A Most Beautiful Signed Koto Katana, Circa1500's. All Original Edo Mounts of Onlaid Pure Gold, Silver & Shakudo Fuchi-Kashira of A Samurai Warrior In Armour On Horseback

A circa 500 year old Koto period samurai katana blade, with a signed nakago, Bitchu ju Kuni... {the last part of the name can't be clearly read}.
It has a very good suguha hamon, and a traditional silk bound over samegawa gint rayskin tsuka, with stunning shakudo fuchi-kashira with gold and silver decoration of a takebori samurai on horseback on the kashira, and a samurai by a shoreline with overhanging trees and wave,s on the fuchi, beautiful gold bamboo leaves menuki, circular iron tsuba chiselled with leaves, in its black urushi lacquered saya. Black tsuka-ito over gold bamboo leaves, on samegawa giant rayskin.

The motif of this iron tsuba’s takebori design seems to be numerous conch shells, known as “Horagai” (法螺貝). The conch shell originates from Hinduism and is closely linked to the teachings of Buddha. Historically, Yamabushi (mountain ascetics) used it to convey sermons. The conch was brought to Japan around 806 AD by monks like Kukai (空海) and Saicho (最澄), who returned from Tang China, with five of the eight bringing conch shells. Its sound represents the teachings of Buddha, making it a sacred instrument in Japanese esoteric Buddhism. The conch is one of the Eight Auspicious Symbols in Tibetan Buddhism, symbolizing purity and the dissemination of Buddhist teachings.

Shellfish have been eaten all over the world since ancient times. At the same time, they have been used in a wide variety of applications, such as coins, ornaments, daily necessities, and toys, due to the beauty and preservability of their shells. In Japan, there is also a folk belief that seashells with prominent projections are hung from the eaves to ward off evil spirits, and their names are said to ward off fire, such as the Suijigai (水字貝, 水 means water in Japanese). In addition, ascetic monks who trained in the mountains blew trumpet shells to exorcise evil spirits. During the Warring States period (戦国時代, 1467-1615), trumpet shells were used to signal the formation of battle lines and to boost the fighting spirit. It is only natural that this shell, which was used as a cue in battle and to raise the fighting spirit of soldiers, was incorporated into the decoration of armour, which is the uniform of fighting.

The samurai were roughly the equivalent of feudal knights. Employed by the shogun or daimyo, they were members of hereditary warrior class that followed a strict "code" that defined their clothes, armour and behaviour on the battlefield. But unlike most medieval knights, samurai warriors could read and they were well versed in Japanese art, literature and poetry.
Samurai endured for almost 700 years, from 1185 to 1867. Samurai families were considered the elite. They made up only about six percent of the population and included daimyo and the loyal soldiers who fought under them. Samurai means "one who serves."

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

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

Samurai have been describes as "the most strictly trained human instruments of war to have existed." They were expected to be proficient in the martial arts of aikido and kendo as well as swordsmanship and archery---the traditional methods of samurai warfare---which were viewed not so much as skills but as art forms that flowed from natural forces that harmonized with nature.
Some, it is said, warriors, didn't become a full-fledged samurai until he wandered around the countryside as begging pilgrim for a couple of years to learn humility. When this was completed they achieved samurai status and receives a salary from his daimyo paid from taxes (usually rice) raised from the local populace. Swords in Japan have long been symbols of power and honour and seen as works of art.
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.
Blade surface has areas of the usual age surface micro thinning seen in Koto blades

Blade 27.25 inches long tsuba to tip, overall sword length in saya 38 inches long  read more

Code: 24182

A Pair of Original & Extraordinarily Beautiful, First Nation, Antique American Wild West Frontier Riding Gauntlets. Made for Settlers and Trade Market of The American Frontiersmen, Such As Army Scouts, Pony Express Riders & Buffalo Hunters. Likely, 1840’s

A stunning pair of simply captivating gauntlets, of the 19th century, made by First Nation native Americans, of the Huron, Lakota Sioux or Metis tribes, from the early 'Wild West Frontier' period.

Likely traditional North American Indian brain tanned and smoked leather to enable the surface to be more waterproof. To ensure a long-lasting resilience of the leather, it was traditionally stored in a special tent over wood smoke, which gave the skin a darker brown tone and also made it waterproof, thus achieving better protection. Without this process, the leather turns out to be whitish and water-sensitive

All the embroidery is incredibly technical micro stitching of amazing beauty and intricacy. These stunning and fringed gauntlets are beautifully embroidered with flowers, florid patterns and a western monogram. They were possibly traded in the 1840's from the Cree, or the Lakota Sioux tribes of North and South Dakota, but theirs is often decorated with beadwork as opposed to this very fine stitched embroidery, which may better indicate Huron or Metis craftsmanship, according to a most kind lady from the region, who visited our gallery, and who fortunately knows this form of First Nation tribal art very well.

The most famous members of the Lakota Sioux were Sitting Bull and Crazy Horse. In yellow hide likely deer buckskin with typical long fringing. Excellent condition, with a small split in base of one finger. The style of Gauntlets worn by 'Kit Carson' and his contemporaries. Superbly beautiful, charming and highly collectable pieces from the old, American, Wild West Frontier.

Gauntlets are protective gloves that distinctively have a flared protective cuff. For centuries, these cuffs protected European and Asian bow hunters and military archers from being snapped on the wrist by their bowstrings. Medieval soldiers and knights began wearing chain-mail gauntlets during the 1300s, and armoured gauntlets appeared in Europe during the 1400s. Four hundred years later and halfway around the world, leather gauntlets appeared in the American West as military uniform accessories. They were soon appropriated by Indian artists, embellished with diverse ornaments, and incorporated into the civilian wardrobe. Here they became intrinsically linked with Western people, history, and landscape, and a symbol of the frontier. The original European form was reworked with a wild American veneer. Former mountain men -- Jim Bridger and Kit Carson among them -- occasionally worked guiding emigrant trains and military units through little-known country. They also helped track renegades of diverse stripes. These scouts were colourful characters, highly skilled, and not required to maintain a military dress code. Their attire was subsequently functional, comfortable, and drawn from a variety of media and cultural sources. By the 1870s, long and abundant fringe was in style and pinked edges provided decorative flair to leather clothing that was by nature quite showy. A similar pair of gauntlets though later of the Lakota Sioux can be seen in the Eugene and Clare Thaw Collection of American Indian Art in the Fenimore Art Museum NY.

The inner lining of our gauntlets is some kind of fine quilted cloth.

These stunning gauntlets would superbly compliment any Wild West collection of original American revolvers, and would look amazing case framed. We offer a highly recommended bespoke case framing service accomplished by one of our local expert artisans.

Such original and rare items of Native American art and artefacts are new very rare in Europe, and thus most valuable to collectors, as they are almost always not permitted to be exported from North America any longer. However, strangely it is also not possible to import First Nation artefacts back into the USA either

The last photo in the gallery is of the Teton Sioux Lakota gauntlets in the Fenimore Museum, however, the embroidery on our gauntlets is very much like earlier Huron work.

Every item is accompanied with our unique, Certificate of Authenticity. Of course any certificate of authenticity, given by even the best specialist dealers, in any field, all around the world, is simply a piece of paper,…however, ours is backed up with the fact we are the largest dealers of our kind in the world, with over 100 years and four generation’s of professional trading experience behind us  read more

Code: 20890

Two Original Medieval Pages From Sir John Froissart's Chronicles Of France Printed in 1495, of the 14th Century, From The Printing Personally Ordered By King Henry VIIth Of England.

Two original loose pages from the original medieval 1495 printed book, mounted and bound in folio form, within cloth hard back binding with gold titles, 13 x 9 inches. Original medieval pages taken from the book printed in Paris in 1495 by Verrard. This particular printing [that these pages came from] was personally ordered in book form by King Henry VIIth of England from Anthoine Verard in Paris, and his copy now resides in the British Museum. Froissart's Chronicles were initially in manuscript form with fine illustration but were first transformed in to book form in Paris in 1495. Full and complete copies of this book, published by Anthoine Verard in 1495, and as was ordered by King Henry, can now achieve six figure sums. Froissart might be called the great interviewer of the Middle Ages. The newspaper correspondent of modern times has scarcely surpassed this medieval collector of intelligence. He traveled extensively in the various countries of Europe; he conversed with gentlemen of rank everywhere; and he had the remarkable knack of persuading those about him to divulge all he wanted to know. He learned the details of battles from both sides and from every point of view. He delighted in the minutest affairs of every cavalry skirmish, of the capture of every castle, and of every brave action and gallant deed. He lived from 1337 to about 1410, and wrote chiefly of contemporaneous events. The Chronicles are universally considered as the most vivid and faithful picture we have of events in the 14th century. As a picture of the most favorable side of chivalry, the work has no equal (Adams, Manual of Historical Literature, 334-35). There has never been any difference of opinion on the distinctive merits of this great work. It presents a vivid and faithful drawing of the things done in the 14th-century. No more graphic account exists of any age. No historian has drawn so many and such faithful portraits? (Britannica). The Chronicles were originally circulated in manuscript form, with the first printed version appearing around 1498 in Paris. Froissart was one of the greatest of the medieval European writers. In his own century, -the fourteenth it is not easy to see anyone who can be put beside him as a prose-writer. But the literary language of the day was still predominantly verse, and prose was still regarded as something of a utility medium. Because
of this and because Froissart is known principally for his descriptions of warfare - the greatest and most famous chronicle of French and English medieval history. Jean Froissart (1338-C.1410) is the supreme annalist of medieval chivalry, historian, poet, traveller, friend of Chaucer, and by far the most entertaining source for our knowledge of the Hundred Years’ War. It is as much a profane romance as a history book. It is filled with delightful stories and adventures reported first-hand.
Froissart was born in Valenciennes. At the age of 18 he came to England where he entered the service of Queen Philippa of Hainaut, acting as her secretary and private diplomat. In 1366 he set off again on his long travels, settling for a time in the Duchy of Brabant. Much of his great chronicle was probably written in his home town of Valenciennes, and he continued it over his life to the events after the murder of Richard II in 1399.
Froissart began writing Book I sometime after 1370, possibly at the request of Robert de Namur, to whom the earliest version was dedicated. It covers the period from 1322 to 1377, including the accession of Edward III, his campaign in Scotland and his marriage to Philippa of Hainault, the battle of Sluys, the Siege of Tournai, the Breton war of succession, the Battle of Crécy, the Siege of Calais, the battle of Neville’s Cross, the battle of Winchelsea, the battle of Poitiers, Etienne Marcel’s merchant revolt in Paris, the Black Prince’s campaigns in the south of France, the peace of Brétigny, the death of king John II of France, the battle of Cocherel, the battle of Auray, the Castilian Civil War, the battle of Chizé, the deaths of the Black Prince and Edward III and the accession of Richard III. We show in the gallery three hand coloured illustrations that have been used to illustrate the various versions of his works in manuscripts or books. One shows the execution of Hugh the Younger Despenser.  read more

Code: 20579

A Rare Aeronautical Medal, Dated 1912, Of The Zeppelin Z3 {AKA LZ12}, Count von Zeppelin Friedrichshafen to Hamburg Flight. Showing The Flight Over The Bismark Memorial

Original, 40.5mm scarce zinc medal of the 1912 flight of the zeppelin Z3 {also known as the LZ12} over Hamburg. The airship is shown sailing over the Bismark Memorial with the city view in background. Another, the more common bronze version sold in the Dr. Kallir auction for $360 in 1999.

Another example in the National Air and Space Museum, Smithsonian Institution.

Medal, Count von Zeppelin Friedrichshafen to Hamburg Flight Commemorative Medal of Count von Zeppelin's Friedrichshafen to Hamburg Flight; Obverse: relief profile bust of von Zeppelin depicted, embossed text "GRAF FERDINAND VON ZEPPELIN"; Reverse: relief of a Zeppelin airship over Hamburg cityscape depicted, embossed text "FRIEDRICHSHAFEN - HAMBURG 700 KoM. IN 10 STUNDEN 31 5.19.1912".  read more

Code: 25601

A Very Rare, Near Mint Condition Aeronautical Table Medal for The Graf Zeppelin LZ 4 Dirigible Test Flight To Strasbourg. Hallmarked Silver, {990} Plaque. Dated August 4th 5th 1908, For The Crew Of The Zeppelin That Exploded On Its Test Flight. By Lauer

Graf Zeppelin LZ 4 Dirigible 2 day Test Flight to Strasbourg Silver medal plaque August 1908. Hallmarked 990 silver on the edge, and maker marked by Ludwig Christian Lauer within the frontal design.

Silver plaque medal for presentation of the flight, but the flight was interrupted by several serious issues, which grounded the Zeppelin mid flight, but whereupon it was blown from its mooring, caught fire, and exploded.

The trial flight finally started on 4 August 1908, when the LZ 4 lifted off at 06:22 in the morning, carrying 12 people and sufficient fuel for 31 hours of flight. The flight to Zürich had excited considerable public interest, and large crowds gathered along the route to witness the flight, which took it over Konstanz, Schaffhausen, Basel and Strasbourg. Shortly after passing Strasbourg the forward engine had to be stopped since the fuel tank in the engine gondola had been exhausted, and needed to be refilled. At this point the airship was flying light due to the heat of the sun having caused the hydrogen to expand, and was being held at a low altitude by dynamic downforce generated by flying in a nose-down attitude: with the loss of the power of one engine, it rose to an altitude of 820 m (2,690 ft), venting gas from the relief valves as it did so. At 1:58 p.m the aft engine had to be stopped for refuelling: this time the airship rose to 884 m (2,900 ft), with a further loss of hydrogen. Two further engine stoppages caused further loss of gas: by now LZ 4 was only being kept in the air by dynamic lift generated by flying with a nose-up attitude, the resultant drag reducing its speed to 16 km/h (9.9 mph), and at 5:24 pm a landing was made on the Rhine near Oppenheim, 23 kilometres (14 mi) short of Mainz. All superfluous items and five crew members were unloaded, and the flight was resumed at 10:20. Mainz was reached half an hour later, and the ship turned to begin its return journey. Further engine problems followed: a crank bearing in the forward engine melted at 1:27 am, reducing airspeed to about 32 km/h (20 mph) and it was decided to land to have the engine repaired by engineers from the Daimler works at Untertürkheim. Accordingly, LZ 4 was set down at 7:51 am at Echterdingen.

The airship was tethered and engineers removed the forward engine to make repairs, but during the afternoon LZ 4 was torn from its moorings by a gust of wind. The soldiers present as a ground handling party could not hold it down, but it was brought to earth by a crew member who had remained on board. Unfortunately, the ship came into contact with a half-dead pear tree while landing, which damaged some of the gasbags, and it immediately caught fire. The cause of ignition was later ascribed to a static charge being produced when the rubberised cotton of the gasbags was torn.

The disaster took place in front of an estimated 40 to 50 thousand spectators and produced an extraordinary wave of nationalistic support for Zeppelin's work. Unsolicited donations from the public poured in: enough had been received within 24 hours to rebuild the airship, and the eventual total was over 6 million marks were donated, at last providing Zeppelin with a sound financial base for his experiments.

Made by Ludwig Christian Lauer was a medal maker in Nuremberg, Germany. He began his business in 1848. He expanded his business and in 1860 renamed it ‘coin mint L. Chr. Lauer’. He died in 1873 and the company continued under the supervision of his wife and three sons.
He was a leading 19th-century German manufacturer of medals

55mm x 36mm, 43 grams of 990 silver  read more

Code: 25602

Royal Artillery, Victorian Officer's 'Busby' Helmet Plume Holder Circa 1859-78.

A simply stunning example in superb condition. A very fine gilt example. Flaming grenade (straight flames), the ball mounted with Royal Arms with 'Ubique' scroll below; beneath the scroll, a gun with mounted wheel and scroll 'Quo Fas et Gloria Ducunt'.

Reverse retains plume holder and slider fitting. Very good condition.  read more

Code: 20591

8th Punjab Indian Army Regt. Officer's Cap Badge

Single pin mount. The 8th Punjab Regiment had its origins in the Madras Army, where its first battalion was raised at Masulipatam in 1798. Four more battalions were raised in 1799-1800. In 1824, they were designated as the 29th, 30th, 31st, 32nd and 33rd Regiments of Madras Native Infantry. In the early 19th century, these battalions were engaged in fighting the Marathas and took part in a number of foreign expeditions including the Anglo-Burmese Wars. Between 1890 and 1893, they were reconstituted with Punjabi Muslims and Sikhs as Burma Battalions and permanently based in Burma to police the turbulent Burmese hill tracts. Under the Kitchener Reforms of 1903, they were redesignated as the 89th, 90th, 91st, 92nd Punjabis, and 93rd Burma Infantry. They were delocalized from Burma before the First World War The 8th Punjabis have a most distinguished record of service during the First World War. Their long list of honours and awards includes the Victoria Cross awarded to Naik Shahmed Khan of 89th Punjabis in 1916. The 89th Punjabis had the unique distinction of serving in more theatres of war than any other unit of the British Empire. These included Aden, where they carried out the first opposed sea-borne assault landing in modern warfare, Egypt, Gallipoli, France, Mesopotamia, North-West Frontier Province, Salonika and Russian Transcaucasia. All battalions served in Mesopotamia, while 93rd Burma Infantry also served in France. The 92nd Punjabis were made 'Prince of Wales's Own' in 1921 for their gallantry and sacrifices during the war During the Second World War the 8th Punjab Regiment again distinguished itself, suffering more than 4500 casualties. It was awarded two Victoria Crosses to Havildar Parkash Singh and Sepoy Kamal Ram, besides numerous other gallantry awards. The regiment raised a further nine battalions. Two of its battalions, the 1st and 7th, were captured on Singapore Island, when the British Commonwealth Army surrendered there to the Japanese on 15 February 1942. Four battalions fought in the Burma Campaign, while others saw service in Iraq, Iran, Italy, French Indochina and the Dutch East Indies. Two men from the 8th Punjab Regiment received the Victoria Cross: Havildar Parkash Singh in Burma and Sepoy Kamal Ram in Italy. By the end of the war, the Regiment consisted of 14 Battalions.  read more

Code: 19938

Original, Antique, Victorian Household Cavalry Armour Breastplate Cuirass of the LifeGuards, The Blues &The Royals. the Mounted Personal Bodyguard Regiments of the British Monarch, Part of The Household Division

With With brass edge trim & rivets. It bears the ordnance inspection stamps. Used by all of H.M.Queen Victoria's Household Cavalry regiments.

We have a pair of these original Victorian Horse Guards cuirass breastplates, but they are for sale separately.

During a visit to the Tower several decades ago, thanks to an invitation by our friend Howard Blackmore {historian and assistant curator at the Tower} we had a discussion, amongst many other subjects, of the conversion of the Life Guards and Horseguards back to armoured heavy cavalry, after around 150 years of un-armoured service as the monarch's mounted guard since the 17th century.

This is one of those early cuirass breast plates created for the newly armoured horse guards regiments.

From 1661 to 1778, the Life Guards Troops saw action in the Jacobite Wars, the Second Dutch War
(when they served as sailors) ant the War of the Austrian Succession. In 1778 the four Horse
Guard Troops and Horse Grenadiers re-formed as the 1st Life Guards. Both Regiments fought
with distinction in the Waterloo campaign.
For the Egyptian War of 1882, Life Guards formed a Composite Household Cavalry
Regiment with the Royal Horse Guards, making Royal Horse Guards, making the famous
moonlight charge at Kassain. In 1894, for the relief of Khartoum, both Regiments contributed
soldiers to the Heavy Camel Regiment and were again formed as a Composite Household
Cavalry Regiment for the 2nd Boer War in 1900

The Royal Dragoons (1st Dragoons), initially known as The Tangier Horse, were raised by
King Charles II to form part of the garrison at Tangier, which had been acquired on his
marriage to Catherine of Braganza as part of her dowry. Known as The Royals, during the
18th century the Regiment saw service in most of the same wars as The Blues, including the
Peninsula campaign and Waterloo, where the Regiment famously captured the Eagle of the
French 105th Infantry Regiment. However, in the 19th century, unlike The Blues, The Royals
saw service in the Crimea and in India.  read more

Code: 25578

Part of a Superb WW1 Machine Gunner's Collection, British and German. An Incredibly Rare WW1 German Machine Gunners Abteilung Marked Utility and Combat Axe and Cradle Leather Belt Holster Regimentally Marked

steel axe head stamped with standing lion makers mark and “G. LEWELT”, waved wooden haft. Housed in brown leather cradle with stud fittings, stamped to the inside “1 M.G.A” 1st Maschinengewehr Abteilung and the axe block with “BA II 1917” Issued to Bekleidungsamt Armee Korps Stettin. Split to leather by brass stud. Used by the machinegunner to cut down trees or wood that thus enabled a machine gun to be placed at its best advantage point, preferably concealed by wood or thicket. It was also the perfect trench warfare close combat weapon. The German army had been a late convert to the potential of machine guns, but its tactical employment of them in 1914 proved superior to that of its enemies. German machine gunners exploited the weapon’s long-range accuracy, and the fact that the guns were a regimental (rather than battalion) asset allowed them to be grouped to achieve maximum effect. This efficiency created a myth that Germany deployed far more machine guns than its opponents in 1914.

Following the onset of positional warfare, machine guns gained notoriety as highly effective direct-fire weapons. They could theoretically fire over 500 rounds per minute (rpm), but this was not normal in combat, where "rapid fire" generally consisted of repeated bursts amounting to 250 rpm. The effectiveness of these bursts of between ten and fifty bullets was enhanced by exploitation of ballistics and the precision offered by firing from adjustable mounts. At ranges of 600 metres or less, machine guns could create fixed lines of fire which would never rise higher than a man's head, with deadly results for those attempting to advance across them. Or the gun could be traversed between bursts to offer what the French called feu fauchant (mowing fire). At longer range, their bullets fell in an elliptical "beaten-zone", giving them an area-fire capability.

Groups of guns could interlock their fire. In favourable circumstances, such as at Loos on 26 September 1915, or on the Somme on 1 July 1916, this could prove devastating. But although this is how machine guns are now best remembered, new methods of using them were developed from 1915 onwards.

Every item is accompanied with our unique, Certificate of Authenticity. Of course any certificate of authenticity, given by even the best specialist dealers, in any field, all around the world, is simply a piece of paper,…however, ours is backed up with the fact we are the largest dealers of our kind in the world, with over 100 years and four generation’s of professional trading experience behind us  read more

Code: 23343

A Most Delightful, Original, Antique Carved Buffalo Horn Hilted Ottoman Empire Khanjar Dagger

this is a typical Ottoman Empire khanjar or jambiya of the 19th century, with traditional carved buffalo horn hilt.

Where they were adopted they had slight differences to the blade, hilt and scabbard. A significant part of a jambiya or khanjar is its hilt (handle). The saifani hilt is made of exotic horn, It is used on the daggers of wealthier men. Different versions of saifani hilts can be distinguished by their colour. Other jambiya hilts are made of different types of horn, wood, metal and ivory. Apart from the material used for the hilt, the design and detail is a measure of its value and the status of its owner. there are 53 different types of Jambiya in the Metropolitan museum Collection, some bear a similarity to this example, many with near identical blades.

The blade and carved hilt are in superb condition, the wooden scabbard is good and sound, but the embossed leather covering is thin and therefore now somewhat fragile with natural age losses.

Every item is accompanied with our unique, Certificate of Authenticity. Of course any certificate of authenticity, given by even the best specialist dealers, in any field, all around the world, is simply a piece of paper,…however, ours is backed up with the fact we are the largest dealers of our kind in the world, with over 100 years and four generation’s of professional trading experience behind us
Overall 11 inches long in scabbard.  read more

Code: 24521