A Rare Admiralty Publication of A List of the Flag Officers and Other Commissioned Officers of His Majesty's Fleet In 1st January 1818. Printed By S Brooke, Paternoster Row, London. Superbly Bound In Red Morocco Leather With Gold Titling

Excellent condition for age overall.

Due to their intended use and frequent updates, original copies of these lists are rare surviving examples.

Acquired with the family’s Crimean War Land Transport sword (now sold) and their WW2 FS commando knife, 2nd Pattern {now sold} and WW2 combat helmet.

A List of Flag Officers and other Commissioned Officers of His Majesty's Fleet; with dates of their respective commissions.
Including, and bound within, book two, An Alphabetical List of the Post Captains, Commanders, and Lieutenants of His Majesty's Fleet with the dates of their respective commissions. The two books lists are within this single volume.


His Majesty's Fleet included a list of Flag Officers and commissioned officers, published by the Admiralty in London January 1818. This list, titled "A List of the Flag-Officers of His Majesty's Fleet...", was likely organized by rank and seniority, with dates of commission, and also included an alphabetically organized list by rank for easier reference. The list would have included several elderly officers who served in the 7 Years War, American Revolutionary War, and later in the Revolutionary and Napoleonic Wars,and War of 1812 published by the Admiralty Ist January 1818

Beautifully bound in red Morocco leather with gilt tooling embellishment throughout, naturally aged and most beautiful. Also it is an essential piece of original history, perfect for officer research of all currently still serving after the Napoleonic Wars

It served as an official record and was likely used for administrative purposes within the Admiralty.
Historical Significance:
The document is valuable for understanding the structure and personnel of the Royal Navy during specific periods, including those who served during major conflicts like the American War of Independence and the Napoleonic Wars.
Rarity:
Due to their intended use and frequent updates, original copies of these lists are rare surviving examples.  read more

Code: 25880

A Very Fine, Shinto, Tokugawa Tachi Presented to Admiral Wildes {Capt of USS Boston, Of Admiral Dewey's Spanish War Fleet} In Yokahama Japan in 1896.

Acquired from his descendant family. Famously, in America the US Navy hero's dress uniform and gold sword was auctioned by Skinnersinc, after his gold, presentation American admiral's sword, was discovered after being locked in a mysterious family trunk for decades. It made American national news across the States, at the time the trunk was opened, to reveal ts magnificent treasure and it was sold for $31,200.
Admiral, formerly Captain, Frank Wildes commanded the Protected Cruiser USS Boston (Cruiser No. 1) during the Spanish-American War, leading its crew of 19 officers and 259 men in action, a significant historical ship with a notable captain known for his leadership on this vessel.
Key Details about Captain Wildes & USS Boston:
Ship: USS Boston (Cruiser No. 1) was a protected cruiser, a type of warship.
Era: Captain Wildes commanded her during the Spanish-American War.
Command: He led a substantial crew of 19 officers and 259 enlisted men.
Legacy: His name appears on the roster of commanding officers for the USS Boston, highlighting his role in the ship's history.

When USS Boston left Hong Kong for the war in Manila the British naval officers in Hong-Kong knew the difference between us and the Spanish in this particular, and when we were leaving port for Manila the captain of the HMS Immortality shouted to Captain Wildes: “You will surely win. I have seen too much of your target practice to doubt it.” The British in China were confident of our victory when we sailed, but I believe that the Russian, German, and French naval officers thought Spain would conquer.

From Gunner Joel C. Evans account after the victorious battle, 'When I returned to Hong-Kong on the SS McCulloch, leaving Manila on May 5. We made the trip in forty-six and a half hours. Our reception in the harbor was generous. We were surrounded by launches, while representatives of governments and of newspapers all over the world implored speedy information. That night ashore was to be remembered. ‘The Americans made a jollification of it that outdid any celebration in the memory of the oldest inhabitant. The British residents joined in it, and in spirit the men of the two nations were one in rejoicing over the victory of the Anglo-Saxon."

USS BOSTON was assigned to the United States Asiatic Squadron under Commodore Dewey. She took part in the Battle of Manila Bay on May 1, 1898, and the capture of the city of Manila on August 13th. The cruiser remained in the Philippines, assisting in their pacification, until June 1899. BOSTON returned to San Francisco in August, 1899 and went out of commission, rejoining the Pacific Squadron in 1902. In June, 1905 she helped represent the Navy at the Lewis and Clark Exposition at Portland, Oregon, and between April 23 and May 10, 1906 she helped care for the victims of the San Francisco earthquake and fire. As a militia training vessel and receiving ship she survived until 1946.  read more

Code: 26063

A Superb, & Exceptional, Original 1856 Pattern, Historical, Victorian Regimental 'Drummer Boy's' Sword. Ordnance Stamped In 1877 to 1878, & Issued For Service In the Zulu War of 1879

Brass Gothic hilt with VR Cypher hilt and ordnance inspection marks to the hilt and blade. Issued and used by the boy drummers in the Zulu War in 1879. The sword is excellent, the blade is superb but the detailed etching has been mostly polished out over its service use.

The Greeks sent warriors off to battle with music. The Romans incorporated music on the battlefield, using assorted fanfares to signal troop movements. The Europeans carried on the tradition -- Napoleon's army traveled with musicians.

The tactics, customs and ceremonies of the Civil War came from the Napoleonic tradition The Civil War was something of a bridge war between the wars of old and the wars of modern time.

Even during the war, there was an evolution. At the beginning of the war, a lot of units traveled with loud brass bands. As the warfare changed, so did the accompaniment, stripped down to fife and drum corps.

The field musicians played a vital role in the life of the regiment. They woke the troops in the morning with reveille and put them to bed with taps. The drummers, during battle, would signal troops when to attack or fire or retreat. Often, during battle, the musicians would retreat to the rear and serve as stretcher bearers. Some generals - Custer among them - had the band play during battle, Guthmann said, believing "it made the men fight harder."

Drummer Boy of Waterloo.

By Woodland Mary.

When battle rous'd each warlike band,
And carnage loud her trumpet blew,
Young Edwin left his native land,
A Drummer Boy for Waterloo.
His mother, when his lips she pressed,
And bade her noble boy adieu,
With wringing hands and aching breast,
Beheld him march for Waterloo.
With wringing hands,

But he that knew no infant tears,
His Knapsack o'er his shoulder threw,
And cried, ' Dear mother, dry those tears,
Till I return from Waterloo."
He went and e'er the set of sun
Beheld our arms the foe subdue,
The flash of death the murderous gun,
Had laid him low at Waterloo.
The flash of death, O comrades ! Comrades !' Edwin cried,
And proudly beam'd his eye of blue,
' Go tell my mother, Edwin died
A soldier's death at Waterloo.'
They plac'd his head upon his drum,
And 'neath the moonlight's mournful hue,
When night had stilled the battle's hum,
They dug his grave at Waterloo.
When night had still'd. In the painting of the drummer boy, if one looks behind his left leg one can see the bottom of the drummer boy's sword blade. Also in the gallery there is a snippet from the Siege of Lucknow in the Indian Mutiny 1857. An account of Drummer Ross of the 93rd playing his bugle under fire from the rebels and singing Yankee Doodle standing on the dome of the highest Mosque in Lucknow. On 28 November at the Second Battle of Cawnpore, 15-year-old Thomas Flynn, a drummer with the 64th Regiment of Foot, was awarded the Victoria Cross. "During a charge on the enemy's guns, Drummer Flynn, although wounded himself, engaged in a hand-to-hand encounter with two of the rebel artillerymen". He remains the youngest recipient of the Victoria Cross.

A widely reported incident at the Battle of Isandlwana during the Anglo-Zulu War of 1879, spelled the end of boys being sent on active service by the British Army. Part of the British force returned to their camp at night to find that it had been overrun by the Zulu army a few hours previously. An eyewitness reported that "Even the little drummer boys that we had in the band, they were hung up on hooks, and opened like sheep. It was a pitiful sight". Drummer boys although still with the title 'drummer boy' used bugles by then.

Nine years ago we were privileged to own the very same pattern of sword, regimental marked for the 1st Battalion the Warwickshire Regt. {the 24th} that served in the war. This sword no longer has any regimental stamps that may once have been present.  read more

Code: 26059

A Simply Wonderful Original Trojan War Period Full Length Bronze Sword Blade, 21 Inches Long. Circa 1200 B.C.Archean Greeks, the Mycenean Greeks, The Trojans & The Hitites. From The Warring Times Of Menalaus King of Sparta & King Agamemnon

2nd millennium BC. A simply fabulous historical ancient bronze sword with stunning natural aged patination of richest dark emerald green. Long, tapering, raised median ridged blade with graduating parallel, multiple, low ridges, alongside the central rib, only a very short, cylindrical, partial tang remains. Originally it would have been fitted with a likely organic hilt of possibly ivory or carved horn or hardwood. A sword that would have been eagerly traded with the Archean Greeks, the Mycenean Greeks, the Trojan peoples and The Hitites.

In the gallery we show museum exhibited Attic pottery of the time with ancient Minoans fighting the Minotaur, and illustrations where the ancient Trojan and Mycenaean warriors, all are using the exact form of sharply graduating sword, all having that most identifiable central median rib, as this beautiful sword.

The trade of Bronze Age weaponry followed trade routes that started in the the Assyrian Empire, East of Babylon, right through to the Mediterranean region, and all of empires and kingdoms in between. Also, all manner of Bronze Age utilitarian wares, personal adornments, and tools came from this famed bronze smithing region and their trading merchants.

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, king of Sparta. The war is one of the most important events in Greek mythology and has been narrated through many works of Greek literature, most notably Homer's Iliad. The core of the Iliad (Books II – XXIII) describes a period of four days and two nights in the tenth year of the decade-long siege of Troy; the Odyssey describes the journey home of Odysseus, one of the war's heroes. Other parts of the war are described in a cycle of epic poems, which have survived through fragments. Episodes from the war provided material for Greek tragedy and other works of Greek literature, and for Roman poets including Virgil and Ovid.

The ancient Greeks believed that Troy was located near the Dardanelles and that the Trojan War was a historical event of the 13th or 12th century BC, but by the mid-19th century AD, both the war and the city were widely seen as non-historical. In 1868, however, the German archaeologist Heinrich Schliemann met Frank Calvert, who convinced Schliemann that Troy was a real city at what is now Hisarlik in Turkey. On the basis of excavations conducted by Schliemann and others, this claim is now accepted by most scholars.

Whether there is any historical reality behind the Trojan War remains an open question. Many scholars believe that there is a historical core to the tale, though this may simply mean that the Homeric stories are a fusion of various tales of sieges and expeditions by Mycenaean Greeks during the Bronze Age. Those who believe that the stories of the Trojan War are derived from a specific historical conflict usually date it to the 12th or 11th century BC, often preferring the dates given by Eratosthenes, 1194–1184 BC, which roughly correspond to archaeological evidence of a catastrophic burning of Troy VII, and the Late Bronze Age collapse. Legend has it that the war originated from a quarrel between the goddesses Hera, Athena, 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 of Troy, 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 of Sparta, fall in love with Paris, who quit Sparta with her and returned to Troy. Menelaus's brother Agamemnon, king of Mycenae, led an expedition of Achaean troops to Troy and besieged the city for ten years because of 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, Aphrodite's son and one of the Trojans, who was said to have led the surviving Trojans to modern-day Italy.

Most of our antiquities and artefacts are from 200 year past souvenir accumulations from British ‘Grand Tours’. Beautiful Items and antiquities were oft acquired in the 18th and early 19th century by British noblemen and women touring battle sites in Northern France and Italy, in fact most of Europe and the Middle East, on their so-called ‘Grand Tour’. They were often placed on display upon their return home, within the family’s ‘cabinet of curiosities’, within their country house. Some significant British stately homes had entire galleries displaying the treasures and artefacts gathered and purchased on such tours, and some tours lasted many years, and the accumulated souvenirs numbered in their hundreds or even thousands

As with all our items it comes complete with our certificate of authenticity.  read more

Code: 26056

A Beautiful and Good Example, of An Original, Zulu War Sabre, An 1822/45 Pattern British Infantry Officer's Sword, for Majors & Above, With Gothic Hilt and Queen Victoria's Cypher

Good brass Gothic hilt British infantry officers sword, light grade, with beautifully pierced guard, and traces of full etching to the blade. With traditional sharkskin multi wire bound grip. With brass, field rank, officer's scabbard.

This is the very kind of sword used by Lt. Bromhead as played by Michael Caine in "Zulu" at Rorkes Drift in 1879. Photo in the gallery from the film "Zulu" and Michael Caine as Bromhead with his sword, for information only not included.

The 1822/45 pattern of sword with gothic hilt and Queen Victoria's cypher in the pierced oval centre. Made in around 1871 this sabre would have seen service by an officer at the very cusp of England's Glory of Empire. A sabre fit to represent the age and used throughout the Zulu War and numerous other great and famous conflicts of the Victorian era. The 1822 pattern infantry with it's elegant pierced gothic style hilt, and the graceful monogram of Queen Victoria make it one of the most attractive patterns of sword ever used by British Army officers, and it was a pattern that saw service for almost 80 years.
The blade is the Henry Wilkinson type, developed in 1845 pattern blade, with traces of superb Victorian etching. Many swords of British officers were continually used for many decades, until the 1890's in fact, as swords were quite often passed on from father to son, down the generations, in many military families. During the period of this sword's 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.

The stand at Rorke's Drift was immortalised in the 1964 movie Zulu, and Michael Caine is carrying this very same pattern of sword

The sword's scabbard had had a field service repair in the mid section.  read more

Code: 26055

Very Rare Ancient 10th Century Viking Fire-Starter, A 'Drepa Upp Eld '. Viking Riders on Horses & Steel Striking Blade. Used With Amadou Touchwood Fungus {Fomes Fomentarius}. To Make Fire At Sea, Whilst Sailing In a Viking Long Boat

Around 1100 years old. with partial ring mount present as it was originally worn as a large but functional pendant.

This kind of highly distinct ‘horse and rider figures’ firesteels must have been symbols of wealth and power of the richest people during the viking age. They have been excavated from several places around western Finland and even from viking age town of Birka, Sweden.The firesteel had a loop in it, so it could be worn in chain, visible for all to see the user's wealth.

Earlier this year we had an amazing other one, a twin Draken head example, likely the very rarest of all the surviving Viking designed fire-starter, and this one may well be as rare as that or somewhat close.

The only other known example of the rarest type of Viking bronze and steel striker, is a specimen from a Chamber Tomb found in in Ekka, Birka, in Uppland. See a photo in the gallery of that example from the Historical, Museum Historiska, Photo taken by Camilla Hällbrink, that one is also, as this one we offer, likely from second half of the 10th century. Museum item number 458255_HST.

How often is it one can own, a rarest, original, Viking artifact, that apparently, according to the national historical museum of Sweden, its only known similar surviving example is in that same museum in Sweden. Our example is of good quality, and in better condition. But of a different scene. There are some other styles that have been found, also in Scandinavian museums


Fire-Starting Using Flint and Steel. The term in Old Norse for percussion fire-making is drepa upp eld, from the verb drepa, "to strike, beat, knock; to produce by a blow or blows", thus drepa upp eld is "to strike up a fire." True flint and steel fire starting is a low temperature method of spark-based fire starting.

The Vikings, renowned for their seafaring prowess and ingenuity, utilized a unique method for creating fire that involved a specific type of fungus and urine. They employed the touchwood fungus, also known as Amadou (Fomes fomentarius), which grows primarily on birch and beech trees. This fungus, when processed correctly, becomes highly flammable. The Vikings would boil the fungus for several days, then soak it in human urine. The urine contains nitrates, which, when absorbed by the fungus, significantly enhance its ability to catch and sustain a flame.
After the fungus had soaked long enough to absorb sufficient nitrates, it was dried and pounded into a soft, fibrous material. This prepared fungus could then be easily ignited with a spark, making it an excellent tinder for starting fires in harsh and damp conditions. This innovative use of natural resources showcases the Vikings' deep understanding of their environment and their resourcefulness in overcoming the challenges posed by their often cold and wet climate. Their ability to produce reliable fire under adverse conditions, such as in violent stormy seas, was crucial for survival, navigation, and their various activities, including cooking and metalworking.

Every Viking torch lit march had to use exactly such a device to create the flame, every camp fire and every flaming arrow needed exactly this amazing piece of Viking history.

In the gallery are two 19th century paintings by
Everhardus Koster
& Frank Dicksee 1893

Hällbrink, Camilla, Historical Museum

Location: Björkö, North of Borg, Ancient monument: L2017:1478, Parish: Adelsö parish, Municipality: Ekerö municipality, Region: Uppland, Country: Sweden 1878

Picture no 6 is a page of early line drawings of Viking fire-steels in Viking museum collections. Our example is very close to fire-steel number 8

See Cacciandra, V. & Cesati, A., Fire Steels, Turin, 1996, for discussion.  read more

Code: 26046

Superb Original Bronze Medieval Longbow Archer’s Thumb Ring, Late 14th Century. Of the Battle Agincourt 1415. From Our Latest Antiquities Collection Aquisition Recovered From Azincourt and Famous Battle Sites in The 1820’s

For those bowmen that used them in the 13th to 14th-century, archer's thumb rings were essential tools of war.

This archers thumb ring was made circa 1400, over 600 years ago, and this is a superb, beautiful and historical original artifact. Stunning age patination of the copper alloy, with fine border engraving. In superb aged condition.
A thumb ring is a piece of equipment designed to protect the archer’s thumb during archery. It is a ring of that can be made of leather, stone, horn, wood, bone, antler, ivory, metal, ceramics, which fits over the end of the thumb, coming to rest at the outer edge of the outer joint. Typically a flat area extends from the ring to protect the pad of the thumb from the bowstring; this may be supplemented by a leather extension. An absolute iconic original piece of British history. In superb battlefield recovered patinated condition, and very nice indeed. Beautiful Items such as this were oft acquired in the 18th and early 19th century by British noblemen and women touring battle sites in Northern France and Italy, in fact most of Europe and the Middle East, on their so-called ‘Grand Tour’. They were often placed on display upon their return home, within the family’s 'cabinet of curiosities', within their country house. Some significant British stately homes had entire galleries displaying the treasures and artefacts gathered and purchased on such tours, and some tours lasted many years, and the accumulated souvenirs numbered in their hundreds or even thousands. A popular pastime in the 18th and 19th century, comprised of English ladies and gentlemen traveling for many months, or even years, througout classical Europe, and the Middle East, acquiring knowledge and education on the arts, and thus returning with antiquities and antiques as souvenirs for their private collections, and these travels have been thus called ‘Grand Tours’. Although traditional English archers often used three fingers (Mediterranean draw) or finger tabs, but some were obviously trained in the Ottoman style of archery

The Battle of Agincourt was a major English victory in the Hundred Years' War. The battle took place on 25 October 1415 (Saint Crispin's Day) in the County of Saint-Pol, Artois, some 40 km south of Calais. Along with the battles of Crécy (1346) and Poitiers (1356), it was one of the most important English triumphs in the conflict. England's victory at Agincourt against a numerically superior French army crippled France, and started a new period in the war during which the English began enjoying great military successes.

After several decades of relative peace, the English had renewed their war effort in 1415 amid the failure of negotiations with the French. In the ensuing campaign, many soldiers perished due to disease and the English numbers dwindled, but as they tried to withdraw to English-held Calais they found their path blocked by a considerably larger French army. Despite the disadvantage, the following battle ended in an overwhelming tactical victory for the English.

King Henry V of England led his troops into battle and participated in hand-to-hand fighting. The French king of the time, Charles VI, did not command the French army himself, as he suffered from severe psychotic illnesses with moderate mental incapacitation. Instead, the French were commanded by Constable Charles d'Albret and various prominent French noblemen of the Armagnac party.

This battle is notable for the use of the English longbow in very large numbers, with the English and Welsh archers forming up to 80 percent of Henry's army. The decimation of the French cavalry at their hands is regarded as an indicator of the decline of cavalry and the beginning of the dominance of ranged weapons on the battlefield.

Agincourt is one of England's most celebrated victories. The battle is the centrepiece of the play Henry V by Shakespeare. Juliet Barker in her book Agincourt: The King, the Campaign, the Battle ( published in 2005) argues the English and Welsh were outnumbered "at least four to one and possibly as much as six to one". She suggests figures of about 6,000 for the English and 36,000 for the French, based on the Gesta Henrici's figures of 5,000 archers and 900 men-at-arms for the English, and Jean de Wavrin's statement "that the French were six times more numerous than the English". The 2009 Encyclopædia Britannica uses the figures of about 6,000 for the English and 20,000 to 30,000 for the French. Part of an original medieval collection we have just acquired, of Viking and early British relics of warfare some from ancient battle sites recovered up to 220 years ago.
When drawing a bow using a thumb draw, the thumb is hooked around the bowstring just beneath the arrow and its grip reinforced with the first (sometimes second) finger. The bowstring rests against the inner pad of the archer's thumb and the thumb ring protects the skin. The bowstring rests against the flat of the ring when the bow is drawn. Today, thumb rings are used by archers practicing styles from most of Asia and some regions of northern Africa. Ishi, the "last wild American Indian", used a thumb draw, but no skin protection.
Thumb rings have been in use in Asia since the Neolithic period. The first examples were likely made of leather,.

As early western armies mainly used peasants as archers, and bowmen fought on foot. some may have needed little training as they already were using bows to hunt, and were indeed required to be trained on archery, usually with a Mediterranean draw. Of course, armies fought foreigners, and probably learnt their opponent's methods/strategies, as well as travelers who brought back hunting/fighting technique, but it may have been marginal amongst archers as the thumb ring draw was difficult to learn.

The regular English and Welsh bowmen fought on foot, but while they fought the major battles on foot, there were mounted archers, those bowmen in the chevauchées against the French. Effective use of the longbow required regular practice and it wasn't easy to just pick up and use one (which is why inferior firearms replaced the bows - the firearms were easier to master). In this period, hunting was the domain of the uppermost classes. The land, and the animals in it, was the property of the king. Poaching could get you hanged.

In the chevauchées it would be unlikely longbows would be used while mounted. Unlikely dismounting to shoot, so using a smaller hunting bow is far more likely. Nobles hunted with shorter handbows commonly, but the bow and the technique were distinct from longbow. Both the length of the longbow, and the posture used for the longbow would make mounted archery quite difficult.

From our latest original antiquities collection arrival, that contain many pieces acquired from famous historical battle sites while on a ‘Grand Tour’ in the 1820’s, such as this superb piece, at Agincourt, and other pieces from such as Crecy and Poitiers, and Paris.

UK size Z 1/2 US size 13  read more

Code: 26053

A Battle of Agincourt, Henry Vth, Knightly Hand and a Half Sword, Also Known as a Bastard Sword, due to It Being A Transition Sword From A Single Handed To A Two Handed Sword

A most rare sword, from the 100 Years War period, used at the Battles of Crecy and Agincourt by armoured knights. A form of sword designated in the seminal work by Ewart Oakshott known within the Oakshott categorisation as the type XVIII

Overall in good condition for age with usual russetted surface for ancient swords of this era. Fine double edged graduating straight blade with central fullers, a sharp tip, and a multifaceted iron pommel to the elongated grip {as usual, no grip wood survives} long straight crossguard with slight downturn and button quillon ends. Original ancient iron swords, if they still have a crossguard, never have the original wooden grips, the wood never survives the hundreds of years passing which means, the crossguard becomes mobile and no longer in a fixed position.

During the Middle Ages, most swords were relatively light. By the 15th century, however, larger and heavier swords had been developed to increase their ability to penetrate plate armour. That need created the 'Bastard' or 'Hand-and-a-half' sword. They were hybrid swords that enabled blows to be delivered with the power of a two-handed sword but could also be wielded with just one hand.

Medieval swords of this era typically had a cruciform hilt, alluding to the knightly principles of chivalry and the 'Soldiers of Christ'. The pommel, at the top of the sword hilt, was of various shapes and could be made from a variety of materials. Richer swords of princes even had pommels made of rock crystal and chalcedony, and some were left hollow so that they could contain a holy relic.

Many swords were made in continental European centres such as Lorraine,

The Bastard Sword (with a longer grip) could be used for thrusting or cutting and had fearsome capabilities on the battlefield.

It was used as close-combat weapon and was capable of striking a massive blow. Its thrusts were deadlier, which improved their effectiveness when attacking plate armour. The blades of such swords could also be acutely pointed, which helped them to find the gaps in plate armour.

The blade could be the same length as a single-hand sword but the tang and the grip were long enough to accommodate two hands, which provided better leverage and more power.

Swords were worn in scabbards slung from waist belts, many of which were highly decorated with plaques and heraldic designs.

After several decades of relative peace, the English had renewed their war effort in 1415 amid the failure of negotiations with the French. In the ensuing campaign, many soldiers perished due to disease and the English numbers dwindled, but as they tried to withdraw to English-held Calais they found their path blocked by a considerably larger French army. Despite the disadvantage, the following battle ended in an overwhelming tactical victory for the English.

King Henry V of England led his troops into battle and participated in hand-to-hand fighting. The French king of the time, Charles VI, did not command the French army himself, as he suffered from severe psychotic illnesses with moderate mental incapacitation. Instead, the French were commanded by Constable Charles d'Albret and various prominent French noblemen of the Armagnac party.

This battle is notable for the use of the English longbow in very large numbers, with the English and Welsh archers forming up to 80 percent of Henry's army. The decimation of the French cavalry at their hands is regarded as an indicator of the decline of cavalry and the beginning of the dominance of ranged weapons on the battlefield.

Agincourt is one of England's most celebrated victories. The battle is the centrepiece of the play Henry V by Shakespeare. Juliet Barker in her book Agincourt: The King, the Campaign, the Battle ( published in 2005) argues the English and Welsh were outnumbered "at least four to one and possibly as much as six to one". She suggests figures of about 6,000 for the English and 36,000 for the French, based on the Gesta Henrici's figures of 5,000 archers and 900 men-at-arms for the English, and Jean de Wavrin's statement "that the French were six times more numerous than the English". The 2009 Encyclopædia Britannica uses the figures of about 6,000 for the English and 20,000 to 30,000 for the French. Part of an original medieval collection we have just acquired, of Viking and early British relics of warfare


Another picture is of a Medieval tombstone carving, showing the knight’s very same, hand and a half or bastard sword

To see references on this sword see Oakeshott, J, R.E., The Archaeology of the weapons, London, 1960 (Woodbridge, 1999); Oakeshott, E. 'Records of the Medieval Sword', Woodbridge, 1991  read more

Code: 24917

Original & Rare Ancient 1300’s Mystical Pentagram Bronze Knightly Ring, From The Wars in France At Poitiers And Crecy, & The Time of The Poem Sir Gawain & The Green Knight. The Pentangle Symbolised The Power To Ward Off Demons

A Pentagram engraved knightly signet ring, in copper alloy bronze, from the 14th Century, used in time of the battles of Poitier and Crecy. Good wearable size today and good condition

The pentagram or pentangle was used in Britain from the time of the early Crusades of King Richard.
The pentagram was used in ancient times as a Christian symbol for the five wounds of Christ. In the medieval period it was recognised as the Seal of Solomon Solomon, the third king of Israel, in the 10th century BC, was said to have the mark of the pentagram on his ring, which he received from the archangel Michael. The pentagram seal on this ring was said to give Solomon power over demons.
The pentagram or pentangle occurs in the 14th-century English poem Sir Gawain and the Green Knight, in which the symbol decorates the shield of the hero, Gawain. In the middle ages the pentangle was the most common sign for those of rank to ward off demonic powers. Long before the narrator of Sir Gawain and the Green Knight placed the pentangle on the shield of “that peerless prince,” it was an object of importance, and has enjoyed a place in the philosophical and theological forums of many cultures.

The earliest found depiction of the pentangle, located on a piece of pottery found in the ruins of the ancient city of Ur, dates back to around 900 BCE, placing it well within the early Babylonian period (Stone, 135). The Pythagoreans where fascinated by its mathematical and geometrical implications and spent much of the 3rd 4th and 5th centuries BCE trying to unlock its mysteries. In fact, most all Greek geometry, mathematics, and architecture are based on the perfect harmony found in the pentangle. The neo-Platonists and the Gnostics could not resist the call of the pentangle, and tied many of their studies and mysteries to this eminent symbol. However, the pentangle gained its most prominent state in the Middle Ages when Christianly and Islam adopted this symbol as a major part of their religions, both using it as a symbol of harmony, virtue, and idealism (Hulbert, 722).
King Richard was part of The Third Crusade (1189–1192) and it was an attempt by the leaders of the three most powerful states of Western Christianity (Angevin England, France and the Holy Roman Empire) to reconquer the Holy Land following the capture of Jerusalem by the Ayyubid sultan Saladin in 1187. It was partially successful, recapturing the important cities of Acre and Jaffa, and reversing most of Saladin's conquests, but it failed to recapture Jerusalem, which was the major aim of the Crusade and its religious focus.

Frederic Lawrence was an illustrator who produced five black and white images for Ernest Kirtlan’s 1912 translation of Sir Gawain and the Green Knight (Kirtlan was a Reverend at Hove Methodist Church). Sebastian Hau a contemporary antiquarian provides the most informative description of Lawrence and Kirtlan’s collaborations I was able to find.

Sir Gawain and the Green Knight’ was the first of three collaborations between Ernest Kirtlan and Frederic Lawrence, and also the most extensively illustrated of the three – ‘The Story of Beowulf’ (1913) and ‘Pearl’ (1918) each having only a colour frontispiece, and no other plates. Lawrence’s five beautiful, finely worked illustrations for ‘Sir Gawain’, as well as the accompanying headpieces and numerous decorative initials, are very much in Arts and Crafts style, and somewhat akin to the work of the Scottish illustrator Robert Burns, in his ‘Scots Ballads (Hau, 2018).

In super condition for age and a good wearable example  read more

Code: 26047

A 'Superb Plus' Original, Antique, Victorian, Charge of the Light Brigade Era, 1821 Pattern, Hussar's or Lancer's NCO's Sword In Simply Amazing Fully Restored and Conserved Condition. The NCO's Version Of the 1822 Officer's Sabre. With White Knot

Effective mirror bright polished finish on all steel parts.
From the period and from one of the front line rank British cavalry regiments of 'The Charge of the Light Brigade' period in the Crimean War. The 1822 officer's version, was a degree lighter in weight, and had a fully etched blade This NCO's type is the combat weight version, with a plain blade, but wire bound fishskin grip to match their officer's swords, the other ranks trooper's version had a leather grip.

Used by an NCO that served in the charge in such as the; 4th Light Dragoons: A light cavalry regiment known for speed.

Photos to add tomorrow,


8th (The King's Royal Irish) Hussars: Light cavalry, also known as the "Cherry Pickers".
11th (Prince Albert's Own) Hussars: Light cavalry, distinguished by their distinctive uniforms.
13th (Light Dragoons) Regiment of Light Dragoons: A light cavalry regiment.
17th (Duke of Cambridge's Own) Lancers: Known for their lances, they were positioned on the left flank.

Maker marked by Gunby {an ordnance contractor from Birmingham and London} the blade backstrap at the forte.

Regulation three bar hilt with wire bound fishskin grip, plain NCO's blade, maker marked and steel scabbard, with regimental stamps near the throat.

The scabbard is completely dent free, the multiwire binding is excellent as is the fishskin grip and all the steel, nickel plated hilt, is pristine.

From our collection of the 'best available original British regimental swords' acquired to create a collection of the finest examples to be found. Each one is a 5 star condition example, every one worthy of anyn of the best museum collections in Europe.
There is no way to know which specific regiment of hussars or lancers that the NCO served in during the Crimean War.

As used in the Crimean War such as the infamous and renown 'Charge of the Light Brigade' by NCO's of several regiments, other regiments used the 1853 pattern sabre. A most impressive sabre, and very good indeed. The very type of ordnance made and issued Hussar's and Lancer's sabre used by British Cavalry NCO's in the ill fated charge in the Crimean War against Russia.

Absolutely used at the time and used by all the serving cavalry still issued with the 1821 pattern sabre, in the famous 'Charge'. In the Crimean War (1854-56), the Light Dragoons were in the forefront of the famous Charge of the Light Brigade, immortalized by Tennyson's poem of that name ("Into the valley of death rode the six hundred").
The regiments adopted the title hussars at this time, and the uniform became very stylish, aping the hussars of the Austro-Hungarian army. But soon the blues and yellows and golds gave way to khaki as the British army found itself in skirmishes throughout the far-flung Empire, in India and South Africa especially.
In 1854 the regiment received its orders from the War Office to prepare for service overseas. Five transport ships - Harbinger, Negotiator, Calliope, Cullodon, and the Mary Anne – embarking between the 8 May and 12 May, carried 20 officers, 292 other ranks and 298 horses. After a troubled voyage, the regiment arrived at Varna, Bulgaria on the 2 June. On the 28 August the entire Light Brigade (consisting of the 4th Light Dragoons and 13th Light Dragoons, 17th Lancers, the 8th Hussars and 11th Hussars, under the command of Major General the Earl of Cardigan were inspected by Lord Lucan; five men of the 13th had already succumbed to cholera.
On the 1 September the regiment embarked for the Crimea - a further three men dying en-route.
On the 20 September the regiment, as part the Light Brigade, took part in the first major engagement of the Crimean War, the Battle of the Alma. The Light Brigade covered the left flank, although the regiment’s role in the battle was minimal. With the Russians in full retreat by
late afternoon, Lord Lucan ordered the Light Brigade to pursue the fleeing enemy. However, the brigade was recalled by Lord Raglan as the Russians had kept some 3,000 uncommitted cavalry in reserve.
During the 25 October the regiments, the Light Brigade, took part in the Battle of Balaclava and the famous Charge of the Light Brigade.
The 13th Light Dragoons formed the right of the front line. The 13th and 17th moved forward; after 100 yards the 11th Hussars, in the second line, also moved off followed by the 4th and 8th. It was not long before the brigade came under heavy Russian fire. Lord Cardigan, at the front of his
men, charged into the Russian guns receiving a slight wound. He was soon followed by the 13th and 17th. The two squadrons of the 13th and the right squadron of the 17th were soon cutting down the artillerymen that had remained at their posts. Once the Russian guns had been passed, they engaged in a hand-to-hand fighting with the enemy that was endeavouring to surround them by closing in on either flank.
However, the Light Brigade having insufficient forces and suffering heavy casualties, were soon forced to retire. Capt. Louis Edward Nolan (January 4 1818-October 25 1854), who was a British Army officer of the Victorian era, an authority on cavalry tactics, and best known for his controversial role in launching the disastrous Charge of the Light Brigade during the Battle of Balaclava. He was the first casualty of that engagement.

We pride ourselves, for over the past 100 years, of attempting {and hopefully succeeding} in acquiring every single day, fabulous, and original, historical pieces, that arenot only collectors items, but incredibly decorative for display and wonderfully evocative of great moments in history.

For example, almost three decades ago we were delighted to buy Captain Nolan's actual undress pattern sabretache that was used by him to carry the order to Charge for the Light Brigade, and it was recovered from beneath his, and his horses bodies after the battle. It spent most of its life after the charge in two museums, one at the rebuilt and re-sited Crystal Palace in London. We were privileged to buy direct it from the original family owners with the personal assistance of the late Gordon Gardner, Militaria Expert of Sotheby's from 1979.

Another identical version of this sword appears in 'Crimean Memories. Artifacts of the Crimean War' by Will Hutchison, Michael Vice, and B J Small. Featuring a group of original artifacts used in combat the Crimean War, that presently reside in numerous museums, regimental messes, and notable private collections  read more

Code: 26045