An Absolutely Superb Esoteric Antique Witchcraft Fetish Statue. An African Kongo Witch Doctor's Nail-Fetish Figure, A Voduo {Voodoo} Nkondo Nkisi. Historically Much Feared by Victorian Missionaries as Instruments of Sorcery. Made by The Tribal Nganga

The African Kongo Witch Doctor's power figures minkisi {plural of nkisi} that stand prominent among all minkisi is called nkisi {sacred medicine} nkondi {hunter} likely from the Bakongo people. This type of figure is commonly called a nail fetish and is one of the most recognisable and collectible figures in all of African art. These life-like figures are instantly identified by the many nails, pegs, blades, and shards that are hammered into them and made by the tribal Nganga { Witch Doctor } .

Each individual insertion represents one of three things: an oath or agreement between two parties, a pledge to provide protection against enemies and witchcraft, or a vow of vengeance. 'Nkondi' literally means 'hunter;' and it is generally considered an aggressive entity.

The insertions are driven into the figure by the nganga and represent the mambu and the type or degree of severity of an issue can be suggested through the material itself. A peg may refer to a matter being ‘settled’ whereas a nail, or metal shard, deeply inserted, may represent a more serious offense such as murder. Prior to insertion, opposing parties or clients often lick the blades or nails, to seal the function or purpose of the nkisi through their saliva. If an oath is broken by one of the parties or evil befalls one of them, the nkisi nkondi will become activated to carry out its mission of destruction or divine protection

The imposing presence and implied power of nkisi nkondi is certainly enough to keep anyone committed to a promise or agreement. Like other minkisi, powerful medicine is usually stored inside the belly, which can then covered by a piece of glass or mirror. The reflective surface represents the world of the dead and the vision of the spirits. One is a traditional naked fetish witchcraft figure, standing upright, deeply carved staring eyes a the body studded overall with hundreds of sharp shards of iron driven into the body, a traditional oath taking figure, with its right arm outstretched, upwards that may, some believe, have once held a spear.

A nkisi has many interrelated functions. African doctors use it to effect healing. They use the nkisi to search for the spiritual and physical source of a malady and then chase it away from the body. As a preventive measure, spiritual leaders also use it to protect the human soul, guarding it against disease and illness. In addition, they may use it to bind its owner to a friend or to attract lovers. It is also used to serve as a charm to repel enemies, arrest them in their tracks, or inflict an illness on them. Alternatively, a nkisi can be used to embody and direct a spirit; similarly, it can be used as a hiding place for a troubled soul, keeping order.

Nkisi, in west-central African lore, any object or material substance invested with sacred energy and made available for spiritual protection. One tradition of the Kongo people of west-central Africa holds that the god Funza gave the world the first nkisi. Africans uprooted during the Atlantic slave-trade era carried with them some knowledge of nkisi making. In places throughout the United States, particularly in the Deep South, African descendants still create minkisi. Nkisi making is also found throughout the Caribbean and South America, in places such as Cuba, Haiti, and Brazil.

This wild appearance of the Nganga was intended to create a frightening effect, or kimbulua in the Kongo language. The nganga's costume was often modeled on his nkisi. The act of putting on the costume was itself part of the performance; all participants were marked with red and white stripes, called makila, for protection.

The "circles of white around the eyes" refer to mamoni lines (from the verb mona, to see). These lines purport to indicate the ability to see hidden sources of illness and evil.

Yombe nganga often wore white masks, whose color represented the spirit of a deceased person. White was also associated with justice, order, truth, invulnerability, and insight: all virtues associated with the nganga.

The nganga is instructed in the composition of the nkondi, perhaps in a dream, by a particular spirit. In one description of the banganga's process, the nganga then cuts down a tree for the wood that s/he will use to construct the nkondi. He then kills a chicken, which causes the death of a hunter who has been successful in killing game and whose captive soul subsequently animates the nkondi figure. Based on this process, *Gell writes that the nkondi is a figure an index of cumulative agency, a "visible knot tying together an invisible skein of spatio-temporal relations" of which participants in the ritual are aware

After a tribal carver artist completed carving the artifact, the "nganga" transformed it into an object capable of healing illness, settling disputes, safeguarding the peace, and punishing wrongdoers. Each work of this kind or "nkisi" is associated with a spirit, that is subjected to a degree of human control.
Europeans may have encountered these objects during expeditions to the Congo as early as the 15th century. However, several of these fetish objects, as they were often termed, were confiscated by missionaries in the late 19th century and were destroyed as evidence of sorcery or heathenism. Nevertheless, several were collected as objects of fascination and even as an object of study of Kongo culture. Kongo traditions such as those of the nkisi nkondi have survived over the centuries and migrated to the Americas and the Caribbean via Afro-Atlantic religious practices such as vodun, Palo Monte, and macumba. In Hollywood these figures have morphed into objects of superstition such as New Orleans voodoo dolls covered with stick pins. Nonetheless, minkisi have left an indelible imprint as visually provocative figures of spiritual importance and protection.

Often such figures were placed outside, or within, the hut of a certain form of tribal elder, what we would refer to as, the tribal witch-doctor, called a Nganga as a symbol of his position within the local village, and his ability to cause magical curses and unpleasantness for villagers who had fallen out with others of the village or region, who then sought out the services of the so called 'witch-doctor' to resolve the problem, with, such as, a curse.

Vintage Hand Carved African Medicine Man Nkisi figures. Esoteric collector's pieces, connected to the so-called western term of Voodoo {vodou} magic, part of the pantheon of the occult, magic & witchcraft of Africa.

Among the various Kongo peoples, nkisi means a sacred medicine. This word has been extended to include objects containing that medicine as well. The carved wooden statues referred to in the 19th century as nail fetishes and more recently as power figures containing medicine that imbues them with divine power, are therefore nkisi as well. Due to the medicine they contain (which is administered by a witch doctor or nganga), they act as agents of divine power, granting requests. healing or attesting to agreements. Each decision or resolution is literally nailed down in the figure.

A certain class of nkisi, called nkondi, are able to enforce the solutions they provide actively and to seek vengeance against those who heed them not. These figures either menace the viewer with spears and fierce facial expressions, or strike intimidating, belligerent poses.

Nkisi nkondi specialize in different areas of life. The most important nkisi nkondi carries out mangaaka, or preeminent justice.

Surveillance or watchfulness assist the effective enforcement of the power figure’s decisions. This is registered in the size of the eyes or, in some cases, by multiple sets of eyes. The rope wrapped around some figures represents a snake, a watchful predator who lends its powers of observation to the figure. Double-headed figures have double the visual powers and can see into the city of the dead and the realm of the living at the same time.

Each power figure has a distinct personality, ranging from contemplative to angry to soulful to reserved to compassionate. The ability to suggest those qualities visually with such immediacy and precision is one of the most impressive aspect of the surviving figures.

Kongo religion Kikongo: Bukongo. Bakongo religion was translocated to the Americas along with its enslaved practitioners. Some surviving traditions include conjure, dreaming, possession by the dead to learn wisdom from the ancestors, traditional healing and working with minkisi. The spiritual traditions and religions that have preserved Kongo traditions include Hoodoo, Palo Monte, Lumbalú, Kumina, Haitian Vodou, Candomblé Bantu, Kongo traditions such as those of the nkisi nkondi have survived over the centuries and migrated to the Americas and the Caribbean via Afro-Atlantic religious practices such as vodun, Palo Monte, and macumba.

Similar examples in the Smithsonian and Metropolitan in the USA. One very similar nkisi, from the late 19th to mid 20th century has been a highlight of the Rockefeller collection since its acquisition in 1952.

*Gell, A . The Art of Anthropologie. London: Humanities Press.  read more

Code: 25498

A Rare, Museum Piece, An Original, Antique, Very Impressive, & Iconic Bantu People Ngombe Doko Tribal Chiefs Power & Status Sword, Especially Used for Executions. An Ngulu. Also Called an Ngol, an Ngwolo, an M'Bolo, or, a Gulu By Connected Tribes

A rare museum piece due to its originality {not, as is most frequently seen these days, an old tourist piece} and it is in truly exceptional condition. A stunning original example of original antique Tribal Art.
Professionally conserved to last in this beautiful condition for the next 100 years.

This large execution short sword was a symbol of power - and was a "ceremonial sword for tribal chiefs". With its indigenous names of an Ngulu, an Ngol, an Ngwolo, a M'Bolo, & a Gulu

The drawings in the gallery show the use of these Ngulu execution and power swords at various executions. The back side of the blade was used as a machete for cutting. It was believed a person remained "aware" for some time after decapitation. As a result, the deceased final sensual experience was flying through the air to meet his or her ancestors. Executions were not judicial events meant for murders or criminals. They were events carried out for ceremonial purposes and the chosen were invariably slaves.

Werner Fisher & Manfred A. Zirngibl wrote in their book Afrikanische Waffen: This design was selected for cult and execution. A knife or short sword was created which symbolised the inexorableness on the judgment and execution. This execution sword became a symbol of power and, in a few variations became a ceremonial sword for tribal chieftains.
At executions, the condemned man was tied to the ground with ropes and poles. His head was fastened with leather straps to a bent tree branch. In this way it was ensured that the man's neck would remain stretched. After the decapitation, the head would be automatically catapulted far away and his body left behind. Used by the Bantu peoples (including the Ngombe, Doko, Ngala, etc.) of the Congo Basin. The Ngulu beheading was forbidden by the Belgians during the Free State of Congo period (1885-1908). It resembles the Khopesh, the sickle-sword of ancient Egypt, except that it has a much more massive blade, made of iron, with sometimes a non-cutting back and a semi-circular concavity.

The blade hadn't been cleaned or polished for well over 100 years, so we fully conserved the whole sword. We removed {by hand} all the red oxidised blade surface colour to return it to its original, hand crafted steel colouring, revealing all it original age patina, and some not inconsiderable hand engraving, and then conserved and polished the complete original carved wooden hilt with brass studwork  read more

Code: 22327

An Extraordinary, 1100 to 1200 year old, Original, Ancient Viking Draken Head Staff Mount. A Knob of a Staff or Wand of Magic, Used By A Völva, a Sorcerer or Sorceress of Seiđr. A Seiðstafr, The Staff of Power in Viking Occult & Magick

Just returned from expert conservation {undertaken over many months}.
A fabulous ancient bronze Draken head {Viking for dragon} with remains of its forged iron wand attached to its socket mount. Modelled on one of the greatest iconic symbols of the Viking Norsemen, the Draken head, the iconic symbol on the prow of a Viking longship, the Draken figurehead.

The iron staff or wand was an important accessory used by the Völva when carrying out Seiđr, Viking magic. The.magic staffs were around two to three foot long, forged of iron, often in the form of a distaff, with a knob pommel, that could take many forms, made of other metals, more usually brass or bronze, sometimes the knob might be inlaid with gems, and the staff was used by professional Viking sorcerers and sorceresses when performing Seiđr, the Viking tradition of the occult.

These staffs acquired a plenitude of meanings and functions, from symbolic to practical. As such the staff may be understood as the attribute of a völva, the rod keeping up the world, a distaff spinning the future

"From the beginning seiðr was the prerogative of the gods, and it is clear that its origins predate the Viking Age by several centuries (Hedeager 1997). The sources relate how Òðin became the supreme master of sorcery, having learnt of its powers from the goddess Freyja."
(Price, N. 2008 “Sorcery and Circumpolar Traditions in Old Norse Belief” p. 245 in “The Viking World” Brink, S. & Price, N. eds)

Ok hon hafði staf í hendi, ok var á knappr

Eiríks saga rauða describes a seiðkonur with her staff:

"(Thorbjorg the seiðkonur) was dressed in such wise that she had a blue mantle over her, with strings for the neck, and it was inlaid with gems quite down to the skirt. On her neck she had glass beads. On her head she had a black hood of lambskin, lined with ermine. A staff she had in her hand, with a knob thereon; it was ornamented with brass, and inlaid with gems round about the knob."

A völva buried in Fyrkat, Denmark was buried with a box containing talismans or taufr. These included an owl pellet, small bones from birds and animals as well as henbane seeds. When thrown on a fire, henbane seeds can produce a hallucinogenic smoke that gives those who inhale it a sense of flying which may have enhanced the völva’s trance. The völur who were buried in the Oseberg ship were similarly outfitted with a pouch of cannabis seeds for their journey beyond life.

Völur were also buried with a staff, not only a shamanic implement but also an insignia of their profession. The Old Norse term völva has been widely translated to mean a “wand carrier” or “magical staff bearer”. Many shamans use a ceremonial staff as an object of spiritual power. Held during the visionary ritual of seiðr these seiðstafr or völ, may have been representation of the World Tree as is common among shamans from the Arctic to Asia and down to the Peruvian Amazon. Since the spiritual principle uniting the spirit worlds for the Norse was the Great Tree, Yggdrassil it makes sense that völur would carry a staff. Being able to travel into the realms of the spirits is a critical requirement for any shamanic practitioner. The wand or staff would function as a connection to all the realms of spirit as well as another kind of tether to help a völva return to this world.

We show in the gallery one drawing of a museum exhibit, an iron staff of power recovered from a burial, in Klinta, Oland, Sweden, and held to the right is a recreated copy of the ancient Viking relic with its brass, formed, knob pommel.

Being a staff pommel, we believe it is the smallest surviving part of a Seiðstafr, {The Staff of Power} yet, of all the surviving examples we have seen in the past 50 years, and they are so few as to be near non-existent, this example is, in our opinion, the most iconic Viking image example existing, and likely now unique in the world {so far discovered}, and as such, may be the only surviving part of its type to appear on the open market, or ever likely to.

The closest example we have ever seen are the small, semi flat, cast draken head clothing pins that were cast, often in lead, in intaglio carved mould stones. Which show just how important the draken (dragon) head was to Viking symbolic culture. We show a really rare find, of one such small Draken head clothes pin moulds, in carved soapstone, now in the collection of Swedish History Museum.

For example; With regards to expert conservation methods of bronze {copper alloy} objects {and some other materials} The dirt from the surface of the object could be removed manually using a scalpel under magnification. Care would be taken not to dislodge the powdery, corroding surface. Where the surface was in particualrly bad condition the dirt will be left in situ and small areas might be locally consolidated using 2.5% HMG Paraloid B72 (methyl ethyl methacrlylate) in 50:50 Acetone (propan-1-one/dimethyl ketone) and Industrial methylated spirits (ethanol,methanol. This method of conservation is also used by the British Museum {amongst other institutions}

Our Draken head is approx. 6cm long overall, including the remaining iron staff top.
As with all our items it comes complete with our certificate of authenticity  read more

Code: 24789

A Good 19th Century, Heavy Grade, Antique 'Berber's' Jambiya or Koummya

Two ring mounting with beautiful and finely scroll engraved panelled front decoration The koummya is the characteristic traditional dagger of the Berber and Arabic peoples of Morocco. Stone classifies these as being one localised variant of the Arabic jambiya, and the contoured handles, curved double-edged blades and exaggeratedly upturned scabbard tips are all features consistent with such an interpretation. In the context of the traditional regional manner of dress, the koummya is worn visibly at the left side, generally about at the level of the waist and is suspended vertically, with the scabbard tip forward, by a long woolen baldric, attached at either end to one of the two scabbard rings, and worn crossing in front and back of the torso and over the right shoulder. A much greater diversity in forms and decoration exists than is represented by the examples presented here and presumably such features could be used to place particular examples geographically and temporarily.
Koummya blades are curved and double edged with the portion nearer the hilt remaining relatively straight while the curvature becomes pronounced in the half towards the tip. The length of the blade which is bevelled and sharpened is longer along the concave side than along the opposite convex side. Blade thickness tapers from the base of the blade, where it is thickest, to the tip. While the edge bevels may give the blade a flattened diamond or lenticular cross-section towards the tip, the cross-section is rectangular at the forte. These blades are characteristically relatively thin and utilitarian and the presence of fullers or ridges is not typical.  read more

Code: 23296

A Large Volume of Foxe's Book of Martyrs 1570, by An Impartial Hand. Detailing the Burning at the Stake of the Protestant Martyrs Under Queen ‘Bloody’ Mary the 1st’s Rule, Published 1741, Formerly Part of the Richard Hoare Collection.

This would make a superb gift, or addition to a collection for a devoted antiquarian bibliophile.

Bearing original Richard Hoare’s Ex-Libris bookplate. One of the most foremost and important books of the 16th century, and a fabulous book for those that wish to have a most impressive rare book as a statement piece for an eclectic collection of unusual artefacts covering a broad spectrum. An absolute beauty. The Book of Martyrs: Containing an Account of the Sufferings and Death of the Protestants in the Reign of Queen Mary. ... Illustrated with Copper-plates. Originally Written by Mr. J. F., and Now Revised and Corrected by an Impartial Hand. One of the martyrs was Derek Carver, owner of a Brighton brewery barely 150 yards from our Brighton gallery. He was burnt at the stake in 1555, in our local Sussex market town of Lewes, while stood in a beer barrel, around 12 miles distant from us. A most fine example formerly from the library and private collection [with family crest and library plate] of Richard Hoare descendant of famous abolitionist and 'Sign of the Black Horse' founding banker, Samuel Hoare Jr. Richard, of Marden Hill Hertfordshire, was born in 1824, son of the banker Samuel Hoare (1783-1847) who was grandson of Quaker and abolitionist Samuel Hoare Jr. whose bank, Barnetts, Hoares, Hanbury & Lloyd, first used The Sign of the Black Horse as it's symbol, that was taken over and used by Lloyds Bank as it's logo in 1884. We show a portrait of young Richard Hoare painted by Royal Academician George Richmond
The book was originally produced in 1563 and illustrated with over sixty distinctive woodcut impressions and was to that time the largest publishing project ever undertaken in England. Their product was a single volume book, a bit over a foot long, two palms-span wide, too deep to lift with only one hand, and weighed about the same as a small infant. Foxe's own title for the first edition (as scripted and spelled), is Actes and Monuments of these Latter and Perillous Days, Touching Matters of the Church. Long titles being conventionally expected, so this title continues and claims that the book describes "persecutions and horrible troubles" that had been "wrought and practiced by the Roman Prelates, speciallye in this realm of England and Scotland". Foxe's temporal range was "from the yeare of our Lorde a thousand unto the tyme nowe present"

Following closely on the heels of the first edition (Foxe complained that the text was produced at "a breakneck speed"), the 1570 edition was in two volumes and had expanded considerably. The page count went from approximately 1,800 pages in 1563 to over 2,300 folio pages. The number of woodcuts increased from 60 to 150. As Foxe wrote about his own living (or executed) contemporaries, the illustrations could not be borrowed from existing texts, as was commonly practiced. The illustrations were newly cut to depict particular details, linking England's suffering back to "the primitive tyme" until, in volume I, "the reigne of King Henry VIII"; in volume two, from Henry's time to "Queen Elizabeth our gracious Lady now reygnyng..The title plate bears a hand penned note dating the entry in 1847 at Marden Hill. n the 1540s the Black Lion brewery was purchased by a Flemish man named Deryk Carver. A Protestant, Carver had fled religious persecution in his home country and had settled in England. At this time, England was a Protestant country following Henry VIII’s break with Rome and the establishment of the Church of England in the early 1530s. Unfortunately for Carver, this policy was reversed in 1553 when Queen Mary I succeeded to the throne. Mary restored Catholicism as the state religion, and revived a series of heresy laws that outlawed Protestant practices. In late 1554 a series of persecutions began, which have left Mary with the nickname of ‘Bloody Mary’.

Carver, who acted as lay preacher in his house in Brighton, was an early victim. He was arrested in October 1554, and tried in London the following year. When questioned by Bishop Bonner on his beliefs, Carver refused to recant his Protestant practices. Sealing his fate, Carver made a fierce attack on the Catholic faith:

‘..your doctrine is poison and sorcery. If Christ were here you would put Him to a worse death than He was put to before. You say that you can make a God: ye can make a pudding as well. Your ceremonies in the Church be beggary and poison.’ (Quoted in John Ackerson Erredge, History of Brighthelmstone 2005, p.120).

Carver was found guilty and burnt at the stake in Lewes on 22 July 1555. In order to mock his profession, he was placed in a barrel prior to his execution.

Carver is one of several Protestant martyrs whose death is marked by the bonfire celebrations in Lewes. But he has never been forgotten in Brighton. John Ackerson Erredge, the first historian of Brighton, dedicated an entire chapter of his History of Brighthelmstone to his execution. The Black Lion brewery was regarded as one of the oldest buildings in Brighton until it was demolished in about 1970. It was partially rebuilt in 1974 as a near-replica of the original building. David Hawkins [senior] attempted to buy the original former brewery, in order to save it for posterity, and donate it to the town, but his offer was sadly rejected, and an office block architecturally inspired by a shoebox, was built on its main site. In 1970 building regulations in Brighton were woefully inconsiderate to historically important buildings. Book dimensions; 9.75 inches x 15 inches x 2.25 inches 713 pages , plus index of the victims up to 'H'.  read more

Code: 19180

A Wonderful, Museum Piece. A Rare, Ancient Bronze and Iron Incredibly Long, High Status, Combat Cavalry Sword. 36 Inches Long. A Finely Engraved 'Eared' Bronze Hilt With a Long Iron Back Sword Blade. Around 3200 Years Old

Ancient Near East long sword 12th to 9th century BC. A magnificent, enormous bronze sword of the "double ear" pommel style, likely made using the lost wax casting technique by highly trained urban artisans for an elite member of a nomadic horse-riding clan. The blade was forged in iron first, and then the handle was cast onto it - scans of similar swords have revealed tangs inside the handles. Size: Hilt 9.75 inches long, 3 inches width at its widest x blade 30" long width at widest 1.25 inches, total overall length 39.35 inches

This well-balanced weapon has a slender, hilt, with raised decorative elements on each of the four sides joining to a pommel that divides into two finely decorated semi-circular "ears" at right angles to the blade. A polyform hilt with cylindrical grip geometrically engraved with a ruled herringbone pattern, carefully designed with crescent-shaped horns extends down to firmly grip the upper end of the prominent blade midrib that tapers regularly with almost straight single cutting edge to a point.

The "double ear" style of sword - with both bronze and iron blades - have been excavated from graves in southern Azerbaijan, the Talish and Dailaman regions of northwest Iran, and the urban sites of Geoy Tepe and Hasanlu, also in northwestern Iran. Another, with both bronze pommel and blade, was pulled from the Caspian Sea, where it may have been thrown as an offering.

It seems that swords like this example were not just made to be used in battle, but instead to show status or as votive weapons. There is a strong tradition in the ancient Near East of swords and other weapons being associated with the gods. For example, there is a rock carving dating to ca. 1300 BCE from this region that shows a scene of the gods of the Underworld, including one who is holding a sword similar to this one. Similarly, a golden bowl excavated at Hasanlu (northwestern Iran) shows three swords of similar form to this one that are associated with three deities from the Hittite pantheon. Whatever its original function, this would have been a spectacular weapon to behold, with a deep, shining surface when polished. Whoever commissioned this sword must have been an elite individual of high status, perhaps seeking to honour the gods by handling such a weapon.

This is a most handsome ancient bronze weapon from the era of the so called Trojan Wars. The ancient Greeks believed the Trojan War was a historical event that had taken place in the 13th or 12th century BC, and believed that Troy was located in modern day Turkey near the Dardanelles. In Greek mythology, the Trojan War was waged against the city of Troy by the Achaeans (Greeks) after Paris of Troy took Helen from her husband Menelaus, the king of Sparta. The war is among the most important events in Greek mythology and was narrated in many works of Greek literature, including Homer's Iliad and the Odyssey . "The Iliad" relates a part of the last year of the siege of Troy, while the Odyssey describes the journey home of Odysseus, one of the Achaean leaders. Other parts of the war were told in a cycle of epic poems, which has only survived in fragments. Episodes from the war provided material for Greek tragedy and other works of Greek literature, and for Roman poets such as Virgil and Ovid.

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

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

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

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

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


The British Museum holds an example of the "double ear" style that is smaller than this one (ME 124630).
Formerly from a famed US Californian collector Mr Retting, he acquired this sword in the 1960's  read more

Code: 25355

A Most Rare Piece of Early 20th Century Movie Equipment. A Mitchell Camera Corporation Movie Camera Tripod. Known As The Camera That Filmed Hollywood. Mitchell Movie Co. of Glendale Calif.

1920 patent. Three adjustable legs, bears the Mitchell movie corporation maker label with serial number, company address, model name, and patent number. Photos in the gallery of Buster Keaton with his camera and same Mitchell tripod, plus Rudolph Valentino, the most famous silent movie heartthrob in the world, with his, plus a movie director and cameraman with theirs. Original Mitchell tripods, complete with their mounted cameras can now command six figure values. Overall in very nice condition for age.

The Mitchell Camera Corporation was founded in 1919 by Americans Henry Boeger and George Alfred Mitchell as the National Motion Picture Repair Co. Their first camera was designed and patented by John E. Leonard in 1917, and from 1920 on, was known as the Mitchell Standard Studio Camera. Features included a planetary gear-driven variable shutter (US Patent No 1,297,703) and a unique rack-over design (US Pat No 1,297,704). George Mitchell perfected and upgraded Leonard's original design, and went on to produce the most beloved and most universally used motion picture cameras of the Golden Age of Hollywood under the name of The Mitchell Camera Company. The company was first headquartered on Sunset Blvd in Los Angeles, then building a new factory in West Hollywood and moving there in 1930, and finally moving operations to their final factory location in Glendale, California in the 1940s.

Mitchell Camera Corporation was privately and quietly purchased in mid 1929 by William Fox of Fox Film Studios, just before the Great Depression began, though George Mitchell continued working with the company until he retired in the 1950s. Although William Fox had lost control and possession of his own Fox Film Studios and theaters empire in March of 1930, he apparently quietly retained possession of the Mitchell Camera Company, as William Fox's two daughters still owned the Mitchell Camera Company when the company closed operations and ceased in the late 1970s. The famous Mitchell Tripod - a wood base tripod was introduced about 1920, this tripod was manufactured and sold by Mitchell with very little change, other than the addition of a "Baby" shorter version introduced in 1928. 75cm high with legs extended.  read more

Code: 24261

A Superb & Most Gruesome Original Collectors & Conversation Piece, A King George IIIrd Man Trap "Leg Smasher" Torture Device. Only The Second Original Example Of These Incredibly Effective Anti Poaching Devices We Have Had in 10 years

A very scarce English wrought iron 'man trap', probably 18th or very early 19th century, made to most agonisingly deter trespassers and poachers from private estates.

Comprising two large sprung iron ‘jaws’, each lined with a row of prominent, interlocking saw teeth, that would be instaneously released and snapped shut with immense and rapid power, likely in a mere millesecond, by simply applying foot pressure to its trip plate. Known within the realms of tools of torment as a torture device, as it was certainly not meant to kill outright, just agonisingly maim, {that would likely though, eventually cause death but, probably weeks later} yet it would likely cause death within a few days, if, you couldn't escape its vicious jaws.

Here is a superb object to attract curiosity, great interest and thus, intriguing conversation. It would look superb mounted upon a wall {especially a castle, if you have one}. Man traps such as this have been popular for centuries as part of museum and castle armoury displays. Within the sections dedicated to early iron torture devices, and tools of torment, such as iron maidens, the scavengers daughter, gibbets, scolds bridles, ducking stools, thumb screws and finger crushers, iron pears, spiked collars, and last, but certainly not least, the rack!

In the 18th and early 19th centuries common land and shared fields were being enclosed in pursuit of more efficient and productive farming, as well as for fashionable parkland. William Cobbett (born in Farnham in 1763) wrote passionately about the resulting loss of livelihood for the rural poor and there were other protests. In 1721 a masked gang, led by 'King John' killed 11 deer at the Bishop's Park at Farnham and then rode through the market place in triumph.

In 1723 the 'Black Act' authorised the death penalty for more than 50 poaching offences. It remained law for nearly a century and when it was repealed poachers were transported instead. Landowners also used man traps, as well as spring guns and dog spears operated by trip wire, to deter poachers. Man traps were made illegal in 1826 but in 1830 a new law was passed enabling landowners to apply for a licence to use them. They were finally banned in 1861, although Gertrude Jekyll, famous ornamental garden designer writing in 1904, observed that "notices of such dangers were posted on the outsides of properties to within a comparatively recent date."
Our man trap probably dates to the late 18th to 19th century. To set it, the metal jaws were forced apart and held down by a finely balanced catch , just like a modern day mousetrap. The slightest movement of the central plate would release the catch, causing the jaws to slam shut. It is hard to imagine that the poacher would not lose his foot, it would certainly smash all the legbones in the effected area. The hooks on the plate were to hold down the leaves and grass used to camouflage the trap.
Gertrude Jekyll includes a photograph of a man trap in Old West Surrey, along with the story of how this "curious relic of cruel old days" was found - "it {the man trap} was discovered in a wood on a beautiful property owned by a lady who had four, then unmarried, daughters. Luckily no one enjoyed the obvious joke more than these dear ladies themselves."

Maximum length 113cms, jaws 37cms diameter. Fair to good condition, some old damage, now covered with old black preserving paint. Used to deter trespassers and poachers and therefore left out in the open within the landowner's property.

Deactivated, its sprung 'Trap Spring' is no longer functioning for safety.  read more

Code: 23563

A Most Scarce Antique 19th Century African 'Turkana Tepeth' Steel Tribal Wrist Knife

16cms. Of disc form with cut-out for the wrist, lined inside and out with leather strips GC Probably Tepeth tribe.

The Tepeth tribe:

The present inhabitants of Karamoja are the Karamojong tribes. The main Karamojong tribes are : the Matheniko ("The Bulls"; Moroto area), the Bokora ("The Turtles"; Kangole area), the Pian ("The Lightings"; Namalu area), the Jie ("The Warriors"; Kotido area), the Dodoth ("The Ostriches"; Kaabong and Kidepo area), the Jiye (The Jie of South Sudan), the Nyangatom ("those of the yellow trumpet"; Omo valley, Ethiopia and nearby South Sudan-Ethiopia border), scattered all along the Karamojong area. The Karamojong tribes are related to Masai people, forced to move centuries ago from their original lands located in Ethiopia by the arrival of arabian tribes from the north. The original inhabitants of Karamoja weren't Masai tribes, but - together with other two tribes - a Turkana-related tribe called Tepeth. During the last centuries, Tepeth people has been defeated by Karamojong tribes, and forced to reach the highest valleys of mount Moroto, mount Kadam and mount Napak where at present times they're living of small agriculture and sheep-rearing, organized in grass-made villages each one governed by a council of seniors. The Ik (known as "Teuso" too) and the Nyangia tribes were part of the original inhabitants of Karamoja too, and as the Tepeth they've been defeated by the arrival of the Karamojong tribes and they're still alive on the mountains of Karamoja, the Ik on mount Morungole and the Nyangya on the hills of north-western Karamoja. The wrist knives are a special handmade article of all Turkana tribes, used since ancient times as weapon, to defend, to attack, and for daily works. The wrist knives were used in the past among the tribes as a very valuable currency too.  read more

Code: 22508

A Good Original Imperial German Pickelhaube German Spiked Helmet Case

In pressed fibreboard and leather strapping. Overall in very nice condition but the straps have either partially of fully seperated. A rare collectable that is now very scarcely seen. Ideal to accompany any good pickelhaube, either spike or ball topped. The Pickelhaube was originally designed in 1842 by King Frederick William IV of Prussia, perhaps as a design based on similar helmets that were adopted at the same time by the Russian military. It is not clear whether this was a case of imitation, parallel invention, or if both were based on the earlier Napoleonic cuirassier. The early Russian type (known as "The Helmet of Yaroslav Mudry") was also used by cavalry, which had used the spike as a holder for a horsehair plume in full dress, a practice also followed with some Prussian models.
Frederick William IV introduced the Pickelhaube for use by the majority of Prussian infantry on October 23, 1842 by a royal cabinet order. The use of the Pickelhaube spread rapidly to other German principalities. Oldenburg adopted it by 1849, Baden by 1870, and in 1887, the Kingdom of Bavaria was the last German state to adopt the Pickelhaube (since the Napoleonic Wars, they had had their own design of helmet, called the Raupenhelm.

From the second half of the 19th century onwards, the armies of a number of nations besides Russia, (including Bolivia, Colombia, Chile, Ecuador, Mexico, Portugal, Norway, Sweden and Venezuela,) adopted the Pickelhaube or something very similar.

The Russian version initially had a horsehair plume fitted to the end of the spike, but this was later discarded in some units. The Russian spike was topped with a grenade motif. At the beginning of the Crimean War, such helmets were common among infantry and grenadiers, but soon fell out of place in favour of the fatigue cap. After 1862 the spiked helmet ceased to be generally worn by the Russian Army, although it was retained until 1914 by the Cuirassier regiments of the Imperial Guard and the Gendarmerie. The Russians prolonged the history of the pointed military headgear with their own cloth Budenovka in the early 20th century. All helmets produced for the infantry before and during 1914 were made of leather. As the war progressed, Germany's leather stockpiles dwindled. After extensive imports from South America, particularly Argentina, the German government began producing ersatz Pickelhauben made of other materials. In 1915, some Pickelhauben began to be made from thin sheet steel. However, the German high command needed to produce an even greater number of helmets, leading to the usage of pressurized felt and even paper to construct Pickelhauben.
During the early months of World War I, it was soon discovered that the Pickelhaube did not measure up to the demanding conditions of trench warfare. The leather helmets offered virtually no protection against shell fragments and shrapnel and the conspicuous spike made its wearer a target. These shortcomings, combined with material shortages, led to the introduction of the simplified model 1915 helmet described above, with a detachable spike. In September 1915 it was ordered that the new helmets were to be worn without spikes, when in the front line  read more

Code: 20806