Antique Arms & Militaria

A Simply Breathtaking Original Viking High Carat Fine Gold Bracelet, Most Likely By An Irish Master Goldsmith, In Twisted Gold Wirework That The Irish Goldworkers Were Most Famed, From The 1st Millenia BC to The Viking Era, Circa 10th Century

Composed of twisted gold wirework upon gold wire coils. The only place one can normally only see such a beautiful masterpiece would be in a National Museum Collection in Ireland, Britain or Scandinavia, yet to own such a unique piece could be such a joy for the admirer of original Viking historical artistry, and especially, by a likely Irish master craftsman.

Since the Vikings were famed for their constant renegade raiding and looting – it was paramount that Viking kings earls, lords and warriors cemented their alliances. One way to show bonds of loyalty was through the exchange of rings. Kings and Lords, who held most of the wealth, gifted rings or arm bracelets of precious metals to warriors as a means of redistributing treasure and giving thanks. Some might say a most ironic practice, that of using the invasion, pillage and raiding of others, in order to promote peace and prosperity for their own.

If you’ve ever read Beowulf, you know that dragons were among the mythical creatures most despised by the tribes of Northern Europe. Apart from breathing fire, dragons also represented a self-destructive force inherent in tribal culture. Dragons hoard treasure in dungeons and caverns far removed from villages and cities. For the Vikings, along with other Northern tribes, wealth was best served as a means for building communities. Lords who gifted treasure gained alliances, and thereby strengthened their own ranks. The distribution of wealth meant larger, safer, more vibrant populations. Lords who hoarded wealth like dragons weakened necessary social structures, and essentially rendered their wealth useless.

Gold jewelry was always reserved for the Viking elite, as a symbol of great wealth and power..

The Vikings smelted all sorts of looted art pieces and jewelry from their hoards. Worn by both men and women, Viking jewelry was mostly made of silver or bronze, with gold jewelry often reserved for the elite. Women wore brooches that fastened their clothes together, as well as necklaces. Men, on the other hand, wore rings and armlets. The rings were not limited to fingers, but also worn about the wrists, arms, and neck. Warriors also adorned their weapons, especially the sword hilt.

The Vikings acquired wealth in a few ways. Firstly, they were traders. Viking coins and runes have made it to many ends of the earth. Eventually, the Vikings realised that precious metals, along with other luxury goods, could be more easily acquired by raiding the monasteries of Britain, Ireland and Northern Europe. At the time, Viking ships were fast and coastal British monasteries were isolated and poorly defended. The Viking “reign of terror” is generally agreed to have begun in 793 after a raid on England’s Lindisfarne monastery. Archaeologist Colleen Batey of the Glasgow Museums wryly notes that the Vikings “had a preference for anything that looked pretty.” Eventually, the Vikings settled in many of these areas, choosing to colonize rather than extort their southern neighbours.

It has been observed that Viking Age gold finds in Scandinavia and Britain, especially Ireland are frequently associated with watery environments and may represent ritual or votive depositions. There is also evidence, literary and archaeological, for the ritual deposition of some silver hoards in the Viking world. This considers the evidence of those Viking Age gold and silver hoards and single finds from Ireland that derive from watery locations, including Irish crannogs and their environs. It is noted that all recorded gold hoards, with one exception, have an apparent association with water or watery places and thus conform to the patterns noted elsewhere. As with all our items it comes complete with our certificate of authenticity.

50mm, 5.88 gms  read more

Code: 24778

An Early Crusades Period 10th Century, Byzantine, Ceramic Greek Fire 'Grenade' Around 1,100 Years Years Old. A Fabulous Historical Collector's Item and Conversation Piece

Of rounded form. A rare collectable ancient artefact and a wonderful conversation piece. Circa 10th century AD. A grey ceramic globular vessel age cracking. Incised and decorated .

We received a most kindly informing communication from the States, in the past day or so, confirming modern historians widely believe Greek fire was primarily a petroleum-based liquid, likely using naphtha (a light crude oil) mixed with sticky substances like pine resin to make it adhere and burn hotter, similar to modern napalm, though the exact, guarded Byzantine recipe is lost. It also might have included sulphur, pitch, or even quicklime, with its devastating ability to burn on water and stick to surfaces making it a fearsome weapon

History of the grenade;
Although grenades rose to prominence as weapons during the 20th century, grenades have a very long history.

They are first thought to have been used by the Byzantine Empire from around the seventh century AD. Clay vessels were filled with flammable liquid known as Greek fire and flung at the enemy.
They were often piled into catapults to increase the range and devastation they caused.
They were popular weapons in naval battles as the fire could easily spread on ships and cause devastation. In its earliest form, Greek fire was hurled onto enemy forces by firing a burning cloth-wrapped ball, perhaps containing a flask, using a form of light catapult, most probably a seaborne variant of the Roman light catapult or onager. These were capable of hurling light loads, around 6 to 9 kg (13 to 20 lb), a distance of 350?450 m (380?490 yd). Greek fire, was invented in ca. 672, and is ascribed by the chronicler Theophanes to Kallinikos, an architect from Heliopolis in the former province of Phoenice, by then overrun by the Muslim conquests. The historicity and exact chronology of this account is open to question: Theophanes reports the use of fire-carrying and siphon-equipped ships by the Byzantines a couple of years before the supposed arrival of Kallinikos at Constantinople. If this is not due to chronological confusion of the events of the siege, it may suggest that Kallinikos merely introduced an improved version of an established weapon. The historian James Partington further thinks it likely that Greek fire was not in fact the discovery of any single person, but "invented by chemists in Constantinople who had inherited the discoveries of the Alexandrian chemical school".Indeed, the 11th-century chronicler George Kedrenos records that Kallinikos came from Heliopolis in Egypt, but most scholars reject this as an error. Kedrenos also records the story, considered rather implausible, that Kallinikos' descendants, a family called "Lampros" ("Brilliant"), kept the secret of the fire's manufacture, and continued doing so to his day.

The invention of Greek fire came at a critical moment in the Byzantine Empire's history: weakened by its long wars with Sassanid Persia, the Byzantines had been unable to effectively resist the onslaught of the Muslim conquests. Within a generation, Syria, Palestine and Egypt had fallen to the Arabs, who in ca. 672 set out to conquer the imperial capital of Constantinople. The Greek fire was utilized to great effect against the Muslim fleets, helping to repel the Muslims at the first and second Arab sieges of the city. Records of its use in later naval battles against the Saracens are more sporadic, but it did secure a number of victories, especially in the phase of Byzantine expansion in the late 9th and early 10th centuries. Utilisation of the substance was prominent in Byzantine civil wars, chiefly the revolt of the thematic fleets in 727 and the large-scale rebellion led by Thomas the Slav in 821?823. In both cases, the rebel fleets were defeated by the Constantinopolitan Imperial Fleet through the use of Greek fire The Byzantines also used the weapon to devastating effect against the various Rus' raids to the Bosporus, especially those of 941 and 1043, as well as during the Bulgarian war of 970?971, when the fire-carrying Byzantine ships blockaded the Danube.

The importance placed on Greek fire during the Empire's struggle against the Arabs would lead to its discovery being ascribed to divine intervention. The Emperor Constantine Porphyrogennetos (r. 945?959), in his book De Administrando Imperio, admonishes his son and heir, Romanos II (r. 959?963), to never reveal the secrets of its construction, as it was "shown and revealed by an angel to the great and holy first Christian emperor Constantine" and that the angel bound him "not to prepare this fire but for Christians, and only in the imperial city". As a warning, he adds that one official, who was bribed into handing some of it over to the Empire's enemies, was struck down by a "flame from heaven" as he was about to enter a church. As the latter incident demonstrates, the Byzantines could not avoid capture of their precious secret weapon: the Arabs captured at least one fireship intact in 827, and the Bulgars captured several siphons and much of the substance itself in 812/814. This, however, was apparently not enough to allow their enemies to copy it . The Arabs for instance employed a variety of incendiary substances similar to the Byzantine weapon, but they were never able to copy the Byzantine method of deployment by siphon, and used catapults and grenades instead. In its earliest form, Greek fire was hurled onto enemy forces by firing a burning cloth-wrapped ball, perhaps containing a flask, using a form of light catapult, most probably a seaborne variant of the Roman light catapult or onager. These were capable of hurling light loads?around 6 to 9 kg (13 to 20 lb)?a distance of 350?450 m (383?492 yd). Later technological improvements in machining technology enabled the devising of a pump mechanism discharging a stream of burning fluid (flame thrower) at close ranges, devastating wooden ships in naval warfare. Such weapons were also very effective on land when used against besieging forces.

Greek fire continued to be mentioned during the 12th century, and Anna Komnene gives a vivid description of its use in a {possibly fictional} naval battle against the Pisans in 1099. However, although the use of hastily improvised fireships is mentioned during the 1203 siege of Constantinople by the Fourth Crusade, no report confirms the use of the actual Greek fire, which had apparently fallen out of use, either because its secrets were forgotten, or because the Byzantines had lost access to the areas of the Caucasus and the eastern coast of the Black Sea where the primary ingredients were to be found.  read more

Code: 26042

A Stunning, Large, Original, Roman Classical Carved Carnelian Intaglio Seal of the Goddess Laetitia . This Amazing Roman Intaglio Could Make A Beautiful Ring With A Bespoke Mount

With the figure of the Goddess Laetitia leaning upon a shield of nine stars, with an anchor at her feet. A delightful object d'art in the typical classical Greco-Roman form, probably mounted in a pinchbeck type mount in Georgian England circa 1770, but the carnelian is probably 1st century bc to 2nd, 3rd century Roman, mounted in a gilded metal oval mount in the 18th century. Roman carved intaglio carnelian stone seals were very popular in the era of the English aristocracy's 'Grand Tours' with many brought back from trips to Rome and mounted as rings or seals in the time of King George IIIrd. Laetitia is the Roman Goddess of joy, gaiety, and celebration, and is especially linked with holidays and festivals. She was often shown with an anchor, as a representation of stability. Laetitia was given several epithets depending on the type of joy the Emperor was attempting to take credit for bringing to the Empire. On coins of the Emperors Gordian III and Gallienus, who both reigned in the mid 3rd century CE, She is Laetitia Augusta, "the Joy of the Emperor", which, in propaganda-style, can be taken to mean "the joy the Emperor brings to the people", though it may also have been a way of announcing the birth of a child into the imperial family. On these She is shown standing in Her typical pose, with a garland in one hand and an anchor supporting the other; The red variety of chalcedony has been known to be used as beads since the Early Neolithic in Bulgaria. The first faceted (with constant 16+16=32 facets on each side of the bead) carnelian beads are described from the Varna Chalcolithic necropolis (middle of the 5th millennium BC). The bow drill was used to drill holes into carnelian in Mehrgarh in the 4th-5th millennium BC. Carnelian was recovered from Bronze Age Minoan layers at Knossos on Crete in a form that demonstrated its use in decorative arts; this use dates to approximately 1800 BC. Carnelian was used widely during Roman times to make engraved gems for signet or seal rings for imprinting a seal with wax on correspondence or other important documents. Hot wax does not stick to carnelian. Sard was used for Assyrian cylinder seals, Egyptian and Phoenician scarabs, and early Greek and Etruscan gems. The Roman Empire was the seat of power and wealth in the Western world for hundreds of years. Because of their impressive span, they were able to trade with cultures throughout the world, not only in Europe, but also in northern Africa.

This gave them access to numerous gemstones which they could use to craft their jewelry. Because of their wealth, they were able to afford many precious and semi-precious stones, as well as detailed artisan craftwork.

We show in the gallery another similar Roman carnelian seal that has been re-mounted in a yellow gold ring mount, it looks spectacular. We show another similar sized that was remounted as a ring in the 19th century, it sold in auction for £8,125.

We also show in the photo gallery a similar Carnelion intaglio seal of Empress Catherine the Great sold recently for just under 30,000 gbp.

Pinchbeck is a durable yellow metal that resembles gold but is made with a combination of copper and zinc—much less zinc than the combo of the same two metals used to produce brass. The formula was developed by Christopher Pinchbeck, a London clockmaker who lived from about 1670 to 1732.
The seal is 32mm x 26mm in mount  read more

Code: 20846

A Beautiful Ancient Bronze and Enamel Book Clasp Around 1100 Years Old. From the Era of Anglo Saxon England & The Viking Incursions into Britain Through to The Early Crusades Period

Circa 10th-12th century AD. A stunning and most beautiful antiquity perfect for an antiquarian bibliophile as an example of the rarest of artefacts used to protect valuable volumes illuminated manuscripts and testaments.

A small and most intricate gem from the days of the Anglo Saxon’s and Vikings.

Originally from the Christian Eastern Roman Empire. A bronze tongue-shaped clasp with pelleted border and reserved peacock on an enamelled field. Anglo Saxon to early Norman period. Very fine condition. Two examples in the gallery show a 1000 year old book and a 1000 year old old testament that both had clasps such as this. The Bible is an ancient text. Like every other ancient text, the originals have not survived the ravages of time. What we have are ancient copies of the original which date to hundreds of years after their composition, for example from around 700 AD This is normal for ancient texts. For example, Julius Caesar chronicled his conquest of Gaul in his work On The Gallic War in the first century B.C. The earliest manuscript in existence dates to the 8th century AD, some 900 years later. The oldest biblical text is on the Hinnom Scrolls ? two silver amulets that date to the seventh century B.C. These rolled-up pieces of silver were discovered in 1979-80, during excavations led by Gabriel Barklay in a series of burial caves at Ketef Hinnom. When the silver scrolls were unrolled and translated, they revealed the priestly Benediction from Num 6:24-26 reading, ?May Yahweh bless you and keep you; May Yahweh cause his face to Shine upon you and grant you Peace.?6 The Ketef Hinnom scrolls contain the oldest portion of Scripture ever found outside of the Bible and significantly predate even the earliest Dead Sea Scrolls. They also contain the oldest extra-biblical reference to YHWH. Given their early date, they provide evidence that the books of Moses were not written in the exilic or postexilic period as some critics have suggested.


Richard Lassels, an expatriate Roman Catholic priest, first used the phrase “Grand Tour” in his 1670 book Voyage to Italy, published posthumously in Paris in 1670. In its introduction, Lassels listed four areas in which travel furnished "an accomplished, consummate traveler" with opportunities to experience first hand the intellectual, the social, the ethical, and the political life of the Continent.

The English gentry of the 17th century believed that what a person knew came from the physical stimuli to which he or she has been exposed. Thus, being on-site and seeing famous works of art and history was an all important part of the Grand Tour. So most Grand Tourists spent the majority of their time visiting museums and historic sites.

Once young men began embarking on these journeys, additional guidebooks and tour guides began to appear to meet the needs of the 20-something male and female travelers and their tutors traveling a standard European itinerary. They carried letters of reference and introduction with them as they departed from southern England, enabling them to access money and invitations along the way.

With nearly unlimited funds, aristocratic connections and months or years to roam, these wealthy young tourists commissioned paintings, perfected their language skills and mingled with the upper crust of the Continent.

The wealthy believed the primary value of the Grand Tour lay in the exposure both to classical antiquity and the Renaissance, and to the aristocratic and fashionably polite society of the European continent. In addition, it provided the only opportunity to view specific works of art, and possibly the only chance to hear certain music. A Grand Tour could last from several months to several years. The youthful Grand Tourists usually traveled in the company of a Cicerone, a knowledgeable guide or tutor.

The ‘Grand Tour’ era of classical acquisitions from history existed up to around the 1850’s, and extended around the whole of Europe, Egypt, the Ottoman Empire, and the Holy Land. The book clasp is 10.4 grams, 38mm (1 1/2" inches long)

The dirt from the rear surface of the object was removed manually using a scalpel under magnification. Care was taken not to dislodge the powdery, corroding surface. With all hand conservation if the surface is in particularly sensitive condition the dirt was left in situ  read more

Code: 22940

Wonderful 12th-13th Century Crusader & Pilgrim Knight's Heraldic Seal Ring Of a Fantastical Beast The Manticore, A Human Headed Tiger or Lion. Used In Medeavil Heraldry On Shields, Banner, Accoutrements & Indicated To Which Noble Family A Knight Belonged

A superb naturally patinated bronze, realistically engraved with an intaglio of the Manticore a Man-Tiger or Man-Lion. For example, in the 1400's it was the Heraldic Badge of William Lord Hastings. Often used as a supporter for a noble coat of arms. The ring is also very unusual in that it is designed to be sectioned on the inside ring so as to be self adjusting for finger size.

The royal supporters of England are the heraldic supporter creatures appearing on each side of the royal arms of England. The royal supporters of the monarchs of England displayed a variety, or even a menagerie, of real and imaginary heraldic beasts, either side of their royal arms of sovereignty, including lion, leopard, panther and tiger, manticore, antelope and hart, greyhound, boar and bull, falcon, cock, eagle and swan, red and gold dragons, as well as the current unicorn.

In ancient Greek culture, the manticore represented the unknown lands of Asia, the area it was said to inhabit. In later times, the manticore was recognized by many Europeans as a symbol of the devil or of the ruthless rule of tyrants. This may have originated in the practice of using manticores as royal decorations, and heraldic devices.

The Manticore In Art, Literature, And Everyday Life
During the Middle Ages, the manticore appeared in a number of bestiaries, books containing pictures or descriptions of mythical beasts.

The manticore was also featured in medieval heraldry—designs on armour, shields, and banners that indicated the group or family to which a knight belonged.

The medieval Maniticore is featured in numerous medieval manuscripts known as Bestiary, a book written in the Middle Ages containing descriptions of real and imaginary animals, intended to teach morals, religion and to entertain.
The bestiary — the medieval book of beasts — was among the most popular illuminated texts in northern Europe during the Middle Ages (about 500–1500). Medieval Christians understood every element of the world as a manifestation of God, and bestiaries largely focused on each animal's religious meaning. Much of what is in the bestiary came from the ancient Greeks and their philosophers. The earliest bestiary in the form in which it was later popularized was an anonymous 2nd-century Greek volume called the Physiologus, which itself summarized ancient knowledge and wisdom about animals in the writings of classical authors such as Aristotle's Historia Animalium and various works by Herodotus, Pliny the Elder, Solinus, Aelian and other naturalists.

Following the Physiologus, Saint Isidore of Seville (Book XII of the Etymologiae) and Saint Ambrose expanded the religious message with reference to passages from the Bible and the Septuagint. They and other authors freely expanded or modified pre-existing models, constantly refining the moral content without interest or access to much more detail regarding the factual content. Nevertheless, the often fanciful accounts of these beasts were widely read and generally believed to be true. A few observations found in bestiaries, such as the migration of birds, were discounted by the natural philosophers of later centuries, only to be rediscovered in the modern scientific era.

Medieval bestiaries are remarkably similar in sequence of the animals of which they treat. Bestiaries were particularly popular in England and France around the 12th century and were mainly compilations of earlier texts. The Aberdeen Bestiary is one of the best known of over 50 manuscript bestiaries surviving today.These bestiaries held much content in terms of religious significance. In almost every animal there is some way to connect it to a lesson from the church or a familiar religious story. With animals holding significance since ancient times, it is fair to say that bestiaries and their contents gave fuel to the context behind the animals, whether real or myth, and their meanings.

UK size R1/2  read more

Code: 25481

A Spectacular Condition, Original, British 1885 Pattern Cavalry Trooper's Combat Sabre. The Sword Used to Incredible Effect At the Battle of Omdurman. Stamped WD Broad Arrow, And Issue Date 1885. {War Department} Complete With Buff Hide Sword Knot

A simply stunning 1885 Pattern Cavalry Sword. This sword has been incredibly well cared for and it is amazing condition. It would, without a shadow of a doubt, be impossible to improve upon with a better example. as good if not better than the very best examples in the National Army Museum or The Tower of London collection.

After a false start in 1882, the 1885 pattern was developed following committee input on improving the sword. The first opposite ringed scabbard came out of this process along with a slightly shorter blade. This sword saw extensive use in the campaigns in Egypt and the Sudan during the 1880s and 1890s. The shortening of the blade did allow some opponents along the Nile to lie on the ground, putting themselves out of the reach of the trooper's sword! This problem was rectified in the 1899 pattern. Still this sword represented an important step in the evolution of British Cavalry swords and was used by the 21st Lancers at the Battle of Omdurman in 1898; amongst the daring lancers was a young Winston Churchill.

The Battle of Omdurman was fought during the Anglo-Egyptian conquest of Sudan between a British–Egyptian expeditionary force commanded by British Commander-in-Chief (sirdar) major general Horatio Herbert Kitchener and a Sudanese army of the Mahdist State, led by Abdallahi ibn Muhammad, the successor to the self-proclaimed Mahdi, Muhammad Ahmad. The battle took place on 2 September 1898, at Kerreri, 11 kilometres (6.8 mi) north of Omdurman.

Following the establishment of the Mahdist State in Sudan, and the subsequent threat to the regional status quo and to British-occupied Egypt, the British government decided to send an expeditionary force with the task of overthrowing the Khalifa. The commander of the force, Sir Herbert Kitchener, was also seeking revenge for the death of General Gordon, who had been killed when a Mahdist army captured Khartoum thirteen years earlier.3 On the morning of 2 September, some 35,000–50,000 Sudanese tribesmen under Abdullah attacked the British lines in a disastrous series of charges; later that morning the 21st Lancers charged and defeated another force that appeared on the British right flank. Among those present was 23-year-old soldier and reporter Winston Churchill as well as a young Captain Douglas Haig.

The victory of the British–Egyptian force was a demonstration of the superiority of a highly disciplined army equipped with modern rifles, machine guns, and artillery over a force twice its size armed with older weapons, and marked the success of British efforts to reconquer Sudan. Following the Battle of Umm Diwaykarat a year later, the remaining Mahdist forces were defeated and Anglo-Egyptian Sudan was established.

Pictures in the gallery of photographs of the regimental armourers sharpening their 1885 cavalry swords before combat.  read more

Code: 26038

A Scarce US Civil War Service 1817 Model US Army Rifle, Dated 1826, Percussion Conversion For American The Civil War

Made in Middleton Connecticut by either Simeon North or Robert Johnson. The breech is marked in three lines with US / AH / (circle) P. The P proof mark is in a depressed rosette. The inspector initials AH are those of Asabel Hubbard who was a Springfield Armory armourer and contract arms inspector.

The M1817 nicknamed the 'common rifle' in order to distinguish it from the Hall rifle was a flintlock muzzle-loaded weapon issued due to the US Dept. of Ordnance's order of 1814, produced by Henry Deringer and used from 1820s to 1840s at the American frontier, and after conversion to percussion, in the American Civil War in the 1860's.

This type of rifle-musket was used in the Civil War with service in the 2nd Mississippi Infantry, CS. A seldom seen, good looking longarm to fit any military collection, with shortened fore-stock wood, smooth bored.

Under contract with the government, Henry Deringer converted some 13,000 such flintlocks to percussion, muzzleloader rifles with the ‘drum’ or ‘French’ style system.

Unlike the half-octagon barreled Model 1814 Rifle that preceded it, it had a barrel that was round for most of its length. The barrel was rifled for .54 calibre bullets. For rifling it had seven grooves. Like the Model 1814, it had a distinctive large iron oval patchbox in the buttstock.  read more

Code: 26036

A Wonderful Museum Grade Masterpiece, A Rare 18th Century French Small-Sword of Purest Gold Applied to Lustrous Crafted Silver & Hand Chiselled Steel. As Fine As Anything Comparable in the Royal Collection, or Les Invalides Army Museum in Paris.

A stunning museum grade sword, a pure masterpiece of the sword makers art! Magnificently decorated with purest gold, applied to the finest hand chiselled steel, worthy of a finest collection of 18th to 19th century fine art, decor and furnishings. A singular example of the skill of the artists in the French king’s and the later Emperor Napoleon’s court. Almost all of the executed King’s artisans were recruited by Napoleon for his service at the Emperor’s court..

Likely made at Versailles by a Royal swordsmith of King Louis XVIth, such as the master swordsmiths of the king, Lecourt, Liger or Guilman. A very finest grade sword of the form as was made for the king to present to favoured nobles and friends. He presented a similar sword to John Paul Jones see painting in the gallery now in the US Naval Academy Museum. Three near identical swords to this now reside in the Metropolitan. This is a simply superb small-sword, with stunningly engraved chiselled steel hilt, overlaid with pure gold over a fish-roe background, decorated with hand chiselled patterns of scrolling arabesques throughout the hilt, knucklebow, shell guards and pommel in the rococo style. The multi wire spiral bound grip is finest silver, betwixt blued silver bands, with Turks head finials. The blade is in the typical trefoil form, ideal for the gentleman's art of duelling, and very finely engraved. The degree of craftsmanship of this spectacular sword is simply astounding, worthy of significant admiration, it reveals an incredible attention to detail and the skill of it's execution is second to none.

A four figure piece that could easily be five figures if it was only known to whom it was presented. A secret lost into the mists of time!

Other similar swords are in also in the British Royal Collection and in Les Invalides in Paris. Trefoil bladed swords had a special popularity with the officers of the French and Indian War period. Even George Washington had a very fine one just as this example. For example of the workmanship in creating this sword, for such as the King and Marie Antoinette, the keys for the Louis XVI Secretary Desk (Circa 1783) made for Marie-Antoinette by Jean Henri Riesener, one of the worlds finest cabinetmakers, and whose works of furniture are the most valuable in the world. The steel and gold metalwork key for Marie Antoinette's desk, is attributed to Pierre Gouthire (1732-1813), the most famous Parisian bronzeworker of the late eighteenth century who became gilder to the king in 1767. This sword bears identical workmanship and style to that magnificent key.

This is the quality of sword one might have expected find inscribed upon the blade 'Ex Dono Regis' given by the King.
Very fine condition overall, with natural aged patination throughout.

Of course a masterpiece of this level could, and will, never be created again, however, if one could, only the gold and steel master gunsmiths such as the finest craftsman employed by such as Purdey of London, might even attempt to. And the cost?, without doubt, around £150,000 {plus}.

The painting in the gallery, is titled John Paul Jones and Louis XVI, by the American artist Jean Leon Gerome Ferris depicts John Paul Jones and Benjamin Franklin at the court of Louis XVIth and being presented a similar sword now in US Naval Academy Museum.

Overall length 35.5 inches  read more

Code: 23162

One Of The Finest Quality Museum Grade French Napoleonic Flintlock Pistols One Will Ever See Outside Of The World Renowned Musee De l’armee Les Invalides Paris. Exactly The Quality As Was Presented By Emperor Napoleon To His Royal Allies & Marshals

A singularly fabulous Napoleonic wars period French presentation pistol of the highest possible grade, made during the French Consular and First Empire period, a flintlock worthy of Napoleon himself.

Made by highly respected French master gunsmith, this is a museum piece pistol overflowing with solid silver gilt mounts, with further scrolls of silver inlaid within the stock, and to compliment the solid silver gilt all the steel is also stunningly chiselled with pure gold embellishments and highlights throughout all of the lock and the barrel. Chiselled with trophies of arms against a ring matted gold ground, a gold lined rainproof pan, and swamped barrel, with a beleen and silver tipped original ramrod. Every aspect and parts of this breathtaking museum piece are in near mint condition. It is without question the very best of its type, and within this elevated category they are made further exceptional by the lavish use of such technical artistry embellished with purest gold..

This flintlock is a remarkable object d’art, and truly thoroughly executed throughout to a superb standard, quite simply in every single aspect, a virtuoso work of a master of his craft, and the subtle differences in the chiselled silver and steel designs are very much an exhibition of his imagination and sublime skill.

Even by the standards of unrestrained luxury that is associated with the royal and Imperial court at Versailles & Paris, the use of solid silver gilt in the mounting of luxurious French firearms and swords was very rare. From the evidence of a small handful of surviving examples in museum collections.

Of course, a masterpiece of this level could, and will, never be created again, however, if one could, only the gold and steel master gunsmiths such as the finest craftsman employed by such as Purdey of London, might even attempt to. And the cost? without doubt, around £300,000 {plus}. Their standard bespoke sporting guns now start at around £150K

Leading world museums have examples of pistols of this grade and quality personally presented by Napoleon to his marshals, generals, and his brothers, Joseph (King of Naples and Spain), Lucien, Louis (King of Holland), and Jérôme (King of Westphalia), and it would be identical as presented to the great Ottoman ruler Ali Pasha, former firm ally of Napoleon { to aid his ambitions in Italy}. When Napoleon's fortunes waned, the ever pragmatic Ali Pasha, later switched allegiances to make an alliance with Britain.

It would likely be impossible to find a more glorious and fabulous quality pistol to improve upon this one, in any of the greatest gun collections of the world. A pistol that would be at home in the British Royal Collection, the Metropolitan Museum, or the Louvre in Paris

Napoleon was famed for presenting the finest and priceless French pistols and sporting guns to his favourite Marshals and Generals of the Grand Armee of France. And especially so for rulers, kings and Grand Sultans, to cement alliances in order to expand Napoleon’s Empire and influence even beyond its expansive borders. And especially so, in order to confound the influence of his greatest nemeses, the British. All his efforts were, in one way or another, to cement his power throughout the whole of Europe, by excluding and denying the powerhouse of English trade throughout Europe. Napoleon’s empire, like Alexander’s and The Great Khan’s before him, was concentrated on military might, and thus conquest, to submit every country taken to his will. The British was always a nation and empire based on trade, certainly not simply conquest, and was backed up by the most powerful navy the world had ever seen. The vital arteries to expand trade throughout the world, and thus, the intention was to improve the lot of all, not just the occupiers. Napoleon looted his way across his conquered lands, in fact even demanded it by necessity, by the simple method of limiting food supplies to his armies baggage trains, however, Wellington’s high morals demanded an early version of ‘hearts and minds’, where looting by his men was punishable by the severest penalties, and even execution. It was Napoleon’s strategy of supplying provisions to his invading armies by their looting from the occupied countries, as they progressed, was the premise that cost him the disaster that was the invasion of Russia, and the entire loss of his hundreds of thousands strong Grand Armee. The Czar of Russia realised Napoleon’s looting strategy was, potentially, his greatest weakness, across the vast unending lands of Russia, and he simply ordered the destruction of literally everything, before the French invader, both property, crops and food, so there was nothing for Napoleon to loot, and not a shelter to be had. The gripping and unrelenting Russian winter was a force no-one could ever conquer, not even Napoleon. That mistake, effectively, cost him his empire. Just as it did Hitler, 130 years later.

The House of Bonaparte (originally Buonaparte) is a former imperial and royal European dynasty of French and Italian origin. It was founded in 1804 by Napoleon I, the son of Corsican nobleman Carlo Buonaparte and Letizia Buonaparte (née Ramolino).
Napoleon was a French military leader who rose to power during the French Revolution and who, in 1804, transformed the French First Republic into the First French Empire, five years after his coup d'état of November 1799 (18 Brumaire). Napoleon and the Grande Armée had to fight against every major European power (except for the ones he was allied with, including Denmark-Norway) and dominated continental Europe through a series of military victories during the Napoleonic Wars. He installed members of his family on the thrones of client states, expanding the power of the dynasty.

The House of Bonaparte formed the Imperial House of France during the French Empire, together with some non-Bonaparte family members. In addition to holding the title of Emperor of the French, the Bonaparte dynasty held various other titles and territories during the Napoleonic Wars, including the Kingdom of Italy, the Kingdom of the Spain and the Indies, the Kingdom of Westphalia, the Kingdom of Holland, and the Kingdom of Naples. The dynasty held power for around a decade until the Napoleonic Wars began to take their toll. Making very powerful enemies, such as Austria, Britain, Russia, and Prussia, as well as royalist (particularly Bourbon) restorational movements in France, Spain, the Two Sicilies, and Sardinia, the dynasty eventually collapsed due to the final defeat of Napoleon I at the Battle of Waterloo and the restoration of the Bourbon dynasty by the Congress of Vienna.

During the reign of Napoleon I, the Imperial Family consisted of the Emperor's immediate relations – his wife, son, siblings, and some other close relatives, namely his brother-in-law Joachim Murat, his uncle Joseph Fesch, and his stepson Eugène de Beauharnais.

We show in the gallery a cased, but far plainer pair, presented personally by Napoleon to the Grand Chamberlain of the King of Rome  read more

Code: 26034

A Magnificent Antique, Original, French Cuirassiers Helmet 1872. French Cuirassiers Still In Combat Service in World War I, 1914. They Were the Last Troops Combat In Full Dress Armour in History. Possibly The Best Example You May Ever See

With liner, black horsehair tail and red white and blue feather plume, original chinscales with strap and buckle, virtually dent free throughout, and in fabulous overall condition. The plated metal skull with brass trim, laurel and grenade embossed headband with a stippled ground, acanthus embossed raised comb with Medusa head, acanthus and laurel embossed cushion-shaped plume holder marmousel with red horse hair plume, black horse hair mane, square section hackle holder with red white and blue feather hackle, foliate decorated bosses.

There is no doubt, that despite losing to the invading Germans in the Franco Prussian War, there were no braver horse mounted combatants in the world, renown for their loyalty, dedication and tenacity in combat for La Belle France. Which continued still into WW1 40 years later.

Photos and price will be added today

A magnificent French Cuirassiers helmet of the M1872 pattern. Designed immediately after the defeat of France at the Franco Prussian War. These were still in combat wear in August 1914 by the troops of the French Cuirassiers who were in that early period engaged in reconnaissance, guarding the flanks & covering the infantry as well as liaison & escort.

The skull, peak & neckguard are made from cast sheet steel which from a lobster tail to the rear with Medusas head to the front of the crest & thirteen palmettes separated by water lillies. All of the fittings & the badge are of brass this including the chin scales which are adjusted by use of a partially concealed strap inner buckle system. The plume socket is set into the side of the helmet with its red plume. The front plate has a grenade set into two laurel branches this integrating with the bottom edge of the crest as the top grenade flame reaches upwards. To the crest is mounted black horsehair with a pleat which allowed it to be tied up so it did not flutter in the face of the cavalryman. Interior of the helmet has survived in very good order. The leather liner tongues are all good with no damage to holes.

Looking back at the pre-war 1870 landscape, there are parallels that can be drawn today, including notably the role of populist disruptors in triggering international conflict. Emperor Napoleon III of France and Prussia's Otto von Bismarck were both products of the 1848 revolutions and master media manipulators who exploited the power of nationalism. Napoleon did so first, sweeping to power in the December 1848 presidential elections on the promise of ‘making France great again’, as it had been under his uncle, the first Napoleon. Four years later, just before his original term should have expired, he made himself emperor, and quickly reasserted French prestige by launching a succession of wars, including against Russia in the Crimea (1853-56).

Napoleon III's wars had unintended outcomes. One of these was that they turned Russia from being a bastion of the international order into a revisionist power. This in turn gave space to Bismarck to wreck what remained of the European system in a way that was definitely not to France's advantage. Austria was the main victim initially in the shake-up that followed, losing its position in Italy following military defeat at the hands of France in 1859, and more spectacularly forfeiting its prime role in Germany to Prussia after defeat in 1866.

This set the scene for the 1870 Franco-Prussian war. France, determined to thwart Prussia’s further rise, sought to block the candidacy of a Prussian prince to the Spanish throne in what looked like a good, old-fashioned, dynastic succession crisis. What made things different from earlier centuries was the weight of public opinion, in an age of universal male suffrage. Policy makers in Berlin and Paris sought to exploit the rising tide of nationalism on both sides of the Rhine, and this increased the risk of an explosion. That explosion came on 19 July.

A rapid French rout

Experts at the time expected the French to win. They overlooked serious weaknesses on the French side, which Sir Michael Howard's analysis shows extended far beyond the narrow military field, to wider political and societal disadvantages. These were reflected above all in the French conscription system, inherited in its essentials from the first Napoleon. This imposed upon the male population an obligation to serve, but in practice, only a small fraction was ever called up, who then served for seven years and often more. In consequence, the French army lacked the ability to 'scale-up' by calling on a mass of reservists.



The Prussian army, in contrast, drew upon the entire male population, producing a substantial body of trained reservists upon mobilisation. Prussian military planning, conducted by the famed General Staff headed by Helmuth von Moltke, made best use of the resulting numerical advantage, not least through the clever exploitation of railways.

Many military observers nonetheless preferred the French system, which produced an essentially professional force that was far better-suited to the near-continuous overseas deployments that Napoleon III's global ambitions demanded. Most damaging of all, despite its elitist pretensions, the French army was socially rather low-status. This was because the rich were allowed to pay for replacements to serve instead of their sons, should they be unlucky enough to be called up. No such facility existed in Prussia, with the result that its army more fairly approximated the nation-in-arms.

The consequence in 1870 was a French rout. General Philip Sheridan, American Civil War veteran, observed the Franco-German conflict at first hand, and his summary of the reasons for the outcome can hardly be bettered:

"The earlier advantages gained by the Germans may be ascribed to the strikingly prompt mobilization of their armies, one of the most noticeable features of their perfect military system, devised by almost autocratic power; their later successes were greatly aided by the blunders of the French, whose stupendous errors materially shortened the war, though even if prolonged it could, in my opinion, have had ultimately no other termination."  read more

Code: 26018