Japanese

A Singularly Fabulous Ancient Koto Period 15th Century Katana Circa 1480, With Stunning Heianjo School Tsuba

A very fine and beautiful 600 year old Koto katana that looks absolutely spectacular, with an o-suriage blade, with full length hi groove, and with a notare hamon that undulates with extraordinary depth into the blade. The blade has no combat damage of any kind, just natural surface minuscule age pin prick marks, and it has been untouched since it came to England in the 1870's.

All original Edo mounts and saya, with Higo mounts inlaid with gold leaves and tendrils, and original Edo period turquoise blue tsuka-ito (柄糸) over gold and shakudo menuki (目貫):of flowers, on traditional giant rayskin.

The saya is finely ribbed with silk cord ribbing under black lacquer, with carved buffalo horn kurigata (栗形) and kaeshizuno (返し角) and It has a fine and large four lobed mokko gata tsuba (鍔 or 鐔) form, with punch marks, sekigane inserted in the nakago ana, a look of a great strength, and a lightly hammered ground to effect a stone like surface, on the both sides, from the natural folding of the plate. It is pierced in delicate manner on top and bottom with stylised warabite, bracken shoots, and on either side of the central opening with large irregular ryohitsu shaped apertures of two hisago. The iron plate is finely inlaid on both sides and on the rounded rim with a thin roped band made in brass, and decorated all around the edge in brass hirazogan in a design of bellflower blossoms, clementis leaves and tendrils, flushing to the surface, and known as Chinese grass or karasuka. The formal design in negative silhouette is straightforward, the lowering of the level of the surface between the rim and the seppadai contributes to a sense of stability, the metal has a deep purplish patina, and the entire guard has a rustic appearance. This very pleasing masterpiece exhibits a nice feel due to the simplicity of the design.
This ko sukashi work is the ultimate in simplification. this severe, unemotional work is a deep humanity that speaks to us today. This strict style marks the dividing line between youthful severity and older warm humanity. All of these traits make this an exceptoional work of Heianjo school, in a style influenced by workers of Yoshiro school of the Koike family in Kyoto and as a gift from one Daimyo to another. The size, quality of inlay, and condition all confirm the excellent craftsmanship characteristic of this school. This is probably a transition piece between the onin and the Heianjo school. This style of tsuba often given the designation of Heianjo school, could also be from the last period of onin brass inlay style of the Muromachi period. Yoshiro tsuba are originated from the Heianjo Zogan school, active in the second half of the 16th century. Naomasa was the most famous member of the large Koike family school, he took the technique and style to the highest level. Early Edo period tsuba. 17th Century. Overall condition of the tsuba is excellent. To place it in context as to just how old this sword is, in its British time-scale comparison, it was made, in Japan, in the era of the 'Wars of the Roses' between King Richard IIIrd and King Henry VIIth. 28 inches long blade tsuba to tip  read more

Code: 24866

Please View & Explore Probably The Largest Selection Of Original Antique & Historical Samurai Arms From The Past 800 Years For Sale in The World. Including, Swords, Spears, Armour, Helmets, Long Bows, Arrows, Daggers & Sword Fittings

Our amazing collection of recently acquired fine antique Edo samurai war arrows ‘ tagari ya’ and rare swallow tail 'ageha ya’, a dozen ‘kazuya’ ya target arrows, plus a superb collection of 20 fabulous Koto to Shinto tsubas, have still yet to be collated and listed on our site. Plus more swords, tanto, both antique and WW2 shingunto etc.

“Weaponry both ancient and vintage, they all have style and a story to tell”

"Over the past 54 years I have personally supervised our company's determination to try provide the most historically interesting, educational, yet none too intimidating, gallery of original Japanese Samurai artefacts for sale in the collecting world. We were told a few years ago by Victor Harris { Japanese sword expert resident consultant at the British Museum, the UK's leading nihonto specialist} that we probably display the largest selection of original, fine samurai sword weaponry for sale, and of its kind, anywhere in the world.

Principally concentrating on a crucial combination of age, beauty, quality and history, & thanks to an extensive contact base, built up over the past 100 years or more, that stretches across the whole world, including collectors, curators, academics and consultants, we have been very fortunate, in that this effort has rewarded us with the ability to offer, what we believe to be, the most comprehensive selection of original ancient and antique samurai swords available for sale in one gallery or online in the world.

We have exported, over the past 100 years, likely tens of thousands of our original samurai weapons, helmets and armour to the four corners of the globe, with clients on all continents. Our swords grace the homes of collectors from literally all walks of life, from Presidents to Postmen, and we have traded with museums of all the major nations. We have always loved and been fascinated by the history of the Samurai, and their iconic weaponry, and we have long admired and envied their past near limitless skill at creating the unparalleled beauty and quality of samurai swords. Universally acknowledged to be likely the very best swords the world has ever seen.

Our Japanese weaponry vary tremendously in age, in fact up to, and sometimes over, an incredible 800 years old, and they are frequently some of the finest examples of specialist workmanship ever achieved by mankind.
We have tried to include, within the holistic description of most items, a brief generic history lesson, for those that have interest, and may wish to know, that will describe the eras, areas and circumstances that these items were used in ancient Japan. We have tried our utmost to be informative, holistic and as interesting as possible without being too academically technical, in order to keep the details vibrant, fascinating and comprehensible, thus not too complex.
We are always delighted to impart any knowledge that we have at our disposal to any curious new collectors when asked. In fact some of the most learned scholars in the world that we have met, and known, some studying the art of nihonto almost all of their adult lives, often admitted to us they were only scratching the surface of the knowledge to be learnt in this extraordinary field, so there is much to constantly uncover about the stories of the samurai and their legendary weaponry covering around 1000 years of Japanese history.

Please enjoy, with our compliments, our Japanese Gallery. It has been decades in the creation, and we intend it to remain as interesting and informative as possible, and, hopefully, for another century to come"..


Mark Hawkins
Partner
The Lanes Armoury

Did you know? the most valuable sword in the world today is a samurai sword, it belongs to an investment fund and has appeared illustrated in the Forbes 400 magazine. It is valued by them at $100 million, it is a tachi from the late Koto period 16th century and unsigned. Its blade is grey and now has no original polish remaining.  read more

Code: 22187

A Superb Antique, Shinto Era, Unokubi (鵜首) Zukuri Blade Tantō, 17th Century

Completely fitted with original Edo period koshirae. Made from probably from after the era of the Battle of Sekigahara, Shinjitai: 関ヶ原の戦い; Kyūjitai: 關ヶ原の戰い
Unokubi (鵜首): An uncommon tantō 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 copper, counter-striped copper habaki, with original Edo period iron Higo school fuchi-kashira, iron mokko form tsuba with some inlaid copper gilt leaf decoration, black tsuka-ito binding. In its original edo period black ishime {stone finish} lacquered saya with iron kojiri and shakudo-nanako, shirimono kodzuka decorated with leaves, fitted in the saya pocket. The hamon is gunome-midare with some togari (pointed elements

The blade is absolutely stunning. 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

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.  read more

Code: 25350

A Beautiful Shinto Katana By Kaga Kiyomitsu With NTHK Kanteisho Papers

With super original Edo period koshirae mounts and fittings. Higo fuchigashira with pure gold onlay with a war fan and kanji seal stamp. Shakudo menuki under the hilt wrap of samurai warriors fighting with swords and polearm. Iron plate o-sukashi tsuba, black lacquer saya with buffalo horn kurigata. Superb hamon and polish with just a few aged surface stains see photo 7

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 will form some patterns or others.

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.

By the time Ieyasu Tokugawa unified Japan under his rule at the Battle of Sekigahara in 1600, only samurai were permitted to wear the sword. A samurai was recognised by his carrying the feared daisho, the big sword daito, little sword shoto of the samurai warrior. These were the battle katana, the big sword, and the wakizashi, the little sword. The name katana derives from two old Japanese written characters or symbols: kata, meaning side, and na, or edge. Thus a katana is a single-edged sword that has had few rivals in the annals of war, either in the East or the West. Because the sword was the main battle weapon of Japan's knightly man-at-arms (although spears and bows were also carried), an entire martial art grew up around learning how to use it. This was kenjutsu, the art of sword fighting, or kendo in its modern, non-warlike incarnation. The importance of studying kenjutsu and the other martial arts such as kyujutsu, the art of the bow, was so critical to the samurai, a very real matter of life or death, that Miyamoto Musashi, most renowned of all swordsmen, warned in his classic The Book of Five Rings: The science of martial arts for warriors requires construction of various weapons and understanding the properties of the weapons. A member of a warrior family who does not learn to use weapons and understand the specific advantages of each weapon would seem to be somewhat uncultivated. We rarely have swords with papers for our swords mostly came to England in the 1870's long before 'papers' were invented, and they have never returned to Japan for inspection and papers to be issued. However, on occasion we acquire swords from latter day collectors that have had swords papered in the past 30 years or so., and this is one of those.  read more

Code: 23597

An Absolute Beauty of a Fine, Koto Period Katana, Signed Bishu Osafune Kiyomitsu & Dated 1573

A very good Koto period sword, with a beautiful polished blade. Two stage black lacquer saya with two tone counter striping at the top section and ishime stone matt lacquer at the bottom, it has an iron Higo style kojiri [bottom chape] inlaid with gold. The fuchigashira are shakudo copper with a nanako ground decorated with takebori carved ponies in pure gold, with bocage of a Japanese white pine tree above the pony on the kashira. The tsuba is a Kinai school sukashi round tsuba, in the form of an aoi, or hollyhock plant heightened with gold inlays, including Arabesque scrolls, and leaves. the tsuba came from likely a branch of the Miochin (Group IV), this family was founded by Ishikawa Kinai, who moved from Kyoto to Echizen province and died in 1680. The succeeding masters, however, bore the surname of Takahashi. All sign only Kinai [Japanese text], with differences in the characters used and in the manner of writing them.

The Kinai made guards only, of hard and well forged iron usually coated with the black magnetic oxide. They confined themselves to pierced relief showing extraordinary cleanness both of design and execution. Any considerable heightening of gold is found as a rule only in later work. Dragons in the round appear first in guards by the third master, fishes, birds, etc., in those of the fifth; while designs of autumn flowers and the like come still later. There are examples of Kinai tsuba in the Ashmolean and the British Museum. Made around to decades before but certainly used in the time of the greatest battle in samurai history "The Battle of Sekigahara" [Sekigahara no Tatakai] was a decisive battle on October 21, 1600 that preceded the establishment of the Tokugawa shogunate. Initially, Tokugawa's eastern army had 75,000 men, while Ishida's western army numbered 120,000. Tokugawa had also sneaked in a supply of arquebuses. Knowing that Tokugawa was heading towards Osaka, Ishida decided to abandon his positions and marched to Sekigahara. Even though the Western forces had tremendous tactical advantages, Tokugawa had already been in contact with many daimyo in the Western Army for months, promising them land and leniency after the battle should they switch sides.

Tokugawa's forces started the battle when Fukushima Masanori, the leader of the advance guard, charged north from Tokugawa's left flank along the Fuji River against the Western Army's right centre. The ground was still muddy from the previous day's rain, so the conflict there devolved into something more primal. Tokugawa then ordered attacks from his right and his centre against the Western Army's left in order to support Fukushima's attack.

This left the Western Army's centre unscathed, so Ishida ordered this unit under the command of Shimazu Yoshihiro to reinforce his right flank. Shimazu refused as daimyos of the day only listened to respected commanders, which Ishida was not.

Recent scholarship by Professor Yoshiji Yamasaki of Toho University has indicated that the Mori faction had reached a secret agreement with the Tokugawa two weeks earlier, pledging neutrality at the decisive battle in exchange for a guarantee of territorial preservation, and was a strategic decision on Mori Terumoto's part that later backfired.

Fukushima's attack was slowly gaining ground, but this came at the cost of exposing their flank to attack from across the Fuji River by Otani Yoshitsugu, who took advantage of this opportunity. Just past Otani's forces were those of Kobayakawa Hideaki on Mount Matsuo.

Kobayakawa was one of the daimyos that had been courted by Tokugawa. Even though he had agreed to defect to Tokugawa's side, in the actual battle he was hesitant and remained neutral. As the battle grew more intense, Tokugawa finally ordered arquebuses to fire at Kobayakawa's position on Mount Matsuo to force Kobayakawa to make his choice. At that point Kobayakawa joined the battle as a member of the Eastern Army. His forces charged Otani's position, which did not end well for Kobayakawa. Otani's forces had dry gunpowder, so they opened fire on the turncoats, making the charge of 16,000 men mostly ineffective. However, he was already engaging forces under the command of Todo Takatora, Kyogoku Takatsugu, and Oda Yuraku when Kobayakawa charged. At this point, the buffer Otani established was outnumbered. Seeing this, Western Army generals Wakisaka Yasuharu, Ogawa Suketada, Akaza Naoyasu, and Kutsuki Mototsuna switched sides. The blade is showing a very small, combat, sword to sword, thrust from a blade tip, or, possibly a deflected arrow impact, this tiny wound so to speak should never be polished away, this is known as a most honourable battle scar, and certainly no detriment to the blade, and that likely saved the owner of the swords life in a hand to hand combat situation. See close up photo 9 in the gallery, tiny impact of around 1mm with slight bruising below over a maximum total length 5mm, max impact depth around 1mm]  read more

Code: 23305

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  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.
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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