A Shinto Samurai Yari Pole Arm Signed Yamashiro Kami Fujiwara Norishige, Probably Yamashiro-no-Kami Fujiwara Kunishige, Early Edo Period

A beautiful Edo Period Samurai Horseman Ryo-Shinogi Yari Polearm on original haft, signed.
With original pole and iron foot mount ishizuki. Four sided double edged head. The mochi-yari, or "held spear", is a rather generic term for the shorter Japanese spear. It was especially useful to mounted Samurai. In mounted use, the spear was generally held with the right hand and the spear was pointed across the saddle to the soldiers left front corner. The warrior's saddle was often specially designed with a hinged spear rest (yari-hasami) to help steady and control the spear's motion. The mochi-yari could also easily be used on foot and is known to have been used in castle defense. The martial art of wielding the yari is called sojutsu. A yari on it's pole can range in length from one metre to upwards of six metres (3.3 to 20 feet).
The longer hafted versions were called omi no yari while shorter ones were known as mochi yari or tae yari. The longest hafted versions were carried by foot troops (ashigaru), while samurai usually carried a shorter hafted yari. Yari are believed to have been derived from Chinese spears, and while they were present in early Japan's history they did not become popular until the thirteenth century.

The original warfare of the bushi was not a thing for "commoners"; it was a ritualized combat usually between two warriors who may challenge each other via horseback archery and sword duels. However, the attempted Mongol invasions of Japan in 1274 and 1281 changed Japanese weaponry and warfare. The Mongol-employed Chinese and Korean footmen wielded long pikes, fought in tight formation, and moved in large units to stave off cavalry. Polearms (including naginata and yari) were of much greater military use than swords, due to their much greater range, their lesser weight per unit length (though overall a polearm would be fairly hefty), and their great piercing ability. Swords in a full battle situation were therefore relegated to emergency sidearm status from the Heian through the Muromachi periods.  read more

Code: 25187

A Simply Stunningly Mounted Handachi Katana Shinto Period Circa 1650. Handachi Kabutogane, Shibabiki,

Shakudo and gold fittings with a pair of top quality gold and shakudo tiger menuki under the orginal Edo period silk wrap tsukaito, over black giant rayskin, samegawa. Bulls blood ishime stone finish lacquer, sukashi mokko tsuba in the form of clan mon crests. The sword is mounted in a beautiful matching suite of original Edo period gold and shakudo handachi fittings, with kabutogane, shibabiki, and ishizuki. Han-dachi originally appeared during the Muromachi period when there was a transition taking place from Tachi to katana. The sword was being worn more and more edge up when on foot, but edge down on horseback as it had always been. The handachi is a response to the need to be worn in either style. The samurai were roughly the equivalent of feudal knights. Employed by the shogun or daimyo, they were members of hereditary warrior class that followed a strict "code" that defined their clothes, armour and behaviour on the battlefield. But unlike most medieval knights, samurai warriors could read and they were well versed in Japanese art, literature and poetry.
Samurai endured for almost 700 years, from 1185 to 1867. Samurai families were considered the elite. They made up only about six percent of the population and included daimyo and the loyal soldiers who fought under them. Samurai means one who serves."

Samurai were expected to be both fierce warriors and lovers of art, a dichotomy summed up by the Japanese concepts of bu to stop the spear exanding into bushido (the way of life of the warrior) and bun (the artistic, intellectual and spiritual side of the samurai). Originally conceived as away of dignifying raw military power, the two concepts were synthesized in feudal Japan and later became a key feature of Japanese culture and morality. The quintessential samurai was Miyamoto Musashi, a legendary early Edo-period swordsman who reportedly killed 60 men before his 30th birthday and was also a painting master. Members of a hierarchal class or caste, samurai were the sons of samurai and they were taught from an early age to unquestionably obey their mother, father and daimyo. When they grew older they were trained by Zen Buddhist masters in meditation and the Zen concepts of impermanence and harmony with nature. The were also taught about painting, calligraphy, nature poetry, mythological literature, flower arranging, and the tea ceremony.

As part of their military training, samurai were taught to sleep with their right arm underneath them so if they were attacked in the middle of the night and their the left arm was cut off the could still fight with their right arm. Samurai that tossed and turned at night were cured of the habit by having two knives placed on either side of their pillow.

Samurai have been describes as "the most strictly trained human instruments of war to have existed." They were expected to be proficient in the martial arts of aikido and kendo as well as swordsmanship and archery---the traditional methods of samurai warfare---which were viewed not so much as skills but as art forms that flowed from natural forces that harmonized with nature.
An individual didn't become a full-fledged samurai until he wandered around the countryside as begging pilgrim for a couple of years to learn humility. When this was completed they achieved samurai status and receives a salary from his daimyo paid from taxes (usually rice) raised from the local populace. Swords in Japan have long been symbols of power and honour and seen as works of art. Often times swordsmiths were more famous than the people who used them. The blade shows a dramatic sophisticated suguha hamon straight with a few natural age pit marks. As with all our items it comes complete with our certificate of authenticity.

Overall 39.75 inches long, blade tsuba to tip 25.65 inches long  read more

Code: 23354

A Set of Exceptionally Beautiful & Fine Antique Edo Period Complete Suite of Samurai Tanto Mounts { Koshirae } Of Exceptional Quality Fuchi-kashira, the Kashira Of Jurōjin 寿老人 The Old Man of Longevity. With a Wooden Blade

Although for many years samurai swords {all edged tanto are called swords by tradition} with such wooden blades, have often titled as a samurai Doctor's swords, as it has a wooden blade, it is actually incorrect, a suite of sword koshirae have always been revered as much as the blade, and when a blade is stored in its shirasaya storage mount, the sword is disassembled, and a wooden blade is hand carved to identically replicate its real blade, in order to correctly re-fit the mounts together, as if the real blade was present.
However, for centuries now, and especially in Europe, sword koshirae have be highly prized collector's pieces, being works of sublime art in their own right. Thus a set of fabulous antique sword mounts and fittings such this have long been collector's items, separate from the once fitted blade.

Jurōjin (寿老人 'Old Man of Longevity') is one of Japanese mythology's Seven Gods of Fortune or Shichifukujin. He is the god of longevity. Jurōjin originated from the Chinese Taoist god, the Old Man of the South Pole or Star of the Old Man. He is known as the immortal of the Northern Song dynasty (960–1127), and may have been a historical figure of the period. Jurōjin is identified as the personification of the imagined Southern Polar Star. While paintings and statues of Jurōjin are considered auspicious, he never developed a following in Japan independent of the other Seven Gods of Fortune.

For example a very rare and fine tsuba alone could today fetch up to £40,000 by a master maker. and sword mounts, the fuchi kashira and menuki can now be worth many thousands of pounds. Superb quality Edo period tanto koshirae {sword fittings} with a blade formed wooden blade and habaki tsunagi. The full suite of matching, patinated, honey coloured copper, fushi, kashira, and tsuba bear a stunning kashira that depicts a carved figure of Jurōjin, one of the Japanese seven deities, the tall headed god of happiness, wealth and long life one of the Shichi-fuku-jin (Seven Gods of Luck), particularly associated with longevity. He is supposed to have once lived on earth as a Chinese Taoist sage. He has a white beard, wears a scholar's headdress and he reads from a scroll containing the world's wisdom. The seven are drawn from various sources but have been grouped together from at least the 16th century. They are Bishamon, Daikoku, Ebisu, Fukurokuju, Jurojin, Hotei, and the only female in the group, Benten. He is sometimes confused with Fukurokuju another of the Several Gods of Fortune, who by some accounts inhabits the same body as Fukurokuju. As such, the two are often confused.
The carving of the copper is beautifully executed and the figure has an most charming and jolly smile.

All the matching fittings are in beautiful condition. Only the lacquer of the saya has areas of wear and surface cracking. Overall 59 cm, saya 44cm, tsuka, 15cm  read more

Code: 20993

An Original Antique Executioner's Keris Behari, Alang Pehang, From Indonesia Most Likely Sumatra For Hukuman Salang

The kris also known as keris is called a wilah or bilah. Kris blades are usually narrow with a wide, asymmetrical base. The kris is famous for its wavy blade; however, the older types of kris dated from the Majapahit era have straight blades, and they are the types, such as this one that were used for ceremonial executions.The execution by keris is called hukuman salang. Salang is synonymous with keris panjang.The executioner made the victim to squat then drove the keris panjang from certain spot inside his collar bone down to the heart. The number of luk or curves on the serpentine regular keris blade is always odd. Common numbers of luk range from three to thirteen waves, but some blades have up to 29. In contrast to the older straight type, most kris have a wavy blade which is supposed to increase the severity of wounds inflicted upon a victim. During kris stabbing, the wavy blade severs more blood vessels, creating a wider wound which causes the victim to easily bleed to death.

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"The Kris Panjang is worn generally by the Malayan aristocracy, and bridegrooms. I have seen some beautiful specimens of this weapon in Rumbowe, worn by the chiefs of that state. The blades resembled that of a long keen poniard, of Damascus steel; the handles of ebony, covered with flowered gold, and sheaths richly ornamented with the same metal: they are used in the execution of criminals."
Thomas John Newbold, in 1839 wrote

."The last sentence of death passed by Abdul Syed (or Dholl Syed), the ex-Panghúlu, was on a Quedah man, named Sali, in 1805. This Malay had carried off from Malacca two Chinese slaves, a man and a woman; meeting some resistance from the former, he murdered him with his kris, in the forest of Londu, and proceeded with the woman to Pila, in Srimenanti, where he sold her as a slave. "

The present superintendent of Naning, Mr, Westerhout, who was an eye-witness, described to me the ceremony of his trial and execution. The criminal was conducted, bound, to Bukit Penialang, or "Execution Hill," near Tabu. The Panghúlu, the Ampat Suku, the twelve Panglimas, the Bandahara, and the Makdum, were all seated in judgment, under a cluster of Tambuseh trees, on the skirt of the hill.

The witnesses were brought forward, and examined by the Panghulu himself. The evidence against the prisoner being deemed conclusive, according to the forms of the Mohammedan law, he was sentenced, agreeably to the Adat Menángkábowe, to pay one Bhar, equivalent to 24 Sp. drs. 30 cents.) or to suffer (salang) death by the kris.

Being unable to pay the fine, preparations were made for his immediate execution. The grave was dug on the spot, and he was placed, firmly bound in a sitting posture, literally on its brink. For further security, two panglimas sat on each side, while the Panglima Besar Sumun unsheathed the weapon that was to terminate the mortal existence of the trembling wretch.

On the point of the poniard, the kris panjang, the panglima carefully placed a pledget of soft cotton, which he pressed against the man's breast, a little above the right collar-bone. He then slowly passed the weapon's point through the cotton, on which he kept the fingers of his left hand firmly pressed, in a direction obliquely to the left into his body, until the projection of the hilt stopped its farther progress. The weapon was then slowly withdrawn, the panglima still retaining the cotton in its place by the pressure of his fingers, so as to staunch effectually all external effusion of blood.

The criminal, shuddering convulsively, was immediately precipitated into the grave; but on making signs for water, was raised. He had barely time to apply his lips to the cocoa-nut- shell in which it was brought, when he fell back into the grave quite dead. The earth was then hastily thrown over the body, and the assembly dispersed."

-J.B. Westerhout, 1805. Blade 21 inches, overall in scabbard 27 inches  read more

Code: 23769

A Superb Ancient Greek Dagger Blade 13th to 11th Century B.C. From the Trojan War Era, Acquired With. Full Length Bronze Sword Blade From The Same Era

2nd millennium BC. A bronze dagger with tapering triangular blade and median thickening, curved shoulders, flat, sub-rectangular tang with two tang hilt mount piercings. In Greek mythology, the Trojan War was waged against the city of Troy by the Achaeans (Greeks) after Paris of Troy took Helen from her husband Menelaus, king of Sparta. The war is one of the most important events in Greek mythology and has been narrated through many works of Greek literature, most notably Homer's Iliad. The core of the Iliad (Books II – XXIII) describes a period of four days and two nights in the tenth year of the decade-long siege of Troy; the Odyssey describes the journey home of Odysseus, one of the war's heroes. Other parts of the war are described in a cycle of epic poems, which have survived through fragments. Episodes from the war provided material for Greek tragedy and other works of Greek literature, and for Roman poets including Virgil and Ovid.

The ancient Greeks believed that Troy was located near the Dardanelles and that the Trojan War was a historical event of the 13th or 12th century BC, but by the mid-19th century AD, both the war and the city were widely seen as non-historical. In 1868, however, the German archaeologist Heinrich Schliemann met Frank Calvert, who convinced Schliemann that Troy was a real city at what is now Hisarlik in Turkey. On the basis of excavations conducted by Schliemann and others, this claim is now accepted by most scholars.

Whether there is any historical reality behind the Trojan War remains an open question. Many scholars believe that there is a historical core to the tale, though this may simply mean that the Homeric stories are a fusion of various tales of sieges and expeditions by Mycenaean Greeks during the Bronze Age. Those who believe that the stories of the Trojan War are derived from a specific historical conflict usually date it to the 12th or 11th century BC, often preferring the dates given by Eratosthenes, 1194–1184 BC, which roughly correspond to archaeological evidence of a catastrophic burning of Troy VII, and the Late Bronze Age collapse. Legend has it that the war originated from a quarrel between the goddesses Hera, Athena, and Aphrodite, after Eris, the goddess of strife and discord, gave them a golden apple, sometimes known as the Apple of Discord, marked "for the fairest". Zeus sent the goddesses to Paris of Troy, who judged that Aphrodite, as the "fairest", should receive the apple. In exchange, Aphrodite made Helen, the most beautiful of all women and wife of Menelaus of Sparta, fall in love with Paris, who quit Sparta with her and returned to Troy. Menelaus's brother Agamemnon, king of Mycenae, led an expedition of Achaean troops to Troy and besieged the city for ten years because of Paris' insult. After the deaths of many heroes, including the Achaeans Achilles and Ajax, and the Trojans Hector and Paris, the city fell to the ruse of the Trojan Horse. The Achaeans slaughtered the Trojans (except for some of the women and children whom they kept or sold as slaves) and desecrated the temples, thus earning the gods' wrath. Few of the Achaeans returned safely to their homes and many founded colonies in distant shores. The Romans later traced their origin to Aeneas, Aphrodite's son and one of the Trojans, who was said to have led the surviving Trojans to modern-day Italy113 grams, 26cm (10 1/4"). From a Japanese collection, 1990s.  read more

Code: 23417

A Superb K98 Mauser Combat Bayonet. Early to Pre War Manufacture 1939 By Coppel GmbH. Matching Bayonet & Nickel Plated Scabbard.

Karabinier Kurz Mauser K98k Seitengewehr 84/98. Early bakelite gripped, Serial number 7333. Matching Waffenamt 'Wa253' inspector markings to the scabbard and pommel, with full matching maker markings to both parts. Bayonet blade and scabbard, in wonderful bright plus condition, the bayonet fits and extracts perfectly, with perfect functioning rifle button catch.

A bayonet for the standard Mauser arm used by the Heer Army, Kriegsmarine Navy, used before and during the allied liberation of France, and subsequently the whole of the enslaved Western Europe, until, finally, the capture of Berlin by the Red Army. The Karabiner 98 kurz (German; "carbine 98 short", often abbreviated Kar98k or K98k and often incorrectly referred to as a "K98" (which was a Polish Carbine), is a bolt-action rifle chambered for the 7.92 ×57mm Mauser cartridge that was adopted on 21 June 1935 as the standard service rifle by the German Wehrmacht. It was one of the final developments in the long line of Mauser military rifles. Although supplemented by semi- and fully automatic rifles during World War II, it remained the primary German service rifle until the end of the war in 1945.


Sold to over 18s only.  read more

Code: 25904

A 19th Century Dixon Musket Powder Flask With Embossed Body

Copper body with brass adjustable measuring spout. Spring at fault. A beautiful flask but non working action due to spring. Circa 1840

J. Dixon & Sons (James Dixon & Sons), founded 1806 in Sheffield, was one of the major British manufacturers of the Industrial Revolution. They were manufacturers of pewter ware, electroplated Britannia metal, silverware and electroplated nickel silver. Their products included hundreds of items for use in the kitchen (e.g. bowls, cutting-tools) and the dining room (e.g. tea services, cocktail shakers and mixers) as well as items such as candlesticks. They were a world leader in manufacturing shooting accessories through nineteenth century and exported powder flasks in large quantities to America. It was located first at Silver Street (1806) and then at Cornish Place (1822) Sheffield. They were also famous for their sporting trophies. Two of the most well-known are the Hales Trophy commissioned in 1932 (sometimes called the Blue Riband) though this really refers to the pendant flown by the sailing ship currently holding the record for the fastest crossing of the Atlantic. The trophy was then held by the owners of that ship. The other great trophy is the one presented to the winner of the American Masters Golf tournament held annually in Augusta Georgia. This trophy is a scale model of the clubhouse made in 1959-60 and contains 453 troy ounces of silver.  read more

Code: 18201

A Beautiful Napoleonic Wars Swiss Mercenary Line Infantry, The 1ère Régiment Suisse, Officer's Blue and Gilt Epee. Some Officers & Men Of the Swiss Regt. Were Sent to The French Mediterranean Squadron's Ships at the Battle of Trafalgar

Maker marked by Jakob Girtanner, Degenschmied in St. Gallen, recorded from 1789.

Boat shaped original copper gilt hilt with French form Roman helmet pommel, single knucklebow, chequered carved ebony grip. Superb, duluxe 'Blue & Gilt' and engraved blade, with makers name engraved at the ricasso. In its original scabbard, that bears a good field service contemporary leather repair

From our recently acquired museum grade very rare collection of French Napoleonic swords.

The 1st Swiss Regiment (French: 1ère Régiment Suisse) was a Swiss mercenary line infantry regiment in the French Imperial Army during the Napoleonic Wars. During the expansion of the Imperial Army in 1803, Napoleon decreed the formation of four Swiss mercenary regiments, one of these later becoming the famed 1st Swiss. After a short time serving in Southern Italy, notably serving at the Battle of Maide, the 1st Swiss were sent to Poland for the impending Invasion of Russia. During the invasion, the regiment remained in the reserve, but served with honour, notably at the Battles of Polotsk and later the crossing of the Berezina. After retreating from Russia, elements of the regiment served during the minor campaigns until May 1814. The regiment was then reformed under the Bourbon restored monarchy, and continued into the Royal Guard until its final disbandment in 1830.

Interestingly, and historically, in 1805, according to regimental records, parts of the regiment was embarked on the Mediterranean Squadron's ships at the Battle of Trafalgar, where one officer was wounded.
By mid-1805, the regiment was consolidated within the new Kingdom of Italy with the Staff and 1st Battalion based at Bastia, the 2nd Battalion on Elba, the 3rd Battalion near Modena, and 4th Battalion in Genoa.

Napoleonic Wars campaigns and battles of the Swiss Regiments;

Battle of Trafalgar { regimental contingent}
Invasion of Naples
Battle of Castelfranco Veneto
Battle of Maida
Russian Campaign
First Battle of Polotsk
Second Battle of Polotsk
Battle of Berezina
War of the Sixth Coalition
Siege of Bremen
Siege of Maastricht
Battle of Wavre

On 27 November 1803, authorised articles were signed in which a new Swiss infantry regiment was to be created. However, it was not until March 1805, just before the Ulm Campaign, that the new French emperor, Napoleon, ordered the reorganisation of the Swiss troops by imperial decree. The remaining three Swiss Demi-brigades, which were the result of the merger of the original six Swiss demi-brigades of the Helvetic Legion. The men of these remaining small units were merged to form the new 1st Swiss Regiment, formed by imperial decree on 15 March 1805. The 1st Swiss Demi-Brigade was based in La Rochelle, where it was dissolved on 11 May 1805 to provide the 3rd Battalion of the new regiment. The 2nd Swiss Demi-Brigade formed the 4th Battalion a month later when it was based in Livorno. The 3rd Swiss Demi-Brigade was split, sourcing the personnel for the 1st and 2nd Battalions on 5 July 1805 while in Bastia, Corsica.

Following the disaster of the battle at Maida, the populace of Calabria (a fiercely pro-Bourbon province of the newly created Kingdom of Naples) rebelled against King Joseph Bonaparte. On 5 July 1806, the regiment and the remainder of Reynier's army were still retreating when it came upon the village of Marcellinara, desperate for food and water. To the amazement of the French, they were welcomed enthusiastically by the populace shouting "Long live the British" and "Death to the French", once again because they were mistaken for British soldiers. However, this comical situation ended tragically, when the Swiss opened fire on the populace, and the village was sacked.

As Napoleon's new Grande Armée assembled in the eastern parts of the Duchy of Warsaw, the need for Swiss troops became apparent. Napoleon even said, "We must pay serious attention to the Swiss regiments". He went on to call for a major effort to recruit the regiments up to strength and bring about their organisation. As a result, over the next year's course, the regiments were gradually reassembled, and each received a new regimental artillery company. Each artillery company composed of two 3-pounder mountain field cannon.

On most levels, Napoleon's campaign against Russia was a hugely complex series of events. For the Swiss regiments, it was much simpler – it consisted of three major engagements separated by long stretches of inactivity. The First Battle of Polotsk and Second Battle of Polotsk are amongst the least known actions of the campaign because they took place far from the watchful eye of Napoleon. However, the Battle of Berezina is better known, but the role played by the Swiss in that engagement is not always clearly described. Still, in all three instances, the Swiss covered themselves with glory and provided some of the most heroic episodes in the story of Napoleon's foreign troops.

On 17 August, at the First Battle of Polotsk, General Wittgenstein attacked the French in force, inflicting a sharp reserve on the II and VI Corps where Oudinot was wounded, and command was given to Marshal St Cyr, commanding VI Corps. The latter earned his Marshal's baton on the 18th when he counter-attacked and drove off the Russian Corps. During the engagement, the 1st, 2nd, and 3rd Swiss Regiments were initially not engaged, but the 18th St Cyr placed them in reserve as a precaution in case the action went against the French.

St Cyr is said to have noted:

"I know the Swiss. I had a battalion of the 1st Swiss Regiment under my orders at Castlefranco in Italy. The French are more impetuous in an advance, but if it comes to a retreat, we can count on the calm and courage of the Swiss"

— General de Division Laurent de Gouvion, Marquis de Gouvion-Saint-Cyr

The second fight for Polotsk was one of the campaign's most savage battles, conducted at night in a town full of blazing wooden buildings. Once the outer perimeters were breached, the fighting became hand-to-hand in the streets and houses, but the Swiss maintained their discipline and organisation throughout.

General Merle told Napoleon that he thought that every Swiss soldier deserved to be decorated for the Battle of Berezina, and he persuaded the Emperor to award the Swiss sixty-two crosses of the Legion of Honour. Unfortunately, the order to that effect was lost, and so the deserving officer and men of the Swiss regiments never received any officer recompense for their valour. However, their performance was accorded proper recognition by their countrymen, who viewed them as heroes whose actions were a source of national pride.

In 1813 On 10 October, the 1st Swiss along with fifty recruits of the 4th Swiss Regiment joined the Bremen garrison. The town had 30,000 inhabitants, which were of dubious loyalty to the Emperor. The forces' arrival was quite timely for the French commandant, Colonel Thuillier, as on 13 October, the town was assaulted by a mixed force of 4–5,000 Russian Cossacks and Prussian Freikorps under General Tettenborn. The voltigeur company under Captain Segesser was assigned to dispute the possession of the town's eastern suburb, and a French official who observed the combat noted that the Swiss "shot with such marvellous accuracy that any enemy soldier who showed himself was soon dead or wounded".

After Napoleon returned from Elba, during the 100 Days war, those that remained loyal to Napoleon, were formed into a regiment under the command of Colonel Christopher Stoeffel, who had been a captain in the 3rd Swiss in 1807 but had served exclusively in staff posts thereafter. A single battalion was formed in that regiment and served in General Vandamme's III Corps during the Waterloo Campaign, notably at the Battle of Wavre where it was wiped out. This regiment used the uniform and eagles of the 1st Swiss.

This is a very rare Napoleonic sword of Napoleon's early Consul to Empire period. Its scabbard had has long service repairs .  read more

Code: 25400

A Rare & Beautiful, Early 19th Century, Scottish Rams Horn Butt, All Steel, Highlander's Flintlock Pistol Made by Macleod. In Super Condition, With All The Features As to Be Expected For a Fine, Original, Highland Officer's Regimental Pistol

A most fine and stunning, early 19th century, Scottish all steel highlander's flintlock belt pistol by MacLeod {a gunsmith works that was founded in the mid 18th century in Doune, Scotland} with flared octagonal muzzle and proved barrel, a signed lock of "highland" type and finely engraved with typical scrolls and a fern border, the entire stock finely and lightly etched overall with iconic thistles, scrolls and trophies. With fine highland ramshorn butt, with removable ball pricker between, and round ball trigger, side belt hook, and a fancy turned steel ramrod. A typical example of the "highland" type lock, but with a fine, automatic hook-cock, half-cock safety to stop accidental missfire. It ejects from the lock plate when cocking the hammer to safely and firmly hold it in place until full-cock is engaged. Beautifully tight and crisp action.

Highland regiment officer's and sergeants wore one steel pistol under the left arm, hung through the pistol's belt hook on a thin buff leather belt. See the original 18th century portrait painting of Captain Gorry of the Highland Volunteer Regiment, with his pistol belt-hook mounted under his left arm. {For illustrative purposes only}

Pistols were considered requisite items for the Highland soldier as early as the 1730s. By the 1740s the elegant pistol styles of Christie & Murdoch (armourers of Doune, Stirlingshire) had became the most sought after amongst Highland officers. The unique elements of the Doune pistols were the scroll or rams horn butt, fluted barrels at the breech and the octagonal flared muzzles. Soon pistol makers all across Scotland (and in England) began to copy the styles of Doune.

Another same form and age pistol by the same maker, signed MacLeod, with the highlanders scroll butt of an 18th century form, with flintlock and rainproof pan, stock, lock and barrel of decorated steel, silver butt escutcheons engraved with the crest of Scott of Abbotsford, sold for £18750 three years ago, in Edinburgh at auction.

A pair of pistols by the same maker which are still within the collection of Sir Walter Scott and on display at Abbotsford. The pistols on display are not only by the same maker but bear a similar armorial engraving as on the pistol sold in Edinburgh. More remarkably, the pistols are recorded in correspondence between Scott and the gunsmith, Mr.MacLeod, being commissioned by him for King George IV’s visit to Scotland in 1822.

Sir Walter Scott’s personal interest in Scottish history and life is well recorded and his collection of historical arms and armour is famous, much of which still decorates his remarkable Borders home, Abbotsford.

Sir Walter Scott, 1st Baronet FRSE FSAScot (15 August 1771 – 21 September 1832), was a Scottish novelist, poet and historian. Many of his works remain classics of European and Scottish literature, notably the novels Ivanhoe (1819), Rob Roy (1817), Waverley (1814), Old Mortality (1816), The Heart of Mid-Lothian (1818), and The Bride of Lammermoor (1819), along with the narrative poems Marmion (1808) and The Lady of the Lake (1810). He had a major impact on European and American literature.

Barrel length 7½", 13" overall length,  read more

Code: 25228

A Stunning Quality Wakizashi Signed with Honorific Title Masatoshi, Lord of Etchu, Han Dachi Mounted, Gold Dragon Menuki, Mishina School Blade, Early 1600's, Wonderful Signed Tsuba and Matching Kozuka Depicting the Tiger in the Bamboo Grove

We now are delighted to show it with its fully rebound tsuka in gold silk. The tsuka has been rebound traditionally, in finest gold tsukaito by our medal winning Japanese koshirae artisan, and it looks amazing.

Mishina School, Etchu (no) Kami Masatoshi. The stunning blade shows a beautiful and complex hamon in super polish. All original Edo mounts, superb signed *tsuba and kozuka all decorated with the legendary ‘Tiger in the Bamboo Grove’ theme. The kozuka is signed, as is its kogatana blade

* Tsuba signed Taizan Mototaka of Mito/Hitachi. Mototaka, was the founder of the Sekijoken line, was a son of Taizan-Motonori, a pupil of the Yokoya school, who signed his work Sekijoken-Taizan-Mototaka. He worked during the last part of the eighteenth century and lived to a great age. He was most skillful in the style of the Nara artists, Joi, Shozui, Yasuchika, Toshinaga, etc., and a teacher of great ability, his most expert pupil was Takase-Yeiju (or Hisan- aga), who worked during the late eighteenth and early nineteenth centuries.

The artists of the Sekijoken school at first followed the style of Yokoya, but later they turned to the Nara school. Tigers were considered the strongest animals. They were often shown with bamboo to symbolize the hospitality of the weak for the strong. In Chinese art, the tiger was traditionally related to the four directions as the animal
of the West, and was often paired with the dragon, which represented the East. Kano artists frequently depicted tigers with holy men, abbots, or monks, reflecting their mystic presence and association with Zen Buddhism. A tiger is said to be the only animal capable of navigating through thick bamboo forests, and the pairing of the two symbols is said to represent a harmonious and peaceful society. The bamboo alone stands for resilience and integrity, admired virtues of noble men.

Incredible quality pure gold overlay dragon menuki, gold overlaid seppa. Fully matching suite of handachi iron fittings trimmed in gold with patterning silver overlay. The original Edo saya has superb antique *urushi lacquer with pure gold, under clear lacquer, called Byakudan nuri: Transparent lacquer of a golden yellow colour, beautifully decorated with amazingly intricate billowing flaming-feather like swirls

Kyo Go Kaji 京五鍜冶 is short for Kyoto Go Kaji 京都五鍜冶 which means five swordsmiths of Kyoto. The term was developed to describe a group of related smiths who worked prosperously in the Kyoto area during shinto times. They made good quality works with similar characteristics and each had many students for generations. They are Iga (no) Kami Kinmichi 伊賀守金道, Echigo (no) Kami Kinmichi 越後守金道, Tanba (no) Kami Yoshimichi 丹波守吉道, Etchu (no) Kami Masatoshi 越中守正俊 and Omi (no) Kami Hisamichi 近江守久道. These smiths all had Mishina 三品 as their last name. The first four were sons of Seki Kanemichi 兼道 and Hisamichi was a student of Kanemichi's grandson.

* Japanese lacquer, or urushi, is a transformative and highly prized material that has been refined for over 7000 years.
Cherished for its infinite versatility, urushi is a distinctive art form that has spread across all facets of Japanese culture from the tea ceremony to the saya scabbards of samurai swords
Japanese artists created their own style and perfected the art of decorated lacquerware during the 8th century. Japanese lacquer skills reached its peak as early as the twelfth century, at the end of the Heian period (794-1185). This skill was passed on from father to son and from master to apprentice.

Some provinces of Japan were famous for their contribution to this art: the province of Edo (later Tokyo), for example, produced the most beautiful lacquered pieces from the 17th to the 18th centuries. Lords and shoguns privately employed lacquerers to produce ceremonial and decorative objects for their homes and palaces.
The varnish used in Japanese lacquer is made from the sap of the urushi tree, also known as the lacquer tree or the Japanese varnish tree (Rhus vernacifera), which mainly grows in Japan and China, as well as Southeast Asia. Japanese lacquer, 漆 urushi, is made from the sap of the lacquer tree. The tree must be tapped carefully, as in its raw form the liquid is poisonous to the touch, and even breathing in the fumes can be dangerous. But people in Japan have been working with this material for many millennia, so there has been time to refine the technique!
Flowing from incisions made in the bark, the sap, or raw lacquer is a viscous greyish-white juice. The harvesting of the resin can only be done in very small quantities.
Three to five years after being harvested, the resin is treated to make an extremely resistant, honey-textured lacquer. After filtering, homogenization and dehydration, the sap becomes transparent and can be tinted in black, red, yellow, green or brown.
Once applied on an object, lacquer is dried under very precise conditions: a temperature between 25 and 30°C and a humidity level between 75 and 80%. Its harvesting and highly technical processing make urushi an expensive raw material applied in exceptionally fine successive layers, on objects such as bowls or boxes.After heating and filtering, urushi can be applied directly to a solid, usually wooden, base. Pure urushi dries into a transparent film, while the more familiar black and red colours are created by adding minerals to the material. Each layer is left to dry and polished before the next layer is added. This process can be very time-consuming and labour-intensive, which contributes to the desirability, and high costs, of traditionally made lacquer goods. The skills and techniques of Japanese lacquer have been passed down through the generations for many centuries. For four hundred years, the master artisans of Zohiko’s Kyoto workshop have provided refined lacquer articles for the imperial household

In photos 3 & 5 in the gallery we show the stunning pair of pure gold layered dragon menuki before they were mounted on the samegawa and then bound under the gold tsuka-ito.

* Notes from the Special exhibition
( 1907-1908 ) of Japanese sword guards, tsuba,
has been prepared by Mr. Okabe-Kakuya.  read more

Code: 25337