A Fabulous Antique Shinto Samurai Aikuchi O-Tanto In The Design Of A Naginata Naoshi (薙刀直し) Combined With With An Unokubi-Zukuri {Cormarant's Neck} Blade Form. In Stunning Original Edo Mounting

This is a wonderful Shinto period, Edo era, original aikuchi o-tanto, likely for such as a high status samurai daimyo lord. This is refelected in its beauty and quality of its Edo period mounting. It has a full suite of shakudo fittings, beautifully engraved. The Fuchi kashira, upon the tsuka {hilt}, and the saya {scabbard} koiguchi and kojiri {the throat mount and chape} are all a fully matching suite. Kinko Meikan rank of artistic quality, Ryoko very nice work in kebori and katakiri-bori on shakudo. The saya {scabbard} is decorated with rich brown ishime {stone finish} lacquer, with polished buffalo horn kurigata and a Kozuka-bitsu which is a slot located on the reverse side of the saya to store the optional Kozuka. Kozuka is a small, utility knife, primarily used for carving wood or cutting paper. However during the Edo period, the optional sword fittings such as Kogai-bitsu, Kogai, Kozuka-bitsu, and Kozuka evolved into highly valued ornamental pieces rather than just practical tools. Beneath the gold silk tsuka-ito {hilt binding} are two very intriguing menuki {hilt ornaments} one is of two ponies laying upon ground, in deep takebori made of shakudo and pure gold. Bound on the inside of the tsuka is a currency pattern coin shape menuki of shinchu (真鍮). The blade is mounted within its hilt by a hand made bespoke copper habaki (throat mount) it has a partial patinated surface finish.

Naginata Naoshi (薙刀直し): technically means "naginata re-formed." It describes an ancient blade that has been cut down from a longer naginata polearm into a shorter form, often retaining the deep curve and wide geometry of the original weapon, however it became known for blades that were originally made in that rare form, not just adapted from other previous use pole arm blades. There is an old saying within the early Japanese world of sword collectors about Naginata Naoshi. It goes, “Naginata Naoshi ni Namakura Nashi, ” that roughly translates as, “Naginata Naoshi Katana, is never dull (always sharp). “

These blades often exhibit a wide base, a pronounced curve (sori), and may display unokubi-zukuri (cormorant's neck)

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

The world of antique sword collecting is a fascinating journey into the past, offering a unique lens through which to view history and culture. More than mere weapons, these artifacts serve as tangible connections to the societies and ancient times where they originated. Each blade tells a story, not just of the battles it may have seen but of the craftsmanship, artistic trends, and technological advancement of its time.

The swords mountings can be equally telling. Engravings and decorative elements may enhance the sword’s beauty and hint at its historical context. The materials used for them can reveal the sword’s age

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

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

Every single item from The Lanes Armoury is accompanied by our unique Certificate of Authenticity. Part of our continued dedication to maintain the standards forged by us over the past 100 years of our family’s trading, as Britain’s oldest established, and favourite, armoury and gallery

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

Code: 26125

A Most Scarce Edward VIIth 20th Hussars Cap Badge, Used in The Boer War and WW1

The regiment was not deployed to South Africa until December 1901 for service in the Second Boer War and therefore only took part in the final drives against the Boer commandos in spring 1902. The regiment was based in Ireland again from 1908 to 1911.

The regiment, which was based in Colchester at the start of the First World War, landed in France as part of the 5th Cavalry Brigade in the 2nd Cavalry Division in August 1914 for service on the First World War. The regiment saw action at the Battle of Mons in August 1914 and both the First Battle of the Marne and the First Battle of the Aisne in September 1914. It went on fight at the First Battle of Ypres in October 1914, the Battle of Arras in April 1917 and the Battle of Cambrai in November 1917. It later took part in the German Spring Offensive in 1918, the Battle of Amiens in August 1918 and the final push as the war drew to a close  read more

Code: 21116

An Absolutely Fabulous & Spectacular Javanese Kris Royal Dagger. With Pure Gold Snake or Dragon God, A 'Naga' Symbol Onlaid on to The Fabulous Pamor Serpentine Blade of 13 Lok or Waves. Boat Shaped Ladrang Scabbard of Javan Pelet Wood

Probably 19th to early 20th century., in overall superb condition for age.

In an esteemed London auction house, a most similar quality gold inlaid example, of the same age, sold four Decembers ago for just over £5,400 inc commission. This is simply one of the most beautiful we have seen on the market in over 20 years.

A sarpa lumarka wavy blade with a gold naga snake in sangkelat 13 waves, or lok. Ladrang form of wrangka hilt crosspiece boat form of a simply stunningly grained wood, which may well be Javan pelet, with a fine gilt metal sleeve covering the haft, with a most intricate and detailed pieced design on the obverse side. In Java, the metal sleeve is called pendokbunton, which is a full metal sleeve.

The keris or kris is considered a magical weapon, filled with great spiritual power. In Javanese there is a term "Tosan Aji" or "Magic Metal" used to describe the keris. The keris is replete with the totems of Malay-Indonesian culture of hindu and islam. The blade is a mixture of meteoric steel and nickel According to traditional Javanese kejawen, kris contain all the intrinsic elements of nature: tirta (water), bayu (wind), agni (fire), bantolo (earth, but also interpreted as metal or wood which both come from the earth), and aku (lit: "I" or "me", meaning that the kris has a spirit or soul). All these elements are present during the forging of kris. Earth is metal forged by fire being blown by pumped wind, and water to cool down the metal. In Bali, the kris is associated with the naga or dragon, which also symbolizes irrigation canals, rivers, springs, wells, spouts, waterfalls and rainbows; thus, the wavy blade symbolizes the movement of the serpent. Some kris have a naga or serpent head carved near the base with the body and tail following the curves of the blade to the tip. A wavy kris is thus a naga in motion, aggressive and alive; a straight blade is one at rest, its power dormant but ready to come into action.

In former times, kris blades were said to be infused with poison during their forging, ensuring that any injury was fatal. The process of doing so was kept secret among smiths. Different types of whetstones, acidic juice of citrus fruits and poisonous arsenic bring out the contrast between the dark black iron and the light coloured silvery nickel layers which together form pamor, damascene patterns on the blade. The distinctive pamor patterns have specific meanings and names which indicate the special magical properties they are believed to impart  read more

Code: 22745

A Rare & Incredible Gilbert Islands Shark’s Tooth Kiribati Warriors Sword. In the Native Culture of The Islands It Is Called a Tebute. A Simply Amazing Original Conversation Piece.

A rarely seen {we have only had two in 15 years}, late 19th to early 20th century shark tooth sword, known as a tebute, and it is unique to the Gilbert Islands of Micronesia, the islands today are known as the nation of Kiribati.

The sword is made from seasoned wood of the coconut palm with cutting edges made from sharks teeth, attached with fine fibrous cords.

Most of these swords were destroyed by the maritime visitors to the islands. Kiribati has a history of contrived and ritualized duels. The armour was made of thickly woven sennit, a kind of coconut fibre. The duellists wore helmets made of blowfish remains. The helmets were resilient and, due to the structure of blowfish, covered with many points, which had the ability of damaging weapons. The weapons resembled broadswords with a serrated edge created with many shark teeth. The duels were performed mostly for the purpose of settling disputes and maintaining honour. The practicality of the duels is debatable. Due to the difficulty of moving in this armour, falling over and becoming unable to get back up was common enough that duel assistants were required. Kiribati has been known for its traditional martial arts which were kept within the secrets of several families for generations. The Kiribati arts of fighting as opposed to Asian martial arts are not often mentioned or even advertised to be known by the general public. Though, there may be some noticeable parallels in principle to that of Asian martial arts, they are merely really different. For instance, generally, there is no kicking as in Karate kicks or Kung Fu kicks, and speed is more important than power. A list of some of these traditional martial arts is as follows: Nabakai, Nakara, Ruabou, Tabiang, Taborara, Tebania, Temata-aua, Te Rawarawanimon, and Terotauea.

The essence of Kiribati traditional martial arts is the magical power of the spirits of the ancestral warriors. All these martial arts skills share one thing in common. That is, they came from an ancestral spirit.

"Nabakai" is a martial art from the island of Abaiang originated from the person named Nabakai. Nabakai was a member of the crab clan called "Tabukaokao". The three ancestral female spirits of this clan "Nei Tenaotarai", "Nei Temwanai" and "Nei Tereiatabuki" which usually believed to manifest themselves with a female crab came to him and taught him the fighting art. Overall 61 cm long.  read more

Code: 20923

An Absolutely Supurb Original Antique Maritime Collectable. A Battle of Trafalger Period Royal Navy Rum, Stoneware Ceramic Rum Barrel, with King George IIIrd Royal Crest And Lions, & 'Fore and Aft' Barrel Tap Apertures

One can easily imagine the Royal Naval officer's of the days before the Battle of Trafalgar availing themselves daily of tots of rum from this magnificent vessal. For meals though, the officer's were supplied with decanted Port.

This is a simply superb navy rum barrel, stunningly impress decorated throughout the whole surface. with the Hanovarian royal crest of the Lion and Unicorn with lion surmounted crown, over the Hanovarian garter and shield. To the base of the crest are twin facing lions, in the same seated pose as can be seen at the base of Nelson's Column in Trafalgar Square.

Prior to 1655, a sailor's ration of alcoholic beverage was originally beer with a daily ration of one gallon (i.e. eight pints). This official allowance continued until after the Napoleonic Wars. When beer was not available, as it would often spoil easily, it could be substituted by a pint of wine or half a pint of spirits depending on what was locally available. In 1655, the difficulty in storing the large quantities of liquid required led to beer's complete replacement with spirits, with the political influence of the West Indian planters giving rum preference over arrack and other spirits. The half-pint of spirits was originally issued neat; it is said that sailors would "prove" its strength by checking that gunpowder doused with rum would still burn (thus verifying that rum was at least 57% ABV).

The practice of compulsorily diluting rum in the proportion of half a pint to one quart of water was first introduced in 1740 by Admiral Edward Vernon (known as Old Grog, because of his habitual grogram cloak). The ration was also split into two servings, one between 10 am and noon and the other between 4 and 6 pm. In 1795 Navy regulations required adding small quantities of lemon or lime juice to the ration, to prevent scurvy. The rum itself was often procured from distillers in Jamaica, Trinidad & Tobago and the British Virgin Islands. Rations were cut in half in 1823 and again in half, to the traditional amount, one-eighth of an imperial pint in 1850.

The abolition of the rum ration had been discussed in Parliament in 1850 and again in 1881 however nothing came of it. However, one dark day in 1970, Admiral Peter Hill-Norton abolished the rum ration as he felt it could have led to sailors failing a breathalyser test and being less capable to manage complex machinery.
This decision to end the rum ration was made after the Secretary of State for Defence had taken opinions from several ranks of the Navy. Ratings were instead allowed to purchase beer, and the amount allowed was determined, according to the MP David Owen, by the amount of space available for stowing the extra beer in ships. The last rum ration was on 31 July 1970 and became known as Black Tot Day as sailors were unhappy about the loss of the rum ration. There were reports that the day involved sailors throwing tots into the sea and the staging of a mock funeral in a training camp. In place of the rum ration, sailors were allowed to buy three one-half imperial pint cans of beer a day and improved recreational facilities. While the rum ration was abolished, the order to "splice the mainbrace", awarding sailors an extra tot of rum for good service, remained as a command which could only be given by the Monarch and is still used to recognise good service. Rum rations are also given on special occasions: in recent years, examples included the 100th anniversary of the Royal Canadian Navy in 2010 and after the Queen's Diamond Jubilee celebrations in 2012.
Heavy stoneware, around 8 kilos {guess} size, 17 inches high 13 inches across/  read more

Code: 25216

A Beautiful Silver Mounted Javanese Pedang Lurus Dagger. A Fine Example of 19th Century Javanese Silverwork.

A Javanese dagger pedang lurus . Slightly swollen single edged blade 21cms with striking pamor, often made of meteorite steel mixed with meteorite nickel, silver hilt and sheath nicely embossed and engraved with foliage. Good condition. In Western literature this type of Indonesian edged weapon is often called pedang lurus, literally straight sword, even though they are not always perfectly straight. It probably refers to the fact they are straighter than a keris or saber. The term is specifically used for a group of Indonesian shortswords that come mounted entirely in silver. They typically bear some striking resemblances to European hunting swords, like the shape of handle and guard, the belt stopper on the scabbard, and the often ribbed scabbard end. The mounts, and sometimes the blades, were probably inspired by such hunting swords that were worn by colonists.

This straight bladed sword or pedang lurus represents a fine example of 19th century Javanese silverwork. Also known as a pedang luwuk, the pedang lurus is associated with central Java, particularly Surakarta and to a lesser extent Yogyakarta, each being royal centres with kratons (palaces) and flourishing court arts.
The hilt has been cast, chased and engraved in high relief with rococo-inspired leafy and stylised flowering motifs. It is shaped as a stylised kris hilt which in town often are shaped as highly stylised wayang characters.
The pomel is covered in sheet silver and has been lightly etched with foliate and floral motifs.
The scabbard is of plain sheet silver over a wooden base, and is beautifully engraved on both sides with a repeated serrated leaf and flower motiff.
The blade, in watered iron/nickel is straight and highly decoratively adorned
Overall, this is an beautiful pedang lurus in a form that is not often encountered.. REFERENCES
Avieropoulou Choo, A., Silver: A Guide to the Collections, National Museum Singapore, 1984.

Hardianti, E.S. & P. ter Keurs (eds.), Indonesia: The Discovery of the Past, KIT Publishers for De Nieuwe Kerk, Amsterdam, 2005.

National Museum Jakarta, Treasures of the National Museum Jakarta, Buku Antar Bangsa, 1997.

Van Zonneveld, A., Traditional Weapons of the Indonesian Archipelago, C. Zwartenkot Art Books, 2001.  read more

Code: 22571

Antique Zulu-Tsonga Prestige Staff Possibly Carved by a Carver Known as the 'Baboon Master'. With a Carved Female Head

19th century. This dignatory's staff has a most figurative carving. They have been collected in Southern Africa since the mid-19th century. Recent research by Anitra Nettleton suggests, however, that Tsonga sculptors may actually have produced most of these carvings. There is evidence that the Tsonga migrated to the Natal from southern Mozambique as early as the 1850s. Recognized for their carving skills, they were soon producing fine artifacts for Zulu dignatories. Two related staffs, were purchased for the collection of the Standard Bank Foundation in Johannesburg. One staff of theirs is surmounted by a baboon and the other by a male figure with a beard. Both are said to be turn-of-the-century staffs carved by the same hand, by a most accomplished and sought after artist dubbed the 'Baboon Master', who was possibly of Tsonga origin. 31 inches long.  read more

Code: 23116

An Antique 18th Century Indian Armour Piercing Punch Dagger Katar, Combat Damaged, or Adapted For Armour Wear

The Katar is an amazing combat weapon from the Indian sub continent, in combat use by select warriors and nobles for five centuries, it is a scarcely seen piece, yet highly distinctive and iconic. It was designed in several forms, some long and relatively light, others extremely robust and overtly powerful. This is one of the latter types. It’s ‘crow’s beak’ penetrating tip shows and strongest possible ribbed blade design was so efficient that effectively there was likely no body armour that could not be penetrated by such a powerful piece, once in the hands of a Katar wielding expert. It has been forged in great and powerful quality, and is a very high quality example with superior heft.
One of the bracing arms has been lost, very possibly from an opponents sword cut, although we have seen this before and we were informed by an esteemed elderly Indian warfare scholar that it has been known for one arm to ge removed so an an armoured warrior could use a the Katar while wearing the right fore-arm protector combat armour, known as the the bazu band. While wearing the bazu band armour the warriors forearm is much wider than usual and a Katar’s narrow arm extensions would preclude its use in combat while wearing armour.

The katar originated in Tamil Nadu where its Dravidian name was kattari before being altered to katar in the north. The earliest forms occur in the medieval Deccan kingdom of Vijayanagara. Katar dating back to this period often had a leaf- or shell-like knuckle-guard to protect the back of the hand, but this was discarded by the latter half of the 17th century. The Maratha gauntlet sword or pata is thought to have been developed from the katar. As the weapon spread throughout India it became something of a status symbol, much like the Southeast Asian kris or the Japanese katana. Among the Rajputs, Sikhs and Mughals, princes and nobles were often portrayed wearing a katara at their side. This was not only a precaution for self-defense, but it was also meant to show their wealth and position. Upper-class Mughals would even hunt tigers with katar. For a hunter to kill a tiger with such a short-range weapon was considered the surest sign of bravery and martial skill. The heat and moisture of India's climate made steel an unsuitable material for a dagger sheath, so they were covered in fabric such as velvet or silk. Because the katara's blade is in line with the user's arm, the basic attack is a direct thrust identical to a punch, although it could also be used for slashing. This design allows the fighter to put their whole weight into a thrust. Typical targets include the head and upper body, similar to boxing. The sides of the handle could be used for blocking but it otherwise has little defensive capability. As such, the wielder must be agile enough to dodge the opponent's attacks and strike quickly, made possible because of the weapon's light weight and small size compared to a long sword. Indian martial arts in general make extensive use of agility and acrobatic maneuvers. As far back as the 16th century, there was at least one fighting style which focused on fighting with a pair of katara, one in each hand.  read more

Code: 24644

A Most Interesting & Rare, Antique, 19th Century, American Presentation Boy's Sword. Presented to George Mellor in 1890. Made to The Standard Fully Functional Sword Specification Grade and Quality of an Adult's Sword At The Time

Made by Thurkle of Soho London. A most intriguing and interesting original antique curiosity and collector's item.

The hilt design is based on an officer's sword of the American Civil war, with a straight blade, but around two thirds the regular size, suitable for a boy of, say, 4 to 8 years of age.

We show the very same kind of sword held by a young boy dressed in a uniform in front of a patriotic portrait photograph of president William McKinley, in 1896.

Cast brass hilt with wire bound leather grip over wood. Tempered blad fully etched with patterning and presentation name and date, George Mellor 1890 . Maker marked by Thurkle of Soho.

Overall in very good condition.
Photo of child held in the Library of Congress {copyright free}

No scabbard

21 inches long overall, hilt, 5 inches  read more

Code: 26123

A Simply Beautiful Shinto Era, Edo Period Samurai Wakazashi Sword, Circa 1700, With A Very Fine Midare Hamon Blade, With A Fabulously Beautiful, Hand Polished, Samegawa Saya { Giant Rayskin Covered Scabbard}. And a Wonderful Hilt Bound In Golden Silk

The tsuka-ito binding, is wrapped over gold and shakudo menuki {hilt ornaments}. One menuki is shakudo with pure gilt speckled overlay of fur dappling, of a resting fawn. The other is a takebori gold flower head. Both menuki are fitted traditionally over unpolished giant rayskin under the binding. The fuchi kashira {hilt collar and pommel} are Hizen school, of copper inlaid long necked chrysanthemum flower stems over a course iron surface. The habaki is a deluxe grade hand made, 'two piece habaki' overlaid in light gold.

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

It has been over one thousand years ago that the art of making swords appeared in Japan. The swordsmiths of the time may not have known it but they were creating a legendary sword. The Samurai sword has seen combat in many battlefields. From the early days of the Samurai warrior to the fierce battles in the South Pacific during WWII.

Each hand-made traditional Samurai sword was unique because it was forged using the finest skills known to man. A tremendous amount of work was dedicated to creating these pieces. They were an instrument of war as much as a beautiful artifact to adorn any decor.

The Samurai sword, from all eras, in all its forms, has grown to be one of the most highly desired and iconic military antiques of all time.

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.

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

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

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

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

Code: 26074