A Simply Beautiful Original Signed & Dated Antique Samurai Katana, Edo Period Shinshinto. In Superb Polish With All Original Edo Period Mounts of Shakudo and Gold by Yasuyuki 安随, & Its Original Edo Saya of Black Urushi and Abilone Shell

It has a stunning urushi lacquered original Edo saya with ribbing on the black urushi middle top section, and crushed abilone, over green, black and clear urushi lacquer, on the top and bottom sections a most pleasing and artisistic combination.

Original Edo shakudo fuchi kashira decorated with silver and gold birds, bamboo and flowers, on a hammered ground, signed Yasuyuki 安随. The tettsu tsuba has a geometric openwork design of an approaching wagon wheel with hon-zogan decoration of shinchu hira inlay. The tsuka ito {silk binding} had perished with age, so the photographs in the gallery only show the tsuka fittings, we are having the hilt rebound with silk tsuka ito.

A pair of superb menuki, in gold and shakudo, one is the turtle the other the phoenix. In Japanese folklore, the minogame, it is a legendary turtle of tremendous age. Sometimes living for up to 10,000 years, its most distinctive feature is the tail of seaweed and algae that trails behind it.

The most well known minogame {turtle} in Japan comes from the tale of Urashima Tarō, a legendary fisherman who rescues a turtle being tormented by children on a beach. A minogame informs him that he has actually rescued the daughter of the sea god Ryūjin, and takes him down to the bottom of the ocean to receive his thanks.

The other menuki is a Hō-ō bird . As the herald of a new age, the Hō-ō {phoenix} decends from heaven to earth to do good deeds, and then it returns to its celestial abode to await a new era. It is both a symbol of peace (when the bird appears) and a symbol of disharmony (when the bird disappears).

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

Shakudo {that can be used to make samurai sword mounts and fittings} is a billon of gold and copper (typically 4-10% gold, 96-90% copper) which can be treated to form an indigo/black patina resembling lacquer. Unpatinated shakudo Visually resembles bronze; the dark colour is induced by applying and heating rokusho, a special patination formula.

Shakudo was historically used in Japan to construct or decorate the finest katana fittings such as fuchi-kashira, tsuba, menuki, and kozuka; as well as other small ornaments. When it was introduced to the West in the mid-19th century, it was thought to be previously unknown outside Asia, but recent studies have suggested close similarities to certain decorative alloys used in ancient Egypt, Greece, and Rome.  read more

Code: 25542

A Stunning, Antique, Edo Period Shinto 'Dragon Horimono' Katana With A Carved Horimono Blade of a Dragon. With a Superb Suguha Hamon

Horimono, a type of carving, often adds other decorative Horimono to the blade in addition to grooves. The properties of horimono are usually traditional images, such as swords, dragons, deities, Buddhist patterns, bonji, Chinese characters, and so on.Among the blades of the Koto period of sword manufacture (1600), many of the carvings display religious meaning: Bonji (sanskrit), Su-ken, Fudo Myo-o,Kurikara, Sanko-tsuki-ken, Goma-bashi, Hachiman-daibosatsu, Namu-myoho-renge-kyo, and Sanjuban-shin.In the Shinto period of swordmaking (1600), the carvings become more decorative with depictions of cranes and turtles, ascending and descending dragons, shochikubai (pine, bamboo and plum), and the deity of wealth, Daikoku.These images are carved with hammers hitting small chisels of various sizes. The internal surface of horimono is ground smoothly and finely, and polished during the polishing process. Making horimono is both difficult and time-consuming; Swordsmiths mostly carve grooves and simple Sanskrit characters themselves, while the more magnificent horimono is made by specialized craftsmen. After deciding which image to use, carefully draw a detailed pattern with a brush at the position to be carved, and then complete the horimono. The ideal horimono has a moderate proportion, the size matches the word to be carved, and is engraved in the appropriate position

The decorative horimono were introduced during the Edo period on the katanas and are generally larger than the votive ones. They often depict a dragon, taking up traditional iconography but using superfine techniques to embellish the blade.

More details to add Wednesday 20th.
The saya has a split to repair so the katana’s availability will be only once the restored saya is completed.  read more

Code: 25541

Choose The Ideal Christmas Gift From Great Britain's Favourite Armoury Antiques & Collector's Shop. Some of The Best Ideas You Could Imagine, For Both Christmas & New Year, Have Come From The Lanes Armoury’

This is our 104th year of family trading this coming Christmas, and the dawn of our 105th year. The world famous New York Times included our gallery in their list as one of the very best places to visit in the UK when travelling to Europe from America.

Unique, ancient, antique and vintage beautiful items are our specialty, and be sure and certain that anything from us will be the best choice you can make this Christmas time. Just arrived this week! A 500 year old samurai sword of breathtaking beauty, together with another collection of original samurai swords including a fine daisho.

All kinds of other unique and fabulous conversation pieces, have been acquired lately, such as, for example,
Another part of our original Japanese katana acquisitions arrived, and as usual many are stunning beauties

A most rare late 17th early 18th century Japanese-Dutch ‘Black Ship’ captain’s sword was added, made by Japanese emigre sword koshirae makers from Nagasaki. A sawasa technique of gilded copper alloy with black shakudo detailing, a European style naval captain’s sword, made by Japanese samurai sword artisans, from Nagasaki, a sword of incredible beauty and rarity. Plus, a hanger sword, the same type as used by the notorious pirate, Blackbeard,

We have had arrive here recently some wonderful, original pieces of history,

Every item, as usual, will be accompanied with our unique, presentation quality, 'Certificate of Authenticity' that will not only fully certify it's genuineness, but it will detail the circumstance of it's origin, and where and when it may have been used in it's specific or generic history. Where else in Britain could you walk out of the store with an original souvenir from Alexander the Greats battle with the Persians in 334 B.C, for only £65, to a fabulous unique handmade gold, diamond and ruby timepiece once owned by movie legend, Elizabeth Taylor, or, the 2500 year old ancient sword that may likely have once been the sword of a king!

We are very proud to offer a superb selection of ancient antiquities, swords, daggers and spears from all the major past empires and civilisations of the world from over the past 3,500 years. In fact many recognise our unique and original selection is likely the best and most comprehensive to be seen, and offered for sale, anywhere in Europe, and possibly even the world over.

And please be further assured, all gift purchases may be changed after Christmas for any form of suitable alternatives.

"Doesn't someone you know deserve something unique from The Lanes Armoury"

The Lanes Armoury described by the 'New York Times' as one of the very best stores and destinations to visit when in Europe.
A living, breathing gallery that is a huge walk around ‘Cabinet of Curiosities’, containing thousands of original historical and magical pieces from the ancient long past, to the near recent. In fact, from 300,000 years of human history, and 100 million years of world history.

We are certainly not the biggest premier store in Europe recommended by the New York Times, in fact we are probably the smallest, but what we lack in size, apparently, we more than make up for in amazement, and wonder, and, the family have been trading in Brighton for over 104 years

For example, we added recently items that range from a Samurai Ancestral Sword Around 600 years old {or more}, a WW2 Japanese Officer's Sword With An Ancestral Blade 450 Years Old, an original late Koto to shinto samurai’s daisho, a stunning ‘Agincourt’, hand-and-a-half knights sword, a Seige of Troy era Bronze Age sword, incredibly rare original Viking warriors sword around 1000 years old, a beautiful samurai’s disguised fan dagger, plus, Ancient Roman Gladiator's rings for both for a Gladiator and Gladiatrix, around 1700 years old.

Google just let us know our updated Google entry just past the amazing 1,000,000 { one million } searches in order to find out our location in order to visit us here in Brighton, England.

Twenty Three Years Ago, After 80 Years Trading in Brighton, We Were Honoured by Being Nominated & Awarded by BACA, In The Best Antique & Collectables Shop In Britain Awards 2001
Presented by MILLER'S Antiques Guide, THE BBC, HOMES & ANTIQUES MAGAZINE, for the British Antique & Collectables Awards. The version of the antique dealers ‘Oscars’ of Britain.


In the gallery, the first photo, is a wonderful daybreak photo, taken the at the farm last Christmas season, at 7.55 am, Thursday the 14th December 2023. Showing what some are calling the South of England's 'Sky-on-Fire' Daybreak. You can see in the far distance in his retirement paddock the late Judy Hawkins's beloved former UK 'Supreme Champion' Scottish Highland grey pony, that was a frequent competitor against the late queen's Highlands at Windsor Castle. In his prime, he had his own worldwide fan club, and competition followers. Photo 7 in the gallery is old “Governor’ and his little chum “Roger” waiting for their morning apples. Photo 8 is a typical example of everyday new arrivals in the gallery. Photo 9 is Judy and Holly, ten years apart, first watching "Governor" in competition, then Holly alone, following on in her late devoted grandmother's passion, and, the family tradition.  read more

Code: 25540

A Battle of Agincourt, Henry Vth, Knightly Hand and a Half Sword, Also Known as a Bastard Sword, due to It Being A Transition Sword From A Single Handed To A Two Handed Sword

A most rare sword, from the 100 Years War period, used at the Battles of Crecy and Agincourt by armoured knights. A form of sword designated in the seminal work by Ewart Oakshott known within the Oakshott categorisation as the type XVIII

Overall in good condition for age with usual russetted surface for ancient swords of this era. Fine double edged graduating straight blade with central fullers, a sharp tip, and a multifaceted iron pommel to the elongated grip {as usual, no grip wood survives} long straight crossguard with slight downturn and button quillon ends. Original ancient iron swords, if they still have a crossguard, never have the original wooden grips, the wood never survives the hundreds of years passing which means, the crossguard becomes mobile and no longer in a fixed position.

During the Middle Ages, most swords were relatively light. By the 15th century, however, larger and heavier swords had been developed to increase their ability to penetrate plate armour. That need created the 'Bastard' or 'Hand-and-a-half' sword. They were hybrid swords that enabled blows to be delivered with the power of a two-handed sword but could also be wielded with just one hand.

Medieval swords of this era typically had a cruciform hilt, alluding to the knightly principles of chivalry and the 'Soldiers of Christ'. The pommel, at the top of the sword hilt, was of various shapes and could be made from a variety of materials. Richer swords of princes even had pommels made of rock crystal and chalcedony, and some were left hollow so that they could contain a holy relic.

Many swords were made in continental European centres such as Lorraine,

The Bastard Sword (with a longer grip) could be used for thrusting or cutting and had fearsome capabilities on the battlefield.

It was used as close-combat weapon and was capable of striking a massive blow. Its thrusts were deadlier, which improved their effectiveness when attacking plate armour. The blades of such swords could also be acutely pointed, which helped them to find the gaps in plate armour.

The blade could be the same length as a single-hand sword but the tang and the grip were long enough to accommodate two hands, which provided better leverage and more power.

Swords were worn in scabbards slung from waist belts, many of which were highly decorated with plaques and heraldic designs.

After several decades of relative peace, the English had renewed their war effort in 1415 amid the failure of negotiations with the French. In the ensuing campaign, many soldiers perished due to disease and the English numbers dwindled, but as they tried to withdraw to English-held Calais they found their path blocked by a considerably larger French army. Despite the disadvantage, the following battle ended in an overwhelming tactical victory for the English.

King Henry V of England led his troops into battle and participated in hand-to-hand fighting. The French king of the time, Charles VI, did not command the French army himself, as he suffered from severe psychotic illnesses with moderate mental incapacitation. Instead, the French were commanded by Constable Charles d'Albret and various prominent French noblemen of the Armagnac party.

This battle is notable for the use of the English longbow in very large numbers, with the English and Welsh archers forming up to 80 percent of Henry's army. The decimation of the French cavalry at their hands is regarded as an indicator of the decline of cavalry and the beginning of the dominance of ranged weapons on the battlefield.

Agincourt is one of England's most celebrated victories. The battle is the centrepiece of the play Henry V by Shakespeare. Juliet Barker in her book Agincourt: The King, the Campaign, the Battle ( published in 2005) argues the English and Welsh were outnumbered "at least four to one and possibly as much as six to one". She suggests figures of about 6,000 for the English and 36,000 for the French, based on the Gesta Henrici's figures of 5,000 archers and 900 men-at-arms for the English, and Jean de Wavrin's statement "that the French were six times more numerous than the English". The 2009 Encyclopædia Britannica uses the figures of about 6,000 for the English and 20,000 to 30,000 for the French. Part of an original medieval collection we have just acquired, of Viking and early British relics of warfare


Another picture is of a Medieval tombstone carving, showing the knight’s very same, hand and a half or bastard sword

To see references on this sword see Oakeshott, J, R.E., The Archaeology of the weapons, London, 1960 (Woodbridge, 1999); Oakeshott, E. 'Records of the Medieval Sword', Woodbridge, 1991  read more

Code: 24917

A Wonderful Circa 3000 Year Old Original Sword From the Time of the Ancient Greek 'Heroic Age' Such as The Era of The Seige of Troy and The Trojan War

One of two absolute beauties from the same historical era we were delighted to acquire. In beautiful condition with very fine deep patination. The first sword of the two has now just sold.

It has a graduating blade with central rib, integral hilt, with open panels for organic inserts of wood, bone, or ivory, fabulous areas of crystalized malachite naturally aged blue/green patination.

The great bronze age artisans of the time, found a most eager market to supply the warriors of late pre-literary history. Interestingly their swords and daggers were traded to all the warring cultures, from the Ancient Macedonians, Minoans, Thracians, Spartans, Scythians, Trojans and of course the Medes. So it was potentially possible at the time to find two civilizations at war using combat weapons made by the very same artisans, such as from Luristan or Crete. Crete being one of the main sources of copper in the bronze age, within that region. A type of globalization was in place, as all of the major powers were interconnected. Trade networks exchanged glass, ivory, copper, tin, bronze, perfume, and pottery. Bronze could be seen as the equivalent of our modern economy's crude oil. It was used for axes, swords, knives, armour, plows, and even wheel mechanisms, and tin, an essential ingredient of bronze, was traded as far as 1000 miles from its mined source in Afghanistan. Out of interest, it was why Ancient Rome spent so much time and effort in order to conquer ancient Britain, it was for our Cornish tin, and numerous lead mines, and not for our glorious climate.

The Greek Heroic Age, in mythology, is the period between the coming of the Greeks to Thessaly and the Greek warriors' return from Troy after their return with Helen of Troy. The poet Hesiod (fl. c. 700 BCE) identified this mythological era as one of his five Ages of Man. The period spans roughly six generations; the heroes denoted by the term are superhuman, though not divine, and are celebrated in the literature of Homer and of others, such as Sophocles, Aeschylus and Euripides.

The Greek heroes can be grouped into an approximate mythic chronology, based on the stories of events such as the Argonautic expedition and the Trojan War. Over the course of time, many heroes, such as Heracles, Achilles, Hector and Perseus, came to figure prominently in Greek mythology.

Early heroes
Many of the early Greek heroes were descended from the gods and were part of the founding narratives of various city-states. They also became the ancestors of later heroes. The Phoenician prince Cadmus, a grandson of Poseidon, was the first Greek hero and the founder of Thebes.

Perseus, famous for his exploits well before the days of his great-grandson, Heracles, was the son of Zeus. Perseus beheaded the Medusa, saved Andromeda from the sea monster Cetus, and was the legendary founder of Mycenae.
Aeacus was also a son of Zeus. Bellerophon was descended from the nymph Orseis. Oenomaus, king of Pisa, in the Peloponnese, was the son of Ares.
Among these early heroes the three - Cadmus, Perseus and Bellerophon - were considered the greatest Greek heroes and slayers of monsters before the days of Heracles.

Of course, despite the Age of Heroes and the time of the Gods of Olympus, being based almost entirely on mythology, apart from the actual city of Troy, which is now proved to be not a myth, the real warriors that lived during that age and time, in ancient pre-history, actually existed, and this is their very form of sword, and one that they would have used.
It is in beautiful condition, with very fine deep natural patination created over 3000 years. A sword type that gained popularity by the Eastern Mediterranean Scythians, Mycenaean Greek, The Spartans and during the the late 2nd Millenium to the Ist millennium B.C. around 2700 to 3200 years ago, and also, not least by the Medes of Persia.

Bronze swords and daggers weapons were highly sought after by warriors of many cultures because of their quality, balance and durability, and the artisans that made them found a ready market throughout all of the late pre-literary history cultures.

Typically their swords would have a graduating blade with central rib, integral hilt, with open panels for organic inserts of wood, bone, or ivory, just as this sword has, but it now has gained fabulous areas of crystallized malachite, naturally aged as a blue/green patination.

This is a type of short sword used mainly in the late second to first millennium BC in the eastern Mediterranean region, it was was worn at the hip in a likely, elaborate scabbard. The scabbard's chape, was generally a rounded triangle, and could be made of bronze, chased gold or carved ivory, and potentially lots of other materials. Just above the chape, a cord was tied around the scabbard, passed around the thigh and then through a slip-knot next to the chape.
The throat of thge scabbard had a large tab, which at its own upper corner was tied through a hole in the weapon belt.

Last picture in the gallery is the Recovery of Helen by Menelaus. Painted Attic black-figure amphora, c. 550 BC

19 1/2 inches long overall, blade 15 inches long  read more

Code: 22086

A Magnificent and Large Horse Mounted Samurai's Battle Sword Katana, With A Simply Stunning Shinto Blade In Near Mint Condition for Age. The Mounts Are All Completely Original Edo Period.

A beautiful substantial and impressive Bizen tradition war katana, with a very fine classic koshi no hiraita midare hamon.

Plain tettsu Higo school fuchi kashira in a traditional russet finish. Original Edo tsuka ito wrapped over ancient form menuki of russet iron spear heads, in early yari and naganata form. Round tetsu Higo schookl kinuki tsuba with two udenuki-no-ana. The holes being for the passage of a cord, tying the tsuba to the scabbard.

The saya is very fine, with a sayjiri bottom iron mount, with light ‘cinnabar pink’ urushi lacquer finish, also known as coromandel pink {named from the pink petaled flower} urushi lacquer to the saya, often made with the addition of perilla oil. The condition of both saya is very good just a couple of aged surface nicks
The colour created from urushi lacquer mixed with cinnabar was rewarded to them as the most famous warriors of all the samurai clans of Japan, the Li, and the Takeda.

Samurai endured for almost 700 years, from 1185 to 1867. Samurai families were considered the elite. They made up only about six percent of the population and included daimyo and the loyal soldiers who fought under them. Samurai means one who serves."

Samurai were expected to be both fierce warriors and lovers of art, a dichotomy summed up by the Japanese concepts of bu to stop the spear expanding into bushido (the way of life of the warrior) and bun (the artistic, intellectual and spiritual side of the samurai). Originally conceived as away of dignifying raw military power, the two concepts were synthesised in feudal Japan and later became a key feature of Japanese culture and morality. The quintessential samurai was Miyamoto Musashi, a legendary early Edo-period swordsman who reportedly killed 60 men before his 30th birthday.

In Japan the term samurai evolved over several centuries

In Japanese, they are usually referred to as bushi (武士,) or buke (武家). According to translator William Scott Wilson: "In Chinese, the character 侍 was originally a verb meaning 'to wait upon', 'accompany persons' in the upper ranks of society, and this is also true of the original term in Japanese, saburau. In both countries the terms were nominalized to mean 'those who serve in close attendance to the nobility', the Japanese term saburai being the nominal form of the verb." According to Wilson, an early reference to the word samurai appears in the Kokin Wakashū (905–914), the first imperial anthology of poems, completed in the first part of the 10th century.

Originally, the word samurai referred to anyone who served the emperor, the imperial family, or the imperial court nobility, even in a non-military capacity.It was not until the 17th century that the term gradually became a title for military servants of warrior families, so that, according to Michael Wert, "a warrior of elite stature in pre-seventeenth-century Japan would have been insulted to be called a 'samurai'".
This is a katana was likely made for a senior, high ranking samurai, a seieibushi. based upon horseback in combat, certainly not a light and deeply cursive katana, but a battle sword, made to complete an uncomprimising task of close combat and aggressive close quarter hand to hand swordmanship. Designed as much for cleaving through samurai armour and kabuto helmets in two, as much as defeating another samurai while on horseback. Although samurai would not, one would say, be a cavalry based warrior, all senior samurai would be mounted and thus travel on horseback, and some cavalry type samurai could be deployed in battle, but with differing combat styles depending on what part of Japan they came from. The cavalry troops, being Samurai, had personal retainers that stayed closer to them in the Sonae, carried their weaponry and worked as support units, much like an European squire. They also joined the fight whenever possible (especially in the mounted infantry scenario) and were often responsible of taking heads for their lords.
These foot Samurai were also used as heavy infantry or archers to support the ashigaru lines.

Tactics
Given the fact that the Samurai could directly dismount and operate as infantry, there were some specific tactics for horsemen.
Cavalry in general was only used after the battle was already started, either to deliver a decisive victory or to trying to save the day.

Norikiri
This is a classic charge, where several small groups of five to ten horseman ride consequently (possibly with a wedge formation) into a small area against the enemy lines, to maximize the shock. It was mainly used by heavy cavalry in the East, but given the fact that the ideal target where "weavering" units with low morale or disorganized, even medium cavalry could perform this charge.
The main role of this charge was to create confusion; if it didn't succeed, the cavalry regroups and either retreat or deliver another charge.

Norikuzushi
This is a combined infantry and cavalry charge. The horseman charged first, and after creating mayhem, a second charge is delivered by infantries armed with polearms, which could keep on fighting. The main target for this tactics were ranged units detached by the army. After a Norikuzushi usually follows a Norikiri by the cavalry group


30 inch blade overall 43 inches long in saya.  read more

Code: 25539

A Superb, Original, 1879 Zulu War Small Cow-Hide Zulu Shield. Likely A Zulu Iwahu Shield. From the Time Of Islandwana, Rorke's Drift and Ulundi. Souvenir of the Zulu War

The ideal size for a historical display today, of a private collector or museum, such as combined with original Zulu War pieces, such as spears & knopkerrie {war clubs}.

Small cow-hide shields such as this were developed into larger versions, known as Isihlangu, in the early 19th century by Shaka kaSenzangakhona, a great warrior king and innovator who transformed Zulu warriors into a potent military machine. Shaka also introduced a new short, stabbing spear and a new style of fighting whereby the Zulu could barge his enemy off balance with the shield, or use it to hook around hid enemy's shield, pull it across his body and stab him under the left arm. These new weapons and methods, combined with tactical brilliance on the battlefield allowed the Zulu to conquer their neighbours, consolidate economic and military power, and resist European invasion for a long period.


The Zulu military system was based on the close bonding of unmarried men grouped by age. Brought together in a barracks at about 18-20 years old, a group of 350-400 men developed a strong identity as a 'regiment' or impi thanks to insignia such as the patterning on their shields. Each impi had its own kraal of cattle, and King Shaka assigned each a specific hide patterning. Impi kept their shields turned face-inwards under their arms while charging the enemy, until the last moment when the entire regiment turned their shields to face the enemy - who would only realise which of Shaka's regiments they faced with seconds to spare. This idea that the shield represented one's military identity is enshrined in the Zulu expression, "to be under somebody's shield", meaning to be under their protection.

Yet the different colours and markings on shields did more than just identify a specific impi. Great warriors had white shields with one or two spots, the young and inexperienced had black shields whilst the middle warriors had red shields. This demarcation formed the basis of the Zulu's famous battle formation imitating the horns, chest and loins of a cow, which is thought to have originated in hunting as a means of encircling game. During combat, the youngest and swiftest warriors, carrying dark shields, made up the 'horns', attempting to surround the enemy and draw him into the 'chest', whereupon the elite white shields would destroy him.


After a year of basic training, young warriors were sent home to tend their family cattle herds, mobilising for active service for four months of each year thereafter. Impi were disbanded when the men reached their late thirties and, under Shaka, it was only then they could marry. However, by the time of Zulu War of 1879, in the reign of Cetewayo, the marriage age was much younger and married warriors were no longer regarded as inferior and could bear a white shield in battle. Whether a Zulu warrior was active or retired, his shield remained an important symbol of his status upon entering marriage.

The Zulus, 22,000 strong, attacked the camp at Isandlwana and their sheer numbers overwhelmed the British. As the officers paced their men far too far apart to face the coming onslaught. During the battle Lieutenant-Colonel Pulleine ordered Lieutenants Coghill and Melvill to save the Queen's Colour—the Regimental Colour was located at Helpmakaar with G Company. The two Lieutenants attempted to escape by crossing the Buffalo River where the Colour fell and was lost downstream, later being recovered. Both officers were killed. At this time the Victoria Cross (VC) was not awarded posthumously. This changed in the early 1900s when both Lieutenants were awarded posthumous Victoria Crosses for their bravery. The 2nd Battalion lost both its Colours at Isandhlwana though parts of the Colours—the crown, the pike and a colour case—were retrieved and trooped when the battalion was presented with new Colours in 1880.

The 24th had performed with distinction during the battle. The last survivors made their way to the foot of a mountain where they fought until they expended all their ammunition and were killed. The 24th Foot suffered 540 dead, including the 1st Battalion's commanding officer.

After the battle, some 4,000 to 5,000 Zulus headed for Rorke's Drift, a small missionary post garrisoned by a company of the 2/24th Foot, native levies and others under the command of Lieutenant Chard, Royal Engineers, the most senior officer of the 24th present being Lieutenant Gonville Bromhead. Two Boer cavalry officers, Lieutenants Adendorff and Vane, arrived to inform the garrison of the defeat at Isandhlwana. The Acting Assistant Commissary James Langley Dalton persuaded Bromhead and Chard to stay and the small garrison frantically prepared rudimentary fortifications.

The Zulus first attacked at 4:30 pm. Throughout the day the garrison was attacked from all sides, including rifle fire from the heights above the garrison, and bitter hand-to-hand fighting often ensued. At one point the Zulus entered the hospital, which was stoutly defended by the wounded inside until it was set alight and eventually burnt down. The battle raged on into the early hours of 23 January but by dawn the Zulu Army had withdrawn. Lord Chelmsford and a column of British troops arrived soon afterwards. The garrison had suffered 15 killed during the battle (two died later) and 11 defenders were awarded the Victoria Cross for their distinguished defense of the post, 7 going to soldiers of the 24th Foot.


54cm long inc haft  read more

Code: 25535

An Original WW1 M17 Imperial German Stick Grenade Stielhandgranate {aka The Potato Masher}. A Training Smoke Version For Distributing Smoke or Gas To Cover Assaults, Attacks or Retreats By German Shock Troops In The Trenches

Overall in sound condition for age with surface russetting and its end cap is present {often lost}. Heavy rolled steel head, with gas perforations and belt hook and good wooden haft. Original alloy end cap. Übung Stielhandgranate. One side of the stick is marked 5 1/2 Sekunde, indicating that the fuse is a 5 1/2 Second delay. When in training it would contain a small detonation charge

Germany entered World War I with a single grenade type: a heavy 750-gram (26 oz) ball-shaped fragmentation grenade (Kugelhandgranate) for use only by pioneers in attacking fortifications. It was too heavy for regular battlefield use by untrained troops and not suitable for mass production. This left Germany without a standard-issue grenade and improvised designs similar to those of the British were used until a proper grenade could be supplied.

Germany introduced the "stick grenade" in 1915, the second year of the conflict. Aside from its unusual appearance, the Stielhandgranate used a friction igniter system. This had been used in other German grenades, but was uncommon internationally.

During World War I, the Stielhandgranate, under the name M1915 (Model 1915), competed technologically with the British standard-issue Mills bomb series. The first Mills bomb – the grenade No. 5 Mk. 1 – was introduced the same year as the German Model 1915, but due to manufacturing delays it was not widely distributed into general service until 1916. Thus, there was a small period of time where German troops had large supplies of new Model 1915 grenades, while their British opponents only had a small number.

As World War I progressed, the Model 1915 Stielhandgranate was improved with various changes. These variants received designations such as the Model 1916 and the Model 1917.

Otto Dix's Stormtroops Advancing Under a Gas Attack, from his 1924 set of first world war drawings, Der Kreig.

Inert and fully safe. Not suitable for export.  read more

Code: 25538

A Superb, Original, WW1 British Brodie 'Tommy' Combat Helmet. Veteran Painted With WW1 Cartoon & Theatre Character 'Old Bill'

Unlike the closure of most wars, every WW1 Tommy veteran was allowed to take home his helmet. A very few then decorated the surface with comedic scenes or regimental devices etc.

Old Bill is a fictional character created in 1914–15 by cartoonist Bruce Bairnsfather. It became a worldwide sensation. Old Bill was depicted as an elderly, pipe-smoking British "tommy" with a walrus moustache. The character achieved a great deal of popularity during World War I where it was considered a major morale booster for the British troops. Old Bill and his younger troopmate little Alphie were private infantrymen in the British Expeditionary Force.

Many claims have been put forth as being the model for "Old Bill" but the most likely appears to be Thomas Henry Rafferty, a lance corporal from Birmingham in Bairnsfather's regiment, the Royal Warwickshires, who was killed in the same action that invalided Bairnsfather in April 1915. Rafferty was featured in the Weekly Dispatch in 1917, referred to as "Old Bill," along with a photograph taken by Bairnsfather.

Bill & Alphie's, the Royal Military College of Canada on-campus cadet pub in Kingston, Ontario is named after Bruce Bairnsfather's Great War cartoon characters. Yeo Hall at the Royal Military College of Canada features sculptures of Bill and Alphie.

After the huge success of his first theatrical sketch Bairnsfatherland or the Johnson 'Ole (written in collaboration with Basil Macdonald Hastings) in the London Hippodrome revue Flying Colours in September 1916 , and with a second sketch due to open in See-Saw at the Comedy Theatre in Spring of 1917, the suggestion was made that Bruce Bairnsfather should write a full length play based around his popular character Old Bill,

The idea was taken up by Bairnsfather and, in collaboration with Capt. Arthur Eliot, he wrote a comedy-drama titled The Better 'Ole. It was made up of two acts and eight scenes (described in the programme as "Two explosions, Seven Splinters and a Short Gas Attack"): at a "Gaff" behind the lines, outside the Cafe des Oiseaux near the front, in billets behind the line, on the way back "in," in the trenches, at Headquarters, on the Leave Train and back at Old Bill's home in England.

First produced by Charles B Cochran at the Oxford Theatre, London on 4 August 1917, The Better 'Ole was an instant hit. Within a few months Cochran had sent out several touring companies, which took the play to all corners of the UK over the next 2 years. It was also produced around the world - from New York to Sydney, and Bombay to Tokyo - by several theatrical companies, and met with huge success wherever it was played.  read more

Code: 25537

A Beautiful Koto Period Antique Samurai Daisho With Rokakku Clan Mon. Traditional Daisho, the Two Matching Swords Of The Samurai, Comprise a Fine Daito Long Sword & Signed Shoto Short Sword. With With Pierced Rokakko Clan Daisho Tsuba

Signed Koto daisho, circa 1590, with beautiful elegant blades, the saya are very fine, delicate and rare, light ‘cinnabar red’ lacquer, also known as coromandel red {named from the pink petaled flower} urushi lacquer to the saya, often made with the addition of perilla oil. The condition of both saya is very good just a couple of aged surface nicks
The colour created from urushi lacquer mixed with cinnabar was rewarded to them as the most famous warriors of all the samurai clans of Japan, the Li, and the Takeda.
The blades both have superbly beautiful notare hamon, in very good polish, with a few old red stain marks {see photo 2 in the gallery, sword blade left} that we are having removed. It will be completed in around 10 days from the the 20th Nov.

Their clan mon tettsu tsuba have a polished surface finish bevelled towards the edge. Matching daito long sword and shoto short sword tsubas, very finely pierced with the Rokakku samurai clan's crest, the "kamon". The tsuka ito was rebound in cream silk in the post Edo period, as is very usual due to the wear and natural aging of the Edo period silk tsuka-ito, and the signed fuchi kashira, that have a deep takebori design of crashing waves in gilt over metal, and the four gilt and silvered menuki of samurai are all very likely from that same period.

Founded by Sasaki Yasutsuna of Omi Province in the 13th century, the name Rokkaku was taken from their residence within Kyoto; however, many members of this family continued to be called Sasaki. Over the course of the Muromachi period, members of the clan held the high post of Constable (shugo) of various provinces.
During the Onin War (1467-77), which marked the beginning of the Sengoku period, the clan's Kannonji Castle came under assault. As a consequence of defeat in the field, the clan entered a period of decline.
Like other hard-pressed daimyos, the Rokakku tried to enhance their military position by giving closer attention to improved civil administration within their domain. For instance, in 1549, the Rokakku eliminated a paper merchant's guild in Mino under penalty of confiscation. Then they declared a free market in its place.

The Rokakku were defeated by Oda Nobunaga in 1568 on his march to Kyoto and in 1570 they were absolutely defeated by Shibata Katsuie. During the Edo period, Rokkaku Yoshisuke's descendants were considered a koke clan. Historically, or in a more general context, the term koke may refer to a family of old lineage and distinction. Tsuba were made by whole dynasties of craftsmen whose only craft was making tsuba. They were usually lavishly decorated. In addition to being collectors items, they were often used as heirlooms, passed from one generation to the next. Japanese families with samurai roots sometimes have their family crest (mon) crafted onto a tsuba. Tsuba can be found in a variety of metals and alloys, including iron, steel, brass, copper and shakudo. In a duel, two participants may lock their katana together at the point of the tsuba and push, trying to gain a better position from which to strike the other down. This is known as tsubazeriai pushing tsuba against each other. A samurai's daisho were his swords, as worn together, as stated in the Tokugawa edicts. In a samurai family the swords were so revered that they were passed down from generation to generation, from father to son. If the hilt or scabbard wore out or broke, new ones would be fashioned for the all-important blade. The hilt, the tsuba (hand guard), and the scabbard themselves were often great art objects, with fittings sometimes of gold or silver. Often, too, they ?told? a story from Japanese myths. Magnificent specimens of Japanese swords can be seen today in the Tokugawa Art Museum?s collection in Nagoya, Japan.
In creating the sword, a sword craftsman, such as, say, the legendary Masamune, had to surmount a virtual technological impossibility. The blade had to be forged so that it would hold a very sharp edge and yet not break in the ferocity of a duel. To achieve these twin objectives, the sword maker was faced with a considerable metallurgical challenge. Steel that is hard enough to take a sharp edge is brittle. Conversely, steel that will not break is considered soft steel and will not take a keen edge. Japanese sword artisans solved that dilemma in an ingenious way. Four metal bars, a soft iron bar to guard against the blade breaking, two hard iron bars to prevent bending and a steel bar to take a sharp cutting edge were all heated at a high temperature, then hammered together into a long, rectangular bar that would become the sword blade. When the swordsmith worked the blade to shape it, the steel took the beginnings of an edge, while the softer metal ensured the blade would not break. This intricate forging process was followed by numerous complex processes culminating in specialist polishing to reveal the blades hamon and to thus create the blade's sharp edge. Inazo Nitobe stated: 'The swordsmith was not a mere artisan but an inspired artist and his workshop a sanctuary. Daily, he commenced his craft with prayer and purification', or, as the phrase was, 'he committed his soul and spirit into the forging and tempering of the steel.'
Celebrated sword masters in the golden age of the samurai, roughly from the 13th to the 17th centuries, were indeed revered to the status they richly deserved.  read more

Code: 25536