A Superb and Iconic WW2 German Luftwaffe Officer's 'Black Face' Watch By Titus, Geneva, {Switzerland} Incabloc. A Superb Original Artefact of WW2 German Aeronautical Warfare History

A fine survivor of WW2 a very good original Luftwaffe aircrew 'black face' wristwatch, with Luftwaffe blue strap, working order.

Case stamped D = Dienstuhr Luftwaffe - Air forces with serial number.

Titus (Solvil et Titus) was a Swiss watchmaker founded in 1887 by Paul Ditisheim, with production shifting to Geneva in 1930 under owner Paul-Bernard Vogel. During WWII, the brand produced robust, high-quality Swiss mechanical watches, including civilian and military-style pieces, with some models famously used by Luftwaffe aircrew. WWII-era Titus watches, featuring a 'D' prefix (e.g., D801202) on the case back, were issued to German Luftwaffe aircrew.
These watches often featured stainless steel cases, black faces with luminous numbers/hands, and small second dials. Known for high-quality Swiss mechanical movements.
Paul-Bernard Vogel took over in 1930 and steered the brand towards moderately priced, anti-magnetic, and robust watches during the 1930s and 1940s.
Post-War: The brand continued producing Chronobloc and chronograph models (e.g., with Landeron 48 movements) throughout the 1940s and 1950s.
These third Reich issue watches from the 1930s-1940s are highly sought after by collectors for their historical significance and durable design.

TITUS Watches
Paul Ditisheim: the founder
Paul Ditisheim, son of the famous Ditisheim family, was born into the small social circle of industrialist families that led the Swiss watch industry of the time.He studied at the Horological School of in La Chaux-de-Fonds, the historic birthplace of watch-making industry,4 and received his diploma at the age of 13. He was then trained in several of the major watch makers and worked at his family's Vulcain manufacture until 1892 when he founded his own brands: Solvil (whose items were often signed Paul Ditisheim) and Titus (whose items were generally marked separately).
Through its manufacture, Ditisheim was instrumental in developing the new generation of chronometers, improving them grandly through his studies on the impact of atmospheric pressure and magnetic fields. He invented the affix balance. Thanks to his inventions, he was able to make the most precise chronometers ever made. By 1903, his watches were awarded by the Kew and Neuchâtel Observatories contests. In 1912, he won the world's chronometric record of the Royal Kew Observatory. He also worked closely with Physics Nobel prize winner Charles-Edouard Guillaume and has been considered the father of the modern chronometers. According to Professor M. Andrade of the Besançon Astronomical Observatory, Solvil et Titus Ditisheim's devices "constitute the most important progress of modern chronometry"

In 1940, Germany heavily procured Swiss watches for its military, specifically for the Luftwaffe (air force) and army, due to a need for high-quality, reliable, and legible timepieces. Key Swiss brands involved included IWC, Longines, Helvetia, Titus and Tavannes, supplying watches often marked with "DH" (Dienstuhr Heer) for the army or "D" for the Luftwaffe.
Luftwaffe Watches (B-Uhren): The German air force utilized Beobachtungsuhren (Observation Watches) or B-Uhren. While German firms like Laco and Stowa were key, IWC produced specialized, high-grade navigational watches for the Luftwaffe starting around 1940.
Army/General Military Watches: The Dienstuhr Heer (DH) watches were widely procured from Switzerland. Helvetia was a major supplier, with watches featuring black dials, luminous numerals, and shock-protected movements.
Manufacturers supplying the German military included Alpina, Breitling, BWC, Doxa, Eterna, Glycine, Longines, Mimo, Minerva, Omega, Record, Revue, Roamer, Titus and others.
Significance: These watches, featuring 15-jewel movements and rugged cases, were essential for navigation and synchronizing maneuvers, particularly as the war progressed and industrial needs intensified.
Switzerland, while maintaining neutrality, provided a crucial source for these precision instruments throughout the war.

Photos in the gallery {for information only} of a few Luftwaffe aces, knights cross winner fighter pilots, each one can be seen wearing their 'black face' Luftwaffe issue Swiss wrist watch.

In many ways this is a very inexpensive Luftwaffe aeronautical artifact of WW2, as the more technical chrongraph version, when they appear on the market, can now achieve £20,000 to £30,000

Although in working order there is no function warranty implied.  read more

Code: 26103

A Superb & Rare Royal Flying Corps, Royal Naval Air Service Issue Cockpit Watch. RFC Stamped. Luminous Dial Elongated Winding Stem For Gloved Pilots Winding A Superb Original Artefact & Mechanical Instrument of WW1 Aeronautical Warfare History

Omega RFC Royal Flying Corps and Royal Naval Air Service Cockpit watch, Mk.V, Luminous, c.1916. Nickel-plated steel case with a self-starting keyless 30-hour movement
Swiss manufacturers of Mark V watches applied their assigned (digraphic) letter code to the dial, { BB for Omega} followed by the item’s serial number {5390}. Company branding was allowed to appear on Mark V watches only to interior surfaces, eg the movement, cuvette, inner case back, etc.

These movements were selected for accuracy despite the vibration to which they were submitted. Black dial with white luminous Arabic numerals and seconds additional dial. Although normally referred to as a watch, these were actually fitted to the aircraft cockpit instrument panel via a special holder and used like a clock. Note the elongated stem allowed easier winding with a gloved hand. The elongated stem was a critical feature, enabling the pilot to wind the watch without removing it from its holder.
The case is in good overall condition and has clear markings with War Department broad arrow and 'A' indicating aviation issue.

Nomenclature applied to the dial (specifying, amongst other things, the contracted supplier of the watch)
luminous and non-luminous versions (although luminous versions were restricted to RNAS issue until late in WWI)
Military issue indicated by markings to the dial and/or to the case

Case in excellent condition, free from dents or other damage. The dial in good overall condition. Luminous hands. Luminous numbers. Glass clean, and free from adverse scratches. Movement clean and fresh-looking. The watch in running condition.

No warranty implied.

Note: RFC pilots 'signed for' cockpit watches prior to a given mission; they were also responsible for safe-keeping, and return.  read more

Code: 26101

A Very Good WW1 Aerial Flechette Dart, Probably An RFC (Royal Flying Corps) ‘Bristol’ Pattern. A Superb Original Artefact of WW1 Aeronautical Warfare History

A steel 'aerial dart' or flechette, with a turned, bulbous steel nose of lenticular form.The shaft is long and slender with four flat flights at the opposite end to the head. The flights are roughly square-shaped with one corner, that facing the direction of travel, being rounded off.


Although originally made in large numbers the surviving examples are now pretty rare. Flechettes, or aerial darts, are essentially short steel rods with a sharp point at one end, and fins at the other. Originally invented by the Italians in 1911-1912, during the First World War they were first said to have been used by the French in 1914, although they were also later used by the British and Germans. The Germans took the opportunity to make a point about the development of the use of flechettes by stamping some of their flechettes (that were the same in style to the French ones), 'INVENTION FRANCAIS, FABRICATION ALLEMANDE' French invention, German made in French for their enemy to read.

Flechettes were dropped from aeroplanes or airships in great numbers, each canister holding between twenty and 250 darts. One French airman in March 1915 dropped 18,000 in a single day over the German lines. The idea was that by dropping them at great heights they would acquire sufficient momentum (like a bullet) to allow them to pierce the heads, or bodies of enemy soldiers or civilians. The canisters were attached under the fuselage. A wire was pulled to open the bottom of the canister, which released the flechettes.

They were also used by the British to try and down German airships by dropping them from aircraft flying above. This failed to work, much in the same way firing normal ammunition at airships failed to work - they may have been able to penetrate the envelope of the airship, but did not cause much damage. Incendiary weapons were generally more successful. Against troops and civilians their success was variable. There are accounts of men being killed by flechettes, which were recorded as making thin, but deep wounds. Flechettes were primarily used early in the war, although some were still being used in January 1917.

At the start of the war aeroplanes attacked enemy troops by dropping simple steel darts on them. 50,000 darts were dropped during the Battle of the Marne. Fléchettes were quickly replaced by hand-dropped bombs. Later, specialised aircraft were developed for ground attack with bombs and machine gun fire.

Royal Armouries example, near identical
Object number:
XI.586  read more

Code: 26102

A Most Scarce Antique Ching Dynasty Chinese Shuāngjiàn (雙劍). A Twin-Sword Jian, Late 18th Early 19th century. Near Identical to Admiral Sir James Hanway Plumbridge's Sword in the National Maritime Museum Collection. His Sword Was a Single Blade Version

A 19th century Chinese double sword (Shuang Jian) with tortoise shell and brass mounts, engraved with shou characters and bats. A most rare sword arrangement where each sword has a rounded outer and a flat inner side hilt system, of two swords that fit back to back and parallel together, and are simultaneously worn in a single scabbard. The blades were designed to be used in pairs, one in each hand. During the Qing Dynasty, these were not just combat weapons but also popular symbols of high status. Many Jian were brought back to England by the earliest visitors to China, both before and after the Boxer rebellion.

A similar piece was exhibited in the British Museum, Chinese weapons and armour, 15th of December 1994 to the 15th of January 1995.

A Chinese jian double or twin sword, with two double edged blades retained in a single scabbard. Principle sword with a engraved brass mounts, the bats and longevity symbols on the brass mounts form the pun fúshòu (福壽), meaning a long and happy life, and a lined darkwood grip, the secondary sword has a plain hardwood grip with buffalo horn, and both are simultaneously retained in a superb single tortoishell covered scabbard, with two interior slots, one for each blade, with typical stylized brass mounts, typically decorated with a traditional, intricate, bat and seal design, fúshòu (福壽). The stylized longevity symbol called shòu (壽) surrounded by bats, fú (蝠)
Each sword has a double edged blade.

Overall with stunning original patination that has been now revealed.It has just returned from ten hours of museum grade hand conservation and polishing.Thanks to such extraordinarily successful efforts, that required no repairs at all due, to its condition, this would be a Chinese antique sword that would likely be impossible to improve upon.

Likely brought back to England as a souvenir of the Opium War period to the Boxer Rebellion. Truly original, antique, Chinese weapons are very scarce indeed, as historically, few swords were ever brought back from China. Porcelain and silk were far more popular and preferable souvenirs and exports for Europeans, and in China, in the mid 20th century, nearly all the surviving antique edged weapons were melted down and destroyed in the era of Mao, under Chairman Mao's Cultural Revolutionary instructions, in order to create new steel.

A fabulous example that has breathtaking natural age patina. Effectively, in wondrous condition for its age.

A near identical sword {but withy a single blade} was once belonging to Admiral Sir James Hanway. His family believed he wore it as a midshipman at the Battle of Trafalgar in 1805. It is on display in the National Maritime Museum, exhibit number; WPN1157. Described as follows
Chinese sword, which belonged to Admiral Sir James Hanway Plumbridge (1787-1863). The hilt of the sword consists of a gilt pommel and crosspiece with very short down-turned quillons, and a fluted brown grip. The hilt is ornamented with a design of bats, which are a symbol of good luck. The steel blade is straight and double-edged. The point of the blade has evidently been broken off; it is about an inch too short for the scabbard and is rather roughly ground. The wooden scabbard is covered with lacquered paper actually tortoishell, and has four gilt lockets and a chape, which is ornamented with a design of bats. The two middle lockets are fitted with loops. This sword was offered to the National Maritime Museum as the sword which was worn by Admiral Sir James Hanway Plumbridge when he was a Midshipman at Trafalgar. It is inconceivable that he wore a Chinese weapon at Trafalgar. He probably obtained the sword during one of his three commissions in the East Indies. Admiral Sir James Hanway Plumbridge (1787-1863) entered the Royal Navy on the 6th September 1799 and was a Midshipman in HMS 'Leda' in the expedition to Egypt in 1801. At Trafalgar he was acting 6th Lieutenant in HMS 'Defence', and on the 20th August 1806 he was confirmed in rank. See photo 10 in the gallery, it shows the admiral's identical Jian sword on display in the National Maritime Museum, the photo is sadly of poor quality

The two paintings in the gallery are original Chinese gouache of a seated Ching Emperor, and his sword bearer, holding the same type of Jian sword, but with a green tortoiseshell scabbard.

The antique Chinese jian is a straight, double-edged sword used in China for over 2,500 years, with the earliest examples dating to the 7th century BC. We actually have some original, ancient jian museum pieces, from this era, acquired by us from the world renown Dove Collection. See them offered for sale within our website.
It was a multi-purpose weapon, optimized for thrusting but also capable of cutting and slashing, and was a symbol of status. The design was effective and remained relatively consistent over long periods, with minor variations in length, weight, and balance.
The jian's most defining feature is its straight, double-edged blade. While it could be used for both cutting and thrusting, it was often considered more optimized for thrusting than the single-edged dao (sabre).
The jian was a symbol of power and status, wielded by the elite and sometimes carried as a symbol of authority.
Its use dates back to the Spring and Autumn period, with some of the earliest specimens being the Sword of Goujian.
Design variations: The length, balance, and weight of the jian varied significantly across different periods and purposes.
It is a crucial tool in traditional Chinese martial arts training.
Military use: It was a formidable weapon on the battlefield and, due to its length and reach, was sometimes used like a long spear to favour thrusting techniques.
The jian is a significant symbol in Chinese culture and history, frequently appearing in films, historical reenactments, and museum exhibits.
Antique jian are valuable as historical artifacts, collectibles, and striking decorative pieces.  read more

Code: 26100

Beautiful Koto, Samurai's Paired Swords Daisho, 425-525 Years Old. Katana and Chisa Katana. Edo Period Koshirae, Ume 'Maeda' 前田氏 Clan Mon Tsubas, 'Pine Needle' & Urushi Lacquer Sayas. The Maeda Clan, Lords of Kaga, One of the Most Powerful in Japan

The daisho’s blades, are both late Koto era, likely made between 1500 to 1600. They are most beautiful Koto period blades, of much elegance, one with its gently undulating notare hamon, the other its suguha hamon.

Both swords have gold and shakudo fushi kashira, one with the handachi form, with kabuto-gane pommel, decorated with gold lines on a nanako ground, the other with a fuchi that has a takebori dragon on a nanako ground, and the kashira is polished carved buffalo horn.
Mounted with a superb, Edo period, original pair of iron round plate sukashi daisho tsuba, with pierced Maeda clan mon of the ume, plum blossom, within both the daito and shoto tsuba. Pierced with the plum blossom mon pattern {with twigs}. used by the samurai connected and serving with the Maeda clan.The Maeda clan (前田氏, Maeda-shi) was a Japanese samurai clan who occupied most of the Hokuriku region of central Honshū from the end of the Sengoku period through the Meiji Restoration of 1868. The Maeda claimed descent from the Sugawara clan through Sugawara no Kiyotomo and Sugawara no Michizane in the eighth and ninth centuries; however, the line of descent is uncertain. The Maeda rose to prominence as daimyō of Kaga Domain under the Edo period Tokugawa shogunate, which was second only to the Tokugawa clan in kokudaka (land value).

The daisho's tsuba are likely from the Umetada tsuba school of tsuba craftsman, Umetada were the foremost swordsmiths of their day. Their 18th Master, Shigeyoshi I, is said to have made sword-furniture for the Ashikaga Shōgun (end of 14th century), but none of his work is known. Serious study of Umetada sword guards {tsuba} begins with the 25th Master, Miōju, or Shigeyoshi II; {b.1558; d. 1631}. His headquarters, as also those of the succeeding nine Masters, were at Kiōto, but he was invited to several provincial centres and exerted a lasting influence on the local schools.
A branch founded by Naritsugu (c. 1752) worked at Yedo, while various members of the family were active at other centres. The Umetada style in general is a skilful combination of chiselling and incrustation or inlay.

The daisho’s matching sayas are stunning, both with a highly complex decorative design pattern of pine needles laid upon black urushi lacquer, in a seemingly random pattern. But, in reality each pine needle was strategically placed upon them, when creating the decorative finish, with just a single needle, and just one at a time, to give the impression they fell naturally upon the ground from above, from a pine tree. The surface was then lacquered in clear transparent urushi lacquer to create a uniform smooth surface. in the Edo period it would take anything around a year or more to create a samurai sword saya, as the urushi lacquer coating would be anything up to 12 coats deep, and each would take a month to dry as they were made using on natural materials, not modern quick drying synthetic cellulose lacquers as used today.

The samurai's daisho, {his two swords title when carried within his obi} was named as such when his swords were worn together, and it describes the combination of the samurai’s daito and shoto {long mounted sword, and short mounted sword}. In the earlier period of the samurai, a daisho were comprising the matching of his long tachi and much shorter tanto, but in the later period, much more often, it was the matching of a combination of a katana and a wakazashi. However, some samurai may choose an alternative coupling of a katana matched with an o-wakazashi or chisa katana, or, even two chisa katana, but one sword was more usually mounted shorter than the other, despite the blades being of near equal length. This particular daisho that we offer here, is the combination of the latter type, that was specifically advantageous for a samurai trained, as was the famous samurai, Musashi, using a twin-sword combat method, of a sword carried and used together in each hand, simultaneously. For Musashi, this was a combat style that was undefeatable, when combined with his incredible skill.

Using a daisho of near equal length blades was the art of twin sword combat, using two at once in unison, one in each hand, the form as previously mentioned as used by the great and legendary samurai, Miyamoto Musashi, who reportedly killed 60 men before his 30th birthday.
Miyamoto Musashi 1584 – June 13, 1645), also known as Shinmen Takezo, Miyamoto Bennosuke or, by his Buddhist name, Niten Doraku, was an expert Japanese swordsman and ronin. Musashi, as he was often simply known, became renowned through stories of his excellent, and unique double bladed swordsmanship and undefeated record in his 60 duels. He was the founder of the Hyoho Niten Ichi-ryu or Niten-ryu style of swordsmanship and in his final years authored the The Book of Five Rings, a book on strategy, tactics, and philosophy that is still studied today.

Tsuba were made by whole dynasties of craftsmen whose only craft was making tsuba. They were usually lavishly decorated. In addition to being collectors items, they were often used as heirlooms, passed from one generation to the next. Japanese families with samurai roots sometimes have their family crest (mon) crafted onto a tsuba. Tsuba can be found in a variety of metals and alloys, including iron, steel, brass, copper and shakudo. In a duel, two participants may lock their katana together at the point of the tsuba and push, trying to gain a better position from which to strike the other down. This is known as tsubazeriai pushing tsuba against each other. A samurai's daisho were his swords, as worn together, as stated in the Tokugawa edicts. In a samurai family the swords were so revered that they were passed down from generation to generation, from father to son. If the hilt or scabbard wore out or broke, new ones would be fashioned for the all-important blade. The hilt, the tsuba (hand guard), and the scabbard themselves were often great art objects, with fittings sometimes of gold or silver. Often, too, they told a story from Japanese myths. Magnificent specimens of Japanese swords can be seen today in the Tokugawa Art Museum’s collection in Nagoya, Japan.
In creating the sword, a sword craftsman, such as, say, the legendary Masamune, had to surmount a virtual technological impossibility. The blade had to be forged so that it would hold a very sharp edge and yet not break in the ferocity of a duel. To achieve these twin objectives, the sword maker was faced with a considerable metallurgical challenge. Steel that is hard enough to take a sharp edge is brittle. Conversely, steel that will not break is considered soft steel and will not take a keen edge. Japanese sword artisans solved that dilemma in an ingenious way. Four metal bars a soft iron bar to guard against the blade breaking, two hard iron bars to prevent bending and a steel bar to take a sharp cutting edge were all heated at a high temperature, then hammered together into a long, rectangular bar that would become the sword blade. When the swordsmith worked the blade to shape it, the steel took the beginnings of an edge, while the softer metal ensured the blade would not break. This intricate forging process was followed by numerous complex processes culminating in specialist polishing to reveal the blades hamon and to thus create the blade's sharp edge. Inazo Nitobe stated: The swordsmith was not a mere artisan but an inspired artist and his workshop a sanctuary. Daily, he commenced his craft with prayer and purification, or, as the phrase was, the committed his soul and spirit into the forging and tempering of the steel.
Celebrated sword masters in the golden age of the samurai, roughly from the 13th to the 17th centuries, were indeed revered to the status they richly deserved.

Daito sword blade length tsuba to tip 24,5 inches, overall 36.5 inches long in its saya.

Shoto sword blade length tsuba to tip 24.25,
overall 34 inches long in its saya.

As once told to us by an esteemed regular visitor to us here in our gallery, and the same words that are repeated in his book;

“In these textures lies an extraordinary and unique feature of the sword - the steel itself possesses an intrinsic beauty. The Japanese sword has been appreciated as an art object since its perfection some time during the tenth century AD. Fine swords have been more highly prized than lands or riches, those of superior quality being handed down from generation to generation. In fact, many well-documented swords, whose blades are signed by their makers, survive from nearly a thousand years ago. Recognizable features of the blades of hundreds of schools of sword-making have been punctiliously recorded, and the study of the sword is a guide to the flow of Japanese history.”
Victor Harris
Curator, Assistant Keeper and then Keeper (1998-2003) of the Department of Japanese Antiquities at the British Museum. He studied from 1968-71 under Sato Kenzan, Tokyo National Museum and Society for the Preservation of Japanese Swords

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 our family’s trading, as Britain’s oldest established, and favourite, armoury and gallery  read more

Code: 24085

A Beautiful Katana, Signed, Bizen Yokoyama Sukekane 尉祐包 Dated February 1867, He Was The 13th Generation Sukesada & 58th Generation From The Founder of Bizen Smiths In Superb Polish With Edo Period Mounts of Shakudo & Gold by Yasuyuki 安随

Signed, 備陽長船住横山俊左衛門尉祐包
Biyo {Bishu} Osafune Jyu Yokoyama Shunzaemon Jo Sukekane
備陽長船住 is where he lives and 横山俊左衛門尉祐包 is his full name.
The 13th generation of Sukesada, who worked from 1835 to 1872, and this sword was made in the 3rd year of Keio, so it was made in February 1867.
The third says that he is the 58th grandson of the founder of Bizen smithing, Bizen Tomonari. It also shows the date of creation. Blades of the 19th-century Yokoyama school frequently declared their lineage as being directly descended from the 13th-century smith Tomonari.

It has a stunning urushi lacquered original Edo saya with ribbing on the black urushi middle top section, and crushed abilone, over green, black and clear urushi lacquer, on the top and bottom sections a most pleasing and artistic combination.

Original Edo shakudo fuchi kashira decorated with silver and gold birds, bamboo and flowers, on a hammered ground, signed Yasuyuki 安随. The tettsu tsuba has a geometric openwork design of an approaching wagon wheel with hon-zogan decoration of shinchu hira inlay. The tsuka ito {silk binding} is blue-green

A pair of superb menuki, in gold and shakudo, one is the turtle the other the phoenix. In Japanese folklore, the minogame, it is a legendary turtle of tremendous age. Sometimes living for up to 10,000 years, its most distinctive feature is the tail of seaweed and algae that trails behind it.

The most well known minogame {turtle} in Japan comes from the tale of Urashima Tarō, a legendary fisherman who rescues a turtle being tormented by children on a beach. A minogame informs him that he has actually rescued the daughter of the sea god Ryūjin, and takes him down to the bottom of the ocean to receive his thanks.

The other menuki is a Hō-ō bird . As the herald of a new age, the Hō-ō {phoenix} decends from heaven to earth to do good deeds, and then it returns to its celestial abode to await a new era. It is both a symbol of peace (when the bird appears) and a symbol of disharmony (when the bird disappears).

Some provinces of Japan were famous for their contribution to the ishime style of urushi lacquer art: the province of Edo (later Tokyo), for example, produced the most beautiful lacquered pieces from the 17th to the 18th centuries. Lords and shoguns privately employed lacquerers to produce ceremonial and decorative objects for their homes and palaces.
The varnish used in Japanese lacquer is made from the sap of the urushi tree, also known as the lacquer tree or the Japanese varnish tree (Rhus vernacifera), which mainly grows in Japan and China, as well as Southeast Asia. Japanese lacquer, 漆 urushi, is made from the sap of the lacquer tree. The tree must be tapped carefully, as in its raw form the liquid is poisonous to the touch, and even breathing in the fumes can be dangerous. But people in Japan have been working with this material for many millennia, so there has been time to refine the technique!
Flowing from incisions made in the bark, the sap, or raw lacquer is a viscous greyish-white juice. The harvesting of the resin can only be done in very small quantities.
Three to five years after being harvested, the resin is treated to make an extremely resistant, honey-textured lacquer. After filtering, homogenization and dehydration, the sap becomes transparent and can be tinted in black, red, yellow, green or brown.
Once applied on an object, lacquer is dried under very precise conditions: a temperature between 25 and 30°C and a humidity level between 75 and 80%. Its harvesting and highly technical processing make urushi an expensive raw material applied in exceptionally fine successive layers, on objects such as bowls or boxes, or as you see, samurai sword saya {scabbards}. After heating and filtering, urushi can be applied directly to a solid, usually wooden, base. Pure urushi dries into a transparent film, while the more familiar black and red colours are created by adding minerals to the material. Each layer is left to dry and polished before the next layer is added. This process can be very time-consuming and labour-intensive, which contributes to the desirability, and high costs, of traditionally made lacquer goods. The skills and techniques of Japanese lacquer have been passed down through the generations for many centuries. For four hundred years, the master artisans of Zohiko’s Kyoto workshop have provided refined lacquer articles for the imperial household. It is extraordinary that a finest urushi lacquer saya would have taken up to, and over, a year to hand produce, by some of the most finely skilled artisans in the world.

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

Shakudo was historically used in Japan to construct or decorate the finest katana fittings such as fuchi-kashira, tsuba, menuki, and kozuka; as well as other small ornaments. When it was introduced to the West in the mid-19th century, it was thought to be previously unknown outside Asia, but recent studies have suggested close similarities to certain decorative alloys used in ancient Egypt, Greece, and Rome.

The British Museum has a small tanto signed by the same smith Bishu Osafune Ju Yokoyama Sukekane’

https://collections.vam.ac.uk/item/O90821/dagger-and-scabbard-sukekane/

Sukekane was the 13th mainline master of the Bizen Yokoyama school, which was founded in the later 16th century by Yosozaemon no Jo Sukesada. It is said that Sukesada relocated to the nearby village of Yokoyama after the great flooding of Osafune at this time. Sukesada’s great-grandson, Sanzaemon no
Jo Sukesada, whose personal name was Toshiro and was the 4th generation, was the first representative of the school to work in shinto times.
All these smiths were named Sukesada and as they entered the shinshinto period, although they retained the character “Suke” in their names, many used a different second character instead of “Sada”. However, although living and signing their work
with Yokoyama, they appreciated that their spiritual and cultural home was still Osafune, by including this in their mei.
This is the first of two generations named Sukekane and he died in 1872, a few years after making this blade. He was taught swordmaking by one Sukenaga who was actually from a corollary family to the mainline of Yokoyama smiths. Sukenaga also signed on his nakago that he was the 56th generation descended from Tomonari. Sukenaga’s brother, Sukemori, was adopted into the mainline school, as the 12th master and Sukekane, his natural son, became the 13th master.  read more

Code: 25542

A Delightful & Beautiful Early to Mid Edo Period 1598-1863 Samurai War Arrow. A Tagari-Ya Of Yadake Bamboo, With Sea Eagle Flights and Traditional Tamagahane Steel Head In Incredibly Rare Stunningly Beautiful Polish

It is most rare to find original, antique samurai war arrows {ya} that still have beautifully polished tamagahane steel blades, that they would all have had originally, that often show the traditional hamon, the same as a traditional samurai sword would have had.
Acquired by us by personally being permitted to select from the private collection one of the world's greatest, highly respected and renown archery, bow and arrow experts. Who had spent his life travelling the world to lecture on archery and to accumulate the finest arrows and bows he could find. .

With original traditional eagle feathers, probably the large edge-wing feathers of a Japanese sea eagle. The armour piercing arrow tip, that is swollen at the tip to have the extra piercing power to penetrate armour and helmets {kabuto}, is a brightly polished, traditional tamagahane steel hand made, by a sword smith, long arrow head, originally hand made with folding and tempering exactly as would be a samurai sword blade, possibly signed on the tang under the binding but we would never remove it to see. The Edo period early eagle feathers are now slightly worn. It is entirely indicative of the Japanese principle that as much time skill and effort be used to create a single 'fire and forget' arrow, as would be used to make a tanto or katana. A British or European blacksmith might once have made ten or twenty arrows a day, a Japanese craftsman might take a week to make a single arrow, that has a useable combat life of maybe two minutes, the same as a simplest British long bow arrow.

The Togari-Ya or pointed arrowheads look like a small Yari (spear) were pointed arrowheads were used only for war and are armour piercing arrows . Despite being somewhat of a weapon that was 'fire and forget' it was created regardless of cost and time, like no other arrow ever was outside of Japan. For example, to create the arrow head alone, in the very same traditional way today, using tamahagane steel, folding and forging, water quench tempering, then followed by polishing, it would likely cost way in excess of a thousand pounds, that is if you could find a Japanese master sword smith today who would make one for you. Then would would need hafting, binding, and feathering, by a completely separate artisan, and finally, using eagle feathers as flights, would be very likely impossible. This is a simple example of how incredible value finest samurai weaponry can be, items that can be acquired from us that would cost many times the price of our original antiques in order to recreate today. Kyu Jutsu is the art of Japanese archery.The beginning of archery in Japan is pre-historical. The first images picturing the distinct Japanese asymmetrical longbow are from the Yayoi period (c. 500 BC – 300 AD).
The changing of society and the military class (samurai) taking power at the end of the first millennium created a requirement for education in archery. This led to the birth of the first kyujutsu ryūha (style), the Henmi-ryū, founded by Henmi Kiyomitsu in the 12th century. The Takeda-ryū and the mounted archery school Ogasawara-ryū were later founded by his descendants. The need for archers grew dramatically during the Genpei War (1180–1185) and as a result the founder of the Ogasawara-ryū (Ogasawara Nagakiyo), began teaching yabusame (mounted archery) In the twelfth and thirteenth century a bow was the primary weapon of a warrior on the battlefield. Bow on the battlefield stopped dominating only after the appearance of firearm.The beginning of archery in Japan is pre-historical. The first images picturing the distinct Japanese asymmetrical longbow are from the Yayoi period (c. 500 BC – 300 AD).
The changing of society and the military class (samurai) taking power at the end of the first millennium created a requirement for education in archery. This led to the birth of the first kyujutsu ryūha (style), the Henmi-ryū, founded by Henmi Kiyomitsu in the 12th century. The Takeda-ryū and the mounted archery school Ogasawara-ryū were later founded by his descendants. The need for archers grew dramatically during the Genpei War (1180–1185) and as a result the founder of the Ogasawara-ryū (Ogasawara Nagakiyo), began teaching yabusame (mounted archery) Warriors practiced several types of archery, according to changes in weaponry and the role of the military in different periods. Mounted archery, also known as military archery, was the most prized of warrior skills and was practiced consistently by professional soldiers from the outset in Japan. Different procedures were followed that distinguished archery intended as warrior training from contests or religious practices in which form and formality were of primary importance. Civil archery entailed shooting from a standing position, and emphasis was placed upon form rather than meeting a target accurately. By far the most common type of archery in Japan, civil or civilian archery contests did not provide sufficient preparation for battle, and remained largely ceremonial. By contrast, military training entailed mounted maneuvers in which infantry troops with bow and arrow supported equestrian archers.

Mock battles were staged, sometimes as a show of force to dissuade enemy forces from attacking. While early medieval warfare often began with a formalized archery contest between commanders, deployment of firearms and the constant warfare of the 15th and 16th centuries ultimately led to the decline of archery in battle. In the Edo period archery was considered an art, and members of the warrior classes participated in archery contests that venerated this technique as the most favoured weapon of the samurai. In the gallery is from an Edo exhibition of archery that shows a tagari ya arrow pierced completely through, back and front, an armoured steel multi plate kabuto helmet. Another photo shows an unmounted arrow head with the considerable length of the tang that is concealed by the haft.

Every item is accompanied with our unique, Certificate of Authenticity. Of course any certificate of authenticity, given by even the best specialist dealers, in any field, all around the world, is simply a piece of paper,…however, ours is backed up with the fact we are the largest dealers of our kind in the world, with over 100 years and four generation’s of professional trading experience behind us  read more

Code: 25591

A Superb Antique, Shinto Era, Unokubi (鵜首) Zukuri Blade Tantō, 17th Century. Edo Matsushiro Sinano School Sinchu and Silver Koshirae. Just Arrived From A Premium Grade Collection, Previously Acquired Over Decades

A beautiful little tanto with a fine Shinto blade of rare blade shape, in very clean polish, with just a very few minuscule age surface marks which is remarkable as it is around 400 years old. The tsuka {hilt} is very unusually bound in its original, Edo period, leather tsuka-ito in partial battle-wrap style over traditional white samegawa {giant rayskin}. The saya has stunning and intricately applied pine needle decor beneath clear lacquer and overall this early samurai dagger is incredibly appealing, and would make a fine start to a collection, or a great addition to an already existing one. The superb samurai swords that just arrived {including this one} are numbering around 25 fine pieces, from the Koto to Shinshinto period vary from tachi to katana, chisa katana, wakazashi and tanto And include, two, very fine signed ancestral bladed WW2 mounted officer's swords. One in such fine condition one could imagine it was just surrendered last week, by a Japanese colonel, not 80 years ago!

Unokubi (鵜首) is an uncommon tantō style akin to the kanmuri-otoshi, with a back that grows abruptly thinner around the middle of the blade; however, the unokubi zukuri regains its thickness just before the point. There is normally a short, wide groove {hi} extending to the midway point on the blade, this is a most unusual form of unokubi zukuri blade tanto without a hi.

The fuchigashira and sayagaki and jiri are all matching brass decorated with fulsome designs and silver striping. Fully matching suite of sinchu and contrasting silver line mounts to the tsuka and saya, all from the Edo period Matsushiro Sinano school.

The tanto was invented partway through the Heian period. With the beginning of the Kamakura period, tanto were forged to be more aesthetically pleasing, and hira and uchi-sori tanto becoming the most popular styles. Near the middle of the Kamakura period, more tant? artisans were seen, increasing the abundance of the weapon, and the kanmuri-otoshi style became prevalent in the cities of Kyoto and Yamato. Because of the style introduced by the tachi in the late Kamakura period, tanto began to be forged longer and wider. The introduction of the Hachiman faith became visible in the carvings in the hilts around this time. The hamon (line of temper) is similar to that of the tachi, except for the absence of choji-midare, which is nioi and utsuri. Gunomi-midare and suguha are found to have taken its place.

During the era of the Northern and Southern Courts, the tanto were forged to be up to forty centimetres as opposed to the normal one shaku (about thirty centimetres) length. The blades became thinner between the uri and the omote, and wider between the ha and mune. At this point in time, two styles of hamon were prevalent: the older style, which was subtle and artistic, and the newer, more popular style. With the beginning of the Muromachi period, constant fighting caused the greater production of blades. Blades that were custom-forged still were of exceptional quality. As the end of the period neared, the average blade narrowed and the curvature shallowed

Blade length 7 1/2 inches long tsuba to tip, overall in saya 12 3/4 inches

It will come complete, with our compliments, with a transparent display stand {not the antique one in the photos} a most decorative damask storage bag, a pair of white handling gloves and a white microfibre cleaning cloth.  read more

Code: 25975

An Important, Unique, & Significant, Historical Boer War Veteran's Souvenirs, the Siege of and Battle for Ladysmith Collection of A Combatant With Superb Personal Correspondence Provenance. Of Gunner Reginald Kisch, NNV One of the Besieged at Ladysmith.

Included in this fabulous collection is an HMS Powerful cap tally, with accompanying original letter, from one of the 'Powerfuls', the landing party from HMS Powerful, for the Battle for Ladysmith. A pair of uniform epaulette shoulder board’s from a combatant at the siege, The Border Mounted Rifles, pieces of shrapnel from a Long Tom the destruction of 'Puffing Billy' the British nickname of the Boers Long Tom big gun, plus numerous letters to Gunner Kisch' mother and sister, at the NNV Natal Naval Volunteers combatants home camp. Plus original newspaper cuttings of the war from the family.

The urgent transport of the cannon from HMS Powerful and HMS Terrible by the landing party, sent to the Siege of Ladysmith were the inspiration for the world renown Royal Naval Field Gun Competition at the Royal Tournament since 1907. see below

This collection would be a fabulous compliment to a medal group from the siege, such as from an HMS Powerful landing party combatant, or a NNV combatant, or a BMR combatant.

This is also the probably most historically interesting cap tally combat collection we have offered since our ‘Battle of River Plate’ German Battleship Graff Spee cap tally, taken from a killed German sailor, and personally given by Kapitan Langsdorff as a souvenir to a merchant ship captain who was a prisoner aboard his battleship. Now in a private museum collection in America.


Powerful's Naval Brigade Arrives in Ladysmith
The Powerful's Naval Brigade consisting of 283 officers and men, had arrived at the port of Durban on 29th October and travelled overnight by two trains to Ladysmith. The Brigade had with them two 4.7, four 12 pounders and four Maxim guns. The first detachment from the brigade arrived at 6am in Ladysmith in the middle of the Battle for Ladysmith. It had taken them just six days to adapt the 4.7" guns and then transport them by ship and rail to Ladysmith. Unfortunately, in the quest for speed, the Brigade did not bring sufficient ammunition. Percy Scott had asked for 5,000 rounds for the 4.7" guns but was given only 500 rounds - enough for 25 minutes of rapid firing. Departmental arguing saw to it that after Lambton had procured a further two 12 pounder guns, he was not to receive any further ammunition.

As soon as the Brigade arrived at Ladysmith Station it was under fire from the enemy. The 12 pounder guns were then transported using oxen and manpower to their positions and it was not long before they were finding their range and silencing the enemy's 'Long Tom' referred to as 'Puffing Billy' by the British. One enemy shell did dismount one of the 12 pounders and wounded three of the gun crew, the first casualties of the ship in South Africa.

It took several days for the 4.7" guns to be pulled to their positions on Junction Hill and Cove Redoubt from where they could fire on the Boers' long range guns (named Long Toms by the British). On the first day that the 4.7" guns were in action, 2 November, Lieutenant Egerton was killed by shells from Long Tom. His legs were hit by a shell bringing the response: "My cricketing days are over". His legs were amputated and by the afternoon he was cheerfully sitting up drinking champagne, but he died in the evening. On this day, the Naval Brigade's long guns were being fired on by at least five Boer guns and the town found itself finally cut off.

The Border Mounted rifles at the Siege;

the Volunteer Brigade under Colonel Royston, with Lieutenant Colonel H. T. Bru-de-Wold as Chief Staff Officer. The Naval volunteers were generally split up throughout the siege, part being on Caesar's Camp and part at Gordon Post. Between 1st November and the end of February the Natal Mounted Volunteers were frequently engaged. On 2nd November they were, with other troops, out reconnoitering; on the 3rd they were sent to cover the retirement of another force. On this occasion the Carbineers had Major Taunton and Sergeant Mapston killed, and the Border M.R. lost Captain Arnott and 11 men wounded. Section D of the defences of Ladysmith was placed under Colonel Royston. This included the thorn country north of Caesar's Camp and the Klip River Flats. Colonel Royston lost no time in building sangars and digging trenches, and soon had his section greatly strengthened. On 9th November the enemy attacked, firing 800 shells into the town; but their attack was driven off. On the 14th the Volunteers were out with Major-General Brocklehurst, and, along with the Imperial Light Horse, seized Star Hill; but it was not held permanently. When Sir Archibald Hunter made his deservedly famous sortie on 7th December to destroy the Boer guns on Gun Hill, his force consisted of 500 Natal Mounted Volunteers under Colonel Royston, 100 Imperial Light Horse (see that regiment), and a few Royal Engineers, artillerymen, and guides. The storming-parties were 100 Carbineers, Major Addison, and 100 ILH, Lieutenant Colonel Edwards. Two big guns were destroyed and one maxim brought back. Colonel Royston was among those specially mentioned in the body of the despatch. Sir George White had the ILH and Volunteers paraded on the following day, and, addressing them, said " that he did not wish to use inflated or exaggerated language, but the men of Sir Archibald Hunter's party were a credit, not only to the colony, but to the Empire. There was a lot of severe fighting to do, but it was a gratification to a General to have the help of such men."

The town and camps were during the siege constantly under shell-fire, and on 18th December one 6-inch shell bursting in the camp of the Carbineers killed 4 men, wounded 6 men, and destroyed 10 horses. The times were trying, but hard digging, sangar building, and brigade sports kept the men fairly fit. In the repulse of the great attack of 6th January 1900 the volunteers took a prominent part. The following is the report furnished by Colonel Royston to the Chief of the Staff : "I have to report that on Saturday, 6th inst., at about 4.15 am, I received information by telephone from headquarters that the enemy were making an attack on Wagon Hill. I at once despatched 80 men of the Natal MR, under Major Evans, to strengthen the outposts on the Flats, then held by 1 officer and 40 men Natal Police, attached to Volunteers, and 1 officer and 20 men Natal Carbineers. The Town Guard was also directed to stand fast at its post on the left bank of the Klip River. As it had been intimated that a battery of artillery would be placed at my disposal, I directed two squadrons Border MR, with one maxim, to accompany the guns. Major Abadie, at about 5.40 am, reported his guns in position near the point where the road to Caesar's Camp crosses the town rifle-range. On my arrival at the outpost line, at 5 am, the enemy were occupying the extreme south-eastern point of Caesar's Hill, well under cover amongst the rocks and bushes. About 50 men were visible from the Flats, but more appeared to be pushing on from the west in small parties. These men were being fired on from the thorn trees and from sangars below by my men as soon as they appeared in sight. A few minutes after my arrival the enemy advanced north along the top of the hill, firing at a party of 'Gordons' near a sangar about 500 yards to their front. I requested the officer commanding the battery to open fire, which he did with good effect, stopping the enemy's advance, and driving them into the rocks. As there appeared to be only a small party of the 'Gordons' opposed to the enemy at this spot, as far as I could see from below, I directed a squadron of Border MR, under Lieutenant Royston, to climb the hill and go to their assistance dismounted. This would be about 6 am. On my men joining the Gordons the party advanced towards the enemy in the rocks, but were at first driven back by their heavy fire, and the enemy again advanced. The battery again opened fire, and the 'Gordons' and the Border MR again advancing, drove the enemy over the point of the hill, and they never again mounted to the crest. At mid-day the enemy had retired about half way down the southern slope of the hill, but still kept up a heavy fire. Unfortunately, it was impossible to get at these with artillery fire from where the battery was limbered, owing to the danger of hitting our own people on the crest of the hill, and the officer commanding the battery did not consider it advisable, owing to the rough ground to cross, and to exposure to Bulwana, to advance any of his guns as far as our outpost line, from which point the enemy could be reached. Rifle-fire was kept up until the enemy finally got into the bed of the Fourie Spruit, where he could only be reached from the top of Caesar's Hill. A heavy fire was kept up until dark, when it gradually ceased, and the enemy appeared to be retiring up the Fourie Spruit. My casualties were 4 men killed and 2 officers and 10 men wounded. I wish to bring to notice the gallant manner in which the battery of artillery, under Major Abadie, stuck to its ground under the very heavy fire from the 6 inch gun and another long range gun on Umbulwana, and also the excellent practice made by the battery. I also consider that Lieutenant Royston, Border MR, did good service with his men. The behaviour of Captain Platt and Lieutenant Hornabrook, Vol. Med. Corps, in attending to the wounded throughout the day under heavy fire, deserves special mention; the last-named officer was wounded, besides having his clothes pierced by a bullet."

When Dundonald rode into Ladysmith on the evening of 28th February, he was accompanied by some Carbineers, Natal Mounted Rifles, Border Mounted Rifles, and Natal Police, the officers being Major D. M'Kenzie, Lieutenants Silburn, M'Kay Verney, Richards, Ashburnham, and Abraham. None of those present will ever forget this ride, probably the most memorable occasion in the lives of any of them.

The Royal Naval Field Gun Tournament;

The Interport Field Gun competition was established in 1907 and was a highlight of the Royal Tournament until the Last Run in 1999. After the demise of the Royal Tournament, the Brickwoods field gun competition was revived as a naval contest. known as the Most Dangerous Sport in the World, where losing a limb is a distinct possibility. two 18-strong teams of the Royal Navy's finest crashing around the main arena and performing a series of Formula One-style pit stops with a Victorian cannon.
Each set of kit weighs the same as a family car and each gun must be put together, taken apart and dragged up and down an 83-yard course, blasting off six shots in the process. It is all done in just over a minute. At this speed, the process can, literally, cost an arm and a leg. But there is no prize money. The teams competing for the pride of their respective bases - HM Naval Base, Portsmouth, and HMS Sultan in neighbouring Gosport. After four consecutive nights, the winning crew will receive a trophy from the Queen and, perhaps, a drink from their commanding officer.

The origins of the world famous field gun competition lie in the Second Boer War in South Africa. The legendary story tells of the siege of the British garrison in the township of Ladysmith in 1899. In support of the British Army, the Royal Navy landed guns from HMS Terrible and Powerful to help in the relief of the siege. The Naval Brigade transported guns over difficult terrain and brought them into action against the Boers.
The Royal Naval Field Gun Tournament;

The Royal Navy landed two 4.7 inch guns and four 12-pounder field guns. The guns were transported inland by rail and then drawn on makeshift carriages by oxen. For the final part of the journey, sailors from the Naval Brigade manhandled the guns over very difficult terrain. One story tells of sailors carrying one of the 12 pounder guns for 2 miles after one of the wheels collapsed.

The siege of Ladysmith lasted for 120 days until February 1900. On their return home, the sailors from the Naval Brigade paraded their guns through London and appeared at the Royal Naval and Military Tournament at the Agricultural Hall, Islington. Displays of Field Gun drill continued in subsequent years. A precursor to the competition lay in the presentation of Field Gun 'Evolutions' including one performed by Miss Weston’s Naval Boy’s Brigade from Portsmouth at the Royal Albert Hall on 21 October 1905 as part of the Centenary Commemoration of the Battle of Trafalgar.

This incredibly rare and historical collection could look incredible in a bespoke small pair, or even a set of glazed, mounted display frames. We have a company that could undertake this superbly. See photo 10 in the gallery of a perfect example of how such a display could be effected, of an original collection of combat souvenirs of an ‘Operation Market Garden’, Arnhem campaign, WW2 British ‘para’ war hero, that was completed previously for a friend and client.

If you wish to watch the Royal Naval Gun Race on youtube copy and paste link below.

https://www.youtube.com/watch?v=6lhx6Q3WuvU  read more

Code: 24243

A 19th Century Napoleonic Pattern, Spanish Dragoons, Heavy Cavalry of the Line Sword

In the Napoleonic wars the Spanish heavy line cavalry troopers were equipped with this pattern of sword, based on the French cuirassiers sword, having a hilt of the French heavy cavalry Cuirassiers, An XI pattern, in brass, with knuckle-bow, three curved quillons and pommel. Later this was regularised to create the model 1832 pattern. This sword's blade is maker marked, Toledo 1863. This sword has certainly seen service and evidence of combat use. This is a big, scarce Napoleonic pattern Cuirassier battle sword, and a most impressive and fascinating example, and the first of it's kind we have seen in nearly 10 years, These huge and impressive original 19th century Spanish heavy cavalry swords are very rarely seen to survive and this is a very impressive piece. The Cavalry Regiment El Rey (Spanish: Regimiento de Caballera El Rey is the oldest cavalry regiment in the Spanish Army, distinguishing itself on several occasions during the Peninsular War. They are known bestn for there charge at the Battle of Talavera where they dealt the decissive blow against General Jean Francois Leval's German Division. The Cavalry Regiment El Rey is Spain's oldest cavalry regiment, founded in 1538 under the reign of King Charles I of Spain, and as such bore the title The King's in the Spanish Army. During the Napoleonic era it was considered as one of the best Spanish regiments and it distinguished itself during the Spanish War of Independence, frequently being commented as performing very well in those years. In 1807 the regiment was assigned to Marques de la Romana's Division of the North. In 1808 it joined the fight against France after evacuating from Denmark.

Upon arrival in Cantabria the cavalrymen marched to Extremadura where they were to collect horses, thus avoiding the defeat that fell upon Romana's division at Espinosa de los Monteros. In 1809 the regiment would see much action while serving in Gregorio Garcia de la Cuesta y Fernandez de Celis' Army of Extremadura, as part of General Jose de Henestrosa's 1st Cavalry Division. It would fight at the Battle of Talavera, where they captured four French cannons and would be highly praised in Cuesta's report. During the Spanish War of Independence the unit wore a blue coat with scarlet cuffs, collar, lapels, turnbacks, gold piping and buff breeches. Like all regiments at the start of the Peninsular War they wore a red plume on their hat to show their loyalty to the Bourbon monarch, Ferdinand VII of Spain, instead of the "hated foreigner" Joseph Bonaparte. In 1870 the regiment wore a blue coatee with scarlet cuffs, collar and lapels, white turnbacks, and yellow piping and had brass buttons, they also wore blue breeches. The troopers wore a black bi-corn hat with gold lace and a red cockade with a gold cockade loop.

In 1898 the regiment had a uniform of a light blue dolman with black Austrian loops and white metal buttons; red collar and cuffs, and red trousers with a light blue stripe. They had also, after the Napoleonic Wars adopted the use of a cuirass and helmet, of steel with brass ornamentation. However, in the colonies of Cuba, Puerto Rico, Guam, the Las Carolinas Islands and the Philippines they wore the Rayadillo colonial uniform with red collar and cuffs and Leopoldina shakos with the Spanish red and yellow cockade 95 cm blade  read more

Code: 22097