Japanese

A Beautiful Kabuto 12 Plate Samurai Helmet The Hidari Mitsu Tomoe Mon, Meaning "Left Threefold Tomoe" Of A Hachi (鉢), Mabizashi (目庇) & Fukigaeshi (吹返) Tehen no Ana / Tehen Kanamono (八幡座): & Buddhist Bonji of Amida Nyorai {No Shikoro}

A Japanese kabuto helmet consists primarily of the hachi (bowl) and shikoro (neck guard), with key components including the mabizashi (visor), fukigaeshi (side wings), and maedate (front crest). These elements combine iron plating, decorative artistry, and functional protection for the head. This kabuto is around 70% complete but lacking its shikoro {rows of neck guard}. With the Buddhist bonji of Amida Nyorai (Amitābha) set at the front of the hachi bowl. The celestial Buddha of Infinite Light. Amida Nyorai (often called Amida Butsu) is a celestial Buddha who has the ability to intervene in this world and save people in a god-like manner. He has passed the bodhisattva path and has achieved superhuman powers giving him the power to live in the heavens.

Hachi (鉢): The main bowl/helmet shell, often made of riveted iron plates.
Mabizashi (目庇): The brim or visor located on the front of the hachi.
Fukigaeshi (吹返): Wing-like, often decorative projections on both sides of the helmet.
Maedate (前立物): The front crest or decoration, which could represent clan identity or religious symbols.
Tehen no Ana / Tehen Kanamono (八幡座): A small opening at the top of the hachi, often finished with an ornamental, chrysanthemum-shaped metal fitting.
Tsunamoto (角元): Mounting points or sockets used to attach the maedate.
Ukebari (受張): The cloth lining inside the hachi that makes it comfortable to wear.
Suji-kabuto: Refers to the type of hachi of ridge plates (suji),
Lacking any Shikoro (錣): A flexible, multi-layered neck guard hanging from the edge of the hachi.

The mon of the Kobayakawa clan and Kobayakawa Takakage

Kobayakawa Takakage (小早川 隆景, 1533 – July 26, 1597) was a samurai and daimyō (feudal lord) during the Sengoku period and Azuchi–Momoyama period. He was the third son of Mōri Motonari who was adopted by the Kobayakawa clan and became its 14th clan head. He merged the two branches of the Kobayakawa, the Takehara-Kobayakawa clan (竹原小早川氏) and Numata-Kobayakawa clan (沼田小早川氏). He became an active commander of the Mōri army and he with his brother Kikkawa Motoharu became known as the “Mōri Ryōkawa", or “Mōri's Two Rivers" (毛利両川). As head of the Kobayakawa clan, he expanded the clan's territory in the Chūgoku region (western Honshū), and fought for the Mōri clan in all their campaigns

At first he opposed Oda Nobunaga and Toyotomi Hideyoshi but later swore loyalty and became a retainer of Hideyoshi who awarded him domains in Iyo Province on Shikoku and Chikuzen Province on Kyūshū, totalling 350,000 koku. Hideyoshi gave him the title Chûnagon also appointed him to the Council of Five Elders but died before Hideyoshi himself.

The mitsudomoe is also closely associated with Shinto shrines, in particular those dedicated to Hachiman, the god of war and archery. Hachiman in Shinto cosmology and ritual, as for example at Hakozaki Shrine, is repeatedly connected with the number three. In Shintoist thinking, this number is taken to represent the three aspects of the four mitama or 'souls' (the other, the kushimitama being considered far rarer. Fragmentary sources suggest that the First Sho dynasty, who founded the Ryukyu Kingdom, used the symbol if not as their family crest. American historian George H. Kerr claims that King Sho Toku adopted the mitsudomoe as the crest of the royal house after his successful invasion of Kikai Island in 1465. The Second Sho dynasty, who ruled the Ryukyu Kingdom from 1470 to 1879, adopted the mitsudomoe as its family crest. Since it was the royal family crest, its usage was once severely restricted.

According to the story the origin of the Hidari-Gomon takes place in feudal Japan, when the feudal lords and their private armies of samurai fought fiercely for land ownership. It was during a time of constant war in Japan. During these wars, Okinawa was defeated and dominated by the lord of Kagoshima, who imposed conditions on the Ryukyuan people. He proclaimed without exception that the people should go unarmed and that those who were found carrying weapons should be executed. Also, as a tribute of war, he proclaimed that Ryukyuans should submit an annual tax of rice to Kagoshima.
For many years the Ryukyu people religiously fulfilled the terms of the lords agreement. At the time rice was plentiful and no one went armed because a way of fighting had been developed in Okinawa which did not require the use of weapons. We now know this as Karate. Karate was developed because the Ryukyuan King did not want his people to be defenceless and he began secretly sending members of his guard to China, where he knew various forms of bare-hand fighting were being taught. Gradually, karate was being formed, the weapon was the body of the fighter, and it did not conflict in any way the terms imposed by the lord of Kagoshima.  read more

Code: 26210

Beautiful Edo Jingasa Samurai Horserider's War Hat With Clan Mon of Kamei Korenori (亀井 茲矩; 1557 – February 27, 1612) Was a Japanese Daimyō. From The Collection of Likely The World's Greatest Authority, Author On Japanese Polearms & Their Use

Edo period original jingasa of the Kamei clan. in black urushi lacquer, large gold Kamei mon, and two ishime stone finish lacquer bands, either side of a gilt band. Some interior padding present

Their mon (family crest) is famously known as the Oi-katsubishi (追いかつ菱), which consists of two overlapping or "chasing" diamond shapes (hishimon). The clan, based in Tsuwano han during the Edo period, used this distinctive geometric crest.
These geometric kamon were popular during the Sengoku period because they were easy to recognize on battlefields.

Kamei Korenori (亀井 茲矩; 1557 – February 27, 1612) was a Japanese daimyō who lived through the early Edo period. He was first a retainer under the Amago clan of Izumo Province, but eventually became a daimyō in his own right.

Chūgoku Campaign (from 1578): After the fall of the Amago, he joined Hashiba (Toyotomi) Hideyoshi, fighting against the Mōri clan, specifically taking part in the Siege of Tottori Castle.
Receiving Shikano castle in Inaba Province as a reward for his notable service in 1578, Korenori ascended to higher rank as he assisted in Hideyoshi's 1587 invasion of Kyūshū.

Kyushu Campaign (1587): Participated in Toyotomi Hideyoshi's campaign to subdue the Kyushu region.
Invasions of Korea (1592–1598): Involved in the campaigns against Korea under the Toyotomi banner.
Battle of Sekigahara (1600): Fought for the Eastern Army under Tokugawa Ieyasu. He helped attack the Western Army's Minakuchi Okayama Castle.

Siege of Minakuchi Okayama (1600): Following the Battle of Sekigahara, he joined forces with Ikeda Nagayoshi to capture Natsuka Masaie at Minakuchi Okayama Castle.
Burning of Tottori Castle Environs: During his time in Inaba Province, he was involved in burning the village around Tottori Castle in conjunction with Masahiro Saimura.
Failed Ryukyu Expedition (1590): Though not a battle, Korenori prepared a fleet to target the Ryukyu Islands but was blocked by the Shimazu clan.

Korenori's descendants were eventually made daimyō (lords) of the Tsuwano Domain, which they ruled until the Meiji Restoration (1868).

Overall in jolly nice condition, the top of the helmet, off centre, has a small impact dent about the size of a pound coin {see photo 4}. Very small age losses to the lacquer  read more

Code: 26209

A Simply Magnificent, Huge, Ozutso Samurai Hand Cannon Teppo Matchlock Gun, of Negishi Sukenobu, Inlaid With Silver and Gold Dragon With Both the Clan Mon of Kamei Kenenori and Tokugawa Ieyasu.

Their mon (family crest) is famously known as the Oi-katsubishi (追いかつ菱), which consists of two overlapping or "chasing" diamond shapes (hishimon). The clan, based in Tsuwano han during the Edo period, used this distinctive geometric crest.
These geometric kamon were popular during the Sengoku period because they were easy to recognize on battlefields.

Signed Japanese red oak stock. The huge uncompromising barrel is inlaid with twin, large silver clan mon of Kamei Kanenori and and gold-copper triple leaf Aoi, clan mon of Tokugawa Ieyasu at the breech, as they were alligned, it has a pinhole block site, extravagant gold and silver scrolling dragon inlay, up through the length of the barrel, terminating in a multi sided and stunning tulip form muzzle. Within the channel of the stock is a beautiful hand scripted signature of the samurai owner, Negishi Sukenobu no Tutu. Translation; Negishi Sukenobu's gun tutu is an old Japanese name for a matchlock gun

It has a sinchu matchlock mechanism with a long engraved match arm, inlaid with speckles of silver, traditional spring release utilising the ball trigger. the stock has engraved, silver cherry blossom form inlaid, barrel retaining mekugi-ana apertures, for the long copper mekugi to retain the barrel..

Part of a fine collection that arrived O-Zutsu hand cannon tanegashima, it is huge and incredibly heavy, of around 10 monme, 18mm bore

It is often the case were early samurai weaponry bear twin mon decoration, often demonstrating a co-joining or allegiance between two samurai clans. This example represents its a hand cannon of Kamei Kanerori and the Tokugawa clan mon as he fought for the clan at Sekigahara and beyond .

Kamei Korenori (亀井 茲矩; 1557 – February 27, 1612) was a Japanese daimyō who lived through the early Edo period. He was first a retainer under the Amago clan of Izumo Province, but eventually became a daimyō in his own right.

Chūgoku Campaign (from 1578): After the fall of the Amago, he joined Hashiba (Toyotomi) Hideyoshi, fighting against the Mōri clan, specifically taking part in the Siege of Tottori Castle.
Receiving Shikano castle in Inaba Province as a reward for his notable service in 1578, Korenori ascended to higher rank as he assisted in Hideyoshi's 1587 invasion of Kyūshū.

Kyushu Campaign (1587): Participated in Toyotomi Hideyoshi's campaign to subdue the Kyushu region.
Invasions of Korea (1592–1598): Involved in the campaigns against Korea under the Toyotomi banner.
Battle of Sekigahara (1600): Fought for the Eastern Army under Tokugawa Ieyasu. He helped attack the Western Army's Minakuchi Okayama Castle.

Siege of Minakuchi Okayama (1600): Following the Battle of Sekigahara, he joined forces with Ikeda Nagayoshi to capture Natsuka Masaie at Minakuchi Okayama Castle.
Burning of Tottori Castle Environs: During his time in Inaba Province, he was involved in burning the village around Tottori Castle in conjunction with Masahiro Saimura.
Failed Ryukyu Expedition (1590): Though not a battle, Korenori prepared a fleet to target the Ryukyu Islands but was blocked by the Shimazu clan.

Korenori's descendants were eventually made daimyō (lords) of the Tsuwano Domain, which they ruled until the Meiji Restoration

Resembling the Portuguese arquebus, the first matchlock gun to be seen in Japan, this massive and handsome weapon expresses the Japanese desire for powerful, finely made firearms.

A 17th century Japanese tradition relates that after the accidental arrival of three Portuguese mariners on Tanegashima Island in 1543, the sword-smith Kiyosada gave his daughter to their captain in order to learn the secrets of musket manufacture.

The actual guns were snap matchlocks made in Malacca, a Portuguese colony, and by 1550 were in production on a large scale. Known as ‘Tanegashima’ or ‘Teppō’ they were used by the Samurai and their foot soldiers and changed the way war was fought in Japan forever.

Large carbines such as this example were known as ‘ozutsu’ or cannon and were mounted on castle walls, used on merchant ships to repel pirates, on horseback in war or as assault weapons to blast through door hinges.

They could also launch incendiary or explosive arrows known as ‘Hiya’ to set fires during sieges. When fired these powerful weapons had a large recoil, and bales of rice were used to support the gunners back from injury.

Ammunition consisted of heavy round lead balls with differing sizes described as ‘Monme’. Made to take between 10 to 30 ‘Monme’ shots, this carbine is one of the largest examples of Japanese Edo Period handheld firearm

One woodblock in the gallery of a samurai holding an ozutso, and another of the great Takeda Shingen contemplating a small teppo matchlock gun, and it’s dramatic effect on the future of samurai warfare. The shape and form of ours is the same as the one contemplated by Takeda Shingen in the print, but ours is around four times the size, not a long gun but of incredible mass, beauty and presence. Somewhat like a dragon, a beast to admire for its breathtaking beauty, but to fear and respect for its power and presence.
The Amago clan, descended from the Emperor Uda (868–897) by the Kyogoku clan, descending from the Sasaki clan (Uda Genji).

Kyogoku Takahisa in the 14th century, lived in Amako-go (Omi Province), and took the name 'Amago'. The family crest, is also the one of the Kyogoku clan.

They were Shugodai (vice-Governors) of Izumo and Oki provinces for generations, for the Kyogoku Shugo branch , and their seat was Gassan Toda castle.

In 1484, Amago Tsunehisa (1458–1541), was deprived of the position of Shugodai by Kyogoku Masatsune, who was the Shugo, because he did not obey the request of tax from the Muromachi bakufu, and was expelled from Gassan Toda castle. Although Enya Kamonnosuke was dispatched to Gassan Toda castle as the new Shugodai, Tsunehisa recaptured Gassan Toda castle by a surprise attack in 1486, took control of Izumo, and developed the Amago clan into a Sengoku Daimyo clan.

The Amago fought the Ouchi clan or the Mori clan (who had been among their vassals), during Japan's Sengoku period.

For much of the next hundred years, the clan battled with the Ouchi and Mori, who controlled neighbouring provinces, and fell into decline when Gassantoda Castle fell to the Mori in 1566.

Amago Katsuhisa tried to regain prestige for the clan by joining the forces of Oda Nobunaga, invaded Tajima and Inaba provinces, but was defeated and died in the siege of Kozuki by the Mori in 1578.
Kamei Korenori (亀井 茲矩, 1557 – February 27, 1612) was a Japanese daimyō who lived through the early Edo period. He was first a retainer under the Amago clan of Izumo Province, but eventually became a daimyō in his own right. Receiving Shikano castle in Inaba Province as a reward for his notable service in 1578, Korenori ascended to higher rank as he assisted in Hideyoshi's 1587 invasion of Kyūshū. Following Hideyoshi's death in 1598, entered the service of Tokugawa Ieyasu. Following the Sekigahara Campaign of 1600, his income was raised from 13,000 to 43,000 koku as a reward for his service to the Tokugawa clan. Korenori died of natural causes in 1612.

Korenori's descendants were eventually made daimyō (lords) of the Tsuwano Domain, which they ruled until the Meiji Resoration.

Weight an impressive and formidable 6.6 kilos, length overall, 42 inches, barrel 30.5 inches  read more

Code: 24307

Superb & Rare 10 Plate Tetsu Steel Jingasa Samurai Battle Hat Helmet of The 1700's Traces Of Silver Inlay of Insects Such As Crickets, Catydids & A Spider Web From The Collection of Likely The World's Greatest Authority, Author On Japanese Polearms

From The Collection of Likely The World's Greatest Authority and Author On Japanese Polearms & Their Use

The tetsu jingasa (iron or steel battle hat) was a common form of head protection used in combat in feudal Japan, particularly by foot soldiers (ashigaru) during the Sengoku period (1467–1615) and by both soldiers and samurai during the Edo period (1603–1868). Unlike the elaborate kabuto helmets, the jingasa was lightweight, and shaped like a cone or shallow bowl, often with a wide brim to protect against overhead cuts and rain.

It was mainly worn by ashigaru as part of their okashi gusoku (loaned armour) to protect against overhead strikes, arrows, and musketry. Howeve, being of much higher quality and inlaid with silver decoration this beautiful example was clearly the war hat of a high rank samurai

While offering less protection than a kabuto (traditional helmet), it was highly favored for its light weight and mobility, which were crucial during long, intense battles.
The steel hats were typically lacquered and bore the mon (family crest) of the lord, which allowed identification of allies and enemies in the chaos of battle.
Weapon Usage (Improvised): Some martial arts schools, such as the Yagyu Shingan-ryu, taught that the steel jingasa could be removed and used as a makeshift shield or a striking weapon (similar to a buckler) when in close combat, though this was generally an emergency tactic.

What an incredible, early Edo, original samurai iron jingasa helmet this is. Only a very small percentage of jingasa war hats are made of plate steel but this one is rarer still in that is was inlaid with representation decor of silver insects, some of which are still viewable. including a cricket, a catydid and a superb spiders web.

Insects in general have been celebrated in Japanese culture for centuries. The Lady Who Loved Insects is a classic story of a caterpillar-collecting lady of the 12th century court; the Tamamushi, or Jewel Beetle Shrine, is a seventh century miniature temple, once shingled with 9,000 iridescent beetle forewings. In old Japanese literature, poems upon insects are to be found by thousands, Daisaburo Okumoto is director of the Fabre Insect Museum. An avid insect collector and a scholar of French literature, he has translated many of Fabre's works. He ascribes the popularity of insects in Japan to national character. It seems like Japanese eyes are like macro lenses and Western eyes are wide-angle, he says. A garden in Versailles, it's very wide and symmetrical. But Japanese gardens are continuous from the room and also very small. We feel calm when we look at small things. The medieval Japanese monk Yoshida Kenko put it this way: “If man were never to fade away like the dews of Adashino, never to vanish like the smoke over Toribeyama, how things would lose their power to move us”

A similar metal example, dated to the 19th century, was included in the 2010 exhibition Kyoto­-Tokyo: Des Samourais aux Mangas at the Grimaldi Forum in Monaco in 2010.  read more

Code: 26206

One Of The Most Incredible And Rare Early Samurai Swords We Have Ever Seen The Great Sword Nagamaki, From The Collection of Likely The World's Greatest Authority and Author On Japanese Polearms & Their Use

What a magnificent beauty! The Great Nagamaki that crosses the divide between the fearsome naganata, and the no-dachi.

It is a joy to acquire this monumental and incredibly rare example of ancient samurai arms, even if just for a brief while. It is in the process of being conserved for the next 500 years, and once completed it will be photographed in all its magnificence. We show it in the gallery as is prior to its completion. The original Edo period koshirae fittings will be relatively left untouched as they are already in great condition, with light artistic 風が吹いている (kaze ga fuite iru) ‘the wind is blowing’ decor. Which may be a symbolic representational name of the sword, such as 山颪 yamaoroshi, ‘wind blowing down from a mountain’

The blade has no damage at all, and in superb order, but, it requires considerable cleaning and expert hand conservation in order to return the blade’s beauty to its previous best.

We also show in the gallery early Japanese woodblock prints of similar examples used by great figures of samurai history.

The nagamaki is a type of sword developed from the Odachi but has the reach of a polearm too. It offers versatile combat techniques, and has the cutting power and technique of a sword with the reach of a longer weapon/polearm.

This behemoth of a sword appears illustrated in the author's second seminal work on samurai polearms and their combat use, of 'Japanese Spears: Polearms and Their Use in Old Japan' published in 2004.

Hosokawa Sumimoto (1489–1520) was a prominent samurai commander during Japan's Muromachi period, often depicted in art holding or associated with the nagamaki, a distinctive, long-handled Japanese sword.
Sumimoto is famously depicted in a 1507 equestrian portrait by Kano Motonobu wearing armor and holding a nagamaki, which is often used in modern media to illustrate this specific weapon.

The nagamaki ("long wrapping") is a sword with a blade length similar to a katana but with a very long handle (sometimes equal in length to the blade) that is wrapped in cord or leather. It was used for powerful sweeping and slicing strokes, particularly effective for infantry against cavalry.
Armor Connection: The armor worn by Sumimoto in his famous 1507 portrait (now associated with the Eisei-Bunko Museum) was later worn by his descendant, Hosokawa Narimori, making his, and the weapon's, appearance historically significant to the family's legacy.
Historical Context: Sumimoto was a key figure in the Hosokawa clan, acting as a deputy shogun (Kanrei) during a period of extreme civil strife in early 16th-century Japan.

We have also acquired the collector's prized nagamaki great sword, almost six feet long in its koshirae. Early or pre Azuchi Momoyama period, circa 1550. The type of samurai sword you very, very rarely see in Europe today outside of a museum, and often not in most museums either. This is one of the rarest types, an example that escaped the Shogun's *edict to cut the nagamakis and no-dachis down to regular katana sword length, as he believed swords that were over length for regular close quarter combat and should be shortened. {see details below}

We show a famous woodbloock print of Hosokawa Sumimoto carrying his nagamaki while on horse back. Our nagamaki was likely made within eighty years or so of Sumimoto's sword, just around the time of the Battle of Sekigahara. From the dimensions in the print, our blade is likely around a foot longer than his nagamaki.

Hosokawa Sumimoto (1489–1520) was a prominent samurai commander during Japan's Muromachi period, often depicted in art holding or associated with the nagamaki, a distinctive, long-handled Japanese sword.
The nagamaki is a type of sword developed from the Odachi but has the reach of a polearm too. It offers versatile combat techniques, and has the cutting power and technique of a sword with the reach of a longer weapon/polearm.

The nagamaki ("long wrapping") is a sword with a blade length similar to a katana or considerably longer, our nagamaki has a 43 inch blade, and with a very long tsuka {handle} sometimes equal in length to the blade that is wrapped in cord or leather. Ours is wrapped in leather as is the saya, then over decorated in a pattern. It was used for powerful sweeping and slicing strokes, particularly effective for infantry against cavalry.

To appreciate the heft and greatness of this sword, by just reading here, it is around 70% longer than a more usual long katana, and around 50% wider, and thicker, thus, likely six to eight times heavier. Once mounted it is likely the most impressive, original, and early samurai sword you will ever likely see or handle, a true behemoth of a museum piece.

*The Tokugawa shogunate did not issue a single, specific edict exclusively to reduce sword lengths but rather, in 1603, shortly after establishing the Tokugawa Shogunate, they enacted strict regulations that mandated all swords—including the massive no-dachi (field swords) and nagamaki, —be restricted to a specific, shorter length.
Many long no-dachi and nagamaki blades used in the previous warring era (Sengoku) were cut down at the tang (the handle part) and reduce the blade length to meet the new, shorter regulations to fit with the standard daishō (pair of swords) that samurai were allowed to carry.

It also needs overall conservation, and will be shown and offered for sale once completed.

As of this time we know of no other original length Nagamaki available on the worldwide collectors market today. In over 100 years we can recollect only owning three before, and we have likely handled in that time more original Japanese swords than any other still remaining antique sword dealers in the world today.  read more

Code: 26203

A Beautiful Edo Period Bato Jingasa Samurai Horserider's War Hat With Beautiful Four Flower Panels and Two Geometric Takebori Relief Decor In Six Distinct Panels Within the Urushi Lacquer With Clan Mon

Brown urushi lacquer with superb well-head mon, with six ken and red lacquer interior

Four ring symbolic tahen top mount. The samurai believed that through the tehen the spirit of Hachiman, the god of war, could pass into them. For this reason this hole on the kabuto is sometime sometimes called hachiman-za, literally "the seat of Hachiman". In this jingasa the tahen aperture is covered with a removable cap.

From The Collection of Likely The World's Greatest Authority and Author On Japanese Polearms & Their Use

In the armour of the Edo period, the tehen was richly adorned with multi-layered decorations, sometimes made of various metals. There are some schools of armorers where the tehen was so well finished and precise that it was covered only with a small iron rim, and sometimes not even with that. In the latter case it is possible to appreciate the value of the kabuto and admire the mastery of those who made it. At the rear a ring is fixed at the back of the helmet, designed to carry a small identification flag (Kasa jirushi no kan).

Apart from protection (the main function), a jingasa carried out the functions essential to caps: sunshade and rainshelter. It played too the role of a marker indicating the status of the wearer’s family in society. They were used as a container or weapon too. Jingasa developed both in shape and decoration during the Edo era (1603-1867) and were a symbol of samurai culture. Some Jingasa was a conical helmet most commonly worn with Ashigaru Armour, others were dished and round and a few had an upturned brim like this example so the firing of arrows in combat would be unhindered by a wide brim at the front.

It was typically made of hardened lacquered leather, or wood or a pressed composition somewhat like papier mache but also sometimes with iron. The jingasa could also commonly be marked with the mon of the lord or clan to help identify the warrior's side on a battlefield.

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!

Overall in very nice condition for age with small lacquer wear marks.

Photo in the gallery from renowned Japanese director Takashi Miike 's classic, 13 Assassins (Jûsan-nin no shikaku). Where a samurai lord, surrounded by his bodyguard of samurai under attack, wears his same jingasa.  read more

Code: 26208

A Beautiful Edo Period Higher Ranking Samurai Folding, Dragon Mon Kusari Katabira Armour. From The Collection of, Likely, The World's Greatest Authority and Author On Japanese Polearms & Their Use

Edo period samurai karuta tatami dou in the hara-ate style. The decorated tatami armour, such as this beautiful example, was usually worn by the high-class Samurai, while the lower class wore more simple versions.

The lower ranking samurai would likely wear a folding mail helmet with tatami kusari folding armour. When worn by a higher rank samurai, or daimyo, it would be likely worn with a fine jingasa helmet, such as our example, item code 26208, that came from the same collection.

Kusari Katabira (Chain Mail Armour Coat) is a style of tatami yoroi or "folding armour" used by Daimyo, samurai warriors, their retainers and ashigaru (foot soldiers) during the feudal Sengoku and slightly more peaceful Edo era of Japan.

A simply stunning black urushi lacquer, and pure gold decorated, Nichiren-shu Ryu no Maru dragon mon centre panel. Many types of this form of combat armour are plain black, however this is one of the most beautiful we have ever seen.

Two woodblock prints in the gallery of samurai in combat wearing kusari chain mail armour

The beauty of this form of samurai armour is that it can also be amazingly displayed, wall mounted, within a large bespoke frame, in the same manner as a silk kimono.

Kusari tatami armour (chain mail folding armour) is a lightweight, portable Japanese defense featuring mail (kusari) sewn onto cloth or leather, often reinforced with small plates. Used during the Sengoku/Edo periods, it allowed for quick deployment, easy transport, and was worn by samurai, retainers, and ashigaru (foot soldiers) for combat.
Part of the tatami (folding) armor family, it was designed to be collapsed or folded for easy storage.
Kusari (Mail): Japanese mail typically consisted of riveted or butted iron rings in a 4-in-1 pattern, often connected to small, square/rectangular plates (karuta) or hexagonal plates (kikko).
The mail was commonly stitched onto hemp linen or leather backing, forming armored jackets known as kusari katabira or yoroi katabira.
Included kusari tatami dō (cuirass), karuta tatami dō (plate-and-mail cuirass), and kusari gusoku (full suit of mail).
Ideal for scouts, high-ranking samurai on the move, or for wear under regular clothing by guards.
Variations in Tatami Armour
Karuta Tatami: Focuses on small iron or leather squares (karuta) connected by mail, often backed with cloth.
Kikko Tatami: Uses small, hexagonal plates (kikko) hidden or exposed within the mail/cloth structure.  read more

Code: 26204

A Wonderful Original Antique Signed Samurai Glaive, C.1700, An Honorific Representation of Seiryūtō, the 'Green Dragon', of Kanshō. And, The Great Sword Nagamaki, From The Collection of World's Greatest Authority and Author On Japanese Polearms

Part of the amazing collection, accumulated over 70 years, of edged weapons, helmets and armour that we acquired, from the late great collector and one of the most famous and first martial art practitioners and sensei in the UK, that shall be added soon for sale, once conserved in the workshop.

His number one friend and dojo ‘sempai’ was also our great friend and work colleague of 40 years.

This wonderful 300 year old naginata, by Tosa Mitsumasa Masakiyo, is not only an incredible weapon of combat, but made as a representation of Daitō Kanshō's great spear, called Seiryūtō, and it appears illustrated in the author's second seminal work on samurai polearms and their combat use, of 'Japanese Spears: Polearms and Their Use in Old Japan' published in 2004.

The original version is a very most fabulous polearm of legend, and represented in the book, written in the 14th century, Suikoden, and appears in chapter 62, used by Daito Kansho.

Daitō Kanshō was born in Hotō-gun, the grandson of Juteikō (Shouting hou), and was a descendant of the great general, Kan-u Unchō (Guanyu Yunchang), during the time of the Three Kingdoms; he is thought to have greatly resembled him. He was a municipal guard and always used a glaive called a 'seiryūtō', or ‘green dragon’ the origin of his nickname, Daitō (big spear). While he was young, he became well versed in martial arts and weaponry and his style of fighting was similar to that of Kan-u.

Famous prints, that we we show in the gallery, depicts the battle of Tōshōfu (Dongchang fu) where Kanshō is blocking the stones that are being thrown by Botsu-usen Chōsei (Zhang Qing), using the butt of his enormous glaive to parry them. He was considered particularly brave to fight against Chōsei who was famous for being able to hit his target with a stone ten times out of ten.
This print of Kanshō forms a diptych with a print of Chōsei in Kuniyoshi's Suikoden.

We have also acquired the collector's prized nagamaki great sword, almost six feet long in its koshirae. Early or pre Azuchi Momoyama period, circa 1550. The type of samurai sword you very, very rarely see in Europe today outside of a museum, and often not in most museums either. This is one of the rarest types, an example that escaped the Shogun's *edict to cut the nagamakis and no-dachis down to regular katana sword length, as he believed swords that were over length for regular close quarter combat and should be shortened. {see details below}

We show a famous woodbloock print of Hosokawa Sumimoto carrying his nagamaki while on horse back. Our nagamaki was likely made within eighty years or so of Sumimoto's sword, just around the time of the Battle of Sekigahara. From the dimensions in the print, our blade is likely around a foot longer than his nagamaki.

Hosokawa Sumimoto (1489–1520) was a prominent samurai commander during Japan's Muromachi period, often depicted in art holding or associated with the nagamaki, a distinctive, long-handled Japanese sword.
The nagamaki is a type of sword developed from the Odachi but has the reach of a polearm too. It offers versatile combat techniques, and has the cutting power and technique of a sword with the reach of a longer weapon/polearm.

The nagamaki ("long wrapping") is a sword with a blade length similar to a katana or considerably longer, our nagamaki has a 43 inch blade, and with a very long tsuka {handle} sometimes equal in length to the blade that is wrapped in cord or leather. Ours is wrapped in leather as is the saya, then over decorated in a pattern. It was used for powerful sweeping and slicing strokes, particularly effective for infantry against cavalry.

To appreciate the heft and greatness of this sword, by just reading here, it is around 70% longer than a more usual long katana, and around 50% wider, and thicker, thus, likely six to eight times heavier. Once mounted it is likely the most impressive, original, and early samurai sword you will ever likely see or handle, a true behemoth of a museum piece.

*The Tokugawa shogunate did not issue a single, specific edict exclusively to reduce sword lengths but rather, in 1603, shortly after establishing the Tokugawa Shogunate, they enacted strict regulations that mandated all swords—including the massive no-dachi (field swords) and nagamaki, —be restricted to a specific, shorter length.
Many long no-dachi and nagamaki blades used in the previous warring era (Sengoku) were cut down at the tang (the handle part) and reduce the blade length to meet the new, shorter regulations to fit with the standard daishō (pair of swords) that samurai were allowed to carry.

It also needs overall conservation, and will be shown and offered for sale once completed.

As of this time we know of no other original length Nagamaki available on the worldwide collectors market today. In over 100 years we can recollect only owning three before, and we have likely handled in that time more original Japanese swords than any other still remaining antique sword dealers in the world today.  read more

Code: 26202

A Fabulous, Samurai Late Koto To Shinto Period Wakazashi Sword In Very Fine, All Original, Edo Period Handachi Koshirae. With Original Urushi Ishime Lacquer Saya In Chitosemidori, A Thousand Year Green. Samurai War Pony Menuki. With A Remarkable Blade

Overall this sword is is superb condition, all the handachi mountings are original Edo period, as is the saya and its urushi ishime lacquer. The tsuka-ito has a geometric weave pattern, and also original Edo period. The delightful Edo tsuba is iron, with a relief Aoi leaf pattern, and signed. The pair of Edo menuki are pure gold over shakudo of deep takebori samurai war ponies in fully saddled riding tack, without riders..
The kozuka, side knife, has a Higo school iron handle depicting two Minogame turtles, particularly the minogame (straw-raincoat turtle), represent wisdom and are said to live so long that algae grows on their shells, resembling a tail.

Chitosemidori is a traditional Japanese colour that resembles the dark green colour of Japanese pine needles. The name “Chitosemidori” comes from the Japanese pine, symbolizing longevity due to its evergreen nature. This colour is significant because it represents enduring beauty. According to legend, it remains unchanged even after 1,000 years, reflecting the timeless nature of the Japanese pine.

Japanese lacquer, or urushi, is a transformative and highly prized material that has been refined for over 7000 years.
Cherished for its infinite versatility, urushi is a distinctive art form that has spread across all facets of Japanese culture from the tea ceremony to the saya scabbards of samurai swords
Japanese artists created their own style and perfected the art of decorated lacquerware during the 8th century. Japanese lacquer skills reached its peak as early as the twelfth century, at the end of the Heian period (794-1185). This skill was passed on from father to son and from master to apprentice.

Some provinces of Japan were famous for their contribution to this art: the province of Edo (later Tokyo), for example, produced the most beautiful lacquered pieces from the 17th to the 18th centuries. Lords and shoguns privately employed lacquerers to produce ceremonial and decorative objects for their homes and palaces.
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!
Flowing from incisions made in the bark, the sap, or raw lacquer is a viscous greyish-white juice. The harvesting of the resin can only be done in very small quantities.
Three to five years after being harvested, the resin is treated to make an extremely resistant, honey-textured lacquer. After filtering, homogenization and dehydration, the sap becomes transparent and can be tinted in black, red, yellow, green or brown.
Once applied on an object, lacquer is dried under very precise conditions: a temperature between 25 and 30°C and a humidity level between 75 and 80%. Its harvesting and highly technical processing make urushi an expensive raw material applied in exceptionally fine successive layers, on objects such as bowls or boxes.After heating and filtering, urushi can be applied directly to a solid, usually wooden, base. Pure urushi dries into a transparent film, while the more familiar black and red colours are created by adding minerals to the material. Each layer is left to dry and polished before the next layer is added. This process can be very time-consuming and labour-intensive, which contributes to the desirability, and high costs, of traditionally made lacquer goods. The skills and techniques of Japanese lacquer have been passed down through the generations for many centuries. For four hundred years, the master artisans of Zohiko’s Kyoto workshop have provided refined lacquer articles for the imperial household.

Han-dachi originally appeared during the Muromachi period when there was a transition taking place from Tachi to katana. The sword was being worn more and more edge up when on foot, but edge down on horseback as it had always been. The handachi is a response to the need to be worn in either style. The samurai were roughly the equivalent of feudal knights. Employed by the shogun or daimyo, they were members of hereditary warrior class that followed a strict "code" that defined their clothes, armour and behaviour on the battlefield. But unlike most medieval knights, samurai warriors could read and they were well versed in Japanese art, literature and poetry.

The Japanese samurai and their famously iconic swords lasted relatively unchanged for 1200 years. A Nara period tachi sword of 700 ad was not that much different from a late Tokugawa period tachi sword of 1860. Compare that to Europe, every style and pattern of sword was used, and dramatic changes meant all forms of sword, and sword combat, changed and evolved from century to century. Yet in Japan the form changed little, the style was excellent from the very earliest period, and all that was required was incremental small improvements and very subtle changes. A samurai armed with a sword from 700 ad, would not appear that much changed 1100 years later. However, the samurai sword had been improved, and improved more, to a standard of quality excellence, after 500 years, that remained unrivalled throughout the world. A sword steel that was the finest steel ever created by mankind, a steel so fine that it bears no useful comparison to every other finest blade steel ever made. Damascus is likely the closest, but still way, way, below Japanese samurai sword steel. If Japanese samurai steel, ranked in first place, was compared to a formula one racing car, Damascus or pattern welded sword steel, ranked in second place, would be the equivalent to a twenty year old New York taxicab by comparison.

Picture 7 in the gallery is of the tsukaito over the war pony menuki. They appear to difference shades of green, but this is an illusion created by the camera photo light. There is no actual difference in colour at all

Overall 27 1/4 inches long in saya, blade 19 3/4 inches long  read more

Code: 26201

A Good Antique Edo Period Round Signed Tetsu Wakazashi Tsuba Embossed Seashells

A delightful iron round tsuba takebori patterned with various shells over a water pattern background, with ana openings for kozuka and kogai. The Tsuba can be solid, semi pierced of fully pierced, with an overall perforated design, but it always a central opening which narrows at its peak for the blade to fit within. It often can have openings for the kozuka and kogai to pass through, and these openings can also often be filled with metal to seal them closed. For the Samurai, it also functioned as an article of distinction, as his sole personal ornament 61 mm  read more

Code: 22455