A Very Attractive, Edo Era, Higo School of Armour. A 17th to 18th Century Samurai's Tetsu Abumi Stirrup, Not Only Functional Equestrian Armour of Great Beauty, They Were Designed To Be Used As Weapons To Kick Out At Foot Samurai While Galloping In Battle

This Japanese higo school armour stirrup, is made in the traditional dove's breast (hato mune) shape with an open platform lined with red lacquer, slightly curved forward so that the foot fits in without sliding backwards. In the front extremity the stirrup has a rectangular buckle with several horizontal slots which also serve as a handle.

Not only a fine example of early original samurai equestrian combat armour, for protecting the foot of a mounted combat samurai in battle, it is also a beautiful work of art. It also represents a most inexpensive collector's item of original samurai armour, combined as a weapon of combat and war, and around 400 years old.

The whole surface is in ancient russetted iron in the distinctive Higo school style, with a large onlaid most decorative sinchu mount of a bird and various flora.

It is to be noted as we previously detailed, that these stirrups, due to their weight, were also used as weapons against the enemy infantry samurai and ashigaru. A kick from this by the mounted samurai when riding past a standing samurai at full gallop would smash through even the strongest iron helmet kabuto, resulting in likely instant death. The same effect as hitting any object with a 12 pound steel club hammer at full swing

Abumi, Japanese stirrups, were used in Japan as early as the 5th century, and were a necessary component along with the Japanese saddle (kura) for the use of horses in warfare. Abumi became the type of stirrup used by the samurai class of feudal Japan Early abumi were flat-bottomed rings of metal-covered wood, similar to European stirrups. The earliest known examples were excavated from tombs. Cup-shaped stirrups (tsubo abumi) that enclosed the front half of the rider's foot eventually replaced the earlier design.

During the Nara period, the base of the stirrup which supported the rider's sole was elongated past the toe cup. This half-tongued style of stirrup (hanshita abumi) remained in use until the late Heian period (794 to 1185) when a new stirrup was developed. The fukuro abumi or musashi abumi had a base that extended the full length of the rider's foot and the right and left sides of the toe cup were removed. The open sides were designed to prevent the rider from catching a foot in the stirrup and being dragged.

The military version of this open-sided stirrup, called the shitanaga abumi, was in use by the middle Heian period. It was thinner, had a deeper toe pocket and an even longer and flatter foot shelf. It is not known why the Japanese developed this unique style of stirrup, but this stirrup stayed in use until European style-stirrups were introduced in the late 19th century. The abumi has a distinctive swan-like shape, curved up and backward at the front so as to bring the loop for the leather strap over the instep and achieve a correct balance. Most of the surviving specimens from this period are made entirely of iron, inlaid with designs of silver or other materials, and covered with lacquer. In some cases, there is an iron rod from the loop to the footplate near the heel to prevent the foot from slipping out. The footplates are occasionally perforated to let out water when crossing rivers, and these types are called suiba abumi. There are also abumi with holes in the front forming sockets for a lance or banner. Seieibushi (Elite Samurai)
Traditionally the highest rank among the samurai, these are highly skilled fully-fledged samurai. Most samurai at the level of Seieibushi take on apprentices or Aonisaibushi-samurai as their disciples.

Kodenbushi (Legendary Samurai)
A highly coveted rank, and often seen as the highest attainable position, with the sole exception of the rank of Shogun. These are samurai of tremendous capability, and are regarded as being of Shogun-level. Kodenbushi are hired to accomplish some of the most dangerous international missions. Samurai of Kodenbushi rank are extremely rare, and there are no more than four in any given country.

Daimyo (Lords)
This title translates to 'Big Name' and is given to the heads of the clan.

Shogun (Military Dictator)
The apex of the samurai, the Shogun is the most prestigious rank possible for a samurai. Shoguns are the leaders of their given district, or country, and are regarded as the most powerful samurai.

Picture in the gallery of Samurai Wagakawa Kiyohide riding his black horse into battle wearing his identical black and brass mounted abumi horse armour stirrup.  read more

Code: 23147

A Museum Grade Wakazashi By Toshizane, Mounted With Fine Pair of Samurai Sword Pure Gold & Shakudo, Soten School, Edo, Sōheishi Nyūdō Sōten Sei. Taira Atsumori (1169-1184) Riding On Horseback Through Crashing Waves To Escape The Minamoto

The whole sword is representing the great samurai heroic story from the Gempei War depicting Taira Atsumori (1169-1184) riding on horseback through crashing waves to escape the Minamoto warriors. The koshirae are in our opinion first division Soten school in pure gold embellished shakudo. Soten, alongside Goto, are the two great Japanese schools of sword fittings. The signed fittings by renowned artisan Mogarashi Nyudo Soten, a master craftsman from Hikone in Goshu Province.

The signed tsuba 藻柄子入道 * 宗典製 * 江州 * 彦根住
Sōheishi Nyūdō * Sōten sei * Kōshū * Hikone jū tsuba is similarly wonderous, depicting Taira Atsumori crashing through the waves holding his yumi bowstring through his clenched teeth and the bowstring is a chiseled out, thin, separate piece of shakudo metal all decorated in pure gold on *nanako ji ground. A representation of the tsuba maker's incredible skill learnt by a master over a lifetime of his craft. All the koshirae exemplifies the artistry and skill of the Soten school

The fabulous blade, by an Hamabe school master is 文化 dated Bunka, 11th year, February 1814. By, Hamabe Gihaichirou Toshizane of Inshu. His pupil became one of the world's recognised great master swordsmiths under Toshizane's pupilage, and his blades today can fetch between $300,000 to $2,000,000.

因　州 Inshuu , 住. Jyuu 濱 Hama 部 Be 義八郎 ,儀八郎 Gihachirou, {Correct character is 儀.}
壽Toshi 實Zane.

He was a master of Hamabe school, but remained in Inaba province and took the name Minryushi. He was the teacher of both Kiyomaro and Masao. A Kiyomaro sword {by Toshizane's pupil} sold a few years ago for $2million.

The stunning fittings are Soten school, late, Edo period {1615-1868} By Sōheishi Nyūdō Sōten Sei. It is rare to find Soten work in shakudo or any soft metals as they typically worked in iron.
The kozuka side knife is also by Soten of pure gold decorated figure in takebori relief carving of Taira Atsumori, holding his yumi, involved in his full chase, with another samurai in full armour, also with his yumi { war bow} over a micro hammered nanako ground. The back of the kozuka is decorated with a layer of pure gold with a scored oblique decoration in a rain pattern.

The deep takebori tsuba is of Taira Atsumori (1169-1184) Riding On Horseback Through Crashing Waves To Escape The Minamoto.

The all matching koshirae mounts {Gempei kassen} are detailing a scene from the Gempei wars

The Genpei Kassen (源平合戦) is the theme of all the fittings. It is also called the Jishou Juei-no Ran (治承・寿永の乱) and stretched over six years from 1180 until 1185. This is the battle between the Minamoto (源) clan (Genji family) and the Taira (平) clan (Heike family). By the call of Mochihito Ou (以仁王), many Samurai raised armies to overthrow the Taira family. It was the trigger of this conflict. Mochihito Ou was unfortunately beaten by the Taira family and passed away in 1180. However, after that, Samurai who fought for Minamoto family side defeated the Taira side armies one after another. Finally, the Minamoto side won the battle and overthrew the Taira clan in 1185 at Dan-no Ura (壇ノ浦). It was the final battle of the Genpei Kassen, which led to the destruction of the Taira clan, who reached the height of glory. In this tsuba there is Taira Atsumori who rides on a horse with his yumi war bow, and another also with his yumi. Each person’s facial expressions are carefully carved, and the liveliness and tension on the battlefield are beautifully expressed in this work.

Its original Edo saya is fabulous, in finest ishime {stone finish} urushi lacquer, with carved buffalo horn fittings. The saya bears four, very small defensive sword edge cuts at the base, which have been left completely untouched as they are honourable combat scars despite bieng very small.

The whole sword is depicting Taira Atsumori (1169-1184) Riding On Horseback Through Crashing Waves To Escape The Minamoto Warriors. We show a woodcut in the gallery of this battle. By Toyokuni Utagawa,

More photos of the sword, blade kozuka, tsuba and nakago to follow in a few days.

The founder of the
Soten school, Kitagawa Sōteen I (also called Shūten and possibly Sōheishi Niūdō), flourished about 1650 and, like his successors, worked at Hikone, whence the name Hikone-bori for the style they evolved. The signature of his son, Sōten II (Sōheishi Niūdō), is that most frequently found on tsuba sword guards of this school.

The Sōten style may be summed up as the marubori-zōgan with the addition of elaborate landscape details. The figures, whether large or small, are either modeled completely in the round, the ground being more or less cut away and the whole enclosed by a border; or else they are in high relief on a solid ground. The work is nearly always in iron, with the nude portions encrusted in silver or copper, the patterns of the garments and the minute botanical details of the landscape being richly overlaid with gold.

The favourite subjects are taken from Chinese history and legend, or represent Japanese battle-scenes, especially from the Gempei campaigns of the 12th century and the Korean expeditions of the Empress Jingō and the Taikō Hideyoshi.

According to The Tale of the Heike, the Taira were scattered by Yoshitsune's attack from the Ichi-no-Tani cliff. Kumagai no Jirō Naozane, while scanning the beach for fleeing soldiers, spotted the young Atsumori swimming towards the fleeing vessels.

Ukiyo-e of Kumagai Naozane and Taira no Atsumori
Kumagai beckoned Atsumori with his fan, taunting Atsumori by saying, “I see that you are a commander-in-chief. It is dishonorable to show your back to an enemy. Return!”

Atsumori returned and they grappled on the beach. Kumagai was stronger. He knocked off Atsumori's helmet to deliver the finishing blow, only to be struck by the beauty of the young noble. Atsumori was “sixteen or seventeen years old, with a lightly powdered face and blackened teeth—a boy just the age of Naozane's own son...”

Kumagai, wishing to spare the life of the boy, asked for Atsumori's name, but the youth refused. He simply said that he was famous enough that Kumagai's superiors would recognize his head when it was time to assign rewards. At that moment, other Minamoto warriors arrived, and Kumagai knew that if he did not kill Atsumori, the other warriors surely would. Kumagai reasoned that it was better if he was the one to kill Atsumori, because he could offer prayers on his behalf for the afterlife.

Kumagai while crying beheaded the youth, searched the body for something to wrap the head in, he came across a bag containing a flute. He realized that Atsumori must have been one of the soldiers playing music before the battle and thought, “there are tens of thousands of riders in our eastern armies, but I am sure none of them has brought a flute to the battlefield. Those court nobles are refined men!”

It is said that the beheading of Atsumori is what led Kumagai to take priestly vows and become a Buddhist monk.

* Nanako Ji: "fish roe ground" A surface decoration produced by forming very small raised bosses by a sharply struck punch or burin called 'nanako tagane'. Shakudo is the metal most often used, but copper and gold are quite often employed. The harder metals, shibuichi, silver and iron are rarely decorated in this way. The size of the dots vary from 0.04" to 0.008" (25 to 125 and inch) and the regularity of the work is marvelous as the dots must be spaced entirely by touch. The dots are usually arranged in straight lines or in lines parallel to the edge of the piece being decorated, but sometimes in more elaborate patterns. Used on guards since the Momoyama period although the technique existed since much earlier periods. Usually done by specialist 'nanako-shi', but sometimes done by the maker of the guard himself.

Shakudo is a billon of gold and copper (typically 4-10% gold, 96-90% copper) which can be treated to form an indigo/black patina resembling lacquer. Unpatinated shakudo Visually resembles bronze; the dark color is induced by applying and heating rokusho, a special patination formula.

Shakudo Was historically used in Japan to construct or decorate katana fittings such as tsuba, menuki, and kozuka; as well as other small ornaments. When it was introduced to the West in the mid-19th century, it was thought to be previously unknown outside Asia, but recent studies have suggested close similarities to certain decorative alloys used in ancient Egypt, Greece, and Rome. The lacquer surface of the saya has some age bruising etc. due to its vintage

See photo 9 in the gallery of a similar subject fuchigashira in the Metropolitan Museum of Art
Sword-Hilt Collar and Pommel (Fuchigashira)
Japanese ca. 1615–1868 Fuchi inscribed: 藻柄子入道宗典製 Sōheishi Nyūdō Sōten sei (Made by the lay priest Sōheishi Sōten)
Donated by Herman A. E. and Paul C. Jaehne, New York and Coco Beach, Florida (by 1915–43; their gift to MMA).

The blade at present is very grubby and requires expert cleaning and conservation care, and that we are attending to this month, and it should once more look its glorious best by around middle of next week {16th April}  read more

Code: 25605

A Good Imperial German WW1 Officer's Sword A Beautiful 1889 Pattern German Infantry Officer's Sword of The Great War. and Used into WW2 Until May 1945. Wonderful Condition For Age Kaiser Wilhelm's Crest Inset Within The Grip

1889 Pattern Prussian officers sword with cast eagle guard, excellent original multi wire bound grip, with kaisers crest insert, good condition double fullered bright polished blade and black lacquered steel combat scabbard. Kaiser Willhelm crest to grip. Folding spring loaded Prussian eagle guard. Used by a German infantry officer serving in the Great War, the Weimar period, and WW2. Taken as a WW2 souvenir in 1945.

Many of these swords were also used in the 3rd Reich by veteran officers serving in WW2. Numerous Vintage photographs of WW2 German Officers show them wearing this pattern of sword, including one in the gallery of Generalleutnant Hans von Donat with his identical sword.
The Imperial German Army (Deutsches Heer) entered the Great War in 1914 as the most professional and highly trained conscript force in the world. At its peak, it mobilised millions of men, evolving from a force designed for rapid, decisive offensives into a highly adaptable master of industrialised trench warfare.Organization and Early StrategyEstablished in 1871 after the unification of Germany, the army was a federal force dominated by Prussia, though the kingdoms of Bavaria, Saxony, and Württemberg maintained their own ministries and units.The General Staff: Unlike its rivals, Germany relied on a Great General Staff to institutionalise military excellence through academic training and strategic planning.The Schlieffen Plan: Strategy was initially dictated by the goal of avoiding a two-front war. The plan called for a massive, rapid right-wing sweep through neutral Belgium to knock France out of the war in weeks before turning to face Russia.Rapid Mobilisation: Upon the outbreak of war, the army expanded from roughly 700,000 peacetime troops to over 3.8 million men within a week.

As the war of movement stalled into trench warfare, the German Army became a leader in tactical innovation to overcome the deadlock.Stormtroopers (Stosstruppen): To break the stalemate, specialized shock units were trained in decentralized, aggressive "infiltration" tactics. These focused on bypassing enemy strongpoints to strike rear-area command and artillery.

By 1917, the army shifted from defending a single, rigid front line to a deep defensive system. This allowed attackers to penetrate forward zones only to be decimated by pre-planned counter-attacks and hidden machine-gun nests.

Tactics evolved to integrate infantry, heavy artillery (coordinated by masters like Georg Bruchmüller), aircraft, and early anti-tank measures into a single cohesive system

Despite nearly breaking the Allied lines during the 1918 Spring Offensive, the army ultimately succumbed to exhaustion, a lack of mobility to exploit breaches, and the overwhelming material superiority of the Allies.Dissolution: Under the Treaty of Versailles, the Imperial Army was abolished in 1919 and replaced by the Reichswehr, a professional force strictly limited to 100,000 men with no tanks, aircraft, or heavy artillery.The "Stab-in-the-Back" Myth: Following the surrender, a powerful myth grew that the army had remained undefeated on the battlefield but was betrayed by politicians, socialists, and revolutionaries at home—a narrative that later fueled the rise of the Nazi Party.

The great ‘Myth of German WW1 Reparations’ the financial penalty for losing WW1, that fuelled the rise of the National Socialists Workers Party { aka, the Nazis}.
Effectively, the German NAZI politicians blatantly lied that Germany was ruined financially by the allied powers taking all of Germany’s wealth. Can you imagine how shocking it must of been to discover their National Socialist Workers politicians actually lied in order to gain power, shocking indeed! Thank goodness that has never happened since.

Weimar and Nazi Germany in reality only paid just one eighth of the due ‘bill’ in reparations, but it received more, approximately 12 billion dollars more, in loans, from a group of New York American financiers, than it paid out. And, another surprise, the Nazis defaulted on those loans anyway, so the National Socialists kept all the {circa} 34 billion dollars in loan funds, that they then used to help pay for the next war, that Hitler planned all along. Bear in mind, in those days, a billion dollars was a lot of money.

Germany only actually paid approximately 20 billion to 21 billion gold marks (roughly $5 billion USD at the time) toward its World War I reparations before the debt was eventually settled or written off. While the original "bill" set by the Allies in 1921 was a staggering 132 billion gold marks ($33 billion USD), Germany actually paid only about one-eighth of that total.
The repayment process was ‘interrupted’ by the economic crises, the rise of the Nazi regime, and a second world war.
Between 1919–1932 Germany transferred between 19 billion and 21 billion gold marks in cash and "in-kind" payments, such as coal, timber, and livestock.
To make these payments however, Germany ‘borrowed’ roughly 33 billion to 35 billion marks from foreign investors (mostly American). This meant Germany actually received more in foreign loans than it paid out in reparations during the 1920s. A far, far greater sum than it had paid so far to the allies. However, In 1933, Adolf Hitler ceased all reparation payments and defaulted on the foreign loans used to fund them.

It is often reported that Germany "finished" paying for WWI on 3 October 2010. A considerable ‘bending’ of the truth. This final payment of $94 million (€69.9 million) was not for the reparations themselves, which had been cancelled in 1932 anyway. Instead, it settled the accrued interest on the private bonds and foreign loans Germany took out from the financiers in the 1920s to stay afloat.

Under the 1953 London Agreement, West Germany had agreed to pay these interest debts only after the country was reunified, which delayed the final instalment until the 20th anniversary of German reunification.

Light polished out surface pitting to the blade, good 95% original black lacquer paint to the steel, dent free scabbard  read more

Code: 26187

Openwork Iron Nanban Tsuba With A Pair of Dragons and Golden Nunome-Zogan Decor. A Most Fine Japanese 17th Century Sword Guard

Japanese sword hilt (tsuba) in cut iron and damascened with gold (nunome-zogan). The metal is finely carved with dragons chasing the sacred pearl in the Nanban style. The pearl is pierced and contains a small mobile ball which today comes out of its housing (see photos). Japanese work from the 17th century Edo period.

Nanban tsuba (Southern Barbarian sword guards) are 16th to 19th-century Japanese sword fittings characterized by foreign, non-traditional designs, primarily featuring intricate iron openwork (sukashi), beaded rims, and Chinese or European motifs. Originating from trade with foreign ships, these often-lavish guards were produced in China or by the Dutch East India Company and adapted for Japanese swords.
"Nanban" means "Southern Barbarian," a term used during the Edo period to describe foreigners—specifically Portuguese, Spanish, and Dutch traders—who arrived by sea.
While the name implies Western influence, most designs actually show strong Chinese influence.

They are usually made of iron, featuring complex openwork (carved in relief or pierced), undercutting, and often feature "small balls" trapped in small compartments that can move. Common motifs include dragons chasing flaming pearls, foreign letters (like "VOC" for the Dutch East India Company), and arabesque designs.
Initial pieces were likely imported from China or Southeast Asia through Nagasaki from the late 16th century onwards.
Japanese craftsmen began copying these styles. They often added specific features for Japanese swords, such as the hitsu-ana (holes for the utility knife/hairpin) and modifying the nakago-ana (tang hole).
The Yagami School: Based in Nagasaki, this school specialized in this style during the 18th century, famous for intricate ironwork featuring Chinese-style dragons and, notably, "1000 monkey" designs.
Although foreign-influenced, they were popular among samurai as fashionable, often heavily gilded or inlaid with gold/silver. They were sometimes used to subtly showcase hidden religious preferences (e.g., small crosses) during the prohibition of Christianity

Nanban-style carvers in Yamashiro (modern-day Kyoto) refers to 18th-century Japanese metalworkers, specifically tsuba (sword guard) makers, who adopted foreign design elements—primarily Chinese, but also Portuguese and Dutch influences—into their craft.

These artisans are known for producing Nanban Tsuba (Southern Barbarian sword guards), which often feature intricate, openwork (sukashi) designs, such as dragons, vines, and lion-like figures, usually on an iron ground.
They utilized gold or silver nunome-zōgan (inlay) to highlight designs, frequently carving on a cross-hatched background to create a textured, luxurious, or exotic look.
While Nanban-style items were often associated with Nagasaki, Kyoto-based makers (Yamashiro) were known for producing higher-quality, more sophisticated, and detailed versions, often with better-finished carvings.
Connection to Heianjo School: Some of these designs are categorized alongside Heianjo-style Tsuba, which were established in Yamashiro and known for combining iron with brass inlays.

These carvers operated during the Edo period (1603–1868), with peak production of these refined, domestically made Nanban pieces occurring around the 18th century.


Size 72x5mm Good condition.  read more

Code: 26169

A Most Rare Set Of 12 Original Photographs Of The General Nobile 1928 Polar Airship Expedition

Original Polar Expeditions collectables are most highly desirable and we have been delighted to acquire two such connected lots. These are 12 original photographic postcards, published at the time, by two publishers, Traldi and Ballerini & Fratini. For example one is entitled "La Spedizione Nobile - 11 - Esplorazioni di Alpini."
Ed. A. Traldi, Milan, n.d. c. 1928. and another "General Nobile to edge of Italy before leaving."
Umberto Nobile January 21, 1885 ? July 30, 1978) was an Italian aeronautical engineer and Arctic explorer. Nobile was a developer and promoter of semi-rigid airships during the Golden Age of Aviation between the two World Wars. He is primarily remembered for designing and piloting the airship Norge, which may have been the first aircraft to reach the North Pole, and which was indisputably the first to fly across the polar ice cap from Europe to America. Nobile also designed and flew the Italia, a second polar airship; this second expedition ended in a deadly crash and provoked an international rescue effort.The N-class airship Italia was slowly completed and equipped for Polar flight during 1927-28. Part of the difficulty was in raising private funding to cover the costs of the expedition, which finally was financed by the city of Milan; the Italian government limited its direct participation to providing the airship and sending the aging steamer Citt? di Milano as a support vessel to Svalbard, under the command of Giuseppe Romagna.

This time the airship used a German hangar at Stolp en route to Svalbard and the mast at Vads? (Northern Norway). On May 23, 1928, after an outstanding 69 hour long flight to the Siberian group of Arctic islands, the Italia commenced its flight to the North Pole with Nobile as both pilot and expedition leader. On May 24, the ship reached the Pole and had already turned back toward Svalbard when it ran into a storm. On May 25, the Italia crashed onto the pack ice less than 30 kilometres north of Nordaustlandet (Eastern part of Svalbard). Of the 16 men in the crew, ten were thrown onto the ice as the gondola was smashed; the remaining six crewmen were trapped in the buoyant superstructure as it ascended skyward due to loss of the gondola; the fate of the six men was never resolved. One of the ten men on the ice, Pomella, died from the impact; Nobile suffered a broken arm, broken leg, broken rib and head injury; Cecioni suffered two badly broken legs; Malmgren suffered a severe shoulder injury and suspected injury to a kidney; and Zappi had several broken ribs.

The crew managed to salvage several items from the crashed airship gondola, including a radio transceiver, a tent which they later painted red for maximum visibility, and, critically, packages of food and survival equipment which quick-witted engineer Ettore Arduino had managed to throw onto the ice before he and his five companions were carried off to their deaths by the wrecked but still airborne airship envelope and keel. As the days passed, the drifting sea ice took the survivors towards Foyn and Broch islands.

A few days after the crash the Swedish meteorologist Malmgren and Nobile's second and third in command Mariano and Zappi decided to leave the immobile group and march towards land. Malmgren, who was injured, weakened and reportedly still depressed over his meteorological advice that he felt contributed to the crash, asked his two Italian companions to continue without him. These two were picked up several weeks later by the Soviet icebreaker "Krasin". However there were persistent rumors that Malmgren was killed and cannibalized by Zappi and Mariano

They would look incredible suitably bespoke framed with UV protected glass  read more

Code: 18032

A Most Desirable Original Souvenir, A Collector's Item From The Zulu War of 1879, a War Club, Iwisa, Of A High Ranked Zulu 'isiKhulu', A Warrior's Long Knopkerrie, With a Telegraph Wire Geometric Wirework Bound Haft. In Fantastic Condition

The longer, or the larger the head, denotes the rank of the impi, that bears the rank name of 'isiKhulu'. The larger the head for the elite chiefs or 'kinglets' the longer length for the veteran warriors, the Zulu generals or 'isiKhulu' equivalent

One of two original 1879 Zulu War souvenirs of a serving soldier we acquired last week. This one was from a high ranking Zulu 'isiKhulu' warrior. A simply superb quality example, in stunning condition, bearing two geometrically patterns wire bound bands of scavenged, Victorian, early British telegraph wire. The other one was a rare Zulu Chiefs war club that was sold to a collector last weekend

The Zulus would frequently cut down the British military telegraph wires, strip them, and create wirework decorative patterns on their spear and knopkerrie hafts. That is a most desirable and specifically historical feature of quality, when bound upon the spears and clubs, of the Zulu War period Zulu warriors

The wirework is still beautifully intact and the native hardwood has a impeccable natural age patina.

Ceremonial and Functional Distinctions: While a standard knobkerrie was an indispensable, everyday accessory for a Zulu man, it was also used in ceremonial roles. For example, some were finely decorated with copper or iron wire for elite,

During the period of this knopkerries use, two of most famous pair of engagements in the British army's history, during the last quarter of the 19th century, happened over two consecutive days. Curiously, it is fair to say that these two engagements, by the 24th Foot, against the mighty Zulu Impi, are iconic examples of how successful or unsuccessful leadership can result, in either the very best conclusion, or the very worst. And amazingly, within only one day of each other. The 1879 Zulu War, for the 24th Foot, will, for many, only mean two significant events, Isandlhwana and Rorke's Drift. This is the brief story of the 24th Foot in South Africa; In 1875 the 1st Battalion arrived in Southern Africa and subsequently saw service, along with the 2nd Battalion, in the 9th Xhosa War in 1878. In 1879 both battalions took part in the Zulu War, begun after a British invasion of Zululand, ruled by Cetshwayo. The 24th Foot took part in the crossing of the Buffalo River on 11 January, entering Zululand. The first engagement (and the most disastrous for the British) came at Isandhlwana. The British had pitched camp at Isandhlwana and not established any fortifications due to the sheer size of the force, the hard ground and a shortage of entrenching tools. The 24th Foot provided most of the British force and when the overall commander, Lord Chelmsford, split his forces on 22 January to search for the Zulus, the 1st Battalion (5 companies) and a company of the 2nd Battalion were left behind to guard the camp, under the command of Lieutenant-Colonel Henry Pulleine (CO of the 1/24th Foot).

The Zulus, 22,000 strong, attacked the camp and their sheer numbers overwhelmed the British. As the officers paced their men far too far apart to face the coming onslaught. During the battle Lieutenant-Colonel Pulleine ordered Lieutenants Coghill and Melvill to save the Queen's Colour—the Regimental Colour was located at Helpmakaar with G Company. The two Lieutenants attempted to escape by crossing the Buffalo River where the Colour fell and was lost downstream, later being recovered. Both officers were killed. At this time the Victoria Cross (VC) was not awarded posthumously. This changed in the early 1900s when both Lieutenants were awarded posthumous Victoria Crosses for their bravery. The 2nd Battalion lost both its Colours at Isandhlwana though parts of the Colours—the crown, the pike and a colour case—were retrieved and trooped when the battalion was presented with new Colours in 1880.

The 24th had performed with distinction during the battle. The last survivors made their way to the foot of a mountain where they fought until they expended all their ammunition and were killed. The 24th Foot suffered 540 dead, including the 1st Battalion's commanding officer.

After the battle, some 4,000 to 5,000 Zulus headed for Rorke's Drift, a small missionary post garrisoned by a company of the 2/24th Foot, native levies and others under the command of Lieutenant Chard, Royal Engineers, the most senior officer of the 24th present being Lieutenant Gonville Bromhead. Two Boer cavalry officers, Lieutenants Adendorff and Vane, arrived to inform the garrison of the defeat at Isandhlwana. The Acting Assistant Commissary James Langley Dalton persuaded Bromhead and Chard to stay and the small garrison frantically prepared rudimentary fortifications.

The Zulus first attacked at 4:30 pm. Throughout the day the garrison was attacked from all sides, including rifle fire from the heights above the garrison, and bitter hand-to-hand fighting often ensued. At one point the Zulus entered the hospital, which was stoutly defended by the wounded inside until it was set alight and eventually burnt down. The battle raged on into the early hours of 23 January but by dawn the Zulu Army had withdrawn. Lord Chelmsford and a column of British troops arrived soon afterwards. The garrison had suffered 15 killed during the battle (two died later) and 11 defenders were awarded the Victoria Cross for their distinguished defense of the post, 7 going to soldiers of the 24th Foot.

Each Impi was made up of several ibutho, each approximately 1,000 warriors strong plus the young boys acting as servants and scouts for the army. Each had its own shield colours, and other emblems such as head dresses. The amount of black and white on a shield allowed the Zulu commanders to know exactly what regiment was where on the battlefield, much like the colours of the regiments did for the European armies. Shaka needed a fast mobile army, as early in his campaigns he was outnumbered and needed to manoeuvre quickly, so to ensure this the warriors were made to run bare foot so the loss of a sandal wouldn’t disable them and their feet were hardened, by frequent runs over the hot stony ground and by stamping thorns into the ground so that scar tissue would form.

In battle the troops were lightly equipped apart from a shield - any armour would have been impractical and useless anyway when facing European armies with guns. The elaborate dress seen in many films is a misconception and mainly ceremonial. Standard weapons were a short broad bladed stabbing spear and a heavy club, Shaka introduced the short stabbing spear and warriors did not carry spares so did not throw them in battle. Some regiments re-introduced throwing spears when facing the European and Boer armies but by this time they were also using looted firearms and primitive muskets traded to them by Arab traders. Although lacking the fire power of the modern armies European armies they later faced the Zulus were well disciplined and brave and once they closed with the enemy their greater training in close combat and the advantage of having a shield made them lethal. They were also know for the ritual of “washing of the spears” - a tradition of cutting open fallen enemies’ bellies so that their ghost/ spirit would be free and not haunt the person who killed him. This was seized upon by the media to help portray the Zulus as blood thirsty savages. Discipline was harsh but not exceptionally so if compared to contemporary European armies, cowards were shamed and normally executed and the brave honoured, basic battlefield medicine was practised but the Zulus had surprisingly good causality recovery rates.

Not only a superb historical collectors item, but also, a perfect walking stick!

33 inches long, knob, 2.4 inches across, weight 14.5 ounces {almost a pound}  read more

Code: 26186

An Early 17th Century ‘Pillow’ Sword, Around 420 Years Old, by Arnoldt Brach of Solingen. The Simplest of Sword Types Made, From The Era Of King James Ist, But None The Less Effective For That. Short Rapier Form Blade, Walnut Hilt

Arnoldt Brach (1573-1640): A bladesmith active in the late 16th and early 17th century in Solingen, sometimes associated with the "crowned T" mark. Armourer stamped Arnoldt Rot. Bras {Brach} Me Fecit { translation from the 17th century Latin; ‘Arnoldt Brach I Made This’ } On the obverse blade side, Arnoldt Rot. Bras {Brach} Salingen {sic} plus armourer’s stamps of cross symbols to both sides.

A pillow sword is a small, light 17th-century European sword, often featuring a straight double-edged blade, designed as a compact personal weapon. Popularly believed to be kept under a pillow for bedroom protection—hence the name—it was more likely a practical, stylish "town sword" worn daily, often associated with a waist sash. 17th century status symbols and for personal defence, particularly in busy cities like Amsterdam, London, Seville, or Rome where long rapiers were impractical.

There has been a long held belief that the naming of the sword type was due to a flat sword that could be kept under the nobles pillow in order to make a rapid defence, during a nighttime’s slumber, against an assassin’s nefarious attack. There is no specific evidence to confirm this likely myth, however, as the saying goes ‘alls fair in love and war’, thus, if needs must, a flat ‘pillow’ sword would be the only form of sword that could be concealed at close quarter, and at instant reach, within the bedchamber, by a fearful potential victim.

17th-Century Dueling: Noblemen of this period, such as those in France or Naples, frequently engaged in duels of honour, often using rapiers, daggers, or sabres to settle disputes, sometimes over trivial matters

These weapons featured smaller hilts, sometimes with a single side-ring, or none at all, making them far less cumbersome than full-sized rapiers. Many examples may or may not include cross-guards and plain wooden or wire-bound wooden grips. Often the simpler the better, and one couldn’t get more simple than this example. The blade is very fine with superb and clear named armourer maker stamps of Arnold’s Brach of Solingen

33.5 inches long overall. Blade in good condition for age, old pitting at the bottom quarter, wooden hilt good with small losses at the ricasso.  read more

Code: 26184

A Very Inexpensive Original 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 interspersed 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 Wonderful 18th Century French Small-Sword of Parcel Gilt and Blued Steel A Simply Stunning Museum Grade Piece

A sword that is certainly worthy of a finest collection of all forms of object d'art, antiquities, antiques and militaria.
Likely made at Versailles, at the royal workshops, by a royal swordsmith of King Louis XVIth, such as the master swordsmiths of the king, Lecourt, Liger or Guilman. A very finest grade sword of the form as was made for the king to present to favoured nobles and friends. He presented a similar sword to John Paul Jones see painting in the gallery now in the US Naval Academy Museum.

Three near identical swords to this now reside in the Metropolitan A simply superb small-sword, with stunningly engraved chiselled steel hilt, overlaid with pure gold over a fish-roe background,, decorated with hand chiselled scenes in the rococo Italianate renaissance style depicting various hunting scenes, of hunting hounds and game birds. The multi wire spiral bound grip is finest silver, in with Turks head finials. The blade is in the typical trefoil form, ideal for the gentleman's art of duelling. The degree of craftsmanship of this spectacular sword is simply astounding, worthy of significant admiration, it reveals an incredible attention to detail and the skill of it's execution is second to none. Other similar swords are in also in the British Royal Collection and in Les Invalides in Paris. Trefoil bladed swords had a special popularity with the officers of the French and Indian War period. Even George Washington had a very fine one just as this example. For example of the workmanship in creating this sword for such as the King and Marie Antoinette we show the keys for the Louis XVI Secretary Desk (Circa 1783) made for Marie-Antoinette by Jean Henri Riesener, one of the worlds finest cabinetmakers, and whose works of furniture are the most valuable in the world. The steel and gold metalwork key for Marie Antoinette's desk, is attributed to Pierre Gouthoire (1732-1813), the most famous Parisian bronzeworker of the late eighteenth century who became gilder to the king in 1767. This sword bears identical workmanship and style to that magnificent key. This is the quality of sword one might have expected find inscribed upon the blade 'Ex Dono Regis' given by the King. Very good condition overall, with natural aged patination throughout. This painting, entitled John Paul Jones and Louis XVI, by the American artist Jean Leon Gerome Ferris depicts John Paul Jones and Benjamin Franklin at the court of Louis XVIth and being presented a similar sword now in US Naval Academy Museum.
39.1/4 inches long overall.  read more

Code: 23138

A Wonderful Collection of Napoleonic War 'Grande Armee' Cuirassier & Officer's Pistols, & Cuirassier Dragoon Musket, Crimean War General's Sword, Waterloo Hussar's Sword. Arriving Next Week

Plus, a Napoleonic Wars officers sword of a British Light Dragoon regiment, plus 19th century British swords, helmets and Japanese swords. Including, the sword of the Colonel of the 3rd Battalion Grenadier Guards in the Crimean War, {see pictures 8 and 9} later Major General, {see portrait picture 6}. We show a Portrait of Major Hodge of the 7th Light Dragoons with his same mameluke sword {see portrait picture 7} Before 1815, during the Napoleonic Wars and the Battle of Waterloo, the Mameluke-hilted sword was a fashionable, often personal, choice for British light cavalry officers (such as Hussars) and high-ranking staff officers, rather than a standard infantry rifle officer's weapon. The style was adopted following campaigns in Egypt and India, influenced by Napoleon's Mameluke units and the personal preference of the Duke of Wellington

The Grande Armée was formed in 1804 from the L'Armée des côtes de l'Océan (Army of the Ocean Coasts), a force of over 100,000 men that Napoleon had assembled for the proposed invasion of Britain. Napoleon later deployed the army in Central Europe to eliminate the combined threat of Austria and Russia, which were part of the Third Coalition formed against France. Thereafter, the Grande Armée was the principal military force deployed in the campaigns of 1806/7, the French invasion of Spain, and 1809, where it earned its prestige, and in the conflicts of 1812, 1813–14, and 1815. In practice, however, the term Grande Armée is used in English to refer to all the multinational forces gathered by Napoleon in his campaigns.

Upon its formation, the Grande Armée consisted of six corps under the command of Napoleon's marshals and senior generals. When the Austrian and Russian armies began preparations to invade France in late 1805, the Grande Armée was quickly ordered across the Rhine into southern Germany, leading to Napoleon's victories at Ulm and Austerlitz. The French Army grew as Napoleon seized power across Europe, recruiting troops from occupied and allied nations; it reached its peak of one million men at the start of the Russian campaign in 1812,3 with the Grande Armée reaching its height of 413,000 French soldiers and over 600,000 men overall when including foreign recruits.4

In summer of 1812, the Grande Armée marched slowly east, and the Russians fell back with its approach. After the capture of Smolensk and victory at Borodino, the French reached Moscow on 14 September 1812. However, the army was already drastically reduced by skirmishes with the Russians, disease (principally typhus), desertion, heat, exhaustion, and long communication lines. The army spent a month in Moscow but was ultimately forced to march back westward. Cold, starvation, and disease, as well as constant harassment by Cossacks and Russian partisans, resulted in the Grande Armée's utter destruction as a fighting force. Only 120,000 men survived to leave Russia (excluding early deserters); of these, 50,000 were Austrians, Prussians, and other Germans, 20,000 were Poles, and just 35,000 were French. As many as 380,000 died in the campaign.  read more

Code: 26183