Japanese
A Fine Kugyō Daisho, Koto to Early Shinto Era, Of A Daito & Shoto. Daito Signed Bishu ju Munemitsu. Shoto Signed Fujiwara Rai Kinmichi Yamashiro. This Daisho Is One Of The Most Beautiful Pairs Of Original Edo Period Fitted Samurai Swords We Have Seen
A fabulous daisho likely of the highest ranks of the samurai nobility of ancient and feudal times, they held the highest status of samurai in Japan and the rank of Kugyō. The samurai lords and controllers the Shogun’s court of the bakufu, only ranking below the shogun himself
The blades and saya have now returned from no expense spared *museum grade conservation, so we show them now after it has been completed. The perfectly colour matching brown and gold silk sageo tied around the daito saya, that we have been saving for just such a deserving sword as this, after we acquired it from Victor Harris decades ago, looks absolutely incredible.
The Daito {long sword} bears the signature: Bishu ju Munemitsu, Bizen Province, Late Mihara school, circa 1575, Gunome hamon Masame hada
The Shoto {short sword} is signed: Fujiwara Rai Kinmichi, Yamashiro School, {circa 1624}, Sudareba hamon, Masame hada. A beautiful suite of daisho fuchgashira of takebori insects and catydids in gold and shakudo, possibly by Mitsunaka (光仲) of Mino who was a Japanese metalworker, mostly known for his sword mounts in the Mino-bori (美濃彫) or "Mino carving" style, and a pair of fabulous iron plate maru-gata tettsu tsuba inlaid with takebori flower heads in soft metals. The kozuka is Kaga-Goto School 加賀後藤派
Kaga Goto Five Shishi {lion dogs} Kozuka and its steel blade, kozukatana is also signed
The daisho have finest original Edo saya, of urushi lacquer decorated with kamon of multiple clans, this suggests affiliations and allegiance to those clans, and they are multiples of mon applied, on a ground of gold-nashiji, of gold-ikakeji. This form of highest superior work was restricted, in feudal times, to san mi 三位, samurai owners, of the third court-rank, or possibly even higher, such as 一位, Ichii, First rank, or, 二位, Nii, second rank. These samurai nobles of the third to higher ranks were called kugyō when these two swords was made and carried in the early Edo period of the Tokugawa shogunate.
First Rank (一位, Ichii): The highest court rank, reserved for individuals of exceptional merit and influence.
Second Rank (二位, Nii): A higher rank, often associated with those in positions of authority.
Third Rank (三位, Sanmi) and Fourth Rank (四位, Shii): These ranks denoted important positions in the court system
In feudal Japan, court ranks, known as mibun, were a hierarchical system defining the status and duties of individuals, particularly within the samurai class. These ranks influenced everything from a samurai's attire and position to their ability to request audiences with the Shogun. The system was a complex tapestry of colors, symbols, and titles, signifying one's place in the social order.
In the Tokugawa shogunate each of the First to Third Ranks is divided into Senior (正, shō) and Junior (従, ju). The Senior First Rank (正一位, shō ichi-i) is the highest in the rank system. It is conferred mainly on a very limited number of persons recognized by the Imperial Court as most loyal to the nation during that era.
The Junior First Rank (従一位, ju ichi-i) is the second highest rank, conferred in many cases on the highest ministers, premier feudal lords, and their wives.
Nobles with the Third Rank or upper were called kugyō.
Successive Tokugawa shoguns held the highest or near-highest court ranks, higher than most court nobles. They were made Shō ni-i (正二位, Senior Second Rank) of court rank upon assuming office, then Ju ichi-i (従一位, Junior First Rank), and the highest rank of Shō ichi-i (正一位, Senior First Rank) was conferred upon them upon their death. The Tokugawa shogunate established that the court ranks granted to daimyo by the imperial court were based on the recommendation of the Tokugawa shogunate, and the court ranks were used to control the daimyo.
Oda Nobunaga and Toyotomi Hideyoshi were Shō ni-i (正二位, Senior Second Rank) and Ju ichi-i (従一位, Junior First Rank) respectively, but both were elevated to Shō ichi-i (正一位, Senior First Rank) in the Taisho era, about 300 years after their deaths.
The no expense spared museum grade conservation including blade polish conservation and cleaning, has yielded fabulous results. We undertook it for two specific reasons, firstly, it deserves to be returned to as close to its original condition as possible, yet, still showing it age, and, externally regarding the tsuka-ito and urushi lacquer, showing all its natural wear, and secondly, to honour its previous owner, who, for several decades, was a seasoned practitioner of the Japanese martial art forms {not using these swords of course}, and he was a friend of many in the Japanese nihonto world, such as Victor Harris, former Curator of Japanese swords at the British Museum. It has thus been undertaken with immense care. For example all the original urushi nashiji lacquer is being left, just, ‘as is’ after it has been hand cleaned and conserved, in order to show all its natural beauty, quality yet natural aging, with its colour somewhat darkening from the past few hundred years.
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.
THE LANES ARMOURY, THE PREMIER HOME OF ORIGINAL AND AFFORDABLE ANCIENT ANTIQUITIES & MILITARY ANTIQUE COLLECTABLES IN BRITAIN.
The Lanes Armoury, is world renown as Britain's favourite specialist collectors shop, and also a font of historical and educational information that is detailed with every single item. We detail each piece alongside its historical context, either generic or specific, for those that may wish to read, learn, or be informed, as opposed to simply acquire collectable items. We are probably one of the oldest companies of our kind in the whole of Europe and we have been established through generations, as specialists in armoury, military antiques, militaria collectables, and specialist books, since the early 1900’s, and thus we have continued to be one of the largest in the world today. The current partners were set on this path by their great grandfather
We are also very pleased to know we are also studied and read by academics and students from hundreds of universities around the world, by those that are interested in not only British but worldwide history. Of course we are not perfect and errors can and will be made, but thanks to our viewers and visitors, errors can be corrected, and learnt from.
Our sacred principle is that every single country's history ought to be studied, learnt, and passed down to future generations, however good, or even bad, some of it may be. All history is knowledge, be it good, bad, or indifferent.
Everyday we are contacted by historians that wish to make contributions to our detailed information for our pieces, and to thus add to our constant dedication to impart historical knowledge, that may be unknown to many of our millions of viewers.
As once told to us by an esteemed regular visitor to us here in our gallery, in order to view and study our Japanese edged weapons and armour 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.
* Museum grade conservation is encouraged for fine and rare artefacts in order to conserve and create pieces as much as is possible without creating an ‘as new’ appearance. It is extremely important to retain as must original patina as possible, and natural aging, so as to beautifully improve their current condition as much as possible, without removing historical context. Such as the great priceless treasures, the Roman Portland vase, and the Anglo Saxon Sutton Hoo helmet, associated with King Rædwald of East Anglia, now both exhibited in the British Museum
The original lacquer saya on the shoto has small areas of line opening near the throat due to its past hundreds of years old wear, yet it is still in a fine condition otherwise. Its hand carved and polished black buffalo horn fittings and kurikata are are now hand repolished and superb throughout the daito saya. This overall museum grade conservation project we have undertaken, involving hundreds of hours of expert attention and skill, we would like to think, is just the kind of result that our friend, Victor Harris, formerly of of the British Museum, would have been proud. read more
34995.00 GBP
A Superb Antique, Shinto Era, Unokubi (鵜首) Zukuri Blade Tantō, Late 16th To Early 17th Century, from the Battle of Sekigahara, Shinjitai: 関ヶ原の戦い; Kyūjitai: 關ヶ原の戰い With, Signed Kaboku, 'Nakago Form' Kozuka Side Knife With Imperial Chrysanthemum Mon
The kozuka {side knife} is signed, Koboku, who was a master swordsmith and surgeon to the lord of Mito. He was a famous swordsmith of legend mysteriously assassinated in 1703 during his retirement, yet not before he killed his unknown assassin using his dismembered arm.
A really nice and rare form of samurai tanto fitted with all its original Edo period koshirae Including a superb stunning urushi lacquer 'pine needle' decor saya with buffalo horn fittings, {kurigata, sayajiri}. Iron tetsu tsuba, signed, and decorated with a dragon in the foreground with mountains under clouds at the rear. Patinated copper fuchi of flowers, and a pair of iron rectagular menuki inlaid with flowers, underneath the rich brown coloured silk tsukaito {binding}. The silver inlay in the menuki is now blacked with age and very difficult to see. Made from around the era of the Battle of Sekigahara, Shinjitai: 関ヶ原の戦い; Kyūjitai: 關ヶ原の戰い
Unokubi (鵜首): Is an uncommon tantō blade style akin to the kanmuri-otoshi, with a back that grows abruptly thinner around the middle of the blade; however, the unokubi zukuri regains its thickness just before the point. There is normally a short, wide groove {hi} extending to the midway point on the blade, this is a most unusual form of unokubi zukuri blade tanto without a hi. It has a beautiful habaki, set in its original Edo period pine needle uriushi lacquered saya.The blade is absolutely beautiful.
A Very Nice Edo Period Shinto Era 'Nakago Form' Kodzuka Iron body inlaid with copper , with the signature kanji of Kaboku, and the Imperial chrysanthemum mon. Kodzuka have been collectable items for many centuries, simply as works of art, even though they were functional knife handles, for the utility blades that fitted into wakizashi, tanto and katana saya. They can vary in quality, and this is a most fine example, inlaid with pure copper. What is particularly scarce is that it is shaped like the tang of the sword, complete with simulated mekugi ana, and signed in much the same way. This type is rare and very collectable. a long thin blade that slotted into it's opening, and the blade was often considered to be almost of a disposable nature, with the handle itself being the prized part.
The Battle of Sekigahara (Shinjitai: 関ヶ原の戦い; Kyūjitai: 關ヶ原の戰い,Sekigahara no Tatakai) was a decisive battle on October 21, 1600 (Keichō 5, 15th day of the 9th month) in what is now Gifu Prefecture, Japan, at the end of the Sengoku period. This battle was fought by the forces of Tokugawa Ieyasu against a coalition of Toyotomi loyalist clans under Ishida Mitsunari, several of which defected before or during the battle, leading to a Tokugawa victory. The Battle of Sekigahara was the largest battle of Japanese feudal history and is often regarded as the most important. Mitsunari's defeat led to the establishment of the Tokugawa shogunate.
Tokugawa Ieyasu took three more years to consolidate his position of power over the Toyotomi clan and the various daimyō, but the Battle of Sekigahara is widely considered to be the unofficial beginning of the Tokugawa shogunate, which ruled Japan for another two and a half centuries
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 lacquer saya has 'pine needle' decor, a highly complex design of pine needles laid upon black lacquer, in a seemingly random pattern, but in reality each pine needle was strategically placed upon them, one at a time, to give the impression they fell naturally upon the ground, from above, from a pine tree. The surface was then lacquered in clear transparent urushi lacquer to create a uniform smooth surface. in the Edo period it would take anything around a year or more to create a samurai sword saya, as the lacquer coating would be anything up to 12 coats deep, and each would take a month to dry as they were made using on natural materials, not modern quick drying synthetic cellulose lacquers as used today.
Japanese lacquer, or urushi, is a transformative and highly prized material that has been refined for well over 7000 years. The use of natural lacquer, known as urushi, has a 9,000-year history in Japan. Lacquered artifacts dating back to the prehistoric Jomon period (10,000–300 BCE) have been found at various archeological sites throughout Japan.
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.
Some provinces of Japan were famous for their contribution to this art: the province of Edo (later Tokyo), for example, produced the most beautiful lacquered pieces from the 17th to the 18th centuries. Lords and shoguns privately employed lacquerers to produce ceremonial and decorative objects for their homes and palaces.
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!
The kozuka is signed Koboku, he was a master swordsmith and surgeon to his lord of Mito, and an extraordinarily eccentric character. He studied medicine under Tsunoda Kyuho, and he seems to have started forging swords at an early age. According to legend because he had taken up the study of western medicine and he was not satisfied with the scalpels that were available, so endeavoured to make his own. He left the employ of the Mito family in January of 1699, Genroku 12. Some say because he did not get along with his immediate superior the Karo, Nakayama Bizen no Kami, others that his peculiar behavior and egotistical manner was offending too many people and this reached the ears of the lord. House records from 1698, record that his health was failing and it was decided that he be “retired” to Mito. Perhaps he did not wish to leave Edo and be confined to Mito. Whatever the reason the house record notes that he officially asked to resign and left to devote himself to his religious studies on that date.
Five years later found him in the far north living in Oshu Nihonmatsu where one night he stood naked in his garden where he was confronted by an assassin. To this day no one knows who the man was nor why he might have been sent to kill Kaboku but his intent was clear enough. Without hesitation Kaboku, who held a mokuroku in Shibukawa-ryu Jujutsu, charged as his attacker charged him. He grabbed his left wrist with his right hand and used his own left arm to block the cut that was descending toward his head. Still clutching his severed left hand in his right he closed with his attacker and thrust the jagged bone into the mans mouth, here he fell upon him and smothered him with the bloody relic.
Kaboku then went back into his home, perhaps something the assassin had said struck him, perhaps he understood from his own wounds that he would not survive, it is not clear why but using only the right hand he drew out a tanto and took his own life. A strange end for one of the sword worlds strangest characters.
As once told to us by an esteemed regular visitor to us here in our gallery, Victor Harris {the most eminent sword expert in Europe, and sword curator of the British Museum} and his same words that are repeated in his book, see below;
“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
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
For those that have interest in original Japanese swords, this is a perfect way to have a superbly made original hand made sword that it mounted in original Japanese fittings of the early samurai form of katana.
** Authentic, currently, modern hand-made nihonto (Japanese sword blades) from licensed swordsmiths in Japan today, typically start around $10,000–$25,000 for a katana, with prices often exceeding $60,000 for renowned top-tier sword masters or customized commissions.
These blades, 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.
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 read more
3950.00 GBP
A Singularly Magnificent Original Antique Presentation Daimyo Samurai Daisho. A Signed Original Edo Period Daito By Muneyoshi Presented to Yoshifuji, In the Fortuitous Time of The Midwinter, In The Year of the Rabbit, in The Reign of Emperor Keio
The fantastic shoto {short sword} is Sukesada school, koto to shinto period, the stunning daito {long sword} is a shinshinto sword signed Muneyoshi.
The shoto blade has just returned from its traditional polish and conservation that took almost a year to complete, and looks amazing.
An incredibly Beautiful original antique Edo period (1596-1871) Daisho mounted with beautifully patinated copper koshirae based on hand carved botanical designs of incredible miniscule detail, gold tsukaito, with very finest, original Edo period, decoratively embossed two tone black urushi lacquer saya.
The kodzuka is gold to match the ito and decorated with cranes. The daito has a superb midare hamon of wondrous activity. The daito is, signed Muneyoshi, the shoto is mumei {unsigned}.
The shoto has a very fine and elegant suguha hamon and now looks absolutely amazing, and was well worth the wait.
The tsuka bore an inscription, signed on a parchment see photo under the tsukaito, to date the occasion when and to whom they were presented, during the Keio Emperor's reign in 1867. the daisho was already antique when it was presented to Yoshifuji san, no doubt a daimyo of great standing.
The presentation inscription reads;
“Keio san nen usagi Yoshi Chuto Kichi no tatsu Izumi ryu Koi, Koi Kawa Yoshifuji.’
Effectively, it translates to;
Presented to Yoshifuji, In the fortuitous time of the midwinter, in the year of the rabbit, the third year in the reign of Emperor Keio. Emperor Keio died in 1868, succeeded by the Meiji Emperor..
This form of parchment inscription, concealed under the tsuka-ito, is very rare indeed and we have never seen a complete inscription such as this to survive before.
The daisho has a pair of very fine kikubana sukashi daisho tsuba with a tetsumigakiji, possibly Sunagawa Masayoshi school, Edo period.
The Sunagawa tsuba school derived from the artists trained by teachers from within the Yokoya school founded by Yokoya Somin. The Ishiguro (by way of the Sunagawa school) and Iwamoto schools had the same antecedents. The botan (peony) was a common theme in this school.
The daisho is a Japanese term referring to the traditional weapons of the samurai. The daisho is composed of a katana daito and wakizashi shoto. The daito, meaning big sword, and shoto, meaning small sword, The katana, the longer of the two swords, was typically employed in man-to-man combat. The wakizashi made an effective main-gauche or close-combat weapon. A daisho allows for defense while fighting or the fighting of two enemies. Also, the daisho allows the fighter to have a longer or more widespread fighting range. The concept of the daisho originated with the pairing of a short sword with whatever long sword was being worn during a particular time period. It has been noted that the tachi would be paired with a tantō, and later the uchigatana would be paired with another shorter uchigatana. With the advent of the katana, the wakizashi eventually was chosen by samurai as the short sword over the tantō. The ancient custom of leaving the katana at the door of a castle or palace when entering facilitated the continuing to wear the wakizashi within the host's castle.
The wearing of daishō was strictly limited to the samurai class, and became a symbol or badge of their rank. Daishō may have became popular around the end of the Muromachi period (1336 to 1573) as several early examples date from the late sixteenth century. An edict in 1629 defining the duties of a samurai required the wearing of a daishō when on official duty. During the Meiji period an edict was passed in 1871 abolishing the requirement of the wearing of daishō by samurai, and in 1876 the wearing of swords in public by most of Japan's population was banned; this ended the use of the daishō as the symbol of the samurai, and the samurai class was abolished soon after the sword ban. Picture of Last Fight of the Soga Brothers, 1858 by Kuniyoshi (1797 - 1861). Both saya have small areas of natural wear and use. The stand shown is for illustration only and not included. however it will come with another complimentary daisho stand. The shoto blade is being carefully cleaned so can be photographed later.
Special offer item, part one of a personal private collection, sourced from a former Far Eastern specialist fine samurai sword collector read more
Early Shinto, Signed, Yamashiro Daijo Fujiwara Kunitsugu (山城大掾藤原国次) Handachi Sword With Full Suite Of Omori Teruhide School 'Omori Wave' Pattern of Handachi Koshirae Of Churning Water With Inlaid Gold Sea Spray Droplets. Kinai School Budou-sukashi Tsuba
Just returned today from full blade cleaning and conservation and it looks fabulous! see the gallery for its new and latest photographs
Samurai blade, Shinto period, circa 1620, of very strong and powerful form with substantial heft, signed Yamashiro Daijo Fujiwara Kunitsugu (山城大掾藤原国次). Black Stone finish lacquered saya handachi mounted Koshirae, and very beautiful suguha based on notare hamon.
This is truly what one might call a ‘no nonsense’ blade of significant presence and power. A most serious blade meant for long lasting samurai warfare and truly impressive hand to hand combat in the crush of the melee..
A handachi koshirae featuring a crashing wave with gold sea spray motif represents a dynamic, high-status configuration for a Japanese sword mounting. The combination of crashing waves and gold sea spray is one of the most celebrated themes in classic Japanese sword fittings (tosogu), famously associated with the Omori School of metalworkers during the Edo period.
They pioneered the technique of embedding tiny, raised dots of pure gold alloy across the dark metal to represent crashing spray
The "Omori Wave": Unlike flat or highly stylized geometric waves, Omori artisans carved deeply undercut, three-dimensional, churning waves that look violently alive. Omori Teruhide (Omori-ryu). His signature style revolutionized the depiction of water
Handachi (meaning "half-tachi") style combines the styling and reinforced metallic components of a traditional tachi mount with the utility of an uchigatana, meaning it is worn edge-up tucked through the obi sash rather than slung edge-down
The kabuto-gane replaced the standard katana kashira. It features deeply carved churning water wrapped around the butt of the hilt
Fuchi (Hilt Collar): Adorned with matching ocean waves rising to crests gold sea spray droplets (Zogan / Iroie):
The "sea spray" (shibuki) is brought to life using precise pure gold inlay or gold overlay techniques, depicting individual glistening droplets scattered across the dark, turbulent waves.The distinguishing factor of a handachi is the presence of protective metal chassis bands wrapping around the scabbard
Semegane & Kashiwaba metallic bands that encircle the scabbard further up its length to prevent splitting. These echo the same ocean theme.
Kojiri is the long, protective metal cap at the very tip of the scabbard, matching the crashing wave and gold drop motif.
Menuki of ken wrapped around by dragon beneath golden silk tsuka-ito over samegawa giant rayskin.
Iron maru-gata sukashi tsuba of Kinai school. This specific tsuba displays an organic, detailed grapevine design (Budou-sukashi) complete with leaves, tendrils. Kinai masters were highly celebrated for their fluid, deeply carved openwork (ji-sukashi) depicting natural motifs like plant life, flowers, and shells
This handachi is an antique Japanese sword crafted during the early Edo period (Shinto era), circa 1620, typically associated with the Echizen Shimosaka school in Echizen Province (modern-day Fukui prefecture): Early Edo period, with authenticated works recorded around the Kan'ei era (e.g., August 1629)
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. Echizen Province was famous for forging razor-sharp, practically designed swords.
The Edo government, run by the Tokugawa clan, ordered many blades from the swordsmiths in this province during the Edo period(1603-1868).
It has a superb blade with a stunning suguha based on notare hamon, in great condition for age. Now looking just like it last did in the 1870's, when it was presented to a highly esteemed British visitor to Japan, when it was already 250 years old. The blade has just a few natural age marks as to be expected. read more
6950.00 GBP
A Very Good, Antique, Edo Period 1700's, Wakazashi Maru Gata Heianjo Tsuba
Antique Japanese Edo period tsuba for wakizashi sword or large o-tanto
Fine engraved with gold and high quality brass inlay Heianjo-style that was established in Yamashiro (Kyoto Pref. today). It was inspired by the Ounin-style.
Heianjo tsuba are elaborate and most decorative. It is mainly iron tsuba, of circular shape with brass inlay. Its designs were simply family crests, or arabesque patterns in the beginning. However, as time past they made different shapes of tsuba and started using gold, silver, or copper for inlaying.
The tsuba, is a fundamental element in the mounting of the Japanese sword, it is the guard, the most important element of the fittings, and has two main functions: the first to protect the hand against the slashes and lunges of an opposing sword; the second is to prevent that the hand ends up directly on the cutting edge of the blade. Over the course of more than ten centuries of history, the tsuba has undergone a number of important changes, as regards the materials used for its manufacture and its appearance.
During the centuries of wars that characterised Japan until the advent of the Tokugawa Shogunate during the first half of the 17th century, the tsuba was essentially made of iron or steel. From the mid-17th century onwards the tsuba became a real work of art, with the use of soft metals used in various ways, with engravings, incrustations; well made tsuba were the pride of hundreds of craftsmen’s schools whose value sometimes exceeded that of the same blades of the mounting where tsuba was part of.
66mm across. read more
375.00 GBP
Original Japanese WWII Type 93 Non-Commissioned Officer 4x10 Binoculars, with JES ねぢ Mark, Nippon Kōgyō Kikaku, in Original Leather Case & Strap, And His NCO's Service Uniform Twin Piece Interlocking Belt Buckle
These are a very nice pair of Japanese WWII Non-Commissioned Officer's (NCO) Type 93 binocular field glasses. Known in Japanese as the 93式双眼鏡 (93-Shiki sōgankyō), these were intended as a smaller more portable version of binocular field glasses that could be used by NCO's in the field. Lightweight and small, they were well designed for their task. JES Mark: Stamped on the prism plate, JES stands for Japanese Engineering Standards (Nippon Kōgyō Kikaku). This regulatory standard was formally introduced in 1939 to standardize production quality and optimize material supply lines during the war.
JES ねぢ (JES Negi / Neji): The characters immediately following "JES" read ねぢ in historical Japanese hiragana (modern: ねじ / neji), which means "screw" or "screw thread". This specifically denotes that the hardware, fittings, and threads on the optics adhere to unified standard industrial screw specifications
Field glasses have no internal prisms that can be knocked out of alignment so their main advantage is that they are durable, making them a good choice for file combat operations. These binoculars measure 3.5” L x 5” W and are marked with a magnification factor of 4x10°. The binoculars are in good shape, with both lenses clear.
The included original leather case is in great condition, with company stamp within the fine soft leather lid lining.The original carry strap is present and functional with all the rest of the leather components present.
His very scarce service issue Rising Sun uniform, cast brass, twin piece belt buckle is complete with it. It is also the pattern of buckle also used by regular officer's. read more
395.00 GBP
A Delightful & Most Beautiful Edo Period, Japanese Kaiken {Or Kwaiken} Tanto, with Beautifull Hamon Wonderful Polish and Horimono Mei Signature "Made by Tama of the Ichimonji School, Unrivaled Under Heaven."
天下無双一文字珠作
Tenka Musō, a famous Japanese idiom meaning "Peerless in the world" or "Unparalleled under heaven."
A kaiken is a small tanto carried by both samurai men and women for close-quarters or indoor self-defense where longer swords like the katana were impractical.
In the case of women's protection, for traditional samurai wives and daughters, they kept the taiken dagger tucked in their sash for personal safety or as a wedding gift symbolizing family honour
Potentially used historically to swiftly cut the carotid artery to preserve honour in moments of extreme crisis, as a form of ritual suicide (Jigai).
The traditionally made smith made blade is incredibly similar to the type of kaiken seppuku tanto that was presented to the Zero pilots, the 'kamikaze' in WW2, and worn around their neck.
The type as were presented to the WW2 Zero pilots before their Kamikaze suicide missions and also given to or purchased by Kaiten pilots, the Japanese navy's one man human suicide torpedoes. Photo in the gallery shows a WW2 'Kamikaze' pilot being issued his suicide Seppuku tanto in the Kaiten ceremony. Originally they could have had an exterior brown leather cover and neck strap. The pilot had the choice whether to commit suicide, or not. It was not an order, nor directive and if the pilot missed the ship he had the option of killing himself to ask forgiveness of the honourable ancestors for his failure, as many of the planes had only enough fuel for a one way trip. Because the Zero pilot was belted into a very narrow seat and wearing many layers of his cold atmospheric pilot's flying suit with the addition of his life vest; it would be impossible for the aeronautical pilot to commit traditional ritual seppuku. It is said the procedure was to pull the knife out from it's neck sheath and thrust it straight into the throat much like the ladies form of seppuku.
In recognition of the unfavourable progress of the war, towards the end of 1943 the Japanese high command considered suggestions for various suicide craft. These suggestions were initially rejected, but later deemed necessary. Various suicide craft were developed in the Japanese Special Attack Units.
For the Navy, this meant Kamikaze planes, Ohka piloted bombs, Shinyo suicide boats, Kaiten submarines, and Fukuryu suicide divers or human mines. The Kamikazes were somewhat successful, and the second most successful were the Kaitens.
Research on the first Kaiten began in February 1944, followed on 25 July of the same year by the first prototype. By 1 August, an order for 100 units had been placed.
The island of Ōzushima, in the Inland Sea, was used as a training site. The island was equipped with cranes, torpedo testing pits, and launch ramps, and had a large shallow bay for test running and firing. The Kaiten Memorial Museum is now situated there.
Kaiten pilots were all men aged between 17 and 28. Initial training consisted of sailing fast surface boats by periscope and instrument readings alone. When a pilot had advanced past this basic training, he would begin training on Kaitens. Training craft were fitted with a dummy warhead that contained telemetry equipment and an emergency blowing tank that could return the craft to the surface should the trainee dive to a dangerous depth. Kaiten training started with basic circular runs to and from a fixed landmark at a reduced speed; the training advanced to faster and more hazardous runs around rocks and through channels in deeper waters. The more difficult runs required the pilot to surface and check the periscope repeatedly, and required conscientious adjusting of trim tank levels because of the reducing weight as oxygen was used up. When the instructors were confident about a pilot's abilities, they would advance the pilot to open water training against target ships. Training at this level was often done at full attack speed, and either at night or in twilight. The final phase of training would be a submarine launch and more open water attack runs on target ships.
Training was dangerous, and 15 men died in accidents, most commonly collisions with the target vessels. Although the warheads were only dummies, the impact at ramming speed was enough to both cripple the Kaiten and severely injure the pilot.
In action, the Kaiten was always operated by one man, but the larger training models (Types 2, 4, and 5) could carry two or even four.
Kaiten pilots who were leaving for their final missions would leave testaments and messages behind for their loved ones
blade length approx 5 inches long, overall in saya 8.25 inches long read more
875.00 GBP
A Fine & Fabulous, Koto To Shinto Period, Rare, Original Antique Japanese Shikomi-zue 仕込み杖, "Prepared Cane". A Traditional, ‘Hidden Sword Stick’, 400 to 500 Years Old. With a Sakura Branch Trompe-l'œil Concealment
This is one of the most beautiful, early bladed swords of its type we have ever seen, with a breathtaking chisa katana blade, up to around 400 to 500 years old, with a spectacular hamon and hada, and its gilt habaki blade collar. All cunningly concealed within an innocent looking {simulated} black sekura tree branch. It is a particularly strong and stout cane, and in its day {and in fact, it still is} would have been extremely capable and effective as a cane to aid perambulation.
A very fine, masterwork by a finest, Koto period to early Shinto, sword smith. A samurai blade, of superb quality, in stunning polish, showing a wonderously, vivid and complex hamon of immense beauty.
Very finely carved Edo period wooden saya and tsuka, disguise decorated, with ishime urushi stone finished lacquer, in order to 'deceive the eye' {Trompe-l'œil} and to imitate a black bark sakura tree branch walking stick.
The early blade is superb, but it was covered in antique Victorian preservative clear lacquer, we are had it professionally artisan removed, in order to reveal the stunning polish of the blade.. Overall this super rare piece is in fantastic condition for age.
In the 1870's the Meiji Emperor disbanded the fuedal samurai order and banned the wearing of the sword. This created much unrest between the samurai and the government and some samurai moved to carrying 'shikome-zue' the hidden sword.
Therefore, via a circuitous route of deception, they still remain armed, but, with their katana concealed and hidden from public view. But by that deception they felt, least in part, their honour remained intact. With their most elegant and finest bespoke blade upon their person.
In ninjutsu shikomizue became quite popular, as it provided the night warriors with what they needed most – versatility, secrecy and mortality.
The walking stick was popular among all the classes of japanese society and carrying it caused no suspicion at all. Combined with the impersonation skills, shikomizue was really a dangerous and most advabntagouly concealed weapon, enabling attack of ones enemy or even assassin, most suddenly and with deadly skill.
This is possibly one of the nicest of it's types we have ever seen. The blade is typical chisa katana with elegant curvature. Very nice hamon in very nice polish {once cleaned}. The stick is fully and superbly hand carved and over lacquered in urushi to simulate an anonymous prunus tree branch walking stick.
This piece was absolutely the sword of choice of the world reknown, fictional, blind samurai, Zatoichi.
He does not carry a traditional katana, instead using a very well traditionally made shikomi-zue (cane sword) within a sakura branch Trompe-l'œil concealment, exactly as this sword is mounted.
Zatoichi's cane sword shikome-zue, was forged by a famous master bladesmith, and is of superior quality, just like this rare, fine and beautiful traditional ancient chisa katana bladed example.
A conversation piece par excellance, now for collectors display only.
We show in the gallery a modern Japanese painting of Zatoichi, an old poster of the blind swordsman movie, and, an 1817 Japanese print by Hokusai of his depiction of an all black clad warrior, a so called ninja, climbing a rope, with what appears to be his identical mounted black shikome-zue hidden sword stick. For historical context purposes.
16 inch blade. 35.5 inches long overall read more
4450.00 GBP
A Beautiful Koto Period Ancient Aikuchi Tanto Circa 1500, With An Equally Beautiful Blade
Around 500 years old.
With kodzuka utility knife decorated with deep relief takebori crabs. Unusually the saya is covered with black lacquered leather. All original Edo period mounts and fittings. Silver inlaid iron hilt mounts with patinated copper menuki of shishi liondogs. The saya has a small mount of a silver inlaid quail. The blade has now just returned from re-polishing and looks absolutely beautiful. 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. The aikuchi is a tanto koshirae where the fuchi is flush with the mouth of the saya. Overall 21 3/4 inches long, blade length 12 1/4 inches read more
3695.00 GBP
A Shinto Aikuchi Tanto, Unokubi-Zukuri With Hi Blade & Stunning Bi-Colour Shakudo Fittings Katakiri-bori Carving, on Migaki-ji of Insects, a Cricket a Hornet and a Praying Mantis
Circa 1700. A very attractive Samurai tanto that has lain untouched for likely 140 odd years or more. All matching and most attractive Edo period bi-colour hand carved shakudo fittings katakiri-bori carving, on migaki-ji including a kozuka, engraved with a preying mantis, a wasp on the kashira and a grasshopper on the sayajiri. The menuki are of fine gold overlay of dragon, and the tsuka has imperial off-white silk binding. The blade is in a unokubi-zukuri form similar to naga nata in stunning polish. The original Edo lacquer saya is uniformly ribbed along it's length with age cracking below the kozuka pocket, and small bruises at the base. Very fine hammered silver foil covered habaki.
The tanto is commonly referred to as a knife or dagger. The blade can be single or double edged with a length between 15 and 30 cm (6-12 inches, in Japanese 1 shaku).
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. read more
3650.00 GBP