A Most Scarce, Original, Early 17th Century English Civil War Infantry Musketeer's or Pikeman's Comb Morion Helmet

Used from the 30 years war and into the English Civil War, as the pattern used by both musketeers and pikemen. The musket soon became the dominant infantry weapon during the Civil War. Musketeers could move and react faster than the Pikeman in their heavy armour. They were easier to train and the musket could kill and maim the enemy up to 200 paces away. If you could keep your enemy at this distance you didn't have to close to hand to hand combat.
The role of musketeer is more technical than that of the pikeman. As a musketeer within the regiment, you will be using a replica period matchlock musket, and when appropriate, carrying a set of bandoliers, holding the required amount of gunpowder to fire it.

The pikeman of the English Civil War. A pike was a wooden pole up to 18 feet long with a sharp metal spike. Its name comes from the French piquer, meaning ‘pierce’. Although the pike evolved in the Middle Ages, pike blocks more closely resembled Ancient Greek phalanxes.

It was considered to be a more noble and traditional weapon than the musket – a weapon for gentlemen that needed strength, skill, and training to master and nerves of steel to fight with. Pike blocks could consist of up to 200 men and would form up in the centre of the line of battle; they could either protect musketeers from cavalry attack or be used as huge offensive infantry formations that would edge towards each other, their pikes levelled at ‘the charge’ before engaging in ‘push of pike’, where they would try and break the enemy’s formation.

At the beginning of the English Civil Wars, armies would have roughly one pikeman for every two musketeers. By the 1650s, this was closer to one to four or five and, as muskets became more effective and use of the bayonette became widespread, the pike become obsolete and the regular use of pikes ended with the beginning of the 18th Century.  read more

Code: 24006

A Stunning Mid 18th Century Ship's Captain Brass Cannon Barrel Pistol with a Silver Escutchon of the Goddess Minerva Adorned With Her Dolphin Helmet & Fishscale Armour

Blunderbuss pistol all brass cannon barrel, and action, beautifully engraved. Made by Hadley circa 1750, with large silver escutcheon engraved with the profile head of Minerva.

Minerva, whose dolphin helmeted face is depicted is the Roman goddess of wisdom, justice, law, victory, and the sponsor of arts, trade, and strategy. Minerva is not a patron of violence such as Mars, but of strategic warfare.


The ‘Queen Anne’ style pistol is distinctive in that it does not have a ramrod. The barrel of the pistol unscrews and allows it to be loaded from the rear and near the touch hole at the breech of the barrel. These pistols were originally made in flintlock.

The Queen Anne pistols were very popular and were made in a variety of calibres, usually about 38 to 50 bore. Boot pistols, Holster pistols, pocket pistols and Sea Service pistols were all made in the 'Queen Anne' style. This type is known as a Queen Anne pistol because it was during her reign that it became popular (although it was actually introduced in the reign of King William III).

Here are some of the specific reasons why people enjoy collecting antique pistols:

Historical significance: Antique pistols are stunning relics of a bygone era, and they can provide insights into the history of warfare, technology, and culture. For example, a collector might be interested in owning a type of pistol that was used in a famous battle or that was carried by a famous historical figure.
Craftsmanship: Antique pistols are often works of art in their own right. Many early gunsmiths were highly skilled artisans, and their creations can be extraordinarily beautiful. Collectors might appreciate the intricate engraving, fine inlays, and other decorative elements that are found on many antique pistols.
Aesthetic beauty: Antique pistols can be simply stunning. Their elegant lines and graceful curves can be a thing of beauty. Collectors might enjoy admiring the form and function of these antique weapons.
Rarity and uniqueness: Some antique pistols are quite rare, and collectors might enjoy the challenge of finding and acquiring them. Others might be interested in owning a pistol that is unique in some way, such as a prototype or a custom-made piece.
Investment value: Antique pistols can also be valuable long term investments. The value of some antique pistols has appreciated significantly over the years. Collectors might enjoy the potential for profit, in addition to the other pleasures of collecting, but that should never be the ultimate goal, enjoyment must always be the leading factor of collecting.
No matter what their reasons, collectors of antique pistols find enjoyment in their hobby. They appreciate the history, craftsmanship, beauty, and rarity of these unique pieces.

In addition to the above, here is yet another reason why people enjoy collecting antique pistols:

Education: Learning about the history and technology of antique pistols can be a thoroughly rewarding experience. Collectors can learn about the different types of pistols that have been made over the centuries, how they worked, and how they were used.

Excellent condition overall, good tight and crisp action, old small split in stock, overall 12.5 inches long  read more

Code: 25219

A Beautiful, Shinto Period, Handachi Mounted Samurai Katana. Fitted With All Original Edo Mounts. Showing Great Quality, Shibui {Quietly Reserved} And Without Undue Extravagance. An Impressive Sword With Incredible & Elegant Lines & Curvature

Worthy of any museum grade collection.

All original, fabulous, Edo period koshirae sword fittings and mounts, a fully matching suite of han dachi mounts semi tachi form inlaid in pure gold arabesques on iron, Higo style. The blade is in beautiful polish showing a spectacularly undulating regular gunome hamon. The tsuka is bound in blue silk and the saya has its original old Edo ishime lacquer, the tsuba is a mokko form iron plate inlaid with a stylized dragon in gold to match the fittings.

Han-dachi originally appeared during the Muromachi period when there was a transition taking place from tachi to katana. 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 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 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 may 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.

As part of their military training, apparently, samurai were taught to sleep with their right arm underneath them so if they were attacked in the middle of the night and their the left arm was cut off the could still fight with their right arm. Samurai that tossed and turned at night may be cured of the habit by having two knives placed on either side of their pillow.

Samurai have been describes as "the most strictly trained human instruments of war to have existed."
They were expected to be proficient in the martial arts of aikido and kendo as well as swordsmanship and archery---the traditional methods of samurai warfare---which were viewed not so much as skills but as art forms that flowed from natural forces that harmonized with nature.

It can also be said an individual didn't become a full-fledged samurai until he wandered around the countryside as begging pilgrim for a couple of years to learn humility. How accurate this was is dependant on the urgencies of war.

When this was completed they achieved samurai status and receives a salary from his daimyo paid from taxes (usually rice) raised from the local populace.

Swords in Japan have long been symbols of power and honour and seen as works of art. Often times swordsmiths were more famous than the people who used them.

As with all our items it comes complete with our certificate of authenticity. Blade tsuba to tip 27.5 inches, overall in saya 38.5  read more

Code: 23038

A Stunning Original Horseguards Officer's Pattern Helmet Plate. In Gold, Red Enamel Cross, Blue Enamel Garter, And Frosted Silver Cut Steel Order of the Garter Badge Star

Probably the worlds most beautiful helmet plate ever designed.
This fabulous quality officer’s helmet plate, in use since the Queen’s coronation in 1953, was used by an officer of the Queen’s mounted bodyguard, from either the Blues and Royals or the Life Guards regiments, that combined, make up the Royal Horseguards. The helmet plate is identical for both helmets, only the colour of the yak hair plume was different, white for Life Guards, red for Blues and Royals.

The Albert helmet is the current ceremonial headgear of the British Army's Household Cavalry, for both the Life guards regiment and the Blues and Royals regiment, known collectively as Horseguards.

This pattern will now be changed very soon for the design designated for His Majesty King Charles lII. The crown will be changed to the single domed crown of all the kings since Edward VIIth. The domed crown is called either The King’s Crown or the Imperial State Crown. The late Queen’s crown, is known as St Edwards Crown.

The Albert pattern helmet was introduced by Prince Albert in 1842 and adopted by the Household Cavalry the following year. In 1847 the helmet was introduced to all heavy cavalry regiments. It remains in use as the full dress headgear of the two remaining Household Cavalry regiments, the Blues and Royals and the Life Guards. The magnificent helmet remains in use with the two current Household Cavalry regiments, the Blues and Royals with red plume and the Life Guards with white plume. These regiments are amalgamations of the four earlier regiments. The Life Guards retain the white plume and the onion from the 2nd Regiment, the Blues and Royals retain the red plume of the Royal Horse Guards. Blues and Royals officers wear a yak hair plume. Farriers in both regiments wear different plumes, the Life Guards farrier wear black and Blues and Royals farrier red.

The regiments also differ in how they wear the helmet's chin strap. The Blues and Royals wear it under the chin while the Life Guards wear it under the lower lip. The helmet is now in white metal for all ranks and the same helmet plate is worn by both regiments (they were different historically).

The Albert helmet is only worn in full dress review order, guard order and front yard order by other ranks and in full dress, levee dress and ceremonial rehearsal dress by officers. Medical and veterinary officers do not wear the helmet, instead wearing a cocked hat.

The other ranks of the Mounted Band of the Household Cavalry wear the helmet in full dress (with the plumes of their parent regiments), except when parading in the presence of the royal family, when they wear state dress with jockey caps. Band officers wear Albert helmets on both occasions.

Its condition is considered by us as mint. A complete Horseguards officer’s helmet from the 1953 coronation period, in mint condition, will cost today somewhere between £6,500 to £10,000.  read more

Code: 24065

A Beautiful Late Edo Bakumatsu Copper Katana Tsuba With NBTHK Papers.

Bakumatsu copper tsuba, NBTHK Kicho Kodugu papers from 2020. With a translation, the "ninteisho" is introducing the document as recognition written in calligraphy. The tsuba is decorated with Aki kusa, Autumn grass [flowers], unsigned. The Nihon Bijutsu Tōken Hozon Kyōkai is a public interest incorporated foundation established in February 1948 to preserve and promote Japanese swords that have artistic value. Tsuba are usually finely decorated, and are highly desirable collectors' items in their own right. 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. The tsuba has north and south kuchi-beni.
Literally "lipstick", but refers to the copper plugs of the nakago-ana. Their function is to secure the tsuba firmly when mounted on a blade. These plugs are sometimes called sekigane.  read more

Code: 23510

A Superb Piece of 'Potential', Unique History. Admiral Lord Nelson's Hair Woven Into a Piece of Memorium Jewellery, A Lyre Brooch of Extraordinary Quality

Acquired from an Admiral Lord Nelson family of collectors, together with a small miniature portrait of the Admiral, the miniature of the full sized one painted by Lemuel Francis Abbott in 1797 for Lady Nelson.

Said to be, by the family, made from a small lock of hair {given to them by Lady Hamilton, Nelson's mistress}, that, some years after his tragic death, was intricately woven into a rigid weblike structure, and formed around very finely crafted gilt metal, into a mourning brooch of lyre form, to wear as a wedding gift, and it has been in the family ever since. The hair colour has subsequently darkened somewhat, from its original lighter colour, due to being lacquered to aid rigidity, handled and worn, possibly for decades. It originally had a small ivory slip engraved with its distinguished origin, and that it was given by Lady Hamilton to her relatives by marriage. Lady Hamilton, Nelson's infamous mistress, was married to Sir William Hamilton, who was the 4th son of Lord Archibald Hamilton, who was the 7th son of the 3rd Duke of Hamilton. We have been acquiring fascinating artefacts and antiquities from descendants of the 10th Duke of Hamilton these past 30 years or more.

That ivory slip was with it until just a very few years ago, when it was discarded by the dear ladies that last recently owned it, and from whence it came, to us. It was purposely removed due to HRH Prince William disapproving of ivory artefacts. This we consider a great shame, as it was very old, an antique of around 210 years vintage, and simply nothing was gained by its sad removal and loss.

Of course there is absolutely no possibility for us to definitively state it was indeed Nelson's hair, as a provable fact, as any DNA test would likely damage its integrity, but its most highly likely potential, due to its origin, is most intriguing.

The miniature that came with it {and is not for sale} bears a hand written label glued at its back, still present, to note it was it's full sized original was in the National Portrait Gallery that {opened in 1856}. The original is by Lemuel Francis Abbott
an oil on canvas, was painted in 1797
This is one of the many portraits Abbott painted of Nelson and it is perhaps the most widely recognised of the whole Nelson iconography. It depicts him in rear-admiral's uniform wearing the Star and Ribbon of the Bath and the Naval Gold Medal, awarded for his victory at the Battle of St Vincent (1797). The original portrait was painted for Captain Locker of the Greenwich Hospital. This full sized version, commissioned for Lady Nelson, was also taken from life. Although Nelson only sat to him twice, Abbott subsequently copied the picture over forty times. The copies gradually declined in quality as the artist became mentally ill but this was no bar to their popularity. Many were purchased by Nelson's naval colleagues, his family and friends.
In July 1798, Nelson's wife wrote to him: 'My dearest Husband - I am now writing opposite to your portrait, the likeness is great. I am well-satisfied with Abbott… it is my companion, my sincere friend in your absence…

Nelson's pigtail (or queue), was cut off after his death at the Battle of Trafalgar 21 October 1805. It is sandy-coloured hair, bound with black ribbon, which is tied in a bow. Surgeon William Beatty records in his "Narrative of the Death of Lord Nelson" that Nelson asked that Lady Hamilton should have his hair. The pigtail was cut off after his death and Hardy delivered it to Emma Hamilton after the Victory's arrival in England. Small locks of hair were given to relations and close friends, and some pieces were mounted in special mourning rings and lockets. What remains of Nelson’s queue is now part of the National Maritime Museum Collection.  read more

Code: 25210

A Beautiful Silver Mounted Javanese Pedang Lurus Dagger

A Javanese dagger pedang lurus . Slightly swollen single edged blade 21cms with striking pamor, often made of meteorite steel mixed with meteorite nickel, silver hilt and sheath nicely embossed and engraved with foliage.Good condition. In Western literature this type of Indonesian edged weapon is often called pedang lurus, literally straight sword, even though they are not always perfectly straight. It probably refers to the fact they are straighter than a keris or saber. The term is specifically used for a group of Indonesian shortswords that come mounted entirely in silver. They typically bear some striking resemblances to European hunting swords, like the shape of handle and guard, the belt stopper on the scabbard, and the often ribbed scabbard end. The mounts, and sometimes the blades, were probably inspired by such hunting swords that were worn by colonists.

This straight bladed sword or pedang lurus represents a fine example of 19th century Javanese silverwork. Also known as a pedang luwuk, the pedang lurus is associated with central Java, particularly Surakarta and to a lesser extent Yogyakarta, each being royal centres with kratons (palaces) and flourishing court arts.
The hilt has been cast, chased and engraved in high relief with rococo-inspired leafy and stylised flowering motifs. It is shaped as a stylised kris hilt which in town often are shaped as highly stylised wayang characters.
The pomel is covered in sheet silver and has been lightly etched with foliate and floral motifs.
The scabbard is of plain sheet silver over a wooden base, and is beautifully engraved on both sides with a repeated serrated leaf and flower motiff.
The blade, in watered iron/nickel is straight and highly decoratively adorned
Overall, this is an beautiful pedang lurus in a form that is not often encountered.. REFERENCES
Avieropoulou Choo, A., Silver: A Guide to the Collections, National Museum Singapore, 1984.

Hardianti, E.S. & P. ter Keurs (eds.), Indonesia: The Discovery of the Past, KIT Publishers for De Nieuwe Kerk, Amsterdam, 2005.

National Museum Jakarta, Treasures of the National Museum Jakarta, Buku Antar Bangsa, 1997.

Van Zonneveld, A., Traditional Weapons of the Indonesian Archipelago, C. Zwartenkot Art Books, 2001.  read more

Code: 22571

A Fine Antique Indo-Persian 'Mace of Rostam' the Bull's Head Mace

A Persian all iron 'Mace of Rostam' the mighty Paladin of Persia. The mace's head is a full bull's head [after Rostam's Mace] with applied horns and ears, iron haft with traces of silver damascened decoration to all three sides of the bull's head. Good overall condition for age. See Allan and Gilmour fig.26 for a closely related example, and p.189 and 315 for a discussion of these maces. Rostam, sometimes spelled Rustam, was the son of Zal and Rudaba, and the most celebrated legendary hero in Shahnameh and Persian mythology. In Shahnameh, Rostam and his predecessors are Marzbans of Sistan (present-day Iran and Afghanistan). Rostam is best known for his tragic fight with Esfandiar; the other legendary Persian hero, for his expedition to Mazandaran (not to be confused with the modern Mazandaran province); and for tragically fighting and killing his son, Sohrab, without knowing who his opponent was. Rostam was eventually killed by Shaghad, his half-brother.

Rostam was always represented as the mightiest of Iranian paladins (holy warriors), and the atmosphere of the episodes in which he features is strongly reminiscent of the Parthian period. He was immortalized by the 10th-century Persian poet Ferdowsi in the Shahnameh, or Epic of Kings, which contains pre-Islamic Iranian folklore and history.

He rode the legendary stallion Rakhsh and wore a special suit named Babr-e Bayan in battles. While out hunting Rostam awoke from his sleep to find Rakhsh had gone missing. He was distraught at losing his beloved horse and he tracked him as far as the city of Samangan. Here he greeted the King and asked for his help to find Rakhsh.

While in Samangan, Rostam met the king's lovely daughter Tahmina. The Shahname describes her as elegant as a cypress tree. One night she came to his room:

' My name is Tahmineh; longing has torn

My wretched life in two, though I was born

The daughter of the king of Samangan,

And am descended from a warrior clan.

But like a legend I have heard the story

Of your heroic battles and your glory,

Of how you have no fear, and face alone

dragons and demons and dark unknown

Of how you sneak into Turan at night

And prowl the borders to provoke a fight,

Of how, when warriors see your mace, they quail

And feel their lionhearts within them fail.

I bit my lip to hear such talk, and knew

I longed to see you, to catch sight of you,

To glimpse your martial chest and mighty face-

And now God brings you to this lowly place.

If you desire me, I am yours, and none

Shall see or hear of me from this day on.'

But their time together was brief, because once Rakhsh was found, Rostam departed for his homeland. Nine months later Tahmina gave birth to a son Sohrab, who grew up to be a warrior like his father Rostam. Scene from the Shahnama: Garsivaz prostrating himself before Siyavush in the presence of Rustam. 14th century, 54cms  read more

Code: 22529

A Fine Edo Tsuba Kaga Kyoto Praying Mantis, Cricket Butterfly in Gold Inlay

Circa 1730 from the family of Air Marshal Lord Dowding, commander of the Royal Airforce in WW2. Iron plate inlaid with silver and gold superior Kaga Kyoto school tsuba of fine quality. After Hanabusa Itchō, a very popular subject in Japnese art in the late 17th to 18th century.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. 2.5 inches x 2.25 inches  read more

Code: 21757

An Exceptionally Beautiful Gold Hilted Sword With ‘Laminated Damascus’ Pattern Steel Blade. A Sword of Highest Museum Quality. An Indian Prince's Tulwar, Accompanied With His Oriental Annual 1838

A Maharajah's royal gold tulwar, with its superb running damascus steel blade, with a dominant flowing grain, and its engraved gold hilt in traditional Indo Persian tulwar style, finely decorated with scroll engraving and traditional oriental flowers. Mounted in its original velvet scabbard [now a little faded] with single gold hanging mount and gold chape. A royal tulwar such as the Maharajah Duleep Singh may have once worn as a boy, or, worn by a similar ranking Moghul prince. The gold on the hilt and mounts are applied sheets of hammered gold that are overlaid onto a steel base for additional strength.

A most fine gifted book with its companion fabulous sword with brown leather binding and gold title, with embossed pure gold leaf elephant and howdah to front and back covers. Scenes of India by Reverand Hobart Caunter B.D. with 22 engravings from drawings by Willian Daniell R.A.

We show a Victorian painting of the Maharajah Duleep Singh with his royal tulwar, who became the Sikh ruler of the Punjab when he was no more than a child. But with family intrigues and treachery never being far behind (not to mention the fact that the Punjab was such a valuable territory, dividing India from Afghanistan - the passage through which the Russians might threaten to enter India and therefore endanger the British rule) in due course the Punjab was annexed at the end of the second Anglo Sikh war. In 1849, when that short war ended, the boy maharajah gave up this throne to be raised by a British army officer, in whose care he eventually converted to Christianity - after which he was sent to England and raised as a gentleman aristocrat, well away from those who might have sought to use him as a political pawn. He became a very great favourite of Prince Albert and Queen Victoria. The portrait of Duleep above was painted by Victoria who called the prince her 'beautiful boy' and who often had him accompany her own family on holidays spent in the Isle of Wight. A sword brought to England in the time of the Raj. It is important to note that the Raj (in Hindi meaning 'to rule' or 'kingdom') never encompassed the entire land mass of the sub-continent.
Two-fifths of the sub-continent continued to be independently governed by over 560 large and small principalities, some of whose rulers had fought the British during the 'Great Rebellion', but with whom the Raj now entered into treaties of mutual cooperation.
The 'Great Rebellion' occurred in 1858 and saw the end of the East India Company and the creation of the Raj
Indeed the conservative elites of princely India and big landholders were to prove increasingly useful allies, who would lend critical monetary and military support during the two World Wars.
Hyderabad for example was the size of England and Wales combined, and its ruler, the Nizam, was the richest man in the world.
The word maharaja, literally great king, conjures up a vision of splendour and magnificence. The image of a turbaned, bejewelled ruler with absolute authority and immense wealth is pervasive and evocative, but it fails to do justice to his role in the cultural and political history of India.


From the beginning of the 18th century to the mid-20th century the changing role of the maharajas and their patronage of the arts, both in India and Europe, resulted in the production of splendid and beautiful objects symbolic of royal status, power and identity.
The secular and sacred power of an Indian king was expressed most spectacularly in the grand public processions that celebrated royal events and religious festivities. Riding a richly caparisoned elephant or horse, the ruler was lavishly dressed and jewelled and surrounded by attendants bearing symbolic attributes of kingship: a royal parasol, royal tulwar or dagger, chauri, fans and staffs of authority.The vision of a king in all his splendour was believed to be auspicious. It was central to the concept of darshan, the propitious act of seeing and being seen by a superior being, whether a god or a king. Although originally a Hindu notion, the idea of darshan became an integral aspect of kingship throughout the subcontinent. In India rulers were expected to exercise rajadharma, meaning the duties and behaviour appropriate to a king. These would include the protection of their subjects, the adjudication of disputes, and the ministering of justice and punishment. Martial skills were as important as administrative and diplomatic ones; as well as being wise and benevolent, kings were expected to be fierce warriors and skilled hunters. Rajadharma was also exercised through the patronage of poets, musicians, architects, artists, craftsmen and religious foundations. It was often the case, especially in the old days of empire, where student princes presented gifts of esteem such as these to favoured tutors at oxbridge.
Overall in scabbard 26.75 inches, blade 22.25 inches.  read more

Code: 22607