A Superb 1821/45 Victorian Infantry Officer’s Deluxe Grade Sword. Traditional Gothic Style VR Cypher Pierced Half Basket Hilt With Original Gilt. Exactly As Worn In The Zulu War.

Exactly the form of sword used by Lt Bromhead in the Zulu war, as was portrayed and carried in the film 'Zulu' by Sir Michael Caine. One may find it very difficult indeed to see another as fine and beautiful as this sword. With near mint, original mirror bright and counter frosting finish to the bespoke fully etched blade, bearing the cypher and crest of H.M. Queen Victoria with just a few discolouration marks. Original gilt to the Gothic pieced half basket hilt, field rank service combined combat-dress brass scabbard. Small fish-skin grip losses.

Traditional gilt hilt of Gothic form, pierced with Queen Victoria's cypher, a very fine deluxe etched finest bespoke made blade, and gilt brass scabbard, that denotes the owner's rank to be of Major, Colonel and above.

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 has a Gothic hilt and Queen Victoria's cypher within the pierced oval centre. 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 by Henry Wilkinson, who developed in 1845 pattern blade. 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.

Overall in excellent condition for age. Small surface denting on the scabbard, inner fold down hilt mount absent. Very nice and snug fit to the scabbard with all its original wood liner  read more

Code: 25485

A Most Rare Early19th Century, Georgian to William IVth Irish, Crum Castle Infantryman's Large Shako Helmet Plate

This is a super, and incredibly desirable large Bell-Top Shako helmet plate, from one of the small Irish Militia of the early 19th century. Their motto was 'Rebels Lie Down'. Surviving artefacts of this militia are so scarce that we know of only one other surviving piece of early uniform militaria, a shoulder belt plate, regimentally named and also bearing their motto.
Early 19th century Irish Militia helmet plates are incredibly rare, highly prized and very collectable indeed.

Crum Castle was the alternative old spelling of Crom Castle, County Fermanagh. Although the Yeomanry’s official existence ended in 1834, the last rusty muskets were not removed from their dusty stores till the early 1840s. With unintentional but obvious symbolism, they were escorted to the ordnance stores by members of the new constabulary. Although gone, the Yeomen were most certainly not forgotten. For one thing, they were seen as the most recent manifestation of a tradition of Protestant self-defence stretching back to plantation requirements of armed service from tenants then re-surfacing in different forms such as the Williamite county associations, the eighteenth-century Boyne Societies, anti-Jacobite associations of 1745 and the Volunteers. Such identification had been eagerly promoted. At the foundation of an Apprentice Boys’ club in 1813, Colonel Blacker, a Yeoman and Orangeman, amalgamated the siege tradition, the Yeomanry and 1798 in a song entitled The Crimson Banner:

Again when treason maddened round,
and rebel hordes were swarming,
were Derry’s sons the foremost found,
for King and Country arming.

Moreover, the idea of a yeomanry remained as a structural template for local, gentry-led self-defence, particularly in Ulster. When volunteering was revived in Britain in 1859, northern Irish MPs like Sharman Crawford tried unsuccessfully to use the Yeomanry precedent to get similar Irish legislation. Yeomanry-like associations were mooted in the second Home Rule crisis of 1893. The Ulster Volunteer Force of 1911-14—often led by the same families like Knox of Dungannon—defined their role like Yeomen, giving priority to local defence and exhibiting great reluctance to leave their own districts for training in brigades. Two loop mounts [one with old re-bedding] 6.25 inches high.  read more

Code: 23283

Original Ancient Imperial Roman ‘Cross-bow” Fibula Bronze Toga Pin Military Issue, Fine Piece For Higher Ranking Figures in the Legion, Such As a Centurion or Tribune

Bow Fibula with a folded or rolled sleeve hinge, c. Early Imperial - Beginning of 2nd Century. We acquired a very small collection of roman toga pins, from super, small collection of original, historical, Imperial Roman and Crusader's artefacts
Shaped in the form of a roman military crossbow fibula, in bronze.
It became the most popular form of closure for Roman fibulae, and is characteristic of the bow brooches from the early imperial times to the beginning of the 2nd century. Outside the Roman Empire and after that time, this type of hinge was seldom used. The sleeve hinge consists of a small sleeve at the top of the head which is forged from a square sheet metal plate and then rolled up. In a center-cut slot, the spiked needle is inserted and held by a shaft (usually iron) passing through the whole sleeve. At the ends of each of the Aucissa fibulae and their early successors were buttons holding the hinge axis; later, the hinge axis was clamped in the sleeve and needed no buttons. The needle always carries a thorn-like projection on its perforated oval plate, which beats against the head of the fibula and, by virtue of this resistance, causes the suspension to spring forth. The sleeve hinge is used exclusively in bow fibulae. The needle is primarily rectilinear, but bends hand in hand with the flattening of the bow to the outside to continue to leave enough space between the bracket and needle. The sleeve hinge is considered a typical Roman construction. The paludamentum was usually worn over one shoulder and fastened with a fibula (ancient version of a safety pin). Arguments abound over what shoulder was exposed, but it seems fairly clear that the garment was fastened loosely enough to move around, The paludamentum was a cloak that was specifically associated with warfare. A general donned one for the ceremonial procession leading an army out of the sacred precinct of the city of Rome and was required to remove it before returning to the city…a sign that he was no longer a general, but a common citizen. The paludamentum or sagum purpura (purple cloak) was the iconic red cloak worn by a Roman general (Legatus) and his staff officers. Originally, it’s distinctive red/purple color clearly delineated between these officers and the rest of the army, which sported the sagum gregale (cloak of the flock). Although the sagum gregale, worn by the rank and file, started out the color of the flock (i.e. undyed wool), it seems likely to have transitioned to a coarser version of the sagum purpura by the imperial period (27BCE – 476CE). Outfitting the entire army in red garments would have been a mark of the great wealth of Rome – well, that and the fact that the Romans controlled the source of purple dye by then.The pin is now frozen through two millennia in a fixed position. Fibula 58mm x 28mm not including pin , pin is now rigid in position.

For example; With regards to some expert conservation methods of bronze objects {and some other materials} The dirt from the surface of the object could be removed manually using a scalpel under magnification. Care would be taken not to dislodge the powdery, corroding surface. Where the surface was in particualrly bad condition the dirt will be left in situ and small areas might be locally consolidated using 2.5% HMG Paraloid B72 (methyl ethyl methacrlylate) in 50:50 Acetone (propan-1-one/dimethyl ketone) and Industrial methylated spirits ethanol,methanol.
The above practice is just one form of conservation method also used by the British Museum.  read more

Code: 24610

A Beautiful, Signed Shinto-Shinshinto Samurai Katana. The Stunningly Attractive Blade With Full Length Hi, Fine Iron Plate Tsuba, Gold Dragon Menuki & Higo Fuchi Kashira. The Green Silk Tsuka-Ito & The Nishiji & Black Ribbed Saya is Being Fully Conserved

It will look wonderful once our specialist trained artisan has completed his restoration and conservation of the tsuka and saya. The tsuka has Higo school Edo period iron fuchi kashira, and a very nice pair of gold, dragon with ken menuki, and a fine copper habaki with green silk tsuka-ito over traditional samegawa {giant rayskin}. All of these mounts and ito are being cleaned restored and professionally conserved.
Despite the exterior suffering a little poorly since the late 1800's, the blade has been extremely well protected and looks wonderful, with an elegant and narrow suguha hamon, with just a few, as to be expected minuscule, age and edge marks. The habaki & tsuba are superb too.

An eight-spoke wheel connects the rim to the plate in this Katchushi Tsuba, likely Koto period. The ‘spokes’, which symbolize the ‘eight fold path’, radiate from the plate, of ribbed octagonal rim. The surface has perfect colouration and patina, the quality of iron is very good. The Buddhist Eightfold Path consists of eight practices: right view, right resolve, right speech, right conduct, right livelihood, right effort, right mindfulness, and right samadhi ('meditative absorption or union'; alternatively, unanimous meditative awareness)

Katchushi means armoursmith in Japanese.
So, it is said that the definition of Katchushi-Tsuba is tsuba made by armoursmiths.

The photos show the sword prior to its imminent full exterior conservation and restoration of the lacquer saya and tsuka-ito.  read more

Code: 25464

Wonderful 12th-13th Century Crusader & Pilgrim Knight's Heraldic Seal Ring Of a Fantastical Beast The Manticore, A Human Headed Tiger or Lion. Used In Medeavil Heraldry On Shields, Banner, Accoutrements & Indicated To Which Noble Family A Knight Belonged

A superb naturally patinated bronze, realistically engraved with an intaglio of the Manticore a Man-Tiger or Man-Lion. For example, in the 1400's it was the Heraldic Badge of William Lord Hastings. Often used as a supporter for a noble coat of arms. The ring is also very unusual in that it is designed to be sectioned on the inside ring so as to be self adjusting for finger size.

The royal supporters of England are the heraldic supporter creatures appearing on each side of the royal arms of England. The royal supporters of the monarchs of England displayed a variety, or even a menagerie, of real and imaginary heraldic beasts, either side of their royal arms of sovereignty, including lion, leopard, panther and tiger, manticore, antelope and hart, greyhound, boar and bull, falcon, cock, eagle and swan, red and gold dragons, as well as the current unicorn.

In ancient Greek culture, the manticore represented the unknown lands of Asia, the area it was said to inhabit. In later times, the manticore was recognized by many Europeans as a symbol of the devil or of the ruthless rule of tyrants. This may have originated in the practice of using manticores as royal decorations, and heraldic devices.

The Manticore In Art, Literature, And Everyday Life
During the Middle Ages, the manticore appeared in a number of bestiaries, books containing pictures or descriptions of mythical beasts.

The manticore was also featured in medieval heraldry—designs on armour, shields, and banners that indicated the group or family to which a knight belonged.

The medieval Maniticore is featured in numerous medieval manuscripts known as Bestiary, a book written in the Middle Ages containing descriptions of real and imaginary animals, intended to teach morals, religion and to entertain.
The bestiary — the medieval book of beasts — was among the most popular illuminated texts in northern Europe during the Middle Ages (about 500–1500). Medieval Christians understood every element of the world as a manifestation of God, and bestiaries largely focused on each animal's religious meaning. Much of what is in the bestiary came from the ancient Greeks and their philosophers. The earliest bestiary in the form in which it was later popularized was an anonymous 2nd-century Greek volume called the Physiologus, which itself summarized ancient knowledge and wisdom about animals in the writings of classical authors such as Aristotle's Historia Animalium and various works by Herodotus, Pliny the Elder, Solinus, Aelian and other naturalists.

Following the Physiologus, Saint Isidore of Seville (Book XII of the Etymologiae) and Saint Ambrose expanded the religious message with reference to passages from the Bible and the Septuagint. They and other authors freely expanded or modified pre-existing models, constantly refining the moral content without interest or access to much more detail regarding the factual content. Nevertheless, the often fanciful accounts of these beasts were widely read and generally believed to be true. A few observations found in bestiaries, such as the migration of birds, were discounted by the natural philosophers of later centuries, only to be rediscovered in the modern scientific era.

Medieval bestiaries are remarkably similar in sequence of the animals of which they treat. Bestiaries were particularly popular in England and France around the 12th century and were mainly compilations of earlier texts. The Aberdeen Bestiary is one of the best known of over 50 manuscript bestiaries surviving today.These bestiaries held much content in terms of religious significance. In almost every animal there is some way to connect it to a lesson from the church or a familiar religious story. With animals holding significance since ancient times, it is fair to say that bestiaries and their contents gave fuel to the context behind the animals, whether real or myth, and their meanings.

UK size R1/2  read more

Code: 25481

A Superb WW2 Officer's Sword in Type 94 Deluxe Quality Early War Mounts, Made by the Suya Company of Tokyo, & Full Length Hi Blade in Excellent Polish

This is truly and exemplary example of an original, early, WW2 IJA officer's sword, in stunning condition for age, especially the blade that is superbly bright with not a trace of rust or staining on the blade surface at all. The nakago {the hidden tang under the hilt} is surface pitted as usual and totally as to be expected for a sword of this vintage. A collector would have to go a long way to ever see a better surviving example, if at all! A 5 Star plus example, set in its original, and rarest, type 94 koshirae {sword mounts}. An absolute beauty!. The tsuba {sword guard} bears the logo of the Suya Company of Tokyo. They appear to be a private company that provided military fittings, all the fittings are original and just as issued, with the scarce, type 94 four pierced boar's eyes, tsuba. Seppa all serial numbered to match the tsuba.

The blade with full length hi {fuller} is in excellent near mint bright polish, and bears, probably, a small Tokyo 1st army arsenal stamp, and its habaki is very fine quality indeed. The filemarks on the mumei nakago are still visible by around 50%, and are sujikai, a pattern of perpendicular lines going straight from left to right. A nakago-Miri Chestnut End (Kurijiri 栗尻)

The saya has its original wartime military olive green paint. Button scabbard retaining clip still present without catch, {about 80% were removed entirely}, the scabbard {saya} is completely dent free. the tsuka has its original cotton silk hilt binding intact.

Gunto Type 94 mounts;
The “type 94” shin guntō (九四式軍刀, Kyuuyon-shiki guntō) officers sword replaced the western style kyu gunto in 1934. It had a traditionally constructed hilt (tsuka) with ray skin (same) wrapped with traditional silk wrapping (ito). A cherry blossom (a symbol of the Imperial Japanese Army) theme was incorporated into the guard (tsuba), pommels (fuchi and kashira) and ornaments (menuki).

The scabbard (saya) for the Type 94 was made of metal with a wood lining to protect the blade. It was often painted olive green and was suspended from two brass mounts, one of which was removable and only used when in full dress uniform. The fittings on the scabbard were also decorated with cherry blossom designs.

The blades found in “Type 94” shin guntō ranged from modern machine made blades through contemporary traditionally manufactured blade to ancestral blades dating back hundreds of years.

Somewhere around just 1 of 1,000 Japanese Army swords are Type 94's. This sword would make an important addition to any collection.  read more

Code: 25479

A Foyles Bookshop of London, 1939 London Publication by Hurst & Blackett Ltd. of Adolf Hitler's Mein Kampf. Published Just Following New York's Time Magazine Voting Him "Man of The Year" in 1938

English translation, published just before the outbreak of WW2.
Time Magazine’s designation of Adolf Hitler as “Man of the Year” for 1938 identified Hitler as “the newsmaker who most influenced world events for better or worse” { we think, worse, is actually the most likely of the two} and it was not an endorsement, the magazine has repeatedly clarified. Interestingly, Josef Stalin was awarded Time Magazine's "Man of The Year" twice, in 1939 and 1942.

With author's photograph and publication signature, and a further publication signature to the Author's Forward.

Very good condition for age, usual yellowing to pages, but areas of white staining and bruising to the front cover {however, naturally it’s price reflects this}.

Hurst and Blackett, in October 1933, just nine months after Hitler rose to power in Germany, started to publish, in English, Hitler's infamous biographical book, Mein Kampf. Probably the most famous biography in publishing history.

Hitler began dictation of the book while imprisoned for what he considered to be "political crimes" following his failed Putsch in Munich in November 1923. Although Hitler received many visitors initially, he soon devoted himself entirely to the book. As he continued, Hitler realised that it would have to be a two-volume work, with the first volume scheduled for release in early 1925. The governor of Landsberg noted at the time that "he hopes the book will run into many editions, thus enabling him to fulfil his financial obligations and to defray the expenses incurred at the time of his trial."

Hitler originally published his book in German in 1925. There was a little if any interest in Mein Kampf outside the country as he was an unknown Bavarian fringe candidate. When he unexpectedly vaulted to power in January 1933, European publishers rushed to obtain the contract to translate his work and publish it in other countries. Because the German Mein Kampf was so telling about the coming war and atrocities he would inflict on the French, the Soviet, and most of all the Jewish people, Adolf Hitler was hesitant to allow any translations or publishing rights in different countries. As most of you know, Hitler fought bravely during the entire four years of the Great War and he was wounded twice. During that time, as he later recounts in Mein Kampf, Hitler became convinced the French rather than the British were his true western enemies. In fact during the first three years of his chancellorship, Hitler tried repeatedly to secure a military alliance with England so they could help him destroy France, or at least stand by while Hitler obtained his sweet revenge for Germany's humiliation at the Versailles peace table. So the newly-appointed German leader authorised Mein Kampf to be translated into English and published by London's Hurst and Blackett in the spring of 1933. However, Hitler never allowed a complete translation. After an Englishman named Edgar Dugdale completed his work on the actual translation, the Nazis insisted on revising and censoring the 700 page book. Hitler employed Nazi party official Dr. Hans Thost to specifically go through and remove offending passages in Mein Kampf and to also surgically alter his original German words to make a direct appeal for his British alliance. Dr. Thost was the sole Nazi party official living in London at this time. He spent the summer of 1933 altering and removing over 400 pages from this new English translation and when he was finished, he finally allowed Hurst and Blackett to take this edition to print that September. Even though Hitler was now the leader of Germany, the British publishing house Hurst and Blackett was hesitant about printing too many copies of this book initially. 1933 was the height of the Great Depression, and books were only for the few. It wasn't until 1937 that Hurst and Blackett started printing, smaller versions of My Struggle because Europeans started to become nervous as Hitler was clearly rearming and reindustrializing Germany. Most copies were purchased by British intellectuals or those keenly interested in foreign policy. Most of those people lived in London, and quite a few of the copies of this book were destroyed in the Blitz. Indeed the Hurst and Blackett Publishing house was completely destroyed by German bombs in 1940.

The book was edited by the former Hieronymite friar, catholic priest and journalist, Bernhard Stempfle, who later died during the Night of the Long Knives.

The book was so successful around the world Hitler used the proceeds to fund his entire election campaign, tours and lectures. And due to its and the authors success he was named Time Magazine's "Man of the Year" in 1938

The first 1933 Hurst and Blackett English edition can now achieve values up to £6,500  read more

Code: 25478

A Rare Original Roman Gladiatrix, {A Female Gladiator} Size Bronze Ring, Early Imperial Roman Period. Featuring A Coliseum Barbary Lion in a Combat Pose Around 1900 Years Old

An amazing original historical ancient Roman artefact featuring a detailed intaglio hand engraving of a lion, in a gladiatorial standing pose, with its large mane and proud tail, from such as the gladiator and gladiatrix's arena in the Colosseum in Rome, from the time just before the Emperor's Marcus Aurelias and Commodus. The era superbly depicted in Sir Ridley Scott's blockbuster movie, Gladiator, starring Russell Crowe, and soon to be released Gladiator II.

The gladiatrix was a female gladiator of ancient Rome. Like their male counterparts, gladiatrices fought each other, or wild animals, to entertain audiences at games and festivals

Very little is known about female gladiators. They seem to have used much the same equipment as men, but were few in number and almost certainly considered an exotic rarity by their audiences. They are mentioned in literary sources from the end of the Roman Republic and early Roman Empire, and are attested in only a few inscriptions. Female gladiators were officially banned as unseemly from 200 AD onwards, but the word gladiatrix does not appear until late antiquity.
Tacitus writes of women of high status flaunting themselves in the arena during the time of Nero (Annals 15.32). Cassius Dio tells of the Emperor Titus putting on a combat where women were pitted against foes (Historia Romana, 67.8.4).

Petronius mentions a troupe of professional gladiators which included a woman fighting on a chariot (Satyricon 45). According to the gossipy Suetonius, the Emperor Domitian sponsored torch-lit combats at night between men and also between women (Domitian 4). Many Roman oil lamps feature gladiators, a handful of which show what seem to be female gladiators.

In copper bronze with stunning, natural age patination, in a regular female size of the time. By far the greatest percentage of rings from the Roman era were engraved in the stylised form, but a very small percent, perhaps less that .01 of a percent, were engraved in the realism form. This is one of those rare types of more realistic engravings.

The wearing of the ring was the prerogative alone of Roman citizens or those of high rank and esteem, that some gladiators always aspired to but rarely achieved due to their short life span within their violent craft. However some did achieve such great success and were rewarded with riches, freedom and the right to wear the traditional Roman bronze status ring.

Romans seem to have found the idea of a female gladiator novel and entertaining, or downright absurd; Juvenal titillates his readers with a woman named "Mevia", a beast-hunter, hunting boars in the arena "with spear in hand and breasts exposed", and Petronius mocks the pretensions of a rich, low-class citizen, whose munus includes a woman fighting from a cart or chariot.

Some regarded female gladiators of any class as a symptom of corrupted Roman sensibilities, morals and womanhood. Before he became emperor, Septimius Severus may have attended the Antiochene Olympic Games, which had been revived by the emperor Commodus and included traditional Greek female athletics. Septimius' attempt to give Romans a similarly dignified display of female athletics was met by the crowd with ribald chants and cat-calls.26 Probably as a result, he banned the use of female gladiators, from 200 AD.27

There may have been more, and earlier female gladiators than the sparse evidence allows; *McCullough speculates the unremarked introduction of lower-class gladiatores mulieres at some time during the Augustan era, when the gift of luxurious, crowd-pleasing games and abundant novelty became an exclusive privilege of the state, provided by the emperor or his officials. On the whole, Rome's elite authorities exhibit indifference to the existence and activities of non-citizen arenari of either gender. The Larinum decree made no mention of lower-class mulieres, so their use as gladiators was permissible. Septimius Severus' later wholesale ban on female gladiators may have been selective in its practical application, targeting higher-status women with personal and family reputations to lose. Nevertheless, this does not imply low-class female gladiators were commonplace in Roman life. Male gladiators were wildly popular, and were celebrated in art, and in countless images across the Empire. Only one near-certain image of female gladiators survives; their appearance in Roman histories is extremely rare, and is invariably described by observers as unusual, exotic, aberrant or bizarre.
The following historical quote from Antiquity is from Cassio Dios book of Roman History and is translated by Earnest Cary and Herbert Baldwin Foster. The succeeding quote is from Juvenals book Satire; which is translated by Niall Rudd.

“There was another exhibition that was once most disgraceful and most shocking, when men and women not only of the equestrian but even of the senatorial order appeared as performers in the orchestra, in the Circus, and in the hunting-theatre Colosseum, like those who are held in lowest esteem. Some of them played the flute and danced in pantomimes or acted in tragedies and comedies or sang to the lyre; they drove horses, killed wild beasts and fought as gladiators, some willingly and some sore against their will.”

“What sense of shame can be found in a woman wearing a helmet, who shuns femininity and loves brute force… If an auction is held of your wife’s effects, how proud you will be of her belt and arm-pads and plumes, and her half-length left-leg shin guard! Or, if instead, she prefers a different form of combat, how pleased you’ll be when the girl of your heart sells off her greaves! Hear her grunt while she practices thrusts as shown by the trainer, wiling under the weight of the helmet.”

A gladiator was an armed combatant who entertained audiences in the Roman Republic and Roman Empire in violent confrontations with other gladiators, wild animals, and condemned criminals. Some gladiators were volunteers who risked their lives and their legal and social standing by appearing in the arena. Most were despised as slaves, schooled under harsh conditions, socially marginalised, and segregated even in death. However, success in the arena could mean riches and fame beyond their wildest dream. For many this was the greatest escape from slavery there was.

Irrespective of their origin, gladiators offered spectators an example of Rome's martial ethics and, in fighting or dying well, they could inspire admiration and popular acclaim. They were celebrated in high and low art, and their value as entertainers was commemorated in precious and commonplace objects throughout the Roman world.

The origin of gladiatorial combat is open to debate. There is evidence of it in funeral rites during the Punic Wars of the 3rd century BC, and thereafter it rapidly became an essential feature of politics and social life in the Roman world. Its popularity led to its use in ever more lavish and costly games.

The gladiator games lasted for nearly a thousand years, reaching their peak between the 1st century BC and the 2nd century AD the time of Emperor Commodus. Christians disapproved of the games because they involved idolatrous pagan rituals, and the popularity of gladiatorial contests declined in the fifth century, leading to their disappearance.

Commodus was the Roman emperor who ruled from 177 to 192. He served jointly with his father Marcus Aurelius from 177 until the latter's death in 180, and thereafter he reigned alone until his assassination. His reign is commonly thought of as marking the end of a golden period of peace in the history of the Roman Empire, known as the Pax Romana.
Commodus became the youngest emperor and consul up to that point, at the age of 16. During his solo reign, the Roman Empire enjoyed reduced military conflict compared with the reign of Marcus Aurelius. Intrigues and conspiracies abounded, leading Commodus to revert to an increasingly dictatorial style of leadership, culminating in his creating a deific personality cult, with his performing as a gladiator in the Colosseum. Throughout his reign, Commodus entrusted the management of affairs to his palace chamberlain and praetorian prefects, named Saoterus, Perennis and Cleander.

Commodus's assassination in 192, by a wrestler in the bath, marked the end of the Nerva–Antonine dynasty. He was succeeded by Pertinax, the first emperor in the tumultuous Year of the Five Emperors.

Most gladiators paid subscriptions to "burial clubs" that ensured their proper burial on death, in segregated cemeteries reserved for their class and profession. A cremation burial unearthed in Southwark, London in 2001 was identified by some sources as that of a possible female gladiator (named the Great Dover Street woman). She was buried outside the main cemetery, along with pottery lamps of Anubis (who like Mercury, would lead her into the afterlife), a lamp with the image of a fallen gladiator, and the burnt remnants of Stone Pine cones, whose fragrant smoke was used to cleanse the arena. Her status as a true gladiatrix is a subject of debate. She may have simply been an enthusiast, or a gladiator's ludia (wife or lover).17 Human female remains found during an archaeological rescue dig at Credenhill in Herefordshire have also been speculated in the popular media as those of a female gladiator

As with all our items it comes complete with our certificate of authenticity

*McCullough, Anna, “Female Gladiators in the Roman Empire”, in: Budin & Turfa (eds), Women in Antiquity: Real Women across the Ancient World, Routledge (2016), p. 958, citing Scholia in Iuvenalem Vetustiora, on Juvenal, Satire 6, 250-251 nam vere vult esse gladiatrix quae meretrix "for she really wants to be a gladiator who is a harlot"

Detail from the Villa Borghese gladiator and gladiatrix mosaic, AD 320, and discovered in 1834 (Galleria Borghese, Rome, Italy).

UK {female} size I approx. Slightly ovoid through ancient wear  read more

Code: 25465

An Earliest Independance Pattern Royal Swaziland Police Senior Officer's Sword. Commissioned From Wilkinson Sword In 1969. Superb Condition For Age With Field Service Scabbard

Perfect for the collector of rare patterns of Wilkinson service swords, or a worldwide police service collector, or, a collector of scarce African 20th century service swords. Overall in excellent condition, and Wilkinson serial numbered for its completion and issue in 1969. Made for the initial 1968 order from the King of Swaziland for the renaming of the Swaziland police service. Modeled entirely on the regulation 1897 Pattern British Infantry Officer's Sword, but with the Royal Swaziland Police badge crest and motto, instead of the British sovereign's cypher, which would have been H.M.Queen Elizabeth IInd.

Founded in 1907 when the territory was under British rule, the Royal Swaziland Police Force initially consisted of 22 European officers along with 125 African Zulus, under Captain C.H. Gibson. A police training school was established in Mbabane in 1927 and a modern training college was built in 1965 at Matsapha. During the independence celebrations in 1968 King Sobhuza II renamed it into the Royal Swaziland Police Service, with the legal document that established the organization being the Police Act No. 29/1957.

The 1897 pattern Infantry officer's sword has remained unchanged to the present day.
By the time of its introduction, the sword was of limited use on the battlefield against rapid-firing rifles, machine guns and long-range artillery. However, the new sword was regarded, when needed, as a very effective fighting weapon. Reports from the Sudan, where it was used in close-quarters fighting during the Reconquest of the Sudan 1896-99, were positive.
Field Marshal Montgomery advanced with his 1897 Pattern drawn during a counter offensive in the First World War. The actual sword he carried is exhibited in the Imperial War Museum, London.

The blade is straight and symmetrical in shape about both its longitudinal axes. The thick blade has a deep central fuller on each side and is rounded on both its edge and back towards the hilt, giving a “dumbbell” or “girder” cross section. Through a gradual transition, the blade becomes double edged towards the tip, and the last 17 inches were sharpened when on active service. The blade ends in a sharp spear point.
The guard of the regular British officer’s sword is aldo a three-quarter basket of pressed, plated steel. But it is decorated with a pierced scroll-work pattern and had the royal cypher of the reigning monarch set over the lower knuckle bow, as opposed to the Swaziland Police crest and motto that this fine sword has.  read more

Code: 25477

A Very Good Current Service 1897 Pattern ERII Post 1953 Officer's Sword In Nickel Plated Dress Scabbard, with Its Original Buff Hide Knot

ERII period, ordnance issue, with fine nickle plated scabbard and buff hide knot, fine plated hilt with ERII royal cypher embossed thereon, and its original wire bound sharkskin grip. Plain bright steel blade. The scabbard bears the stamped matching number as it appears on the blade ricasso.

Overall in very nicely maintained condition, perfect for current service, and formerly the property of a ERII, post 1953, British Army regimental warrant officer. The plated basket surface has some microscopic surface age speckling

The 1897 pattern Infantry officer's sword has remained unchanged to the present day.
By the time of its introduction, the sword was of limited use on the battlefield against rapid-firing rifles, machine guns and long-range artillery. However, the new sword was regarded, when needed, as a very effective fighting weapon. Reports from the Sudan, where it was used in close-quarters fighting during the Reconquest of the Sudan 1896-99, were positive.
Field Marshal Montgomery advanced with his 1897 Pattern drawn during a counter offensive in the First World War. The actual sword he carried is exhibited in the Imperial War Museum, London.

The blade is straight and symmetrical in shape about both its longitudinal axes. The thick blade has a deep central fuller on each side and is rounded on both its edge and back towards the hilt, giving a “dumbbell” or “girder” cross section. Through a gradual transition, the blade becomes double edged towards the tip, and the last 17 inches were sharpened when on active service. The blade ends in a sharp spear point.
The guard is a three-quarter basket of pressed, plated steel. It is decorated with a pierced scroll-work pattern and had the royal cypher of the reigning monarch set over the lower knuckle bow.

One of the famous British officer's of WW2, who was a devoted exponent of hand to hand sword combat, using his 1897 pattern sword in battle, was infantry officer 'Mad' Jack Churchill. After fighting at Dunkirk, he volunteered for the Commandos. On one occasion, a general who had commented on his weaponry, Churchill is said to have replied "Any officer who goes into action without his sword is improperly dressed."

In his service in Norway (1941)
Churchill was second in command of No. 3 Commando in Operation Archery, a raid on the German garrison at Vågsøy, Norway, on 27 December 1941.  As the ramps fell on the first landing craft, he leapt forward from his position playing "March of the Cameron Men" on his bagpipes, before throwing a grenade and charging into battle. For his actions at Dunkirk and Vågsøy, Churchill received the Military Cross.

In Italy;
During the Allied invasion of Sicily
In July 1943, as commanding officer, he led No. 2 Commando from their landing site at Catania, in Sicily, with his trademark Scottish broadsword slung around his waist, a longbow and arrows around his neck and his bagpipes under his arm, which he also did in the landings at Salerno.

Leading 2 Commando, Churchill was ordered to capture a German observation post outside the town of Molina, controlling a pass leading down to the Salerno beachhead. 136–137  With the help of a corporal, he infiltrated the town, captured the post and took 42 prisoners including a mortar squad. Churchill led the men and prisoners back down the pass, with the wounded being carried on carts pushed by German prisoners. He commented that it was "an image from the Napoleonic Wars". He received the Distinguished Service Order for leading that action at Salerno.

Churchill later walked back to the town to retrieve his sword, which he had lost in hand-to-hand combat with the German regiment. On his way there, he encountered a disoriented American patrol mistakenly walking towards enemy lines. When the NCO in command of the patrol refused to turn around, Churchill told them that he was going his own way and that he would not come back for a "bloody third time"  read more

Code: 25476