Antique Arms & Militaria

An Absolutely Stunning Museum Piece & Fit For A Prince, An 18th-19th Century Mughal Wootz Steel & Gold Dagger

A wonderful antique khanjar dagger of all wootz steel, and the hilt is decorated with chiselled flower heads within an Islamic geometric cartouche form pattern, with scrolling acanthus leaves and flowers at the ricasso of the wootz Damascus blade, overlaid with fine gold koftgari.

The wootz of the blade is in the typical recurved form shape with an armour piercing tip. This antique weapon was employed by the Mughal princes effectively in their battles with the Safavid and Ottoman Empires. The type of dagger arm was particularly adept at piercing the armour of enemy combatants.

Developed originally in India, wootz steel technology features a system of isolating micro carbides within a matrix of tempered martensite. The ancient metalwork specialist Herbert Maryon of the British Museum in London described the metal technique as: the undulations of the steel resemble a net across running water [the pattern] waved like watered silk it was mottled like the grains of yellow sand. With roots in the Tamil Nudu region of the sub-continent, the technology was considered the most effective in the world for maximizing armor piercing potential. The indigenous Indian population presented the invading armies of Alexander the Great with tribute ingots of wootz around 300 B.C. From there, the process was refined over time throughout the world in Damascus, Syria; continental Europe; and later Great Britain, where the process underpinned the Industrial Revolution that began in the 18th century. The Rajahs of India submitted tulwars, shamshirs, khanjars, in addition to other ancient swords and daggers manufactured with wootz to the International Exhibition of 1851 and 1862, whereby the pieces become coveted for the quality of their steel.  read more

Code: 20674

A Beautiful 18th Century Sikh Tulwar Gold Inlaid Hilt & Watered Steel Blade

The hilt is covered in pure gold koftgari decoration. The Tulwar had historically been the quintessential combat sword used by Sikhs as their sacred kirpan due to its superior handling while mounted on horseback. With a curved blade optimized for cutting and slashing with sweeping cuts delivered from the shoulder by a horseman the curved blade of the tulwar could strike repeated blows without the danger of the blade getting stuck in bone or armour. It allowed for fierce slashing on all sides cutting through enemy formations while mounted on horseback.

This tulwar has a curved blade of approximately 73cm in length with a graduating blade where it eventually begins its taper to the point. With its curved blade the point of the sword cannot be very effectively used for thrusting and the Tulwars defensive capabilities are limited. In this circumstance defence was taken up by using the shield (Dhal) in tandem with the Tulwar as an integral duo on the battlefield.

The blade was firmly attached to the hilt of the Tulwar commonly using a heated paste of lac or red dye from the papal tree which when it hardened provided a solid and effective adhesive between the two parts of the sword.

The hilt of the Tulwar has a button on top and a circular dished pommel disk featuring the koftgari design patterns of flowers in pure hammered gold. The grip of the Tulwar below the pommel disk narrows at the top and bottom while bulging out in the middle. The crossguard between the grip and the blade features two short but very thick rounded quillions. The index finger could be wrapped around a quillion rather than the grip providing the swordsman with extra maneuverability of the sword. Some Tulwars feature a knuckle guard extending from the quillion to the pommel disk, while others do not, both styles of Tulwars were commonly used by Sikhs.

Guru Hargobind, the 6th Sikh Guru is said to have always carried two Tulwars representing his temporal and spiritual authority. They both had gold onlaid hilts.  read more

Code: 22814

A 1st Roman Legion, Late 1st century AD, Rectangular Building Block With Stamped Text 'LEG I ITAL' for 1st Legion 'Italica';

A notable and substantial piece formerly from the renown Scammell Collection of ancient artifacts. Its original mortar is still attached to the reverse. LEG I ITAL was the first legion raised by Emperor Nero in September 66 AD. In 181 AD, Marcus Valerius Maximianus, an important Roman general, was the general of the 1st Legion Italica, and he was a confident of Emperor Marcus Aurelias, during the period of the Marcomannic Wars. It is said he inspired the composite fictional general Maximus Decimus Meridius, the main character and Roman General in Gladiator played by Russell Crowe, and it was the Marcomannic wars that are depicted in the earliest scenes in Gladiator in which the fictional Marcus Valerius Maximis was a commanding general. Marcus Valerius Maximianus was placed in charge of detachments of the praetorian fleets of Misenum and Ravenna and also of African and Moorish cavalry used for scouting duties in Pannonia. While on active service with the cavalry Maximianus killed a Germanic chieftain named as "Valao, chief of the Naristi" with his own hand and was publicly praised by the Emperor, who granted him the chieftain's "horse, decorations and weapons". He was appointed prefect of the lance-bearing cavalry and was in charge of the cavalry. The Ist Legion was still based on the Danube in the 5th century. We show a Roman marble bust of Emperor Marcus Aurelius who was played by Richard Harris in Gladiator. The main fighting unit of the Roman army was the legion. During the first three centuries of the empire the army contained between 25 and 34 legions. Each legion was made up of about 5000 men recruited from the citizens. Although the soldiers of the legion were Roman citizens, they were drawn from all walks of life and legions often consisted of natives from conquered countries.

The legion contained within its ranks troops trained and equipped to perform many duties in wartime and peace. Although the vast majority of soldiers served as heavy infantry, other legionaries fought as cavalry, archers or light infantry. Other troops operated artillery such as the ballista, onagar and scorpio The troops were however not solely prepared for combat. Legionaries regularly served as engineers constructing fortifications, roads and bridges. As the legion counted among its complement a vast number of men with special skills, it was in many ways self-supporting. A large part of its military equipment could be produced by craftsmen drawn from the ranks. Soldiers trained as surveyors, engineers and architects ensured that the legion needed little outside help for its building requirements. As far as a Legion travelled it built buildings, bridges, even sewer systems. And their efforts were stamped upon some of their building bricks to show which legion had constructed them. There are some parts of London that still bear bricks stamped by their engineers of the Roman Legions. Bricks, blocks and tiles stamped P.P.BR.LON or some variant of this has been found associated with the traces of the old Roman palace off Cannon St. Whatever the meaning of the first P, it is clear that the P.BR.LON or PR.BR., as it sometimes appears, is an abbreviation for PROVINCIAE BRITANNIAE LONDINII. At the site of a Roman bath house in Jerusalem, three of the bricks recovered bore the same style of rectangular stamped impression of the Roman Legio X Fretensis – stamped thus LE X FR. Legio X Fretensis ("Tenth legion of the Strait") was a legion of the Imperial Roman army. It was founded by the young Gaius Octavius (later to become Augustus Caesar) in 41/40 BC to fight during the period of civil war that started the dissolution of the Roman Republic. X Fretensis is then recorded to have existed at least until the 410s. This Roman block is from the private collection of Antony John Scammell (1937-2019); acquired on the UK art market from 1960. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. It weighs 4.6 kg, and is 19 x 19cm (7 1/2 x 7 1/2").  read more

Code: 23424

Original Ancient Roman ‘Cross-bow” Fibula Bronze Toga Pin Military Issue, Fine Piece For Higher Ranking Figures in the Legion, Such As a Centurion or TribuneBow Fibula with a Folded Spring Hinge, c. Early Imperial - Beginning of 2nd Century.

We acquired a very small collection of different Roman toga pins, A super, small collection of original, historical, Imperial Roman, Viking, and Crusader's artefacts has just been acquired by us.
Shaped in the form of a roman military crossbow fibula, in bronze.
It became the most popular form of closure for Roman fibulae, and is characteristic of the bow brooches from the early imperial times to the beginning of the 2nd century. Original Ancient Roman ‘Cross-bow” Fibula Bronze Toga Pin Military Issue, Fine Piece For Higher Ranking Figures in the Legion, Such As a Centurion or Tribune, c. Early Imperial - Beginning of 2nd Century.Arguments abound over what shoulder was exposed, but it seems fairly clear that the garment was fastened loosely enough to move around, The paludamentum was a cloak that was specifically associated with warfare. A general donned one for the ceremonial procession leading an army out of the sacred precinct of the city of Rome and was required to remove it before returning to the city…a sign that he was no longer a general, but a common citizen. The paludamentum or sagum purpura (purple cloak) was the iconic red cloak worn by a Roman general (Legatus) and his staff officers. Originally, it’s distinctive red/purple color clearly delineated between these officers and the rest of the army, which sported the sagum gregale (cloak of the flock). Although the sagum gregale, worn by the rank and file, started out the color of the flock (i.e. undyed wool), it seems likely to have transitioned to a coarser version of the sagum purpura by the imperial period (27BCE – 476CE). Outfitting the entire army in red garments would have been a mark of the great wealth of Rome – well, that and the fact that the Romans controlled the source of purple dye by then.The pin is now frozen through two millennia in a fixed position.


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.

Fibula 54mm long
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Code: 23986

An Original 18th Century, Royal Naval, Board of Ordnance Issued Fire Bucket. Bearing BO Broad Arrow Stamp and Makers Stamp

Hardened leather with all stitched seams in excellent condition, and leather handle. Bears the remainder of an applied royal crest. Broad arrow & Board of Ordnance stamp to the base.
Fire aboard a wooden ship was a constant peril, from such as burning powder shot or cannon fire, or even from an enemy fire ship, and could be the destruction of a vessel and crew in a very short time, if not subdued as quickly as possible. Thus good and sturdy leather fire buckets were an essential piece of Royal Naval equipment aboard every vessel. We show a row of Royal Naval issue fire buckets reproductions aboard Nelson's flagship, HMS Victory, now in permanent dock at Portsmouth. It is still the flagship of the Royal Navy in honour of Nelsons famous victory at Trafalgar. Fire buckets have been popular with collectors and owners of period homes for a very long time. They represent a time long before most towns had established and well-equipped fire departments ready to respond at a moment’s notice to a house or shop fire, when people relied on their neighbours to come to their aid. The risk for catastrophe from fire was great. A single stand-alone house could be consumed in minutes. In towns, fire in densely populated neighbourhoods could quickly result in the destruction of dozens of buildings.

Between 1630 and 1700 Boston experienced at least six major fires that destroyed well over 200 buildings. Most fire buckets were likely purchased from merchant craftsmen who specialised in leather goods, or wholesalers who imported wares from England. The earliest reference for the sale of fire buckets in Boston comes from a 1743 newspaper where an advertisement from an unnamed merchant simply states, “A Parcel of Choice Fire Buckets to be sold.” it is very rare to find a mark or signature on a fire bucket that identifies its maker.

At Christies auction house on the 17th December 2015 a fire bucket from HMS Victory, Nelson's flagship, sold for £6875
Leather handle likely replaced  read more

Code: 24005

A 1730 18th Century Culloden Period Scottish Basket Hilted Sword

An 18th century Scottish basket hilted back-sword of heavy grade combat form with traditional full open basket, with inset oval opening for the holding of reins when on horseback and heart piercings thoughout each panel, and it has a high bun pommel, and original shagreen grip with wire binding. Armourer stamped blade, with either the partially struck running wolf of Solingen or Passau, or, more than likely, the running fox mark of Shotley bridge {not fully struck however}.

In its original leather scabbard with old central leather repair, the blade and scabbard are of combat-reduced length. Some few still surviving swords from Culloden have very similarly reduced length blades due to tip adjustment in the 1745 Jacobite rebellion, including the most similar surviving sword of Thomas Milne of Muretoune, supporter of Charles Stuart. The Jacobite rising of 1745, also known as the Forty-five Rebellion or simply the "45", was an attempt by Charles Edward Stuart to regain the British throne for his father, James Francis Edward Stuart. It took place during the War of the Austrian Succession, when the bulk of the British Army was in Europe, and proved to be the last in a series of revolts that began in 1689, with major outbreaks in 1708, 1715 and 1719.
Charles launched the rebellion on 19 August 1745 at Glenfinnan in the Scottish Highlands, capturing Edinburgh and winning the Battle of Prestonpans in September. At a council in October, the Scots agreed to invade England after Charles assured them of substantial support from English Jacobites and a simultaneous French landing in Southern England. On that basis, the Jacobite army entered England in early November, reaching Derby on 4 December, where they decided to turn back.

Similar discussions had taken place at Carlisle, Manchester and Preston and many felt they had gone too far already. The invasion route was chosen to take them through areas considered strongly Jacobite but the promised English support failed to materialise, they were far from home and outnumbered by three government armies, each larger than their own. While the decision was supported by the vast majority, it caused an irretrievable split between the Scots and Charles. Despite victory at Falkirk Muir in January 1746, the Battle of Culloden in April ended the Rebellion and significant backing for the Stuart cause. Charles escaped to France, but was unable to win support for another attempt, and died in Rome in 1788. The Jacobite cause did not entirely disappear after 1746 but the exposure of the key factions' conflicting objectives ended it as a serious threat. Many Scots were disillusioned by Charles' leadership while areas in England that were strongly Jacobite in 1715 like Northumberland and County Durham provided minimal support in 1745. Irish Jacobite societies continued but increasingly reflected opposition to the existing order rather than affection for the Stuarts and were absorbed by the Republican United Irishmen. 27 inch blade 33.5 inches long overall.  read more

Code: 23331

A Superb Excavated & Fragmented Bronze Age Sword 3200+ Years Old

A short sword or long dagger traded with the Eastern Mediterranean Scythians, Persians and Greeks during the the Ist millennium B.C. around 2700 to 3200 years ago. Made in bronze in the Western Asiatic region. Western Asiatic bronzes refer to items dating from roughly 1500-500 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. Graduating blade with integral hilt, with open panels for organic inserts of wood, bone, or ivory, fabulous areas of crystallized malachite naturally aged blue/green patination.
The acinaces, also spelled akinakes or akinaka is a type of short sword used mainly in the first millennium BC in the eastern Mediterranean region, especially by the Medes, Scythians and Persians, then by the Greeks. The akinakes was worn at the hip in an elaborate scabbard. The chape, generally a rounded triangle, could be made of bronze, chased gold or carved ivory, and probably lots of other materials. Just above the chape, a cord was tied around the scabbard, passed around the thigh and then through a slipknot next to the chape. The throat had a large tab, which at its own upper corner was tied through a hole in the weapon belt. We show another most similar Bronze Age short sword or long dagger, in a similar state, excavated near Stonehenge, in the U.K. now in a museum collection. This piece is 17 1/2 inches long overall.  read more

Code: 23012

A Gold Inlaid Indo Persian Armour Suite of Helmet, Shield & Arm Defence Kulah Khud, Dhal, and Bazu Band

Early 19th century. A simply stunning suite of armour comprising the traditional Kulah khud, dhal, and bazu band. The helmet has a hemi-spherical skull, pierced with four heart-shaped panels each fitted with an iron plate within a moulded frame, the skull fitted at its apex with a low spike, a pair of plume-holders at the front and with a staple for a sliding optional nasal guard, decorated over the greater part of its surface with gold koftgari flowers and foliage and mail neck-defence of butted links; the bazu band of a gutter-shaped form, fitted with hinged inner arm-defence, each decorated with gold and silver koftgari foliage, and chain mail covering for the hand of butted links, and with a padded lining; and the dhal [somewhat in the size of a buckler] of shallow convex form, the outer face applied with brass and gold and silver koftgari inlay foliage and flowers and decorated with silver koftgari foliage enriched with gold flowers: Koftgari is the Indian form of damascening which closely resembles the damascening found in Persia and Syria.

The inlay process begins after the piece is moulded and fully formed. The intended design is engraved into the base metal and fine gold or silver wire is then hammered into the grooves.

The base metal is always a hard metal, either steel, iron or bronze, and the inlay a soft metal, either gold or silver. This combination prevents the base from deforming when the wire inlay is hammered into the surface and results in the inlaid areas being well defined and of sharp appearance.

Swords, shield and armour were often decorated in koftgari work and domestic items such as boxes and betel containers, were also made.  read more

Code: 21499

Exceptional Original Finest Antique Museum Piece, An All Silver Mounted Flintlock Musket, 18th to Early 19th century of Royal Quality

A singularly spectacular ‘statement piece’ for any collection of rare and fine arms or antiques. From the Napoleonic Wars era and the Grande Armee's march on Moscow. Similar to finest examples in the Topkapi Museum in Istanbul and the Hermitage in Russia. A most similar gun was presented to President Thomas Jefferson by the Bey of Tunis. A simply superbly beautiful antique Long gun from the 18th to Early 19th century. A miquelet gun with a very high quality miquelet toe lock decorated with chiseled and fretted silver panels and inlaid foliate arabesques. The gun is richly inlaid with silver throughout and fitted with a bone butt plate, with matching silver barrel bands, and the original silver mounted ramrod. Figured hardwood three-quarter stock profusely inlaid over its full length with numerous silver plaques. A most similar gun was a gift of the Russian Romanov Tsar to Augustus II King of Poland and Elector of Saxony on his coronation in Krakow. That gun is published in the book Prunkwaffen: Waffen und Rustungen aus dem Historischen Museum Dresden by Johannes Schobel (Leipzig, 1973) p.249, pl. 178. Guns of this style were popular throughout the whole of Central, Eastern Europe, Russia, the Caucasus and The Ottoman Empire. However this is a much higher quality example than is more often seen, and certainly sets it well apart from the usual musket of it's type. The barrel has a monogrammed armourer's mark and date [A.G. 1814.] This may very likely indicate the barrel was imported from Europe. Signed lock, under the lock plate on the spring. 55.5 inches long overall. After the conquest of Istanbul by Mehmed the Conqueror at 1453, construction of the Topkapi Palace was started at the year 1460 and completed at 1478 .The Palace was built upon an Eastern Roman Acropolis located at the Istanbul Peninsula between Sea of Marmara, Bosphorus and the Golden Horn. Topkapi Palace, was the administrative, educational and art center of the Empire for nearly four hundred years since Mehmed the Conqueror until Sultan Abdulmecid who is the thirty-first Sultan. Although Palace was abandoned by the Ottoman Dynasty by moving to the Dolmabahce Palace at middle 19th century, the Topkapi Palace latterly became a world class museum containing some of the worlds finest antique arms and armour. The year of Catherine II’s acquisition of the Gotzkowsky collection is the Hermitage museum’s birth date. In 1764 Empress Catherine II acquired the collection formed by Johann Gotzkowski for King Frederick II of Prussia. A rich Berlin merchant and founder of silk and porcelain factories in Berlin, Johann Gotzkowski was one of Frederick's agents, in charge of the purchase of works of art for the royal collection. Frederick II (the Great), owner of a wonderful collection of contemporary French paintings, ordered Gotzkowski to purchase paintings by old masters. The merchant was a zealous agent and it took him only a few years to put together a large collection, but by this time Frederick had lost large sums of money in the Seven Years War and he refused to make the purchase.

The enterprising merchant was forced to look around for alternative buyers and he offered the collection to Russia. Catherine II was pleased to take the opportunity of hurting Frederick's self-esteem and of proving that the Russian State Treasury, despite losses which were no less than those of Prussia, could still afford to make such an expensive acquisition. From this purchase onwards the Hermitage has become one of the foremost museums in the world, alongside the British Museum, The Metropolitan, The Louvre and The Prado.
As with all our antique guns no license is required as they are all unrestricted antique collectables  read more

Code: 20889

A Very Attractive 17th Century Indian Khanda Sword

33.5 inch blade, probably German, bearing crescent moon armourers mark. Open basket hilt with wide hand protection. The name firangi meaning foreigner was also apparently given to swords of this style these somewhat later in the 17th Century, as they were mounted with European blades, imported by the Portugese, which were highly valued. Some blades were locally made in the European style. The blades were mounted on the Khanda style hilt and with the long spike extending from the pommel which enabled them to be used as two handed swords. The firangi sword characteristically had a straight blade of backsword form (single edged). The blade often incorporated one, two, or three fullers (grooves) and had a spear-tip shaped point. The sword could be used to both cut and thrust. Examples with narrow rapier blades have survived, though in small numbers. The hilt was of the type sometimes called the "Indian basket-hilt" and was identical to that of another Indian straight-bladed sword the khanda. The hilt afforded a substantial amount of protection for the hand and had a prominent spike projecting from the pommel which could be grasped, resulting in a two-handed capability for the sword. Like other contemporary Indian swords the hilt of the firangi was usually of iron and the tang of the blade was attached to the hilt using a very strong resin, additionally, the hilt to blade connection was reinforced by projections from the hilt onto either face of the forte of the blade which were riveted together though a hole passing through the blade. Because of its length the firangi is usually regarded as primarily a cavalry weapon. Illustrations suggest a 16th-century date for the development of the sword, though early examples appear to have had simpler cross-guard hilts, similar to those of the talwar. The sword has been especially associated with the Marathas, who were famed for their cavalry. However, the firangi was widely used by the Mughals and those peoples who came under their rule, including Sikhs and Rajputs. Images of Mughal potentates holding firangis, or accompanied by retainers carrying their masters' firangis, suggest that the sword became a symbol of martial virtue and power. Photographs of Indian officers of Hodson's Horse (an irregular cavalry unit raised by the British) show that the firangi was still in active use at the time of the Indian Mutiny in 1857-58 The khanda can generally be a double-edge but can be a single edged straight sword. It is often featured in religious iconography, theatre and art depicting the ancient history of India. Some communities venerate the weapon as a symbol of Shiva. It is a common weapon in the martial arts in the Indian subcontinent. Khanda often appears in Hindu, Buddhist and Sikh scriptures and art The word khanda has its origins in the Sanskrit meaning "to break, divide, cut, destroy". Used from the time of Abu'l-Fath Jalal-ud-din Muhammad Akbar (15 October 1542, 27 October 1605 ), popularly known as Akbar I literally "the great" and later Akbar the Great, he was the third Mughal emperor, who reigned from 1556 to 1605. Please note the hilt is quite small, this is purely due to the fact people from that period, from all the continents around the world, were much smaller in stature and frame.  read more

Code: 23220