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 Superb, English, Late 18th Century Duelling Pistol By One of The Worlds Greatest Gunsmiths, John Manton of Dover St. London

The serial number, 2873, dates the manufacture to circa 1798. Finely engraved steel mounts with spur trigger guard with pineapple finial. Browned twist Damascus barrel, gold inlaid with the name Manton and London. Fine walnut stock with, carved horn forend, chequered grip, and barrel retaining key. Very tight and crisp action, overall in nice condition with natural age and wear and some surface russet marking

Converted to Manton's percussion system by likely Joseph Manton sometime in the early 19th century. The pistol is serial numbered very closely to a pair of cased duelling pistols also by John Manton, freely acknowledged to be possibly the finest English duelling pistols in the world, certainly the finest ever to appear at auction, and they were estimated to be worth, several years ago, up to $180,000. That pair see a photo in the gallery are serial numbered 2837 and dated to 1797. He was supposedly making in his workshop 100 guns per annum and our pistol is numbered just 36 away from the cased pair.

John Manton is regarded as one of the most innovative English gun makers of the late 18th and early 19th centuries. His inventive spirit and desire for continued improvement challenged the designs of the old masters. Manton''s patents and new designs changed the gun industry not only from a manufacturing standpoint, but also for his gentlemanly clients.

About John Manton.

John Manton was born in 1752 in Lincolnshire. He first began his career as a foreman to John Twig. At the age of 29, Manton opened his own gun shop at No. 6 Dover Street. His business quickly prospered, and he had many elite patrons, such as the Royal Family. His sons became a part of the business as well, and the firm of John Manton and Son produced a wide range of guns for their most discerning clientele.

About his duelling pistols.

One of the greatest technologies Manton refined was the accuracy of the duelling pistol. The inaccuracy of the duelling pistols as they were led to less wounds and deaths, and were designed for a quick draw. Manton wanted to improve the slow shot of the duelling pistol because of the increasingly popular event of target practise. He produced heavier barreled duelling pistols and Manton's were at a clear advantage if they were to be caught defending their honour. Many gentleman would visit the shooting gallery of Manton to practise their slow shots, and refine their precision so that they could always be ready for a duel. Including such as Lord Byron

John Manton is considered to by one of the greatest London gunmakers of his time. Around the age of 30 he started his own business at 6 Dover Street where he remained for the rest of his career. He died in late 1834, leaving his business to his son George Henry.

As with all our antique guns, no license is required as they are all unrestricted antique collectables  read more

Code: 24861

A 19th Century English Boxlock Pistol By Smith of London

Circa 1830. Boxlock pistols were pocket pistols popular in the late 1700s and early 1800s. Effectively the first Derringers. The most unique feature of their design was the boxlock mechanism. Unlike most firearms which have the hammer located off to the side of the pistol, a boxlock pistol had the hammer located directly on top of the pistol. They were called a boxlocks because all of the working mechanisms for the hammer and the trigger was located in a box or receiver directly below the top mounted hammer. While the hammer obstructed the aim of the user, this system had the advantage of making the gun more compact and concealable than other pistols. The first boxlock pistols were flintlock and where later made in percussion lock. Unlike modern firearms, these pistols were not mass produced, but were hand made in gunsmith's workshops. As with all our antique guns no license is required as they are all unrestricted antique collectables  read more

Code: 18558

A Scarce English Transitional Revolver Circa 1840 By Cook of London

The stepping stone between the 1830's pepperbox revolver, and the later first double action revolver patented by London's Robert Adams in 1851. Some of the most ground breaking work in the early design and manufacture of revolvers was undertaken in England long before the world famous American revolver makers, such as Colt and Remington, became famous for their fine pistols. This most interesting piece is fully, and most finely engraved, on the frame and grip, with a highly detailed micro chequered walnut butt. Good operating action, several areas of old surface pitting intersperced with areas of no pitting at all. Trapdoor percussion cap container in the butt. Made by one of England's 19th century makers and innovators of fine revolver pistols, of London. A classic example of one of the earliest English cylinder revolvers that was favoured by gentleman wishing to arm themselves with the latest technology and improvement ever designed by English master gunsmiths. They were most popular with officers [that could afford them] in the Crimean War and Indian Mutiny. A picture in the gallery is of Robert Adams himself, loading his patent revolver for HRH Prince Albert, Queen Victoria's Consort. He was also manager for the London Armoury and he made many of the 19,000 pistols that were bought by the Confederate States for the Civil War. The US government also bought Adams revolvers from the London Armoury, at $18 each, which was $4.00 more than it was paying Colt for his, and $6.00 more than Remington.The action on this beautiful gun is good very nice, and tight, but the surface has areas of old corrosion. As with all our antique guns no license is required as they are all unrestricted antique collectables  read more

Code: 22364

A Fabulous, Incredibly Impressive, Historical & Very Rare Large 1754 American Anglo-French-Indian War & Revolutionary War of 1776 Period Flintlock Sea Service Bronze Cannon Barrel Blunderbuss. A Stunning Work Of Art As Much As A Huge Sea Service Flintlock

Blunderbuss that survive from this earliest era are so incredibly rare. An amazingly beautiful sea service flintlock that was made and saw service during the era of the American theatre of conflict of the Anglo-French-Indian war {1754-1763}, the era as wonderfully depicted in the classic historical novel, of the Anglo-French-Indian War in the Americas in the late 1750's 'Last of the Mohican's' by James Fenimore Cooper, featuring the Mohican Chingachgook, and his white adopted son 'Hawkeye'.

The British colonists were supported at various times by the Iroquois, Catawba, and Cherokee tribes, and the French colonists were supported by Wabanaki Confederacy members Abenaki and Mi'kmaq, and the Algonquin, Lenape, Ojibwa, Ottawa, Shawnee, and Wyandot (Huron). Fighting took place primarily along the frontiers between New France and the British colonies, from the Province of Virginia in the south to Newfoundland in the north. It began with a dispute over control of the confluence of the Allegheny River and Monongahela River called the Forks of the Ohio, and the site of the French Fort Duquesne at the location that later became Pittsburgh, Pennsylvania. The dispute erupted into violence in the Battle of Jumonville Glen in May 1754, during which Virginia militiamen under the command of 22-year-old George Washington ambushed a French patrol. The British sent out their fleet in February 1755, intending to blockade French ports, but the French fleet had already sailed. Admiral Edward Hawke detached a fast squadron to North America in an attempt to intercept them.

In June 1755, the British captured French naval ships sent to provide war matériel to the Acadian and Mi'kmaw militias in Nova Scotia.
In a second British action, Admiral Edward Boscawen fired on the French ship Alcide on June 8, 1755, capturing her and two troop ships. The British harassed French shipping throughout 1755, seizing ships and capturing seamen. These actions contributed to the eventual formal declarations of war in spring 1756.
This blunderbuss may have potentially seen service, amongst other conflicts, at the Battle of Restigouche. It was a naval battle fought in 1760 during the French and Indian War on the Restigouche River between the British Royal Navy and the small flotilla of vessels of the French Navy, Acadian militia and Mi'kmaq militias. The loss of the French vessels, which had been sent to support and resupply the troops in New France after the fall of Quebec, marked the end of any serious attempt by France to keep hold of their colonies in North America. The battle was the last major engagement of the Mi'kmaq and Acadian militias before the Burying of the Hatchet Ceremony between the Mi'kmaq and the British.

Bronze gun-metal two stage cannon barrel, fitted with the earliest so-called 'banana' form flint lock, predominantly used in the early to mid 18th century.
Hand carved hand-rail stock, with superb natural age patina, also, with typical and distinctive 18th century naval sea-service flat butt plate, as to be seen on all the British {and American} sea-service Brown Bess and blunderbusses at the time.

All the metal apart from the lock is made of gun-metal bronze, a higher copper content than the more common brass barrel blunderbuss. A most rarely seen type of blunderbuss, used before and during the American Revolutionary War, possibly, even made in America itself, as it is devoid of the usual top of the barrel proof mark, as American domestic gunsmiths used no proof markings to their flintlock gun barrels. Although potentially made in America it would certainly still have been used in the Royal Navy at the time, for ships of the line were always re-stocked with provisions, and often re-armed, at their port of destination when required.
The Blunderbuss (born of the Dutch word "Donderbus", appropriately meaning "Thunder Pipe" or "Thunder Gun") came to prominence in the early part of the 18th Century (1701-1800) and was more akin to the modern day shotgun than a "long gun" musket or heavy pistol of the time. As such, she excelled in close-in fighting, be it within the confines of naval warfare or walled nature of the urban environment, where her spread of shot could inflict maximum damage to targets at close ranges. Its manageable size, coupled with its spread shot, ensured some level of accuracy for even the novice user and its appearance was rather intimidating to those unfortunate enough to be staring down the business end. As with modern firearms, the Blunderbuss also made for an excellent security-minded weapon and soon found popularity amongst all matter of operators - military, civilian and, of course, criminal parties - by the middle of the 1700s. Even George Washington championed the Blunderbuss for Continental Army "Dragoon" units of the burgeoning American military as opposed to the carbine this being nothing more than a full-featured long gun of lesser overall length, proving suitable for horse-mounted handling. In fact, the short-form version of the Blunderbuss came to be known as the "Dragon", giving rise to the term "Dragoon" for such gun-wielding cavalrymen. Dragoons went on to form specialized units of mounted infantrymen within their respective armies during the end of the 17th Century and into the middle of the 18th Century - in a way, becoming an evolutionary step of the fabled mounted knight of the Middle Ages. Their use of Dragons soon gave way to the widely-accepted carbine musket. Thus this fabulously impressive arm began to be known as the "Blunderbuss" or Thunder Gun

As with all our antique guns no license is required as they are all unrestricted antique collectables. Overall 33.5 inches long, barrell length 18 inches.  read more

Code: 23168

1st 2nd Century Romano British Ellipsoid Glass Ring Mount Depicting the Impressed Head of the Sky God of Thunder Taranis {Roman,Jupiter} or Mithras {Roman, Mars} Of the East of England Mithraic Cult. From the Era of 'King' Caratacus

For a man of high status in Romano-British life, a status ring insert of the portrait bust of Taranis or Mithras, with his distinctive bearded profile. He was often found on Romano British brooches, discovered in archaeological digs in Britain, mounted upon his horse. This portrait could have once been set within a ring or a neck pendant. Naturally it could be set once more into a ring mount for current wear.

The wearing of an image of a god or goddess to ward off the evil eye can be traced back to Ancient Greece and the wearing of an image of the Gorgon or Medusa upon a ring or pendant. This practice travelled to Rome and indeed to Roman Britain

Archaeologist Michael Green says, ‘The enamelled brooch is a well-known type from the Catuvellaunian territory. It refers to the Mounted Sky God, whose Romano-Celtic name was probably Taranis {with his distinctive bearded profile}. He survived in local folk lore as Hiccafrith. The local war god was probably Camulos, after whom the Trinovantian capital of Camulodunum was named, at Colchester.’
Quite a few of horse and rider brooches depicting the Sky God Teranis or Mithras, have been found in the East of England, Ipswich, Thetford and one in Lincoln very similar to this portrait bust example, found near Ermine Street along which Roman cavalry travelled bound for Hadrian’s Wall. Two mounted, armed riders were also found as part of a hoard in Willingham Fen, Cambs (now in the Cambridge Museum of Archaeology and Anthropology).

The Catuvellauni were a Celtic tribe or state of southeastern Britain before the Roman conquest, attested by inscriptions into the 4th century.

The fortunes of the Catuvellauni and their kings before the conquest can be traced through ancient coins and scattered references in classical histories. They are mentioned by Cassius Dio, who implies that they led the resistance against the conquest in AD 43. They appear as one of the civitates of Roman Britain in Ptolemy's Geography in the 2nd century, occupying the town of Verlamion (modern St Albans) and the surrounding areas of Hertfordshire, Bedfordshire and southern Cambridgeshire.

Their territory was bordered to the north by the Iceni and Corieltauvi, to the east by the Trinovantes, to the west by the Dobunni and Atrebates, and to the south by the Regni and Cantiaci.

Caratacus is named by Dio Cassius as a son of the Catuvellaunian king Cunobelinus. Based on coin distribution Caratacus appears to have been the protégé of his uncle Epaticcus, who expanded Catuvellaunian power westwards most likely from his palace in Verulam, the heartland of the Catuvellauni, into the territory of the Atrebates. After Epaticcus died in about AD 35, the Atrebates, under Verica, regained some of their territory, but it appears Caratacus completed the conquest, as Dio tells us Verica was ousted, fled to Rome and appealed to the emperor Claudius for help. This was the excuse used by Claudius to launch his invasion of Britain in the summer of 43. The invasion targeted Caratacus' stronghold of Camulodunon (modern Colchester), previously the seat of his father Cunobelinus. Cunobelinus had died some time before the invasion. Caratacus and his brother Togodumnus led the initial defence of the country against Aulus Plautius's four legions, thought to have been around 40,000 men, primarily using guerrilla tactics. They lost much of the south-east after being defeated in two crucial battles, the Battle of the River Medway and River Thames. Togodumnus was killed (although both Miles Russell and John Hind argue that Dio was mistaken in reporting Togodumnus's death, that he was defeated but survived, and was later appointed by the Romans as a friendly king over a number of territories, becoming the loyal king referred to by Tacitus as Cogidubnus or Togidubnus) and the Catuvellauni's territories were conquered. Their stronghold of Camulodunon was converted into the first Roman colonia in Britain,

One can see the very same profile head upon a Romano-British brooch, from the same period, in the British Museum. It is the god Teranis or Mithras on horseback. Aka as Roman gods, Jupiter or Mars

https://www.britishmuseum.org/collection/object/H_1915-1208-119

Size 14mm

Two pictures in the gallery, one a photo of Trajans column of the scene of the Roman Legion standard bearers at the Battle of the River Medway, and a painting of Caratacus and his Brother proceeding to battle the Romans at the River Medway.  read more

Code: 25494

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

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

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

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


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

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

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

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

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

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

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

Code: 22940

A Most Scarce Early 17th century Jamdhar Katari Dagger From the Mountains of Nepal And the Hindu Kush,

An most early and rare Nepalese dagger classified as the Jamdhar Katari. 17th century, and developed as a fighting weapon in the 17th century. With a thin slightly swollen double edged blade 23.5cms long, painted with red devotional designs (sandlewood oil) on one side, iron hilt with swollen grip and slightly down-turned pommel and guard. Tip lacking. GC
For reference see Egerton Nos. 344 and 345 for similar.

Another very similar Jamdha Katari is in The Met Collection Fifth Ave. New York, [Accession Number:36.25.820] Donated to The Met by the legendary George Cameron Stone [Author of the seminal work A Glossary of the Construction, Decoration and Use of Arms and Armor: in All Countries and in All Times, known as 'Stone's Glossary'] in 1935.

It was regarding another most similar example we had, about which Mark Hawkins engaged in a most interesting conversation with the now late US President Ronald Reagan [in the 1970's]. President Reagan displayed a knowledge of this particular weapon, in his conversation with Mark, that was surprisingly extensive and certainly impressive.  read more

Code: 22528

Super 1850's 'Crimean War' Russian Military Officer's Campaign Trunk

A wooden and steel strap banded military officer's campaign trunk from the Crimean war. Painted in faded pale Russian blue-grey. From family history, it was been used by an officer of the 17th Lancers after he acquired it from various kit and officers campaign equipment captured from a Russian baggage train in 1854 around Balaklava. The British officer then used it for his gun case and military kit during his campaign in the crimean, and later by his sons. Campaign furniture is an umbrella term for the portable items of furniture used by the military in the eighteenth, nineteenth and early twentieth centuries. It is comprised of a huge number of objects, from chairs to chests, wardrobes to washstands and games tables to camp beds. A number of celebrated British furniture makers created pieces of campaign furniture, elevating it beyond its roots in functional, army-based design to desirable, collectible decor that continues to add a beautiful, innovative touch to homes today. The Crimean War started with Russia's invasion of the Turkish Danubian principalities of Moldavia and Wallachia (now Romania). Britain and France both wanted to prop up the ailing Ottoman Empire and resist Russian expansionism in the Near East.

Although Russia fought a largely successful war against the Turks in Armenia, and British and French fleets operated in the Baltic Sea, it was the events in the Crimea that had the biggest impact on Britain. In September 1854 the allies landed troops in Russian Crimea, on the north shore of the Black Sea, and began a yearlong siege of the Russian fortress of Sevastopol. Major engagements were fought at the Alma River on September 20, at Balaklava on October 25 (commemorated in ?The Charge of the Light Brigade? by English poet Alfred, Lord Tennyson), and at Inkerman on November 5. On January 26, 1855, Sardinia-Piedmont entered the war and sent 10,000 troops. Finally, on September 11, 1855, three days after a successful French assault on the Malakhov, a major strongpoint in the Russian defenses, the Russians blew up the forts, sank the ships, and evacuated Sevastopol. Secondary operations of the war were conducted in the Caucasus and in the Baltic Sea. The last picture shows the bottom rear strap loops for mounting the trunk on the rear of a horse drawn baggage coach. 13 inches deep x 21.5 inches wide x 11.5 inches high.  read more

Code: 22604

A Fine Cased Pair of 1840's Victorian Rear Admirals Epaulettes.

Overall in jolly good condition for age, in their original Japanned lacquer tin case. Made and used in the days of sail, aboard the great ships-of-the-line and the '100 gunners'. Admirals always served aboard the larger vessels in the fleet [also known now as capital ships] in the Royal Navy, His vessal would be known as the admiral's 'flag ship' and flying his personal rank flag. Rear admiral is a naval commissioned officer rank above that of a commodore (U.S. equivalent of rear admiral lower half) and captain, and below that of a vice admiral. It is generally regarded as the lowest of the "admiral" ranks, which are also sometimes referred to as "flag officers" or "flag ranks".
It originated from the days of naval sailing squadrons and can trace its origins to the Royal Navy. Almost all of the modern traditions of the world's navies can trace there traditional origins back to the British Royal Navy. Each naval squadron would be assigned an admiral as its head, who would command from the centre vessel and direct the activities of the squadron. The admiral would in turn be assisted by a vice admiral, who commanded the lead ships which would bear the brunt of a naval battle. In the rear of the naval squadron, a third admiral would command the remaining ships and, as this section of the squadron was considered to be in the least danger, unless from a surprise attack from the rear. The admiral in command of the rear would typically be the most junior of the squadron admirals. This ranking has survived into the modern age, with the rank of rear admiral the most-junior of the admiralty ranks of many navies. Epaulette is a type of ornamental shoulder piece or decoration used as insignia of rank by armed forces and other organizations. In the French and other armies, epaulettes are also worn by all ranks of elite or ceremonial units when on parade. It may bear rank or other insignia, and should not be confused with a shoulder mark - also called an shoulder board, rank slide, or slip-on - a flat cloth sleeve worn on the shoulder strap of a uniform (although the two terms are often used interchangeably).

Epaulettes are fastened to the shoulder by a shoulder strap or passenten, a small strap parallel to the shoulder seam, and the button near the collar, or by laces on the underside of the epaulette passing through holes in the shoulder of the coat or by a metal slide arrangement. Colloquially, any shoulder straps with marks are also called epaulettes. The placement of the epaulette, its colour and the length and diameter of its bullion fringe are used to signify the wearer's rank. Although originally worn in the field, and they certainly were when these were made, epaulettes are now normally limited to dress or ceremonial military uniforms. A photo in the gallery of Nelson's shot-through epaulette from Trafalgar. He has two stars due to his superior Admirals rank.  read more

Code: 21806