A Stunningly Beautiful and Superb Ghurka’s Antique Koftgari Decorated Silver Hilted Kora

The Kora is the second best but little known weapon of the Ghurkas of Nepal, the first being the legendary Kukri (Khukuri), both edged weapons are national weapons of Nepal. The third used sword is the forward curved blade of Nepal, the Ram Dao, it is only used in religious affairs and was doubtfully used in times of war.

Like Nepal, the Kora & Kukri are strongly associated with the Gurkhas and was firstly illustrated in Col. William Kirkpatrick's work "An Account of the kingdom of Nepaul" published in London, 1811 based on his travels in 1793 to Nepal. There both the Kukri and Kora is for the first time illustrated to the wider worlds public. The Kora was traditionally used warfare and personal protection, but also played and still plays a function in the religious sphere where it is used to behead sacrificial animals in one blow, otherwise believed to bring bad fortune and the sacrifice is considered useless. Thus both a skilled man and a formidable blade is needed, the Kora certainly passes the criteria! Lord Egerton and Rawson share the main idea that the forward curved blade most likely goes back to the Egyptian Khopesh and from there over to the Grecco-Roman world where it was called Kopis. Most authors, collectors and people with knowledge will agree on this, so far it?s the best option we have. So much of the past, its history is forgotten, unrecorded and often only minor fragments remain
Similarly with the Kora (or Kukri), for that sake we only know a small drop of water in a great ocean?and can not blindly focus on only that but gather more info, facts, discuss and contemplate upon the matter to perhaps reach a better understanding. It is believed this is what specially Lord Egerton and Rawson did, added knowledge, expanded our understanding and shed some light on the little known weapons, of the Indian sub-continent, thus it why they can be held in such high regard.  read more

Code: 22405

A Very Sound and Good Condition World War II British Tank Site / Periscope-

Tank & AFV Periscope TD31917. War Dept stampings and maker markings. Likely manufactured 1930's. Perfect prisms. Their locationing can be seen in both the tank photographs, fitted to the two hatch lids in front of the turrets

Tanks and armoured vehicles use periscopes: they enable drivers, tank commanders, and other vehicle occupants to inspect their situation through the vehicle roof. Prior to periscopes, direct vision slits were cut in the armour for occupants to see out. Periscopes permit view outside of the vehicle without needing to cut these weaker vision openings in the front and side armour, better protecting the vehicle and occupants.

A protectoscope is a related periscopic vision device designed to provide a window in armoured plate, similar to a direct vision slit. A compact periscope inside the protectoscope allows the vision slit to be blanked off with spaced armoured plate. This prevents a potential ingress point for small arms fire, with only a small difference in vision height, but still requires the armour to be cut.

In the context of armoured fighting vehicles, such as tanks, a periscopic vision device may also be referred to as an episcope. In this context a periscope refers to a device that can rotate to provide a wider field of view (or is fixed into an assembly that can), while an episcope is fixed into position.

Periscopes may also be referred to by slang, e.g. "shufti-scope".  read more

Code: 25894

Superb Early to Mid Edo,Museum Quality Signed Samurai War Helmet Kabuto, by Nobutada, of 21 'Helmet Skull' or 'Bowl Plates', with a Leaping Animal, Carved Wooden and Gold Maedate & Clan Mon of the Sakai Clan, & “Fierce Face” Ressai, Face Armour

A truly fabulous, original, Edo samurai's antique kabuto, war helmet, worthy of a museum display, the best samurai or Japanese art collections, or as a single 'statement' piece for any home. This is, without doubt, one of the most beautiful and fine original antique samurai war helmets, kabuto, we have seen for a jolly long time. Helmets of such beauty and quality as this can be prized and valued as much as a complete original samurai armour.

The imposing beauty of the helmet is entrancing, and the menpo {the moustached, grimacing expression face armour} sets it off superbly with a most intimidating presence. When this was worn by its fierce-some armoured samurai he must have looked spectacularly impressive.

A 21 plate goshozan sujibachi kabuto, with ressei {fierce face } mempo face armour, that has just returned from having the mempo's moustache expertly conserved, and it looks as good as new.

Probably a 17th-18th century, 21 ken plate, Sujibachi, which is a multiple-plate type of Japanese helmet skull bowl with raised ridges or ribs showing where the 21 tate hagi-no-ita (helmet plates) come together creating the main skull bowl bachi, and culminating at the multi stage tehen kanamono finial, with the fukurin metal edges on each of the standing plates.
The mabisashi peak is lacquered and it has a four-tier lacquered iron hineno-jikoro neck-guard laced with gold, and the skull is surmounted by a gilt-lacquered wood leaping animal, the maedate (forecrest), possibly a rabbit or deer, the Fukigaeshi small front wings shows the mon crest symbol of a plain form katabami mon {the wood sorrel flower}.

It's one of popular kamon that is a design of the flower of oxalis corniculata.
The founder of the clan that chose this flower as their mon had wished that their descendants would flourish well. Because oxalis corniculata is renown, and fertile plant.
the mon form as used by clans such as the Sakai, including daimyo lord Sakai Tadayo

One of the great Sakai clan lords was Sakai Tadayo (酒井 忠世, July 14, 1572 – April 24, 1636). He was a Japanese daimyō of the Sengoku period, and high-ranking government advisor, holding the title of Rōjū, and later Tairō. You can see his image in the gallery wearing the very same form of war helmet kabuto.

The son of Sakai Shigetada, Tadayo was born in Nishio, Mikawa Province; his childhood name was Manchiyo. He became a trusted elder (rōjū) in Toyotomi Hideyoshi's government, alongside Tokugawa Ieyasu. Under Hideyoshi, he was made lord of Kawagoe Castle (in Musashi Province, today Saitama Prefecture) and later of Nagoya Castle in Kyūshū's Hizen Province. In 1600, in the lead-up to the decisive Sekigahara campaign, he fought against the Tokugawa at Aizu, and submitted to them at the siege of Ueda. Thus, having joined the Tokugawa prior to the battle of Sekigahara itself, Sakai was made a fudai daimyō, and counted among the Tokugawa's more trusted retainers. He served under Ieyasu for a time, and under the second shōgun, Tokugawa Hidetada, as a hatamoto.
The lacquered iron menpo (face mask) with four-lame yodarekake face armour. The kabuto is signed on the interior Nobutada saku Nobutada made this

After the introduction of firearms, smoke blanketed many battlefields, causing confusion for the troops. So they could be more readily identified, samurai began to wear helmets with elaborate ornaments at the front, back, or sides, often featuring an intricate crest (maedate).

In their quest for unique and meaningful armour, samurai turned to nature, folklore, or religion for inspiration. Whatever the source, they selected designs for their armor that would set them apart and communicate their personality and beliefs, whether whimsical, frightening, or spiritual.

An antique woodblock print in the gallery, likely of Sakai Tadayo, showing his same form of war helmet kabuto, decorated with his same Sakai clan mon of the katabami, and he also has a leaping animal, gold covered carved wood, as his maedate helmet crest as has ours. And he has the same 'fierce face' mempo face armour with the very same style of elaborate, pronounced moustache.

The Fukigaeshi on the left facing side of the helmet shows the mon crest symbol of a plain katabami mon but small surface lacquer area partly missing. There are very small age nicks to the helmet lacquer. It has its original helmet lining but most removed back to reveal the signature

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: 25056

A Very Good & Beautiful, Late Koto Samurai Katana, Mounted With A Full Suite of Higo Mounts

Circa 1590. All original Edo period koshirae and a leather bound tsuka over bird menuki on a giant rayskin covered hilt, ishime stone lacquer finish saya in bull's blood sang de boeuf lacquer. Very fine Higo mounts including a sayagaki. Fine blade with suguha hamon.

A great sword in very nice condition. Made and used in the time of the greatest battle in samurai history. The Battle of Sekigahara Sekigahara no Tatakai) was a decisive battle on October 21, 1600 that preceded the establishment of the Tokugawa shogunate. Initially, Tokugawa's eastern army had 75,000 men, while Ishida's western army numbered 120,000. Tokugawa had also sneaked in a supply of arquebuses. Knowing that Tokugawa was heading towards Osaka, Ishida decided to abandon his positions and marched to Sekigahara. Even though the Western forces had tremendous tactical advantages, Tokugawa had already been in contact with many daimyo in the Western Army for months, promising them land and leniency after the battle should they switch sides.

Tokugawa's forces started the battle when Fukushima Masanori, the leader of the advance guard, charged north from Tokugawa's left flank along the Fuji River against the Western Army's right centre. The ground was still muddy from the previous day's rain, so the conflict there devolved into something more primal. Tokugawa then ordered attacks from his right and his centre against the Western Army?s left in order to support Fukushima's attack.

This left the Western Army's centre unscathed, so Ishida ordered this unit under the command of Shimazu Yoshihiro to reinforce his right flank. Shimazu refused as daimyos of the day only listened to respected commanders, which Ishida was not.

Recent scholarship by Professor Yoshiji Yamasaki of Toho University has indicated that the Mori faction had reached a secret agreement with the Tokugawa two weeks earlier, pledging neutrality at the decisive battle in exchange for a guarantee of territorial preservation, and was a strategic decision on Mori Terumoto's part that later backfired.

Fukushima's attack was slowly gaining ground, but this came at the cost of exposing their flank to attack from across the Fuji River by Otani Yoshitsugu, who took advantage of this opportunity. Just past Otani's forces were those of Kobayakawa Hideaki on Mount Matsuo.

Kobayakawa was one of the daimyos that had been courted by Tokugawa. Even though he had agreed to defect to Tokugawa's side, in the actual battle he was hesitant and remained neutral. As the battle grew more intense, Tokugawa finally ordered arquebuses to fire at Kobayakawa's position on Mount Matsuo to force Kobayakawa to make his choice. At that point Kobayakawa joined the battle as a member of the Eastern Army. His forces charged ?tani's position, which did not end well for Kobayakawa. Otani's forces had dry gunpowder, so they opened fire on the turncoats, making the charge of 16,000 men mostly ineffective. However, he was already engaging forces under the command of Todo Takatora, Kyogoku Takatsugu, and Oda Yuraku when Kobayakawa charged. At this point, the buffer Otani established was outnumbered. Seeing this, Western Army generals Wakisaka Yasuharu, Ogawa Suketada, Akaza Naoyasu, and Kutsuki Mototsuna switched sides, turning the tide of battle.

Blade measured from tsuba to tip 28 inches.  read more

Code: 21331

A Most Scarce French WW1 Military Theodolite Manufactured by M G Huet of Paris. 61/1660 Artillerie Milliemes

A crucial {yet delightful looking} piece of WW1 optical equipment for use by every artillery piece of the French artillery corps in WW1, and WW2, an artillery theodolite, in superb condition .

An artillery theodolite, also known as an artillery director or gun director, is a specialized optical instrument for measuring horizontal and vertical angles, used by artillery units to precisely set the direction and elevation of guns, mortars, and other heavy weapons. These robust, opto-mechanical devices often incorporate a built-in compass for orientation and employ optical systems for accurate reading of scales, allowing for rapid and precise aiming in dynamic battlefield conditions

Huet was an optical firm that began in business in 1892, and that made instruments for the French military during World War I.

Superb as a gentleman's desk piece, or for a military trench warfare instrument collector.. Beautifuly made  read more

Code: 25893

A Fabulous & V.Rare Example of Original Large Art Deco Art. 1929 Original Movie Poster. of "The Lost Zeppelin". The Hollywood Production, Original Swedish Language Version Poster,

In superb condition, a stunning example of original, 1920's Art Deco Hollywood movie artistry. This stunning piece would look amazing in any location.

The Lost Zeppelin [Den Forsvunna Zeppelinaren] Tiffany-Stahl Productions (Los Angeles)

This film, had the association with Frank Capra, and directed by Edward Sloman, distributed by Tiffany productions is based on the crash of the airship Italia, flown by Umberto Nobile, around May 25, 1928 near the North Pole, and the international rescue effort that cost early polar explorer Roald Amundson his life. The pilot who rescued Nobile also crashed when returning to rescue more survivors and had to be rescued himself.

This movie was starring major leading Hollywood stars in their time, including Conway Tearle, who was considered the highest paid Hollywood movie star, during his prime, for several years

Conway Tearle as Commander Donald Hall
Virginia Valli as Miriam Hall
Ricardo Cortez as Tom Armstrong
Duke Martin as Lieutenant Wallace
Kathryn McGuire as Nancy
Winter Hall as Mr. Wilson
Richard Cramer as Radio Announcer (voice)
Ervin Nyiregyhazi as Pianist (uncredited)
William H. O'Brien as Radio Operator (uncredited).

Virginia Valli was an established star at the Universal studio by the mid-1920s. In 1924 she was the female lead in King Vidor's southern gothic Wild Oranges, a film now recovered from film vault obscurity. She also appeared in the romantic comedy, Every Woman's Life, about "the man she could have married, the man she should have married and the man she DID marry."[citation needed] Most of her films were made between 1924 and 1927, and included Alfred Hitchcock's debut feature, The Pleasure Garden (1925), Paid to Love (1927), with William Powell, and Evening Clothes (1927), which featured Adolphe Menjou. In 1925 Valli performed in The Man Who Found Himself with Thomas Meighan.[citation needed]

Her first sound picture was The Isle of Lost Ships with Jason Robards Sr. and Noah Beery Sr. in 1929. Her last film was in Night Life in Reno, in 1931

Conway Tearle turned to Hollywood in 1914 where he would find considerable success playing romantic leads. His first film was The Nightingale, a story by Augustus Thomas about a slum girl (Ethel Barrymore) who rose to be a great opera star.[9] His last was in a 1936 film adaptation of Shakespeare's Romeo and Juliet with John Barrymore. Tearle appeared in some 93 films over his career and at one point was thought to be the highest-paid actor in America. On December 16, 1931, Conway appeared with co-star Kay Francis at the grand opening of the Paramount Theater in Oakland, California, which hosted the premiere of their film The False Madonna, released by Paramount Pictures.

The following year Tearle scored a major hit on Broadway in the original 1932 production of Dinner at Eight, creating the role of fading screen idol Larry Renault, a role that would later be played on film by John Barrymore. His last two Broadway appearances were in short productions of Living Dangerously in 1935 and Antony and Cleopatra two years later

Ricardo Cortez appeared in over 100 films. He began his career playing romantic leads, and when sound cinema arrived, his strong delivery and New York accent made him an ideal heavy. While his main focus was character acting, he occasionally was able to play leading men. He played opposite Joan Crawford in Montana Moon (1930), and was the first actor to portray Sam Spade in the original pre-Code version of The Maltese Falcon (1931); the latter film was later overshaded by the 1941 remake with Humphrey Bogart in the lead. He co-starred with Charles Farrell and Bette Davis in The Big Shakedown (1934), and with Al Jolson and Dolores del Río in Wonder Bar (1934). In 1936, Cortez replaced Warren William as Perry Mason in The Case of the Black Cat.

We never normally comment on the investment potential of any collectable, but the potential for all movie posters is now huge.This early 1920s original poster represents, potentially, incredibly good value. For example an original 1933 poster for King Kong can today command a price in excess of $244,500 [the last example sold for this was in 1999] and the previous record for the most valuable poster sold at auction was held by a movie poster of the 1931 film 'Dracula', which was sold for US $525,800.The current record-holder, the “international” version of the Metropolis poster – the same Heinz Schulz-Neudamm design as number 3 minus the German writing. The clean lines and delicate shading make this a wonder to behold. It sold for $690,000 in 2005 allegedly by Leonardo diCaprio A one-sheet poster for the 1931 Frankenstein, starring Boris Karloff, which went for a then-record of $198,000 in 1993. the Fred Astaire-Ginger Rogers dance film Flying Down to Rio from 1933, which fetched $239,000 in 2008. The Bride of Frankenstein from 1935, which fetched $334,600 in 2007, The Mummy from 1932 and when it sold for $435,500 in 1997

Sotheby's Auctioneers, have a current poster auction. Here are a few estimated price examples; Lawrence of Arabia poster estimated as £8,000 to £12,000, a French version of Dr No poster is £5,000 to £8,000, Star Wars £7,000 to £10,000, The Danish language version poster of the Invisible man [1935] £4,000 to £6,000 King Kong re-Release poster 1956 £5,000 to £,8,000, Breakfast At Tiffanys 1961 £5,000 to £8,000, the Dutch language poster of Flying Down to Rio 1933 £7,000 to £10,000, The French Re-Release poster, 1931 of Buster Keaton's The Navigator £5,000 to £8,000, and Kill Bill Vol 2 [2004] £2,000 to £3,000.

We show in the gallery another current record holder for the movie poster of Metropolis this one was bought for $690,000 in 2005. Another of the same sold in 2012 for $1.2 Million

Our poster is sold unframed for delivery, for collection though it has a very good frame at present. Some reflections in the photos are due to the glass in the current frame]

Poster size approx 29 x 42 inches  read more

Code: 24615

An Original, Victorian, Regimental British Army Leopard Skin Apron Of Regimental Base Drummer Bandsman for The Ornately Uniformed Regimental Bass Drummer

Overall in very nice condition, full jaguar pelt including head, legs and tail. The apron is trimmed, exactly as it should for original examples, in traditional British Army Piccadills in red, and full inner red cloth lining.

Some drummers in the British Army wear leopard skins as part of their ceremonial uniforms. This tradition dates back to the 18th century, when certain regiments were granted the privilege of wearing leopard skin caps or aprons as a mark of distinction and honour.

The use of leopard skin in British Army uniforms is closely tied to the history of the Grenadier Guards regiment. In the early 1700s, King George II presented the Grenadier Guards with a pair of captured leopard skins, which the regiment then incorporated into their ceremonial dress. Over time, this became an established tradition for certain drumming and piping roles within the British Army.

The leopard skin is seen as a symbol of bravery and prowess in battle, as leopards were viewed as fierce and formidable animals. Wearing the leopard skin was meant to imbue the drummers with a sense of martial pride and warrior spirit when performing ceremonial duties.

Today, the practice continues, though the leopard skins used are now typically replicas made from synthetic materials rather than actual animal pelts. The distinctive leopard skin uniforms remain an iconic part of British Army ceremonial traditions.

Leopard skin first appeared in the C18th worn occasionally as decorative ‘turbans’ on leather helmets worn by light cavalry or light infantry, sometimes a painted emulation rather than the real thing. It was about this time that military bands with exotic elements became a fashionable accessory- black African personnel, ‘Turkish Crescent’ (or Chinese Hat) percussion devices, ornately uniformed Drum Majors etc.

The European military began using bass drums in the third quarter of the 18th century. These large barrel drums had been popular with Turkish armies for many years, and British, German and French soldiers who fought in the American Revolution were familiar with their sound. The musical taste of both enemies and allies influenced American musicians. As the war continued, Americans began adopting the use of the bass drums. By the early 19th-century, the bass drum was a standard part of America's military music.
The tunic is a great 20th century, completely original Household Division bandsman's issue, with bullion epaulettes {covered by the skin}, it is not the original one for the apron, but it does set it off superbly, sold seperately at £300.

Cities approved made prior to 1947. A percentage of the proceeds from this skin will be for the benefit of ‘Help for Heroes’ charity.  read more

Code: 25403

A Rare, Absolutely Stunning 1st Empire, Combat, 'Blue. & Gilt' Officer's Sabre of the Legere, Hussards, & Mounted Chasseurs. The Year IX, Circa 1810, Sabre Used by Officers of the Mounted Chasseurs of the Imperial Guard

The second example of an incredibly rare pair we acquired, but of course swords such as this were never made for combat use in pairs, so we are selling them separately. The first example we offered for sale, a few weeks ago, we immediately sold to a collector from abroad.

A fabulous Ist Empire deluxe quality Light Cavalry officer's 'blue and gilt' sabre with three bar guard hilt called "Hunter-style". Maker marked blade, within the gilt under one langet, S & K for Schnitzler and Kirschbaum, a well regarded maker of swords for 1st Empire officers from December 1808. Many officers swords marked S & K are in Les Invalides Musee de l’Armee in Paris. See ref below;

Light cavalry Hussars.
These fast, light cavalrymen were the eyes, ears, and egos of the Napoleonic armies. They regarded themselves as the best horsemen and swordsmen (beau sabreurs) in the entire Grande Armée. This opinion was not entirely unjustified and their flamboyant uniforms reflected their panache. Tactically, they were used for reconnaissance, skirmishing, and screening for the army to keep their commanders informed of enemy movements while denying the enemy the same information and to pursue fleeing enemy troops. Armed only with curved sabres and pistols, they had reputations for reckless bravery to the point of being almost suicidal. It was said by their most famous commander General Antoine Lasalle that a hussar who lived to be 30 was truly an old guard and very fortunate. Lasalle was killed at the Battle of Wagram at age 34. There were 10 regiments in 1804, with an 11th added in 1810 and two more in 1813.
Chasseurs à Cheval (Mounted Hunters)

These were light cavalry identical to hussars in arms and role. But, unlike the chasseurs of the Imperial Guard and their infantry counterparts, they were considered less elite. Their uniforms were less colourful as well, consisting of infantry-style shakos (in contrast to the fur busby worn by some French hussars), green coats, green breeches, and short boots. They were, however, the most numerous of the light cavalry, with 31 regiments in 1811, 6 of which comprised Flemish, Swiss, Italians and Germans. was a cavalry composed of chasseurs but on the horse, they could ride into melee or shoot as light infantry

The Mounted Chasseurs of the Imperial Guard would use this form of sword, and officers of wealth and status could afford, if they so chose, to have Chasseurs à cheval de la Garde impériale engraved onto the sword blades back strap etc. But many chose not to.
Chasseurs à cheval de la Garde impériale constituted a light cavalry regiment in the Consular, then Imperial Guard during the French Consulate and First French Empire respectively. They were the second senior "Old Guard" cavalry regiment of the Imperial Guard, after the Grenadiers à Cheval. The regiment had its origins in the Guides raised by General Bonaparte during his Italian Campaign of 1796. It was the Chasseurs that usually provided personal escort to Napoleon, and he often wore the uniform of the regiment in recognition of this service. The regiment was not only known for its lavish uniform, but its combat history as well.

On 1 August 1811, the regiment was increased to five squadrons and the vélites were done away with. During the year, squadrons were sent successively to serve with the divisions of the Garde in Spain. Guyot was promoted général de division, but still retained the command. To replace Corbineau and Daumesnil as majors, the regiment received Colonel François d'Haugéranville (6 August) and General Baron Exelmans (24 December).

On 6 May 1812, General Lefebvre-Desnouettes, who had escaped by breaking his parole, returned from his captivity in England and resumed command of the regiment. The chasseurs, five squadrons and the company of Mamluks, went through the Russian campaign, but though they lost 500 men, they only had 10 officers hit. At Borodino, they had no officer casualties at all. But on 25 October, the day after the Battle of Maloyaroslavets, two squadrons, escorting the Emperor on a reconnaissance, were sharply engaged and had 4 officers wounded. A body of Cossacks appeared suddenly from a wood and charged straight at Napoleon. General Rapp and the escort managed to beat them off, but not before one had fought his way to within twenty yards of the Emperor. From this day forth, haunted by the fear of captivity, he always carried a bag of poison on a string about his neck. The regiment's losses in this campaign must on the whole be attributed not so much to the fighting as to the Russian climate.

In 1813, the regiment was expanded from five to nine squadrons. The first five of these remained under the Old Guard while the newly raised 6th through 9th squadrons formed part of the Young Guard and in 1815 were redesigned as the 2e régiment de chasseurs de la Garde impériale.

While Napoleon is best known as a master strategist and charismatic presence on the battlefield, he was also a tactical innovator. He combined classic formations and tactics that had been used for thousands of years with more recent ones, such as Frederick the Great's "Oblique Order" (best illustrated at the Battle of Leuthen) and the "mob tactics" of the early Levée en masse armies of the Revolution. Napoleonic tactics and formations were highly fluid and flexible. In contrast, many of the Grande Armée's opponents were still wedded to a rigid system of "Linear" (or Line) tactics and formations, in which masses of infantry would simply line up and exchange vollies of fire, in an attempt to either blow the enemy from the field or outflank them. Due to the vulnerabilities of the line formations to flanking attacks, it was considered the highest form of military manoeuvre to outflank one's adversary. Armies would often retreat or even surrender if this was accomplished. Consequently, commanders who adhered to this system would place a great emphasis on flank security, often at the expense of a strong centre or reserve. Napoleon would frequently take full advantage of this linear mentality by feigning flank attacks or offering the enemy his own flank as "bait" (best illustrated at the Battle of Austerlitz and also later at Lützen), then throw his main effort against their centre, split their lines, and roll up their flanks. He always kept a strong reserve as well, mainly in the form of his Imperial Guard, which could deliver a "knockout blow" if the battle was going well or turn the tide if it was not. The swords came to us from one of the world's foremost experts on the finest antique European weapons, and a famous collector and author on antique fine and rare swords.

Original grip wire over original leather binding, only very light bruising to the scabbard, no combat damage. the blade has much mirror bright blue remaining {around 50%} with areas of blue wear, fine engraving within the blue with all the gilt remaining in the engraving, traditional three branch guard with no combat damage.

Ref; 'German Knife and Sword Makers' ( Complete Edition A to Z Hardcover – published 2015 )
by Anthony Carter (Author), John Walter (Author), Henning Ritter (Author). John Walter has been a most welcome visitor to us for decades, and a very dear friend and colleague of our late colleague of over 30 years, Christopher Fox.
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: 25444