A Fine Japanese Senior Middle Rank Naval Officer’s 1883 Pattern Kyu-Gunto Sabre Used From Russo-Japanese War, WW1 and WW2

Gilt pierced hilt with folding side guard, wire bound giant rayskin grip and single knuckle bow, gilt and polished samegawa giant rayskin saya. Overall in very nice condition. Regular etched gunome hamon pattern blade, full length.

As soon as Japan opened up to foreign influences, the Tokugawa shogunate recognized the vulnerability of the country from the sea and initiated an active policy of assimilation and adoption of Western naval technologies.

Russo-Japanese War. At the Battle of Tsushima, Admiral Togo (flag in Mikasa) led the Japanese Grand Fleet into the decisive engagement of the war. The Russian fleet was almost completely annihilated: out of 38 Russian ships, 21 were sunk, seven captured, six disarmed, 4,545 Russian servicemen died and 6,106 were taken prisoner. On the other hand, the Japanese only lost 116 men and three torpedo boats.62 These victories broke Russian strength in East Asia, and triggered waves of mutinies in the Russian Navy at Sevastopol, Vladivostok and Kronstadt, peaking in June with the Potemkin uprising, thereby contributing to the Russian Revolution of 1905. The victory at Tsushima elevated the stature of the navy.

The new fleet consisted of:58

6 battleships (all British-built)
8 armored cruisers (4 British-, 2 Italian-, 1 German-built Yakumo, and 1 French-built Azuma)
9 cruisers (5 Japanese, 2 British and 2 US-built)
24 destroyers (16 British- and 8 Japanese-built)
63 torpedo boats (26 German-, 10 British-, 17 French-, and 10 Japanese-built)
Japan entered World War I on the side of the Entente, against Germany and Austria-Hungary, as a consequence of the 1902 Anglo-Japanese Alliance. In the Siege of Tsingtao, the Imperial Japanese Navy helped seize the German colony at Jiaozhou Bay. During the siege, beginning on 5 September 1914, Wakamiya conducted the world's first successful sea-launched air strikes. On 6 September 1914, in the very first air-sea battle in history, a Farman aircraft launched by Wakamiya attacked the Austro-Hungarian cruiser Kaiserin Elisabeth and the German gunboat Jaguar off Qingdao.72 from Jiaozhou Bay. Four Maurice Farman seaplanes bombarded German land targets like communication and command centers, and damaged a German minelayer in the Tsingtao peninsula from September to 6 November 1914 when the Germans surrendered.

A battle group was also sent to the central Pacific in August and September to pursue the German East Asia squadron, which then moved into the Southern Atlantic, where it encountered British naval forces and was destroyed at the Falkland Islands. Japan also seized German possessions in northern Micronesia, which remained Japanese colonies until the end of World War II, under the League of Nations' South Seas Mandate.74 Hard pressed in Europe, where she had only a narrow margin of superiority against Germany, Britain had requested, but was denied, the loan of Japan's four newly built Kongō-class battlecruisers (Kongō, Hiei, Haruna, and Kirishima), some of the first ships in the world to be equipped with 356 mm (14 in) guns, and the most formidable battlecruisers in the world at the time.75

Following a further request by the British and the initiation of unrestricted submarine warfare by Germany, in March 1917, the Japanese sent a special force to the Mediterranean. This force, consisted of one protected cruiser, Akashi as flotilla leader and eight of the Navy's newest Kaba-class destroyers (Ume, Kusunoki, Kaede, Katsura, Kashiwa, Matsu, Sugi, and Sakaki), under Admiral Satō Kōzō, was based in Malta and efficiently protected allied shipping between Marseille, Taranto, and ports in Egypt until the end of the War.76 In June, Akashi was replaced by Izumo, and four more destroyers were added (Kashi, Hinoki, Momo, and Yanagi). They were later joined by the cruiser Nisshin. By the end of the war, the Japanese had escorted 788 allied transports. One destroyer, Sakaki, was torpedoed on 11 June 1917 by a German submarine with the loss of 59 officers and men. A memorial at the Kalkara Naval Cemetery in Malta was dedicated to the 72 Japanese sailors who died in action during the Mediterranean convoy patrols.77

In 1917, Japan exported 12 Arabe-class destroyers to France. In 1918, ships such as Azuma were assigned to convoy escort in the Indian Ocean between Singapore and the Suez Canal as part of Japan's contribution to the war effort under the Anglo-Japanese alliance. After the conflict, the Japanese Navy received seven German submarines as spoils of war, which were brought to Japan and analysed, contributing greatly to the development of the Japanese submarine industry.

Imperial Japanese Navy in World War II

The IJN launched a surprise attack on Pearl Harbor, killing 2,403 Americans and crippling the US Pacific Fleet. During the first six months of the Pacific War, the IJN enjoyed spectacular success inflicting heavy defeats on Allied forces. Allied navies were devastated during the Japanese conquest of Southeast Asia. Japanese naval aircraft were also responsible for the sinkings of HMS Prince of Wales and HMS Repulse which was the first time that capital ships were sunk by aerial attack while underway. In April 1942, the Indian Ocean raid drove the Royal Navy from South East Asia.

In 1943, the Japanese also turned their attention to the defensive perimeters of their previous conquests. Forces on Japanese held islands in Micronesia were to absorb and wear down an expected American counteroffensive. However, American industrial power become apparent and the military forces that faced the Japanese in 1943 were overwhelming in firepower and equipment. From the end of 1943 to 1944 Japan's defensive perimeter failed to hold.

The defeat at the Philippine Sea was a disaster for Japanese naval air power with American pilots terming the slanted air/sea battle the Great Marianas Turkey Shoot, mostly going in the favour of the US,126 while the battle of Leyte Gulf led to the destruction of a large part of the surface fleet. During the last phase of the war, the Imperial Japanese Navy resorted to a series of desperate measures, including a variety of Special Attack Units which were popularly called kamikaze. By May 1945, most of the Imperial Japanese Navy had been sunk and the remnants had taken refuge in Japan's harbours. By July 1945, Nagato was the only remaining ship of the Imperial Japanese Navy's capital ships that had not been sunk in raids by the United States Navy

Every single item from The Lanes Armoury is accompanied by our unique Certificate of Authenticity. Part of our continued dedication to maintain the standards forged by us over the past 100 years of our family’s trading, as Britain’s oldest established, and favourite, armoury and gallery  read more

Code: 24988

Incredible 'Great War' Aeronautical "Trench-Art" Painting, WW1. A Watercolour of LZ 62. Signed By Claus Bergen, Luftschiffer Zeppelin L30, Member of The Naval Airship Crew. As Property of a WW1 POW, Sent Home From Wurtemberg to England In 1919

Painted by Luftschiffer Claus Bergen in 1917, a very skilled and artistic hand.
Painted by a German Zeppelin Crew Member, and owned by a British WW1 POW. It is possible it was given to him by the artist.

Titled at the bottom in German
"Zeppelin, flieg, Hilf uns im krieg, Flieg nach England, England wird abgebrannt, Zeppelin, flieg."
Translation

"Zeppelin, fly,
Help us win the war, Fly against England, England will be burned, Zeppelin, fly"
.
Words from a popular Zeppelin propaganda song in Germany during WW1. Original rare German WW1 Zeppelin artwork.
Signed Claus Bergen, of the German Navy, Luftschiff Crew, L30 formerly LZ62, dated 1917.
Titled, and also bearing the name of the Zeppelin forces commander, Peter Strasser.
The painting was sent back from Danzig by a British POW who was imprisoned in Germany during WW1.
The Zeppelin LZ 62 was the 69th Airship of Count Zeppelin and the 25th Airship for the Imperial Navy , where it was designated L 30 .L 30 was the type ship of the class "R" , the so-called Superzeppeline with two additional motor gondolas with pressure propellers laterally offset below the centre of the fuselage. The hull was now approaching a slender teardrop shape that had both lower air resistances well as increased carrying gas volume ensured. The new type was 20 metres longer than its predecessor, had a significantly larger diameter. The new type had an almost double payload with now 32.5 t. The construction of the larger model with significant changes led to a longer construction period; In the meantime, several Zeppelin shipyards made airships, so that not only did the numbers and identifiers differ, but they also did not exactly represent the order of completion and takeover. LZ 63 to LZ 69 had already been completed before LZ 62. In addition, the Navy decided to give the first "Superzeppelin" the ID L 30 , although she had previously lost only 24 Zeppelins. LZ 62 made its first trip on 28 May 1916 and was put into service as L 30 in July 1916. The first commander of the airship became lieutenant to the See of Buttlar , who had already commanded L 6 and L 11 . The first in the north woods stationed ship was from 21 August from Ahlhorn used from. On January 11, 1917 Lieutenant Lake Friemel new commander, who moved with the ship in early April 1917 to T?nder . There took over on April 20, 1917, the Lieutenant Lake Boedecker the command of L 30 , the airship in early May to Seerappenrelocated near Konigsberg . There remained the airship until the autumn of 1917 together with L 37 and four army airships, which were used primarily for reconnaissance. The back bears details of commanders of Zeppelins and information of Kapitan-Leutnant Alois Bocker's crew of L33, and also of a shooting down near Potters Bar Kapitan Mathy's L31.

This painting had been owned after its artist by a British POW soldier, and it was sent home as war souvenir from Wurtemberg in early 1919 for a cost of 71/2 pfennigs.
Unframed 26cm x 19.5 cm  read more

Code: 22668

Pair Of Rare Original WW2 British St John & Red Cross Badges. Original Ann Hopkin Badges 1945 Red & White Enamel with Gold Rose Petals Borders.

Two Tudor Rose badges, a special badge for members serving under the India Office, worn on the collar of the greatcoat ½ an inch above the inner step of the step opening or the collar of the jacket. Ann Hopkin who was a Welfare Officer in India with the St John and Red Cross Service Hospital Welfare between 1945 and 1946.

Bearing small apertures to enable stitching them upon a collar

https://museumandarchives.redcross.org.uk/objects/8350

20mm Across  read more

Code: 25597

A Most Rare Original, Antique, Watercolour Painting of "Zeppelins Over Eastchurch" Signed By The Famous Royal Flying Corps Official War Artist Lt. Norman G. Arnold RFC, dated 1917. His Paintings Are Exhibited in The Imperial War Museum

Nicely framed and mounted, signed Norman Arnold, dated 1917.

His original artworks very rarely appear, and most of his surviving pieces are in the Imperial War Museum

Norman G. Arnold (19 September 1892 – 7 December 1963) was a British art director who designed the sets for over a hundred and twenty films. Arnold studied architecture, interior decoration & design. During the First World War, Arnold served in the Royal Flying Corps with the rank of Lieutenant and worked in the Armaments School. In 1918, Arnold was appointed to be an official war artist, tasked with portraying types of aircraft, methods of aerial fighting and specific famous air battles on the Western Front. He produced a number of water-colour paintings which are now housed in the Imperial War Museum in London, including his 24 x 36 inch painting,
The Last Flight of Albert Ball VC. Which we show in our gallery for historical interest and context only

The Last Flight of Albert Ball V.C.
Arnold, N G Last Flight of Captain Ball

"The Blind Spot" - A Camel attacks a Hannover CL type from its blind spot.
Arnold 1892-1963 two WW1 aircraft engaged in a dog-fight

A Zeppelin Raid on London October 1917.
arnold_Oct raid on London 1917 Seen from the Royal College of Science by Norman G Arnold, 1918

A Bristol goes after an Albatros.
N.G.Arnold 20 Dec 1917

Zeppelin L 70.
Arnold WWI War Artist

Original Great War memorabilia is very much in the forefront of collectors minds these days and especially so are original works by official war artists, especially aeronautical subjects.

The best-known German strategic bombing campaign during World War I was the campaign against England, although strategic bombing raids were carried out or attempted on other fronts.

The main campaign against England started in January 1915 using airships. From then until the end of World War I the German Navy and Army Air Services mounted over 50 bombing raids on the United Kingdom. These were generally referred to as "Zeppelin raids": although both Zeppelin and Schutte-Lanz airships were used, the Zeppelin company was much better known and was responsible for producing the vast majority of the airships used. Weather conditions and night flying conditions made airship navigation and therefore bombing accuracy difficult. Bombs were often dropped miles off target (one raid on London actually bombed Hull) and accurate targeting of military installations was impossible.
The civilian casualties made the Zeppelins an object of hatred, and they were widely dubbed 'baby-killers'. With the development of effective defensive measures the airship raids became increasingly hazardous, and in 1917 the airships were largely replaced by aeroplanes.

Although the direct military effect of the raids was small, they caused widespread alarm, leading to the diversion of substantial resources from the Western Front and some disruption to industrial production. Concern about the conduct of defence against the raids, the responsibility for which was divided between the Admiralty and the Army, led to a parliamentary inquiry under Jan Smuts, whose report was to lead to the creation of the Royal Air Force on 1 April 1918. The defence organisation developed by the British was an important precursor of the fighter direction system that would prove vital in winning the Battle of Britain. The raids were also influential because they led to an overestimation of both the material and psychological effects of the bombing of cities.

Airships made about 51 bombing raids on England during the war. These killed 557 and injured another 1,358 people. More than 5,000 bombs were dropped on towns across Britain, causing £1.5 million in damage. 84 airships took part, of which 30 were lost, either shot down or lost in accidents. Aeroplanes carried out 27 raids, dropping 246,774 lb (111,935 kg) of bombs for the loss of 62 aircraft, resulting in 835 deaths, 1972 injured and £1,418,272 material damage. the painting is in superb condition, the glass is showing a little odd reflection in our photos.

17.3/4 inches x 14 inches in the frame  read more

Code: 18101

An Fabulous Bronze and Iron Archemeanid Empire Sword From the Time of the Greco-Persian Wars of Xerxes the Great Against the Spartans at Thermopylae. The Very Type of Sword Actually Used As Depicted in The Movie 300 Spartans

To place this wonderful historical piece in a modern context. If one saw the incredible movie ‘300 Spartans’, this is exactly the same kind of sword that would have been used in that extraordinary battle, and into the period of the greatest Empire ever known of Alexander the Great.
It is 7th century to 6th century BC, and was a most rare and incredibly valuable weapon of war during that time, utilising as it does a combination of steel and bronze, as iron steel was a most rare, valuable and highly prized metal in the early ancient Bronze Age period. This wonderful sword would likely have been used and held by warriors of nobility for likely several hundred years.
A complete sword, of both blade and hilt, with leaf-shaped russetted iron blade, double-waisted grip with transverse collar, the pommel formed as two crescentic iron spayed lobes, the hilt clad with bronze. Approx 635 grams, 19.25 inches. very good condition hilt for age. Approximately 2500 years old, Achaemenid Empire era, 550 bc to 330 bc From the the Greco-Persian War, such as includes the iconic battles of Marathon, Thermopylae and Plataea, up to the time of Alexander the Great. This wonderful antiquity, from one of the most eventful and ground breaking periods of classical history, is in amazing condition and beautifully decorated 6th-4th century BC. A bronze long dagger with narrow lentoid-section blade, collared grip with crescentic ears to the pommel. By the 7th century BC, the Persians had settled in the south-western portion of the Iranian Plateau in the region of Persis, which came to be their heartland. From this region, Cyrus the Great advanced to defeat the Medes, Lydia, and the Neo-Babylonian Empire, establishing the Achaemenid Empire. The Ionian Greek Revolt in 499 BC, and associated revolts in Aeolis, Doris, Cyprus and Caria, were military rebellions by several regions of Asia Minor against Persian rule, lasting from 499 to 493 BC. At the heart of the rebellion was the dissatisfaction of the Greek cities of Asia Minor with the tyrants appointed by Persia to rule them, along with the individual actions of two Milesian tyrants, Histiaeus and Aristagoras. In 499 BC, the then tyrant of Miletus, Aristagoras, launched a joint expedition with the Persian satrap Artaphernes to conquer Naxos, in an attempt to bolster his position in Miletus (both financially and in terms of prestige). The mission was a debacle, and sensing his imminent removal as tyrant, Aristagoras chose to incite the whole of Ionia into rebellion against the Persian king Darius the Great. In 490 BC the Persian forces were defeated by the Athenians at the Battle of Marathon and Darius would die before having the chance to launch an invasion of Greece. The Battle of Marathon took place in 490 BC, during the first Persian invasion of Greece. It was fought between the citizens of Athens, aided by Plataea, and a Persian force commanded by Datis and Artaphernes. The battle was the culmination of the first attempt by Persia, under King Darius I, to subjugate Greece. The Greek army decisively defeated the more numerous Persians, marking a turning point in the Greco-Persian Wars. Xerxes I (485–465 BC, "Hero Among Kings"), son of Darius I, vowed to complete the job. He organized a massive invasion aiming to conquer Greece. His army entered Greece from the north, meeting little or no resistance through Macedonia and Thessaly, but was delayed by a small Greek force for three days at Thermopylae. A simultaneous naval battle at Artemisium was tactically indecisive as large storms destroyed ships from both sides. The battle was stopped prematurely when the Greeks received news of the defeat at Thermopylae and retreated. The battle was a strategic victory for the Persians, giving them uncontested control of Artemisium and the Aegean Sea.

Following his victory at the Battle of Thermopylae, Xerxes sacked the evacuated city of Athens and prepared to meet the Greeks at the strategic Isthmus of Corinth and the Saronic Gulf. In 480 BC the Greeks won a decisive victory over the Persian fleet at the Battle of Salamis and forced Xerxes to retire to Sardis. The land army which he left in Greece under Mardonius retook Athens but was eventually destroyed in 479 BC at the Battle of Plataea. The final defeat of the Persians at Mycale encouraged the Greek cities of Asia to revolt, and the Persians lost all of their territories in Europe; Macedonia once again became independent. Alexander the Great, an avid admirer of Cyrus the Great, conquered most of the empire by 330 BC. Upon Alexander's death, most of the empire's former territory came under the rule of the Ptolemaic Kingdom and Seleucid Empire, in addition to other minor territories which gained independence at that time. The Iranian elites of the central plateau reclaimed power by the second century BC under the Parthian Empire

See Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, p.384, no.20, for similar. As with all our items it comes complete with our certificate of authenticity.  read more

Code: 23515

We Speculate That This 2500 Year Old Sword Was Once The Sword of an Ancient Chinese King of Yueh, One Of the Nine Kings of Yueh, As It Is So Similar To The Sword of Goujian, King of Yueh, Now In The Hubei Museum in China, As to Be Remarkable

This fabulous treasure is so similar to another, that is now determined to have been made for one of the nine Kings of Yue, Goujian.
Goujian’s sword was discovered in a waterlogged tomb in the 1960's.
Ours is likely a combat fighting sword {as opposed for just for ceremonial dress, due to it's width of the blade at the ricasso}. One can see in the detailed photos this sword is covered in gold overlay but the natural ancient aging green surface encrustations now obscure most of this decor. See photo 4 in the gallery.

It was viewed the other day here by a Chinese visitor who is an assistant to the curator of an esteemed Chinese museum of antiquities, and he informed us that ancient Chinese swords such as this, decorated with enamels and gold, could only ever be carried and worn by the very highest ranked in the land.

Photo 8 shows our sword's hilt and another, very similar, to ours, very likely another King’s sword, exhibited in the Musee Guimet in Paris.

Formerly our sword was part of the Anthony Dove Collection, one of the foremost collectors of ancient Chinese swords, and joint author on the seminal academic research paper on the authentication of ancient Chinese swords and their metallurgical construction.

How often does a collector have the opportunity to acquire a fabulous sword that was likely once the sword of an ancient king.

Now known and established as 'The Sword of Goujian'. The sword in the museum in Hubei in China, has superbly chiselled or cast patterning at the forte of the blade that still contains some blue crystals and tortoise. Our sword has near identical stunning patterning {made by chiselling or casting} but our sword also has chiselling on the two grip rings and the pommel, that undoubtedly once contained the same crystals and turquoise inlays, but are no longer present.

With help from Wu's enemy Chu, Yue won after several decades of conflict. The famous Yue King Goujian destroyed and annexed Wu in 473 BC. During the reign of Wuqiang (無彊), six generations after Goujian, Yue was partitioned by Chu and Qi in 306 BC.
During its existence, Yue was famous for the quality of its metalworking, particularly its swords. Examples include the extremely well-preserved Swords of Goujian and Zhougou.

The King's Sword of Goujian still has, remarkably, all its original pure gold decor to the blade, ours has some remaining viewable as well, but much less so, due to aging.

Although the Hubei Museum’s king's sword is still amazingly sharp, thanks to its pristine condition, remarkably, so is ours. The exquisitely forged blade was made primarily of copper, but the edges likely have a higher tin content, making them harder and able to keep a sharper edge.

The Sword of Goujian still has its bird-worm script in gold engraved upon the blade face, and that script has been translated and thus after extensive research, has determined its ownership by the king, Goujian, ours may have indeed had such script, some of which is visible, possibly naming another such king, but no longer.

The Goujian King's sword, currently in Hubei Museum, has a total length of 22 inches, with a 3.3-inch hilt. The exquisitely forged blade was made primarily of copper, but the edges have a higher tin content, making them harder and able to keep a sharper edge. Both sides of the blade are decorated with a repeating rhombi pattern, their dark lines standing out from the sword’s overall golden hue. The guard, meanwhile, is inlaid with blue crystals and turquoise.

On one side of the blade are eight characters engraved in what is known as bird-worm seal script. Six of these ancient characters have been deciphered. The script reads: “King of Yue” and “made this sword for his personal use.” The other two characters could not be identified, but analysts believe that they state the name of the aforementioned King of Yueh.

These intriguing details provoked much debate as to the owner of the sword. Nine kings had ruled Yue during the period attributed to the sword, making identifying one as the true owner no easy task. But after studying both the sword and the tomb for many months, archaeologists, historians and Chinese linguists came to a consensus: The sword belonged to Goujian, who ruled the Kingdom of Yueh from 496 to 465 BC.

The earliest swords in China date back to the Bronze Age, around 1600 BC. This was a critical period in the development of ancient Chinese civilization. It was during this time that metalworking techniques were first developed and applied to the creation of weapons, swords included.

The earliest known examples of hand-forged bronze swords date back to the Shang Dynasty, and they were primarily used for ceremonial and symbolic purposes, rarely seeing real combat. The very first variations were quite simple, featuring a straight blade, some of which were single-edged and others were double-edged, as well as no guard or handle.

It wasn’t until the rise of the Zhou Dynasty that swords started becoming a lot more intricate. The blades of these swords were typically quite heavy and were often decorated with intricate patterns and designs to symbolize the prestige of the owner. Swordsmiths also began implementing a guard to their designs, as a means of protection for the wielder’s hand.

We describe below some of the known history of Goujian (句踐) (who reigned from 496–465 BC) as the king of the Kingdom of Yue (越國, present-day northern Zhejiang) near the end of the Spring and Autumn period (春秋).

He was the son of Marquis Yunchang.

Goujian's reign coincided with arguably the last major conflict of the Spring and Autumn period, the struggle between Wu and Yue, wherein he eventually led his state to victory, annexing the rival. As such, King Goujian is sometimes considered the last of the Five Hegemons.

The war between Wu and Yue comprised several separate phases. It began when a Yue princess, who was married to one of the princes of the neighboring state of Wu, left her husband and fled back to the State of Yue. This became the spark for the war to come. Also, as Yunchang developed Yue's strength, he came into conflict with King Helü of Wu, causing a feud between the two states.

Upon the death of Yunchang and the accession of Goujian, Helü seized the opportunity and launched an attack on Yue. At the Battle of Zuili (槜李之战), however, Yue defeated Wu, and King Helü was mortally wounded. Before his death, he instructed his son, the later King Fuchai of Wu, "Never forget Yue!" Yue would be defeated three years later by a resurgent Wu, and Goujian captured, to serve as Fuchai's servant for three years before he was eventually allowed to return to his native state.

Upon resuming his rule, King Goujian quickly appointed skilled politicians as advisors, such as Wen Zhong and Fan Li, to help build up the kingdom. During this time, his ministers also worked to weaken the State of Wu internally through bribes and diplomatic intrigue.

Whilst ruling his kingdom, Goujian never relished kingly riches, but instead ate food suited for peasants, as well as forcing himself to taste bile, in order to remember his humiliations while serving under the State of Wu. The second half of a Chinese idiom, wòxīn-chángdǎn (臥薪嚐膽, "sleeping on sticks and tasting gall"), refers to Goujian's perseverance.

After ten years of economic and political reforms, the last phase of the war began, by which time the State of Yue had come a long way from its previous defeat; as described in the Shiji, Ten years of reforms; the state is rich, the warriors well-rewarded. The soldiers charge in the face of arrows like thirsty men heading for drink... (修之十年，國富，厚賂戰士，士赴矢石，如渴得飲).

Taking advantage of Fuchai's expedition to his north to defeat Qi, Goujian led his army and successfully attacked the Wu capital, killing the Wu crown prince, You. In the 24th year of his reign (473 BC), Goujian led another expedition against Wu, laying siege to the capital for three years before it fell. When a surrender from Fuchai was refused, Fuchai committed suicide and Wu was annexed by Yue. After his victory, Goujian ruthlessly killed Fuchai's scholars, even those who helped him (including Bo Pi), not allowing himself to make the same mistake Fuchai had made by sparing the lives of his enemies. However, Goujian would not stop there; he would later force Wen Zhong to commit suicide; Fan Li, knowing that Goujian was a man who can share woe but not wealth together, left Goujian after the defeat of Wu.

King Goujian's army is known for a common misconception: scaring its enemies before battle with a front line formed by criminals sentenced to death who committed suicide by decapitating themselves. However, in the passage, "越王句踐使死士挑戰，三行，至吳陳，呼而自剄。", the literal translation of "死士" is "soldiers (who are) willing to die", not "criminals sentenced to death". "自剄" means to "commit suicide by cutting one's throat," which was a common way to end one's own life in Ancient China

In the gallery, photograph 2 shows our sword in the middle, to its left is the sword of Goujian, and to its right, a sword in the Metropolitan Museum. all incredibly similar, but in different stages of preservation. Photo 3 in the gallery is our sword's hilt on the left, and the Sword of Goujian on its right. the similarity is amazing. Photo 4 in the gallery is a close up of our blade sections that shows the original surface of gold, with what appears to be what remains of archaic script characters, possibly, one could speculate, it was the name of the king for whom it made and thus belonged. Photo 8 shows our sword's hilt and another, very similar, now in a Paris museum, the Musee Guimet. The Paris sword hilt still has its turquoise and enamel inlay still present and in place.

From a large collection of antiquities, swords daggers that recently arrived, many pieces sold for the part benefit of the Westminster Abbey fund, and the Metropolitan Museum fund

This is from part two of a stunning collection of original archaic bronze age Zhou dynasty weaponry . 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.
From the Tony Dove F.S.A. Collection, formed circa 1970's, one of England’s most revered and respected collectors, especially early silver, & he was a past honorary President of London’s Silver Spoon Society, and learned joint contributor to many scientific appraisals on ancient Chinese swords

Sword total length 20 1/4 inches long, 4 inch hilt

Ref; SOME OBSERVATIONS ON EARLY CHINESE BRONZE SWORDS
By
Anthony Dove, and Alan Williams {The Wallace Collection} 65 publications  read more

Code: 24846

A Fine Kugyō Daisho, A Daito & Shoto. Daito Signed Bishu ju Munemitsu. Shoto Signed Fujiwara Rai Kinmichi Yamashiro. This Daisho Is One Of The Most Beautiful Pairs Of Samurai Swords We Have Seen

The shoto blade has now returned from polishing so we show it now again but with new photos.

The Daito {long sword} bears the signature: Bishu ju Munemitsu, Bizen Province, Late Mihara school, circa 1575, Gunome hamon Masame hada

The Shoto {short sword} is signed: Fujiwara Rai Kinmichi, Yamashiro School, {circa 1624}, Sudareba hamon, Masame hada. A beautiful suite of daisho fuchgashira of takebori insects and catydids in gold and shakudo, and a pair of fabulous iron plate tsuba inlaid with takebori flower heads in soft metals. The most fine kozuka, is in gold and shakudo takebori, decorated with shishi {lion dogs}, over a nanako ground, is signed, and its steel blade, kozukatana is also signed

The daisho have finest original Edo saya, of urushi lacquer decorated with kamon of multiple clans, this suggests affiliations and allegiance to those clans, and they are multiples of mon applied, on a ground of gold-nashiji, of gold-ikakeji. This form of highest superior work was restricted, in feudal times, to san mi 三位, samurai owners, of the third court-rank, or possibly even higher, such as 一位, Ichii, First rank, or, 二位, Nii, second rank. These samurai nobles of the third to higher ranks were called kugyō when these two swords was made and carried in the early Edo period of the Tokugawa shogunate.

First Rank (一位, Ichii): The highest court rank, reserved for individuals of exceptional merit and influence.
Second Rank (二位, Nii): A higher rank, often associated with those in positions of authority.
Third Rank (三位, Sanmi) and Fourth Rank (四位, Shii): These ranks denoted important positions in the court system

In feudal Japan, court ranks, known as mibun, were a hierarchical system defining the status and duties of individuals, particularly within the samurai class. These ranks influenced everything from a samurai's attire and position to their ability to request audiences with the Shogun. The system was a complex tapestry of colors, symbols, and titles, signifying one's place in the social order.

In the Tokugawa shogunate each of the First to Third Ranks is divided into Senior (正, shō) and Junior (従, ju). The Senior First Rank (正一位, shō ichi-i) is the highest in the rank system. It is conferred mainly on a very limited number of persons recognized by the Imperial Court as most loyal to the nation during that era.

The Junior First Rank (従一位, ju ichi-i) is the second highest rank, conferred in many cases on the highest ministers, premier feudal lords, and their wives.

Nobles with the Third Rank or upper were called kugyō.

Successive Tokugawa shoguns held the highest or near-highest court ranks, higher than most court nobles. They were made Shō ni-i (正二位, Senior Second Rank) of court rank upon assuming office, then Ju ichi-i (従一位, Junior First Rank), and the highest rank of Shō ichi-i (正一位, Senior First Rank) was conferred upon them upon their death. The Tokugawa shogunate established that the court ranks granted to daimyo by the imperial court were based on the recommendation of the Tokugawa shogunate, and the court ranks were used to control the daimyo.

Oda Nobunaga and Toyotomi Hideyoshi were Shō ni-i (正二位, Senior Second Rank) and Ju ichi-i (従一位, Junior First Rank) respectively, but both were elevated to Shō ichi-i (正一位, Senior First Rank) in the Taisho era, about 300 years after their deaths.

The no expense spared conservation including blade polish conservation cleaning, we are currently part way through. the shoto blade has now been completed, and the daito shall be finished before the end of July. We are undertaking it for two specific reasons, firstly, it deserves to be returned to as close to its original condition as possible, yet, still externally showing all its natural wear and aging, and secondly, to honour its previous owner, who, for several decades, was a seasoned practitioner of the Japanese martial art forms, and friend of many in the Japanese nihonto world, such as Victor Harris, former Curator of Japanese swords at the British Museum. It is being undertaken with immense care, such as all the original urushi nashiji lacquer is being left, just, ‘as is’ after it has been hand cleaned and conserved, in order to show all its natural beauty, quality yet natural aging, with its colour somewhat darkening from the past few hundred years.

Every single item from The Lanes Armoury is accompanied by our unique Certificate of Authenticity. Part of our continued dedication to maintain the standards forged by us over the past 100 years of our family’s trading, as Britain’s oldest established, and favourite, armoury and gallery.

THE LANES ARMOURY, THE PREMIER HOME OF ORIGINAL AND AFFORDABLE ANCIENT ANTIQUITIES & MILITARY ANTIQUE COLLECTABLES IN BRITAIN.

The Lanes Armoury, is world renown as Britain's favourite specialist collectors shop, and also a font of historical and educational information that is detailed with every single item. We detail each piece alongside its historical context, either generic or specific, for those that may wish to read, learn, or be informed, as opposed to simply acquire collectable items. We are probably one of the oldest companies of our kind in the whole of Europe and we have been established through generations, as specialists in armoury, military antiques, militaria collectables, and specialist books, since the early 1900’s, and thus we have continued to be one of the largest in the world today. The current partners were set on this path by their great grandfather, who, while intrigued by historic antique arms and armour, was woefully under capitalised for his dream profession, so much so that even when starting his very small business, just after the first world war, with just his £20 de-mob payment to his name, he still kept up his original working class pre-war trade as a scaffolder as his safety net in case his dreams folded. Just as well for his succeeding generations, that he didn’t fail. However, true to his very old-fashioned working class ethics, every subsequent generation has learnt from his example, and thus decided to follow their own path, with no financial assistance whatsoever from the previous generation, with his son, grandson and great-grandsons all making their own way, on their own skill and merits, whatever they may be.

We are also very pleased to know we are also studied and read by academics and students from hundreds of universities around the world, by those that are interested in not only British but worldwide history. Of course we are not perfect and errors can and will be made, but thanks to our viewers and visitors, errors can be corrected, and learnt from.
Our sacred principle is that every single country's history ought to be studied, learnt, and passed down to future generations, however good, or even bad, some of it may be. All history is knowledge, be it good, bad, or indifferent.

Everyday we are contacted by historians that wish to make contributions to our detailed information for our pieces, and to thus add to our constant dedication to impart historical knowledge, that may be unknown to many of our millions of viewers.

As once told to us by an esteemed regular visitor to us here in our gallery, in order to view and study our Japanese edged weapons and armour gallery, and the same words that are repeated in his book;

“In these textures lies an extraordinary and unique feature of the sword - the steel itself possesses an intrinsic beauty. The Japanese sword has been appreciated as an art object since its perfection some time during the tenth century AD. Fine swords have been more highly prized than lands or riches, those of superior quality being handed down from generation to generation. In fact, many well-documented swords, whose blades are signed by their makers, survive from nearly a thousand years ago. Recognizable features of the blades of hundreds of schools of sword-making have been punctiliously recorded, and the study of the sword is a guide to the flow of Japanese history.”
Victor Harris
Curator, Assistant Keeper and then Keeper (1998-2003) of the Department of Japanese Antiquities at the British Museum. He studied from 1968-71 under Sato Kenzan, Tokyo National Museum and Society for the Preservation of Japanese Swords.

The original lacquer saya has small areas of opening due to its past hundreds of years old wear, yet it is still in a fine naturally aged condition. It’s hand carved and polished black buffalo horn fittings and kurikata are are now hand repolished and superb throughout the daito saya  read more

Code: 25805

A Wonderful, 18th Century Shinto Period Samurai Horse Armour Abumi, Made by Master Katsuo Nagatsugu of Kanezawa In Kaga. Used By The Samurai To Stand Up, Off The Saddle Upon The Horse, At The Gallop, And Simulatanously Fire His War Bow.

This incredibly beautiful Kaga zougan abumi, a stunning work of art as much as a piece of vital samurai battle armour, is a signed armoured samurai stirrup, made in wrought iron and silver of exceptional quality, and craftsmanship and bears stunningly beautiful silver inlay of scrolling vines, leaves and berries. Made by one of the great master armour makers in Kaga province.

We have only ever had one other made by this great master in 50 years, and that was around six years ago.

This is truly noteworthy museum grade work of art in its own right. An absolutely singular example, perfectly displaying the skill and technical craftsmanship of the highest order, for antique Japanese accoutrements, handmade for a samurai Daimyo clan lord or for a Seieibushi samurai the highest ranking of the samurai Made and used as part of his armour saddle fittings, but also for use as much when the samurai was in full armour or in regular daytime wear. The signature, of the master craftsman, is inlaid in pure silver to match the decor, translates to 'Made by Katsuo Nagatsugu residing in Kanezawa in Kaga province' a most highly rated and famous maker of finest abumi.

Some examples of his work are in the Kanezawa Museum in Japan.
Abumi, Japanese stirrups, were used in Japan as early as the 5th century, and were a necessary component along with the Japanese saddle (kura) for the use of horses in warfare. Abumi became the type of stirrup used by the samurai class of feudal Japan Early abumi were flat-bottomed rings of metal-covered wood, similar to European stirrups. The earliest known examples were excavated from tombs. Cup-shaped stirrups (tsubo abumi) that enclosed the front half of the rider's foot eventually replaced the earlier design.

During the Nara period, the base of the stirrup which supported the rider's sole was elongated past the toe cup. This half-tongued style of stirrup (hanshita abumi) remained in use until the late Heian period (794 to 1185) when a new stirrup was developed. The fukuro abumi or musashi abumi had a base that extended the full length of the rider's foot and the right and left sides of the toe cup were removed. The open sides were designed to prevent the rider from catching a foot in the stirrup and being dragged.

The military version of this open-sided stirrup, called the shitanaga abumi, was in use by the middle Heian period. It was thinner, had a deeper toe pocket and an even longer and flatter foot shelf. It is not known why the Japanese developed this unique style of stirrup, but this stirrup stayed in use until European style-stirrups were introduced in the late 19th century. The abumi has a distinctive swan-like shape, curved up and backward at the front so as to bring the loop for the leather strap over the instep and achieve a correct balance. Most of the surviving specimens from this period are made entirely of iron, inlaid with designs of silver or other materials, and covered with lacquer. In some cases, there is an iron rod from the loop to the footplate near the heel to prevent the foot from slipping out. The footplates are occasionally perforated to let out water when crossing rivers, and these types are called suiba abumi. There are also abumi with holes in the front forming sockets for a lance or banner. Seieibushi (Elite Samurai)
Traditionally the highest rank among the samurai, these are highly skilled fully-fledged samurai. Most samurai at the level of Seieibushi take on apprentices or Aonisaibushi-samurai as their disciples.

Kodenbushi (Legendary Samurai)
A highly coveted rank, and often seen as the highest attainable position, with the sole exception of the rank of Shogun. These are samurai of tremendous capability, and are regarded as being of Shogun-level. Kodenbushi are hired to accomplish some of the most dangerous international missions. Samurai of Kodenbushi rank are extremely rare, and there are no more than four in any given country.

Daimyo (Lords)
This title translates to 'Big Name' and is given to the heads of the clan.

Shogun (Military Dictator)
The apex of the samurai, the Shogun is the most prestigious rank possible for a samurai. Shoguns are the leaders of their given district, or country, and are regarded as the most powerful samurai.Beautiful and sophisticated patterns in Kaga zougan have an outstanding, keen feel for designs and such fine expression is supported by the minute methods. The craftsman carves the pattern part on the metallic basis material with a burin (tagane in Japanese), making the bottom wider than the surface (this method is called "ari wo kiru" in Japanese) and inserts and drives in a different metal in the part.
Then, the metallic part for the pattern is pressed and spread inside and does not come off itself. This bonding technology was closely employed especially in Kaga to enable to express variously on the metal for expressive work and gained a high reputation as for the solid work.

Of all the techniques, "Abumi" (stirrup) has been a synonym for Kaga zougan and well known for the scrupulous technique making sure that the metallic parts of Kaga zougan never come off, in addition to its excellent novel designs and beauty.  read more

Code: 22106

A Rare Collection of Three Original Early Edo Woodblock Hand Printed Books of Samurai Sword Oshigata, of Blade Forms Hamon and Kanji. Ideal For A Scholar Of Samurai Sword Master Makers, Or, A Collector Of Rare Samurai Sword History. Rarely Seen In England

Genealogy, history, plus hundreds of Samurai blades, engravings, blade patterns plus more
swords and sword making. An early printing and of amazing interest. For the not only academic study of the signatures on blade tangs, plus hamon patterns and horimono {blade decorative carvings} by old samurai sword master swordsmiths, but to wonder of the unique aspects of each sword blade and how the reverential study of all aspects of sword making that is unique to Japan for over 1000 years. These superb and beautiful hand made volumes are thus also fascinating and unique works or art, in themselves, hundreds of years old, and created for the study and enjoyment of the art of the true samurai sword.

These volumes of hand made, hand woodblock printed books, detail many aspects of very special swords and their makers. For example, one section of the volumes show hand drawn versions of smiths hamon temper lines the specialised hardening process of every sword’s edge.

Yaki-ire: Hardening the Edge
The hardening of the edge is in many ways the most important, and the most difficult, aspect of the sword-making process. It is the hardening of the edge that gives the blade its ability to take and retain amazing sharpness. To begin with, the blade is coated in yakibatsuchi, a mixture of water, clay, ash, and other ingredients. Every smith has his own special recipe, often a closely kept secret. The yakibatsuchi is applied over the surface, thicker along the spine and thinner at the edge. Working in a darkened forge room using only the light of the glowing coals, the smith carefully heats the blade. As the temperature rises, crystal structures within the metal begin to change. The smith carefully observes the color of the glowing blade, and when the critical temperature is reached the sword is quickly quenched in a trough of water.

At the critical temperature, around 750°C, the structure of steel changes to austenite, a phase where carbon thoroughly combines with iron. When the blade is quickly cooled by quenching, austenite changes to martensite, the hardest type of steel. However, where the thick yakibatsuchi was applied, the blade will cool more slowly, turning not into martensite but instead forming ferrite and pearlite, which are softer and more flexible. Like the kawagane and shingane, this combination of hard edge and softer body is what gives the blade its desirable qualities.

The hardening of the edge also creates a visible change in the surface of the metal. Depending on the way in which the clay mixture was applied, a variety of effects can be produced. This edge pattern is called the hamon, and is one of the most important aspects in the aesthetic appearance of a blade. Like the jihada, each of these patterns has a specific name. Suguha, for example, is a very straight hamon, while sanbonsugi describes a zigzag line in clusters of three.

After the hardening of the edge, if the smith is satisfied with the appearance and quality of the blade, it is then passed on to the polisher, who will give the blade its final partial mirrorlike polish, with a mixture of light and shade, displaying many different shades of grey steel, and then other craftsmen will make the scabbard {saya} and sword mountings {koshirae}. Complete mountings have many elements, including metalwork such as tsuba and menuki, lacquered wood, silk cords and wrapping, and ray-skin grips. Though these are all works of art in themselves, and some of these fittings can indeed be almost priceless in their beauty quality and indeed value, in their own right, but the blade remains the true centerpiece of the finished work, and in fact the age of the blade dictates the time period of the age of the whole sword, despite how ever old or young it’s additional fittings may be. It combines to be an example of the ingenuity of centuries of Japanese smiths and their desire to achieve the perfect blend of technology and art.  read more

Code: 24737

A Majestic Edo Period, 425 Year Old, Samurai Wakazashi Of Museum Quality. With a Pure Layered Gold Habaki of the Ryojin, The "Dragon King," & Fuchigashira With His Pure Gold Servants The Sea Turtles

A most splendid samurai sword, the secondary sword of likely a daimyo, clan lord, around 425 years old. The blade bears a wonderous hamon of incredible activity with the Shinto Osaka school designs of gunome midare ba, with crab claws. it has just been expertly cleaned and conserved and looks spectacular.

The saya is one of the most beautiful we have seen with all its original urushi lacquer of a black base ground decorated with crushed abilone, over lacquered with clear urushi nad then takebori symbols of open ended infinity throughout. It has its all original Edo period shakudo and gold mounts of superlative beauty of the turtles. According to traditional Japanese beliefs, the turtle is a haven for immortals and the world mountain, and symbolizes longevity, good luck, and support. It is the symbol of Kumpira, the god of seafaring people especially. He is said to have lived tens of thousands of years.
Ryujin or Ryojin "dragon god", which in some traditions is equivalent to Owatatsumi, was the tutelary deity of the sea in Japanese mythology. This Japanese dragon symbolized the power of the ocean, had a large mouth, and was able to transform into a human shape. Ryujin lived in Ryugu-jo, his palace under the sea built out of red and white coral, from where he controlled the tides with magical tide jewels. Sea turtles, fish and jellyfish are often depicted as Ryujin's servants.

The tsuba is an absolute gem in shakudo with hammered pure gold onlaid paulownia leaves set in half surface decorated hand carved takebori open fretwork of tendrils. Paulownia is a symbol of good fortune, royalty, and the imperial family in Japan. It's depicted in the seal of the Prime Minister and used in various government emblems. The menuki are birds of paradise and shakudo and gold flying in clouds and match the very same design on the kodzuka, a bird of paradise, of gold and shakudo, utility knife, stored in the traditional kozuka saya pocket.

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.
An individual, in certain circumstances, apparently didn't become a full-fledged samurai until, some say, he wandered around the countryside as begging pilgrim for a couple of years to learn humility. Again this may be part of the myth. However, when all his training was completed a samurai trainee that achieved samurai status and received a salary from his daimyo, paid from taxes (usually rice) raised from the local populace, he truly became the very best at his art in the world of sword combat

Swords in Japan have long been symbols of power and honour and seen as works of art, which is exactly what they are.

In Japan the term samurai evolved over several centuries

In Japanese, they are usually referred to as bushi (武士,) or buke (武家). According to translator William Scott Wilson: "In Chinese, the character 侍 was originally a verb meaning 'to wait upon', 'accompany persons' in the upper ranks of society, and this is also true of the original term in Japanese, saburau. In both countries the terms were nominalized to mean 'those who serve in close attendance to the nobility', the Japanese term saburai being the nominal form of the verb." According to Wilson, an early reference to the word samurai appears in the Kokin Wakashū (905–914), the first imperial anthology of poems, completed in the first part of the 10th century.

Originally, the word samurai referred to anyone who served the emperor, the imperial family, or the imperial court nobility, even in a non-military capacity.It was not until the 17th century that the term gradually became a title for military servants of warrior families, so that, according to Michael Wert, "a warrior of elite stature in pre-seventeenth-century Japan would have been insulted to be called a 'samurai'".

In modern usage, bushi is often used as a synonym for samurai

Every item is accompanied with our unique, Certificate of Authenticity. Of course any certificate of authenticity, given by even the very best and highly esteemed 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 behind us. The current two partners alone, combined together, have over 96 years of professional experience within the trade.

Overall the condition is excellent for age, with just a few small marks withing the lacquered saya urushi,  read more

Code: 25752