A Stunning Edo Period Chisa Katana, Art Sword With A Most Beautiful Original Edo Saya Decor of Gold Nishiji Lacquer Flowers Over An Abilone Shell Infused Black Urushi Lacquer Ground. The Blade With Suguha Hamon And Wonderful Hada Grain.

This is a most impressive sword of superb elegance with all original Edo koshirae fittings and mounts that compliment each other beautifully.

The tettsu plate tsuba has takebori multi coloured gold leaves tumbling down the branches of a weeping willow, with a pair of swallows in flight swooping above a rolling river. The fuchi kashira are takebori shi-shi lion dogs in gold on a Nanako ground. Shakudo and gold menuki over black tsukaito.
The blade is late Koto to early Shinto, and shows a most attractive and impressive grain, almost a blending of two styles, the Mokume Hada, this is based on Itame hada using a different hammer blow to produce whorls yet it also verges on a Shitahara Hada. A Shitahara-hada shows conspicious uzumaki burls along the centre of the blade, i.e. along the shinogi-ji or the center of the ji if in hira-zukuri. But these burls might also appear more towards the ha or in an irregular manner, that means as isolated large burls in places.
However, in truth, it takes about 10 to 15 times fold depending on the methods used by the swordsmith. With every fold, the strength of the sword increases.

The gold flower lacquer decor on the saya has very elegant black pen-work defining upon every leaf and flower. The result of such fine and technical craftsmanship is incredibly pleasing to the eye. With the finest abilone infused black urushi beneath and clear urushi upon the outer whole, it is a saya of incredible beauty.
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 labor-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

Nanako Ji: "fish roe ground" A surface decoration on the swords fuchi kashira are 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

A katana was two shaku or longer in length (one shaku = about 11.93 inches). However, the Chisa katana is longer than the wakizashi, which was somewhere in between one and two shaku in length. The most common blade 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 even two hands like a katana. The Chisa Katana is a slightly shorter Katana highly suitable for two handed, or two sword combat, or, combat within enclosed areas such as castles or buildings. As such they were often the sword of choice for the personal Samurai guard of a Daimyo, and generally the only warriors permitted to be armed in his presence. Chisa katana, Chiisagatana or literally "short katana", are shoto mounted as katana.

The chisa katana was also the long sword of choice for the art of twin sword combat, using two at once in unison, a chisa katana and wakazashi, one in each hand, a form used by the great and legendary samurai Miyamoto Musashi who reportedly killed 60 men before his 30th birthday.
Miyamoto Musashi 1584 – June 13, 1645), also known as Shinmen Takezo, Miyamoto Bennosuke or, by his Buddhist name, Niten Doraku, was an expert Japanese swordsman and ronin. Musashi, as he was often simply known, became renowned through stories of his excellent, and unique double bladed swordsmanship and undefeated record in his 60 duels. He was the founder of the Hyoho Niten Ichi-ryu or Niten-ryu style of swordsmanship and in his final years authored the The Book of Five Rings, a book on strategy, tactics, and philosophy that is still studied today.

The blade is in old polish and superb condition for age with the tiniest of near invisible edge marks at the kissaki. The lacquer saya is also in fabulous condition for age with just very small surface losses in one area.

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

Code: 25316

Another Reason To Visit Brighton-by-the-Sea This Summer. To Visit the Magnificent Pavilion Palace & View ‘The Encampment At Brighton’, by Francis Wheatley, RA, 1747-1801. Which We Were Most Proud To Assist & Enable It’s Donation to Brighton 50 Years Ago

Two years ago we celebrated the completion of a multi million pound three year restoration of the main saloon in the Royal Pavilion palace in Brighton, and we are continually humbled to know that our family donation enabled the premier work of art, of a depiction of an hussars regiment, encamped in the hills above Brighton, by Francis Wheatley RA, and thus to be saved for posterity for the Brighton Museum collection.
Possibly their most famous work of art, certainly one of their best. 'The Encampment at Brighton', is a major work by Francis Wheatley RA (1747?1801). (b London, 1747; d London, 28 June 1801). A most fine English painter of his day in the reign of King George IIIrd. His early works were mainly small full-length portraits and conversation pieces in the manner of Zoffany. In 1779 he moved to Dublin to escape creditors, and after his return to London in 1783 his work broadened in scope. It included landscapes, history paintings, and life-size portraits, but he is best known for works produced to be engraved for the Georgian print market. His works now reside in the government collection, the Royal Collection and many of the finest museums and collections around the country.
We were delighted to have enabled its acquisition, back in 1973, and over the past few decades we have been pleased to know of its permanent presence in the City collection, saved for posterity and enabling the museums visitors to view this magnificent work based and painted in Brighton in the 1790's.
Any visitors to Brighton this summer, who make a visit to our world famous store, The Lanes Armoury, ought to consider visiting Brighton Museum as part of your visit, in order to view its superb collection, and especially visit our magnificent Royal Pavilion, former summer palace of King George IVth, {former the Prince Regent} donated to Brighton by Her Majesty Queen Victoria, and considered today, by many, to be the most wonderful palace of its kind in the world.

A joyous combination of Indo-Chinese architecture and fine art. A magnificent example of the Royal Family’s diversity, 200 years before the word even became known, and as so significant as it is today.

Brighton has been for centuries a long exponent of diversity, and without doubt certainly one of the best most loved and diverse cities in the entire world. For example, during World War I, the Royal Pavilion palace’s royal stables, that later became the world famous Dome Theatre, was turned over to become a hospital for the desperately wounded, heroic, Indian, volunteer soldiers, it is said that many Indian soldiers when they recovered consciousness and awoke in the palace, believed they had died and gone to heaven, which was a recreation of an Indian Palace.
It was almost 60 years later The Dome Theatre was the host venue of ABBA’s very first public explosion on to the world stage, in fact Mark, {the Lanes Armoury’s elder partner} was coincidentally there in person, just outside the stage area, listening to their very first hit, Waterloo, {somewhat ironic with our Waterloo interest} at the Eurovision Song Contest over 50 years ago.

The Royal Pavilion contains some of the finest and most magnificent Chinoiserie works of art to seen anywhere in the world. Some of the original Prince’s treasures were, very recently, just returned from the Buckingham Palace Royal Apartments, to be once more placed on display in the Royal Pavilion in Brighton, as one of the last, and personal benevolent instructions of Her Late Well Beloved Majesty Queen Elizabeth IInd. In order that once more, our city, and it’s millions of visitors, can enjoy the fabulous royal treasures in their original, former, location, the magnificent home of the Prince Regent.

Somewhat like us at The Lanes Armoury, the Royal Pavilion is certainly not one of the largest of the world’s Royal Palaces, in fact, it is possibly one of the smallest, but it is considered, by many, to be the very best.

We also show in the gallery a painting by Richard {Dickie} Compton, commissioned by our family from the artist, of our Holland & Holland, London to Bath and Wells, Royal Mail Road Coach, passing in front of the statue of The Prince Regent, which itself is in front of the Royal Pavilion. The road coach, later photographed, still in use in 1969, outside of the gates to the Royal Pavillion, and the oil painting are part of the late Camilla Hawkins Collection.

As like many Brightonians, our personal family connections to the palace go back since it was first built, over two hundred years ago. Our family used to supply shellfish from the shores off Brighton for His Majesty’s table {we held the shellfish concession for many decades in the 18th and 19th century}. A family member worked in the staff -a very lowly position naturally, bearing in mind, our family history, always was, and still is, in ‘trade’, once considered by 19th century ‘society’ to be, at the time, as not particularly in much higher regard than *coster mongers-. We later owned the annex of the Royal Stables, a stable yard around 100 yards from the palace, now demolished and on the site of the current My Hotel in Jubilee Street. And in the early 1970’s Mark purchased from an elderly farmer in the North, the original huge pump organ made for the Prince Regent’s music room in the palace. But it was either never installed, or, if it was, it was not much later removed by Queen Victoria, and sold off. When Mark bought it, it had the original schematic and plans for installation, which were magnificent in their beauty and detail, somewhat like the architects plans much have been for the original palace. We offered to donate it to the Palace Trustees in the 1970’s, but it was refused as impractical to re-install, unless we paid for its installation, but the cost involved would have been prohibitively astronomical. So, we sold it to an Australian diocese instead, and apparently it was installed not much later in an Australian Cathedral.

* coster monger or hawker, A costermonger, coster, or costard was a street seller of fruit and vegetables, sometimes fish, in British towns. The term is derived from the words costard (a medieval variety of apple) and monger (seller), and later came to be used to describe hawkers in general. In fact our family name, Hawkins, was a medieval derivative from Hawker, which would therefore, have been our family trade and social position in the post Roman occupation era. Pretty low down the social scale, before our family moved to Plymouth, and our seafaring nature brought some element of success, and thus the elevation with a knighthood for Sir John Hawkins, and Sir Francis Drake, his cousin, who was later Admiral for Queen Elizabeth Ist. Drake was John’s cousin due to being adopted by William Hawkins, famed seafarer of Plymouth, and thought to have been adopted, as possibly being his bastard son.
Sir Francis Drake's heraldic achievement and coat of arms contains the motto, Sic Parvis Magna, which means: "Great achievements from small beginnings". Drake became the first Englishman to navigate the Straits of Magellan, a sea route at the southern tip of South America linking the Atlantic and Pacific oceans  read more

Code: 21652

A Superb 500 Year Old Koto Era Muramachi Period Katana With Clan Mon Of The Atagi Clan of Naval Samurai. Silver Habaki Engraved with the Atagi Crest Mon

Superb Koto blade in very fine polish showing stunning activity. When it first arrived the blade looked super but had a few very light old fingerprint stains, after two months away for conservation it now looks absolutely wonderful, likely just as it did when it left Japan after it was presented to an Englishman in the 1870’s. It has very fine quality Edo period shakudo and shibuishi mounts, including a fuchi decorated with takebori pure gold monkeys climbing a tree on a nanako ground.

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 marvellous 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.
A very similar example of a Fuchi with gold monkeys, possibly by the same Japanese craftsman, is in the Walters Art Museum in Baltimore USA.

The kashira is decorated with gold and silver sea shells and sea grasses, and the tsuba has a shakado basket, a jingasa helmet and the ninja angle bladed hand weapon with chain called a Kusarigama, and a ninja shikome-zue a hidden sword disguised as a walking stick. Very fine pure gold decorated shakudo menuki under the Edo silk binding, and the Edo saya has a fine ishime stone finish lacquer. Very good and well defined gunome based on suguha hamon.

Used by a high ranking samurai retainer of the samurai Governor of Settsu, Fuyuyasu, who in his turn served as a highest rank retainer of the Miyoshi clan and a samurai Captain of the Awaji Navy. He was the third son of Miyoshi Motonaga and adopted by the Atagi clan. The Atagi were related to the Miyoshi clan and served the Mioyshi clan. They commanded ships for the Miyoshi clan crewed by samurai. Fuyuyasu served as captain of the Awaji Navy in support of the Miyoshi governance, but was killed by his eldest brother, Miyoshi Nagayoshi. There are many views and uncertainties regarding the reasons for the incident.

Fuyuyasu’s father, Motonaga, reached a settlement with Hosokawa Harumoto, in 1531, only to be killed the following year by monks acting in concert with Harumoto’s rival, Hosokawa Takakuni. Harumoto served as a sengoku daimyō and kanrei, or deputy shōgun, to Ashikaga Yoshiharu. Harumoto was the final kanrei of the Muromachi period to exercise real authority.

The Atagi clan served as the navy for Awaji Province. His older brother, Nagayoshi, was driven out of the Kinai and went to the island province of Awaji. Nagayoshi arranged for Fuyuyasu to be adopted by Atagi Haruoki, lord of the Atagi clan, and to become his successor.

On behalf of the Miyoshi clan, Nagayoshi led soldiers on battles in Settsu, Kawachi, and Izumi provinces. Fuyuyasu’s next eldest brother, Miyoshi Jikkyū, operated in Awa Province. Fuyuyasu served in Awaji, and his younger brother, Sogō Kazumasa, in Sanuki Province. Fuyuyasu participated in suppression actions near Ōsaka Bay, the Battle of Kitashirakawa against Hosokawa Harumoto in 1558, and the Battle of Kumeda against Hatakeyama Takamasa in 1562, causing the loss of his brother, Jikkyū. Fuyuyasu retreated to Awa, and just months later, prevailed against Takamasa at the Battle of the Kōkyō Temple in the Takayasu District of Kawachi Province.

Thereafter, Kazumasa, Jikkyū, and Miyoshi Yoshioki (Nagayoshi’s eldest son and Fuyuyasu’s nephew), all died in succession. Fuyuyasu made great efforts supporting Nagayoshi in a bid for survival of the Miyoshi family. Nevertheless, in 1564, Fuyuyasu was summoned to Iimoriyama Castle and forced to kill himself at the age of thirty-eight. His son, Atagi Nobuyasu, became his successor. The naval history of Japan began with early interactions with states on the Asian continent in the 3rd century BCE during the Yayoi period. It reached a pre-modern peak of activity during the 16th century, a time of cultural exchange with European powers and extensive trade with the Asian continent.
The Sengoku period (15th–16th century)
Various daimyo clans undertook major naval building efforts in the 16th century, during the Sengoku period, when feudal rulers vying for supremacy built vast coastal navies of several hundred ships. The largest of these ships were called atakebune. Around that time, Japan seems to have developed one of the first ironclad warships in history, when Oda Nobunaga, a Japanese daimyo, had six iron-covered Ō-atakebune ("Great Atakebune") made in 1576 . These ships were called tekkosen (鉄甲船), literally "iron armoured ships", and were armed with multiple cannons and large calibre rifles to defeat the large, but all wooden, vessels of the enemy. With these ships, Nobunaga defeated the Mori clan navy at the mouth of the Kizu River, near Osaka in 1578, and began a successful naval blockade. The O-atakebune are regarded as floating fortresses rather than true warships, however, and were only used in coastal actions. After over two centuries of self-imposed seclusion under the Tokugawa shogunate, Japan's naval technologies became outdated compared to Western navies. The country was forced to abandon its maritime restrictions by American intervention with the Perry Expedition in 1854. As to be expected the blade has a few light fingerprint stains. overall in saya 37.25 inches, blade tsuba to tip 26.3 inches long It is important to bear in mind, that due to the revered status that Japanese swords achieve for most of their working lives in Japan, that the condition they survive in can be simply remarkable. One can see just how remarkable it can be, by comparing the condition of this fine sword that was made around the same time as the early Tudor period of King Henry the VIIIth to any equivalent aged, surviving, early Tudor period sword, from any country outside of Japan, and that comparison will show just how fine any Japanese sword’s state of preservation, from the same era, truly can be.  read more

Code: 23644

A Very Fine & Incredibly Impressive Grand Armee Issue Napoleonic 1st Empire French Cuirassier's Sword Dated August 1811. The Largest Cavalry Sword Ever Made, for The Tallest Soldiers of France, & Used At Waterloo, With Original Hatchet Tip

Superb and beautiful hilt, with very fine original leather bound grip, and a very fine double fullered blade with stunning bright patina. Steel combat scabbard without denting. French Napoleonic 'An 13' year 13 swords were manufactured from 1805 and discontinued in late 1815.

Renown throughout the world of historic sword collectors as probably the biggest and most impressive cavalry sword ever designed. This would have seen service in the Elite Cuirassiers of Napoleon's great heavy cavalry regiments.

Napoleon hoped to compel Tsar Alexander I of Russia to cease trading with British merchants through proxies in an effort to pressure the United Kingdom to sue for peace. The official political aim of the campaign was to liberate Poland from the threat of Russia. Napoleon named the campaign the Second Polish War to curry favour with the Poles and provide a political pretence for his actions. The Grande Armee was a very large force, numbering nearly half a million men from several different nations. Through a series of long marches Napoleon pushed the army rapidly through Western Russia in an attempt to bring the Russian army to battle, winning a number of minor engagements and a major battle at Smolensk in August. Napoleon hoped the battle would mean an end of the march into Russia, but the Russian army slipped away from the engagement and continued to retreat into Russia, while leaving Smolensk to burn. Plans Napoleon had made to quarter at Smolensk were abandoned, and he pressed his army on after the Russians. The battles continued, but once the winter set in Napoleon's army was facing insurmountable odds that left it effectively shattered beyond repair. Napoleon fled, it is said, dressed as a woman, and the army left to it's sad and miserable fate. Only around 27,000 were able to return after a mere six months of the Russian campaign. The campaign was a turning point in the Napoleonic Wars. The reputation of Napoleon was severely shaken, and French hegemony in Europe was dramatically weakened. The Grande Armee, made up of French and allied invasion forces, was reduced to a fraction of its initial strength. These events triggered a major shift in European politics. France's ally Prussia, soon followed by Austria, broke their alliance with France and switched camps. This triggered the War of the Sixth Coalition. The Cuirassiers Heavy Cavalry Regiments used the largest men in France, recruited to serve in the greatest and noblest cavalry France has ever had. They fought with distinction at their last great conflict at the Battle of Waterloo in 1815, and most of the Cuirassiers swords in England very likely came from that field of conflict, after the battle, as trophies of war. However, this sword was one of the few that were allowed to remain in the elite cuirassier corps after Waterloo, serving King Louis XVIIIth both before Napoleon's 100 days, and after his crushing defeat by Wellington at Waterloo. Inspected on the blade by Lobstein, but difficult to see the others due to dark pitting just at that area, also back strap engraved Manufacture Imperial Klingenthal, August 1811

Every warrior that has ever entered service for his country sought trophies. The Mycenae from a fallen Trojan, the Roman from a fallen Gaul, the GI from a fallen Japanese, the tradition stretches back thousands of years, and will continue as long as man serves his country in battle. In the 1st century AD the Roman Poet Decimus Iunius Iuvenalis Juvenal
wrote; "Man thirsts more for glory than virtue. The armour of an enemy, his broken helmet, the flag ripped from a conquered trireme, are treasures valued beyond all human riches. It is to obtain these tokens of glory that Generals, be they Roman, Greek or barbarian, brave a thousand perils
and endure a thousand exertions". A truly magnificent Napoleonic sword in superb condition for it's age.
The largest sword of it's kind that was ever made or used by the world's greatest cavalry regiments. The cuirassiers were the greatest of all France's cavalry, allowing only the strongest men of over 6 feet in height into it's ranks. The French Cuirassiers were at their very peak in 1815, and never again regained the wonder and glory that they truly deserved at that time. To face a regiment of, say, 600 charging steeds bearing down upon you mounted with armoured giants, brandishing the mightiest of swords that could pierce the strongest breast armour, much have been, quite simply, terrifying. The brass basket guard on this sword is first class, the grip is totally original leather and a great colour
only shows expected combat wear, the blade is double fullered and absolutely as crisp as one could hope for. Made in the Napoleonic Wars period.
Just a basic few of the battles this would have been used at, such as in 1812 and beyond

1812: Borodino and Moscow, Ostrowno, and Winkowo 1813: Reichenbach and Dresden, Leipzig and Hanau
1814: La Rothiere, Rosnay, Champaubert, Vauchamps, Athies, La Fere-Champenoise and Paris
1815: Quatre-Bras and Waterloo. Apparently every remaining French elite cuirassier regiment fought at Waterloo for Napoleon, and there were no cuirassier reserve, and there were no cuirassier militia

The blade has wonderful steel bright colour, and the hilt has fabulous patina. Overall 45.5 inches long in its scabbard, the original hatchet tipped blade is 37.6 inches long. Old original aged patina and regular usual surface staining to the scabbard steel, leather grip showing original string binding beneath in part see photo.  read more

Code: 25344

An Incredibly Rare Crimean War Romanov Senior Officer's Sword Knot, Such As Worn By A Romanov Grand Duke of Russia, Or General. The Bullion Gold And Crimson Silk Knot Bears The Romanov Crest on One Side and a Cyrillic Royal Monogram on The Other

A Crimean War of the 1850’s, Romanov crested General’s gold and silk bullion sword knot, bearing a superb Romanov crest of the crowned double headed eagle, which is masterfully created within the weave of the gold bullion. See photo. Gules, a double-headed eagle displayed, twice imperially crowned, grasping in the dexter claw an imperial sceptre, and in the sinister claw an imperial orb.

From the time of Czar Alexander Ist to Czar Nicolas Ist. The form of very high ranking officer such as a Romanov General or Admiral in the Crimean War, which may explain how came to Britain, possibly as a war souvenir by a British officer serving in the Crimea

We show a portrait of Grand Duke Alexei Alexandrovich Romanov of Russia, from the late 19th century, with his sword that bears the same form of knot.

In 1855 Prince Mikhail Dmitrievich Gorchakov was appointed commander-in-chief of the Russian forces in the Crimea in place of the disgraced Prince Menshikov. Gorchakov's defence of Sevastopol, and final retreat to the northern part of the town, which he continued to defend till peace was signed in Paris, were conducted with skill and energy. The Battle of the Great Redan against British forces was a notable local victory. In 1856 he was appointed namestnik of Kingdom of Poland in succession to Prince Paskevich. He died at Warsaw on May 30, 1861, and was buried, in accordance with his own wish, at Sevastopol.
It would have likely been one of his or his predecessors generals that would have used this knot. Of by whom it is likely impossible to know.
Photo 7 in the gallery is a portrait of Prince Mikhail Dmitrievich Gorchakov, and photo 8 is a close-up of his same sword knot though not well defined in the portrait. Picture 9 in the gallery is the closest original Romanov era example we can find, fitted to its sword. However, it is a much later version of knot, from the 1900’s, and for a regular ranked Officer’s sword of St George, that sold {the sword and its later knot} for £18,750 four years ago.

The knot bottom twisted gold wire loops are a little tangled in part, but overall it is in super condition for such a very rare piece of original, mid 19th century, highest quality, high ranking Romanov officer’s uniform dress ware.  read more

Code: 25335

A Very Rare Renaissance Main-Gauche, a Left Hand Parrying Dagger. Italian circa 1590-1620. Likely Made for a Royal Duke. With A Ducal Crown Engraved Pommel

A wonderful elegant example of these rare 'Maine Gauche' daggers used for parrying in the duel, in the era of England’s Queen Elizabeth the 1st, King James 1st, to King Charles the 1st, and it is in excellent plus condition.
The left handed parrying weapon used in the left hand, in conjunction with the long bladed Rapier in the right, in sword combat. In sword fighting, the main-gauche French for "left hand" is a dagger used in the off-hand, mainly to assist in parrying incoming thrusts, while the dominant hand wields a rapier or similar longer weapon intended for one-handed use. It may also be used for attack if an opportunity arises, such as for the ‘coup de grace’. The dagger has a slender four sided blade of diamond-section, with twin Crowned M armourer's marks, one per side at the ricasso. The hilt is fully engraved, and the outside of the pommel it has an engraved ducal crown within a circlet, and the inside pommel a rhombic Chinese flower, possibly part of the dukes family crest or symbol. It has an outer single ring guard and a polygon form conical pommel, converging towards the top pommel button. {A design recognised as pommel ‘32’, circa 1590-1610, in A.V.B.Normans Rapier and Small Sword 1460-1820.} It also has a very fine Turk's Head knot terminated twisted steel wire grip, in excellent condition.

We show in the gallery a close up of the pommel engraving, showing the style of crown, as can be seen in an early portrait of one being worn, that we show attached with it.

The parrying dagger is a category of small handheld weapons from the European late Middle Ages and early Renaissance. These weapons were used as off-hand weapons in conjunction with a single-handed sword such as a rapier. As the name implies they were designed to parry, or defend, more effectively than a simple dagger form, typically incorporating a wider guard, and often some other defensive features to better protect the hand as well. They may also be used for attack if an opportunity arises.
The use of this off-hand weapon gradually fell out of favour as sword fighting evolved. The use of progressively lighter primary weapons such as the small sword and épée.

The main-gauche {French for "left hand"}, was used mainly to assist in defense by parrying enemy thrusts, while the dominant hand wielded a rapier or similar longer weapon intended for one-handed use. Its most characteristic feature was downturned quillons that protected the hand, and the ring to one side.

Courtiers in later half of the 16th century did indeed wore rapiers to court as a sign of gentlemanly status and the privilege of engaging in extra-judicial duels of honour, with the main-gauche parrying dagger.

The rapier and dagger combination was primarily designed for self-defence using fighting techniques developed in Italy that are the ancestors of modern fencing. The sixteenth-century rapier was both a slashing and stabbing weapon. Its accompanying dagger was used in the left hand for parrying and stabbing in close. The stiff slender blades of both were designed to pierce clothing rather than armour.

The Renaissance was a fervent period of European cultural, artistic, political and economic “rebirth” following the Middle Ages. Generally described as taking place from the 14th century to the 17th century, the Renaissance promoted the rediscovery of classical philosophy, literature and art.

Some of the greatest thinkers, authors, statesmen, scientists and artists in human history thrived during this era, while global exploration opened up new lands and cultures to European commerce. The Renaissance is credited with bridging the gap between the Middle Ages and modern-day civilization.  read more

Code: 25340

A Simply Stunning Ancient Roman Museum Grade Fine Gold Seal Ring with Intaglio Portrait Engraved Garnet Gem Stone 2nd to 3rd Century A.D. Likely a Depiction of an Emperor Such As Hadrian, Marcus Aurelius, Lucius Verus, or Even A Parthian Vassal King.

A museum grade, around 1900 year old pure gold ancient Roman intaglio carved garnet gemstone seal ring.

Worn by such a noble as the rank of Imperial Legate { Legatus Augusti pro praetore}. The commander of two or more legions, who also served as the governor of an eastern province in which the legions he commanded were stationed. He was of Senatorial rank and was appointed by the Emperor for a term of 3 or 4 years.

The carved gem’s seal is depicting a profile hand carving, possibly of an Emperor such as Verus, or vassal King of Parthia. Possibly as a celebration of Verus’s ‘Triumph’ from the Parthian War. Classified by the seminal classification of ancient ring forms, by Dr. Martin Henig, as Ancient Roman, Henig type II

The Roman triumph was one of ancient Rome’s most important civic and sacred institutions. These spectacular processions were celebrations of Rome’s military victories, the courage of its soldiers, and the favour of the gods. They were also one of the highest honors a Roman man could achieve: designated a triumphator, he was awarded a grand procession through the imperial capital. The lavish parade of prisoners and captured treasures was sure to guarantee the eternal fame of the conquering general. Over time, the triumph became an important tool in the manipulation of Roman politics.

Made and worn by the highest ranking Roman, such as a Legate, possibly even a member of the Imperial household at the time from Emperors Marcus Aurelias, Lucius Verus, & Commodus, and just into the early following century.

Rings were one of the most popular pieces of jewellery in Roman culture. Under the Republic the wearing of gold rings was exclusively reserved to certain classes of persons or for specific occasions. In the late 3rd century BC only senators and knights equo publico had this privilege. Towards the end of the Republic, gold rings were also bestowed on civilians. Under the Roman Empire gold rings, although still regarded as a privilege and awarded as a military distinction

During the era of dual Emperors Marcus Aurelius, and Lucius Verus, 161 to 180 ad, the last part of his reign was dramatically represented in the blockbuster film 'Gladiator', starring Richard Harris as the Emperor Marcus Aurelias. He acceded to the throne of Emperor alongside his adoptive brother, who reigned under the name Lucius Verus. Under his rule the Roman Empire witnessed heavy military conflict. In the East, the Romans fought successfully with a revitalised Parthian Empire and the rebel Kingdom of Armenia. Marcus defeated the Marcomanni, Quadi, and Sarmatian Iazyges in the Marcomannic Wars; however, these and other Germanic peoples began to represent a troubling reality for the Empire. Ultimately, the Romans were victorious in the Parthian War of 161-167 CE. After the sacking of Ctesiphon and Seleucia, Lucius Verus took the title Parthicus Maximus. As a feature of his imperial titulature, the epithet conveyed his military might and power. But the question remains: to what extent can the Roman victory over the Parthian Empire be attributed to Verus?
Indeed, much of the successes the Romans enjoyed in this eastern war surely belong to the supremely able retinue of generals and administrators who were with Verus at the time. Regardless, upon his return from the campaign, Verus was awarded a triumph, the traditional celebration of Roman military conquest that had been used since the Republican era. This was to be the high point of Verus’ imperial story, however. In 169 CE, as he was journeying back from the Danubian frontier — where he had been fighting in the Marcomannic wars with Marcus Aurelius — Verus suddenly fell ill and died. It is highly probable, according to historians, that Verus was a victim of the pestilence that his soldiers had carried back to the empire with them from the Parthian War.

Commodus. the successor and son of Emperor Antoninus Pius,, was the Roman emperor who ruled from 177 to 192. He served jointly with his father Marcus Aurelius from 177 until the latter's death in 180, and thereafter he reigned alone until his assassination. His reign is commonly thought of as marking the end of a golden period of peace in the history of the Roman Empire, known as the Pax Romana.
Commodus became the youngest emperor and consul up to that point, at the age of 16. Throughout his reign, Commodus entrusted the management of affairs to his palace chamberlain and praetorian prefects, named Saoterus, Perennis and Cleander.

Commodus's assassination in 192, by a wrestler in the bath, marked the end of the Nerva–Antonine dynasty. He was succeeded by Pertinax, the first emperor in the tumultuous Year of the Five Emperors.

Jewellery in the Roman Republic
The core ideologies of the Roman Republic, centred around moderation and restraint, meant that elaborate jewellery was relatively unpopular until the transformation to imperial rule. The law of the Twelve Tables in the 5th century BC, limited the amount of gold which might have been buried with the dead. The Lex Oppia, 3rd century BC, fixed at half of an ounce the amount of gold which a Roman lady might have worn. During the Roman Empire, however, jewellery became a public display of wealth and power for the elite.
Rings of the higher ranks were often embellished with intaglios, cameos and precious gemstones. Mythology and Roman history were used as a repertoire of decorative themes. Roman rings featuring carved gemstones, such as carnelian, garnet or chalcedony, were often engraved with the depiction of deities, allegories and zoomorphic creatures.

1 inch across, UK size H1/2, {measured on the round inside the oval} 9.6 grams, approx 22 carat gold 91.16% Gold, 6.66% silver, 1.93% copper, which is a typical consistency of ancient Roman gold determined by x-ray flourescence analysis with Oxford Instruments in 2017
As with all our items it comes complete with our certificate of authenticity.  read more

Code: 24779

A Rare Japanese Edo Period Samurai War Bow 'Daikyū ' With Quiver 'Yabira Yazutsu' in a Cherry Bark Design, With Four Arrows 'Ya', Including A Rare Swallow Tail Arrow 'Ageha Ya', & A 'Tsurumaki' Functionary Yumi Rattan Bow String Holder

More photos to be added on Monday.
A wonderful original antique Edo period {1603-1863} Samurai long war bow Yumi, made in either yohonhigo or gohonhigo form {4 piece or 5 piece bamboo laminate core, that is surrounded by wood and bamboo, then bound with rattan and lacquered}
Edo Era, 1600 to 1700's, with different arrows, war and practice, three fixed with sea eagle feathers, one unfeathered, that fit into in a cherry bark lacquer quiver {yabira yazutsu} with four arrows {ya}, including a rare ageha swallow tail arrow. The ageha swallow tail arrows of this type appear mostly in the Kamakura period, the head may indeed be from that period. Experienced Kamakura archers were allowed to use arrows with the V-shaped swallowtail prong {ageha}. If armour is struck, it will splinter, so, the optimum target for a lethal blow on any opponent, wearing full traditional samurai armour (O-Yoroi), is the space just beneath the helmet visor that is often bare. It was once told to us by a very aged and respected Japanese sensei visitor, who was a master of Yabusame mounted archery, that to hit a samurai at the bridge of the nose, beneath his kabuto helmet peak, with the swallowtail ageha ya, it would penetrate both eyes at once. It may not be instantly lethal but the samurai would be immediately blinded, and thus have no function in combat.

The arrows are made using yadake bamboo (Pseudosasa Japonica), a tough and narrow bamboo long considered the choice material for Japanese arrow shafts. The black {now faded to brown} and white feather flights {hane} are likely Steller's sea eagle feather. Period 1599 -1863. The lidded quiver is a beautiful piece of craftsmanship in hardened lacquered tree bark pattern. A functionary yumi rattan bow string holder and string tsuru, it is an essential munition of an archer. Material is wooven rattan in spool shape used to wrap sinew string, often strapped with leather and horn. A functionary yumi rattan bow string holder is an essential munition of an archer.

These sets are very rarely to be seen and we consider ourselves very fortunate, indeed privileged, to offer one.
It was from the use of the war bow or longbow in particular that Chinese historians called the Japanese 'the people of the longbow'. As early as the 4th century archery contests were being held in Japan. In the Heian period (between the 8th and 12th centuries) archery competitions on horseback were very popular and during this time training in archery was developed. Archers had to loose their arrows against static and mobile targets both on foot and on horseback. The static targets were the large kind or o-mato and was set at thirty-three bow lengths and measured about 180cm in diameter; the deer target or kusajishi consisted of a deer's silhouette and was covered in deer skin and marks indicated vital areas on the body; and finally there was the round target or marumono which was essentially a round board, stuffed and enveloped in strong animal skin. To make things more interesting for the archer these targets would be hung from poles and set in motion so that they would provide much harder targets to hit. Throughout feudal Japan indoor and outdoor archery ranges could be found in the houses of every major samurai clan. Bow and arrow and straw targets were common sights as were the beautiful cases which held the arrows and the likewise ornate stands which contained the bow. These items were prominent features in the houses of samurai. The typical longbow, or war bow (daikyu), was made from deciduous wood faced with bamboo and was reinforced with a binding of rattan to further strengthen the composite weapon together. To waterproof it the shaft was lacquered, and was bent in the shape of a double curve. The bowstring was made from a fibrous substance originating from plants (usually hemp or ramie) and was coated with wax to give a hard smooth surface and in some cases it was necessary for two people to string the bow. Bowstrings were often made by skilled specialists and came in varying qualities from hard strings to the soft and elastic bowstrings used for hunting; silk was also available but this was only used for ceremonial bows. Other types of bows existed. There was the short bow, one used for battle called the hankyu, one used for amusement called the yokyu, and one used for hunting called the suzume-yumi. There was also the maru-ki or roundwood bow, the shige-no-yumi or bow wound round with rattan, and the hoko-yumi or the Tartar-shaped bow. Every Samurai was expected to be an expert in the skill of archery, and it presented the various elements, essence and the representation of the Samurai's numerous skills, for hunting, combat, sport and amusement, and all inextricably linked together.

The mounted archer mainly controls his horse with his knees, as he needs both hands to draw and shoot his bow. As he approaches his target, he brings his bow up and draws the arrow past his ear before letting the arrow fly with a deep shout of In-Yo-In-Yo (darkness and light).

Yabusame (流鏑馬) is a type of mounted archery in traditional Japanese archery. An archer on a running horse shoots three special "turnip-headed" arrows successively at three wooden targets.

This style of archery has its origins at the beginning of the Kamakura period. Minamoto no Yoritomo became alarmed at the lack of archery skills his samurai possessed. He organized yabusame as a form of practice.

Nowadays, the best places to see yabusame performed are at the Tsurugaoka Hachiman-gū in Kamakura and Shimogamo Shrine in Kyoto (during Aoi Matsuri in early May). It is also performed in Samukawa and on the beach at Zushi, as well as other locations.
On his final day in Japan in May 1922, Edward, Prince of Wales was entertained by Prince Shimazu Tadashige (1886–1968), son of the last feudal lord of the Satsuma domain. Lunch was served at Prince Shimazu’s villa, followed by an archery demonstration. Afterwards, the Prince of Wales was presented with a complete set for archery practice, including an archer’s glove, arm guard and reel for spare bowstrings

This war bow is 86 inches long {but too long to ship abroad}  read more

Code: 25342

A Beautiful Samurai's Yabusami Bow Sleeve. The Form of Samurai Bowman's Armoured Arm Protection Worn With Full Armour

For the martial art of Yabusami bowmanship in combat when in full armour. Wonderful condition for age. With a small strip of fully articulated lateral iron shoulder protection armour, decorated with war fans. Gold embossed leather scroll enhancements, doeskin panels decorated at the wrist with a date, and circular elbow protector. All the doeskin is decorated with dark brown and red highlights, in coloured ink, in a traditional floral design used on armour, on the doeskin sections, for centuries. The linen cloth sleeve has carved buffalo horn cord mounts for attaching the sleeve to the armour suit, and two printed gold circular mon decorated on the linen cloth. Although fully armoured in combat, just the archers bow sleeve, worn on the left arm, was not armoured with chain mail or iron plates at all, other than the small iron flexible ridge at the top to protect against an upper sword cut, unlike all the other parts of his samurai armour. This was to allow fully flexible left arm movement. When not armoured and only wearing regular garb, the samurai bow sleeve was shaped somewhat like a leg o'lamb with a very wide shoulder fixing that went acroos the chest to the right arm pit. As described in the section of Chuyuki (a diary written by Fujiwara no Munetada) dated 1096, yabusame has been practiced since the Heian period as a practical fighting bowmanship skill performed on horseback. A technique known as 'the Hidesato-style of yabusame' was practiced during the Kamakura period, and samurai trained in this pastime enthusiastically, giving demonstrations at events organized by the bakufu (Japanese feudal government headed by a shogun).  read more

Code: 21518

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

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 decorated on the Tiger in the Bamboo Grove theme.

* 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 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.

The tsuka has been rebound traditionally in gold tsukaito, it will be re-photographed later today.

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

Code: 25337