A Most Beautiful Original Edo Period Shinto Samurai Wakizashi by Echizen ju Kozuke no Kami Fujiwara Kanesada, A Sword Maker Deemed Saijō Ō Wazamono (Supreme Grade), Ō Wazamono (Excellent), Yoki (Ryō) Wazamono (Very Good)

Signed over both sides of the nakago, Echizen ju Kozuke no Kami Fujiwara Kanesada 1680.

If you only had a single Japanese samurai short sword in your collection you would have to go a very long way to find a better example than this beauty. Bearing in mind it's beautifully signed, of stunning quality, in amazing condition, and, its almost 350 years old.

A good and rated sword smith. A swordsmith, Kozuke no Kami Fujiwara Kanesada is listed as one of just 65 Swordmakers that produced a swords of three of the high grades of quality blades, ōwazamono, ryōwazamono, or wazamono. Excellent, very good and good. Wazamono is a classification of Japanese swords and swordsmiths used in Japan to identify historic blades of exceptional quality. According to the first edition of Kaiho Kenjaku (懐宝剣尺) published in 1797, There are 163 Wazamono swords in total, grouped into four categories based on their quality. Twelve swords are classified as Saijō Ō Wazamono (Supreme Grade), twenty-one swords are classified as Ō Wazamono (Excellent), fifty swords are classified as Yoki (Ryō) Wazamono (Very Good), and eighty swords are classified as Wazamono (Good).

This rating is based on a book compiled by Yamada Asaemon V (山田浅右衛門吉睦), an official sword cutting ability examiner and executioner of the Tokugawa shogunate, and is an authoritative index of cutting ability of Japanese swords. The list of ratings concerning swordsmithing differs between Kaiho Kenjaku (懐宝剣尺) published in 1797 and the reprinted edition published in 1805, and the major revised edition of Kokon Kajibiko (古今鍛冶備考) published in 1830. Add up the number of sword smiths in each edition: Saijo Ō Wazamono 15, Ō Wazamono 21, Yoki Wazamono 58, Wazamono 93, and 3 grades mixed 65. The list of swordsmiths described below is the swordsmiths described in the first edition of Kaiho Kenjaku. The blade of shinogi-zukuri form, slightly undulating suguba of nioi with pronounced nie, indistinct tight mokumehada, the ubu nakago with kiri yasurime and one mekugi-ana, signed Echizen no ju Kozuke no kami Fujiwara Kanesada; koshira-e: the saya (scabbard) of roiro lacquer; ovoid iron stuba , shakudo fuchigashira with geese and reeds in gilt metal relief. The blade is in very good polish, the lacquer on the saya also very good and the original. Superb condition tsukaito silk hilt wrap .
Blade 48.5cm (19 1/8in) from tsuba to tip .  read more

Code: 23481

A Majestic Edo Period, 425 Year Old, Samurai Wakazashi Of Museum Quality. With a Pure Layered Gold Habaki of the Ryojin, The "Dragon King," & Fuchigashira With His Pure Gold Servants The Sea Turtles

A most splendid samurai sword, the secondary sword of likely a daimyo, clan lord, around 425 years old. The blade bears a wonderous hamon of incredible activity with the Shinto Osaka school designs of gunome midare ba, with crab claws. it has just been expertly cleaned and conserved and looks spectacular.

The saya is one of the most beautiful we have seen with all its original urushi lacquer of a black base ground decorated with crushed abilone, over lacquered with clear urushi nad then takebori symbols of open ended infinity throughout. It has its all original Edo period shakudo and gold mounts of superlative beauty of the turtles. According to traditional Japanese beliefs, the turtle is a haven for immortals and the world mountain, and symbolizes longevity, good luck, and support. It is the symbol of Kumpira, the god of seafaring people especially. He is said to have lived tens of thousands of years.
Ryujin or Ryojin "dragon god", which in some traditions is equivalent to Owatatsumi, was the tutelary deity of the sea in Japanese mythology. This Japanese dragon symbolized the power of the ocean, had a large mouth, and was able to transform into a human shape. Ryujin lived in Ryugu-jo, his palace under the sea built out of red and white coral, from where he controlled the tides with magical tide jewels. Sea turtles, fish and jellyfish are often depicted as Ryujin's servants.

The tsuba is an absolute gem in shakudo with hammered pure gold onlaid paulownia leaves set in half surface decorated hand carved takebori open fretwork of tendrils. Paulownia is a symbol of good fortune, royalty, and the imperial family in Japan. It's depicted in the seal of the Prime Minister and used in various government emblems. The menuki are birds of paradise and shakudo and gold flying in clouds and match the very same design on the kodzuka, a bird of paradise, of gold and shakudo, utility knife, stored in the traditional kozuka saya pocket.

Samurai have been describes as "the most strictly trained human instruments of war to have existed." They were expected to be proficient in the martial arts of aikido and kendo as well as swordsmanship and archery---the traditional methods of samurai warfare---which were viewed not so much as skills but as art forms that flowed from natural forces that harmonized with nature.
An individual, in certain circumstances, apparently didn't become a full-fledged samurai until, some say, he wandered around the countryside as begging pilgrim for a couple of years to learn humility. Again this may be part of the myth. However, when all his training was completed a samurai trainee that achieved samurai status and received a salary from his daimyo, paid from taxes (usually rice) raised from the local populace, he truly became the very best at his art in the world of sword combat

Swords in Japan have long been symbols of power and honour and seen as works of art, which is exactly what they are.

In Japan the term samurai evolved over several centuries

In Japanese, they are usually referred to as bushi (武士,) or buke (武家). According to translator William Scott Wilson: "In Chinese, the character 侍 was originally a verb meaning 'to wait upon', 'accompany persons' in the upper ranks of society, and this is also true of the original term in Japanese, saburau. In both countries the terms were nominalized to mean 'those who serve in close attendance to the nobility', the Japanese term saburai being the nominal form of the verb." According to Wilson, an early reference to the word samurai appears in the Kokin Wakashū (905–914), the first imperial anthology of poems, completed in the first part of the 10th century.

Originally, the word samurai referred to anyone who served the emperor, the imperial family, or the imperial court nobility, even in a non-military capacity.It was not until the 17th century that the term gradually became a title for military servants of warrior families, so that, according to Michael Wert, "a warrior of elite stature in pre-seventeenth-century Japan would have been insulted to be called a 'samurai'".

In modern usage, bushi is often used as a synonym for samurai

Every item is accompanied with our unique, Certificate of Authenticity. Of course any certificate of authenticity, given by even the very best and highly esteemed 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 behind us. The current two partners alone, combined together, have over 96 years of professional experience within the trade.

Overall the condition is excellent for age, with just a few small marks withing the lacquered saya urushi,  read more

Code: 25752

A Wonderful Late Koto to Early Shinto Period Samurai Katana In Superb Condition Circa 450 Years Old. Superb Original Full Suite of Original Edo Koshirae, Including Gold and Shakudo Goto School Mounts & Signed Tsuba

The blade is absolutely stunning in very fine polish, and showing a beautiful billowing, very deep hamon of extraordinary fine quality. Goto gold and shakudo fuchi kashira of deep takebori chrysanthemums and tendrils. Gold menuki of hawks, and a complimentary signed mokko form iron plate tsuba with a hawk in flight with gold highlights. Original Edo tsuka-ito and blade polish, and original Edo saya with fabulous original ishime pattern urushi lacquer of top quality, with minor age bruising and a saya jiri mount of pierced openwork.

Cherished for its infinite versatility, urushi is a distinctive art form that has spread across all facets of Japanese culture from the tea ceremony to the saya scabbards of samurai swords

Japanese artists created their own style and perfected the art of decorated lacquerware during the 8th century. Japanese lacquer skills reached its peak as early as the twelfth century, at the end of the Heian period (794-1185). This skill was passed on from father to son and from master to apprentice.

The 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 endured for almost 700 years, from 1185 to 1867. Samurai families were considered the elite. They made up only about six percent of the population and included daimyo and the loyal soldiers who fought under them. Samurai means one who serves."

Samurai were expected to be both fierce warriors and lovers of art, a dichotomy summed up by the Japanese concepts of to stop the spear expanding 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 synthesised 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 may 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.

It has been said that part of their military training, samurai were taught to sleep with their right arm underneath them so if they were attacked in the middle of the night and their the left arm was cut off the could still fight with their right arm. Samurai, it has been said, that if they tossed and turned at night were cured of the habit by having two knives placed on either side of their pillow.

Samurai have been describes as "the most strictly trained human instruments of war to have existed." They were expected to be proficient in the martial arts of aikido and kendo as well as swordsmanship and archery---the traditional methods of samurai warfare---which were viewed not so much as skills but as art forms that flowed from natural forces that harmonized with nature.

Long 29 inch blade, overall in saya 40.3 inches long

Every single item from The Lanes Armoury is accompanied by our unique Certificate of Authenticity. Part of our continued dedication to maintain the standards forged by us over the past 100 years of trading  read more

Code: 24998

A Beautiful Edo Period Akasaka School O Sukashi Tsuba Decorated in Cut Silhouette With Clouds, Stars and Moon.

Early in the 17th century, tradition says, a dealer of Kiōto, named Kariganeya Hikobei, practised the designing of openwork iron guards in a new and refined style and had them made by a group of skilled craftsmen. From among these men he selected one Shōgunal capital, and settled with him at Kurokawa-dani in the Akasaka Japanese text district. Shōzayemon took the name of Tadamasa and continued his work on Kariganeya’s designs, dying in 1657. His son (or younger brother) Shōyemon, who succeeded him, calling himself Tadamasa II and adopting Akasaka as a surname, died in 1677 and was in turn succeeded by his son Masatora (d. 1707), by Masatora’s son Tadamune, and thence by four generations all called Tadatoki, the last living on into the middle of the 19th century. The first Tadatoki seems to have removed to Kiōto with his father’s pupil Tadashige and there to have founded a western branch of the school. Besides these a number of pupils, all called Tada-…, are recorded.

The earlier Akasaka guards closely resemble the pierced work of the Heianjō and Owari workers (Group III). Later productions display a number of striking features, such as clean-cut fret-piercing in positive silhouette of designs leaving little of the iron in reserve, the addition of a slight engraving finish, a rounded or rather tapered edge to the guard, and, in some of the more recent specimens, the semi-circular enlargement of each end of the tang-hole, as if to take a plug (not supplied) of abnormal size. Enrichments of other metals are entirely absent.  read more

Code: 25445

A Simply Fabulous Samurai's Loyalty, Ritual-Exchange, Wine Bowl, A Sakazuki of Hiramaki-e Pure Gold Lacquer. Signed Yoyusai (1772-1845)

A Sakazuki cup, a footed Circular Wine Cup of pure gold lacquer signed Hira Yoyusai decorated with the symbols of the highest ranking samurai, an Imperial court cap, a pole arm and General's war fan. Sakazuki is a ritual of exchanging sake cups as a means of pledging loyalty. The word itself refers to ceremonial cups used on special occasions like weddings, tea ceremonies, etc. There are currently two known versions of the sakazuki ritual.
Worthy of any museum grade collection of the finest Japanese Ob'ject D'art. Edo period (19th century), signed Yoyusai (1772-1845). A footed, circular cup of pure gold lacquer in gold hiramaki-e on fundame ground. Decorated with an Imperial court cap, a war fan, a pole arm and a tied sack. Likely commissioned for a notable of the highest rank, such as a daimyo lord or member of the Japanese nobility. In the period Kwansei, 1789 to 1801 C.E., Koma Kwansai, Inouye Hakusai, and Hara Yoyusai were the most famous artists, the first of whom was foremost in the delicacy of his work, but was comparatively unknown. Nakayama Komin was a distinguished lacquerer who worked in Edo and learnt the art from Hara Yoyusai (1772-1845). Yoyusai and other 19th-century lacquer artists including Koma Kansai and Zeshin, Nakayama Komin turned to famous early masterpieces of Japanese lacquer for inspiration. A superbly executed piece of finest artwork, showing remarkable skill for the minutest detail. Hiramaki-e, in Japanese lacquerwork, gold decoration in low, or flat, relief, a basic form of maki-e. The pattern is first outlined on a sheet of paper with brush and ink. It is then traced on the reverse side of the paper with a mixture of heated wet lacquer and (usually red) pigment. The artist transfers the pattern directly to the desired surface by rubbing with the fingertips, a process called okime. In the next step (jigaki), the pattern that has been transferred is painted over with lacquer usually a reddish colour. A dusting tube is used to sprinkle gold powder on the painted design while the lacquer is still wet. When the lacquer is dry, superfluous gold powder is dusted off, and a layer of clear lacquer is applied over the gold-covered design. When dry, it is polished with powdered charcoal. A second layer of lacquer is added, allowed to dry, and given a fingertip polish with a mixture of linseed oil and finely powdered mudstone.

The hiramaki-e technique, which dates from the latter part of the Heian period (794-1185), was preceded by togidashi maki-e, a technique in which not only the design but the whole surface is covered with clear lacquer after the sprinkling of metal powder; the lacquer is then polished down to reveal the design. During the Kamakura (1192-1333) and Muromachi (1338-1573) periods, hiramaki-e tended to be overshadowed by takamaki-e (gold or silver decoration in bold relief). It came fully into its own only in comparatively modern times. During the Azuchi-Momoyama period (1574-1600), hiramaki-e artists often left the sprinkled gold powder unpolished in a technique called maki-hanashi (left as sprinkled). A very beautiful piece by the master or an homage to Yoyusai bearing his name.

5" diameter across 1.33 inches high

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: 22989

A Good & Sound 1889 Pattern Imperial German WW1 Officers Sword With Prussian Eagle Hilt. Double Fullered Blade and Bright Polished Steel Combat Scabbard

Double fullered straight blade, and all bright steel combat scabbard. Overall in nice condition with field service stitched leather covered grip. With Prussian ordnance stamp at ricasso of the blade..

The Infantry Officer Degen 89 has a fixed, decorative, semi-basket guard, whereas private purchase version often had folding guards. The guard contains a Prussian Eagle.

Many of these swords were also used in the 3rd Reich by veteran officers serving in WW2. Numerous Vintage photographs of WW2 German Officers show them wearing this pattern of sword.

Prussians were the dominant force in the new state of Germany, but it was their King, Kaiser Wilhelm II, an impetuous, impatient man, who effectively globalised the First World War (by joining the Austrian declaration of war on Serbia after the assassination of Franz Ferdinand) because he thought the English and French were seeking his annihilation. That was the beginning of the end for Prussia; the Kaiser abdicated at the end of the war, and the Prussian state was abolished by the Nazis.

So while there’s no place called Prussia any more, the word ‘Prussian’ is still out there in general useage, but has become more generic, used to describe someone good at giving and obeying orders, being punctual, proper, disciplined, punctual, and honest. As well as rather blinkered, inflexible and unimaginative.  read more

Code: 26354

A Very Good German WW2 Heer (Army) Officer's Dagger and Portopee .WKC (Weyersberg, Kirschbaum & Co.) One of the Most Famous and Historic Blade Manufacturers From Solingen, Germany,

An exceptional early 1936 army officers dagger by renown maker WKC

This is a textbook example of this early type of officers dagger by maker WKC With a 90-plus year old matching patina. The grip is a beautiful deluxe amber pumpkin colour with zero chipping or cracking. The cross guard is very good, as is the pommel. The edges are crisp while the surfaces remain smooth. The blade is well marked. It is relatively bright throughout. The early scabbard is the finely-detailed type with hand detailed beveled bands. The scabbard is perfectly straight with some slight aging marks along its length, exhibits nice bright finish small edges of dark patina. With good hanging rings with matching tone. Additionally with an original tied knot, aluminium wire portopee, in fine condition. This piece is overall in fine condition for age. A local acquisition and has remained untouched.

The army dagger was designed by Paul Casburg and was allowed as a side arm option in place of the Army sword in 1935.

The grip came in white, yellow or orange and had a carved groove format, running clockwise, on the grip. One type is the Amber glass grip that is twice as heavy as real amber Early grips are found being a solid plastic material, by 1939 the grips changed to being plaster filled and wood base with a plastic coating.

The very early cross guard and pommel were made from brass with a thick 4 microns of silver plating. Later issued fittings range from nickel based to an alloy plated with 1-2 microns of silver, as well as nickel plating. The last daggers made had a dull gray oxide finish. It should be noted that early daggers were finished with a dark burnishing in the reassess of the fittings, that was to make the dagger look like an antique.

Cast onto the cross guard was an eagle with wings wide open holding an oak leaf wreath in its talons. At the centre of the wreath was a swastika. The pommel had a ring of oak leaves rising vertically from the grip to the pommel top, with the pommel screwed onto the blade tang to secure the grip, cross guard and blade. On early daggers there was a clear lacquer applied over the fittings.

The blade had no motto or engraving as standard. Many blades were cross-grained polished, but it is usually lost over the decades. Etching as well etched presentations, or applied presentation Damascus or just plain damast blades were available at extra cost. Its rare to find real damast blades with a trademark on them as this cost the buyer extra to have this applied.

Early Army dagger’s had a brass based scabbard, that after 1936 went to a steel based scabbard that was covered in a simple "pebble dash" finish. Again the very early brass based had 4 microns of silver plating where as the later were reduced to 1-2 microns of silver finish as well as the nickel finish and late issues with the gray oxide finish. Pressure fitted to the scabbard were two hanger suspension rings with oak leaf patterns onto which the hanger was clipped. The early daggers had a clear lacquer applied over the finish.

Two hanger straps, Silver coloured face with field grey velvet backs were used. The fittings range from base material of silver-plated brass to a natural aluminium finish.

The army dagger ceased production in 1943  read more

Code: 26353

A Very Attractive, Original, British, Regulation Royal Naval Officers Sword, Post 1953 Pattern, Used in The Falklands War The South Atlantic Campaign. Made By Gieves Of Saville Row, London

Made by Gieves of Saville Row London. Almost all the original gilt remains to the hilt, sharkskin grip multiwire bound. Brass mounted leather scabbard overall in very nice order. the blade is maker marked Gieves, with ERII cypher of the late wellbeloved Queen Elizabeth IInd.

A good and sound light grade Royal Naval officer's sword.

Gieves Ltd was one of Britain’s most prestigious naval and military outfitters, established in the late 18th century and closely associated with the Royal Navy. Operating from key naval centres including London, Portsmouth and Devonport, the firm supplied uniforms, swords and equipment to generations of naval officers. Like many high-end outfitters, Gieves commonly retailed swords manufactured by specialist blade makers, applying their own etched retailer panels to private-purchase officer swords ordered to individual specification. Pieces bearing the Gieves name are therefore strongly associated with officer-quality dress equipment and remain highly regarded today.

The Fleet: The British force assembled 44 warships, 22 Royal Fleet Auxiliary ships, and 45 merchant ships.Key Ships: Core air support relied on the aircraft carriers HMS Hermes and HMS Invincible.

Air and Sea Control: The primary strategy focused on securing total maritime and air dominance before attempting major troop landings.

Amphibious Landings: Troops went ashore at San Carlos Water on East Falkland on 21 May 1982, an operation heavily supported and enabled by naval escorts.

Logistical Hurdles: The task force operated 8,000 miles from home bases without local air supremacy, exposing ships to heavy air attacks in confined coastal waters.

Aircraft Carriers HMS Hermes (The conflict's flagship) HMS Invincible

Aircraft Carriers:

HMS Hermes (Flagship) & HMS Invincible.

Landing Platform Docks (LPD):

HMS Fearless & Intrepid.

Type 82 Destroyer:

HMS Bristol.

Type 42 Destroyers:

HMS Sheffield, Glasgow, Coventry, Cardiff, Exeter.

County Class Destroyers:

HMS Glamorgan & Antrim.

Type 22 Frigates:

HMS Brilliant & Broadsword.

Type 21 Frigates:

HMS Acive, Alacrity, Ambuscade, Antelope, Ardent, Arrow & Avenger.

Leander Class Frigates:

HMS Argonaut, Penelope, Minerva & Andromeda.

Rothesay Class Frigates:

HMS Yarmouth & Plymouth.

Landing Ship Logistics:

RFA Sir Bedivere, Sir Galahad, Sir Geraint, Sir Percivale, Sir Tristram & Sir Lancelot.

The blade however has areas of old pitting throughout its length, thus it is priced accordingly.  read more

Code: 26352

Grande Armee Issue, From the Consular To Ist Empire Period. French Napoleonic Year 13 Cuirassier Sword, Manufactured at Versailles in the Early Imperial Period, Circa 1804-1806. Inspected by Nicholas Cherrer, Chef De Battalion

Blade stamped with the mark of the Fasces for the 'Petit Garantie' 1798 to 1809, plus AP for L'Atelier Precision Paris, Paris Workshop and the hilt has the Versailles approval stamp.

Versailles was the premier hilt manufactury and assembly workshop for the Republic and Empire, and only the very finest would pass acceptance. All of the Elite Imperial Guard sword hilts were supplied from here. The Versailles Director was Boutet, probably the greatest & most respected Arms maker that ever lived, his pistols and guns, made for the King and Napoleon, are some of the most beautiful objects ever created by man.

This would have seen service in the Elite Cuirassiers of Napoleon's great heavy cavalry regiments of the Grande Armee such as in 1807 at Friedland. And in the French invasion of Russia ( Campagne de Russie) that began on 24 June 1812 when Napoleon's Grande Armee crossed the Neman River in an attempt to engage and defeat the Russian army. Napoleon hoped to compel Tsar Alexander I of Russia to cease trading with British merchants through proxies in an effort to pressure the United Kingdom to sue for peace. The official political aim of the campaign was to liberate Poland from the threat of Russia. Napoleon named the campaign the Second Polish War to curry favour with the Poles and provide a political pretence for his actions. The Grande Armee was a very large force, numbering nearly half a million men from several different nations. Through a series of long marches Napoleon pushed the army rapidly through Western Russia in an attempt to bring the Russian army to battle, winning a number of minor engagements and a major battle at Smolensk in August. Napoleon hoped the battle would mean an end of the march into Russia, but the Russian army slipped away from the engagement and continued to retreat into Russia, while leaving Smolensk to burn. Plans Napoleon had made to quarter at Smolensk were abandoned, and he pressed his army on after the Russians. The battles continued, but once the winter set in Napoleon's army was facing insurmountable odds that left it effectively shattered beyond repair. Napoleon fled, it is said, dressed as a woman, and the army left to it's sad and miserable fate. Only around 27,000 were able to return after a mere six months of the Russian campaign. The campaign was a turning point in the Napoleonic Wars. The reputation of Napoleon was severely shaken, and French hegemony in Europe was dramatically weakened.
The Grande Armee, made up of French and allied invasion forces, was reduced to a fraction of its initial strength. These events triggered a major shift in European politics. France's ally Prussia, soon followed by Austria, broke their alliance with France and switched camps. This triggered the War of the Sixth Coalition. The Cuirassiers Heavy Cavalry Regiments used the largest men in France, recruited to serve in the greatest and noblest cavalry France has ever had. They fought with distinction at their last great conflict at the Battle of Waterloo in 1815, and most of the Cuirassiers swords in England very likely came from that field of conflict, after the battle, as trophies of war. However, this sword was one of the few that were allowed to remain in the elite cuirassier corps after Waterloo, serving King Loius XVIIIth both before Napoleon's 100 days, and after his crushing defeat by Wellington at Waterloo. In fact one can see it has been issued, re-issued and even re-inspected by Capt. Louis Balaran, at least twice times with numerous serial numbers and inspection stamps stamped and struck out in its working life from 1806.

Every warrior that has ever entered service for his country sought trophies. The Mycenae from a fallen Trojan, the Roman from a fallen Gaul, the GI from a fallen Japanese, the tradition stretches back thousands of years, and will continue as long as man serves his country in battle. In the 1st century AD the Roman Poet Decimus Iunius Iuvenalis Juvenal
wrote; "Man thirsts more for glory than virtue. The armour of an enemy, his broken helmet, the flag ripped from a conquered trireme, are treasures valued beyond all human riches. It is to obtain these tokens of glory that Generals, be they Roman, Greek or barbarian, brave a thousand perils
and endure a thousand exertions". A truly magnificent Napoleonic sword in superb condition for it's age.
The largest sword of its kind that was ever made or used by the world's greatest cavalry regiments. The cuirassiers were the greatest of all France's cavalry, allowing only the strongest men of over 6 feet in height into its ranks. The French Cuirassiers were at their very peak in 1815, and never again regained the wonder and glory that they truly deserved at that time. To face a regiment of, say, 600 charging steeds bearing down upon you mounted with armoured giants, brandishing the mightiest of swords that could pierce the strongest breast armour, much have been, quite simply, terrifying. The brass basket guard on this sword is first class, the blade is double fullered and absolutely as crisp as one could hope for. Made in the early Napoleonic Wars period.
Just a basic few of the battles this would have been used at such as Friedland in 1807, in 1812 and beyond 1812: Borodino and Moscow, Ostrowno, and Winkowo 1813: Reichenbach and Dresden, Leipzig and Hanau
1814: La Rothiere, Rosnay, Champaubert, Vauchamps, Athies, La Fere-Champenoise and Paris
1815: Quatre-Bras and Waterloo. The blade has fabulous steel bright colour, and hilt has fabulous patina. Overall 45.75 inches long in its scabbard, the spear pointed blade is 37.5 inches long. Just old staining to the scabbard steel.

The French Elite Cuirassier Sword is surely one of the most impressive Heavy Cavalry swords ever made, being of incredible size quality and stature. Used in the great campaigns of Napoleon by the Elite Grande Armee Cavalry, from Austria through the Russian Campaign, into the Peninsular War and finally the The Battle of Waterloo. All the Cuirassier were front line regiments, none ever utilized as Militia. With steel combat scabbard, multi fullered blade, brass 4 bar hilt with wire bound leather grip. Circa 1806. The blade is exactly as it should be, and bearing the matching Atelier Paris and Versailles stamp of 1806. Leather grip re-covered some time long past. Excellent condition hilt, and blade, later scabbard  read more

Code: 26351

A Most Attractive Antique Afghan Khyber Knife, Pesh Kabz or Choora, With Amber Hilt and Fine Armour Piercing Blade. Almost The Pair To the Example Donated To the British Museum By HRH Prince Richard Duke of Gloucester

Afghan knife (peshkabz or choora) with a straight single-edged steel blade which tapers from the hilt to a sharp point. The steel runs through the spine of the hilt, which is clad with amber type grip with a projection at the grip side of the pommel. The blade is decorated on the top and on the spine of the hilt with lightly incised and punched floral designs. The translusent amber sectional parts of the hilt are affixed by both domed and flat head iron rivets. The sheath is made of wood clad in brass sheet metal with flower head impressed design with leather top mount

The Amber type hilt handles were fashioned from blocks of amber, often Baltic or regional amber, or an amber type material, pinned or riveted to a full tang. While horn, bone, ivory, and walrus tusk were far more common, amber coloured hilts were reserved for high-status, decorative, or custom-commissioned pieces

The blade is made of high-carbon or crucible/watered steel (wootz), featuring a reinforced "T-spine" cross-section designed to punch through mail armour without bending. It is broad at the forte (base) and tapers sharply to a fine needle point

The Scabbard is typically a wood core wrapped in sheet brass, embossed with flowers and a leather top band.

A very similar example was donated by: HRH Prince Richard, Duke of Gloucester to the British Museum, British museum number; As1982,11.3.a  read more

Code: 26350