A Fabulous, Incredibly Impressive, Historical & Very Rare Large 1754 American Anglo-French-Indian War & Revolutionary War of 1776 Period Flintlock Sea Service Bronze Cannon Barrel Blunderbuss. A Stunning Work Of Art As Much As A Huge Sea Service Flintlock

Blunderbuss that survive from this earliest era are so incredibly rare. An amazingly beautiful sea service flintlock that was made and saw service during the era of the American theatre of conflict of the Anglo-French-Indian war {1754-1763}, the era as wonderfully depicted in the classic historical novel, of the Anglo-French-Indian War in the Americas in the late 1750's 'Last of the Mohican's' by James Fenimore Cooper, featuring the Mohican Chingachgook, and his white adopted son 'Hawkeye'.

The British colonists were supported at various times by the Iroquois, Catawba, and Cherokee tribes, and the French colonists were supported by Wabanaki Confederacy members Abenaki and Mi'kmaq, and the Algonquin, Lenape, Ojibwa, Ottawa, Shawnee, and Wyandot (Huron). Fighting took place primarily along the frontiers between New France and the British colonies, from the Province of Virginia in the south to Newfoundland in the north. It began with a dispute over control of the confluence of the Allegheny River and Monongahela River called the Forks of the Ohio, and the site of the French Fort Duquesne at the location that later became Pittsburgh, Pennsylvania. The dispute erupted into violence in the Battle of Jumonville Glen in May 1754, during which Virginia militiamen under the command of 22-year-old George Washington ambushed a French patrol. The British sent out their fleet in February 1755, intending to blockade French ports, but the French fleet had already sailed. Admiral Edward Hawke detached a fast squadron to North America in an attempt to intercept them.

In June 1755, the British captured French naval ships sent to provide war matériel to the Acadian and Mi'kmaw militias in Nova Scotia.
In a second British action, Admiral Edward Boscawen fired on the French ship Alcide on June 8, 1755, capturing her and two troop ships. The British harassed French shipping throughout 1755, seizing ships and capturing seamen. These actions contributed to the eventual formal declarations of war in spring 1756.
This blunderbuss may have potentially seen service, amongst other conflicts, at the Battle of Restigouche. It was a naval battle fought in 1760 during the French and Indian War on the Restigouche River between the British Royal Navy and the small flotilla of vessels of the French Navy, Acadian militia and Mi'kmaq militias. The loss of the French vessels, which had been sent to support and resupply the troops in New France after the fall of Quebec, marked the end of any serious attempt by France to keep hold of their colonies in North America. The battle was the last major engagement of the Mi'kmaq and Acadian militias before the Burying of the Hatchet Ceremony between the Mi'kmaq and the British.

Bronze gun-metal two stage cannon barrel, fitted with the earliest so-called 'banana' form flint lock, predominantly used in the early to mid 18th century.
Hand carved hand-rail stock, with superb natural age patina, also, with typical and distinctive 18th century naval sea-service flat butt plate, as to be seen on all the British {and American} sea-service Brown Bess and blunderbusses at the time.

All the metal apart from the lock is made of gun-metal bronze, a higher copper content than the more common brass barrel blunderbuss. A most rarely seen type of blunderbuss, used before and during the American Revolutionary War, possibly, even made in America itself, as it is devoid of the usual top of the barrel proof mark, as American domestic gunsmiths used no proof markings to their flintlock gun barrels. Although potentially made in America it would certainly still have been used in the Royal Navy at the time, for ships of the line were always re-stocked with provisions, and often re-armed, at their port of destination when required.
The Blunderbuss (born of the Dutch word "Donderbus", appropriately meaning "Thunder Pipe" or "Thunder Gun") came to prominence in the early part of the 18th Century (1701-1800) and was more akin to the modern day shotgun than a "long gun" musket or heavy pistol of the time. As such, she excelled in close-in fighting, be it within the confines of naval warfare or walled nature of the urban environment, where her spread of shot could inflict maximum damage to targets at close ranges. Its manageable size, coupled with its spread shot, ensured some level of accuracy for even the novice user and its appearance was rather intimidating to those unfortunate enough to be staring down the business end. As with modern firearms, the Blunderbuss also made for an excellent security-minded weapon and soon found popularity amongst all matter of operators - military, civilian and, of course, criminal parties - by the middle of the 1700s. Even George Washington championed the Blunderbuss for Continental Army "Dragoon" units of the burgeoning American military as opposed to the carbine this being nothing more than a full-featured long gun of lesser overall length, proving suitable for horse-mounted handling. In fact, the short-form version of the Blunderbuss came to be known as the "Dragon", giving rise to the term "Dragoon" for such gun-wielding cavalrymen. Dragoons went on to form specialized units of mounted infantrymen within their respective armies during the end of the 17th Century and into the middle of the 18th Century - in a way, becoming an evolutionary step of the fabled mounted knight of the Middle Ages. Their use of Dragons soon gave way to the widely-accepted carbine musket. Thus this fabulously impressive arm began to be known as the "Blunderbuss" or Thunder Gun

As with all our antique guns no license is required as they are all unrestricted antique collectables. Overall 33.5 inches long, barrell length 18 inches.  read more

Code: 23168

A Stunning Pair of Antique, Signed, French Rococo Patinated Bronze and Gilt Bronze Satyr & Bacchus Candelabra, Louis XVI, Signed Clodion. On Griotte Rouge Marble, Fluted & Truncated Columns

A most fine pair of 19th century, Louis XVIth style, two-light candelabra executed in patinated bronze, they are after the great master sculptor Michel Clodion, featuring the infant Bacchus and the infant Satyr, each raising bronze branches with their gilded candelabrum. Bacchus, or Dionysus to the Greeks, has grape leaves on vines with bunches of grapes interwoven in his hair while the Satyr, with his distinctive mythical faun form of half boy half goat, is in motion with acorns and oak leaves twisted around his head. Both stand beside a rocky outcrop.On a truncated and fluted column in Griotte rouge marble

Claude Michel Clodion was a French Rococo sculptor. Noted for his versatility as an artist and for the lively charm of his figures, which included Grecian nymphs, cherubs, and gods, Clodion was both popular and highly celebrated in his day. One of his most famous works, Zephyrus and Flora (1799), depicts two fluid figures on the brink of a kiss, similar to the work of the Italian master Gian Lorenzo Bernini.
Born on December 20, 1738 in Nancy, France into a family of artists, Clodion came under the tutelage of his uncle in 1755 and worked assisting him in his sculpture workshop. Considered the finest modeller of small-scale lyric statuettes of the late eighteenth century, Clodion often created works of a Bacchanalian nature similar to the present infants as well as Satyrs and Maenads. Born in Nancy, he belonged to a family of well-known sculptors; during his youth he went to Paris where he worked with his uncle, Lambert-Sigisbert Adam, and subsequently with Jean-Baptiste Pigalle (1714 d. circa 1785). After winning the Prix de Rome in 1759, Clodion spent about ten years in Italy studying Roman antiquities, Roman Baroque sculpture, and the art of his contemporaries, from Giovanni Battista Piranesi (1720-78) to Johan Tobias Sergel (1740-1814). As a student at the French Academy in Rome, he showed his prodigious talents On his return to Paris in 1771, Clodion’s successes multiplied. He received major commissions for public and church monuments and produced countless models for vases, bas-reliefs, clocks, and other decorative projects. As a supporter of the crown, he fled Paris during the Revolution, returning in about 1797. He quickly achieved his own professional success, receiving the grand prize for sculpture at the Académie Royale. Perhaps best known for his small-scale terracotta sculptures, Clodion was collected by an international clientele and counted Catherine II among his admirers. At the height of his fame, he also sculpted the relief on the Arc de Triomphe du Carrousel in Munich. The artist eventually fell out with Parisian society after he was initially denied admission into the Académie Royale, and the oncoming French Revolution chased him for a time back to Nancy. As a supporter of the crown, he fled Paris during the Revolution, returning in about 1797. Clodion sought new patrons among Napoleon’s court and admirers but his style was considered outmoded and demand for his work diminished but today his work is considered the finest expression of late eighteenth century elegance and taste. Examples of his oeuvre can be found among many important collections in the world including the museums of Berlin, Cherbourg, Dieppe, Montpellier, Gallery Roumianzeff Moscow, Nantes, Orléans and the gardens of Château Versailles. He died on March 29, 1814 in Paris, France

Griotte is a cultural and old trade name given to a type of marbles and limestones. The natural stone is deep cherry-red to brown in colour, often flecked with small dashes of purple and/or spots and streaks of white formed by Goniatites or by later cementation. It is sometimes known as Cannes marble. The name "griotte" is derived from a French word meaning "Morello cherry"; the marble is so named because of its dark red color and because the crystals are said to resemble masses of flattened cherries. Griotte is widely used as a decorative stone in architecture. The Griotte red was one of the preferred marbles for royal apartments in 18th century, to make fireplaces in particular. Louis XIV, very fond of this peculiar red, orders the design of a large amount of fireplaces made out of this marble for the Versailles Palace . With no ornaments, only magnified by the marble’s colour, one can there admire the fireplace of Louis XV's Cabinet. The others are generally ornamented with gilt bronze, like those of the Counsel Cabinet, Louis XVI’s Wardrobe Cabinet, the Gilded Study, Madame Victoire’s Apartments, Marie-Antoinette ’s Apartments. Some parts of the Arc de Triomphe du Carrousel are made of griotte.

Another related pair of the Clodion candelabra are in the Louvre collection, {see an early black and white photo of one of the pair in the gallery}. And a further very similar pair are in the official residence of British Prime Minister in No.10 Downing Street, London.
The present candelabra are similar to a pair acquired by Djahanguir Riahi, which were included in the sale of his celebrated collection held at Christie’s New York, 2nd November 2000. Such models enjoyed enormous success during the eighteenth and nineteenth centuries and were particularly admired by English collectors during the 1800’s. For instance a pair of the similar design but with bronze bases, were purchased by a Mr. Fortnum in London 1852 from the collection of Léopold I, King of the Belgians and is now housed at the Ashmolean Museum, Oxford. Further distinguished collectors to own such pairs include the comtesse de Flahaut at Coventry House, London in 1863, whose candelabra were subsequently sold by the Trustees of the Meiklour Settlement in London. Another pair formerly owned by the 6th Lord Ashburton K.C.V.O. was sold at auction in London, 1964.

This pair are in superb condition and the candle holders have been at sometime been prepared for electrification.

18 inches, 46cm high from base to sconces, marble pediment bases 5.75 inches square, width at widest outside of the sconces 7.5 inches {each}  read more

Code: 25620

An Absolutely Stunning Napoleon IIIrd, French Bronze. The Woman Reading, ‘La Liseuse’ by World Renown Sculptor, Albert-Ernest Carrier-Belleuse, Mentor to His Apprentice Auguste Rodin Who Became One of The Worlds Most Famous and Valued Sculptors

One of three versions he sculpted titled 'the Reader' by Carrier-Belleuse, and the rarest. One other, was the same model but she was wearing full Renaissance dress, including head-covering, another, of the same model was a woman reading with two small companions, and this scuplture, the erotic version, was of his favourite female model of a woman in a classical robe, semi naked reading a small book.

Albert-Ernest Carrier de Belleuse as known as Carrier-Belleuse (1824 - 1887) is one of the the most famous sculptors of the Second Empire, who touched all areas of sculpture, from porcelain of Sevres to monumental sculpture of marble, by way of a production of terracotta and bronze statuettes. He also trained one of the worlds greatest sculptors Auguste Rodin, who impressed his mentor to such a degree they even later collaborated on sculptures together.

Until 1872 Rodin's principal employer was Albert Ernest Carrier-Belleuse, the renowned decorative sculptor whose work cites those of the 18th century Rococo master Clodion. Rodin conceived of L'innocence tourmentée par l'amour, and, per his agreement with his teacher, Carrier-Belleuse signed the younger artist's works that were made at his studio. Rodin revisited this theme of cupids encouraging the sexual flourishing of a young woman in his later works, such as in Toilette de Vénus. Compagnie des Bronzes de Bruxelles produced editions of L'innocence tourmentée par l'amour for Carrier-Belleuse in terracotta, marble, biscuit de Sèvres and bronze until 1910.

Rodin created what is said to be the world's most famous sculpture. 'The Kiss' for Boston Millionaire E.P. WARREN, for £1,000 in around 1900 and it was delivered in 1904, and it lived in Warren House in Lewes East Sussex, then Lewes Town Hall in 1914. Then to a stable block in 1917, due to its unacceptable erotic nature, It lived in Lewes for a total of around 30 years.

12 years ago a pair of bronzes by Carrier-Belleuse, of the same age, quality and styl, titled, Spring and Summer, 2 works of gilt and patinated bronze and onyx circa 1850-1875, height 35.4 inches. They were sold at Christie's London April 29, 2010 lot 100 for $366,529.

Beginning at the age of thirteen at chiseler Beauchery’s workshop, Carrier-Belleuse learned from different goldsmiths, and was marked by the importance of the decorative arts. He worked quickly with Ferdinand Barbedienne and Deniere, the greatest bronze craftsmen of the century, in the realization of decorative objects, such as candelabra and fireplace garniture.

Fatherless orphan and protege of the Arago family, he obtained an official commission in 1848, a statue of the muse Rachel in gilded plaster. In 1863, his Bacchant in marble shown at the Salon is bought by Napoleon III, confirming his importance in the Second Empire. It was placed in the garden of the Tuileries from 1872 until 1984. He hence made the decoration of several prestigious buildings, in the Louvre, the Theatre of the Renaissance, on the pediment of the Bank of France, or at the Opera House of Palais Garnier, of which he supplied the two torches of the grand staircase.

As early as 1855, Carrier-Belleuse opened a workshop at the rue de la Tour d'Auvergne, 15, which welcomed many pupils, including Jospeh Cheret, Jules Dalou, and especially the great Auguste Rodin, who greatly benefited from this apprenticeship, and made his portrait in bust.

Carrier-Belleuse was probably best known for his production of statuettes and busts, as he realized many portraits of the personalities of his time, such as Theophile Gautier, Honore Daumier and Eugene Delacroix. He also sculpts portraits of some official figures with several busts of Napoleon III, and an important statue of the Countess of Castiglione. On the day following the ball of the 9th of February 1863 at the Tuileries, she wanted to make a portrait of her in her costume of Queen of Etruria, in a dignified pose, in order to counteract the slanders she had been the target of.

Carrier-Belleuse is also a great admirer of the Renaissance and the 18th century, from which he sculpts portraits of Shakespeare or Jean-Jacques Rousseau. He is inspired in his works by Renaissance art, especially the art from Fontainebleau. But he is also often considered as a new Clodion, 18th century sculptor of terracotta statuettes, for many gallant subjects and elegant busts of young women, such as the Bust of a young woman wearing a diadem, preserved in the Orsay Museum.

Thus, the monumental mirror exhibited by Barbedienne at the World’s Fair of 1867 , the true centerpiece of the stand, which emphasizes the pre-eminence of French skills in ornamental bronze, is decorated with characters by Carrier-Belleuse, in a Benvenuto Cellini manner.

Being one of the founding members of the Central Union of Fine Arts applied to Industry, now the Decorative Arts, his work is in keeping with the motto of this institute: "Beautiful in Useful". At the end of his career, he became art director of the Manufacture de Sevres, where he invented many designs with small sculptures, such as the Buire de Blois, at which Rodin worked. Finally, at the end of his life, a collection of drawings by Carrier-Belleuse was published, showing his involvement in the diffusion of beauty by the objects of everyday life: Application of the human figure to industrial decoration and ornamentation, 1884.

The son of Albert-Ernest Carrier-Belleuse, Louis-Robert Carrier-Belleuse, also became a renowned artist of decorative arts. Trained as a painter, and also a sculptor like his father, he mainly worked in ceramics, becoming art director of the Choisy

Famed works of art he created;

Monument to André Masséna
Nice, 1869
Hebe asleep, 1869
Paris, Musée d'Orsay
Pediment sculpture of Abundance, Pavillon de Flore, South façade of the Great Galerie, Louvre palace, Paris, circa 1863
Caryatids themed on the four seasons, Vichy Opera, for architect Charles Badger, 1865
Architectural sculpture for the Tribunal de commerce de Paris (Commercial Court of Paris), on the Île de la Cité, for architect Antoine-Nicolas Bailly, completed 1865
A silvered bronze chimney-piece for the Hôtel de la Païva, Paris, 1866
Monument to André Masséna, Nice, 1869
Architectural work at the Brussels Stock Exchange, Brussels, circa 1870
Mary Queen of Scots, Private Collection, ca. 1870
Two elaborate multifigure torchères for the base of grand staircase, Palais Garnier (Paris Opera), Pairs, 1873
Tomb of Belgian photographer Louis Ghémar, Laeken Cemetery, Brussels, 1873
Architectural work for the Théâtre de la Renaissance, Paris, for architect Charles de Lalande, 1873
Sea Nymph for the fountain at the Place du Theâtre-Français, Paris, for architect Gabriel Davioud, 1874
Bust of Aimée-Olympe Desclée for her tomb, 1874
Four Seasons fountain, Hotel de Ville, Fleurance
Mausoleum of José de San Martín, Buenos Aires Metropolitan Cathedral, Buenos Aires
Equestrian statue of Mihai Viteazul, University Square, Bucharest, Romania
Equestrian statue of Manuel Belgrano, Plaza de Mayo Square, Buenos Aires, Argentina
Equestrian statue of Bernardo O'Higgins, Alameda, Santiago de Chile, Chile
Statue for the victims of the La Compañía fire, originally at the place of the fire, today in front of the General Cemetery in Santiago de Chile, Chile

41cm height x 13cm depth x 15cm width

The much less rare 'fully clothed' version of The Woman Reading is shown in photo 10 in the gallery  read more

Code: 24454

A Fabulous Museum Grade Samurai Daimyo's Art-Sword. From The Koto Era. A Samurai Wakizashi Sword By Master Tadamitsu With Rare Gaku-mei Nakago. Blade, Circa 1440-1460. Mino Goto Koshirae, With Deep Red Ishime Lacquer Saya & Black Silk Binding

With very rare gaku-mei framed nakago, where the mei (signature) was moved from this original nakago tang, and inserted into the shortened tang, and framed in order to preserve the important master smith’s signature, upon his museum grade blade. Overall this stunning art-sword is in incredible near flawless condition. The term art-sword refers that highest grade of samurai sword, that was certainly made for all forms of combat use, yet are decorated with such beauty and skill that they are as much works of art as a samurai's combat arm. Likely made for for the highest ranking samurai or daimyo clan lord.

With its spectacular suite of beautiful, original, Edo period Mino-Goto fittings, with tsuba, in shakudo, and uttori of pure gold decor of flowers, cricket, catydid and praying mantis. Deep red ishime urushi stone finish lacquered saya, with carved buffalo horn fittings and a Mino-Goto throat mount.
Superb black silk tsuka-ito over fine pure gold decorated menuki.

A wonderful Muromachi era blade almost 600 years old, with a superb, incredibly active hamon, in a beautiful polish with gold foil habaki and blade smith shortened tang with its original preserved ‘folded over’ signature inlaid and inserted within the tang.

The hamon forms a delightful gunome pattern, mixing with clove (Choji) outline which is slanted generally. The founder of the sword maker school, Tadamitsu in Bizen, is referred in the Shouou period (1288-93) and the oldest existent Tanto by him has the date year, Teiji 3,1364) during the Nanbokucho period, then later generations shows the records of Ouei to Bunmei era (1394-1486) in Muromachi period. The preserved 'folded over' system, that can be seen beautifully done on this blade, in order to preserve the blade smith's signature, was only reserved for the best and most highly revered blades, often of historical significance to the samurai's family. The ancient province of Kibi (of which Bizen was the easternmost region; now Okayama prefecture) possessed excellent ironmaking technology, which helped make Kibi into a powerful state. The region is blessed with all the vital ingredients needed for Japanese sword making: iron sand, water, and charcoal of Japanese red pine, which has excellent thermal efficiency. Research on Japanese swords since the Meiji period has revealed five different features or styles based on the regions in which they were made: Yamashiro (Kyoto prefecture), Yamato (Nara prefecture), Bizen (Okayama prefecture), Sagami (Kanagawa prefecture), and Mino (Gifu prefecture. The characteristic styles of these five regions were passed down from master to disciple and from one region to the next. These are collectively known as Gokaden (five traditions of swordmaking). The province of Bizen was located far from Japan's political center throughout its history, allowing it to prosper regardless of the political state of sovereignty of the day. The most typical Bizen blade has a steel surface grain called itamehada (wooden board grained) with a unique pattern called chōji (clove-shaped) on the blade. This pattern is a feature of Bizen swords and it is what makes Bizen swords special.

The Gotō School of sword-fittings makers was founded in the fifteenth century by Gotō Yūjō, who is said to have been patronized by the shogun Ashikaga Yoshimasa (1435–1490). The work of the Gotō masters is characterized by painterly designs carved in high relief on a ground of shakudō (an alloy of copper and gold chemically treated to turn a rich blue-black), finished in nanako (tiny circles punched regularly over the surface to give it a granular appearance) with colorful accents in gold and silver. The succeeding generations of Gotō masters continued to work in these soft metals and concentrated on the smaller sword fittings, such as kozuka (the handle of the small utility knife fitted into a slot on some swords, on the the back of a sword’s saya or scabbard), kōgai (a skewer-like hairdressing tool carried in the front of the scabbard), and menuki (a pair of grip ornaments secured by the handle wrappings). The production of the stouter sword guards, or tsuba, was left to other masters. While earlier generations had not signed their work, some Gotō masters in about 1600 began to authenticate the work of their predecessors; the attributions usually were engraved on the backs of the pieces themselves. These attributions bear testimony to the keen interest in early sword fittings as status symbols for high-ranking samurai.
Fuchi kashira,menuki and tsuba from the Mino School. Sometimes known as an offshoot from the Goto School, the Mino tradition of kinko have their roots from the Koto period, Known as Ko-Mino, that style led to the Edo Mino tradition which used the difficult technique of Uttori, or gold foiling. The gold on these stunning pieces are not plated, but rather have generous hammered gold foil applied in a very difficult technique not seen today except in habaki work. Because it was so time consuming and difficult, there are relatively few works by this school. Design is very traditional of kiku (chrysanthemums) and flowering blossoms and leaves, with catydids and praying mantis etc. and is executed very well indeed.
As once told to us by an esteemed regular visitor to us here in our gallery, and the same words that are repeated in his book;

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

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

Overall blade length from base of habaki to tip 21.5 inches long.  read more

Code: 23519

A Beautiful Antique Samurai Wakazashi With A Fine Signed Blade. Kunitsuna（国綱）In Beautiful Polish Showing Narrow Suguha Hamon. With the Moon & Bamboo Kashira. Lobster Scale Urushi Ishime Lacquer Saya

Signed 越 echi 前 zen 住 jyu（越前住 It is pronounced Echizenjyu. The other side is 相模守 sagaminokami 藤 fujiwara. 相模守藤原.
The part below Fujiwara has been cut off to shorten its length.but it must be assumed that Kunitsuna’s name was engraved there. Kunitsuna（国綱）
Was a swordsmith who was active around 1648. He was an apprentice of the first-gen Echizen Kanetane. He belonged to Shimosaka School located in Echizen province (Today’s Fukui prefecture). He is also known as Taheibei (多平兵衛). He received an honorable official title of Sagami no Kami from the imperial court for his excellent craftsmanship. He moved from Echizen to Edo city in his career as well. It is said that the first-gen Yasutsugu was the founder of the Echizen Shimoasaka school. He was born in Shimosaka town in Shiga prefecture at the end of the Muromachi period (Late 16 century ). He built his career there until the beginning of the Keicho era(1596). However, he moved to Echizen province due to the relocation of the lord he served. He eventually was noticed and supported by Matsudaira Hideyasu, the third son of Tokugawa Ieyasu, who was the founder of the Edo government.

Hideysu was the feudal lord of Echizen province during the early Edo period. With the support of Hideyasu, the first-gen Yasutsugu was able to establish the Echizen Shimosaka school. And his school’s fame became nationwide. By Hideyasu’s recommendation, the first-gen Yasutsugu became Okakaekaji for the Tokugawa shogun family, meaning that he exclusively forged swords for the Shogun family. Yasutsu was acknowledged by the first and second Tokugawa Shoguns, Tokugawa Ieyasu, and Tokugawa Hidetada.

The first-gen Yasutsugu received 康(YASU) from Tokugawa Ieyasu and changed his maker’s name. He was also allowed to inscribe the holly oak symbol(family crest of Tokugawa) on the tang. The school flourished during the Edo period and trained many skilled apprentices. We believe Kunitsuna mastered superb level of the craftsmanship by belonged to this school.

Echizen province was prosperous during the Edo period, being ruled by the Echizen Matsudaira clan, a direct retainer of Tokugawa clan who ruled the Edo government. Many skilled swordsmiths moved to Echizen from different regions because of high demand among Samurai who lived there. Among them, there were many renowned swordsmiths who were originally from the Mino province (Gifu prefecture). They are called Echizen Seki swordsmiths. His master, the first-gen Kanetane was one of them.

All original Edo period mounts. The menuki are of gilded cranes in flight, wrapped under black silk tsukaito, over rayskin samegawa. the kashira is on iron with silver and gold highlights of a full moon in the background part obscured by clouds with a vole climbing a bamboo stalk in the foreground. The fushi is patinated soft metal inlaid with silver bamboo leaves. The tsuba is a round tettsu plate chisselled with a rain fall pattern and kozuka ana. The blade is in good polish showing a typical narrow suguha hamon with a nicely defined boshi with turnback.

The saya is ishime urushi lacquer finish with to top section in lobster scale ribbing and plain middle and bottom section in graduating mid brown at the top down to black at the bottom. Carved buffalo kurigata, saya jiri and throat mounts.

Wakizashi have been in use as far back as the 15th or 16th century. The wakizashi was used as a backup or auxiliary sword; it was also used for close quarters fighting, and also to behead a defeated opponent and sometimes to commit ritual suicide. The wakizashi was one of several short swords available for use by samurai including the yoroi toshi, the chisa-katana and the tanto. The term wakizashi did not originally specify swords of any official blade length and was an abbreviation of "wakizashi no katana" ("sword thrust at one's side"); the term was applied to companion swords of all sizes. It was not until the Edo period in 1638 when the rulers of Japan tried to regulate the types of swords and the social groups which were allowed to wear them that the lengths of katana and wakizashi were officially set.

There are many reasons why people enjoy collecting swords. Some people are drawn to the beauty and craftsmanship of swords, while others appreciate their historical and cultural significance. Swords can also be a symbol of power and strength, and some collectors find enjoyment in the challenge of acquiring rare or valuable 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.

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

Code: 25614

A Simply Wonderful Edo Period Samurai Tanto Museum Quality Art-Sword Decorated To The Highest Artistic Standard With Insects, in Carving, Iroe, Taka-zōgan, Zōgan, and Tsuba Inlaid with Hira Zogan with the Imperial Mon of Kiri, Paulownia Leaves

Edo period, 17/19th century 1615-1868 with gold, copper-gold alloy (shakudō), silver, copper, copper-silver alloy (shibuichi) koshirae mounts Fuchi-kashira made of Shibuichi carved and inlaid with shakudō, gold, silver, and copper with the design of insects, butterfly, praying mantis, Suzumushi bell crickets, wasps, and catydid, upon all the fittings
Carving, Iroe, Taka-zōgan, Zōgan. Menuki {beneath the tsuka silk wrapping, of patinated copper cranes in flight.
Fuchi Kashira is a form of Japanese metal fitting of the Japanese sword, which improves the handle’s strength. Fuchi Kashira are a combination of two parts; Fuchi and Kashira. Fuchi was put next to Tsuba (hand-guard), and Kashira was put on the grip bottom. Fuchi Kashira developed not only its practicality but also beauty for the decoration of the Japanese sword.

The tsuba with 'mon' {Japanese clan crest} made from kiri, or paulownia leaves is a pair to another one in the Ashmolean museum at Oxford donated from The A. H. Church Collection of Japanese Sword-Guards (Tsuba) Ashmolean Museum, University of Oxford. It is iron, with multi-metal flat inlay (iro-e zōgan and hira-zōgan), in gold, copper, and silver; inlay engraved; ryōhitsu with silver rims; tang-hole traditionally plugged, for snug fitting upon the nakago, with soft copper.
The paulownia crest mon is often associated with the Japanese imperial family. It was used as the official seal of the emperor before the chrysanthemum crest became the primary symbol.
Signifying nobility and honour, historically, the paulownia crest mon was granted to individuals and families by the imperial court as a mark of honour and distinction. It symbolizes high status, nobility, and honour.

Iron kozuka {a small utility knife fitted in the saya pocket} Edo Period, 18th/19th century 1615-1868, hand chiselled, depicting a closeup landscape with small rocks and leaves, in metal inlay, and a central onlaid full relief, takebori, shakudo Suzumushi (bell cricket).

The cricket has been traditionally kept as pets in Japan housed in beautifully decorated cages and carried by their owners. The Suzumushi is well known for its singing and the love of crickets can be found in the many poems written by Japanese poets. One of the great forefathers of haiku Kobayashi Issa (1762-1826) wrote: -
flat on his back,
chirps his last song.
Grasshopper’s song in
moonlight – someone’s
survived the flood.

At the altar
in the chief place,
cries a cricket.
-Issa (Translated by L. Stryk)

Insects in general have been celebrated in Japanese culture for centuries. The Lady Who Loved Insects is a classic story of a caterpillar-collecting lady of the 12th century court; the Tamamushi, or Jewel Beetle Shrine, is a seventh century miniature temple, once shingled with 9,000 iridescent beetle forewings. In old Japanese literature, poems upon insects are to be found by thousands, Daisaburo Okumoto is director of the Fabre Insect Museum. An avid insect collector and a scholar of French literature, he has translated many of Fabre's works. He ascribes the popularity of insects in Japan to national character. It seems like Japanese eyes are like macro lenses and Western eyes are wide-angle, he says. A garden in Versailles, it's very wide and symmetrical. But Japanese gardens are continuous from the room and also very small. We feel calm when we look at small things. The medieval Japanese monk Yoshida Kenko put it this way: “If man were never to fade away like the dews of Adashino, never to vanish like the smoke over Toribeyama, how things would lose their power to move us”

Finest urushi Edo lacquer work saya in black interspersed clear lacquer on abilone shell in a wave pattern.

Blade length, tsuba to tip 11.25 inches, full length in saya 16.75 inches  read more

Code: 25637

A Very Nice Original Simkin Watercolour of an Officer 2nd Lifeguards 1876

Simkin was born in Herne Bay, Kent, on 5 November 1850, (some references cite 1840) the son of a commercial traveller, also named Richard. After marrying his wife, Harriet, in 1880, He spent much of his time at Aldershot, Hampshire, and may also have been a volunteer in the Artists Rifles. He was employed by the War Office to design recruiting posters, and to illustrate the Army and Navy Gazette. In 1901, he created a series of 'Types of the Indian Army' for the Gazette. he obtained much of the information from the Colonial and India Exhibition of 1886. During his lifetime, he, along with Orlando Norrie produced thousands of watercolours depicting the uniforms and campaigns of the British Army. Simkin also contributed illustrations to numerous publications including the Boy?s Own Magazine, The Graphic and others; many were published by Raphael Tuck and sons.
He died at his home at 7 Cavendish Street, Herne Bay on 25 June 1926, survived by his wife and two daughters. Today, his pictures can be seen in numerous regimental museums and his illustrations appear in regimental histories, 7 inches x 9.8 inches  read more

Code: 23070

A Good 19th-20th Century French 1886 Pattern Lebel Rifle Sword Bayonet & Frog Hook Scabbard. WW1 French Foreign Legion Issue

With full quillon, complete, and in nice condition. Used by the French Foreign Legion into WW1, a very good example of these long and impressive sword bayonets. 65.5cm long overall. {25.75 inches}. Cross section epee blade nickle hilt. The scabbard has a frog hook fitting that fixes to the belt with a strap {complete with strap} instead of the past and common frog button
Our current just arrived selection of bayonets ranges from a collection just acquired of really great and rare bayonets, from a collector who wanted the very best he could find over the past 40 years. Rare French examples from the Russian contract during WW1, uncovered in Ukraine in the late 90's, French Foreign Legion bayonets, acquired from a French Foreign Legion reserve armoury depot clear-out in the 70's,

The bayonet was made famous as the bayonet used by the French Foreign Legion used in WWI and WWII, albeit with several modifications. The bayonet was produced with a long cruciform blade on a white alloy hilt. The crossguard originally had a downswept quillon like this one {was removed in 1916} and had a press button rifle locking mechanism.

The French Foreign Legion fought in the trenches during WWI on the Western Front, alongside other European theaters of war like the Balkans. This was a shift from their traditional role as they were deployed to fight in Europe instead of just colonial territories. The Legion's units were made up of both veteran mercenaries and wartime volunteers who joined to fight for France, with the latter often finding themselves in the Legion due to circumstances rather than choice.
Deployment: The Legion was not only on the Western Front but also fought in other theaters, such as in the Balkans in engagements in Greece, Serbia, and Macedonia.
Composition: While the traditional "mercenary" legionnaires were part of the force, a large number of new volunteers also joined specifically to fight in the war for France.
Trench warfare: Legion units, like other French army units, were involved in the brutal trench warfare that characterized the war on the Western Front.
Combined forces: The Legion fought alongside other Allied forces, such as the British army in some theaters.

The Lebel bayonet type with the quillon removed is the M1886/93/16 (Model 1886/93/16).
The original M1886 bayonet featured a prominent hooked quillon, intended for parrying or trapping enemy bayonets. This design was updated in 1893 with a new press button mechanism (M1886/93), and then altered again in 1916 (M1886/93/16) to eliminate the quillon.
The quillon was removed for several practical reasons during World War I:
Ease of manufacture: Removing the quillon simplified and sped up the production process to meet the demands of the war effort.
Field functionality: The hooked quillon was found to be impractical in close combat, as it could get tangled in equipment or other objects.
Material conservation: Around the same time, the original nickel-silver (cupro-nickel-zinc alloy) handles were replaced with brass or steel to conserve nickel for other war uses.
Bayonets produced with the quillon (pre-1915 models) were often officially modified later by having the quillon cut off while in service. Bayonets manufactured after 1916 were made without the quillon from the start.

French Model 1886/93/16 Epee Lebel Bayonet

The model M1886/93/16 Bayonet was standard issue to French Foreign Legion soldiers fighting in the second half of WW1 after 1916 who were issued the Lebel rifle.

The M1886 bayonet is an usual design which has a long thin cruciform Blade with a peculiar locking device just behind the muzzle ring and an all metal grip

The later model was the same but with adjustments, see below, and re designated the M1886/93/16 bayonet

Cast smooth handle
No hooked Qullion
Square cut press stud
Cruciform blade
Black steel tube scabbard with frog hook.
Overall length 67cms
Blade length 51.5cms
Originally the bayonets had a nickel-silver handle and a hooked quillion, just as this example. By 1916, with the need to conserve nickel for the war effort, some of the handles were made of brass. About the same time they were manufactured without the quillion.

The steel quillon and scabbard has old age russetting, the quatrefoil blade and nickel are excellent.

Delivery cost shown as for UK mainland only. Non UK delivery is now considerably upgraded for safety issues  read more

Code: 26071

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

Our amazing collection of recently acquired fine antique swords have been, and some are to be, added to our gallery. Including a fabulous, Shinto, Tokugawa tachi presented to a visiting famous American admiral and war hero in 1896, another tachi, a representation of an Odachi great sword, made by Yoshiyuki, in the late Edo period, by a smith of such esteem that even when the samurai class were effectively made redundant, and relegated to history, swords were still commissioned from him, for presentation to esteemed persons of highest standing. Plus numerous other samurai swords are being added to the gallery soon, of all types and eras, also samurai war arrows ‘ tagari ya’ and rare swallow tail 'ageha ya’, a dozen ‘kazuya’ ya target arrows, plus a superb collection of 20 fabulous Koto to Shinto tsubas, have still yet to be collated and listed on our site. Plus, more swords, just added this month, both antique and WW2 ancestral shingunto etc. including one of the best we have seen in years.

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

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

Principally concentrating on a crucial combination of age, beauty, quality and history, & thanks to an extensive contact base, built up over the past 100 years or more, that stretches across the whole world, including collectors, curators, academics and consultants, we have been very fortunate, in that this effort has rewarded us with the ability to offer, what we believe to be, the most comprehensive selection of original ancient and antique samurai swords available for sale in one gallery or online in the world. Many appear today to look almost as they once did many hundreds of years ago, which remarkably, they do, but all antique and ancient swords, from any culture, including Japanese, must always be expected to have at least some age appropriate flaws.

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

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

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


Mark Hawkins
Partner
The Lanes Armoury

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

Code: 22187

Outstanding, Huge Shogunate Antique Bunkyu Period 幕藩体制 Samurai's Tachi, Horseman's Sword, In Superb Condition. Signed 伯耆国住吉. Hoki no Kuni ju Yoshiyuki . A 'Statement' Piece, Par Excellance. A Late Edo Representation of The Ancient Ōdachi Great Sword

This sword has immense presence and stature, and my goodness, what a truly elegant shape and curvature, a magnificent centrepiece for any stylish decor. Shinshinto bladed tachi {slung mounted sword} from the late Edo bakuhan taisei 幕藩体制 period, signed Hoki no Kuni ju Yoshiyuki and dated 1857, decorated with traces of red, the tsuka with iron fuchi-kashira decorated with figures, its Nanban, earlier Edo mokko shaped iron tsuba, depicting the butterfly, signed, Umetada school "Cho" tsuba, signed Yamashiro Ju Shigeyoshi.(山城住重吉) It represents the Ikeda Family Mon (Mukai Cho Ka-mon, and interestingly the signature is also decorated with red within the chiselling of each kanji, an old Japanese tradition to indicate it is an item of reverence. It is mounted in a rich mid brown ishime, stone finish lacquer, tachi mounted saya, beautifully bound with contrasting sageo of stunning gold and black. the tsuka is black silk bound over samegawa {giant ray-skin} with a pair of menuki {beneath the silk binding} depicting war arrows combined with samurai armour.

The Umetada school was founded in the late 16th century by Umetada Myōju (埋忠明寿). He was a leading figure in the Shintō sword movement, making blades and fittings in Kyoto. Second in this line was Umetada Tachibana Shigeyoshi, who moved to Nishijin in the north of Kyoto, where he got inspired by European designs and technology. He made several forms of tsuba

Old Japanese kanji on blades, often the maker's signature (mei), can be decorated red because red ink (shuniku) symbolizes good luck, protection, vitality, and authority, while also ensuring the inscription (brushed in red) is visible and permanent before being chiseled into the tang. Red (aka) wards off evil, signifies the sun, and is used for celebrations, making it a powerful colour for important markings on samurai swords, connecting to national identity and spiritual strength.

As this superb tsuba bears an Umetada school "Cho" tsuba signed Yamashiro Ju Shigeyoshi.(山城住重吉) It represents the Ikeda Family Mon (Mukai Cho Ka-mon. Thus as it is its original mon tsuba it likely represents this sword was made for the Ikeda family clan.

To qualify as an ōdachi, the sword in question would normally have a blade length of around 3 shaku (90.9 cm (35.8 in)). However, as with most terms in Japanese sword arts, there is no exact definition of the size of an ōdachi.

Signed "Hoki no Kuni ju Yoshiyuki. swordsmith named Yoshiyuki (吉幸), worked in Hōki Province (伯耆国), modern-day Tottori Prefecture, during the late Edo period (around the 1860s). He signed his work with variations like "Hoki no Kuni ju Yoshiyuki," was known as Shimizu Tōshirō, and produced blades exhibiting detailed jihada (grain) and hamon (temper lines) with ko-nie (small bright particles).
Yoshiyuki (real name Shimizu Tōshirō).
Hōki Province (now Tottori, Japan).
Period: Late Edo (Bunkyū era, 1861-1864) through the Meiji Restoration.
Signature: "Hoki no Kuni ju Yoshiyuki" (伯耆国住吉幸).
Often features itame (wood grain) mixed with mokume ( burl grain), ji-nie, chikei, and utsuri, with a hamon of midare (irregular) with ko-notare (small drops) and ko-gunome (small arcs).
Yoshiyuki was a recognized smith from Hōki Province, noted for his work in the late Shintō period, even creating swords during the ban on wearing swords in 1876.
Blades from him often considered significant examples from that era, showcasing traditional craftsmanship even as Japan modernized.

This wonderful sword is photographed in the gallery not only displayed on a traditional katana stand {horizontal}, but also on a black lacquer, old, traditional tachi stand { tachi-kake, more vertical}. The sword with come complete with a complimentary katana stand. The tachi stand is sold separately.

The tachi style of swords preceded the development of the katana the first use of the word katana to indicate a blade different from tachi appears toward the end of the twelfth century. In later Japanese feudal history, during the Sengoku and Edo periods, certain high-ranking warriors of what became the ruling class would wear their sword tachi-style (edge-downward), rather than with the saya (scabbard) thrust through the belt with the edge upward. The bakuhan taisei was the feudal political system in the Edo period of Japan. Baku, or "tent," is an abbreviation of bakufu, meaning "military government" that is, the shogunate. The han were the domains headed by daimyo. The number of han (roughly 250) fluctuated throughout the Edo period. They were ranked by size, which was measured as the number of koku that the domain produced each year. One koku was the amount of rice necessary to feed one adult male for one year. The minimum number for a daimyo was ten thousand koku; the largest, apart from the shogun, was a million.

Samurai horsemen began as aristocratic mounted archers in Japan's Heian period (794-1185), serving nobles, evolving into powerful warriors controlling the state by the Kamakura era (1185-1333) with the rise of the Shogunate, mastering bows, swords, and later polearms, forming the iconic image of armoured, skilled riders who defended Japan and defined its military culture for centuries before their eventual abolition in the 19th century.
Origins and Early Development (Heian Period, 794-1185)
Early Protectors: The term "samurai" (meaning "one who serves") emerged as provincial warriors, often landowners, serving aristocratic families as guards.
Mounted Archery: Their initial primary skill was horseback archery, using asymmetrical bows, with horses and armour often signifying wealth.
Decentralized Power: Central government weakness led to reliance on these regional warrior clans (Uji), shifting power from the court to local strongmen.
Rise to Power (Kamakura Period, 1185-1333)
Feudal System: Clan rivalries culminated in the Genpei War, leading to the rise of the first Shogunate (military government) and establishing the samurai as Japan's dominant political and military force.
Bushido: The samurai code of honour, Bushido, became firmly established during this time.
Mongol Invasions (1270s): Samurai horsemen, skilled in archery and swordsmanship, successfully defended Japan against Mongol invasions.
Evolution of Tactics (14th - 16th Centuries)
Swords & Polearms: While archery remained important, swordsmanship (especially with the katana) grew, and later, the introduction of lance-armed cavalry charges became a feared tactic, notably by the Takeda clan.
Infantry Integration: By the late 16th century, powerful samurai leaders like Oda Nobunaga began integrating firearms and massed infantry, leading to significant tactical shifts, as seen at the Battle of Nagashino (1275).
Decline & Legacy (Late Edo Period to Meiji Restoration)
Abolition: The samurai class was officially abolished during the Meiji Restoration in the late 1870s, ending their military and social dominance but solidifying their legendary status in Japanese history and culture. However the presentation of samurai swords did not stop {after the samurai class were removed from power} as their status, was, for ever more indelibly linked entirely to both the history and the future of Japan, for without the sword there would have been no legendary samurai, and without the samurai there would have been no Japan.

Approx 32 inch blade tsuba to tip, tsuka 11.5 inches long, overall 45.5 inches long

Traditional tachi sword stands (tachi-kake) serve to display the sword's beauty, honour its spiritual status
Swords were symbols of honour; the stand showcased the owner's rank and the blade's importance, often with ornate designs.
Stands support the tachi's distinct curve, preventing stress and damage, especially when displayed edge-up, which highlights the blade. They secure the sword, keeping it safe from accidental falls or damage to the delicate fittings and scabbard (saya).
The orientation (edge up/down, handle left/right) could signify peace or war, or readiness for drawing, showing the sword's transition from weapon to art.
Unlike katana stands, tachi stands cradle the blade's natural curve, holding it at an angle or horizontally.
Often made from fine woods like cypress, they were built to be stable and aesthetically pleasing, sometimes featuring clan crests.
Tachi were worn edge-down for cavalry; displaying them this way mirrors that original function, while edge-up is for peacetime aesthetics,
In essence, the tachi stand {tachi-lake} transforms a formidable weapon into a revered art object, reflecting its historical importance and cultural significance in samurai society

Picture in the gallery is of Magara Naotaka, a retainer of the Asakura clan in the Battle of Anegawa. He was famous as a master of a ōdachi named Taro tachi (太郎太刀). One might presume the size of his Odachi may have been exaggerated somewhat for the sake of artistry.  read more

Code: 26006