Antique Arms & Militaria

A Beautiful & Massive Ancient Bronze Age Long Sword Circa 1200 to 800 BC. As Used From Before and Including the Greco-Persian Wars, Such as the Battles of Marathon & Thermopylae. As Used in Hand To Hand Combat Between Xerxes' Immortals, and The Hoplites

Massive bronze age sword with Double Ear Pommel, 10th-9th Century BC. with partial green encrustations, with some parts of the blade end showing hand to hand combat denting. A sword that was possibly made in around 1200 bc, but expected at the time to have a functioning use of 500 to 600 years or even more. Swords were immensely expensive, and being of bronze easy to maintain and repair, but constant sharpening was also required as they couldn't hold an edge as the much later Iron age sword could.

A magnificent, enormous bronze sword of the “double ear” pommel style, made using the lost wax casting technique by highly trained urban artisans for an elite member of a nomadic horse-riding clan. The blade was cast first, and then the handle was cast onto it - scans of similar swords have revealed tangs inside the handles.

This well-balanced weapon has a slender, square hilt, with raised decorative elements on each of the four sides joining to a pommel that divides into two finely decorated semi-circular “ears” at right angles to the blade. A rectangular guard carefully designed with crescent-shaped horns extends down to firmly grip the upper end of the prominent midrib that tapers regularly with almost straight cutting edges to a point.

The “double ear” style of sword - with both bronze and iron blades - has been excavated from graves in southern Azerbaijan, the Talish and Dailaman regions of northwest Iran, and the urban sites of Geoy Tepe and Hasanlu, also in northwestern Iran. Another, with both bronze pommel and blade, was pulled from the Caspian Sea, where it may have been thrown as an offering. It seems that swords like this example were not just made to be used in battle, but instead to show status or as votive weapons.

There is a strong tradition in the ancient Near East of swords and other weapons being associated with the gods. For example, there is a rock carving dating to circa 1300 BC from this region that shows a scene of the gods of the Underworld, including one who is holding a sword similar to this one. Similarly, a golden bowl excavated at Hasanlu (northwestern Iran) shows three swords of similar form to this one that are associated with three deities from the Hittite pantheon. Whatever its original function, this would have been a spectacular weapon to behold, with a deep, shining surface when polished. Whoever commissioned this sword must have been an elite individual of high status, perhaps seeking to honour the gods by handling such a weapon.

The late bronze age early Luristan culture was renowned for their bronze workmanship and this cast bronze sword is an excellent illustration of their skill. Cast using the lost wax process, this sword is a rare example of the double ear pommel type found in the great museums of the world.

This well-balanced and mighty weapon, is around the same proportions of the much later Roman gladius. It features a slender square hilt that joins to a pommel that divides at right angles to the blade into two finely decorated semi-circular "ears". The pommel features with a semi-circular opening in the centre of each ear. A rectangular guard carefully designed that extends down to firmly grip the upper end of the double-edged blade.
The wide graduated blade that tapers regularly to a point and it has, low, twin central midribs that taper regularly with almost straight cutting edge to a point, making it most suitable for thrusting and cutting.
It is the austere perfection of line and proportion that makes this weapon so beautiful.

This type of pommel represents the north-western Persian version of weapons evolved from Elamite or Mesopotamian flange-hilted blades. They are found made throughout the northern regions of Persia in both bronze and iron, and sometimes with a combination of bronze hilt and iron blade. Items such as this were oft acquired in the 18th century by British noblemen touring Northern France and Italy on their Grand Tour. Originally placed on display in the family 'cabinet of curiosities', within his country house upon his return home. A popular pastime in the 18th and 19th century, comprised of English ladies and gentlemen travelling for many months, or even years, throughout classical Europe, and Middle East, acquiring antiquities and antiques for their private collections. This is a most handsome ancient bronze weapon from the era of the so called Trojan Wars. The ancient Greeks believed the Trojan War was a historical event that had taken place in the 13th or 12th century BC, and believed that Troy was located in modern day Turkey near the Dardanelles. In Greek mythology, the Trojan War was waged against the city of Troy by the Achaeans (Greeks) after Paris of Troy took Helen from her husband Menelaus, the king of Sparta. The war is among the most important events in Greek mythology and was narrated in many works of Greek literature, including Homer's Iliad and the Odyssey . "The Iliad" relates a part of the last year of the siege of Troy, while the Odyssey describes the journey home of Odysseus, one of the Achaean leaders. Other parts of the war were told in a cycle of epic poems, which has only survived in fragments. Episodes from the war provided material for Greek tragedy and other works of Greek literature, and for Roman poets such as Virgil and Ovid.

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

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

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

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

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

Around 26 inches long overall.  read more

Code: 24766

A Superbly Attractive, Native American Indian 'Spontoon Head' Style Tomahawk with Studded Haft, Glass Beads, and Eagle Feathers.

Great Lakes style. Rarely seen in Europe, a large spontoon trade style tomahawk axe head, with 2 large hook quillons on either side of the head. The head itself is a work of art, engraved with four spontoon heads at north south east and west, and nail point stamped create a circle. Possibly forged by an unknown blacksmith. The blade and head show a nice natural patina, and old brass tacks along the handle. They are domed head brass tacks set in an ash wood haft. The haft has a hole drilled for attaching an old beaded drop and eagle feathers with a piece of thin buckskin cord, the eagle feathers have been cut across the top, this is an old Lakota symbol of 'cutting an enemy's throat'. In excellent condition, It somewhat reminds us of the late 19th century spontoon head tomahawk of Chief Iron Tail of the Oglala Lakota Nation. He was a famed late 19th century celebrity Sioux, but it was as a star performer in Buffalo Bill's Wild West in the 1880s that brought this Sioux to the attention of world leaders and American audiences; as many as 12,000 people attended the live shows each day. It was the quintessential last vestige of the American West and passing century of discovery. When performances went overseas, Iron Tail was still Buffalo Bill's lead performer, and also his avowed best friend. He nicknamed Bill "Pahaska" or "Long Hair." In the West they hunted; in Europe, they toured historic sites, often hosted by royal aristocracy, traveling together until 1913.The spiked tomahawk, made along the lines of medieval European battle axes, had either a straight or curved spike projection at the top of the hatchet’s head.

The Missouri war axe, a large, thin-bladed hatchet with a short handle, was favoured by tribes along the great bend of the Missouri River.

The spontoon tomahawk, with its dagger-like blade and curled or winged-like appendages, suggested a fleur-de-lis-shaped battle axe.

Although least practical as a cutting or chopping tool, each one of these tomahawks made formidable hand weapons and held some favour with Indians because of their graceful and artistic shapes.

Regardless of style or shape, like the Indian’s bow and lance or the white man’s rifle and revolver, the tomahawk was as important a practical tool as it was a weapon of combat. Whether left plain or adorned with tacks, beads, coloured cloth, feathers, animal parts or even human appendages, the tomahawk also served as a symbol, representing the choice between peace or war, when white and red men met. While the first iron hatchets and tomahawks in America came from British and French sources in the northwestern territories and the Spaniards and French in the south and southwestern regions of the frontier, the first American tomahawks probably appeared in the Far West during Meriwether Lewis and William Clark’s 1804-1806 expedition. Nevertheless, by the early to mid-19th century, the iron tomahawk had become a standard trade item and fighting implement of frontier Indians. This tomahawk is not an authentic 18th century or early 19th century example, today those examples are now valued in the tens of thousands of pounds, and furthermore should never now leave American shores. This axe is likely 19th century or later, . Surface pitting to the iron and small blackened staining to the iron on one side. We cannot ship this item to the US, because not only are Native American artefacts are not permitted to leave American shores, it is also, most peculiarly, not allowed to be imported back into the US either. To us lesser mortals it reads as; ‘ One is no longer allowed to remove our NA artefacts from the US, but we don’t want what you already have back either’ Somewhat of a puzzle methinks.  read more

Code: 23398

A Beautiful Matched Pair of An Ancient Bronze Sword and Dagger With Pierced Bird Cage Pommels. From The Era of the Ancient Greco-Persian Wars

It is incredibly rare to find two weapons that may likely have been made by the same sword-maker up to 3000 years ago, likely for the same warrior, and them to still be together today. Possibly excavated, two hundred years ago or more during the era of the Grand Tour, from the same warrior's tomb or burial. A picture in the gallery from a mosaic tile floor excavation in Medeina of an ancient Roman Villa, showing a bird in a cage, the inspiration of the shape and form for the pommels on these swords, that were likely made up to 1000 years before the villa was built by the Romans in the 2nd century.

Double edged graduating blades with central midrib. Hollow grips, the dagger with open panels for side plate inserts, the short sword with cylindrical grip. The short sword has a pair of rounded quillon crossguard with widened flattened ends.

The style of warfare between the Greek city-states, which dates back until at least 650 BC (as dated by the 'Chigi vase'), was based around the hoplite phalanx supported by missile troops. The 'hoplites' were foot soldiers usually drawn from the members of the middle-classes (in Athens called the zeugites), who could afford the equipment necessary to fight in this manner. The heavy armour (the hoplon) usually included a breastplate or a linothorax, greaves, a helmet, and a large round, concave shield (the aspis) .Hoplites were armed with long spears (the dory), which were significantly longer than Persian spears, and a sword (the xiphos). The heavy armour and longer spears made them superior in hand-to-hand combat and gave them significant protection against ranged attacks. Lightly armed skirmishers, the psiloi also comprised a part of Greek armies growing in importance during the conflict; at the Battle of Plataea, for instance, they may have formed over half the Greek army. Use of cavalry in Greek armies is not reported in the battles of the Greco-Persian Wars.



The battle of Marathon
The Persian fleet headed south down the coast of Attica, landing at the bay of Marathon, roughly 40 kilometres (25 mi) from Athens. Under the guidance of Miltiades, the general with the greatest experience of fighting the Persians, the Athenian army marched to block the two exits from the plain of Marathon. Stalemate ensued for five days, before the Persians decided to continue onward to Athens, and began to load their troops back onto the ships. After the Persians had loaded their cavalry (their strongest soldiers) on the ships, the 10,000 Athenian soldiers descended from the hills around the plain. The Greeks crushed the weaker Persian foot soldiers by routing the wings before turning towards the centre of the Persian line. The remnants of the Persian army fled to their ships and left the battle.89 Herodotus records that 6,400 Persian bodies were counted on the battlefield; the Athenians lost only 192 men.

As soon as the Persian survivors had put to sea, the Athenians marched as quickly as possible to Athens. They arrived in time to prevent Artaphernes from securing a landing in Athens. Seeing his opportunity lost, Artaphernes ended the year's campaign and returned to Asia.

The Battle of Marathon was a watershed in the Greco-Persian wars, showing the Greeks that the Persians could be beaten. It also highlighted the superiority of the more heavily armoured Greek hoplites, and showed their potential when used wisely  read more

Code: 24850

A Most Fine Presentation 2nd Manchester, 33rd Lancashire Rifle Volunteers Antique Victorian Sword of 1869

Presented to Captain Henry Lewis Rocca, [Later Colonel of the regiment] by the members of No.10 Company. This sword was likely presented by his volunteer company on his promotion to captain in November 1869. Stunning bright polished steel fittings, revealed after over 12 hours of no expense spared, specialist artisan hand conservation, and an absolutely amazing condition deluxe presentation blade with mirror bright finish.
He was born in Hamburg, Germany in 1831, and came to England in 1851, he settled in Manchester and in 1857 became a naturalised British subject. Later he became the principal of a firm of merchants and shippers. He joined the 2nd Manchester 33rd Lancashire Rifle Volunteers, the Ardwick Corps in the summer of 1866 and, although offered a commission, he insisted on drilling in the ranks until he became proficient.
He was appointed Lt on 19th November 1866. Capt on 3rd November 1869, Maj on 10th January 1877 and Lt-Col 10 Jan. 1885.
He was one of the first recipients of the first
issue of the Volunteer Officers' decoration. he died on the 27 Dec. 1916.

Henry Rocca aged 43 took over command as Colonel of the Ardwick Corps in December 1885, the headquarters were still in the original old house at 1 Ardwick Green. One of his first priorities was the provision of a proper home for the Volunteers. It was decided that the most sensible and practical course was to buy the existing building which had been their HQ for so many years and at the same time acquire the free-hold of the site. Rather than carry out the usual methods of raising funds for such a
project by soliciting donations and holding fund-raising bazaars, Colonel Rocca generously provided the necessary funds at a low rate of interest. This to be repaid out of the Government capitation grants as circumstances permitted, and this arrangement was sanctioned by the War Office, allowing planning to proceed

Manchester and its neighbouring townships were no strangers to the raising of volunteer soldiers and their mustering for war.
Following the capitulation of 'Gentleman Johnny' Burgoyne's army on 17 October 1777 at Saratoga there were many offers of armed and financial assistance from patriotic citizens. Manchester raised the 'Royal Manchester Volunteers' or 72nd Regiment of Foot who serve with distinction in the garrison of Gibraltar throughout the siege 1783. There was much local enthusiasm both to subscribe money and to this Regiment. Within four months the Regiment had been completely officered, equipped and was ready for service. All of this was from local resources. In 1793 the outbreak of yet another war with France produced a wave of s enthusiasm, resulting in the formation of a Manchester Military Association raising of the Royal Manchester Volunteers or 104th Regiment of Foot.

The fear of invasion saw the raising of two battalions of Manchester and Salford volunteers in February 1797. In 1798 Colonel Ackers raised a second Volunteer Regiment.
Enthusiasm continued and in December there was a proposal to raise yet another body of men to be known as The (Town's Own) Loyal Regiment of Infantry  read more

Code: 24302

Possibly The Finest 17th Century Silver Sword Cum Plug-Bayonet, Complete With It’s Original Scabbard & Belt Mount, Outside of the Royal Collection..

A sword cum plug bayonet is a belt mounted short sword that doubles as a defensive sword, but when thrust into the muzzle of a musket becomes the very first form of bayonet, that converts a musket into a long pike or spear. In fact it is named after the French town of Bayonne, where it was said to have been first used, and thus technically invented, and it is the very first form of bayonet ever made, and whence every future bayonet therefore gets its name.
It further bears in silver bullion, stitched into the baldric [belt ‘frog’ mount] behind the two retaining cross straps, twin, inverted and elongated capital letter ‘L’s’, the personal cypher mark and symbol of King Louis XIVth of France. The highly distinctive cypher mark of all the King’s of France bearing the name Louis. This may likely indicate that this sword-bayonet was actually owned and used within the service of the King of France, by one of his highest ranking officers, or indeed an officer of his personal guard. One of finest quality pieces of its type we have ever had the privilege to own, and incredibly still in its original silver mounted scabbard and silk and silver bullion baldric. Probably this can be seen as the best available within the worldwide collecting market today.
It is also probably the most complete example, from the mid to late 1600's, we have ever seen, certainly in over 40 years, including those we have handled within the Royal Collections. This magnificent plug bayonet-cum-short sword would be the prize of any of the finest worldwide collections of the rarest short swords that can double as the very rare, so called ‘plug’ bayonet, as they are ‘plugged’ into the muzzle of a musket, to convert it to a pike or spear. It is remarkably complete with it's silver bullion and silk baldrick frog belt mount with three tongues. It has finest quality solid silver mounts, with decorated quillons bearing profile heads of men adorned with caps, very similar to the armourer's marks on the blade. And the silver scabbard mounts and fittings also beautifully match, with an acorn frog mount. The original scabbard leather is superb condition, crosshatch patterned, with the so called ‘bullets and lines’ stamped decor. It has a wonderful blade, in stunning order, with two large matching armourer's marks of a profile head [on both blade sides]. The grip handle is birds-eye maplewood with a silver pommel. The late 17th century saw the final demise of the pike, and its replacement by the bayonet. The plug bayonet, which blocked the muzzle of the musket and needed to be removed for firing, did not catch on. The earliest military use of bayonets was by the French Army in 1647, at Ypres. These were plug-fitted into the barrel. That prevented firing once they were mounted, but allowed musketeers to act as their own pikemen, which gave infantry formations greater firepower. By 1650 some muskets had bayonets fixed to the gun at manufacture, hinged and foldable back along the barrel. French fusiliers adopted the plug bayonet as standard equipment in 1671; English fusiliers followed suit in 1685. The trouble with firing in successive lines was that it was only practical on a narrow front. In open country, the musketeers could easily be flanked, especially by cavalry. In most battles, the musketeers relied on pikemen to protect them while reloading. Infantry practiced various formations and drills that allowed musketeers to hide behind the pikes while reloading and to take up firing positions as soon as their weapons were ready to use. This system worked pretty well, but it obviously cut down the army’s firepower-sometimes by more than half.

The solution to the problem was to turn the musket into a spear. According to some sources, this was the idea of Sebastien le Prestre de Vauban, the great French military engineer in the armies of Louis XIV. It was a solution at least for soldiers. Hunters in France and Spain had for some time been jamming knives into the muzzles of their muskets for protection against dangerous game. It seems that Bayonne, a French city noted for its cutlery, made a type of hunting knife that was favoured for this use. When the French army adopted this weapon, it was called a ‘bayonet’. The earliest reference to the use of the bayonet is in the memoirs of a French officer who wrote that on one campaign, his men did not carry swords, but knives with handles one foot long and blades of the same length. When needed, the knives could be placed in the muzzles of the guns to turn them into spears. The bayonet proved to be a much more effective defense against cavalry than the sword.

There were some drawbacks to the use of plug bayonets when mounted in muskets, When the bayonet was inserted within in the muzzle of a loaded musket and then fired by accident, the gun might indeed explode. This sort of accident seems to have been much more prevalent among civilians who, unlike soldiers, did not load and fire on command. It was so prevalent that in 1660, Louis XIV had to issue a proclamation forbidding the placing of short sword-daggers in the muzzles of hunting guns. The trouble with plug bayonets in military guns was that, when the bayonet was in place, the gun could not be loaded or fired, although there were situations when it would be most helpful to be able to do either with the bayonet in place. In the Battle of Killicrankie, General Hugh Mackay of Scourie a Scotsman, had learned his trade in the famous Scots Brigade of the Dutch Army. A friend of King William, he came over with William’s forces and was appointed to command in Scotland. Most of his detachment were Scottish. In fact, some of his Dragoon officers may have been feeding information to Dundee, and seem to have been responsible for Dundee to have been able to evade capture. Mackay had his own regiment and two others who had fought the French on the continent, and Leven’s newly raised Edinburgh regiment. At this point in history, British or government troops were equipped with the matchlock musket and plug bayonet. To make matters worse, MacKay’s troops were also equipped with the plug bayonet. As its name suggests, this fitted like a plug into the barrel of a musket. When inserted, the infantryman had the equivalent of a short pike to counter the broadsword and Targe of the Highland gentleman. Once inserted, he could not fire his weapon until the plug was removed. If he did have success and actually stuck an enemy with this type of bayonet, it would likely remain in the body of the person stuck, leaving him with virtually no defense. If his officers miscalculated and gave the order to fix bayonets late, he could get chopped to pieces. And of course, the plug bayonet didn?t always fit or hold in the barrel, which could leave the poor infantryman basically defenseless. This magnificant piece would have been used by a highest ranking officer who used a musket, or a nobleman for hunting boar or dangerous beasts. Plug bayonets were continually used into the American Revolution, most usefully turning any musket into a spontoon or pike. King Louis XIVth, was known as King Louis the great, or the Sun King. During Louis's long reign, France emerged as the leading European power and regularly asserted its military strength. A conflict with Spain marked his entire childhood, while during his reign, the kingdom took part in three major continental conflicts, each against powerful foreign alliances: the Franco-Dutch War, the War of the League of Augsburg, and the War of the Spanish Succession. In addition, France also contested shorter wars, such as the War of Devolution and the War of the Reunions. Warfare defined Louis's foreign policy and his personality shaped his approach. Impelled by "a mix of commerce, revenge, and pique", he sensed that war was the ideal way to enhance his glory. In peacetime he concentrated on preparing for the next war. He taught his diplomats that their job was to create tactical and strategic advantages for the French military  read more

Code: 22160

A Pair Of French, Chassepot Rifle Sword Bayonets. 1870's

Very Good Chassepot Rifle Sword Bayonets. Stunning examples, with very good steel and brass, They could look super displayed just as we show them. The hilts have been polished as could the blades.
Its inventor was, Antoine Alphonse Chassepot, and it became the French service weapon in 1866. It was first used at the battlefield at Mentana, November 1867, where it inflicted severe losses on Garibaldi's troops. The event was reported at the French Parliament: "Les Chassepots ont fait merveille!", {The Chassepots did marvelous execution !} In the Franco-Prussian War (1870-1871) it proved greatly superior to the German Dreyse needle gun, outranging it by 2 to 1. Although it was a smaller caliber but the chassepot ammunition had more gunpowder and thus faster muzzle velocity. The Chassepots were responsible for most of the Prussian and other German casualties during the conflict. This is the most widely copied of all the sword bayonets. Many countries - including the United States, Egypt, Belgium, and Argentina - have manufactured or used very similar bayonets. The French model was designed to fit on the French Model 1866 Chassepot Rifled Infantry Musket (the musket was revolutionary in itself). It was manufactured from 1866 to about 1874 and was replaced by the French Model 1874 "Gras" Bayonet.
The bayonets are brass-hilted The crossguard is iron (steel) and has a screw-type tightening arrangement on the muzzle-ring. The lower quillon is a hooked "blade-breaker" type.
The blade is steel, single-edged, fullered (both sides), with a re-curved or "yataghan-shape." The blades marked on the back-edge (opposite the cutting edge) with the arsenal, month, and year of manufacture; this is done in engraved cursive fashion
Arsenals encountered may be such as Chatellerault, Mutzig, St. Etienne, Paris-Oudry, Tulle, and perhaps Steyr (not confirmed on the 1866). The French wars during the life-span of this bayonet were: French Intervention in Mexico (1861-1867);
Franco-Prussian War (July 19, 1870 - May 10, 1871)
French Indo-China (1873-1874, 1882-1883);
Sino-French War (1883-1885);
Madagascar Wars (1883-1885, 1895);
1st Mandingo-French War (1883-1886);
1st Dahomeyan-French War (1889-1990);
2nd Dahomeyan-French War (1892-1894);
Franco-Siamese War of (1893)
2nd Mandingo-French War (1894-1895);
Conquest of Chad (1897-1914);
3rd Mandingo-French War (1898);
Moroccan War (1907-1912);
The Wadai War (1909-1911);
World War I (early).

These bayonets were widely copied and used by many countries - including the United States, Belgium, and Germany. Many of the actual French-marked bayonets can be found with German manufactured blades. It is believed some of these were used during the American Civil War when many European arsenals were emptied of their surplus arms.
These bayonets are the French Model 1866 "Chassepot" Bayonet.
The crossguard are iron (steel) and with a "cock's comb" muzzle-ring finial. The lower quillon is a hooked "blade-breaker" type.
The blade is steel, single-edged, fullered (both sides), with a re-curved or "yataghan-shape." One blade is marked on the back-edge (opposite the cutting edge) with the arsenal, month, and year of manufacture; this is done in engraved cursive fashion. No scabbards  read more

Code: 24843

A Most Rare Bronze Age 'Celtic' Ring Dagger Knife Around 2500 Years Old

A mid-European cast bronze knife. The blade is formed as a curved casting, thickening towards the outside of the curve, and with an edge to the inside. The handle has a depression on each side with a ring pommel typical of the ancient celts.

From a collection of antiquities, swords daggers, and rings, that just arrived this week, in early July, many pieces sold for the part benefit of the Westminster Abbey fund, and the Metropolitan Museum fund

the ancient Celtic tribes are far too often overlooked in favour of Romans and Vikings and Anglo-Saxons, their stories stripped away to Boudicca, the Iceni and failed revolt.

Yet the reality was rather more complex, with the ultimately victorious Romans deliberately misrepresenting the Celts as noble savages in order to provide a contrast with “the idea of Rome as a disciplined, ordered, civilising presence”. History might well be written by the victors

The Romans seem to have used the term “Celt” very similarly to how the Greeks used it. They applied the term to a large collection of tribes covering huge portions of western Europe. All the Gallic tribes — the tribes of Gaul — were called Celts by the Romans. We clearly see this in Julius Caesar’s De Bello Gallico (1.1):



“All Gaul is divided into three parts, one of which the Belgae inhabit, the Aquitani another, those who in their own language are called Celts, in ours Gauls, the third.”

But beyond just using the term “Celts” to refer to the Gallic tribes, other Roman writings show that they also used the term to refer to some of the inhabitants of Iberia. For example, Strabo (3.4.5) refers to Celts in that region who became the Celtiberians and the Berones. Many other tribes in Iberia were also considered to be Celtic. In other words, we see that the Romans considered the Celts to cover several large portions of Western Europe. This is consistent with Greek description of the Celts being the single most notable people to the west.
It is important to note that the material culture of the Celtiberians was very different from the material culture of the Gallic Celts. This being so, it is evident that archaeology cannot determine which nation was or was not Celtic. It is evidently not the style of artwork or design of houses or type of pottery that determines whether one is or is not a Celt. Regarding genetics, there does not appear to be any evidence of large-scale migration from Gaul to Iberia. Yet, that does not stop the Celts of Iberia from being considered Celts, either in ancient or modern sources.

On the other hand, the genetics of the population of England is known to be primarily made up of genes from the pre-Saxon inhabitants. Yet despite that, no one would call the English a “Brythonic” nation. So it does not seem very useful to use genetics as the main criterion for determining whether a nation was or was not Celtic.
Therefore, using language as the main basis for determining that ancient populations of Europe does seem to be the most useful method, even if it is not perfect. On this basis, it is very reasonable indeed to refer to the Britons as “Celts”.
Part of the proceeds of this piece were to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.

Overall 11 inches long, blade 6 3/4 inches  read more

Code: 24841

A Rare, Archaic Chinese Warrior's Bronze Jian Sword, Engraved with Seal Script, Around 2,300 to 2,800 Years Old, From the Zhou Dynasty to the Qin Dynasty, Including the Period of the Great Military Doctrine 'The Art of War' by General Sun-Tzu

Chinese Bronze 'Two Ring' Jian sword, of tin rich over bronze alloy construction, engraved with two rows of archaic lesser or greater seal script, used in the era of the Seven Kingdoms period, likely in the Kingdom of Wu, up to the latter part of the Eastern Zhou dynasty (475 – 221 BC). It is incredibly rare to find a sword from this period of ancient history, from any country, that has provenance script of any kind engraved upon it, it may well detail the name of the King for whom the sword was made, and other details, even the name of the man by whom it was used. The surface is covered in superb patination and age encrustations with traces of tinning.

From a collection of antiquities, swords daggers, and rings, that just arrived this week, in early July, many pieces sold for the part benefit of the Westminster Abbey fund, and the Metropolitan Museum fund

This sword is the near pair, but slightly longer than another we acquired from the same British collection last year, and previously sold. Also that sword and this sword bears engraved script, in the same ancient Chinese character form, but with slight differences on the right row. This would likely indicate they came from the same original ancient Chinese location, tomb etc, a hundred plus years ago.

Tinning was used in China from the Eastern Zhou period (770–221 BC), and various methods were employed. A special technique was amalgam tinning, documented since the seventh century BC

Dazhuan (大篆), or Greater Seal script. This stage of Chinese writing flourished from the Late Shang to the Western Chou dynasties (1100 BCE to 700 BCE). Unlike Jiaguwen, which was carved on bones, Dazhuan mainly appeared on cast bronze vessels. In fact, Jiaguwen and Dazhuan overlapped in time, and they might have been the same script but as they were inscribed on different materials their visual styles differ due to the quality of the surfaces.

Xiaozhuan, (小篆), or Lesser Seal script. This elegant script is the direct parent of the modern, unsimplified Chinese script. Not only are Xiaozhuan characters are more stylized and less "pictographic" like Jiaguwen and Dazhuan, but also exhibits systematic and extensive use of radicals much like modern Chinese. This script has survived the passage of time and continues to be used in the present age in calligraphy and seals.

Swords of this type are called “two-ring” swords because of the prominent rings located on the hilt. this is the very type of sword used by the warriors serving under the world renowned General Sun Tzu, in the Kingdom of Wu, who is thought by many to be the finest general, philosopher and military tactician who ever lived. His 2500 year old book on the methods of warfare, tactics and psychology are still taught and highly revered in practically every officer training college throughout the world.
We show a painting in the gallery of a chariot charge by a Zhou dynasty warrior armed with this very form of sword.
The Chinese term for this form of weapon is “Jian” which refers to a double-edged sword. This style of Jian is generally attributed to either the Wu or the Yue state. The sword has straight graduated edges reducing to a pointed tip, which may indicate an earlier period Jian.

The blade is heavy with a midrib and tapered edges with seal script engraving on both sides of the bottom section of the blade near the hilt. See the photo in the gallery that shows a close up of the section of blade with the seal script.

A very impressive original ancient Chinese sword with a long, straight blade with a raised, linear ridge down its centre. It has a shallow, short guard. The thin handle would have had leather or some other organic material such as leather or hemp cord, wrapped around it to form a grip. At the top is a broad, round pommel.

Although the manufacturing techniques used may have varied from region to region, it is generally believed that such tin-rich decoration was achieved by a deliberate tinning process,including cold-tinning hot-tinning (dipping or wiping) the use of a mercury-tin amalgam ,or the application of a tin-rich paste.

In 1965 a similar form sword from the same era was found in an ancient tomb in Hubei, it was also engraved with seal script, but of a different form. The Sword of Goujian (越王勾践剑) is a tin bronze sword, renowned for its unusual sharpness, intricate design and resistance to tarnish rarely seen in artifacts of similar age. The sword is generally attributed to Goujian, one of the last kings of Yue during the Spring and Autumn period.
On one side of the Hubei sword’s blade, two columns of text are visible. Eight characters are written in an ancient script, now known as Bird-worm seal script (literally "birds and worms characters", owing to the intricate decorations of the defining strokes), a variant of seal script. Initial analysis of the text deciphered six of the characters, "King of Yue" (越王) and "made this sword for his personal use" (自作用劍). The remaining two characters were assumed to be the name of the particular King of Yue.

The Seven Kingdom or Warring States period in Chinese history was one of instability and conflict between many smaller Kingdom-states. The period officially ended when China was unified under the first Emperor of China, Qin pronounced Chin Shi Huang Di in 221 BC. It is from him that China gained its name.

The Zhou Dynasty (1046-256 BCE) was among the most culturally significant of the early Chinese dynasties and the longest lasting of any in China's history, divided into two periods: Western Zhou (1046-771 BCE) and Eastern Zhou (771-256 BCE). It followed the Shang Dynasty (c. 1600-1046 BCE), and preceded the Qin Dynasty (221-206 BCE, pronounced “chin”) which gave China its name.

In the early years of the Spring and Autumn Period, (770-476 BC) chivalry in battle was still observed and all seven states used the same tactics resulting in a series of stalemates since, whenever one engaged with another in battle, neither could gain an advantage. In time, this repetition of seemingly endless, and completely futile, warfare became simply the way of life for the people of China during the era now referred to as the Warring States Period. The famous work The Art of War by Sun-Tzu (l. c. 500 BCE) was written during this time, recording precepts and tactics one could use to gain advantage over an opponent, win the war, and establish peace.

Sun Tzu was a Chinese general, military strategist, writer, and philosopher who lived in the Eastern Zhou period of ancient China. Sun Tzu is traditionally credited as the author of The Art of War, an influential work of military strategy that has affected both Western and East Asian philosophy and military thinking. His works focus much more on alternatives to battle, such as stratagem, delay, the use of spies and alternatives to war itself, the making and keeping of alliances, the uses of deceit, and a willingness to submit, at least temporarily, to more powerful foes. Sun Tzu is revered in Chinese and East Asian culture as a legendary historical and military figure. His birth name was Sun Wu and he was known outside of his family by his courtesy name Changqing The name Sun Tzu by which he is more popularly known is an honorific which means "Master Sun".

Sun Tzu's historicity is uncertain. The Han dynasty historian Sima Qian and other traditional Chinese historians placed him as a minister to King Helü of Wu and dated his lifetime to 544–496 BC. Modern scholars accepting his historicity place the extant text of The Art of War in the later Warring States period based on its style of composition and its descriptions of warfare. Traditional accounts state that the general's descendant Sun Bin wrote a treatise on military tactics, also titled The Art of War. Since Sun Wu and Sun Bin were referred to as Sun Tzu in classical Chinese texts, some historians believed them identical, prior to the rediscovery of Sun Bin's treatise in 1972.

Sun Tzu's work has been praised and employed in East Asian warfare since its composition. During the twentieth century, The Art of War grew in popularity and saw practical use in Western society as well. It continues to influence many competitive endeavours in the world, including culture, politics, business and sports.

The ancient Chinese people worshipped the bronze and iron swords, where they reached a point of magic and myth, regarding the swords as “ancient holy items”. Because they were easy to carry, elegant to wear and quick to use, bronze swords were considered a status symbol and an honour for kings, emperors, scholars, chivalrous experts, merchants, as well as common people during ancient dynasties. For example, Confucius claimed himself to be a knight, not a scholar, and carried a sword when he went out. The most famous ancient bronze sword is called the “Sword of Gou Jian”.

The Warring States period saw a transition in military styles, from bronze weaponry and chariot-based fighting to iron and cavalry. However, the old period was still revered. Despite the cost of manufacturing bronze swords like this on a mass scale, this particular style of duan jian – a double-edged straight sword – was used in China for approximately 2,500 years. Finely made bronze weapons such as this one were signs of prestige, wealth, and fighting prowess used in both ceremonial and funerary contexts. For example, swords were worn by the Emperor and his officials in ceremonial or official dress, attached to the belt with jade ornaments.

This is one of a stunning collection of original archaic bronze age Zhou dynasty weaponry we have just acquired. 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. As with all our items, every piece is accompanied by a certificate of authenticity. Just over 26 inches long overall.
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.

Other bronze swords bearing inscriptions inlaid in gold include the example dated to the 5th century BC in the Freer Gallery of Art, illustrated by T. Lawton, Chinese Art of the Warring States Period, Change and Continuity, 480-222 BC , Washington, DC , 1982, p. 70-71, no. 28, and one in the Musée Guimet dated 5th-4th century BC, illustrated by C. Delacour, De bronze, d'or et d'argent, Sumptuary Arts of China , Paris, 2001, p. 131. Both the Freer sword and the Guimet sword bear the same twenty-character inscription, arranged in ten characters to each side, which Thomas Lawton translates as, "On the auspicious day jen-wu, this sword was made for righteous use . "  read more

Code: 24840

Archaic Zhou Dynasty Bronze Halberd or ‘Ge’ Circa 5th Century BC the Period of the Great Military Doctrine 'The Art of War' by General Sun-Tzu

From a collection of ancient Chinese weapons we recently acquired including three 'Ge'. This is the very type of original ancient ceremonial halbard, defined by the ancient Chinese as a dagger axe 'Ge' and exactly the type as used by the warriors serving under the world renowned General Sun Tzu, in the Kingdom of Wu, who is thought by many to be the finest general, philosopher and military tactician who ever lived. His 2500 year old book on the methods of warfare, tactics and psychology are still taught and highly revered in practically every officer training college throughout the world.

In excavated condition, cast in one piece, slightly curved terminal blade of flattened-diamond section, pierced along a basal flange with three slots, and a hole with fabulous areas of crystallized malachite, blue/green patina.

We also show in the gallery a schematic of how this 'Ge' halbard would have been mounted 2500 odd years ago on its long haft, and used by a charioteer warrior, there is also one depicted being carried in a painting that we show in the gallery being used in a chariot charge in the Zhou dynasty.

This is a superb original ancient piece from one of the great eras of Chinese history, it is unsigned but near identical to another that was signed and inscribed with details that have now been fully translated, deciphered and a few years ago shown at Sothebys New York estimated to a sale value of $300,000. Its research details are fully listed below, and it is photographed within our gallery for the viewers comparison. Naturally, our un-inscribed, but still, very rare original version, from the same era and place, is a much more affordable fraction of this price

The signed and named Sotheby's of New York example that we show in the gallery, was formerly made for its original warrior owner, Qu Shutuo of Chu, it is from the same period and in similar condition as ours. We reference it's description below, and it is photographed within the gallery, it is finely cast with the elongated yuan divided by a raised ridge in the middle of each side and extending downward to form the hu, inscribed to one side with eight characters reading Chu Qu Shutuo, Qu X zhisun, all bordered by sharply finished edges, the end pierced with three vertically arranged chuan (apertures), the nei with a further rectangular chuan and decorated with hook motifs, inscribed to one side with seven characters reading Chuwang zhi yuanyou, wang zhong, and the other side with five characters reading yu fou zhi X sheng, the surface patinated to a dark silver tone with light malachite encrustation
An Exhibition of Ancient Chinese Ritual Bronzes. Loaned by C.T. Loo & Co., The Detroit Institute of Arts, Detroit, 1940, pl. XXXIII.
New Orleans Museum of Art, New Orleans, March - June 1948.

This inscribed bronze halberd blade, although typical in form, is uniquely important as its inscription serves as a critical primary source that reveals the name of its original owner: Qu Shutuo of Chu. The only known close counterpart to this blade is a damaged bronze halberd blade, missing the yuan, and inscribed on the hu with seven characters, which can be generally translated to ‘for the auspicious use of Qu Shutuo of Chu’. That halberd is now in the collection of the Hunan Provincial Museum, Hunan, and published in Wu Zhenfeng, Shangzhou qingtongqi mingwen ji tuxiang jicheng Compendium of inscriptions and images of bronzes from Shang and Zhou dynasties, vol. 32, Shanghai, 2012, no. 17048

The remaining thirteen inscriptions can be translated as: 'Qu Shutuo of Chu, Qu X's grandson, yuanyou of the King of Chu'. Based on the inscription, the owner of this blade can be identified as such.

See for reference; The Junkunc Collection: Arts of Ancient China / Sotheby's New York
Lot 111

We also show in the gallery a photo of another similar halberd from a museum exhibition, of a Chinese ancient king bodyguard’s halberd gilt pole mounts for his personal charioteer

This is one of a stunning collection of original archaic bronze age weaponry we have just acquired. 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. As with all our items, every piece is accompanied by a certificate of authenticity. Approx 8.5 inches across.
 read more

Code: 24341

Another Original Collection of Ancient Weapons of Antiquity Arrives This Week! Once More, All Manner of Singularly Fine & The Rarest of Intriguing Historical Pieces Recently Added, and To Be Added, Every Day

Recently we have acquired and added all manner of interesting artefacts, both ancient and vintage: Including, an ancient Imperial roman Gladiator's ring 1st century AD, an Imperial Roman Equestris Legion Centurion's seal ring engraved with horse mounted combat. A gold and bronze ancient Chinese crossbow mount, an antique Aztec form sacrificial knife, a stunning Baker Rifle, an Ancient Greek or Spartan senior ranked warrior's ‘stooping horse’ seal ring, around 2600 years old, Ancient Roman Kingdom period {500 bc} centurion armilla, from the earliest era just after Romulus and Remus, a 1700 to 1800 year old Roman Gladiators ring, realistically engraved with a lion attacking a horse in the arena, a superb 1798 ‘Baker’ British rifle’s officer’s rifle, several US Civil War revolvers including Colt Army and Remingtons, a Roman Republic Period status rings and seal rings, Viking warriors bronze pieces, one of the most beautiful American frontier Plains Rifle we have seen now sold, a Native American Chiefs rifle, the same as was used by Chief Sitting Bull at the Little Big Horn, a Remington Rifle captured by a Coldstream Guard at Tel el Kabir {also now sold} a Trafalgar period Royal Naval incendiary cannon ball, an incredibly rare Draken head form Viking ‘magic, staff pommel, A Seiðstafr, The Staff of Power, used by a Viking shaman, plus one of the most amazing Viking Berserker warriors neck torc’s we have ever seen, still wearable condition and a great size, several wondrous Japanese katanas, a very rare type of Zulu War period, assegai spear-knopkerrie combination weapon, a type we have only seen twice before in over 50 years, also, lots, lots more.

Also just recently added, a set of ancient Viking prisoner and slave shackles with lock casing, a fabulous US army contract musket used from the Alamo, through the Mexican American War and also the US Civil War, a crossbow bolt recovered from Agincourt, and a light dragoon pistol of Waterloo.. Also, recently added; a Napoleonic Wars era 60th Rifle Regt. Jäger Rifle, Circa 1800, used by the German rifle volunteers of the British Army. Fine antiquities, as we mentioned last week, have arrived on Monday, including a very fine Viking warriors sword from the siege of Paris era, a 15th century iron handgonne, the very earliest form of hand held gun powder gun from the 1400’s. A ‘ballock dagger’ from the period of King Richard IIIrd, and the Wars of the Roses. A pure gold ancient Roman intaglio carved garnet gemstone seal ring, depicting a profile carving, possibly of Emperor Antoninus Pius, the fourth of the five good emperors, or a similar highest ranking Patrician of Rome, plus, a masterpiece of 23 carat hammered sheet gold, a now assembled ‘Wreath of Conquest’, the head adornment worn by the ancient victors of the games, conquerors and their queens of Greece & Macedon, in the later first millennium B.C. and thus emulated by all the ceasers and emperors of Rome, their laurel wreath of victory, the ultimate symbol of Roman republican and imperial victory, rule and power. This was originally acquired for a famous British ‘Barrister at the Temple’ and antiquities collector in the 1960’s. Plus, numerous other wonders of antiquity, including a silver Roman patrician or legates gemstone seal ring of a Roman intaglio of the Roman mythical beast, a Gryllos. The hybrid being is composed of Silenus head, an equine protome, a ram head chewing an ear, rooster legs and tail.. 1st-2nd century A.D. A gryllos, or composite of human and animal parts,
Grylloi, derived from the Italic word grillo ("freak") and the Latin gryllus ("caricature"), were popular subjects for the ancient Romans. Artists reportedly enjoyed creating these fantastic creatures with all combinations of parts, although certain combinations seemed to be more popular than others. While undoubtedly extremely amusing to the Romans, grylloi served a more serious purpose as well; they were thought to be talismans that acted as protection against the evil eye. Their strangeness was said to "attract the evil eye and thus lessens its force against its victims."

For a related example of an ancient Roman Gryllo ring, see accession number 41.160.655 in the Metropolitan Museum of Art's collection of Greek and Roman Art. Also, Ref: Richter, Gisela M.A., Catalogue of Engraved Gems: Greek, Etruscan, Roman, New York: The Metropolitan Museum of Art (1956), p. 114.  read more

Code: 24771