A Rare National Socialist Flyers Corps Flyers Helmet, 1930's In Brown Cotton With Bullion NSFK Badge

In superb condition overall. The National Socialist Flyers Corps (German: Nationalsozialistisches Fliegerkorps; NSFK) was a paramilitary aviation organization of the Nazi Party.
NSFK was founded 15 April 1937 as a successor to the German Air Sports Association; the latter had been active during the years when a German air force was forbidden by the Treaty of Versailles. The NSFK organization was based closely on the para-military organization of the Sturmabteilung (SA). A similar group was the National Socialist Motor Corps (NSKK). During the early years of its existence, the NSFK conducted military aviation training in gliders and private airplanes.

The National Socialist Flyers Corps was originally founded in January 1932, but it was quickly absorbed into the pro-Nazi Deutscher Luftsportverband(DLV – ‘German Air Sports Association’) on 25 March 1933. The DLV’s widespread amalgamation of Germany’s air sports associations and glider clubs reflected the overarching Gleichschaltung(‘co-ordination’) of Germany’s institutions and systems by the Nationalsozialistische Deutsche Arbeiterpartei(NSDAP – ‘Nazi Party’). On 17 April 1937, however, Adolf Hitler resurrected the National Socialist Flyers Corps from the ashes of the DLV. The NSFK’s handbook would later claim that ‘everything had to be developed out of the slightest beginnings, almost out of nothing’. 6The DLV’s main task, as the handbook continues, had been ‘clear and distinct, but also huge: “cooperation in the reconstruction of German aviation”.’

Ultimately, the National Socialist Flyers Corps was able to wield a significant level of both military and political control over its sizeable membership: influencing everything from their anti-Semitic views and strengthening their support for the Führer, to fostering a military brotherhood ready for the air war. Along with its blatant appealing to the ‘airmindedness’ of its members, the NSFK combined its National Socialist propaganda with a diverse and dedicated pre-military training scheme. The effectiveness with which such training was delivered could be inconsistent and, in certain cases, was insufficient. Nevertheless, the NSFK’s instructors still provided a well-rounded foundation for its members that enabled many of them to enjoy successful careers in the Luftwaffe.

Politically, the NSFK was unequivocally steeped in National Socialist dogma: its men were intensely bombarded with Nazi slogans in every medium available, from songs and posters to magazines and lectures. The extent to which this politicisation was successful is somewhat difficult to measure, but given its strong influx of young, impressionable Flieger-HJ boys, it can be assumed that many NSFK members were susceptible to the continuation of their political indoctrination. What is less open to debate, however, is that the National Socialist Flyers Corps served as a crucial supplier of keen and ambitious young men to the Luftwaffe – whether their enthusiasm was for politics, flying, or a mixture of the two. The NSFK’s contribution to the main air force in this respect, then, should certainly not be overlooked

Photo from; EIN JAHR NS-FLIEGERKORPS 1937-1938
(THE FIRST YEAR OF THE NATIONAL SOCIALIST
FLYING CORPS 1937 - 1938)

For ref; Victoria Taylor, an aviation historian based at the University of Hull and Sheffield Hallam University  read more

Code: 25243

An Absolutely Beautiful Original 2nd Century Imperial Roman Officer or Noble's Carved Intaglio, Carnelian Gem Stone, Status Seal Ring, Depicting a Dolphin

In Rosemary Sutcliff’s Eagle of the Ninth series of books, a Dolphin ring was first owned by a Roman soldier and passed down the family over the centuries.

The carvings on rings and seals are known as Intaglio, and a seal ring was part of Roman society for nobles, military officers and citizens. They were personal signets, and the more valuable were made from a small gemstone, with a design cut into the surface by skilled craftsmen, and usually set within a ring. They were used to seal important documents, and objects by making an impression on soft clay or wax. Wearing a carved carnelian signet ring immediately showed that you were of rank, and thus had status, wealth and influence. Some surviving rings have been found across Roman Britain, in towns and military sites alike, including two at the Waddon Hill former Roman military fort site..

Dolphins, like those seen on the Venus Mosaic found at Kingscote in Gloucestershire, are a fairly popular image in Roman art. They have a rich background in Greek and Roman mythology, literature, and folklore. They were often included in sculptures to improve the stability of the main figures!

Dolphins are featured in many Greek and Roman myths. Here, they are symbols of romance, illustrating the theme established by the depiction of Venus, the Roman Goddess of Love, in the central roundel of the mosaic. The presence of these dolphins alongside Venus also serves as a reminder of the myth that Venus was born from the sea, famously depicted in Botticelli’s late fifteenth century painting ‘The Birth of Venus’.

Their association with Venus is by no means their only significance in Greek and Roman mythology. In the sixth/seventh century B.C. ‘Homeric Hymns’, Dionysus, the Greek God of Wine and Theatre (who later became Bacchus in Roman mythology), was kidnapped by pirates. He turned into a lion to punish the kidnappers and, terrified, they jumped overboard. When they hit the water, Dionysus turned them into dolphins. The ‘Homeric Hymns’ also describe Apollo, a Greek and Roman God, turning into a dolphin to guide a ship into harbour. Another myth tells that Apollo’s son, Eikadios, was shipwrecked and carried to shore by a dolphin. This is one of many myths about dolphins rescuing drowming men, or bringing bodies back to shore for burial.

Dolphins are also often associated with minor sea deities. The Roman author Statius wrote in his first century A.D. epic poem ‘Achilleid’ that the sea-nymph Thetis rode a chariot through the sea that was pulled by two dolphins. Similarly, Philostratus’ ‘Imagines’describes a scene in which the one-eyed cyclops Polyphemus falls in love with the sea-nymph Galatea while she is riding four dolphins.


3/4 of an inch across.  read more

Code: 24626

A Simply Stunning Koto Era Japanese Katana Circa 1550 of Most Elegant Form

Around 470 to 500 year old blade, with a most beautiful elegant blade in good polish, showing a very active hamon and long kissaki. Fitted with wonderful, all original Edo period mounts, including its original Edo period lacquer saya in near pristine condition with multi patterned polychrome lacquer that has survived near 200 years stunningly well. The complexity of the different patterns and colours of urushi lacquer on the saya shows the status of its last owners during the 18th and 19th century. The original Edo period lacquer on the saya is in simply excellent condition and shows most elegant technical skill, it reveals within that skill the finest craftsmanship and beauty worthy of a master of the art of urushi decor. Japanese lacquer, or urushi, is a transformative and highly prized material that has been refined for over 7000 years.

Cherished for its infinite versatility, urushi is a distinctive art form that has spread across all facets of Japanese culture from the tea ceremony to the saya scabbards of samurai swords

Japanese artists created their own style and perfected the art of decorated lacquerware during the 8th century. Japanese lacquer skills reached its peak as early as the twelfth century, at the end of the Heian period (794-1185). This skill was passed on from father to son and from master to apprentice.
A saya of this quality would likely have taken over a year to make. Long impressive blade with a long o-kissaki tip. The tsuba is Hira-zogan iron tetsu inlaid with flat kinko brass in the form of a willow tree. The fushi and menuki patterns are both dragon based.The first use of katana as a word to describe a long sword that was different from a tachi occurs as early as the Kamakura Period (1185?1333). These references to "uchigatana" and "tsubagatana" seem to indicate a different style of sword, possibly a less costly sword for lower-ranking warriors. The Mongol invasions of Japan facilitated a change in the designs of Japanese swords. Thin tachi and chokuto-style blades were often unable to cut through the boiled leather armour of the Mongols, with the blades often chipping or breaking off. The evolution of the tachi into what would become the katana seems to have continued during the early Muromachi period (1337 to 1573). Starting around the year 1400, long swords signed with the katana-style mei were made. This was in response to samurai wearing their tachi in what is now called "katana style" (cutting edge up). Overall 40 inches long, blade tsuba to tip 28.25 inches long  read more

Code: 21525

A Very Attractive, Edo Era 17th to 18th Century Samurai's Tetsu Abumi Stirrup,

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

It is to be noted that these stirrups, due to their weight, were also used as weapons against the infantry adversaries. 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.  read more

Code: 23147

A 600 Year Old Samurai Wakazashi, Higo Han Dachi Mounted, Signed by Nobukuni

All original fittings and koshirae of the Edo period, the Higo han dachi mounts are most exceptional and a form very rarely seen, in that all seven pieces in the original full suite are Higo scholl, iron ground, stunningly decorated with splashes of pure silver droplets applied somewhat like flakes of snow falling in the night. They are absolutely captivating in their beauty.

The blade has an absolutely stunningly complex and active hamon, that looks fabulous, with totally as to be expected, a small area of the tip of the blade with pitting, Some pitting was left in place by the polisher, a conscious choice that helps to preserve as much of the original form, thickness, and therefore handling characteristics as possible. Otherwise, in good shape. The saya has its original Edo period ishime stone lacquer in super condition with just a couple of old areas of surface repair, with a kozuka pocket and its complimentary plain iron Higo kozuka [utility knife] present.
It has a fine mokko iron plate tsuba, decorated with a full moon over clouds and a gold and silver inlaid hanging rope, with attachments, over crashing waves.
Han-dachi mounted swords originally appeared during the Muromachi period when there was a transition taking place from tachi slung swords to katana obi mounted swords. The sword was being worn more and more edge up when on foot, but edge down on horseback as it had always been. The handachi is a response to the need of a sword to be worn in either style.
The samurai were roughly the equivalent of feudal knights. Employed by the shogun or daimyo, they were members of hereditary warrior class that followed a strict "code" that defined their clothes, armour and behaviour on the battlefield. But unlike most medieval knights, samurai warriors could read and they were well versed in Japanese art, literature and poetry.
Samurai endured for almost 700 years, from 1185 to 1867. Samurai families were considered the elite. They made up only about six percent of the population and included daimyo and the loyal soldiers who fought under them. Samurai means one who serves."

Samurai were expected to be both fierce warriors and lovers of art, a dichotomy summed up by the Japanese concepts of bu [to stop the spear] expanding into bushido (the way of life of the warrior) and bun (the artistic, intellectual and spiritual side of the samurai). Originally conceived as away of dignifying raw military power, the two concepts were synthesised in feudal Japan and later became a key feature of Japanese culture and morality. The quintessential samurai was Miyamoto Musashi, a legendary early Edo-period swordsman who reportedly killed 60 men before his 30th birthday.

 read more

Code: 24251

A Very Fine Condition Classic, Cased Pair of Late 18th to Early 19th Century Damascus Barrelled Duelling Pistols by Master Gunsmith William Parker of Holborn London. Original Oak Case with Tools and Accessories

A superb cased pair, in original case, near identical, and from the exact same design and form as another very fine cased pair, commissioned from William Parker, of London, circa 1800, and formerly in the American Billionaire J.P.Morgan Family Collection.

J. P. Morgan was a 19th century and early 20th century world renown American banker and philanthropist, he was subsequently categorised as America's greatest banker, who's reorganising skills and actions, in the great panic of 1907, saved America's monetary system

William Parker (1790-1841), produced some of Englands finest flintlock guns at 233 High Holborn London, from 1793-1839. Parker was Gun maker to the Duke of Kent, Prince Edward and King William IV.

Browned octagonal smooth 16 bore barrels are marked “London” on tops. Locks with waterproof pans, bridled roller frizzens, chamfered lockplates with rebated tails, and high breasted serpentine cocks, are fitted with sliding safeties, and are engraved with feather flourishes and “Parker” under pans on the lock face. traditional English style walnut stocks that have wraparound checkering with mullered borders on bag grips. “Stand of Arms”engraved trigger guards have stylized pineapple finials, and some original blueing. Stocks attach to the barrels with two sliding barrel slides, with no escutcheons. Horn tipped rosewood ramrods are held by two nicely filed, beaded, steel pipes. Both ramrods have steel, ball extractor worms. Original mahogany case has dual pivoting hook closure, and Parker's most distinctive inlet foldaway “D” handle. The interior is lined in traditional green pill-napped cloth, with W. Parker paper label on lid depicting pair of gentlemen gunners and their dogs. Case contains copper bag shaped powder flask, loading rod with mushroom tip, 1 cleaning brush. Covered compartments with turned brass knobs on covers, for the containing of flints and balls.



Excellent condition overall. Damascus twisted steel barrels in beautifully refreshed browning, Breech irons and locks retain a delightful patina. Trigger guards equally with nice patina. Stocks are excellent, retaining most of their original finish, edges and checkering sharp and very crisp, with a number of small use surface dents, handling marks, Bores are excellent. Locks and frizzens are crisp. Case is very fine retaining most of its original finish. Interior cloth is fine with light marks and soiling from contact with guns and accessories. Label is fine, slightly foxed and dented from contact with frizzen springs. Accessories are all fine, but incorrect mould, both pistols are 36 centimetres long overall, 23.4cm barrels, case size 21cm x 43.5 cm x 7.2 cm

William Parker was born to Thomas and Elizabeth in 1772, at Croscombe in Somerset. Nothing is known of his early years, but in 1792 the name William Parker appears in a Holborn rate book for the address of 233 High Holborn. This address had until the latter part of the eighteenth century been occupied by a John Field and his father–in–law John Clarke. Alongside his name in the rate book was that of ‘Widow Field’, a jeweller. At this time William was aged only 20 years and it is not fully understood under what pretext he started at this address. It is probable that he had been working at the location as an apprentice silversmith, as a business had operated there under the names of ‘Field & Clarke, silversmiths’ between the years 1784 and 1793.

The process of the name changing from Field and Clarke to William Parker started when John Field died around 1790. Entries with his name are recorded in the Holborn rate books from 1783 until 1790. In 1791 his name is still listed, but underlined and the word ‘Widw’ inserted. Records suggest John Clarke survived until at least May 1793, but it is probable he died around this time.

John Field’s marriage to Sarah Clarke had resulted in one surviving child, also called John born circa 1779 in the County of Middlesex. Following the death of John the elder William Parker married his widow Sarah on the 1 July 1792. It is not unusual for a new business to trade under an established name and this probably accounts for the name Field surviving in various forms for a few more years. Entries in trade directories confirm that by 1796-1797 William was operating under his own name as a sole trader, a situation that would continue until his death in 1841.

John Field the younger is often referred to as William’s ‘son-in-law’, but was in fact his step-son. In the nineteenth century the term ‘in-law’ meant related by marriage, but also extended to children, which is not the case now, when we would use the term step-son. William and Sarah appear to have had no other children, but John did marry and went on to have seven children of his own, three boys and four girls. The two eldest boys, John William Parker Field and William Shakespeare Field were to follow their father and grandfather’s trade as gun makers.

As a gun maker William Parker was a well known for producing a range of weapons from standard issue items to the finest duelling pistols. He later started to produce truncheons and other articles such as handcuffs, swords and rattles, and had the major contracts to supply arms and truncheons to the Metropolitan police of London.

Every single item from The Lanes Armoury is accompanied by our unique Certificate of Authenticity. Part of our continued dedication to maintain the standards forged by us over the past 100 years of trading  read more

Code: 24368

A Magnificent & Fantastic Presentation Limited Edition Leather & Gilt Bound Huge Volume Of Lucien Rousselot's Uniforms of Royal and Imperial French Army From the 18th century Ancien Regime, to the First Empire of The Emperor Napoleon

An exceptional leather bound in gold tooled bright red and cream calf leather, and a considerably weighty tome of 18 pounds, or 8.15 kilos, that any Ancien Regime & Imperial French Armee collector or historian would be thrilled to own and enjoy. Likely printed around 50 years ago.

The uniform plates of the famous military painter Lucien Rousselot, is an indispensable source for the ancien Regime and Napoleonic era. We have never seen such a fabulous example of this very rarely seen, deluxe, especially published edition. We have only ever seen one other, decades ago, and that had many plates removed in order to have them framed.

Lucien Rousselot, was the official painter of the French Army, created plates on the Napoleonic period between 1943 and 1971, drawing on his painstaking research in the military archives. Some 60 plates {numbered I to XXX x 2} in this hefty tome are devoted to the Ancien Régime, & the First Empire. All are highly detailed, meticulously researched and stunningly coloured. The master combed every source he could find for uniform details and exceptions.
It comes in a handsome slipcase, that has taken the external wear, that will undoubtedly take pride of place in any library of a French Napoleonic collector.

A painter and illustrator of military subjects, and during his illustrious career, he produced an iconography dealing with the uniforms worn within the French Army over a vast period ranging from the 16th century to the end of the 19th century . From the 1920s he worked as an illustrator and uniformologist for the magazine Le Passepoil directed by Eugène-Louis Bucquoy, for whom he also illustrated some of the series of cards devoted to the uniforms of the First Empire. A member of the company La Sabretache, he also collaborated for the company's magazine Le Carnet de la Sabretache until the 1990s. His work, considered major, is the series of 106 uniformological plates dealing, for more than half of them, French uniforms worn during the First Empire The French Army, its uniforms, its armament, its equipment that he produced from 1943 to 1970.
To create his paintings and plates he used articulated mannequins of soldiers and miniature horses that he had made on a 1/7 scale , accompanied by accessories. He is buried in Marles en Brie (Seine et Marne).

The honours that were awarded to him were;

Knight of the Legion of Honour
Officer of Arts and Letters,
&
Knight of the Academic Palms

The printing house, Les Procedes Dorel, Paris

48 cm x 40 cm x 8 cm or 19 inches x 16 inches x 3 inches.

Each picture, on every page, is frame mounted, individually, and is 30.5 cm x 22.5 cm  read more

Code: 25239

A Noble Family Crested Victorian Officer's Artillery Cavalry Sword

Used from 1845 to around 1900. Bearing a family’s noble crest of a collared female griffon head facing sinister, and a pair of wings facing dexter, and a monogram J.D. etched with royal devices on a pair of lances and an artillery cannon, and typical florid decor.
Three bar cavalry type hilt, wirebound wood bound grip. overall russet surface.
The British Military forces have continually used artillery cannon in some form or another since the 15th century. Until 1716, they were provided by artillery trains, raised and disbanded on a campaign-by-campaign basis. But that year, King George I issued a Royal Warrant to set up two permanent field artillery companies of 100 men each. This force soon grew in size as the demand for artillery increased.

Other artillery regiments were also set up at this time, such as the Royal Horse Artillery in 1793, which provided artillery support to cavalry units. Some of these other regiments were merged into the main Royal Artillery, such as the Royal Irish Regiment of Artillery in 1801, and the artillery of the disbanded East India Company in 1862.

The Royal Regiment of Artillery and the Corps of Royal Sappers and Miners, as technical supporting Arms, lived in an alternative military world run by the Board of Ordnance. The commission purchase system was not extended to their officers, who were all professionally trained at the Royal Military Academy at Woolwich. The Gunners were organised into Field Artillery supporting the Infantry, Horse Artillery supporting Cavalry, and Garrison Artillery providing coastal defence and siege guns. Their field guns were relatively short range 6pdr and 9pdr muzzle loaders which had last seen service at Waterloo. The most commonly used all-purpose ammunition was solid iron round shot; with a direct accurate range of around half a mile for a 9pdr, it bounded along on landing like a well struck giant golf ball, to double the range on hard ground. Shrapnel, which exploded via a timed fuse, was particularly effective against massed troops in the open. Finally, Case, or Grapeshot, was the last gasp do-or-die shell; it operated at close range like a huge shotgun cartridge, scattering small projectiles forwards in all directions. Rates of fire were largely determined by the necessity for careful aim, and shortcuts on safety taken by the five man detachment. Two to three rounds per minute was generally taken as normal, and anything higher usually meant that the team were risking accidents.

Field Batteries and RHA Troops consisted of a mix of four field guns and two howitzers. Howitzers lobbed a larger shell as if from a lofted golf club onto a target, which might be hidden from sight. Howitzers did not fire round shot.

No scabbard  read more

Code: 24139

French Model 1874 "Gras" Sword Bayonet

This bayonet, made by scarce maker L Deny Paris in 1880, was the last of the French "sword-type" bayonets. It was manufactured to fit the French Model 1874 "Gras" Infantry Rifle, basically a refinement of the Model 1866 Chassepot Infantry Rifle. The "Gras" was manufactured from 1874 to about 1885.
The French wars during the useful "life-span" of this bayonet were:
Sino-French War 1883-1885;
Madagascar Wars 1883-1885 and 1895;
1st Mandingo-French War 1883-1886;
1st Dahomeyan-French War 1889-1990;
2nd Dahomeyan-French War 1892-1894;
2nd Mandingo-French War 1894-1895;
Conquest of Chad 1897-1914;
3rd Mandingo-French War 1898;
Moroccan War 1907-1912;
World War I (early). Blade 20.5 inches overall 26 inches  read more

Code: 19122

A Good King George IIIrd Period Belgian Light Dragoon Type Percussion Holster Pistol

Based very comparably to the British 1756 Light Dragoon pattern holster pistol, but made circa 1822. A very strong an robust pistol bearing numerous Belgian proof and military inspection stamps, and a Liege 1811 barrel proof stamp, brass skull-crusher butt cap with lanyard ring. percussion action, finest walnut stock that its surface has been fully relief carved with a snakeskin pattern, a cross, a heart and a serpent, and has a fabulous natural patina. strong mainspring, overall 16 inches long, 9 inch barrel. Set to a hair-trigger action  read more

Code: 23641