Japanese

A Fabulous, Museum Grade Signed, Antique, Samurai O-Tanto, Shinto Period. All Original Edo Fittings, Goto School. Absolutely Impeccable Blade Showing Fine Original Edo Polish & Displaying It’s Excellent Gunome Hamon. Overall An Incredibly Handsome Sword

A wonderful samurai sword, circa 1760. A large tanto almost wakazashi size. With hard lacquered leather bound tsuka. Shinto period, with a finely signed blade, displaying a superb gunome hamon and fine grain in the hada, and beautiful signed fittings. The signature is in a most unusual form and its translation, is Nishiharima 西播 the place name of Tatsuno 竜野 living in 住 Hyogo Prefecture, Edo period. The possible name of Butsusho {the sho is difficult to read}. The Fuchi is signed Yoshinaga of Mino, he was known for his adept skill of carving flowers, although the blade is also very much in the Mino form, mid Edo period, in the esteemed and much respected opinion of K. Y. In Japan

The fittings are all bronze and hammered with with fine gold, and probably by the much sought after Goto school. Superb kozuka with gold foil and shaudo on a Nanako ground, and a signed blade. It has a very rare style of black textured leather covered saya, with iron and gold kojiri. Gold mimi rimmed bronze tsuba with a nanako ground and numerous gold takebori Shishi {lion dogs}.

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.

The Gotō School of sword-fittings makers was founded in the fifteenth century by Gotō Yūjō, who is said to have been patronized by the shogun Ashikaga Yoshimasa (1435–1490). The work of the Gotō masters is characterized by painterly designs carved in high relief on a ground of shakudō (an alloy of copper and gold chemically treated to turn a rich blue-black), finished in nanako (tiny circles punched regularly over the surface to give it a granular appearance) with colorful accents in gold and silver. The succeeding generations of Gotō masters continued to work in these soft metals and concentrated on the smaller sword fittings, such as kozuka (the handle of the small utility knife fitted into a slot on the back of a sword scabbard), kōgai (a skewer-like hairdressing tool carried in the front of the scabbard), and menuki (a pair of grip ornaments secured by the handle wrappings). The production of the stouter sword guards, or tsuba, was left to other masters. While earlier generations had not signed their work, the Gotō masters in about 1600 began to authenticate the work of their predecessors; the attributions usually were engraved on the backs of the pieces themselves. These attributions bear testimony to the keen interest in early sword fittings as status symbols for high-ranking samurai.
Tanto first began to appear in the Heian period, however these blades lacked artistic qualities and were purely weapons. In the Early Kamakura period high quality tanto with artistic qualities began to appear, and the famous Yoshimitsu (the greatest tanto maker in Japanese history) began his forging. Tanto production increased greatly around the Muromachi period and then dropped off in the Shinto period. Shinto period tanto are quite rare. Tanto were mostly carried by Samurai; commoners did not generally carry them. Women sometimes carried a small tanto called a kaiken in their obi for self defence.It was sometimes worn as the shoto in place of a wakizashi in a daisho, especially on the battlefield. Before the 16th century it was common for a Samurai to carry a tachi and a tanto as opposed to a katana and a wakizashi. Shishi (or Jishi) is translated as lion but it can also refer to a deer or dog with magical properties and the power to repel evil spirits. A pair of shishi traditionally stand guard outside the gates of Japanese Shinto shrines and Buddhist temples, although temples are more often guarded by two Nio protectors. The Shishi (like the Nio) are traditionally depicted in pairs, one with mouth open and one with mouth shut.). Others say the open mouth is to scare off demons, and the closed mouth to shelter and keep in the good spirits. The circular object often shown beneath their feet is the Tama, or sacred Buddhist jewel, a symbol of Buddhist wisdom that brings light to darkness and holds the power to grant wishes. Overall 26.5 inches long, blade 13.75 inches long

With grateful thanks to K.Y. of Japan. Doumo gozaimasu to our ever patient friend, who is always happy to assist us with complex or unusual translations.

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: 25647

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

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

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

Cherished for its infinite versatility, urushi lacquer is a distinctive art form that has spread across all facets of Japanese culture from the tea ceremony to the saya scabbards of samurai swords

Japanese artists created their own style and perfected the art of decorated lacquerware during the 8th century. Japanese lacquer skills reached its peak as early as the twelfth century, at the end of the Heian period (794-1185). This skill was passed on from father to son and from master to apprentice.

The varnish used in Japanese lacquer is made from the sap of the urushi tree, also known as the lacquer tree or the Japanese varnish tree (Rhus vernacifera), which mainly grows in Japan and China, as well as Southeast Asia. Japanese lacquer, 漆 urushi, is made from the sap of the lacquer tree. The tree must be tapped carefully, as in its raw form the liquid is poisonous to the touch, and even breathing in the fumes can be dangerous. But people in Japan have been working with this material for many millennia, so there has been time to refine the technique!

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

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

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: 24881

Please View & Explore Probably The Largest Selection Of Original Antique & Historical Samurai Arms From The Past 800 Years For Sale in The World. Including, Swords, Spears, Armour, Helmets, Long Bows, Arrows, Daggers & Sword Fittings

Our amazing collection of recently acquired fine antique swords have been, and some are to be, added to our gallery. Including a fabulous, Shinto, Tokugawa tachi presented to a visiting famous American admiral and war hero in 1896, another tachi, a representation of an Odachi great sword, made by Yoshiyuki, in the late Edo period, by a smith of such esteem that even when the samurai class were effectively made redundant, and relegated to history, swords were still commissioned from him, for presentation to esteemed persons of highest standing. Plus numerous other samurai swords are being added to the gallery soon, of all types and eras, also samurai war arrows ‘ tagari ya’ and rare swallow tail 'ageha ya’, a dozen ‘kazuya’ ya target arrows, plus a superb collection of 20 fabulous Koto to Shinto tsubas, have still yet to be collated and listed on our site. Plus, more swords, just added this month, both antique and WW2 ancestral shingunto etc. including one of the best we have seen in years.

“Weaponry both ancient and vintage, they all have style and a story to tell”

"Over the past 55 years I have personally supervised our company's determination to try provide the most historically interesting, educational, yet none too intimidating, gallery of original Japanese Samurai artefacts for sale in the collecting world. We were told a few years ago by Victor Harris { Japanese sword expert resident consultant at the British Museum, the UK's leading nihonto specialist} that we probably display the largest selection of original, fine samurai sword weaponry for sale, and of its kind, anywhere in the world.

Principally concentrating on a crucial combination of age, beauty, quality and history, & thanks to an extensive contact base, built up over the past 100 years or more, that stretches across the whole world, including collectors, curators, academics and consultants, we have been very fortunate, in that this effort has rewarded us with the ability to offer, what we believe to be, the most comprehensive selection of original ancient and antique samurai swords available for sale in one gallery or online in the world. Many appear today to look almost as they once did many hundreds of years ago, which remarkably, they do, but all antique and ancient swords, from any culture, including Japanese, must always be expected to have at least some age appropriate flaws.

We have exported, over the past 100 years, likely tens of thousands of our original samurai weapons, helmets and armour to the four corners of the globe, with clients on all continents. Our swords grace the homes of collectors from literally all walks of life, from Presidents to Postmen, and we have traded with museums of all the major nations. We have always loved and been fascinated by the history of the Samurai, and their iconic weaponry, and we have long admired and envied their past near limitless skill at creating the unparalleled beauty and quality of samurai swords. Universally acknowledged to be likely the very best swords the world has ever seen.

Our Japanese weaponry vary tremendously in age, in fact up to, and sometimes over, an incredible 800 years old, and they are frequently some of the finest examples of specialist workmanship ever achieved by mankind.
We have tried to include, within the holistic description of most items, a brief generic history lesson, for those that have interest, and may wish to know, that will describe the eras, areas and circumstances that these items were used in ancient Japan. We have tried our utmost to be informative, holistic and as interesting as possible without being too academically technical, in order to keep the details vibrant, fascinating and comprehensible, thus not too complex.
We are always delighted to impart any knowledge that we have at our disposal to any curious new collectors when asked. In fact some of the most learned scholars in the world that we have met, and known, some studying the art of nihonto almost all of their adult lives, often admitted to us they were only scratching the surface of the knowledge to be learnt in this extraordinary field, so there is much to constantly uncover about the stories of the samurai and their legendary weaponry covering around 1000 years of Japanese history.

Please enjoy, with our compliments, our Japanese Gallery. It has been decades in the creation, and we intend it to remain as interesting and informative as possible, and, hopefully, for another century to come"..


Mark Hawkins
Partner
The Lanes Armoury

Did you know? the most valuable sword in the world today is a samurai sword, it belongs to an investment fund and has appeared illustrated in the Forbes 400 magazine. It is valued by them at $100 million, it is a tachi from the late Koto period 16th century and unsigned. Its blade is grey and now has no original polish remaining.  read more

Code: 22187

A Stunning, Early, Signed Munemitsu, Bizen School Koto Blade Katana With Hi Circa 1480. A Most Beautiful And Elegant Ancient Samurai Sword By a Master Smith Of the 15th Century

The tsuka-ito {silk hilt binding} was in a pretty poor state, so we are having the {hilt} tsuka re-wrapped, thus we are photographing it at present with its mounts separate, and with the blade and saya. before re-fitting.

Possibly by Bishu Osafune Munemitsu {a smith from the Bunmei reign in the Koto era}

The blade is absolutely beautiful, with hirazukuri, iori-mune, very elegant zori, chu-kissaki and carved with broad and deep hi on both sides, the forging pattern is beautiful, and a gunome-midare of ko-nie, deep ashi, hamon, the tang is original, and full length, and it is mounted with a silver habaki. The blade has a fabulous blocking cut on the mune, a most noble and honourable battle scar that is never removed and kept forever as a sign of the combat blocking move that undoubtedly saved the life of the samurai, and will thus be never removed.

The tsuka has an iron Higo school kashira, a beautiful signed shakudo-nanako fuchi with very fine quality takabori decoration.

Its tsuba is beautiful with a takebori design of Mount Fuji with dragon flying in the sky above, with highlights in gold, silver and copper. The Edo menuki are of a shakudo and gold representation group of samurai armour upon a tachi, and a shakudo and gold dragon {clutching an ancient Ken double edged straight sword with lightning maker} a Edo Antique Ken maki Ryu zu

What with the defensive cut, its shape and form, this fabulous sword has clearly seen combat, yet it is in incredibly beautiful condition for its great age, and it is a joy to behold. Once the tsuka binding has been fitted and re-bound we will re-photograph it in all its glory once more.  read more

Code: 26072

A Fine Shinto Period Handachi Mounted Armour & Kabuto Cleaving Katana Signed Nobutsugu, With a Fabulous Notare Hamon, Handachi Mounted with Tsuba Of Watanabe no Tsuna and The Rashomon Demon, Ibaraki-Dōji, At The Gate of the Modoribashi Bridge

The blade is signed Nobutsugu, that is likely Higo kuni Dotanuki Nobutsugu, circa 1590, a master smith famed for his swords of great heft and incredibly robust, which this sword, most unusually, clearly demonstrates in abundance.
The original Edo period urushi lcquer is stunning, designed and a combination of black over dark red that is, with incredibly subtlety, relief surface carved with mokume (木目) which is a Japanese term meaning "wood grain" or "wood eye," and over decorated with Katchimushi {dragonflies}. Truly wonderous skill is demonstrated in this fabulous design, that is almost invisible to the unobservant eye. A masterpiece of the urushi lacquer art.

The saya is also wrapped in its old and fine original silk sageo cord.

The sukashi tsuba is made in patinated copper, the type of shape known as maru gata, and with the design of the legend of ‘Watanabe no Tsuna and the Rashomon demon’ that tells of the 10th-century warrior who fought and severed the arm of an oni (demon), named Ibaraki, at Kyoto's ruined Rashomon Gate, the Modoribashi Bridge. A story most popular in Japanese folklore, art (like ukiyo-e prints), and theatre, that is culminating in the demon tricking Tsuna into returning the arm by disguising itself as his aunt.

The blade is extraordinary, that although it is not long, it is immensely powerful, and possesses the thickness, strength and heft, of both an armour & helmet piercing sword, in fact, as soon as one handles this sword for the first time, it is immediately obvious as to the character of the power of this blade. Specifically designed as it was, for an incredibly strong cut, that could cleave a samurai, within his armour and kabuto helmet, clean in two. Or, even possibly, as it bears the tsuba of Watanabe no Tsuna, the samurai that legendarily severed an arm off the demon of the Rashomon gate, it is its sword mount that is meant to symbolise the very essence of this sword, as one so powerful, it could even cut through the arm of an Oni demon.

It is mounted in a full suite of fine, hand engraved, handachi mounts, upon both the tsuka and saya, of sinchu, hand engraved with florid scrolls, and sinchu menuki surface decorated with gilded takebori flowers, and with fine, golden brown tsukaito, bound over traditional samegawa {giant rayskin}

The blade has a fabulous, deep and profound, notare hamon, that is wonderfully defined. The blade has been at some time lacquered for protection, which has done an excellent job, but it is not a traditional method of Japanese blade conservation, so we are having the lacquer removed, and the blade, traditionally, hand conserved. It also appears {in current photos in the gallery} to have a secondary hamon on the mune back edge as well, a rare and fine feature of temper, and thus we hoping this might be the case once it is cleaned, but, it could simply be a trick of the eye caused by the old protective lacquer. It shall be revealed one way or the other.

Han-dachi mounted swords originally appeared during the Muromachi period when there was a transition taking place from tachi mounting 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 for a sword to be worn in either style.
The samurai were roughly the equivalent of feudal knights. Employed by the shogun or their daimyo lords, 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 not only read, they were well versed in Japanese art, literature and poetry.

The story that is told by the tsuba;
One stormy night, Watanabe no Tsuna, a samurai retainer of Minamoto no Yorimitsu, was waiting at the dilapidated Rashomon Gate. A demon, Ibaraki-doji, was revealed and attacked him, tugging at his helmet. However,
Tsuna, a most capable and valiant warrior, drew his sword and sliced off the demon's arm in a fierce struggle.
The demon fled, leaving its arm behind, which Tsuna took as a trophy and locked within a chest.

A few days later, an old woman, claiming to be Tsuna's aunt (Mashiba), visited him. She asked to see the severed arm, and when Tsuna opened the chest, she revealed herself as Ibaraki himself in disguise, grabbed his arm, and escaped.

The story of Watanabe no Tsuna (the hero) and Ibaraki-doji (the demon), combatting at the decaying Rashomon Gate in Kyoto, a place associated with ghosts and demons.
It represents themes of bravery, cunning, supernatural encounters, and the deceptive nature of appearances.
This legend became a famous motif in Japanese art, particularly in woodblock prints (ukiyo-e) by artists like Chikanobu and Yoshitoshi, depicting the dramatic fight and the demon's escape.
It's a classic tale featured in Noh, Kabuki, and other popular narratives.

The symbolism of the Katchimushi {dragonfly} decor of the saya;
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.

The condition of all parts is excellent with just a few, very small, but usual combat bruises, to the old and original, Edo period lacquer surface to the swords saya.

Once the sword blade has its old, clear, protective lacquer professionally removed etc. it will be available for delivery. Looking as good as new, likely within a week or so

Overall the sword is 38 inches long, and the blade 26 inches long, habaki to tip.  read more

Code: 26015

A Fabulous Museum Grade Samurai Daimyo's Art-Sword. From The Koto Era. A Samurai Wakizashi Sword By Master Tadamitsu With Rare Gaku-mei Nakago. Blade, Circa 1440-1460. Mino Goto Koshirae, With Deep Red Ishime Lacquer Saya & Black Silk Binding

With very rare gaku-mei framed nakago, where the mei (signature) was moved from this original nakago tang, and inserted into the shortened tang, and framed in order to preserve the important master smith’s signature, upon his museum grade blade. Overall this stunning art-sword is in incredible near flawless condition. The term art-sword refers that highest grade of samurai sword, that was certainly made for all forms of combat use, yet are decorated with such beauty and skill that they are as much works of art as a samurai's combat arm. Likely made for for the highest ranking samurai or daimyo clan lord.

With its spectacular suite of beautiful, original, Edo period Mino-Goto fittings, with tsuba, in shakudo, and uttori of pure gold decor of flowers, cricket, catydid and praying mantis. Deep red ishime urushi stone finish lacquered saya, with carved buffalo horn fittings and a Mino-Goto throat mount.
Superb black silk tsuka-ito over fine pure gold decorated menuki.

A wonderful Muromachi era blade almost 600 years old, with a superb, incredibly active hamon, in a beautiful polish with gold foil habaki and blade smith shortened tang with its original preserved ‘folded over’ signature inlaid and inserted within the tang.

The hamon forms a delightful gunome pattern, mixing with clove (Choji) outline which is slanted generally. The founder of the sword maker school, Tadamitsu in Bizen, is referred in the Shouou period (1288-93) and the oldest existent Tanto by him has the date year, Teiji 3,1364) during the Nanbokucho period, then later generations shows the records of Ouei to Bunmei era (1394-1486) in Muromachi period. The preserved 'folded over' system, that can be seen beautifully done on this blade, in order to preserve the blade smith's signature, was only reserved for the best and most highly revered blades, often of historical significance to the samurai's family. The ancient province of Kibi (of which Bizen was the easternmost region; now Okayama prefecture) possessed excellent ironmaking technology, which helped make Kibi into a powerful state. The region is blessed with all the vital ingredients needed for Japanese sword making: iron sand, water, and charcoal of Japanese red pine, which has excellent thermal efficiency. Research on Japanese swords since the Meiji period has revealed five different features or styles based on the regions in which they were made: Yamashiro (Kyoto prefecture), Yamato (Nara prefecture), Bizen (Okayama prefecture), Sagami (Kanagawa prefecture), and Mino (Gifu prefecture. The characteristic styles of these five regions were passed down from master to disciple and from one region to the next. These are collectively known as Gokaden (five traditions of swordmaking). The province of Bizen was located far from Japan's political center throughout its history, allowing it to prosper regardless of the political state of sovereignty of the day. The most typical Bizen blade has a steel surface grain called itamehada (wooden board grained) with a unique pattern called chōji (clove-shaped) on the blade. This pattern is a feature of Bizen swords and it is what makes Bizen swords special.

The Gotō School of sword-fittings makers was founded in the fifteenth century by Gotō Yūjō, who is said to have been patronized by the shogun Ashikaga Yoshimasa (1435–1490). The work of the Gotō masters is characterized by painterly designs carved in high relief on a ground of shakudō (an alloy of copper and gold chemically treated to turn a rich blue-black), finished in nanako (tiny circles punched regularly over the surface to give it a granular appearance) with colorful accents in gold and silver. The succeeding generations of Gotō masters continued to work in these soft metals and concentrated on the smaller sword fittings, such as kozuka (the handle of the small utility knife fitted into a slot on some swords, on the the back of a sword’s saya or scabbard), kōgai (a skewer-like hairdressing tool carried in the front of the scabbard), and menuki (a pair of grip ornaments secured by the handle wrappings). The production of the stouter sword guards, or tsuba, was left to other masters. While earlier generations had not signed their work, some Gotō masters in about 1600 began to authenticate the work of their predecessors; the attributions usually were engraved on the backs of the pieces themselves. These attributions bear testimony to the keen interest in early sword fittings as status symbols for high-ranking samurai.
Fuchi kashira,menuki and tsuba from the Mino School. Sometimes known as an offshoot from the Goto School, the Mino tradition of kinko have their roots from the Koto period, Known as Ko-Mino, that style led to the Edo Mino tradition which used the difficult technique of Uttori, or gold foiling. The gold on these stunning pieces are not plated, but rather have generous hammered gold foil applied in a very difficult technique not seen today except in habaki work. Because it was so time consuming and difficult, there are relatively few works by this school. Design is very traditional of kiku (chrysanthemums) and flowering blossoms and leaves, with catydids and praying mantis etc. and is executed very well indeed.
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
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

Overall blade length from base of habaki to tip 21.5 inches long.  read more

Code: 23519

A Beautiful Antique Samurai Wakazashi With A Fine Signed Blade. Kunitsuna（国綱）In Beautiful Polish Showing Narrow Suguha Hamon. With the Moon & Bamboo Kashira. Lobster Scale Urushi Ishime Lacquer Saya

Signed 越 echi 前 zen 住 jyu（越前住 It is pronounced Echizenjyu. The other side is 相模守 sagaminokami 藤 fujiwara. 相模守藤原.
The part below Fujiwara has been cut off to shorten its length.but it must be assumed that Kunitsuna’s name was engraved there. Kunitsuna（国綱）
Was a swordsmith who was active around 1648. He was an apprentice of the first-gen Echizen Kanetane. He belonged to Shimosaka School located in Echizen province (Today’s Fukui prefecture). He is also known as Taheibei (多平兵衛). He received an honorable official title of Sagami no Kami from the imperial court for his excellent craftsmanship. He moved from Echizen to Edo city in his career as well. It is said that the first-gen Yasutsugu was the founder of the Echizen Shimoasaka school. He was born in Shimosaka town in Shiga prefecture at the end of the Muromachi period (Late 16 century ). He built his career there until the beginning of the Keicho era(1596). However, he moved to Echizen province due to the relocation of the lord he served. He eventually was noticed and supported by Matsudaira Hideyasu, the third son of Tokugawa Ieyasu, who was the founder of the Edo government.

Hideysu was the feudal lord of Echizen province during the early Edo period. With the support of Hideyasu, the first-gen Yasutsugu was able to establish the Echizen Shimosaka school. And his school’s fame became nationwide. By Hideyasu’s recommendation, the first-gen Yasutsugu became Okakaekaji for the Tokugawa shogun family, meaning that he exclusively forged swords for the Shogun family. Yasutsu was acknowledged by the first and second Tokugawa Shoguns, Tokugawa Ieyasu, and Tokugawa Hidetada.

The first-gen Yasutsugu received 康(YASU) from Tokugawa Ieyasu and changed his maker’s name. He was also allowed to inscribe the holly oak symbol(family crest of Tokugawa) on the tang. The school flourished during the Edo period and trained many skilled apprentices. We believe Kunitsuna mastered superb level of the craftsmanship by belonged to this school.

Echizen province was prosperous during the Edo period, being ruled by the Echizen Matsudaira clan, a direct retainer of Tokugawa clan who ruled the Edo government. Many skilled swordsmiths moved to Echizen from different regions because of high demand among Samurai who lived there. Among them, there were many renowned swordsmiths who were originally from the Mino province (Gifu prefecture). They are called Echizen Seki swordsmiths. His master, the first-gen Kanetane was one of them.

All original Edo period mounts. The menuki are of gilded cranes in flight, wrapped under black silk tsukaito, over rayskin samegawa. the kashira is on iron with silver and gold highlights of a full moon in the background part obscured by clouds with a vole climbing a bamboo stalk in the foreground. The fushi is patinated soft metal inlaid with silver bamboo leaves. The tsuba is a round tettsu plate chisselled with a rain fall pattern and kozuka ana. The blade is in good polish showing a typical narrow suguha hamon with a nicely defined boshi with turnback.

The saya is ishime urushi lacquer finish with to top section in lobster scale ribbing and plain middle and bottom section in graduating mid brown at the top down to black at the bottom. Carved buffalo kurigata, saya jiri and throat mounts.

Wakizashi have been in use as far back as the 15th or 16th century. The wakizashi was used as a backup or auxiliary sword; it was also used for close quarters fighting, and also to behead a defeated opponent and sometimes to commit ritual suicide. The wakizashi was one of several short swords available for use by samurai including the yoroi toshi, the chisa-katana and the tanto. The term wakizashi did not originally specify swords of any official blade length and was an abbreviation of "wakizashi no katana" ("sword thrust at one's side"); the term was applied to companion swords of all sizes. It was not until the Edo period in 1638 when the rulers of Japan tried to regulate the types of swords and the social groups which were allowed to wear them that the lengths of katana and wakizashi were officially set.

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.

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

Code: 25614

A Simply Wonderful Edo Period Samurai Tanto Museum Quality Art-Sword Decorated To The Highest Artistic Standard With Insects, in Carving, Iroe, Taka-zōgan, Zōgan, and Tsuba Inlaid with Hira Zogan with the Imperial Mon of Kiri, Paulownia Leaves

Edo period, 17/19th century 1615-1868 with gold, copper-gold alloy (shakudō), silver, copper, copper-silver alloy (shibuichi) koshirae mounts Fuchi-kashira made of Shibuichi carved and inlaid with shakudō, gold, silver, and copper with the design of insects, butterfly, praying mantis, Suzumushi bell crickets, wasps, and catydid, upon all the fittings
Carving, Iroe, Taka-zōgan, Zōgan. Menuki {beneath the tsuka silk wrapping, of patinated copper cranes in flight.
Fuchi Kashira is a form of Japanese metal fitting of the Japanese sword, which improves the handle’s strength. Fuchi Kashira are a combination of two parts; Fuchi and Kashira. Fuchi was put next to Tsuba (hand-guard), and Kashira was put on the grip bottom. Fuchi Kashira developed not only its practicality but also beauty for the decoration of the Japanese sword.

The tsuba with 'mon' {Japanese clan crest} made from kiri, or paulownia leaves is a pair to another one in the Ashmolean museum at Oxford donated from The A. H. Church Collection of Japanese Sword-Guards (Tsuba) Ashmolean Museum, University of Oxford. It is iron, with multi-metal flat inlay (iro-e zōgan and hira-zōgan), in gold, copper, and silver; inlay engraved; ryōhitsu with silver rims; tang-hole traditionally plugged, for snug fitting upon the nakago, with soft copper.
The paulownia crest mon is often associated with the Japanese imperial family. It was used as the official seal of the emperor before the chrysanthemum crest became the primary symbol.
Signifying nobility and honour, historically, the paulownia crest mon was granted to individuals and families by the imperial court as a mark of honour and distinction. It symbolizes high status, nobility, and honour.

Iron kozuka {a small utility knife fitted in the saya pocket} Edo Period, 18th/19th century 1615-1868, hand chiselled, depicting a closeup landscape with small rocks and leaves, in metal inlay, and a central onlaid full relief, takebori, shakudo Suzumushi (bell cricket).

The cricket has been traditionally kept as pets in Japan housed in beautifully decorated cages and carried by their owners. The Suzumushi is well known for its singing and the love of crickets can be found in the many poems written by Japanese poets. One of the great forefathers of haiku Kobayashi Issa (1762-1826) wrote: -
flat on his back,
chirps his last song.
Grasshopper’s song in
moonlight – someone’s
survived the flood.

At the altar
in the chief place,
cries a cricket.
-Issa (Translated by L. Stryk)

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”

Finest urushi Edo lacquer work saya in black interspersed clear lacquer on abilone shell in a wave pattern.

Blade length, tsuba to tip 11.25 inches, full length in saya 16.75 inches  read more

Code: 25637

Outstanding, Huge Shogunate Antique Bunkyu Period 幕藩体制 Samurai's Tachi, Horseman's Sword, In Superb Condition. Signed 伯耆国住吉. Hoki no Kuni ju Yoshiyuki . A 'Statement' Piece, Par Excellance. A Late Edo Representation of The Ancient Ōdachi Great Sword

This sword has immense presence and stature, and my goodness, what a truly elegant shape and curvature, a magnificent centrepiece for any stylish decor. Shinshinto bladed tachi {slung mounted sword} from the late Edo bakuhan taisei 幕藩体制 period, signed Hoki no Kuni ju Yoshiyuki and dated 1857, decorated with traces of red, the tsuka with iron fuchi-kashira decorated with figures, its Nanban, earlier Edo mokko shaped iron tsuba, depicting the butterfly, signed, Umetada school "Cho" tsuba, signed Yamashiro Ju Shigeyoshi.(山城住重吉) It represents the Ikeda Family Mon (Mukai Cho Ka-mon, and interestingly the signature is also decorated with red within the chiselling of each kanji, an old Japanese tradition to indicate it is an item of reverence. It is mounted in a rich mid brown ishime, stone finish lacquer, tachi mounted saya, beautifully bound with contrasting sageo of stunning gold and black. the tsuka is black silk bound over samegawa {giant ray-skin} with a pair of menuki {beneath the silk binding} depicting war arrows combined with samurai armour.

The Umetada school was founded in the late 16th century by Umetada Myōju (埋忠明寿). He was a leading figure in the Shintō sword movement, making blades and fittings in Kyoto. Second in this line was Umetada Tachibana Shigeyoshi, who moved to Nishijin in the north of Kyoto, where he got inspired by European designs and technology. He made several forms of tsuba

Old Japanese kanji on blades, often the maker's signature (mei), can be decorated red because red ink (shuniku) symbolizes good luck, protection, vitality, and authority, while also ensuring the inscription (brushed in red) is visible and permanent before being chiseled into the tang. Red (aka) wards off evil, signifies the sun, and is used for celebrations, making it a powerful colour for important markings on samurai swords, connecting to national identity and spiritual strength.

As this superb tsuba bears an Umetada school "Cho" tsuba signed Yamashiro Ju Shigeyoshi.(山城住重吉) It represents the Ikeda Family Mon (Mukai Cho Ka-mon. Thus as it is its original mon tsuba it likely represents this sword was made for the Ikeda family clan.

To qualify as an ōdachi, the sword in question would normally have a blade length of around 3 shaku (90.9 cm (35.8 in)). However, as with most terms in Japanese sword arts, there is no exact definition of the size of an ōdachi.

Signed "Hoki no Kuni ju Yoshiyuki. swordsmith named Yoshiyuki (吉幸), worked in Hōki Province (伯耆国), modern-day Tottori Prefecture, during the late Edo period (around the 1860s). He signed his work with variations like "Hoki no Kuni ju Yoshiyuki," was known as Shimizu Tōshirō, and produced blades exhibiting detailed jihada (grain) and hamon (temper lines) with ko-nie (small bright particles).
Yoshiyuki (real name Shimizu Tōshirō).
Hōki Province (now Tottori, Japan).
Period: Late Edo (Bunkyū era, 1861-1864) through the Meiji Restoration.
Signature: "Hoki no Kuni ju Yoshiyuki" (伯耆国住吉幸).
Often features itame (wood grain) mixed with mokume ( burl grain), ji-nie, chikei, and utsuri, with a hamon of midare (irregular) with ko-notare (small drops) and ko-gunome (small arcs).
Yoshiyuki was a recognized smith from Hōki Province, noted for his work in the late Shintō period, even creating swords during the ban on wearing swords in 1876.
Blades from him often considered significant examples from that era, showcasing traditional craftsmanship even as Japan modernized.

This wonderful sword is photographed in the gallery not only displayed on a traditional katana stand {horizontal}, but also on a black lacquer, old, traditional tachi stand { tachi-kake, more vertical}. The sword with come complete with a complimentary katana stand. The tachi stand is sold separately.

The tachi style of swords preceded the development of the katana the first use of the word katana to indicate a blade different from tachi appears toward the end of the twelfth century. In later Japanese feudal history, during the Sengoku and Edo periods, certain high-ranking warriors of what became the ruling class would wear their sword tachi-style (edge-downward), rather than with the saya (scabbard) thrust through the belt with the edge upward. The bakuhan taisei was the feudal political system in the Edo period of Japan. Baku, or "tent," is an abbreviation of bakufu, meaning "military government" that is, the shogunate. The han were the domains headed by daimyo. The number of han (roughly 250) fluctuated throughout the Edo period. They were ranked by size, which was measured as the number of koku that the domain produced each year. One koku was the amount of rice necessary to feed one adult male for one year. The minimum number for a daimyo was ten thousand koku; the largest, apart from the shogun, was a million.

Samurai horsemen began as aristocratic mounted archers in Japan's Heian period (794-1185), serving nobles, evolving into powerful warriors controlling the state by the Kamakura era (1185-1333) with the rise of the Shogunate, mastering bows, swords, and later polearms, forming the iconic image of armoured, skilled riders who defended Japan and defined its military culture for centuries before their eventual abolition in the 19th century.
Origins and Early Development (Heian Period, 794-1185)
Early Protectors: The term "samurai" (meaning "one who serves") emerged as provincial warriors, often landowners, serving aristocratic families as guards.
Mounted Archery: Their initial primary skill was horseback archery, using asymmetrical bows, with horses and armour often signifying wealth.
Decentralized Power: Central government weakness led to reliance on these regional warrior clans (Uji), shifting power from the court to local strongmen.
Rise to Power (Kamakura Period, 1185-1333)
Feudal System: Clan rivalries culminated in the Genpei War, leading to the rise of the first Shogunate (military government) and establishing the samurai as Japan's dominant political and military force.
Bushido: The samurai code of honour, Bushido, became firmly established during this time.
Mongol Invasions (1270s): Samurai horsemen, skilled in archery and swordsmanship, successfully defended Japan against Mongol invasions.
Evolution of Tactics (14th - 16th Centuries)
Swords & Polearms: While archery remained important, swordsmanship (especially with the katana) grew, and later, the introduction of lance-armed cavalry charges became a feared tactic, notably by the Takeda clan.
Infantry Integration: By the late 16th century, powerful samurai leaders like Oda Nobunaga began integrating firearms and massed infantry, leading to significant tactical shifts, as seen at the Battle of Nagashino (1275).
Decline & Legacy (Late Edo Period to Meiji Restoration)
Abolition: The samurai class was officially abolished during the Meiji Restoration in the late 1870s, ending their military and social dominance but solidifying their legendary status in Japanese history and culture. However the presentation of samurai swords did not stop {after the samurai class were removed from power} as their status, was, for ever more indelibly linked entirely to both the history and the future of Japan, for without the sword there would have been no legendary samurai, and without the samurai there would have been no Japan.

Approx 32 inch blade tsuba to tip, tsuka 11.5 inches long, overall 45.5 inches long

Traditional tachi sword stands (tachi-kake) serve to display the sword's beauty, honour its spiritual status
Swords were symbols of honour; the stand showcased the owner's rank and the blade's importance, often with ornate designs.
Stands support the tachi's distinct curve, preventing stress and damage, especially when displayed edge-up, which highlights the blade. They secure the sword, keeping it safe from accidental falls or damage to the delicate fittings and scabbard (saya).
The orientation (edge up/down, handle left/right) could signify peace or war, or readiness for drawing, showing the sword's transition from weapon to art.
Unlike katana stands, tachi stands cradle the blade's natural curve, holding it at an angle or horizontally.
Often made from fine woods like cypress, they were built to be stable and aesthetically pleasing, sometimes featuring clan crests.
Tachi were worn edge-down for cavalry; displaying them this way mirrors that original function, while edge-up is for peacetime aesthetics,
In essence, the tachi stand {tachi-lake} transforms a formidable weapon into a revered art object, reflecting its historical importance and cultural significance in samurai society

Picture in the gallery is of Magara Naotaka, a retainer of the Asakura clan in the Battle of Anegawa. He was famous as a master of a ōdachi named Taro tachi (太郎太刀). One might presume the size of his Odachi may have been exaggerated somewhat for the sake of artistry.  read more

Code: 26006

A Most Fine and Impressive Samurai Horseman's Handachi Katana. Shinto Period From the 1600's Around 400 Years Old. Semi Tachi Mounted. Dressed in a Full Suite Of Matching Original Edo Koshirae. Designed To Be Worn & Used In Combat Upon Horseback

Without doubt this superb horseman’s sword must be classified as a statement piece within the world of original samurai art swords. It has a wonderful stand-alone presence that is at the same time subtle yet outstanding. Demonstrating the traditional timeless elegance of samurai object d’art, yet a samurai’s sword of war, at home both at the court of a clan Daimyo, or within a battle scenario, during the hand to hand combat of a clash of a teeming mass of mounted samurai, in the middle of a melee, during the constant clan warfare in the early Tokugawa period.

Han-dachi semi-tachi can be displayed on a tachi stand (tachi-kake), usually with the handle pointing down, blade up for respect/preservation (preventing sheath damage), and sometimes the signature (mei) facing outward, though it's a matter of preference and historical context.

Superbly depicted in the great samurai masterpiece ‘Shogun’ by James Clavell. It clearly demonstrates that despite the eras title as the ‘era of prolonged peace’ after the Tokugawa unified the control of Japan, since their incredible victory at the Battle of Sekigahara, the internecine conflicts, created warfare that raged throughout Japan.
Clan after clan conspired and fought for dominance, within the new and greatest ‘Tokugawa’ Shogunate, that Japan had seen in 500 years. Political stability in the governance of Japan as a whole, did little the abate the power struggles between clans, within the new time of Japanese isolationism. The anti Christian resolve of many traditional clans, to rid Japan of the post 1530’s period of influence, due to the Catholic religious conversions, { from Shintoism and Buddhism} by the Portuguese and Spanish priests, that arrived hand in hand, as part of the ‘Black Ship’ merchant trade fleet. Several clans had been converted to Christianity since their arrival the century before.
It initially suited the new Shogun quite nicely, to subvert the Shinto religious authority, and their power, that had grown to rival his own, to allow Christian conversions, in order to somewhat ‘concentrate the minds’ of the traditional religious bodies, away from their influence and their continual attempted control {to a degree} of the autonomy of their Shogun, and thus to move their attention away from him, and towards the Christian clans, in order for them to crush the foreign interlopers. That has been a tactic used by many despotic powers for millennia, such as by Stalin, and Saddam, for example, that it is far better for the subordinate generals to be inspired to battle against each other for power, than for them to combine their power, in order conspire together against their leader and the dictator. But, once the Shogun’s power was irrefutable, he then allowed the Shinto clans to rid Japan of Christianity, and outlaw and slaughter all the converted Christian clans and their families. The more the clans fought amongst themselves, the better it was for the Shogun.

Fully leather bound tsuka-ito with iron fuchi and kabuto-gane with gilt edges, soft metal menuki in the form of a Daikyū and Ya, {war bow on one side and arrows on the other}, mokko-shaped signed iron tsuba, and the sword is set in its beautiful, original, original Edo period, urushi black lacquer saya decorated with an incredibly beautiful feathered swirling pattern, and wraped with contrasting blue and green sageo, {see photo 8} with traditional handachi mounts in black iron with gold trim that are fully en-suite and matching with the tsuka.

The blade has a stunning and complex gunome hamon, which in English terms, looks much akin to the surface of waves in choppy seas

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, with serous transmission issues, and absolutely no sword steel, whatsoever, of any grade, would lay between the two of them.

Overall this wonderful sword is in superb condition for age. The saya’s incredible quality urushi lacquer is very good, to excellent, with just natural age marks and wear, the blade is similarly excellent for age, with just natural age wear and small surface pinprick areas. The tsuka-ito is also very good indeed, with just one very small area of surface wear near the daikyu bow menuki.

Samurai horsemen began as aristocratic mounted archers in Japan's Heian period (794-1185), serving nobles, evolving into powerful warriors controlling the state by the Kamakura era (1185-1333) with the rise of the Shogunate, mastering bows, swords, and later lances, forming the iconic image of armored, skilled riders who defended Japan and defined its military culture for centuries before their eventual abolition in the 19th century.
Origins and Early Development (Heian Period, 794-1185)
Early Protectors: The term "samurai" (meaning "one who serves") emerged as provincial warriors, often landowners, serving aristocratic families as guards.
Mounted Archery: Their initial primary skill was horseback archery, using asymmetrical bows, with horses and armor often signifying wealth.
Decentralized Power: Central government weakness led to reliance on these regional warrior clans (Uji), shifting power from the court to local strongmen.
Rise to Power (Kamakura Period, 1185-1333)
Feudal System: Clan rivalries culminated in the Genpei War, leading to the rise of the first Shogunate (military government) and establishing the samurai as Japan's dominant political and military force.
Bushido: The samurai code of honor, Bushido, became firmly established during this time.
Mongol Invasions (1270s): Samurai horsemen, skilled in archery and swordsmanship, successfully defended Japan against Mongol invasions.
Evolution of Tactics (14th - 16th Centuries)
Swords & Lances: While archery remained important, swordsmanship (especially with the katana) grew, and later, the introduction of lance-armed cavalry charges became a feared tactic, notably by the Takeda clan.
Infantry Integration: By the late 16th century, powerful samurai leaders like Oda Nobunaga began integrating firearms and massed infantry, leading to significant tactical shifts, as seen at the Battle of Nagashino (1275).
Decline & Legacy (Edo Period to Meiji Restoration)
Peace & Ceremony: During the peaceful Edo period (1603-1868), the samurai transitioned from battlefield warriors to bureaucrats, administrators, and guardians of a more refined culture.
Abolition: The samurai class was officially abolished during the Meiji Restoration in the late 1870s, ending their military and social dominance but solidifying their legendary status in Japanese history and culture

Overall 41 inches long in saya, tsuka 10 1/2 inches long, blade 29 1/2 inches long, tsuba to tip  read more

Code: 26067