Japanese

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

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

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

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

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

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

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

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

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

Code: 25351

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

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

A truly stunning combination of materials that has created a iconic Japanese Art Sword of ancient tradition.
Cherished for its infinite versatility, urushi is a distinctive art form that has spread across all facets of Japanese culture from the tea ceremony to the saya scabbards of samurai swords

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

The varnish used in Japanese lacquer is made from the sap of the urushi tree, also known as the lacquer tree or the Japanese varnish tree (Rhus vernacifera), which mainly grows in Japan and China, as well as Southeast Asia. Japanese lacquer, 漆 urushi, is made from the sap of the lacquer tree. The tree must be tapped carefully, as in its raw form the liquid is poisonous to the touch, and even breathing in the fumes can be dangerous. But people in Japan have been working with this material for many millennia, so there has been time to refine the technique!

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

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

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

Code: 24040

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

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

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

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

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

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

Code: 22649

A Superb Edo Period Samurai Jingasa War Hat Helmet

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

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

Code: 21744

A Beautiful, Signed (山城守藤原秀辰) Hidetoki, Shinto Chisa Katana With Exceptional, Original Edo Period, Nashiji Gold & Contrasting Brown and Red Ground Urushi Lacquer Saya, Decorated With Representations of Longevity, Strength, Loyalty, & Good Fortune

A katana signed Hidetoki (山城守秀辰) a respected swordsmith from the Seki (Tokuin school), with several generations known, particularly the second-generation Hidetoki from the Early Edo period (Shōhō era, 1644–1648), known for producing sharp, highly-rated blades (Wazamono). These signatures often appear as "Seki-jū Yamashiro no Kami Fujiwara Hidetoki" (関住山城守藤原秀辰) for the first generation, and later as just "Yamashiro no Kami Hidetoki" by the second generation.

The katana is mounted in superb original Edo koshirae, with a Higo school iron kashira, and a tetsu fuchi, made in two slotted together parts, with a brass rimmed inner liner. Also, including a pair of shakudo menuki of dragons wrapped beneath beautiful, blue, tsuka-ito. A superb round tetsu tsuba with gold and copper filled kodzukana. With {two holes} udenuki no ana for the tying of an udenuki no O {wrist cord} that is done in a specific way, that requires these two holes in a specific position. It should be fastened/looped (called shirushizuke) on the fuchi part of the sword (the metal bordering piece between the swords tsuba (guard) and the tsuka (handle). Ideally, for both short and long swords- they should be the same length. It stops the samurai from dropping their katana during combat
It further assists the samurai in holding the strap in his mouth when dismounting or mounting a horse)

The original Edo saya of the sword is utterly amazing, it is decorated in dark brown and mid red urushi lacquer to simulate the bark of the pine tree with tiny speckles of abilone shell representing minuscule snow flakes, above that decor ground are nishiji lacquer pine-cones with their elongated bunched fascicle which are actually pine tree leaves, but physically, more greatly resemble elongated needles. The quality of the craftsmanship to create such a desgn is breathtaking.

In the gallery is a powerful Japanese woodblock print attributed to Tsukioka Yoshitoshi (1839–1892), from the 100 Aspects of the Moon series (1885–1892).
It depicts a samurai with his attendant beneath a pine tree, gazing toward a moonlit sky, embodying Yoshitoshi’s fascination with loyalty and reflection.


Japanese decor featuring pine cones often highlight the tree's symbolism of longevity and resilience, appearing in traditional kacho-ga (bird-and-flower) art by masters like Kono Bairei (1844–1895)

Pine (Matsu): Represents longevity, strength, and good fortune, often used in New Year's decorations and art for its evergreen nature.
Pine Cones: A specific symbol of fertility and the continuation of life, beautifully complementing the pine's overall meaning.

The chisa katana was able to be used with one or two hands like a katana (with a small gap in between the hands) and especially made for double sword combat a sword in each hand. It was the weapon of preference worn by the personal Samurai guard of a Daimyo Samurai war lord clan chief, as very often the Daimyo would be often likely within his castle than without. The chisa katana sword was far more effective as a defence against any threat to the Daimyo's life by assassins or the so-called Ninja when hand to hand sword combat was within the castle structure, due to the restrictions of their uniform low ceiling height. But in trained hands this sword would have been a formidable weapon in close combat conditions, when the assassins were at their most dangerous. The hilt was usually around ten to eleven inches in length, but could be from eight inches or up to twelve inches depending on the Samurai's preference. Chisa katana, Chiisagatana or literally "short katana", are shoto mounted as katana. It is fair to say wakizashi are shoto which are mounted in a similar way to katana, but in this instance we are considering the predecessors of the daisho. In the transitional period from tachi to katana, katana were called "uchigatana", and shoto were referred to as "koshigatana" and "chiisagatana", in many cases quite longer than the later more normal length wakizashi.

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.

The world of antique sword collecting is a fascinating journey into the past, offering a unique lens through which to view history and culture. More than mere weapons, these artifacts serve as tangible connections to the societies and ancient times where they originated. Each blade tells a story, not just of the battles it may have seen but of the craftsmanship, artistic trends, and technological advancement of its time.

The swords mountings can be equally telling. Engravings and decorative elements may enhance the sword’s beauty and hint at its historical context. The materials used for them can reveal the sword’s age

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  read more

Code: 26080

A Fabulous, Museum Grade Signed, Antique, Samurai O-Tanto, Shinto Period. All Original Edo Fittings, Goto School. Absolutely Impeccable Blade Showing Fine Original Edo Polish & Displaying It’s Excellent Gunome Hamon. Overall An Incredibly Handsome Sword

A wonderful samurai sword, circa 1760. A large tanto almost wakazashi size. With hard lacquered leather bound tsuka. Shinto period, with a finely signed blade, displaying a superb gunome hamon and fine grain in the hada, and beautiful signed fittings. The signature is in a most unusual form and its translation, is Nishiharima 西播 the place name of Tatsuno 竜野 living in 住 Hyogo Prefecture, Edo period. The possible name of Butsusho {the sho is difficult to read}. The Fuchi is signed Yoshinaga of Mino, he was known for his adept skill of carving flowers, although the blade is also very much in the Mino form, mid Edo period, in the esteemed and much respected opinion of K. Y. In Japan

The fittings are all bronze and hammered with with fine gold, and probably by the much sought after Goto school. Superb kozuka with gold foil and shaudo on a Nanako ground, and a signed blade. It has a very rare style of black textured leather covered saya, with iron and gold kojiri. Gold mimi rimmed bronze tsuba with a nanako ground and numerous gold takebori Shishi {lion dogs}.

Nanako Ji: "fish roe ground" A surface decoration produced by forming very small raised bosses by a sharply struck punch or burin called 'nanako tagane'. Shakudo is the metal most often used, but copper and gold are quite often employed. The harder metals, shibuichi, silver and iron are rarely decorated in this way. The size of the dots vary from 0.04" to 0.008" (25 to 125 and inch) and the regularity of the work is marvelous as the dots must be spaced entirely by touch. The dots are usually arranged in straight lines or in lines parallel to the edge of the piece being decorated, but sometimes in more elaborate patterns. Used on guards since the Momoyama period although the technique existed since much earlier periods. Usually done by specialist 'nanako-shi', but sometimes done by the maker of the guard himself.

The 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 the back of a sword 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, the 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.
Tanto first began to appear in the Heian period, however these blades lacked artistic qualities and were purely weapons. In the Early Kamakura period high quality tanto with artistic qualities began to appear, and the famous Yoshimitsu (the greatest tanto maker in Japanese history) began his forging. Tanto production increased greatly around the Muromachi period and then dropped off in the Shinto period. Shinto period tanto are quite rare. Tanto were mostly carried by Samurai; commoners did not generally carry them. Women sometimes carried a small tanto called a kaiken in their obi for self defence.It was sometimes worn as the shoto in place of a wakizashi in a daisho, especially on the battlefield. Before the 16th century it was common for a Samurai to carry a tachi and a tanto as opposed to a katana and a wakizashi. Shishi (or Jishi) is translated as lion but it can also refer to a deer or dog with magical properties and the power to repel evil spirits. A pair of shishi traditionally stand guard outside the gates of Japanese Shinto shrines and Buddhist temples, although temples are more often guarded by two Nio protectors. The Shishi (like the Nio) are traditionally depicted in pairs, one with mouth open and one with mouth shut.). Others say the open mouth is to scare off demons, and the closed mouth to shelter and keep in the good spirits. The circular object often shown beneath their feet is the Tama, or sacred Buddhist jewel, a symbol of Buddhist wisdom that brings light to darkness and holds the power to grant wishes. Overall 26.5 inches long, blade 13.75 inches long

With grateful thanks to K.Y. of Japan. Doumo gozaimasu to our ever patient friend, who is always happy to assist us with complex or unusual translations.

Every single item from The Lanes Armoury is accompanied by our unique Certificate of Authenticity. Part of our continued dedication to maintain the standards forged by us over the past 100 years of our family’s trading, as Britain’s oldest established, and favourite, armoury and gallery  read more

Code: 25647

A Fabulous and Utterly Beautiful Koto Period Wakizashi, Circa 1550. a Strong and Very Powerful Blade with a Stunning Hamon in Excellent Polish

In all original Edo period fittings and mounts. A simply wonderful sword with wide flat sided blade with wide full length hi to both blade faces. It bears a breathtakingly impressive deep notare with choji hamon. A delightful iron mokko tsuba with takebori small swooping birds and small pure gold highlights. The fuchi of shakudo and pure gold decorated shell fish and coral in crashing waves, and very fine quality.

It has a pair of copper menuki under the wrap that are deeply takebori spiders. The fuchi pommel is carved and polished buffalo horn. Very good original Edo saya with rich black urushi lacquer. Set within the kozuka pocket is a gold decorated kozuka with a good takebori crayfish.

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

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

The varnish used in Japanese lacquer is made from the sap of the urushi tree, also known as the lacquer tree or the Japanese varnish tree (Rhus vernacifera), which mainly grows in Japan and China, as well as Southeast Asia. Japanese lacquer, 漆 urushi, is made from the sap of the lacquer tree. The tree must be tapped carefully, as in its raw form the liquid is poisonous to the touch, and even breathing in the fumes can be dangerous. But people in Japan have been working with this material for many millennia, so there has been time to refine the technique!

The urushi lacquer has a few natural, and certainly permissible for its age, very small surface wear marks and nicks.

16.5 inch long blade, 1.3 inches wide at the habaki, overall 23 inches long

Every single item from The Lanes Armoury is accompanied by our unique Certificate of Authenticity. Part of our continued dedication to maintain the standards forged by us over the past 100 years of our family’s trading, as Britain’s oldest established, and favourite, armoury and gallery  read more

Code: 24881

Please View & Explore Probably The Largest Selection Of Original Antique & Historical Samurai Arms From The Past 800 Years For Sale in The World. Including, Swords, Spears, Armour, Helmets, Long Bows, Arrows, Daggers & Sword Fittings

Our amazing collection of recently acquired fine antique swords have been, and some are to be, added to our gallery. Including a fabulous, Shinto, Tokugawa tachi presented to a visiting famous American admiral and war hero in 1896, another tachi, a representation of an Odachi great sword, made by Yoshiyuki, in the late Edo period, by a smith of such esteem that even when the samurai class were effectively made redundant, and relegated to history, swords were still commissioned from him, for presentation to esteemed persons of highest standing. Plus numerous other samurai swords are being added to the gallery soon, of all types and eras, also samurai war arrows ‘ tagari ya’ and rare swallow tail 'ageha ya’, a dozen ‘kazuya’ ya target arrows, plus a superb collection of 20 fabulous Koto to Shinto tsubas, have still yet to be collated and listed on our site. Plus, more swords, just added this month, both antique and WW2 ancestral shingunto etc. including one of the best we have seen in years.

“Weaponry both ancient and vintage, they all have style and a story to tell”

"Over the past 55 years I have personally supervised our company's determination to try provide the most historically interesting, educational, yet none too intimidating, gallery of original Japanese Samurai artefacts for sale in the collecting world. We were told a few years ago by Victor Harris { Japanese sword expert resident consultant at the British Museum, the UK's leading nihonto specialist} that we probably display the largest selection of original, fine samurai sword weaponry for sale, and of its kind, anywhere in the world.

Principally concentrating on a crucial combination of age, beauty, quality and history, & thanks to an extensive contact base, built up over the past 100 years or more, that stretches across the whole world, including collectors, curators, academics and consultants, we have been very fortunate, in that this effort has rewarded us with the ability to offer, what we believe to be, the most comprehensive selection of original ancient and antique samurai swords available for sale in one gallery or online in the world. Many appear today to look almost as they once did many hundreds of years ago, which remarkably, they do, but all antique and ancient swords, from any culture, including Japanese, must always be expected to have at least some age appropriate flaws.

We have exported, over the past 100 years, likely tens of thousands of our original samurai weapons, helmets and armour to the four corners of the globe, with clients on all continents. Our swords grace the homes of collectors from literally all walks of life, from Presidents to Postmen, and we have traded with museums of all the major nations. We have always loved and been fascinated by the history of the Samurai, and their iconic weaponry, and we have long admired and envied their past near limitless skill at creating the unparalleled beauty and quality of samurai swords. Universally acknowledged to be likely the very best swords the world has ever seen.

Our Japanese weaponry vary tremendously in age, in fact up to, and sometimes over, an incredible 800 years old, and they are frequently some of the finest examples of specialist workmanship ever achieved by mankind.
We have tried to include, within the holistic description of most items, a brief generic history lesson, for those that have interest, and may wish to know, that will describe the eras, areas and circumstances that these items were used in ancient Japan. We have tried our utmost to be informative, holistic and as interesting as possible without being too academically technical, in order to keep the details vibrant, fascinating and comprehensible, thus not too complex.
We are always delighted to impart any knowledge that we have at our disposal to any curious new collectors when asked. In fact some of the most learned scholars in the world that we have met, and known, some studying the art of nihonto almost all of their adult lives, often admitted to us they were only scratching the surface of the knowledge to be learnt in this extraordinary field, so there is much to constantly uncover about the stories of the samurai and their legendary weaponry covering around 1000 years of Japanese history.

Please enjoy, with our compliments, our Japanese Gallery. It has been decades in the creation, and we intend it to remain as interesting and informative as possible, and, hopefully, for another century to come"..


Mark Hawkins
Partner
The Lanes Armoury

Did you know? the most valuable sword in the world today is a samurai sword, it belongs to an investment fund and has appeared illustrated in the Forbes 400 magazine. It is valued by them at $100 million, it is a tachi from the late Koto period 16th century and unsigned. Its blade is grey and now has no original polish remaining.  read more

Code: 22187

A Stunning, Early, Signed Munemitsu, Bizen School Koto Blade Katana With Hi Circa 1480. A Most Beautiful And Elegant Ancient Samurai Sword By a Master Smith Of the 15th Century

The tsuka-ito {silk hilt binding} was in a pretty poor state, so we are having the {hilt} tsuka re-wrapped, thus we are photographing it at present with its mounts separate, and with the blade and saya. before re-fitting.

Possibly by Bishu Osafune Munemitsu {a smith from the Bunmei reign in the Koto era}

The blade is absolutely beautiful, with hirazukuri, iori-mune, very elegant zori, chu-kissaki and carved with broad and deep hi on both sides, the forging pattern is beautiful, and a gunome-midare of ko-nie, deep ashi, hamon, the tang is original, and full length, and it is mounted with a silver habaki. The blade has a fabulous blocking cut on the mune, a most noble and honourable battle scar that is never removed and kept forever as a sign of the combat blocking move that undoubtedly saved the life of the samurai, and will thus be never removed.

The tsuka has an iron Higo school kashira, a beautiful signed shakudo-nanako fuchi with very fine quality takabori decoration.

Its tsuba is beautiful with a takebori design of Mount Fuji with dragon flying in the sky above, with highlights in gold, silver and copper. The Edo menuki are of a shakudo and gold representation group of samurai armour upon a tachi, and a shakudo and gold dragon {clutching an ancient Ken double edged straight sword with lightning maker} a Edo Antique Ken maki Ryu zu

What with the defensive cut, its shape and form, this fabulous sword has clearly seen combat, yet it is in incredibly beautiful condition for its great age, and it is a joy to behold. Once the tsuka binding has been fitted and re-bound we will re-photograph it in all its glory once more.  read more

Code: 26072