Superb 18th Century American Revolutionary War, King George IIIrd Period Naval Hand Cannon From The Barbary Pirate Raids Period. From 1795, The Annual 'Tribute' Paid to the Regency of Algiers Was 20% of United States Federal Government Expenditure
Which translates today to the equivalent of one thousand two hundred billion dollars {$1.2 trillion} a year, in so called 'tribute' {ie, blackmail} payments to the Barbary States.
With traditional bell mouth, two barrel bands and large cascobel, without trunions, 18cm barrel.
Rare unmarked naval hand cannon of the type used off the Barbary Coast during the Age of Sail. Measures from raised muzzle to cascabel. Three stage body with round breech. Breech with lined border. Raised cannon muzzle. The iron is relatively smooth, with a good natural age patina throughout with areas of oxidation. A light shines through touchhole well. it could of double as a naval salute & powder tester.
From bases on the Barbary Coast, North Africa, the Barbary corsairs raided ships travelling through the Mediterranean and along the northern and western coasts of Africa, plundering their cargo and enslaving the people they captured. From at least 1500, the corsairs also conducted raids along seaside towns of Italy, France, Spain, Portugal, England and as far away as Iceland, capturing men, women and children. On some occasions, settlements such as Baltimore, Ireland were abandoned following the raid, only being resettled many years later. Between 1609 and 1616, England alone had 466 merchant ships lost to Barbary corsairs
Until the American Declaration of Independence in 1776, British treaties with the North African states protected American ships from the Barbary corsairs. During the American Revolutionary War, the Corsairs attacked American merchant vessels in the Mediterranean. However, on December 20, 1777, Sultan Mohammed III of Morocco issued a declaration recognizing America as an independent country, and stating that American merchant ships could enjoy safe passage into the Mediterranean and along the coast. The relations were formalized with the Moroccan–American Treaty of Friendship signed in 1786, which stands as the U.S.'s oldest non-broken friendship treaty with a foreign power.
The Barbary threat led directly to the United States founding the United States Navy in March 1794. While the United States did secure peace treaties with the Barbary states, it was obliged to pay tribute for protection from attack. The burden was substantial: from 1795, the annual tribute paid to the Regency of Algiers amounted to 20% of United States federal government's annual expenditures.
In 1798, an islet near Sardinia was attacked by the Tunisians, and more than 900 inhabitants were taken away as slaves. read more
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A Good Silver Parachute Regiment Officer's Cap Badge 3rd Battalion Parachute Regt. Suez Campaign. Operations Telescope & Musketeer. A Franco-British Victory, Confounded by a Political Blunder
Circa 1853. Superb quality and condition with traditional officer's split-pin twin mounting loops.
Operation Telescope was a Franco-British operation conducted from 5 to 6 November 1956 during the Suez Crisis, consisting of a series of parachute drops launched by the British Parachute Brigade, in combination with French paratroop forces, 24 hours before the seaborne landing on Port Said during Operation Musketeer. Troops dropped onto Gamil airfield and Port Fuad to secure airfields and prevent Egyptian forces from providing air defence. It was put forward by the deputy Land Task Force Commander General André Beaufre under the original name Omelette which included many more drops but was adapted due to British fear of another failure like Arnhem and a lack of aircraft able to deploy paratroopers.
The capture of the airfield at El Gamil and the surrounding area was an essential element in Operation Musketeer, the joint Anglo-French airborne and amphibious assault on Port Said, with the ultimate aim of gaining control of the Suez Canal. The French 2nd Colonial Parachute Regiment were to land at Er Raswa while the 3rd Battalion, Parachute Regiment, part of 16th Independent Parachute Brigade, were tasked with the attack on El Gamil, which would be the first British battalion parachute assault since World War II and the last to date. At the insistence of French commanders, the airborne assaults on El Gamil and Raswa were to take place a full 24 hours before the arrival of the seaborne element, in order to preserve the element of surprise, as it would be difficult to conceal the approach of the large invasion fleet.
Before the landing, the British launched airstrikes on Egyptian defensive positions around the battlefield, effectively neutralizing many of them. Still, as 3. PARA landed at 0515 GMT, they came under fire, unable to return it until they had retrieved the caches with their weapons. Egyptian fire was inaccurate however, and ultimately the British suffered very few casualties.
At 0515 GMT on 5th November 3 PARA conducted the first and last battalion sized operational parachute assault since the Second World War. Despite vigorous defensive fire El Gamil airfield was captured in 30 minutes. Vicious close-quarter fighting developed as the paratroopers continued the advance through a sewage farm and cemetery nearby, rolling up Egyptian coastal defences. Covering fire was provided to support the amphibious landings that arrived the next day and a successful link-up with 45 Commando achieved.
The British lacked heavy support equipment, but the small arms and light AT and support weapons they had were more than adequate to take the airfield, the AT being particularly effective at knocking out four concrete pillboxes. Other than these bunkers, the Egyptians withdrew to favourable terrain to avoid annihilation at the hands of the superior British forces. The Egyptians' three SU-100 self-propelled guns proved to be particularly difficult for the PARAs.
3. PARA then moved onto Port Said, surviving a friendly fire incident with French planes who strafed them. B Company captured the sewage works which provided cover from Egyptian snipers, however, not wanting to push forward and storm the highly defensible Coast Guard Barracks, they called in air support in the form of Wyverns who dropped bombs on the position for the loss of one aircraft and inflicting heavy casualties. Running out of ammo however, the British retreated to the sewage works.
16 km to the southeast, the French 2. RPC achieved a lot more success, managing to take the Western span of the Rawsa Bridges (rendered inoperable by damage) and the Said waterworks, cutting off the supplies into the city. With supplies cut off and a potential chokepoint captured by mid-morning, the French had achieved all their objectives on the first day.
Following the unsuccessful negotiation of a ceasefire during the night, C Company was sent to capture the cemetery at 0510 GMT, which was completed without opposition. This was followed up by an assault on the Coast Guard building from which a considerable amount of sniper fire was coming. The building was captured by 0800 with no casualties whereupon they were ordered to capture a hospital to complete the link up with 45 Commando.
In the closing stage of the battle, a patrol of four men was ambushed and injured by Egyptian fire whereupon a medical officer, Captain Elliot rescued them under heavy fire for which he was awarded the Military Cross.
‘Our quarrel is not with Egypt, still less with the Arab world. It is with Colonel Nasser. He has shown that he is not a man who can be trusted to keep an agreement. Now he has torn up all his country's promises to the Suez Canal Company and has even gone back on his own statements. ‘We cannot agree that an act of plunder which threatens the livelihood of many nations should be allowed to succeed. And we must make sure that the life of the great trading nations of the world cannot in the future be strangled at any moment by some interruption to the free passage of the canal.’
PRIME MINISTER SIR ANTHONY EDEN — 8 AUGUST 1956
Not hallmarked. read more
140.00 GBP
An Original & Beautiful Ancient & Archaic Warrior's Dagger of the Trojan Wars Era. A Bronze Long Dagger Circa 1200 bc Around 3200 Years Old, in Superb Condition With All Its Original Age Patination Intact
This is a most handsome ancient bronze long dagger from one of the most fascinating eras in ancient world history, the era of the so called Trojan Wars. A most similar dagger, but with its gold hilt panel intact, made from 1000 to1350bc, is on display in the Los Angeles County Museum of Art, a gift of The Ahmanson Foundation. We show their dagger and its hilt with gold inlay, as the last two photos in the gallery.
The ancient Greeks believed the Trojan War was a historical event that had taken place in the 13th or 12th century BC, and believed that Troy was located in modern day Turkey near the Dardanelles. 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, the king of Sparta.
The war is among the most important events in Greek mythology and was narrated in many works of Greek literature, including Homer's Iliad and the Odyssey . "The Iliad" relates a part of the last year of the siege of Troy, while the Odyssey describes the journey home of Odysseus, one of the Achaean leaders. Other parts of the war were told in a cycle of epic poems, which has only survived in fragments. Episodes from the war provided material for Greek tragedy and other works of Greek literature, and for Roman poets such as Virgil and Ovid.
The war originated from a quarrel between the goddesses Athena, Hera, 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, 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, fall in love with Paris, who took her to Troy. Agamemnon, king of Mycenae and the brother of Helen's husband Menelaus, led an expedition of Achaean troops to Troy and besieged the city for ten years due to 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, one of the Trojans, who was said to have led the surviving Trojans to modern day Italy.
This dagger comes from that that great historical period, from the time of the birth of known recorded history, and the formation of great empires, the cradle of civilization, known as The Mycenaean Age, of 1600 BC to 1100 BC. Known as the Bronze Age, it started even centuries before the time of Herodotus, who was known throught the world as the father of history. Mycenae is an archaeological site in Greece from which the name Mycenaean Age is derived. The Mycenae site is located in the Peloponnese of Southern Greece. The remains of a Mycenaean palace were found at this site, accounting for its importance. Other notable sites during the Mycenaean Age include Athens, Thebes, Pylos and Tiryns.
According to Homer, the Mycenaean civilization is dedicated to King Agamemnon who led the Greeks in the Trojan War. The palace found at Mycenae matches Homer's description of Agamemnon's residence. The amount and quality of possessions found at the graves at the site provide an insight to the affluence and prosperity of the Mycenaean civilization. Prior to the Mycenaean's ascendancy in Greece, the Minoan culture was dominant. However, the Mycenaeans defeated the Minoans, acquiring the city of Troy in the process. In the greatest collections of the bronze age there are daggers exactly as this beautiful example. In the Metropolitan Museum of Art is the bronze sword of King Adad-nirari I, a unique example from the palace of one of the early kings of the period (14th-13th century BC) during which Assyria first began to play a prominent part in Mesopotamian history. Swords and daggers from this era were made in the Persian bronze industry, which was also influenced by Mesopotamia. Luristan, near the western border of Persia, it is the source of many bronzes, such as this dagger, that have been dated from 1500 to 500 BC and include chariot or harness fittings, rein rings, elaborate horse bits, and various decorative rings, as well as weapons, personal ornaments, different types of cult objects, and a number of household vessels.
An edged weapon found in the palace of Mallia and dated to the Middle Minoan period (2000-1600 BC), is an example of the extraordinary skill of the Cretan metalworker in casting bronze. The hilt of the weapon is of gold-plated ivory and crystal. A dagger blade found in the Lasithi plain, dating about 1800 BC (Metropolitan Museum of Art), is the earliest known predecessor of ornamented dagger blades from Mycenae. It is engraved with two spirited scenes: a fight between two bulls and a man spearing a boar. Somewhat later (c. 1400 BC) are a series of splendid blades from mainland Greece, which must be attributed to Cretan craftsmen, with ornament in relief, incised, or inlaid with varicoloured metals, gold, silver, and niello. The most elaborate inlays--pictures of men hunting lions and of cats hunting birds--are on daggers from the shaft graves of Mycenae, Nilotic scenes showing Egyptian influence. The bronze was oxidized to a blackish-brown tint; the gold inlays were hammered in and polished and the details then engraved on them. The gold was in two colours, a deeper red being obtained by an admixture of copper; and there was a sparing use of neillo. The copper and gold most likely came from the early mine centres, in and around Mesopotamia, see gallery and the copper ingots exported to the Cretans for their master weapon makers. This dagger is in very nice condition with a single fracture one one side of the hilt 14.75 inches long overall. read more
1395.00 GBP
A Fabulous, Original, Museum Piece, A Medieval Knight's 13th to 15th Century Long Dagger From the Time of the Plantagenet & Lancastrian Kings, From Henry IIIrd, Edwards I/II/III, Richard IInd to King Henry IVth, & King Henry Vth's Battle of Agincourt
Worthy of a world class collection of fine and early arms and armour, or a single statement piece as a compliment to any form of home decor from traditional to ultra contemporary. A piece that would be the centre of conversation and attraction in any location. A most rarely seen, original, complete, & intact, long dagger or short sword of the medieval period, used from the reigns of King Henry IIIrd to King Henry Vth, from the era of the Crusades and the Templar Knights, right through to the Anglo French Battles, the Victories of England against France, at the Battle of Crecy, in 1346, by King Edward IInd and His son the Black Prince, and later at the Battle of Poitiers, in 1356, the victory of King Edward IInd's son, the Black Prince, and King Henry Vth's victory at Agincourt, in 1415.
Daggers surviving from this ancient era are most rare, substantially more rare in fact than the swords themselves. Items such as this were oft acquired in the 18th century by British noblemen touring Northern France and Italy on their Grand Tour. Originally placed on display in the family 'cabinet of curiosities', within his country house upon his return home. A popular pastime in the 18th and 19th century, comprised of English ladies and gentlemen traveling for many months, or even years, througout classical Europe, acquiring antiquities and antiques for their private collections. This dagger's history travels from the English Plantagenet Kings Henry IIIrd, Edward 1st, Edward IInd, Edward IIIrd, & Richard IInd, to the Lancastrian Kings Henry IVth & Henry Vth including use at The Battle of Agincourt, where King Henry carried a near identical dagger and his longer version matched sword that are part of his achievements, hanging above his tomb at Westminster Abbey.
A very fine and very rare museum grade medieval knight's long dagger, with large segmented circular pommel, used for a period of around three centuries from the 13th to 15th century.
An iron double edged dagger with lentoid section tapering blade, curved quillon crossguard and scrolled ends, with narrow tang and with an impressive large segmented wheel pommel.
The Battle of Agincourt was a major English victory in the Hundred Years' War. The battle took place on 25 October 1415 (Saint Crispin's Day) in the County of Saint-Pol, Artois, some 40 km south of Calais. Along with the battles of Crecy (1346) and Poitiers (1356), it was one of the most important English triumphs in the conflict. England's victory at Agincourt against a numerically superior French army crippled France, and started a new period in the war during which the English began enjoying great military successes.
After several decades of relative peace, the English had renewed their war effort in 1415 amid the failure of negotiations with the French. In the ensuing campaign, many soldiers perished due to disease and the English numbers dwindled, but as they tried to withdraw to English-held Calais they found their path blocked by a considerably larger French army. Despite the disadvantage, the following battle ended in an overwhelming tactical victory for the English.
King Henry V of England led his troops into battle and participated in hand-to-hand fighting. The French king of the time, Charles VI, did not command the French army himself, as he suffered from severe psychotic illnesses with moderate mental incapacitation. Instead, the French were commanded by Constable Charles d'Albret and various prominent French noblemen of the Armagnac party.
This battle is notable for the use of the English longbow in very large numbers, with the English and Welsh archers forming up to 80 percent of Henry's army. The decimation of the French cavalry at their hands is regarded as an indicator of the decline of cavalry and the beginning of the dominance of ranged weapons on the battlefield.
Agincourt is one of England's most celebrated victories. The battle is the centre-piece of the play Henry V by William Shakespeare. Juliet Barker in her book Agincourt: The King, the Campaign, the Battle ( published in 2005) argues the English and Welsh were outnumbered "at least four to one and possibly as much as six to one". She suggests figures of about 6,000 for the English and 36,000 for the French, based on the Gesta Henrici's figures of 5,000 archers and 900 men-at-arms for the English, and Jean de Wavrin's statement "that the French were six times more numerous than the English". The 2009 Encyclopaedia Britannica uses the figures of about 6,000 for the English and 20,000 to 30,000 for the French. Overall 20.5 inches long in very sound and nice condition for age. There are very few such surviving long daggers from this era, and just a few are part of the Royal Collection. As with almost all surviving daggers and swords of this age, none have their wooden grips remaining, and as such the surviving crossguards are somewhat mobile.
A fine example piece, from the ancient knightly age, from almost a thousand years past. Although this dagger is now in an obvious ancient, and historical, russetted condition, every item made of iron from this era, such as the rarest of swords and daggers, even in the Royal Collection, are in this very same state of preservation.
This piece will come with a complimentary display stand, but could also look spectacular suitably framed. We are delighted to offer such a service if required. read more
9750.00 GBP
Original Ancient Roman ‘Cross-bow” Fibula Bronze Toga {Paludamentum} Cloak Pin, Military Officer Issue, Fine Piece For Higher Ranking Figures, Such As a Centurion or Tribune, a Bow Fibula with a Spring Hinge, c. Early Imperial - Beginning 2nd Century
The spring winds in one or more loops on one side of the pin and then crosses over, or under, the bow and continues with more loops on the other side. The distinction between the spring-chord crossing over (external) versus under the bow head (internal) can help determine type and age. In some cases the spring-chord is fixed by a hook as it passes over, or under the bow. The spring can have one, two, three, four or even ten or more loops on each side of the bow. Very wide springs tend to have axis-pins inserted to help them retain their shape. In some cases the ends of the axis-pins are fitted with small knobs.
Bow Fibula with the Spring Tendon Below the Bow, c. 250 B.C. - 50 A.D., Rare
The paludamentum was usually worn over one shoulder and fastened with a fibula (ancient version of a safety pin). Arguments abound over what shoulder was exposed, but it seems fairly clear that the garment was fastened loosely enough to move around, The paludamentum was a cloak that was specifically associated with warfare. A general donned one for the ceremonial procession leading an army out of the sacred precinct of the city of Rome and was required to remove it before returning to the city…a sign that he was no longer a general, but a common citizen. The paludamentum or sagum purpura (purple cloak) was the iconic red cloak worn by a Roman general (Legatus) and his staff officers. Originally, it’s distinctive red/purple colour clearly delineated between these officers and the rest of the army, which sported the sagum gregale (cloak of the flock). Although the sagum gregale, worn by the rank and file, started out the colour of the flock (i.e. undyed wool), it seems likely to have transitioned to a coarser version of the sagum purpura by the imperial period (27BCE – 476CE). Outfitting the entire army in red garments would have been a mark of the great wealth of Rome – well, that and the fact that the Romans controlled the source of purple dye by then.
This fibula has a short bilateral spring. It has three loops per side for six total. The spring-chord passes under the bow and is thus an internal chord. Lovely condition for age with very fine natural colour patination.
35 mm long
As with all our items it comes complete with our certificate of authenticity read more
275.00 GBP
An Original Good Size, And Absolutely Stunning, An Ancient Roman Bronze Encolpion Cross, Likely a High Status Pilgrim's or Bishop's Pendant Approximately 1400 Years old
A very early original Christian Roman reliquary from the Eastern Roman Empire of Constantinople, with an absolutely stunning bronze patination.
This reliquary cross bears many icons from Christian iconography: on the main side, the crucified Christ, dressed in the colobium. The hollow portion formed inside the cross was intended for the sacred relic that the faithful would have worn around the neck. the reverse side is Christ in the orans pose. The custom of carrying a relic was largely widespread, and many early bronze examples were later worn by the Crusader knights on their crusades to liberate the Holy Land. Relics of the True Cross became very popular from the 9th century, and were carried in cross-shaped reliquaries like this, often decorated with enamels, niellos, and precious stones. The True Cross is the name for physical remnants from the cross upon which Jesus Christ was crucified. Many Catholic and Orthodox churches possess fragmentary remains that are by tradition believed to those of the True Cross. Saint John Chrysostom relates that fragments of the True Cross were kept in reliquaries "which men reverently wear upon their persons". A fragment of the True Cross was received by King Alfred from Pope Marinus I (Anglo-Saxon Chronicle, year 883). An inscription of 359, found at Tixter, in the neighbourhood of Sétif in Mauretania, was said to mention, in an enumeration of relics, a fragment of the True Cross, according to an entry in Roman Miscellanies, X, 441.
Fragments of the Cross were broken up, and the pieces were widely distributed; in 348, in one of his Catecheses, Cyril of Jerusalem remarked that the "whole earth is full of the relics of the Cross of Christ," and in another, "The holy wood of the Cross bears witness, seen among us to this day, and from this place now almost filling the whole world, by means of those who in faith take portions from it." Egeria's account testifies to how highly these relics of the crucifixion were prized. Saint John Chrysostom relates that fragments of the True Cross were kept in golden reliquaries, "which men reverently wear upon their persons." Even two Latin inscriptions around 350 from today's Algeria testify to the keeping and admiration of small particles of the cross. Around the year 455, Juvenal Patriarch of Jerusalem sent to Pope Leo I a fragment of the "precious wood", according to the Letters of Pope Leo. A portion of the cross was taken to Rome in the seventh century by Pope Sergius I, who was of Byzantine origin. "In the small part is power of the whole cross", says an inscription in the Felix Basilica of Nola, built by bishop Paulinus at the beginning of 5th century. The cross particle was inserted in the altar.
The Old English poem Dream of the Rood mentions the finding of the cross and the beginning of the tradition of the veneration of its relics. The Anglo-Saxon Chronicle also talks of King Alfred receiving a fragment of the cross from Pope Marinus (see: Annal Alfred the Great, year 883). Although it is possible, the poem need not be referring to this specific relic or have this incident as the reason for its composition. However, there is a later source that speaks of a bequest made to the 'Holy Cross' at Shaftesbury Abbey in Dorset; Shaftesbury abbey was founded by King Alfred, supported with a large portion of state funds and given to the charge of his own daughter when he was alive – it is conceivable that if Alfred really received this relic, that he may have given it to the care of the nuns at Shaftesbury
Most of the very small relics of the True Cross in Europe came from Constantinople. The city was captured and sacked by the Fourth Crusade in 1204: "After the conquest of the city Constantinople inestimable wealth was found: incomparably precious jewels and also a part of the cross of the Lord, which Helena transferred from Jerusalem and which was decorated with gold and precious jewels. There it attained the highest admiration. It was carved up by the present bishops and was divided with other very precious relics among the knights; later, after their return to the homeland, it was donated to churches and monasteries.
We show in the gallery several carved marble Christian scenes from the tomb of the administrator of Rome from the 4th century Imperial Roman Empire, In his role as prefect, Junius Bassus was responsible for the administration of the city of Rome. When Junius Bassus died at the age of 42 in the year 359, a sarcophagus was made for him. As recorded in an inscription on the sarcophagus now in the Vatican collection, Junius Bassus had become a convert to Christianity shortly before his death. 52 mm read more
695.00 GBP
A Simply Magnificent 17th Century Samurai Katana with Signed Soten Gold and Shakudo Mounts. A Spectacular Museum Grade Katana
This is a most stunning high ranking samurai's sword. Made and used at the beginning of the great Japanese Edo period. The blade has a wondrous hamon, shown in all it's beauty. All of the fittings are very fine and the overall effect is simply wonderful. A singularly fine museum quality quality katana, with a full suite of, original, Edo period, signed Soten, gold and patinated copper fittings. This is truly a sword of great beauty, worthy of any top ranked collection of the most beautiful swords of the Japanese samurai.
The saya is original Edo period in black urushi in a two section design, with a partially deeply ribbed lacquer top section.
A revolution took place in the centuries from the time of the Kamakura shogunate, which coexisted with the Tenno's court, to the Tokugawa, when the bushi became the unchallenged rulers in what historian Edwin O. Reischauer called a "centralized feudal" form of government. Instrumental in the rise of the new bakufu was Tokugawa Ieyasu, the main beneficiary of the achievements of Oda Nobunaga and Toyotomi Hideyoshi. Already powerful, Ieyasu profited by his transfer to the rich Kanto area. He maintained 2.5 million koku of land, new headquarters at Edo, a strategically situated castle town (the future Tokyo), and also had an additional two million koku of land and thirty-eight vassals under his control. After Hideyoshi's death, Ieyasu moved quickly to seize control from the Toyotomi family.
Ieyasu's victory over the western daimyo at the Battle of Sekigahara (October 21, 1600, or in the Japanese calendar on the 15th day of the ninth month of the fifth year of the Keichi era) gave him virtual control of all Japan. He rapidly abolished numerous enemy daimyo houses, reduced others, such as that of the Toyotomi, and redistributed the spoils of war to his family and allies. Ieyasu still failed to achieve complete control of the western daimyo, but his assumption of the title of shogun helped consolidate the alliance system. After further strengthening his power base, Ieyasu installed his son Hidetada (1579?1632) as shogun and himself as retired shogun in 1605. The Toyotomi were still a significant threat, and Ieyasu devoted the next decade to their eradication. In 1615, the Tokugawa army destroyed the Toyotomi stronghold at Osaka.
The Tokugawa (or Edo) period brought 250 years of stability to Japan. The political system evolved into what historians call bakuhan, a combination of the terms bakufu and han (domains) to describe the government and society of the period. In the bakuhan, the shogun had national authority and the daimyo had regional authority. This represented a new unity in the feudal structure, which featured an increasingly large bureaucracy to administer the mixture of centralized and decentralized authorities. The Tokugawa became more powerful during their first century of rule: land redistribution gave them nearly seven million koku, control of the most important cities, and a land assessment system reaping great revenues. As Japan entered the more peaceful Edo Period (1603-1868), tsuba and sword fittings became increasingly elaborate and decorative in design and function, and their manufacture became highly specialised and technically advanced. Different schools of makers developed their own styles, often influenced by the culture and environment of the region, and the role of the tsuba and mounts extended to become an elaborate piece of art. Subjects for decoration included Japanese mythology, history and nature. Since the 16th century, it was customary for the guard and mounts to feature the signature of the maker. The katana's saya has a few small Edo period contact marks throughout. It could be re-lacqured to as new condition if it was required by its new owner or left original as is. Valued for their excellence in design and execution, sword fittings today exist as refined pieces of art, and although now only used for state occasions and consecrations, the Japanese sword and its fittings remain a symbol of authority and reminder of Japan's powerful, and at times tumultuous, samurai past.
There are many reasons why people enjoy collecting swords. Some people are drawn to the beauty and craftsmanship of swords, while others appreciate their historical and cultural significance. Swords can also be a symbol of power and strength, and some collectors find enjoyment in the challenge of acquiring rare or valuable swords.
One of the greatest joys of sword collecting is the opportunity to learn about the history and culture of different civilisations. Swords have been used by warriors for millennia, and each culture has developed its own unique sword designs and traditions. By studying swords, collectors can gain a deeper understanding of the people who made and used them.
Another joy of sword collecting is the sheer variety of swords that are available. There are swords in our gallery from all over the world and from every period of history. Collectors can choose to specialize in a particular type of sword, such as Japanese katanas or medieval longswords, or they can collect a variety of swords from different cultures and time periods. No matter what your reasons for collecting swords, it is a hobby that can provide many years of enjoyment. Swords are beautiful, fascinating, and historically significant objects
As once told to us by an esteemed regular visitor to us here in our gallery, and the same words that are repeated in his book;
“In these textures lies an extraordinary and unique feature of the sword - the steel itself possesses an intrinsic beauty. The Japanese sword has been appreciated as an art object since its perfection some time during the tenth century AD. Fine swords have been more highly prized than lands or riches, those of superior quality being handed down from generation to generation. In fact, many well-documented swords, whose blades are signed by their makers, survive from nearly a thousand years ago. Recognizable features of the blades of hundreds of schools of sword-making have been punctiliously recorded, and the study of the sword is a guide to the flow of Japanese history.”
Victor Harris
Curator, Assistant Keeper and then Keeper (1998-2003) of the Department of Japanese Antiquities at the British Museum. He studied from 1968-71 under Sato Kenzan, Tokyo National Museum and Society for the Preservation of Japanese Swords
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 trading
Blade 30.3 inches long tip to tsuba, sword length 40 inches out of saya. 41 inches long overall. saya has all its original Edo lacquer finish with just a few natural age surface blemishes as to be expected. read more
10295.00 GBP
A Marvelous Museum Quality Samurai Tanto, 15th Century, Signed Sukesada, A Famous Line of Exemplary Master Swordsmiths That Continued From the 1400’s To The End of The Tokugawa Shogunate. This Wonderful Tanto is Around 600 Years Old
The great line of smiths that started in the 15th century when this sword was made, and continued until the end of the Tokugawa Shogunate in the 1860’s. {Tanto, despite being referred to as samurai daggers, are always traditionally regarded as ‘swords’, irrespective of length.}
This is truly a wondrous ancient armour piercing bladed samurai tanto from the mid 1400's, is signed Sukesada, and the beautiful hamon is very clear to see, and is an undulating gunome. Complete with all original Edo period fittings, tsukaito and saya.
The saya is of lobster scale ribbed roiro urushi lacquer, with matte lacquer at the bottom section of the saya.
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.
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!
The fuchigashira mounts are fabulous quality, of multi coloured shakudo and silver decorated over a hand punched nanako ground with carved takebori inro, with pellets of inlaid coral representing the inro's himo mounted ojimi. An inrō (印籠, lit., "pillbox") is a traditional Japanese case for holding small objects, suspended from the samurai's obi worn around the waist when wearing kimono. They are often highly decorated, in a variety of materials and techniques, often using lacquer. The tsuba is a takebori carved with flower petals in incredible detail. The menuki are gold recumbant water buffalo. The tanto was designed primarily as a stabbing weapon, but the edge can be used for slashing as well. Tanto are generally forged in hira-zukuri style (without ridgeline), meaning that their sides have no ridge line and are nearly flat, unlike the shinogi-zukuri structure of a katana. Some tanto have particularly thick cross-sections for armour-piercing duty, and are called yoroi toshi. The tantos primary use was a type of stabbing weapon, however, the blade could also be used for slashing as well. Some tanto were forged with a particularly thick cross section which was thought to aid in piercing the armour of enemies, this type of dagger would be called a yoroi toshi.
A tanto would most often be worn by Samurai, and it was very uncommon to come across a non samurai with a tanto. It was not only men who carried these daggers, women would on occasions carry a small tanto called a kaiken in their obi which would be used for self-defence. In feudal Japan a tanto would occasionally be worn by Samurai in place of the wakizashi in a combination called the daisho, which roughly translates as big-little, in reference to the big Samurai Sword (Katana) and the small dagger (tanto). Before the rise of the katana it was more common for a Samurai to carry a tachi and tanto combination as opposed to a katana and wakizashi.
As once told to us by an esteemed regular visitor to us here in our gallery, and the same words that are repeated in his book;
“In these textures lies an extraordinary and unique feature of the sword - the steel itself possesses an intrinsic beauty. The Japanese sword has been appreciated as an art object since its perfection some time during the tenth century AD. Fine swords have been more highly prized than lands or riches, those of superior quality being handed down from generation to generation. In fact, many well-documented swords, whose blades are signed by their makers, survive from nearly a thousand years ago. Recognizable features of the blades of hundreds of schools of sword-making have been punctiliously recorded, and the study of the sword is a guide to the flow of Japanese history.”
Victor Harris
Curator, Assistant Keeper and then Keeper (1998-2003) of the Department of Japanese Antiquities at the British Museum. He studied from 1968-71 under Sato Kenzan, Tokyo National Museum and Society for the Preservation of Japanese Swords
Overall 13.5 inches long overall, 9.25 inch blade read more
7950.00 GBP
.An Ancient Samurai Nambokochu Era Hira Zukuri Ancient Tanto Circa 1390. Stunning Polished Giant Rayskin {Kairagi-Gawa} Saya. Twin Clan Mon of Nakui Kagetaka of Triple Pawlonia Leaves Interspersed With Three Ken Swords.
This most ancient original short sword has a simply stunning and superb quality, original, Edo period, polished giant kairagi ray skin saya, "Kairagi" means "Ume Blossom Skin".When you polish the skin, Ume Blossom patterns will appear.
Kairagi-same is very rare. In simply fabulous condition, with a kogai pocket containing its highest grade and quality shakudo kogai, with a shakudo clan mon onlaid, of Nakui Kagetaka.
Kagetaka was born the eldest son of Nukui Tsugumune in Noto Province. Kagetaka's grandfather, Nukui Fusasada, had risen to be the most influential member of the Hatakeyama clan. In a bid to reclaim power, Fusasada was killed in 1555 by Hatakeyama Yoshitsuna. In response, the Nukui clan rose in an unsuccessful revolt, leading to Kagetaka fleeing to Kaga Province for safety. He remained in Kaga until 1566, when Yoshitsuna was subsequently cast out by other clan retainers, clearing the way for Kagetaka to return back to the Hatakeyama.
Within a few years, the much larger Oda and Uesugi clans began competing for control over the lands that Kagetaka called home. Chō Tsugutsura used this escalating conflict to attack Kagetaka and his allies, driving him into allaince with the Uesugi. Tsugutsura in turn called for aid from the Oda, but was isolated because the Oda were bogged down by their own inconvenient insurrection (Matsunaga Hisahide chose that moment to declare his own rebellion). By 1577, the main army of Uesugi Kenshin invaded Nanao Castle, with Kagetaka secretly aiding Kenshin by collaborating with Yusa Tsugumitsu to murder Chō Tsugutsura and the rest of the Chō clan.
While Nukui Kagetaka failed to kill Tsugutsura, he did manage to retake Nanao castle. Kagetaka maintianed this control until Kenshin died in 1578. With Kenshin gone, the Oda moved in and placed Nanao castle under seige. Kagetaka chose to abandon the castle to the Oda and Tsugursura, seeking shelyer with the Uesugi. In 1582, Kagetaka joined Uesugi Kagekatsu on campaign to retake Noto, but he was killed in battle against Sakuma Morimasa and Maeda Toshiie during the Arayama War.
The kogai or sword needle, was a samurai's hairdressing tool. The main parts of the kogai are the grip section called do (胴), the needle itself called sao (棹 or 竿) and the little scoop at the back of the grip called mimikaki (耳掻). The saya is polished samegawa, that is then termed Kairagi-Gawa that is transformed giant ray skin, as samegawa, was, at the time of the samurai, some one of the most expensive and highly prized forms of decoration, effectively super hardened marine leather, to be used on sword scabbards, saya. It was the same material as is used on sword hilts under the binding, but the large and small protruding nodules were hand polished, for hundreds of hours, to create a highly polished flat surface, that was then hand dyed and thus created a decorated scabbard with immense natural beauty, and created at huge expense for the time.
Very attractive tsuba of an oval copper plate with inlaid shakudo and gold takebori figures of a mounted samurai and retainers, beneath Mount Fuji at the horizon. Copper and gold onlaid fushigashira on a botanical theme. The blade is most ancient and beautiful looking. A samurai weapon perfect for one who is interested in ancient samurai history and the form of original weapons carried at that time. In the late fourteenth century, the Kantō region was dominated by powerful warrior families. Of these, the Uesugi were the most powerful. They were able to take advantage of the fighting that erupted between families in the region to advance their own interests. In 1368, the Utsunomiya family revolted against the Kamakura headquarters of the Muromachi regime, because they had lost their shugo posts to the Uesugi. The Uesugi family was able to extend their influence by amassing shugo military governor posts under their jurisdiction, and by enfoeffing vassals in the Kantō region at the expense of other families. One could advance a theory that the Kantō region had become semi-independent from Kyoto, and that the Kamakura headquarters of the Muromachi regime existed because of Uesugi support. The Uesugi family was legally recognized by the Muromachi regime by their appointment to the Kantō kanrei post because of their unassailable position. The blade’s hamon is very narrow indeed, typical for blades of such great age, and thus due to its great age, and its yakiba partially contacts with the edge.
As once told to us by an esteemed regular visitor to us here in our gallery, and the same words that are repeated in his book;
“In these textures lies an extraordinary and unique feature of the sword - the steel itself possesses an intrinsic beauty. The Japanese sword has been appreciated as an art object since its perfection some time during the tenth century AD. Fine swords have been more highly prized than lands or riches, those of superior quality being handed down from generation to generation. In fact, many well-documented swords, whose blades are signed by their makers, survive from nearly a thousand years ago. Recognizable features of the blades of hundreds of schools of sword-making have been punctiliously recorded, and the study of the sword is a guide to the flow of Japanese history.”
Victor Harris
Curator, Assistant Keeper and then Keeper (1998-2003) of the Department of Japanese Antiquities at the British Museum. He studied from 1968-71 under Sato Kenzan, Tokyo National Museum and Society for the Preservation of Japanese Swords
Overall 20 inches long in saya, blade inches 13.25 from tsuba to tip long read more
3550.00 GBP
Wonderful Antique Indo Persian, Mughal, Large Ram's Head Ceremonial & Instrument of War Mace 'Chob', A Thing of Rare Beauty. the Detailing of The Ram's Head Is Superb
A most beautiful, impressive and sizeable piece of zoomorphic object d'art, a noble court ceremonial mace. Paintings in miniature and chronicles of the Mughal court reveal that ceremonial maces were often richly ornamented and made of luxurious materials, this piece being a fine example, still has traces of its original silvered surface. The Chob (or ceremonial mace) in India, is a story of the past that echoed with the different versions of luxury being a part of daily life in India. The old kings and the maharajas in the mughal empire celebrated their daily routine with pristine, beautiful and valuable objects that exuded refined craftsmanship and the finest detail. These luxury objects are still evident in some states of the country which have initiated to preserve their story of heritage by different means .
One of these particular object is that of a ceremonial mace, popularly called the Chob. It was used as an instrument for war as well as in ceremonies comprising of Indian Mughal rituals. In Indian ceremonial context it was observed as a symbol of (authority) in and around the society of those times .
Chobs were present in Mughal court paintings depicted around the mace-bearers (stick bearers), standing inside the barrier of railings around the ruler, identified by its particular shape. Indian arms and furniture objects were profusely covered with very rich and fine materials for decoration. Emperor Jehangir( r.1605 ? 27 ) has clearly mentioned in his memoirs to a six flanged mace shashpar made out of solid gold. ( refer -The Tuzuk-I-Jahangir,or,Memoirs of Jehangir , trans.. Alexander Rogers ,ed. Henry Beveridge ;London ,1909;vol-1 ).
With a stunning mace head of a representation of the head of a ram, surmounting a spiral form haft. These exquisite objects of desire and utility came to life due to their surface treatment with material that could be be easily used in adornment . The native crafts of Awadh and northeastern parts of India played a pivotal role, the craftsmen were commissioned to carve out such bespoke creations for the maharajas and nobility. The functions of these ceremonial maces were of regulating entry to the immediate precincts of the throne. If you observe in the Padshanamah manuscript, for example, they are seen in presentation scenes in which objects of value are in evidence or where some level of security is needed for a barrier. King of the world: The Padshanamah, an imperial mughal manuscript from the Royal Library, Windsor Castle. One picture in the gallery shows the Mughul Maharaja's Ceremonial 'Chob' bearers marching in the parade carrying the simpler ball type Chobs. Hollow construction mace, with small impact dent to the rear head and an old repair to one rams ear. 22 inches long overall. read more
2250.00 GBP