A Beautiful Antique Edo Samurai Long Katana. A Most Fine Katana With A Good Hon-Zukuri Blade With Midare Hamon and Full Length Hi

Soten school mounts on a botanical theme, in gold and shakudo, a taka zogan tsuba decorated with a peasant driving a bullock with a mountain in the background. Mumei tang. Very nice blade indeed, hon-zukuri with wonderful hamon in midare form. The stunning menuki, bound under the original Edo micro cord tsuka-ito of birds, are also in gold and shakudo.

This is a katana made for a ranking samurai based on horseback in combat, a medium weight and cursive katana, a battle sword, yet with beautiful fittings and features, and made to complete an uncomprimising task of close combat and aggressive swordmanship.
Although samurai would not, one would say, be a cavalry based warrior, all senior samurai would be mounted and thus travel on horseback, and some cavalry type samurai could be deployed in battle, but with differing combat styles depending on what part of Japan they came from. The cavalry troops, being Samurai, had personal retainers that stayed closer to them in the Sonae, carried their weaponry and worked as support units, much like an European squire. They also joined the fight whenever possible (especially in the mounted infantry scenario) and were often responsible of taking heads for their lords.
These foot Samurai were also used as heavy infantry or archers to support the ashigaru lines.


Tactics
Given the fact that the Samurai could directly dismount and operate as infantry, there were some specific tactics for horsemen.
Cavalry in general was only used after the battle was already started, either to deliver a decisive victory or to trying to save the day.

Norikiri
This is a classic charge, where several small groups of five to ten horseman ride consequently (possibly with a wedge formation) into a small area against the enemy lines, to maximize the shock. It was mainly used by heavy cavalry in the East, but given the fact that the ideal target where "weavering" units with low morale or disorganized, even medium cavalry could perform this charge.
The main role of this charge was to create confusion; if it didn't succeed, the cavalry regroups and either retreat or deliver another charge.

Norikuzushi
This is a combined infantry and cavalry charge. The horseman charged first, and after creating mayhem, a second charge is delivered by infantries armed with polearms, which could keep on fighting. The main target for this tactics were ranged units detached by the army. After a Norikuzushi usually follows a Norikiri by the cavalry group. 30 inch blade tsuba to tip. The saya has two colour lacquer in red and black.  read more

Code: 25300

A Beautiful, Shinto Period, Handachi Mounted Samurai Katana. Fitted With All Original Edo Mounts. Showing Great Quality, Shibui {Quietly Reserved} And Without Undue Extravagance. An Impressive Sword With Incredible & Elegant Lines & Curvature

Worthy of any museum grade collection.

All original, fabulous, Edo period koshirae sword fittings and mounts, a fully matching suite of han dachi mounts semi tachi form inlaid in pure gold arabesques on iron, Higo style. The blade is in beautiful polish showing a spectacularly undulating regular gunome hamon. The tsuka is bound in blue silk and the saya has its original old Edo ishime lacquer, the tsuba is a mokko form iron plate inlaid with a stylized dragon in gold to match the fittings.

Han-dachi originally appeared during the Muromachi period when there was a transition taking place from tachi to katana. The sword was being worn more and more edge up when on foot, but edge down on horseback as it had always been. The handachi is a response to the need to be worn in either style. The samurai were roughly the equivalent of feudal knights. Employed by the shogun or daimyo, they were members of hereditary warrior class that followed a strict "code" that defined their clothes, armour and behaviour on the battlefield. But unlike most medieval knights, samurai warriors could read and they were well versed in Japanese art, literature and poetry.

Samurai 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 synthesized in feudal Japan and later became a key feature of Japanese culture and morality.
The quintessential samurai was Miyamoto Musashi, a legendary early Edo-period swordsman who reportedly killed 60 men before his 30th birthday and was also a painting master. Members of a hierarchal class or caste, samurai were the sons of samurai and they were taught from an early age to unquestionably obey their mother, father and daimyo. When they grew older they 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.

As part of their military training, apparently, 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 that tossed and turned at night may be 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.

It can also be said an individual didn't become a full-fledged samurai until he wandered around the countryside as begging pilgrim for a couple of years to learn humility. How accurate this was is dependant on the urgencies of war.

When this was completed they achieved samurai status and receives a salary from his daimyo paid from taxes (usually rice) raised from the local populace.

Swords in Japan have long been symbols of power and honour and seen as works of art. Often times swordsmiths were more famous than the people who used them.

As with all our items it comes complete with our certificate of authenticity. Blade tsuba to tip 27.5 inches, overall in saya 38.5  read more

Code: 23038

Original, Antique, Victorian Household Cavalry Armour Breastplate Cuirass of the LifeGuards, The Blues &The Royals. The Mounted Personal Bodyguard Regiments of the British Monarch, Part of The Household Division Crimean War Era

With With brass edge trim & rivets. It bears the ordnance inspection stamps. Used by all of H.M.Queen Victoria's Household Cavalry regiments, the monarch's mounted bodyguard. It bears the original Victorian ordnance inspection stamps. Used by all of H.M.Queen Victoria's Household Cavalry regiments.

Photographed against a background of an original 20th century Life Guards tunic in scarlet with gold trim.

During a visit to the Tower several decades ago, thanks to an invitation by our friend Howard Blackmore {historian and assistant curator at the Tower} we had a discussion, amongst many other subjects, of the conversion of the Life Guards and Horseguards back to armoured heavy cavalry, after around 150 years of un-armoured service as the monarch's mounted guard since the 17th century.

This is one of those early cuirass breast plates created for the newly armoured horse guards regiments.

From 1661 to 1778, the Life Guards Troops saw action in the Jacobite Wars, the Second Dutch War
(when they served as sailors) ant the War of the Austrian Succession. In 1778 the four Horse
Guard Troops and Horse Grenadiers re-formed as the 1st Life Guards. Both Regiments fought
with distinction in the Waterloo campaign.
For the Egyptian War of 1882, Life Guards formed a Composite Household Cavalry
Regiment with the Royal Horse Guards, making Royal Horse Guards, making the famous
moonlight charge at Kassain. In 1894, for the relief of Khartoum, both Regiments contributed
soldiers to the Heavy Camel Regiment and were again formed as a Composite Household
Cavalry Regiment for the 2nd Boer War in 1900

The Royal Dragoons (1st Dragoons), initially known as The Tangier Horse, were raised by
King Charles II to form part of the garrison at Tangier, which had been acquired on his
marriage to Catherine of Braganza as part of her dowry. Known as The Royals, during the
18th century the Regiment saw service in most of the same wars as The Blues, including the
Peninsula campaign and Waterloo, where the Regiment famously captured the Eagle of the
French 105th Infantry Regiment. However, in the 19th century, unlike The Blues, The Royals
saw service in the Crimea and in India.  read more

Code: 25911

A Very Good Princess Mary Box Of Christmas 1914. With Almost All Its Original Gold Lacquer Present & Dent Free. Very Few Surviving Examples Today Are In Such Good Condition

An original Princess Mary Box, that were sent as a royal gift each of to the British regular troops in the frontline trenches in WW1 at Christmas 1914, the first Christmas of the war.

During World War One King George V and Queen Mary got very involved in active war work. The King mainly visited battlefields (as recorded on the King at the Front postcards) while the queen organised clothing drives, visited hospitals and other welfare organisations. Princess Mary, then 18, often accompanied the Queen and according to the book Princess Mary, Viscount Lascelless became intensely concerned, with Christmas looming, about the well-being of the soldiers and sailors serving far from home. With her parents consent the following letter of appeal was published in November 1914.

' For many weeks we have all been greatly concerned for the welfare of the soldiers and sailors who are so valiantly fighting our battles by land and sea. Our first consideration has been to meet their more pressing needs and I have delayed making known a wish that has long been in my heart, for fear of encroaching on other funds, the claim of which have been more urgent. I want you all to help me send a Christmas present from the whole nation to every sailor afloat and every soldier at the Front. On Christmas Eve, when, like the shepherds of old, they were wont to hang out their stockings, wondered what the morrow had in store. I'm sure that we should all be happier to feel that we had helped to send our little token of love and sympathy on Christmas morning something that would be of useful and permanent value, and the making of which may be the means of providing employment for trades adversely affected by the war. Could there be anything more likely to hearten them in their struggle than a present received straight from home on Christmas Day Please will you help me Mary".

In support of this appeal many periodicals of the day published or referred to her letter.

The following example appeared in the Illustrated War News of 4 November 1914 'Princess Mary is appealing for help to send a Christmas present, from the Nation, to every Sailor afloat and every Soldier at the front. Remittance should be addressed to H.R.H. the Princess Mary, Buckingham Palace, S.W., the envelopes marked Sailors and Soldiers Christmas Fund. The appeal was very successful for it had reached 131,000 Pounds by 16 December .It was initially decided that the Gift would be received by every sailor afloat and every soldier at the Front wearing the King's uniform on Christmas Day 1914. The difficulty for the committee was deciding how many to get manufactured. They calculated that 145,000 sailors including Royal Marines and 350,000 soldiers including the Indian Contingent qualified. It was therefore calculated that between 55 and 60,000 pounds would be needed to cover the cost of nearly 500,000 gifts. The final Fund total was reported by the Committee on 30 June 1919 as 193,667 pounds 4s and 10d. Monies from the fund is also reported as having been used, to buy War Bonds and, in War Loans. The funds that remained at the end were apparently transferred to Queen Mary's Maternity Home founded for the benefit of the wives and children of sailors, soldiers and airmen of the newly formed Royal Air Force. Abridged from an original article by Grahame Barber. 2nd Lieutenant R C Leach of the 1st Battalion, King's Own Royal Lancaster Regiment wrote to his mother describing Christmas 1914:
I think we must have had a decidedly more cheerful Christmas than you at home. For a start on getting into billet I found 15 parcels waiting for me. They had a special Post Office bag for them. Well on Christmas morn I spent till about 1.30 issuing presents to the men; both yours which were very welcome and those sent in bulk to be divided amongst the troops, each regiment getting a certain share. There were also Princess Mary's presents which consisted of a packet of cigarettes, a pipe, a packet of tobacco and a Christmas card from King and Queen. Also in the gallery a photo for information only of a soldier opening his Princess Mary Gift Tin, Christmas 1914.  read more

Code: 25906

A Simply Superb & Most Impressive Antique, Original French, Mid to Late 19th Century, Elite Cuirassiers, Heavy Cavalry Combat Sword

Typical Cuirassier double fullered 95 cm straight double fullered blade, arsenal engraved along the spine, Manf D'armes Du Chatl: Avril 1874 Cavalrie De Reserve Cuirassiers Mdl. 1854. Brass guard, somewhat of the Sabre de Cavalerie modele M1822 type, with replaced leather bound grip. Blade inspector stamped by Lt Col. Paul Charles Maldon & Francis Louis Sprenger

Much of the French heavy cavalry wore armoured cuirass and were armed with their straight swords, pistols and carbines. Though the armour could not protect against contemporary flintlock musket fire, it could deflect shots fired from long-range, stop ricochets and offer protection from all but very close range pistol fire. More importantly, in an age which saw cavalry used in large numbers, the breastplates (along with the helmets) provided excellent protection against the swords and lances of opposing cavalry and against infantry bayonets. It also had some psychological effect for the wearer (effectively making the cuirassier more willing to plunge into the thick of fighting) and the enemy (adding intimidation), while it also added weight to a charge, especially in cavalry versus cavalry actions.
Napoleonic French cuirasses were originally intended to be proof against three musket shots at close range; however, this was never achieved in practice. The regulations eventually recognised this, and cuirasses were subsequently only expected to be proof against one shot at long range. Dragoon regiments were not armoured.

The French cuirassiers numbered 11 regiments at the outbreak of war but had not seen active service since the Battle of Waterloo. A brigade comprising the 6th and 9th Regiments had served in the Crimean War but had not actually encountered the enemy. Accordingly, the prospect of action against the Prussian Army, in the Franco Prussian War which included 10 cuirassier regiments of its own, was seen as an opportunity for a strongly traditional branch of the French cavalry to prove its continuing relevance. In the event, in a series of massed charges against Prussian infantry and artillery at Froeschwiller and Rezonville, the French cuirassiers suffered very heavy losses for little return. To cover the French retreat General Michel's brigade of cavalry was ordered to charge. The order was somewhat vague, and in his position under cover near Eberbach, General Michel's had no knowledge of the actual situation. Thus it came about that, without reconnoitering or manoeuvering for position, the French cavalry rode straight at the first objective which offered itself, and struck the victorious Prussians as they were crossing the hills between the Albrechtsh userhof and Morsbronn. Hence the charge was costly and only partly successful. However, the Prussians were ridden down here and there, and their attention was sufficiently absorbed while the French infantry rallied for a fresh counterstroke. This was made about 13:20 h with the utmost gallantry. The Prussians were driven off the hillsides between the Albrechtsh userhof and Morsbronn which they had already won. But the counter-attack turned into disaster when 700 French cuirassiers were trapped inside Morsbronn and massacred within a few minutes by rapid close-range fire. The rest of the French cavalry eventually came under fire from the great artillery mass above Gunstett; von Bose having at length concentrated the main body of the XI corps in the meadows between the Niederwald and the Sauer, the French had to withdraw.

The story of the Cuirassiers at Reichshoffen displayes well the courage of the French cavalrymen. The French infantry withdrawal involved the retreat of the troops who had fought all day in defence of the Niederwald.
In desperation, MacMahon ordered General Michel's Cuirassier brigade (8th and 9th Cuirassiers) to attack the Prussians and buy his infantry the time they needed to fall back. Morsbronn and the flank of the Prussian XI Corps was to be the target of the charge.
Obediently Michel led his cuirassiers out of Eberbach where they had been held in reserve all morning. Sunlight glinted off polished cuirasses and helmets and harness jangled as the magnificent cavalry trotted off towards the south. As they emerged from the narrow Eberbach valley, Michel quickly lined up his squadrons and sounded the charge. Their swords drawn and horsetail crests streaming behind them, the cuirassiers thundered towards the Prussians. Suddenly the charging troopers were met not by a hail of bullets, but by hedged fields, fences, and trellised vineyards. The formation began to come apart. The various captains rallied their squadrons and continued the advance, but momentum had been lost. Now Prussian infantry opened on the French cavalry at point-blank range, and Krupps guns tore huge gaps in the charging ranks as horses and riders plunged and went down in writhing masses. A few squadrons actually reached Morsbronn where the Prussians blasted them from second story windows and trapped them in barricaded streets. Nine squadrons were shot to pieces.
No scabbard  read more

Code: 20222

An Incredibly Impressive, French IInd Empire, Napoleonic Sword Of the Elite Carabiniers-à-Cheval 1854. Serving Napoleon IIIrd in the Second Empire From The Crimean War and In The Franco Prussian War As Part of Napoleon's Imperial Guard

Carabiniers-à-Cheval were cavalry equipped with armour and firearms, and were also commonly called heavy cavalry, very similar to Curassier units. They were quite common from the 15th century, up until the late 19th century, and were heavily armoured, and had swords to match, their equipment mostly duplicating that of the Curassiers.
The most famous sword of the 1st Empire was the Heavy Cavalry Curassier Sword, used by Emperor Napoleon's elite Heavy Cavalry throughout the period following the French Revolution, until the destruction of the French at The Battle of Waterloo in 1815. The early models had a plain pommel mount and the three bar brass guard each ended in a "ball". After Emperor Napoleon's defeat at Waterloo in 1815, a new design was decided on known as the Model of 1822 which did away with the ball tipped cross guard bars and added a circular "crown" to the pommel.

This is a really interesting example of the sword for Carabinier units from the 2nd Empire under Napoleon III, who was eventually defeated by the Prussians in 1870/71. The Model 1854 is 45 inches in overall length, with a straight double-fullered blade, terminating in a point. The sword slightly lighter in construction than its predecessor, but retains the Model M-1822 "Crowned" pommel. The basket hilt has seen some mounted hand-to-hand combat impacts


The Model 1854 Sword for Cababiniers. It comes with all brass mounts, brass wired covered in leather grip and is complete with its original heavy steel scabbard. This sword was made at the time of the Crimean War, and was used in the Franco-Prussian War of 1870.

In very nice matured condition, ready to display.

The Carabiniers-à-Cheval (French for "Horse Carabiniers") were mounted troops in the service of France.

Their origins date back to the mid-16th century, when they were created as elite elements of the French light cavalry, armed with carbines but then gradually evolved towards semi-independent status during the 18th century. They only became independent units as late as 1788, when a two-regiment heavy cavalry corps was created. From the French Revolutionary Wars onwards, they were the senior heavy cavalry regiments in the French army, rose to prominence during the Napoleonic Wars.

2nd Empire Carabiniers:

Carabiniers were again raised in the form of two regiments by 1824, with their distinctive style of helmet being temporarily adopted by the cuirassiers also. The Carabiniers were present in Paris in June 1848 for the creation of the Republic when nine regiments were brought in to maintain peace, the first time in 200 years that carabiniers were again serving as military police. From 1852 the Carabiniers were a part of the Army of the Second French Empire. They saw service again in 1870 as a single regiment, but now as part of the Imperial Guard. Following the Franco-Prussian War the Carabiniers were amalgamated with the 11th Cuirassier regiment on 4 February 1871.

The 1-11e Régiment de Cuirassiers of the modern French Army can accordingly trace its origin, in part, to the 19th Century Carabiniers. By coincidence the present day regiment is stationed in Carpiagne within Provence, once the domain of their former commander.  read more

Code: 25910

A Superb Piece of Unique History. Admiral Lord Nelson's Hair Woven Into a Piece of Memorium Jewellery, A 'Momento Mori' Lyre Brooch of Extraordinary Quality. For Encouraging Those That Possess Them To Live More Fully In The Present.

Acquired from an Admiral Lord Nelson family of collectors, together with a small miniature portrait of the Admiral, the miniature of the full sized one painted by Lemuel Francis Abbott in 1797 for Lady Nelson.

Said to be, by the descendants of the Hamilton family from whence they came to us, made from a small lock of hair {given to them by Lady Hamilton, over 200 years ago, by Nelson's mistress}, that, some years after his tragic death, was intricately woven into a rigid weblike structure, and formed around very finely crafted gilt metal, into a mourning brooch of lyre form, to wear as a wedding gift, and it has been in the family ever since. The hair colour has subsequently darkened somewhat, from its original lighter colour, due to being lacquered to aid rigidity, handled and worn, possibly for decades. It originally had a small ivory slip engraved with its distinguished origin, and that it was given by Lady Hamilton to her relatives by marriage. Lady Hamilton, Nelson's infamous mistress, was married to Sir William Hamilton, who was the 4th son of Lord Archibald Hamilton, who was the 7th son of the 3rd Duke of Hamilton. We have been acquiring fascinating artefacts and antiquities from descendants of the 10th Duke of Hamilton these past 30 years or more.

That ivory slip was with it until just a very few years ago, when it was discarded by the dear ladies that last recently owned it, and from whence it came, to us. It was purposely removed due to HRH Prince William disapproving of ivory artefacts. This we consider a great shame, as it was very old, an antique of around 210 years vintage, and simply nothing was gained by its sad removal and loss.

Of course there is absolutely no possibility for us to definitively state it was indeed Nelson's hair, as a provable fact, as any DNA test would likely damage its integrity, but its most highly likely potential, due to its origin, is most intriguing. However, we have acquired pieces from the family for 30 years or so, and heve never had a single reason to doubt any provenence past on to us previously, so, in our opinion it is absolutely correct to have been made from Nelson's hair as a momento mori.

The miniature that came with it {and is not for sale} bears a hand written label glued at its back, still present, to note it was it's full sized original was in the National Portrait Gallery that {opened in 1856}. The original is by Lemuel Francis Abbott
an oil on canvas, was painted in 1797
This is one of the many portraits Abbott painted of Nelson and it is perhaps the most widely recognised of the whole Nelson iconography. It depicts him in rear-admiral's uniform wearing the Star and Ribbon of the Bath and the Naval Gold Medal, awarded for his victory at the Battle of St Vincent (1797). The original portrait was painted for Captain Locker of the Greenwich Hospital. This full sized version, commissioned for Lady Nelson, was also taken from life. Although Nelson only sat to him twice, Abbott subsequently copied the picture over forty times. The copies gradually declined in quality as the artist became mentally ill but this was no bar to their popularity. Many were purchased by Nelson's naval colleagues, his family and friends.
In July 1798, Nelson's wife wrote to him: 'My dearest Husband - I am now writing opposite to your portrait, the likeness is great. I am well-satisfied with Abbott… it is my companion, my sincere friend in your absence…

Nelson's pigtail (or queue), was cut off after his death at the Battle of Trafalgar 21 October 1805. It is sandy-coloured hair, bound with black ribbon, which is tied in a bow. Surgeon William Beatty records in his "Narrative of the Death of Lord Nelson" that Nelson asked that Lady Hamilton should have his hair. The pigtail was cut off after his death and Hardy delivered it to Emma Hamilton after the Victory's arrival in England. Small locks of hair were given to relations and close friends, and some pieces were mounted in special mourning rings and momento mori lockets. What remains of Nelson’s queue is now part of the National Maritime Museum Collection.

Memento mori is a Latin phrase that means "remember you must die". It refers to the concept of a memento mori object or artistic genre that reminds people of their mortality and the impermanence of life, encouraging them to live more fully in the present. Common symbols used to represent this concept include skulls, hourglasses, extinguished candles, and decaying flowers or fruit.

Classical Antiquity: The idea of remembering death's inevitability has roots in ancient Greek and Roman philosophy, with figures like Socrates discussing philosophy as a preparation for death.
Christianity and the Medieval Period: Memento mori became a significant concept in Christian art and funerary practices, serving as a reminder to prepare for the afterlife.
Artists use memento mori symbols to convey the theme of mortality and the transient nature of earthly pleasures. Some common symbols include:
Skulls and Skeletons: Direct representations of death.
Hourglasses and Clocks: Symbols of passing time.
Flowers and Fruit: Representing beauty and life that quickly decay and fade.
Candles: An extinguished or guttering candle signifies the fading of life.

The practice of memento mori is not just about confronting death but about appreciating life. The realization of one's mortality can inspire greater gratitude for the present moment and encourage a more focused, meaningful life. It helps people to prioritize what truly matters and not take loved ones or experiences for granted.  read more

Code: 25210

A Simply Stunning, Koto Era, Japanese 'Dragon' Katana Circa 1550 of Most Elegant Form Around 500 Years Old

With a most beautiful elegant blade in very good polish, showing a very active hamon and long kissaki.
Fitted with wonderful, all original Edo period dragon themed mounts, fuchigashira and menuki, including its original Edo period lacquer saya in near pristine condition with multi patterned polychrome urushi lacquer, that has survived near 200 years stunningly well.
The complexity of the different patterns and colours of urushi lacquer on the saya shows the status of its last owners during the 18th and 19th century. The original Edo period lacquer on the saya is in simply excellent condition and shows most elegant technical skill, it reveals within that skill 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 been refined for over 7000 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.
A saya of this quality would likely have taken over a year to make. Long impressive blade with a long o-kissaki tip.

The tsuba is Hira-zogan iron tetsu inlaid with flat kinko brass in the form of a willow tree. The fuchi and menuki patterns are both dragon based.The first use of katana as a word to describe a long sword that was different from a tachi occurs as early as the Kamakura Period (1185-1333). These references to "uchigatana" and "tsubagatana" seem to indicate a different style of sword, possibly a less costly sword for lower-ranking warriors. The Mongol invasions of Japan facilitated a change in the designs of Japanese swords. Thin tachi and chokuto-style blades were often unable to cut through the boiled leather armour of the Mongols, with the blades often chipping or breaking off. The evolution of the tachi into what would become the katana seems to have continued during the early Muromachi period (1337 to 1573). Starting around the year 1400, long swords signed with the katana-style mei were made. This was in response to samurai wearing their tachi in what is now called "katana style" (cutting edge up). Overall 40 inches long, blade tsuba to tip 28.25 inches long  read more

Code: 21525

A Very Good Shinto Samurai Combat Ryo-Shinogi yari. A Samurai's Polearm Circa 1650

Very nice blade in polish showing a good hamon temper line. Double edged four sided. A thick stout blade that would have been enormously effective in trained hands. A Samurai ryo-shinogi yari polearm. Shinto period in nice order overall. Yari is the Japanese term for spear, or more specifically, the straight-headed spear. The martial art of wielding the yari is called sojutsu. A yari can range in length from one meter to upwards of six metres (3.3 to 20 feet). The longer versions were called omi no yari while shorter ones were known as mochi yari or tae yari. The longest versions were carried by foot troops (ashigaru), while samurai usually carried a shorter yari such as this example. Yari are believed to have been derived from Chinese spears, and while they were present in early Japan's history they did not become popular until the thirteenth century.The original warfare of the bushi was not a thing for "commoners"; it was a ritualized combat usually between two warriors who may challenge each other via horseback archery and sword duels. However, the attempted Mongol invasions of Japan in 1274 and 1281 changed Japanese weaponry and warfare. The Mongol-employed Chinese and Korean footmen wielded long pikes, fought in tight formation, and moved in large units to stave off cavalry. Polearms (including naginata and yari) were of much greater military use than swords, due to their much greater range, their lesser weight per unit length (though overall a polearm would be fairly hefty), and their great piercing ability. Swords in a full battle situation were therefore relegated to emergency sidearm status from the Heian through the Muromachi periods. Around later half of sixteenth century, ashigaru holding pikes (naga yari) with length of 4.5 to 6.5 m (15 to 22 feet) or sometimes 10 m became main forces in armies. They formed lines, combined with harquebusiers and short spearmen. Pikemen formed two or three row of line, and were forced to move up and down their pikes in unison under the command.Yari overtook the popularity of the daikyu for the samurai, and foot troops (ashigaru) used them extensively as well
Various types of yari points or blades existed. The most common blade was a straight, flat, design that resembles a straight-bladed double edged dagger. This type of blade could cut as well as stab and was sharpened like a razor edge. Though yari is a catchall for spear, it is usually distinguished between kama yari, which have additional horizontal blades, and simple su yari (choku-so) or straight spears. Yari can also be distinguished by the types of blade cross section: the triangular sections were called sankaku yari and the diamond sections were called ryo-shinogi yari. 16.5 inch blade including tang, 7inch blade length, overall yari length 75 inches.  read more

Code: 19565

A Simply Stunning And Historical Persian Kulah Khud Helmet, Qajar Era, Surmounted with an Ancestor's War Trophy, A 12th Cent. Crusaders Arrow, To Represent the Traditional Kulah Khud Helmet Spike

A fabulously beautiful 18th to 19th century helmet, crowned at the peak with an surmounted battle souvenir of an original Crusader's arrow head from the victory of Saladin's army at the Battle Hattin in the 12th century.

The helmet of hemispherical form, the brim hammer welded to the bowl, fitted at its apex, with a moulded base, with the arrow head, and at the front a sliding nasal bar secured by a thumb-screw and with a plume-holder on each side, decorated throughout with a framework of gold cartouches filled with mounted warriors and calligraphy, the brim encircled by a calligraphic panel of text from the Koran, framed by gold lines, and lamellar mail neck defence of butted links, with a small resin repair. The apex of the helmet bears a 12th century Crusader's iron arrow head, said by legend to have come from the booty of the Battle of Hattin, Saladin's great victory against the Crusaders. The Battle of Hattin took place on 4 July 1187, between the Crusader states of the Levant and the forces of the Ayyubid sultan Salah ad-Din, known in the West as Saladin. It is also known as the Battle of the Horns of Hattin, from a nearby extinct volcano.

The Muslim armies under Saladin captured or killed the vast majority of the Crusader forces, removing their capability to wage war. As a direct result of the battle, Muslims once again became the eminent military power in the Holy Land, re-conquering Jerusalem and most of the other Crusader-held cities. These Christian defeats prompted the Third Crusade, which began two years after the Battle of Hattin. The Crusader army was composed of knights from the: Kingdom of Jerusalem
Knights Templar
Knights Hospitaller
Order of Saint Lazarus
Order of Mountjoy.

The fitting of ancient relics within the warriors armour, from the greatest battles of Saladin, is a profound statement of connection the the historic past, we have seen once before on another very fine kulah khud helmet that we had about 15 years ago. Antique Arabian jambiya of the highest quality often have ancient Europen coins inset within their hilts for a similar purpose. The field restored chainmail has been repaired aroundthe equivalent area of medium sized coin, this could likely be fairly easily tidied much better.  read more

Code: 21500