A Very Fine Yasutsugu School Katana, circa 1675-1684 Likely the 4th Generation, Signed, with Aoi Mon, Namban Tetsu Oite Bushu Edo Echizen Yasutsugu
With a stunning bi coloured, black ribbed and cinnabar red lacquer saya, hand decorated with a wonderful light feathering and a scrolling silver saya jiri bottom mount. The mounts fuchi kashira and menuki are gold and shakudo decorated of the chrysanthemum. The story of the Yasutsugu lineage starts with the birth of the first generation, Ichizaemon, who is believed to have been born around the middle of the sixteenth century. His place of birth was in Shimosaka of Shiga-gun in the province of Omi. Omi is next to Mino and contains Lake Biwa. Yasutsugu was born into a sword making family headed by his father, Hironaga, reputed to be the last descendent of Yamato no Kuni Senjuin. Though his father was from Omi, he was trained in the Mino tradition. Around the 11th or 12th year of this same period of Keicho (1606-1607), Yasutsugu’s fame reached the point that he was called to Edo (Tokyo) to share his forging skills with Tokugawa Ieyasu. About this time Yasutsugu was given the privilege of using the character “Yasu” (康) from Tokugawa Ieyasu’s (徳川家康) name. Thus, from that point on, he changed his name to Yasutsugu. About the same time (some feel it was a few years later) he was given the additional privilege of carving the Hollyhock crest (Aoi mon) on his blades. These privileges were given in perpetuity to Yasutsugu and his descendants. Thus the Yasutsugu swordsmiths became the kaji of the Tokugawa Family.
Yasutsugu worked in Echizen and Edo as was the custom with the Tokugawa family in those days. It was much like the practice of Sankin Kodai (alternate year attendance) that was required of the Daimyo of the country. He died in seventh year of Genna (1621) probably in his 70’s.
Upon the death of the first generation Yasutsugu , the family mantle was taken up by his son, Ichinojô.
Nidai Yasutsugu made swords in the same style as the first generation. Some say that his ability was nearly the equal of his father’s. While all do not agree, there seems to be a consensus that he was without a doubt a close second
The two branches of the Yasutsugu school continued for many generations. The Edo school continued through eleven generations. It is generally agreed that the only two smiths of the last eight generations that were of note are the fourth our sword and the eleventh generations. The fourth generation had the advantage of being trained by the third generation, a quality smith. In addition, the fourth generation left several works in which he collaborated with the well-known smith, Izumi (no) Kami Kaneshige. The fourth generation’s working period was from 1675, the third year of Enpo to 1684, the first year of Teikyo era.
Interestingly, the steel used to produce this sword was in part sourced from Europe, likely from
Dutch traders. This steel was known as “Namban tetsu”, (lit. Southern Barbarian steel). It would
have been expensive and unique to produce swords with steel from faraway lands in the late
1600s. Thus the nakago (tang) is chiselled with the words Namban tetsu.
it is mounted with An Antique Edo Period Iron Large Tsuba Inlaid with Silver Aoi Leaves
The Tsuba can be solid, semi pierced of fully pierced, with an overall perforated design, but it always a central opening which narrows at its peak for the blade to fit within. It often can have openings for the kozuka and kogai to pass through, and these openings can also often be filled with metal to seal them closed. For the Samurai, it also functioned as an article of distinction, as his sole personal ornament. The tsukaito is beautifully traditionally rebound as is the black ribbing lacquer, on its original Edo lacquer saya.
As can be seen it is likely in its last original Edo polish in stunning condition which is beautiful, with just the tiniest natural aged surface mark. The kashira is carved buffalo horn with an applied gold lacquer partially complete aoi mon
Overall length in saya 38 3/4, blade tsuba to tip 27 3/4 inches long
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.
From the earliest days hand-made traditional the 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.
As once told to us by an esteemed regular visitor to us here in our gallery, Victor Harris {the most eminent sword expert in Europe, and sword curator of the British Museum} and his same words that are repeated in his book, see 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
For those that have interest in original Japanese swords, this is a perfect way to have a superbly made original hand made sword that it mounted in original Japanese fittings of the early samurai form of katana.
** Authentic, currently, modern hand-made nihonto (Japanese sword blades) from licensed swordsmiths in Japan today, typically start around $10,000–$25,000 for a katana, with prices often exceeding $60,000 for renowned top-tier sword masters or customized commissions.
These blades, forged from tamahagane steel, require 12+ months to create due to strict legal limits on production, with some high-end, custom pieces from master smiths such as Yoshindo Yoshihara exceeding $10,000 for smaller tanto blades.
A brand new, katana blade from a reputable but lower ranked smith usually starts around $7,500–$10,000.
Every single item from The Lanes Armoury is accompanied by our unique Certificate of Authenticity. Part of our continued dedication to maintain the standards forged by us over the past 100 years of our family’s trading, as Britain’s oldest established, and favourite, armoury and gallery read more
12950.00 GBP
A Most Intruiging Allach Artwork. An Original Third Reich SS-Julleuchter. An Award & Trophy of the German Schutzstaffel Presented By Himmler to Officers Then Members of the SS From1936 -1944. A Pagan Runic Winter Solstice Lamp, An SS Service Decoration
NOW SOLD!
In brown ceramic with incised decoration of runic symbols, designed to hold the Winter Solstice candle, and it bears the large SS Allach factory stamp into one of its four feet. Their are numerous wax traces of original use, in several shades of white and dark brown
The Nordic history of the Third Reich Julleuchter, originated from a swedish artifact, a candle holder " The 16th century Julleuchter" was housed in the Nordic Museum and had a height of 15 cm and a base of 8.2 cm squared. It was a candle-holder that has an incised heart shape and a six-spoked opening.
The artefact was described in 1888 in the magazine of the Swedish literary club Runa (founded by Johan August Strindberg), which compared the six-spoked window in its base with the shape of the medieval h-rune; the 1888 article attributed a 16th-century date to the object (the earliest date of the introduction of candles to Scandinavian households)
The Runa article came to the attention of Herman Wirth because of its supposed "Hagal rune" (the six-spoked window at its base) who mentioned it in his Ura Linda Chronik, whence it passed into Nazi-era Germanic mysticism.
In a 1936 memorandum, Heinrich Himmler set forth a list of approved holidays, in part supposedly based on "pagan" traditions, including a "Julfest" intended to replace Christian rites. The Julleuchter and other symbols were also meant to serve as a consolation to women who, by having married into the SS, had to renounce the spiritual shelter and service of their church. The SS officer was instructed to set up a shrine that included, an awarded by Himmler, ceramic Julleuchter in the corner of one room of his household.
In January 1936, the SS Porzellan Manufaktur Allach was created under the control of Heinrich Himmler. Well known artists were forced to participate. in October 1937 production was shifted to the SS-operated Allach sub camp of the Dachau concentration camp.
An article about the Julleuchter was published in the German magazine "Germanien" in December 1936. The author argued that this "millennia old" lantern was to be used as "a memento of the "Year of the Great Migrations of the people of the north"". Another article was published in the SS periodical SS-Leitheft Jahrgang 7 Folge 8a. In 1939 the Julleuchter was also mentioned in "Die Gestaltung der Feste im Jahres und Lebenslauf in der SS-Familie"(Celebrations of the SS Family) by Fritz Weitzel.
The information about the 1936 issue of Germanien magazine about the Julleuchter is actually from the later magazine "Der Freiwillige." The article in "Der Freiwillige" reports Germanien magazine being, ..."the official organ of the German ancestor inheritance registered association, Berlin." The information given in that latter article is from Germanien magazine.
A 1936 issue of Germanien magazine claimed that the "millennium old" lantern had been used as a memento of the "Year of the Great Migrations" of the people of the north and as the small light of humanity under the stars of the night sky. When used during the 2 Solstice periods of the year, this is a symbol of the victory of Light over the Darkness, and also as a token of Eternal Circulation. The Julleuchter stands for an inseparable community, its conscience and attitude, and that it was used as a symbol of never ending sunlight. Further, the magazine stated that when the Julleuchter was used during the holiday of Yule (what is now known as The 12 Days of Christmas), twelve candles are used. One is used each night symbolizing the twelve months, until the 31 of December when the "July Moon shines." On that night a thirteenth candle is used for the new coming month of January. The candles always burn below but on the last night, the candle is again transferred upward – this is the sun, which is spilled in order to return to the earth from the gloom of another peace.
This very rarely surviving SS-Julleuchter was considered both an award and trophy of the German Schutzstaffel that was presented to officer's then later to members of the SS, from approximately 1936 until 1944 as a service decoration
Heinrich Himmler originally had the intention to make the Julleuchter a standard gift to all SS members and there were no criteria attached to its presentation. For reasons which are not entirely clear, by the start of World War II, the Julleuchter had begun to be viewed as an SS decoration, and was entered as such in SS service records once the Julleuchter had been presented. However, as the SS-Julleuchter was considered "non-portable" (much like the Luftwaffe Honor Goblet), there was no outward display on an SS uniform indicating its presentation.
Apparently even as the Red Army was advancing and the fall of Berlin was in the foreseeable future, The Julleuchter was used during the decoration French volunteers in the Waffen-SS. One surviving soldier said, "In the light of a candle burning on a Julleuchter, a Jule Candlestick, symbolizing the never dying sunlight, Fenet decorated a number of comrades with the Iron Cross. Although simple, the ceremony that evening seemed all the more extraordinary."
'Christmas in Nazi Germany'
Not only the presents but the whole celebration should be full of surprises for all members of the family. The father lights the candle in the Jul-Leuchter, or 'Jul Earthenware Candlestick', from which the tree candles in turn get their light. ... The Jul-Leuchter, presented by Reichsführer-SS Himmler to the SS Man, is the most important symbol used throughout the year to mark celebrations and commemorations. Its cut-out Heart represents hearth and home, and the Hagal Rune peace through victory. At midnight, when the candles on the Yuletide Tree are burnt down, the SS Man will put the Jul-Leuchter on the table. The Candlestick with its year-long candle has been lit at every family celebration the past year. Its candle has burned down, and it should receive a new one tonight. Just as our ancestors never let the sacred hearth cooking fire extinguish, so our Jul-Leuchter must always have a light. Thus it becomes a symbol of the never dying sunlight. Everyone becomes very thoughtful when the old candle finally burns down and the new one is put in its place. (From "Celebrations of the SS Family" by Fritz Weitzel, 1939).
The Allach factory deposited the Julleuchter design with the Imperial Patent Office in Berlin on 16 January 1936. The Allach Julleuchter was unique in that it was made as presentation piece for SS officers to celebrate the winter solstice. It was later given to all SS members on the same occasion, 21 December. Made of unglazed stoneware, the Julleuchter was decorated with early pagan Germanic symbols.
The lamp has had some old contemporary repairs to cracks in the body. It was originally found in Scandinavia where it has been since during the war.
Photos in the gallery include the letter that accompanied each lamp, a worker in the Allach factory at Dachau working upon a lantern, officially published Christmas postcards from Himmler, and a front cover of Germanien. For information only and not included. read more
A Good 1821 Pattern Light Cavalry Sabre For Dragoons Hussars and Lancer's
Overall in bright and clean order, in very nice condition. With good steel combat, later scabbard, with a superb snug fit, and a mid section dent.
Victorian-era British cavalry, spanning 1837–1901, comprised distinct roles for hussars and dragoons, though these differences became increasingly ceremonial over time. Hussars acted as light cavalry for reconnaissance, wearing flashy busbies and uniforms, while Dragoons (and Dragoon Guards) were heavier, riding larger horses for shock charges, wearing helmets. By the late 19th century, both functions heavily merged.
Hussars (Light Cavalry)
Light cavalry, designed for reconnaissance, speed, and pursuing a broken enemy.
Uniforms: Wore iconic, elaborate blue jackets with yellow/white braiding (braided pelisse over the shoulder), tight trousers, and the tall fur cap known as a "busby," usually with a white-over-red plume.
Equipment: Armed with curved swords (sabres) for cutting, and sometimes carbines. Due to tight trousers, they carried a "sabretache," a decorative leather pouch hanging from the belt used for carrying messages.
The regiments included the 3rd, 4th, 7th, 8th, 10th, 11th, and 15th Hussars, many of which were converted from light dragoon regiments. read more
675.00 GBP
English Civil War Heavy Siege Gun, a 'Whole' Cannon of 7 inches. Ball 50lbs x 7 Inches. Recovered from the Siege of Chester Castle Site
50-pounder cannon was at the extreme heavy end of artillery used in this period, likely restricted to siege work rather than field battles due to transport limitations.
Charles I of England (r. 1625-1649) considered himself an absolute monarch with absolute power and a divine right to rule, but his unwillingness to compromise with Parliament, particularly over money, led to a civil war from 1642 to 1651. Fought between the 'Roundheads' (Parliamentarians) and 'Cavaliers' (Royalists) in over 600 battles and sieges, the war was a bloody and protracted conflict.
Both armies had artillery units, but the number of cannons at any given battle or siege varied depending on availability, location, and the losses or captures of artillery in previous engagements. A general commanded an artillery train while groups of cannons – a battery – came under the command of a senior officer. Each individual gun team was led by the gunner who organised his various assistants. The Parliamentarian New Model Army began with 56 cannons, but the force expanded over time, especially with additions captured from the enemy. The Royalists, however, struggled to keep pace as the necessary finances became more difficult to raise as the war went in Parliament's favour.
The gun crew consisted of at least the following: a gunner who aimed the piece, the gunner's mate who loaded it, and an assistant. A specialist artillery engineer would have first calculated the correct range and trajectory using various instruments like scales, quadrants, and rulers to measure the angle of elevation of the barrel. His instruments would provide figures that could be compared to prepared charts, but really nothing replaced practical experience with a specific cannon.
For each new shot (at least for larger cannons), the crew had to first cool down the barrel using a blanket of thin leather or sheepskin soaked in water. This was to ensure the new charge of powder did not prematurely explode. Another precaution between shots was to clear the barrel and touchhole of any blockages, residue spent powder or burning embers. When ready, the required measure of gunpowder was pushed down the barrel, blocked in place with wadding such as hay or oakum, and the cannonball gently pushed in. Another quantity of wadding was then added. A rod was next used to ram everything tightly to the bottom of the barrel. If the charge was not firmly packed then the explosive energy was lost, which reduced the range of the shot. A poorly packed charge could even blow up the cannon itself. The gunpowder was then lit through the touchhole in the top of the cannon using a slow match attached to the end of a long pole (linstock) for safety. The match lit fine-grained priming powder, which in turn set off the main powder charge.
John Byron, 1st Baron Byron (1599–1652) was a staunch Royalist soldier and politician during the English Civil War, known for his cavalry leadership and unwavering loyalty to Charles I. Created a baron in 1643, he commanded forces in Cheshire and Lancashire, defended Chester, and later served in the royal court in exile, dying in Paris.
At the outset of the English Civil War, Chester was held by forces loyal to King Charles. The city was especially important to the Royalists as its location on the River Dee and proximity to the Irish Sea made it an important gateway to both Ireland and North Wales. The central city was surrounded partially by the river and protected by strong city walls dating back to the times of the Romans. When the civil war broke out, the Royalists further strengthened the city walls and added a ring of earthwork defences extending out and around portions of the city to the north and east
The siege of Chester occurred over a 16-month period between September 1644 and February 1646 during the First English Civil War. In the engagement, Sir William Brereton and the Parliamentarians were ultimately successful in taking possession of the city and Royalist garrison commanded by Lord Byron.
Although the siege spanned nearly one and a half years, the degree to which the city was confined varied in intensity. Throughout the 16-month time period, conflicts continued to occur between the Royalists and the Parliamentarians in Cheshire and during the spring and summer of 1645, the Royalists were successful in causing the Parliamentarians to temporarily lift the siege. Ultimately, however, the Parliamentarians enforced a total blockade and captured the city.
Ref; Mark Cartwright
https://www.worldhistory.org/article/1931/artillery-in-the-english-civil-wars/ read more
495.00 GBP
A Superb, Original, Antique Maasai Lion Hunter's Enkuma 'Lion Spear' . From the Maasai Mara of The Great Rift Valley of Kenya. Of the Best, 'Original Maasai Cultural Artifact' Examples We Have Seen in Over 40 years
Around 200 years old. Beautifully hand polished. From a pair we acquired from a late retired Maasai Mara game wardens collection, that he collected between WW1 and WW2. Presented to him, as a revered tribal artifact {over 100 years old then} by a tribal senior elder in the 1920's.
A fabulous piece of Maasai tribal hand crafted 'worked steel'
Heavy African spear, used by the Masai of Kenya.
Termed a lion spear called an enkuma, these were traditionally used by young men in a rites of passage to kill a lion to attain adulthood. The long iron spearhead is very robust to avoid being bent, it would fit upon a small central wooden handle section, beneath which would be a very long steel spike.
There was nothing gratuitous about killings such as these. Maasai lion hunts were a battle to the death between two worthy adversaries. This was not trophy hunting, which, too often, involves sports hunters waiting in a safely concealed position for a lion to come to a bait, then shooting it with a high-powered weapon. Killing a lion with a spear, in hand-to-hand combat, requires great skill, strength, and immense courage. Maasai lion hunts were also relatively rare, and these rite-of-passage killings had little impact upon overall lion numbers.
These spears were carried by the tribe’s young men when they are charged with protecting the cattle that the Masai depended upon from the predation of lions. Reputedly, the technique was to firmly ground the tail spike of the spear and direct the spearpoint at a lion who was then enticed to charge. If all went well, the leaping beast would be impaled on the spear. Every Maasai youth needed to kill a lion in this way to be recognised as a warrior, but the smallest mistake on the young man’s part would likely not end well.
The Maasai are nomadic pastoralists of East Africa who range along the Great Rift Valley of Kenya and Tanzania, the Samburu of Kenya, and the semi-pastoral Arusha and Baraguyu (or Kwafi) of Tanzania. Maasai subsist almost entirely on the meat, blood, and milk of their herds. Their kraal, consisting of a large circular thornbush fence around a ring of mud-dung houses, holds four to eight families and their herds.
The Maasai maintain a number of patriarchal clans grouped into two classes, or “moieties”. Within the classes members are integrated in a system of age-sets that sees groups of the same age initiated into adult life together. The age-class thus formed is a permanent social grouping that lasts the lifetime of its members. They move up through a hierarchy of grades, each lasting approximately 15 years, including those of junior warriors, senior warriors, and junior elders, until they become senior elders authorized to make decisions for the tribe. Between the ages of about 14 and 30, young men are traditionally known as “morans”. During this period they live in isolation in the bush, learning tribal customs and developing the strength, courage, and endurance for which Maasai warriors are noted throughout the world.
Important!! Not to be confused with the common tourist examples that are frequently seen and described mistakenly as lion spears read more
350.00 GBP
A Beautiful Late Edo Bakumatsu Copper Katana Tsuba With NBTHK Papers.
Bakumatsu copper tsuba, NBTHK Kicho Kodugu papers from 2020. With a translation, the "ninteisho" is introducing the document as recognition written in calligraphy. The tsuba is decorated with Aki kusa, Autumn grass [flowers], unsigned. The Nihon Bijutsu Tōken Hozon Kyōkai is a public interest incorporated foundation established in February 1948 to preserve and promote Japanese swords that have artistic value. Tsuba are usually finely decorated, and are highly desirable collectors' items in their own right. Tsuba were made by whole dynasties of craftsmen whose only craft was making tsuba. They were usually lavishly decorated. In addition to being collectors items, they were often used as heirlooms, passed from one generation to the next. Japanese families with samurai roots sometimes have their family crest (mon) crafted onto a tsuba. Tsuba can be found in a variety of metals and alloys, including iron, steel, brass, copper and shakudo. In a duel, two participants may lock their katana together at the point of the tsuba and push, trying to gain a better position from which to strike the other down. This is known as tsubazeriai pushing tsuba against each other. The tsuba has north and south kuchi-beni.
Literally "lipstick", but refers to the copper plugs of the nakago-ana. Their function is to secure the tsuba firmly when mounted on a blade. These plugs are sometimes called sekigane. read more
695.00 GBP
A Fine Antique Indo-Persian 'Mace of Rostam' the Bull's Head Mace
A Persian all iron 'Mace of Rostam' the mighty Paladin of Persia. The mace's head is a full bull's head [after Rostam's Mace] with applied horns and ears, iron haft with traces of silver damascened decoration to all three sides of the bull's head. Good overall condition for age. See Allan and Gilmour fig.26 for a closely related example, and p.189 and 315 for a discussion of these maces. Rostam, sometimes spelled Rustam, was the son of Zal and Rudaba, and the most celebrated legendary hero in Shahnameh and Persian mythology. In Shahnameh, Rostam and his predecessors are Marzbans of Sistan (present-day Iran and Afghanistan). Rostam is best known for his tragic fight with Esfandiar; the other legendary Persian hero, for his expedition to Mazandaran (not to be confused with the modern Mazandaran province); and for tragically fighting and killing his son, Sohrab, without knowing who his opponent was. Rostam was eventually killed by Shaghad, his half-brother.
Rostam was always represented as the mightiest of Iranian paladins (holy warriors), and the atmosphere of the episodes in which he features is strongly reminiscent of the Parthian period. He was immortalized by the 10th-century Persian poet Ferdowsi in the Shahnameh, or Epic of Kings, which contains pre-Islamic Iranian folklore and history.
He rode the legendary stallion Rakhsh and wore a special suit named Babr-e Bayan in battles. While out hunting Rostam awoke from his sleep to find Rakhsh had gone missing. He was distraught at losing his beloved horse and he tracked him as far as the city of Samangan. Here he greeted the King and asked for his help to find Rakhsh.
While in Samangan, Rostam met the king's lovely daughter Tahmina. The Shahname describes her as elegant as a cypress tree. One night she came to his room:
' My name is Tahmineh; longing has torn
My wretched life in two, though I was born
The daughter of the king of Samangan,
And am descended from a warrior clan.
But like a legend I have heard the story
Of your heroic battles and your glory,
Of how you have no fear, and face alone
dragons and demons and dark unknown
Of how you sneak into Turan at night
And prowl the borders to provoke a fight,
Of how, when warriors see your mace, they quail
And feel their lionhearts within them fail.
I bit my lip to hear such talk, and knew
I longed to see you, to catch sight of you,
To glimpse your martial chest and mighty face-
And now God brings you to this lowly place.
If you desire me, I am yours, and none
Shall see or hear of me from this day on.'
But their time together was brief, because once Rakhsh was found, Rostam departed for his homeland. Nine months later Tahmina gave birth to a son Sohrab, who grew up to be a warrior like his father Rostam. Scene from the Shahnama: Garsivaz prostrating himself before Siyavush in the presence of Rustam. 14th century, 54cms read more
1150.00 GBP
A Stunning Original Horseguards Officer's Pattern Helmet Plate. In Gold, Red Enamel Cross, Blue Enamel Garter, And Frosted Silver Cut Steel Order of the Garter Badge Star
Probably the worlds most beautiful helmet plate ever designed.
This fabulous quality officer’s helmet plate, in use since the Queen’s coronation in 1953, was used by an officer of the Queen’s mounted bodyguard, from either the Blues and Royals or the Life Guards regiments, that combined, make up the Royal Horseguards. The helmet plate is identical for both helmets, only the colour of the yak hair plume was different, white for Life Guards, red for Blues and Royals.
The Albert helmet is the current ceremonial headgear of the British Army's Household Cavalry, for both the Life guards regiment and the Blues and Royals regiment, known collectively as Horseguards.
This pattern will now be changed very soon for the design designated for His Majesty King Charles lII. The crown will be changed to the single domed crown of all the kings since Edward VIIth. The domed crown is called either The King’s Crown or the Imperial State Crown. The late Queen’s crown, is known as St Edwards Crown.
The Albert pattern helmet was introduced by Prince Albert in 1842 and adopted by the Household Cavalry the following year. In 1847 the helmet was introduced to all heavy cavalry regiments. It remains in use as the full dress headgear of the two remaining Household Cavalry regiments, the Blues and Royals and the Life Guards. The magnificent helmet remains in use with the two current Household Cavalry regiments, the Blues and Royals with red plume and the Life Guards with white plume. These regiments are amalgamations of the four earlier regiments. The Life Guards retain the white plume and the onion from the 2nd Regiment, the Blues and Royals retain the red plume of the Royal Horse Guards. Blues and Royals officers wear a yak hair plume. Farriers in both regiments wear different plumes, the Life Guards farrier wear black and Blues and Royals farrier red.
The regiments also differ in how they wear the helmet's chin strap. The Blues and Royals wear it under the chin while the Life Guards wear it under the lower lip. The helmet is now in white metal for all ranks and the same helmet plate is worn by both regiments (they were different historically).
The Albert helmet is only worn in full dress review order, guard order and front yard order by other ranks and in full dress, levee dress and ceremonial rehearsal dress by officers. Medical and veterinary officers do not wear the helmet, instead wearing a cocked hat.
The other ranks of the Mounted Band of the Household Cavalry wear the helmet in full dress (with the plumes of their parent regiments), except when parading in the presence of the royal family, when they wear state dress with jockey caps. Band officers wear Albert helmets on both occasions.
Its condition is considered by us as mint. A complete Horseguards officer’s helmet from the 1953 coronation period, in mint condition, will cost today somewhere between £6,500 to £10,000.
Photo in the gallery of royal Horseguards officers and men; Credit MOD read more
950.00 GBP
An Original Ancient Briton, Pre-History, Bronze Age Axe Head, Loop and Socket Form, Formerly From the Sir Alfred McAlpine Collection. 3500 to 4,000 Years Old
A bronze age axe head with square, collared socket and rectangular cheeks with flared, D-section cutting edge, small loop to attach the axe head with sinew cord binding to an axe haft.
Likely recovered from a Bronze age barrow many decades past, formerly in the Sir Alfred McAlpine collection.
A Barrow is an ancient mound where treasure and artifacts were buried with warriors as offerings. There are many ancient Iron Age and Bronze age Barrows covering Britain's ancient lands, some are simple mounds other are long or shaped. However, artifacts and treasure from most of these sights are now long since gone, or, possibly, some remain but are too deep to disturb the precious site, so wonderful finds such as this are a rare joy to see and even rarer to own.
We show another similar, earlier bronze age axe head axe found with Otzi the Ice Man, and a recreation of him in the museum holding his similar axe. We show a photo of his original axe.
The Iceman was discovered in the Otztal Alps in the fall of 1991, the location giving him his now famous name: Otzi. His preserved body and equipment have given us a wealth of information about the time in which he lived.
He died and was buried within glacial ice 5,300 years ago, alone and in pain, yet the remains of his body and equipment are teaching us more than any previous discovery about that time in history when our ancestors were moving out of the stone age and into the age of metal.
He was prepared for his trek through the Tyrolean Alps as well as any modern climber, knowing the dangers of sudden snowstorms that can occur in the spring of the year. He did die, but it was not the weather or the mountains that killed him. It was an arrow shot into his left shoulder that shattered his scapula and tore through blood vessels and nerves. Although he escaped his attacker, the combination of blood loss and the immobility of his left arm had doomed his chances of surviving.
His pain must have been great as he kept climbing, finally stopping at an altitude of 10,400 ft. He slipped his quiver over his shoulder and dropped it to the ground. Staggering a few more yards, he removed his pack frame and laid it down against a stone outcropping. Using only his right arm, he carefully removed two birchbark containers from his pack, one he set on top of the rock, the other he kept close to him, a familiar smell momentarily comforting him. He then placed his copper axe and his bow stave with the pack. Clutching his birchbark cylinder, he struggled a few more steps before he stumbled, but even then, twisting to avoid landing on his left side and protecting the treasure in the container. He painfully pulled the birch bark close to his face, inhaled the last vestiges of the smoke from the failing ember inside and died.
The axe head weighs just under 200 grams, around 3 1/2". Fine condition. read more
995.00 GBP
A Simply Stunning A Fabulous Original Antique Shinto Early Edo Period Chisa Katana. Wondrous Pure Gold and Shakudo Mounts Of The Tale of Momotarō, the Demon and The Monkey. Superbly Beautiful Blade Hamon and Hada Grain
An absolute beauty of an original samurai sword katana.
The blade is in amazing condition with a breathtaking hamon and hada, it is truly amazing! with a beautiful iron mokko plate tsuba with a silver faced figure fishing from a stream flowning down from a mountail range. The saya is decorated in ishime stone finish lacquer.
The koshirae {mounts and fittings} are equally wonderful, the kashira is carved buffalo horn and the fushi in gold and shakudo on a nanako ground, of the monkey, in three different images of it running, and the menuki are also very fine, of pure gold and shakudo depicting the monkey and the evil Oni {demon}. They represent the Japanese folklore story featuring an oni (demon/ogre) and a monkey is Momotarō (Peach Boy). Nanako Ji: "fish roe ground" A surface decoration produced by forming very small raised bosses by a sharply struck punch or burin called 'nanako tagane'. Shakudo is the metal most often used, but copper and gold are quite often employed. The harder metals, shibuichi, silver and iron are rarely decorated in this way. The size of the dots vary from 0.04" to 0.008" (25 to 125 and inch) and the regularity of the work is marvelous as the dots must be spaced entirely by touch. The dots are usually arranged in straight lines or in lines parallel to the edge of the piece being decorated, but sometimes in more elaborate patterns. Used on guards since the Momoyama period although the technique existed since much earlier periods. Usually done by specialist 'nanako-shi', but sometimes done by the maker of the guard himself.
Shakudo is a billon of gold and copper (typically 4-10% gold, 96-90% copper) which can be treated to form an indigo/black patina resembling lacquer. Unpatinated shakudo Visually resembles bronze; the dark color is induced by applying and heating rokusho, a special patination formula.
Shakudo Was historically used in Japan to construct or decorate katana fittings such as tsuba, menuki, and kozuka; as well as other small ornaments. When it was introduced to the West in the mid-19th century, it was thought to be previously unknown outside Asia, but recent studies have suggested close similarities to certain decorative alloys used in ancient Egypt, Greece, and Rome. The lacquer surface of the saya has some age bruising etc. due to its vintage
In the tale, depicted within the mounts of the sword, a monkey is one of three animal companions who aid the hero in defeating malevolent oni on Onigashima (Demon Island).
The Tale of Momotarō (Peach Boy)
An elderly couple finds a giant peach floating down a river. Inside is a baby boy, who they name Momotarō ("Peach Boy").
The Journey: Momotarō grows up with incredible strength and decides to go to Onigashima to stop the oni, who are kidnapping people and stealing treasure.
On his journey, Momotarō meets a talking dog, a monkey, and a pheasant. He shares his special millet dumplings (kibi dango) with them, gaining their loyalty and friendship.
The Battle: Upon reaching the island, the monkey uses his agility to infiltrate the demon fortress. Together, Momotarō and his companions overpower the demon chief and his followers.
Victory: The defeated oni promise never to bother the villagers again, and Momotarō returns home with the captured demon chief and stolen treasure.
The Monkey: In the story, the monkey is agile and clever, acting as a key strategist and fighter.
Oni: The oni represent evil and the obstacles that need to be overcome.
The Teamwork: The story is a famous example of team-based success in Japanese culture, emphasizing how different strengths (the dog's loyalty, the monkey's agility, and the pheasant's vision) can overcome a strong adversary.
This tale is deeply rooted in Japanese culture, particularly in Okayama Prefecture, where it is believed the legend originated.
The Chisa Katana samurai sword;
The most common blade cutting edge lengths for Chisa katana was approximately eighteen to twenty-four inches. They were most commonly made in the Buke-Zukuri mounting (which is generally what is seen on katana and wakizashi). The chisa katana was able to be used with one or two hands like a katana (with a small gap in between the hands) and especially made for double sword combat a sword in each hand.
It was the weapon of preference worn by the personal Samurai guard of a Daimyo Samurai war lord clan chief, as very often the Daimyo would be more likely within his castle than without. The chisa katana sword was far more effective a defence against any threat to the Daimyo's life by assassins or the so-called Ninja when hand to hand sword combat was within the Castle structure, due to the restrictions of their uniform low ceiling height. The hilt was usually around ten to eleven inches in length, but could be from eight inches or up to twelve inches depending on the Samurai's It has been over one thousand years ago that the art of making swords appeared in Japan. The swordsmiths of the time may not have known it but they were creating a legendary sword. The Samurai sword has seen combat in many battlefields. From the early days of the Samurai warrior to the fierce battles in the South Pacific during WWII.
From the earliest days hand-made traditional the 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.
As once told to us by an esteemed regular visitor to us here in our gallery, Victor Harris {the most eminent sword expert in Europe, and sword curator of the British Museum} and his same words that are repeated in his book, see 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
For those that have interest in original Japanese swords, this is a perfect way to have a superbly made original hand made sword that it mounted in original Japanese fittings of the early samurai form of katana.
** Authentic, currently, modern hand-made nihonto (Japanese sword blades) from licensed swordsmiths in Japan today, typically start around $10,000–$25,000 for a katana, with prices often exceeding $60,000 for renowned top-tier sword masters or customized commissions.
These blades, forged from tamahagane steel, require 12+ months to create due to strict legal limits on production, with some high-end, custom pieces from master smiths such as Yoshindo Yoshihara exceeding $10,000 for smaller tanto blades.
A brand new, katana blade from a reputable but lower ranked smith usually starts around $7,500–$10,000.
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
The blade is 22 inches long from tsuba to tip read more
4750.00 GBP