To Find Antique Arms, Armour & Specialist Books in the UK There is Only one place you need to visit. We Trust You Will All Enjoy Your Visit & Viewing Experience of Our Online Site, Frequently Described As The Best Militaria Collectables Site in the World

NEW SELECTION OF REPUBLIC & IMPERIAL PERIOD ROMAN ANTIQUITIES ARRIVES THIS WEEK, PLUS EGYPTIAN AND VIKING.
This week we be showing our usual intriguing and amazing selection of our latest rare and fascinating pieces, including some fabulous and most beautiful and historical collectables due to be offered on our site within the next few days, including a stunning, ancient 1600 year old sword from the Barbarian Hordes of Attila the Hun and his invasion of the Roman Empire. Plus stunning ancient Roman rings, one a Gladiator’s ring, also, ancient Egyptian-Roman rings from the time of Anthony and Cleopatra, an Amazing 16th century Polish iron and silver nadziak, a knights War-Hammer, Greek arrow heads, spears, lead sling bullets, antiquities and rings from an 1820 Grand Tour Collection . Plus a good 1938 German Kriegsmarine officers dirk, a stunning original signed portrait photograph of Field Marshal Montgomery.

We Are Also Europe's Leading Original Samurai Sword Specialists.
We were listed by the world famous New York Times as one of the ‘must see’ places for Americans to visit when in Europe!! and regularly, as one of the very best shops in the whole of Great Britain. And bearing in mind, in the UK, recorded in 2019, there were 306,655 retail outlets,..apparently, so as you can imagine, the competition was pretty stiff.

For us it is vitally important that every customer, old and new, has confidence to deal with a well established, generations old company that believes every customer must have an enjoyable, successful and satisfactory experience, and you can know that you can also enjoy a personal one to one contact with our partners during any visit to our permanent gallery in Brighton, which for us is a priority.

Here are just two of our clients comments we received in the past five days. ‘Today the medals arrived. It is high quality as always and I am 100% satisfied. best regards G.B.’ From Germany

‘The swords arrived and are lovely. Yes, the Light Company sabre is especially striking. In fact, it's out of this world. You take good photos but they didn't do this piece justice. The French piece has tremendous presence. It's hard to find French Revolutionary pieces, especially ones with battle wear. Thanks again” G.G. From North America

Enjoy our site, it has been over 100 years in the making!.

The history of the ‘Grand Tour’

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 and women 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.
As with all our items, they come complete with our certificate of authenticity
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Code: 23801

A Most Scarce Antique Australian Aboriginal Throwing Club, Carved Head

Nulla Nulla, Aboriginal, short, possibly mulga wood, very dense hardwood, throwing club with ovoid shaped head, used for hunting, fighting and ceremonial purposes, [South East] Australia, 1860. A waddy, nulla nulla or hunting stick is an Aboriginal Australian club for use in hunting and fighting. The first of these names comes from the Dharuk Aborigines of Port Jackson, Sydney.

A waddy is a heavy, pointed club constructed of carved timber. Waddies have been used in hand-to-hand combat, and were capable of splitting a shield, and killing or stunning prey. In addition to this they could be employed as a projectile as well as used to make fire and make ochre. They found further use in punishing those who broke Aboriginal law, which often involved settling a conflict between individuals, or between an individual and a group, in a 'Trial by Ordeal' in which fighters gave and suffered heavy blows resulting in skull and bone fractures and much blood  read more

Code: 22406

Antique Zulu-Tsonga Prestige Staff Possibly Carved by a Carver Known as the 'Baboon Master'. With a Carved Female Head

19th century. This dignatory's staff has a most figurative carving. They have been collected in Southern Africa since the mid-19th century. Recent research by Anitra Nettleton suggests, however, that Tsonga sculptors may actually have produced most of these carvings. There is evidence that the Tsonga migrated to the Natal from southern Mozambique as early as the 1850s. Recognized for their carving skills, they were soon producing fine artifacts for Zulu dignatories. Two related staffs, were purchased for the collection of the Standard Bank Foundation in Johannesburg. One staff of theirs is surmounted by a baboon and the other by a male figure with a beard. Both are said to be turn-of-the-century staffs carved by the same hand, by a most accomplished and sought after artist dubbed the 'Baboon Master', who was possibly of Tsonga origin. 31 inches long.  read more

Code: 23116

A Rare 19th Century King's Knife of the Zande or the Mengbetu People, A Trombash Power Authority Knife

A long Knife consisting of a short cylindrical wooden handle, round in section, with a flat end bound in iron banding at the pommel end. The other end of this is cut flat, and has a smaller cylindrical body as the middle hand grip section. Above this point, the handle connects with the blade tang. Which goes through the handle, the tang has been inserted through the centre of the handle, and then its rectangular end hammered over at the top to fix it in place. This is end is visible where it emerges through the handle top, and is off centre. The narrower part of the handle have been decorated with an iron binding strip. Both binding strips [top and bottom] have their ends hammered into slots in the wood to secure them. The blade is curved, with a broad flat ridge running along the length on both sides. This is not centred. On one side of the ridge, the blade extends to form a broad, sharpened base edge with a pointed corner; a more narrow blade extends from the other side of this, slightly higher up the knife. The sides then begin to taper in towards the point at the other end. Both edges were once sharpened. The object is complete, with some minor cut marks on the blade and handle.

Very similar to a Mengbetu collected by Robert Grenville Gayer-Anderson in the Bahr el Ghazal region, probably between 1909 and 1914, in the period immediately before World War I. At the time this object was collected, the Bahr el Ghazal province was much larger than it is today, extending from roughly the Bahr el Arab all the way to the border with the Belgian Congo; this area is now divided into the districts of Western Bahr el Ghazal, Northern Bahr el Ghazal, and parts of Warab, El Buheyrat and Western Equatoria. The drawing in the gallery is a 19th century depiction of Munza, the king of the Mangbetu. Seated on his throne, he holds a similar knife to ours as a symbol of power and authority.  read more

Code: 19166

A Fine & Beautiful Antique Fijian Ula Throwing Club. A Singularly Beautiful Example & of Exceptional Rarity

A handsomely hand carved hardwood throwing club "ula" showing a stunning natural, age patina. With fine globed assymetrical head with top knob, and geometric carved patterning on the haft. It is perhaps the most famous and recognizable of all oceanic weapons. The ula was the most personal weapon of the Fijian warrior and was inserted into a man's fibre girdle sometimes in pairs like pistols. The throwing of the ula was achieved with great skill, precision and speed. It was often carried in conjunction with a heavier full length club or spear which served to finish an opponent after initially being disabled by a blow from the ula. Was made by a specialist from a variety of uprooted bushes or shrubs. Across 1,000 kilometres (620 mi) from east to west, Fiji has been a nation of many languages. Fiji's history was one of settlement but also of mobility. Over the centuries, a unique Fijian culture developed. Constant warfare and cannibalism between warring tribes were quite rampant and very much part of everyday life. During the 19th century, Ratu Udre Udre is said to have consumed 872 people and to have made a pile of stones to record his achievement."Ceremonial occasions saw freshly killed corpses piled up for eating. 'Eat me!' was a proper ritual greeting from a commoner to a chief. The posts that supported the chief's house or the priest's temple would have sacrificed bodies buried underneath them, with the rationale that the spirit of the ritually sacrificed person would invoke the gods to help support the structure, and "men were sacrificed whenever posts had to be renewed" . Also, when a new boat, or drua, was launched, if it was not hauled over men as rollers, crushing them to death, "it would not be expected to float long" . Fijians today regard those times as "na gauna ni tevoro" (time of the devil). The ferocity of the cannibal lifestyle deterred European sailors from going near Fijian waters, giving Fiji the name Cannibal Isles; as a result, Fiji remained unknown to the rest of the world. Approx 13 inches long  read more

Code: 22806

A Very Rare Collector’s Piece From One of the Most Significant National Hero State Events in the 19th Century. Original Part From The Duke of Wellington's Funeral Carriage

Attended by an estimated at the time, 1.5 million people, and this was when the population of the country was almost a quarter what it is today.
From one of the original foundrys [Taylors Works] that cast the wheels. This is an original spare wheel support made for the magnificent 18 ton funeral carriage. The Duke lay in state in Chelsea Hospital for two days, during which thousands of mourners including the Queen paid their respects. His funeral took place on 18 November when the funeral processed from Horse Guards to St Paul's, Wellington's remains borne in a huge funeral carriage weighing over 18 tons, and that is now on public display at Stratfield Saye. Field Marshal Arthur Wellesley, 1st Duke of Wellington, KG, GCB, GCH, PC, FRS (1 May 1769 ? 14 September 1852), was a British soldier and statesman, a native of Ireland from the Anglo-Irish Ascendancy, and one of the leading military and political figures of the 19th century. His importance in national history is such that he is often referred to as "the Duke of Wellington" instead of "the 1st Duke of Wellington" (overshadowing the heirs to his dukedom including the current duke ? see Dukes of Wellington).

Wellesley was commissioned as an ensign in the British Army in 1787. Serving in Ireland as aide-de-camp to two successive Lords Lieutenant of Ireland he was also elected as a Member of Parliament in the Irish House of Commons. A colonel by 1796, Wellesley saw action in the Netherlands and in India, where he fought in the Fourth Anglo-Mysore War at the Battle of Seringapatam. He was appointed governor of Seringapatam and Mysore in 1799 and as a newly appointed major-general won a decisive victory over the Maratha Confederacy at the Battle of Assaye in 1803.

Wellesley rose to prominence as a general during the Peninsular campaign of the Napoleonic Wars, and was promoted to the rank of field marshal after leading the allied forces to victory against the French at the Battle of Vitoria in 1813. Following Napoleon's exile in 1814, he served as the ambassador to France and was granted a dukedom. During the Hundred Days in 1815, he commanded the allied army which, together with a Prussian army under Bl?cher, defeated Napoleon at the Battle of Waterloo. Wellesley's battle record is exemplary, ultimately participating in some 60 battles during the course of his military career.

Wellesley is famous for his adaptive defensive style of warfare, resulting in several victories against a numerically superior force while minimising his own losses. He is regarded as one of the greatest defensive commanders of all time, and many of his tactics and battle plans are still studied in military academies around the world

The Duke of Wellington is one of only a handful of non-royals to have been accorded a state funeral. This carriage or ?car? was made for the occasion.Included in it's construction were over ten tons of bronze cannon captured at Waterloo and six foundries employed over a hundred men for eighteen days to make it.

The resulting creation measured twenty seven feet in length, ten feet wide and seventeen feet high. A canopy of silk and silver hung from four halberds above the main structure. It required twelve horses to pull it.

The car proved to be the most controversial feature of Wellington?s funeral on 18 November 1852. Prince Albert, who oversaw the project, decreed that it should be ?a symbol of English military strength and statesmanship.? His wife loved it. Lord Hardinge, the Duke?s successor as commander-in-chief, reckoned it ?a beautiful specimen of art.?

It did not help that one of the carriage?s six wheels got stuck in The Mall during the elaborate funeral procession. About sixty policemen were needed to free it. Worse, when it reached St Paul?s Cathedral, its mechanism failed. It took over an hour for the Duke?s coffin to be conveyed inside. The car then found a home in the crypt of St Paul?s until it was transferred to Stratfield Saye in 1981.

Despite such shortcomings, Wellington?s funeral was one of the great British state occasions of the nineteenth century. An estimated million and a half people converged on the procession route. The general feeling was that the passing of the hero of Waterloo marked the close of an era. Tennyson went even further, declaring that ?the last great Englishman is low.? Certainly there was nothing to compare to it until Sir Winston Churchill?s funeral in 1965. The spoke weighs around 6.5 kilos. Of heavy metal construction  read more

Code: 22855

A Superb, Heavy Grade, Original Viking Throwing Axe, Around 1200 Years Old. A Superb Opportunity to Own An Original Artefact From One of The Great Periods Of History.

Especially today with so many representations and depictions of the the great Viking age and peoples being created into films and documentaries currently. The interest in original Viking artefacts has never been greater than it is today. In our Brighton gallery almost all of our daily thousands of visitors make a beeline to all our amazing original Viking pieces, the interest is literally unceasing. Many are spellbound by their historical significance and almost all are surprised to be able to view up close, let alone acquire, such amazing pieces. And this fine example is one of the least expensive pieces we can offer currently, bearing in mind original Viking arms and armour we can show and have had recently, can easily approach up to around £40,000 each.

Viking Arched Axehead made and used from the 9th, and in use up to the 12th century AD.

An iron axehead with circular socket, narrow blade with curved edge. For reference of type see; Cf. Sedov, B.B. Finno-Ugri i Balti v Epokhi Srednevekovija, 1987, table CXXIV 7".

Weight 865 grams, 17cm (6 3/4").

One of the most famous Viking axes is Helm (named after the Norse death goddess), which belonged to King Magnus of Norway and Denmark. He is said to have inherited the weapon from his father, Olav Haraldsson of Norway, whose ax features prominently in Norway’s national coat of arms. Some Viking axes if they were wielded by a particularly strong and skilled warrior could even cut through chainmail and helmets. When King Magnus’s poet credited the king with being able to split heads like firewood, he wasn’t necessarily being hyperbolic. Writing about the pre-Viking Franks and their use of throwing axes, the Francisca, Procopius makes it clear that the Franks threw their axes immediately before hand to hand combat with the purpose of breaking shields and disrupting the enemy line while possibly wounding or killing an enemy warrior. The weight of the head and length of the haft would allow the axe to be thrown with considerable momentum to an effective range of about 12 m (40 ft). Even if the edge of the blade were not to strike the target, the weight of the iron head could cause injury. The francisca also had a psychological effect, in that, on the throwing of the francisca, the enemy might turn and run in the fear that another volley was coming. It is most logical that the Vikings may well have adopted this system of axe throwing combat from the earlier Franks, as it seemed most effective in numerous combat arenas. Almost every iron weapon that has survived today from this era is now in a fully russetted condition, as is this one, because only the swords of kings, that have been preserved in national or Royal collections are today in even a relatively fair state of surface preservation and condition after over 1000 years, but almost all though are not in any better condition than this beauty.  read more

Code: 22008

A Fine Shinto Samurai Katana Signed By Mino Swordsmith, Nodagoro Fujiwara Kanesada Circa 1720 Around 300 Years Old, With a Horai-zu Style Tsuba

He also signed Kinmichi. [ see Hawley’s Japanese Swordsmiths, ID KAN533] who was active in the Mino province between 1716-1736. A beautiful sword with a fabulous hamon mounted han dachi style. The photos shown at present are before returned from polishing, which is truly amazing, new photos will be shown in two days. It is an original edo period mounted han dachi [semi tachi form] katana with iron mounts of fine quality. The original Edo saya has a beautiful rich red lacquer with flecks of pure gold. The Edo tsuba is o-sukashi, in iron, a Horai-zu style tsuba that has a motif of crane, the symbol of long life. The crane and/or turtle and/or rocks and/or pine trees and/or bamboo are often referred to as a 蓬莱図 (Hōrai-zu) crane pattern design. 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 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 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] exanding 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 synthesized 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 and was also a painting master. Members of a hierarchal class or caste, samurai were the sons of samurai and they were taught from an early age to unquestionably obey their mother, father and daimyo. When they grew older they could be trained by Zen Buddhist masters in meditation and the Zen concepts of impermanence and harmony with nature. The were also taught about painting, calligraphy, nature poetry, mythological literature, flower arranging, and the tea ceremony. The blade had been untouched for 150 years, shows a super hamon, and polish with a couple of very small edge pits near the habaki on just one side. New photos have been added of the blade now it has been stunningly conserved  read more

Code: 23998

An Opportunity to Acquire An Original Almost 700 Year Old, Ancient & Beautiful Samurai Dagger, A Signed, 14th Century Nambokochu Period Ancient Samurai Tanto

Now showing a beautiful blade polish, with all its original, Edo period, fine quality fittings. Including a pair of shakudo and gold fuchi kashira, a gold onlaid tetsu tsuba, a signed blade kozuka utility knife, and a menuki, under the original edo period tsuka ito, of a samurai's pony with its samurai saddle and abumi [stirrup], being attacked by a tiger. The saya is elaborately decorated with inlaid shell and horn type pieces on the black lacquer background. with polished buffalo horn carved fittings and a silver and soft metal saya mount of two seated figures. The scabbard surface has had a few contemporary Edo period surface repairs.

The blade is of typical ancient Nambokochu form and shape with a signed nakago, and shows stunning grain, and a solid silver overlaid two part habaki decorated with an embossed geometric patterning.

It is an ancient samurai tanto, in incredible condition for its great age, it obviously shows signs of use fro the past 600 odd years, but what an amazing piece.

The tanto was invented partway through the Heian period, when it was mainly used as a weapon. With the beginning of the Kamakura period, tanto were forged to be more aesthetically pleasing, and hira and uchi-sori tanto were the most popular styles for wars in the kamakura period. Near the middle of the Kamakura period, more tanto artisans were seen, increasing the abundance of the weapon, and the kanmuri-otoshi style became prevalent in the cities of Kyoto and Yamato. Because of the style introduced by the tachi in the late Kamakura period, tanto began to be forged longer and wider. The introduction of the Hachiman faith became visible in the carvings in the tanto hilts around this time. The hamon (line of temper) is similar to that of the tachi, except for the absence of choji-midare, which is nioi and utsuri. Gunomi-midare and suguha are found to have taken its place. In Nambokucho, the tanto were forged to be up to forty centimetres as opposed to the normal one shaku (about thirty centimetres) length. The tanto blades became thinner between the uri and the omote, and wider between the ha and mune. At this point in time, two styles of hamon were prevalent: the older style, which was subtle and artistic, and the newer, more popular style. Blades could be of exceptional quality. As the end of the period neared, the average blade narrowed and the sori became shallow

Overall 20.5 inches long, with a 10.5 inch long blade from tsuba to tip.

As with all our original items, it will be accompanied with a bespoke and unique Certificate of Authenticity.  read more

Code: 24407

An Antique Zulu Throwing Club, A Scarce Version Of The Zulu Knopkerrie

Ovoid pointed head Knobkierrie, also spelled knobkerrie, knopkierie or knobkerry, are African clubs used mainly in Southern and Eastern Africa. Typically they have a large knob at one end and can be used for throwing at animals in hunting or for clubbing an enemy's head. This knobkierrie is carved from a branch thick enough for the knob, the rest being whittled down to create the shaft.

The name derives from the Afrikaans word knop, meaning knot or ball and the word kierie, meaning cane or walking stick. The name has been extended to similar weapons used by the natives of Australia, the Pacific islands and other places.

Knobkierries were an indispensable weapon of war, particularly among southern Nguni tribes such as the Zulu (as the iwisa) and the Xhosa.

During the Great War the knobkierrie was occasionally used. The weapon is reported carried by British soldiers in Siegfried Sassoon's fictionalised autobiography of his service in France during World War One, Memoirs of an Infantry Officer. 23.5 inches  read more

Code: 17936