A Very Fine Yasutsugu School Katana, circa 1675-1684 Likely the 4th Generation, Signed, with Aoi Mon, Namban Tetsu Oite Bushu Edo Echizen Yasutsugu

With a stunning bi coloured, black ribbed and cinnabar red lacquer saya, hand decorated with a wonderful light feathering and a scrolling silver saya jiri bottom mount. The mounts [fuchi kashira and menuki] are gold and shakudo decorated of the chrysanthemum. The story of the Yasutsugu lineage starts with the birth of the first generation, Ichizaemon, who is believed to have been born around the middle of the sixteenth century. His place of birth was in Shimosaka of Shiga-gun in the province of Omi. Omi is next to Mino and contains Lake Biwa. Yasutsugu was born into a sword making family headed by his father, Hironaga, reputed to be the last descendent of Yamato no Kuni Senjuin. Though his father was from Omi, he was trained in the Mino tradition. Around the 11th or 12th year of this same period of Keicho (1606-1607), Yasutsugu’s fame reached the point that he was called to Edo (Tokyo) to share his forging skills with Tokugawa Ieyasu. About this time Yasutsugu was given the privilege of using the character “Yasu” (康) from Tokugawa Ieyasu’s (徳川家康) name. Thus, from that point on, he changed his name to Yasutsugu. About the same time (some feel it was a few years later) he was given the additional privilege of carving the Hollyhock crest (Aoi mon) on his blades. These privileges were given in perpetuity to Yasutsugu and his descendants. Thus the Yasutsugu swordsmiths became the kaji of the Tokugawa Family.
Yasutsugu worked in Echizen and Edo as was the custom with the Tokugawa family in those days. It was much like the practice of Sankin Kodai (alternate year attendance) that was required of the Daimyo of the country. He died in seventh year of Genna (1621) probably in his 70’s.

Upon the death of the first generation Yasutsugu , the family mantle was taken up by his son, Ichinojô.
Nidai Yasutsugu made swords in the same style as the first generation. Some say that his ability was nearly the equal of his father’s. While all do not agree, there seems to be a consensus that he was without a doubt a close second
The two branches of the Yasutsugu school continued for many generations. The Edo school continued through eleven generations. It is generally agreed that the only two smiths of the last eight generations that were of note are the fourth our sword and the eleventh generations. The fourth generation had the advantage of being trained by the third generation, a quality smith. In addition, the fourth generation left several works in which he collaborated with the well-known smith, Izumi (no) Kami Kaneshige. The fourth generation’s working period was from 1675, the third year of Enpo to 1684, the first year of Teikyo era.
Interestingly, the steel used to produce this sword was in part sourced from Europe, likely from
Dutch traders. This steel was known as “Namban tetsu”, (lit. Southern Barbarian steel). It would
have been expensive and unique to produce swords with steel from faraway lands in the late
1600s. Thus the nakago (tang) is chiselled with the words Namban tetsu.

it is mounted with An Antique Edo Period Iron Large Tsuba Inlaid with Silver Aoi Leaves
The Tsuba can be solid, semi pierced of fully pierced, with an overall perforated design, but it always a central opening which narrows at its peak for the blade to fit within. It often can have openings for the kozuka and kogai to pass through, and these openings can also often be filled with metal to seal them closed. For the Samurai, it also functioned as an article of distinction, as his sole personal ornament. The tsukaito is beautifully traditionally rebound as is the black ribbing lacquer, on its original Edo lacquer saya.
As can be seen it is likely in its last original Edo polish in stunning condition which is beautiful, with just the tiniest natural aged surface mark. The kashira is carved buffalo horn with an applied gold lacquer partially complete aoi mon

Overall length in saya 38 3/4, blade tsuba to tip 27 3/4 inches long  read more

Code: 24038

The Lanes Armoury, Europe’s Leading Original Samurai Sword Specialists & Gallery. Plus 1000’s of Other Magical & Rare To Find Ancient and Vintage Wonders. Another Historic Collection Acquired This Week Including Amazing Medieval Swords & Antiquities

Including a small exclusive & original collection of Medieval and Roman rings and crucifixes. Thanks to us being so long established here in Brighton we are contacted or visited every day by private families interested in selling their long past collected antiques and antiquities. Artefacts of all kinds, from all eras and all nations. Some collected by their ancestors hundreds of years ago. And this week has been particularly fascinating for the diversity and beauty of our finds.

After more than 54 years personal experience by Mark, in our galleries, since 1971, and David’s 44 years since 1981, we are also regarded, by many, as Europe’s leading original samurai sword gallery, and probably the leading samurai sword specialists in the world, outside of Japan. With hundreds of original ancient and antique samurai swords to view and buy online, or, to journey to our world famous gallery in Brighton on a personal visit, 6 days a week.

By train we are just under an hour from Victoria Train Station in London.

We are also now offering a handmade bespoke frame or casing service. Created by a local specialist we have known for many decades. See the gallery for an example of a lidded box display casing just created for an item acquired from us for one of our esteemed regulars.

It has been said that the Hawkins family, have, in their sword dealing history, handled, bought and sold more original Japanese swords than any other sword dealers outside of Japan since World War I, trading over 100 years, numbering well into the tens of thousands of samurai weapons and artefacts. In one single acquisition alone, in the early 1960’s, David senior {the current partner’s father} purchased, in one collection, over 500 original antique and vintage Japanese swords, and Mark helped to disassemble each and every one of them, and was in charge of stringing together the tsuba sword guards into loops, 20 at a time. In those days tsuba were more collectable than swords. It was one of Mark’s very first introductions to the workings of the wonderful works of art that make up a complete samurai sword.
He can still remember listening to the very first hit of the Beatles ‘Love me do’ on the radiogram, in late 1963, while stringing together 25 loops of 20 tsuba, before he started school that early morning.
Our close family association with the legendary samurai sword continues unabated. In fact we still know of no better and varied original samurai sword selection, for sale under one roof, anywhere in the world today, outside of Japan, or possibly, even within it. Hundreds of antique pieces for sale to choose from, and some up to an incredible 800 years old.

Why is The Lanes Armoury probably the worlds most popular, original Japanese samurai gallery? well, we believe that not only are we the oldest still thriving store of our kind outside of Japan, but we have an entirely historical view of all our samurai artefacts, be they armour, helmets, swords, spears or accoutrements,

We place each piece within its historical context, a unique, holistic view if you like, never concentrating on such as simply the minutiae of blade detail alone {that has never been our forte} but of the entire sword as a work of art, and an example of the worlds highest craftsmanship, and thus it’s potential place within all of over 1000 years of samurai history.

Can they be expensive? Well, they certainly can appear so, however up to 70% of our completely fitted swords may still be half the price of just a newly made sword blade alone, commissioned from one of the few still remaining fine sword smiths in Japan, and ours could well be up to 500 years old, completely and stunningly fitted in fabulous quality original antique mounts, and potentially used in the past by up to 30 samurai within their own working life and history. And yet, they can still look as good as new.

A samurai sword for example, is in many respects, more the sum of its parts, although always dated by its blade’s vintage, each sword can have amazing koshirae mountings of equal beauty to the blade, displaying the skill of likely the most talented artisans in sword making history, and representing the most intriguing and certainly one of the most popular forms of ancient hand to hand combat in the world today.

For example one of the greatest films ever made in the history of cinema is Akira Kurosawa’s 1954 “Seven Samurai”. A groundbreaking epic of such influence on modern cinemas it is said to inspired more films in its genre than any other film ever made. A well deserved masterpiece of cinema, based entire on a simple single event of legendary samurai combat.

Still today, more incredible films in the genre are made involving the legendary samurai sword than any other, such as some of the billion dollar epics made by the Marvel Universe, that still enthral the worlds movie watching audiences.

There is no other country in the world that continually used the very same form of weaponry, in hand to hand combat, for over 800 years. A samurai sword of around 800 years of age, would be just as recognisable and as usable to any 19th century samurai, or even current exponent of samurai martial arts, if he were alive today.

Finally, a visit to The Lanes Armoury is considered and remarked upon, by near every single visitor to our store, that is is an unforgettable experiance, and every samurai sword buyer is afforded the best possible attention, not just for the time that they may view, choose, and buy a sword, but for as long as they own the sword. We are available for every aspect of ownership to its new owner, essentially forever. Our world renown 5 Star service knows no time limit.

And be assured, every single item, from a cap badge to a 800 year old ancient samurai sword, to an Ancient Greek solid gold crown, will be accompanied with our unique Certificate of Authenticity. Based on over 100 years and four generations of experience.  read more

Code: 24230

A Charming Napoleonic Wars Period, Circa 1812 Officer's Pocket Boxlock Pistol By William Hole of No 79 Quay, Bristol. Nicely Engraved Steel Mounts, And An Excellent, Tight and Crisp Action

Effectively, the George IIIrd period, English version of a pocket Derringer pistol. Made for and used by a British officer from Bristol in the Napoleonic Wars . Finely chequered walnut bag-shaped grip, good tight action, with a single cock percussion action, converted from flintlock in around 1830, around 30 years after it was made, to enable the pistol to be far more efficient, near waterproof, and to remain in good usable and serviceable condition for another thirty years or so.

As early as 1420, vessels from the English port of Bristol were regularly travelling to Iceland and it is speculated that sailors from Bristol had made landfall in the Americas before Christopher Columbus or John Cabot. After Cabot arrived in Bristol, he proposed a scheme to the king, Henry VII, in which he proposed to reach Asia by sailing west across the north Atlantic. He estimated that this would be shorter and quicker than Columbus' southerly route. The merchants of Bristol, operating under the name of the Society of Merchant Venturers, agreed to support his scheme. They had sponsored probes into the north Atlantic from the early 1480s, looking for possible trading opportunities. In 1552 Edward VI granted a Royal Charter to the Merchant Venturers to manage the port.

By 1670, the city had 6,000 tons of shipping, of which half was used for importing tobacco. By the late 17th century and early 18th century, this shipping was also playing a significant role in British world trade.

One of the more interesting aspects common among these pistols is that the doghead was centered internally on the pistol in a fashion similar to hammers on today's modern pistols. (That is the action was mounted internally instead of one of the sides of the pistol.) Boxlock pistols were pocket pistols popular in the late 1700's and early 1800's. This type of design is known as a "box lock". The box lock was more difficult to manufacture than a typical side mounted flintlock and tended to be more expensive to produce.

Not the last original picture in the gallery, its an original Georgian period painting of a naval captain {John Paul Jones} in hand to hand combat on deck, shooting a matelot with his boxlock and tucked within his belt is a row of four further box lock pistols.

Just returned from extensive cleaning, polishing and conservation  read more

Code: 25613

Crimean War, Indian Mutiny & Zulu War Service 1831 Pattern General Officer's Sword Mamaluke with Rare Copper Gilt & Leather Mounted Scabbard

This general's sword was bespoke commissioned and thus as used in the Crimean War, the Indian Mutiny, and the Zulu War, by a general of the British army. Most later Generals swords have the brass scabbard, which is still in use today, but the best and earliest types of generals sword have the leather with copper gilt mounted scabbards, as this one has, that was originally designed in the Napoleonic Wars

It is near identical to the sword of General Raglan of the Charge of the Light Brigade fame in the Crimean War. See photo 9 in the gallery of General Lord Raglan with his same sword. General Raglan became commander of the British troops sent to the Crimea in 1854: his primary objective was to defend Constantinople, and he was also ordered to besiege the Russian port of Sevastopol. After an early success at the Battle of the Alma, a failure to deliver orders with sufficient clarity caused the fateful Charge of the Light Brigade at the Battle of Balaclava.

Promoted to major-general in June 1854, it was his service in the Crimean War (1854-56) that brought him to public attention and finally made his reputation.

This sword is also just as used by General Colin Campbell in both the Crimean war and the Indian Mutiny. He commanded the Highland Brigade with notable success at the Battle of the Alma (1854). And at Balaklava (1854), his 'thin red line' of Highlanders repulsed the Russian cavalry assault.

Later in the campaign, Campbell took over command of the 1st Division from the Duke of Cambridge. He also did his best to improve the comfort of his men during the bitter Crimean winter. He was promoted to Knight Grand Cross of the Bath in July 1855. Campbell's concern for his men and his prudent desire to keep casualties to a minimum meant that he was much loved by his soldiers. Throughout his career he always stressed the importance of their physical conditioning and mental well-being. When news of the Indian Mutiny (1857-59) reached England in July 1857, the Prime Minister, Lord Palmerston, offered Campbell the position of Commander-in-Chief of India in place of General George Anson, who had just died. He left the following day, arriving in Calcutta in August. Having organised his troops and cleared Lower Bengal of mutineers, Campbell advanced on 9 November with 4,500 men to relieve the besieged garrison at Lucknow. After defeating Tantya Tope at Cawnpore in December 1857, Campbell returned to Lucknow the following March for the final capture of the city.

He attacked in set-piece fashion, moving forward from position to position, after his engineers had constructed bridges across the Gumti River. La Martiniere was captured on 9 March and two days later the Secundra Bagh and the Shah Najaf mosque fell.

The Begum Kothi palace complex was a tougher nut to crack. Severe hand-to-hand fighting led to over 700 rebel deaths. Over the next three days, Campbell's gunners blasted their way through the buildings between the Begum Kothi and the rebel posts in the Kaisar Bagh - the Nawab of Oudh's palace - which was captured on 14 March.

Another general to use a sword as this was Lieutenant-General Sir James Outram, 1st Baronet GCB, KCSI (29 January 1803 – 11 March 1863) was a British general who fought in the Indian Rebellion of 1857.

And another famous British general, that also used a sword just as this fine sword, was Lieutenant-General Frederick Augustus Thesiger, 2nd Baron Chelmsford KCB in the Zulu War . Who lost his reputation due to the massacre at Isandlwana, but regained it due to his success at Ulundi. See photo 10 in the gallery of General Thesiger, Baron Chelsford.

Excellent condition hilt, with near all its original mercurial gilt remaining, and fine carved ivory grip plates. It is finely engraved throughout with the traditional cast langets of a wreathed crossed sabre and field marshal’s baton, depicting the rank of general.
Excellent scabbard of leather over mounted with copper gilt fancy mounts bearing much original mercurial hilt remaking. The blade is fully etched with Her Majesty Queen Victoria’s cypher, bright polish with areas of old surface pitting.

This beautiful, antique, historical sword has just returned from over twenty hours of artisan hand cleaning and polishing revealing its true beauty once more

The Mamaluke pattern British Army General's sword evolved from the swords captured at the Battle of The Nile and were brought back as war trophies by Admiral Lord Nelson. These beautiful ivory hilted swords so impressed The Duke of Wellington, and his senior officers, they were worn and adopted for wear during the Napoleonic Wars. There are several portraits of Wellington and his Generals in full uniform and adorned with such swords. The pattern was formally adopted by the British Crown as The Generals pattern in 1831, although a General could choose to wear the 1822 type, the Gothic Hilted sword. This sword is from the era from the Indian Mutiny, the Crimean War, the Zulu War and The Egypt Campaign. A beautifully etched blade with full General's symbol of crossed Baton and Sabre and Queen Victoria's cypher Crown VR.
Antique ivory, exemption to the Ivory Act 2018
Submission reference
CJ293615
Antique ivory, however old, cannot be imported into the USA.  read more

Code: 25610

French Cavalry-of-the-Line Flintlock Pistol M1816 for Cuirassiers, Dragoons and Lancers, Ordnance Converted to Percussion in 1822

It has all its complete and original parts completely conserved, serviced, and cleaned by hand. Including a walnut half-stock, iron and brass mounts, ramrod lacking, and butt-cap, the lock inscribed for the French arsenal manufacture, 'M.re Rle de M? {possibly Manufacture Royale de Mutzig}. French Royal restoration period, with numerous inspector's stamps throughout all parts.

Used by the French line regiments of the cuirassiers, dragoons, or lancers from 1816 up to and including the Crimean war.

Good tight action, sound barrel. Many pistols of this type were also imported to the USA during the Civil War. At the time of the Crimean War, the army of the Second Empire was a subscripted army, but was also the most proficient army in Europe. One of the more famous groups were the Zouaves. According to Captain George Brinton McClellan, an American Military Observer, the Zouaves were the "most reckless, self-reliant, and complete infantry that Europe can produce. With his graceful dress, soldierly bearing, and vigilant attitude, the Zouave at an outpost is the beau ideal of a soldier."
The French army consisted of the Imperial Guard infantry, the line infantry including the Foreign Legion, cavalry, artillery, and engineer troops. Sources suggest that between 45,000 and 100,000 French forces were involved at one time or the other in the Crimea. Service in the French army was for seven years, with re-enlistments in increments of seven years. The Battle of Eupatoria was the most important military engagement of the Crimean War on the Crimean theatre in 1855 outside Sevastopol.

Ottoman forces were being transferred from the Danube front to the Crimean port of Eupatoria and the town was being fortified. Upon direct orders from the Czar who feared a wide-scale Ottoman offensive on the Russian flank, a Russian expeditionary force was formed under General Stepan Khrulev aiming to storm the base with a force variously estimated between 20,000 to 30,000.

Khrulev hoped to take the Ottoman garrison by surprise on February 17, 1855. His intention failed to materialise, as both the Ottoman garrison and the Allied fleet anticipated the attack.

The Russian artillery and infantry attacks were countered by heavy Allied artillery fire. Failing to make progress after three hours and suffering mounting casualties, Khrulev ordered a retreat.

This reverse led to the dismissal of the Russian Commander-in-Chief Aleksandr Sergeyevich Menshikov and probably hastened the death of Nicholas I of Russia, who died several weeks after the battle.

As for the battle's strategic importance, it confirmed that allied total command of the sea would ensure that the threat to the Russian flank would remain for the duration of hostilities. For the allies, possession of Eupatoria meant that the total investment of Sevastopol remained a viable option. For the Russians, they could not afford to commit unlimited resources from their vast army to the Crimea, for fear of a lightning allied thrust from Eupatoria closing the neck of the peninsula at Perekop.

For the Ottomans, their Army had regained its self-esteem and to some extent its reputation; most French and British realised this, although others including the high command would stubbornly refuse to make further use of their fighting abilities in the Crimean theatre. A very nice example of French cavalry percussion pistol (Ref. "French Military Weapons 1717-1938", by James E. Hicks, pp. 81 and 94).

Hand specialist conservation and preservation of original items is one of our fundamental tenets, it is not unusual for us to expend up to ten times the cost of an item in order to preserve a piece for the future, and to return it to how it once looked for posterity. Of course over restoration can be worse than no restoration at all so every care is made to ensure exactly the right amount of conservation is undertaken by our specialist and highly trained world renown artisans,

Photo in the gallery of the same pistol in the belt of an American Civil War Union trooper  read more

Code: 24803

A Stunning Quality Edo Period Tanto Fuchi In Shakudo and Pure Gold. Incredible Fine Quality Chisselled Takebori Carving of Rats Around a Gold Koku Traditional Rice Bale. Signed with Kikihan

Decorated shakudō (copper/gold alloy) with a hammered ground of fine nanako (fish-roe) points and decorated with rats and an applied pure gold rice bale. Signed Sadachika with kao (the artist's personal kakihan art signature seal). A wondeful indication of his skill, one can clearly see with a 10x magnifying glass the rats individual hairs on their body.

This is probably by the master fuchgashira maker Nomoto Sadachika, although relatively little is known about him, other than he worked in the later Edo period, his skill is self evident and was obviously exemplary.

In old Japanese culture the illustration of the rat in art was not a negative connotation, but a positive one. The presence of rats symbolised a successful harvest, so their presence was a symbol of good fortune,

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 articles of sword ornamentation made by the Goto artists were practically all on shakudo grounds with nanako finish; after the emergence of the machibori artisans in the mid-Edo period and the popularity of the newly inspired kozuka, shakudo grounds with nanako finish "became the rage". Nanako finish is probably an evolution and refinement of a very old style finish (which it vaguely resembles); "millet finish", 'awa ishime', which is found on some old armorer tsuba. However, awa ishime consisted of small, round dimples punched into the surface of the ground; on the other hand, nanako is formed by striking the ground with a cup-shaped punch to raise, and project upward from the surface, small semi-hemispheric nipples. Since we find nanako finish on old yamagane grounds, it was in use as early as the Kamakura period. It is note-worthy that a nanako finish on a shakudo ground has been used since the time of the first Goto 1440 - 151 in the mitokoromono, "set of three", for use on formal or ceremonial occasions. Later, shakudo nanako became the regular finish for use by the metal artisans. (deleted repeated sentences) In applying nanako, meticulous and scrupulous care must be used in positioning and striking the "cupping tool" in order to achieve fine, regular, carefully and closely spaced, identical results, row after row. Careless, imprecise and even coarse workmanship can be detected in the nanako of some older works and on "ready made" products, but work of later years, executed with infinite and scrupulous care, are beautiful beyond belief. However, even the finest of execution of nanako finish applied to brass (shinchu) or shibuichi fails to carry the distinct air of refinement and elegance of similar work on shakudo. The very elegance of nanako workmanship reflects not only the extraordinary skills of the Japanese in the execution of minute, detailed work, but also their tremendous patience and artistic inspiration. It is said that blindness of nanako workers at thirty years of age was usual because of the microscopic and meticulous work so carefully and patiently executed. On many old tsuba, pre-dating the period of the Goto, one encounters nanako laid in horizontal or vertical rows; on subsequent work nanako was applied along curved lines conforming to the shape of the tsuba.

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.  read more

Code: 25598

A Beautifully Detailed Early Christian, Ancient Roman Crucifix, Byzantine Empire, 8th to 9th century, Circa 1300 to 1200 Years Old. with Original Ring Mount

Bronze crucifix of Christ in the relief relief orans pose of arms outstretched. A superb, small collection of original, historical, Imperial Roman, Viking and Crusades period artifacts has been acquired by us and will be added over the next week or so. This fine bronze pendant cross was hand forged during the Middle Ages in the cradle of Christianity, the Byzantine Empire. In AD 324, the first Christian Roman Emperor Constantine the Great transferred the Eastern Roman Empire capital to Byzantium, which became Constantinople, known as ''New Rome''. The Byzantine Empire became centred on the capital of Constantinople and was ruled by Emperors in direct succession to the ancient Roman Emperors. With the eventual decline of Rome, the Church of Constantinople became the richest and most influential center of the Christian world. The reign of Justinian the Great in 527-565 marked a blossoming of Byzantine culture with a building program that yielded such masterpieces as the Cathedral Church of the Holy Wisdom of God, Hagia Sophia. Justinian, who is considered a Saint in the Eastern Orthodox Church, created the authority of this Church, which firmly established Christianity throughout the Empire. This Byzantine Empire would exist for more than a thousand years until 1453 and was one of the most powerful economic, cultural, and military forces in Europe and Asia Minor. This superb cross was most certainly worn by a Byzantine citizen as a statement of faith during this amazing age of early Christendom. Picture in the gallery of an 8th century painting 'Christ is the Crucified, and a King'. The details of the painting are, they say; 'He is robed in majesty; He is fastened to the Cross. He wears the royal purple robes with which His scorners intended to mock Him, but He, Alpha and Omega, the first and last Word, the Primogenitor of those who are being saved, confers His own divine dignity onto the very idea of kingship. He wears the glory that inspired the good thief to plead for his salvation, with the confidence of the One whose Sonship makes that salvation possible'.

Richard Lassels, an expatriate Roman Catholic priest, first used the phrase “Grand Tour” in his 1670 book Voyage to Italy, published posthumously in Paris in 1670. In its introduction, Lassels listed four areas in which travel furnished "an accomplished, consummate traveler" with opportunities to experience first hand the intellectual, the social, the ethical, and the political life of the Continent.

The English gentry of the 17th century believed that what a person knew came from the physical stimuli to which he or she has been exposed. Thus, being on-site and seeing famous works of art and history was an all important part of the Grand Tour. So most Grand Tourists spent the majority of their time visiting museums and historic sites.

Once young men began embarking on these journeys, additional guidebooks and tour guides began to appear to meet the needs of the 20-something male and female travelers and their tutors traveling a standard European itinerary. They carried letters of reference and introduction with them as they departed from southern England, enabling them to access money and invitations along the way.

With nearly unlimited funds, aristocratic connections and months or years to roam, these wealthy young tourists commissioned paintings, perfected their language skills and mingled with the upper crust of the Continent.

The wealthy believed the primary value of the Grand Tour lay in the exposure both to classical antiquity and the Renaissance, and to the aristocratic and fashionably polite society of the European continent. In addition, it provided the only opportunity to view specific works of art, and possibly the only chance to hear certain music. A Grand Tour could last from several months to several years. The youthful Grand Tourists usually traveled in the company of a Cicerone, a knowledgeable guide or tutor.

The ‘Grand Tour’ era of classical acquisitions from history existed up to around the 1850’s, and extended around the whole of Europe, Egypt, the Ottoman Empire, and the Holy Land.

Still perfectly wearable, and a good medium size, overall in excellent naturally patinated condition.

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

45mm high  read more

Code: 25608

Fine Pair of Samurai Sword Mounts, A Fuchigashira In Pure Gold Onlay & Inlay On Shakudo, Soten School, Edo Period {1615-1868} Inscribed Sōheishi Nyūdō Sōten Sei. Taira Atsumori (1169-1184) Riding On Horseback Through Crashing Waves To Escape The Minamoto

Soten school, late, Edo period {1615-1868} By Sōheishi Nyūdō Sōten Sei. It is rare to find Soten work in shakudo or any soft metals as they typically worked in iron

Very likely depicting Taira Atsumori (1169-1184) Riding On Horseback Through Crashing Waves To Escape The Minamoto Warriors. Woodcut By Toyokuni Utagawa,

The founder of the
Soten school, Kitagawa Sōteen I (also called Shūten and possibly Sōheishi Niūdō), flourished about 1650 and, like his successors, worked at Hikone, whence the name Hikone-bori for the style they evolved. The signature of his son, Sōten II (Sōheishi Niūdō), is that most frequently found on tsuba sword guards of this school.

The Sōten style may be summed up as the marubori-zōgan with the addition of elaborate landscape details. The figures, whether large or small, are either modeled completely in the round, the ground being more or less cut away and the whole enclosed by a border; or else they are in high relief on a solid ground. The work is nearly always in iron, with the nude portions encrusted in silver or copper, the patterns of the garments and the minute botanical details of the landscape being richly overlaid with gold.

The favourite subjects are taken from Chinese history and legend, or represent Japanese battle-scenes, especially from the Gempei campaigns of the 12th century and the Korean expeditions of the Empress Jingō and the Taikō Hideyoshi.

According to The Tale of the Heike, the Taira were scattered by Yoshitsune's attack from the Ichi-no-Tani cliff. Kumagai no Jirō Naozane, while scanning the beach for fleeing soldiers, spotted the young Atsumori swimming towards the fleeing vessels.

Ukiyo-e of Kumagai Naozane and Taira no Atsumori
Kumagai beckoned Atsumori with his fan, taunting Atsumori by saying, “I see that you are a commander-in-chief. It is dishonorable to show your back to an enemy. Return!”

Atsumori returned and they grappled on the beach. Kumagai was stronger. He knocked off Atsumori's helmet to deliver the finishing blow, only to be struck by the beauty of the young noble. Atsumori was “sixteen or seventeen years old, with a lightly powdered face and blackened teeth—a boy just the age of Naozane's own son...”

Kumagai, wishing to spare the life of the boy, asked for Atsumori's name, but the youth refused. He simply said that he was famous enough that Kumagai's superiors would recognize his head when it was time to assign rewards. At that moment, other Minamoto warriors arrived, and Kumagai knew that if he did not kill Atsumori, the other warriors surely would. Kumagai reasoned that it was better if he was the one to kill Atsumori, because he could offer prayers on his behalf for the afterlife.

Kumagai while crying beheaded the youth, searched the body for something to wrap the head in, he came across a bag containing a flute. He realized that Atsumori must have been one of the soldiers playing music before the battle and thought, “there are tens of thousands of riders in our eastern armies, but I am sure none of them has brought a flute to the battlefield. Those court nobles are refined men!”

It is said that the beheading of Atsumori is what led Kumagai to take priestly vows and become a Buddhist monk.

See photo 10 in the gallery of a similar subject fuchigashira in the Metropolitan Museum of Art
Sword-Hilt Collar and Pommel (Fuchigashira)
Japanese ca. 1615–1868 Fuchi inscribed: 藻柄子入道宗典製 Sōheishi Nyūdō Sōten sei (Made by the lay priest Sōheishi Sōten)
Donated by Herman A. E. and Paul C. Jaehne, New York and Coco Beach, Florida (by 1915–43; their gift to MMA).  read more

Code: 25605

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

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

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

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

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

Samurai were expected to be both fierce warriors and lovers of art, a dichotomy summed up by the Japanese concepts of to stop the spear expanding into bushido (the way of life of the warrior) and bun (the artistic, intellectual and spiritual side of the samurai). Originally conceived as away of dignifying raw military power, the two concepts were synthesised in feudal Japan and later became a key feature of Japanese culture and morality.The quintessential samurai was Miyamoto Musashi, a legendary early Edo-period swordsman who reportedly killed 60 men before his 30th birthday and was also a painting master. Members of a hierarchal class or caste, samurai were the sons of samurai and they were taught from an early age to unquestionably obey their mother, father and daimyo. When they grew older they were trained by Zen Buddhist masters in meditation and the Zen concepts of impermanence and harmony with nature. The were also taught about painting, calligraphy, nature poetry, mythological literature, flower arranging, and the tea ceremony.

As part of their military training, samurai were taught to sleep with their right arm underneath them so if they were attacked in the middle of the night and their the left arm was cut off the could still fight with their right arm. Samurai that tossed and turned at night were cured of the habit by having two knives placed on either side of their pillow.

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

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

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

Code: 24182

A Pair of Original & Extraordinarily Beautiful, First Nation, Antique American Wild West Frontier Riding Gauntlets. Made for Settlers and Trade Market of The American Frontiersmen, Such As Army Scouts, Pony Express Riders & Buffalo Hunters. Likely, 1840’s

A stunning pair of simply captivating gauntlets, of the 19th century, made by First Nation native Americans, of the Huron, Lakota Sioux or Metis tribes, from the early 'Wild West Frontier' period.

Likely traditional North American Indian brain tanned and smoked leather to enable the surface to be more waterproof. To ensure a long-lasting resilience of the leather, it was traditionally stored in a special tent over wood smoke, which gave the skin a darker brown tone and also made it waterproof, thus achieving better protection. Without this process, the leather turns out to be whitish and water-sensitive

All the embroidery is incredibly technical micro stitching of amazing beauty and intricacy. These stunning and fringed gauntlets are beautifully embroidered with flowers, florid patterns and a western monogram. They were possibly traded in the 1840's from the Cree, or the Lakota Sioux tribes of North and South Dakota, but theirs is often decorated with beadwork as opposed to this very fine stitched embroidery, which may better indicate Huron or Metis craftsmanship, according to a most kind lady from the region, who visited our gallery, and who fortunately knows this form of First Nation tribal art very well.

The most famous members of the Lakota Sioux were Sitting Bull and Crazy Horse. In yellow hide likely deer buckskin with typical long fringing. Excellent condition, with a small split in base of one finger. The style of Gauntlets worn by 'Kit Carson' and his contemporaries. Superbly beautiful, charming and highly collectable pieces from the old, American, Wild West Frontier.

Gauntlets are protective gloves that distinctively have a flared protective cuff. For centuries, these cuffs protected European and Asian bow hunters and military archers from being snapped on the wrist by their bowstrings. Medieval soldiers and knights began wearing chain-mail gauntlets during the 1300s, and armoured gauntlets appeared in Europe during the 1400s. Four hundred years later and halfway around the world, leather gauntlets appeared in the American West as military uniform accessories. They were soon appropriated by Indian artists, embellished with diverse ornaments, and incorporated into the civilian wardrobe. Here they became intrinsically linked with Western people, history, and landscape, and a symbol of the frontier. The original European form was reworked with a wild American veneer. Former mountain men -- Jim Bridger and Kit Carson among them -- occasionally worked guiding emigrant trains and military units through little-known country. They also helped track renegades of diverse stripes. These scouts were colourful characters, highly skilled, and not required to maintain a military dress code. Their attire was subsequently functional, comfortable, and drawn from a variety of media and cultural sources. By the 1870s, long and abundant fringe was in style and pinked edges provided decorative flair to leather clothing that was by nature quite showy. A similar pair of gauntlets though later of the Lakota Sioux can be seen in the Eugene and Clare Thaw Collection of American Indian Art in the Fenimore Art Museum NY.

The inner lining of our gauntlets is some kind of fine quilted cloth.

These stunning gauntlets would superbly compliment any Wild West collection of original American revolvers, and would look amazing case framed. We offer a highly recommended bespoke case framing service accomplished by one of our local expert artisans.

Such original and rare items of Native American art and artefacts are new very rare in Europe, and thus most valuable to collectors, as they are almost always not permitted to be exported from North America any longer. However, strangely it is also not possible to import First Nation artefacts back into the USA either

The last photo in the gallery is of the Teton Sioux Lakota gauntlets in the Fenimore Museum, however, the embroidery on our gauntlets is very much like earlier Huron work.

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: 20890