A Spectacular & Beautiful Museum Grade Cloisonne Enamel Samurai's Suzaku Pheonix Tachi With a 500 Year old Blade By Bizen Kuniyoshi Bearing the Shogun Tokugawa Mon

A true and iconic example of a stunning samurai art sword. A magnificent collision of beauty and utility. It does not fail to attract admiration and awe from all that see it, even those that have little or no interest at all in original fine antique weaponry, would agree that this is simply a remarkable example of the finest and intricate craftsmanship to be seen in the world. Enamel work comparable to such as a piece of sublime object d’art by the genius Carl Faberge himself.

Suzaku is one of the four, Japanese, 'Great Celestial Beasts'. Suzaku translates to "Vermillion Chinese Phoenix". Cloisonne enamel mounted ancient bladed swords were often fabulous cultural presentation pieces, offered to great samurai and nobles as a symbol of their status and importance within the Japanese samurai nobility class hierarchy. This sword bears the tokugawa mon of the Shogun Tokugawa. The fabulous Japanese cloisonne koshirae fittings and mounts may well have been designed by Namikawa Yasuyuki, who was 'Teishitsu Gigei’, an Imperial Craftsman to the court of the Emperor Meiji. He decorated his later pieces with areas of semi-transparent mirror black enamel ground, such as this fabulous piece displays, that became a hallmark of most of Yasuyuki’s finest later work. Overall decorated with the incredible and fantastically detailed, magnificent, mythological phoenix.

Although Chinese cloisonné enamels had long been highly valued it was not until the late sixteenth century that cloisonné enamels became more widely used in Japan.There had long been a demand among the samurai for fine decoration of sword fittings and cloisonné enamels were used on tsuba (sword guards). The finest of these were made by the Hirata School, founded by Hirata Dōnin (died 1646) which was active well into the nineteenth century. A former samurai and one of the greatest artisans of the art was the cloisonné artist Namikawa Yasuyuki. Yasuyuki began his career around 1868 and worked with the Kyoto Cloisonné Company from 1871 to 1874.

He established his own studio and exhibited his work at national and international expositions. The most significant result of the collaboration of Wagener and Yasuyuki was the creation of the semi-transparent mirror black enamel that became the hallmark of most of Yasuyuki’s subsequent work.

Yasuyuki’s cloisonné enamels are characterised by the skilful use of intricate wirework and superb attention to detail and the designs on his earlier pieces are relatively traditional, consisting mainly of stylised botanical and formal geometric motifs. Much of his later work tends to be more pictorial with scenes from nature and views of landmarks in and around Kyoto.

Yasuyuki continued to improve his technical and artistic skills and in 1896 he was appointed Teishitsu Gigei’ in (Imperial Craftsman) to the court of the Emperor Meiji.The four celestial beasts, Seiryu the dragon , Suzaku pheonix, Byakko white tiger, and Genbu tortoise were probably introduced to Japan from China sometime in the 7th century AD, for their images are found on the tomb walls at Takamatsuzuka in Nara, which was built sometime in the Asuka period (600 - 710 AD). They are also found on the base of the Yakushi Triad at Yakushi-ji Temple , also in Nara. In Japan, the term “Suzaku” is translated as “Red Bird” or “Vermillion Chinese Phoenix.” In both Japan and China, the symbolism of the red bird seems nearly identical to or merged with that of the mythological Phoenix. One must consider the Suzaku and the Phoenix to be the same magical creature, although one cannot be certain if this is entirely true. Scholar Derek Walters says the Phoenix was supplanted or replaced by the Red Bird, for the Red Bird more accurately reflected the astronomical iconography associated with the southern lunar mansions.

It corresponds to summer, red, fire, and knowledge; it makes small seeds grow into giant trees. Often paired with the dragon, for the two represent both conflict and wedded bliss; dragon (emperor) and phoenix (empress). Portrayed with radiant feathers, and an enchanting song; and it only appears in times of good fortune. Within the ancient Imperial Palace in Japan, there was a gate known as Suzakumon (Red Bird Gate) Pairs of vases from these Meiji period Japanese cloisonne enamel workshops can now command prices into six figures. All of the fittings are in superb condition, damage free, the blade is in good Edo polish with just a few surface scratch marks, easily forgiveable due to its great age.Overall 27.5 inches long, blade 18.75 inches long It is important to bear in mind, that due to the revered status that Japanese swords achieve for most of their working lives in Japan, that the condition they survive in can be simply remarkable. One can see just how remarkable it can be, by comparing the condition of this fine sword’s blade that was made around the same time as the early Tudor period of King Henry the VIIIth to any equivalent aged, surviving, early Tudor period sword, from any country outside of Japan, and that comparison will show just how fine any Japanese sword’s state of preservation, from the same era, truly can be. The size of this tachi is around the size, overall, of a chisa katana, or o wakazashi. The Tokugawa mon is engraved on its former, deer hide mount round disc fittings, for the vermillion silk hanging cord, that no longer affixed to the tachi hanging mounts {ashi} due to great age perishing. This early vermillion, silk multi-wovan cord, and deer hide mount, is likely several hundred years old, but will still accompany the sword for its next owner, as, although it's well past its use as a hanging mount, it ought to be preserved as part of the swords history.  read more

Code: 23683

An Ancient Archaic Chinese Dagger, From the Warring States Period to Han Dynasty circa 520 to 225 BC.

All bronze, graduating double edged blade, with central rib and slightly swollen tip. Cylindrical grip and flared disc pommel, showing the aperture to the grip. The blade bears two curlique stamps, one an inverted version of the other, that may be caligraphy kanji or symbolic, stylised decor

This is one of a stunning collection of original archaic bronze age weaponry we have just acquired and has now arrived. Many are near identical to other similar examples held in the Metropolitan in New York, the British royal collection, and such as the Hunan Provincial Museum, Hunan, China. Many pieces we acquired were sold for the part benefit of the Westminster Abbey fund, and the Metropolitan Museum fund

The Warring States Period lasted 254 years it started from 475 BC and ended in 221 BC. It was the last period of the Zhou Dynasty (1046–221 BC). The Zhou Dynasty era consisted of three periods: Western Zhou (1046–771 BC), the Spring and Autumn Period (770–476 BC), and the Warring States Period.

The Warring States Period began because the nobles stopped supporting the Zhou Dynasty, and Zhou's vassal states declared themselves independent from Zhou and fought for territory, becoming kingdoms or warring states.

The independence of vassal states was caused by the Zhou Dynasty’s system of enfeoffment: in order to strengthen the Zhou king’s power, nobles who contributed to the dynasty were awarded land.
Then vassal states formed. Vassal states could manage their own lands and raise their own armies. Once a vassal state became strong enough, its ambition went beyond being a small state.
The Warring States Period was dominated by 7 warring states.
Powerful vassal states constantly annexed smaller vassal states, and by the middle of the Warring States period, there were seven vassal states: Qin, Chu, Zhao, Wei, Han, Yan, and Qi.

Qin was in the far west, occupying today's Shaanxi Guanzhong, Hanzhong, southeast Gansu, central and eastern Sichuan.
Chu enjoyed the largest area. It dominated the south, with its core territory around the Yangtze River, controlling today’s Hubei, and part of Henan, Anhui, Hunan, Jiangsu, and Zhejiang.
Zhao was in the north, roughly most of today's Shanxi and Hebei and part of Inner Mongolia.
Wei was located in the middle, roughly part of today's Henan.
Han was situated in the middle too, occupying part of Henan and Shanxi.
Yan, in the northeast, controlled today’s Beijing, Liaoning, and Jilin.
Qi controlled the east, centred on the Shandong Peninsula.

315 mm long overall.

As with all our items it comes complete with our certificate of authenticity  read more

Code: 24885

Museum Grade Koto Era Samurai Wakizashi Sword By Master Tadamitsu With Rare Gakumei, Circa 1440-1460 Mino Goto Koshirae, With Deep Red Ishime Lacquer Saya & Black Silk Binding

With rare gakumei where the mei (signature) was removed from the original tang and inserted into the shortened tang in order to preserve the important master smith’s signature upon his museum grade blade. With its spectacular suite of beautiful original Edo Mino Goto fittings with tsuba, in shakudo, and pure gold decor of flowers, cricket, catydid and praying mantis. Deep red ishime stone finish lacquer saya, with carved buffalo horn fittings and Mino Goto throat mount. Superb black silk tsuka-ito over fine pure gold decorated menuki. A wonderful Muromachi era blade almost 600 years old, with a superb hamon, in around 95% polish, with gold foil habaki and blade smith shortened tang with its original preserved ‘folded over’ signature inlaid and inserted within the tang. The hamon forms a delightful gunome pattern, mixing with clove (Choji) outline which is slanted generally. The founder of the sword maker school, Tadamitsu in Bizen, is referred in the Shouou period (1288-93) and the oldest existent Tanto by him has the date year, Teiji 3,1364) during the Nanbokucho period, then later generations shows the records of Ouei to Bunmei era (1394-1486) in Muromachi period. The preserved 'folded over' system, that can be seen beautifully done on this blade, in order to preserve the blade smith's signature, was only reserved for the best and most highly revered blades, often of historical significance to the samurai's family. The ancient province of Kibi (of which Bizen was the easternmost region; now Okayama prefecture) possessed excellent ironmaking technology, which helped make Kibi into a powerful state. The region is blessed with all the vital ingredients needed for Japanese sword making: iron sand, water, and charcoal of Japanese red pine, which has excellent thermal efficiency. Research on Japanese swords since the Meiji period has revealed five different features or styles based on the regions in which they were made: Yamashiro (Kyoto prefecture), Yamato (Nara prefecture), Bizen (Okayama prefecture), Sagami (Kanagawa prefecture), and Mino (Gifu prefecture. The characteristic styles of these five regions were passed down from master to disciple and from one region to the next. These are collectively known as Gokaden (five traditions of swordmaking). The province of Bizen was located far from Japan's political center throughout its history, allowing it to prosper regardless of the political state of sovereignty of the day. The most typical Bizen blade has a steel surface grain called itamehada (wooden board grained) with a unique pattern called chōji (clove-shaped) on the blade. This pattern is a feature of Bizen swords and it is what makes Bizen swords special. The Gotō School of sword-fittings makers was founded in the fifteenth century by Gotō Yūjō, who is said to have been patronized by the shogun Ashikaga Yoshimasa (1435–1490). The work of the Gotō masters is characterized by painterly designs carved in high relief on a ground of shakudō (an alloy of copper and gold chemically treated to turn a rich blue-black), finished in nanako (tiny circles punched regularly over the surface to give it a granular appearance) with colorful accents in gold and silver. The succeeding generations of Gotō masters continued to work in these soft metals and concentrated on the smaller sword fittings, such as kozuka (the handle of the small utility knife fitted into a slot on the back of a sword scabbard), kōgai (a skewer-like hairdressing tool carried in the front of the scabbard), and menuki (a pair of grip ornaments secured by the handle wrappings). The production of the stouter sword guards, or tsuba, was left to other masters. While earlier generations had not signed their work, the Gotō masters in about 1600 began to authenticate the work of their predecessors; the attributions usually were engraved on the backs of the pieces themselves. These attributions bear testimony to the keen interest in early sword fittings as status symbols for high-ranking samurai. Overall blade length from base of habaki to tip 21.5 inches long  read more

Code: 23519

A Very Rare WW1 German Airship Bataillon 'Luftschiffer' Regt. Nr.1 Officer’s Sword, of the Elite Imperial German Kaiser's Zeppelin and Airship Guarde Infantry, Only The Second We Have Seen in 30 Years

Probably one of the rarest German swords available, from the iconic German Zeppelin force of WW1. A duluxe quality blade bearing the Luftschiffer Battalion no 1, a Luftschiffer observation balloon and the Imperial German Kaiser's Garter Star symbol, plus a troop of horses pulling the balloon limber. Airship Battalion officer's swords are so rare as to be virtually unavailable, we have only seen one other in the past 40 years or so. We have not even heard or seen of another example in over 30 years. The German Airship Battalions were a small yet vital part of the Kaiser's Imperial German war machine. It was a mix of old and new technology that created the amazing new air services which in turn resulted in the iconic and hugely successful psychological warfare, of the highly feared and indomitable, so called, Hun in the Sky. The very beginning of true aerial warfare as we know it today. Some of the most famous stories of the war were based around the German Airships Zeppelins and the like and their continued use by Hitler's Third Reich right up to the late 1930's as can be seen, impressively and incredibly depicted, in the third of the Indiana Jones movies shows just how important they were considered. Any souvenirs or militaria from those early services are incredibly sought after, and very scarce indeed. All the weaponry connected with those services are particularly rare and very highly prized. At the start of World War I the Imperial German Army had five Luftschiffer (airship) battalions and one airship company. They were used as frontline observation posts and the larger ships as long range bombers. Fatalities of the crews were very high indeed due to their vulnerability. This sword is the best you could possibly hope for, as, not only does it have a deluxe etched blade, with two blued panels regimentally marked for the Luftschiffer Battalion No1, It also bears the Imperial Garter Star to represent this battalion was part of the Guard Infantry. The most elite part of the Imperial German armed forces, based in Berlin and assigned to the front lines in France and Belgium. The Luftschiffer became the backbone of German aerial warfare in the first years of the War, conducting reconnaissance flights as well as the first bombings of cities, including Paris and London.

Upon the outbreak of World War I, the Luftschifftruppe numbered around 20–25 zeppelins in service. The Luftschifftruppe began aerial surveillance early on in Belgium and France, but often came under fire by anti-aircraft guns. Because of their slow speed, they were very vulnerable. After three Zeppelins were shot down in the first month alone, the Luftschiffer were switched to naval surveillance, observing British ship movements, in which capacity they played a decisive role in the Battle of Jutland. Tests were done of dropping bombs from Zeppelins in order to increase their potential. Zeppelins had a typical carrying capacity of almost 9 metric tons, making them useful enough for this operation. Following the Christmas truce, Kaiser Wilhelm II approved of the Luftschifftruppe's bombing of England. On January 19, 1915, the first bombs fell over Britain, when two Zeppelins dropped 50 kg explosives on villages outside Great Yarmouth. Five people died in the first raid; 18 more raids that year would end in almost 900 casualties. Following the terror, the British government began taking measures to stop the bombings. Anti-aircraft guns were set up all over south-eastern England, as well as spotlights for night time.

The bombings in 1916 were more intense than in 1915. After an accidental bomb-dropping on London, the Kaiser approved of raids directly against the city's urban center. Twenty-three raids on London resulted in around 1,800 casualties. Despite safety precautions, civilians were still unprepared for the raids and zeppelins were still able to avoid defenses. By 1917 and 1918 the threat the Luftschifftruppe posed to London was diminished. Large-scale introduction of fighter planes caused nearly half of the planned bombings to end in failure. Only eleven successful raids occurred in the last year of the war. Nearly 80 zeppelins had been built for the Luftschifftruppe during the war; around 60 of them were shot down, including Peter Strasser's own zeppelin, with himself on board. The hilt is plated steel with wire bound fishskin grip. A blackened steel scabbard with slight denting.  read more

Code: 23637

Archaic Chinese Warrior's Bronze Sword, Around 2500 Years Old, From the Zhou Dynasty to the Qin Dynasty, Including the Period of the Great Military Doctrine 'The Art of War' by General Sun-Tzu

Chinese Bronze 'Two Ring' Jian sword, however both the grip rings are now lacking, as is the pommel. Used in the era of the Seven Kingdoms period, likely in the Kingdom of Wu, up to the latter part of the Eastern Zhou dynasty (475 – 221 BC).

From our wonderful collection of ancient Chinese weaponry we recently acquired, another stunning ancient sword around 2500 years old or more. From the Zhou dynasty, and the area of the King's of Wu, in Chu. as this sword bears old damage it is priced accordingly, yet it is still an ancient piece of great beauty and interest.

Swords of this type are called “two-ring” swords because of the prominent rings formerly located on the hilt. This is the very type of sword used by the warriors serving under the world renowned General Sun Tzu, in the Kingdom of Wu, who is thought by many to be the finest general, philosopher and military tactician who ever lived. His 2500 year old book on the methods of warfare, tactics and psychology are still taught and highly revered in practically every officer training college throughout the world.
We show a painting in the gallery of a chariot charge by a Zhou dynasty warrior armed with this very form of sword.
The Chinese term for this form of weapon is “Jian” which refers to a double-edged sword. This style of Jian is generally attributed to either the Wu or the Yue state. The sword has straight graduated edges reducing to a pointed tip, which may indicate an earlier period Jian.

The blade is heavy with a midrib and tapered edges
A very impressive original ancient Chinese sword with a long, straight blade with a raised, linear ridge down its centre. It has a very shallow, short guard. The thin handle would have had leather or some other organic material such as leather or hemp cord, wrapped around it to form a grip. At the top once had a round, likely dished pommel

The Seven Kingdom or Warring States period in Chinese history was one of instability and conflict between many smaller Kingdom-states. The period officially ended when China was unified under the first Emperor of China, Qin pronounced Chin Shi Huang Di in 221 BC. It is from him that China gained its name.

The Zhou Dynasty (1046-256 BCE) was among the most culturally significant of the early Chinese dynasties and the longest lasting of any in China's history, divided into two periods: Western Zhou (1046-771 BCE) and Eastern Zhou (771-256 BCE). It followed the Shang Dynasty (c. 1600-1046 BCE), and preceded the Qin Dynasty (221-206 BCE, pronounced “chin”) which gave China its name.

In the early years of the Spring and Autumn Period, (770-476 BC) chivalry in battle was still observed and all seven states used the same tactics resulting in a series of stalemates since, whenever one engaged with another in battle, neither could gain an advantage. In time, this repetition of seemingly endless, and completely futile, warfare became simply the way of life for the people of China during the era now referred to as the Warring States Period. The famous work The Art of War by Sun-Tzu (l. c. 500 BCE) was written during this time, recording precepts and tactics one could use to gain advantage over an opponent, win the war, and establish peace.

Sun Tzu was a Chinese general, military strategist, writer, and philosopher who lived in the Eastern Zhou period of ancient China. Sun Tzu is traditionally credited as the author of The Art of War, an influential work of military strategy that has affected both Western and East Asian philosophy and military thinking. His works focus much more on alternatives to battle, such as stratagem, delay, the use of spies and alternatives to war itself, the making and keeping of alliances, the uses of deceit, and a willingness to submit, at least temporarily, to more powerful foes. Sun Tzu is revered in Chinese and East Asian culture as a legendary historical and military figure. His birth name was Sun Wu and he was known outside of his family by his courtesy name Changqing The name Sun Tzu by which he is more popularly known is an honorific which means "Master Sun".

Sun Tzu's historicity is uncertain. The Han dynasty historian Sima Qian and other traditional Chinese historians placed him as a minister to King Helü of Wu and dated his lifetime to 544–496 BC. Modern scholars accepting his historicity place the extant text of The Art of War in the later Warring States period based on its style of composition and its descriptions of warfare. Traditional accounts state that the general's descendant Sun Bin wrote a treatise on military tactics, also titled The Art of War. Since Sun Wu and Sun Bin were referred to as Sun Tzu in classical Chinese texts, some historians believed them identical, prior to the rediscovery of Sun Bin's treatise in 1972.

Sun Tzu's work has been praised and employed in East Asian warfare since its composition. During the twentieth century, The Art of War grew in popularity and saw practical use in Western society as well. It continues to influence many competitive endeavours in the world, including culture, politics, business and sports.

The ancient Chinese people worshipped the bronze and iron swords, where they reached a point of magic and myth, regarding the swords as “ancient holy items”. Because they were easy to carry, elegant to wear and quick to use, bronze swords were considered a status symbol and an honour for kings, emperors, scholars, chivalrous experts, merchants, as well as common people during ancient dynasties. For example, Confucius claimed himself to be a knight, not a scholar, and carried a sword when he went out. The most famous ancient bronze sword is called the “Sword of Gou Jian”.

This is one of a stunning collection of original archaic bronze age weaponry we have just acquired and has now arrived. Many are near identical to other similar examples held in the Metropolitan in New York, the British royal collection, and such as the Hunan Provincial Museum, Hunan, China.
As with all our items, every piece is accompanied by a certificate of authenticity  read more

Code: 24876

A Most Scarce Original Late 14th Century Crossbow Bolt Quarrel. From the Reign of King Henry Vth and the Battle of Agincourt in 1415

Part of our wondrous, new, historical, and original Ancient Roman, Ancient Greek, Viking, Crusaders, and Medeavil battlefield antiquities and artefacts, another fabulous museum grade collection that has just arrived with us .

heavy diamond form steel bolt head, and remarkably still with the end of its original quarrel shaft still in place within its socket

Much of it acquired by a family in the 1820's while on a Grand Tour of Anglo French battle sites within Northern & Western France from Azincourt, in the Pas-de-Calais, to Poitiers in Aquitaine.

Although the English and Welsh Longbowmen that fought at Agincourt are incredibly famous, the crossbow was used predominantly by the French army, yet some English, plus, some mounted knights used crossbows as well, as longbows were incredibly impractical if not impossible for use on horseback

Much of it acquired by a family in the 1820's while on a Grand Tour of Anglo French battle sites within Northern & Western France from Azincourt, in the Pas-de-Calais, to Poitiers in Aquitaine.

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 centrepiece of the play Henry V by 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 Encyclopædia Britannica uses the figures of about 6,000 for the English and 20,000 to 30,000 for the French. Part of an original medieval collection we have just acquired, of Roman, Greek, Assyrian, Celtic, Viking and early British relics of warfare from ancient battle sites, much of it recovered up to 220 years ago.

Richard Lassels, an expatriate Roman Catholic priest, first used the phrase “Grand Tour” in his 1670 book Voyage to Italy, published posthumously in Paris in 1670. In its introduction, Lassels listed four areas in which travel furnished "an accomplished, consummate traveler" with opportunities to experience first hand the intellectual, the social, the ethical, and the political life of the Continent.

The English gentry of the 17th century believed that what a person knew came from the physical stimuli to which he or she has been exposed. Thus, being on-site and seeing famous works of art and history was an all important part of the Grand Tour. So most Grand Tourists spent the majority of their time visiting museums and historic sites.

Once young men began embarking on these journeys, additional guidebooks and tour guides began to appear to meet the needs of the 20-something male and female travelers and their tutors traveling a standard European itinerary. They carried letters of reference and introduction with them as they departed from southern England, enabling them to access money and invitations along the way.

With nearly unlimited funds, aristocratic connections and months or years to roam, these wealthy young tourists commissioned paintings, perfected their language skills and mingled with the upper crust of the Continent.

The wealthy believed the primary value of the Grand Tour lay in the exposure both to classical antiquity and the Renaissance, and to the aristocratic and fashionably polite society of the European continent. In addition, it provided the only opportunity to view specific works of art, and possibly the only chance to hear certain music. A Grand Tour could last from several months to several years. The youthful Grand Tourists usually traveled in the company of a Cicerone, a knowledgeable guide or tutor.

The ‘Grand Tour’ era of classical acquisitions from history existed up to around the 1850’s, and extended around the whole of Europe, Egypt, the Ottoman Empire, and the Holy Land

As with all our items it comes complete with our certificate of authenticity  read more

Code: 24882

A Fabulous and Utterly Beautiful Koto Period Wakizashi, Circa 1550. a Strong and Very Powerful Blade with a Stunning Hamon in Excellent Polish

In all original Edo period fittings and mounts. A simply wonderful sword with wide flat sided blade with wide full length hi to both blade faces. It bears a breathtakingly impressive deep notare with choji hamon. A delightful iron mokko tsuba with takebori small swooping birds and small pure gold highlights. The fuchi of shakudo and pure gold decorated shell fish and coral in crashing waves, and very fine quality.

It has a pair of copper menuki under the wrap that are deeply takebori spiders. The fuchi pommel is carved and polished buffalo horn. Very good original Edo saya with rich black urushi lacquer. Set within the kozuka pocket is a gold decorated kozuka with a good takebori crayfish.

Cherished for its infinite versatility, urushi lacquer 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 urushi lacquer has a few natural, and certainly permissible for its age, very small surface wear marks and nicks.

16.5 inch long blade, 1.3 inches wide at the habaki, overall 23 inches long  read more

Code: 24881

.An Ancient Samurai Nambokochu Era Hira Zukuri Ancient Tanto Circa 1390

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, 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. Polished giant ray skin, 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.

Overall 20 inches long in saya, blade inches 13.25 from tsuba to tip long  read more

Code: 24451

A Super, Large, Spinosaurus Tooth Cretacous Period Around 100 Million Years Old. One of The Great Dinosaurs. Thought Possibly Larger Than The T- Rex

Spinosaurid specimen tooth of good proportions with excellent colour tones and morphology, exhibiting attractive caramel glossy enamel patina, collected in the continental Red sands fossil formation, part of the continental intercalate, Tegana formation, province de Kasr-es-Souk, Kem Kem. Approximately 25km from Erfoud. The fossil beds are situated in southeastern Morocco, an area of the North Western Sahara desert, this area is the northern Sahara of Africa. The Hamada, is a raised plateau and is a distinct topographical feature of this region lying across the borders of Morocco and Algeria.

Spinosaurus (meaning "spine lizard") is a genus of theropod dinosaur that lived in what now is North Africa, during the upper Albian to upper Turonian stages of the Cretaceous period, about 112 to 93.5 million years ago. This genus was known first from Egyptian remains discovered in 1912 and described by German paleontologist Ernst Stromer in 1915. The original remains were destroyed in World War II, but additional material has come to light in the early 21st century. It is unclear whether one or two species are represented in the fossils reported in the scientific literature. The best known species is S. aegyptiacus from Egypt, although a potential second species, S. maroccanus, has been recovered from Morocco.

Spinosaurus was among the largest of all known carnivorous dinosaurs, nearly as large as or even larger than Tyrannosaurus, Giganotosaurus and Carcharodontosaurus. Estimates published in 2005, 2007, and 2008 suggested that it was between 12.6 to 18 metres (41 to 59 ft) in length and 7 to 20.9 tonnes (7.7 to 23.0 short tons) in weight. New estimates published in 2014 and 2018 based on a more complete specimen, supported the earlier research, finding that Spinosaurus could reach lengths of 15 to 15.6 m (49 to 51 ft). The latest estimates suggest a weight of 6.4 to 7.2 tonnes The skull of Spinosaurus was long and narrow, similar to that of a modern crocodilian. Spinosaurus is known to have eaten fish, and most scientists believe that it hunted both terrestrial and aquatic prey; evidence suggests that it lived both on land and in water as a modern crocodilian does. The distinctive spines of Spinosaurus, which were long extensions of the vertebrae, grew to at least 1.65 meters (5.4 ft) long and were likely to have had skin connecting them, forming a sail-like structure, although some authors have suggested that the spines were covered in fat and formed a hump. Multiple functions have been put forward for this structure, including thermoregulation and display.

Accompanied by our Certificate of Authenticity.
Tooth is 72mm long overall  read more

Code: 24879

An Imposing & Elegant ‘Morituri’ Walking Cane, Cast Bronze Skull With & Ebony Stick & Carved Bone Ferrule

Likely 20th century. A gentleman’s walking out cane of the most distinct esoteric style of a weighted cast skull set upon an elegant, earlier, Victorian ebony cane with a carved bone ferrule.
Skull mounted canes for gentlemen have been most popular in all forms since the 18th century, and one of the most famed was the cane made for, and used by, Charles Darwin.
Darwin called his skull stick his ‘morituri’, a type of ‘memento mori’. These objects remind their owners of the short time people live on earth. Charles Darwin (1809-82) is famous for his theory of evolution outlined in The Origin of Species, first published in 1859. Darwin’s walking stick was collected by Henry Wellcome as a relic of someone Wellcome considered a ‘great man.’ Darwin's carved whalebone Morituri cane is shown in the gallery on a black ground.

Walking canes have been in use for centuries and have come to represent both elegance and practicality. An elegant walking cane, in particular, is more than just a tool to aid in walking. It is a statement of style, sophistication, and grace. In this article, we will delve deeper into the concept of an elegant walking cane, its history, and its contemporary significance

A brief history of walking canes
Walking canes have been in use since ancient times, with evidence of their use found in several civilizations around the world. The Egyptians, Greeks, and Romans all used walking sticks for both functional and ceremonial purposes. In medieval times, walking canes were an accessory of the wealthy and powerful, often adorned with precious metals and jewels.

By the 17th century, walking canes had become an essential part of men's fashion. They were not only used as a symbol of wealth and status but also as a practical tool to aid in walking. During the 18th century, walking canes became even more ornate, with intricate designs and carvings, and the addition of handles made from exotic materials such as ivory and tortoiseshell.

In the 19th century, walking canes became more utilitarian in nature, with the introduction of collapsible canes and adjustable handles. They continued to be popular among the wealthy, with some canes serving as a form of self-defense, fitted with sword or dagger blades. And a weighted cane often made a most effective 'club' stick


90cm long  read more

Code: 24855