A Beautiful & Massive Ancient Bronze Age Long Sword Circa 1200 to 800 BC. As Used From Before and Including the Greco-Persian Wars, Such as the Battles of Marathon & Thermopylae. As Used in Hand To Hand Combat Between Xerxes' Immortals, and The Hoplites

Massive bronze age sword with Double Ear Pommel, 10th-9th Century BC. with partial green encrustations, with some parts of the blade end showing hand to hand combat denting. A sword that was possibly made in around 1200 bc, but expected at the time to have a functioning use of 500 to 600 years or even more. Swords were immensely expensive, and being of bronze easy to maintain and repair, but constant sharpening was also required as they couldn't hold an edge as the much later Iron age sword could.

A magnificent, enormous bronze sword of the “double ear” pommel style, made using the lost wax casting technique by highly trained urban artisans for an elite member of a nomadic horse-riding clan. The blade was cast first, and then the handle was cast onto it - scans of similar swords have revealed tangs inside the handles.

This well-balanced weapon has a slender, square hilt, with raised decorative elements on each of the four sides joining to a pommel that divides into two finely decorated semi-circular “ears” at right angles to the blade. A rectangular guard carefully designed with crescent-shaped horns extends down to firmly grip the upper end of the prominent midrib that tapers regularly with almost straight cutting edges to a point.

The “double ear” style of sword - with both bronze and iron blades - has been excavated from graves in southern Azerbaijan, the Talish and Dailaman regions of northwest Iran, and the urban sites of Geoy Tepe and Hasanlu, also in northwestern Iran. Another, with both bronze pommel and blade, was pulled from the Caspian Sea, where it may have been thrown as an offering. It seems that swords like this example were not just made to be used in battle, but instead to show status or as votive weapons.

There is a strong tradition in the ancient Near East of swords and other weapons being associated with the gods. For example, there is a rock carving dating to circa 1300 BC from this region that shows a scene of the gods of the Underworld, including one who is holding a sword similar to this one. Similarly, a golden bowl excavated at Hasanlu (northwestern Iran) shows three swords of similar form to this one that are associated with three deities from the Hittite pantheon. Whatever its original function, this would have been a spectacular weapon to behold, with a deep, shining surface when polished. Whoever commissioned this sword must have been an elite individual of high status, perhaps seeking to honour the gods by handling such a weapon.

The late bronze age early Luristan culture was renowned for their bronze workmanship and this cast bronze sword is an excellent illustration of their skill. Cast using the lost wax process, this sword is a rare example of the double ear pommel type found in the great museums of the world.

This well-balanced and mighty weapon, is around the same proportions of the much later Roman gladius. It features a slender square hilt that joins to a pommel that divides at right angles to the blade into two finely decorated semi-circular "ears". The pommel features with a semi-circular opening in the centre of each ear. A rectangular guard carefully designed that extends down to firmly grip the upper end of the double-edged blade.
The wide graduated blade that tapers regularly to a point and it has, low, twin central midribs that taper regularly with almost straight cutting edge to a point, making it most suitable for thrusting and cutting.
It is the austere perfection of line and proportion that makes this weapon so beautiful.

This type of pommel represents the north-western Persian version of weapons evolved from Elamite or Mesopotamian flange-hilted blades. They are found made throughout the northern regions of Persia in both bronze and iron, and sometimes with a combination of bronze hilt and iron blade. 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 travelling for many months, or even years, throughout classical Europe, and Middle East, acquiring antiquities and antiques for their private collections. This is a most handsome ancient bronze weapon from the era of the so called Trojan Wars. The ancient Greeks believed the Trojan War was a historical event that had taken place in the 13th or 12th century BC, and believed that Troy was located in modern day Turkey near the Dardanelles. In Greek mythology, the Trojan War was waged against the city of Troy by the Achaeans (Greeks) after Paris of Troy took Helen from her husband Menelaus, the king of Sparta. The war is among the most important events in Greek mythology and was narrated in many works of Greek literature, including Homer's Iliad and the Odyssey . "The Iliad" relates a part of the last year of the siege of Troy, while the Odyssey describes the journey home of Odysseus, one of the Achaean leaders. Other parts of the war were told in a cycle of epic poems, which has only survived in fragments. Episodes from the war provided material for Greek tragedy and other works of Greek literature, and for Roman poets such as Virgil and Ovid.

The war originated from a quarrel between the goddesses Athena, Hera, and Aphrodite, after Eris, the goddess of strife and discord, gave them a golden apple, sometimes known as the Apple of Discord, marked "for the fairest". Zeus sent the goddesses to Paris, who judged that Aphrodite, as the "fairest", should receive the apple. In exchange, Aphrodite made Helen, the most beautiful of all women and wife of Menelaus, fall in love with Paris, who took her to Troy. Agamemnon, king of Mycenae and the brother of Helen's husband Menelaus, led an expedition of Achaean troops to Troy and besieged the city for ten years due to Paris' insult. After the deaths of many heroes, including the Achaeans Achilles and Ajax, and the Trojans Hector and Paris, the city fell to the ruse of the Trojan Horse. The Achaeans slaughtered the Trojans (except for some of the women and children whom they kept or sold as slaves) and desecrated the temples, thus earning the gods' wrath. Few of the Achaeans returned safely to their homes and many founded colonies in distant shores. The Romans later traced their origin to Aeneas, one of the Trojans, who was said to have led the surviving Trojans to modern day Italy. Made in copper bronze in the Western Asiatic region. Western Asiatic bronzes refer to items dating from roughly 1200-800 BC that have been excavated since the late 1920's in the Harsin, Khorramabad and Alishtar valleys of the Zagros Mountains especially at the site of Tepe Sialk. Scholars believe they were created by either the Cimmerians or by such related Indo-European peoples as the early Medes and Persians. Weapons from this region were highly sought after by warriors of many cultures because of their quality, balance and durability.

The Battle of Thermopylae
The first decision, to hold the narrow Vale of Tempe between Macedonia and Thessaly, was abandoned when it was realised that the position could easily be turned. The Greeks then occupied the still narrower pass of Thermopylae with 6,000 or 7,000 hoplites and stationed 271 triremes at Artemisium in northern Euboea. The positions were linked by communication between the Spartan commanders, King Leonidas at Thermopylae and Eurybiades at Artemisium, who intended to halt and damage the Persian forces. Meanwhile, Xerxes was advancing slowly. He made no use of separate columns, and his fleet suffered heavy losses in a storm when it was convoying supply ships along the coast. It was already August when Xerxes began the operations, which extended over three days.

On the first day, Xerxes sent a detachment of 200 ships, unseen by the Greeks, to sail around Euboea and close the narrows of the Euripus Strait. He also attacked with his best infantry at Thermopylae, where the Greeks inflicted heavy casualties. During the afternoon the Greek fleet, having learned about the Persian detachment from a deserter, engaged the main Persian fleet with some success. The Greeks intended to sail south that night and destroy the detachment the next day, but a tremendous storm kept the Greeks at Artemisium and wrecked the 200 Persian ships off south Euboea. On the second day, news of the Persian disaster was brought up by a reinforcing squadron of 53 Athenian ships. Xerxes attacked again with no success at Thermopylae, and the Greeks sank some Cilician vessels off Artemisium.

A Greek traitor, Ephialtes, offered to guide the Persians along a mountain path and turn the position at Thermopylae. The Immortals, a cadre of elite Persian infantry, were entrusted to him. At dawn on the third day, they began to descend toward the plain behind the Greek position. Leonidas retained the troops of Sparta, Thespiae, and Thebes and sent the remainder south. He then advanced. He and his soldiers fought to the death, except the Thebans, who surrendered. Meanwhile, the Persian fleet attacked at noon. Both sides suffered heavy losses, and the Greeks realized that they could succeed only in narrower waters. That evening, when the fall of Thermopylae was known, the Greek fleet withdrew down the Euboic channel and took station in the narrow straits of Salamis.

For reference see: Moorey P.R.S. "Catalogue of Ancient Persian Bronzes in the Ashmolean Museum" (1971), pg. 80 fig 63, Mahboubian, H. "Art of Ancient Iran" pg 304 386(a) & (b) and pg 314-315 397a-I, Moorey PRS "Ancient Persian Bronzes in the Adam Collection" pg 58 28 and Muscarella "Bronze and Iron, Ancient Near Eastern Artifacts in the Metropolitan Museum of Art" pgs 282-285 385-390.

Around 26 inches long overall.  read more

Code: 24766

A Beautiful Matched Pair of An Ancient Bronze Sword and Dagger With Pierced Bird Cage Pommels. From The Era of the Ancient Greco-Persian Wars, Circa 5th Century B.C.

It is incredibly rare to find two weapons that may likely have been made by the same sword-maker up to 2500 years ago, likely for the same warrior, and them to still be together today. Almost certainly excavated, two hundred years ago or more during the era of the Grand Tour, possibly from the same warrior's tomb or burial or an ancient battle site or sunken bireme. A bireme is an ancient oared warship (galley) with two superimposed rows of oars on each side. Biremes were long vessels built for military purposes and could achieve relatively high speed. They were invented well before the 6th century BC and were used by the Phoenicians, Assyrians, and Greeks. The bireme was also recorded in ancient history on the 8th and early 7th-century BC Assyrian reliefs, where they were used to carry out an amphibious attack on the coast of Elam and the lagoons of the Persian Gulf during the reign of Sennacherib. Over the centuries in the Persian Gulf the Aegean Sea and the Northern Mediterranean, ancient artifacts, pottery and the like have been drawn up by numerous fishermen’s nets, such as, for example our Minoan spears recovered by 18th century Cretan fishermen from the sea bed. See the picture in the gallery of a 500bc Greek bireme.

A picture in the gallery from a mosaic tile floor excavation in Medeina of an ancient Roman Villa, showing a bird in a cage, the inspiration of the shape and form for the pommels on these swords, that were likely made up to 1000 years before the villa was built by the Romans in the 2nd century.

Double edged graduating blades with central midrib. Hollow grips, the dagger with open panels for side plate inserts, the short sword with cylindrical grip. The short sword has a pair of rounded quillon crossguard with widened flattened ends.

The style of warfare between the Greek city-states, which dates back until at least 650 BC (as dated by the 'Chigi vase'), was based around the hoplite phalanx supported by missile troops. The 'hoplites' were foot soldiers usually drawn from the members of the middle-classes (in Athens called the zeugites), who could afford the equipment necessary to fight in this manner. The heavy armour (the hoplon) usually included a breastplate or a linothorax, greaves, a helmet, and a large round, concave shield (the aspis) .Hoplites were armed with long spears (the dory), which were significantly longer than Persian spears, and a sword (the xiphos). The heavy armour and longer spears made them superior in hand-to-hand combat and gave them significant protection against ranged attacks. Lightly armed skirmishers, the psiloi also comprised a part of Greek armies growing in importance during the conflict; at the Battle of Plataea, for instance, they may have formed over half the Greek army. Use of cavalry in Greek armies is not reported in the battles of the Greco-Persian Wars.



The Battle of Marathon
The Persian fleet headed south down the coast of Attica, landing at the bay of Marathon, roughly 40 kilometres (25 mi) from Athens. Under the guidance of Miltiades, the general with the greatest experience of fighting the Persians, the Athenian army marched to block the two exits from the plain of Marathon. Stalemate ensued for five days, before the Persians decided to continue onward to Athens, and began to load their troops back onto the ships. After the Persians had loaded their cavalry (their strongest soldiers) on the ships, the 10,000 Athenian soldiers descended from the hills around the plain. The Greeks crushed the weaker Persian foot soldiers by routing the wings before turning towards the centre of the Persian line. The remnants of the Persian army fled to their ships and left the battle.89 Herodotus records that 6,400 Persian bodies were counted on the battlefield; the Athenians lost only 192 men.

As soon as the Persian survivors had put to sea, the Athenians marched as quickly as possible to Athens. They arrived in time to prevent Artaphernes from securing a landing in Athens. Seeing his opportunity lost, Artaphernes ended the year's campaign and returned to Asia.

The Battle of Marathon was a watershed in the Greco-Persian wars, showing the Greeks that the Persians could be beaten. It also highlighted the superiority of the more heavily armoured Greek hoplites, and showed their potential when used wisely  read more

Code: 24850

Superb Crimean War 1853 Issue British Cavalry Sabre, Exactly as Used by The Charge of the Light Brigade, and, The {Less Well Known, Yet Ironically More Successful} Charge of the Heavy Brigade. In Its Stunning Steel Scabbard, With White Buff Hide Knot

A stunning 1853 pattern sabre that superseded the earlier issue 1821 pattern. A beautiful three bar bright steel hilt, with regulation chequered leather grip, held with 5 rivets. A Regulation steel blade with ordnance stamps and ordnance contract maker stamp, Mole. In its regulation pattern, rolled sheet steel, mirror bright plated scabbard. Many Mole blades were used extensively by the British Army, including during the Crimean War (in the Charge of the Light Brigade) this sword has every indication to have been one of them, such as in the 13th Light dragoons

This original 1853 pattern trooper's sabre was the replacement of the previous 1821 pattern. This particular sabre was issued, just in time, to a few of the hussar and lancer regiments that departed for service in the Crimean War, but it took around another 10 years or so to be supplied to all the other cavalry regiments in the army, especially if they were in service at the time within the far flung reaches of the empire. We have also acquired, a similarly fabulous, 1821 issue example, from the same collection. However, all our other, fabulous condition British cavalry sabres, that we recently acquired from the Crimean War collection, have now been sold over the past few weeks.

Both cavalry charges against the Russian lines happened on the same day in the Crimean War, at Balaklava, on the 25th October 1854, and barely two hours apart. The first charge was at 9.30 am and was the 'Charge of the Heavy Brigade', and it was followed at 11.10 am by the famed 'Charge of the Light Brigade'. This sabre would very likely have been used in either charge as the 1853 pattern was designated for use by both light and heavy cavalry. It bears the same ordnance maker's mark, as an identical pattern issue sword, from the Charge of the Light Brigade, used by a trooper the 13th Light Dragoon's in the charge, that is now in the 13th-18th Royal Hussars and Light Dragoons Regimental Museum {see a photo of that sword in the gallery}.
Our sword also bears the line regt. issue ordnance inspectors marks.

Following the Battle of the Alma in September 1854, British, French and Ottoman forces had begun to besiege the Russian naval base of Sevastopol. The siege lines, running back to their base at Balaklava harbour, went through two valleys and a ridge, and were vulnerable.

Seeking to take advantage of this, the Russians planned to break the British lines and then capture the base.
'The Thin Red Line'
The Russian cavalry charged on Balaklava, but their route was blocked by the 93rd (Highland) Regiment of Foot. Traditionally, infantry facing a charge would form a square, four lines deep. But the Highlanders took an unconventional approach, making two lines instead.

In the face of the oncoming Russian horses, the Highlanders' commander, Major-General Sir Colin Campbell, told his troops: ‘There is no retreat from here, men. You must die where you stand.’ They fired two disciplined volleys at the advancing enemy, which turned the Russians back.

'Charge of the Heavy Brigade'
The Heavy Brigade, moving up to support the Highlanders, then intercepted the retreating Russian cavalry.

The 800 British horsemen were hugely outnumbered by the 3,000-strong Russian cavalry. But seeing their enemy halted and vulnerable to attack, they charged uphill all the same. Their advance was little faster than a trot and only lasted 10 minutes, but it sent the Russian horsemen into disorder.

'Charge of the Light Brigade'

‘Cavalry to advance rapidly to the front’
To prevent the Russians moving the guns they had captured earlier, Lord Raglan issued an order to the Light Brigade to go and retrieve them. He was still waiting on reinforcements from Sevastopol to arrive, so the light horsemen were the only troops available to him.

But the cavalry commanders, who lacked Raglan’s view of the battlefield, were uncertain as to which guns his order referred to. What’s more, all they could see was a Russian artillery battery at the end of a heavily defended valley.

In response to their orders, the Light Brigade began their charge, but at the wrong gun batteries. They galloped through Russian artillery fire from three sides and on into the ‘Valley of Death’ suffering heavy losses in the process.

Some of the horsemen succeeded in reaching the Russian guns at the end of the valley, and even drove the men operating them into retreat before charging the Russian cavalry beyond.
After intense fighting, the remnants of the Light Brigade were forced to retreat from the guns. They made their way back through the ‘Valley of Death’ before reaching safety. Fortunately, their return was ensured by the French cavalry, who cleared the Russians from the north side of the valley.

Although the reinforcements from Sevastopol had now deployed and were ready to begin an assault on the heights, no further action was taken.

The battle ended in strategic stalemate, with the Russians controlling the heights and the road, but Balaklava still in Allied hands. Unfortunately, Russian possession of the road made supplying the forces besieging Sevastopol during a terrible winter much harder.

The loss of the Light Brigade was one of Britain’s most spectacular military disasters. It is remembered because of Alfred Lord Tennyson’s popular poem ‘The Charge of the Light Brigade’, written a few weeks after the battle.

Years later, Tennyson also wrote ‘The Charge of the Heavy Brigade’ to raise money for Crimean veterans, many of whom were living in poverty. For similar reasons Rudyard Kipling wrote ‘The Last of the Light Brigade’ in 1890 to raise awareness of the hardships faced by veterans.

The blade is grey stained.

Over two decades ago we were delighted to buy Captain Nolan's undress sabretache that was used to carry the order in the Charge of the Light Brigade, and was recovered from beneath his, and his horses bodies after the battle. It spent most of its life after the charge in two museums, one at the rebuilt and re-sited Crystal Palace in London. We were privileged to buy direct it from the original family owners with the personal assistance of the late Gordon Gardner, Militaria Expert of Sotheby's from 1979.

"Robert Mole & Sons" was a prominent British sword manufacturer and contractor active during the 19th and early 20th centuries.
Established in Birmingham, England, in 1835 by a descendant of German craftsman Hermann Mohll (later Anglicized to Mole).
Government Contractor: The firm was a significant supplier to the British War Office, the Admiralty, and the Government of India, particularly from 1852 to 1919.
Produced swords, sword bayonets, lances, and matchets (machetes). They were known for high-quality production, often considered second only to Wilkinson Sword during the Victorian era.
Mole blades were used extensively by the British Army and Navy, including during the Crimean War (Charge of the Light Brigade), the Boer War, and World War I.
During the American Civil War (1861-1865), Robert Mole & Sons produced swords, including cavalry sabers and naval cutlasses, that were imported by the Confederacy.
Blades are typically marked "RobT Mole & Sons, Makers, Birmingham" or simply "Mole" on the spine or ricasso.
Records of their production were discovered in 1988, detailing contracts from 1852-1920. The company eventually became part of Wilkinson Sword.  read more

Code: 26098

A Singularly Beautiful Napoleonic Wars, Elite Cuirassier's 'Year 13' Imperial French Dated Sword, Of The War of The 100 Days, Culminating at the Battle Of Quatre Bras & The Battle of Waterloo, the Duke of Wellington's Decisive Victory Over Napoleon

Superb and beautiful hilt, with very fine original leather bound grip, and a very fine double fullered blade with stunning bright patina. Steel combat scabbard without denting.

We are very privileged to be the UK’s premier original military antiques gallery and website, and to be able to consistently, continually, and regularly, offer the finest original collectors items in our shop for over 100 years

French Napoleonic 'An 13', year 13 swords, were manufactured from 1805 and discontinued in late 1815, whereupon it was superceded in general by the later hilt style of the 1816 model, although some of the surviving models, such as this beauty, continued in service.
Renown throughout the world of historic sword collectors as probably the biggest and most impressive cavalry sword ever designed. This would have seen service in the Elite Cuirassiers of Napoleon's great heavy cavalry regiments.

Napoleon hoped to compel Tsar Alexander I of Russia to cease trading with British merchants through proxies in an effort to pressure the United Kingdom to sue for peace. The official political aim of the campaign was to liberate Poland from the threat of Russia. Napoleon named the campaign the Second Polish War to curry favour with the Poles and provide a political pretence for his actions. The Grande Armee was a very large force, numbering nearly half a million men from several different nations. Through a series of long marches Napoleon pushed the army rapidly through Western Russia in an attempt to bring the Russian army to battle, winning a number of minor engagements and a major battle at Smolensk in August. Napoleon hoped the battle would mean an end of the march into Russia, but the Russian army slipped away from the engagement and continued to retreat into Russia, while leaving Smolensk to burn. Plans Napoleon had made to quarter at Smolensk were abandoned, and he pressed his army on after the Russians. The battles continued, but once the winter set in Napoleon's army was facing insurmountable odds that left it effectively shattered beyond repair. Napoleon fled, it is said, dressed as a woman, and the army left to it's sad and miserable fate. Only around 27,000 were able to return after a mere six months of the Russian campaign. The campaign was a turning point in the Napoleonic Wars. The reputation of Napoleon was severely shaken, and French hegemony in Europe was dramatically weakened. The Grande Armee, made up of French and allied invasion forces, was reduced to a fraction of its initial strength. These events triggered a major shift in European politics. France's ally Prussia, soon followed by Austria, broke their alliance with France and switched camps. This triggered the War of the Sixth Coalition. The Cuirassiers Heavy Cavalry Regiments used the largest men in France, recruited to serve in the greatest and noblest cavalry France has ever had. They fought with distinction at their last great conflict at the Battle of Waterloo in 1815, and most of the Cuirassiers swords in England very likely came from that field of conflict, after the battle, as trophies of war. However, this sword was one of the few that were allowed to remain in the elite cuirassier corps after Waterloo, serving King Louis XVIIIth both before Napoleon's 100 days, and after his crushing defeat by Wellington at Waterloo. Inspected on the blade by Napoleonic inspectors, Lobstein and Bick, also back strap engraved Manufacture Rle January 1815. Made during the abdication period and used in the War of the 100 days. Less than a year following his abdication (April 6, 1814) and the Bourbon Restoration, Napoleon left his island exile in the Tyrrhenian Sea and landed at Cannes on March 1, leading 1,500 men, and marched at once upon Paris. Louis XVIII fled to Ghent on March 13, and Napoleon entered Paris one week later. To broaden his support, Napoleon made liberal changes to the Imperial Constitution, which led a number of former opponents, most notably Benjamin Constant, to rally to his cause. On March 25 Austria, Britain, Prussia, and Russia concluded an alliance against Napoleon and forced a series of military engagements leading up to the fatal Battle of Waterloo (June 18).

Every warrior that has ever entered service for his country sought trophies. The Mycenae from a fallen Trojan, the Roman from a fallen Gaul, the GI from a fallen Japanese, the tradition stretches back thousands of years, and will continue as long as man serves his country in battle. In the 1st century AD the Roman Poet Decimus Iunius Iuvenalis Juvenal
wrote; "Man thirsts more for glory than virtue. The armour of an enemy, his broken helmet, the flag ripped from a conquered trireme, are treasures valued beyond all human riches. It is to obtain these tokens of glory that Generals, be they Roman, Greek or barbarian, brave a thousand perils
and endure a thousand exertions". A truly magnificent Napoleonic sword in superb condition for it's age.
The largest sword of it's kind that was ever made or used by the world's greatest cavalry regiments. The cuirassiers were the greatest of all France's cavalry, allowing only the strongest men of over 6 feet in height into it's ranks. The French Cuirassiers were at their very peak in 1815, and never again regained the wonder and glory that they truly deserved at that time. To face a regiment of, say, 600 charging steeds bearing down upon you mounted with armoured giants, brandishing the mightiest of swords that could pierce the strongest breast armour, much have been, quite simply, terrifying. The brass basket guard on this sword is first class, the grip is totally original leather and a great colour
only shows expected combat wear, the blade is double fullered and absolutely as crisp as one could hope for. Made in the Napoleonic Wars period.
Used at Quatre-Bras and Waterloo. Apparently every remaining French elite cuirassier regiment fought at Waterloo for Napoleon, and there were no cuirassier reserve, and there were no cuirassier militia

The blade has wonderful steel bright colour, and the hilt has fabulous patina. Overall 45.5 inches long in its scabbard, the spear pointed blade is 37.7 inches long. Old original aged patina and regular usual surface blacking to the scabbard steel.  read more

Code: 25736

A Superb and Iconic WW2 German Luftwaffe Officer's 'Black Face' Watch By Titus, Geneva, {Switzerland} Incabloc. A Superb Original Artefact of WW2 German Aeronautical Warfare History

A fine survivor of WW2 a very good original Luftwaffe aircrew 'black face' wristwatch, with Luftwaffe blue strap, working order.

Case stamped D = Dienstuhr Luftwaffe - Air forces with serial number.

Titus (Solvil et Titus) was a Swiss watchmaker founded in 1887 by Paul Ditisheim, with production shifting to Geneva in 1930 under owner Paul-Bernard Vogel. During WWII, the brand produced robust, high-quality Swiss mechanical watches, including civilian and military-style pieces, with some models famously used by Luftwaffe aircrew. WWII-era Titus watches, featuring a 'D' prefix (e.g., D801202) on the case back, were issued to German Luftwaffe aircrew.
These watches often featured stainless steel cases, black faces with luminous numbers/hands, and small second dials. Known for high-quality Swiss mechanical movements.
Paul-Bernard Vogel took over in 1930 and steered the brand towards moderately priced, anti-magnetic, and robust watches during the 1930s and 1940s.
Post-War: The brand continued producing Chronobloc and chronograph models (e.g., with Landeron 48 movements) throughout the 1940s and 1950s.
These third Reich issue watches from the 1930s-1940s are highly sought after by collectors for their historical significance and durable design.

TITUS Watches
Paul Ditisheim: the founder
Paul Ditisheim, son of the famous Ditisheim family, was born into the small social circle of industrialist families that led the Swiss watch industry of the time.He studied at the Horological School of in La Chaux-de-Fonds, the historic birthplace of watch-making industry,4 and received his diploma at the age of 13. He was then trained in several of the major watch makers and worked at his family's Vulcain manufacture until 1892 when he founded his own brands: Solvil (whose items were often signed Paul Ditisheim) and Titus (whose items were generally marked separately).
Through its manufacture, Ditisheim was instrumental in developing the new generation of chronometers, improving them grandly through his studies on the impact of atmospheric pressure and magnetic fields. He invented the affix balance. Thanks to his inventions, he was able to make the most precise chronometers ever made. By 1903, his watches were awarded by the Kew and Neuchâtel Observatories contests. In 1912, he won the world's chronometric record of the Royal Kew Observatory. He also worked closely with Physics Nobel prize winner Charles-Edouard Guillaume and has been considered the father of the modern chronometers. According to Professor M. Andrade of the Besançon Astronomical Observatory, Solvil et Titus Ditisheim's devices "constitute the most important progress of modern chronometry"

In 1940, Germany heavily procured Swiss watches for its military, specifically for the Luftwaffe (air force) and army, due to a need for high-quality, reliable, and legible timepieces. Key Swiss brands involved included IWC, Longines, Helvetia, Titus and Tavannes, supplying watches often marked with "DH" (Dienstuhr Heer) for the army or "D" for the Luftwaffe.
Luftwaffe Watches (B-Uhren): The German air force utilized Beobachtungsuhren (Observation Watches) or B-Uhren. While German firms like Laco and Stowa were key, IWC produced specialized, high-grade navigational watches for the Luftwaffe starting around 1940.
Army/General Military Watches: The Dienstuhr Heer (DH) watches were widely procured from Switzerland. Helvetia was a major supplier, with watches featuring black dials, luminous numerals, and shock-protected movements.
Manufacturers supplying the German military included Alpina, Breitling, BWC, Doxa, Eterna, Glycine, Longines, Mimo, Minerva, Omega, Record, Revue, Roamer, Titus and others.
Significance: These watches, featuring 15-jewel movements and rugged cases, were essential for navigation and synchronizing maneuvers, particularly as the war progressed and industrial needs intensified.
Switzerland, while maintaining neutrality, provided a crucial source for these precision instruments throughout the war.

Photos in the gallery {for information only} of a few Luftwaffe aces, knights cross winner fighter pilots, each one can be seen wearing their 'black face' Luftwaffe issue Swiss wrist watch.

A superb Luftwaffe aeronautical artifact of WW2, the more technical chrongraph version, when they appear on the market, can now achieve £20,000 to £30,000. When collecting old watches it is always recommended to have them serviced.  read more

Code: 26103

A Superb & Rare Royal Flying Corps, Royal Naval Air Service Issue Cockpit Watch. RFC Stamped. Luminous Dial Elongated Winding Stem For Gloved Pilots Winding A Superb Original Artefact & Mechanical Instrument of WW1 Aeronautical Warfare History

Omega RFC Royal Flying Corps and Royal Naval Air Service Cockpit watch, Mk.V, Luminous, c.1916. Nickel-plated steel case with a self-starting keyless 30-hour movement
Swiss manufacturers of Mark V watches applied their assigned (digraphic) letter code to the dial, { BB for Omega} followed by the item’s serial number {5390}. Company branding was allowed to appear on Mark V watches only to interior surfaces, eg the movement, cuvette, inner case back, etc.

These movements were selected for accuracy despite the vibration to which they were submitted. Black dial with white luminous Arabic numerals and seconds additional dial. Although normally referred to as a watch, these were actually fitted to the aircraft cockpit instrument panel via a special holder and used like a clock. Note the elongated stem allowed easier winding with a gloved hand. The elongated stem was a critical feature, enabling the pilot to wind the watch without removing it from its holder.
The case is in good overall condition and has clear markings with War Department broad arrow and 'A' indicating aviation issue.

Nomenclature applied to the dial (specifying, amongst other things, the contracted supplier of the watch)
luminous and non-luminous versions (although luminous versions were restricted to RNAS issue until late in WWI)
Military issue indicated by markings to the dial and/or to the case

Case in excellent condition, free from dents or other damage. The dial in good overall condition. Luminous hands. Luminous numbers. Glass clean, and free from adverse scratches. Movement clean and fresh-looking. The watch in running condition.

No warranty implied.

Note: RFC pilots 'signed for' cockpit watches prior to a given mission; they were also responsible for safe-keeping, and return.  read more

Code: 26101

Beautiful Koto, Samurai's Paired Swords Daisho, 425-525 Years Old. Katana and Chisa Katana. Edo Period Koshirae, Ume 'Maeda' 前田氏 Clan Mon Tsubas, 'Pine Needle' & Urushi Lacquer Sayas. The Maeda Clan, Lords of Kaga, One of the Most Powerful in Japan

The daisho’s blades, are both late Koto era, likely made between 1500 to 1600. They are most beautiful Koto period blades, of much elegance, one with its gently undulating notare hamon, the other its suguha hamon.

Both swords have gold and shakudo fushi kashira, one with the handachi form, with kabuto-gane pommel, decorated with gold lines on a nanako ground, the other with a fuchi that has a takebori dragon on a nanako ground, and the kashira is polished carved buffalo horn.

Photos in the gallery with the saya tied with their yellow and brown sageo, and without.


Mounted with a superb, Edo period, original pair of iron round plate sukashi daisho tsuba, with pierced Maeda clan mon of the ume, plum blossom, within both the daito and shoto tsuba. Pierced with the plum blossom mon pattern {with twigs}. used by the samurai connected and serving with the Maeda clan.The Maeda clan (前田氏, Maeda-shi) was a Japanese samurai clan who occupied most of the Hokuriku region of central Honshū from the end of the Sengoku period through the Meiji Restoration of 1868. The Maeda claimed descent from the Sugawara clan through Sugawara no Kiyotomo and Sugawara no Michizane in the eighth and ninth centuries; however, the line of descent is uncertain. The Maeda rose to prominence as daimyō of Kaga Domain under the Edo period Tokugawa shogunate, which was second only to the Tokugawa clan in kokudaka (land value).

The daisho's tsuba are likely from the Umetada tsuba school of tsuba craftsman, Umetada were the foremost swordsmiths of their day. Their 18th Master, Shigeyoshi I, is said to have made sword-furniture for the Ashikaga Shōgun (end of 14th century), but none of his work is known. Serious study of Umetada sword guards {tsuba} begins with the 25th Master, Miōju, or Shigeyoshi II; {b.1558; d. 1631}. His headquarters, as also those of the succeeding nine Masters, were at Kiōto, but he was invited to several provincial centres and exerted a lasting influence on the local schools.
A branch founded by Naritsugu (c. 1752) worked at Yedo, while various members of the family were active at other centres. The Umetada style in general is a skilful combination of chiselling and incrustation or inlay.

The daisho’s matching sayas are stunning, both with a highly complex decorative design pattern of pine needles laid upon black urushi lacquer, in a seemingly random pattern. But, in reality each pine needle was strategically placed upon them, when creating the decorative finish, with just a single needle, and just one at a time, to give the impression they fell naturally upon the ground from above, from a pine tree. The surface was then lacquered in clear transparent urushi lacquer to create a uniform smooth surface. in the Edo period it would take anything around a year or more to create a samurai sword saya, as the urushi lacquer coating would be anything up to 12 coats deep, and each would take a month to dry as they were made using on natural materials, not modern quick drying synthetic cellulose lacquers as used today.

The samurai's daisho, {his two swords title when carried within his obi} was named as such when his swords were worn together, and it describes the combination of the samurai’s daito and shoto {long mounted sword, and short mounted sword}. In the earlier period of the samurai, a daisho were comprising the matching of his long tachi and much shorter tanto, but in the later period, much more often, it was the matching of a combination of a katana and a wakazashi. However, some samurai may choose an alternative coupling of a katana matched with an o-wakazashi or chisa katana, or, even two chisa katana, but one sword was more usually mounted shorter than the other, despite the blades being of near equal length. This particular daisho that we offer here, is the combination of the latter type, that was specifically advantageous for a samurai trained, as was the famous samurai, Musashi, using a twin-sword combat method, of a sword carried and used together in each hand, simultaneously. For Musashi, this was a combat style that was undefeatable, when combined with his incredible skill.

Using a daisho of near equal length blades was the art of twin sword combat, using two at once in unison, one in each hand, the form as previously mentioned as used by the great and legendary samurai, Miyamoto Musashi, who reportedly killed 60 men before his 30th birthday.
Miyamoto Musashi 1584 – June 13, 1645), also known as Shinmen Takezo, Miyamoto Bennosuke or, by his Buddhist name, Niten Doraku, was an expert Japanese swordsman and ronin. Musashi, as he was often simply known, became renowned through stories of his excellent, and unique double bladed swordsmanship and undefeated record in his 60 duels. He was the founder of the Hyoho Niten Ichi-ryu or Niten-ryu style of swordsmanship and in his final years authored the The Book of Five Rings, a book on strategy, tactics, and philosophy that is still studied today.

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

Daito sword blade length tsuba to tip 24,5 inches, overall 36.5 inches long in its saya.

Shoto sword blade length tsuba to tip 24.25,
overall 34 inches long in its saya.

As once told to us by an esteemed regular visitor to us here in our gallery, and the same words that are repeated in his book;

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

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: 24085

A Beautiful Katana, Signed, Bizen Yokoyama Sukekane 尉祐包 Dated February 1867, He Was The 13th Generation Sukesada & 58th Generation From The Founder of Bizen Smiths In Superb Polish With Edo Period Mounts of Shakudo & Gold by Yasuyuki 安随

Signed, 備陽長船住横山俊左衛門尉祐包
Biyo {Bishu} Osafune Jyu Yokoyama Shunzaemon Jo Sukekane
備陽長船住 is where he lives and 横山俊左衛門尉祐包 is his full name.
The 13th generation of Sukesada, who worked from 1835 to 1872, and this sword was made in the 3rd year of Keio, so it was made in February 1867.
The third says that he is the 58th grandson of the founder of Bizen smithing, Bizen Tomonari. It also shows the date of creation. Blades of the 19th-century Yokoyama school frequently declared their lineage as being directly descended from the 13th-century smith Tomonari.

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

Original Edo shakudo fuchi kashira decorated with silver and gold birds, bamboo and flowers, on a hammered ground, signed Yasuyuki 安随. The tettsu tsuba has a geometric openwork design of an approaching wagon wheel with hon-zogan decoration of shinchu hira inlay. The tsuka ito {silk binding} is blue-green

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

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

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

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

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

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

The British Museum has a small tanto signed by the same smith Bishu Osafune Ju Yokoyama Sukekane’

https://collections.vam.ac.uk/item/O90821/dagger-and-scabbard-sukekane/

Sukekane was the 13th mainline master of the Bizen Yokoyama school, which was founded in the later 16th century by Yosozaemon no Jo Sukesada. It is said that Sukesada relocated to the nearby village of Yokoyama after the great flooding of Osafune at this time. Sukesada’s great-grandson, Sanzaemon no
Jo Sukesada, whose personal name was Toshiro and was the 4th generation, was the first representative of the school to work in shinto times.
All these smiths were named Sukesada and as they entered the shinshinto period, although they retained the character “Suke” in their names, many used a different second character instead of “Sada”. However, although living and signing their work
with Yokoyama, they appreciated that their spiritual and cultural home was still Osafune, by including this in their mei.
This is the first of two generations named Sukekane and he died in 1872, a few years after making this blade. He was taught swordmaking by one Sukenaga who was actually from a corollary family to the mainline of Yokoyama smiths. Sukenaga also signed on his nakago that he was the 56th generation descended from Tomonari. Sukenaga’s brother, Sukemori, was adopted into the mainline school, as the 12th master and Sukekane, his natural son, became the 13th master.  read more

Code: 25542

A Delightful & Beautiful Early to Mid Edo Period 1598-1863 Samurai War Arrow. A Tagari-Ya Of Yadake Bamboo, With Sea Eagle Flights and Traditional Tamagahane Steel Head In Incredibly Rare Stunningly Beautiful Polish

It is most rare to find original, antique samurai war arrows {ya} that still have beautifully polished tamagahane steel blades, that they would all have had originally, that often show the traditional hamon, the same as a traditional samurai sword would have had.
Acquired by us by personally being permitted to select from the private collection one of the world's greatest, highly respected and renown archery, bow and arrow experts. Who had spent his life travelling the world to lecture on archery and to accumulate the finest arrows and bows he could find. .

With original traditional eagle feathers, probably the large edge-wing feathers of a Japanese sea eagle. The armour piercing arrow tip, that is swollen at the tip to have the extra piercing power to penetrate armour and helmets {kabuto}, is a brightly polished, traditional tamagahane steel hand made, by a sword smith, long arrow head, originally hand made with folding and tempering exactly as would be a samurai sword blade, possibly signed on the tang under the binding but we would never remove it to see. The Edo period early eagle feathers are now slightly worn. It is entirely indicative of the Japanese principle that as much time skill and effort be used to create a single 'fire and forget' arrow, as would be used to make a tanto or katana. A British or European blacksmith might once have made ten or twenty arrows a day, a Japanese craftsman might take a week to make a single arrow, that has a useable combat life of maybe two minutes, the same as a simplest British long bow arrow.

The Togari-Ya or pointed arrowheads look like a small Yari (spear) were pointed arrowheads were used only for war and are armour piercing arrows . Despite being somewhat of a weapon that was 'fire and forget' it was created regardless of cost and time, like no other arrow ever was outside of Japan. For example, to create the arrow head alone, in the very same traditional way today, using tamahagane steel, folding and forging, water quench tempering, then followed by polishing, it would likely cost way in excess of a thousand pounds, that is if you could find a Japanese master sword smith today who would make one for you. Then would would need hafting, binding, and feathering, by a completely separate artisan, and finally, using eagle feathers as flights, would be very likely impossible. This is a simple example of how incredible value finest samurai weaponry can be, items that can be acquired from us that would cost many times the price of our original antiques in order to recreate today. Kyu Jutsu is the art of Japanese archery.The beginning of archery in Japan is pre-historical. The first images picturing the distinct Japanese asymmetrical longbow are from the Yayoi period (c. 500 BC – 300 AD).
The changing of society and the military class (samurai) taking power at the end of the first millennium created a requirement for education in archery. This led to the birth of the first kyujutsu ryūha (style), the Henmi-ryū, founded by Henmi Kiyomitsu in the 12th century. The Takeda-ryū and the mounted archery school Ogasawara-ryū were later founded by his descendants. The need for archers grew dramatically during the Genpei War (1180–1185) and as a result the founder of the Ogasawara-ryū (Ogasawara Nagakiyo), began teaching yabusame (mounted archery) In the twelfth and thirteenth century a bow was the primary weapon of a warrior on the battlefield. Bow on the battlefield stopped dominating only after the appearance of firearm.The beginning of archery in Japan is pre-historical. The first images picturing the distinct Japanese asymmetrical longbow are from the Yayoi period (c. 500 BC – 300 AD).
The changing of society and the military class (samurai) taking power at the end of the first millennium created a requirement for education in archery. This led to the birth of the first kyujutsu ryūha (style), the Henmi-ryū, founded by Henmi Kiyomitsu in the 12th century. The Takeda-ryū and the mounted archery school Ogasawara-ryū were later founded by his descendants. The need for archers grew dramatically during the Genpei War (1180–1185) and as a result the founder of the Ogasawara-ryū (Ogasawara Nagakiyo), began teaching yabusame (mounted archery) Warriors practiced several types of archery, according to changes in weaponry and the role of the military in different periods. Mounted archery, also known as military archery, was the most prized of warrior skills and was practiced consistently by professional soldiers from the outset in Japan. Different procedures were followed that distinguished archery intended as warrior training from contests or religious practices in which form and formality were of primary importance. Civil archery entailed shooting from a standing position, and emphasis was placed upon form rather than meeting a target accurately. By far the most common type of archery in Japan, civil or civilian archery contests did not provide sufficient preparation for battle, and remained largely ceremonial. By contrast, military training entailed mounted maneuvers in which infantry troops with bow and arrow supported equestrian archers.

Mock battles were staged, sometimes as a show of force to dissuade enemy forces from attacking. While early medieval warfare often began with a formalized archery contest between commanders, deployment of firearms and the constant warfare of the 15th and 16th centuries ultimately led to the decline of archery in battle. In the Edo period archery was considered an art, and members of the warrior classes participated in archery contests that venerated this technique as the most favoured weapon of the samurai. In the gallery is from an Edo exhibition of archery that shows a tagari ya arrow pierced completely through, back and front, an armoured steel multi plate kabuto helmet. Another photo shows an unmounted arrow head with the considerable length of the tang that is concealed by the haft.

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

Code: 25591

A Superb Antique, Shinto Era, Unokubi (鵜首) Zukuri Blade Tantō, 17th Century. Edo Matsushiro Sinano School Sinchu and Silver Koshirae. Just Arrived From A Premium Grade Collection, Previously Acquired Over Decades

A beautiful little tanto with a fine Shinto blade of rare blade shape, in very clean polish, with just a very few minuscule age surface marks which is remarkable as it is around 400 years old. The tsuka {hilt} is very unusually bound in its original, Edo period, leather tsuka-ito in partial battle-wrap style over traditional white samegawa {giant rayskin}. The saya has stunning and intricately applied pine needle decor beneath clear lacquer and overall this early samurai dagger is incredibly appealing, and would make a fine start to a collection, or a great addition to an already existing one. The superb samurai swords that just arrived {including this one} are numbering around 25 fine pieces, from the Koto to Shinshinto period vary from tachi to katana, chisa katana, wakazashi and tanto And include, two, very fine signed ancestral bladed WW2 mounted officer's swords. One in such fine condition one could imagine it was just surrendered last week, by a Japanese colonel, not 80 years ago!

Unokubi (鵜首) is an uncommon tantō style akin to the kanmuri-otoshi, with a back that grows abruptly thinner around the middle of the blade; however, the unokubi zukuri regains its thickness just before the point. There is normally a short, wide groove {hi} extending to the midway point on the blade, this is a most unusual form of unokubi zukuri blade tanto without a hi.

The fuchigashira and sayagaki and jiri are all matching brass decorated with fulsome designs and silver striping. Fully matching suite of sinchu and contrasting silver line mounts to the tsuka and saya, all from the Edo period Matsushiro Sinano school.

The tanto was invented partway through the Heian period. With the beginning of the Kamakura period, tanto were forged to be more aesthetically pleasing, and hira and uchi-sori tanto becoming the most popular styles. Near the middle of the Kamakura period, more tant? artisans were seen, increasing the abundance of the weapon, and the kanmuri-otoshi style became prevalent in the cities of Kyoto and Yamato. Because of the style introduced by the tachi in the late Kamakura period, tanto began to be forged longer and wider. The introduction of the Hachiman faith became visible in the carvings in the hilts around this time. The hamon (line of temper) is similar to that of the tachi, except for the absence of choji-midare, which is nioi and utsuri. Gunomi-midare and suguha are found to have taken its place.

During the era of the Northern and Southern Courts, the tanto were forged to be up to forty centimetres as opposed to the normal one shaku (about thirty centimetres) length. The blades became thinner between the uri and the omote, and wider between the ha and mune. At this point in time, two styles of hamon were prevalent: the older style, which was subtle and artistic, and the newer, more popular style. With the beginning of the Muromachi period, constant fighting caused the greater production of blades. Blades that were custom-forged still were of exceptional quality. As the end of the period neared, the average blade narrowed and the curvature shallowed

Blade length 7 1/2 inches long tsuba to tip, overall in saya 12 3/4 inches

It will come complete, with our compliments, with a transparent display stand {not the antique one in the photos} a most decorative damask storage bag, a pair of white handling gloves and a white microfibre cleaning cloth.  read more

Code: 25975