Antique Arms & Militaria

South American 19th Century Brazilian ‘Faca De Ponta’ Fighting Knife Rare Antique Brazilian Cangaceiros Faca De Ponta Lampiao Bandit Dagger Knife.

Intersperced discs of carved bone and horn handle. Good maker mark logo of a prancing pony. Although made earlier they are now called after the early 20th century bandit leader. Lampiao became associated with an established bandit leader, Sebastiao Pereira. After only a few months of operating together, in 1922, Pereira decided to retire from banditry; he moved to the State of Goias and lived there peacefully into advanced old age. Lampiao then took over leadership of the remnants of Pereira's band. For the next 16 years, he led his band of cangaceiros, which varied greatly in number from around a dozen to up to a hundred, in a career of large-scale banditry through seven states of the Brazilian Northeast.

Depending on the terrain and other conditions, the bandits operated either on horseback or on foot. They were heavily armed, and wore leather outfits, including hats, jackets, sandals, ammunition belts, and trousers, to protect them from the thorns of the caatinga, the dry shrub and brushwood typical of the dry hinterland of Brazil's Northeast. The police and soldiers stationed in the backlands often dressed in an identical manner; on more than one occasion Lampiao impersonated a police officer, especially when moving into a new area of operations, in order to gain information.

The firearms and ammunition of the cangaceiros were mostly stolen, or acquired by bribery, from the police and paramilitary units and consisted of Mauser military rifles and a variety of small arms including Winchester rifles, revolvers and the prized Luger and Mauser semi-automatic pistols.

A strange and contradictory piety ran through Lampiao's psyche: while robbing and killing people, he also prayed regularly and reverenced the Church and priests. He wore many religious symbols on his person; presumably, he invested them with talismanic qualities. Like many others in the region he particularly revered Padre Cicero, the charismatic priest of Juazeiro. He was noted for his loyalty to those he befriended or to whom he owed a debt of gratitude. He generously rewarded his followers and those of the population who shielded or materially helped him (coiteros), and he was entirely reliable if he gave his word of honour. Lampiao was capable of acts of mercy and even charity, however, he systematically used terror to achieve his own survival. His enmity, once aroused, was implacable and he killed many people merely because they had an association with someone who had displeased him. He is recorded as having said "If you have to kill, kill quickly. But for me killing a thousand is just like killing one". For the cangaceiros murder was not only casual, they took pride in their efficiency in killing. They were excellent shots and were skilled in the use of long, narrow knives (nicknamed peixeiras - "fish-filleters") which could be used to dispatch a man quickly.

Lampiao's band attacked small towns and farms in seven states, took hostages for ransom, extorted money by threats of violence, tortured, fire-branded, and maimed; it has been claimed that they killed over 1,000 people and 5,000 head of cattle and raped over 200 women. The band fought the police over 200 times and Lampiao was wounded six times. 11 inches long overall
No scabbard  read more

Code: 20875

A Rare, Original, Ancient Viking Iron Battle Hammer-Axe. Around 1100 to 1200 Years Old. Almost Every Viking Warrior Used the Axe or Spear As Their Primary Combat Weapon. Swords Were the Prerogative of Kings or Earls {Jarls} A South West England Find

An original English Viking site find in the 1870's, but not recorded as to where in the South West of England {likely Somerset} it was actually recovered.

In 836 King Egbert of led an army to Carhampton in West Somerset against a Viking army from 35 landed long-ships, in the ensuing battle the King Egbert’s army was defeated and withdrew, leaving the Vikings to raid and plunder all the surrounding countryside. The suffering of the Anglo Saxon peasantry was terrible and lasted for many decades. It wasn't until 878 that an army under King Alfred fought and defeated Viking King Guthrum's army at Edlington in Wiltshire and they fled. It wasn't until 914 that the vikings returned once more to Somerest but they were once again defeated.

Renown scholar Alcuin of York was back at Charlemagne's court by at least mid-792, writing a series of letters, regarding the brutal Viking raid at Lindisfarne, to Æthelred, to Hygbald, Bishop of Lindisfarne, and to Æthelhard, Archbishop of Canterbury in the succeeding months, dealing with the Viking attack on Lindisfarne in July 793. These letters and Alcuin's poem on the subject, "De clade Lindisfarnensis monasterii", provide the only significant contemporary account of these events. In his description of the Viking attack, he wrote: "Never before has such terror appeared in Britain. Behold the church of St Cuthbert, splattered with the blood of God's priests, robbed of its ornaments.

The Vikings began arriving en masse with armies intent on conquest. These armies were led by Ivar the Boneless, Halfdan, and Ubba, three of the sons of Ragnar Lodbrok, who had been killed by the Northumbrian King Ælla. The first English city to fall to the invaders was York, conquered in 866. The Northumbrians tried in vain to retake the city, and King Ælla was killed in the process. One-by-one, other Saxon realms capitulated until virtually all of north and eastern England was under the direct control of the Danes.

At this point, the strongest Anglo-Saxon kingdom was Wessex, and upon the death of its king Æthelred, Alfred succeeded the throne and took the fight to the Vikings in England, who had begun annexing huge chunks of Mercia, an ally of Wessex. Alfred’s initial campaign against the Vikings was, however, a complete failure. Anglo-Saxon military tactics and defenses were incapable of dealing with Viking raids, and Alfred was eventually forced into hiding in the Somerset Marshes. The Vikings in England had succeeded in opening up the whole of Anglo-Saxon England to their mercy.
In 878, King Alfred came out of hiding and met with the lords still loyal to his cause. During his time in the Somerset Marshes, he had carefully planned a major counter-offensive against the Danish Viking army under Guthrum. Alfred’s campaign was successful, and Guthrum’s army was beaten, first in the field at Edington and then starved into submission at Chippenham. Several years later, a boundary was established, dividing England in two, with one half under Anglo-Saxon control and the other half, known as the Danelaw, under the control of the Vikings.

King Alfred organized better defenses, as well as a powerful free-standing army better equipped to deal with Viking tactics. As a result, subsequent raids and a major invasion attempt were thwarted. The Vikings who were part of this invasion attempt either ended up settling in Danelaw or sailing to Normandy and settling there.
Beyer, Greg. "The Vikings in England (Or were they Danes?)" TheCollector.com, March 11, 2023, https://www.thecollector.com/danes-or-vikings-in-england/

Title page of a late manuscript of the Prose Edda written by Snorri Sturluson (13th century), showing the Ancient Norse Gods Odin, Heimdallr, Sleipnir, and other figures from Norse mythology, plus the legendary axe hammer.

The Tjängvide image stone with illustrations from Norse mythology
By Berig - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=3682858
Showing axe hammers in combat and a Viking longship read more

5 3/4 inches x 2.1/4 inches x 2 inches at the socket width.  read more

Code: 25845

A Superb, Heavy Grade, Original Viking 'Bearded' Battle Axe, Around 1000 Years Old. Almost Every Viking Warrior Used the Axe or Spear As Their Main & Primary Combat Weapon. Swords Were the Prerogative of Kings and Earls {Jarls}

Viking battle axehead 9th-12th century AD.

An iron axehead with triangular socket, narrow blade with curved edge with beard section.

One of the most famous Viking axes is Hel (named after the Norse death goddess), which belonged to King Magnus of Norway and Denmark. He is said to have inherited the weapon from his father, Olav Haraldsson of Norway, whose ax features prominently in Norway’s national coat of arms. Some Viking axes if they were wielded by a particularly strong and a skilled warrior could even cut through chainmail and helmets.

When King Magnus’s poet credited the king with being able to split heads like firewood, he wasn’t necessarily being hyperbolic. Writing about the pre-Viking Franks and their use of throwing axes, the Francisca, Procopius makes it clear that the Franks threw their axes immediately before hand to hand combat with the purpose of breaking shields and disrupting the enemy line while possibly wounding or killing an enemy warrior. The weight of the head and length of the haft would allow the axe to be thrown with considerable momentum to an effective range of about 12 m (40 ft). Even if the edge of the blade were not to strike the target, the weight of the iron head could cause injury. The francisca also had a psychological effect, in that, on the throwing of the francisca, the enemy might turn and run in the fear that another volley was coming. It is most logical that the Vikings may well have adopted this system of axe throwing combat from the earlier Franks, as it seemed most effective in numerous combat arenas.

Almost every iron weapon, sword, axe, spear, or helmet, that has survived till today, from this ancient era is now in a fully russetted surface condition, as is this one, because only the very few swords of ancient kings, that have been preserved in national or Royal collections, are today still in a fair state of preservation and with smooth surface condition.

For a near identical example one was recovered in a Hillfort about 500 miles South East of Stockholm, now in a Museum in Latvia . See photo 10 in the gallery.

7 1/4 inches x 3 1/2 inches x 1 1/2 at socket  read more

Code: 25838

An Exceptional 1700 to 1600 Year Old Spartha Sword of A Warrior of the Roman Empire's Invasions by the Huns and Visigoths. A Hun or Visigoth Horseman's Sword Spartha With Its Orinally Mounted ‘Lifstein’, the Magical Life-Stone, and Original Crossguard

A rarest of the very rare, a fabulous museum quality example of an original spartha sword, used by both the Visigoth and Hun pagan horsemen, modelled on the Germanic Roman spartha during the battles in the invasions of the Roman Empire's territory by the Visigoths and Atilla the Hun, leading to the Sack of Rome and beyond, in fact, eventually to the fall of Rome, and the Western Roman Empire itself.

A long double edged horseman’s sword with lentoid section blade with its rhomboid crossguard still present, it is overall russetted as is always the case with swords of such great age, yet it is in superb condition for a sword of this period, and it was recovered originally, and most remarkably, with its magical, pagan ‘life stone’ intact. The large bead, Lifstein or life-stone, is likely polished white chalcedony, and these legendary large beads are called life-stones, since they were believed to have magical properties for the swordsman, and thus be able to heal wounds and keep a wounded warrior alive. They were attached to the scabbards on this Migration Period example, although some were possibly attached to the hilt.

To find one of these incredibly historical swords with its original, excavated Life-Stone {aka Lifstein} present and together still is simply amazing. The grip and pommel that were once part of this sword would have been the usual organic material, such as ivory, bone, horn or wood, and thus they always naturally rot and crumble into dust, in likely just a few hundred years or so, after it was concealed or buried. Only precious gold, silver, or metal sword mounts could survive the millennia, but the spartha would never usually have metal grips or pommels. Only the most wealthy and superior warriors could possibly afford or even bother to adorn their sword hilts with gold and the like, such as Hunnish clan chiefs or kings. Such as has the same form of sword in Alamannenmuseum Ellwangen, in Germany. { See the gallery photo}

This sword itself was likely worn by the horseman using the belt suspension method, with its ‘Life stone’ mounted tied, with a stout cord of some kind, attached to its scabbard, although the sagas don't really specifically say, although one example is in Kormak's Saga 9th C. where it's stated

"Bersi had a sharp sword called Hviting, with a Lifstein (life stone) attached to it, which he carried in many dangers."

It doesn't specifically say if it was attached to his hilt or scabbard.
Hrolf Kraki's sword Skofnung is also said to possess a life-stone, but it is supposedly set into the hilt. Perhaps like the garnet inlaid hilts of the recovered swords of the Migration Period

This hint at a likely Hunnish origin for this actual type of horsemen's sword is supported by an early literary source, that specifically points out that the Huns wore two matching swords, a long double-edged sword, just as this example, carried at the left side of the warrior, and a single-edged short sword at the right.
This literary source is the oldest preserved epic of the Nibelungen cycle, Waltharius, also known as the Waltharilied, or the Lay of Walther and Hildegund, composed in Latin after lost German prototypes by a monk of St. Gall, Switzerland, during the tenth century.
In this heroic epic is the history of Walther of Aquitaine, a Visigothic prince, and Hildegund, a Burgundian princess.

“Though hostages, Walther and Hildegund were entrusted to the army, and in command was a general, and for a time even, commander-in-chief of the Hunnish forces.”
This is another gem of trustworthy historical information, since this putting of a hostage into a responsible position was exactly according to Hunnish custom. It continues;
“With them was Hagen, a noble youth of the royal house of the Rhenish Franks, they are hostages at the court of King Etzel of the Huns, the Attila of history. Hagen manages to flee, and Walther and Hildegund, his betrothed from childhood, escape soon afterward. In preparing for the flight Walther arms himself in Hunnish fashion-
"pro ritu Panoniarum"-with a double-edged long sword, spatha, belted to his left hip-"et laevum femur ancipiti praecinxerat ense"
-and a single-edged half-sword, semispatha, at his right-
"atque alio dextrum, pro ritu Panoniarum; Is tamen ex una dat vulnera parte."

The Sack of Rome on 24 August 410 AD was undertaken by the Visigoths led by their king, Alaric. At that time, Rome was no longer the capital of the Western Roman Empire, having been replaced in that position first by Mediolanum (now Milan) in 286 and then by Ravenna in 402. Nevertheless, the city of Rome retained a paramount position as "the eternal city" and a spiritual center of the Empire. This was the first time in almost 800 years that Rome had fallen to a foreign enemy, and the sack was a major shock to contemporaries, friends and foes of the Empire alike.

The sacking of 410 is seen as a major landmark in the fall of the Western Roman Empire. St. Jerome, living in Bethlehem, wrote: "the city which had taken the whole world was itself taken"

Photo in the gallery of a very similar Alamannic gold grip spatha, 5th century, with Life-bead attached to its museum created representational wooden scabbard portion. Without doubt in our opinion this was originally the former Hunnish or Visigoth sword of a highest ranked general, clan chief, king, or the equivalent status of leader.
Photo of that sword was taken at the Alamannenmuseum Ellwangen, Germany.

See;
Io. Grimm and Schmeller, LateinischeGedichtedes io. und ir. Jahrhundert(sGottingen, 1838). Alwin Schulz (San-Marte), trans., Walthervon Aquitanien(Magdeburg, I853). The most popular
translations are Victor von Scheffel's appendix to his Ekkehard (1855), the first romantic historical novel in German, and Karl Simrock's Das KleineHeldenbuch(Stuttgart and Berlin, I874).

About the Sword of the Huns and the
"Urepos"of the Steppes
HELMUT NICKEL
Curator of Arms and Armour, The Metropolitan Museum of Art

As with all our items it comes complete with our certificate of authenticity  read more

Code: 24623

Absolutely Superb Esoteric Antique Witchcraft Fetish Statue. An African Kongo Witch Doctor's Nail-Fetish Power Figure, A Voduo {Voodoo} Nkondi 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 nails of iron driven into the body, a traditional fetish 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: 25503

A Most Fine Circa 1700 year Old Imperial Roman Vassal Warrior's Dagger Blade, Used Up To and Into The 5th Century AD Including By The Personal Guard of Emperor Gratian.

In superbly preserved condition, just lacking its wooden hilt as usual, due to wood and organic materials never surviving buried for longer that a few hundred years.
The same dagger as used by the personal guard units of Roman Emperor Gratian, who was so impressed by the skills of the Alans in combat, he invited them to be part of his personal guard, and he even went so far in his respect of their prowess in combat as to wear the very same form of armour as they wore.

Used by the warriors known as the 'Alans', they were predecessors of the medieval European knights, and from whence the Christian name Alan, that is still used today, descended from.

The Alans laid the foundation of medieval military tradition in Europe and inspired British mythology.

This is an incredible, original, Alans dagger, known as the a Samartian, blade, in very fine condition, professionally cleaned and superbly conserved.

The Alan guards combat dagger is highly distinctive, bearing two opposing side cuts at the ricasso before the tang. From the time when the Alan's Samartian warriors fought with the Roman Legions against Attila the Hun, and the Hunic invasion, and the battles of the Catalaunian Fields, that led to the death of Attila.

The Alans pursuit of war, a decent opponent and heroic death was legendary in the ancient times. But how did these tribes end up with such a military role and political impact in the West while so far from their homeland, and most often amongst enemies. Clearly, their number or strength was not the answer.

They conquered the West with their military culture and outstanding discipline. Their cavalry, clad in steel armour and arranged in tight rows, had the best skills of the time. German kings eagerly invited the Alans to serve in their armies, while their own subjects, mostly marching troops, learned horse riding and horse battle from them. The Alans impressed the arrogant Roman nobility so much that Emperor Gratian (359-383) invited them to his guard unit, reformed his cavalry based on their model and wore Alan clothes and armour himself.

Since the Alan society was mostly war-oriented, boys were taught horseback riding from early childhood. According to Marcellinus, Alan warriors considered it offensive for a man to walk. Isidore of Seville noted in the 6th century that they even looked somewhat clumsy without their horses.

The warriors and tribes known as Alans were part of the tribes derived from the word and term of the earlier people known as Aryans, from the old Indo-European-Iranian word Arya. Tall and good-looking with fair hair and menacing looks, the Alans were more warlike than other ethnic groups related to them. Later, their source name, Aryan, was used and abused by notorious effect by Hitler's 3rd Reich in the 20th century, as the basis of the true ancient Germanic peoples. This blade shape is highly distinctive and may well itself inspired the very similar blade shape of the German WW2 SS dagger, as much as the Tudor English Holbein dagger worn by Henry the 8th is said to have inspired the entire SS dagger pattern.
This dagger blade is from the 5th-6th century AD. A two-edged leaf-shaped iron blade, lentoid in section with tapering tang, notch above each shoulder. During the first period, the Alans appear as a nomadic, warlike, pastoral people who were professional warriors and took service, at various times, with the Romans, Parthians, and Sasanians.

Their cavalry was particularly renowned. They participated in Mithridates wars with Rome (chronicled by Lucan), as well as in Roman campaigns in Armenia, Media, and Parthia in the 1st and 2nd centuries A.D. (see Josephus, Jewish Wars 7.244-51, Antiquities 18.97; cf. accounts in Moses of Khoren, History of the Armenians Langlois, Historiens II, pp. 105-06, 125 and the Georgian Chronicle Kartlis tskhovreba, in M. F. Brosset and D. I. Chubinov, Histoire de la Georgie I, St. Petersburg, 1849). Ammianus Marcellinus (31.2) describes the Alans? nomadic economy and warlike customs.

The invasion of the Huns split the Alans into two parts, the European and the Caucasian. Some of the European Alans were drawn into the migration of peoples from eastern into western Europe. With the Germanic tribes of Visigoths and Vandals they passed into Gaul and Spain, some even reaching North Africa. The Alans fought on the side of the Romans in the battle of the Catalaunian Fields (A.D. 451), when Aetius defeated Attila, chief of the Huns. In 461 and 464 they made incursions into Italy. After Attila's death they struggled, together with the Germanic tribes, to free themselves from Hun domination. Large Alan hordes settled along the middle course of the Loire in Gaul under King Sangiban and on the lower Danube with King Candac (the historian Jordanes sprang from the latter group). Another settlement is indicated by the name of the Spanish province Catalonia, which is but a slight deformation of Goth-Alania, provine of the Goths and Alans. The French proper name Alain and English Alan are an inheritance from the tribe. The Alans also left an imprint on Celtic folk-poetry, e.g., the cycle of legends concerning King Arthur and his knights of the Round Table (see M. Hesse, Iranisches Sagengut im Christlichen Epos, Atlantis 1937, pp. 621-28; J. H. Grisward, The motif of the sword thrown into the lake : The death of Arthur and the death of Batradz, Romania 90, 1969, pp. 289-340). Part of the European Alans remained in the lands bordering the Black Sea, including the Crimea. Gratian, Emperor Flavius Gratianus; 18 April 359 – 25 August 383) was emperor of the western part of the Roman Empire from 367 to 383. The eldest son of Valentinian I, Gratian accompanied his father on several campaigns along the Rhine and Danube frontiers and was raised to the rank of Augustus in 367. Upon the death of Valentinian in 375, Gratian took over government of the west while his half-brother Valentinian II was also acclaimed emperor in Pannonia. Gratian governed the western provinces of the empire, while his uncle Valens was already the emperor over the east.

Gratian subsequently led a campaign across the Rhine, attacked the Lentienses, and forced the tribe to surrender. That same year, the eastern emperor Valens was killed fighting the Goths at the Battle of Adrianople, which led to Gratian elevating Theodosius to replace him in 379. Gratian favoured Nicene Christianity over traditional Roman religion, issuing the Edict of Thessalonica, refusing the office of pontifex maximus, and removing the Altar of Victory from the Roman Senate's Curia Julia. The city of Cularo on the Isère river in Roman Gaul was renamed Latin: Gratianopolis after him, which later evolved to Grenoble.

Hilts of Roman era swords and daggers effectively, are almost non existent, as they were made of organic materials, such as wood, horn etc. which rarely survives on edged weapons more than 400 to 500 years or so.  read more

Code: 22083

A Superb, Original 16th Century, Circa 1500's, Italian Glaive Polearm, A Simply Remarkable and Historical Piece Used in the 1500's. with An Incredible Slashing Blade & Counter Double Hook To Dismount Knights From Their Horses. In Excellent Condition

Also known as a fauchard. 34.5 inch head. glaive is a European polearm weapon, consisting of a single-edged blade on the end of a pole. It is similar to the Japanese naginata, the Chinese guandao, Russian sovnya and Siberian palma

Typically, the blade was from around 45 cm (18 inches) long, on the end of a pole 2 m (6 or 7 feet) long, and the blade was affixed in a socket-shaft configuration similar to an axe head, rather than having a tang like a sword or naginata. Occasionally glaive blades were created with a small hook on the reverse side such as this one to better catch riders on horseback. Such blades are called glaive-guisarmes.

According to the 1599 treatise Paradoxes of Defence by the English gentleman George Silver, the glaive is used in the same general manner as the quarterstaff, half pike, bill, halberd, voulge, or partisan. Silver rates this class of polearms above all other individual hand-to-hand combat weapons.
The Maciejowski Bible (Morgan Bible) depicts an example of a two-handed glaive used on horseback. Two images in our gallery are taken from the Morgan Bible (Folio 10 Verso - top). Notice the Warbrand in the forefront slicing into a mounted soldier with his glaive. Another early engraving of a knight with a glaive, and a group of men behing the king all with forms of glaive.
The contemporary term for this weapon may have been faussart, which was used for a variety of single-edged weapons seen as related to the scythe (along with terms such as falchion or falcata derived from falx, the Latin term for "scythe"). 96.75 inches long overall haft is so long it would need to be expertly but only temporarily halved by our workshop for shipping This superb glaive was formerly part of the Higgin's Collection and exhibited in the wonderful Higgins Museum Collection in Massachusetts for many decades, and it still bears, for its provenance, its original John Woodman Higgins Armoury Museum collection label.

https://www.worcesterart.org/collection/arms-and-armor/history/  read more

Code: 22579

A Beautiful, Original, 16th Cent. Italian Knight’s ‘Close’ Helmet From William Randolph Hearst’s Castle, San Simeon Formerly the Most Famous Private Museum Collection in the World. He Was Portrayed in Orson Welles Film Masterpiece ‘Citizen Caine’.

Although Orson Welles, possibly the greatest genius filmmaker Hollywood ever produced, hid the depiction of W.R. Hearst as the near despotic millionaire fictional character Charles Foster Caine, in his masterpiece, not a single person ever believed it not to be a depiction of Hearst, {least of all Hearst himself} thus, it resulted in Orson to be, possibly the first, movie star and director to be effectively ‘cancelled’, and his career henceforth was thus ruined and destroyed by Hearst’s media empire. Many believed, and some still do, this was the greatest tragedy to befall Hollywood film making in its 20th century history. Like the death of Mozart in his youthful prime, when mentioned, Orson Welles, is often followed by one of the saddest of remarks “what might have been?”.

A similar form of helmet is illustrated in the *treatise of René of Anjou, Duke of Anjou, Count of Provence, King of Jerusalem and Sicily. See picture of the similar helmet from the treatise in the gallery.

A fine original close helmet, probably Italian, with funerary face visor. Fine original brass rose head rivets. The front visor was adapted when the knight perished and this helm would have been mounted above his tomb with his achievements, in circa 1590, likely with his sword. Such as two other helmets *King Henry Vth (d. 1422), buried in Westminster Abbey. Set up over the dead king’s monument until the 20th century was his funerary helmet, a finely decorated jousting helm, now kept in the abbey museum.

Edward the Black Prince or Edward of Woodstock (15 June 1330 - 8 June 1376), eldest son of Edward III, King of England. Dating from 1376 his funerary visored helmet is to be found above his funerary monument in Canterbury Cathedral.

This helmet we offer is a stunning piece with amazing provenance, was owned by one of the greatest yet notorious men in world publishing history. William Randolph Hearst ( April 29, 1863 - August 14, 1951) was an American newspaper Mogul, a publisher who built the nation’s largest newspaper chain and whose methods profoundly influenced American journalism. His collecting took his agents around the Europe to acquire the finest treasures available, for his project of building the largest and finest private estate in the world, Hearst Castle in San Simeon. In much of this he succeeded. Hearst entered the publishing business in 1887 after taking control of The San Francisco Examiner from his father. Moving to New York City, he acquired The New York Journal and engaged in a bitter circulation war with Joseph Pulitzer's New York World that led to the creation of yellow journalism sensationalized stories of dubious veracity. Acquiring more newspapers, Hearst created a chain that numbered nearly 30 papers in major American cities at its peak. He later expanded to magazines, creating the largest newspaper and magazine business in the world.

He was twice elected as a Democrat to the U.S. House of Representatives, and ran unsuccessfully for Mayor of New York City in 1905 and 1909, for Governor of New York in 1906, and for Lieutenant Governor of New York in 1910. Nonetheless, through his newspapers and magazines, he exercised enormous political influence, and was famously blamed for pushing public opinion with his yellow journalism type of reporting leading the United States into a war with Spain in 1898.

His life story was the main inspiration for the development of the lead character in Orson Welles's film Citizen Kane. His mansion, Hearst Castle, on a hill overlooking the Pacific Ocean near San Simeon, California, halfway between Los Angeles and San Francisco, was donated by the Hearst Corporation to the state of California in 1957, and is now a State Historical Monument and a National Historic Landmark, open for public tours. Hearst formally named the estate La Cuesta Encantada (The Enchanted Slope), but he usually just called it the ranch. This helmet was acquired by Hearst for his mansion, Hearst Castle, but when his empire began to crumble much of his collection was sold at Gimbels In New York in 1941, which is where the Higgins Armory acquired this helmet. Orson Welles film, Citizen Kane, is thought by many to be one of the greatest masterpieces of film ever made, and it's portrayal of Charles Foster Kane was so mirroring WR Hearst that there was no doubt in any mind what it was meant to represent. So much so, Hearst dedicated some considerable time and effort during the next 10 years in order to destroy Orson Welles' career, and prevent him fulfilling his obvious potential as one of the greatest directors of all time. In much of this, once more, Hearst succeeded. Items from Hearst's collection rarely surface, as owners tend to keep hold of them for obvious reasons of historical posterity and provenance, and to be able to offer such a piece from that collection is a great privilege, and a rare opportunity for it's next fortunate owner.

*Ref; The saddle, helmet, sword and shield of King Henry V, which once formed part of his funeral 'achievements', are displayed in Westminster Abbey Museum, located in the abbey's eleventh century vaulted undercroft of St Peter. They were carried at his funeral in 1422 and later suspended on the wooden beam above the Henry V chantry for centuries, but in 1972 they were restored and placed in the abbey museum.
We show in the gallery an illustration from ‘Traictie de la Forme et Devis D'ung Tournoy’, that was written circa 1460 by King Rene of Anjou, King of Jerusalem and Sicily. The tournament book shows how a helmet, such as this one, would have been dressed for the tournament and it describes a style of tournament which Rene says he has adapted from the ancient customs of France and other countries.  read more

Code: 22346

An Fabulous Bronze and Iron Archemeanid Empire Sword From the Time of the Greco-Persian Wars of Xerxes the Great Against the Spartans at Thermopylae. The Very Type of Sword Actually Used As Depicted in The Movie 300 Spartans

To place this wonderful historical piece in a modern context. If one saw the incredible movie ‘300 Spartans’, this is exactly the same kind of sword that would have been used in that extraordinary battle, and into the period of the greatest Empire ever known of Alexander the Great.
It is 7th century to 6th century BC, and was a most rare and incredibly valuable weapon of war during that time, utilising as it does a combination of steel and bronze, as iron steel was a most rare, valuable and highly prized metal in the early ancient Bronze Age period. This wonderful sword would likely have been used and held by warriors of nobility for likely several hundred years.
A complete sword, of both blade and hilt, with leaf-shaped russetted iron blade, double-waisted grip with transverse collar, the pommel formed as two crescentic iron spayed lobes, the hilt clad with bronze. Approx 635 grams, 19.25 inches. very good condition hilt for age. Approximately 2500 years old, Achaemenid Empire era, 550 bc to 330 bc From the the Greco-Persian War, such as includes the iconic battles of Marathon, Thermopylae and Plataea, up to the time of Alexander the Great. This wonderful antiquity, from one of the most eventful and ground breaking periods of classical history, is in amazing condition and beautifully decorated 6th-4th century BC. A bronze long dagger with narrow lentoid-section blade, collared grip with crescentic ears to the pommel. By the 7th century BC, the Persians had settled in the south-western portion of the Iranian Plateau in the region of Persis, which came to be their heartland. From this region, Cyrus the Great advanced to defeat the Medes, Lydia, and the Neo-Babylonian Empire, establishing the Achaemenid Empire. The Ionian Greek Revolt in 499 BC, and associated revolts in Aeolis, Doris, Cyprus and Caria, were military rebellions by several regions of Asia Minor against Persian rule, lasting from 499 to 493 BC. At the heart of the rebellion was the dissatisfaction of the Greek cities of Asia Minor with the tyrants appointed by Persia to rule them, along with the individual actions of two Milesian tyrants, Histiaeus and Aristagoras. In 499 BC, the then tyrant of Miletus, Aristagoras, launched a joint expedition with the Persian satrap Artaphernes to conquer Naxos, in an attempt to bolster his position in Miletus (both financially and in terms of prestige). The mission was a debacle, and sensing his imminent removal as tyrant, Aristagoras chose to incite the whole of Ionia into rebellion against the Persian king Darius the Great. In 490 BC the Persian forces were defeated by the Athenians at the Battle of Marathon and Darius would die before having the chance to launch an invasion of Greece. The Battle of Marathon took place in 490 BC, during the first Persian invasion of Greece. It was fought between the citizens of Athens, aided by Plataea, and a Persian force commanded by Datis and Artaphernes. The battle was the culmination of the first attempt by Persia, under King Darius I, to subjugate Greece. The Greek army decisively defeated the more numerous Persians, marking a turning point in the Greco-Persian Wars. Xerxes I (485–465 BC, "Hero Among Kings"), son of Darius I, vowed to complete the job. He organized a massive invasion aiming to conquer Greece. His army entered Greece from the north, meeting little or no resistance through Macedonia and Thessaly, but was delayed by a small Greek force for three days at Thermopylae. A simultaneous naval battle at Artemisium was tactically indecisive as large storms destroyed ships from both sides. The battle was stopped prematurely when the Greeks received news of the defeat at Thermopylae and retreated. The battle was a strategic victory for the Persians, giving them uncontested control of Artemisium and the Aegean Sea.

Following his victory at the Battle of Thermopylae, Xerxes sacked the evacuated city of Athens and prepared to meet the Greeks at the strategic Isthmus of Corinth and the Saronic Gulf. In 480 BC the Greeks won a decisive victory over the Persian fleet at the Battle of Salamis and forced Xerxes to retire to Sardis. The land army which he left in Greece under Mardonius retook Athens but was eventually destroyed in 479 BC at the Battle of Plataea. The final defeat of the Persians at Mycale encouraged the Greek cities of Asia to revolt, and the Persians lost all of their territories in Europe; Macedonia once again became independent. Alexander the Great, an avid admirer of Cyrus the Great, conquered most of the empire by 330 BC. Upon Alexander's death, most of the empire's former territory came under the rule of the Ptolemaic Kingdom and Seleucid Empire, in addition to other minor territories which gained independence at that time. The Iranian elites of the central plateau reclaimed power by the second century BC under the Parthian Empire

See Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, p.384, no.20, for similar. As with all our items it comes complete with our certificate of authenticity.  read more

Code: 23515

We Speculate That This 2400 Year Old Sword Was Once The Sword of an Ancient Chinese King of Yueh, One Of the Nine Kings of Yueh, As It Is So Similar To The Sword of Goujian, King of Yueh, Now In The Hubei Museum in China, As to Be Remarkable

This fabulous treasure is so similar to another, that is now determined to have been made for one of the nine Kings of Yue, Goujian.
Goujian’s sword was discovered in a waterlogged tomb in the 1960's.
Ours is likely a combat fighting sword {as opposed for just for ceremonial dress, due to it's width of the blade at the ricasso}. One can see in the detailed photos this sword is covered in gold overlay but the natural ancient aging green surface encrustations now obscure most of this decor. See photo 4 in the gallery.

It was viewed the other day here by a Chinese visitor who is an assistant to the curator of an esteemed Chinese museum of antiquities, and he informed us that ancient Chinese swords such as this, decorated with enamels and gold, could only ever be carried and worn by the very highest ranked in the land.

Photo 8 shows our sword's hilt and another, very similar, to ours, very likely another King’s sword, exhibited in the Musee Guimet in Paris.

Formerly our sword was part of the Anthony Dove Collection, one of the foremost collectors of ancient Chinese swords, and joint author on the seminal academic research paper on the authentication of ancient Chinese swords and their metallurgical construction.

How often does a collector have the opportunity to acquire a fabulous sword that was likely once the sword of an ancient king.

Now known and established as 'The Sword of Goujian'. The sword in the museum in Hubei in China, has superbly chiselled or cast patterning at the forte of the blade that still contains some blue crystals and tortoise. Our sword has near identical stunning patterning {made by chiselling or casting} but our sword also has chiselling on the two grip rings and the pommel, that undoubtedly once contained the same crystals and turquoise inlays, but are no longer present.

With help from Wu's enemy Chu, Yue won after several decades of conflict. The famous Yue King Goujian destroyed and annexed Wu in 473 BC. During the reign of Wuqiang (無彊), six generations after Goujian, Yue was partitioned by Chu and Qi in 306 BC.
During its existence, Yue was famous for the quality of its metalworking, particularly its swords. Examples include the extremely well-preserved Swords of Goujian and Zhougou.

The King's Sword of Goujian still has, remarkably, all its original pure gold decor to the blade, ours has some remaining viewable as well, but much less so, due to aging.

Although the Hubei Museum’s king's sword is still amazingly sharp, thanks to its pristine condition, remarkably, so is ours. The exquisitely forged blade was made primarily of copper, but the edges likely have a higher tin content, making them harder and able to keep a sharper edge.

The Sword of Goujian still has its bird-worm script in gold engraved upon the blade face, and that script has been translated and thus after extensive research, has determined its ownership by the king, Goujian, ours may have indeed had such script, some of which is visible, possibly naming another such king, but no longer.

The Goujian King's sword, currently in Hubei Museum, has a total length of 22 inches, with a 3.3-inch hilt. The exquisitely forged blade was made primarily of copper, but the edges have a higher tin content, making them harder and able to keep a sharper edge. Both sides of the blade are decorated with a repeating rhombi pattern, their dark lines standing out from the sword’s overall golden hue. The guard, meanwhile, is inlaid with blue crystals and turquoise.

On one side of the blade are eight characters engraved in what is known as bird-worm seal script. Six of these ancient characters have been deciphered. The script reads: “King of Yue” and “made this sword for his personal use.” The other two characters could not be identified, but analysts believe that they state the name of the aforementioned King of Yueh.

These intriguing details provoked much debate as to the owner of the sword. Nine kings had ruled Yue during the period attributed to the sword, making identifying one as the true owner no easy task. But after studying both the sword and the tomb for many months, archaeologists, historians and Chinese linguists came to a consensus: The sword belonged to Goujian, who ruled the Kingdom of Yueh from 496 to 465 BC.

The earliest swords in China date back to the Bronze Age, around 1600 BC. This was a critical period in the development of ancient Chinese civilization. It was during this time that metalworking techniques were first developed and applied to the creation of weapons, swords included.

The earliest known examples of hand-forged bronze swords date back to the Shang Dynasty, and they were primarily used for ceremonial and symbolic purposes, rarely seeing real combat. The very first variations were quite simple, featuring a straight blade, some of which were single-edged and others were double-edged, as well as no guard or handle.

It wasn’t until the rise of the Zhou Dynasty that swords started becoming a lot more intricate. The blades of these swords were typically quite heavy and were often decorated with intricate patterns and designs to symbolize the prestige of the owner. Swordsmiths also began implementing a guard to their designs, as a means of protection for the wielder’s hand.

We describe below some of the known history of Goujian (句踐) (who reigned from 496–465 BC) as the king of the Kingdom of Yue (越國, present-day northern Zhejiang) near the end of the Spring and Autumn period (春秋).

He was the son of Marquis Yunchang.

Goujian's reign coincided with arguably the last major conflict of the Spring and Autumn period, the struggle between Wu and Yue, wherein he eventually led his state to victory, annexing the rival. As such, King Goujian is sometimes considered the last of the Five Hegemons.

The war between Wu and Yue comprised several separate phases. It began when a Yue princess, who was married to one of the princes of the neighboring state of Wu, left her husband and fled back to the State of Yue. This became the spark for the war to come. Also, as Yunchang developed Yue's strength, he came into conflict with King Helü of Wu, causing a feud between the two states.

Upon the death of Yunchang and the accession of Goujian, Helü seized the opportunity and launched an attack on Yue. At the Battle of Zuili (槜李之战), however, Yue defeated Wu, and King Helü was mortally wounded. Before his death, he instructed his son, the later King Fuchai of Wu, "Never forget Yue!" Yue would be defeated three years later by a resurgent Wu, and Goujian captured, to serve as Fuchai's servant for three years before he was eventually allowed to return to his native state.

Upon resuming his rule, King Goujian quickly appointed skilled politicians as advisors, such as Wen Zhong and Fan Li, to help build up the kingdom. During this time, his ministers also worked to weaken the State of Wu internally through bribes and diplomatic intrigue.

Whilst ruling his kingdom, Goujian never relished kingly riches, but instead ate food suited for peasants, as well as forcing himself to taste bile, in order to remember his humiliations while serving under the State of Wu. The second half of a Chinese idiom, wòxīn-chángdǎn (臥薪嚐膽, "sleeping on sticks and tasting gall"), refers to Goujian's perseverance.

After ten years of economic and political reforms, the last phase of the war began, by which time the State of Yue had come a long way from its previous defeat; as described in the Shiji, Ten years of reforms; the state is rich, the warriors well-rewarded. The soldiers charge in the face of arrows like thirsty men heading for drink... (修之十年，國富，厚賂戰士，士赴矢石，如渴得飲).

Taking advantage of Fuchai's expedition to his north to defeat Qi, Goujian led his army and successfully attacked the Wu capital, killing the Wu crown prince, You. In the 24th year of his reign (473 BC), Goujian led another expedition against Wu, laying siege to the capital for three years before it fell. When a surrender from Fuchai was refused, Fuchai committed suicide and Wu was annexed by Yue. After his victory, Goujian ruthlessly killed Fuchai's scholars, even those who helped him (including Bo Pi), not allowing himself to make the same mistake Fuchai had made by sparing the lives of his enemies. However, Goujian would not stop there; he would later force Wen Zhong to commit suicide; Fan Li, knowing that Goujian was a man who can share woe but not wealth together, left Goujian after the defeat of Wu.

King Goujian's army is known for a common misconception: scaring its enemies before battle with a front line formed by criminals sentenced to death who committed suicide by decapitating themselves. However, in the passage, "越王句踐使死士挑戰，三行，至吳陳，呼而自剄。", the literal translation of "死士" is "soldiers (who are) willing to die", not "criminals sentenced to death". "自剄" means to "commit suicide by cutting one's throat," which was a common way to end one's own life in Ancient China

In the gallery, photograph 2 shows our sword in the middle, to its left is the sword of Goujian, and to its right, a sword in the Metropolitan Museum. all incredibly similar, but in different stages of preservation. Photo 3 in the gallery is our sword's hilt on the left, and the Sword of Goujian on its right. the similarity is amazing. Photo 4 in the gallery is a close up of our blade sections that shows the original surface of gold, with what appears to be what remains of archaic script characters, possibly, one could speculate, it was the name of the king for whom it made and thus belonged. Photo 8 shows our sword's hilt and another, very similar, now in a Paris museum, the Musee Guimet. The Paris sword hilt still has its turquoise and enamel inlay still present and in place.

From a large collection of antiquities, swords daggers that recently arrived, many pieces sold for the part benefit of the Westminster Abbey fund, and the Metropolitan Museum fund

This is from part two of a stunning collection of original archaic bronze age Zhou dynasty weaponry . Many are near identical to other similar examples held in the Metropolitan in New York, the British royal collection, and such as the Hunan Provincial Museum, Hunan, China.
From the Tony Dove F.S.A. Collection, formed circa 1970's, one of England’s most revered and respected collectors, especially early silver, & he was a past honorary President of London’s Silver Spoon Society, and learned joint contributor to many scientific appraisals on ancient Chinese swords

Sword total length 20 1/4 inches long, 4 inch hilt

Ref; SOME OBSERVATIONS ON EARLY CHINESE BRONZE SWORDS
By
Anthony Dove, and Alan Williams {The Wallace Collection} 65 publications  read more

Code: 24846