1525 Items Found
Page: 1 of 153
0 Items in Basket »
Next page
A Super Shinto Period Samurai’s Naganata Polearm With Saya

Signed blade by Masahisa, Shinto period 18th century. Full length original haft.
Picture in the gallery by Kuniyoshi Utagawa (1798-1861) of famous Ronin, Isoai Juroemon Masahisa,
one of the legendary forty seven ronin, and Masahisa wields his near identical naginata blade in a dramatic battle stance. Along with the martial arts, warriors of the samurai class often incorporated other art forms into their training of bushidō. The way of the warrior. Masahisa followed this way of thought and was highly skilled in the koto, the Japanese zither, as well as calligraphy. These elegant past times gained him admiration on the night of the ronin's assassination plot when his comrades noticed a koto plectrum by his waste, showing him as a man of both physical and cultural prowess. The picture of him shows him in a graceful yet dynamic manner, and Masahisa tilts backwards, with his raised naganata striking upwards and across. he revenge of the forty-seven rōnin (四十七士, Shijūshichishi), also known as the Akō incident (赤穂事件, Akō jiken) or Akō vendetta, is an 18th-century historical event in Japan in which a band of rōnin (leaderless samurai) avenged the death of their master. The incident has since become legendary.

The story tells of a group of samurai who were left leaderless after their daimyō (feudal lord) Asano Naganori was compelled to perform seppuku (ritual suicide) for assaulting a court official named Kira Yoshinaka, whose title was Kōzuke no suke. After waiting and planning for a year, the rōnin avenged their master's honor by killing Kira. They were then obliged to commit seppuku for the crime of murder. This true story was popularized in Japanese culture as emblematic of the loyalty, sacrifice, persistence, and honor that people should display in their daily lives. The popularity of the tale grew during the Meiji era, during which Japan underwent rapid modernization, and the legend became entrenched within discourses of national heritage and identity.

Fictionalized accounts of the tale of the forty-seven rōnin are known as Chūshingura. The story was popularized in numerous plays, including in the genres of bunraku and kabuki. Because of the censorship laws of the shogunate in the Genroku era, which forbade portrayal of current events, the names were changed. While the version given by the playwrights may have come to be accepted as historical fact by some, the first Chūshingura was written some 50 years after the event, and numerous historical records about the actual events that predate the Chūshingura survive.

The bakufu's censorship laws had relaxed somewhat 75 years after the events in question in the late 18th century when Japanologist Isaac Titsingh first recorded the story of the forty-seven rōnin as one of the significant events of the Genroku era. To this day, the story remains popular in Japan, and each year on December 14, Sengakuji Temple, where Asano Naganori and the rōnin are buried, holds a festival commemorating the event. The term naginata first appeared in the Kojiki in 712 AD and was used by Sohei warrior priests during the Nara Period, around 750 AD. It is most likely based on the Chinese Guan Dao. In the paintings of battlefield scenes made during the Tengyo no Ran in 936 AD, the naginata can be seen in use. It was in 1086, in the book Oshu Gosannenki ("A Diary of Three Years in Oshu") that the use of the naginata in combat is first recorded. In this period the naginata was regarded as an extremely effective weapon by warriors.

During the Gempei War (1180–1185), in which the Taira clan was pitted against Minamoto no Yoritomo of the Minamoto clan, the naginata rose to a position of particularly high esteem. Cavalry battles had become more important by this time, and the naginata proved excellent at dismounting cavalry and disabling riders. The widespread adoption of the naginata as a battlefield weapon forced the introduction of sune-ate (shin guards) as a part of Japanese armor. The rise of importance for the naginata can be seen as being mirrored by the European pike, another long pole weapon employed against mounted horses. An excellent example of the role of women in Japanese society and martial culture at this time is Itagaki, who, famous for her naginata skills, led the garrison of 3,000 warriors stationed at Toeizakayama castle. Ten thousand Hojo clan warriors were dispatched to take the castle, and Itagaki led her troops out of the castle, killing a significant number of the attackers before being overpowered. Naginatas were often used by foot samurai to create space on the battlefield. They have several situational advantages over a sword. Their reach was longer, allowing the wielder to keep out of reach of his opponent. The long shaft offered it more leverage in comparison to the hilt of the katana, enabling the naginata to cut more efficiently. The weight of the weapon gave power to strikes and cuts, even though the weight of the weapon is usually thought of as a disadvantage. The weight at the end of the shaft and the shaft itself can be used both offensively and defensively. Swords, on the other hand, can be used to attack faster, have longer cutting edges (and therefore more striking surface and less area to grab), and were able to be more precisely controlled in the hands of an experienced swordsman. 95 inches long on its haft, the blade is 15 inches from the base of the habaki to tip.

Code: 23645

2450.00 GBP


Shortlist item
Native American Plains Indian Stone War-Club Hunting-Maul, Wood Handle Raw Hide Bound

Basalt stone head, held and bound with rawhide with tassles and a small tail of beadwork. Possibly, Lakota, Dakota, Nakoda style. Known as an iwatajinga, they can have conical pointed stone heads, right through to round stone heads. The term Nakota (or Nakoda or Nakona) is the endonym used by those native peoples of North America who usually go by the name of Assiniboine (or Hohe), in the United States, and of Stoney, in Canada.

They are Dakotan-speaking tribes that broke away from the main branches of the Sioux nation in earlier times. They moved farther from the original territory in the woodlands of what is now Minnesota into the northern and northwestern regions: Montana and North Dakota in the United States, and Manitoba, Saskatchewan, and Alberta in Canada. Later they became competitors for resources and enemies of their former language-family "allies". (In each of the dialects, nakota, dakota and lakota means "friend" or "ally".). Probably late 19th early 20th century. 19 inches long, stone head 4.75 inches across.

Code: 23688

645.00 GBP


Shortlist item
A Superb Mid Edo Period Samurai Face Armour, Menpo, Ressai "Mask With Fierce Expression", Myochin School, 18th century

This is a wonderful piece of Japanese Samurai 'art' made for warfare. Extremely collectable art that is most desirable in its own right, often stunningly used for interior decoration as an individual work of samurai art in its own right. Around 10 years ago we sold twenty to a famous Russian oligarch to decorate a state room on his 20 cabin super yacht moored in Monte Carlo. A very good russet embossed iron mask of 'Me no Shita Men' (half face) type. Mid Edo period 18th century. Typical Myochin school craftmanship with very sharp embossing. A four-lame yodarekake, [neck defence] with hooked standing cord pegs for attaching with cords to the samurai. The inner face is decorated with vermillion lacquer, and the neck lames are covered in brown lacquer made to simulate leather. Face armour, menpo, is samurai armour, and this is called 'with a fierce expression' masks They were worn with the Samurai's armours to serve as a protection for the head and the face from sword cuts. Even if the mask in unsigned, the type, and its the features suggest this fabulous face armour menpo was made by a smith from the Myochin school.

There are 4 types of mask designs that came into general use in Japan: happuri (which covers the forehead and cheeks), hanbō (covers the lower face, from below the nose all the way to the chin), sōmen (covers the entire face) and the me-no-shita-men (covers the face from nose to chin). We can also classify those mask depending on their facial expressions, most of which derive from the theatre masks. It has an asenagashino ana [a hole under the chin to drain off perspiration] and orikugi [two projecting studs above the chin to provide a secure fastening to the wearer]. 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 a relatively peaceful Edo period. However, the Shoguns of the Tokugawa period were most adept at encouraging clan rivalries and conflicts and battles were engaged throughout the empire. This of course suited the Shogun very well, while all his subordinate daimyo fought each other they were unlkikely to conspire against him. Samurai use continued to use both plate and lamellar armour as a symbol of their status but traditional armours were no longer necessary for war, but still for battle. The most important branch of the Myochin school is probably that of the Ki region. Founded by Kunimichi, it became popular between 17th and 18th century for the works of Munesuke, who had the technical ability and the artistic capacity to create samurai armour of great beauty, In fact, this is the period when Japanese armor makers became aware that they were living in a peaceful time and their works begun looking back at the mediaval samurai armour as an inspiration: kabuto started again to be of circular shape and decorations became again large and rich, as in the old o-yoroi armor.

The best ability of Munesuke was the hammering technique (uchidashi): his menpo look almost exagerated in their shapes, with a very long chin, sharp and deep wrinkles on the cheeks and theatrical mouth. Moustaches are often inlaid in silver or gold, instead of being in fur as on Nara style menpo.

But the armor maker who really brough the uchidashi technique to the highest level is Muneakira, pupil and adopted son of Munesuke, which we can consider the best maker for samurai armour of modern times: his hammeried works are extraordinary, with precise and sharp lines of a quality that nobody else achieved.

Code: 23684

3950.00 GBP


Shortlist item
A Magnificent & Beautiful Museum Grade Cloissonne Samurai's Suzaku Pheonix Tachi 500 Year Old Blade By Bizen Kuniyoshi Bearing the Tokugawa Mon

Suzaku is one of the four, Japanese, 'Great Celestial Beasts'. Suzaku translates to "Vermillion Chinese Phoenix". Cloisonne enamel mounted ancient bladed swords were often fabulous cultural presentation pieces, offered to great samurai and nobles as a symbol of their status and importance within the Japanese samurai nobility class hierarchy. This sword bears the tokugawa mon of the Shogun Tokugawa. The fabulous Japanese cloisonne koshirae [fittings and mounts] may well be by Namikawa Yasuyuki , who was 'Teishitsu Gigei’ Imperial Craftsman to the court of the Emperor Meiji. He decorated his later pieces with areas of semi-transparent mirror black enamel ground, that became one hallmark of most of Yasuyuki’s finest work. Overall decorated with incredible fantastically detailed, phoenix. Although Chinese cloisonné enamels had long been highly valued it was not until the late sixteenth century that cloisonné enamels became more widely used in Japan.There had long been a demand among the samurai for fine decoration of sword fittings and cloisonné enamels were used on tsuba (sword guards). The finest of these were made by the Hirata School, founded by Hirata Dōnin (died 1646) which was active well into the nineteenth century. A former samurai and one of the greatest artisans of the art was the cloisonné artist Namikawa Yasuyuki. Yasuyuki began his career around 1868 and worked with the Kyoto Cloisonné Company from 1871 to 1874.

He established his own studio and exhibited his work at national and international expositions. The most significant result of the collaboration of Wagener and Yasuyuki was the creation of the semi-transparent mirror black enamel that became the hallmark of most of Yasuyuki’s subsequent work.

Yasuyuki’s cloisonné enamels are characterised by the skilful use of intricate wirework and superb attention to detail and the designs on his earlier pieces are relatively traditional, consisting mainly of stylised botanical and formal geometric motifs. Much of his later work tends to be more pictorial with scenes from nature and views of landmarks in and around Kyoto.

Yasuyuki continued to improve his technical and artistic skills and in 1896 he was appointed Teishitsu Gigei’ in (Imperial Craftsman) to the court of the Emperor Meiji.The four celestial beasts, Seiryu [the dragon] , Suzaku [pheonix], Byakko [white tiger], and Genbu [tortoise] were probably introduced to Japan from China sometime in the 7th century AD, for their images are found on the tomb walls at Takamatsuzuka in Nara, which was built sometime in the Asuka period (600 - 710 AD). They are also found on the base of the Yakushi Triad at Yakushi-ji Temple , also in Nara. In Japan, the term “Suzaku” is translated as “Red Bird” or “Vermillion Chinese Phoenix.” In both Japan and China, the symbolism of the red bird seems nearly identical to or merged with that of the mythological Phoenix. One must consider the Suzaku and the Phoenix to be the same magical creature, although one cannot be certain if this is entirely true. Scholar Derek Walters says the Phoenix was supplanted or replaced by the Red Bird, for the Red Bird more accurately reflected the astronomical iconography associated with the southern lunar mansions.

It corresponds to summer, red, fire, and knowledge; it makes small seeds grow into giant trees. Often paired with the dragon, for the two represent both conflict and wedded bliss; dragon (emperor) and phoenix (empress). Portrayed with radiant feathers, and an enchanting song; and it only appears in times of good fortune. Within the ancient Imperial Palace in Japan, there was a gate known as Suzakumon (Red Bird Gate) Pairs of vases from these Meiji period Japanese cloisonne enamel workshops can now command prices into six figures. All of the fittings are in superb condition, damage free, the blade is in good Edo polish with just a few surface scratch marks, easily forgiveable due to its great age.Overall 27.5 inches long, blade 18.75 inches long

Code: 23683

14750.00 GBP


Shortlist item
Our Specialist Museum Grade Restoration & Conservation

For generations we have prided ourselves on commissioning the finest quality artisan restoration and conservation services available in the UK.
Restoration is often a vital part to saving and preserving fine, rare or even regular pieces that have been neglected or damaged over the past decades or even hundreds of years, and by doing so we have had fantastic results that are incredibly satisfying and created a wonderful feeling of accomplishment. However, these specialist arts are not to be considered lightly, today they can be extremely expensive, and were always time-consuming, for example, it is not unusual for the full restoration of the internal mechanism of simple antique flintlock gun to approach four figures or even more, and fine gun stock work can cost hundreds or thousands of pounds.
Another important factor though, is that bad and poorly executed restoration can be far worse than doing nothing at all. Thus we do not actively undertake third-party restoration at all due to the often excessive costs and considerable time involved. The artisan hand stone polishing of Japanese blades, for example, can rise up to £50 per inch, per side, and take many months. Another comparison would be the complete restoration of a vintage 50 year old plus motor car, which we have undertaken several times in the past 50 years. It is not unusual to spend £60,000 in todays prices, to restore and completely renovate a car that may, potentially be only worth half that once completed.
Restoration is a magnificent art, and often well worthwhile for important pieces when successful, but often the cost far outweighs simple intrinsic value. It is an important consideration to understand when considering such improvements to fine antique pieces. We were once advisers for the restoration of a magnificent 16th century 'Brussels' tapestry, that we sold to one of our clients in South America, [see it in our gallery, photographed in our shop with Judy in the foreground, Mark's late wife] the eventual restoration cost however, in today’s terms, was over £600,000, and it took 3 years. A sobering sum, outside of the deep pockets of national collections resources.
When we undertake restoration and conservation of our own items for sale, the price shown for the items purchase amount will be inclusive of all these costs, and we would have undertaken this work often for posterity to save for future generations pieces that may well might have been discarded in their poor, previously un-restored, original and neglected state. We will often contribute towards, and therefore subsidise these costs ourselves, in order to save a piece of beauty or historical significance for this reason.The improvement of 'value' is never our primary concern, and should, ideally never be the principle desire for collectors either, it should be for the preservation of fine craftsmanship and to restore fine cultural heirlooms for posterity, for the benefit of generations to come.

Code: 23682

Price
on
Request


The Gun Report, 1 example shown, Volume III No 5 October 1957, Plus 200 Others All £12 Each

We have acquired over two hundred archived copies of the Gun Report From the 1950's to 1980. They are simply wonderful reading, and fabulous reference works, with advertisements and reports that likely will never be seen again. A little bit of history with lots of information, photos and enjoyment, nicely bound. All sold for only £12 each.
Shown copy is Aledo IL World-Wide Gun Report 1957 Soft cover. Very Good Magazine. Very good condition, light cover wear.Articles; Boutet Gun Designer by F Theodore Dexter, Specialization by Robert A Erlandson, Captain David L Payne by Chester C Heizer, Powder Horns by Chester Williams, Old Time Bullet Seaters by Richard H Chamberlain, 60070-60072, From Rodent Rifle to "Gangster's Gat" by James A Leftwich, Who's Who in the Gun World (Featuring John Roten, Wharton, TX) by Annie Lee Williams, A Restored Flintlock Pistol by Ronald Lister, The Story of the Alamo Part I by Paul C Janke. 48 pages. 11 1/2" X 8 1/2" format.
Please note we cannot search and report the contents of each book, it would be far too time consuming sadly. Thus, they are sent out at random, unless the buyer wishes to personally visit and choose accordingly.

Code: 20344

12.00 GBP


Shortlist item
Shinto O-Tanto Signed Sukemune, Around 400 Years old. Now Fully Restored As A Representation of the Skill of Our Artisans.

A super Japanese o-tanto with a most impressive blade and fine fittings of gold and shakudo on a nanako ground. Fine, deep horizontally ribbed lacquer saya with fabulous patina. It also has a beautiful pair of silver menuki of small animals that are wrapped under the new, traditional, Japanese gold silk Ito. The fittings are decorated in gold depicting a cat with two tails, called Nekomata , and a pair of leaping hares. One of the most famous accounts of nekomata is the 1708 Yamato Kaiiki (大和怪異記; Mysterious Stories from Japan) story The Nekomata Fire (猫股の火) which tells the tale of a samurai whose house is taken over by a poltergeist-like haunting that is only ended when the family cat is killed and revealed to have two tails. This story was later adapted by Mizuki Shigeru for his comic Nekomata.

This version of the nekomata has completely taken over the Kamakura period beliefs, and it is almost impossible to find a modern depiction of nekomata that does not show the split-tailed monster.

Signed, early Shinto Japanese tanto with a most impressive blade and fine fittings of gold and shakudo on a nanako ground.

Signed zenkoji ju ani sukemune ‘Kiku. Student of Tsuda Sukehiro (SUK130). AKA "Kojuro Sukemune".
It has a very beautiful blade now traditionally stone re-polished, that now looks as stunning as it once was. The blade is engraved with a carved horimono of a Buddhist ancient ken straight sword with the vajra, still bearing traces of the original blood red lacquer. A vajra is a ritual weapon symbolizing the properties of a diamond (indestructibility) and a thunderbolt (irresistible force). The vajra is a type of club with a ribbed spherical head. ... According to the Indian mythology, vajra is considered as one of the most powerful weapons in the universe.
We show some photos of it as it was prior to restoration, so our online viewers can see just how skilled our professional museum grade artisans abilities are, to restore a fabulous, early samurai sword, back to how it once looked several hundred years ago. The original Edo period saya and ribbed lacquer is totally original and its fine condition needed no attention or restoration.

Code: 23681

3995.00 GBP


Shortlist item
Victorian Regulation Pattern Pioneers/Naval Sawback Cutlass,

Saw back blade struck with Birmingham inspector?s marks, regulation brass stirrup hilt stamped with issue date 1.1886 and unit markings V. MX 8. 4. In a regulation brass mounted leather scabbard, mouth of locket stamped 8.1889 1.V.L.F.3 and MOLE. Blade 57cms, overall 70cms. Very good condition, some age wear overall, tip of blade slightly bent. Invented for use in the Crimean War, issued as a regimental sapper's weapon for defences and siege construction, and then many were recalled [in the late Victorian era and early 20th century] and re-issued to the Royal Navy for Naval Brigades, for use as a cutlass as well as a sapper's sword.Some were recorded as being used by the British Navy in the Boxer Rebellion in 1900.

Code: 21811

595.00 GBP


Shortlist item
A Rare Scottish Napoleonic Royal Bodyguard Officer's Garde Du Corps Sword

of "Les Fiers Ecossais" their French nickname 'The Proud Scots'. A very rare sword that bears the unique crest of the 1st 'Scottish' Co. of The Kings Personal Royal Bodyguard [Garde Du Corps] of French Kings Louis XVIth & Louis XVIIIth. Revolutionary War and Napoleonic Wars period, a rare sword of the "Scottish company", the 1er Garde Ecossaise du Corps du Roy, possibly the sword of Antoine de Lhoyer, or, certainly one of his very few brother officers. A devout royalist, Antoine de Lhoyer in 1789 became a soldier in the Gardes du Corps du Roi, the personal bodyguard to Louis XVI. The rest of Lhoyer's life was to be buffeted by the momentous events of the French Revolution. A devout royalist, in 1789 he became a soldier in the Gardes du Corps du Roi, the bodyguard to Louis XVI. He fled from France after the massacre of guards by the crowd that invaded Versailles on 6 October 1789. By 1792, in Koblenz he had enlisted with the arm?e des Princes which joined with an allied army of Prussian and Austrian soldiers led by the Duke of Brunswick in an unsuccessful invasion of France in 1792. The years 1794-7 saw him participating in the campaigns with the Austrian army, and in 1799-1800 he served with counter revolutionary forces in the Army of Cond?. He was wounded in battle and lost the use of his right hand for three years. He took refuge in Hamburg between 1800 and 1804 where his first known musical works were published (opus 12 to 18). Antoine de Lhoyer [L'Hoyer] (6 September 1768 ? 15 March 1852) was also a French virtuoso classical guitarist and an eminent early romantic composer of mainly chamber music featuring the classical guitar. Lhoyer also had an incredible and notable military career, he was an elite member of Gardes du Corps du Roi, a Knight of the Order of St John and a Knight of the Order of St Louis. Louis XVIII appointed him "Major de la place" on the ?le d?Ol?ron in 1816.
History of the French King's personal Scottish guards.
The King kept about him his Garde ?cossaise. The Scottish Guards had likely protected him during the murder of John the Fearless at the bridge of Montereau, and rescued him from a fire in Gascony in 1442. His Scottish Guards fell at the Battle of Montlh?ry defending their King, Louis XI of France, in 1465.
Later history
The Garde ?cossaise survived as the King's of France's personal guard until the end of the Bourbon monarchy as the senior or Scottish Company of the Gardes du Corps (Body Guards). There were four companies of Body Guards and a detachment of them accompanied the French King wherever he went, posted guards on his sleeping place and even escorted his food from kitchen to table. The Garde ?cossaise, [Scots Guard) was an elite Scottish military unit founded in 1418 by the Valois Charles VII of France, to be personal bodyguards to the French monarchy. They were assimilated into the Maison du Roi and later formed the first company of the Garde du Corps du Roi (Royal Bodyguard).

In 1450, King James II sent a company of 24 noble Scots under the command of Patrick de Spens, son of his custodian. This company takes the name of archiers du corps or gardes de la manche. On 31 August 1490, this company, these of Patry Folcart, Thomas Haliday and a part of the company of Robin Petitloch became the first company of archiers de la garde du roi under the command of Guillaume Stuier (Stuart). At the beginning la compagnie ?cossaise des gardes du corps du roi included 100 gardes du corps (25 bodyguards and 75 archers). Each bodyguard had four men-at-arms under his command, (a squire, an archer, a cranequinier and a servant), one of them acquired the name of premier homme d'armes du royaume de France. They were finally disbanded in 1830 at the abdication of Charles X.

During the reign of Francis I the garde were held up by blizzards near the Simplon Pass after a defeat at the Battle of Pavia in 1525. Some of the men reputedly settled there and their descendants became known as the "Lost Clan".

From the 16th century onwards recruitment of the unit was primarily from Frenchmen and the Scottish element gradually diminished at that time but the name remained in their honour. The name was retained as were certain words of command which had originated in Scotland. In 1632, the Earl of Enzie began to rebuild the Scottish regiment in France. There is sometimes confusion as to which unit actually held the title of Garde ?cossaise, with several regiments in service often being conflated, especially those commanded by Sir John Hepburn, James Campbell, 1st Earl of Irvine (later commanded by Sir Robert Moray) and Colonel James Douglas. As an example some works recording Scots in action have simply applied the Garde ?cossaise name, although referring to the Regiment de Douglas.

By the reign of Louis XV the Scottish Company numbered 21 officers and 330 men in a mounted unit which last saw active service when they escorted Louis at the Battle of Lawfeld on 1 July 1747. On this and other occasions the Scottish Company carried claymores with steel basket guards instead of the swords of the other French heavy cavalry. They were distinguished from the other companies of the Body Guards by wearing white bandoleers garnished with silver lace.

The Scottish Company provided a special detachment of 24 Gardes de la Manche (literally "Guards of the Sleeve") who stood in close attendance to the king during court ceremonies. The name indicated that they stood so close to the monarch as to be brushed by his sleeve. The Gardes de la Manche were distinguished by a heavily embroidered white and gold cassock which they wore over the blue and red and silver uniform of the Body Guard.
All four companies of the Body Guard were formally disbanded in 1791, although the aristocratic personnel of the regiment had dispersed following the closure of Versailles as a royal palace in October 1789. They were re-established at the time of the First Bourbon Restoration under an ordinance dated 25 May 1814. Until their final dissolution in 1830 the Senior Company retained the title of "les fiers Ecossais" (the proud Scots) Several original pictures in the gallery of the Ist Scottish, including a portrait of Monsieur Bergier, an Officer of the 1st Scottish Guards (18th century). No scabbard

Code: 22032

2850.00 GBP


Shortlist item
Stunning Kings Royal Rifles Officers Battle Honour Blade Presentation Sword

With battle honours up to 1918. Made in 1931 by Wilkinson Sword Co. and used in the corps through WW2. It is pretty rare to find a KRRC Battle Honour presentation pattern sword. The King's Royal Rifle Corps was an infantry rifle regiment of the British Army that was originally raised in British North America as the Royal American Regiment during the phase of the Seven Years' War in North America known as 'The French and Indian War.' Subsequently numbered the 60th Regiment of Foot, the regiment served for more than 200 years throughout the British Empire. In the First World War

The 1st Battalion landed at Rouen as part of the 6th Brigade in the 2nd Division in August 1914 for service on the Western Front. It saw action at the Battle of Mons in August 1914, the First Battle of the Marne and the First Battle of the Aisne in September 1914 and First Battle of Ypres in October 1914. It fought at the Battle of Festubert in May 1915, the Battle of Loos in September 1915 and the Battle of the Somme in Autumn 1916 before taking part in the advance to the Hindenburg Line, the Battle of Arras in November 1917, the Battle of Cambrai in November 1917, the Second Battle of the Somme in Autumn 1918 and the Battle of the Selle in October 1918.
The 2nd Battalion landed at Le Havre as part of the 2nd Brigade in the 1st Division in August 1914 for service on the Western Front and saw action at the Battle of Aubers Ridge in May 1915.
The 3rd Battalion landed at Le Havre as part of the 80th Brigade in the 27th Division in December 1914 for service on the Western Front and saw action at the Second Battle of Ypres in April 1915.

The 4th Battalion landed at Le Havre as part of the 80th Brigade in the 27th Division in December 1914 for service on the Western Front and saw action at the Second Battle of Ypres in April 1915 but moved to Salonika in November 1915 before returning to France in June 1918.
New armies
The 7th (Service) Battalion landed at Boulogne-sur-Mer as part of the 41st Brigade in the 14th (Light) Division in August 1914 for service on the Western Front and saw action the Second Battle of Ypres in May 1915, the Battle of Delville Wood in July 1916 and the Battle of Flers?Courcelette in September 1916 as well as the advance to the Hindenburg Line, the Battle of Arras in April 1917, the Battle of Langemark in August 1917, the First Battle of Passchendaele in October 1917 and the Second Battle of Passchendaele in November 1917 before taking part in the Battle of St Quentin in March 1918 and the Battle of the Avre in April 1918.

The 8th (Service) Battalion landed at Boulogne-sur-Mer as part of the 41st Brigade in the 14th (Light) Division in May 1915 for service on the Western Front[21] and saw action most of the same battles as the 7th Battalion. The 9th (Service) Battalion landed at Boulogne-sur-Mer as part of the 42nd Brigade in the 14th (Light) Division in May 1915 for service on the Western Front and saw action most of the same battles as the 7th and 8th battalions.

The 10th (Service) Battalion and 11th (Service) Battalion landed at Boulogne-sur-Mer as part of the 59th Brigade in the 20th (Light) Division in July 1915 for service on the Western Front and saw action at the Battle of Mont Sorrel in June 1916, the Battle of Delville Wood in July 1916 and the Battle of Guillemont in September 1916 as well as the Battle of Flers?Courcelette in September 1916, the Battle of Morval in September 1916 and the Battle of Le Transloy in October 1916 before taking part in the advance to the Hindenburg Line, the Battle of Langemarck in August 1917, the Battle of the Menin Road Ridge in September 1917, the Battle of Polygon Wood in September 1917 and the Battle of Cambrai in November 1917.

The 12th (Service) Battalion landed at Boulogne-sur-Mer as part of the 60th Brigade in the 20th (Light) Division in July 1915 for service on the Western Front and saw action most of the same battles as the 10th and 11th Battalions. The 13th (Service) Battalion landed at Boulogne-sur-Mer as part of the 111th Brigade in the 37th Division in July 1915 for service on the Western Front and saw action at the Battle of Morval in September 1916, the advance to the Hindenburg Line and the Battle of Arras in April 1917 as well as the Battle of Passchendaele in Autumn 1917, the Battle of Cambrai in November 1917 and the Hundred Days Offensive in Autumn 1918 before taking part in the Battles of the Hindenburg Line and the Final Advance in Picardy.
Seven members of the regiment received the Victoria Cross. No scabbard

Code: 22171

1150.00 GBP


Shortlist item
Next page