-1568 CE) was a lawless century-long era characterized by rising political instability, turmoil, and warlordism in Japan. During this period, field armies and soldiers rapidly rose in number, reaching tens of thousands of warriors. Many castles in Japan were built during the Sengoku Period as regional leaders and aristocrats alike competed for power and strong regional influence to win the favours of the higher-class Japanese at the time. Kurosawa’s film depiction of Macbeth, Throne of Blood, is set in this era of Japan’s feudal period. Original title 蜘蛛巣城, Kumonosu-jō, lit. 'The Castle of Spider's Web'


With a most powerful armour piercing blade showing a very fine and most elaborate hamon in nice polish. The all Edo period mounts are decorated with a flock of geese flying in formation over high mounted fishing nets in a shower of rain of pure gold in shakudo and gold. The seppa are beautifully carved with deep crenellated edging in pure gold and shakudo. The tsuba is an oval plate in iron with a full relief edge decoration of prunus. Superb lobster scale pattern ribbed lacquer saya shown with a small kozuka pocket containing its sinchu kodzuka knife decorated with a takebori dragon on both sides. The Sengoku period was initiated by the Ōnin War in 1467 which collapsed the feudal system of Japan under the Ashikaga Shogunate. Various samurai warlords and clans fought for control over Japan in the power vacuum, while the Ikkō-ikki emerged to fight against samurai rule. The arrival of Europeans in 1543 introduced the arquebus into Japanese warfare, and Japan ended its status as a tributary state of China in 1549. Oda Nobunaga dissolved the Ashikaga Shogunate in 1573 and launched a war of political unification by force, including the Ishiyama Hongan-ji War, until his death in the Honnō-ji Incident in 1582. Nobunaga's successor Toyotomi Hideyoshi completed his campaign to unify Japan and consolidated his rule with numerous influential reforms. Hideyoshi launched the Japanese invasions of Korea in 1592, but their eventual failure damaged his prestige before his death in 1598. Tokugawa Ieyasu displaced Hideyoshi's young son and successor Toyotomi Hideyori at the Battle of Sekigahara in 1600 and re-established the feudal system under the Tokugawa Shogunate. The Sengoku period ended when Toyotomi loyalists were defeated at the siege of Osaka in 1615.

The Sengoku period was named by Japanese historians after the similar but otherwise unrelated Warring States period of China.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 tantos primary use was a type of stabbing weapon, however, the blade could also be used for slashing as well. Some tanto were forged with a particularly thick cross section which was thought to aid in piercing the armour of enemies, this type of dagger would be called a yoroi toshi.

A tanto would most often be worn by Samurai, and it was very uncommon to come across a non samurai with a tanto. It was not only men who carried these daggers, women would on occasions carry a small tanto called a kaiken in their obi which would be used for self-defence. In feudal Japan a tanto would occasionally be worn by Samurai in place of the wakizashi in a combination called the daisho, which roughly translates as big-little, in reference to the big Samurai Sword (Katana) and the small dagger (tanto). Before the rise of the katana it was more common for a Samurai to carry a tachi and tanto combination as opposed to a katana and wakizashi. The blade is in super condition for it's age, with a small rice grain sized blemish to one side of the blade, the kashira has a small impact dent. Overall 14.25 inches long in saya  read more

Code: 23961

A Great Opportunity To Acquire A Most Beautiful & Stunning 4th/9th Ghurkha, 16th Brigade, 'Chindit' Officer's Japanese Combat War Trophy. A Japanese Officer's Shingunto Sword, Signed by Kanenori, and Dated 1944.

Signed Kanenori dated 'a lucky day in the 18th Year of Showa {1944 }. Possibly the gendaito smith Noshu Seki Jyu Kanenori(濃州関住兼則)

Only the old worn shingunto leather covered wooden saya scabbard of the sword's original WW2 mounts now remain, and will accompany this fabulous sword blade. This is a Chindit officer's war trophy, and not a surrendered sword. Apparently the Japanese officer was not granted the opportunity in order to surrender his sword, it was taken from him.

Born in the 40th year of the Meiji era (1907) in Seki city, Gifu prefecture, Noshu Seki Jyu Kanenori(濃州関住兼則) was a younger brother of Kojima Kanemichi, one of the most famous swordsmiths in modern times.
Kanenori belonged to the company called Seki Kyoshinsha run by his brother Kanemichi during World War Ⅱ.

Well, this sword had without doubt seen considerable hand to hand jungle combat action. All of the wrap mounts and leather combat cover simply rotted away in the Jungle.

However, the very grey blade was sent by the previous owner to be completely cleaned and polished, and it had been returned to him looking in fabulous condition, then sold to us and now offered here for sale. It could be remounted in a bespoke hand made shirasaya {made by us} or refitted in mounts of choice. Type 98 shingunto possibly or even traditional style.

A problem faced by all the British and Ghurkha Chindits, and Japanese soldiers alike. Leather from uniforms and equipment covers could rot in a matter of months, uniforms would simply fall to pieces, and there are numerous photographs taken of jungle warfare soldiers mid campaign where their uniforms, boots and kit simply fell off their bones. Exactly as it was for Allied POWs in Japanese prison camps in Japanese occupied territories, eventually they were reduced to being naked, having no clothes at all but a simple loin cloth.

Ideal piece of combined Imperial Japanese and WW2 'Chindit', history, perfect to remount in a bespoke, handmade shira saya, or, traditionally as required. We do still have its near complete shingunto leather bound scabbard

Th 4th/9th Ghurkha Rifles were part of 16th Brigade in 1944. On 5 February 1944, Fergusson's 16th Brigade left Ledo for Burma. They avoided Japanese forces by traversing exceptionally difficult terrain. The rest of the Brigades were brought in by air to create fortified bases with airstrips.

600 sorties by Dakota transport aircraft transferred 9,000 men to the landing zones. Chowringhee was abandoned once the fly-in was completed, but Broadway was held with a garrison which included field artillery, anti-aircraft guns and even a detachment of six Mk.VIII Spitfires of No.81 Squadron RAF from 12 March to 17 March. On 17 March they were attacked during take-off by Japanese Ki-43 'Oscars'. S/L William 'Babe' Whitamore and F/O Alan M Peart managed to get airborne, with both shooting down one 'Oscar' each. Whitamore was shot down and killed but Peart survived for over half an hour, holding off over 20 enemy fighters. The remaining Spitfires were destroyed on the ground for the loss of another pilot, F/Lt Coulter. Peart flew back to Kangla the same day in his damaged Spitfire (FL-E JF818) and reported the action.28 The detachment was duly ended by AFC Stanley Vincent, the CO of No. 221 Group.27

Fergusson's brigade set up another base named Aberdeen north of Indaw, into which 14th Brigade was flown. Calvert's brigade established yet another, named White City at Mawlu, astride the main railway and road leading to the Japanese northern front. 111 Brigade set up ambushes and roadblocks south of Indaw (although part of the brigade which landed at Chowringhee was delayed in crossing the Irrawaddy River), before moving west to Pinlebu.

Ferocious jungle fighting ensued around Broadway and White City {all the Chindit bases had British city region names}. At times, British and Japanese troops were in close combat, bayonets and kukris against katanas. On 27 March, after days of aircraft attack, the Japanese attacked Broadway for several nights before the attack was repulsed with flown-in artillery and the aid of locally recruited Kachin irregulars.

The deprivations of the Burma campaign were horrifying for all sides. This is just one account in Burma. Several British soldiers said that the crocodiles preyed on the Japanese soldiers in the swamp. The most prominent firsthand retelling of what happened comes from naturalist Bruce Stanley Wright, who participated in the Battle of Ramree Island and gave this written account:

“That night of Feb. 19, 1945 was the most horrible that any member of the M.L. motor launch crews ever experienced. The crocodiles, alerted by the din of warfare and smell of blood, gathered among the mangroves, lying with their eyes above the water, watchfully alert for their next meal. With the ebb of the tide, the crocodiles moved in on the dead, wounded, and uninjured men who had become mired in the mud…

The scattered rifle shots in the pitch black swamp punctured by the screams of the wounded men crushed in the jaws of huge reptiles, and the blurred worrying sound of spinning crocodiles made a cacophony of hell that has rarely been duplicated on Earth. At dawn, the vultures arrived to clean up what the crocodiles had left.” — Bruce Stanley Wright

The giant lizards had a feast of their lives as nearly 1,000 terrified soldiers dripped blood and sweat into the crowded confines of the Ramree mangrove swamp.

Around 500 Japanese soldiers are believed to have fled the mangrove swamps, with 20 of them being recaptured by British forces who had set up a perimeter around the dense jungle. Around 500 of the fleeing men, however, never made it out of the swamp.

Survivors are said to have heard harrowing stories of hundreds of crocodiles assaulting the soldiers in a mass assault, as well as appalling tales of crocodiles attacking the soldiers individually.

Photo 6 in the gallery shows an example of one of our museum grade handmade & bespoke sword storage and display mounts, a shira saya. Every blade in traditional times, including those now in museums, would have such a set of mounts. This is what we could make for the blade if required, cost around £350.

One side of the blade three inches from the tip has a small area of tiny pin prick marks .


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 trading  read more

Code: 25390