Germany - Third Reich: Italo-German African Campaign Medal in Zinc Italo-German Operations in North Africa 1942 1943 by De Marchis & Lorioli

The Italo-German African Campaign medal was a World War II medal introduced by Italy in 1942 to commemorate the Axis forces' involvement in North Africa. The bronze medal features an obverse with two knights and a crocodile, and a reverse with an archway showing an Italian fasces and a swastika. Its ribbon has stripes of green, white, red, white, and black, representing the Italian colours, with black added for the German involvement.

Purpose: Commemorated the actions of the German Africa Corps (DAK) and other Italian and German forces in the North African campaign.
Timeline: Awarded for service between 1940 and 1943.
Obverse design: Two armoured knights standing on the forelegs of a crocodile.
Reverse design: An archway with an Italian fasces on one side and a swastika on the other, surrounded by the inscription "GERMAN-ITALIAN CAMPAIGN IN AFRICA" in both German and Italian.
Ribbon: Features stripes of green, white, red, white, and black.
Awarded to: German and Italian personnel who served in the campaign.

Italy was among the first and most famous Axis countries to join the Germany's cause. Its flamboyant dictator, Benito Mussolini, provided a political example on the seizure of power, which Hitler followed. With many goals in common, they would become Allies and friends.

Italy entered the War in July of 1940 as the French Campaign was drawing to a close. The Italian Army, though unprepared for war, crossed the border in an attempt to reap the spoils. It would be a long road for the Italian soldier, who fought the length of the war often with courage but almost always with inferior equipment. Along with France came Africa, where Italian interests were severally compromised after a series British of attacks. The legendary Afrika Korps, lead by Field Marshall Erwin Rommel, arrived to help in 1941 and wreaked havoc in the dessert during the next two years. The Italian Army went on to fight on many fronts, from the Balkans to Russia.

On July 25, 1943 with the war turning against Italy and the Allies landing in Sicily, Benito Mussolini was deposed and arrested. In September of the same year, Badoglio announced an armistice with the Allies before fleeing along with the King into their custody. Germany, aware of this development in advance, quickly invaded and disarmed the Italian Army. The problem facing them was that Mussolini was being held at an undisclosed location, and any hope of restoring order hinged around him. After a frantic search, he was located, and German Parachutists under the direction of Otto Skorzeny staged a daring rescue mission. El Duce was brought back safely, and on September 23rd, 1943, the "Repubblica Sociale Italiana" (RSI) was founded. Italy, or at least part of it, continued on the Axis camp.

Many experienced units (some veterans of the Eastern front) of the former Italian Army were absorbed into the “Esercito Nazionale Repubblicano” and continued to fight until the end. Because of mistrust on the part of the OKW, they were not extensively used in combat roles but did well when they were called upon. The end of the war found the RSI in existence. In the chaos that reigned in the days prior to the surrender, Mussolini, and many members of the Esercito Nazionale Repubblicano, were butchered by newly formed “partisans” units.

Once Italy capitulated to the allies Hitler forbad it to be worn on the uniform.  read more

Code: 25949

A Fabulous 1953 Pattern Original Headdress Badge For Officers of "The Life Guards", In Gilt with St. Edward's (Queen's) Crown Surmounting a Garter With Blue Enamel Over Red Enamel. Nr Mint Condition

The badges for the 'Household' cavalry regiments (Life Guards and Royal Horse Guards) originated in 1913. In that year's manoeuvres the Regiments wore khaki for the first time, and thus could not, as previously, be distinguished by their uniforms. King George V noted that his Household troops, of all the Army, had no cap badge and offered to supply the deficiency if they so wished. As Household troops the badge was inevitably going to be closely associated with the sovereign. The first design was for the Service Dress cap, showing the Royal Cypher surrounded by a circlet bearing the name of the Regiment, surmounted by a Royal crown. This design was first issued on the outbreak of war in 1914. A second design, with the circlet replaced by a Garter with motto and including no Regimental title, was common to all three regiments of the time (1 & 2 Life Guards and Royal Horse Guards). This was for the Forage cap, which was re-introduced in 1919.

Identical as worn by His Royal Highness, Prince William, The Prince of Wales

Photo of His Majesty's loyal son and his wonderful bride HRH Princess Catherine, The Princess of Wales

Made by Gaunt of London  read more

Code: 25958

A Beautiful & Sacred, Antique Tibetan Buddhist Wall Hanging Featuring A Dragon & Buddhist Symbology. A Simply Stunning, Somewhat Esoteric, Work Of Art

This rare sacred ritual wall hanging is a stunning embodiment of traditional Tibetan craftsmanship, blending deep spiritual symbolism with intricate artistic detail. Measuring 35 inches long, this piece features vibrant turquoise and coral stones, thoughtfully embedded into a brass symbolic cross, to enhance both its visual appeal and spiritual energy. Made with stones, including turquoise and coral, the materials used elevate the beauty and symbolism. This stunning wall hanging serves not only as a beautiful decorative element but also as a meaningful symbol of Tibetan ritual traditions. Its exceptional design, crafted from brass and copper and adorned with turquoise and coral stones, and spiritual significance make it an ideal addition for those seeking to enrich their environment with authentic cultural artistry and serene energy.

It showcases exquisite, intricate detailing that captures the core of Tibetan spiritual traditions. The embedded turquoise stones, renowned for their protective and healing qualities, complement the vibrant coral, which represents life force and vitality, creating a piece rich in symbolism and positive energy. Beyond its striking aesthetic, the wall hanging serves as a meaningful tribute to Tibetan culture and its profound spiritual heritage. Perfect for enhancing the ambiance of your home, meditation room, or sacred space, it brings a sense of tranquility and reverence. This artful creation not only elevates your décor but also invites healing and vitality, making it an essential addition for anyone seeking to deepen their connection with Tibetan spirituality and enrich their surroundings with authentic cultural significance.  read more

Code: 25953

A Simply Stunning & Unique 'Good King Wenceslas' Art Nouveau Original Illuminated Calligrafic Manuscript Watercolour, From The Golden Age of illustration, By Arthur B Packham. In The Manner Of Alberto Sangorsky. Calligrapher and Illuminator for Riviere

This wonderful original illuminated manuscript would make a superb and most pertinent Chistmas Gift, or a singularly fine addition to any collection of rare works of art, especially dedicated to the golden age of illustration

Circa 1897. A.B.Packham's artistry, calligraphy and illumination is incredibly similar to renown calligraphic illuminated manuscript artists Alberto Sangorsky, and William Morris. Sanghorsky was the Calligrapher and Illuminator for Riviere & Son world reknown bookbinders. His works within bound volumes, that are including his original manuscripts, can achieve from £20,000 to over £150,000. Sangorski's profession was as a secretary to a goldsmith until he was 43 years of age, whereupon he began to create works for his brother at Riviere and Sons.

The first two lines and last two lines of the carol's first verse are part of the calligraphy on pure gold leaf.

The painting is in two sections, Good King Wenceslas observing from his window, {the second section} a poor man gathering winter fuel.

Good King Wenceslas looked out
On the feast of Stephen,

When a poor man came in sight,
Gathering winter fuel.

The words to the carol were written in 1853 by John Mason Neale but the melody is much older – it’s a 13th-century tune called ‘Tempus adest floridum’ in praise of the spring.

The carol was written for the Feast of St Stephen, better known as Boxing Day. And it celebrates the long tradition of charitable giving on the Second Day of Christmas.

It’s become one of the best loved carols ever written – and was even performed by The Beatles.

A. B. Packham was an architect by profession but illustrated several books based around country properties and walks around Sussex. Being a professional man, apparently, he had no interest in marketing his skillful works, so very few of his watercolurs are recorded. This example has to be one of his premier works.
Whether he followed the art of his famous contemporary, Alberto Sangorski, or followed his own path is not known, but his artistry is superb, and this wonderful piece may have been created for a book that we are currently unaware of.

The combination of "Art Nouveau" and "illuminated manuscript watercolours" describes a modern artistic approach that blends the decorative, organic style of Art Nouveau with the historical techniques of illuminated manuscripts, often using watercolor as the primary medium for modern creations. This fusion results in contemporary works that feature Art Nouveau's characteristic flowing lines, nature-inspired motifs (like tendrils and organic forms), and intricate details, but are created on a modern medium and often utilize watercolor techniques for coloring and shading. It is distinct from the original medieval practice of illuminated manuscripts, which used pigments like tempera and gouache, not watercolors

Key characteristics
Art Nouveau's influence: Incorporates the style's hallmarks, such as sinuous, organic lines, natural forms, and complex decorative patterns.
Illuminated manuscript tradition: Draws inspiration from historical manuscripts, often focusing on decorative initial letters and intricate borders.
Watercolor medium: Uses watercolor for coloring, shading, and creating effects, unlike the historical use of pigments like tempera or gouache.
Nature-inspired motifs: Features designs rooted in nature, such as flowers, leaves, and other botanical elements.

In frame 11.5 inches x 8.75 inches, the manuscript is 8.75 x 5.75 inches

Within its original wooden banded frame {bearing a couple of nicks}

Interestingly it was framed over 125 years ago by our former neighbours, W. Stepney gilders and frame makers in Bond St. Brighton  read more

Code: 25957

A Unique Leaf From The Published Work of Nicolas Jenson Printed in 1472

A single original surviving leaf from one of the earliest and rarest books ever printed. A complete volume of this work, if were ever to be on the open market could be worth well over a million pounds. Nicolas Jensen, who is roundly considered one of history?s greatest printers and typographers, turned out beautiful volumes from his Venetian workshop in the 15th century. There is a similar leaf from Diogenes Laertius, Lives of the Philosophers by the Jensen Press, 1475. In resides in the Salisbury House Permanent Collection. A great and incredibly rare treasure from the very earliest days of printed text, with original handwritten annotations. This is a Folio. 6pp plus and original unique leaf from Ambrosius Aurelius Theodosius Macrobius's "In Somnium Scipionis Exposito". In Publisher's wrappers. 1 of only 73 ever published folio's that contained an original unique leaf from the master's great work of 1472. In very good condition. In The Manual Of Linotype Typography, the folio containing the rare single leaf was published in 1923, he clearly regarded him as one of the three greatest master printers of all time, alongside Gutenberg and Aldus. To own an original unique piece of Jenson's work, with annotations may be considered by some as one of the greatest privileges afforded to admirers of the printed word. An entire volume would be priceless, or at the least exceeding a million pounds or considerably more. Some hypothesize that Jenson studied under the tutelage of Gutenberg, the man who printed the rarest and most valuable book of all time, the Gutenberg or Mazarin Bible [one was apparently lost on the Titanic]. Jenson worked before the greatest English printer, the legendary William Caxton, and the very first book ever to be printed in English by Caxton was in 1473, "Recuyell of the Historyes of Troye" Jenson's story; In October 1458, while acting as Master of the French Royal Mint, Jenson was sent to Mainz, by King Charles VII, to study the art of metal movable type. Jenson then went to Mainz to study printing under Johannes Gutenberg. In 1470 he opened a printing shop in Venice, and, in the first work he produced, the printed roman lowercase letter took on the proportions, shapes, and arrangements that marked its transition from an imitation of handwriting to the style that has remained in use throughout subsequent centuries of printing. Jenson also designed Greek-style type and black-letter type. By 1472, Jenson had only been printing for two years. Even so, his roman type quickly became the model for what later came to be called Venetian oldstyle and was widely imitated. Though Jenson's type was soon superceded in popularity by those of Aldus and Garamond, it was revived again by William Morris in the late 19th century and became the model of choice for a number of private press printers.

Twentieth century commercial interpretations include Centaur and Cloister lightface, and most recently, ITC Legacy and Adobe Jenson. The books of Johann and Wendelin de Spira were printed with a new fount, a roman
type; this was a style of type that is familiar to the present day, but was at the time a radical innovation. A year later, in 1470, a new, slightly lighter and more elegant version appeared in books with a new imprint, that of Nicolas Jenson. In the colophons of books
printed from 1470 his name appears along with praise for his typographical skills. It is here that we see for the first time statements that leave no room for doubt. Jenson hasrightly become famous as the designer and cutter of the punches for the new roman typefaces as well as other founts that for a long time were the standard for legal and
theological works. Confirmation of his status as typographer is found in his last will and testament, written in 1480, where he made careful dispositions for what should be done
with his punches, the tangible results of a life?s experience and work that he wished to be protected. All these circumstances together lead to the notion that it was Jenson who improved the production of movable type by cutting excellent punches, a skill that he
had brought from the traditions of the Mint in Paris, and that he may first have applied inMainz to the long-lasting types used by Fust and Schoeffer.It is only in the last ten years of his life that Nicolas Jenson abandoned his anonymity,
and became prominent as a printer of magnificent books. Executed in sober, almost sculptural layouts they became models for centuries of printing. A famous example is the monumental edition of Pliny?s classical encyclopaedic work, his Historia naturalis, published by Jenson in 1472. An Italian translation, also published by Jenson, appeared in 1476 . The translation and printing were commissioned by the Florentine merchant Girolamo Strozzi, who also took care of the marketing.
Following in the tradition of Thomas Jefferson, whose library contained numerous works on European history, politics, and culture, the Library of Congress has many comprehensive European collections. The rarest of these works come to the Rare Book and Special Collections Division.
A special category of the division's European holdings is its collection of incunabula--books printed before 1501. Printed during the first decades of printing with movable type, these very rare and valuable books cover the whole spectrum of classical, medieval, and Renaissance knowledge and represent many of the highlights of the division's European materials. Over its nearly two-hundred-year history the Library of Congress has collected nearly 5,700 fifteenth-century books, the largest collection of incunabula in the western hemisphere. When Congress originally established its Library in 1800 and saw its collections destroyed by fire in 1814, it had no fifteenth-century books. Neither did the collection that Thomas Jefferson sold to Congress in 1815. This is not surprising because the books in the first Library served the need for general literature, and Jefferson primarily collected modern, scholarly editions in handy formats.

For the first fifty years or so after the acquisition of Jefferson's collection, the Library acquired incunabula very sparingly. The 1839 Catalogue of the Library of Congress lists only 2 incunabula: the Chronecken der Sassen (Mainz: Peter Schoeffer, 6 March 1492) and Ranulphus Hidgen's Polychronicon (Westminster: Wynkyn de Worde, 13 April 1495). The earliest incunabulum with a recorded date of acquisition is a 1478 edition of Astesanus de Ast's Summa de casibus conscientiae (Venice: Johannes de Colonia and Johannes Manthen, 18 March 1478).
The date that marks the real beginning of the incunabula collection at the Library of Congress is April 6, 1867, when the last shipment of Peter Force's library was received at the Capitol. His personal library held approximately 22,500 volumes, including 161 incunabula. The collection had some important books. The earliest imprint was Clement V's Constitutiones (Mainz: Peter Schoeffer, 8 October 1467); also included were a copy of Hartmann Schedel's Liber chronicarum (Nuremberg: Anton Koberger, 12 July 1493) and Jenson's printing of Pliny's Historia naturalis (Venice: Nicolaus Jenson, 1472).
Gutenberg, Aldus and Jenson  read more

Code: 22403

A Most Impressive & Stunningly Beautiful Bladed Antique Shinto period, Edo Era Samurai Horseman's Katana. Matsushiro Sinano School Koshirae

A simply amazing sword, of the 1700's, with a blade of breathtaking beauty, with a highly complex and attractive gunome hamon, with 'crabclaws', 'islands' and 'gems' of hardened temper. It gives the impression of a mountain range { somewhat like multiples of Mount Fuji} and crashing seas.

All original Edo period fittings, and a superb takebori iron sukashi tsuba. 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, of the Edo Matsushiro Sinano school The saya has all its original period Edo lacquer impressed with a cloud patterning, and in dark bulls blood red. The menuki are horsemen's saddle stirrups, called abumi, and a horseman's yari pole. The blade has a superb and elaborate gunome hamon.

This is a katana made for a senior ranking samurai based on horseback in combat, certainly not a light and cursive katana, but a battle sword, made to complete an uncomprimising task of close combat and aggressive swordmanship.
Designed as much for cleaving armour and helmets in two, as much as defeating another samurai on horseback. Although samurai would not, one would say, be a cavalry based warrior, all senior samurai would be mounted and thus travel on horseback, and some cavalry type samurai could be deployed in battle, but with differing combat styles depending on what part of Japan they came from. The cavalry troops, being Samurai, had personal retainers that stayed closer to them in the Sonae, carried their weaponry and worked as support units, much like an European squire. They also joined the fight whenever possible (especially in the mounted infantry scenario) and were often responsible of taking heads for their lords.
These foot Samurai were also used as heavy infantry or archers to support the ashigaru lines.


Tactics
Given the fact that the Samurai could directly dismount and operate as infantry, there were some specific tactics for horsemen.
Cavalry in general was only used after the battle was already started, either to deliver a decisive victory or to trying to save the day.

Norikiri
This is a classic charge, where several small groups of five to ten horseman ride consequently (possibly with a wedge formation) into a small area against the enemy lines, to maximize the shock. It was mainly used by heavy cavalry in the East, but given the fact that the ideal target where "weavering" units with low morale or disorganized, even medium cavalry could perform this charge.
The main role of this charge was to create confusion; if it didn't succeed, the cavalry regroups and either retreat or deliver another charge.

Norikuzushi
This is a combined infantry and cavalry charge. The horseman charged first, and after creating mayhem, a second charge is delivered by infantries armed with polearms, which could keep on fighting. The main target for this tactics were ranged units detached by the army. After a Norikuzushi usually follows a Norikiri by the cavalry group. 28 inch blade tsuba to tip. The saya has some old wear marks, but very nice indeed and untouched.  read more

Code: 25240

A Good Koto Period O Sukashi Tsuba

Cirtca 1550. Probably Owari school. The OWARI school should be divided into three periods. The first period comprises those pieces made in the Muromachi age. The earliest tsuba of the first period are a little younger than the earliest Kanayama tsuba. The second period is the work of the Momoyama age. The third period is from the early Edo age to the Genroku era (1688-1703). A few facts may be stated based on examination of the work of this school. They are always of positive silhouette design. The subjects of the designs vary greatly but they always have in common a strong masculine feeling. They are a noble tsuba whose influence may be seen in many contemporary schools.
Yamasaka Kichibei was the name of the first tsuba artist of this family. Later members of this school shortened the name to Yamakichibei, still later onwe see the name Yamakichi. The working period of the first Yamasaka Kichibei is from Tensho to Keicho eras (1575-1615), about contemporary with the second Nobuiye. The first generations lived in the Kiyosu area, but the later generations lived at Nagoya in Owari Province. 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.  read more

Code: 20801

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

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

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

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

 read more

Code: 24251

A Superb, French, Superior Officer's Spontoon From The Battle of Minden, August 1st 1759 One Of The Great Victorious Battles Of The Anglo French 7 Years War. The Major Victory for The Allied Anglo-Hanoverian Forces Against The French of King Louis XVth

The Battle of Minden was a major victory for the Anglo-Hanoverian forces against the French on August 1, 1759, during the Seven Years' War. The Battle of Minden was a major engagement during the Seven Years' War, fought on 1 August 1759. An Anglo-German army under the overall command of Prussian Field Marshal Ferdinand of Brunswick defeated a French army commanded by Marshal of France, Marquis de Contades. Two years previously, the French had launched a successful invasion of Hanover and attempted to impose an unpopular treaty of peace upon the allied nations of Britain, Hanover and Prussia. After a Prussian victory at Rossbach, and under pressure from Frederick the Great and William Pitt, King George II disavowed the treaty. In 1758, the allies launched a counter-offensive against the French and Saxon forces and drove them back across the Rhine.

After the allies failed to defeat the French before reinforcements swelled their retreating army, the French launched a fresh offensive, capturing the fortress of Minden on 10 July. Believing Ferdinand's forces to be over-extended, Contades abandoned his strong positions around the Weser and advanced to meet the Allied forces in battle. The decisive action of the battle came when six regiments of British and two of Hanoverian infantry, in line formation, repelled repeated French cavalry attacks, contrary to all fears that the regiments would be broken. The Allied line advanced in the wake of the failed cavalry attack, sending the French army reeling from the field, ending all French designs upon Hanover for the remainder of the year.

In Britain, the victory is celebrated as contributing to the Annus Mirabilis of 1759.

Fine steel head with two stage blade with twin fullers and long extended ricasso twin opposing hook quillons, finely engraved with rococco scrols snd flower heads. after its loss in the battle the wooden haft rotted away leaving the steel head finely intact.
Recovered from the battle field at Minden during a Grand Tour, circa 1820, and acquired by the Hamilton family of the 10th Duke of Hamilton. Just returned from six months hand cleaning and conservation by our expert artisans, revealing the superb engraving required for a weapon of both combat and dress, and an infantry symbol of higher rank of a French regimental officer, and nobleman of France. Interestingly this would likely have been its last service in combat, as the French infantry officers had been slowly abandoning the spontoon since 1756, with the oldest highest ranked officers being the last to see service with the spontoon.

Richard Lassels, an expatriate Roman Catholic priest, first used the phrase “Grand Tour” in his 1670 book Voyage to Italy, published posthumously in Paris in 1670. In its introduction, Lassels listed four areas in which travel furnished "an accomplished, consummate traveler" with opportunities to experience first hand the intellectual, the social, the ethical, and the political life of the Continent.

The English gentry of the 17th century believed that what a person knew came from the physical stimuli to which he or she has been exposed. Thus, being on-site and seeing famous works of art and history was an all important part of the Grand Tour. So most Grand Tourists spent the majority of their time visiting museums and historic sites.

Once young men began embarking on these journeys, additional guidebooks and tour guides began to appear to meet the needs of the 20-something male and female travelers and their tutors traveling a standard European itinerary. They carried letters of reference and introduction with them as they departed from southern England, enabling them to access money and invitations along the way.

With nearly unlimited funds, aristocratic connections and months or years to roam, these wealthy young tourists commissioned paintings, perfected their language skills and mingled with the upper crust of the Continent.

The wealthy believed the primary value of the Grand Tour lay in the exposure both to classical antiquity and the Renaissance, and to the aristocratic and fashionably polite society of the European continent. In addition, it provided the only opportunity to view specific works of art, and possibly the only chance to hear certain music. A Grand Tour could last from several months to several years. The youthful Grand Tourists usually traveled in the company of a Cicerone, a knowledgeable guide or tutor.

The ‘Grand Tour’ era of classical acquisitions from history existed up to around the 1850’s, and extended around the whole of Europe, Egypt, the Ottoman Empire, and the Holy Land.

French officers would have used spontoons at the Battle of Minden, as they were still a standard symbol of rank for senior infantry officers in the French army in 1759. Although the army had begun to shift away from using them in combat, regulations at the time still required them for senior officers, though junior officers had started to carry fusils instead. The spontoon's function was not primarily as a weapon but as a mark of rank that officers used to give orders and signal to troops.
Regulations: According to military regulations, French infantry officers were required to carry spontoons.
Combat role: While spontoons were not typically intended for combat, officers used them to provide direction to their troops during battle.

Picture in the gallery of an Officer of Le regiment de Languedoc with his spontoon.  read more

Code: 25951

A1930's Third Reich, Deutsche Zeppelin-Reederei Air Ship Silver Knife & Fork, From The Hindenberg Dining Room, Allegedly Recovered After The Crash By a Lakehurst Based Military Officer. Made by Gebr.Hepp {the Hepp Brothers}

The Deutsche Zeppelin-Reederei (the German Zeppelin Transport Company, or DZR) was established on March 22, 1935, to operate German passenger airships.

On May 6, 1937. The world reknowned Nazi airship Hindenberg, upon landing at Lakehurst USA, exploded into a ball of fire. One of the very first international disasters that was captured live on film.

If one looks at the live disaster explosion photos in the gallery it seems remarkable that most of the passengers and crew survived. There were about 97 people onboard just 36 of them perished. During an attempt to land at Lakehurst Naval Air Station, the Hindenburg airship caught fire and disintegrated into a raging ball of fire near-instantaneously, in a display of rapid combustion unlike any other. Despite its enduring legacy as a horrific disaster, less than half of the people on board the Hindenburg actually died. 62 passengers and crew escaped with their lives.

A simple yet powerful memorial marks the site of the crash. A cement outline in the shape of the Hindenburg stretches across the airfield in the spot where the airship crash-landed in flames.

The site was declared a Registered National Historic Landmark in 1961.

Prior to the establishment of the DZR, passenger zeppelins were built by the Luftshiffbau Zeppelin (the Zeppelin Airship Construction Company, known as the “LZ”) and operated by DELAG (Deutsche Luftschiffahrts-Aktiengesellschaft, or German Airship Transportation Corporation Ltd), which was established in 1909 as an offshoot of the LZ and dominated by Hugo Eckener. With the establishment of the DZR, airship activities were divided between the LZ, which would continue to build the airships, and the DZR, which would operate them. Consistent with Nazi ideology, the airship was expected to be more than just a private commercial venture; it was to be a public symbol of the new German nation. In a speech marking the founding of the DZR, Göring commented: “I hope that the new ship will also fulfill its duty in furthering the cause of Germany… The airship does not have the exclusive purpose of flying across the Atlantic, but also has a responsibility to act as the nation’s representative.”

The establishment of the DZR may have also been partly inspired by the bureaucratic rivalry between Air Minister Göring and Propaganda Minister Joseph Goebbels, and Goering’s commitment of 9 million marks to the zeppelin project, on condition of the creation of the DZR, came shortly after Goebbels offered the Zeppelin Company 2 million marks toward the completion of LZ-129 in the summer of 1934.

In March 1935, the South Atlantic flights became the responsibility of the Nazi controlled Deutsche Zeppelin-Reederei, after this company had been set up jointly by Luftschiffbau Zeppelin, the German Air Ministry and Deutsche Lufthansa. The DZR was created at the instigation of Air Minister Hermann Goring as a way to increase Nazi control over zeppelin operations, and can be see as part of the larger policy of Gleichschaltung, or coordination, which affected all aspects of German life in the years following Hitler’s assumption of power.

Consistent with Nazi ideology, the airship was expected to be more than just a private commercial venture; it was to be a public symbol of the new German nation.

In a speech marking the founding of the DZR, Goring commented:

“I hope that the new ship will also fulfil its duty in furthering the cause of Germany
The airship does not have the exclusive purpose of flying across the Atlantic, but also has a responsibility to act as the nation’s representative.”

The even larger airship, the LZ 129 'Hindenburg' joined the 'Graf Zeppelin' in 1936, and, in addition to South Atlantic flights with its partner, inaugurated a service over the North Atlantic, between Frankfurt and Lakehurst in New Jersey, in the summer. Also in 1936 the South American route was extended to Rio de Janeiro. Deutsche Zeppelin-Reederei ceased operations as the commercial use of airships came to an abrupt end on 6 May 1937, when the 'Hindenburg' exploded at Lakehurst.
We also have a silver tray from the same flights, and was the product of the same silver company that made the Third Reich military cutlery and other silver objects for the Third Reich hierarchy - Gbr. Hepp. {Hepp Brothers}

His company, alongside his rival, Wellner, was a maker of much of the Fuhrer's formal dinnerware, and the Reich chancellery dinnerware pieces. Many items by were used in several of Hitler's residences, the Hotel Der Deutscher Hof personally used by Hitler, and numerous state offices. The Zeppelin Corps became one of the shortest-lived German service branches of World War II. After the German invasion of Poland in 1939, the Luftwaffe ordered the last two Zeppelin airships moved to a large Zeppelin hangar in Frankfurt. In March of 1940, Goring ordered their destruction and the aluminium fed into the Nazi war industry. In May, a fire broke out in the Zeppelin facility which destroyed most of the remaining parts. The rest of the parts and materials were soon scrapped with almost no trace of the German "Giants of the Air" remaining by the end of the year.

Although the dining-room cutlery was the same for both the Hindenberg and the Graf Zeppelin, by family repute this cutlery pair came from the Hindenberg, recovered after the fatal crash. They were blackened with soot but were polished up beautifully, and fully intact. The family originally had a military officer stationed at the base at Lakehurst, New Jersey, at the time, and he witnessed the explosion and helped directing the clear-up over the following few days. the last photo in the gallery is the crash site with the clean-up crew to the top left of the photo, the officer that found this knife and fork is apparently one of those men.

Another fork from the Hindenburg was featured on an episode of the show Antiques Roadshow {US} in the "Vintage Tampa" episode, which aired as Season 18, Episode 20.
Mon, Jun 23, 2014  read more

Code: 25947