Original, Antique, Watercolour Painting of Zeppelins Over Eastchurch 1917

Nicely framed and mounted, signed Norman Arnold, 1917. Original great war memorabilia is very much in the forefront of collectors minds. The best-known German strategic bombing campaign during World War I was the campaign against England, although strategic bombing raids were carried out or attempted on other fronts. The main campaign against England started in January 1915 using airships. From then until the end of World War I the German Navy and Army Air Services mounted over 50 bombing raids on the United Kingdom. These were generally referred to as "Zeppelin raids": although both Zeppelin and Schutte-Lanz airships were used, the Zeppelin company was much better known and was responsible for producing the vast majority of the airships used. Weather conditions and night flying conditions made airship navigation and therefore bombing accuracy difficult. Bombs were often dropped miles off target (one raid on London actually bombed Hull) and accurate targeting of military installations was impossible. The civilian casualties made the Zeppelins an object of hatred, and they were widely dubbed 'baby-killers'. With the development of effective defensive measures the airship raids became increasingly hazardous, and in 1917 the airships were largely replaced by aeroplanes.

Although the direct military effect of the raids was small, they caused widespread alarm, leading to the diversion of substantial resources from the Western Front and some disruption to industrial production. Concern about the conduct of defence against the raids, the responsibility for which was divided between the Admiralty and the Army, led to a parliamentary inquiry under Jan Smuts, whose report was to lead to the creation of the Royal Air Force on 1 April 1918. The defence organisation developed by the British was an important precursor of the fighter direction system that would prove vital in winning the Battle of Britain. The raids were also influential because they led to an overestimation of both the material and psychological effects of the bombing of cities.

Airships made about 51 bombing raids on England during the war. These killed 557 and injured another 1,358 people. More than 5,000 bombs were dropped on towns across Britain, causing £1.5 million in damage. 84 airships took part, of which 30 were lost, either shot down or lost in accidents. Aeroplanes carried out 27 raids, dropping 246,774 lb (111,935 kg) of bombs for the loss of 62 aircraft, resulting in 835 deaths, 1972 injured and £1,418,272 material damage. the painting is in superb condition, the glass is showing a little odd reflection in our photos  read more

Code: 18101

Original Uniform Removed British Formation Badges 1939-1945 & King George VIth

An embroidered cloth shoulder title for the Prince of Wales's Own Regiment of Yorkshire, comprising a base of scarlet wool cut in an arc and embroidered on obverse with the title of the regiment "PRINCE OF WALES'S OWN YORKSHIRE" in white thread, and 5 formation badges, including the 4th Guards Armoured. Formation signs were first used by the British Army in WW1 in order to provide an easy method of visual identification of the various units. They were worn on the upper sleeve in pairs, on epaulets, on head gear, painted on unit vehicles, and used on road signs. It was also quickly found that the signs created a morale boosting esprit de corps as each unit became proud of its own symbol. After WW1 the use of formation signs was discontinued, they were reintroduced at the outbreak of WW2.Divisional Signs were reintroduced early in 1940, but instructions were given in 1941 for all formation signs to be referred to as Formation Badges; the official American designation is Shoulder Sleeve Insignia. Formation badges were worn on the sleeves of uniforms except on greatcoats; in battledress, one inch below the regimental or corps shoulder title, and immediately above the arm of service strip. These were narrow two inch strips, introduced in the autumn of 1940, which gave the soldier's arm of service when wearing a steel helmet, or no cap or other distinguishing badges. Infantry battalions wore one, two, or three red strips one below the other, as in the above illustration, to indicate the brigade to which they belonged as shown here.

In tropical kit areas, such as the Middle East and Far East, the formation badges were often worn affixed to the sleeves of Kahki Drill jackets by means of press studs to facilitate laundering, or even worn stitched onto slip-on epaulettes for wearing on the shoulders of K.D, shirts; this was also the method used in the hot summer months in Italy.

On all vehicles, formation badges were stencilled in colour on the forward and rear mudguards, or on the tailboard of trucks; on jeeps the badge appeared on the body below the windscreen on the driver's side.

Officially all formation badges, and other identifying insignia such as regimental titles, were to be removed before going into battle; however, photographic evidence clearly shows that every degree of obedience to this was to be seen in Normandy, and to some extent in Italy, from completely stripped sleeve and vehicle insignia to total disregard of the order. Guards 4th armoured. london district southern commanded
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Code: 23864

Original Uniform Removed 8 British Formation Badges 1939-1945 & King George VIth

Formation signs were first used by the British Army in WW1 in order to provide an easy method of visual identification of the various units. They were worn on the upper sleeve in pairs, on epaulets, on head gear, painted on unit vehicles, and used on road signs. It was also quickly found that the signs created a morale boosting esprit de corps as each unit became proud of its own symbol. After WW1 the use of formation signs was discontinued, they were reintroduced at the outbreak of WW2.Divisional Signs were reintroduced early in 1940, but instructions were given in 1941 for all formation signs to be referred to as Formation Badges; the official American designation is Shoulder Sleeve Insignia. Formation badges were worn on the sleeves of uniforms except on greatcoats; in battledress, one inch below the regimental or corps shoulder title, and immediately above the arm of service strip. These were narrow two inch strips, introduced in the autumn of 1940, which gave the soldier's arm of service when wearing a steel helmet, or no cap or other distinguishing badges. Infantry battalions wore one, two, or three red strips one below the other, as in the above illustration, to indicate the brigade to which they belonged as shown here.

In tropical kit areas, such as the Middle East and Far East, the formation badges were often worn affixed to the sleeves of Kahki Drill jackets by means of press studs to facilitate laundering, or even worn stitched onto slip-on epaulettes for wearing on the shoulders of K.D, shirts; this was also the method used in the hot summer months in Italy.

On all vehicles, formation badges were stencilled in colour on the forward and rear mudguards, or on the tailboard of trucks; on jeeps the badge appeared on the body below the windscreen on the driver's side.

Officially all formation badges, and other identifying insignia such as regimental titles, were to be removed before going into battle; however, photographic evidence clearly shows that every degree of obedience to this was to be seen in Normandy, and to some extent in Italy, from completely stripped sleeve and vehicle insignia to total disregard of the order.
Formation signs were first used by the British Army in WW1 in order to provide an easy method of visual identification of the various units. They were worn on the upper sleeve in pairs, on epaulets, on head gear, painted on unit vehicles, and used on road signs. It was also quickly found that the signs created a morale boosting esprit de corps as each unit became proud of its own symbol. After WW1 the use of formation signs was discontinued, they were reintroduced at the outbreak of WW2.Divisional Signs were reintroduced early in 1940, but instructions were given in 1941 for all formation signs to be referred to as Formation Badges; the official American designation is Shoulder Sleeve Insignia. Formation badges were worn on the sleeves of uniforms except on greatcoats; in battledress, one inch below the regimental or corps shoulder title, and immediately above the arm of service strip. These were narrow two inch strips, introduced in the autumn of 1940, which gave the soldier's arm of service when wearing a steel helmet, or no cap or other distinguishing badges. Infantry battalions wore one, two, or three red strips one below the other, as in the above illustration, to indicate the brigade to which they belonged as shown here.

In tropical kit areas, such as the Middle East and Far East, the formation badges were often worn affixed to the sleeves of Kahki Drill jackets by means of press studs to facilitate laundering, or even worn stitched onto slip-on epaulettes for wearing on the shoulders of K.D, shirts; this was also the method used in the hot summer months in Italy.

On all vehicles, formation badges were stencilled in colour on the forward and rear mudguards, or on the tailboard of trucks; on jeeps the badge appeared on the body below the windscreen on the driver's side.

Officially all formation badges, and other identifying insignia such as regimental titles, were to be removed before going into battle; however, photographic evidence clearly shows that every degree of obedience to this was to be seen in Normandy, and to some extent in Italy, from completely stripped sleeve and vehicle insignia to total disregard of the order.
7th Armoured Division The best known of all armoured divisions, The Desert Rats. It was formed in Egypt in 1938 as a Mobile Division. In December 1939 it became known as the 7th Armoured Division and its commander, Major-General O'Moore Creagh, adopted the jerboa (the desert rat) divisional sign. 6th Armoured Division(1950) Black cat on red ground with red sword = 56th (london) Armoured Division  read more

Code: 23863

A Very Nice Black Coral Handled Sinhalese Knife Piha-Kaetta (Pihiya)

A Fine Sinhalese Knife Piha-Kaetta (Pihiya) from Sri Lanka, Late 17th early 18th Century
The Pihiya is a very well known Ceylonese small Knife with a straight-backed blade and a curved cutting edge.
The Pihiya Handle and part of the blade are beautifully and finely engraved and decorated with delicate tendrils, the powerful hilt is made out of different combinations of materials such as Gold, Silver, Brass, Copper, Rock Crystal, Ivory, Horn, Black Coral Steel and Wood. Sometimes the Gold or Silver mounts extend down halfway the blade.
Handles were made in a certain and very distinctive form, occasionally they were made in the form of serpentines or a mythical creature?s head, similar to our current lot.
The Kaetta means a beak or billhook, it is a similar but larger knife to the Pihiya, it has a blade with a carved back and a straight cutting edge that curves only towards the tip.
The finest examples were made at the four workshop (Pattal-Hatara), where a selected group of craftsmen worked exclusively for the King and his court, and were bestowed to nobles and officials together with the kasthan? and a cane as a sign of rank and / or office. Others were presented as diplomatic gifts. Many of the best knives were doubtless made in the Four Workshops, such as is this example, the blades being supplied to the silversmith by the blacksmiths.
"The best of the higher craftsmen (gold and silversmiths, painters, and ivory carvers, etc.) working immediately for the king formed a close, largely hereditary, corporation of craftsmen called the Pattal-hatara (Four Workshops). They were named as follows; The Ran Kadu [Golden Arms], the Abarana [Regalia], the Sinhasana [Lion Throne], and the Otunu [Crown] these men worked only for the King, unless by his express permission (though, of course, their sons or pupils might do otherwise); they were liable to be continually engaged in Kandy, while the Kottal-badda men were divided into relays, serving by turns in Kandy for periods of two months. The Kottal-badda men in each district were under a foreman (mul-acariya) belonging to the Pattal-hatara. Four other foremen, one from each pattala, were in constant attendance at the palace. Prince Vijaya was a legendary king of Sri Lanka, mentioned in the Pali chronicles, including Mahavamsa. He is the first recorded King of Sri Lanka. His reign is traditionally dated to 543?505 bce. According to the legends, he and several hundred of his followers came to Lanka after being expelled from an Indian kingdom. In Lanka, they displaced the island's original inhabitants (Yakkhas), established a kingdom and became ancestors of the modern Sinhalese people.  read more

Code: 20795

An Original King George VIth Fire Service Recruitment Poster By Fosh and Cross

In the first.22 nights of air raids, from Sept 1940, firefighters fought nearly 10,000 fires.

Bombings often occurring while the River Thames was at low tide meaning access to water was made even more difficult. Vehicles became vital in transporting water around the city. Steel frames were fitted to lorries to enable them to carry up to 1,000 gallons of water. Meanwhile, to reduce the workload of the fire service, small fires were dealt with by 'street fire parties' – civilians who were given and taught to use stirrup pumps.

The public's opinion of the fire service changed significantly as a result of the Blitz. During the 'phoney war', firefighters had been thought of as 'army dodgers'. But, in 1940 this attitude changed – our firefighters became known as 'the heroes with grimy faces'. Two days into the Blitz - Churchill told the House of Commons that Adolf Hitler 'hopes by killing large numbers of civilians, that he will terrorise and cow the people of this mighty imperial city... Little does he know the spirit of the British people.'

The Auxiliary Fire Service
As the political climate intensified in Europe during the late 1930s, an Act of Parliament was passed to authorise the formation of a voluntary fire service. The Auxiliary Fire Service (AFS) formed in January 1938 and fire stations were set up in schools, garages and factories.

A recruitment drive was launched, with over 28,000 firefighters needed to support the Brigade's 2,500 officers and firefighters. However, as most young men had joined the army, the AFS welcomed those too old or too young to go to war. It also marked the first time women joined the Brigade.

Did women fight fires in WWII?
Though women did train, they didn't actually fight fires in the Second World War. They became fire watchers and drivers, and managed the communications networks. A rank system for women of the fire service was developed during the war to recognise their service and bravery – many were awarded for their remarkable achievements.

By 1943 over
70,000 women
had enrolled in the NFS in the United Kingdom. When peace was declared, London's fire service had attended over 50,000 calls though tragically, 327 of London's firefighters lost their lives. It's a sacrifice we'll never forget.

We never normally comment on the investment potential of any collectable, but the potential for all underpriced WW1, WW2 etc. posters may be incredible, for example the more famed original poster, 'Keep Calm and Carry On' can now sell for over £20,000.
Good condition 15 inches x 19.75 inches  read more

Code: 23847

A Superb, Large, Soviet Russian Cold War Period Issue Propaganda Poster

Showing photos of famous figures and events in the Russian revolutionary communist party. Vintage or antique Russian posters, in fact all forms of posters, are now becoming extraordinarily collectable. Their original purpose of being entirely transitory and disposable means so few original examples now exist, and can now only be usually seen in museum archive displays. Another poster for the Battleship Potemkin Russian movie, designed by the Stenberg brothers in 1925, sold in November 2012 for 103,250 Pounds Sterling at Christies Auction in London. It arranged class elements into a powerful design of revolutionary upheaval. As with any art form the value of a poster is somewhat dependent on the artist who created it. For example, the Frenchman, Chenet’s work is very sought after, however other artists' work can be even more desirable. Henri deToulouse-Lautrec is well known for his images of the Parisian night-life. His posters are filled with images of showgirls, bright colours, and stylized fonts. The auction record for an art poster is held by his Moulin Rouge, which sold for an amazing $241,500.00 in 1999. Slight staining, creases and small tears mostly bottom left, mounting circular holes to the top section. 57 cm x 86cm.
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Code: 23849

An 18th Century English Small Sword Circa 1760

An English small sword often favoured by English naval officers, in blackened cut steel [as this type of finish inhibited rust], single knuckle bow and an ovoid neo classical pommel with a fine diamond cut pattern. Plain wooden grip oval guard with small pas dan. Hollow trefoil blade with central fuller. Original blackened finish. One pas dans and the quillon have been shortened. See the standard work "Swords and Blades of the American Revolution" by George C. Neumann Published 1973. Sword 216s. Page 136 for two very similar swords. A particular painting showing a very good example of this is in the National Maritime Museum and it is most similar. The painting is of British Naval Captain Hugh Palliser, who wears the same form of sword with a blackened hilt , but with a gold sword knot which gave it a sleek overall appearance. A full-length portrait of Sir Hugh Palliser, Admiral of the White, turning slightly to the right in captain's uniform (over three years seniority), 1767-1774. He stands cross-legged, leaning on the plinth of a column, holding his hat in his right hand. The background includes a ship at sea. From 1764 to 1766, when he was a Captain, Palliser was Governor of Newfoundland, where James Cook, who had served under him earlier, was employed charting the coast. He was subsequently Comptroller of the Navy and then second-in-command to Augustus Keppel at the Battle of Ushant in 1778. Good condition overall, Blade 27.5 inches long  read more

Code: 22553

Original WW2 Volunteer Recruitment Poster. 'Lend A Hand On The Land'

A very fine propaganda recruitment poster for the Land Army. Britain re-created the World War I Ministry of Information for the duration of World War II to generate propaganda to influence the population towards support for the war effort. A wide range of media was employed aimed at local and overseas audiences. Traditional forms such as newspapers and posters were joined by new media including cinema (film), newsreels and radio. A wide range of themes were addressed, fostering hostility to the enemy, support for allies, and specific pro war projects such as conserving metal and growing vegetables. In 1940 in particular, Winston Churchill made many calls for the British to fight on, and for British units to fight until they died rather than submit. His calls for fight to victory inspired a hardening of public opinion. Determination raised the numbers of the Home Guard and inspired a willingness to fight to the last ditch, in a manner rather similar to Japanese determination, and the slogan "You can always take one with you" was used in the grimmest times of the war. British victories were announced to the public for morale purposes, and broadcast to Germany for purposes of undermining morale.

Even during Dunkirk, an optimistic spin was put on how the soldiers were eager to return.

When the U-boat commander Gunther Prien vanished with his submarine U-47, Churchill personally informed the House of Commons, and radio broadcasts to Germany asked, "Where is Prien?" until Germany was forced to acknowledge his loss.
The turn of the war made BBC's war commentaries much more stirring.

We never normally comment of the investment potential of any collectable, but the potential for all underpriced WW1 and WW2 posters must be incredible, for example the more famed poster, 'Keep Calm and Carry On' can now sell for over £20,000. This poster is "14.75 x 19.5 inches  read more

Code: 20933

WW2 Advertising Poster for The National Gallery 'War Pictures'

Printed for H.M.Stationary Office by Hubners Ltd. On their way to the Myra Hess concerts in October 1939, visitors to the National Gallery couldn't help noticing the forlorn bare walls where the paintings had been before the war.

Art under fire

Before long, a series of temporary exhibitions was organised a rarity for museums and galleries at the time. There were also rolling displays of contemporary war art organised by the WAAC (War Artists Advisory Committee) that Kenneth Clark had helped set up at the outset of war. The temporary exhibitions spanned a large variety of subjects, ranging from Nineteenth Century French Paintings? and British Painting since Whistler to War Pictures By British Artists and Greater London: Towards a Master Plan.

These exhibitions were often disrupted by the damage inflicted by the nightly bombing raids during the Blitz. This didn't affect the large number of visitors attending. In fact there was much debate as to whether visitors should be asked to leave during the many air-raid warnings that occurred each day. By 1942 the bombing raids had lessened. It was now felt that one painting could be brought up to London from Manod every month. It was put on show in splendid isolation with some accompanying documentary material.

Every night the work was removed from display and stored in the underground strong room for safety. The arrival of each painting was a news event. The picture of the month scheme exists in the Gallery to this day.


Posters are a true form of art with a purpose as they were designed to deliver a particular message through striking designs. These original vintage posters were created to grab the attention of passers-by, presenting artists with the challenge of condensing the message or a concept into a precise, short visual and written form in a single artwork. They are important items of social history that capture the essence of the time they were printed. Original vintage posters are recognised as a sound art investment that can be enjoyed every day. 25 x 18.5 inches  read more

Code: 20770

An Original WW2 British Special Constabulary Recruitment Poster

Published for HMG by Fosh and Cross Ltd London. A propaganda information and recruitment poster. The size as were used in the underground trains advertising panels, or the back of black cabs. Britain re-created the World War I Ministry of Information for the duration of World War II to generate propaganda to influence the population towards support for the war effort. A wide range of media was employed aimed at local and overseas audiences. Traditional forms such as newspapers and posters were joined by new media including cinema (film), newsreels and radio. A wide range of themes were addressed, fostering hostility to the enemy, support for allies, and specific pro war projects such as conserving metal and growing vegetables. In 1940 in particular, Winston Churchill made many calls for the British to fight on, and for British units to fight until they died rather than submit. His calls for fight to victory inspired a hardening of public opinion. Determination raised the numbers of the Home Guard and inspired a willingness to fight to the last ditch, in a manner rather similar to Japanese determination, and the slogan "You can always take one with you" was used in the grimmest times of the war. British victories were announced to the public for morale purposes, and broadcast to Germany for purposes of undermining morale.

Even during Dunkirk, an optimistic spin was put on how the soldiers were eager to return.

When the U-boat commander Gunther Prien vanished with his submarine U-47, Churchill personally informed the House of Commons, and radio broadcasts to Germany asked, "Where is Prien?" until Germany was forced to acknowledge his loss.

The turn of the war made BBC's war commentaries much more stirring.

We never normally comment on the investment potential of any collectable, but the potential for all underpriced WW1 and WW2 posters must be incredible, for example the more famed poster, 'Keep Calm and Carry On' can now sell for over £20,000.

Good condition 14.5 inches x 9.5 inches  read more

Code: 20872