The Lanes Armoury Welcomes Thousands Upon Thousands of Personal Visitors To The Store In Brighton Every Day {But Not Sundays} . Fabulous Pre-Historic, Archaic, Ancient, Antique, & Vintage Treasures, Artifacts, & Collectables Are Added Every Single Day

We are told, most generously, every single day, when the gallery-shop is open, by literally dozens of our thousands of visitors, that we are their favourite shop in the whole of the U.K. Many, when they are returning to England for another visit, tell us they make a point to make another visit to us every single time as part of their UK travels. Just the other week one of our regular visitors from China diverted his journey from Beijing to Paris, to go via London Gatwick Airport, in order to just to visit us for a couple of hours, and then return to Paris. This very week lots more incredible treasures arrived including an 18 item German badge and buckle collection of a WW2 combat bomb disposal officer. A section of the special engineering units {Fleming’s so called ‘Red Indians} in wartime Europe were a vital part of clandestine warfare, and all parts of the units combat service were then trained in recognising enemy mines, booby traps, handling of explosives, demolitions, counter-demolitions, bomb disposal, and combined with recognition of enemy uniforms and equipment for intelligence gathering. Reporting all elements of their findings back to CoCO, and by them to the Admiralty. Fleming referred to such brave men as his ‘Red Indians’. see Casino Royale for reference. Plus 3 fabulous pistols, A Polish WW2 pistol Third Reich period, A Punjab Irregular Horse pistol, and a stunning Crimean War cavalry officer’s pistol. And a wonderful samurai horse riders armour, early Edo period, of the Matsunaga clan plus, dozens of Museum Grade original antique collectibles such as cased pistols, samurai tantos, etc.

The story so far of the Hawkins Brothers and "The Lanes Armoury" written by Francis Taylor;

Sadly it is likely the last, true, original 'armoury' shop left in the whole of Britain. Defining the original term of an historical 'Armoury' as a building containing all forms of militaria, arms and armour, from all of the eras of mankind from the stone age culture, to all the civilizations of antiquity, both pre-history, and historic, on into the medieval, the post medieval and later, to WW1 and WW2. Effectively covering from 300,000 years b.c. until WW2. Not including their fossils of course that can be up to 100 million years old.

They were described as one of the most highly recommended visitors attractions in the whole of the UK by the New York Times. It is also regularly featured by many other world wide publications. Hundreds of thousands of tourists and regular visitors come to see them every single year, including, in the 1970's such erstwhile luminaries as President Ronald Reagan, Elizabeth Taylor and Richard Burton. They evolved their company from one of the oldest established family businesses in Sussex, spanning over 100 years, with a client base that includes museums, heads of state, presidents, princes and kings. But whether you are a movie star, a head of state or a student, all will be treated with the same courtesy and respect. Every sale is important to them, albeit a £5 badge a £5,000 rare book, or a suit of armour for £50,000.
Every day they are told that to some, this is their favourite shop in the world, with some foreign visitors returning year in year out for 40 years or even more, so they truly believe they have a great responsibility to their customers, their reputation, and to the amazing city of Brighton.
Their oldest customer has incredibly been a regular buyer, for an amazing, near 70 years.

To view just a flavour of the visual history one can view here, and their modus operandi during the past century of their business and store, please click the group photos to the left, and see just small aspects of their gallery, in photos taken recently, and from the distant past.
One is a photograph from the outside of their shop taken around 1920, another one from more recently, and another, of their 1920's vintage horse drawn pantechnichon that was still in use for local deliveries until 1969 and another photo one of their 'more modern' pantechnichons in the 1970's. The partners, Mark and David also regularly appear on the BBC and numerous UK TV channels, consulting on historical documentaries, and on various antique 'discovery' programs, and act as consultant appraisers and for notable private individuals and public companies. During Mark's 54 years personally trading in The Lanes, and David's 44 years {that's around 98 years combined} both within the family businesses, it is estimated they have had pass through their hands, and appraised, possibly more items than any other living dealers in the country, and their breadth of knowledge and experience is simply astonishing. While in his capacity as export director of the old family company, Mark was personally responsible for the sale and export of over 2,000 individual antique items every single week for nearly ten years. Shipping their treasures within a fleet of trucks and 40 foot container lorries, to the four corners of globe. If you can get Mark to describe some of his past professional trades, you will certainly be amazed. Just one part of his trade, back in the 1970’s was the selling and shipping of vintage classic cars to the States. Dozens of 20 foot containers were sent, containing either a vintage Rolls Royce, Bentley, Lagonda, Alvis, Aston Martin, and their like, with the interiors packed full of antique porcelains and silver and antique furniture stacked on top {in order to utilise every valuable space possible}. Mark’s first personal car was a BRG 1932 Aston Martin Le Mans. Originally raced by Sir Sydney Caffyn as an amateur {who was a friend of Mark’s father David senior}, which Mark bought from Sir Sydney’s brother, some while after Sir Sydney had died, for which he paid the princely sum of £325 in around 1971. He sold it to an Italian-American Las Vegas casino owner for £800 three years later, The last known example he knew of, the Aston Martin 1932 Le Mans LM8, and that he tried to buy {unsuccessfully I might add}, sold recently for €905,000 at Sothebys {somewhat in excess of Mark’s budget}. How times {and prices} have changed!

Of course, these days, after selling their wholesale antique export shipping companies, that were some of the largest of their kind in Europe, for the past 35 years the brothers have concentrated their devotion to being England's leading specialist antique arms and militaria dealers, focusing their core business from general antiques and fine art, to the finest, ancient, antique or vintage samurai weaponry, armour, and worldwide swords, firearms and militaria and historical books, covering the past three millennia. It is now said they are the largest samurai weapon dealers in the western world, and this website is the largest of it's type in the world, including over 17,000 full colour photographs of some of their items for sale.
A recent article, written about their business on 'City News Live' is copied here below, as published;**
"With so many different histories to offer, you can feel freer in Brighton than in most British cities to select trips which coincide with your interests and of course, you're much more likely to find in Brighton things to do which bring the history you love to life. For the lover of militaria, a visit to The Lanes Armoury is a must with a difference. The Armoury's housed in a three-storey 16th century building and is a real treasure trove, it's a museum which is not a museum as everything is for sale. It has been nominated and then short-listed for the British Antique & Collectors Awards as the best Antique Shop in Great Britain and is the latest incarnation of a much older business David Hawkins Brighton Ltd which was one of the earliest and largest dealers in Antiques and Collectibles within the whole of Europe in the last century."

It's their current specialisation in worldwide Arms, Armour, Militaria, and Books, which really marks them out and creates such a fascinating and fantastic place to visit. From antiquities from all the past ancient empires, including bronze-age swords, axes, helmets and daggers, to Roman Viking and medeavil weaponry, to suits of samurai and European armour, muskets, revolvers, duelling pistols, American civil war swords, right through to medals and World War II militaria, it's all there to be viewed and drooled over. For example they had in stock a signed 1st Edition book that once personally belonged to Winston Churchill detailing a story of combat in the American Revolutionary War. It was presented to him during WW2 and signed by it's author, Robert Graves, one of England's greatest WW1 poets and novelists. It was declared by Churchill, in a personal letter to Robert Graves thanking him for the gift, that it was one of only 6 or 7 novels that he had read during his premiership in the war, and subsequently this very book was used by him to advise the creation and modus operandi of the new British Commandos. Also the last time I visited I was shown their first edition The Great Gatsby, an absolute gem of a rarity, that must be valued at many tens of thousands of pounds. It's not a museum, but when you leave, you've had the same experience! I can honestly say the experience of a visit to the armoury, although not a vast premises by any means, is utterly memorable, and every single person that passed through their doors while I was there was either astonished, amazed, or both!

Francis Taylor

“With the passing of the generations that came before, all that is left, after the memories dim and fade away, is what that is physically left behind. To seek such manifestations of past generations, and preserve them for the future, is vital for all those generations yet to come”

Mark Hawkins  read more

Code: 19615

Incredibly Important WW2 War Souvenir, A Most Fine And Scarce Polish Third Reich Occupation Semi Auto Pistol, 9mm Radom vis 35. AKA The German WW2 Classified ‘P35’. In Superb Condition With Almost All Fine Blue & Waffen Amt Stamps

Deactivated to UK specification, complete with certificate, fully functional cocking, firing, etc..
Excellent plus condition, with numerous Third Reich Nazi inspection waffen amt stamps and excellent production low three figure serial number, with letter prefix. In our opinion, likely the very best condition historical example available on the worldwide deact market today.
A ‘Grade I’ RADOM VIS Mod. 35 Pat. Nr. 15567 "P.35(p)". There were several grades of quality, and finish, this one is the early premier grade, with the designation “P35” stamp which wasn’t on other grades.
Technical term for 1st Grade was; Finish:Hochglanz-Finish; brüniert { Deluxe gloss blue-finish, polished}
Griffschalen:schwarze Bakelitgriffschalen mit Fischhaut. With black Bakelite monogrammed grips, with VIS, & FB, later were brown or chequered wood.

The pistol was highly valued by the Germans, and most were issued it to German paratroopers, {the Falschirmjager} and the Waffen SS Polizei military police and Feldengendarmerie division.

Arising from the ashes of the old Austro-Hungarian, German, and Russian Empires in 1918 – countries that had wiped Poland off the map in 1795 – modern Poland was born immediately into war, having to fight the Bolshevik Reds to the east and remnant German Freikorps to the west well into 1921. With its military armed via a curious mix of surplus weapons – including Mauser, Mosin, and Steyr rifles for instance – and its larger neighbors only growing stronger, the Poles sought to form a domestic arms concern, Panstwowa Wytwornia Broni (PWB = roughly, State Weapons Plant) in 1922.

Originally designed as a Polish officer’s sidearm, the Vis pistol was manufactured from 1936 in Fabryka Broni (Weapons Factory), hence the initials “FB” on the left grip, located in the city of Radom. After the invasion of Poland by the Third Reich within four days of the occupation of Poland they took control of the Radom arms factory.

The manufacturing process at the German occupied Radom factory was just one of the three stages in the pistol’s production. As before the war, some small parts, including the rear sight, extractor, grip safety, decocking lever and magazine, were made at Fabryka Karabinów (Rifle Factory) in Warsaw and then shipped to Radom. At the Radom factory, slides and frames were made, and the pistols were fitted together. Knowing that the bulk of the work would have to be performed by local Polish workers, whom they did not trust, the Germans moved the barrel production and final acceptance to the parent Steyr factory in Austria.

If this move was to prevent the pistols from getting into the hands of the Polish resistance, it failed. The Polish resistance, historically respected as one of the best and effective resistance groups of the war in Europe and the East, quickly established a network among the employees that began smuggling pistols out of the factory. The initial supply of barrels for the underground came from parts pilfered by patriotic workers before the Germans established security in the conquered plant in 1939. When these ran out, an underground shop was established in Warsaw for the purpose of making the barrels. As one resistance report states, there were 200 barrels produced in a six-month period between 1943 and 1944, which gives an idea about the rate at which the pistols were smuggled. One participant describes in detail how the smuggling operation worked: “When we were directed by factory management to go on a supply run ... to fetch steel, oxygen, or other materials, my partner would meander around the truck, getting it ready for the road, and I would go to the steel warehouse to see my friend ... . The friend had a job at the warehouse, while other resistance members who worked at the weapon assembly division would bring the Vis pistols to the warehouse and conceal them on the shelves where the steel was. I would go up to the shelves and stuff two, three, and sometimes even four pistols under my waist, then head for the car garage and conceal them in the truck cab. I would put them under the seat, under the gas tank, or inside the spare wheel compartment by attaching them to the tire with chicken wire. Then we’d get on the road. At the gate, the security guard would check the truck bed and look around, but the pistols were always well concealed.”
For a time, the Germans were completely unaware of the smuggling operation, until one day in September 1942, when a six-person commando of resistance fighters was traveling by rail to execute a Nazi collaborator. The commando was armed with the smuggled Vis pistols. Once on the train, they were surrounded by the Gestapo, and a shootout followed. Four of the fighters escaped, killing one of the Gestapo guards and wounding two more, but one fighter was killed, and worse, another captured.

During the shootout, two cloned Radom pistols fell into German hands, one with its serial number removed and one with the number still intact. The removal procedure was not performed adequately either, and the forensic experts in Berlin were able to reveal the number on the first pistol anyway. Both were traced to police units in occupied Poland, which still had them. The Vis production line was closed at the Radom factory, and additional parts with duplicate serial numbers were revealed. As a result of the usually brutal investigation that followed, in October 1942, 50 people were hanged in a series of public executions—some at the train station where the shootout happened, and some at the factory grounds where the pistols were made. The discovered breach also had an immediate effect on production procedures. Beginning with the “J” alphabet prefix series, the frame and slide received two additional control stamps, which presumably made it more difficult to counterfeit.

It is well known occupied Eastern Europe had some of the bravest anti-Nazi citizens amongst its population ever recorded during the war, and without doubt suffered the most under the viscious and harshest of German occupation regimes. And in many respects it tragically continued after the wars end in 1945. Britain, being joined by France just two days after the invasion declaring war against the Reich, spent the whole of the war, following the declaration, supporting the resistance by supplying arms and supplies and vital intelligence as best as it could, and completely alone for around two years, after France’s fall, and America not joining the war till late 1941. Tragically, after six years of help, once Stalin took over the occupation of Poland after Germany withdrew, we were in no position to assist Poland any longer, especially alone. And the rest is history.

Not suitable to export. Small slice of the bakelite moulded outer grip plate lacking from underneath below the screw.  read more

Code: 25718

A 19th Century Indian Raj Period Percussion Cavalry Horse Pistol, With Damascus Twist Steel Barrel, Thus Likely For An Officer, Such as, a Risaldar/Subedar, or Risaldar Major of The Punjab Irregular Cavalry

Good walnut stock, Damascus twist barrel, percussion action lock, with government Victorian crown stamp, iron mounts including trigger guard and butt cap with lanyard ring.

Pistols of this form were mounted in pairs, each within a single saddle holster, in leg o’mutton form, fixed and hanging either side of the saddle’s pommel. These holsters were known as *saddle buckets, long before the term saddle holster was used to describe leather receptacles to carry pistols when on horseback.{see picture 10 in the gallery}.

Subedar/Risaldar or subadar was the second-highest rank of Indian officer in the military forces of British India, ranking below "British Commissioned Officers" and above "Local Non-Commissioned Officers". Indian officers were promoted to this rank on the basis of both lengths of service and individual merit.

Under British rule, a Risaldar was the cavalry equivalent of a Subedar. A Subedar / Risaldar was ranked senior to a Jemadar and junior to a Subedar Major / Risaldar Major in an infantry / cavalry regiment of the Indian Army. Both Subedars and Risaldars wore two stars as rank insignia.

In photo 8 in the gallery one can see regimental officers, subedars and subedar majors of the British Indian Army Cavalry. Note the magnificence of their stunning uniforms, a mixture of Sikh and British traditional uniform dress of the time.

After the First Sikh War of 1845-46 the fighting qualities of the Sikhs impressed the British so much that in 1846 the first two regiments of Sikh infantry were raised at Ferozepore and Ludhiana. In the same year a frontier brigade was raised to police the frontier comprising the Corps of Guides and four more infantry regiments of Sikhs.
After the Second Sikh War of 1848-49 the Punjab was annexed, bringing the British into contact with the Pathan tribes of the North-West Frontier. This led to the formation of what later became the Punjab Frontier Force, comprising the Frontier Brigade raised in 1846, five regiments of Punjab Irregular cavalry and 6 regiments of Punjab irregular infantry. From 1851 to 1865 the regiments were titled Punjab Irregular Force abbreviated to PIF so that they were nick-named Piffers, a word that continued in use up to 1947.

Each regiment had 4 squadrons, and so that the the religious/ethnic groups were clearly defined, each squadron, or half-squadron, consisted of one type only. The types found in the 5 regiments were Sikhs, Dogras, Hindustani Mulims, Hindustani Hindus, Punjabi Muslims and Pathans.

*See the last picture in the gallery that shows how saddle pistol buckets were mounted upon cavalry saddles.

Just one of the greatly respected Risaldar-Majors of the time was the great Sirdar Bahadur Risaldar-Major Mani Singh who was born in Gujranwala in the Punjab. He was the first and most famous Indian officer who served in Hodson's Horse, an irregular cavalry regiment of the British Indian army formed during the Indian Rebellion of 1857-8. During the First Sikh War of 1845-6, Mani Singh was a cavalry officer in the Sikh army fighting the British. In 1852 he enlisted as a mounted policeman in Neville Chamberlain's Punjab Police. In 1857 he was asked to raise recruits to form Hodson's Horse. He served with the British throughout the Siege of Delhi, a key event of the Indian Rebellion in which Indian troops rose up against British colonial rule. During the Battle of Nawabganj he was badly wounded having shown great bravery in action. He was awarded many of the highest decorations, including the Order of Merit 1st class, and the Order of British India 1st class. He retired from military serivce in 1877, and was subsequently made manager of the Darbar Sahib (Golden Temple) at Amritsar. His watercolour portrait, by Sydney Prior Hall, autographed in Urdu, was acquired by HRH Albert Edward, Prince of Wales, {later King Edward VIIth, It was one of the King's prized pieces and resides within the Royal Collection.

Small old re-stock for-end repair, very strong mainspring.  read more

Code: 25100

A Fabulous Quality Crimean War Cavalry Officer's Pistol of Carbine Bore, Damascus Barrel with Paget Style Captive Ramrod. Near Identical to the Pistol of Colonel John Yorke, 1st Royal Regt of Dragoons,.

Part of superb Crimean War period collectables we have just acquired. Beautifully scroll engraved lock and mounts, in superb condition for age, with Damascus twist barrel with hook breech and barrel slide, 'Paget' captive ramrod, juglans regia walnut stock with micro chequering and silver escutcheon. Sliding safety to lock. Dolphin percussion hammer. Excellent tight and crisp action.
Photo in the gallery of a near identical pistol, also of carbine bore, showing all the same features as this pistol, such as sliding safety, hook breech Damascus barrel retained with barrel slides, fine walnut stock with micro chequring and paget swivel ramrod. The pistol of Colonel John Yorke, 1st Royal Regt of Dragoons, wounded at Balaklava, supporting the Light Brigade in the Valley of Death. The pistol in the household Cavalry Museum.

This cavalry officer's pistol is absolutely typical of the type carried by some officer's that took part in the charge, and may very well have been used by one.

The Charge of the Light Brigade {Aka, Into the Valley of Death} was a world famous military action undertaken by British light cavalry against Russian forces during the Battle of Balaclava in the Crimean War, resulting in many casualties to the cavalry. On 25 October 1854, the Light Brigade, led by Lord Cardigan, mounted a frontal assault against a Russian artillery battery which was well prepared with excellent fields of defensive fire. The charge was the result of a misunderstood order from the commander in chief, Lord Raglan, who had intended the Light Brigade to attack a different objective for which light cavalry was better suited, to prevent the Russians from removing captured guns from overrun Turkish positions. The Light Brigade made its charge under withering direct fire and reached its target, scattered some of the gunners but was forced to retreat immediately.

The events were the subject of Alfred, Lord Tennyson's narrative poem "The Charge of the Light Brigade" (1854), published six weeks after the event. Its lines emphasise the valour of the cavalry in carrying out their orders regardless of the risk. Responsibility for the miscommunication has remained controversial, as the order was vague and Captain Louis Nolan, who delivered the written orders with some verbal interpretation, was killed in the first minute of the assault.

Out of interest, around 30 years ago we owned the very foul weather sabretache of Captain Nolan that he used, and carried, that very order to charge the Russian guns into the Valley of Death. The sabretache, was the one upon which he fell, when he perished when fatally wounded within sixty seconds of the commencement of charge. It came to us through the family ownership and had previously been on display in two museums until the mid 20th century.

The charge;

The Light Brigade set off down the valley with Cardigan in front, leading the charge on his horse Ronald. Almost at once, Nolan rushed across the front, passing in front of Cardigan. It may be that he realised that the charge was aimed at the wrong target and was attempting to stop or turn the brigade, but he was killed by an artillery shell and the cavalry continued on its course. Captain Godfrey Morgan was close by:

The first shell burst in the air about 100 yards in front of us. The next one dropped in front of Nolan's horse and exploded on touching the ground. He uttered a wild yell as his horse turned round, and, with his arms extended, the reins dropped on the animal's neck, he trotted towards us, but in a few yards dropped dead off his horse. I do not imagine that anybody except those in the front line of the 17th Lancers saw what had happened.

We went on. When we got about two or three hundred yards the battery of the Russian Horse Artillery opened fire. I do not recollect hearing a word from anybody as we gradually broke from a trot to a canter, though the noise of the striking of men and horses by grape and round shot was deafening, while the dust and gravel struck up by the round shot that fell short was almost blinding, and irritated my horse so that I could scarcely hold him at all. But as we came nearer I could see plainly enough, especially when I was about a hundred yards from the guns. I appeared to be riding straight on to the muzzle of one of the guns, and I distinctly saw the gunner apply his fuse. I shut my eyes then, for I thought that settled the question as far as I was concerned. But the shot just missed me and struck the man on my right full in the chest.

In another minute I was on the gun and the leading Russian's grey horse, shot, I suppose, with a pistol by somebody on my right, fell across my horse, dragging it over with him and pinning me in between the gun and himself. A Russian gunner on foot at once covered me with his carbine. He was just within reach of my sword, and I struck him across his neck. The blow did not do much harm, but it disconcerted his aim. At the same time a mounted gunner struck my horse on the forehead with his sabre. Spurring "Sir Briggs," he half jumped, half blundered, over the fallen horses, and then for a short time bolted with me. I only remember finding myself alone among the Russians trying to get out as best I could. This, by some chance, I did, in spite of the attempts of the Russians to cut me down.

The Light Brigade faced withering fire from three sides which devastated their force on the ride, yet they were able to engage the Russian forces at the end of the valley and force them back from the redoubt. Nonetheless, they had suffered heavy casualties and were soon forced to retire. The surviving Russian artillerymen returned to their guns and opened fire with grapeshot and canister shot, indiscriminately at the mêlée of friend and foe before them  read more

Code: 24948

Suit Of Original Edo Period Samurai Horserider Armour, With a Bajojingasa 馬上陣笠 Kabuto, A Samurai Horse Rider Battle Helmet. With Gold Maruni Tsuta Kamon. The Maruni Tsuta (丸に蔦) Kamon, Meaning "Japanese Ivy in a Ring". Matsunaga Family Crest in Kakuda

In our opinion there is no greater aesthetically attractive suit of antique original armour to compare to the Japanese samurai armour. One can see them displayed in some of the finest locations of interior decor in the world today.

For example, in the Hollywood movies such as the James Bond films many of the main protagonists in those films decorated their lush and extravagant billionaire properties with samurai armours. They can be so dramatic and beautiful and even the simplest example can look spectacular in any correct location with good lighting.

Original early Edo period.
Chain mail over silk Kote arm armour with plate Tekko hand armour. Fully laced and plate Sode shoulder armour Fully laced four panels of Haidate waist armour Fully laced Kasazuri thigh Armour, with Suneate. This armour is absolutely beautiful.

Japanese armour is thought to have evolved from the armour used in ancient China and Korea. Cuirasses and helmets were manufactured in Japan as early as the 4th century.Tanko, worn by foot soldiers and keiko, worn by horsemen were both pre-samurai types of early Japanese cuirass constructed from iron plates connected together by leather thongs.

Black urushi lacquer bajojingasa horseriders helmet 馬上陣笠 with superb mon, red lacquer interior with pad and cords but the cords outer silk has separated. With five leaf ivy in a ring mon of the Matsunaga clan.

Jingasa developed both in shape and decoration during the Edo era (1603-1867) and were a symbol of samurai culture. It was typically made of hardened lacquered leather, but also sometimes with iron. The jingasa would also commonly be marked with the mon of the lord or clan to help identify the warrior's side on a battlefield.
Samurai Bajo Jingasa (Riding Battle Hat) were worn mainly by officers a the end of the Sengoku period (1467-1615) and through the Edo period (1603-1868) and a little after. Traditionally a defensive helmet, they were allegedly first crafted from wood, leather, lacquered rawhide, then iron and later steel. The combination of these elements provided a good head protection against sword blows. The bajo-gasa jingasa are shaped like low round hills, believed to decrease wind resistance while on horseback. The inside is padded with a cushion liner secured by ribbons that would be tied and secured under the chin.

Cherished for its infinite versatility, urushi lacquer is a distinctive art form that has spread across all facets of Japanese culture from the tea ceremony to the saya scabbards of samurai swords Japanese artists created their own style and perfected the art of decorated lacquerware during the 8th century. Japanese lacquer skills reached its peak as early as the twelfth century, at the end of the Heian period (794-1185). This skill was passed on from father to son and from master to apprentice. The varnish used in Japanese lacquer is made from the sap of the urushi tree, also known as the lacquer tree or the Japanese varnish tree (Rhus vernacifera), which mainly grows in Japan and China, as well as Southeast Asia. Japanese lacquer, 漆 urushi, is made from the sap of the lacquer tree. The tree must be tapped carefully, as in its raw form the liquid is poisonous to the touch, and even breathing in the fumes can be dangerous. But people in Japan have been working with this material for many millennia, so there has been time to refine the technique! Overall in very nice condition for age with small lacquer wear marks.

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

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

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

Armour continued to be worn and used in Japan until the end of the samurai era (Meiji period) in the 1860s, with the last use of samurai armour happening in 1877 during the Satsuma Rebellion. The armour has some affixing loops lacking. Stand for photo display only not included. This armour has areas of worn and distressed lacquer and areas of cloth/material that are perished due to it's great age as would be expected, but the condition simply adds to its beauty and aesthetic quality, displaying its position within its combat use in Japanese samurai warfare. We would always recommend, in our subjective opinion, that original antique samurai armour looks its very best left completely as is, with all it wear and age imperfections left intact.  read more

Code: 25717

A Beautiful Full Suit of 16th Century Tudor Style Knight’s Historismus Plate Hall Armour with Halbeard Polearm. Fully Leather Strapped & Buckled So Likely, and Potentially, Wearable

Historicism or also historism and historismus comprises artistic styles that draw their inspiration from recreating historic styles or imitating the work of historic artisans. This is especially prevalent in architecture, such as revival architecture. Through a combination of different styles or implementation of new elements, historicism can create completely different aesthetics than former styles. Thus it offers a great variety of possible designs.

In the history of art, after Neoclassicism which in the Romantic era could itself be considered a historicist movement, the 19th century saw a new historicist phase marked by an interpretation not only of Greek and Roman classicism, but also of succeeding stylistic eras, which were increasingly considered equivalent. In particular in architecture and in the genre of history painting, in which historical subjects were treated of with great attention to accurate period detail, the global influence of historicism was especially strong from the 1850s onwards.

Plate armour is a historical type of personal body armour made from bronze, iron, or steel plates, culminating in the iconic suit of armour entirely encasing the wearer. Full plate steel armour developed in Europe during the Late Middle Ages, especially in the context of the Hundred Years' War, from the coat of plates worn over mail suits during the 14th century.

In Europe, plate armour reached its peak in the late 15th and early 16th centuries. The full suit of armour, also referred to as a panoply, is thus a feature of the very end of the Middle Ages and the Renaissance period. Its popular association with the "medieval knight” is due to the specialised jousting armour which developed in the 16th century.

Full suits of Gothic plate armour were worn on the battlefields of the Burgundian and Italian Wars. The most heavily armoured troops of the period were heavy cavalry, such as the gendarmes and early cuirassiers, but the infantry troops of the Swiss mercenaries and the Landsknechts also took to wearing lighter suits of "three quarters" munition armour, leaving the lower legs unprotected.

The use of plate armour began to decline in the early 17th century, but it remained common both among the nobility and for the cuirassiers throughout the European wars of religion. After the mid-17th century, plate armour was mostly reduced to the simple breastplate or (cuirass), worn by cuirassiers. This was due to the development of the musket, which could penetrate armour at a considerable distance. For infantry, the breastplate gained renewed importance with the development of shrapnel in the late Napoleonic wars.

Plate armour gave the wearer very good protection against sword cuts, as well against spear thrusts, and provided decent defense against blunt weapons.

The evolution of plate armour also triggered developments in the design of offensive weapons. While this armour was effective against cuts or strikes, their weak points could be exploited by thrusting weapons, such as estocs, poleaxes, and halberds. The effect of arrows and bolts is still a point of contention with regard to plate armour. The evolution of the 14th-century plate armour also triggered the development of various polearms. They were designed to deliver a strong impact and concentrate energy on a small area and cause damage through the plate. Maces, war hammers, and pollaxes (poleaxes) were used to inflict blunt force trauma through armour. Strong blows to the head could result in concussion, even if the armour is not penetrated.

Fluted plate was not only decorative, but also reinforced the plate against bending under striking or blunt impact. This offsets against the tendency for flutes to catch piercing blows. In armoured techniques taught in the German school of swordsmanship, the attacker concentrates on these "weak spots", resulting in a fighting style very different from unarmoured sword-fighting. Because of this weakness, most warriors wore a mail shirt (haubergeon or hauberk) beneath their plate armour (or coat-of-plates). Later, full mail shirts were replaced with mail patches, called gussets, which were sewn onto a gambeson or arming jacket. Further protection for plate armour was the use of small round plates called besagews, that covered the armpit area and the addition of couters and poleyns with "wings" to protect the inside of the joint.

Over the past century many visitors will have seen the numerous full suits of plate armour we have had the pleasure of displaying. 15th, 16th and 17th century originals, plus, historismus hall armours. Our most impressive, if some of you may remember, in the 1960’s, was a full suite of equestrian mounted ‘knight on horseback’ armour. And we displayed it in our shop just round the corner, in Prince Albert St, as it had 20 foot high ceilings. It looked just like the example we show as the last photo in the gallery of one such similar in a museum in America. This fabulous set was passed on to our friend and neighbour, the late arms dealer Paul Grafton, who owned the former ‘House of Correction’ for many years, and it occupied his whole shop!, but exceptionally memorable it was.
It was eventually passed on to Holland and Holland, we believe for their bespoke gun shop in London, and thence later, we understand, to an American billionaire who kept it next to his swimming pool, whereupon it became very wet and thus rusty. After that it travelled to New Jersey or Park Avenue, New York possibly, but we sadly lost track of it then

This beautiful full suit of Tudor hall plate armour is very likely circa to post 1900. We don't normally acquire or sell non original items but historismus pieces have always been desireable and most collectable in their own right.
It is offered complete with its bespoke fully fitted display stand as can be seen in the photographs. We can also facilitate bespoke hand delivery within the UK mainland by our own transport  read more

Code: 24964

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

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

The blade is extra thick at the base and shows its penetrating qualities and ability to cut through metal armour or even the iron plates of a helmet, this is a beautiful and remarkable tanto. The fuchigashira mounts are pure gold over shakudo of Kirin or Qilin, in deep takebori relief carving. The menuki are also Kirin, of shakedown inlaid with swirls of pure gold. The Kirin in Japanese, qilin (in Chinese: 麒麟; pinyin: qílín) is a mythical hooved chimerical creature known in Chinese and other East Asian cultures, said to appear with the imminent arrival or passing of a sage or illustrious ruler. It is a good omen thought to occasion prosperity or serenity. It is often depicted with what looks like fire all over its body. It is sometimes called the “Chinese unicorn” when compared with the Western unicorn. The Japanese kirin looked more like the Sin-you lion-like beast. Some later Japanese netsuke portray a Kirin that has wings that look like the Central Asian winged horse with horns or the Sphinx. Or they become increasingly dragon-like like Chinese Qilins.
The Kirin / Qilin can sometimes be depicted as having a single horn as in the Western tradition, or as having two horns. In modern Chinese the word for “unicorn” is 独角兽 “du jiao shou”, and a Qilin that is depicted as a unicorn, or 1-horned, is called “Du jiao Qilin” 独角麒麟 meaning “1-horned Qilin” or “Unicorn Qilin”. However, there are several kinds of Chinese mythical creatures which also are unicorns, not just Qilin. Qilin generally have Chinese dragon-like features.
Most notably their heads, eyes with thick eyelashes, manes that always flow upward and beards. The bodies are fully or partially scaled, though often shaped like an ox, deer or horse’s, and always with cloven hooves. In modern times, the depictions of Qilin have often fused with the Western concept of unicorns.
In legend, the Qilin became dragon-like and then tiger-like after their disappearance in East Asia and finally a stylised representation of the giraffe in Ming Dynasty. The identification of the Qilin with giraffes began after Zheng's voyage to East Africa according to recent scholarship. The modern Japanese word for giraffe is also kirin, which bears the same derived ideas. Shakudo is a billon of gold and copper (typically 4-10% gold, 96-90% copper) which can be treated to form an indigo/black patina resembling lacquer. Unpatinated shakudo Visually resembles bronze; the dark color is induced by applying and heating rokusho, a special patination formula.

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

Code: 24942

A Superb Edo Period Samurai Jingasa War Hat Helmet

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

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

Code: 21744

A Fabulous Wakizashi by Master Sadahide Student of Masahide Dated 1830

A simply wonderful wide and sizeable blade with fine hamon and incredible tight grain hada. Copper patinated fushi kashira of the ‘tiger in the bamboo grove’. A very good signed copper tsuba with samurai. Original black lacquer saya with fine kozuka utility knife. As Sukehiro and Shinkai were highly praised by Kamada Natae in his book he wrote in this period swordsmiths begun to imitate their works making strong shape and Hamon in Toran-Ha. Swords in this period imitated the Osaka style. Then Masahide ( one of most famous sword smiths in Shinshinto time ) advocated in his book that "we should make swords by the method of the Koto era." With this final aim swordsmiths begun to create their own steels trying to reach the quality of the ancient one. Combining materials which have different quantity of carbon, a good Jihada will appear. Therefore, swordsmiths used a lot of materials like old nails and the like to adjust the quantity of carbon to be suitable for swordmaking.Even today this steel is called Oroshi-gane. As already said an easy way to produce Tamahagane was available in Shinto time and swordsmith could get good quality Tamahagane. Therefore, it seems that most of them didn't make their own Oroshi-gane. But some swordsmiths like Kotetsu or Hankei followed Masahide suggestions and reached a top-quality level combining ancient iron/steel with modern one. In effect Ko-Tetsu means "ancient steel". Exceptionally powerful 16inch blade  read more

Code: 20552

A Superb Antique, Shinto Era, Unokubi (鵜首) Zukuri Blade Tantō, Late 16th To Early 17th Century, from the Battle of Sekigahara, Shinjitai: 関ヶ原の戦い; Kyūjitai: 關ヶ原の戰い With, Signed Kaboku, 'Nakago Form' Kozuka Side Knife With Imperial Chrysanthemum Mon

The kozuka {side knife} is signed, Koboku, who was a master swordsmith and surgeon to the lord of Mito. He was a famous swordsmith of legend mysteriously assassinated in 1703 during his retirement, yet not before he killed his unknown assassin using his dismembered arm.

A really nice and rare form of samurai tanto fitted with all its original Edo period koshirae Including a superb stunning urushi lacquer 'pine needle' decor saya with buffalo horn fittings, {kurigata, sayajiri}. Iron tetsu tsuba, signed, and decorated with a dragon in the foreground with mountains under clouds at the rear. Patinated copper fuchi of flowers, and a pair of iron rectagular menuki inlaid with flowers, underneath the rich brown coloured silk tsukaito {binding}. The silver inlay in the menuki is now blacked with age and very difficult to see. Made from around the era of the Battle of Sekigahara, Shinjitai: 関ヶ原の戦い; Kyūjitai: 關ヶ原の戰い

Unokubi (鵜首): Is an uncommon tantō blade 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. It has a beautiful habaki, set in its original Edo period pine needle uriushi lacquered saya.The blade is absolutely beautiful.

A Very Nice Edo Period Shinto Era 'Nakago Form' Kodzuka Iron body inlaid with copper , with the signature kanji of Kaboku, 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. 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 Battle of Sekigahara (Shinjitai: 関ヶ原の戦い; Kyūjitai: 關ヶ原の戰い,Sekigahara no Tatakai) was a decisive battle on October 21, 1600 (Keichō 5, 15th day of the 9th month) in what is now Gifu Prefecture, Japan, at the end of the Sengoku period. This battle was fought by the forces of Tokugawa Ieyasu against a coalition of Toyotomi loyalist clans under Ishida Mitsunari, several of which defected before or during the battle, leading to a Tokugawa victory. The Battle of Sekigahara was the largest battle of Japanese feudal history and is often regarded as the most important. Mitsunari's defeat led to the establishment of the Tokugawa shogunate.

Tokugawa Ieyasu took three more years to consolidate his position of power over the Toyotomi clan and the various daimyō, but the Battle of Sekigahara is widely considered to be the unofficial beginning of the Tokugawa shogunate, which ruled Japan for another two and a half centuries

A tanto would most often be worn by Samurai, and it was very uncommon to come across a non samurai with a tanto. It was not only men who carried these daggers, women would on occasions carry a small tanto called a kaiken in their obi which would be used for self-defence. In feudal Japan a tanto would occasionally be worn by Samurai in place of the wakizashi in a combination called the daisho, which roughly translates as big-little, in reference to the big Samurai Sword (Katana) and the small dagger (tanto). Before the rise of the katana it was more common for a Samurai to carry a tachi and tanto combination as opposed to a katana and wakizashi.
The lacquer saya has 'pine needle' decor, a highly complex design of pine needles laid upon black lacquer, in a seemingly random pattern, but in reality each pine needle was strategically placed upon them, 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 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.

Japanese lacquer, or urushi, is a transformative and highly prized material that has been refined for well over 7000 years. The use of natural lacquer, known as urushi, has a 9,000-year history in Japan. Lacquered artifacts dating back to the prehistoric Jomon period (10,000–300 BCE) have been found at various archeological sites throughout Japan.
Cherished for its infinite versatility, urushi is a distinctive art form that has spread across all facets of Japanese culture from the tea ceremony to the saya scabbards of samurai swords
Japanese artists created their own style and perfected the art of decorated lacquerware during the 8th century. Japanese lacquer skills reached its peak as early as the twelfth century, at the end of the Heian period (794-1185). This skill was passed on from father to son and from master to apprentice.

Some provinces of Japan were famous for their contribution to this art: the province of Edo (later Tokyo), for example, produced the most beautiful lacquered pieces from the 17th to the 18th centuries. Lords and shoguns privately employed lacquerers to produce ceremonial and decorative objects for their homes and palaces.
The varnish used in Japanese lacquer is made from the sap of the urushi tree, also known as the lacquer tree or the Japanese varnish tree (Rhus vernacifera), which mainly grows in Japan and China, as well as Southeast Asia. Japanese lacquer, 漆 urushi, is made from the sap of the lacquer tree. The tree must be tapped carefully, as in its raw form the liquid is poisonous to the touch, and even breathing in the fumes can be dangerous. But people in Japan have been working with this material for many millennia, so there has been time to refine the technique!

The kozuka is signed Koboku, he was a master swordsmith and surgeon to his lord of Mito, and an extraordinarily eccentric character. He studied medicine under Tsunoda Kyuho, and he seems to have started forging swords at an early age. According to legend because he had taken up the study of western medicine and he was not satisfied with the scalpels that were available, so endeavoured to make his own. He left the employ of the Mito family in January of 1699, Genroku 12. Some say because he did not get along with his immediate superior the Karo, Nakayama Bizen no Kami, others that his peculiar behavior and egotistical manner was offending too many people and this reached the ears of the lord. House records from 1698, record that his health was failing and it was decided that he be “retired” to Mito. Perhaps he did not wish to leave Edo and be confined to Mito. Whatever the reason the house record notes that he officially asked to resign and left to devote himself to his religious studies on that date.
Five years later found him in the far north living in Oshu Nihonmatsu where one night he stood naked in his garden where he was confronted by an assassin. To this day no one knows who the man was nor why he might have been sent to kill Kaboku but his intent was clear enough. Without hesitation Kaboku, who held a mokuroku in Shibukawa-ryu Jujutsu, charged as his attacker charged him. He grabbed his left wrist with his right hand and used his own left arm to block the cut that was descending toward his head. Still clutching his severed left hand in his right he closed with his attacker and thrust the jagged bone into the mans mouth, here he fell upon him and smothered him with the bloody relic.
Kaboku then went back into his home, perhaps something the assassin had said struck him, perhaps he understood from his own wounds that he would not survive, it is not clear why but using only the right hand he drew out a tanto and took his own life. A strange end for one of the sword worlds strangest characters.

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: 25707