Very Fine Napoleonic Wars 1777 Model French Charleville Musket, Made at St Etienne, Napoleonic Wars Period Manufacture Royale in 1814. During Napoleon's Exile at Elba, Used For the War of 100 Days, Quatre Bras & Waterloo, For The Emperor

This flintlock musket was made at the French Royal Arsenal at St Etienne {formerly the Imperial Arsenal} in 1814, during the period during Napoleon's defeat in 1814 and exile to Elba, and his return in 1815. Thus this fine musket was made in 1814, whereupon it was issued to the infantry, that then, very soon, transferred their loyalty back to their old emperor, Napoleon, upon his return from exile in Elba.

It was used by the Napoleonic army in the 100 Days War, culminating in Napoleon's final defeat at Quatre Bras and Waterloo by the Duke of Wellington, and this musket being taken as war booty.

Used as a regimental issue arm, by and the very best French Napoleonic frontline regiments, serving in Napoleon Bonaparte's army during the Napoleonic Wars. This is the pattern called the 1777, this is the pattern of musket that would have first seen service in the royal era, before the revolution, during the revolution, then in the early days of the Anglo French war and during Napoleon’s rise to power to finally declaring himself Emperor of France.
The French frontline infantry regiments fought with distinction throughout the entire Hundred Days War, culminating at their last great magnificent engagements at Quatre Brad and at the Battle of Waterloo, in 1815, Most of the muskets now surviving in the Tower Collection in England very likely came from that field of conflict. Collected after the battle by the British Army and representatives of the Tower, as trophies of war. This long gun may very likely have been taken from the combat field following the battle.

One can imagine this musket lying freely, or, maybe, even still clasped in his cold desperate hand, or even under the fallen infantryman’s body, at the field of conflict at Waterloo. 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".

This is truly a superb Napoleonic musket, very good condition for age, with overall, as expected, signs of service use.

Supporting the infantry were such as the cuirassiers, that 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.
Made in the period that Napoleon was first defeated as Emperor, while ruling most of Europe, it was used through the Royal restoration period, when Napoleon was imprisoned at Elba, and then during the War of the 100 days, culminating at Waterloo .

All Napoleon's principle forces fought at Waterloo, and all the infantry, hussars, lancer and Cuirassier etc., without exception, fought with their extraordinary resolve, bravery and determination.

The Hundred Days started after Napoleon, separated from his wife and son, who had come under Austrian control, was cut off from the allowance guaranteed to him by the Treaty of Fontainebleau, and aware of rumours he was about to be banished to a remote island in the Atlantic Ocean, Napoleon escaped from Elba on 26 February 1815. He landed at Golfe-Juan on the French mainland, two days later. The French 5th Regiment was sent to intercept him and made contact just south of Grenoble on 7 March 1815. Napoleon approached the regiment alone, dismounted his horse and, when he was within gunshot range, shouted,

"Here I am. Kill your Emperor, if you wish."

The soldiers responded with,
"Vive L'Empereur!"
and marched with Napoleon to Paris; Louis XVIII unsurprisingly fled.
On 13 March, the powers at the Congress of Vienna declared Napoleon an outlaw and four days later Great Britain, the Netherlands, Russia, Austria and Prussia bound themselves to put 150,000 men into the field to end his rule once more. Napoleon arrived in Paris on 20 March and governed for a period now called the Hundred Days.
By the start of June the armed forces available to him had reached 200,000 and he decided to go on the offensive to attempt to drive a wedge between the oncoming British and Prussian armies. The French Army of the North crossed the frontier into the United Kingdom of the Netherlands, in modern-day Belgium. Napoleon's forces fought the allies, led by Wellington and Gebhard Leberecht von Blücher, at the Battle of Waterloo on 18 June 1815. Wellington's army withstood repeated attacks by the French and drove them from the field while the Prussians arrived in force and broke through Napoleon's right flank. The French army left the battlefield in disorder, which allowed Coalition forces to enter France and restore Louis XVIII to the French throne. Off the port of Rochefort, Charente-Maritime, after consideration of an escape to the United States, Napoleon formally demanded political asylum from the British Captain Frederick Maitland on HMS Bellerophon on 15 July 1815.

This super musket is in very nice condition overall. With all its original parts intact and the action beautifully tight and crisp. With both original sling swivels intact and present. It is as good as any example you may see in the Tower collection of arms taken from the field of Waterloo. Mark was accompanied by our old family retainer and The Lanes Armoury company gunsmith, Dennis Ottrey, for several personal guided tours of the Tower collection by Howard ‘Blackie’ Blackmore, Deputy Master of the Tower of London, founder of the Arms and Armour Society, and renown gun author, in the 1970’s, and was shown many examples exactly as this fine musket, and he recalls that none were better than this one. It bears poincon stamps for the official Napoleonic arms Inspectors, including, the inspector {from 1813} Barthelemy Compas, based at St Etienne for the inspection of gun mount garnitures, and the lock inspector, {from 1811} Monsieur Stelen at St Etienne. Also, Antoine Blachon, the regulation barrel inspector {from 1798 till 1812}

Howard Blackmore was esteemed in the USA and Canada where he lectured frequently; he was made an honorary vice-president of the Arms and Armour Society on retirement in 1972 from twenty years as president and in 1984 was one of the first recipients of its medal. He was elected a Liveryman of the London Gunmakers Company in 1991. As a researcher Blackmore had few equals, even among his academic colleagues, and was never content with second-best. He retained his boyish enthusiasms to the end and was writing articles until a week before his death on 24 November 1999

As with all our antique guns no license is required as they are all unrestricted antique collectables
Overall 55.75 inches, 141.5 cm long  read more

Code: 25619

A Superb Original Antique WW1 Leather Machine Gun Company Munition Case. A Very Rare Piece as Most Surviving Cases Were For Cordite For the Artillery, But the Machine Gun Corps Example is Very Rare Indeed

Part of a Superb WW1 Machine Gunner's Collection, British and German.
WW1 issue. Bearing the royal crest of King George Vth and British Army stamped for the 6th, 261 Machine Gun Company 6 261 MGC. Substantially strong and robust hardened buffalo hide. This is a particularly rare type, not the usual Royal Artillery version.
It is of very heavy grade solid leather, that is top, bottom and side, brass seam riveted, and with a wide leather carrying strap at the rear. The more common version used by the British army was a cordite carrier type, that are plain, lightweight and have no rivets, cork lined and are wide rim banded top and bottom. At the outbreak of the First World War in August 1914, the tactical potential of machine guns was not appreciated by the British armed forces. The prevalent attitude of senior ranks at the outbreak of the Great War can be summed up by the opinion of an officer (albeit expressed a decade earlier) that a single battery of machine guns per army corps was a sufficient level of issue.
Despite the evidence of fighting in Manchuria (1905 onwards) the Army therefore went to war with each infantry battalion and cavalry regiment containing a machine gun section of just two guns.
These organic (embedded) units were supplemented in November 1914 by the formation of the Motor Machine Gun Service (MMGS) administered by the Royal Artillery, consisting of motor-cycle mounted machine gun batteries.
A machine gun school was also opened in France.
After a year of warfare on the Western Front it was self-evident that to be fully effective - in the opinion of former sceptics - that machine guns must be used in larger units and some commanders advocated crewing them with specially trained men who not only thoroughly conversant with their weapons but who understood how they should be best deployed for maximum effect. To achieve this, the Machine Gun Corps was formed in October 1915 with Infantry, Cavalry, and Motor branches, followed in 1916 by the Heavy Branch. A depot and training centre was established at Belton Park in Grantham, Lincolnshire, and a base dep?t at Camiers in France.
The Infantry Branch was by far the largest and was formed by the transfer of battalion machine gun sections to the MGC. These sections were grouped into Brigade Machine Gun Companies, three per division. New companies were raised at Grantham. In 1917, a fourth company was added to each division. In February and March 1918, the four companies in each division were formed into a Machine Gun Battalion.
The Guards Division formed its own machine gun support unit, the Guards Machine Gun Regiment.
The Cavalry Branch consisted of Machine Gun Squadrons, one per cavalry brigade.
The Motor Branch was formed by absorbing the MMGS and the armoured car squadrons of the recently disbanded Royal Naval Armoured Car Service. It formed several types of units: motor cycle batteries, light armoured motor batteries (LAMB) and light car patrols. As well as motor cycles, other vehicles used included Rolls-Royce and Ford Model T cars.
The Heavy Section was formed in March 1916, becoming the Heavy Branch in November of that year. Men of this branch crewed the first tanks in action at Flers, during the Battle of the Somme in September 1916. In July 1917, the Heavy Branch separated from the MGC to become the Tank Corps, later called the Royal Tank Regiment.

The MGC saw action in all the main theatres of war, including France, Belgium, Palestine, Mesopotamia, Egypt, Salonika, East Africa and Italy. In its short history, the MGC gained an enviable record for heroism as a front line fighting force. Indeed, in the latter part of the war, as tactics changed to defence in depth, it commonly served well in advance of the front line. It had a less enviable record for its casualty rate, with 62,049 becoming casualties, including 12,498 killed, earning it the nickname 'the Suicide Club'.
A fabulous and beautiful artifact of WW1 Machine Gun Corps history, that is now perfectly useable as a stunning display piece, or stick stand or waste paper basket. Top section of rear leather strap handle is now detached, but it should be easily repairable. 14 inches high x 7.5 inches across  read more

Code: 20353

A Most Beautiful and Very Rare Medieval Tudor Period Erotically Carved Bone Hilted Knife or Dagger 500 to 600 Years Old

A most delightful and original piece of early carved erotica. That is also a functioning knife or dagger. Likely early Tudor Period, 15th to 16th century. Carved in form of a lady in traditional dress in a demi-seated position, exposing her decolletage and her lower legs, with her hand clasping the hem of her dress, resting at her knees. Single edged blade with natural well aged russeted sound blade The pose is most intriguing portraying semi nudity, in a bawdy and erotic pose. Knives of the medieval era could mounted with carved hilts for of those status and great worth, but it is very unusual to see an example with such an erotic figural design. Cutlery manufacture involved a number of specialists: the blademaker, grinder, hafter (the person who made the handle), sheather (the maker of the sheath in which the knife was carried) and the furbisher or cutler, who assembled the parts, forging the blade, and sold the finished items. The London Cutlers Company, set up in 1415, regulated the trade until the 18th century. It obliged cutlers to mark their wares with their personal devices. In the Medieval era men carried their knives, not in their pockets, if indeed they had any, but usually in sheaths hanging from a girdle which went round the body just above the hips. It was the business of the girdler, as he was called, to supply these girdles, and we shall see that in the inventory of a York girdler, dated 1439, there were many girdles and knives. Most knives although made for protection, could double as an eating knife.
There were few table-knives, in this era. and when at table nearly everybody used the knife of his or her own. In 1392 a lady bequeathed "my knife which I use," in her last will and testament. Even in the last century, in taverns, in many countries, particularly in some towns of France, knives were not placed on the table, because it was expected that each person should have one of his own. 8.25 inches overall.  read more

Code: 19762

A Very Good MK IV D-Day Pattern Camouflage Helmet, With Original WWII Camo Netting. From a 1st Battalion The Duke of Wellington’s Regiment, Korean War Veteran

A nice example of a Camouflage MK IV Helmet, which were used by both Canadian and British Forces late in World War II and into the post war era. The helmet exhibits an overall “salty” appearance, with all its original textured paint poking through its camouflage net. The steel rim exhibits some minor paint loss which is common with these helmets. Net almost completely intact. This Camouflage Mk IV Helmet is complete with its original liner that exhibits somewhat stiff leather pads. The liner is also worn in appearance and is affixed by a replaced bolt. The helmet liner is double stamped, the first is CCL III 1952. The maker monogrammed CCL, is for either Charles Collett Ltd -- London, or, Christy & Co Ltd England. Liner makers from 1940 – 1945. {there is a debate as to the certainty of CCL representing which limited company}
They entered production in April 1944, meaning the helmets were designed for D-Day issue. This is a very nice British World War II Camouflage Mk IV Helmet that displays an honest “been there” combat appearance. These Mk IV helmets are hard to come by, especially with original camouflage net present and fully intact.

Historical Description: The Mk IV Helmet was based off its predecessor, the Mk III helmet, which was first developed for the British Army in 1941 by the Medical Research Council. Although designed in 1941, the helmet was not manufactured until late 1943 due to production issues. The Mk III helmets were first issued to troops in April 1944 and then worn in combat for the first time by both British and Canadian soldiers on D-Day. Mk III helmets were designed to provide better protection for the side of the head than its predecessor, the iconic Brodie helmet, which were worn by Commonwealth forces throughout both World Wars. Mk III and Mk IV helmets are sometimes referred to as the “turtle” helmet by collectors, because of their vague resemblance to a turtle shell. The Mk III gradually replaced the Brodie helmet from 1944 onwards and was itself replaced by the Mark IV helmet, which it closely resembled. The differences were that the rivets attaching the chinstrap to the helmet were placed much lower down on the shell and the use of a “lift-the-dot” fastener for the liner. These modifications allowed the Mk IV to be utilized for carrying water. The Mk IV helmet was finally replaced In 1985 by the nylon fibre Mark 6 helmet which ended this iconic design in the British military.

The 1st Battalion The Duke of Wellington’s Regiment, stationed in Minden, Germany, had been warned off for service in Korea in early 1952. Preparations and training was carried out in Minden and Pontefract, Yorkshire, before the Battalion sailed to Korea, aboard HMT Devonshire, on 22nd September 1952, landing at Pusan on 30th October 1952.

The Battalion joined the 29th Brigade and, on 16th November, 1952, the Battalion went into the line at Yong Dong, relieving the 3rd Battalion Royal Australian Regiment. After a month in this ‘quiet sector’ the Battalion moved to Naechon, relieving the Durham Light Infantry, just as the harsh Korean winter descended over the country, which made patrolling uncomfortable and difficult. The first casualty was suffered on 20th December, when Pte Kirkpatrick died of wounds. There was much more action in this sector, with fighting patrols clashing in No Man’s Land at night and a major raid to destroy a Chinese tunnel was conducted on 24th January, 1953.

At the end of the month, the Commonwealth Division was pulled out of the line and a hectic round of training and field exercises was conducted.

In April the Division once more went into the line and on 12/13th May the ‘Dukes’ took up positions on ‘the Hook’. A feature of great tactical importance as it controlled the entrance to the Samichon valley and through that to Seoul. It was a hotly contested feature and it had been known for some time that the Chinese intended to capture it. On 17/18th May the enemy began bombarding the position and on the 18th May a Chinese deserter brought information that a large attack was to be launched imminently. The Brigadier decided to leave the ‘Dukes’, who now knew the position and the defensive plan well, on the feature and a great deal of preparation, including bunker construction and strengthening, wiring and mining, the reconnaissance of likely enemy forming up points and many listening patrols, was carried out.

On 28/29th May the final enemy bombardment fell on the Hook position and a series of fierce enemy assaults managed to get into the positions held by D Company, and the entrances to many of the bunkers were destroyed with satchel charges. However, the Chinese were caught by the well planned artillery, tank and machine gun Defensive Fire (DF) tasks and the following waves were all but wiped out. A counter-attack by the Battalion reserve Company restored the situation and the Hook was declared clear of the enemy at 0330 hours.

There were many examples of bravery on that night, including the tenacious defence of his section position by Private Connor, for which he was awarded a posthumous Mention in Despatches, notified in the London Gazette on 14th August 1953. This honour is signified by the wearing of a bronze oak leaf on the ribbon of the relevant medal.
The ‘Dukes’ suffered three officers and 17 men killed, two officers and 84 men wounded, with 20 men listed as missing, most of these taken prisoner, during the battle. Estimates of the Chinese casualties were 250 dead and 800 wounded, largely as the result of over 38,000 artillery shells from the Divisional artillery and 1st US Corps Artillery Group.

For this action the Battalion was awarded the Battle Honour ‘The Hook 1953’. Later the 1st Battalion’s Headquarter Company was renamed ‘Hook’ Company.

At 2200 hours on 27th July, 1953, the fighting in Korea came to an end, with the formal declaration of a truce. The war between North and South Korea, though, continues to this day, with occasional flare ups and casualties on both sides.

Sir Michael Caine began his National Service with the British Army on 28 April 1952. A year into his National Service, Caine was given the option of either completing two further years standard National Service or completing only one year of Active Service in Korea. Caine chose to do the latter and set sail from Liverpool to the East Asian Theatre on the Empire Halladale. When he reached East Asia, he was based at Kure, the Southern Japanese mainland, for training. As part of the 1st Battalion of Royal Fusiliers, A Platoon, C Company, Caine was sent to the front line of the conflict - the 38th Parallel.

In an interview with the Daily Mail in 1987, Caine recounted some of his experiences while serving in the Korean war:
“...attack after attack, you would find their bodies in groups of four”-commenting on the human wave tactics employed by the enemy, which often involved groups of soldiers sharing a single weapon.
“We heard them talking and we knew they had sussed us…Our officer shouted run and by chance we ran towards the Chinese. Which is what saved us; in the dark we lost each other”. Explaining how while on patrol in a paddy field, Caine and the men he was with were nearly caught by enemy forces.

Finally, Caine’s national service was concluded by marching out of the Tower of London to the regimental march while wearing demobilisation clothes.
Later, Sir Michael Caine would draw upon his military experience in films such as A Hill in Korea, which tells the story of a group of British soldiers being cut off by Chinese forces.  read more

Code: 25617

A Most Handsome Shinto Katana That Would Grace Any Museum Grade Collection. Signed Mutsu Daijo Fujiwara Kaneyasu

Late 17th century sword, bearing signature that approximately translates to "of the Fujiwara Clan, the Daijo (a honourific lordship title) of Mutsu Province, Kaneyasu made this''. With all original Edo period koshirae sword mounts, including a superb antique original Edo 'lobster scale' cinnabar urushi lacquer saya.

A truly stunning combination of materials that has created a iconic Japanese Art Sword of ancient tradition.
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!

Higo school silver inlaid tettsu fuchi kashira and iron plate tsuba. very interesting menuki of a panel separated and placed over two bows, decorated with relief kanji. Beautiful blade with a gradually undulating gunome hamon. An impressive sprauncy sword almost certainly made for a mounted samurai considering its power and dimensions.

Of all the weapons that man has developed since our earliest days, few evoke such fascination as the samurai sword of Japan. To many of us in the, the movie image of the samurai in his fantastic armour, galloping into battle on his horse, his colourful personal flag, or sashimono, whipping in the wind on his back, has become the very symbol of Japan, the Empire of the Rising Sun. And, truly, to the samurai of real life, nothing embodied his warrior's code of Bushido more than his sword, considered inseparable from his soul.

Indeed, a sword was considered such a crucial part of a samurai's life that when a young samurai was about to be born, a sword was brought into the bedchamber during the delivery. When the time came for an old samurai to die and cross over into the White Jade Pavilion of the Afterlife his honoured sword was placed by his side. Even after death, a daimyo, or nobleman, believed he could count on his samurai who had followed him into the next world to use their keen blades to guard him against any demons, just as they had wielded their trusty weapons to defend him against flesh-and-blood enemies in this life. In a samurai family the swords were so revered that they were passed down from generation to generation, from father to son. If the hilt or scabbard wore out or broke, new ones would be fashioned for the all-important blade. The hilt, the tsuba (hand guard), and the scabbard themselves were often great art objects, with fittings sometimes of gold or silver. The hilt and scabbard were created from the finest hand crafted materials by the greatest artisans that have ever lived. Often, too, they told a story from Japanese myths. Magnificent specimens of Japanese swords can be seen today in the Tokugawa Art Museum's collection in Nagoya, Japan. The saya has a few age seam lines, but at all detrimental to its beauty and entirely commensurate to its age
Blade 29 inches tsuba to tip  read more

Code: 24040

A Very Fine Yasutsugu School Katana, circa 1675-1684 Likely the 4th Generation, Signed, with Aoi Mon, Namban Tetsu Oite Bushu Edo Echizen Yasutsugu

With a stunning bi coloured, black ribbed and cinnabar red lacquer saya, hand decorated with a wonderful light feathering and a scrolling silver saya jiri bottom mount. The mounts [fuchi kashira and menuki] are gold and shakudo decorated of the chrysanthemum. The story of the Yasutsugu lineage starts with the birth of the first generation, Ichizaemon, who is believed to have been born around the middle of the sixteenth century. His place of birth was in Shimosaka of Shiga-gun in the province of Omi. Omi is next to Mino and contains Lake Biwa. Yasutsugu was born into a sword making family headed by his father, Hironaga, reputed to be the last descendent of Yamato no Kuni Senjuin. Though his father was from Omi, he was trained in the Mino tradition. Around the 11th or 12th year of this same period of Keicho (1606-1607), Yasutsugu’s fame reached the point that he was called to Edo (Tokyo) to share his forging skills with Tokugawa Ieyasu. About this time Yasutsugu was given the privilege of using the character “Yasu” (康) from Tokugawa Ieyasu’s (徳川家康) name. Thus, from that point on, he changed his name to Yasutsugu. About the same time (some feel it was a few years later) he was given the additional privilege of carving the Hollyhock crest (Aoi mon) on his blades. These privileges were given in perpetuity to Yasutsugu and his descendants. Thus the Yasutsugu swordsmiths became the kaji of the Tokugawa Family.
Yasutsugu worked in Echizen and Edo as was the custom with the Tokugawa family in those days. It was much like the practice of Sankin Kodai (alternate year attendance) that was required of the Daimyo of the country. He died in seventh year of Genna (1621) probably in his 70’s.

Upon the death of the first generation Yasutsugu , the family mantle was taken up by his son, Ichinojô.
Nidai Yasutsugu made swords in the same style as the first generation. Some say that his ability was nearly the equal of his father’s. While all do not agree, there seems to be a consensus that he was without a doubt a close second
The two branches of the Yasutsugu school continued for many generations. The Edo school continued through eleven generations. It is generally agreed that the only two smiths of the last eight generations that were of note are the fourth our sword and the eleventh generations. The fourth generation had the advantage of being trained by the third generation, a quality smith. In addition, the fourth generation left several works in which he collaborated with the well-known smith, Izumi (no) Kami Kaneshige. The fourth generation’s working period was from 1675, the third year of Enpo to 1684, the first year of Teikyo era.
Interestingly, the steel used to produce this sword was in part sourced from Europe, likely from
Dutch traders. This steel was known as “Namban tetsu”, (lit. Southern Barbarian steel). It would
have been expensive and unique to produce swords with steel from faraway lands in the late
1600s. Thus the nakago (tang) is chiselled with the words Namban tetsu.

it is mounted with An Antique Edo Period Iron Large Tsuba Inlaid with Silver Aoi Leaves
The Tsuba can be solid, semi pierced of fully pierced, with an overall perforated design, but it always a central opening which narrows at its peak for the blade to fit within. It often can have openings for the kozuka and kogai to pass through, and these openings can also often be filled with metal to seal them closed. For the Samurai, it also functioned as an article of distinction, as his sole personal ornament. The tsukaito is beautifully traditionally rebound as is the black ribbing lacquer, on its original Edo lacquer saya.
As can be seen it is likely in its last original Edo polish in stunning condition which is beautiful, with just the tiniest natural aged surface mark. The kashira is carved buffalo horn with an applied gold lacquer partially complete aoi mon

Overall length in saya 38 3/4, blade tsuba to tip 27 3/4 inches long  read more

Code: 24038

The Lanes Armoury, Europe’s Leading Original Samurai Sword Specialists & Gallery. Plus 1000’s of Other Magical & Rare To Find Ancient and Vintage Wonders. Another Historic Collection Acquired This Week Including Amazing Medieval Swords & Antiquities

Including a small exclusive & original collection of Medieval and Roman rings and crucifixes. Thanks to us being so long established here in Brighton we are contacted or visited every day by private families interested in selling their long past collected antiques and antiquities. Artefacts of all kinds, from all eras and all nations. Some collected by their ancestors hundreds of years ago. And this week has been particularly fascinating for the diversity and beauty of our finds.

After more than 54 years personal experience by Mark, in our galleries, since 1971, and David’s 44 years since 1981, we are also regarded, by many, as Europe’s leading original samurai sword gallery, and probably the leading samurai sword specialists in the world, outside of Japan. With hundreds of original ancient and antique samurai swords to view and buy online, or, to journey to our world famous gallery in Brighton on a personal visit, 6 days a week.

By train we are just under an hour from Victoria Train Station in London.

We are also now offering a handmade bespoke frame or casing service. Created by a local specialist we have known for many decades. See the gallery for an example of a lidded box display casing just created for an item acquired from us for one of our esteemed regulars.

It has been said that the Hawkins family, have, in their sword dealing history, handled, bought and sold more original Japanese swords than any other sword dealers outside of Japan since World War I, trading over 100 years, numbering well into the tens of thousands of samurai weapons and artefacts. In one single acquisition alone, in the early 1960’s, David senior {the current partner’s father} purchased, in one collection, over 500 original antique and vintage Japanese swords, and Mark helped to disassemble each and every one of them, and was in charge of stringing together the tsuba sword guards into loops, 20 at a time. In those days tsuba were more collectable than swords. It was one of Mark’s very first introductions to the workings of the wonderful works of art that make up a complete samurai sword.
He can still remember listening to the very first hit of the Beatles ‘Love me do’ on the radiogram, in late 1963, while stringing together 25 loops of 20 tsuba, before he started school that early morning.
Our close family association with the legendary samurai sword continues unabated. In fact we still know of no better and varied original samurai sword selection, for sale under one roof, anywhere in the world today, outside of Japan, or possibly, even within it. Hundreds of antique pieces for sale to choose from, and some up to an incredible 800 years old.

Why is The Lanes Armoury probably the worlds most popular, original Japanese samurai gallery? well, we believe that not only are we the oldest still thriving store of our kind outside of Japan, but we have an entirely historical view of all our samurai artefacts, be they armour, helmets, swords, spears or accoutrements,

We place each piece within its historical context, a unique, holistic view if you like, never concentrating on such as simply the minutiae of blade detail alone {that has never been our forte} but of the entire sword as a work of art, and an example of the worlds highest craftsmanship, and thus it’s potential place within all of over 1000 years of samurai history.

Can they be expensive? Well, they certainly can appear so, however up to 70% of our completely fitted swords may still be half the price of just a newly made sword blade alone, commissioned from one of the few still remaining fine sword smiths in Japan, and ours could well be up to 500 years old, completely and stunningly fitted in fabulous quality original antique mounts, and potentially used in the past by up to 30 samurai within their own working life and history. And yet, they can still look as good as new.

A samurai sword for example, is in many respects, more the sum of its parts, although always dated by its blade’s vintage, each sword can have amazing koshirae mountings of equal beauty to the blade, displaying the skill of likely the most talented artisans in sword making history, and representing the most intriguing and certainly one of the most popular forms of ancient hand to hand combat in the world today.

For example one of the greatest films ever made in the history of cinema is Akira Kurosawa’s 1954 “Seven Samurai”. A groundbreaking epic of such influence on modern cinemas it is said to inspired more films in its genre than any other film ever made. A well deserved masterpiece of cinema, based entire on a simple single event of legendary samurai combat.

Still today, more incredible films in the genre are made involving the legendary samurai sword than any other, such as some of the billion dollar epics made by the Marvel Universe, that still enthral the worlds movie watching audiences.

There is no other country in the world that continually used the very same form of weaponry, in hand to hand combat, for over 800 years. A samurai sword of around 800 years of age, would be just as recognisable and as usable to any 19th century samurai, or even current exponent of samurai martial arts, if he were alive today.

Finally, a visit to The Lanes Armoury is considered and remarked upon, by near every single visitor to our store, that is is an unforgettable experiance, and every samurai sword buyer is afforded the best possible attention, not just for the time that they may view, choose, and buy a sword, but for as long as they own the sword. We are available for every aspect of ownership to its new owner, essentially forever. Our world renown 5 Star service knows no time limit.

And be assured, every single item, from a cap badge to a 800 year old ancient samurai sword, to an Ancient Greek solid gold crown, will be accompanied with our unique Certificate of Authenticity. Based on over 100 years and four generations of experience.  read more

Code: 24230

French Cavalry-of-the-Line Flintlock Pistol M1816 for Cuirassiers, Dragoons and Lancers, Ordnance Converted to Percussion in 1822

It has all its complete and original parts completely conserved, serviced, and cleaned by hand. Including a walnut half-stock, iron and brass mounts, ramrod lacking, and butt-cap, the lock inscribed for the French arsenal manufacture, 'M.re Rle de M? {possibly Manufacture Royale de Mutzig}. French Royal restoration period, with numerous inspector's stamps throughout all parts.

Used by the French line regiments of the cuirassiers, dragoons, or lancers from 1816 up to and including the Crimean war.

Good tight action, sound barrel. Many pistols of this type were also imported to the USA during the Civil War. At the time of the Crimean War, the army of the Second Empire was a subscripted army, but was also the most proficient army in Europe. One of the more famous groups were the Zouaves. According to Captain George Brinton McClellan, an American Military Observer, the Zouaves were the "most reckless, self-reliant, and complete infantry that Europe can produce. With his graceful dress, soldierly bearing, and vigilant attitude, the Zouave at an outpost is the beau ideal of a soldier."
The French army consisted of the Imperial Guard infantry, the line infantry including the Foreign Legion, cavalry, artillery, and engineer troops. Sources suggest that between 45,000 and 100,000 French forces were involved at one time or the other in the Crimea. Service in the French army was for seven years, with re-enlistments in increments of seven years. The Battle of Eupatoria was the most important military engagement of the Crimean War on the Crimean theatre in 1855 outside Sevastopol.

Ottoman forces were being transferred from the Danube front to the Crimean port of Eupatoria and the town was being fortified. Upon direct orders from the Czar who feared a wide-scale Ottoman offensive on the Russian flank, a Russian expeditionary force was formed under General Stepan Khrulev aiming to storm the base with a force variously estimated between 20,000 to 30,000.

Khrulev hoped to take the Ottoman garrison by surprise on February 17, 1855. His intention failed to materialise, as both the Ottoman garrison and the Allied fleet anticipated the attack.

The Russian artillery and infantry attacks were countered by heavy Allied artillery fire. Failing to make progress after three hours and suffering mounting casualties, Khrulev ordered a retreat.

This reverse led to the dismissal of the Russian Commander-in-Chief Aleksandr Sergeyevich Menshikov and probably hastened the death of Nicholas I of Russia, who died several weeks after the battle.

As for the battle's strategic importance, it confirmed that allied total command of the sea would ensure that the threat to the Russian flank would remain for the duration of hostilities. For the allies, possession of Eupatoria meant that the total investment of Sevastopol remained a viable option. For the Russians, they could not afford to commit unlimited resources from their vast army to the Crimea, for fear of a lightning allied thrust from Eupatoria closing the neck of the peninsula at Perekop.

For the Ottomans, their Army had regained its self-esteem and to some extent its reputation; most French and British realised this, although others including the high command would stubbornly refuse to make further use of their fighting abilities in the Crimean theatre. A very nice example of French cavalry percussion pistol (Ref. "French Military Weapons 1717-1938", by James E. Hicks, pp. 81 and 94).

Hand specialist conservation and preservation of original items is one of our fundamental tenets, it is not unusual for us to expend up to ten times the cost of an item in order to preserve a piece for the future, and to return it to how it once looked for posterity. Of course over restoration can be worse than no restoration at all so every care is made to ensure exactly the right amount of conservation is undertaken by our specialist and highly trained world renown artisans,

Photo in the gallery of the same pistol in the belt of an American Civil War Union trooper  read more

Code: 24803

A Stunning Quality Edo Period Tanto Fuchi In Shakudo and Pure Gold. Incredible Fine Quality Chisselled Takebori Carving of Rats Around a Gold Koku Traditional Rice Bale. Signed with Kikihan

Decorated shakudō (copper/gold alloy) with a hammered ground of fine nanako (fish-roe) points and decorated with rats and an applied pure gold rice bale. Signed Sadachika with kao (the artist's personal kakihan art signature seal). A wondeful indication of his skill, one can clearly see with a 10x magnifying glass the rats individual hairs on their body.

This is probably by the master fuchgashira maker Nomoto Sadachika, although relatively little is known about him, other than he worked in the later Edo period, his skill is self evident and was obviously exemplary.

In old Japanese culture the illustration of the rat in art was not a negative connotation, but a positive one. The presence of rats symbolised a successful harvest, so their presence was a symbol of good fortune,

Nanako Ji: "fish roe ground" A surface decoration produced by forming very small raised bosses by a sharply struck punch or burin called 'nanako tagane'. Shakudo is the metal most often used, but copper and gold are quite often employed. The harder metals, shibuichi, silver and iron are rarely decorated in this way. The size of the dots vary from 0.04" to 0.008" (25 to 125 and inch) and the regularity of the work is marvelous as the dots must be spaced entirely by touch. The dots are usually arranged in straight lines or in lines parallel to the edge of the piece being decorated, but sometimes in more elaborate patterns. Used on guards since the Momoyama period although the technique existed since much earlier periods. Usually done by specialist 'nanako-shi', but sometimes done by the maker of the guard himself. The articles of sword ornamentation made by the Goto artists were practically all on shakudo grounds with nanako finish; after the emergence of the machibori artisans in the mid-Edo period and the popularity of the newly inspired kozuka, shakudo grounds with nanako finish "became the rage". Nanako finish is probably an evolution and refinement of a very old style finish (which it vaguely resembles); "millet finish", 'awa ishime', which is found on some old armorer tsuba. However, awa ishime consisted of small, round dimples punched into the surface of the ground; on the other hand, nanako is formed by striking the ground with a cup-shaped punch to raise, and project upward from the surface, small semi-hemispheric nipples. Since we find nanako finish on old yamagane grounds, it was in use as early as the Kamakura period. It is note-worthy that a nanako finish on a shakudo ground has been used since the time of the first Goto 1440 - 151 in the mitokoromono, "set of three", for use on formal or ceremonial occasions. Later, shakudo nanako became the regular finish for use by the metal artisans. (deleted repeated sentences) In applying nanako, meticulous and scrupulous care must be used in positioning and striking the "cupping tool" in order to achieve fine, regular, carefully and closely spaced, identical results, row after row. Careless, imprecise and even coarse workmanship can be detected in the nanako of some older works and on "ready made" products, but work of later years, executed with infinite and scrupulous care, are beautiful beyond belief. However, even the finest of execution of nanako finish applied to brass (shinchu) or shibuichi fails to carry the distinct air of refinement and elegance of similar work on shakudo. The very elegance of nanako workmanship reflects not only the extraordinary skills of the Japanese in the execution of minute, detailed work, but also their tremendous patience and artistic inspiration. It is said that blindness of nanako workers at thirty years of age was usual because of the microscopic and meticulous work so carefully and patiently executed. On many old tsuba, pre-dating the period of the Goto, one encounters nanako laid in horizontal or vertical rows; on subsequent work nanako was applied along curved lines conforming to the shape of the tsuba.

Shakudo {that can be used to make samurai sword mounts and fittings} is a billon of gold and copper (typically 4-10% gold, 96-90% copper) which can be treated to form an indigo/black patina resembling lacquer. Unpatinated shakudo Visually resembles bronze; the dark colour is induced by applying and heating rokusho, a special patination formula.

Shakudo was historically used in Japan to construct or decorate the finest katana fittings such as fuchi-kashira, tsuba, menuki, and kozuka; as well as other small ornaments. When it was introduced to the West in the mid-19th century, it was thought to be previously unknown outside Asia, but recent studies have suggested close similarities to certain decorative alloys used in ancient Egypt, Greece, and Rome.  read more

Code: 25598

Fine Pair of Samurai Sword Mounts, A Fuchigashira In Pure Gold Onlay & Inlay On Shakudo, Soten School, Edo Period {1615-1868} Inscribed Sōheishi Nyūdō Sōten Sei. Taira Atsumori (1169-1184) Riding On Horseback Through Crashing Waves To Escape The Minamoto

Soten school, late, Edo period {1615-1868} By Sōheishi Nyūdō Sōten Sei. It is rare to find Soten work in shakudo or any soft metals as they typically worked in iron

Very likely depicting Taira Atsumori (1169-1184) Riding On Horseback Through Crashing Waves To Escape The Minamoto Warriors. Woodcut By Toyokuni Utagawa,

The founder of the
Soten school, Kitagawa Sōteen I (also called Shūten and possibly Sōheishi Niūdō), flourished about 1650 and, like his successors, worked at Hikone, whence the name Hikone-bori for the style they evolved. The signature of his son, Sōten II (Sōheishi Niūdō), is that most frequently found on tsuba sword guards of this school.

The Sōten style may be summed up as the marubori-zōgan with the addition of elaborate landscape details. The figures, whether large or small, are either modeled completely in the round, the ground being more or less cut away and the whole enclosed by a border; or else they are in high relief on a solid ground. The work is nearly always in iron, with the nude portions encrusted in silver or copper, the patterns of the garments and the minute botanical details of the landscape being richly overlaid with gold.

The favourite subjects are taken from Chinese history and legend, or represent Japanese battle-scenes, especially from the Gempei campaigns of the 12th century and the Korean expeditions of the Empress Jingō and the Taikō Hideyoshi.

According to The Tale of the Heike, the Taira were scattered by Yoshitsune's attack from the Ichi-no-Tani cliff. Kumagai no Jirō Naozane, while scanning the beach for fleeing soldiers, spotted the young Atsumori swimming towards the fleeing vessels.

Ukiyo-e of Kumagai Naozane and Taira no Atsumori
Kumagai beckoned Atsumori with his fan, taunting Atsumori by saying, “I see that you are a commander-in-chief. It is dishonorable to show your back to an enemy. Return!”

Atsumori returned and they grappled on the beach. Kumagai was stronger. He knocked off Atsumori's helmet to deliver the finishing blow, only to be struck by the beauty of the young noble. Atsumori was “sixteen or seventeen years old, with a lightly powdered face and blackened teeth—a boy just the age of Naozane's own son...”

Kumagai, wishing to spare the life of the boy, asked for Atsumori's name, but the youth refused. He simply said that he was famous enough that Kumagai's superiors would recognize his head when it was time to assign rewards. At that moment, other Minamoto warriors arrived, and Kumagai knew that if he did not kill Atsumori, the other warriors surely would. Kumagai reasoned that it was better if he was the one to kill Atsumori, because he could offer prayers on his behalf for the afterlife.

Kumagai while crying beheaded the youth, searched the body for something to wrap the head in, he came across a bag containing a flute. He realized that Atsumori must have been one of the soldiers playing music before the battle and thought, “there are tens of thousands of riders in our eastern armies, but I am sure none of them has brought a flute to the battlefield. Those court nobles are refined men!”

It is said that the beheading of Atsumori is what led Kumagai to take priestly vows and become a Buddhist monk.

See photo 10 in the gallery of a similar subject fuchigashira in the Metropolitan Museum of Art
Sword-Hilt Collar and Pommel (Fuchigashira)
Japanese ca. 1615–1868 Fuchi inscribed: 藻柄子入道宗典製 Sōheishi Nyūdō Sōten sei (Made by the lay priest Sōheishi Sōten)
Donated by Herman A. E. and Paul C. Jaehne, New York and Coco Beach, Florida (by 1915–43; their gift to MMA).  read more

Code: 25605