A Great Looking Original MK1-11 Martini Henry ' Short Lever' Mid 1870's Issue, From The Zulu War Period With Superb Steel & Stock Patina. One of Only 1400 Ever Manufactured. The Most Famous Victorian Service Rifle Ever Issued. Zulu War Collection.

Original Antique MK I-II Antique Short Lever Martini Henry, with large cocking indicator, one of the first 1400 only ever made, between 1871 to 1876, all the others subsequently were MKIIs, from 1876, then MKIIIs and finally MKIVs. The gun has really good stock patina, and great steel condition, with barely negligible {if any} traces of corrosion anywhere. Numerous inspection stamps throughout the rifle, upon the barrel, action, trigger guard. With two Board of Ordnance Broad Arrow roundel stamps upon the buttstock. One original earlier {not readable} beneath a clearer second partly readable for empire service. Traces of VR Crown stamp to the lock, with broad arrow and I I {off centre} below.

Only about 1400 MK I’s were made and in 1877 they were replaced by the MK II which incorporated several design improvements learned from the MK I. Meanwhile before the MKIIs were issued the early original surviving MK I’s were factory
converted to the MK II. When converted to the MK II, an additional “I” was added to the
receiver markings, which resulted in the marking being skewed to the right of centre, just as this Martini-Henry has, and often each of the two ‘I I’ stamps can be of slightly differing sizes, whereas rifles made originally, from 1876, as a MK II issue would have this marking centered and of equal size.

The stock looks as good as the very best quality walnut stock can be, after it was used by a front rank regiment for several decades.

Returning from professional hand conservation Fully actionable and a superbly tight mechanism.

The most desirable Martini Henry are the MK I's and the MKI-II's, The very types of Martini short Lever rifle as were used by the 24th Foot at Ishandwhana and Rorke's Drift, and then later in the Afghan War and several conflicts against the Mahdi in the Sudan. They were even also used up to WW1 by some colonial regiments. This is a very fine early original ordnance contract example, best line regiment issue

This rifle was made at one of the ordnance arms workshops and is a truly exceptional and beautiful example, and in very good operational order indeed with an excellent action, but clearly combat used.

The Martini Henry, .450 577 rifle was most famous British Infantry breech loading rifle of the 19th century. This rifle is just as were used in the film ZULU, and the exact model type as was used during the Zulu War, a much superior condition stunning example.

The Martini-Henry breech-loading rifle, firing
cartridges, was the primary British infantry weapon during the 1879 Anglo-Zulu War, crucial at battles like Rorke's Drift. While capable of 12–20 rounds per minute, it suffered from overheating and jamming due to gunpowder residue, leading to severe recoil and performance issues in sustained, close-range combat.
Key Aspects of the Martini-Henry in the Zulu War
Weapon Specifications: The Mark II was the most common model used alongside with the earlier issue, rare, MK I-II, featuring a short lever-action breech block and often a 25-inch socket bayonet essential for melee.The rifle was accurate and long-ranged, but produced heavy smoke. Continuous firing caused excessive heating and fouling, forcing soldiers to use cleaning rods to dislodge stuck, fired cartridges.

At Rorke's Drift, disciplined volleys from the Martini-Henry enabled a small force to hold off large Zulu numbers. However, ammunition shortages and jamming issues contributed to the disaster at Isandlwana.
Soldiers were often only issued 70 rounds, which was insufficient during sustained Zulu attacks.
Bayonet Use: The long bayonet was crucial, as the rifle was 4ft 9in long, giving soldiers a vital range advantage in close-quarters fighting.

The weapon was well-regarded for its power but required careful maintenance, which was difficult during the heat of the conflict

This Martini-Henry, that dates to around 1875, was the breech-loading lever-actuated rifle adopted by the British, combining an action worked on by Friedrich von Martini (based on the Peabody rifle developed by Henry Peabody), with the rifled barrel designed by Scotsman, Alexander Henry. It first entered service in 1871 replacing the Snider-Enfield, and variants were used throughout the British Empire for 30 years. It was the first British service rifle that was a true breech-loading rifle using metallic cartridges.
During the Martini-Henry period in service, the British army were involved in a large number of colonial wars, most notably the Anglo-Zulu War.

The Martini Henry, 450-577, Short Lever, MK I converted MK II or the regular MK II rifle was the type used by the company of the 2nd Battalion, 24th Regiment of Foot present at Rorke's Drift during the eponymous battle. The MK I originally had a small design fault in that the actions hinge pin was initially made of brass, which was too soft for continual use. The rare and early MKI's were thus converted by removing this pin, replacing it with a steel pin, and then redesignated the MKI-II.

The Martini Henry were later used throughout the British Empire, as this one clearly was as well. In fact the Martini Henry was such a good rifle many survived to be used in WW1 by some colonial regiments.

This great rifle, after its front rank line regimental service use, was taken out of regular infantry service, around 25 years after its first issue, and transferred to such as the Canadian, British Columbia penal service in Vancouver, whereupon the barrel was internally bored out and was increased {in 1903} by 0.026 of an inch, in order to accept the larger ball I.P. cartridges. The price of this beauty reflects that internal adaption in order to extend its useful service issue life within the empire. Externally however, the gun looks exactly as it did during its front rank service in the Zulu War era of 1879, and is in superbly actionable condition.

The lock plate bears the offset MK I I stamp beneath the ordnance broad arrow, plus the VR and large crown, worn, but still identifiable.

As with all our original antique arms, no licence is required to own, purchase or to collect anything of that description we sell. They, and all of these long guns, are entirely unrestricted to own, collect, and display just as they are, however, we are only permitted to sell to those who are over 18 of age with suitable I.d.  read more

Code: 26198

Beautiful Edo Jingasa Samurai Horserider's War Hat With Clan Mon of Kamei Korenori (亀井 茲矩; 1557 – February 27, 1612) Was a Japanese Daimyō. From The Collection of Likely The World's Greatest Authority, Author On Japanese Polearms & Their Use

Edo period original jingasa of the Kamei clan. in black urushi lacquer, large gold Kamei mon, and two ishime stone finish lacquer bands, either side of a gilt band. Some interior padding present

Their mon (family crest) is famously known as the Oi-katsubishi (追いかつ菱), which consists of two overlapping or "chasing" diamond shapes (hishimon). The clan, based in Tsuwano han during the Edo period, used this distinctive geometric crest.
These geometric kamon were popular during the Sengoku period because they were easy to recognize on battlefields.

Kamei Korenori (亀井 茲矩; 1557 – February 27, 1612) was a Japanese daimyō who lived through the early Edo period. He was first a retainer under the Amago clan of Izumo Province, but eventually became a daimyō in his own right.

Chūgoku Campaign (from 1578): After the fall of the Amago, he joined Hashiba (Toyotomi) Hideyoshi, fighting against the Mōri clan, specifically taking part in the Siege of Tottori Castle.
Receiving Shikano castle in Inaba Province as a reward for his notable service in 1578, Korenori ascended to higher rank as he assisted in Hideyoshi's 1587 invasion of Kyūshū.

Kyushu Campaign (1587): Participated in Toyotomi Hideyoshi's campaign to subdue the Kyushu region.
Invasions of Korea (1592–1598): Involved in the campaigns against Korea under the Toyotomi banner.
Battle of Sekigahara (1600): Fought for the Eastern Army under Tokugawa Ieyasu. He helped attack the Western Army's Minakuchi Okayama Castle.

Siege of Minakuchi Okayama (1600): Following the Battle of Sekigahara, he joined forces with Ikeda Nagayoshi to capture Natsuka Masaie at Minakuchi Okayama Castle.
Burning of Tottori Castle Environs: During his time in Inaba Province, he was involved in burning the village around Tottori Castle in conjunction with Masahiro Saimura.
Failed Ryukyu Expedition (1590): Though not a battle, Korenori prepared a fleet to target the Ryukyu Islands but was blocked by the Shimazu clan.

Korenori's descendants were eventually made daimyō (lords) of the Tsuwano Domain, which they ruled until the Meiji Restoration (1868).

Overall in jolly nice condition, the top of the helmet, off centre, has a small impact dent about the size of a pound coin {see photo 4}. Very small age losses to the lacquer  read more

Code: 26209

A Very Fine & Most Rare, 'Lobed Pommel', 14th-15th Century, Noble's or Knight's Dagger. Used In the Era of The Battles of Crecy and Agincourt . An Original Wide Bladed Medieval 'Baselard' Knight's Dagger

In 1381 Wat Tyler was killed by a near identical 'baselard' dagger by the Mayor of London William Walworth. Wat Tyler (c. 1320/4 January 1341 – 15 June 1381) was a leader of the 1381 Peasants' Revolt in England. He led a group of rebels from Canterbury to London to oppose the institution of a poll tax and to demand economic and social reforms. While the brief rebellion enjoyed early success, Tyler was killed by officers loyal to King Richard II, including the mayor of London, during negotiations at Smithfield, London.

A most rare to survive dagger made of hand forged iron, narrow tanged of of heavy weight, and a very powerful dagger indeed, with a lentoid section triangular blade. The tang is pierced in two places for the riveting of a pair of grip plates towards its lobed pommel. The original grip plates, likely of horn, ivory or wood, would have rotted away, likely centuries ago, which is most usual for all swords and daggers of this era. Those hilts plates that you see present, in museum displays, of similar daggers, and indeed knightly swords, are almost always 19th century replacement grips.

Items such as this were oft acquired in the 18th century by British noblemen touring Northern France and Italy on their Grand Tour. Originally placed on display in the family 'cabinet of curiosities', within his country house upon his return home. A popular pastime in the 18th and 19th century, comprised of English ladies and gentlemen traveling for many months, or even years, througout classical Europe, acquiring antiquities and antiques for their private collections. Depictions of mid-14th-century examples are preserved as part of tomb effigies (figuring as part of the full military dress of the deceased knight). One early attestation of the German form pasler (1341) is from a court document of Nuremberg recording a case against a man who had injured a woman by striking her on the head with this weapon. Several German law codes of the 14th to 15th centuries outlaw the carrying of a basler inside a city. By the late 14th century, it became fashionable in much of Western Europe, including France, Italy, Germany and England. Sloane MS 2593 (c. 1400) records a song satirizing the use of oversized baselard knives as nobleman's fashion accessories. Piers Plowman also associates the weapon with vain gaudiness: in this case, two priests, "Sir John and Sir Geoffrey", are reported to have been sporting "a girdle of silver, a baselard or a ballok knyf with buttons overgilt."

Wat Tyler was slain with a baselard by the mayor of London, William Walworth, in 1381, and the original weapon was "still preserved with peculiar veneration by the Company of Fishmongers" in the 19th century. The point of most weapons was to incapacitate rather than to kill. Prisoners, especially those of high status, could be ransomed for money or leveraged for political influence. But when killing was ordered, as on Henry V's orders at Agincourt, the daggers came out.
Medieval knights often carried daggers designed not for cutting but for punching through the gaps in armour. These were used against incapacitated enemies, as happened to Richard III at the Battle of Bosworth Field. Based on Richard's remains, DeVries believes that his helmet was cut off with daggers, exposing him to the attacks that killed him.

This dagger is 15 inches long overall, approx 12 ozs 350gms in weight, and in fine condition for age, a strong and powerful dagger with just overall aged russetting. Pictures in the gallery of carved stone and marble tombs of medieval knights each bearing a knife such as this or a slight variant. The hilt-grip has long since perished away, as they all are from this era, would have been twin plates of wood, horn or ivory, with small carved quillons or crossguard and rivetted together through the two holes.

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

Code: 23018

Stunning 2000 Years Old Ancient Briton,Original Celtic Chief's Bronze Chariot Mount, From the Time of King Prasutagus & Used By Chiefs of The King and Queen Boadicea Queen of the Iceni, of Norfolk, The Ancient Britons. Found in Norfolk

Also known as Queen Boudicca. Circa mid 1st century A.D. Triple bronze radiating carinated knops, a substantial ring mounted on a supporting neck, with a hoop to the underside. Recovered in Norfolk, the site of the Iceni. Romano-British chariot fitting, a rein ring. These rings could be used in pairs and guided the reins from the chariot to the horse’s bit. This example is a superbly formed elegant example, with fine carrinated knop embellishments, made for a high born Iceni, and made from bronze. The Romans admired the British Iron Age chariots and the style and fittings and thus their version were continued to be used well into the Roman period

Sites of that period include the earthworks of a huge hillfort at Thetford Castle which the Normans built upon. An open space on a high point, at Gallows Hill, in Thetford, was once the location of a major ceremonial centre that Boudicca would have known.

The Iceni, whose name might have come from Iken, the original name of the River Ouse, where the tribe are said to have come from, had settlements across Norfolk, in north Suffolk and east Cambridgeshire. One of them was at Brettenham on the Peddars Way, east of Thetford, which was built by Romans to quickly transport troops up to The Wash and Brancaster, where they had a fort protecting north Norfolk.

Queen Boudicca waged war against the Romans in Britain from 60 AD after the Romans decided to rule the Iceni directly and confiscated the Norfolk property of the leading tribesmen. The uprising was motivated by the Romans' failure to honour an agreement they had made with Boudica's husband, Prasutagus, regarding the succession of his kingdom upon his death, and by the brutal mistreatment of Boudica and her daughters by the occupying Romans.
Boudicca's warriors successfully defeated the Roman Ninth Legion and destroyed the capital of Roman Britain, then at Colchester. They went on to destroy London and Verulamium (St Albans).
Thousands were killed. Finally, Boudicca was defeated by a Roman army led by Paulinus. Many Britons were killed and Boudicca is thought to have poisoned herself to avoid capture.
The site of the battle, and of Boudicca's death, are unknown.
Iceni warriors may have laid waste to Silchester
Professor Fulford said that in excavations at Silchester they had found evidence of a major military occupation at Calleva (now called Silchester) in 40 AD, then destruction between 60 and 80 AD, including wells that were filled in at this time and burned buildings. SE276001837GB
"The settlement is completely wiped out somewhere between 60 AD and 80 AD.

Not only an incredibly beautiful ancient work of art, it is a unique artefact of ancient Romano-British history, and a fabulous statement piece for any fine collection. It could look amazing frame mounted.

Queen Boudicea was also spelt Boudicca, or Boudica In the time of the Ancient Briton Celts revolt against the might of Rome. A wonderful original, cast bronze chariot mount that once a significant mount from an Ancient Briton Celt chieftain's war chariot. Early-Mid 1st century AD, the very time of Boudicca. This would have been mounted on the haft of the war chariot. And in an excavation one of maybe only a half dozen bronze pieces of the chariot that could have survived the ravages of time. There is so few opportunities to own a wonderful piece from the time of Boudicca Queen of the Iceni of ancient Briton. There are no known surviving artefacts of hers, but to own a significant part of maybe one of her chieftain's chariots is wonderful. About the time of Claudius' triumph in AD 43 (a century after Caesar's expeditions), Pomponius Mela, the first Roman geographer, says of the Britons that

"they fight not only on horseback and on foot, but also in wagons and chariots bigis et curribus, and are armed after the manner of the Gauls. They call those chariots covines which are set with scythes round about the naves falcatis axibus" (De Chorographia, III.43; first translated by Arthur Golding in 1585 and modernized here). In AD 60 or 61, when the Roman governor Gaius Suetonius Paulinus was campaigning on the island of Mona (modern Anglesey) on the northwest coast of Wales, Boudica led the Iceni, the Trinovantes, and others in revolt. They destroyed Camulodunum (modern Colchester), earlier the capital of the Trinovantes but at that time a colonia, a settlement for discharged Roman soldiers and site of a temple to the former Emperor Claudius. Upon hearing of the revolt, Suetonius hurried to Londinium (modern London), the 20-year-old commercial settlement that was the rebels' next target. He lacked sufficient numbers to defend the settlement, and he evacuated and abandoned Londinium. Boudicca led a very large army of Iceni, Trinovantes, and others against a detachment of Legio IX Hispana, defeating them, and burning Londinium and Verulamium.

An estimated 70,000-80,000 Romans and British were then killed in the three cities by those following Boudicca, many by torture. Suetonius, meanwhile, regrouped his forces, possibly in the West Midlands; despite being heavily outnumbered, he decisively defeated the Britons. The crisis caused Nero to consider withdrawing all Roman forces from Britain, but Suetonius's victory over Boudicca confirmed Roman control of the province. Boudicca then either killed herself to avoid capture (according to Tacitus), or died of illness (according to Cassius Dio) Beginning around the 3rd century BC, Celts of the regions around the Marne and the Moselle Rivers began burying their chieftains in light, two-wheeled chariots with their sword, shield, spears, and drinking vessels. Similar chariot graves from this era are also found in the British coastal regions of Yorkshire. The evidence for the use of these vehicles is clear. A Roman coin from 110 BC dramatically depicts the naked Gallic warrior-king Bituitus of the Averni casting spears from his chariot. And documentary evidence of the chariot in combat on the European continent is left to us by the Roman poet Propertius. In describing the fighting between the forces of Republican Rome and 30,000 howling Celtic warriors in 222 BC, Propertius depicts the chieftain Viridomar ‘clothed in striped trousers’ hurling javelins from his chariot with deadly accuracy. In fact, many of the Latin words for chariot-carpentium, carrus, essendum have Gaulish roots.

The use of chariots in combat in Gaul apparently died out before Caesar’s campaign of the 50s BC, because Caesar makes no mention of them, though he did of Gallic cavalry, in his Gallic Wars. But chariots certainly remained in Britain though few have been found there into the Caesarian era and beyond, because they are included in the writings of Caesar, Tacitus, and in the old Irish epic the ‘Tain Bo Cuailnge’ (The Cattle Raid of Cooley) composed in part around the 2nd century AD. Evidence of early Celtic chariot use is gleaned primarily from the excavation of graves of noble warriors.The first Roman expedition to Britain was a reconnoiter of the island by Julius Caesar in 55 BC, purportedly to suppress the reinforcements being given the native tribes in Gaul. There, chariots no longer were being used, and the ambush of a legion caught in the open and surrounded by the cavalry and chariots of the Britons provides an excursus by Caesar on their tactics, so unfamiliar to the Romans.

"In chariot fighting the Britons begin by driving all over the field hurling javelins, and generally the terror inspired by the horses and the noise of the wheels are sufficient to throw their opponents' ranks into disorder. Then, after making their way between the squadrons of their own cavalry, they jump down from the chariot and engage on foot. In the meantime their charioteers retire a short distance from the battle and place the chariots in such a position that their masters, if hard pressed by numbers, have an easy means of retreat to their own lines. Thus they combine the mobility of cavalry with the staying power of infantry; and by daily training and practice they attain such proficiency that even on a steep incline they are able to control the horses at full gallop, and to check and turn them in a moment. They can run along the chariot pole, stand on the yoke, and get back into the chariot as quick as lightning" (Gallic War, IV.33). An example from Ingolstadt, Germany, in Megaw, R.& V. Celtic Art. From its Beginnings to the Book of Kells,
London, 1989, item 225. The denarius coin in the gallery, shown for reference purposes only and not included, was minted by the moneyer Lucius Hostilius Saserna in 48 BC, following Caesar's campaign in Gaul. The reverse depicts a naked Celtic warrior holding a spear and small shield, while a crouched figure drives the horses with a whip. The survival of Roman chariot's rein mounts are certainly to be found, due to the number made, over such a long period, but an original Ancient Briton bronze rein mount, used by the Celt chieftains and Queen Boudicca, especially, from the site of Norfolk, Queen Boudicca's domain, and such a finest quality piece such as this, is a great rarity of Ancient Briton Celt history. only the second original bronze Iceni chiefs example we have had in 10 years.

7 cm overall

for reference;
Cf. Megaw, R.& V., Celtic Art. From its Beginnings to the Book of Kells, London, item 225, for type.
The Megaws investigate the antecedents of Celtic art, the styles and motifs employed, the relationship of the Celts and their art to the ancient civilizations of the Mediterranean, and the magnificent maturity of Celtic art in Britain and Ireland. They include major discoveries that have been made as the result of highway and rail construction and the results of detailed surveys of known sites, such as the recovery of the remarkable stone sculpture from the Glauberg northwest of Frankfurt. Continuing work at old sites such as the saltmining complex of the Durrnberg just south of Salzburg has produced new treasures, and important finds in Central and Eastern Europe and in the British Isles have necessitated a change in emphasis with regard to questions of origin and development. Vincent Megaw is currently Professor of Visual Arts and Archaeology, Flinders University, Adelaide, Australia, and Visiting Professor in the Department of Archaeology, University of Edinburgh; he is also Honorary Research Fellow in the Department of Archaeology, University of Glasgow.  read more

Code: 25572

A Simply Magnificent, Huge, Ozutso Samurai Hand Cannon Teppo Matchlock Gun, of Negishi Sukenobu, Inlaid With Silver and Gold Dragon With Both the Clan Mon of Kamei Kenenori and Tokugawa Ieyasu.

Their mon (family crest) is famously known as the Oi-katsubishi (追いかつ菱), which consists of two overlapping or "chasing" diamond shapes (hishimon). The clan, based in Tsuwano han during the Edo period, used this distinctive geometric crest.
These geometric kamon were popular during the Sengoku period because they were easy to recognize on battlefields.

Signed Japanese red oak stock. The huge uncompromising barrel is inlaid with twin, large silver clan mon of Kamei Kanenori and and gold-copper triple leaf Aoi, clan mon of Tokugawa Ieyasu at the breech, as they were alligned, it has a pinhole block site, extravagant gold and silver scrolling dragon inlay, up through the length of the barrel, terminating in a multi sided and stunning tulip form muzzle. Within the channel of the stock is a beautiful hand scripted signature of the samurai owner, Negishi Sukenobu no Tutu. Translation; Negishi Sukenobu's gun tutu is an old Japanese name for a matchlock gun

It has a sinchu matchlock mechanism with a long engraved match arm, inlaid with speckles of silver, traditional spring release utilising the ball trigger. the stock has engraved, silver cherry blossom form inlaid, barrel retaining mekugi-ana apertures, for the long copper mekugi to retain the barrel..

Part of a fine collection that arrived O-Zutsu hand cannon tanegashima, it is huge and incredibly heavy, of around 10 monme, 18mm bore

It is often the case were early samurai weaponry bear twin mon decoration, often demonstrating a co-joining or allegiance between two samurai clans. This example represents its a hand cannon of Kamei Kanerori and the Tokugawa clan mon as he fought for the clan at Sekigahara and beyond .

Kamei Korenori (亀井 茲矩; 1557 – February 27, 1612) was a Japanese daimyō who lived through the early Edo period. He was first a retainer under the Amago clan of Izumo Province, but eventually became a daimyō in his own right.

Chūgoku Campaign (from 1578): After the fall of the Amago, he joined Hashiba (Toyotomi) Hideyoshi, fighting against the Mōri clan, specifically taking part in the Siege of Tottori Castle.
Receiving Shikano castle in Inaba Province as a reward for his notable service in 1578, Korenori ascended to higher rank as he assisted in Hideyoshi's 1587 invasion of Kyūshū.

Kyushu Campaign (1587): Participated in Toyotomi Hideyoshi's campaign to subdue the Kyushu region.
Invasions of Korea (1592–1598): Involved in the campaigns against Korea under the Toyotomi banner.
Battle of Sekigahara (1600): Fought for the Eastern Army under Tokugawa Ieyasu. He helped attack the Western Army's Minakuchi Okayama Castle.

Siege of Minakuchi Okayama (1600): Following the Battle of Sekigahara, he joined forces with Ikeda Nagayoshi to capture Natsuka Masaie at Minakuchi Okayama Castle.
Burning of Tottori Castle Environs: During his time in Inaba Province, he was involved in burning the village around Tottori Castle in conjunction with Masahiro Saimura.
Failed Ryukyu Expedition (1590): Though not a battle, Korenori prepared a fleet to target the Ryukyu Islands but was blocked by the Shimazu clan.

Korenori's descendants were eventually made daimyō (lords) of the Tsuwano Domain, which they ruled until the Meiji Restoration

Resembling the Portuguese arquebus, the first matchlock gun to be seen in Japan, this massive and handsome weapon expresses the Japanese desire for powerful, finely made firearms.

A 17th century Japanese tradition relates that after the accidental arrival of three Portuguese mariners on Tanegashima Island in 1543, the sword-smith Kiyosada gave his daughter to their captain in order to learn the secrets of musket manufacture.

The actual guns were snap matchlocks made in Malacca, a Portuguese colony, and by 1550 were in production on a large scale. Known as ‘Tanegashima’ or ‘Teppō’ they were used by the Samurai and their foot soldiers and changed the way war was fought in Japan forever.

Large carbines such as this example were known as ‘ozutsu’ or cannon and were mounted on castle walls, used on merchant ships to repel pirates, on horseback in war or as assault weapons to blast through door hinges.

They could also launch incendiary or explosive arrows known as ‘Hiya’ to set fires during sieges. When fired these powerful weapons had a large recoil, and bales of rice were used to support the gunners back from injury.

Ammunition consisted of heavy round lead balls with differing sizes described as ‘Monme’. Made to take between 10 to 30 ‘Monme’ shots, this carbine is one of the largest examples of Japanese Edo Period handheld firearm

One woodblock in the gallery of a samurai holding an ozutso, and another of the great Takeda Shingen contemplating a small teppo matchlock gun, and it’s dramatic effect on the future of samurai warfare. The shape and form of ours is the same as the one contemplated by Takeda Shingen in the print, but ours is around four times the size, not a long gun but of incredible mass, beauty and presence. Somewhat like a dragon, a beast to admire for its breathtaking beauty, but to fear and respect for its power and presence.
The Amago clan, descended from the Emperor Uda (868–897) by the Kyogoku clan, descending from the Sasaki clan (Uda Genji).

Kyogoku Takahisa in the 14th century, lived in Amako-go (Omi Province), and took the name 'Amago'. The family crest, is also the one of the Kyogoku clan.

They were Shugodai (vice-Governors) of Izumo and Oki provinces for generations, for the Kyogoku Shugo branch , and their seat was Gassan Toda castle.

In 1484, Amago Tsunehisa (1458–1541), was deprived of the position of Shugodai by Kyogoku Masatsune, who was the Shugo, because he did not obey the request of tax from the Muromachi bakufu, and was expelled from Gassan Toda castle. Although Enya Kamonnosuke was dispatched to Gassan Toda castle as the new Shugodai, Tsunehisa recaptured Gassan Toda castle by a surprise attack in 1486, took control of Izumo, and developed the Amago clan into a Sengoku Daimyo clan.

The Amago fought the Ouchi clan or the Mori clan (who had been among their vassals), during Japan's Sengoku period.

For much of the next hundred years, the clan battled with the Ouchi and Mori, who controlled neighbouring provinces, and fell into decline when Gassantoda Castle fell to the Mori in 1566.

Amago Katsuhisa tried to regain prestige for the clan by joining the forces of Oda Nobunaga, invaded Tajima and Inaba provinces, but was defeated and died in the siege of Kozuki by the Mori in 1578.
Kamei Korenori (亀井 茲矩, 1557 – February 27, 1612) was a Japanese daimyō who lived through the early Edo period. He was first a retainer under the Amago clan of Izumo Province, but eventually became a daimyō in his own right. Receiving Shikano castle in Inaba Province as a reward for his notable service in 1578, Korenori ascended to higher rank as he assisted in Hideyoshi's 1587 invasion of Kyūshū. Following Hideyoshi's death in 1598, entered the service of Tokugawa Ieyasu. Following the Sekigahara Campaign of 1600, his income was raised from 13,000 to 43,000 koku as a reward for his service to the Tokugawa clan. Korenori died of natural causes in 1612.

Korenori's descendants were eventually made daimyō (lords) of the Tsuwano Domain, which they ruled until the Meiji Resoration.

Weight an impressive and formidable 6.6 kilos, length overall, 42 inches, barrel 30.5 inches  read more

Code: 24307

A Superb 17th -18th Century Dutch East India Company Bronze Naval ‘Swivel’ Cannon on Carriage. A Cannon Of Stunning Quality And Exemplary Condition

A wonderful 17th to 18th century cast bronze swivel cannon, also called rail gun or a naval deck cannon, mounted on a beautiful antique carved hardwood carriage. The cannon can be hand lifted and easily removed in order to mount on other mounting blocks for swivels when used at sea. Solid bronze, with superb cast detailing, barrel measuring approximately 31.25 inches long, 31.75 inches long on carriage, with long ‘swivel spike’ on the underside of the barrel. The natural aged patination is absolutely fabulous and can only appear gradually over the passing of the centuries. This is truly a wonderful example worthy of any museum grade display. These cannon were made in the Netherlands and used by the VOC and by the legendary Malay pirates, and with suitable small cannon-balls it was a most powerful offensive weapon. Lantakas were manufactured during the 17th and early 18th century in the Netherlands by the Dutch East India Company for export to Indonesia, Malaysia and Philippines. This is a type of bronze swivel gun mounted on merchant vessels travelling the waterways of the Malay Archipelago. Its use was greatest in pre-colonial South East Asia especially in Malaysia, the Philippines, and Indonesia. The guns were used to defend against pirates demanding tribute for the local chief, or potentate. Cannon were frequently part of the bride price demanded by the family of an exceptionally desirable bride or the dowry paid to the groom.
Many of the small cannon, often called personal cannon or hand cannon, had been received as honours and were kept and passed down in families, but in times of need they also served as a form of currency that could keep the family fed. As a recognized form of currency, cannon could be traded for rice, drums, canoes, tools, weapons, livestock, debts of honour, and even settlement of penalties for crimes ranging from the accidental death of a fellow villager to headhunting against another tribe. Many of these finest cannon were given out by the Sultans of Brunei as part of ceremonies (such as birthdays or weddings) of the many princes and princesses of the extended Royal family. Cannon were frequently presented to guests along with awards and titles, and were meant to guarantee the recipients allegiance to the Sultan. In the 1840s, England began suppressing headhunting and piracy and Rajah James Brooke (a wealthy Englishman who established the dynasty that ruled Sarawak from 1841 until 1946) distributed numerous Brunei-cast hand cannon to guarantee the cooperation and allegiance of the local chiefs. Although most lantaka weighed under two hundred pounds, and many only a few pounds, the largest ones exceeded a thousand pounds with some weighing over a ton. Many of these guns were mounted on swivels and were known as swivel guns. The smaller ones could be mounted almost anywhere including in the rigging. Medium-sized cannon were frequently used in reinforced sockets on the vessel's rails and were sometimes referred to as rail guns. The heaviest swivel guns were mounted on modified gun carriages to make them more portable.

Typically the earliest cannon with beautiful ornaments from this region are from foundries in Malacca and Pahang, with later models from foundries in the Netherlands and Portugal, next from their respective settlements, and finally from Brunei and other local craftsmen.

The local population was unimpressed with the might and power of the heavily armed trading vessels from the VOC Dutch East India Company and Portugal. De Barros mentions that with the fall of Malacca, Albuquerque captured 3,000 out of 8,000 artillery. Among those, 2,000 were made from brass and the rest from iron. All the artillery is of such excellent workmanship that it could not be excelled, even in Portugal. - Commentarios do grande Afonso de Albuquerque, Lisbon 1576.

The Dutch and Portuguese quickly learned that they could trade cannon not only for spices and porcelain, but also for safe passage through pirate-infested waters. Local foundries continued to produce guns, using local patterns and designs from other local brass and bronze objects. This cannon can be lifted and mounted on any other form of swivel mount.  read more

Code: 21356

Superb & Rare 10 Plate Tetsu Steel Jingasa Samurai Battle Hat Helmet of The 1700's Traces Of Silver Inlay of Insects Such As Crickets, Catydids & A Spider Web From The Collection of Likely The World's Greatest Authority, Author On Japanese Polearms

From The Collection of Likely The World's Greatest Authority and Author On Japanese Polearms & Their Use

The tetsu jingasa (iron or steel battle hat) was a common form of head protection used in combat in feudal Japan, particularly by foot soldiers (ashigaru) during the Sengoku period (1467–1615) and by both soldiers and samurai during the Edo period (1603–1868). Unlike the elaborate kabuto helmets, the jingasa was lightweight, and shaped like a cone or shallow bowl, often with a wide brim to protect against overhead cuts and rain.

It was mainly worn by ashigaru as part of their okashi gusoku (loaned armour) to protect against overhead strikes, arrows, and musketry. Howeve, being of much higher quality and inlaid with silver decoration this beautiful example was clearly the war hat of a high rank samurai

While offering less protection than a kabuto (traditional helmet), it was highly favored for its light weight and mobility, which were crucial during long, intense battles.
The steel hats were typically lacquered and bore the mon (family crest) of the lord, which allowed identification of allies and enemies in the chaos of battle.
Weapon Usage (Improvised): Some martial arts schools, such as the Yagyu Shingan-ryu, taught that the steel jingasa could be removed and used as a makeshift shield or a striking weapon (similar to a buckler) when in close combat, though this was generally an emergency tactic.

What an incredible, early Edo, original samurai iron jingasa helmet this is. Only a very small percentage of jingasa war hats are made of plate steel but this one is rarer still in that is was inlaid with representation decor of silver insects, some of which are still viewable. including a cricket, a catydid and a superb spiders web.

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

A similar metal example, dated to the 19th century, was included in the 2010 exhibition Kyoto­-Tokyo: Des Samourais aux Mangas at the Grimaldi Forum in Monaco in 2010.  read more

Code: 26206

A Beautiful Edo Period Higher Ranking Samurai Folding, Dragon Mon Kusari Katabira Armour. From The Collection of, Likely, The World's Greatest Authority and Author On Japanese Polearms & Their Use & The Henry Russell Robinson Collection

Edo period samurai karuta tatami dou in the hara-ate style. The decorated tatami armour, such as this beautiful example, was usually worn by the high-class Samurai, while the lower class wore more simple versions.

This fabulous armour was previously in two famous collections, first, Henry Russell Robinson's Collection, then, later, sold to the Roald Knutsen Collection. Henry Russell Robinson was Keeper of Armour at the Tower of London, and likely displayed this armour coat in the Tower of London for his exhibition on Japanese Armour there. 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.

The lower ranking samurai would likely wear a folding mail helmet with tatami kusari folding armour. When worn by a higher rank samurai, or daimyo, it would be likely worn with a fine jingasa helmet, such as our example, item code 26208, that came from the same collection.

Kusari Katabira (Chain Mail Armour Coat) is a style of tatami yoroi or "folding armour" used by Daimyo, samurai warriors, their retainers and ashigaru (foot soldiers) during the feudal Sengoku and slightly more peaceful Edo era of Japan.

A simply stunning black urushi lacquer, and pure gold decorated, Nichiren-shu Ryu no Maru dragon mon centre panel. Many types of this form of combat armour are plain black, however this is one of the most beautiful we have ever seen.

Two woodblock prints in the gallery of samurai in combat wearing kusari chain mail armour

The beauty of this form of samurai armour is that it can also be amazingly displayed, wall mounted, within a large bespoke frame, in the same manner as a silk kimono.

Kusari tatami armour (chain mail folding armour) is a lightweight, portable Japanese defense featuring mail (kusari) sewn onto cloth or leather, often reinforced with small plates. Used during the Sengoku/Edo periods, it allowed for quick deployment, easy transport, and was worn by samurai, retainers, and ashigaru (foot soldiers) for combat.
Part of the tatami (folding) armor family, it was designed to be collapsed or folded for easy storage.
Kusari (Mail): Japanese mail typically consisted of riveted or butted iron rings in a 4-in-1 pattern, often connected to small, square/rectangular plates (karuta) or hexagonal plates (kikko).
The mail was commonly stitched onto hemp linen or leather backing, forming armored jackets known as kusari katabira or yoroi katabira.
Included kusari tatami dō (cuirass), karuta tatami dō (plate-and-mail cuirass), and kusari gusoku (full suit of mail).
Ideal for scouts, high-ranking samurai on the move, or for wear under regular clothing by guards.
Variations in Tatami Armour
Karuta Tatami: Focuses on small iron or leather squares (karuta) connected by mail, often backed with cloth.
Kikko Tatami: Uses small, hexagonal plates (kikko) hidden or exposed within the mail/cloth structure.

It was formerly part of the Henry Russell Robinson's private collection. (7 May 1920, Hackney, London - 15 January 1978) He became Keeper of Armour at The Tower Of London, and it is likely this suit was part of a display of Japanese armour he organised for display in 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.  read more

Code: 26204

A Fabulous, Samurai Late Koto To Shinto Period Wakazashi Sword In Very Fine, All Original, Edo Period Handachi Koshirae. With Original Urushi Ishime Lacquer Saya In Chitosemidori, A Thousand Year Green. Samurai War Pony Menuki. With A Remarkable Blade

Overall this sword is is superb condition, all the handachi mountings are original Edo period, as is the saya and its urushi ishime lacquer. The tsuka-ito has a geometric weave pattern, and also original Edo period. The delightful Edo tsuba is iron, with a relief Aoi leaf pattern, and signed. The pair of Edo menuki are pure gold over shakudo of deep takebori samurai war ponies in fully saddled riding tack, without riders..
The kozuka, side knife, has a Higo school iron handle depicting two Minogame turtles, particularly the minogame (straw-raincoat turtle), represent wisdom and are said to live so long that algae grows on their shells, resembling a tail.

Chitosemidori is a traditional Japanese colour that resembles the dark green colour of Japanese pine needles. The name “Chitosemidori” comes from the Japanese pine, symbolizing longevity due to its evergreen nature. This colour is significant because it represents enduring beauty. According to legend, it remains unchanged even after 1,000 years, reflecting the timeless nature of the Japanese pine.

Japanese lacquer, or urushi, is a transformative and highly prized material that has been refined for over 7000 years.
Cherished for its infinite versatility, urushi is a distinctive art form that has spread across all facets of Japanese culture from the tea ceremony to the saya scabbards of samurai swords
Japanese artists created their own style and perfected the art of decorated lacquerware during the 8th century. Japanese lacquer skills reached its peak as early as the twelfth century, at the end of the Heian period (794-1185). This skill was passed on from father to son and from master to apprentice.

Some provinces of Japan were famous for their contribution to this 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.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.

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

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

Picture 7 in the gallery is of the tsukaito over the war pony menuki. They appear to difference shades of green, but this is an illusion created by the camera photo light. There is no actual difference in colour at all

Overall 27 1/4 inches long in saya, blade 19 3/4 inches long  read more

Code: 26201

Archaic Chinese Warrior's Bronze Sword, Around 2500 Years Old, From the Zhou Dynasty to the Qin Dynasty, Including the Period of the Great Military Doctrine 'The Art of War' by General Sun-Tzu

Chinese Bronze 'Two Ring' Jian sword, however both the grip rings are now lacking, as is the pommel. Used in the era of the Seven Kingdoms period, likely in the Kingdom of Wu, up to the latter part of the Eastern Zhou dynasty (475 – 221 BC).

From our wonderful collection of ancient Chinese weaponry we recently acquired, another stunning ancient sword around 2500 years old or more. From the Zhou dynasty, and the area of the King's of Wu, in Chu. as this sword bears old damage it is priced accordingly, yet it is still an ancient piece of great beauty and interest.

Swords of this type are called “two-ring” swords because of the prominent rings formerly located on the hilt. This is the very type of sword used by the warriors serving under the world renowned General Sun Tzu, in the Kingdom of Wu, who is thought by many to be the finest general, philosopher and military tactician who ever lived. His 2500 year old book on the methods of warfare, tactics and psychology are still taught and highly revered in practically every officer training college throughout the world.
We show a painting in the gallery of a chariot charge by a Zhou dynasty warrior armed with this very form of sword.
The Chinese term for this form of weapon is “Jian” which refers to a double-edged sword. This style of Jian is generally attributed to either the Wu or the Yue state. The sword has straight graduated edges reducing to a pointed tip, which may indicate an earlier period Jian.

The blade is heavy with a midrib and tapered edges
A very impressive original ancient Chinese sword with a long, straight blade with a raised, linear ridge down its centre. It has a very shallow, short guard. The thin handle would have had leather or some other organic material such as leather or hemp cord, wrapped around it to form a grip. At the top once had a round, likely dished pommel

The Seven Kingdom or Warring States period in Chinese history was one of instability and conflict between many smaller Kingdom-states. The period officially ended when China was unified under the first Emperor of China, Qin pronounced Chin Shi Huang Di in 221 BC. It is from him that China gained its name.

The Zhou Dynasty (1046-256 BCE) was among the most culturally significant of the early Chinese dynasties and the longest lasting of any in China's history, divided into two periods: Western Zhou (1046-771 BCE) and Eastern Zhou (771-256 BCE). It followed the Shang Dynasty (c. 1600-1046 BCE), and preceded the Qin Dynasty (221-206 BCE, pronounced “chin”) which gave China its name.

In the early years of the Spring and Autumn Period, (770-476 BC) chivalry in battle was still observed and all seven states used the same tactics resulting in a series of stalemates since, whenever one engaged with another in battle, neither could gain an advantage. In time, this repetition of seemingly endless, and completely futile, warfare became simply the way of life for the people of China during the era now referred to as the Warring States Period. The famous work The Art of War by Sun-Tzu (l. c. 500 BCE) was written during this time, recording precepts and tactics one could use to gain advantage over an opponent, win the war, and establish peace.

Sun Tzu was a Chinese general, military strategist, writer, and philosopher who lived in the Eastern Zhou period of ancient China. Sun Tzu is traditionally credited as the author of The Art of War, an influential work of military strategy that has affected both Western and East Asian philosophy and military thinking. His works focus much more on alternatives to battle, such as stratagem, delay, the use of spies and alternatives to war itself, the making and keeping of alliances, the uses of deceit, and a willingness to submit, at least temporarily, to more powerful foes. Sun Tzu is revered in Chinese and East Asian culture as a legendary historical and military figure. His birth name was Sun Wu and he was known outside of his family by his courtesy name Changqing The name Sun Tzu by which he is more popularly known is an honorific which means "Master Sun".

Sun Tzu's historicity is uncertain. The Han dynasty historian Sima Qian and other traditional Chinese historians placed him as a minister to King Helü of Wu and dated his lifetime to 544–496 BC. Modern scholars accepting his historicity place the extant text of The Art of War in the later Warring States period based on its style of composition and its descriptions of warfare. Traditional accounts state that the general's descendant Sun Bin wrote a treatise on military tactics, also titled The Art of War. Since Sun Wu and Sun Bin were referred to as Sun Tzu in classical Chinese texts, some historians believed them identical, prior to the rediscovery of Sun Bin's treatise in 1972.

Sun Tzu's work has been praised and employed in East Asian warfare since its composition. During the twentieth century, The Art of War grew in popularity and saw practical use in Western society as well. It continues to influence many competitive endeavours in the world, including culture, politics, business and sports.

The ancient Chinese people worshipped the bronze and iron swords, where they reached a point of magic and myth, regarding the swords as “ancient holy items”. Because they were easy to carry, elegant to wear and quick to use, bronze swords were considered a status symbol and an honour for kings, emperors, scholars, chivalrous experts, merchants, as well as common people during ancient dynasties. For example, Confucius claimed himself to be a knight, not a scholar, and carried a sword when he went out. The most famous ancient bronze sword is called the “Sword of Gou Jian”.

This is one of a stunning collection of original archaic bronze age weaponry we have just acquired and has now arrived. Many are near identical to other similar examples held in the Metropolitan in New York, the British royal collection, and such as the Hunan Provincial Museum, Hunan, China.
As with all our items, every piece is accompanied by a certificate of authenticity  read more

Code: 24876