Japanese

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

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

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

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

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

Samurai have been describes as "the most strictly trained human instruments of war to have existed." They were expected to be proficient in the martial arts of aikido and kendo as well as swordsmanship and archery---the traditional methods of samurai warfare---which were viewed not so much as skills but as art forms that flowed from natural forces that harmonized with nature.
Some, it is said, warriors, didn't become a full-fledged samurai until he wandered around the countryside as begging pilgrim for a couple of years to learn humility. When this was completed they achieved samurai status and receives a salary from his daimyo paid from taxes (usually rice) raised from the local populace. Swords in Japan have long been symbols of power and honour and seen as works of art.
Shakudo {that can be used to make samurai sword mounts and fittings} is a billon of gold and copper (typically 4-10% gold, 96-90% copper) which can be treated to form an indigo/black patina resembling lacquer. Unpatinated shakudo Visually resembles bronze; the dark colour is induced by applying and heating rokusho, a special patination formula.

The Samurai sword, from all eras, in all its forms, has grown to be one of the most highly desired and iconic military antiques of all time.

There are many reasons why people enjoy collecting swords. Some people are drawn to the beauty and craftsmanship of swords, while others appreciate their historical and cultural significance. Swords can also be a symbol of power and strength, and some collectors find enjoyment in the challenge of acquiring rare or valuable swords.

One of the greatest joys of sword collecting is the opportunity to learn about the history and culture of different civilisations. Swords have been used by warriors for millennia, and each culture has developed its own unique sword designs and traditions. By studying swords, collectors can gain a deeper understanding of the people who made and used them.

Another joy of sword collecting is the sheer variety of swords that are available. There are swords in our gallery from all over the world and from every period of history. Collectors can choose to specialize in a particular type of sword, such as Japanese katanas or medieval longswords, or they can collect a variety of swords from different cultures and time periods. No matter what your reasons for collecting swords, it is a hobby that can provide many years of enjoyment. Swords are beautiful, fascinating, and historically significant objects.

** Authentic, currently, modern hand-made nihonto (Japanese sword blades) from top-tier, licensed swordsmiths in Japan today, typically start around $10,000–$25,000 for a katana, with prices often exceeding $60,000 for renowned masters or customized commissions. These, forged from tamahagane steel, require 12+ months to create due to strict legal limits on production, with some high-end, custom pieces from master smiths such as Yoshindo Yoshihara exceeding $10,000 for smaller tanto blades.
A brand new, katana blade from a reputable but lower ranked smith usually starts around $7,500–$10,000.
Master Smith Pricing, by high-ranking, famous, or award-winning smiths can range from $25,000 to over $60,000. With the added restriction that if the smith created a blade that was ranked high enough to be within the $ 60,000 range, it would be forbidden for it to leave Japan by law.
Japanese law limits smiths to producing roughly 24 long swords (katana/tachi) per year, significantly driving up demand and cost.

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

Something else important to consider for potential collectors. Although it is fair to say that very fine, ancient, and available Japanese samurai swords are not the most inexpensive pieces to buy, compare them to the same equally highly ranked and available collectables in literally any other medium. The best available watercolour paintings will be priced from the hundreds of thousands to millions. The best available oil paintings will be from lower millions to tens of even hundreds of millions. The same for jewels, clocks, fine art, watches and certainly some rare vintage cars.

Of course, there are Japanese swords that can rank in value within the millions of pounds, in fact one of the most valuable works of art in the world, according to Forbes list, is a samurai sword, valued at 100 million dollars, and if a Masamune samurai sword ever appeared on the open market, it would certainly be priced at the ten’s of millions range. However, they simply are never available, but maybe, in theory, one 'might' appear on the open market but only every 50 to 100 years or so. However, the next level down within the world of collectable samurai swords, below the ‘very rarest’ of national treasure masterpieces, are available {and we have dozens of them} yet, they are still within the upper thousands to tens of thousand of pounds, which, by comparison, is utterly remarkable.
A wonderful Renoir, Cezanne, or any of best French Impressionist oil paintings are readily available though, in fact they appear for sale every month or so, in either London, Paris, New York or Tokyo, but, selling for tens or even the hundreds of millions of pounds range,and rare, early 1960's Ferraris can be also within that incredible range of value. So, where else can one find, within the collectable world of fine art, the finest ‘available’ collectable samurai sword, that can be less than one percent the cost of its equivalent competition. However, view a fabulous 500 year old samurai sword beautifully displayed and decorating a billionaire's home, and the uninformed will assume it will likely have cost millions of pounds, and it could certainly look as if it would have. But no, it will likely have been purchased for under £20,000.

Blade surface has areas of the usual age surface micro thinning seen in Koto blades

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

Code: 24182

A Very Attractive, Edo Era 17th to 18th Century Samurai's Tetsu Abumi Stirrup, Inlaid With Silver in a Pattern Of a Flower Mon

This Japanese stirrup, is made in the traditional dove's breast (hato mune) shape with an open platform lined slightly curved forward so that the foot fits in without sliding backwards. In the front extremity the stirrup has a rectangular buckle with several horizontal slots which also serve as a handle.
The whole surface is in ancient russetted iron in the distinctive Higo school style, with a large onlaid decorative mount of a bird and various flora.

It is to be noted that these stirrups, due to their weight, were also used as weapons against the infantry adversaries. 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.  read more

Code: 26134

A Fine & Beautiful Edo Period Iron Tsuba in Nikubori Jisukashi Of Waterfalls Rocks and River with A wooden Bridge Being Traversed by a Figure On Horseback Carrying a Parasol

The tsuba was possibly created by Yoshiharu (吉春), of the late Edo period .
He was living in the Hagi (萩) domain (another name of the Choshu domain) in Nagato no Kuni (長門国,

It is engraved with the Nikubori Jisukashi. Nikubori Jisukashi is a Japanese tsuba (sword guard) carving technique, translating to "relief-carved openwork" (肉彫地透). It combines thick, high-relief (nikubori) sculptural carving with openwork (sukashi) techniques on the iron plate (ji). Primarily used during the Edo period by schools like Shoami, this style creates a three-dimensional effect, making the motif stand out from the ground, often featuring detailed, rounded figures rather than simple silhouettes.

Technique: "Niku" (肉) refers to meat/flesh, implying thickness or rounding of the metal, while "Ji-sukashi" (地透) means openwork on the ground plate.  read more

Code: 26131

An Edo Period Tettsu ‘ Krishitan’ {Christian} Samurai Sword Tsuba {Sword Guard} Of Twin Symbols of The Rope And The Cross. In Superb Condition & Traditionally Boxed For Display. From A Very Fine Collection Of Beautiful Antique Tsuba

This beautiful iron tsuba, contains the hidden Edo period Christian symbols of the rope and the cross, and it serves as both a reminder to the violence and to the subsequent hiddenness that came out of the Japanese convert Christians’ suffering. The rope was symbol of obedience - the symbol of an untied rope.
It may be that the design of the tsuba confronted the believer to the ambiguity born of a prolonged time of painful secrecy. Surrounded by the threat of violence, even a weapon could bear a hidden symbol of Christianity—the cross.

The Hidden Christians quieted their public expressions and practices of faith in the hope of survival from the great purge. They also suffered unspeakably if captured and failed to renounce their Christian beliefs.

In Silence, Endo depicts the trauma of Rodrigues’ journey into Japan through his early encounter with an abandoned and destroyed Christian village. Rodrigues expresses his distress over the suffering of Japanese Christians and he reports the “deadly silence.”

‘I will not say it was a scene of empty desolation. Rather was it as though a battle had recently devastated the whole district. Strewn all over the roads were broken plates and cups, while the doors were broken down so that all the houses lay open . . . The only thing that kept repeating itself quietly in my mind was: Why this? Why? I walked the village from corner to corner in the deadly silence.

...Somewhere or other there must be Christians secretly living their life of faith as these people had been doing . . . I would look for them and find out what had happened here; and after that I would determine what ought to be done.”

- Silence, Shusaku Endo

The current FX series 'Shogun' by Robert Clavell is based on the true story of William Adams and the Shogun Tokugawa Ieyesu, and apart from being one of the very best film series yet made, it shows superbly and relatively accurately the machinations of the Catholic Jesuits to manipulate the Japanese Regents and their Christian convert samurai Lords.

Oda Nobunaga (1534–82) had taken his first step toward uniting Japan as the first missionaries landed, and as his power increased he encouraged the growing Kirishitan movement as a means of subverting the great political strength of Buddhism. Oppressed peasants welcomed the gospel of salvation, but merchants and trade-conscious daimyos saw Christianity as an important link with valuable European trade. Oda’s successor, Toyotomi Hideyoshi (1537–98), was much cooler toward the alien religion. The Japanese were becoming aware of competition between the Jesuits and the Franciscans and between Spanish and Portuguese trading interests. Toyotomi questioned the reliability of subjects with some allegiance to the foreign power at the Vatican. In 1587 he ordered all foreign missionaries to leave Japan but did not enforce the edict harshly until a decade later, when nine missionaries and 17 native Kirishitan were martyred.

After Toyotomi’s death and the brief regency of his adopted child, the pressures relaxed. However, Tokugawa Ieyasu, who founded the great Tokugawa shogunate (1603–1867), gradually came to see the foreign missionaries as a threat to political stability. By 1614, through his son and successor, Tokugawa Hidetada, he banned Kirishitan and ordered the missionaries expelled. Severe persecution continued for a generation under his son and grandson. Kirishitan were required to renounce their faith on pain of exile or torture. Every family was required to belong to a Buddhist temple, and periodic reports on them were expected from the temple priests.

By 1650 all known Kirishitan had been exiled or executed. Undetected survivors were driven underground into a secret movement that came to be known as Kakure Kirishitan (“Hidden Christians”), existing mainly in western Kyushu island around Nagasaki and Shimabara. To avoid detection they were obliged to practice deceptions such as using images of the Virgin Mary disguised as the popular and merciful Bōsatsu (bodhisattva) Kannon, whose gender is ambiguous and whom carvers often render as female.

The populace at large remained unaware that the Kakure Kirishitan managed to survive for two centuries, and when the prohibition against Roman Catholics began to ease again in the mid-19th century, arriving European priests were told there were no Japanese Christians left. A Roman Catholic church set up in Nagasaki in 1865 was dedicated to the 26 martyrs of 1597, and within the year 20,000 Kakure Kirishitan dropped their disguise and openly professed their Christian faith. They faced some repression during the waning years of the Tokugawa shogunate, but early in the reforms of the emperor Meiji (reigned 1867–1912) the Kirishitan won the right to declare their faith and worship publicly.

Two images in the gallery are drawings of bronze fumi-e in use during the 1660s in Japan, during the time of the persecution. Each of these drawings mirrors actual brass fumi-e portraying Stations of the Cross, which are held in the collections of the Tokyo National Museum.  read more

Code: 25310

A Most Elegant Ko Wakizashi, or Long Sunobi Tanto, Signed Blade Shinto Period Circa 1650The Entire Original Edo Period Koshirae {Mountings} Are In The Form Described As Shibui, {Quiet}

All original Edo mounts and a most fine and elegant blade with notare based on suguha hamon, signed, possibly Norishige, but the kanji are somewhat difficult to interpret, 15.5 inch blade measured from tsuba to tip.

Suite of matching koshirae mounts in tetsu with the tsuba gold inlaid with a stylized Buddhist dragon and clouds, in gold, 19th Century, similarly inlaid in the sayajiri and saya band inlaid, with a black stippled urushi lacquer, and a carved wood tsuka. The kozuka is a takebori dragon on the plain tetsu ground, the blade is carved wood. The blade has a fine silver foiled habaki engraved with oblique raindrop pattern.

In the context of Japanese aesthetics, Shibui (渋い) refers to a "simple, subtle, and unobtrusive beauty". Decorating with a katana in this manner moves away from extravagant displays toward a refined, understated elegance that emphasises craftsmanship and cultural respect.

Sunobi Tanto
The Tanto that varied from the traditional size were called Sunobi-Tanto or O-Tanto. These were larger versions of the Tanto which featured blades usually measuring between 13 to 14 inches long. It was close to the size of the Ko-Wakizashi, which is a shorter version of the Wakizashi. However as this blade is even longer that the usual 14 inches, that is why it can be considered as a transitional weapon that has a foot in both camps so to speak. Because of its often small size, the Samurai warriors were able to conceal the Tanto in their clothing. It was also the Shoto or small sword in the Daisho and was paired with the Tachi. This was before the Samurai chose to use the Wakizashi over the Tanto as an auxiliary sword.
The Wakizashi was a Samurai warrior’s backup weapon that was used for close-quarter battles. Aside from this, the sword was a Samurai warrior’s tool for beheading a defeated opponent. It was sometimes used for committing Seppuku, a ritualistic suicide.

In addition, the Wakizashi was one of the few short swords available to the Samurai warrior. Another sword they might use was called a Chisa Katana, effectively a short Katana perfect for use within buildings castles etc. and the prerogative of the personal full time bodyguard of a Daimyo lord, who were the usually the only samurai permitted to be armed in his presence day and night.

Because the sword was the main battle weapon of Japan's knightly man-at-arms (although spears and bows were also carried), an entire martial art grew up around learning how to use it. This was kenjutsu, the art of sword fighting, or kendo in its modern, non-warlike incarnation. The importance of studying kenjutsu and the other martial arts such as kyujutsu, the art of the bow, was so critical to the samurai a very real matter of life or death that Miyamoto Musashi, most renowned of all swordsmen, warned in his classic The Book of Five Rings: The science of martial arts for warriors requires construction of various weapons and understanding the properties of the weapons. A member of a warrior family who does not learn to use weapons and understand the specific advantages of each weapon would seem to be somewhat uncultivated. European knights and Japanese samurai have some interesting similarities. Both groups rode horses and wore armour. Both came from a wealthy upper class. And both were trained to follow strict codes of moral behaviour. In Europe, these ideals were called chivalry; the samurai code was called Bushido, "the way of the warrior." The rules of chivalry and Bushido both emphasize honour, self-control, loyalty, bravery, and military training

As once told to us by an esteemed regular visitor to us here in our 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 world of antique sword collecting is a fascinating journey into the past, offering a unique lens through which to view history and culture. More than mere weapons, these artifacts serve as tangible connections to the societies and ancient times where they originated. Each blade tells a story, not just of the battles it may have seen but of the craftsmanship, artistic trends, and technological advancement of its time.

The swords mountings can be equally telling. Engravings and decorative elements may enhance the sword’s beauty and hint at its historical context. The materials used for them can reveal the sword’s age

Collecting antique swords, arms and armour is not merely an acquisition of objects; it’s an engagement with the historical and cultural significance that these pieces embody. As collectors, we become custodians of history, preserving these heritage symbols for future generations to study and appreciate.

We are now, likely the oldest, and still thriving, arms armour and militaria stores in the UK, Europe and probably the rest of the world too. We know of no other store of our kind that is still operating under the control its fourth successive generation of family traders

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: 24350

A Beautiful Quality Nanban Tsuba of Flying Dragons Over Scrolling Clouds With Gold Work. It Is Simply Breathtaking in its Beauty And Craftsmanship.

An unusual nanban tsuba of unknown origin. It is decorated in a style that reminds of some sawasa export wares. Both sides are carved with two sky dragons over a carved background of scrollwork. The reverse is carved to match, also with two dragon around the infilled hitsu-ana, and the kozuka-hitsu-ana with gold alloy, one domed the other conical. The scrolling, is in the form of an intricately carved cloud background. The rim is beaded. The seppa dai is carved with arked comb pattern overlaid in silver.

The fineness of carving and the fact that much of the overlay is done over a cross hatched background that is cut in three directions suggests the work is most likely done in Japan. Our thoughts are that it goes towards the nanban-style carvers in Yamashiro.

Nanban tsuba (Southern Barbarian sword guards) are 16th to 19th-century Japanese sword fittings characterized by foreign, non-traditional designs, primarily featuring intricate iron openwork (sukashi), beaded rims, and Chinese or European motifs. Originating from trade with foreign ships, these often-lavish guards were produced in China or by the Dutch East India Company and adapted for Japanese swords.
: "Nanban" means "Southern Barbarian," a term used during the Edo period to describe foreigners—specifically Portuguese, Spanish, and Dutch traders—who arrived by sea.
While the name implies Western influence, most designs actually show strong Chinese influence.

They are usually made of iron, featuring complex openwork (carved in relief or pierced), undercutting, and often feature "small balls" trapped in small compartments that can move. Common motifs include dragons chasing flaming pearls, foreign letters (like "VOC" for the Dutch East India Company), and arabesque designs.
Initial pieces were likely imported from China or Southeast Asia through Nagasaki from the late 16th century onwards.
Japanese craftsmen began copying these styles. They often added specific features for Japanese swords, such as the hitsu-ana (holes for the utility knife/hairpin) and modifying the nakago-ana (tang hole).
The Yagami School: Based in Nagasaki, this school specialized in this style during the 18th century, famous for intricate ironwork featuring Chinese-style dragons and, notably, "1000 monkey" designs.
Although foreign-influenced, they were popular among samurai as fashionable, often heavily gilded or inlaid with gold/silver. They were sometimes used to subtly showcase hidden religious preferences (e.g., small crosses) during the prohibition of Christianity

Nanban-style carvers in Yamashiro (modern-day Kyoto) refers to 18th-century Japanese metalworkers, specifically tsuba (sword guard) makers, who adopted foreign design elements—primarily Chinese, but also Portuguese and Dutch influences—into their craft.

These artisans are known for producing Nanban Tsuba (Southern Barbarian sword guards), which often feature intricate, openwork (sukashi) designs, such as dragons, vines, and lion-like figures, usually on an iron ground.
They utilized gold or silver nunome-zōgan (inlay) to highlight designs, frequently carving on a cross-hatched background to create a textured, luxurious, or exotic look.
While Nanban-style items were often associated with Nagasaki, Kyoto-based makers (Yamashiro) were known for producing higher-quality, more sophisticated, and detailed versions, often with better-finished carvings.
Connection to Heianjo School: Some of these designs are categorized alongside Heianjo-style Tsuba, which were established in Yamashiro and known for combining iron with brass inlays.

These carvers operated during the Edo period (1603–1868), with peak production of these refined, domestically made Nanban pieces occurring around the 18th century.  read more

Code: 26127

A Super and Most Beautiful Koto Wakazashi Circa 1550 With Original Edo Koshirae of Shakudo, Silver & Gold with a Nagoyamono Tsuba in Shakudo & Gold Prunus Tree With Nanako Ground and a Nanako Rim

Koto blade circa 1550 with beautiful old polish, that is near mint, showing a fine gunome notare hamon. All the original Edo fittings beautifully compliment the wonderful blade, and the original edo saya is decorated in fine urushi in black lacquer Roiro-nuri (蝋色塗, Wax Colour Coating). The fuchi kashira are most charming, and a a mix of shakudo, gold and silver decorated flower heads over a nanako ground.
Shakudo is a billon of gold and copper (typically 4-10% gold, 96-90% copper) which can be treated to form an indigo/black patina resembling lacquer. Unpatinated shakudo Visually resembles bronze; the dark color is induced by applying and heating rokusho, a special patination formula.

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

The tsuka is bound in gold silk tsuka-ito over a pair of gold and shakudo menuki of the legendary phoenix fire birds, above fine samegawa {giant rayskin}. The tsuba is a Nagoyamono of gold shakudo over a nanako ground with a nanako rim.
Nanako Ji: "fish roe ground" A surface decoration produced by forming very small raised bosses by a sharply struck punch or burin called 'nanako tagane'. Shakudo is the metal most often used, but copper and gold are quite often employed. The harder metals, shibuichi, silver and iron are rarely decorated in this way. The size of the dots vary from 0.04" to 0.008" (25 to 125 and inch) and the regularity of the work is marvelous as the dots must be spaced entirely by touch. The dots are usually arranged in straight lines or in lines parallel to the edge of the piece being decorated, but sometimes in more elaborate patterns. Used on guards since the Momoyama period although the technique existed since much earlier periods. Usually done by specialist 'nanako-shi', but sometimes done by the maker of the guard himself.

As once told to us by an esteemed regular visitor to us here in our 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 world of antique sword collecting is a fascinating journey into the past, offering a unique lens through which to view history and culture. More than mere weapons, these artifacts serve as tangible connections to the societies and ancient times where they originated. Each blade tells a story, not just of the battles it may have seen but of the craftsmanship, artistic trends, and technological advancement of its time.

The swords mountings can be equally telling. Engravings and decorative elements may enhance the sword’s beauty and hint at its historical context. The materials used for them can reveal the sword’s age

Collecting antique swords, arms and armour is not merely an acquisition of objects; it’s an engagement with the historical and cultural significance that these pieces embody. As collectors, we become custodians of history, preserving these heritage symbols for future generations to study and appreciate.

We are now, likely the oldest, and still thriving, arms armour and militaria stores in the UK, Europe and probably the rest of the world too. We know of no other store of our kind that is still operating under the control its fourth successive generation of family traders

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

It will come complete, with our compliments, with a display stand a most decorative damask storage bag, a pair of white handling gloves and a white microfibre cleaning cloth.  read more

Code: 26126

A Stunning Ancient Koto Museum Grade Long Katana, Circa 1480's Around 550 Years Old, all Original Edo Fittings, Entomological Kachimushi Tsuba and Suzumebachi Menuki

A beautifully impressive and long ancient samurai sword, worthy of a museum quality display, with a stunning Koto blade that has an amazing gunome hamon and it looks fabulous, as it last did 170 years ago, before it arrived in England from Japan, as a honorary gift from a member of the Japanese nobility. It is fitted with a very fine, large iron kachimushi decorated iron tsuba.

Just returned so new close-up photos of the fabulous ancient blade we now show { It looks amazing!!}
The whole sword has been untouched for over 170 years, yet still looks amazing as an incredible historical artifact of the ancient art of the samurai.

It has a very rare menuki of suzumebachi, giant hornets Vespa madarina Japonica, in pure gold overlay and shakudo, a subspecies of the world's largest hornet, with a wingspan of 2.4 inches. Giant hornets give spiritual protection for the sword. Stunning tsuba of a large tetsu ovoid plate tsuba with takebori dragonfly with gold legs, and crickets with gold antennae. Fuchi kashira in tetsu with silver inlays of vine tendrils.

Fine original Edo lacquer saya with two colour uruchi lacquer, partially ribbed and ishime, with a saya jiri iron mount inlaid with silver tendrils matching the tsuka's fuchi kashira. The seam lacquer has very fine line openings through its great age

Japan was once known as the “Land of the Dragonfly”, as the Emperor Jimmu is said to have once climbed a mountain in Nara, and looking out over the land, claimed that his country was shaped like two Akitsu, the ancient name for the winged insects, mating.

Dragonflies appeared in great numbers in 1274 and again in 1281, when Kublai Khan sent his Mongol forces to conquer Japan. Both times the samurai repelled the attackers, with the aid of huge typhoons, later titled Kamikaze (the Divine Winds), that welled up, destroying the Mongol ships, saving Japan from invasion. For that reason, dragonflies were seen as bringers of divine victory.

Dragonflies never retreat, they will stop, but will always advance, which was seen as an ideal of the samurai. Further, although the modern Japanese word for dragonfly is Tombo, the old (Pre Meiji era) word for dragonfly was Katchimushi. “Katchi” means “To win”, hence dragonflies were seen as auspicious by the samurai.

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!

The original Edo period urushi lacquer on the saya is in simply beautiful and shows most elegant simplicity, yet a most intricate in the black and brown combination of lacquer. It reveals once more within that simplicity the finest craftsmanship and beauty worthy of a master of the art of urushi decor. 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.

It has been over one thousand years ago that the art of making swords appeared in Japan. The swordsmiths of the time may not have known it but they were creating a legendary sword. The Samurai sword has seen combat in many battlefields. From the early days of the Samurai warrior to the fierce battles in the South Pacific during WWII.

Each hand-made traditional Samurai sword was unique because it was forged using the finest skills known to man. A tremendous amount of work was dedicated to creating these pieces. They were an instrument of war as much as a beautiful artifact to adorn any decor.

The Samurai sword, from all eras, in all its forms, has grown to be one of the most highly desired and iconic military antiques of all time.

There are many reasons why people enjoy collecting swords. Some people are drawn to the beauty and craftsmanship of swords, while others appreciate their historical and cultural significance. Swords can also be a symbol of power and strength, and some collectors find enjoyment in the challenge of acquiring rare or valuable swords.

One of the greatest joys of sword collecting is the opportunity to learn about the history and culture of different civilisations. Swords have been used by warriors for millennia, and each culture has developed its own unique sword designs and traditions. By studying swords, collectors can gain a deeper understanding of the people who made and used them.

Another joy of sword collecting is the sheer variety of swords that are available. There are swords in our gallery from all over the world and from every period of history. Collectors can choose to specialize in a particular type of sword, such as Japanese katanas or medieval longswords, or they can collect a variety of swords from different cultures and time periods. No matter what your reasons for collecting swords, it is a hobby that can provide many years of enjoyment. Swords are beautiful, fascinating, and historically significant objects.

** Authentic, currently, modern hand-made nihonto (Japanese sword blades) from top-tier, licensed swordsmiths in Japan today, typically start around $10,000–$25,000 for a katana, with prices often exceeding $60,000 for renowned masters or customized commissions. These, forged from tamahagane steel, require 12+ months to create due to strict legal limits on production, with some high-end, custom pieces from master smiths such as Yoshindo Yoshihara exceeding $10,000 for smaller tanto blades.
A brand new, katana blade from a reputable but lower ranked smith usually starts around $7,500–$10,000.
Master Smith Pricing, by high-ranking, famous, or award-winning smiths can range from $25,000 to over $60,000. With the added restriction that if the smith created a blade that was ranked high enough to be within the $ 60,000 range, it would be forbidden for it to leave Japan by law.
Japanese law limits smiths to producing roughly 24 long swords (katana/tachi) per year, significantly driving up demand and cost.

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

Something else important to consider for potential collectors. Although it is fair to say that very fine, ancient, and available Japanese samurai swords are not the most inexpensive pieces to buy, compare them to the same equally highly ranked and available collectables in literally any other medium. The best available watercolour paintings will be priced from the hundreds of thousands to millions. The best available oil paintings will be from lower millions to tens of even hundreds of millions. The same for jewels, clocks, fine art, watches and certainly some rare vintage cars.

Of course, there are Japanese swords that can rank in value within the millions of pounds, in fact one of the most valuable works of art in the world, according to Forbes list, is a samurai sword, valued at 100 million dollars, and if a Masamune samurai sword ever appeared on the open market, it would certainly be priced at the ten’s of millions range. However, they simply are never available, but maybe, in theory, one 'might' appear on the open market but only every 50 to 100 years or so. However, the next level down within the world of collectable samurai swords, below the ‘very rarest’ of national treasure masterpieces, are available {and we have dozens of them} yet, they are still within the upper thousands to tens of thousand of pounds, which, by comparison, is utterly remarkable.
A wonderful Renoir, Cezanne, or any of best French Impressionist oil paintings are readily available though, in fact they appear for sale every month or so, in either London, Paris, New York or Tokyo, but, selling for tens or even the hundreds of millions of pounds range,and rare, early 1960's Ferraris can be also within that incredible range of value. So, where else can one find, within the collectable world of fine art, the finest ‘available’ collectable samurai sword, that can be less than one percent the cost of its equivalent competition. However, view a fabulous 500 year old samurai sword beautifully displayed and decorating a billionaire's home, and the uninformed will assume it will likely have cost millions of pounds, and it could certainly look as if it would have. But no, it will likely have been purchased for under £20,000.


The sword is 43.25 inches long overall, blade 28.25 inches long  read more

Code: 26111

A Fabulous Antique Shinto Samurai Aikuchi O-Tanto In The Design Of A Naginata Naoshi (薙刀直し) Combined With With An Unokubi-Zukuri {Cormarant's Neck} Blade Form. In Stunning Original Edo Mounting

This is a wonderful Shinto period, Edo era, original aikuchi o-tanto, likely for such as a high status samurai daimyo lord. This is refelected in its beauty and quality of its Edo period mounting. It has a full suite of shakudo fittings, beautifully engraved. The Fuchi kashira, upon the tsuka {hilt}, and the saya {scabbard} koiguchi and kojiri {the throat mount and chape} are all a fully matching suite. Kinko Meikan rank of artistic quality, Ryoko very nice work in kebori and katakiri-bori on shakudo. The saya {scabbard} is decorated with rich brown ishime {stone finish} lacquer, with polished buffalo horn kurigata and a Kozuka-bitsu which is a slot located on the reverse side of the saya to store the optional Kozuka. Kozuka is a small, utility knife, primarily used for carving wood or cutting paper. However during the Edo period, the optional sword fittings such as Kogai-bitsu, Kogai, Kozuka-bitsu, and Kozuka evolved into highly valued ornamental pieces rather than just practical tools. Beneath the gold silk tsuka-ito {hilt binding} are two very intriguing menuki {hilt ornaments} one is of two ponies laying upon ground, in deep takebori made of shakudo and pure gold. Bound on the inside of the tsuka is a currency pattern coin shape menuki of shinchu (真鍮). The blade is mounted within its hilt by a hand made bespoke copper habaki (throat mount) it has a partial patinated surface finish.

Naginata Naoshi (薙刀直し): technically means "naginata re-formed." It describes an ancient blade that has been cut down from a longer naginata polearm into a shorter form, often retaining the deep curve and wide geometry of the original weapon, however it became known for blades that were originally made in that rare form, not just adapted from other previous use pole arm blades. There is an old saying within the early Japanese world of sword collectors about Naginata Naoshi. It goes, “Naginata Naoshi ni Namakura Nashi, ” that roughly translates as, “Naginata Naoshi Katana, is never dull (always sharp). “

These blades often exhibit a wide base, a pronounced curve (sori), and may display unokubi-zukuri (cormorant's neck)

As once told to us by an esteemed regular visitor to us here in our 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 world of antique sword collecting is a fascinating journey into the past, offering a unique lens through which to view history and culture. More than mere weapons, these artifacts serve as tangible connections to the societies and ancient times where they originated. Each blade tells a story, not just of the battles it may have seen but of the craftsmanship, artistic trends, and technological advancement of its time.

The swords mountings can be equally telling. Engravings and decorative elements may enhance the sword’s beauty and hint at its historical context. The materials used for them can reveal the sword’s age

Collecting antique swords, arms and armour is not merely an acquisition of objects; it’s an engagement with the historical and cultural significance that these pieces embody. As collectors, we become custodians of history, preserving these heritage symbols for future generations to study and appreciate.

We are now, likely the oldest, and still thriving, arms armour and militaria stores in the UK, Europe and probably the rest of the world too. We know of no other store of our kind that is still operating under the control its fourth successive generation of family traders

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

It will come complete, with our compliments, with a transparent display stand {not the antique one in the photos} a most decorative damask storage bag, a pair of white handling gloves and a white microfibre cleaning cloth.  read more

Code: 26125

A Simply Beautiful Shinto Era, Edo Period Samurai Wakazashi Sword, Circa 1700, With A Very Fine Midare Hamon Blade, With A Fabulously Beautiful, Hand Polished, Samegawa Saya { Giant Rayskin Covered Scabbard}. And a Wonderful Hilt Bound In Golden Silk

The tsuka-ito binding, is wrapped over gold and shakudo menuki {hilt ornaments}. One menuki is shakudo with pure gilt speckled overlay of fur dappling, of a resting fawn. The other is a takebori gold flower head. Both menuki are fitted traditionally over unpolished giant rayskin under the binding. The fuchi kashira {hilt collar and pommel} are Hizen school, of copper inlaid long necked chrysanthemum flower stems over a course iron surface. The habaki is a deluxe grade hand made, 'two piece habaki' overlaid in light gold.

The Hand Polished Giant Rayskin {Samegawa} Saya {Scabbard} is a unique feature of some of the finest antique Japanese swords. The saya was hand made and bespoke fitted to the blade, and it was then covered in the preserved skin of the giant ray, which was extremely hard and course, made up of thousands of nodules. This surface was then hand polished to create a very hard, highly polished, flat, but uneven surface, that was then over lacquered, within the separate gaps between each nodule, with purest black urushi lacquer, and then polished once more, to create a perfectly flat hardened surface of extraordinary beauty. This remarkable hand finished work, unmatched throughout the world, could take over a year of supreme expert artisan skill, in order to create.

It has been over one thousand years ago that the art of making swords appeared in Japan. The swordsmiths of the time may not have known it but they were creating a legendary sword. The Samurai sword has seen combat in many battlefields. From the early days of the Samurai warrior to the fierce battles in the South Pacific during WWII.

Each hand-made traditional Samurai sword was unique because it was forged using the finest skills known to man. A tremendous amount of work was dedicated to creating these pieces. They were an instrument of war as much as a beautiful artifact to adorn any decor.

The Samurai sword, from all eras, in all its forms, has grown to be one of the most highly desired and iconic military antiques of all time.

There are many reasons why people enjoy collecting swords. Some people are drawn to the beauty and craftsmanship of swords, while others appreciate their historical and cultural significance. Swords can also be a symbol of power and strength, and some collectors find enjoyment in the challenge of acquiring rare or valuable swords.

One of the greatest joys of sword collecting is the opportunity to learn about the history and culture of different civilisations. Swords have been used by warriors for millennia, and each culture has developed its own unique sword designs and traditions. By studying swords, collectors can gain a deeper understanding of the people who made and used them.

Another joy of sword collecting is the sheer variety of swords that are available. There are swords in our gallery from all over the world and from every period of history. Collectors can choose to specialize in a particular type of sword, such as Japanese katanas or medieval longswords, or they can collect a variety of swords from different cultures and time periods. No matter what your reasons for collecting swords, it is a hobby that can provide many years of enjoyment. Swords are beautiful, fascinating, and historically significant objects.

Collecting antique swords, arms and armour is not merely an acquisition of objects; it’s an engagement with the historical and cultural significance that these pieces embody. As collectors, we become custodians of history, preserving these heritage symbols for future generations to study and appreciate.

We are now, likely the oldest, and still thriving, arms armour and militaria stores in the UK, Europe and probably the rest of the world too. We know of no other store of our kind that is still operating under the control its fourth successive generation of family traders

As once told to us by an esteemed regular visitor to us here in our gallery, Victor Harris, in order to study and discuss our extensive collection, and he used the same words that are repeated in his book below;

“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  read more

Code: 26074