Antique Arms & Militaria

An Absolutely Superb Esoteric Antique Witchcraft Fetish Statue. An African Kongo Witch Doctor's Nail-Fetish Figure, A Voduo {Voodoo} Nkondo Nkisi. Historically Much Feared by Victorian Missionaries as Instruments of Sorcery. Made by The Tribal Nganga

The African Kongo Witch Doctor's power figures minkisi {plural of nkisi} that stand prominent among all minkisi is called nkisi {sacred medicine} nkondi {hunter} likely from the Bakongo people. This type of figure is commonly called a nail fetish and is one of the most recognisable and collectible figures in all of African art. These life-like figures are instantly identified by the many nails, pegs, blades, and shards that are hammered into them and made by the tribal Nganga { Witch Doctor } .

Each individual insertion represents one of three things: an oath or agreement between two parties, a pledge to provide protection against enemies and witchcraft, or a vow of vengeance. 'Nkondi' literally means 'hunter;' and it is generally considered an aggressive entity.

The insertions are driven into the figure by the nganga and represent the mambu and the type or degree of severity of an issue can be suggested through the material itself. A peg may refer to a matter being ‘settled’ whereas a nail, or metal shard, deeply inserted, may represent a more serious offense such as murder. Prior to insertion, opposing parties or clients often lick the blades or nails, to seal the function or purpose of the nkisi through their saliva. If an oath is broken by one of the parties or evil befalls one of them, the nkisi nkondi will become activated to carry out its mission of destruction or divine protection

The imposing presence and implied power of nkisi nkondi is certainly enough to keep anyone committed to a promise or agreement. Like other minkisi, powerful medicine is usually stored inside the belly, which can then covered by a piece of glass or mirror. The reflective surface represents the world of the dead and the vision of the spirits. One is a traditional naked fetish witchcraft figure, standing upright, deeply carved staring eyes a the body studded overall with hundreds of sharp shards of iron driven into the body, a traditional oath taking figure, with its right arm outstretched, upwards that may, some believe, have once held a spear.

A nkisi has many interrelated functions. African doctors use it to effect healing. They use the nkisi to search for the spiritual and physical source of a malady and then chase it away from the body. As a preventive measure, spiritual leaders also use it to protect the human soul, guarding it against disease and illness. In addition, they may use it to bind its owner to a friend or to attract lovers. It is also used to serve as a charm to repel enemies, arrest them in their tracks, or inflict an illness on them. Alternatively, a nkisi can be used to embody and direct a spirit; similarly, it can be used as a hiding place for a troubled soul, keeping order.

Nkisi, in west-central African lore, any object or material substance invested with sacred energy and made available for spiritual protection. One tradition of the Kongo people of west-central Africa holds that the god Funza gave the world the first nkisi. Africans uprooted during the Atlantic slave-trade era carried with them some knowledge of nkisi making. In places throughout the United States, particularly in the Deep South, African descendants still create minkisi. Nkisi making is also found throughout the Caribbean and South America, in places such as Cuba, Haiti, and Brazil.

This wild appearance of the Nganga was intended to create a frightening effect, or kimbulua in the Kongo language. The nganga's costume was often modeled on his nkisi. The act of putting on the costume was itself part of the performance; all participants were marked with red and white stripes, called makila, for protection.

The "circles of white around the eyes" refer to mamoni lines (from the verb mona, to see). These lines purport to indicate the ability to see hidden sources of illness and evil.

Yombe nganga often wore white masks, whose color represented the spirit of a deceased person. White was also associated with justice, order, truth, invulnerability, and insight: all virtues associated with the nganga.

The nganga is instructed in the composition of the nkondi, perhaps in a dream, by a particular spirit. In one description of the banganga's process, the nganga then cuts down a tree for the wood that s/he will use to construct the nkondi. He then kills a chicken, which causes the death of a hunter who has been successful in killing game and whose captive soul subsequently animates the nkondi figure. Based on this process, *Gell writes that the nkondi is a figure an index of cumulative agency, a "visible knot tying together an invisible skein of spatio-temporal relations" of which participants in the ritual are aware

After a tribal carver artist completed carving the artifact, the "nganga" transformed it into an object capable of healing illness, settling disputes, safeguarding the peace, and punishing wrongdoers. Each work of this kind or "nkisi" is associated with a spirit, that is subjected to a degree of human control.
Europeans may have encountered these objects during expeditions to the Congo as early as the 15th century. However, several of these fetish objects, as they were often termed, were confiscated by missionaries in the late 19th century and were destroyed as evidence of sorcery or heathenism. Nevertheless, several were collected as objects of fascination and even as an object of study of Kongo culture. Kongo traditions such as those of the nkisi nkondi have survived over the centuries and migrated to the Americas and the Caribbean via Afro-Atlantic religious practices such as vodun, Palo Monte, and macumba. In Hollywood these figures have morphed into objects of superstition such as New Orleans voodoo dolls covered with stick pins. Nonetheless, minkisi have left an indelible imprint as visually provocative figures of spiritual importance and protection.

Often such figures were placed outside, or within, the hut of a certain form of tribal elder, what we would refer to as, the tribal witch-doctor, called a Nganga as a symbol of his position within the local village, and his ability to cause magical curses and unpleasantness for villagers who had fallen out with others of the village or region, who then sought out the services of the so called 'witch-doctor' to resolve the problem, with, such as, a curse.

Vintage Hand Carved African Medicine Man Nkisi figures. Esoteric collector's pieces, connected to the so-called western term of Voodoo {vodou} magic, part of the pantheon of the occult, magic & witchcraft of Africa.

Among the various Kongo peoples, nkisi means a sacred medicine. This word has been extended to include objects containing that medicine as well. The carved wooden statues referred to in the 19th century as nail fetishes and more recently as power figures containing medicine that imbues them with divine power, are therefore nkisi as well. Due to the medicine they contain (which is administered by a witch doctor or nganga), they act as agents of divine power, granting requests. healing or attesting to agreements. Each decision or resolution is literally nailed down in the figure.

A certain class of nkisi, called nkondi, are able to enforce the solutions they provide actively and to seek vengeance against those who heed them not. These figures either menace the viewer with spears and fierce facial expressions, or strike intimidating, belligerent poses.

Nkisi nkondi specialize in different areas of life. The most important nkisi nkondi carries out mangaaka, or preeminent justice.

Surveillance or watchfulness assist the effective enforcement of the power figure’s decisions. This is registered in the size of the eyes or, in some cases, by multiple sets of eyes. The rope wrapped around some figures represents a snake, a watchful predator who lends its powers of observation to the figure. Double-headed figures have double the visual powers and can see into the city of the dead and the realm of the living at the same time.

Each power figure has a distinct personality, ranging from contemplative to angry to soulful to reserved to compassionate. The ability to suggest those qualities visually with such immediacy and precision is one of the most impressive aspect of the surviving figures.

Kongo religion Kikongo: Bukongo. Bakongo religion was translocated to the Americas along with its enslaved practitioners. Some surviving traditions include conjure, dreaming, possession by the dead to learn wisdom from the ancestors, traditional healing and working with minkisi. The spiritual traditions and religions that have preserved Kongo traditions include Hoodoo, Palo Monte, Lumbalú, Kumina, Haitian Vodou, Candomblé Bantu, Kongo traditions such as those of the nkisi nkondi have survived over the centuries and migrated to the Americas and the Caribbean via Afro-Atlantic religious practices such as vodun, Palo Monte, and macumba.

Similar examples in the Smithsonian and Metropolitan in the USA. One very similar nkisi, from the late 19th to mid 20th century has been a highlight of the Rockefeller collection since its acquisition in 1952.

*Gell, A . The Art of Anthropologie. London: Humanities Press.  read more

Code: 25498

Ancient Roman Key Ring, A Bronze Amulet-Ring Key. 1st to 3rd Century A.D.Around 1900 to 1800 Years Old. Worn From The Period of Emperors Trajan, Hadrian, Marcus Aurelius, Lucius Verus, & Commodus

Ancient Roman bronze key ring, an intriguing piece of functional jewellery.

For lack of pockets in their togas, the ancient Romans often wore keys to important boxes, etc on their fingers. The most intriguing items of Roman security hardware seem to be keys and lock bolts. Keys were used mainly for doors, chests, boxes, caskets, cupboards and padlocks. Less often they were used for ceremonial or decorative purposes, such as matron keys, jewelry items and votive offerings.

It is alleged that some ring keys were worn by women as symbols of household authority, as "keeper of the keys". This is probably true, but such are difficult to identify as having served that purpose. The wooden Egyptian pin tumbler locks were over two thousand years old by this time. Roman engineers modernized them and other lock constructions by replacing the wooden parts with corresponding parts made of metal.

The clumsy Egyptian pin tumbler locks were transformed into elegant Roman pin tumbler locks of steel, fitted with an ingenious Roman invention, steel springs. The locks were often tiny masterpieces in terms of both precision and design. All Roman door locks can only be opened from one side. There were illustrations in Le case e monumenti di Pompeii, four volumes by Fausto and Felice Niccolini, printed in Naples in 1854–96. Another author, Albert Neuburger, used the same images in his book on ancient technology, Die Technik des Altertums, printed in Leipzig in 1921. The cities of Pompeii and Herculaneum were buried in ash when the nearby volcano Mount Vesuvius erupted in 79 AD, and were eventually forgotten.
Most likely worn on the finger, or around the neck as an amulet

Illustrations in Technik des Altertums. Reconstruction of a Roman pin tumbler door lock of metal, inside and outside, and an example of a key. Deutsches Museum, Munich. The first reconstruction of this lock was made by Louis Jacobi (1836–1910) for the Saalburg Museum north of Frankfurt.

For example; With regards to some expert conservation methods of bronze objects {and some other materials} The dirt from the surface of the object could be removed manually using a scalpel under magnification. Care would be taken not to dislodge the powdery, corroding surface. Where the surface was in particualrly bad condition the dirt will be left in situ and small areas might be locally consolidated using 2.5% HMG Paraloid B72 (methyl ethyl methacrlylate) in 50:50 Acetone (propan-1-one/dimethyl ketone) and Industrial methylated spirits (ethanol,methanol).

Eminantly wearable today, size M 1/2 UK size  read more

Code: 25497

An Original Napoleonic Wars Period King George IIIrd SpyGlass Telescope, In It's Original Tooled Leather Case. By Gilbert & Sons London

An antique three draw brass telescope signed, ‘Gilbert & Sons., London. Improved’.

William Gilbert and his sons worked out of London between 1794-1817. This telescope measures approximately 16.5 cms closed and 47 cms fully open.
Used for all purposes as would be required by a British officer either army or naval

The first spyglass was invented in 1608, the creator is not fully understood of whom it was, but the most mentioned person who gains credit is Jacob Metius from the Netherlands, who created the spyglass. A spyglass is a small hand held telescope that was used by Naval Officers and Captains of ships in the 16th, 17th, and 18th centuries. These were vital tools in these centuries, and were usually made out of brass. The spyglass was used for navigating the oceans and seas of the world, making it easier to see outward and also for identifying other ships, land and used to prepare for being attacked by pirates. The spyglass contributed to the creation of the telescope, as they are very similar. Thomas Harriot used one of these spyglass inventions of Metius to observe the moon, he then made a drawings at the time that depicted the specific details and features of the moon. Not long after this invention was made, and this picture was drawn, the famous Galileo began to explore the magnification of an image and created a telescope that was much more magnified then this original spyglass. There were many flaws in these telescopes and spyglasses regarding the factor of white light, type of glass, clarity and more.
The spyglass was not fully understood until the 1700’s to use different types of glass, shapes, and differencing of the lenses to produce a much more focused larger image; even to the current time today we have enhanced our ability to see at far distances using lenses.

A spyglass seems like a simple optical device, but its really not. A spyglass is actually more complex than it sounds when you figure out exactly how it works. At the beginning of the spyglass, an eyepiece is placed towards at the end you look into. The purpose of the eyepiece is to bring the image from the focus, and magnify it to the size of your eye’s pupil. At the focus of the lens, light rays are bent from the eyepiece perpendicular to each other, to the point where the cross. Where the beams cross is the focus. as the light beams continue to travel perpendicular to each other, they hit the outside of the objective lens, which is located at the opposite side you look into. Finally, The objective lens gathers light from the object or place in which you are looking at, and bends it into focus. This magnifies to a certain amount, based on the length and width of each lens.
It has a clear view and easily focus-able after a minimum distance of around 50 feet..

Photo in the gallery of the Duke of Wellington's telescope in the Royal Armouries Collection.

Signs of typical fair use and wear from the past 225 years or so.

More detailed photos to add tomorrow  read more

Code: 25496

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, 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 two years ago, 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 highly respected collectors, and publisher on learned reports on the identification and electronic analysis of the construction of ancient Chinese swords. He was especially devoted to collecting 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

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