Japanese

A Superb Japanese Samurai Kozuka in Shakudo and Gold by One Of The Great Master Edo Period Koshirae Makers, Yasuchika 安親. Examples of His Work Are In The Metropolitan Museum of Art, The British Museum & The Victoria and Albert Museum

Tsuchiya Yasuchika (ca. 1670–1744) 安親 was one of the legendary "Three Masters of Nara" and a pinnacle craftsman of koshirae (the mountings and metal fittings of Japanese swords). Renowned for his unparalleled technical versatility, he elevated sword furniture into masterful works of art

This kozuka {a handle of a samurai sword's optional utility blade, stored in a saya pocket} is carved with a representation one of the Buddhist Four Heavenly Kings (known as Tian Wang in China or Shitenno in Japan), specifically Virūḍhaka, the Guardian of the South. He is a celestial Buddhist protector who is frequently depicted in East Asian art wearing fierce, heavy armour, brandishing a sword (ken), and carrying or standing near a parasol (or umbrella).

Signed on the reverse side, Yasuchika 安親.

In this rendition he is covered in his parasol, chatra, and holding his Azure Cloud Sword ken sword, with a long flowing beard.

The Master Edo Period Koshirae Maker Yasuchika

The visual elements of this specific figure trace back to Chinese and Tibetan tantric traditions and hold significant spiritual meanings:The Sword: Known as the "Azure Cloud Sword," it represents the wisdom required to cut through ignorance, ego, and worldly delusions.
In Buddhism, the ceremonial parasol or umbrella (chatra) symbolizes royalty, dignity, and protection against harmful forces, delusions, and the "heat" of mental agitation.

While historical depictions of Gautama Buddha rarely feature facial hair, Buddhist temple guardians, patriarchs (like Bodhidharma), and ancient deities are commonly illustrated with beards, flowing mustaches, and fierce expressions

Tsuchiya Yasuchika (ca. 1670–1744) is celebrated as one of the "Three Great Edo Metalworkers" and the founder of the Nara School's Yasuchika branch. Known by his art name Tō'u (東雨), he revolutionized sword fittings (koshirae) by moving away from traditional dense, pictorial figure-work.
He adapted the impressionistic, painting-like styles of renowned lacquerers like Ogata Kōrin into metalwork.Material Mastery: Yasuchika worked seamlessly across a variety of metals, including iron, shakudō (gold-copper alloy), shibuichi (silver-copper alloy), and refined copper. He elevated hammered and stone-grain (ishime-ji) finishes, which highlighted the natural beauty of the metals. Because koshirae pieces—such as the tsuba {handguard} kozuka {utility knife} and fuchikashira {hilt collar and pommel}—were so highly valued, his signature was continued by several subsequent generations.
Yasuchika I (1670–1744): The primary master.
Yasuchika II (d. 1747) & Yasuchika III (d. 1778): Carried the lineage, with subsequent generations working notably in katakiri-bori (sloping single-cut engraving).
Yasuchika VI: Honoured with the prestigious Buddhist rank of Hōgen.
Original Yasuchika sword fittings and complete mounts are highly prized and reside in the world's most prestigious museums:
The Metropolitan Museum of Art holds notable examples of Yasuchika's works, recognized by the NBTHK as Special Important Fittings. The Victoria and Albert Museum features an iconic iron tsuba with varied relief representing Chinese characters, created around 1714. The British Museum houses a broad collection of his signed tōsōgu (sword-furniture)

Shakudo Was historically used in Japan to construct or decorate katana fittings such as 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

Overall it is in jolly nice condition, with just a few light marks on the reverse side by the signature, very commonly caused by rubbing against the tsuba when the knife is withdrawn from its retaining pocket within the saya.

When in use, and not mounted within the saya of a sword, its seperate, inserted blade, is removed. The blade is the often replaced and disposable part of the kozukatana once assembled

In a traditional kiri wood lidded box for storage and display  read more

Code: 26240

A Most Handsome Shinto O-Tanto, Around 300 years Old Circa 1720 With a Most Impressive and Beautiful Large Blade Used As A Powerful Close-Combat Small Sword and Suitable as a Post Combat 'Head Cutter'

All original Edo period koshirae with a superb urushi lacquer saya of dark red with black angular overstriping and black banding at the top section, a fine takebori tetsu sayajiri mount, with a shakudo and gold kozuka utility knife with decoration of takebori zodiac animals, including a deer, rabbit, dragon, pony, snake, dog, rat, phoenix, hare etc.

It has very nice o-sukashi tetsu tsuba with a fine tsuka with Higo school fuchi kashira of iron decorated with takebori whirling clouds. The menuki under the tsuka ito are super quality of a pure gold sun and a shakudo crescent moon.
O-Tanto


The blade is long wide and very elegant with a great gunome hamon in beautiful polish. It has mighty strong thickness and size perfectly suitable as a samurai's close combat weapon, but also to double up, post combat, as a samurai's 'head cutter', if a kubikiri a solely dedicated head cutter, used by an attendant, was not available.

Samurai usually had to chop off their enemy’s head in order to prove to their daimyo or master that they actually killed the right person, not a woman or child.
Additionally collecting more heads meant getting more stipend and promotion.
However, after chopping the head, the samurai would always clean and put some light make up to the face to pay their respect to the dead person.
At the same time, every samurai also usually put incense within the inside their helmets knowing that they may get killed and their head's odour, due to the stress of battle, must not offend their killer.
In situations when the samurai did not have time to chop off the enemy’s head, they then used to cut off the upper lip (to distinguish if the head is male or female).
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.

Blade 35.5 cm inches long, 3cm wide at the habaki, overall in the saya it is 51 cm long.

A solely dedicated kubikiri would normally have its cutting edge on the inside, and carried by attendants of high ranking samurai, but curiously the kubikiri would also be used for bonsai trimming.

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: 24340

A Beautiful Samurai Shinto Kirin Based Tanto Fabulous Signed Blade by Echizen Ju Yasutsugu

With an armour or even helmet piercing blade. The whole tanto is completely remarkable in that it is likely to have been completely untouched since the day it was made, it has all its original fittings from the Edo period including the tsukaito wrap on the hilt and the lacquer on the saya, the Saya is decorated with a stylised Kilin to match the fittings, the blade is stunning and shows fabulous deep choji hamon, this is a truly exceptional tanto,

The blade is extra thick at the base and shows its penetrating qualities and ability to cut through metal armour or even the iron plates of a helmet, this is a beautiful and remarkable tanto. The fuchigashira mounts are pure gold over shakudo of Kirin or Qilin, in deep takebori relief carving. The menuki are also Kirin, of shakedown inlaid with swirls of pure gold. The Kirin in Japanese, qilin (in Chinese: 麒麟; pinyin: qílín) is a mythical hooved chimerical creature known in Chinese and other East Asian cultures, said to appear with the imminent arrival or passing of a sage or illustrious ruler. It is a good omen thought to occasion prosperity or serenity. It is often depicted with what looks like fire all over its body. It is sometimes called the “Chinese unicorn” when compared with the Western unicorn. The Japanese kirin looked more like the Sin-you lion-like beast. Some later Japanese netsuke portray a Kirin that has wings that look like the Central Asian winged horse with horns or the Sphinx. Or they become increasingly dragon-like like Chinese Qilins.
The Kirin / Qilin can sometimes be depicted as having a single horn as in the Western tradition, or as having two horns. In modern Chinese the word for “unicorn” is 独角兽 “du jiao shou”, and a Qilin that is depicted as a unicorn, or 1-horned, is called “Du jiao Qilin” 独角麒麟 meaning “1-horned Qilin” or “Unicorn Qilin”. However, there are several kinds of Chinese mythical creatures which also are unicorns, not just Qilin. Qilin generally have Chinese dragon-like features.
Most notably their heads, eyes with thick eyelashes, manes that always flow upward and beards. The bodies are fully or partially scaled, though often shaped like an ox, deer or horse’s, and always with cloven hooves. In modern times, the depictions of Qilin have often fused with the Western concept of unicorns.
In legend, the Qilin became dragon-like and then tiger-like after their disappearance in East Asia and finally a stylised representation of the giraffe in Ming Dynasty. The identification of the Qilin with giraffes began after Zheng's voyage to East Africa according to recent scholarship. The modern Japanese word for giraffe is also kirin, which bears the same derived ideas. Shakudo 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 color is induced by applying and heating rokusho, a special patination formula.

Shakudo Was historically used in Japan to construct or decorate katana fittings such as 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: 24942

An Original, Edo Period, Antique Samurai Taiko War Drum, { Nagado-Daiko} For The Playing Of Samurai Taiko Battle Music. Wooden Barrel With Two Hides One Stamped with Square Kanji Seal. Set Upon Its 5 Legged Stand

A superb Taiko samurai war drum, Edo period, on carved wooden stand. The skin bears a square wood block kanji stamp but it is too old to read any longer.

The body it lacquered black with two fine skins attached with rows of handmade nails. Iron rings upon the body for carrying cords. This example is most unusual, as, within the body of the drum, is a bell type instrument, likely as a symbolic accompanying sound, for the drum beat, of some kind

From the Sensei Roald Knutsen Collection.

Samurai used taiko drums as vital communication and psychological warfare tools on the battlefield. Ranging from the 6th century up through the 16th-century Sengoku (Warring States) period, the thundering rhythms allowed warlords to coordinate troop movements, set marching paces, and boost soldier morale over the chaos of war.
Because visual signals were easily obscured by dust, smoke, and distance, taiko drums served as an auditory command system. Specific rhythmic patterns acted as distinct orders. For instance, according to the historical text Gunji Yoshū, nine sets of five beats summoned allies, while nine sets of three beats signaled an advancing charge.
Drummers established a steady tempo to keep massive formations of ashigaru (foot soldiers) and samurai marching in sync, typically setting the pace to six steps per beat.
The deep resonance of taiko drums, often vibrating at frequencies that mimic rolling thunder, was used to instill fear in opposing armies and disorient enemy formations.
The drumming unified the troops, reminding them of their shared purpose and boosting their courage before a clash. The Japanese verb for encouraging someone—kobu suru (鼓舞する)—literally translates to "beat a drum and dance".
During the 16th century, the prominent warlord Takeda Shingen famously utilized a specialized 21-drummer troop called Osuwa Daiko to coordinate his armies and intimidate enemies.

Warlords like Oda Nobunaga utilized massive taiko drums to strike fear into enemies and coordinate complicated maneuvers during decisive battles, such as the Battle of Nagashino in 1575.Gojinjo Daiko: In 1577, during the Noto Peninsula conflict, the villagers of Nafune successfully utilized unique taiko drumming to terrify the invading Uesugi Kenshin army, ultimately forcing a retreat.

One picture in the gallery of a view of Sakai Tadatsugu Striking the Clock Drum, 1874 - Terrific scene of Sakai Tadatsugu beating a drum during the Battle of Mikatagahara between the forces of Tokugawa Ieyasu and his ally, Oda Nobunaga, and Takeda Shingen. The defeated Ieyasu managed to retreat to Hamamatsu Castle, but cleverly ordered the gates left wide open and bonfires lit, while Sakai beat the drum loudly. Takeda's pursuing troops were confused, and thinking there must be some trick, did not attack the unattended castle, but camped outside and left the next day. Sakai strikes a bold pose in the center, gripping a drumstick, as the weary general sits on a folding stool at right holding a shallow cup of sake. Flame and smoke rise from a fire on a small stand in the drum tower, while a huge bonfire lights up the dark night sky at upper left. Warriors returning from the battlefield gather below, one flying a red banner with the Oda Clan crest on it. A dramatic composition with wonderfully detailed figures.

Another picture of 47 loyal samurai. Obosi, Kuranosuke Yoshio, sitting on a folding chair, holding the drum stick and the supporting shoulder spear

It was formerly part of the collection of sensei Roald Knutsen, likely the worlds foremost expert and author on samurai polarms and their use in combat, with various pieces acquired with, or from, Henry Russell Robinson's private collection. (7 May 1920, Hackney, London - 15 January 1978) He became Keeper of Armour at The Tower Of London The Japanese armour exhibition in 1965, which featured samurai artefacts arranged to demonstrate evolving defensive technologies and cultural contexts, drawing thousands of visitors to the Tower.

He was a British military armourer and historian.He served in the RAF during the Second World War making models interpreting aerial photographs. This was when he met Sir James Mann, Master of the Armouries at the Tower of London. Robinson joined the staff of the Tower Armouries in 1946 as a Temporary Assistant, before rising to Assistant Keeper and finally, in 1970, Keeper of Armour.

Robinson was a founder member and president of the Arms and Armour Society. In 1965, he was elected a Fellow of the Society of Antiquaries of London. In 1977, he was awarded an honorary MA by the University of Newcastle upon Tyne.

Between 1967 and 1969, he (a practical armourer) worked with Charles Daniels to interpret and reconstruct the Roman armour nowadays known as 'lorica segmentata'. He produced a series of reconstructions of the two sub-types of armour from the Roman site at Corbridge and one from Newstead in time for them to be exhibited at the 1969 Congress of Roman Frontier Studies held in Cardiff.

His work on the armour featured in one of his best-known books, The Armour of Imperial Rome. Published in 1975 by Lionel Leventhal at the Arms and Armour Press, it included line illustrations by his friend, Peter Connolly. Robinson's system of categorizing Roman helmets has been widely adopted in the UK and USA but never really found favour in Europe.

Robinson was not only known for Roman armour, since he worked on an exhibition of Japanese armour at the Tower Armouries and subsequently wrote two books on the subject. He was also an authority on Native American artefacts and was responsible for the production of the replica of the revised reconstruction of the Sutton Hoo helmet and wrote a guide to the Stibbert Museum.

The black body lacquer is worn throughout but the thick unbleached rawhide skins are excellent, and the body very sound indeed.

The drum is 13 inches high, on the stand its 24 inches high  read more

Code: 26225

A Most Scarce Antique Edo Period Original Samurai Commander's Saihai (采配). A Samurai Army Signalling Baton

Edo period. From a pair of different forms of saihai acquired by us. The other is now sold.

For a samurai high ranking commander to signal troop movements to his samurai army in battle.

A Saihai, a most lightweight item of samurai warfare, and certainly a most innocuous looking instrument, despite being an important part of the control of samurai troop movements in combat, usually consisted of a lacquered wooden haft with metal ends.
The butt had a hole for a cord for the saihai to be hung from the armour of the samurai commander when not being used. The head of the saihai had a hole with a cord attached to a tassel of strips of lacquered paper, metal, leather, cloth or yak hair

This example uses yak hair.

A saihai (采配) was a vital baton carried by high-ranking samurai commanders to direct troops and signal orders during the chaotic battles of feudal Japan.
A typical saihai consisted of a short, lacquered wooden baton (roughly 37 cm long) capped with ornamental metal ends, featuring a prominent, flowing tassel of washi paper, leather, cloth, or animal hair (like yak) attached to one end.

Commanders used it in several specific ways on and off the battlefield.
Commanders waved the saihai in various patterns to direct large troop movements. Because armies grew to massive sizes during the Sengoku period, commanders often directed the battlefield from the rear or elevated towers. Raising, lowering, or circling the highly visible tassel gave clear visual commands (such as ordering an advance, retreat, or flank).
When the commander aggressively whipped the saihai through the air, the stiff paper or leather tassel produced a sharp "crack" or snapping sound. This distinctive whip-like noise served as an auditory cue to alert nearby troops to look for the next visual command amid the din of war. Visually, the staff strongly resembled the shide (zigzag paper streamers) waved by Shinto priests in purification rituals. Waving the saihai also served as a symbolic prayer to the gods of war to bless their troops with victory.
Beyond its tactical function, it was an immediate marker of high status and authority, indicating a daimyo (lord) or general. When not in active use, the baton was hung from a small metal ring (saihai-no-kan) fixed to the left breast of the commander's armour.

By the peaceful Edo Period, the saihai evolved primarily into an accessory of prestige, power, and military legacy, often passed down through generations or presented as a distinguished gift

We show the lord Uesugi Kenshin holding his in an antique woodblock print in the gallery.

The saihai first came into use during the 1570s and the 1590s between the Genki and Tensho year periods. Large troop movements and improved and varied tactics required commanders in the rear to be able to signal their troops during a battle

Uesugi Kenshin (February 18, 1530 - April 19, 1578) would have used just such a sahai,
He was a daimyo who was born as Nagao Kagetora, and after the adoption into the Uesugi clan, ruled Echigo Province in the Sengoku period of Japan. He was one of the most powerful daimyos of the Sengoku period. While chiefly remembered for his prowess on the battlefield, Kenshin is also regarded as an extremely skillful administrator who fostered the growth of local industries and trade; his rule saw a marked rise in the standard of living of Echigo.

Kenshin is famed for his honourable conduct, his military expertise, a long-standing rivalry with Takeda Shingen, his numerous campaigns to restore order in the Kanto region as the Kanto Kanrei, and his belief in the Buddhist god of war Bishamonten. In fact, many of his followers and others believed him to be the Avatar of Bishamonten, and called Kenshin "God of War".  read more

Code: 21517

A Beautiful Kabuto 12 Plate Samurai Helmet The Hidari Mitsudomoe Mon, of Kobayakawa Takakage. Meaning "Left Threefold Tomoe". A Hachi (鉢), Mabizashi (目庇) & Fukigaeshi (吹返) Tehen no Ana / Tehen Kanamono (八幡座): & Gold Buddhist Bonji of Amida Nyorai

Around 300 plus years old. Formerly of the Sensei Roald Knutsen Collection.

The traditional Japanese kabuto war helmet consists primarily of the hachi (bowl) and shikoro (neck guard), with key components including the mabizashi (visor), fukigaeshi (side wings), and maedate (front crest). These elements combine iron, lacquer, deer hide and cotton linings, and sometimes precious metals, to create both highly decorative artistry, and functional, excellent protection for the head. This kabuto is a beauty, combat damaged and aged, but a beauty none the less, it has no shikoro {rows of rear neck guards}.

This kabuto’s hachi bowl is made of 12 seperate plates of iron linked together to make a protective skull structure. With a stunning, gold, Buddhist bonji of Amida Nyorai (Amitābha) mounted at the front of the hachi bowl. This would represent the samurai invoking the all powerful principles of Amida Nyorai within his actions as a warrior, and thus he is defined by them.

Bonji (梵字) is the Japanese term for the sacred Sanskrit characters used in esoteric Buddhist schools, such as Shingon and Tendai. Derived from the Siddhaṃ script, these syllables function as shuji (seed characters) that spiritually represent the essence of specific Buddhas, bodhisattvas, or cosmic energies.
Each Bonji character acts as a visual focal point for meditation, protection, and spiritual awakening. Because they are believed to physically manifest the enlightened world of the deities, they are treated with the same reverence as physical statues

The celestial Buddha of Infinite Light, Amida Nyorai (often called Amida Butsu) is a celestial Buddha who has the ability to intervene in this world and save people in a god-like manner. He has passed the bodhisattva path and has achieved superhuman powers giving him the power to live in the heavens.

Hachi (鉢): The main bowl/helmet shell, often made of riveted iron plates.
Mabizashi (目庇): The brim or visor located on the front of the hachi.
Fukigaeshi (吹返): Wing-like, often decorative projections on both sides of the helmet.
Maedate (前立物): The front crest or decoration, which could represent clan identity or religious symbols.
Tehen no Ana / Tehen Kanamono (八幡座): A small opening at the top of the hachi, often finished with an ornamental, chrysanthemum-shaped metal fitting.
Tsunamoto (角元): Mounting points or sockets used to attach the maedate.
Ukebari (受張): The cloth lining inside the hachi that makes it comfortable to wear.
Suji-kabuto: Refers to the type of hachi of ridge plates (suji),
This helmet is lacking its Shikoro (錣): A flexible, multi-layered neck guard hanging from the edge of the hachi at the rear of the kabuto.

The mon of the Kobayakawa clan and Kobayakawa Takakage are mounted on copper discs on the fukigaeshi {front wings}. the front of the helmet is mounted with an applied gold mount of the bonji {script kanji} representing the Buddhist symbol of Amida Nyorai the celestial Buddha of Infinite Light. This would represent the samurai owner's ability to intervene in this world and save people in a god-like manner. In front and below that bonji is an iron prong to hold in place an optional maedate crest.

Kobayakawa Takakage (小早川 隆景, 1533 – July 26, 1597) was a samurai and daimyō (feudal lord) during the Sengoku period and Azuchi–Momoyama period. He was the third son of Mōri Motonari who was adopted by the Kobayakawa clan and became its 14th clan head. He merged the two branches of the Kobayakawa, the Takehara-Kobayakawa clan (竹原小早川氏) and Numata-Kobayakawa clan (沼田小早川氏). He became an active commander of the Mōri army and he with his brother Kikkawa Motoharu became known as the “Mōri Ryōkawa", or “Mōri's Two Rivers" (毛利両川). As head of the Kobayakawa clan, he expanded the clan's territory in the Chūgoku region (western Honshū), and fought for the Mōri clan in all their campaigns

At first he opposed Oda Nobunaga and Toyotomi Hideyoshi but later swore loyalty and became a retainer of Hideyoshi who awarded him domains in Iyo Province on Shikoku and Chikuzen Province on Kyūshū, totalling 350,000 koku. Hideyoshi gave him the title Chûnagon also appointed him to the Council of Five Elders but died before Hideyoshi himself.

The mitsudomoe is also closely associated with Shinto shrines, in particular those dedicated to Hachiman, the god of war and archery. Hachiman in Shinto cosmology and ritual, as for example at Hakozaki Shrine, is repeatedly connected with the number three. In Shintoist thinking, this number is taken to represent the three aspects of the four mitama or 'souls' (the other, the kushimitama being considered far rarer. Fragmentary sources suggest that the First Sho dynasty, who founded the Ryukyu Kingdom, used the symbol if not as their family crest. American historian George H. Kerr claims that King Sho Toku adopted the mitsudomoe as the crest of the royal house after his successful invasion of Kikai Island in 1465. The Second Sho dynasty, who ruled the Ryukyu Kingdom from 1470 to 1879, adopted the mitsudomoe as its family crest. Since it was the royal family crest, its usage was once severely restricted.

According to the story the origin of the Hidari-Gomon takes place in feudal Japan, when the feudal lords and their private armies of samurai fought fiercely for land ownership. It was during a time of constant war in Japan. During these wars, Okinawa was defeated and dominated by the lord of Kagoshima, who imposed conditions on the Ryukyuan people. He proclaimed without exception that the people should go unarmed and that those who were found carrying weapons should be executed. Also, as a tribute of war, he proclaimed that Ryukyuans should submit an annual tax of rice to Kagoshima.
For many years the Ryukyu people religiously fulfilled the terms of the lords agreement. At the time rice was plentiful and no one went armed because a way of fighting had been developed in Okinawa which did not require the use of weapons. We now know this as Karate. Karate was developed because the Ryukyuan King did not want his people to be defenceless and he began secretly sending members of his guard to China, where he knew various forms of bare-hand fighting were being taught. Gradually, karate was being formed, the weapon was the body of the fighter, and it did not conflict in any way the terms imposed by the lord of Kagoshima.

It was formerly part of the collection of sensei Roald Knutsen, likely the worlds foremost expert and author on samurai polarms and their use in combat, with various pieces acquired with, or from, Henry Russell Robinson's private collection. (7 May 1920, Hackney, London - 15 January 1978) He became Keeper of Armour at The Tower Of London The Japanese armour exhibition in 1965, which featured samurai artefacts arranged to demonstrate evolving defensive technologies and cultural contexts, drawing thousands of visitors to the Tower.

He was a British military armourer and historian.He served in the RAF during the Second World War making models interpreting aerial photographs. This was when he met Sir James Mann, Master of the Armouries at the Tower of London. Robinson joined the staff of the Tower Armouries in 1946 as a Temporary Assistant, before rising to Assistant Keeper and finally, in 1970, Keeper of Armour.

Robinson was a founder member and president of the Arms and Armour Society. In 1965, he was elected a Fellow of the Society of Antiquaries of London. In 1977, he was awarded an honorary MA by the University of Newcastle upon Tyne.

Between 1967 and 1969, he (a practical armourer) worked with Charles Daniels to interpret and reconstruct the Roman armour nowadays known as 'lorica segmentata'. He produced a series of reconstructions of the two sub-types of armour from the Roman site at Corbridge and one from Newstead in time for them to be exhibited at the 1969 Congress of Roman Frontier Studies held in Cardiff.

His work on the armour featured in one of his best-known books, The Armour of Imperial Rome. Published in 1975 by Lionel Leventhal at the Arms and Armour Press, it included line illustrations by his friend, Peter Connolly. Robinson's system of categorizing Roman helmets has been widely adopted in the UK and USA but never really found favour in Europe.

Robinson was not only known for Roman armour, since he worked on an exhibition of Japanese armour at the Tower Armouries and subsequently wrote two books on the subject. He was also an authority on Native American artefacts and was responsible for the production of the replica of the revised reconstruction of the Sutton Hoo helmet and wrote a guide to the Stibbert Museum.

Its condition clearly shows it has been used in combat, with areas of lacquer surface damage throughout, and, the detachment of the shikoro neck defences, all likely during hand to hand combat.
But, much of the kabuto has survived beautifully, especially its hachi and mabizashi, that are still as stunning as ever, with amazing urushi lacquer in its near, as-new, lustre, however, it has been obviously left 'as-is' overall in order to show respect to the memory its former wearer's honourable battle scars, from likely his final hand-to-hand combat battle.  read more

Code: 26210

A Super, Early, Ancient Koto Period Samurai Sword Wakazashi, Muromachi Era, Signed Jyakusyuu-jyu Fuyushige Late 14th to Early 15th Century. According to Sensei Roald Knutson, It’s Last Owner, It Is A {Nagamaki Naoshi} Wakazashi

The blade has a captivating gunome midare hamon of incredible vibrancy, and overall its in superb condition, especially being so ancient, around 600 years old. Both the beautiful original Edo period fuchi and tsuba are decorated with the subject of takebori hawks hunting their prey, which is a crane in flight. The tsuba is tettsu with copper and gold takebori crane, hawk and reeds.

Jyakusyuu-jyu Fuyushige（若 jyaku , 州 syuu , 住 jyuu , 冬 fuyu , 重 shige , 作 saku was made by a swordsmith who was recorded and lived around 1430-1440 AD.
A Koto-era sword signed Jyakusyuu-jyu Fuyushige (若州住冬重) originates from Wakasa Province (present-day Fukui Prefecture) and translates to "Fuyushige, resident of Jyakusyuu (Wakasa)". Fuyushige was a swordsmith active during the Muromachi Koto period which spans the Muromachi period and earlier, known for high-quality steel forged during times of intense conflict.

The sword is shown here in its various parts, yet to be mounted with it’s tsuka and saya, once they are fully restored conserved and the remounting complete.

It was formerly part of the collection of sensei Roald Knutsen, likely the worlds foremost expert and author on samurai polarms and their use in combat, with various pieces acquired with or from Henry Russell Robinson's private collection. (7 May 1920, Hackney, London - 15 January 1978) He became Keeper of Armour at The Tower Of London The Japanese armour exhibition in 1965, which featured samurai artefacts arranged to demonstrate evolving defensive technologies and cultural contexts, drawing thousands of visitors to the Tower.

He was a British military armourer and historian.He served in the RAF during the Second World War making models interpreting aerial photographs. This was when he met Sir James Mann, Master of the Armouries at the Tower of London. Robinson joined the staff of the Tower Armouries in 1946 as a Temporary Assistant, before rising to Assistant Keeper and finally, in 1970, Keeper of Armour.

Robinson was a founder member and president of the Arms and Armour Society. In 1965, he was elected a Fellow of the Society of Antiquaries of London. In 1977, he was awarded an honorary MA by the University of Newcastle upon Tyne.

Between 1967 and 1969, he (a practical armourer) worked with Charles Daniels to interpret and reconstruct the Roman armour nowadays known as 'lorica segmentata'. He produced a series of reconstructions of the two sub-types of armour from the Roman site at Corbridge and one from Newstead in time for them to be exhibited at the 1969 Congress of Roman Frontier Studies held in Cardiff.

His work on the armour featured in one of his best-known books, The Armour of Imperial Rome. Published in 1975 by Lionel Leventhal at the Arms and Armour Press, it included line illustrations by his friend, Peter Connolly. Robinson's system of categorizing Roman helmets has been widely adopted in the UK and USA but never really found favour in Europe.

Robinson was not only known for Roman armour, since he worked on an exhibition of Japanese armour at the Tower Armouries and subsequently wrote two books on the subject. He was also an authority on Native American artefacts and was responsible for the production of the replica of the revised reconstruction of the Sutton Hoo helmet and wrote a guide to the Stibbert Museum.

Sensei Knutsen believed this blade was formerly in its combat past, several hundred years ago, a naganata or short bladed nagamaki polearm blade, remounted to become a sword in the Edo period.

Several hundreds years past this was a common practice to create more convenient sized weaponry from single edged polearms than became nagamaki naoshi.

Today, un-shortened historical nagamaki are incredibly rare collector's items, but nagamaki-naoshi blades survive as enduring testaments to the evolution of the samurai and the adaptability of their weaponry .
The weapon became synonymous with the bodyguards of elite warlords, most notably Uesugi Kenshin, who employed a dedicated vanguard of nagamaki-wielding retainers. And one such Nagamaki belonged to Sensei Knutsen and we were delighted to acquire it with this sword,

A re-shaped nagamaki is known as a Nagamaki Naoshi (which simply translates to "Nagamaki reshaped").

Because nagamaki were forged purely for lethal combat—not as ceremonial offerings—they were crafted with exceptional steel and durability. This gave birth to a famous Japanese proverb among swordsmiths and warriors: "No sword made by modifying a nagamaki is dull in cutting“

This blade still possesses its naganata/nagamaki saya without kurikata (as a spare)

Nagao Kagetora (長尾 景虎; February 18, 1530 – April 19, 15781), later known as Uesugi Kenshin (上杉 謙信), was a Japanese daimyō (magnate). He was born in Nagao clan,2 and after adoption into the Uesugi clan, ruled Echigo Province in the Sengoku period of Japan.3 He was one of the most powerful daimyō of the Sengoku period. Known as the "Dragon of Echigo", while chiefly remembered for his prowess on the battlefield as a military genius and war hero,  read more

Code: 26217

A Stunning Quality Masterpiece of the Edo Period Tanto Fuchi In Shakudo and Pure Gold. Incredible Fine Quality Chisselled Takebori Carving of Rats Around a Gold Koku Traditional Rice Bale. Signed Sadasato with Kao Omori Hidehide School

Decorated shakudō (copper/gold alloy) with a hammered ground of fine nanako (fish-roe) points and decorated with rats and an applied pure gold rice bale. Signed Sadasato with kao (the artist's personal kao art signature authentication kanji).

A wondeful indication of his skill, one can clearly see with a 10x magnifying glass the rats individual hairs on their body.

This is a masterpiece by by the master fuchgashira maker Nomoto Sadasato his skill is self evident and was obviously exemplary.

This piece, made in the late Edo period by Nomoto Sadasato (a pupil of Omori Hidetada), is a masterpiece among Japanese antiques. It is showcasing the superb craftsmanship of the Omori Hidehide school.
In old Japanese culture the illustration of the rat in art was not a negative connotation, but a positive one. The presence of rats symbolised a successful harvest, so their presence was a symbol of good fortune,

Nanako Ji: "fish roe ground" A surface decoration produced by forming very small raised bosses by a sharply struck punch or burin called 'nanako tagane'. Shakudo is the metal most often used, but copper and gold are quite often employed. The harder metals, shibuichi, silver and iron are rarely decorated in this way. The size of the dots vary from 0.04" to 0.008" (25 to 125 and inch) and the regularity of the work is marvelous as the dots must be spaced entirely by touch. The dots are usually arranged in straight lines or in lines parallel to the edge of the piece being decorated, but sometimes in more elaborate patterns. Used on guards since the Momoyama period although the technique existed since much earlier periods. Usually done by specialist 'nanako-shi', but sometimes done by the maker of the guard himself. The articles of sword ornamentation made by the Goto artists were practically all on shakudo grounds with nanako finish; after the emergence of the machibori artisans in the mid-Edo period and the popularity of the newly inspired kozuka, shakudo grounds with nanako finish "became the rage". Nanako finish is probably an evolution and refinement of a very old style finish (which it vaguely resembles); "millet finish", 'awa ishime', which is found on some old armorer tsuba. However, awa ishime consisted of small, round dimples punched into the surface of the ground; on the other hand, nanako is formed by striking the ground with a cup-shaped punch to raise, and project upward from the surface, small semi-hemispheric nipples. Since we find nanako finish on old yamagane grounds, it was in use as early as the Kamakura period. It is note-worthy that a nanako finish on a shakudo ground has been used since the time of the first Goto 1440 - 151 in the mitokoromono, "set of three", for use on formal or ceremonial occasions. Later, shakudo nanako became the regular finish for use by the metal artisans. (deleted repeated sentences) In applying nanako, meticulous and scrupulous care must be used in positioning and striking the "cupping tool" in order to achieve fine, regular, carefully and closely spaced, identical results, row after row. Careless, imprecise and even coarse workmanship can be detected in the nanako of some older works and on "ready made" products, but work of later years, executed with infinite and scrupulous care, are beautiful beyond belief. However, even the finest of execution of nanako finish applied to brass (shinchu) or shibuichi fails to carry the distinct air of refinement and elegance of similar work on shakudo. The very elegance of nanako workmanship reflects not only the extraordinary skills of the Japanese in the execution of minute, detailed work, but also their tremendous patience and artistic inspiration. It is said that blindness of nanako workers at thirty years of age was usual because of the microscopic and meticulous work so carefully and patiently executed. On many old tsuba, pre-dating the period of the Goto, one encounters nanako laid in horizontal or vertical rows; on subsequent work nanako was applied along curved lines conforming to the shape of the tsuba.

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

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

Code: 25598

A Simply Stunning Museum Quality Shinto Period Samurai Wakizashi With The Mon of the Kobayakawa Clan and Kobayakawa Takakage. In Superb Han-dachi Fittings

Fully bound in fine Han-dachi form, with its tsuka with iron Higo fuchi and kabuto-gane decorated in pure gold with scrolls and tendrils, shakudo and gilt Tomoe mon, of the Kobayakawa clan, and the mon of Kobayakawa Takakage, iron sukashi tsuba chiselled and pierced with gilded and silvered dragons, contained in its fabulous textured red lacquer saya with Higo iron and pure gold inlaid mounts matching ensuite with the tsuka. Kobayakawa Takakage (小早川 隆景, 1533 – July 26, 1597) was a samurai and daimyō (feudal lord) during the Sengoku period and Azuchi–Momoyama period. He was the third son of Mōri Motonari who was adopted by the Kobayakawa clan and became its 14th clan head. He merged the two branches of the Kobayakawa, the Takehara-Kobayakawa clan (竹原小早川氏) and Numata-Kobayakawa clan (沼田小早川氏). He became an active commander of the Mōri army and he with his brother Kikkawa Motoharu became known as the “Mōri Ryōkawa", or “Mōri's Two Rivers" (毛利両川). As head of the Kobayakawa clan, he expanded the clan's territory in the Chūgoku region (western Honshū), and fought for the Mōri clan in all their campaigns

At first he opposed Oda Nobunaga and Toyotomi Hideyoshi but later swore loyalty and became a retainer of Hideyoshi who awarded him domains in Iyo Province on Shikoku and Chikuzen Province on Kyūshū, totalling 350,000 koku. Hideyoshi gave him the title Chûnagon also appointed him to the Council of Five Elders but died before Hideyoshi himself. Han-dachi originally appeared during the Muromachi period when there was a transition taking place from Tachi to katana. The sword was being worn more and more edge up when on foot, but edge down on horseback as it had always been. The handachi is a response to the need to be worn in either style. The samurai were roughly the equivalent of feudal knights. Employed by the shogun or daimyo, they were members of hereditary warrior class that followed a strict "code" that defined their clothes, armour and behaviour on the battlefield. But unlike most medieval knights, samurai warriors could read and they were well versed in Japanese art, literature and poetry.
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." Approx 26 inches long overall in saya, blade 17 inches  read more

Code: 23560

A Fabulous Wakizashi by Master Sadahide Student of Masahide Dated 1830

A simply wonderful wide and sizeable blade with fine hamon and incredible tight grain hada. Copper patinated fushi kashira of the ‘tiger in the bamboo grove’.
A very good signed copper tsuba with samurai. Original urushi black lacquer saya with fine kozuka utility knife.

As Sukehiro and Shinkai were highly praised by Kamada Natae in his book he wrote in this period swordsmiths begun to imitate their works making strong shape and Hamon in Toran-Ha. Swords in this period imitated the Osaka style.


Masahide ( one of most famous sword smiths in Shinshinto time ) advocated in his book that "we should make swords by the method of the Koto era." With this final aim swordsmiths begun to create their own steels trying to reach the quality of the ancient one. Combining materials which have different quantity of carbon, a good Jihada will appear. Therefore, swordsmiths used a lot of materials like old nails and the like to adjust the quantity of carbon to be suitable for swordmaking.

Even today this steel is called Oroshi-gane. As already said an easy way to produce Tamahagane was available in Shinto time and swordsmith could get good quality Tamahagane.
Therefore, it seems that most of them didn't make their own Oroshi-gane. But some swordsmiths like Kotetsu or Hankei followed Masahide suggestions and reached a top-quality level combining ancient iron/steel with modern one.

In effect Ko-Tetsu means "ancient steel".

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

Kanzan Sato, in his book titled "The Japanese Sword", notes that the wakizashi may have become more popular than the tanto due to the wakizashi being more suited for indoor fighting. He mentions the custom of leaving the katana at the door of a castle or palace when entering while continuing to wear the wakizashi inside. Wakizashi were worn on the left side, secured to the obi waist sash. The Sengoku period Sengoku Jidai, "Warring States period") is a period in Japanese history of near-constant civil war, social upheaval, and intrigue from 1467 to 1615, straddling the end of the Koto era and into the early Shinto.


Exceptionally powerful 16inch blade  read more

Code: 20552