A Most Rare British Pattern 1859 Naval Cutlass Bayonet With Scabbard Made By Reeves. One of Only 800 Made. An Absolute Beauty with a Stunning Blade & Scabbard Condition & Original, Blackened Japanned Finish, Steel Bowl Guard

The Enfield Rifle Pattern 1859 Cutlass Bayonet was imported during the Civil War by both the North and South for the both their Navy and Coastal Artillery units.

The British Pattern 1859 Naval Cutlass Bayonet was designed for the Royal Navy to pair with the Pattern 1858 Enfield Naval Rifle. Manufactured by Charles Reeves & Co. of Birmingham, genuine Reeves-stamped examples are exceptionally scarce, as Reeves produced fewer than 800 pieces. The vast majority of Pattern 1859 bayonets were outsourced to Solingen, Germany
An 1859 cutlass bayonet scabbard stamped "SG" is typically a British Pattern 1859 Naval Cutlass Bayonet scabbard. The "SG" mark stands for Soper & Company, Simmons & Ginder, or represents an acceptance/inspection stamp. Scabbards were made of black leather with steel or brass mounts

This is a very fine example of the scarce British Pattern 1859 Type II Naval Cutlass Bayonet & Scabbard for use on the Pattern 1858 “Enfield” Naval Rifle. These rifles had thicker barrels than the standard Pattern 1856 rifle and were rifled with 5 grooves instead of the normal 3 grooves. The British military wanted to create a dual-purpose bayonet for the rifle, much like Admiral Dahlgren did with his Bowie Knife/Bayonet for the US Model 1861 Naval Rifle and settled on a combination naval cutlass and bayonet as the most practical design. However, the length and weight of the bayonet must have made its use on the end of a rifle very awkward. The British military contracted for about 80,000 of these cutlass bayonets, and it is interesting to note that aside from a small contract of less than 800 delivered by Reeves of Birmingham, all of the other contractors involved used Solingen made blades in the fabrication of their bayonets.

In fact, established Solingen sword maker and cutler Carl Reinhardt Kirschbaum of Solingen, working under the business name of C.R. Kirschbaum, established a new business venture for the specific purpose of producing Pattern 1859 Naval Cutlass Bayonet blades. This cutlass is one of those very rare examples made by Reeves.


The Pattern 1859 Type II Naval Cutlass Bayonet offered here is in FINE condition overall and is accompanied by a very hard to find original scabbard, that is in very good condition. The blade is full-length at 27” and is clearly marked with the maker mark of Reeves on the ricasso. The muzzle ring measures .830”. As noted above, there are no British military acceptance or storekeepers’ marks on the bayonet anywhere. In fact, there are no other marks on the cutlass bayonet at all, other than a mating number on the reverse pommel cap. This mark is the number 109, struck upside down. The blade retains much of its original high polished steel appearance with only some very small areas of duller gray colour and scattered flecks of oxidation and discoloration. The blade is almost entirely smooth, showing only some very minimal pinpricking, along its length, combined with the patches of age staining. The solid iron basket hilt has a bright appearance with some scattered surface oxidation and light surface rust, much of which could probably be cleaned off with a little effort. The interior of the guard retains about 90%+ of its original black jappaning with only some scattered scratching, light wear and surface scuffing. The original locking spring is present in the grip and functions exactly as it should. The two-piece pressed leather grip panels are in about fine condition and show only minimal shrinkage and retain about 80%+ of their original finish. The grips retain the majority of their roll embossed knurling (while the pattern is “checkered” it is not actual checkering but embossing with a roll die) and show only some light wear, minor scuffmarks and some light rounding to the sharp checking tips. The grips are much nicer than they are normally encountered on a bayonet of this pattern and are really attractive. The balance of the iron hilt has thinly oxidized brown patina that is almost entirely smooth, over the duller gray base metal. The original scabbard accompanies the bayonet, which is an extremely difficult item to come by. The scabbard is in complete and solid condition with both original iron mounts in good condition and well secured to the leather scabbard body. The mounts have a medium dull gray, smoky coloration with some lightly scattered pinpricking present. The scabbard body is solid and complete with the original stitching securely in place along the seam in the rear. The only real condition issue for the scabbard is that the leather appears to have been over-dyed to black from dark brown, or possibly this is just added finish to make the black more even. Either way, it is relatively minor, as these scabbards are quite hard to come by and this is a solid, good looking example.



Overall this is a really attractive example of one of the scarcer British bayonets to be found on this side of the ocean. While there is no way to be sure, the lack of British acceptance marks raises the possibility that this cutlass bayonet may have been purchased by US or CS agents for use on one of the Enfield Pattern 1858 Naval rifles that were imported by both sides during the war. Of all the Enfield “short rifles”, the Naval Rifle was one that was imported in very small quantities, making the bayonets even more uncommon in America today. The bayonet is in really fine condition and is accompanied by a very scarce original scabbard. This is a great example of a rare bayonet, complete with scabbard, and would be a great addition to display with any Pattern 1858 Naval rifle or add to your collection of Civil War era bayonets.

The slashing attack with the cutlass at sea wasn't practical. One must remember that ship's decks were extremely tight quarters and overcrowded. Although some longer swords made it to sea, the primary edged weapons were short hangers, cutlasses, dirks, etc. Thrusting weapons were the item of choice, evidenced by the reemergence of the ancient pike, much shortened to fit on a crowded ship's deck. The point is that it makes sense that the cutlass could be used as a sharpened bludgeon, but worked better as a stabbing implement like the pikes and dirks.

A jab to the face or neck could obviously be lethal, penetrating the airway, severing the trachea, carotids and jugular. To the chest, there is penetration of the lungs, bronchus (all fatal), heart and great vessels (aortic arch), abdominal cavity with its vascular liver and pancreas.

Also consider the cutlass in the use for defense of the ship vs the aggressor boarding party. Netting was placed over the ship to discourage boarders, with the sailors stabbing through the netting as the enemy attempted to clamber onto the deck. Again, a cutlass would work far better here as a thrusting defensive weapon, stabbing through the tight ropes at those on the other side.  read more

Code: 26277

A Fabulous, Original, 1930's Airship Zeppelin Photograph & Photograph Airship {Luftpost} Mail Postcard Collection From The Hindenberg. All Are Original & Third Reich Period, In The Collectors Album

89 total photograph and Luftpost photograph cards of the Hindenburg Zeppelin Airship. The airship that exploded in 1937 in America.
Including photograph souvenir postcards, bought from the Hindenberg by its passengers, then postal service stamped over German stamps, and ink stamped by DZR (Deutsche Zeppelin-Reederei) The Nazi Airship company, was effectively controlled byFeldmarshall Herman Goring. One particularly interesting card is the stamped Zeppelin Luftpost airmail post card for the opening of the 1936 Berlin Olympics

This is an absolute beauty and one of the best we have seen outside of an Historical Aeronautical Museum. all are in fabulous condition, and there are some really rare beauties in the collection.

LZ 129 Hindenburg (Luftschiff Zeppelin 129; Registration: D-LZ 129) was a German commercial passenger-carrying rigid airship, the lead ship of the Hindenburg class, the longest class of flying machine and the largest airship by envelope volume.3 It was designed and built by the Zeppelin Company (Luftschiffbau Zeppelin GmbH) on the shores of Lake Constance in Friedrichshafen, Germany, and was operated by the German Zeppelin Airline Company (Deutsche Zeppelin-Reederei). It was named after Field Marshal Paul von Hindenburg, who was President of Germany from 1925 until his death in 1934.

The Hindenburg made ten trips to the United States in 1936.45 After opening its 1937 season by completing a single round-trip passage to Rio de Janeiro, Brazil, in late March, the Hindenburg departed from Frankfurt, Germany, on the evening of May 3, on the first of ten round trips between Europe and the United States that were scheduled for its second year of commercial service. American Airlines had contracted with the operators of the Hindenburg to shuttle passengers from Lakehurst to Newark for connections to airplane flights.

The Hindenburg disaster was an airship accident that occurred on May 6, 1937, in Manchester Township, New Jersey. The LZ 129 Hindenburg (Luftschiff Zeppelin 129; Registration: D-LZ 129) was a German commercial passenger-carrying rigid airship, the lead ship of the Hindenburg class, the longest class of flying machine and the largest airship by envelope volume.1 It was designed and built by the Zeppelin Company (Luftschiffbau Zeppelin GmbH) and was operated by the German Zeppelin Airline Company (Deutsche Zeppelin-Reederei). It was named after Field Marshal Paul von Hindenburg, who was President of Germany from 1925 until his death in 1934. It caught fire and was destroyed during its attempt to dock with its mooring mast at Naval Air Station Lakehurst. The accident caused 35 fatalities (13 passengers and 22 crewmen) from the 97 people on board (36 passengers and 61 crewmen), and an additional fatality on the ground.

A total of 89 period photographs, with period photograph post cards. The first 34 are period photographs, index listed, and then many post cards that are rubber stamped by the airline luftpost etc., and 8 others, with postage stamps, and airmail Luftpost stamped with text and addresses, including one to a British recipients address and one to an American recipients address in Kentucky. The American one, states in the handwritten letter to the recipient, the card photo was taken just half an hour before the explosion on board. The 8 postcard, airship Luftpost mail examples, are worth around £1,000 alone.

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: 24934

A Fine & Rare Medieval Short Sword, 15th Century, Used in the Battle of Agincourt 1415 Period, The Weapon of A Man-At Arms, Or Foot Knight of The Anglo French Wars Era of King Henry Vth

What a fabulous original ‘statement piece’ for any collector of fine early arms. In the world of collecting there is so little remaining in the world from this highly significant era in European and British history. And to be able to own and display such an iconic original representation from this time is nothing short of a remarkable privilege.

A man-at-arms was a soldier of the High Medieval to Renaissance periods who was typically well-versed in the use of arms and served as a fully-armoured heavy cavalryman.A man-at-arms could be a knight, or other nobleman, a member of a knight's or nobleman's retinue, or a mercenary in a company serving under a captain. Such men could serve for pay or through a feudal obligation. The terms knight and man-at-arms are often used interchangeably, but while all knights equipped for war were men-at-arms, not all men-at-arms were knights

A fine example piece, from the ancient knightly age, from around 620 to 700 years ago. an ancient and original historical sword in usual russetted condition for edged weapons of this era, with some elements lacking, the grip would have been made of organic material (such as wood or horn) and such natural materials cannot survive so many centuries without constant care . Furthermore, almost every item made of iron from this period, even the rarest of swords and daggers in the Royal Collection, will likely be in this very same state of preservation, with overall traces of surface russetting.

This sword is probably of Italian origin, from the earliest renaissance period. Swords and daggers from Germany and Italy were often imported all around Europe and certainly into Britain for the use of warrior knights and men-at-arms..

A straight short sword, likely shortened from longer, with wide double-edged blade, shallow central groove, battle nicks to the sides, iron hilt with cross-guard in unusual Oakshott style 4 with a raised quillon, pommel in the Oakshott B1 type. After several decades of relative peace, the English had renewed their war effort in 1415 amid the failure of negotiations with the French. In the ensuing campaign, many soldiers perished due to disease and the English numbers dwindled, but as they tried to withdraw to English-held Calais they found their path blocked by a considerably larger French army. Despite the disadvantage, the following battle ended in an overwhelming tactical victory for the English.

King Henry V of England led his troops into battle and participated in hand-to-hand fighting. The French king of the time, Charles VI, did not command the French army himself, as he suffered from severe psychotic illnesses with moderate mental incapacitation. Instead, the French were commanded by Constable Charles d'Albret and various prominent French noblemen of the Armagnac party.

This battle is notable for the use of the English longbow in very large numbers, with the English and Welsh archers forming up to 80 percent of Henry's army. The decimation of the French cavalry at their hands is regarded as an indicator of the decline of cavalry and the beginning of the dominance of ranged weapons on the battlefield.

Agincourt is one of England's most celebrated victories. The battle is the centrepiece of the play Henry V by Shakespeare. Juliet Barker in her book Agincourt: The King, the Campaign, the Battle ( published in 2005) argues the English and Welsh were outnumbered "at least four to one and possibly as much as six to one". She suggests figures of about 6,000 for the English and 36,000 for the French, based on the Gesta Henrici's figures of 5,000 archers and 900 men-at-arms for the English, and Jean de Wavrin's statement "that the French were six times more numerous than the English". The 2009 Encyclopædia Britannica uses the figures of about 6,000 for the English and 20,000 to 30,000 for the French. Weight 552 grams, 53cm (21”). Fine condition.

See Oakeshott, R.E., The Archaeology of the weapons, London, 1960; Oakeshott, E., The sword in the Age of the Chivalry, Woodbridge, 1964 (1994).

The word daga in Italy and the Venetian Empire indicated a double edged and pointed short sword, used for both war and hunting, usually 40 to 60 cm long. This medieval short sword was often used during duels. Swords like this were able to penetrate thin parts of full plated armour owing to their sharp point.

Ewert Oakshott , Ronald Ewart Oakeshott (25 May 1916 – 30 September 2002) was a British illustrator, collector, and amateur historian who wrote prodigiously on medieval arms and armour. He was a Fellow of the Society of Antiquaries, a Founder Member of the Arms and Armour Society, and the Founder of the Oakeshott Institute. He created a classification system of the medieval sword, the Oakeshott typology, a systematic organization of medieval weaponry, a seminal work of world renown  read more

Code: 23523

A Beautiful Aikuchi Tanto Sword With a Fine Early Shinto Blade Circa 1600 & A Full Suite of Koshirae Of the Tokugawa. The Shoguns Of Japan

A most fine tanto sword blade {all Japanese swords even tanto, are classified as swords} in superb polish showing an elegant suguha hamon. In wonderful full suite of original Edo aikuchi koshirae {fittings and mounts} are shakudo and sinchu, and decorated throughout with fourteen 'mon' {clan crest} panels of Shogun Tokugawa Iyesu. Likely the stunning aikuchi tanto of a high ranking Tokugawa retainer. All are Tokugawa mon with scrolling vines and ginger leaves and roots. There are four Tokugawa mon panels on the tsuka and ten panels on the saya. The kashira and saya jiri are in the form of decorated samurai court caps.

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

As once told to us by an esteemed regular visitor to us here in our gallery, Victor Harris, in order to study and discuss our extensive collection, and he used the same words that are repeated in his book below;

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

One of the greatest joys of sword collecting is the opportunity to learn about the history and culture of different civilisations. Swords have been used by warriors for millennia, and each culture has developed its own unique sword designs and traditions. By studying swords, collectors can gain a deeper understanding of the people who made and used them.

Another joy of sword collecting is the sheer variety of swords that are available. There are swords in our gallery from all over the world and from every period of history. Collectors can choose to specialize in a particular type of sword, such as Japanese katanas or medieval longswords, or they can collect a variety of swords from different cultures and time periods. No matter what your reasons for collecting swords, it is a hobby that can provide many years of enjoyment. Swords are beautiful, fascinating, and historically significant objects.

Collecting antique swords, arms and armour is not merely an acquisition of objects; it’s an engagement with the historical and cultural significance that these pieces embody. As collectors, we become custodians of history, preserving these heritage symbols for future generations to study and appreciate.

We are now, likely the oldest, and still thriving, arms armour and militaria stores in the UK, Europe and probably the rest of the world too. We know of no other store of our kind that is still operating under the control its fourth successive generation of family traders


We are very privileged to be the UK’s premier original military antiques gallery and website, and to be able to consistently, continually, and regularly, offer the finest original collectors items in our shop for over 100 years

Blade 12 inches long  read more

Code: 26276

A Wonderful 500 Year Old Koto Period Samurai 'Dragon' Wakizashi Samurai Short Sword, Another Absolute Beauty From Our Remarkable Collection of Samurai Museum Pieces

Based entirely around the legendary Japanese dragon, Bearing the dragon on all of its fittings and mounts including its kozuka utility knife. All of the fittings are original Edo period, of very nice quality the dragon tsuba is iron with gold highlights, of a chiselled takebori dragon signed by a very good tsuba maker, Kinai.

One has to bear in mind this tanto has been used by numerous samurai over more than a dozen generations, since the era, in England, when King Henry the VIIIth was a child.

The tsuka is superb and has its original, Edo period, beautiful mid blue silk binding, that is patterned damask silk with a clan mon design theme, with two very old, small surface moth marks. It is a very rare, and most infrequently seen form of deluxe quality tsuka-ito, that is wrapped over black samegawa giant ray-skin, over the gold dragon menuki. The fuchi is fine Soten school, of a pure gold decor takebori dragon, over a shakudo Nanak o ground. The kashira is hand carved and polished black buffalo horn.

The saya has its incredible Edo period urushi lacquer in a stippled ishime stone finish. and within its saya pocket is the kozuka utility knife, with a sinchu handle, decorated with a takebori carved sea dragon in crashing waves, the saya bears a shakudo mount of a deep and crisp, rare type takebori mythical flying sea dragon with a fishtail. The blade is in super and beautiful polish, showing a delightful light notare, based on suguha, hamon.

The original Edo period urushi lacquer on the saya is in simply excellent condition for age and shows most elegant patterning, it reveals within that intricacy the finest craftsmanship and beauty worthy of a master of the art of urushi decor. Japanese lacquer, or urushi, is a transformative and highly prized material that has traced it origins, and been refined, for over several thousands of years.

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

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

The varnish used in Japanese lacquer is made from the sap of the urushi tree, also known as the lacquer tree or the Japanese varnish tree (Rhus vernacifera), which mainly grows in Japan and China, as well as Southeast Asia. Japanese lacquer, 漆 urushi, is made from the sap of the lacquer tree. The tree must be tapped carefully, as in its raw form the liquid is poisonous to the touch, and even breathing in the fumes can be dangerous. But people in Japan have been working with this material for many millennia, so there has been time to refine the technique!

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.

As once told to us by an esteemed regular visitor to us here in our gallery, Victor Harris, in order to study and discuss our extensive collection, and he used the same words that are repeated in his book below;

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

One of the greatest joys of sword collecting is the opportunity to learn about the history and culture of different civilisations. Swords have been used by warriors for millennia, and each culture has developed its own unique sword designs and traditions. By studying swords, collectors can gain a deeper understanding of the people who made and used them.

Another joy of sword collecting is the sheer variety of swords that are available. There are swords in our gallery from all over the world and from every period of history. Collectors can choose to specialize in a particular type of sword, such as Japanese katanas or medieval longswords, or they can collect a variety of swords from different cultures and time periods. No matter what your reasons for collecting swords, it is a hobby that can provide many years of enjoyment. Swords are beautiful, fascinating, and historically significant objects.

Collecting antique swords, arms and armour is not merely an acquisition of objects; it’s an engagement with the historical and cultural significance that these pieces embody. As collectors, we become custodians of history, preserving these heritage symbols for future generations to study and appreciate.

We are now, likely the oldest, and still thriving, arms armour and militaria stores in the UK, Europe and probably the rest of the world too. We know of no other store of our kind that is still operating under the control its fourth successive generation of family traders


We are very privileged to be the UK’s premier original military antiques gallery and website, and to be able to consistently, continually, and regularly, offer the finest original collectors items in our shop for over 100 years  read more

Code: 24556

A Most Attractive 500 Plus Year Old Samurai Battle Katana With All Original Edo Mounts,

Shibui mounted in all its original Edo period mounts and saya. Higo iron fushigashira mounts, decorated with takebori gold aoi leaves. Tetsu round tsuba with pierced kozuka and [gilt copper filled] kogai hitsu-ana. The original Edo saya lacquer is simply beautiful, in two shades of black with an intricate fine rainfall pattern within the design. The menuki under the Edo silk binding, are patinated takebori flowers with pure gold highlights. The blade has a beautiful undulating hamon pattern of considerable depth.
Shibui is a term that effectively translates to ‘quiet’ , it is a reference to a sword that has a relatively subdued look as it concentrates on high quality yet subtle elegance, as it is a sword entirely concentrating on combat and less on flamboyant display. Of course all samurai swords were designed for combat, often despite being mounted as works of art, often with fantastic quality fittings worthy of Italian Renaissance jewels, such as the European equivalent work by the Italian master Cellini, but they would be for samurai eager to display their status in the elite hierarchy of the samurai class, such as daimyo. The swords mounted shibui were for the samurai of far more serious nature, dedicated to their more basic standards of bushido, the art of the ultimate warrior, with little or no interest in displays of rank. A samurai of the highest skill but preferring the anonymity of almost being invisible to unwanted attention.

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 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 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. 40 inches long overall. 28.5 inch long blade, from tsuba to tip., The blade is in super condition for its age, with just a few wear marks, and pit marks on the mune back edge near the boshi. The saya lacquer has some natural age craking at the base  read more

Code: 24217

Fabulous & Incredibly Rare Museum Piece. An Original WW2 SOE {Special Operations Executive} Secret Espionage Agent's Suitcase Radio Transmitter & Reciever Of An SOE Agent {Male Or Female} of the 'Secret Army', Used In Occupied German Territory 1942-45

SOE Special forces
Role; Espionage Irregular warfare (especially sabotage and raiding operations) Special reconnaissance
Nickname "The Baker Street Irregulars" "Churchill's Secret Army" "Ministry of Ungentlemanly Warfare"

A phenomenally rare, mid war WW2 SOE spy radio set, transceiver, with earphone headset and various and numerous components, in it's leather case with two catches. {later models changed from three to just two catches}.

The SOE agents transceiver suitcase radio was the iconic, and indeed most rarest of surviving SOE clandestine spy equipment, It may well indeed be one of the rarest pieces of WW2 spy equipment in the world, and as such an incredible and unique piece of original spy-craft history.
Developer of the transceiver was Captain John Brown (SOE).

The type used by SOE and OSS agent Virginia Hall. Dubbed by the Gestapo as the Limping Lady, as she had a wooden leg! { that she called Cuthbert}.
She had all the makings of a diplomat. Impeccably educated, fluent in multiple languages, and worldly from her years spent abroad from her native Baltimore, Virginia’s dream of a life in the foreign service was shattered when a hunting accident led to the amputation of her left leg. Attitudes toward disabilities were different in the 1930s, and even fitted with a prosthetic leg (which she named “Cuthbert”) Virginia was deemed unfit for the life of a diplomat.

The outbreak of WWII changed that attitude. Virginia, by then living in France, was well-placed to act as a forward agent for the Allies. Volunteering first for the British Special Operations Executive (SOE), Virginia worked agents, ran safehouses, and reported intelligence from Vichy France. Later, she volunteered with the US Office of Strategic Services (OSS), forerunner to the CIA. Her efforts earned her a place on the Gestapo’s “Most Wanted” list as “The Limping Lady”. She and Cuthbert continued to work against the Nazis right up through the Normandy invasion and liberation and earned a Distinguished Service Cross for her efforts – a rare honour for a civilian, and rarer still for a woman.

This is only the second we have had in years since WW2, and as fine as any one in the Imperial War Museum or the very few dedicated spy and espionage museums.

After France signed an armistice with Germany in June 1940, Great Britain feared the shadow of Nazism would continue to fall over Europe. Dedicated to keeping the French people fighting, Prime Minister Winston Churchill pledged the United Kingdom’s support to the resistance movement. Charged with “set(ting) Europe ablaze,” the Special Operations Executive, or SOE, was born.

Used by the most dedicated and bravest of people, men and women, who have ever served their country. Agents, such as Violette Szabo and Noor Inayat Khan, code name Madeleine, who only too well knew their chances of surviving without capture, torture and execution were slim at best. For them, and many, many others, survival was not to be.

Headquartered at 64 Baker Street in London, the SOE’s official purpose was to put British special agents on the ground to “coordinate, inspire, control and assist the nationals of the oppressed countries.” Minister of Economic Warfare Hugh Dalton borrowed irregular warfare tactics used by the Irish Republican Army two decades before. The “Baker Street Irregulars,” as they came to be known, were trained in sabotage, small arms, radio and telegraph communication and unarmed combat. SOE agents were also required to be fluent in the language of the nation in which they would be inserted so they could fit into the society seamlessly. If their presence aroused undue suspicion, their missions could well be over before they even began.

Portable communication devices were of utmost importance as radio and telegraph communication ensured the French resistance (and SOE agents) were not cut off from the outside world. Radio operators had to stay mobile, often carrying their radio equipment on their backs as they moved from safe house to safe house. Their survival depended on their ability to transmit messages rapidly and move quickly.
Along with irregular tactics and unusual materiel, the British government knew an irregular war required irregular warriors. Women proved to be invaluable as couriers, spies, saboteurs and radio operators in the field. Though female agents received the same training as the men, some balked at the idea of sending women behind enemy lines. They grudgingly agreed female spies would have distinct advantages over the men on the ground. Women could travel freely because they were not expected to work during the day. Gender stereotypes also helped keep the women above suspicion. After all, who could possibly imagine a woman could be a viable combatant in war? the Germans certainly thought not.

Women were more than viable, however: they were critical to SOE mission success. Though they would later be honoured for their “conspicuous courage,” the female spies of the SOE were successful because they learned to be inconspicuous. They took on secret identities, went on secret missions and were trusted with their nation’s greatest secrets. Thirty-nine of the 470 SOE agents in France were women, with an additional sixteen deployed to other areas.
The Gestapo gave Nancy Grace August Wake the nickname “the white mouse” because of her uncanny ability to evade capture. When she learned one of the resistance groups no longer had a radio for communication, she rode almost 300 kilometers on a bicycle to make radio contact with the SOE headquarters and arrange for an equipment drop. Despite many close calls, Wake survived the war. First Aid Nursing Yeomanry (FANY) member Odette Hallowes also cheated death. Embedded with the resistance in Cannes, Hallowes was captured and sent to the Ravensbrück concentration camp. She survived two years in prison, often in solitary confinement, before the camp was liberated by the Allied forces.
Other women were not so fortunate. Noor Inayat Khan, code name Madeleine, was a radio operator in France. After her entire team was ambushed and arrested, she was betrayed to the Gestapo by a French national hoping for a large reward. Khan did not break during interrogation and attempted escape from her captors several times. Sent to Dachau in September 1944, she was executed upon arrival. Violette Szabo, an agent inserted into Limoges, faced a similar fate at Ravensbrück. She was 23 years old.
By Kate Murphy Schaefer {abridged}. Kate Murphy Schaefer holds a MA in History with a Military History concentration for Southern New Hampshire University. She is also the author of a woman’s history blog, www.fragilelikeabomb.com.

Type 3 Mk. II B2
Clandestine suitcase transceiver · 1942
Type 3 Mark II, commonly referred to as B2, is a British WWII portable clandestine transceiver, also known as a spy radio set, developed in 1942 by (then) Captain John Brown at SOE Station IX, and manufactured by the Radio Communication Department of the SOE at Stonebridge Park. The set was issued to agents, resistance groups and special forces, operating on occupied territory. The official designator is Type 3 Mk. II but the radio is also known as Type B Mk. II, B.II and B2.

The B2 came in two versions. The initial version came in an unobtrusive leather suitcase that allowed an agent to travel inconspicuously. This is the most well-known variant. Later in the war it was dropped by parachute in two water-tight containers, that were more suitable for use by resistance groups operating in the field.

The images show this SOE Type 3 Mk.II transceiver in its brown leather suitcase, which can easily be recognized as the second type as it has two locks at the front.

Operating the Type 3 Mark II (B2)

The radio set consists of three units: a receiver (RX), a transmitter (TX) and a Power Supply Unit (PSU), plus a box with spares and accessories. When mounted in the suitcase, the transmitter is located at the center top, with the receiver mounted below it. The PSU is at the right in such a position that the two other units can be connected to it. The spares box is generally positioned at the left. When operating the B2, the lid of the spares box should be placed on the table, so that the Morse key can be operated.

The Type 3 Mk.II (B2) was relatively small for its day and produced an HF output power of 20 Watts. Nevertheless, it was too big to carry around unobtrusively especially when travelling by public transport. For this reason, later radios, such as the Model A Mk. III (A3) were made much smaller, albeit with a limited frequency range (3.2-9.55 MHz) and reduced power output (5 Watt).
The most well-known appearance of the B2 is the suitcase version, but hardly any surviving B2 is found in its original red leather suitcase. In fact, the B2 was delivered in a variety of different suitcases, ranging from sturdy leather cases to simple cardboard and even wooden based variants.

The first model original leather case is easily recognised, as it has three locks rather than the usual two. In many cases, the original case was swapped for a more common two-lock version, as it was easily recognised by the enemy, and any gain by the use of three locks became a severe hinderance in occupied territory while being hunted by the Gestapo.

Louis Meulstee's excellent book Wireless for the Warrior, volume 4 even shows an example of a wooden carpenter's toolbox in which a B2 is fitted. The dimensions of the suitcase are pretty standard for the era. The first B2 was in it's simulated leather cardboard covered wood frame suitcase. The cases were later changed in the war for twin catched cases, as the the earliest type had three {one lock and two catches} but that became too identifiable by the Gestapo.

A photograph in the gallery was taken during WWII, probably in 1942 or 1943, and shows this B2 radio's production line at the Bontex Knitting Mills, which became SOE Station VIIa (7a) . This facility is also known as Stonebridge Park,

While Virgina Hall {see her photo in the gallery} was adept in all aspects of tradecraft, one of the most powerful tools at her disposal was the suitcase radio, a catch-all term used to describe any transceiver small enough to be transported into the field and operated covertly. A suitcase was often used to house the radio as it would be less likely to arouse suspicion if the spy’s lair was discovered. The B2 suitcase radio was also a great form factor for a portable transceiver – just the right size for the miniaturized radios of the day, good operational ergonomics, and perfect for quick setup and teardown. You can even imagine a spy minimally obfuscating the suitcase’s real purpose with a thin layer of folded clothing packed over the radio.

Great care was given to ensure that the field agent would have every chance of using the radio successfully and that it would operate as long as possible under adverse conditions. With a power budget often limited to five watts or so, these radios were strictly QRP affairs. Almost every suitcase rig operated on the high-frequency bands between 3 MHz and 30 MHz, to take advantage of ionospheric skip and other forms of propagation. An antenna optimized for these bands would likely be a calling card to the enemy, especially in an urban setting, so controls were provided to tune almost any length of wire into a decent antenna.

Footnote; it is estimated around 7,000 of this form of clandestine spy-craft equipment were made by the British. It’s historical WW2 Nazi equivalent, the German made Enigma Machine, over 100,000 of those were manufactured, almost 15 times as many. Yet, surviving examples of the Enigma Machine can now achieve between $250,000 to $800,000. Thus, it is entirely possible that these suitcase transceivers can one day approach these figures, if not even likely. In fact in almost all respects they should be on a value parity already, as the operators of the Enigmas were based in relatively comfortable German bases, ships or field commands. Safe and relatively well protected and far away from fear and terror. The operators of these transceivers, men and women, many barely out of their teenage years, were, every single minute of every single day at appalling risk of capture and the inevitable, unspeakable torture {especially the women}, at the hands of the Gestapo, and summary execution, after being transferred to a concentration camp, sometimes simply within a few weeks of the start of their clandestine service in Nazi occupied Europe.

A dear friend of The Lanes Armoury partners {Mark and David's} remarkable late mother, Camilla Anne Hawkins, was Anita Vulliamy, daughter in law of Major-General C.H.H. Vulliamy. She was a simply a remarkable lady, who, during the war, was captured by the Gestapo, horrifyingly tortured, but managed to survive captivity. During her months in the Gestapo prison she crocheted a holy cross, made of prison cell straw bedding. After the war, her cross was exhibited alongside a similar piece, a straw doll, made by British SOE heroine Odette Churchill at a Charity event in London in 1956 and they raised £875 for the Polio Fund in one week. A huge sum in those days. Camilla mentioned that her friend, Anita, almost always wore fine leather gloves in company, as her finger nails had been torn out by her Gestapo interrogators. They grew back in part, but not well enough for Anita to feel comfortable to show her hands in public. Anita and Odette survived, and both considered themselves to be the extraordinarily lucky ones.

Interestingly the family have known, often purely by coincidence, numerous WW2 clandestine operatives. Mark knew another famous lady spy, when she was in her 60’s, quite well, but she was from the ‘other side’ so to speak. She was the very first of the notorious and despicable ‘Cambridge Five’ Spy Ring.

The lady was Russian spy Edith Tudor-Hart. Born in Vienna, she was a dedicated Communist, a talented Bauhaus-trained photographer, and a key KGB "talent spotter" who played a crucial role in recruiting the infamous Cambridge Five spy ring.Following the war and years of intense MI5 scrutiny, she eventually relocated to Brighton, where she operated a small antique shop until her death in 1973. Her highly secretive espionage career was only uncovered decades after she died. Mark used to sell her lace bobbins as a very young man, and over numerous cups of tea, she would chat about the war and her days at Cambridge {naturally, somewhat judiciously} She recommended Litzi Friedmann and Kim Philby for recruitment by the KGB and acted as an intermediary for Anthony Blunt and Bob Stewart when the rezidentura at the Soviet Embassy in London suspended its operations in February 1940

Born Edith Suschitzky in Vienna in 1908, she was a committed leftist who fled to the UK and became one of the 1930s' most prominent covert talent hunters for Soviet intelligence.After intense police and intelligence interrogations in the 1950s destroyed much of her photographic work and forced her out of the media, she moved to the coast. She spent her later years living an unassuming, quiet life in Brighton running an antique shop, only a few hundred yards from The Lanes Armoury.
Her status as an instrumental operative for the KGB was completely unsuspected by the public during her lifetime. Her role only emerged after the collapse of the Soviet Union in the 1990s.

The case has the usual service wear, with a small seam split front right, but overall, very good for age,. It has its headphones and complete with its 4 coils, and the power unit {front right of case} was upgraded in its functioning past.

Suitcase lock key lacking.  read more

Code: 26271

A Beautiful Original Victorian Merryweather Pattern Brass Fire Brigade Service Helmet. Complete With Original Liner and Chinscales

An original British Victorian fire service helmet, with signs of service use, naturally, and with denting on the crest and skull as usual, but it is simply part of its character, to demonstrate this is not a piece that never saw service but was used as it should, but cared for, and beautifully preserved for posterity.

The traditional two-piece skull has the embossed raised dragon comb, rose bosses, crossed axe and hoses helmet plate, and original leather liner complete. Overall in every way fair to better condition for age.

The desirable standard pattern of Fire Service helmet used by all British county and city Fire Services in the Victorian era and just past WW1.

The earliest fire brigade was Roman and that is the first fire brigade of which we have any substantial history was created by Marcus Licinius Crassus. Marcus Licinius Crassus was born into a wealthy Roman family around the year 115 BC, and acquired an enormous fortune through (in the words of Plutarch) "fire and rapine." One of his most lucrative schemes took advantage of the fact that Rome had no fire department. Crassus filled this void by creating his own brigade?500 men strong?which rushed to burning buildings at the first cry of alarm. Upon arriving at the scene, however, the fire fighters did nothing while their employer bargained over the price of their services with the distressed property owner. If Crassus could not negotiate a satisfactory price, his men simply let the structure burn to the ground, after which he offered to purchase it for a fraction of its value. Emperor Nero took the basic idea from Crassus and then built on it to form the Vigiles in AD 60 to combat fires using bucket brigades and pumps, as well as poles, hooks and even ballistae to tear down buildings in advance of the flames. The Vigiles patrolled the streets of Rome to watch for fires and served as a police force. The later brigades consisted of hundreds of men, all ready for action. When there was a fire, the men would line up to the nearest water source and pass buckets hand in hand to the fire.

Rome suffered a number of serious fires, most notably the fire on 19 July AD 64 and eventually destroyed two thirds of Rome.
In the UK, the Great Fire of London in 1666 set in motion changes which laid the foundations for organised firefighting in the future. In the wake of the Great Fire, the City Council established the first fire insurance company, "The Fire Office", in 1667, which employed small teams of Thames watermen as firefighters and provided them with uniforms and arm badges showing the company to which they belonged.
However, the first organised municipal fire brigade in the world was established in Edinburgh, Scotland, when the Edinburgh Fire Engine Establishment was formed in 1824, led by James Braidwood. London followed in 1832 with the London Fire Engine Establishment. Some small split perishing repairs on the skull above top right of the badge {facing the badge} and comb service denting.  read more

Code: 26275

A Beautiful 15th Century Chisa Katana Sword, Around 600 Years Old, Signed Nobukuni. From The Japanese Warring States Period. Gold Fan & Shakudo Fuchigashira and A Outstandingly Attractive Kuro Samegawa Togidashi Saya.

Circa 1430. A samurai sword chisa-katana, with an early signed blade, on-zukuri, o-suriage nakago with two-character mei (Nobukuni), with a fine suguha hamon typical of the Koto era, in old polish, with usual light wear marks. A beautiful Edo fuchi kashira of gold and shakudo, depicting folded fans of pure gold onlaid to shakudo. A large dark round tettsu tsuba likely Yokoya School, 19th century of circular form, engraved in katakiri and kebori with flying cranes beneath a willow tree.

Nobukuni Sadamitsu who is a son of third generation of Kyo Nobukuni(Saemon-no-jo) had moved to Buzen, Kyushu province during Nanbokucho period. Chikushi Nobukuni school had prospered long period till the Shinto era where master- smith Yoshida and his son Yoshisada, serving the Kuroda-han, was active.
This work was possibly made by Nobukuni-a son of Nobukuni Sadamitsu who was a master of the of Chikushi Nobukuni school. Many of his works are of the highly useful smaller sized such as chisakatana and wakazashi

The Hand Polished Giant Rayskin {Samegawa} Saya {Scabbard} kuro samegawa togidashi is a unique feature of some of the finest antique Japanese swords. The saya was hand made and bespoke fitted to the blade, and it was then covered in the preserved skin of the giant ray, which was extremely hard and course, made up of thousands of nodules. This surface was then hand polished to create a very hard, highly polished, flat, but uneven surface, that was then over lacquered, within the separate gaps between each nodule, with purest black urushi lacquer, and then polished once more, to create a perfectly flat hardened surface of extraordinary beauty. This remarkable hand finished work, unmatched throughout the world, could take over a year of supreme expert artisan skill, in order to create.

The Chisa Katana samurai sword;

The most common blade cutting edge lengths for Chisa katana was approximately eighteen to twenty-four inches. They were most commonly made in the Buke-Zukuri mounting (which is generally what is seen on katana and wakizashi). The chisa katana was able to be used with one or two hands like a katana (with a small gap in between the hands) and especially made for double sword combat a sword in each hand.
It was the weapon of preference worn by the personal Samurai guard of a Daimyo Samurai war lord clan chief, as very often the Daimyo would be more likely within his castle than without. The chisa katana sword was far more effective a defence against any threat to the Daimyo's life by assassins or the so-called Ninja when hand to hand sword combat was within the Castle structure, due to the restrictions of their uniform low ceiling height. The hilt was usually around ten to eleven inches in length, but could be from eight inches or up to twelve inches depending on the Samurai's It has been over one thousand years ago that the art of making swords appeared in Japan. The swordsmiths of the time may not have known it but they were creating a legendary sword. The Samurai sword has seen combat in many battlefields. From the early days of the Samurai warrior to the fierce battles in the South Pacific during WWII.
The earliest samurai, that carried this beautiful masterpiece, fought in the Japan's Warring States Period, or Sengoku Jidai (c. 1467–1603) It was a tumultuous era of intense civil war, political upheaval, and social change, marked by the collapse of central authority and the rise of powerful regional lords (daimyo) fighting for control over fractured Japan.
Triggered by the Ōnin War (1467), it saw constant conflict, the introduction of firearms, castle building, and eventually, the emergence of three great unifiers—Oda Nobunaga, Toyotomi Hideyoshi, and Tokugawa Ieyasu—who gradually reunified the country after the Battle of Sekigahar

As once told to us by an esteemed regular visitor to us here in our gallery, Victor Harris, in order to study and discuss our extensive collection, and he used the same words that are repeated in his book below;

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

One of the greatest joys of sword collecting is the opportunity to learn about the history and culture of different civilisations. Swords have been used by warriors for millennia, and each culture has developed its own unique sword designs and traditions. By studying swords, collectors can gain a deeper understanding of the people who made and used them.

Another joy of sword collecting is the sheer variety of swords that are available. There are swords in our gallery from all over the world and from every period of history. Collectors can choose to specialize in a particular type of sword, such as Japanese katanas or medieval longswords, or they can collect a variety of swords from different cultures and time periods. No matter what your reasons for collecting swords, it is a hobby that can provide many years of enjoyment. Swords are beautiful, fascinating, and historically significant objects.

Collecting antique swords, arms and armour is not merely an acquisition of objects; it’s an engagement with the historical and cultural significance that these pieces embody. As collectors, we become custodians of history, preserving these heritage symbols for future generations to study and appreciate.

We are now, likely the oldest, and still thriving, arms armour and militaria stores in the UK, Europe and probably the rest of the world too. We know of no other store of our kind that is still operating under the control its fourth successive generation of family traders



Blade of 21.75, total length including saya 36 inches  read more

Code: 26272

British WW2, Top Secret, Special Operations Executive, Special Air Service & Special Boat Service, Airborne Paras & Commando Issue. Top Secret Infra-red Night Vision Monocular Scope. Circa.1944

Very top secret at the time. It was made to look like a water canteen and was so secret even the US was not told about it. It is in fact the first night vision glasses issued to special force British units like the SAS/SBS.

Rare and Top Secret World War Two night vision infra-red monocular scope contained in its original brown leather carrying case and marked on both piece and carrying case with Identification marks.

The Germans also had their version called the Vampir. ZG 1229;
The ZG 1229 Vampir weighed 2.26 kilograms (5.0 lb) and was fitted with lugs on the StG 44 at C.G. Haenel in Suhl, the weapons production facility. As well as the sight and infrared spotlight, there was a wooden-cased battery for the light weighing 13.59 kilograms (30.0 lb), and a second battery fitted inside a gas mask container to power the image converter. This was all strapped to a Tragegestell 39 (pack frame 1939).The searchlight consisted of a conventional tungsten light source shining through a filter permitting only infrared light. The sensor operated in the near-infrared (light) spectrum rather than in the thermal infrared (heat) spectrum and was, therefore, not sensitive to body heat.

The image given was described as being of great brilliance and good contrast. Standing men could be discerned up to 73 metres (80 yd), especially when moving. However, reports indicate that ZG 1229 units were extremely delicate and considered too cumbersome for attack situations

Brief History of the British version:-

Manufactured in 1943, the British designed monocular Infra red night vision equipment was the first of it’s kind and took it’s basic design from pre-war Farnsworth television equipment. Having the vague appearance of a water bottle in a leather case, this device was used, prior to and on D-Day in Normandy by the assault pilotage {COPPs Combined Operations Pilotage Parties} and the SBS teams) to guide in the invasion task forces onto the beaches.
The unit itself comprised of a hermetically sealed receiver unit containing a triple pyle 3,000 volt battery, (long since dead) and the infra-red optics.

We show in the gallery a photo of the SBS WW2 in Athens , a squad that used these mobile night vision scopes. Another photo is of an WW2 SAS Jeep with the binocular fixed version of the scope fixed for the driver

The screen is magnified by a lens-eyepiece which is adjustable for focus by turning. This device was used by the commando, airborne and ranger units in many famous battles over the period of WWII and was classified as Top Secret.

Since the war night vision equipment has become one of the most important pieces of kit of the entire worlds special forces. All of it, effectively, developed from this very first design of top secret military issue night vision monocular. The current version used by British Special Forces cost around £20,000 per unit. The military advantages of such equipment is not to be underestimated, and although expensive, completely essential.  read more

Code: 26274