Welcome to The Lanes Armoury, Britain's Truly Magical Place, Where Thousands of Original & Breathtaking Wonders Are For Sale And New Fantastic Original Treasures From The Past Are Added, Every, Single, Day, Since 1921

Our magnificent Nagamaki Japanese great sword, almost seven feet long, has just arrived for display, after an 80 hour blade conservation by hand in the workshop. We will be adding photographs today. 500 years old it is likely the only full length surviving example available anywhere in the world outside of Japan, and those within Japan are mostly in museums, and certainly not for sale.
The weapon became synonymous with the bodyguards of elite warlords, most notably Uesugi Kenshin, who employed a dedicated vanguard of nagamaki-wielding retainers. Nagao Kagetora (長尾 景虎; February 18, 1530 – April 19, 1578, later known as Uesugi Kenshin (上杉 謙信), was a Japanese daimyō (magnate). He was born in Nagao clan, and after adoption into the Uesugi clan, ruled Echigo Province in the Sengoku period of Japan. He was one of the most powerful daimyō of the Sengoku period. Known as the "Dragon of Echigo", while chiefly remembered for his prowess on the battlefield as a military genius and war hero.
Our behemoth of a sword may well have been created for such a daimyō guard.

Our beautiful pieces from history are not always just for looking at, some {such as the B3 Pilots Jacket} can still be enjoyed, and even worn, for every one to see.

Based in Brighton for generations the Lanes Armoury stems from a family of antiques dealers that was one if the leading antiques exporting companies in the world. Including, being pioneers of antiques shipments worldwide at the very beginning of containerisation exports that began in the 1960’s, after its invention by Malcolm McLean, in America, in 1956. Mark was the export director of the family company, and personally supervised the sale and export an average of over 3,000 of the finest antiques, every week for over 15 years.

The Lanes Armoury is incredibly fortunate that we occupy a position within the worldwide collectors market that we can, and do, every day, locate and pass on great and fantastic historical pieces, of great beauty and quality for just a small percentage of the cost that other antique stores, at the top of their area of interest, have to make available. In almost all the other top level areas of the sphere of collecting antiques, their offerings must often be in the hundreds of thousands, and even millions of pounds range. Colleagues in the profession we have personally known, that are similar leaders in their field, such as Renaissance bronzes and sculptures, and they can be up to 20 millions, fine art paintings, that can be millions or tens of millions, the finest French furniture that will be hundreds of thousands and even millions as well. In fact, we know of no other sphere of antique collecting, where the best available can be found so inexpensively, by comparison, to all other forms of antiques and art. Please view over the next 130 plus pages, detailing thousands of pieces of world class historical interest, and every single piece has brought, and will continue to bring, great joy for their owners, the new custodians of great artefacts of history.
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they classify us as
'Exceptional'

Recently acquired, added to our web store and also, due to be added;
A collection of arms, helmets and armour from one of the foremost authorities, and late author of two seminal works, on Japanese polearms and combat techniques in the world. Sadly, not a rich man, so he wasn’t able to amass a huge collection, but what he did acquire, over the past 60 plus years, was simply incredible and we were most privileged to acquire the ‘museum pieces’ that we did. Including the ‘Green Dragon’ polearm naganata, his polearm of legend, and, his ‘great sword’ nagamaki, full length and unaltered, and once mounted is almost seven feet long. Plus armour, helmets, sword blades and polearms. Including a very rare momoyama nanban cuirass body armour. Nanban gusoku (南蛮具足): an interesting case of cross cultural exchange in East Asia. Japanese Samurai of the 16th century adopted and modified European breastplate and helmets into their own armour system. A fine, complete, and original momoyama nanban suit of gosuko today can cost between £50,000 to £100,000

A 1st Edition 1st Printing of The Great Gatsby, Publisher, Charles Scribners Sons, New York, Publication Date 1925, with the important words uncorrected, ‘chatter’ and ‘Northern’. Etc.
‘Now Under Offer and Sold’

Some superb French Napoleonic weaponry from the Grande Armee. A sword of the commander of the Grenadier Guards in the Crimean War, A fabulous quality and very good Napoleonic Wars Brown Bess, an incredible pair of Zulu War knopkerrie clubs, one a fabulous rare chiefs war club, the other a telegraph wire bound impi warriors war club, NOW BOTH SOLD, and one of the best and beautiful regimental pattern Napoleonic Wars swords, for one of the great Scottish regiments that saw incredible action in the Peninsular war and Waterloo. Also, a stunning Martini Henry 450-577 rifle {with both optional bayonet patterns} NOW SOLD one of the first 1400 ever made. And, one of the rarest Royal Marines pattern swords, 1796, we have ever seen. Trafalgar battle damaged. NOW SOLD
We also have two amazing Japanese swords both Museum pieces, by high ranked smiths, Dewa Daijo Fujiwara Kunimichi circa 1615, and Hamabe Toshizane, 1814. Plus, another super Brown Bess, (that now just sold ), but, another has arrived just the other day. Also a remarkable WW1 German snipers bullet proof armour shield. Some jolly nice Imperial and Third Reich German swords. And a super very rare Victorian tchapka lance cap of the 17th Lancers, of The Charge of the Light Brigade fame. Plus, lots, lots more!

“When can their glory fade?
O the wild charge they made!”

These words were made famous by Alfred Lord Tennyson in his poem, ‘The Charge of the Light Brigade’, and refer to that fateful day on 25th October 1854 when around six hundred men led by Lord Cardigan rode into the unknown.

The charge against Russian forces was part of the Battle of Balaclava, a conflict making up a much larger series of events known as the Crimean War. The order for the cavalry charge proved catastrophic for the British cavalrymen: a disastrous mistake riddled with misinformation and miscommunication. The calamitous charge was to be remembered for both its bravery and tragedy.

Recently we also have some superb, British, Victorian swords from the Crimean War, for a new young officer serving in The Zulu War, and one beauty, regimentally marked to the 1st Battalion The Welsh Regiment, for an officer that served in combat Mahdist War (1888): The 1st Battalion was dispatched to Egypt in 1886, playing a key role in the Mahdist War at the Battle of Gemaizah (Suakin) in December 1888, where they were highly praised for their efficiency by their commander, Col.Kitchener.

Colonel Herbert Kitchener, {later to become known as the great Field Marshal Lord Kitchener} who wrote in his dispatches:

‘The half-Battalion of The Welsh Regiment are seasoned soldiers and whatever I asked of them to do they did well. They’re marksmen at Gemaizah Fort and the remainder of the half-Battalion on the left fired section volleys driving the Dervishes from their right position and inflicting severe punishment upon them when in the open. Significantly the Battalion did not lose a man”

Later, the 1st Battalion was dispatched to South Africa in November 1899 for the Second Boer War: it was engaged in Battle of Paardeberg in February 1900, where they suffered heavy losses, and again at the Battle of Driefontein in March 1900

Also, cannon balls from the English Civil War seige. One ball was recovered {in living memory} almost five feet beneath the surface mud. And an incredibly very rare and historical.

Also, see our latest incredible 'Royal' daggers from the 17th century Pattal-hatara (Four Workshops) of the King of Sri Lanka.

Occasionally, as we are Great Britain’s leading gallery of our kind, we have had had such knives, over the past 30 years, before, but nothing as fine as these museum grade examples, from the small collection we were thrilled to have acquired.

We have just also just added to the web store; a German colonels sword surrendered at the formal surrender of the German armed forces in May 1945 to Field Marshal Lord Montgomery, and a beautiful and magnificent samurai swords from the 1600's Tokugawa Shogunate period, one of the most fabulous samurai swords you might ever see. Plus, an Ancient Greek short sword or long dagger From The Greco-Persian Wars era, From the time of the Spartans at Thermopylae, to Alexander the Great's conquest of Persia & Egypt {now sold}

We Are Not Just A Webstore, We Are Always Welcoming Thousands Personal Visitors To View or Buy our Museum Pieces in Our Gallery In Brighton, Every Day* {but Sunday}. In the world of antiques and collectables especially with online only companies, we are one of the oldest established family dealers in the world, and although we now have a premier online presence, we will always have premises where one-to-one contact is always available. We cannot over emphasise how important it is to conduct business with people who clearly declare, who they are, and an address from where they trade. Those that do not confirm to that essential principle, are not, in our opinion, respecting the safety and security of their customers, first and foremost. If you cannot clearly see who you are consulting, and where, ask yourself, why can’t I..

Thousands of original, historic, ancient, antique and vintage collectables. For example; from Ancient Rome, China and Greece, to Medieval Japan, and Viking Europe. Covering British, European, and in fact, all worldwide eras of historical events from the past 4000 years, with antiquities, weaponry, armour, object d’art, militaria and fabulous books, from the Stone Age, the Bronze Age and the iron age, and right up to WW2.

Where else in the world could you find, under one roof, original artifacts, such as,; a mace and archer’s ring recovered from the site of Battle of Crecy, a sword of a British Admiral or notorious pirate fleet captain of the Golden Age of piracy of 17th century England, a battle mace, possibly once used by of one the personal guards in the service of the most famous Pharoah, Rameses the Great of Egypt, or, a museum quality 500 year old sword of a samurai clan Daimyo lord, and a pair of gold and enamel Art Deco 1920’s Magic Circle medals awarded to a friend of Harry Houdini. And all of the above, with many, many other Museum pieces, have been just been offered upon the site within the past couple of weeks.

Personalised and unique ‘Certificates of Authenticity’ can be supplied for every, single, purchase.

Our family have been personally serving the public in Brighton for several generations, in fact, for over 105 years.

* Opening hours Monday to Saturday 11.00am till 4.00pm, closed Sundays and Bank Holidays.


See in the gallery Will Young wearing one of our fabulous Victorian tunics, plus, James Marshall ‘Jimi’ Hendrix

And Tom pops in again to pick up a few trinkets the other day, and Liz and Richard pop down to visit us in October 1970  read more

Code: 24055

A Beautiful & Most Charming Aikuchi Tanto. Japanese Civil Wars Period Early, Koto Blade, Circa Late 14th Century, Delightful Takebori Matched Koshirae On The Theme of Japanese Plum {Ume} Blossom & Bamboo {Sho-Chiku-Bai}

The blade is in beautiful polish, six hundred plus years old, in delightful condition, with an uneven sanbonsugi hamon. Dark gold lacquer saya with light gold bamboo decor, mounted in patinated sinchu suite of mounts with applied takebori design of ume and blossom, a kozuka of a bamboo stem, and wraparound sayajiri and fuchi. the menuki are of coiled vine and leaves, and bamboo leaves, beneath ivory coloured tsuka-ito, over samegawa giant rayskin.

All the suite of later koshirae are wonderful quality, and the entire piece is thoroughly delightful, and with elegance that compliment its most ancient blade, from the Kamakura era.

Japanese Civil Wars of 1331–1392, In 1331, fighting broke out between the forces of Emperor Go-Daigo and those of the Kamakura shogunate. The shogunate sent Hōjō general Ashikaga Takauji to fight the emperor’s army. However, Ashikaga, seeing more potential power for himself as an ally of the emperor than as an ally of the shogun, switched sides and fought against the shogun. Many generals and samurai followed Ashikaga, and the Kamakura shogunate fell.

Go-Daigo regained power, but the Kemmu Restoration lasted only from 1334 to 1338. In 1336, Ashikaga named himself shogun, and in 1337, he revolted against Emperor Go-Daigo. That year, the emperor fled Kyoto and took his court to Yoshino, where he established a southern court. When leaving Kyoto, Go-Daigo took with him the traditional symbols of the Japanese imperial line, including the sword, the jewel, and the mirror. In 1338, Ashikaga located his government in Muromachi in Kyoto and placed a second emperor on the throne in Kyoto. Japan’s imperial powers were split between the northern emperor in Kyoto and the southern emperor in Yoshino.

For more than fifty years, the northern Japanese and southern Japanese empires waged war. The northern emperors hoped to regain the traditional symbols of the Japanese imperial line and, thus, establish themselves as the legitimate imperial house. Although the northern armies were generally stronger, the southern armies were able to invade Kyoto and destroy it regularly.

While the southern and northern emperors battled, the leading families of Japan were also engaged in fighting. Although the various sections of Japan had been relatively independent under the Hōjō, the Ashikaga shogunate centralized power in Japan and created a federation of states. Each state was ruled by a daimyo, who functioned as a military governor. The daimyo, who owned huge estates and were the patriarchs of Japan’s leading families, retained samurai, or hired warriors, for the constant battles with each other for land, power, and the possibility of controlling the shogunate.

In 1392, through the diplomacy of Ashikaga Yoshimitsu, the southern empire yielded to the northern empire, and Japan was reunited under the northern emperor Go-Kamatsu and his court.

However, the most important outcome of the Japanese Civil Wars of the fourteenth century was the determination that the Japanese imperial family would descend from the northern emperors, not the southern ones.

In Japanese art, bamboo designs symbolize strength, resilience, and purity. Because bamboo bends in fierce winds without breaking and stays green all year, it represents endurance and prosperity. Its hollow stalk also signifies humility and an open, clear mind.
Sho-chiku-bai {Bamboo} is frequently paired with pine (matsu) and plum (ume) to form the "Three Friends of Winter". This classic trio represents steadfastness, as all three thrive during the coldest months.
Bamboo is also one of the Four Noble Plants (alongside orchid, plum, and chrysanthemum) representing the four seasons and the moral qualities of a virtuous scholar.

It features heavily in kadomatsu (traditional bamboo and pine New Year decorations) placed by doorways to ward off evil and welcome good fortune.

The stunning koshirae are later Edo or Taisho, in super condition, and the beautiful ancient blade is in very nice order, with just a very small thumbprint mark near the habaki on one side, and slight wear at the kissaki.  read more

Code: 26241

A Very Good Victorian, 'Tower Of London' Issue, Coast Guard, Royal Naval Maritime Service Percussion Pistol, 1839 Pattern, With Captive Swivel Ramrod. Dated 1865 Lock

Coast Guard Pistol took the form that resembles the Pattern 1842 Lancer’s Pistol, which is a more commonly encountered British percussion military pistol from the same period.

Just returned from three days intensive hand cleaning and conservation.

The Pattern 1839 Royal Naval Coast Guard Pistol retained the same flat butt design of the previous Pattern 1831 Coast Guard pistol, but utilizes a slightly longer 6” pinned round barrel, with captive swivel ramrod. The lock is percussion using New Land Pattern Lock plates and internal components, and a percussion hammer.

The hammer has with a rounded percussion nose. The walnut stock is mounted with brass furniture, including the butt cap, trigger guard, ramrod pipe and side nail cup (lock screw escutcheon). The pistol has blued barrel, colour casehardened locks and hammers, with the swivel ramrods. Like the Pattern 1831, no belt hook was utilized, and a musket style sling swivel was mounted on the butt. These new Coast Guard Pistols were “set up” by the various contractors, the Tower Armoury and the Royal Small Arms Factory at Enfield.

The English Coastguard (now HM Coastguard) was formally established in 1822 to curb the rampant smuggling of contraband like tea and spirits. Staffed largely by former Royal Navy personnel, the force evolved during the century into a vital national life-saving organization and an official naval reserve. Origins and Anti-Smuggling (1822)


In the late 18th and early 19th centuries, high taxation led to a boom in violent and lucrative smuggling operations along the English coast. To combat this, the British government brought together various existing maritime enforcement bodies—including Riding Officers on patrol and the Preventive Water Guard—to form a unified Coast Guard of about 3,000 men.

Because these officers were stationed in remote spots, they were constantly rotated to prevent them from becoming too friendly or colluding with local smuggling communities. Strict rules were implemented; they were forbidden to engage in trade, own a pub, or possess private boats, and instead were financially incentivized by receiving "prize money" for capturing smugglers.

During the Victorian era, the Coast Guard was placed directly under the control of the Admiralty. Serving as a vital coastal defense force and a ready reserve for the Royal Navy, its primary responsibilities included preventing smuggling, monitoring the shoreline for shipwrecks, and operating life-saving rocket apparatuses.

Very good and tight working action, overall in nice condition and just light early surface pitting in small areas, and the fine walnut stock has some old useage cracks in the forestock under the barrel {see photographs in the gallery} all the brass work is in good condition. Pinned brass fore end cap  read more

Code: 26242

A Shinto Period, Circa 1650, Samurai Wakazashi, Of Extraordinary Beauty, Encompassing Numerous Contrasting Features. A Multitude Of Traditional Samurai Sword Koshirae Of The Finest Artistic Merit & Combined With A Magnificent Blade

A stunning colour combination of blue-green silk tsukaito hilt binding, with an amazing sea green ishime stone finish urushi lacquer saya. The hilt is mounted with a silver and gold handachi style kabuto-gane mount decorated throughout with a profuse hand-punched nanako ground, and a round, gold ito shitodome. Beneath the ito wrap are a pair of gold and shakudo cockerals {niwatori} a Bird of Virtue, above samegawa {giant rayskin}. The fuchi is of hammered takebori gold and silver prunus flowers and leaves on shakudo ground. The signed, round iron tsuba is Sukashi-bori (透かし彫り),

The iconic blade is an absolute wonder, its hamon, Ō-midare, is extraordinarily complex and incredibly beautiful. A statement piece worthy of any museum grade collection. One might conclude that the master smith who created this blade wished to emulate the style of hamon of the greatest sword maker of all history,
Gorō Nyūdō Masamune {五郎入道正宗}

Ō-midare translates to "large irregular." It is a dynamic, chaotic, and undulating tempering pattern featuring large, sweeping waves, peaks, and valleys.

While it first appeared in earlier Koto periods, it became a defining signature of the Soshu tradition. Pioneered by legendary masters like Masamune and Sadamune, this school is renowned for its aggressively tempered, complex, and beautiful blades.

No private collection can sadly boast a sword by the worlds most famous and arguably greatest samurai sword smith Masamune, but if one wanted to say this blade could be a representation of what one might look like, this is it
Later Soshu (Nanbokucho period onward): When referring to later Sagami or subsequent smiths influenced by the school (such as the Hasebe or later Sue-Soshu smiths), the Ō-midare became even more pronounced and varied.Hataraki: Later Soshu-style Ō-midare heavily features dynamic temper activities (hataraki) within the steel. You will often find vigorous crystals (nie), flowing lines of steel (sunagashi), and glowing golden streaks (kinsuji).
Unlike the straight, rigid Suguha hamon, the undulating valleys of an Ō-midare pattern act as multiple structural relief points, helping absorb impacts and reducing the odds of the sword breaking. It is somewhat reminiscent to us of the hamon on the missing national treasure, the Kokuhô Honjo Masamune sword, thankfully, its hamon is very well known, and was previously recorded by artistic representation at least four times.

The Honjo Masamune was passed down through generations of Japanese shoguns, symbolizing the power and prestige of its owners. It is believed to have been in the possession of Tokugawa Ieyasu, the founder of the Tokugawa shogunate.
The sword's whereabouts have been a subject of intrigue since the end of World War II. It was last seen in 1945 when it was surrendered to an American officer during the occupation of Japan. Its current location remains unknown. If found it would likely be valued in the many tens, or even hundreds of millions of pounds.

The surviving blades forged by the legendary 14th-century smith Goro Masamune are exclusively classified as National Treasures or Important Cultural Properties owned by museums, public institutions, or the Imperial Family.
Other verified Masamune blades are safely housed in public institutions, The Harry S. Truman Presidential Library and Museum (Independence, Missouri) Houses a Masamune blade gifted to President Harry S. Truman by General Walter Krueger following World War II. The Kyoto National Museum (Kyoto, Japan) Houses the "Shimazu Masamune," an authenticated masterpiece that was brought in for appraisal and confirmed by experts. The Tokyo National Museum (Ueno, Japan): Holds several designated National Treasures by the smith, including the famous "Kanze Masamune". The Victoria and Albert Museum (London, UK) Features a distinguished long sword with a gold-inlaid signature attributing it to Masamune

It has a very good Edo period Shinto era 'Nakago Form' Kodzuka utility biknife.
Iron body inlaid with copper kanji, with the signature kanji of a famous sword smith, and the Imperial chrysanthemum mon. Kodzuka have been collectable items for many centuries, simply as works of art, even though they were functional knife handles, for the utility blades that fitted into wakizashi, tanto and katana saya. They can vary in quality, and this is a most fine example, inlaid with pure copper. What is particularly scarce is that it is shaped like the tang of the sword, complete with simulated mekugi ana, and signed in much the same way. This type is rare and very collectable and represent very famous swords made by master swordsmiths in samurai history. It has a long thin blade that slotted into it's opening, and the blade was often considered to be almost of a disposable nature, with the handle itself being the prized part.

The tsuba is an o-sukashi form, and signed. It is a traditional Maru-gata (rounded/circular) shape. The main style is Sukashi-bori (透かし彫り), which is the Japanese art of openwork or negative-space stencilling. It incorporates both positive and negative elements to carve a pictorial scene out of the iron plate. The fluid, nature-inspired openwork, hammered rustic background texture, and prominent chiseled signature (mei) alongside the centre opening point toward the Shoami (正阿弥) or Kyo-Shoami tradition. Shoami craftsmen were famous for pioneering natural motifs—such as pine trees, branches, and vegetation—rendered in heavy, organic ironwork across the classic circular plate

Along with their practical purpose, sword guards served a symbolic function and were often decorated with a design that had particular meaning to the owner, reflecting their strength, personality and family background. As such the sword guard became an important status symbol to the samurai. The late 1400s through to the mid 1500s were marred by a period of warfare and many warriors, regularly facing death, found spiritual strength in Zen Buddhism. Religious script featured commonly in tsuba inscriptions, offering protection and spiritual guidance to the warrior.

As Japan entered the more peaceful Edo Period (1603-1868), tsuba became increasingly elaborate and decorative in design and function, and their manufacture became highly specialised and technically advanced. Different schools of makers developed their own styles, often influenced by the culture and environment of the region, and the role of the tsuba extended to become an elaborate piece of art. Subjects for decoration included Japanese mythology, history and nature. Since the 16th century, it was customary for the guard to feature the signature of the maker.

The gold and shakudo cockerel menuki may tell us more about a former samurai owner of this sword.
In Japanese culture, the cockerel (or rooster, niwatori) primarily represents courage, sacred divine intervention, and the triumph of light over darkness. As a sacred bird deeply rooted in Shinto mythology, its morning call is viewed as a herald of the sun.
According to the Kojiki (Japan's ancient chronicle), when the sun goddess Amaterasu hid in a cave and plunged the world into darkness, it was the loud crowing of roosters that helped lure her back out, restoring light to the world.
Because of their connection to the sun goddess, roosters are considered sacred animals. They are permitted to roam freely on the grounds of many Shinto shrines to ward off evil spirits and usher in good fortune.

Occupying the tenth position in the 12-year Japanese Zodiac (jūnishi), the rooster stands for order, precision, and diligence. In commerce, it is widely regarded as a symbol of financial luck and business prosperity. This is highlighted annually during November at Tori no Ichi (Festival of the Rooster) fairs held at Shinto shrines, where business owners purchase decorated bamboo rakes to figuratively "rake in" wealth and success for the upcoming year

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.

The wakizashi is a traditional Japanese short sword that served as a samurai's auxiliary weapon. Emerging in the 15th and 16th centuries, it evolved into a powerful symbol of status and honor, becoming the constant companion of the samurai class.
The wakizashi developed as an evolution of earlier short swords like the tanto (dagger). Its name translates to "sword thrust on the side," indicating its role as a secondary blade worn at the hip. During the Edo period, the Tokugawa shogunate required samurai to wear a pair of swords known as the daishō (meaning "big-little")—a katana and a wakizashi. This pair became the exclusive symbol of the warrior class.

Because the long katana was often required to be left at the door when entering, as a visitor or emissary, a castle or home, the wakizashi was allowed to be worn indoors as a symbol of trust, proffered to the visiting samurai. It served as vital self-defense and was highly effective in narrow, confined spaces.

Samurai famously used the wakizashi with the chisa-katana in dual-wielding styles, such as the Niten Ichi-ryū school pioneered by the legendary swordsman Miyamoto Musashi. In the chaos of the battlefield, it acted as a backup blade for close combat or finishing off a fallen foe.

The wakizashi also had a solemn role, frequently used to perform seppuku (ritual suicide) when a samurai needed to restore his honour.

The overall condition is superb with just a few near invisible minuscule age marks upon the blade surface.  read more

Code: 26243

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

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

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

Signed on the reverse side, Yasuchika 安親.

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

The Master Edo Period Koshirae Maker Yasuchika

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

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

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

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

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

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

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

Code: 26240

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

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

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


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

Samurai usually had to chop off their enemy’s head in order to prove to their daimyo or master that they actually killed the right person, not a woman or child.
Additionally collecting more heads meant getting more stipend and promotion.
However, after chopping the head, the samurai would always clean and put some light make up to the face to pay their respect to the dead person.
At the same time, every samurai also usually put incense within the inside their helmets knowing that they may get killed and their head's odour, due to the stress of battle, must not offend their killer.
In situations when the samurai did not have time to chop off the enemy’s head, they then used to cut off the upper lip (to distinguish if the head is male or female).
Tanto first began to appear in the Heian period, however these blades lacked artistic qualities and were purely weapons. In the Early Kamakura period high quality tanto with artistic qualities began to appear, and the famous Yoshimitsu (the greatest tanto maker in Japanese history) began his forging. Tanto production increased greatly around the Muromachi period and then dropped off in the Shinto period. Shinto period tanto are quite rare. Tanto were mostly carried by Samurai; commoners did not generally carry them. Women sometimes carried a small tanto called a kaiken in their obi for self defence.It was sometimes worn as the shoto in place of a wakizashi in a daisho, especially on the battlefield. Before the 16th century it was common for a Samurai to carry a tachi and a tanto as opposed to a katana and a wakizashi.

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

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

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

Code: 24340

A Captivating, Plantagenet, War Of The Roses Era Bronze Ring, Circa 1455, With A Central Engraved Yorkist or Lancastrian Rose Surrounded By Four Rose Leaves. Likely Worn By A Plantagenet, Aide, or Supporter.

The House of Plantagenet ruled England in some form or another from the reign of Henry II, beginning in 1154, until the House of Tudor came to power when Richard III fell at the Battle of Bosworth Field in 1485, and thus the fall of the house of the Plantagenets, and the start of the Tudor Age.

It goes back to the Angevin counts (from 1360, dukes) of the western French province of Anjou. Three dynasties belong to it: Angevins, House of Lancaster (Lancastrians) and House of York (Yorkists). Lancastrians and Yorkists fought against each other the Wars of the Roses to get the crown for their dynasty alone.

The name "Wars of the Roses" refers to the heraldic badges associated with the two rival branches of the royal House of Plantagenet fighting for control of the English throne; the White Rose of York and the Red Rose of Lancaster.

It culminated in the defeat of King Richard IIIrd at the Battle of Bosworth field in 1485, and the start of the Tudor Age, who combined the white rose and the red rose to create the Tudor Rose.

Embryonic forms of this term were used in 1727 by Bevil Higgons, who described the quarrel between the two roses and by David Hume in The History of England (1754–1761):

The people, divided in their affections, took different symbols of party: the partisans of the house of Lancaster chose the red rose as their mark of distinction; those of York were denominated from the white; and these civil wars were thus known over Europe by the name of the quarrel between the two roses

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 trading  read more

Code: 25801

A Fine, Original, Bronze Imperial Roman Legionary's Military Armilla, As Awarded for Military Gallantry. Almost 2000 Years Old Donum Militarium. Worn From The Period of Emperors Trajan, Hadrian Marcus Aurelius, Lucius Verus & Commodus

An armilla (plural armillae) was an armband awarded as a military decoration (donum militarium) to soldiers of ancient Rome for conspicuous gallantry. Legionary (citizen) soldiers and non-commissioned officers below the rank of centurion were eligible for this award, but non-citizen soldiers were not. Unlike legionaries, auxiliary common soldiers did not receive individual decorations, though auxiliary officers did. However, a whole auxiliary regiment could be honoured by a title as an equivalent award, which in this case would be armillata ("awarded bracelets"), or be granted Roman citizenship en masse as a reward. This entitled an auxiliary regiment to add the appellation civium Romanorum (Roman citizens) to its list of honours.

A very fine circa 100 AD. Imperial Roman Armilla, around 2000 years old in superb condition with natural verdigris patination. It is incised and punched in typical Roman military style. A fine bronze Armilla bracelet with rectangular section and tapering terminals with stylised Phalera type piercings repeated several times, and numerous, typical military engraved lined panels, with hammered dot decor, and open ended flattened pierced spatula terminals.

Armillae were either gold, silver or bronze. The status of the recipient appears to have determined whether he would be granted a gold armilla or the lesser silver. Bronze armillae were given as awards for distinguished conduct to soldiers of lesser rank, but were valued no less highly for the prestige they conferred upon their owners. Armillae were usually awarded in pairs and a soldier could win more than one pair. They were not for everyday wear, but generally only worn at military parades or on dress uniform occasions like a general's Triumph, though they could also be worn at certain civic events like religious ceremonies and the games.

Roman military honours were not awarded posthumously, but those won during a soldier's lifetime were often proudly shown on his sarcophagus or cenotaph. The armillae awarded to senior centurion Marcus Caelius of Legio XVIII, for example, are evident on his funerary monument, and three pairs of armillae can be seen on the memorial panel at Villa Vallelunga in Italy which depicts the awards granted to veteran C. Vibius Macer during his years of active service.4

Military armillae were modelled on those worn by the Celts. The tradition of using Celtic-style torcs and armillae as Roman military decorations had its beginnings in 361 BC when Titus Manlius Torquatus (consul 347 BC) slew a Gallic chieftain of impressive size in single combat. He then stripped the bloodstained torc from the corpse's neck and placed it around his own as a trophy.5 The Romans were initially daunted by the fearsome appearance of the Gauls, whose elite warriors were "richly adorned with gold necklaces and armbands".6 The torc was the Celtic symbol of authority and prestige. By his action, Torquatus in effect took the vanquished chieftain's power for his own, and created a potent, visible token of Roman domination. As such, over time the torc and also the armilla were adopted as official awards for valour, taking on the role of symbolic war trophies.

Armillae were made in a substantial masculine style and produced in a variety of designs: a solid, hinged cuff, sometimes inscribed with legionary emblems or decorated with incised patterns; an open-ended spiral; a chunky, rounded bracelet with open or overlapping ends; or a torc in miniature. Armillae which were open-ended or had overlapping ends often featured knobs or snake-heads as terminal

Armillae were a type of wrist adornments in ancient Rome. Depending on the design, they could be worn on the wrists, upper arms, or together with phalerae on the chests of centurions.

The earliest and first Ancient Roman Emperors were the Claudian emperors, that were;
Augustus, Gaius Julius Caesar Augustus (born Gaius Octavius; 23 September 63 BC – 19 August AD 14), was also known as Octavian, and was the founder of the Roman Empire. He reigned as the first Roman emperor from 27 BC until his death in AD 14. The reign of Augustus initiated an imperial cult, as well as an era of imperial peace (the Pax Romana or Pax Augusta) in which the Roman world was largely free of armed conflict. The Principate system of government was established during his reign and lasted until the Crisis of the Third Century.

Tiberius Julius Caesar Augustus 16 November 42 BC – 16 March AD 37, was Roman emperor from AD 14 until 37. He succeeded his stepfather Augustus, the first Roman emperor. Tiberius was born in Rome in 42 BC to Roman politician Tiberius Claudius Nero and his wife, Livia Drusilla. In 38 BC, Tiberius's mother divorced his father and married Augustus. Following the untimely deaths of Augustus's two grandsons and adopted heirs, Gaius and Lucius Caesar, Tiberius was designated Augustus's successor. Prior to this, Tiberius had proved himself an able diplomat, and one of the most successful Roman generals: his conquests of Pannonia, Dalmatia, Raetia, and (temporarily) parts of Germania laid the foundations for the empire's northern frontier.

Caligula, Gaius Caesar Augustus Germanicus was Roman emperor from AD 37 until his assassination in AD 41. He was the son of the Roman general Germanicus and Augustus' granddaughter Agrippina the Elder, members of the first ruling family of the Roman Empire. He was born two years before Tiberius was made emperor. Gaius accompanied his father, mother and siblings on campaign in Germania, at little more than four or five years old. He had been named after Gaius Julius Caesar, but his father's soldiers affectionately nicknamed him "Caligula" ('little boot')
Caligula's sister, Agrippina the Younger, wrote an autobiography that included a detailed account of Caligula's reign, but it too is lost. Agrippina was banished by Caligula for her connection to Marcus Lepidus, who conspired against him. Caligula also seized the inheritance of Agrippina's son, the future emperor Nero. Gaetulicus flattered Caligula in writings now lost. Suetonius wrote his biography of Caligula 80 years after his assassination, and Cassius Dio over 180 years after; the latter offers a loose chronology. Josephus gives a detailed account of Caligula's assassination and its aftermath, published around 93 AD, but it is thought to draw upon a "richly embroidered and historically imaginative" anonymous biography of Herod Agrippa, presented as a Jewish "national hero".286 Pliny the Elder's Natural History has a few brief references to Caligula, possibly based these on the accounts by his friend Suetonius, or an unnamed, shared source. Of the few surviving sources on Caligula, none paints Caligula in a favourable light. Little has survived on the first two years of his reign, and only limited details on later significant events, such as the annexation of Mauretania, Caligula's military actions in Britannia, and the basis of his feud with the Senate

Claudius, Tiberius Claudius Caesar Augustus Germanicus 1 August 10 BC – 13 October AD 54) was a Roman emperor, ruling from AD 41 to 54. A member of the Julio-Claudian dynasty, Claudius was born to Drusus and Antonia Minor at Lugdunum in Roman Gaul, where his father was stationed as a military legate. He was the first Roman emperor to be born outside Italy.

Nero Claudius Caesar Augustus Germanicus 15 December AD 37 – 9 June AD 68) was a Roman emperor and the final emperor of the Julio-Claudian dynasty, reigning from AD 54 until his death in AD 68.
Nero was born at Antium in AD 37, the son of Gnaeus Domitius Ahenobarbus and Agrippina the Younger (great-granddaughter of the emperor Augustus). Nero was three when his father died.1 By the time Nero turned eleven,2 his mother married Emperor Claudius, who then adopted Nero as his heir. Upon Claudius' death in AD 54, Nero ascended to the throne with the backing of the Praetorian Guard and the Senate. In the early years of his reign, Nero was advised and guided by his mother Agrippina, his tutor Seneca the Younger, and his praetorian prefect Sextus Afranius Burrus, but sought to rule independently and rid himself of restraining influences. The power struggle between Nero and his mother reached its climax when he orchestrated her murder. Roman sources also implicate Nero in the deaths of both his wife Claudia Octavia – supposedly so he could marry Poppaea Sabina – and his stepbrother Britannicus.

Once the Claudian dynasty ended it was followed, most notably, by some of the most famous, historically, Roman emperors.
The era from whence this armilla was likely awarded and worn by a decorated legionary.

The Emperors;
Trajan (98–117 CE)
Hadrian (117–138 CE)
Antoninus Pius (138–161 CE)
Marcus Aurelius (161–180 CE)
Lucius Verus (161–169 CE)
Commodus (177–192 CE)
Publius Helvius Pertinax (January–March 193 CE)
Marcus Didius Severus Julianus (March–June 193 CE)
Septimius Severus (193–211 CE)

In very sound and excellent condition for its great age, but we cannot recommend any attempt to expand it fully open to fit a large wrist as it was once originally worn. 52mm, approx.17 grms  read more

Code: 25467

A Superb & Stunningly Beautiful Ancient Roman, Solid Silver, Serpent Head Armilla. Likely of a Centurion, Equites or Patrician. Around 1900 to 1800 Years Old. Worn From The Period of Emperors Trajan, Hadrian, Marcus Aurelius, Lucius Verus, & Commodus

An amazing survivor from the time of some of the most famous and renowned of all the ancient Roman Emperors;
Trajan (98–117 CE)
Hadrian (117–138 CE)
Antoninus Pius (138–161 CE)
Marcus Aurelius (161–180 CE)
Lucius Verus (161–169 CE)
Commodus (177–192 CE)
Publius Helvius Pertinax (January–March 193 CE)
Marcus Didius Severus Julianus (March–June 193 CE)
Septimius Severus (193–211 CE)

Being of silver it was the prerogative and use of only the higher ranking Roman as a sign of status. Silver and gold were limited for the use and adornment of only the superior status grade of ancient Roman, be they military or civilian. Made and used by a mid to high ranking military citizen such as centurion or equites, or of the governing citizen class known as patricians.

Patricians were considered the upper class in early Roman society. They controlled the best land and made up the majority of the Roman senate. It was rare—if not impossible—for a plebeian to be a senator until 444 BC. In appearance, they were chiefly distinguished from the plebs by their dyed and ornamented shoes (calceus patricius). A common type of social relation in ancient Rome was the clientela system that involved a patron and client(s) that performed services for one another and who were engaged in strong business-like relationships. Patricians were most often the patrons, and they would often have multiple plebeian clients. Patrons provided many services to their clients in exchange for a promise of support if the patron went to war. This patronage system was one of the class relations that most tightly bound Roman society together, while also protecting patrician social privileges. Clientela continued into the late Roman society, spanning almost the entirety of the existence of ancient Rome. Patricians also exclusively controlled the office of the censor, which controlled the census, appointed senators, and oversaw other aspects of social and political life. Through the censors, patricians were able to maintain their status over the plebeians.

Through the military ranks centurions were divided into grades. First Spear (primus pilus): The primus pilus was the commanding centurion of the first century of the first cohort and the most senior centurion of a legion. The primus pilus could be promoted to praefectus castrorum. On retirement, he would most likely gain entry into the equestrian class.primi ordines: They were the five centurions of the first cohort and included the primus pilus. They outranked all centurions from other cohorts. pilus prior: A centurion in command of the first century of a cohort, making him the senior centurion of the cohort. During a battle, the pilus prior was in command of his cohort. They would have been veteran centurions, who had been promoted through the cohorts.
Pilus posterior: The second centurion in a cohort.

Princeps prior: The third centurion in a cohort.

Princeps posterior: The fourth centurion in a cohort.

Hastatus prior: The fifth centurion in a cohort.

Hastatus posterior: The sixth centurion in a cohort.

Jewellery in the Roman Republic
The core ideologies of the Roman Republic, centred around moderation and restraint, meant that elaborate jewellery was relatively unpopular until the transformation to imperial rule. The law of the Twelve Tables in the 5th century BC, limited the amount of gold which might have been buried with the dead. The Lex Oppia, 3rd century BC, fixed at half of an ounce the amount of gold which a Roman lady might have worn. During the Roman Empire, however, jewellery became a public display of wealth and power for the elite.
Rings of the higher ranks were often embellished with intaglios, cameos and precious gemstones. Mythology and Roman history were used as a repertoire of decorative themes. Roman rings featuring carved gemstones, such as carnelian, garnet or chalcedony, were often engraved with the depiction of deities, allegories and zoomorphic creatures. Snake-inspired jewels held many amuletic connotations. In particular, snakes were associated with the healing snake of Asclepius, the Roman god of medicine and science.

54mm wide, approx 13 grms

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  read more

Code: 25473

A Rarely Seen, WW2 Era Japanese Officer's Tanto, Showa Period, with Armour Piercing Powerful Blade Of Much Heft And Of Very Beautiful Appearance. Stunning Patinated Copper Koshirae

Patinated copper koshirae with black urushi lacquer saya, inlaid with matching copper fittings. Original cherry blossom Showa menuki under black tsukaito over traditionaL samegawa giant rayskin. The black lacquer is completely imperfection free.

During the war it probably would have been covered in a full, leather, field service military cover, as it has no kurikata. Very likely made for the Japanese officer from his battle damaged shingunto katana. The blade thus shortened and mounted as a tanto for continued service.

We show a photo in the gallery of how it would have been carried for war service in a traditional, protective, combat service tan leather military cover. We do not know what became of this tanto's leather protective cover .

Over the past 50 years we have seen several such tanto or wakazashi, made in the same way, in the same circumstances, for the same purpose.

Overall this tanto is very clean indeed and all its fittings are in super condition due to its former, protective service combat covering.

Weight 1.2 pounds, blade length 9.5 inches, overal length in saya 14.25 inches.  read more

Code: 26237