Beautiful Koto, Samurai's Paired Swords Daisho, 425-525 Years Old. Katana and Chisa Katana. Edo Period Koshirae, Ume 'Maeda' 前田氏 Clan Mon Tsubas, 'Pine Needle' & Urushi Lacquer Sayas. The Maeda Clan, Lords of Kaga, One of the Most Powerful in Japan

The daisho’s blades, are both late Koto era, likely made between 1500 to 1600. They are most beautiful Koto period blades, of much elegance, one with its gently undulating notare hamon, the other its suguha hamon.

Both swords have gold and shakudo fushi kashira, one with the handachi form, with kabuto-gane pommel, decorated with gold lines on a nanako ground, the other with a fuchi that has a takebori dragon on a nanako ground, and the kashira is polished carved buffalo horn.
Mounted with a superb, Edo period, original pair of iron round plate sukashi daisho tsuba, with pierced Maeda clan mon of the ume, plum blossom, within both the daito and shoto tsuba. Pierced with the plum blossom mon pattern {with twigs}. used by the samurai connected and serving with the Maeda clan.The Maeda clan (前田氏, Maeda-shi) was a Japanese samurai clan who occupied most of the Hokuriku region of central Honshū from the end of the Sengoku period through the Meiji Restoration of 1868. The Maeda claimed descent from the Sugawara clan through Sugawara no Kiyotomo and Sugawara no Michizane in the eighth and ninth centuries; however, the line of descent is uncertain. The Maeda rose to prominence as daimyō of Kaga Domain under the Edo period Tokugawa shogunate, which was second only to the Tokugawa clan in kokudaka (land value).

The daisho's tsuba are likely from the Umetada tsuba school of tsuba craftsman, Umetada were the foremost swordsmiths of their day. Their 18th Master, Shigeyoshi I, is said to have made sword-furniture for the Ashikaga Shōgun (end of 14th century), but none of his work is known. Serious study of Umetada sword guards {tsuba} begins with the 25th Master, Miōju, or Shigeyoshi II; {b.1558; d. 1631}. His headquarters, as also those of the succeeding nine Masters, were at Kiōto, but he was invited to several provincial centres and exerted a lasting influence on the local schools.
A branch founded by Naritsugu (c. 1752) worked at Yedo, while various members of the family were active at other centres. The Umetada style in general is a skilful combination of chiselling and incrustation or inlay.

The daisho’s matching sayas are stunning, both with a highly complex decorative design pattern of pine needles laid upon black urushi lacquer, in a seemingly random pattern. But, in reality each pine needle was strategically placed upon them, when creating the decorative finish, with just a single needle, and just 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 urushi 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.

The samurai's daisho, {his two swords title when carried within his obi} was named as such when his swords were worn together, and it describes the combination of the samurai’s daito and shoto {long mounted sword, and short mounted sword}. In the earlier period of the samurai, a daisho were comprising the matching of his long tachi and much shorter tanto, but in the later period, much more often, it was the matching of a combination of a katana and a wakazashi. However, some samurai may choose an alternative coupling of a katana matched with an o-wakazashi or chisa katana, or, even two chisa katana, but one sword was more usually mounted shorter than the other, despite the blades being of near equal length. This particular daisho that we offer here, is the combination of the latter type, that was specifically advantageous for a samurai trained, as was the famous samurai, Musashi, using a twin-sword combat method, of a sword carried and used together in each hand, simultaneously. For Musashi, this was a combat style that was undefeatable, when combined with his incredible skill.

Using a daisho of near equal length blades was the art of twin sword combat, using two at once in unison, one in each hand, the form as previously mentioned as used by the great and legendary samurai, Miyamoto Musashi, who reportedly killed 60 men before his 30th birthday.
Miyamoto Musashi 1584 – June 13, 1645), also known as Shinmen Takezo, Miyamoto Bennosuke or, by his Buddhist name, Niten Doraku, was an expert Japanese swordsman and ronin. Musashi, as he was often simply known, became renowned through stories of his excellent, and unique double bladed swordsmanship and undefeated record in his 60 duels. He was the founder of the Hyoho Niten Ichi-ryu or Niten-ryu style of swordsmanship and in his final years authored the The Book of Five Rings, a book on strategy, tactics, and philosophy that is still studied today.

Tsuba were made by whole dynasties of craftsmen whose only craft was making tsuba. They were usually lavishly decorated. In addition to being collectors items, they were often used as heirlooms, passed from one generation to the next. Japanese families with samurai roots sometimes have their family crest (mon) crafted onto a tsuba. Tsuba can be found in a variety of metals and alloys, including iron, steel, brass, copper and shakudo. In a duel, two participants may lock their katana together at the point of the tsuba and push, trying to gain a better position from which to strike the other down. This is known as tsubazeriai pushing tsuba against each other. A samurai's daisho were his swords, as worn together, as stated in the Tokugawa edicts. In a samurai family the swords were so revered that they were passed down from generation to generation, from father to son. If the hilt or scabbard wore out or broke, new ones would be fashioned for the all-important blade. The hilt, the tsuba (hand guard), and the scabbard themselves were often great art objects, with fittings sometimes of gold or silver. Often, too, they told a story from Japanese myths. Magnificent specimens of Japanese swords can be seen today in the Tokugawa Art Museum’s collection in Nagoya, Japan.
In creating the sword, a sword craftsman, such as, say, the legendary Masamune, had to surmount a virtual technological impossibility. The blade had to be forged so that it would hold a very sharp edge and yet not break in the ferocity of a duel. To achieve these twin objectives, the sword maker was faced with a considerable metallurgical challenge. Steel that is hard enough to take a sharp edge is brittle. Conversely, steel that will not break is considered soft steel and will not take a keen edge. Japanese sword artisans solved that dilemma in an ingenious way. Four metal bars a soft iron bar to guard against the blade breaking, two hard iron bars to prevent bending and a steel bar to take a sharp cutting edge were all heated at a high temperature, then hammered together into a long, rectangular bar that would become the sword blade. When the swordsmith worked the blade to shape it, the steel took the beginnings of an edge, while the softer metal ensured the blade would not break. This intricate forging process was followed by numerous complex processes culminating in specialist polishing to reveal the blades hamon and to thus create the blade's sharp edge. Inazo Nitobe stated: The swordsmith was not a mere artisan but an inspired artist and his workshop a sanctuary. Daily, he commenced his craft with prayer and purification, or, as the phrase was, the committed his soul and spirit into the forging and tempering of the steel.
Celebrated sword masters in the golden age of the samurai, roughly from the 13th to the 17th centuries, were indeed revered to the status they richly deserved.

Daito sword blade length tsuba to tip 24,5 inches, overall 36.5 inches long in its saya.

Shoto sword blade length tsuba to tip 24.25,
overall 34 inches long in its saya.

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

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

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

Code: 24085

A Most Scarce Antique Ching Dynasty Chinese Shuāngjiàn (雙劍). A Twin-Sword Jian, Late 18th Early 19th century. Near Identical to Admiral Sir James Hanway Plumbridge's Sword in the National Maritime Museum Collection. His Sword Was a Single Blade Version

A 19th century Chinese double sword (Shuang Jian) with tortoise shell and brass mounts, engraved with shou characters and bats. A most rare sword arrangement where each sword has a rounded outer and a flat inner side hilt system, of two swords that fit back to back and parallel together, and are simultaneously worn in a single scabbard. The blades were designed to be used in pairs, one in each hand. During the Qing Dynasty, these were not just combat weapons but also popular symbols of high status. Many Jian were brought back to England by the earliest visitors to China, both before and after the Boxer rebellion.

A similar piece was exhibited in the British Museum, Chinese weapons and armour, 15th of December 1994 to the 15th of January 1995.

A Chinese jian double or twin sword, with two double edged blades retained in a single scabbard. Principle sword with a engraved brass mounts, the bats and longevity symbols on the brass mounts form the pun fúshòu (福壽), meaning a long and happy life, and a lined darkwood grip, the secondary sword has a plain hardwood grip, both are simultaneously retained in a superb single tortoishell covered scabbard, with typical stylized brass mounts, typically decorated with a traditional, intricate, bat and seal design, fúshòu (福壽). The stylized longevity symbol called shòu (壽) surrounded by bats, fú (蝠)
Each sword has a double edged blade.

Overall with stunning original patination that has been now revealed.It has just returned from ten hours of museum grade hand conservation and polishing.Thanks to such extraordinarily successful efforts, that required no repairs at all due, to its condition, this would be a Chinese antique sword that would likely be impossible to improve upon.

Likely brought back to England as a souvenir of the Opium War period to the Boxer Rebellion. Truly original, antique, Chinese weapons are very scarce indeed, as historically, few swords were ever brought back from China. Porcelain and silk were far more popular and preferable souvenirs and exports for Europeans, and in China, in the mid 20th century, nearly all the surviving antique edged weapons were melted down and destroyed in the era of Mao, under Chairman Mao's Cultural Revolutionary instructions, in order to create new steel.

A fabulous example that has breathtaking natural age patina. Effectively, in wondrous condition for its age.

A near identical sword {but withy a single blade} was once belonging to Admiral Sir James Hanway. His family believed he wore it as a midshipman at the Battle of Trafalgar in 1805. It is on display in the National Maritime Museum, exhibit number; WPN1157. Described as follows
Chinese sword, which belonged to Admiral Sir James Hanway Plumbridge (1787-1863). The hilt of the sword consists of a gilt pommel and crosspiece with very short down-turned quillons, and a fluted brown grip. The hilt is ornamented with a design of bats, which are a symbol of good luck. The steel blade is straight and double-edged. The point of the blade has evidently been broken off; it is about an inch too short for the scabbard and is rather roughly ground. The wooden scabbard is covered with lacquered paper actually tortoishell, and has four gilt lockets and a chape, which is ornamented with a design of bats. The two middle lockets are fitted with loops. This sword was offered to the National Maritime Museum as the sword which was worn by Admiral Sir James Hanway Plumbridge when he was a Midshipman at Trafalgar. It is inconceivable that he wore a Chinese weapon at Trafalgar. He probably obtained the sword during one of his three commissions in the East Indies. Admiral Sir James Hanway Plumbridge (1787-1863) entered the Royal Navy on the 6th September 1799 and was a Midshipman in HMS 'Leda' in the expedition to Egypt in 1801. At Trafalgar he was acting 6th Lieutenant in HMS 'Defence', and on the 20th August 1806 he was confirmed in rank. See photo 10 in the gallery, it shows the admiral's identical Jian sword on display in the National Maritime Museum, the photo is sadly of poor quality

The two paintings in the gallery are original Chinese gouache of a seated Ching Emperor, and his sword bearer, holding the same type of Jian sword, but with a green tortoiseshell scabbard.

The antique Chinese jian is a straight, double-edged sword used in China for over 2,500 years, with the earliest examples dating to the 7th century BC. We actually have some original, ancient jian museum pieces, from this era, acquired by us from the world renown Dove Collection. See them offered for sale within our website.
It was a multi-purpose weapon, optimized for thrusting but also capable of cutting and slashing, and was a symbol of status. The design was effective and remained relatively consistent over long periods, with minor variations in length, weight, and balance.
The jian's most defining feature is its straight, double-edged blade. While it could be used for both cutting and thrusting, it was often considered more optimized for thrusting than the single-edged dao (sabre).
The jian was a symbol of power and status, wielded by the elite and sometimes carried as a symbol of authority.
Its use dates back to the Spring and Autumn period, with some of the earliest specimens being the Sword of Goujian.
Design variations: The length, balance, and weight of the jian varied significantly across different periods and purposes.
It is a crucial tool in traditional Chinese martial arts training.
Military use: It was a formidable weapon on the battlefield and, due to its length and reach, was sometimes used like a long spear to favour thrusting techniques.
The jian is a significant symbol in Chinese culture and history, frequently appearing in films, historical reenactments, and museum exhibits.
Antique jian are valuable as historical artifacts, collectibles, and striking decorative pieces.  read more

Code: 26100

A Superb & Rare Royal Flying Corps, Royal Naval Air Service Issue Cockpit Watch. RFC Stamped. Luminous Dial Elongated Winding Stem For Gloved Pilots Winding A Superb Original Artefact & Mechanical Instrument of WW1 Aeronautical Warfare History

Omega RFC Royal Flying Corps and Royal Naval Air Service Cockpit watch, Mk.V, Luminous, c.1916. Nickel-plated steel case with a self-starting keyless 30-hour movement
Swiss manufacturers of Mark V watches applied their assigned (digraphic) letter code to the dial, { BB for Omega} followed by the item’s serial number {5390}. Company branding was allowed to appear on Mark V watches only to interior surfaces, eg the movement, cuvette, inner case back, etc.

These movements were selected for accuracy despite the vibration to which they were submitted. Black dial with white luminous Arabic numerals and seconds additional dial. Although normally referred to as a watch, these were actually fitted to the aircraft cockpit instrument panel via a special holder and used like a clock. Note the elongated stem allowed easier winding with a gloved hand. The elongated stem was a critical feature, enabling the pilot to wind the watch without removing it from its holder.
The case is in good overall condition and has clear markings with War Department broad arrow and 'A' indicating aviation issue.

Nomenclature applied to the dial (specifying, amongst other things, the contracted supplier of the watch)
luminous and non-luminous versions (although luminous versions were restricted to RNAS issue until late in WWI)
Military issue indicated by markings to the dial and/or to the case

Case in excellent condition, free from dents or other damage. The dial in good overall condition. Luminous hands. Luminous numbers. Glass clean, and free from adverse scratches. Movement clean and fresh-looking. The watch in running condition.

No warranty implied.

Note: RFC pilots 'signed for' cockpit watches prior to a given mission; they were also responsible for safe-keeping, and return.  read more

Code: 26101

A Beautiful Original Signed Bizen Yokoyama Sukekane 尉祐包 Dated February 1867, He Was The 13th Generation Sukesada & 58th Generation From The Founder of Bizen Smiths In Superb Polish With Edo Period Mounts of Shakudo & Gold by Yasuyuki 安随

Signed, 備陽長船住横山俊左衛門尉祐包
Biyo {Bishu} Osafune Jyu Yokoyama Shunzaemon Jo Sukekane
備陽長船住 is where he lives and 横山俊左衛門尉祐包 is his full name.
The 13th generation of Sukesada, who worked from 1835 to 1872, and this sword was made in the 3rd year of Keio, so it was made in February 1867.
The third says that he is the 58th grandson of the founder of Bizen smithing, Bizen Tomonari. It also shows the date of creation. Blades of the 19th-century Yokoyama school frequently declared their lineage as being directly descended from the 13th-century smith Tomonari.

It has a stunning urushi lacquered original Edo saya with ribbing on the black urushi middle top section, and crushed abilone, over green, black and clear urushi lacquer, on the top and bottom sections a most pleasing and artistic combination.

Original Edo shakudo fuchi kashira decorated with silver and gold birds, bamboo and flowers, on a hammered ground, signed Yasuyuki 安随. The tettsu tsuba has a geometric openwork design of an approaching wagon wheel with hon-zogan decoration of shinchu hira inlay. The tsuka ito {silk binding} is blue-green

A pair of superb menuki, in gold and shakudo, one is the turtle the other the phoenix. In Japanese folklore, the minogame, it is a legendary turtle of tremendous age. Sometimes living for up to 10,000 years, its most distinctive feature is the tail of seaweed and algae that trails behind it.

The most well known minogame {turtle} in Japan comes from the tale of Urashima Tarō, a legendary fisherman who rescues a turtle being tormented by children on a beach. A minogame informs him that he has actually rescued the daughter of the sea god Ryūjin, and takes him down to the bottom of the ocean to receive his thanks.

The other menuki is a Hō-ō bird . As the herald of a new age, the Hō-ō {phoenix} decends from heaven to earth to do good deeds, and then it returns to its celestial abode to await a new era. It is both a symbol of peace (when the bird appears) and a symbol of disharmony (when the bird disappears).

Some provinces of Japan were famous for their contribution to the ishime style of urushi lacquer 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!
Flowing from incisions made in the bark, the sap, or raw lacquer is a viscous greyish-white juice. The harvesting of the resin can only be done in very small quantities.
Three to five years after being harvested, the resin is treated to make an extremely resistant, honey-textured lacquer. After filtering, homogenization and dehydration, the sap becomes transparent and can be tinted in black, red, yellow, green or brown.
Once applied on an object, lacquer is dried under very precise conditions: a temperature between 25 and 30°C and a humidity level between 75 and 80%. Its harvesting and highly technical processing make urushi an expensive raw material applied in exceptionally fine successive layers, on objects such as bowls or boxes, or as you see, samurai sword saya {scabbards}. After heating and filtering, urushi can be applied directly to a solid, usually wooden, base. Pure urushi dries into a transparent film, while the more familiar black and red colours are created by adding minerals to the material. Each layer is left to dry and polished before the next layer is added. This process can be very time-consuming and labour-intensive, which contributes to the desirability, and high costs, of traditionally made lacquer goods. The skills and techniques of Japanese lacquer have been passed down through the generations for many centuries. For four hundred years, the master artisans of Zohiko’s Kyoto workshop have provided refined lacquer articles for the imperial household. It is extraordinary that a finest urushi lacquer saya would have taken up to, and over, a year to hand produce, by some of the most finely skilled artisans in the world.

Shakudo {that can be used to make samurai sword mounts and fittings} is a billon of gold and copper (typically 4-10% gold, 96-90% copper) which can be treated to form an indigo/black patina resembling lacquer. Unpatinated shakudo Visually resembles bronze; the dark colour is induced by applying and heating rokusho, a special patination formula.

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

The British Museum has a small tanto signed by the same smith Bishu Osafune Ju Yokoyama Sukekane’

https://collections.vam.ac.uk/item/O90821/dagger-and-scabbard-sukekane/

Sukekane was the 13th mainline master of the Bizen Yokoyama school, which was founded in the later 16th century by Yosozaemon no Jo Sukesada. It is said that Sukesada relocated to the nearby village of Yokoyama after the great flooding of Osafune at this time. Sukesada’s great-grandson, Sanzaemon no
Jo Sukesada, whose personal name was Toshiro and was the 4th generation, was the first representative of the school to work in shinto times.
All these smiths were named Sukesada and as they entered the shinshinto period, although they retained the character “Suke” in their names, many used a different second character instead of “Sada”. However, although living and signing their work
with Yokoyama, they appreciated that their spiritual and cultural home was still Osafune, by including this in their mei.
This is the first of two generations named Sukekane and he died in 1872, a few years after making this blade. He was taught swordmaking by one Sukenaga who was actually from a corollary family to the mainline of Yokoyama smiths. Sukenaga also signed on his nakago that he was the 56th generation descended from Tomonari. Sukenaga’s brother, Sukemori, was adopted into the mainline school, as the 12th master and Sukekane, his natural son, became the 13th master.  read more

Code: 25542

A Delightful & Beautiful Early to Mid Edo Period 1598-1863 Samurai War Arrow. A Tagari-Ya Of Yadake Bamboo, With Sea Eagle Flights and Traditional Tamagahane Steel Head In Incredibly Rare Stunningly Beautiful Polish

It is most rare to find original, antique samurai war arrows {ya} that still have beautifully polished tamagahane steel blades, that they would all have had originally, that often show the traditional hamon, the same as a traditional samurai sword would have had.
Acquired by us by personally being permitted to select from the private collection one of the world's greatest, highly respected and renown archery, bow and arrow experts. Who had spent his life travelling the world to lecture on archery and to accumulate the finest arrows and bows he could find. .

With original traditional eagle feathers, probably the large edge-wing feathers of a Japanese sea eagle. The armour piercing arrow tip, that is swollen at the tip to have the extra piercing power to penetrate armour and helmets {kabuto}, is a brightly polished, traditional tamagahane steel hand made, by a sword smith, long arrow head, originally hand made with folding and tempering exactly as would be a samurai sword blade, possibly signed on the tang under the binding but we would never remove it to see. The Edo period early eagle feathers are now slightly worn. It is entirely indicative of the Japanese principle that as much time skill and effort be used to create a single 'fire and forget' arrow, as would be used to make a tanto or katana. A British or European blacksmith might once have made ten or twenty arrows a day, a Japanese craftsman might take a week to make a single arrow, that has a useable combat life of maybe two minutes, the same as a simplest British long bow arrow.

The Togari-Ya or pointed arrowheads look like a small Yari (spear) were pointed arrowheads were used only for war and are armour piercing arrows . Despite being somewhat of a weapon that was 'fire and forget' it was created regardless of cost and time, like no other arrow ever was outside of Japan. For example, to create the arrow head alone, in the very same traditional way today, using tamahagane steel, folding and forging, water quench tempering, then followed by polishing, it would likely cost way in excess of a thousand pounds, that is if you could find a Japanese master sword smith today who would make one for you. Then would would need hafting, binding, and feathering, by a completely separate artisan, and finally, using eagle feathers as flights, would be very likely impossible. This is a simple example of how incredible value finest samurai weaponry can be, items that can be acquired from us that would cost many times the price of our original antiques in order to recreate today. Kyu Jutsu is the art of Japanese archery.The beginning of archery in Japan is pre-historical. The first images picturing the distinct Japanese asymmetrical longbow are from the Yayoi period (c. 500 BC – 300 AD).
The changing of society and the military class (samurai) taking power at the end of the first millennium created a requirement for education in archery. This led to the birth of the first kyujutsu ryūha (style), the Henmi-ryū, founded by Henmi Kiyomitsu in the 12th century. The Takeda-ryū and the mounted archery school Ogasawara-ryū were later founded by his descendants. The need for archers grew dramatically during the Genpei War (1180–1185) and as a result the founder of the Ogasawara-ryū (Ogasawara Nagakiyo), began teaching yabusame (mounted archery) In the twelfth and thirteenth century a bow was the primary weapon of a warrior on the battlefield. Bow on the battlefield stopped dominating only after the appearance of firearm.The beginning of archery in Japan is pre-historical. The first images picturing the distinct Japanese asymmetrical longbow are from the Yayoi period (c. 500 BC – 300 AD).
The changing of society and the military class (samurai) taking power at the end of the first millennium created a requirement for education in archery. This led to the birth of the first kyujutsu ryūha (style), the Henmi-ryū, founded by Henmi Kiyomitsu in the 12th century. The Takeda-ryū and the mounted archery school Ogasawara-ryū were later founded by his descendants. The need for archers grew dramatically during the Genpei War (1180–1185) and as a result the founder of the Ogasawara-ryū (Ogasawara Nagakiyo), began teaching yabusame (mounted archery) Warriors practiced several types of archery, according to changes in weaponry and the role of the military in different periods. Mounted archery, also known as military archery, was the most prized of warrior skills and was practiced consistently by professional soldiers from the outset in Japan. Different procedures were followed that distinguished archery intended as warrior training from contests or religious practices in which form and formality were of primary importance. Civil archery entailed shooting from a standing position, and emphasis was placed upon form rather than meeting a target accurately. By far the most common type of archery in Japan, civil or civilian archery contests did not provide sufficient preparation for battle, and remained largely ceremonial. By contrast, military training entailed mounted maneuvers in which infantry troops with bow and arrow supported equestrian archers.

Mock battles were staged, sometimes as a show of force to dissuade enemy forces from attacking. While early medieval warfare often began with a formalized archery contest between commanders, deployment of firearms and the constant warfare of the 15th and 16th centuries ultimately led to the decline of archery in battle. In the Edo period archery was considered an art, and members of the warrior classes participated in archery contests that venerated this technique as the most favoured weapon of the samurai. In the gallery is from an Edo exhibition of archery that shows a tagari ya arrow pierced completely through, back and front, an armoured steel multi plate kabuto helmet. Another photo shows an unmounted arrow head with the considerable length of the tang that is concealed by the haft.

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

Code: 25591

A Super and Intriguing WW2 German, Third Reich, Military, Surveillance Officer's Wrist Watch, Stamped, DI H, Deutsches Inteligenz {or Italienisch For Afrika Korps} Heer. Made For The German Armed Forces By Helvetia Swiss Watch Co. Good Working Order

Supposedly only 8000 ever made. An Helvetia watch Co. fine & rare, original, German, Third Reich issue, 1940's military surveillance officer’s wrist watch. Only the second of this type of rare service watch we have found in over 30 years. Our last one was another Helvetia type 2 case watch..

A Helvetia DI H, Type 1 case {stamped 3199 with 2 below} watch, second type dial signed Helvetia and Swiss made, 800C movement, Deutsches Heer officer issue, but classified as the rare type. Serial numbered DI 0000688 H, the “2” denotes an 11.5 ligne movement
All Type 1 case watches use the Helvetia 800C sweep second hand movement.

This watch was issued by the German military during the early 1940's of World War II, Helvetia were a renowned Swiss maker producing fine and accurate watches for the Nazi officers.

The case of the watch is nickel plated with light to average wear. The cream dial is in good condition with Arabic numerals, signed Helvetia Swiss Made. GWO/C

The movement is a hand wound Swiss movement. The watch sits on a black leather military style strap.
The great majority of the companies were Swiss .
with Helvetia being one of the best, making superb timepieces. Stamped either side of the probably three figure serial number, is the official Wehrmacht classification DI.H, with 2 and then 3199 stamped above. However DH was the regular stamp classification, but the much rarer type, have DI H with its serial number stamped between the I and H. This has always been the subject of debate amongst some collectors, due to some limited belief that they were assembled from parts, likely due to their rarity, however, this timepiece, alongside all the 'deemed correct' examples have the has the important 3199 stamp on the back case cover. In a seminal work “A Concise Guide to Military Timepieces 1880 -1990” by Z.M. Wesolowski IT specifies that the DI H marks are “Deutsches Heer property marks found on non-waterproof wristwatches used for surveillance purposes, the I in DIH may stand for Inteligenz or Italienisch for surveillance officers and spies etc.

The Italienisch mark may have been for a contract for the specialist Italians serving with the Afrika Korps in the desert campaign under Rommel.

See in the gallery three photographs of the standard watch type, with regular black dials, worn by officers during World War II in the German Heer/SS, one being Herbert Otto Gille, seen here as SS-Gruppenführer and commander of 5. SS Panzer Division Wiking.

Helvetia DI H watches are really relatively rare, it seems that only around 8000 of all types were ever completed The watch in nice running condition, but no warranty implied.  read more

Code: 26096

A Superb Antique, Shinto Era, Unokubi (鵜首) Zukuri Blade Tantō, 17th Century. Edo Matsushiro Sinano School Sinchu and Silver Koshirae. Just Arrived From A Premium Grade Collection, Previously Acquired Over Decades

A beautiful little tanto with a fine Shinto blade of rare blade shape, in very clean polish, with just a very few minuscule age surface marks which is remarkable as it is around 400 years old. The tsuka {hilt} is very unusually bound in its original, Edo period, leather tsuka-ito in partial battle-wrap style over traditional white samegawa {giant rayskin}. The saya has stunning and intricately applied pine needle decor beneath clear lacquer and overall this early samurai dagger is incredibly appealing, and would make a fine start to a collection, or a great addition to an already existing one. The superb samurai swords that just arrived {including this one} are numbering around 25 fine pieces, from the Koto to Shinshinto period vary from tachi to katana, chisa katana, wakazashi and tanto And include, two, very fine signed ancestral bladed WW2 mounted officer's swords. One in such fine condition one could imagine it was just surrendered last week, by a Japanese colonel, not 80 years ago!

Unokubi (鵜首) is 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.

The fuchigashira and sayagaki and jiri are all matching brass decorated with fulsome designs and silver striping. Fully matching suite of sinchu and contrasting silver line mounts to the tsuka and saya, all from the Edo period Matsushiro Sinano school.

The tanto was invented partway through the Heian period. With the beginning of the Kamakura period, tanto were forged to be more aesthetically pleasing, and hira and uchi-sori tanto becoming the most popular styles. Near the middle of the Kamakura period, more tant? artisans were seen, increasing the abundance of the weapon, and the kanmuri-otoshi style became prevalent in the cities of Kyoto and Yamato. Because of the style introduced by the tachi in the late Kamakura period, tanto began to be forged longer and wider. The introduction of the Hachiman faith became visible in the carvings in the hilts around this time. The hamon (line of temper) is similar to that of the tachi, except for the absence of choji-midare, which is nioi and utsuri. Gunomi-midare and suguha are found to have taken its place.

During the era of the Northern and Southern Courts, the tanto were forged to be up to forty centimetres as opposed to the normal one shaku (about thirty centimetres) length. The blades became thinner between the uri and the omote, and wider between the ha and mune. At this point in time, two styles of hamon were prevalent: the older style, which was subtle and artistic, and the newer, more popular style. With the beginning of the Muromachi period, constant fighting caused the greater production of blades. Blades that were custom-forged still were of exceptional quality. As the end of the period neared, the average blade narrowed and the curvature shallowed

Blade length 7 1/2 inches long tsuba to tip, overall in saya 12 3/4 inches

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

Code: 25975

A Simply Superb Looking Original, Victorian, 8th King's Royal Irish Hussars 'Charge of the Light Brigade', 1821 Pattern, Hussar Trooper's Sword In Simply Amazing Fully Restored and Conserved Condition. With White Buff Hide Knot

Polished bright steel hilt with original triple wire bound leather grip, regimentally marked, for the 8th Hussars upon the quillon, excellent and bright polished rolled steel dent free scabbard, showing areas of previous light polished out surface pitting.
Blade is superb with a few sword to sword, close combat edge cuts

During the Crimean War, the regiment formed part of the Light Brigade. The regiment set sail from Plymouth in early March 1854. Five ships were needed to transport them to the Black Sea. The Echunga, Mary Anne and the Shooting Star left first, followed by the Medora and the Wilson Kennedy on 1 May.4 The next battle was near the River Alma in September 1854 and the 8th Hussars were awarded the battle honour for a convincing defeat of the enemy. On 28 September, following a report that Russian troops were out in front of Balaklava town, the troop of the 8th, which made up Lord Raglan's escort under Captain Chetwode, was thrown out in skirmishing order. The Horse Artillery then came up and opened fire, causing the Russians to abandon all their wagons and flee from the scene. Some 70 wagons and carts were captured, some only containing small arms ammunition, which was destroyed. The rest of the wagons contained black bread. The troops were allowed to pillage the wagons that did not contain anything of value to the Commissariat. As a result, within a few minutes, the ground was strewn with various pieces of clothing – Hussar uniforms, fur cloaks, and wigs. The carriages were said to belong to the suite of Prince Menshikov. After this engagement until 25 October, the regiment furnished patrols and outpost duties, being billeted close to vineyards and barns containing water, corn, hay and fuel.5

The charge of the Light Brigade, October 1854; The 8th Hussars were in the third line of cavalry (on the right of the picture)
In October, Balaklava and the Charge of the Light Brigade took place. It was started when 25,000 Russians tried to capture Balaklava, the British Army's only port, defended by the 93rd Highlanders, some Turks, and the Cavalry Division. Lieutenant Colonel Sherwell led the King's Royal Irish Hussars, forbidding two soldiers to carry their swords in the charge because they had "Disgraced the regiment by smoking in the presence of the enemy". The charge through the crossfire into the mouths of the Russian guns is vividly described by Lieutenant the Hon S Calthorpe, an 8th Hussar ADC.

The pace of our Cavalry increased every moment, until they went thundering along the valley, making the ground tremble beneath them. On they went headlong to death, disregarding aught but the object of their attack. At length they arrived at the guns, their numbers sadly thinned, but the few that remained made fearful havoc amongst the enemy's artillery.3


The Charge of the Light Brigade by Richard Caton Woodville
As part of the second wave of the brigade's attack, the 8th were in line with the 4th Light Dragoons and, advancing in support at a steady pace, came under fire. Wounded men and horses from the leading squadrons kept dashing out, making the lines unsteady. With the pace increasing, the 4th were not checked by their officers and the lines separated. In spite of the fall of men and horses, the regiment passed the remains of the battery in the valley.6 The 8th pushed through the line of Russian gunners to the remnants of the first line in retreat, unaware that a Russian brigade of light cavalry was at hand. A regiment of Russian lancers was advancing from behind, as the 8th Hussars went through the infantry crossfire and lost half their men. The remnants of the brigade formed up, totalling about 70 men. They decided to attack the Russian lancers, eventually overthrowing them. The ground was now opened up for the brigade to retire, the 8th now pursued their course to their original position, followed by all the other horsemen of the other regiments and, as their horses became blown or wounded, they tailed. The Russians were now recovering in confidence and they pursued the dismounted men. The officers of the 8th called off the men, freeing up the ground for artillery fire, which gave many the chance to escape. Overall, two officers and 19 other ranks were killed and two officers and 18 other ranks were wounded. One officer and seven other ranks were taken prisoner-of-war.

Indian Rebellion of 1857

The 8th spent a year in England after the Crimea, but were called to India to help suppress the Indian rebellion of 1857 and were ready for war in February 1858. The most celebrated action of the war came three months later at Gwalior when a squadron of the 8th, under Captain Heneage fought a large Indian force under Rani Lakshmibai trying to leave the area. The 8th Hussars charged into the enemy, killing swathes of Indian soldiers, taking two guns and continuing the charge right through the Phul Bagh encampment. Rani Lakshmibai, the Queen of Jhansi state, dressed as a cavalry leader, was badly wounded. She did not want the British to capture her body, so she told a hermit to burn her body. General Sir Hugh Rose awarded the squadron four Victoria Crosses under Clause 13 of the Victoria Cross warrant.9 This meant that one officer, one NCO, and two for the corporals and troopers, all to be elected by their comrades. Captain C W Heneage, Sergeant J Ward, Farrier G Hollis and Private J Pearson were chosen to be recipients. The citation was published in the London Gazette of 28 January 1859, The remaining year of the Mutiny consisted of the pursuit of the rebel forces. On 5 September 1858, a squadron of "D" Troop, 8th Hussars, caught the mutineers at Beejapore, inflicting heavy losses. Of the 850 enemy troops, no less than 450 bodies were counted dead on the field. On 8 September 1858, at Beejapore, when both the officers attached to the troop were disabled, Troop Sergeant-Major James Champion, although severely wounded himself at the start of the action, continued to do his duty and wounded several of the enemy. For this action, he too was awarded the Victoria Cross. From then on, until 21 May 1859, when the Headquarters Troop reached Nusserabad, all troops had been in search of the rebels. In its time in India, the 8th had gone through two hot-weather campaigns, H.Q. Troop had shifted camp 300 times and marched over 3000 miles with some of the other Troops marching close to 4000 miles. Reaching Meerut in February 1861, there was an epidemic of cholera in which the regiment lost two officers and thirty-one men. The title of the regiment was simplified in 1861 to the 8th (The King's Royal Irish) Hussars.  read more

Code: 26099

Mist Rare Museum Piece Dirigible Airship Medal, Experiences a L'Etablissement de Chalais Meudon 1885 Medal of the Early Airship Experiments at Chalais-Meudon, France

Identical examples in the Aeronautical and Space Museum of the Met, and the Yale Collection

In 1885, the La France airship continued pioneering, controlled flights at Chalais-Meudon, France, managed by Charles Renard and Arthur Constantin Krebs. Following its 1884 debut, this electric-powered, cigar-shaped dirigible successfully returned to its starting point 5 out of 7 times in 1885, proving the viability of fully controlled, closed-circuit flight before the project was halted due to heavy battery weights.
Key Aspects of the 1885 Chalais-Meudon Experiments:
The Airship La France: The airship, constructed by 1884, was a 50.9-meter-long, 8.4-meter-diameter, elongated balloon designed for stability and control.
1885 Performance: While the inaugural flight was in August 1884, the airship continued to operate in 1885, with its final flight of that series on September 23, 1885. It successfully achieved its goal of maneuvering and returning to its base in the majority of trials.
Key Personnel: Charles Renard and Arthur Constantin Krebs led these experiments, developing advanced, lightweight electric motors for the vessel.
Infrastructure: The flights originated from Hangar Y at Chalais-Meudon, which was the world's first airship hangar.
Significance: Although the heavy, inefficient battery-powered electric motor proved to be a dead end for long-range travel, the 1885 experiments were crucial in proving that steered flight, rather than mere floating, was possible.
Technological Context in 1885:
The experiments were heavily focused on military applications for France.
The work at Chalais-Meudon directly influenced later, more successful, and larger airship designs by demonstrating that controlled flight was achieved.
A commemorative bronze medal, featuring "BALLONS DIRIGEABLES EXPERIENCES A L'ESTABLISSEMENT DE CHALAIS-MEUDON 1885," was issued to mark the significance


Experiences at the Establishment of Chalais Meudon 1885 commemorative medal; Obverse: relief of the mythical figures Icarus and Daedalus depicted, embossed text "LABOR, IMPROBUS, OMNIA VINCIT."; Reverse: relief of a robed female figure pointing at a dirigible depicted, embossed text "SIC ITUR AD ASTRA, BALOONS DIRIGEABLES EXPERIENCES A L'ETABLISSEMENT DE CHALAIS MEUDON 1885"  read more

Code: 26097