Magnificent Near Mint Gendaito, WW2 Officer's Sword By A Jo-Jo Saku (Above-Superior Work) Highly Ranked Traditional Sword Maker in The Tosho Banzuke 刀匠番附 That Was Published for 1941. Signed: Chikuzen Fukuoka Ju Moritsugu Norisada Saku Kore

Whoever is the lucky person to next acquire this sword will be extraordinarily fortunate, in that traditionally made swords from WW2, of this highest ranked quality, and not to mention in near mint condition, very rarely surface for sale. He was also an esteemed maker for swords presented to Shinto shrines in Japan. An equivalent, bespoke, traditionally hand made blade, commissioned from a higher ranked current smith today, would be within the $ 25,000 to $ 60,000 dollar range or even more. {** see below for reference} and that would be for the blade alone, without fittings. With the added feature, that if the smith created a blade that was ranked high enough to be within the $ 60,000 range, it would be forbidden for it to leave Japan by law.

The blade is further dated when it was completed on A Lucky Day In June 1941.

In 1942, Kurihara Hikosaburo, the man who revived the tradition of the Japanese Sword twice, reported the gunto tosho's ranking at Tosho Banzuke (刀匠番附). Effectively, the equivalent to Olympic Medal Winners, in the world of traditional sword making, for the best traditional sword makers list, and their ranking status within that list. Jo-Jo Saku being among the best in Japan. **See the comparative information below for the cost of similar quality traditional blades made today in Japan.

Above excellent, bespoke, traditional hand made blade by the great WW2 smith Norisada. Absolutely mint and beautiful blade made by the famous Chikuzen smith Moritsugu Norisada, He is of the lineage of the famous Chikuzen Fukuoka line that was famous from its makers Koretsugu and Moritsugu.
This blade {and all its fittings} is really exceptional, a blade with an amazing choji midare hamon, with tons of activity (ashi, kinsuji are seen all throughout the hamon), and the blade overall is spectacular.
The pictures do the sword no justice as compared with in hand. His swords often had large amounts of chikei, inazuma and ji nie that can appear all over the ji.
The blade is effectively flawless, in a full Japanese polish which shows all the details very clearly. Also the size of the sword is very strong, long and wide it resembles a top Shinshinto blade! His teacher was the famous Sakurai Manji Masatsugu who was a top smith during the early gendai period. Usually swords made for a special order are of better quality than average for sword makers. Well, it is rare that you can have a chance to acquire such absolutely magnificent sword, a stunningly, traditionally made officers sword from WW2. This blade was obviously well kept by the IJA officer until it was taken by US occupation forces at the end of the war.

Norisada (Moritsugu Norisada) was a highly respected and highly rated Jo Jo Saku Japanese swordsmith during the Showa period who produced the finest gendaito (traditionally made swords) for military use. He is very well-regarded for his work, often signing his blades with his location in Fukuoka.
He was based in Fukuoka (Chikuzen) and often signed his work "Chikuzen Fukuoka Ju Moritsugu Norisada Saku Kore".
His active period for military swords was during WWII, with specific examples dated to 1941 and 1942.
Norisada's work is described as having a "flamboyant hamon" (tempering line) and "detailed activity," often featuring special order, highest-quality blades.
He is noted in references such as the Gendai Toko Meikan (Index of Modern Smiths).
A 1941 blade signed by him was recognized at a special exhibition, during the war, highlighting his reputation.

In 1941, the Japanese swordsmith Moritsugu Norisada was granted a special seat 特別名譽席鍛刀總匠 ( very high ranking) in the Nihon Kendo Oyobi Token (Japan Kendo and Sword) rankings, specifically listed in the Tosho Banzuke (swordsmith ranking list) for that year.
Key details regarding this event include that Norisada was rated at jo-jo saku (above-superior work) in the Tosho Banzuke published in 1941.

The 1941 Tosho Banzuke, published by Nihon Kendo Oyobi, is a crucial reference for identifying highest and high-ranking gendaito (modern swords) smiths during the wartime period.

This period was during World War II when the Dai Nihon Butokukai was heavily involved in organizing and evaluating sword manufacturing.
Norisada's work during this time is recognized for its highest quality, and blades from this period are often considered most valuable examples of wartime gendaito.

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

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

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

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

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

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

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

Production Limitations: Japanese law limits smiths to producing roughly 24 long swords (katana/tachi) per year, significantly driving up demand and cost.

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

Code: 26115

An Absolutely Fabulous & Spectacular Javanese Kris Royal Dagger. With Pure Gold Snake or Dragon God, A 'Naga' Symbol Onlaid on to The Fabulous Pamor Serpentine Blade of 13 Lok or Waves. Boat Shaped Ladrang Scabbard of Javan Pelet Wood

Probably 19th to early 20th century., in overall superb condition for age.

In an esteemed London auction house, a most similar quality gold inlaid example, of the same age, sold four Decembers ago for just over £5,400 inc commission. This is simply one of the most beautiful we have seen on the market in over 20 years.

A sarpa lumarka wavy blade with a gold naga snake in sangkelat 13 waves, or lok. Ladrang form of wrangka hilt crosspiece boat form of a simply stunningly grained wood, which may well be Javan pelet, with a fine gilt metal sleeve covering the haft, with a most intricate and detailed pieced design on the obverse side. In Java, the metal sleeve is called pendokbunton, which is a full metal sleeve.

The keris or kris is considered a magical weapon, filled with great spiritual power. In Javanese there is a term "Tosan Aji" or "Magic Metal" used to describe the keris. The keris is replete with the totems of Malay-Indonesian culture of hindu and islam. The blade is a mixture of meteoric steel and nickel According to traditional Javanese kejawen, kris contain all the intrinsic elements of nature: tirta (water), bayu (wind), agni (fire), bantolo (earth, but also interpreted as metal or wood which both come from the earth), and aku (lit: "I" or "me", meaning that the kris has a spirit or soul). All these elements are present during the forging of kris. Earth is metal forged by fire being blown by pumped wind, and water to cool down the metal. In Bali, the kris is associated with the naga or dragon, which also symbolizes irrigation canals, rivers, springs, wells, spouts, waterfalls and rainbows; thus, the wavy blade symbolizes the movement of the serpent. Some kris have a naga or serpent head carved near the base with the body and tail following the curves of the blade to the tip. A wavy kris is thus a naga in motion, aggressive and alive; a straight blade is one at rest, its power dormant but ready to come into action.

In former times, kris blades were said to be infused with poison during their forging, ensuring that any injury was fatal. The process of doing so was kept secret among smiths. Different types of whetstones, acidic juice of citrus fruits and poisonous arsenic bring out the contrast between the dark black iron and the light coloured silvery nickel layers which together form pamor, damascene patterns on the blade. The distinctive pamor patterns have specific meanings and names which indicate the special magical properties they are believed to impart  read more

Code: 22745

A Rare & Incredible Gilbert Islands Shark’s Tooth Kiribati Warriors Sword. In the Native Culture of The Islands It Is Called a Tebute. A Simply Amazing Original Conversation Piece.

A rarely seen {we have only had two in 15 years}, late 19th to early 20th century shark tooth sword, known as a tebute, and it is unique to the Gilbert Islands of Micronesia, the islands today are known as the nation of Kiribati.

The sword is made from seasoned wood of the coconut palm with cutting edges made from sharks teeth, attached with fine fibrous cords.

Most of these swords were destroyed by the maritime visitors to the islands. Kiribati has a history of contrived and ritualized duels. The armour was made of thickly woven sennit, a kind of coconut fibre. The duellists wore helmets made of blowfish remains. The helmets were resilient and, due to the structure of blowfish, covered with many points, which had the ability of damaging weapons. The weapons resembled broadswords with a serrated edge created with many shark teeth. The duels were performed mostly for the purpose of settling disputes and maintaining honour. The practicality of the duels is debatable. Due to the difficulty of moving in this armour, falling over and becoming unable to get back up was common enough that duel assistants were required. Kiribati has been known for its traditional martial arts which were kept within the secrets of several families for generations. The Kiribati arts of fighting as opposed to Asian martial arts are not often mentioned or even advertised to be known by the general public. Though, there may be some noticeable parallels in principle to that of Asian martial arts, they are merely really different. For instance, generally, there is no kicking as in Karate kicks or Kung Fu kicks, and speed is more important than power. A list of some of these traditional martial arts is as follows: Nabakai, Nakara, Ruabou, Tabiang, Taborara, Tebania, Temata-aua, Te Rawarawanimon, and Terotauea.

The essence of Kiribati traditional martial arts is the magical power of the spirits of the ancestral warriors. All these martial arts skills share one thing in common. That is, they came from an ancestral spirit.

"Nabakai" is a martial art from the island of Abaiang originated from the person named Nabakai. Nabakai was a member of the crab clan called "Tabukaokao". The three ancestral female spirits of this clan "Nei Tenaotarai", "Nei Temwanai" and "Nei Tereiatabuki" which usually believed to manifest themselves with a female crab came to him and taught him the fighting art. Overall 61 cm long.  read more

Code: 20923

An Absolutely Supurb Original Antique Maritime Collectable. A Battle of Trafalger Period Royal Navy Rum, Stoneware Ceramic Rum Barrel, with King George IIIrd Royal Crest And Lions, & 'Fore and Aft' Barrel Tap Apertures

One can easily imagine the Royal Naval officer's of the days before the Battle of Trafalgar availing themselves daily of tots of rum from this magnificent vessal. For meals though, the officer's were supplied with decanted Port.

This is a simply superb navy rum barrel, stunningly impress decorated throughout the whole surface. with the Hanovarian royal crest of the Lion and Unicorn with lion surmounted crown, over the Hanovarian garter and shield. To the base of the crest are twin facing lions, in the same seated pose as can be seen at the base of Nelson's Column in Trafalgar Square.

Prior to 1655, a sailor's ration of alcoholic beverage was originally beer with a daily ration of one gallon (i.e. eight pints). This official allowance continued until after the Napoleonic Wars. When beer was not available, as it would often spoil easily, it could be substituted by a pint of wine or half a pint of spirits depending on what was locally available. In 1655, the difficulty in storing the large quantities of liquid required led to beer's complete replacement with spirits, with the political influence of the West Indian planters giving rum preference over arrack and other spirits. The half-pint of spirits was originally issued neat; it is said that sailors would "prove" its strength by checking that gunpowder doused with rum would still burn (thus verifying that rum was at least 57% ABV).

The practice of compulsorily diluting rum in the proportion of half a pint to one quart of water was first introduced in 1740 by Admiral Edward Vernon (known as Old Grog, because of his habitual grogram cloak). The ration was also split into two servings, one between 10 am and noon and the other between 4 and 6 pm. In 1795 Navy regulations required adding small quantities of lemon or lime juice to the ration, to prevent scurvy. The rum itself was often procured from distillers in Jamaica, Trinidad & Tobago and the British Virgin Islands. Rations were cut in half in 1823 and again in half, to the traditional amount, one-eighth of an imperial pint in 1850.

The abolition of the rum ration had been discussed in Parliament in 1850 and again in 1881 however nothing came of it. However, one dark day in 1970, Admiral Peter Hill-Norton abolished the rum ration as he felt it could have led to sailors failing a breathalyser test and being less capable to manage complex machinery.
This decision to end the rum ration was made after the Secretary of State for Defence had taken opinions from several ranks of the Navy. Ratings were instead allowed to purchase beer, and the amount allowed was determined, according to the MP David Owen, by the amount of space available for stowing the extra beer in ships. The last rum ration was on 31 July 1970 and became known as Black Tot Day as sailors were unhappy about the loss of the rum ration. There were reports that the day involved sailors throwing tots into the sea and the staging of a mock funeral in a training camp. In place of the rum ration, sailors were allowed to buy three one-half imperial pint cans of beer a day and improved recreational facilities. While the rum ration was abolished, the order to "splice the mainbrace", awarding sailors an extra tot of rum for good service, remained as a command which could only be given by the Monarch and is still used to recognise good service. Rum rations are also given on special occasions: in recent years, examples included the 100th anniversary of the Royal Canadian Navy in 2010 and after the Queen's Diamond Jubilee celebrations in 2012.
Heavy stoneware, around 8 kilos {guess} size, 17 inches high 13 inches across/  read more

Code: 25216

A Beautiful Silver Mounted Javanese Pedang Lurus Dagger. A Fine Example of 19th Century Javanese Silverwork.

A Javanese dagger pedang lurus . Slightly swollen single edged blade 21cms with striking pamor, often made of meteorite steel mixed with meteorite nickel, silver hilt and sheath nicely embossed and engraved with foliage. Good condition. In Western literature this type of Indonesian edged weapon is often called pedang lurus, literally straight sword, even though they are not always perfectly straight. It probably refers to the fact they are straighter than a keris or saber. The term is specifically used for a group of Indonesian shortswords that come mounted entirely in silver. They typically bear some striking resemblances to European hunting swords, like the shape of handle and guard, the belt stopper on the scabbard, and the often ribbed scabbard end. The mounts, and sometimes the blades, were probably inspired by such hunting swords that were worn by colonists.

This straight bladed sword or pedang lurus represents a fine example of 19th century Javanese silverwork. Also known as a pedang luwuk, the pedang lurus is associated with central Java, particularly Surakarta and to a lesser extent Yogyakarta, each being royal centres with kratons (palaces) and flourishing court arts.
The hilt has been cast, chased and engraved in high relief with rococo-inspired leafy and stylised flowering motifs. It is shaped as a stylised kris hilt which in town often are shaped as highly stylised wayang characters.
The pomel is covered in sheet silver and has been lightly etched with foliate and floral motifs.
The scabbard is of plain sheet silver over a wooden base, and is beautifully engraved on both sides with a repeated serrated leaf and flower motiff.
The blade, in watered iron/nickel is straight and highly decoratively adorned
Overall, this is an beautiful pedang lurus in a form that is not often encountered.. REFERENCES
Avieropoulou Choo, A., Silver: A Guide to the Collections, National Museum Singapore, 1984.

Hardianti, E.S. & P. ter Keurs (eds.), Indonesia: The Discovery of the Past, KIT Publishers for De Nieuwe Kerk, Amsterdam, 2005.

National Museum Jakarta, Treasures of the National Museum Jakarta, Buku Antar Bangsa, 1997.

Van Zonneveld, A., Traditional Weapons of the Indonesian Archipelago, C. Zwartenkot Art Books, 2001.  read more

Code: 22571

Antique Zulu-Tsonga Prestige Staff Possibly Carved by a Carver Known as the 'Baboon Master'. With a Carved Female Head

19th century. This dignatory's staff has a most figurative carving. They have been collected in Southern Africa since the mid-19th century. Recent research by Anitra Nettleton suggests, however, that Tsonga sculptors may actually have produced most of these carvings. There is evidence that the Tsonga migrated to the Natal from southern Mozambique as early as the 1850s. Recognized for their carving skills, they were soon producing fine artifacts for Zulu dignatories. Two related staffs, were purchased for the collection of the Standard Bank Foundation in Johannesburg. One staff of theirs is surmounted by a baboon and the other by a male figure with a beard. Both are said to be turn-of-the-century staffs carved by the same hand, by a most accomplished and sought after artist dubbed the 'Baboon Master', who was possibly of Tsonga origin. 31 inches long.  read more

Code: 23116

An Antique 18th Century Indian Armour Piercing Punch Dagger Katar, Combat Damaged, or Adapted For Armour Wear

The Katar is an amazing combat weapon from the Indian sub continent, in combat use by select warriors and nobles for five centuries, it is a scarcely seen piece, yet highly distinctive and iconic. It was designed in several forms, some long and relatively light, others extremely robust and overtly powerful. This is one of the latter types. It’s ‘crow’s beak’ penetrating tip shows and strongest possible ribbed blade design was so efficient that effectively there was likely no body armour that could not be penetrated by such a powerful piece, once in the hands of a Katar wielding expert. It has been forged in great and powerful quality, and is a very high quality example with superior heft.
One of the bracing arms has been lost, very possibly from an opponents sword cut, although we have seen this before and we were informed by an esteemed elderly Indian warfare scholar that it has been known for one arm to ge removed so an an armoured warrior could use a the Katar while wearing the right fore-arm protector combat armour, known as the the bazu band. While wearing the bazu band armour the warriors forearm is much wider than usual and a Katar’s narrow arm extensions would preclude its use in combat while wearing armour.

The katar originated in Tamil Nadu where its Dravidian name was kattari before being altered to katar in the north. The earliest forms occur in the medieval Deccan kingdom of Vijayanagara. Katar dating back to this period often had a leaf- or shell-like knuckle-guard to protect the back of the hand, but this was discarded by the latter half of the 17th century. The Maratha gauntlet sword or pata is thought to have been developed from the katar. As the weapon spread throughout India it became something of a status symbol, much like the Southeast Asian kris or the Japanese katana. Among the Rajputs, Sikhs and Mughals, princes and nobles were often portrayed wearing a katara at their side. This was not only a precaution for self-defense, but it was also meant to show their wealth and position. Upper-class Mughals would even hunt tigers with katar. For a hunter to kill a tiger with such a short-range weapon was considered the surest sign of bravery and martial skill. The heat and moisture of India's climate made steel an unsuitable material for a dagger sheath, so they were covered in fabric such as velvet or silk. Because the katara's blade is in line with the user's arm, the basic attack is a direct thrust identical to a punch, although it could also be used for slashing. This design allows the fighter to put their whole weight into a thrust. Typical targets include the head and upper body, similar to boxing. The sides of the handle could be used for blocking but it otherwise has little defensive capability. As such, the wielder must be agile enough to dodge the opponent's attacks and strike quickly, made possible because of the weapon's light weight and small size compared to a long sword. Indian martial arts in general make extensive use of agility and acrobatic maneuvers. As far back as the 16th century, there was at least one fighting style which focused on fighting with a pair of katara, one in each hand.  read more

Code: 24644

Just Arrived This Week!!. A Stunning Ancient Koto Museum Grade Katana, Circa 1480's Around 550 Years Old, all Original Edo Fittings, Entomological Kachimushi Tsuba and Suzumebachi Menuki

A beautifully impressive and long ancient samurai sword, worthy of a museum quality display, with a stunning Koto blade that has an amazing gunome hamon, has just been photographed 'as is' at present, and it is most grubby, as it was coated in antique protective lacquer around 170 years ago. We are having this removed and in the next few days it will return and look fabulous, as it last did 170 years ago, before it arrived in England from Japan, as a honorary gift from a member of the Japanese nobility. It is fitted with a very fine, large iron kachimushi decorated iron tsuba.

The whole sword has been untouched for over 170 years, yet still looks amazing as an incredible historical artifact of the ancient art of the samurai.

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

Fine original Edo lacquer saya with two colour uruchi lacquer, partially ribbed and ishime, with a saya jiri iron mount inlaid with silver tendrils matching the tsuka's fuchi kashira.

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

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

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

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

The original Edo period urushi lacquer on the saya is in simply beautiful and shows most elegant simplicity, yet a most intricate in the black and brown combination of lacquer. It reveals once more within that simplicity the finest craftsmanship and beauty worthy of a master of the art of urushi decor. Japanese lacquer, or urushi, is a transformative and highly prized material that has been refined for over 7000 years.

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

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

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

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

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

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

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

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

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

Production Limitations: Japanese law limits smiths to producing roughly 24 long swords (katana/tachi) per year, significantly driving up demand and cost.

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

Code: 26111

A Most Interesting & Rare, Antique, 19th Century, American Presentation Boy's Sword. Presented to George Mellor in 1890. Made to The Standard Fully Functional Sword Specification Grade and Quality of an Adult's Sword At The Time

Made by Thurkle of Soho London. A most intriguing and interesting original antique curiosity and collector's item.

The hilt design is based on an officer's sword of the American Civil war, with a straight blade, but around two thirds the regular size, suitable for a boy of, say, 4 to 8 years of age.

We show the very same kind of sword held by a young boy dressed in a uniform in front of a patriotic portrait photograph of president William McKinley, in 1896.

Cast brass hilt with wire bound leather grip over wood. Tempered blad fully etched with patterning and presentation name and date, George Mellor 1890 . Maker marked by Thurkle of Soho.

Overall in very good condition.
Photo of child held in the Library of Congress {copyright free}

No scabbard

21 inches long overall, hilt, 5 inches  read more

Code: 26123

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

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

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

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

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

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

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

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

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

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

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

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

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

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