An Absolutely Stunning Napoleon IIIrd, French Bronze. The Woman Reading, ‘La Liseuse’ by World Renown Sculptor, Albert-Ernest Carrier-Belleuse, Mentor to His Apprentice Auguste Rodin Who Became One of The Worlds Most Famous and Valued Sculptors

One of three versions he sculpted titled 'the Reader' by Carrier-Belleuse, and the rarest. One other, was the same model but she was wearing full Renaissance dress, including head-covering, another, of the same model was a woman reading with two small companions, and this scuplture, the erotic version, was of his favourite female model of a woman in a classical robe, semi naked reading a small book.

Albert-Ernest Carrier de Belleuse as known as Carrier-Belleuse (1824 - 1887) is one of the the most famous sculptors of the Second Empire, who touched all areas of sculpture, from porcelain of Sevres to monumental sculpture of marble, by way of a production of terracotta and bronze statuettes. He also trained one of the worlds greatest sculptors Auguste Rodin, who impressed his mentor to such a degree they even later collaborated on sculptures together.

Until 1872 Rodin's principal employer was Albert Ernest Carrier-Belleuse, the renowned decorative sculptor whose work cites those of the 18th century Rococo master Clodion. Rodin conceived of L'innocence tourmentée par l'amour, and, per his agreement with his teacher, Carrier-Belleuse signed the younger artist's works that were made at his studio. Rodin revisited this theme of cupids encouraging the sexual flourishing of a young woman in his later works, such as in Toilette de Vénus. Compagnie des Bronzes de Bruxelles produced editions of L'innocence tourmentée par l'amour for Carrier-Belleuse in terracotta, marble, biscuit de Sèvres and bronze until 1910.

Rodin created what is said to be the world's most famous sculpture. 'The Kiss' for Boston Millionaire E.P. WARREN, for £1,000 in around 1900 and it was delivered in 1904, and it lived in Warren House in Lewes East Sussex, then Lewes Town Hall in 1914. Then to a stable block in 1917, due to its unacceptable erotic nature, It lived in Lewes for a total of around 30 years.

12 years ago a pair of bronzes by Carrier-Belleuse, of the same age, quality and styl, titled, Spring and Summer, 2 works of gilt and patinated bronze and onyx circa 1850-1875, height 35.4 inches. They were sold at Christie's London April 29, 2010 lot 100 for $366,529.

Beginning at the age of thirteen at chiseler Beauchery’s workshop, Carrier-Belleuse learned from different goldsmiths, and was marked by the importance of the decorative arts. He worked quickly with Ferdinand Barbedienne and Deniere, the greatest bronze craftsmen of the century, in the realization of decorative objects, such as candelabra and fireplace garniture.

Fatherless orphan and protege of the Arago family, he obtained an official commission in 1848, a statue of the muse Rachel in gilded plaster. In 1863, his Bacchant in marble shown at the Salon is bought by Napoleon III, confirming his importance in the Second Empire. It was placed in the garden of the Tuileries from 1872 until 1984. He hence made the decoration of several prestigious buildings, in the Louvre, the Theatre of the Renaissance, on the pediment of the Bank of France, or at the Opera House of Palais Garnier, of which he supplied the two torches of the grand staircase.

As early as 1855, Carrier-Belleuse opened a workshop at the rue de la Tour d'Auvergne, 15, which welcomed many pupils, including Jospeh Cheret, Jules Dalou, and especially the great Auguste Rodin, who greatly benefited from this apprenticeship, and made his portrait in bust.

Carrier-Belleuse was probably best known for his production of statuettes and busts, as he realized many portraits of the personalities of his time, such as Theophile Gautier, Honore Daumier and Eugene Delacroix. He also sculpts portraits of some official figures with several busts of Napoleon III, and an important statue of the Countess of Castiglione. On the day following the ball of the 9th of February 1863 at the Tuileries, she wanted to make a portrait of her in her costume of Queen of Etruria, in a dignified pose, in order to counteract the slanders she had been the target of.

Carrier-Belleuse is also a great admirer of the Renaissance and the 18th century, from which he sculpts portraits of Shakespeare or Jean-Jacques Rousseau. He is inspired in his works by Renaissance art, especially the art from Fontainebleau. But he is also often considered as a new Clodion, 18th century sculptor of terracotta statuettes, for many gallant subjects and elegant busts of young women, such as the Bust of a young woman wearing a diadem, preserved in the Orsay Museum.

Thus, the monumental mirror exhibited by Barbedienne at the World’s Fair of 1867 , the true centerpiece of the stand, which emphasizes the pre-eminence of French skills in ornamental bronze, is decorated with characters by Carrier-Belleuse, in a Benvenuto Cellini manner.

Being one of the founding members of the Central Union of Fine Arts applied to Industry, now the Decorative Arts, his work is in keeping with the motto of this institute: "Beautiful in Useful". At the end of his career, he became art director of the Manufacture de Sevres, where he invented many designs with small sculptures, such as the Buire de Blois, at which Rodin worked. Finally, at the end of his life, a collection of drawings by Carrier-Belleuse was published, showing his involvement in the diffusion of beauty by the objects of everyday life: Application of the human figure to industrial decoration and ornamentation, 1884.

The son of Albert-Ernest Carrier-Belleuse, Louis-Robert Carrier-Belleuse, also became a renowned artist of decorative arts. Trained as a painter, and also a sculptor like his father, he mainly worked in ceramics, becoming art director of the Choisy

Famed works of art he created;

Monument to André Masséna
Nice, 1869
Hebe asleep, 1869
Paris, Musée d'Orsay
Pediment sculpture of Abundance, Pavillon de Flore, South façade of the Great Galerie, Louvre palace, Paris, circa 1863
Caryatids themed on the four seasons, Vichy Opera, for architect Charles Badger, 1865
Architectural sculpture for the Tribunal de commerce de Paris (Commercial Court of Paris), on the Île de la Cité, for architect Antoine-Nicolas Bailly, completed 1865
A silvered bronze chimney-piece for the Hôtel de la Païva, Paris, 1866
Monument to André Masséna, Nice, 1869
Architectural work at the Brussels Stock Exchange, Brussels, circa 1870
Mary Queen of Scots, Private Collection, ca. 1870
Two elaborate multifigure torchères for the base of grand staircase, Palais Garnier (Paris Opera), Pairs, 1873
Tomb of Belgian photographer Louis Ghémar, Laeken Cemetery, Brussels, 1873
Architectural work for the Théâtre de la Renaissance, Paris, for architect Charles de Lalande, 1873
Sea Nymph for the fountain at the Place du Theâtre-Français, Paris, for architect Gabriel Davioud, 1874
Bust of Aimée-Olympe Desclée for her tomb, 1874
Four Seasons fountain, Hotel de Ville, Fleurance
Mausoleum of José de San Martín, Buenos Aires Metropolitan Cathedral, Buenos Aires
Equestrian statue of Mihai Viteazul, University Square, Bucharest, Romania
Equestrian statue of Manuel Belgrano, Plaza de Mayo Square, Buenos Aires, Argentina
Equestrian statue of Bernardo O'Higgins, Alameda, Santiago de Chile, Chile
Statue for the victims of the La Compañía fire, originally at the place of the fire, today in front of the General Cemetery in Santiago de Chile, Chile

41cm height x 13cm depth x 15cm width

The much less rare 'fully clothed' version of The Woman Reading is shown in photo 10 in the gallery  read more

Code: 24454

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

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

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

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

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

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

“In these textures lies an extraordinary and unique feature of the sword - the steel itself possesses an intrinsic beauty. The Japanese sword has been appreciated as an art object since its perfection some time during the tenth century AD. Fine swords have been more highly prized than lands or riches, those of superior quality being handed down from generation to generation. In fact, many well-documented swords, whose blades are signed by their makers, survive from nearly a thousand years ago. Recognizable features of the blades of hundreds of schools of sword-making have been punctiliously recorded, and the study of the sword is a guide to the flow of Japanese history.”
Victor Harris
Curator, Assistant Keeper and then Keeper (1998-2003) of the Department of Japanese Antiquities at the British Museum. He studied from 1968-71 under Sato Kenzan, Tokyo National Museum and Society for the Preservation of Japanese Swords
As once told to us by an esteemed regular visitor to us here in our gallery, and the same words that are repeated in his book;

“In these textures lies an extraordinary and unique feature of the sword - the steel itself possesses an intrinsic beauty. The Japanese sword has been appreciated as an art object since its perfection some time during the tenth century AD. Fine swords have been more highly prized than lands or riches, those of superior quality being handed down from generation to generation. In fact, many well-documented swords, whose blades are signed by their makers, survive from nearly a thousand years ago. Recognizable features of the blades of hundreds of schools of sword-making have been punctiliously recorded, and the study of the sword is a guide to the flow of Japanese history.”
Victor Harris
Curator, Assistant Keeper and then Keeper (1998-2003) of the Department of Japanese Antiquities at the British Museum. He studied from 1968-71 under Sato Kenzan, Tokyo National Museum and Society for the Preservation of Japanese Swords

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

Code: 23519

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

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

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

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

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

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

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

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

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

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

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

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

Code: 25614

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

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

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

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

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

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

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

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

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

Code: 25637

A Very Nice Original Simkin Watercolour of an Officer 2nd Lifeguards 1876

Simkin was born in Herne Bay, Kent, on 5 November 1850, (some references cite 1840) the son of a commercial traveller, also named Richard. After marrying his wife, Harriet, in 1880, He spent much of his time at Aldershot, Hampshire, and may also have been a volunteer in the Artists Rifles. He was employed by the War Office to design recruiting posters, and to illustrate the Army and Navy Gazette. In 1901, he created a series of 'Types of the Indian Army' for the Gazette. he obtained much of the information from the Colonial and India Exhibition of 1886. During his lifetime, he, along with Orlando Norrie produced thousands of watercolours depicting the uniforms and campaigns of the British Army. Simkin also contributed illustrations to numerous publications including the Boy?s Own Magazine, The Graphic and others; many were published by Raphael Tuck and sons.
He died at his home at 7 Cavendish Street, Herne Bay on 25 June 1926, survived by his wife and two daughters. Today, his pictures can be seen in numerous regimental museums and his illustrations appear in regimental histories, 7 inches x 9.8 inches  read more

Code: 23070

A Good 19th-20th Century French 1886 Pattern Lebel Rifle Sword Bayonet & Frog Hook Scabbard. WW1 French Foreign Legion Issue

With full quillon, complete, and in nice condition. Used by the French Foreign Legion into WW1, a very good example of these long and impressive sword bayonets. 65.5cm long overall. {25.75 inches}. Cross section epee blade nickle hilt. The scabbard has a frog hook fitting that fixes to the belt with a strap {complete with strap} instead of the past and common frog button
Our current just arrived selection of bayonets ranges from a collection just acquired of really great and rare bayonets, from a collector who wanted the very best he could find over the past 40 years. Rare French examples from the Russian contract during WW1, uncovered in Ukraine in the late 90's, French Foreign Legion bayonets, acquired from a French Foreign Legion reserve armoury depot clear-out in the 70's,

The bayonet was made famous as the bayonet used by the French Foreign Legion used in WWI and WWII, albeit with several modifications. The bayonet was produced with a long cruciform blade on a white alloy hilt. The crossguard originally had a downswept quillon like this one {was removed in 1916} and had a press button rifle locking mechanism.

The French Foreign Legion fought in the trenches during WWI on the Western Front, alongside other European theaters of war like the Balkans. This was a shift from their traditional role as they were deployed to fight in Europe instead of just colonial territories. The Legion's units were made up of both veteran mercenaries and wartime volunteers who joined to fight for France, with the latter often finding themselves in the Legion due to circumstances rather than choice.
Deployment: The Legion was not only on the Western Front but also fought in other theaters, such as in the Balkans in engagements in Greece, Serbia, and Macedonia.
Composition: While the traditional "mercenary" legionnaires were part of the force, a large number of new volunteers also joined specifically to fight in the war for France.
Trench warfare: Legion units, like other French army units, were involved in the brutal trench warfare that characterized the war on the Western Front.
Combined forces: The Legion fought alongside other Allied forces, such as the British army in some theaters.

The Lebel bayonet type with the quillon removed is the M1886/93/16 (Model 1886/93/16).
The original M1886 bayonet featured a prominent hooked quillon, intended for parrying or trapping enemy bayonets. This design was updated in 1893 with a new press button mechanism (M1886/93), and then altered again in 1916 (M1886/93/16) to eliminate the quillon.
The quillon was removed for several practical reasons during World War I:
Ease of manufacture: Removing the quillon simplified and sped up the production process to meet the demands of the war effort.
Field functionality: The hooked quillon was found to be impractical in close combat, as it could get tangled in equipment or other objects.
Material conservation: Around the same time, the original nickel-silver (cupro-nickel-zinc alloy) handles were replaced with brass or steel to conserve nickel for other war uses.
Bayonets produced with the quillon (pre-1915 models) were often officially modified later by having the quillon cut off while in service. Bayonets manufactured after 1916 were made without the quillon from the start.

French Model 1886/93/16 Epee Lebel Bayonet

The model M1886/93/16 Bayonet was standard issue to French Foreign Legion soldiers fighting in the second half of WW1 after 1916 who were issued the Lebel rifle.

The M1886 bayonet is an usual design which has a long thin cruciform Blade with a peculiar locking device just behind the muzzle ring and an all metal grip

The later model was the same but with adjustments, see below, and re designated the M1886/93/16 bayonet

Cast smooth handle
No hooked Qullion
Square cut press stud
Cruciform blade
Black steel tube scabbard with frog hook.
Overall length 67cms
Blade length 51.5cms
Originally the bayonets had a nickel-silver handle and a hooked quillion, just as this example. By 1916, with the need to conserve nickel for the war effort, some of the handles were made of brass. About the same time they were manufactured without the quillion.

The steel quillon and scabbard has old age russetting, the quatrefoil blade and nickel are excellent.

Delivery cost shown as for UK mainland only. Non UK delivery is now considerably upgraded for safety issues  read more

Code: 26071

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

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

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

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

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

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

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

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

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

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

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

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

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

Code: 26006

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

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

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

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

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

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

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

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

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

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

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

Code: 26067

A Very Fine, Original, Shinto, 'Tokugawa' Antique Tachi, Presented In Yokahama, Japan, in 1896, to Admiral Wildes, Capt. of USS Boston, Of Admiral Dewey's Spanish War Fleet, And, Veteran of The Civil War Battle of Mobile Under Admiral Farragut.

Admiral Frank Wildes, hero of the Spanish War, was firmly rooted within the entire maritime and military history and beginnings of American nationhood. His great grandfather was a Brigadier General in the Revolutionary War, Solomon Lovell of Weymouth, having commanded the defenses of Boston during the Revolution, and his grandfather, Capt. William Wildes, having been a Lieutenant of the old frigate Boston. His maternal grandfather. Ithamar Rice, participated in fight at Lexington. And, as a young ensign, { a graduate of the US Naval Academy in 1863} Admiral Wildes fought under Admiral Farragut at Mobile in the Civil War.
His presentation tachi spent the entire Christmas period break receiving a 'no expense spared' museum standard intensive conservation, taking sixty hours of artisan cleaning, polishing and preservation attention by our artisans. Who, at their own choice {despite protest from us} had no holiday break in order to finish the task before the New Year.

As all our regulars know almost every sword we display in our gallery is similarly respected with museum grade conservation undertaken as and when required. With our primary concern, for our ‘museum standard conservation’, is to be as original as possible, with all natural patination and beautiful aging remaining, if at all possible, and not to be a simply cosmetic restoration.

The samurai tachi is photographed displayed, traditional tachi style, upon an original rare Edo period tachi-kake stand with the Hakkoryu’s Yotsume-no-mon of the Okuyama clan {stock code 23511, and for sale separately}.

The sword bears traditional tachi koshirae throughout, of the Tokugawa shogun’s kamon, with nashiji urushi lacquer on the saya decorated with numerous mon, and the menuki are similarly of Tokugawa mon. The Shinto blade is o-Wazamono {supremely sharp} Photos in the gallery is an old family photo of the admiral, another is of the admiral’s sword, flag and uniform {from the auction sale} and yet one more of his old ship, USS Boston.

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

Acquired from his descendant family, living in the UK. Famously, in America the US Navy hero's dress uniform and gold sword was auctioned by Skinnersinc, after his gilt, presentation American admiral's sword, was discovered after being locked in a mysterious family trunk for decades. It made American national news across the States, at the time the trunk was opened, to reveal its magnificent historical treasure and it was sold for $31,200.

Admiral, formerly Captain, Frank Wildes commanded the Protected Cruiser USS Boston (Cruiser No. 1) during the Spanish-American War, leading its crew of 19 officers and 259 men in action, a significant historical ship with a notable captain known for his leadership on this vessel.
Key Details about Captain Wildes & USS Boston:
Ship: USS Boston (Cruiser No. 1) was a protected cruiser, a type of warship. Captain Wildes commanded her during the Spanish-American War. He led a substantial crew of 19 officers and 259 enlisted men.

When USS Boston left Hong Kong for the war in Manila the British naval officers in Hong-Kong knew the difference between us and the Spanish in this particular, and when we were leaving port for Manila the captain of the HMS Immortality shouted to Captain Wildes: “You will surely win. I have seen too much of your target practice to doubt it.” The British in China were confident of our victory when we sailed, but I believe that the Russian, German, and French naval officers thought Spain would conquer.

From Gunner Joel C. Evans account after the victorious battle, 'When I returned to Hong-Kong on the SS McCulloch, leaving Manila on May 5. We made the trip in forty-six and a half hours. Our reception in the harbor was generous. We were surrounded by launches, while representatives of governments and of newspapers all over the world implored speedy information. That night ashore was to be remembered. ‘The Americans made a jollification of it that outdid any celebration in the memory of the oldest inhabitant. The British residents joined in it, and in spirit the men of the two nations were one in rejoicing over the victory of the Anglo-Saxon."

USS BOSTON was assigned to the United States Asiatic Squadron under Commodore Dewey. She took part in the Battle of Manila Bay on May 1, 1898, and the capture of the city of Manila on August 13th. The cruiser remained in the Philippines, assisting in their pacification, until June 1899. BOSTON returned to San Francisco in August, 1899 and went out of commission, rejoining the Pacific Squadron in 1902. In June, 1905 she helped represent the Navy at the Lewis and Clark Exposition at Portland, Oregon, and between April 23 and May 10, 1906 she helped care for the victims of the San Francisco earthquake and fire. As a militia training vessel and receiving ship she survived until 1946.

February 8th 1903 New York Times

SAN FRANCISCO, Feb. 7.-Rear Admiral Frank Wildes of the United States Navy died suddenly on board the steamship China yesterday morning. He was on his way home from China on sick leave when death overtook him.

Admiral Wildes had recently been in charge of the fleet in Manila and about the Philippines, his service on the station dating from June, 1902. From the first the trying climate seemed to be too much for the officer. Under the strain of the continued heat and excessive humidity he constantly lost strength, until finally the naval Board of Survey stepped in and the Admiral was condemned as physically unfit for duty and ordered home to recuperate.

It was reported that upon Admiral Wildes's arrival in this country, if the sea voyage had brought his health back, he was to be placed in charge of the Bremerton Navy Yard. But the sea air did not work the cure hoped for.

From the time Admiral Wildes boarded the China at Hongkong he failed steadily. In Honolulu he was unable to leave his berth. He died at 10:30 A. M. Friday. His body was embalmed and brought on to port

Admiral Wildes was appointed from Massachusetts, and his family lived in Boston. He was accompanied on the steamer by Lieut. Andrews, Commander E. B. Barry, and Capt. West of the navy. On the voyage he had told his fellow-officers that he expected death soon, and a day or two before the end came he arranged with Lieut. Andrews to take charge of all his effects and care for his remains. He was dressing on Friday morning when he was seized suddenly with heart failure. He died within five minutes.

The news of the Admiral's death was conveyed to the warships in the harbor soon after the arrival of the China in port, and as the steamer went up the bay to her wharf she passed close to the anchorage of the battleships and each of them had its flags at half-mast.

Rear Admiral Frank Wildes, recently Senior Squadron Commander of the Asiatic station on the flagship Rainbow, had a splendid career in the navy. His promotion from the rank of Captain followed closely upon his conspicuous conduct in the battle of Manila, May 1, 1898. He was at that time the Captain of the cruiser Boston and remained about the Philippines until the Spanish surrender, on Aug. 18. He was detached and ordered home on Nov. 6, 1898, and was sent to the navy yard in Brooklyn April 1, 1899. He had since that time been in the Philippines. His period of service there was scheduled to end on Dec. 22, 1902. He attained the rank of Rear Admiral in October, 1901.

He was born in Boston June 17, 1843. He came of a family of fighters, his great-grandfather, Brig. Gen. Solomon Lovell of Weymouth, having commanded the defenses of Boston during the Revolution, and his grandfather, Capt. William Wildes, having been a Lieutenant of the old frigate Boston. His maternal grandfather. Ithamar Rice, participated in fight at Lexington.

Wildes was graduated from the Naval Academy on May 28, 1863, and was appointed an Ensign. He participated in the battles of Mobile and the naval battery under Admiral Farragut until the surrender of Fort Morgan.

37 Inches long overall, blade 27 inches long tsuba to tip, tsuka 9 inches long

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

Code: 26069

Beautiful, Original 'Tamashigiri Cutting Test' Antique Samurai Katana Signed By High Rated Master Smith, Masashige Tegarayama, 手柄山正繁 With Highly Rare Tamashigiri Cutting Test, By Gonnosuke Komatsubara, Dated 1799. & A Buddhist Eightfold Path Tsuba

The tsuka has Higo school, Edo period, plain iron fuchi kashira, and a very nice pair of gold dragon with ken menuki, and a fine copper habaki with blue-green silk tsuka-ito over traditional samegawa {giant rayskin}.

An elegant full length hi horimono blade, with a narrow suguha hamon, with just a few, as can occasionally be expected from swords kept in the UK in the 1870’s, minuscule, age and edge marks mostly to one side of the blade, thus priced accordingly. Signed by a master smith of great status dated and tested by the execution of a criminal by a a shogunate approved tamashgiri master of the Yamada family.

By Masashige Tegarayama. 手柄山　正繁
He was famous and highly regarded as a sword smith .
On the other side is a man named Gonnosuke Komatsubara. 小松原　権之助.
He is the tamegashiri master who tested the sharpness of this sword when he was going to execute a criminal with it.
The date is August 13,1799 （寛政十一年八月十三日）and the only people who could execute a criminal were those from family recognized by the shogunate, and who were adopted by the sixth head of that family Yoshimasa Yamada. 山田吉昌. known as the Shogun's Executioners
The text next to the date indicated the evaluation of the sharpness of the sword.
The characters written are “Chichiwari Dodan “ 乳割　土壇　which means that the criminal was laid on a foundation piled with earth, and when the chest was cut , the cut reached the ground, this is a record of where the sword was actually cut and how far it cut.

The tsuba is a super example of an eight-spoke wheel that connects the rim to the plate in this Katchushi Tsuba, likely Koto period circa 450 years old. The ‘spokes’, which symbolize the ‘eight fold path’, radiate from the plate, of ribbed octagonal rim. The surface has perfect colouration and patina, the quality of iron is very good. The Buddhist Eightfold Path consists of eight practices: right view, right resolve, right speech, right conduct, right livelihood, right effort, right mindfulness, and right samadhi ('meditative absorption or union'; alternatively, unanimous meditative awareness)

Katchushi means armoursmith in Japanese.
So, it is said that the definition of Katchushi-Tsuba is tsuba made by armour-smiths.

The saya has a beautiful black urushi lacquer ribbed top section, with a bottom section of nishiji gold urushi lacquer.

Tameshigiri (試し斬り, 試し切り, 試斬, 試切) is the Japanese art of target test cutting. The kanji literally mean "test cut" (kun'yomi: ためし ぎり tameshi giri). This practice was popularized in the Edo period (17th century) for testing the quality of Japanese swords. It continues to the present day, but has evolved into a martial art which focuses on demonstrating the practitioner's skill with a sword.
The practice of tameshigiri flourished during the Edo period, from 1600 to 1868. These blade tests were mainly conducted on katanas and wakizashis, which together are known as daishōs. Samurai warriors would perform these tests for their own use to ensure the sharpness of their future weapon. They could also carry out tameshigiri tests on behalf of their daimyō, testing katanas intended for their warlord's armies.

Different types of cuts were tested on various swords, each trajectory having its own name. For example, a vertical cut from the top of the body was called kami tatewari, while a vertical cut from the bottom was referred to as shimo tatewari. After each test, the number of bodies cut was inscribed on the tang of the blade, the nakago or 茎. This number was either marked with a file or inscribed as a column, along with the date, the name of the tester, and the cutting results. This katana has that very form of highly rare inscription on its nakago.
For some tests they were placed on a sand mound, about 11.81 inches high, known as dodan. To keep the bodies in place, four pieces of bamboo were fixed to hold the targets, referred to as hasamitake. The performance of the blade was then measured in terms of the number of bodies cut and the depth of the cut in centimeters. Renowned and proud swordsmiths would attend these events to witness their creations being tested. They would dress in ceremonial white kimonos for the occasion. If a blade failed the test, it brought such dishonour that the only way to cleanse their honour was through seppuku, ritual suicide.

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 were expected to be both fierce warriors and lovers of art, a dichotomy summed up by the Japanese concepts of bu to stop the spear exanding 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 synthesized 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 could be 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 once told to us by an esteemed regular visitor to us here in our gallery, and the same words that are repeated in his book;

“In these textures lies an extraordinary and unique feature of the sword - the steel itself possesses an intrinsic beauty. The Japanese sword has been appreciated as an art object since its perfection some time during the tenth century AD. Fine swords have been more highly prized than lands or riches, those of superior quality being handed down from generation to generation. In fact, many well-documented swords, whose blades are signed by their makers, survive from nearly a thousand years ago. Recognizable features of the blades of hundreds of schools of sword-making have been punctiliously recorded, and the study of the sword is a guide to the flow of Japanese history.”
Victor Harris
Curator, Assistant Keeper and then Keeper (1998-2003) of the Department of Japanese Antiquities at the British Museum. He studied from 1968-71 under Sato Kenzan, Tokyo National Museum and Society for the Preservation of Japanese Swords

As with all our items it comes complete with our certificate of authenticity  read more

Code: 25464