A Very Beautiful & Incredibly Elegant Koto Katana Art Sword Circa 1500, With Very Fine All Original Edo Koshirae, of Finely Decorated Shakudo, Combined With Exceptional Urushi Lacquer Work. Kashira Decorated with ‘The Monkey Reaching for the Moon’

Very fine original Edo period fittings, mokko gata tsuba and saya. Shakudo fuchi-kashira, decorated with a wonderfully defined little long armed monkey reaching for the moon's reflection in a stream. The long armed monkey is on the kashira, the stream is represented on the fuchi. ‘The Monkey Reaching for the Moon’, fuchi-kashira, depicts a delightful little monkey hanging from a tree branch over the surface of water, reaching down to touch the reflection of the moon. This imagery is undoubtedly derived from a popular Buddhist story that warns how the spiritually unenlightened cannot distinguish between reality and illusion. We very rarely get swords with fittings decorated with the fable of 'the monkey reaching for the moon', but by most unusual good fortune, we have had two this month.

Shakudo and gold menuki of artistically bound reeds, with a fine mokko-shaped Higo school iron tsuba with a raised mimi {edge}, and a black beautiful ishime urushi lacquered saya with matching copper ishime koiguchi, kurikata and kojiri, {scabbard mountings}.

It has a very beautiful 25.25 inch blade, measured tsuba to tip, Typical Koto style and period, an extremely elegant blade with fine graduation, beautiful curvature and iconic Koto form small kissaki It has a superb complex hamon of a choji and crab-claw pattern.

Some provinces of Japan were famous for their contribution to the ishime style of urushi lacquer art: the province of Edo (later Tokyo), for example, produced the most beautiful lacquered pieces from the 17th to the 18th centuries. Lords and shoguns privately employed lacquerers to produce ceremonial and decorative objects for their homes and palaces.
The varnish used in Japanese lacquer is made from the sap of the urushi tree, also known as the lacquer tree or the Japanese varnish tree (Rhus vernacifera), which mainly grows in Japan and China, as well as Southeast Asia. Japanese lacquer, 漆 urushi, is made from the sap of the lacquer tree. The tree must be tapped carefully, as in its raw form the liquid is poisonous to the touch, and even breathing in the fumes can be dangerous. But people in Japan have been working with this material for many millennia, so there has been time to refine the technique!
Flowing from incisions made in the bark, the sap, or raw lacquer is a viscous greyish-white juice. The harvesting of the resin can only be done in very small quantities.
Three to five years after being harvested, the resin is treated to make an extremely resistant, honey-textured lacquer. After filtering, homogenization and dehydration, the sap becomes transparent and can be tinted in black, red, yellow, green or brown.
Once applied on an object, lacquer is dried under very precise conditions: a temperature between 25 and 30°C and a humidity level between 75 and 80%. Its harvesting and highly technical processing make urushi an expensive raw material applied in exceptionally fine successive layers, on objects such as bowls or boxes, or as you see, samurai sword saya {scabbards}. After heating and filtering, urushi can be applied directly to a solid, usually wooden, base. Pure urushi dries into a transparent film, while the more familiar black and red colours are created by adding minerals to the material. Each layer is left to dry and polished before the next layer is added. This process can be very time-consuming and labour-intensive, which contributes to the desirability, and high costs, of traditionally made lacquer goods. The skills and techniques of Japanese lacquer have been passed down through the generations for many centuries. For four hundred years, the master artisans of Zohiko’s Kyoto workshop have provided refined lacquer articles for the imperial household. It is extraordinary that a finest urushi lacquer saya would have taken up to, and over, a year to hand produce, by some of the most finely skilled artisans in the world.

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.

Shakudo was historically used in Japan to construct or decorate the finest katana fittings such as fuchi-kashira, 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 above descriptions show just why the finest Japanese fully mounted swords can be referred to as ‘Art Swords’, not because they were made just to be items of incredible beauty, to admire and revere, but also, as usable, everyday use swords to be worn by highest status samurai and clan lords, that are also statements of the status of the wearer, as well as of the finest beauty and artistic merit. The blade is absolutely beautiful, with just small elements of natural age surface thinning at the top quarter on one side.

Blade 25 inches long tsuba to tip, overall in its saya, 33.6 inches long  read more

Code: 25351

A Most Handsome Shinto Katana That Would Grace Any Museum Grade Collection. Signed Mutsu Daijo Fujiwara Kaneyasu

Late 17th century sword, bearing signature that approximately translates to "of the Fujiwara Clan, the Daijo (a honourific lordship title) of Mutsu Province, Kaneyasu made this''. With all original Edo period koshirae sword mounts, including a superb antique original Edo 'lobster scale' cinnabar urushi lacquer saya.

A truly stunning combination of materials that has created a iconic Japanese Art Sword of ancient tradition.
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.

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!

Higo school silver inlaid tettsu fuchi kashira and iron plate tsuba. very interesting menuki of a panel separated and placed over two bows, decorated with relief kanji. Beautiful blade with a gradually undulating gunome hamon. An impressive sprauncy sword almost certainly made for a mounted samurai considering its power and dimensions.

Of all the weapons that man has developed since our earliest days, few evoke such fascination as the samurai sword of Japan. To many of us in the, the movie image of the samurai in his fantastic armour, galloping into battle on his horse, his colourful personal flag, or sashimono, whipping in the wind on his back, has become the very symbol of Japan, the Empire of the Rising Sun. And, truly, to the samurai of real life, nothing embodied his warrior's code of Bushido more than his sword, considered inseparable from his soul.

Indeed, a sword was considered such a crucial part of a samurai's life that when a young samurai was about to be born, a sword was brought into the bedchamber during the delivery. When the time came for an old samurai to die and cross over into the White Jade Pavilion of the Afterlife his honoured sword was placed by his side. Even after death, a daimyo, or nobleman, believed he could count on his samurai who had followed him into the next world to use their keen blades to guard him against any demons, just as they had wielded their trusty weapons to defend him against flesh-and-blood enemies in this life. In a samurai family the swords were so revered that they were passed down from generation to generation, from father to son. If the hilt or scabbard wore out or broke, new ones would be fashioned for the all-important blade. The hilt, the tsuba (hand guard), and the scabbard themselves were often great art objects, with fittings sometimes of gold or silver. The hilt and scabbard were created from the finest hand crafted materials by the greatest artisans that have ever lived. Often, too, they told a story from Japanese myths. Magnificent specimens of Japanese swords can be seen today in the Tokugawa Art Museum's collection in Nagoya, Japan. The saya has a few age seam lines, but at all detrimental to its beauty and entirely commensurate to its age
Blade 29 inches tsuba to tip  read more

Code: 24040

A Beautiful Antique Suit of Original Edo Period Samurai Gosuku Armour. Fully Laced With Shinari Kabuto With Hanbo Face Armour & Crescent Moon Maedate

Edo period 1598-1863. Completely untouched for the past 200 years. With shinari kabuto acorn shaped helmet of built up lacquer over leather construction. With fully laced shikoro neck armour lames. Open hanbo face guard, with laced nodowa throat armour. Dark brown lacquer thin plates with full lacing to the do in maru-do type form breast plate without hinge, single side opening. Chain mail over silk kote arm armour with plate tekko hand armour. Fully laced and plate sode shoulder armour Fully laced four panels of haidate waist armour Fully laced kasazuri thigh armour, without lower suneate. The armour is trimmed in printed and decorated doe skin and all the connection fittings are in traditional carved horn. This armour is absolutely beautiful. It's condition is very good indeed apart from some areas of lacquer wear to the helmet but this we can attend to, some silk perishing on part of the thigh armour top section, and some colour fading to one hand armour lacquer. Japanese armour is thought to have evolved from the armour used in ancient China and Korea. Cuirasses and helmets were manufactured in Japan as early as the 4th century.Tanko, worn by foot soldiers and keiko, worn by horsemen were both pre-samurai types of early Japanese cuirass constructed from iron plates connected together by leather thongs.

During the Heian period 794 to 1185 the Japanese cuirass evolved into the more familiar style of armour worn by the samurai known as the dou or do. Japanese armour makers started to use leather (nerigawa) and lacquer was used to weather proof the armor parts. By the end of the Heian period the Japanese cuirass had arrived at the shape recognized as being distinctly samurai. Leather and or iron scales were used to construct samurai armours, with leather and eventually silk lace used to connect the individual scales (kozane) which these cuirasses were now being made from.

In the 16th century Japan began trading with Europe during what would become known as the Nanban trade. Samurai acquired European armour including the cuirass and comb morion which they modified and combined with domestic armour as it provided better protection from the newly introduced matchlock muskets known as Tanegashima. The introduction of the tanegashima by the Portuguese in 1543 changed the nature of warfare in Japan causing the Japanese armour makers to change the design of their armours from the centuries old lamellar armours to plate armour constructed from iron and steel plates which was called tosei gusoku (new armours).Bullet resistant armours were developed called tameshi gusoku or (bullet tested) allowing samurai to continue wearing their armour despite the use of firearms.

The era of warfare called the Sengoku period ended around 1600, Japan was united and entered the peaceful Edo period, samurai continued to use both plate and lamellar armour as a symbol of their status but traditional armours were no longer necessary for battles. During the Edo period light weight, portable and secret hidden armours became popular as there was still a need for personal protection. Civil strife, duels, assassinations, peasant revolts required the use of armours such as the kusari katabira (chain armour jacket) and armoured sleeves as well as other types of armour which could be worn under ordinary clothing.Edo period samurai were in charge of internal security and would wear various types of kusari gusoku (chain armour) and shin and arm protection as well as forehead protectors (hachi-gane).

Armour continued to be worn and used in Japan until the end of the samurai era (Meiji period) in the 1860s, with the last use of samurai armour happening in 1877 during the Satsuma Rebellion. This is one of the most attractive ones we have had since we supplied two full antique gosuko, with eight museum grade katana and tachi, to a world famous artist  read more

Code: 22649

A Superb Edo Period Samurai Jingasa War Hat Helmet

A Jingasa Ichimonji Gasa, circa 1800. The clan mon [family crest] is very distinctive indeed.
A lacquer over cloth and paper constructed helmet, as is traditional of the era. The most used and famous are the various round jingasa that are basically flat with just a small raised central part. Akemi Masaharu calls this type ichimonji gasa (straight-line hats), hira gasa (flat hats) or nuri gasa (lacquered hats). The vast majority of these are made in what Akemi Masaharu calls the dry lacquer technique. This would involve gluing layers of cloth and / or paper together into a wooden mould, perhaps with some thin wood or bamboo strips as reinforcement, until a sufficient thickness was obtained, then lacquering. An alternative was to make them from coiled twisted paper strings, with each turn sewn to the next with another string. When lacquered, the whole structure was stiffened sufficiently to hold its shape. In both cases the result is a lightweight basic shape that could be individualised with decorations in lacquer. Not all of these are made in this way.

Most ichimonji jingasa are black lacquered on top with the owner’s, or his lord’s, kamon in gold on the front. No liner. Areas of lacquer surface cracking as usual for antique lacquer helmets of this type  read more

Code: 21744

A Really Rare Original Victorian Crimean War Other Ranks Guardsman's Bearkin Cap. with Hardened Leather Interior Frame & Original, Victorian, Crown VR , Maker's Label

From our fabulous Crimean war collection.

It is fair to say less than one in ten thousand household Division Bearskin Caps to be seen today, on the collectors market, is an original, Victorian issue, 1850's, Crimean War service bearskin cap, the other 9,999 per ten thousand, will be the regular 20th century cane framed bearskin caps. With good condition, leather lined chinscales.

In overall very good condition, the interior bears its original mid 19th century Victorian makers label. It is heavy stitched leather, stitched to the skin, as would be usual for the Crimean bearskin, and it also has the regular other ranks leather headband intact, {the officer's version had a velvet headband} fully. It has no hackle mount externally, which is correct for the Scots Fusilier Guards bearskins, as they wore no hackle, unlike the Grenadiers, and Coldstream Guards. This is only the third 1850's example used in the Crimea we have seen outside of the Guards Museum
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This is the bearskin headdress of an 1850's other ranks of the Scots Fusilier Guards, one of the most famous regiments of infantry in the British Army. This celebrated item, still worn by the Guards Division on ceremonial duties, has its origins in the Battle of Waterloo, where the 1st Foot Guards of Wellington's army fought against the French Imperial Guard, who wore bearskin caps. It was during the reign of King George IV that the Guard uniforms were changed, along with the Guard Regiments themselves. The scarlet coatee was introduced, with gray or white trousers and in 1832 the bearskin cap became the official headdress of all three guards regiments, thus creating the ceremonial uniform that essentially remains in use today.

In the Crimean war the bearskin was reduced in height and the cap's pelt could be attached to a hardened leather cap, as is this one, and not mounted on a frame of willow or rattan as they are today, one such leather lined bearskin is in the Guards Museum in London

In the Crimean war they were still a combat helmet, classified as a bearskin cap. Sometime after the Crimea, the bearskin was only in use by the guards, and fusiliers regiments as a dress cap, just as it still is today.

The guards combat details follow below {in a brief resume} at the Battle of Alma, during the retreat and second attack.

By now, the 1st Division had finally crossed the river and the Russians in the greater redoubt saw approaching them the Guards' Brigade, with the Grenadier Guards on the right, the Scots Fusilier Guards in the centre, and the Coldstream Guards on the left. Out of sight on the far left was the Highland Brigade, commanded by Sir Colin Campbell. Campbell was irritated by the Guards' delay and ordered an immediate advance. A firm believer in the charge with bayonets, Campbell told his men not to fire their rifles until they were "within a yard of the Russians".

The Scots Fusiliers, by then ahead of the rest of the division, started to move uphill immediately, repeating the Light Division's mistake, which at that moment was running down from the redoubt, pursued by Russian infantry. The Light Division crashed into the advancing Scots Fusiliers with such force that the line was broken in many places. The Scots faltered, but emerged on the other side with only half their numbers and continued towards the great redoubt in a chaotic state. When they were 37 m (40 yd) from the redoubt, the Russians mounted a massive volley. The Scots Fusiliers were forced to retreat, stopping only when they reached the river.

The two other guards regiments filled the gap left by the Scots Fusiliers, but refused orders to charge with bayonets up the hill. Instead, the Grenadiers and the Coldstream formed into lines and started firing Minie volleys into the Russian advance parties. This stopped the Russians, and the Grenadiers and the Coldstream were soon able to close the gap between them; the Russians were again forced back into the redoubt. Vintage, replaced chinscales

Photos in the gallery of hand-coloured photograph of three soldiers of the Scots Fusiliers Guards who served in the Crimean War. From right to left are Corporal Judd, Edward Temple and William Reynolds. They are all seated with Judd resting his bearskin on his lap and Temple holding one of the three rifles joint together pointing upwards.

Alongside this Crimean piece we also acquired a fabulous Crimean War pistol and an 1853 relic sword blade from the Charge of the Light Brigade.

Throughout the war Queen Victoria had taken an active interest in the welfare of the troops and on their return from the Crimea she met a number of the veterans at Buckingham Palace, Chatham Military Hospital and Aldershot Garrison. Following these meetings she commissioned a series of photographs of the veterans from the photographers Joseph Cundall and Robert Howlett.

The other coloured photograph is of Colour Sergeant William McGregor of the Scots Fusilier Guards.

The maker of this bearskin cap was established in 1776, as Sword Cutlers, Military Outfitters, and Hatters, W. Cater & Co. They were at 56 Pall Mall, and they moved from 56 Pall Mall, to 62 Pall Mall in around 1918.  read more

Code: 25401

A Most Rare & Stunningly Beautiful Imperial Russian Superior Cavalry Officer's Sword, Romanov Era, From the First Quarter to Mid 19th Century. A War Trophy of the Crimean War

Curved, bright polished single edge blade, cut with 2 fullers (one broad, one narrow), very fine brass hilt decorated throughout with laurel and acanthus leaves and foliage in relief, a knuckle bow with two bar guards, and a superb original wire bound polished horn grip, with a typically Russian form of forward slanted pommel, with pommel ball.

Original Imperial Russian Romanov period officer's swords of the 19th century appear very rarely indeed, as so few survived the revolution, and when they do, if they are the very fine quality examples, they can achieve extraordinarily high prices. It is certainly possible this sword is a trophy of the Crimean War.

This superb sabre would likely have seen its most combative service in the Crimea, such as at The Battle of Balaclava that is remembered in Britain for the actions of two British units. At the start of the battle, a large body of Russian cavalry charged the 93rd Highlanders, who were posted north of the village of Kadikoi. Commanding them was Sir Colin Campbell. Rather than "form square", the traditional method of repelling cavalry, Campbell took the risky decision to have his Highlanders form a single line two men deep. Campbell had seen the effectiveness of the new Minié rifles with which his troops were armed at the Battle of Alma, a month earlier, and he was confident that his men could beat back the Russians. His tactics succeeded. From up on the ridge to the west, Times correspondent William Howard Russell saw the Highlanders as a "thin red streak topped with steel", a phrase which soon became the "Thin Red Line".

Soon afterward, a Russian cavalry movement was countered by the Heavy Brigade, which charged and fought hand to hand until the Russians retreated. That caused a more widespread Russian retreat, including a number of their artillery units. After the local commanders had failed to take advantage of the retreat, Lord Raglan sent out orders to move up and to prevent the withdrawal of naval guns from the recently captured redoubts on the heights. Raglan could see those guns because of his position on the hill. In the valley, that view was obstructed, and the wrong guns were in sight to the left. The local commanders ignored the demands, which led to the British aide-de-camp, Captain Louis Nolan, personally delivering the quickly-written and confusing order to attack the artillery. When Lord Lucan questioned to which guns the order referred, the aide-de-camp pointed to the first Russian battery that he could see and allegedly said "There is your enemy, there are your guns", because of his obstructed view, which were wrong. Lucan then passed the order to the Earl of Cardigan, which resulted in the Charge of the Light Brigade.

The House of Romanov was the reigning imperial house of Russia from 1613 to 1917. They achieved prominence after Anastasia Romanovna married Ivan the Terrible, the first crowned tsar of all Russia. Nicholas II, the last Emperor of Russia, and his immediate family were executed in 1918, but there are still living descendants of other members of the imperial house.

Romanov 19th century history;
Paul I was murdered in his palace in Saint Petersburg in 1801. Alexander I, succeeded him on the throne and later died without leaving a son. His brother, crowned Nicholas I, succeeded him on the throne in 1825. The succession was far from smooth, however, as hundreds of troops took the oath of allegiance to Nicholas's elder brother, Constantine Pavlovich who, unbeknownst to them, had renounced his claim to the throne in 1822, following his marriage. The confusion, combined with opposition to Nicholas' accession, led to the Decembrist revolt. Nicholas I fathered four sons, educating them for the prospect of ruling Russia and for military careers, from whom the last branches of the dynasty descended.

Alexander II, son of Nicholas I, became the next Russian emperor in 1855, in the midst of the Crimean War. While Alexander considered it his charge to maintain peace in Europe and Russia, he believed only a strong Russian military could keep the peace. By developing the Imperial Russian Army, giving increased autonomy to Finland, and freeing the serfs in 1861 he gained much popular support for his reign.

The Crimean War was fought from October 1853 to February 1856 between the Russian Empire and an ultimately victorious alliance of the Ottoman Empire, France, the United Kingdom, and Sardinia-Piedmont.

Geopolitical causes of the war included the decline of the Ottoman Empire (the "Eastern Question"), the expansion of Russia in the preceding Russo-Turkish Wars, and the British and French preference to preserve the Ottoman Empire to maintain the balance of power in the Concert of Europe. The flashpoint was a disagreement over the rights of Christian minorities in Palestine, then part of the Ottoman Empire, with the French promoting the rights of Roman Catholics, and Russia promoting those of the Eastern Orthodox Church.

The Crimean War marked a turning point for the Russian Empire. The war weakened the Imperial Russian Army, drained the treasury and undermined Russia's influence in Europe. The empire would take decades to recover. Russia's humiliation forced its educated elites to identify its problems and recognise the need for fundamental reforms. They saw rapid modernisation as the sole way to recover the empire's status as a European power. The war thus became a catalyst for reforms of Russia's social institutions, including the abolition of serfdom and overhauls in the justice system, local self-government, education and military service.

In excellent condition overall considering this fabulous and incredibly rare sabre’s cavaly officer has obviously seen hand-to-hand combat, thus there is very light and minuscule overall surface wear to the steel blade, but it is still very fine indeed, very bright and wonderfully polished. On the hilt’s upper section of knuckle-bow, on the inner side, there is a very fine tiny combat-stress hairline {see photo 6}. Likely caused by a combat punch action impact of the hilt against a resistant object, possibly a helmet. Blade overall 38 .75 inches long, blade 31.75 inches long. No scabbard

Possibly by Schaaf & Söhne St. Petersburg.
We have seen Imperial Russian, of very similar quality and design, officer’s dragoon swords, such as a later pattern St Anne’s dragoon sword for bravery, sell for up to £30,000, so relatively, this sword is most inexpensive by comparison..  read more

Code: 25399

An Extremely Rare Example of an Incredibly Impressive Vijayanagara Hooded Katar From South India,16th To Early 17th century. Engraved at the Grip With Two Facing Yali or Leogryph (a Part Lion and Part Griffin), With Some Bird-Like Features.

Graduating triangular blade, engraved at the grip with two facing yali or leogryph (a part lion and part griffin), with some bird-like features. This mythological creature could be added to fine hooded katars by engraving to the hooded Katars as a means of spiritual protection in the battlefield. The Yali is a mythical creature seen in many South Indian temples, often sculpted onto the pillars. It may be portrayed as part lion, part elephant and part horse. The Vijayanagara Empire originated in the South of India through small Hindu Kingdoms as a resistance to the Muslim invasions from the North. These types of Hooded Katars are seen in the statues at Seshagiri Rayar Mandapam and were the staple of the Empire. As the Vijayanagara Empire slowly declined in the 17th century, this style of Katar declined and Katars without the hood became prominent.
This most rare Vijaynagara Katar exhibits the classical and traditional design, staying true to its roots. The blade is long, strongly tapering, with multiple grooves and fullers. The blade is also very sturdy and tight. Also if you notice the examples provided by Elgood, some of the katars do feature this type of blade. The grooves are deep and precisely cut and hold a consistent spacing and design, which adds to its aesthetic appeal. The blade is longer than the usual hooded Katars, which points towards this being an original blade, rather than a cut down european blade that is found on most other hooded katars on the market. The shield (hood) is a thick solid steel with a clean finish, engraved with floral designs and a yali. The Yali is a mythical creature seen in many South Indian temples, often sculpted onto the pillars. It may be portrayed as part lion, part elephant and part horse, and in similar shapes. Also, it has been sometimes described as a leogryph (part lion and part griffin), with some bird-like features. This mythological creature was added to the hooded Katars as a means of spiritual protection in the battlefield.

The handle bars are wide and larger than the typical Katar to match the aesthetic and size of the Vijaynagara Katar. The width of the handle bars provide an excellent protective layer for the user, but also creates an imposing presence when held due to the sheer size of the Katar. The grips features balls which give the user a good grip.

The world of antique sword and dagger 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 hilt and guard can be equally telling. Engravings and decorative elements may enhance the sword’s beauty and hint at its historical context.

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.

For more information and comparable examples of this type of Katar and other Arms and Amour, see Elgood, Hindu arms and Ritual, Eburon Publishers, Delft. There is a comparable Vijaynagara hooded katar in the Metropolitan Museum in New York, accession number 36.25.905  read more

Code: 25353

A Wonderful, Original, Antique Victorian Helmet of the 6th Dragoons the Inniskillins. One of the Great Irish Cavalry Regiments in the British Army & One of The Most Desirable of All The Victorian Regimental Helmets

One of the best surviving examples one can see in or out of a museum

They served in the Crimea in 1854, losing all its horses en route in a fire on board its troop ship, but still managing to take part in the charge of the Heavy Brigade at Balaklava.

The regiment was deployed to the Crimea in April 1854 but during the voyage the regiment's transport ship Europa sank with the loss of the commanding officer, Lieutenant Colonel Willoughby Moore, and 17 of his men. Lieutenant-Colonel Henry Dalrymple White took over command of the regiment and led it in action at the Battle of Balaclava in October 1854.

The first assault line consisted of the Scots Greys and one squadron of the Inniskillings, a total of less than 250 sabres. Only when the RSMs declared themselves happy with the alignment did Scarlett order his bugler to sound the 'Charge'. The idea of a charge conjures up images of the Light Brigade dashing forward at speed but Dragoons were larger men with much heavier equipment so their charge was more of a trot. Floundering at obstacles such as ditches or coppices they headed towards the massed ranks of Russian cavalry, pressing on inexorably at a mere 8 miles an hour. Slow they may have been but the effect of these heavy cavalrymen slamming into the much lighter Russian cavalry stunned their enemy. A letter from a Captain of the Inniskillings illustrates the mellee which followed:

"Forward - dash - bang - clank, and there we were in the midst of such smoke, cheer, and clatter, as never before stunned a mortal's ear. it was glorious! Down, one by one, aye, two by two fell the thick skulled and over-numerous Cossacks.....Down too alas! fell many a hero with a warm Celtic heart, and more than one fell screaming loud for victory. I could not pause. It was all push, wheel, frenzy, strike and down, down, down they went. Twice I was unhorsed, and more than once I had to grip my sword tighter, the blood of foes streaming down over the hilt, and running up my very sleeve....now we were lost in their ranks - now in little bands battling - now in good order together, now in and out."
In the words of Colonel Paget of the Light Brigade "It was a mighty affair, and considering the difficulties under which the Heavy Brigade laboured, and the disparity of numbers, a feat of arms which, if it ever had its equal, was certainly never surpassed in the annals of cavalry warfare, and the importance of which in its results can never be known.
It then took on peacekeeping roles in India in 1857 after the Mutiny and in South Africa in 1880 after the Zulu War.

It fought as mounted infantry in the Boer War. After the outbreak of the Second Boer War in October 1899, the regiment was sent to South Africa. It formed part of General French′s force in the operations around Colesberg, and afterwards one squadron took part in the relief of Kimberley in February 1900.22 The squadrons of the regiment then rejoined, and formed part of the cavalry brigade which served in all the engagements in the general advance on Pretoria, one of the Boer capitals, which was captured on 5 June 1900. They took part in the battles of Diamond Hill (June 1900) and Belfast (August 1900), and in the following cavalry advance on Barberton in the Eastern Transvaal. The regiment subsequently joined a column under the command of Colonel Michael Rimington in the Orange River Colony, taking part in miscellaneous raids and drives there throughout the last year of the war, which ended with the Peace of Vereeniging on 31 May 1902. Following the end of the war, 257 officers and men of the regiment left Cape Town on the SS Orissa, which arrived at Southampton in late October 1902,23 and another 138 men arrived at Queenstown the following month on the SS Orient.After their return, the regiment was stationed at Curragh. One of its lieutenants, Lawrence Oates, was recommended for the Victoria Cross and is best known for his last words - 'I am going out, I may be some time' - shortly before his death on Scott’s expedition to the South Pole in 1912.

The unit served mainly as infantry on the Western Front during the First World War, suffering heavy casualties on the rare occasions it charged as cavalry.  read more

Code: 25325

A Very Fine, 17th Century, King 'William & Queen Mary' Period Hangar Sword Cutlass of Senior Naval Officer's Admirals and Captains of the Royal Navy. & Notorious Pirates 🏴‍☠️ Gold Inlaid Flower Head Stamped Blade

From a superb family collection we just acquired, that was accumulated over decades, of fine early swords, pistols and cutlasses.

The sword of choice for senior officer's {Admirals and Captain's} serving in the Royal Navy during the 17th and early 18th century. We show three portraits in the gallery of admirals of the age each bearing their same swords, plus notorious pirates Blackbeard using the same sword.

Short flat sided blade. Antler handle made of antler of a male deer, called “hartshorn,” brass single knuckle bow bar hilt with cap pommel.
Blade bears two armourer's marks, of an 8 petealed flower stem and leaf with gold inlay. Overall in superb condition for its age.

Another very similar 'William and Mary period cutlass hangar was recovered {in a very poor state} from the wreck of notorious pirate, Captain Blackbeard's ship, the Queen Anne's Revenge, that was found at Beaufort inlet in 1996, the remains of the vessel have become the property of the people of North Carolina. And another 'William and Mary' period sword-cutlass is in a museum collection in Colonial Williamsburg in America.

William and Mary were the co-regnants over the Kingdoms of England, Scotland, and Ireland, namely the Dutch Prince of Orange King William III (& II) and his spouse (and first cousin) Queen Mary II. Their joint reign began in February 1689 after they were offered the throne by the Convention Parliament irregularly summoned by William after his victorious invasion of England in November 1688, the so-called Glorious Revolution. They replaced James II (& VII), Mary's father, who fled the country. Parliament offered William and Mary a co-regency, at the couple's behest. After Mary died in 1694, William ruled alone until his death in 1702. William and Mary were childless and were ultimately succeeded by Mary's younger sister, Anne.
This was the most popular form of sword used by the early British Naval Commanders when at sea. There are numerous great portraits in the National Gallery, and at the National Maritime Museum, of 17th and 18th century Admirals adorned with identical swords. Such as Admirals Benbow, Shovel et al. we show three such portraits in our gallery, of Hopsonn, Shovel and Benbow.

Vice-Admiral John Benbow (10 March 1653 – 4 November 1702) was an English Royal Navy officer. He joined the Navy in 1678, seeing action against Barbary pirates before leaving to join the Merchant Navy in which Benbow served until the 1688 Glorious Revolution, whereupon he returned to the Royal Navy and was commissioned.

Benbow fought against the French Navy during the Nine Years' War, serving on and later commanding several English warships and taking part in the battles of Beachy Head and Barfleur and La Hogue in 1690 and 1692. He went on to achieve fame during his military accomplishments, which included fighting against Barbary pirates such as the Salé Rovers, besieging Saint-Malo and seeing action in the West Indies against the French during the War of the Spanish Succession.

Admiral of the Fleet Sir Cloudesley Shovell (c. November 1650 – 22 or 23 October 1707) was an English naval officer. As a junior officer he saw action at the Battle of Solebay and then at the Battle of Texel during the Third Anglo-Dutch War. As a captain he fought at the Battle of Bantry Bay during the Williamite War in Ireland.

As a flag officer Shovell commanded a division at the Battle of Barfleur during the Nine Years' War, and during the battle distinguished himself by being the first to break through the enemy's line. Along with Admiral Henry Killigrew and Admiral Ralph Delaval, Shovell was put in joint command of the fleet shortly afterwards.

During the War of the Spanish Succession, Shovell commanded a squadron which served under Admiral George Rooke at the capture of Gibraltar and the Battle of Málaga. Working in conjunction with a landing force under the Earl of Peterborough, his forces undertook the siege and capture of Barcelona. He was appointed commander-in-chief of the Navy while at Lisbon the following year. He also commanded the naval element of a combined attack on Toulon, base of the main French fleet, in coordination with the Austrian army under Prince Eugene of Savoy in the summer of 1707. Later that year, on the return voyage to England, Shovell and more than 1,400 others perished in a disastrous shipwreck off the Isles of Scilly.

Thomas Hopsonn enjoyed a naval command on 18 May 1688, when James II appointed him to the Bonaventure. This ship was part of the fleet sent to The Nore under Strickland to prevent the Dutch invasion. However, Hopsonn was one of the conspirators within the fleet who supported William of Orange in the Glorious Revolution.

Following the revolution, Hopsonn retained command of the Bonaventure and was part of the squadron that relieved the siege of Derry in June 1689. On 28 October 1689, he was posted to the York, and commanded that vessel during the battle of Beachy Head the following year. Hopsonn's immediate commander in the battle was Sir George Rooke, who formed a high opinion of his gallantry and was afterwards much associated with him. He commanded Royal Katherine for two months starting in August 1690, before moving to command the St Michael. It was aboard the latter that he followed Rooke in the battle of Barfleur on 19 May 1692. In the same year, he was promoted to become a captain in the foot guards on the recommendation of admiral Edward Russell.

Blackbeard or Edward Teach (c.1680-1718) is one of the most infamous pirates to have ever lived.
Known for his fearsome image and daring acts on land and sea throughout the West Indies and along the North American East coast, his legacy has been the inspiration for many depictions of pirates throughout history. In possibly his most brazen act, Teach used his flotilla to blockade the port of Charlestown in the province of South Carolina. Over the course of a week, nine vessels were stopped and plundered as they attempted to sail out of the harbour, where Teach's fleet was moored.
Teach informed some of his prisoners that his fleet required medical supplies from the colonial government of South Carolina and that if none were provided, all would be beheaded and their ships burned.
Two pirates and a prisoner were sent to the town but when they did not return he moved eight ships into the harbour, causing panic and looting within the town. Shortly after his supplies were delivered and the prisoners released, after reportedly being robbed of all worthy possessions.
This siege represents the height of Teach’s notoriety, not just as a skilled captain but a fierce leader who was not confined to the sea and would maraud where he pleased. Exploits such as these made Teach was one of the most commonly reported pirates in the news and in the print of his age.

22.75 inches long overall, 17.5 inch long blade  read more

Code: 25381

A Fantastic and Phenomenally Powerful Two Handed Viking War Hammer Axe. Weighing Just Under Four Pounds. Wheeler Classification As A, Type I Circa 840 AD, Around 1200 Years Old. As used By The Huscarls, Danish Vikings, The Bodyguards Of Kings

This is a monstrously powerful axe of incredible heft. Used with the long haft somewhat akin to the axe of a Huscarl, the Danish Viking mercenaries that were famously the personal guard of King Harold at the battle of Hastings. Incredibly well preserved for its age, and remarkably still bears the remains of the wooden haft in the affixing aperture. Axes like this are categorized by the 1927 Wheeler classification system of Viking armaments, which groups pieces based off their shape, size, and intended use.

Danish Huscarls (Old Norse for "house-men") were elite, professional Viking warriors and bodyguards for Scandinavian and Anglo-Danish kings, renowned as fearsome shock troops in the 10th-11th centuries, serving as personal guards, heavy infantry, and the core of armies, famous for their heavy armour, Dane axes, and loyalty, notably forming King Harold Godwinson's elite at the Battle of Hastings.
Unlike militia (fyrd), Huscarls were full-time, well-trained, paid warriors. They served directly in the king's household, guarding his person and wealth.
Accordingly they held high status, ate at the king's table, and were bound by strict honour codes.
Provided personal protection for kings, notably Cnut the Great and Harold Godwinson, Earl Godwinson, later, King Harold of England
They formed the backbone of armies, equipped for brutal close-quarters combat.
The Dane Axe was famous for wielding large, two-handed axes, of incredible heft weighing near 2 kilos, or even more, that were devastating to enemy formations.
They wore chainmail, helmets, and carried shields (round or kite-shaped).
Central to military power during Danish rule under Cnut the Great (1015-1035).
Battle of Hastings (1066): King Harold's Huscarls formed his elite core, fighting ferociously but ultimately overwhelmed by Norman forces.
In essence, Danish Huscarls were the medieval equivalent of special forces, representing the pinnacle of warrior skill and loyalty in their era

Introduced by King Cnute, The Huscarls were the Royal Bodyguard and the elite fighters in the English field armies of the time. Highly trained, highly paid and highly motivated, they were the best and most highly feared troops in Europe, armed with long two handed axes, often in the later Viking age, they had an axe with a broader cutting edge, but the earlier Viking age around the 800's to 900's they had narrower cutting edges, as has this one, and it is said they were especially good for smashing helmets and piercing or crushing chain mail armour.
In the early Viking Age, the cutting edge of big axes measured from 7cms, {as is this one}, to 15 centimetres, while later Viking and Danish axes became wider. The later Danish Huscarl axe had a crescent-shaped cutting surface that measured 22 to 45 cms. The earlier 800's a.d. double handed axes were far more dedicated as single purpose weapons, with such a limited cutting edge they had no servicable use for cutting wood at all, crushing smashing and killing was there sole purpose. The later 11th century examples, could, if absolutely neccessary be used to cut down a tree.

Royal Huscarls are thought to have numbered three thousand - a great number of men to pay in those days. A special tax of one silver mark per ten hides was levied to pay the Huscarls. Further to their pay in coin (deemed to have been monthly) they were housed and fed initially from the king's coffers. Whether the king armed them as well is not known for certain. Gifts of weapons and equipment would have been made periodically to maintain their loyalty, in the manner of Scandinavian kings being 'ring-givers' in the early days of the Vikings. They would have had to have means of their own, as a king might easily dismiss them from his service for 'conduct unbecoming', to pay for their own armament and at least one horse to take him to fight (although in common with most other warriors of the northern world they fought on foot in time-honoured fashion). A huscarl's equipment amounted to mail-shirt (later mail-coat similar to the Normans' hauberk), one or more helmets, shields, spears and 'Dane-axe', the very effective long-shafted, two-handled fighting axe.

Knowledge about the arms and armour of the Viking age is based on archaeological finds, pictorial representation, and to some extent on the accounts in the Norse sagas and Norse laws recorded in the 13th century. According to custom, all free Norse men were required to own weapons and were permitted to carry them all the time. These arms were indicative of a Viking's social status: a wealthy Viking had a complete ensemble of a helmet, shield, mail shirt, and sword. However, swords were rarely used in battle in the same quantity as axes, as few Vikings were of the status to own or carry a sword, A typical bondi (freeman) was more likely to fight with a spear, axe, with shield and most also carried a seax as a utility knife and side-arm. Bows were used in the opening stages of land battles and at sea, but they tended to be considered less "honourable" than a melee weapon.

The warfare and violence of the Vikings were often motivated and fuelled by their beliefs in Norse religion, focusing on Thor and Odin, the gods of war and death. In combat, it is believed that the Vikings sometimes engaged in a disordered style of frenetic, furious fighting known as berserkergang, leading them to be termed berserkers. Such tactics may have been deployed intentionally by shock troops, and the berserk-state may have been induced through ingestion of materials with psychoactive properties, such as the hallucinogenic mushrooms, Amanita muscaria, or large amounts of alcohol. Perhaps the most common hand weapon among Vikings was the axe swords were more expensive to make and only wealthy warriors could afford them. The prevalence of axes in archaeological sites can likely be attributed to its role as not just a weapon, but also a common tool. This is supported by the large number of grave sites of female Scandinavians containing axes. Several types of larger axes specialized for use in battle evolved, with larger heads and longer shafts.

Vikings most commonly carried sturdy axes that could be thrown or swung with head-splitting force. The Mammen Axe is a famous example of such battle-axes, ideally suited for throwing and melee combat.
An axe head was mostly wrought iron, possibly with a steel cutting edge. This made the weapon less expensive than a sword, and was a standard item produced by blacksmiths, historically.

Like most other Scandinavian weaponry, axes were often given names. According to Snorri Sturluson's Prose Edda, axes were often named after she-trolls. A bearded 10th century Viking battle axe that could double as a throwing axe from the time of the last Viking, English King, Eric Bloodaxe, King of Northumbria. Probably the eldest son of King Harald Finehair The first King of all Norway. Eric's name probably derives from the legend that he murdered most of his 20 brothers, excepting Hakon. This was an unfortunate error as, upon Haralds death, Hakon returned to Norway from Britain to claim Harald's throne, and removed Eric from his Kingship. His elder brother Eric then fled Norway to Britain and to King Athelstan, an old friend of his father's, whereupon he took the Kingdom of Northumbria in around 947 a.d. While the sagas call him 'Bloodaxe', one of the Latin texts calls him fratris interfector (brother-killer), but, for whatever reason his name was derived, it was certainly a fine example of the descriptive titles the Viking warriors had, and that we are told of in the Viking sagas.

Weighing just under 4 pounds, 9 inches {23 cms} x 2.5 inches {7cms}  read more

Code: 25471