A Scarce Kingdom of Bavaria WW1 Medal Pair. A 1905 Bavarian Prinz Luitpold Pair With WW1 Honour {Hindenberg} Cross. The Honour Cross For WW1 Qualifying Veterans Throughout Imperial Germany & The German Kingdoms, Principalities, and Duchys

Rare Kingdom of Bavaria WW1 medal group. By an Armeebefehl dated 12. Marz 1905, Luitpold, Prinz von Bayern, regent of Bavaria, announced the creation of the Jubilee Medal (Jubilumsmedaille) for the Bavarian Army.
The event was the 70th anniversary of Luitpold's entering the army. This medal of merit is a bronze medal, oval in form. It is worn on a watered ribbon in the colours of the House and Knightly Order of St. Hubertus (cinnabar red with light green edges/zinnoberrot mit hellgrunen Randstreifen).

The obverse has a bust of Luitpold and the inscription "LUITPOLD PRINZ-REGENT VON BAYERN". The reverse has the inscription: "AM 70. JAHRESTAG MEINES DIENST-ANTRITTES DER BAYER. ARMEE GEWIDMET XII. III. MCMV."
Only 22,003 were ever awarded.

The only WW1 medal Adolf Hitler approved to be worn by WW1 recipients in their service in WW2. The Honour Cross of the World War 1914/1918 (German: Das Ehrenkreuz des Weltkriegs 1914/1918), commonly, but incorrectly, known as the Hindenburg Cross was established by Field Marshal Paul von Hindenburg, President of the German Republic, by an order dated 13 July 1934, to commemorate the distinguished deeds of the German people during the First World War. This was Germany's first official service medal for soldiers of Imperial Germany who had taken part in the war, and where they had since died it was also awarded to their surviving next-of-kin. Shortly after its issuance, the government of Nazi Germany declared the award as the only official service decoration of the First World War and further forbid the continued wearing of German Free Corps awards on any military or paramilitary uniform of a state or Nazi Party organization. The Honour Cross was modelled on the reverse side of the War Commemorative Medal of 1870/71 (Preußen Kriegsdenkmünze 1870-1871). The form of it awarded to combatants (the Frontkämpferkreuz) shows a laurel wreath encircling a medallion, with the dates "1914 1918". Crossed swords are between the arms, while the Honour Cross for non-combatants has no swords and has instead a wreath of oak leaves. Both crosses are in bronze. The Honour Cross for Next-of-Kin (commonly known as the Widows Cross), is black. The Honour Cross is worn suspended from a ribbon with black edges, two white stripes, and a red stripe between them. The ribbon for the Honour Cross for Next-of-Kin has these colours in a different order, having a white edge, with two black stripes on either side of a red stripe. They were frequently worn with the ribbon fashioned into a bow, with a pin on the back, which the mother or widow in question attached to her clothing. The application for this award had a time limit, which expired at the end of 1942.  read more

Code: 21990

Samurai Katana Signed Kaneuji Around 1680. With a Pair of Edo Ni Bu Ban Kin Rectangular ‘Bar’ Gold Coin Menuki. It Has an Amazingly Beautiful Polished Blade

All original Edo mounts and urushi lacquer saya. Very fine Edo fuchi kashira well executed high reliefs of arabesque vines or karakusa This style of carving is named Mino-bori it has withing the design a kiri clan mon of the empress tree, it was the Toyotomi clan, and the sword has matching kiri clan kamon of a pair of edo period 2 Bubankin gold coins. The Kiri-mon (paulownia patterns) is a generic name for Monsho (crests or coats of arms) that are based on paulownia. It is also called Toka-mon. Since it was incused on money such as koban (former Japanese oval gold coin) after Muromachi period. A very nice Tetsu, gold inlaid, Bushu school sukashi tsuba.
The blade has just returned from artisan re-polishing and looks really beautiful.

The original Edo period urushi lacquer on the saya is in simply excellent condition and shows most elegant simplicity, yet a most intricate patterning in the black lacquer. it reveals within that simplicity the finest craftsmanship and beauty worthy of a master of the art of urushi decor. Japanese lacquer, or urushi, is a transformative and highly prized material that has been refined for over 7000 years.

Cherished for its infinite versatility, urushi is a distinctive art form that has spread across all facets of Japanese culture from the tea ceremony to the saya scabbards of samurai swords

Japanese artists created their own style and perfected the art of decorated lacquerware during the 8th century. Japanese lacquer skills reached its peak as early as the twelfth century, at the end of the Heian period (794-1185). This skill was passed on from father to son and from master to apprentice.

The first rectangular gold coin was the Ichibu Ban Kin, or One Bu Size Gold, introduced in 1599. This was long before any of the other forms of Japanese bar money, and it’s uncertain why it originated. Regardless, it circulated all the way through 1869 with a whopping 16 different varieties.

However, the overall design remained consistent throughout the years. Both sides are bordered by raised dots, and the obverse reads “Ichibu” (One Bu), with Kiri crests above and below. These crests represent the flower of the Paulownia tree, the symbol of the Office of the Prime Minister of Japan. The reverse features the signature of Mitsutsugu.

Over the years, they became smaller and were debased, from 85.7% to 57.4% gold. Even with such a long mintage, all varieties of these coins are rare today. Released in 1818, the Ni Bu Ban Kin (Two Bu Size Gold) was intended to make commerce easier. Most of the Koban coins in circulation by that point were broken, and this thicker, stronger rectangular coin was meant to replace them. Damaged Koban coins could be converted for free, provided they weren’t missing too much of their gold content.

However, people were not satisfied. The Ni Bu Ban Kin consisted of lower quality gold and was generally seen as a less reliable coin, so they didn’t see wide circulation. They started with 56.3% gold but were debased to only 22.3% by 1868.

In design, they are almost to the Ichibu Ban Kin. They are larger, of course, and have the denomination “Ni Bu” inscribed on the obverse, but all other elements are the same.

39 inches long in saya total. Blade length tsuba to tip, 27.25 inches.  read more

Code: 24373

A Good & Rare Antique, Malaysian, Kampilan Sword. A Sword Very Rarely Seen in Europe. The Kapampangan Name of the Kampilan was "Talibong" and The Hilt on the Talibong Represented the Dragon Naga,

A rare antique tribal sword, with a somewhat crude carved hilt, but superbly effective in the terrain and jungles of the Philippines.

The standard kampilan is a type of single-edged long sword, used in the Philippine islands of Mindanao, Visayas, and Luzon. This unusual variant has a long 33.5 inch double edged blade more reminiscent of a European broadsword, more similar to the sword of Datu Lapu-Lapu, legendary warrior Philippine king of the Mactan. Very likely a good early German trade blade.

The kampilan has a distinct profile, with the tapered blade being much broader and thinner at the point than at its base, sometimes with a protruding spikelet along the flat side of the tip and a bifurcated hilt which is believed to represent a mythical creature's open mouth.

The Maguindanao and the Maranao of mainland Mindanao preferred this weapon as opposed to the Tausug of Sulu who favoured the barung. The Kapampangan name of the Kampilan was "Talibong" and the hilt on the Talibong represented the dragon Naga, however the creature represented varies between different ethnic groups. Its use by the Illocanos have also been seen in various ancient records.

A notable wielder of the kampilan was Datu Lapu-Lapu (the king of Mactan) and his warriors, who defeated the Spaniards and killed Portuguese explorer Ferdinand Magellan at the Battle of Mactan on April 27, 1521.

The mention of the kampilan in ancient Filipino epics originating from other non-Muslim areas such as the Hiligaynon Hinilawod and the Ilocano Biag ni Lam-Ang is possible evidence for the sword's widespread usage throughout the archipelago during the ancient times. Today, the kampilan is portrayed in Filipino art and ancient tradition. The hilt is quite long in order to counterbalance the weight and length of the blade and is made of hardwood. As with the blade, the design of the hilt's profile is relatively consistent from blade to blade, combining to make the kampilan an effective combat weapon.

The complete tang of the kampilan disappears into a crossguard, which is often decoratively carved in an okir (geometric or flowing) pattern.The guard prevents the enemy's weapon from sliding all the way down the blade onto bearer's hand and also prevents the bearer's hand from sliding onto the blade while thrusting.

The most distinctive design element of the hilt is the Pommel, which is shaped to represent a creature's wide open mouth. The represented creature varies from sword to sword depending on the culture. Sometimes it is a real animal such as a monitor lizard or a crocodile, but more often the animal depicted is mythical, with the naga and the bakonawa being popular designs. Some kampilan also have animal or human hair tassels attached to the hilt as a form of decoration.

No scabbard  read more

Code: 16828

A Wonderful, Around 1200 Year Old Original Viking Bronze Ring, Four Claw Bezel Setting With Its Original Amber Glass Cabochon Gem. Punched Dot Decor Around The Ovoid Surround Of The Claw Setting

Like many of our selection of antiquities, many originally arrived in England as souvenirs of a Grand Tour, from around 200 years ago. Two such pieces were Viking rings, around 1200 years old, recovered from Normandy, Northern France. Likely from the Viking sieges of Paris.

Although feminine in its appearance men wore such rings as did female Viking warriors.

While the majority of Viking warriors were men, some women actively participated in combat as shieldmaidens, and their presence is attested in historical texts and archaeological findings.

A notable example is the Birka female Viking warrior, whose grave was found to contain weapons like a sword, ax, spear, and shields. DNA analysis confirmed the individual was female, challenging earlier assumptions that the grave belonged to a male warrior.

Viking sagas and historical accounts mention shield-maidens, women who fought alongside men. These stories often depict them as skilled warriors, sometimes even legendary figures. Valkyries: In Norse mythology, Valkyries were female figures who chose which warriors would die in battle and be taken to Valhalla.
The evidence suggests that while Viking women warriors were not the norm, their presence in battles and as figures in legends and sagas is undeniable. The discovery of the Birka female warrior { a Viking warrior, whose grave was found to contain weapons like a sword, ax, spear, and shields. DNA analysis confirmed the individual was female, challenging earlier assumptions that the grave belonged to a male warrior.} and other archaeological finds, along with historical accounts, have contributed to a more nuanced understanding of the role of women in Viking society and warfare.

Saxo Grammaticus reported that shield-maidens fought on the side of the Danes at the Battle of Brávellir in the year 750:
"Now out of the town of Sle, under the captains Hetha (Heid) and Wisna, with Hakon Cut-cheek came Tummi the Sailmaker. On these captains, who had the bodies of women, nature bestowed the souls of men. Webiorg was also inspired with the same spirit, and was attended by Bo (Bui) Bramason and Brat the Jute, thirsting for war."

There were two Norse sieges of Paris. The first was in 845; and though a fairly minor affair in terms of battle, it had great symbolic significance. The second was roughly two generations later, in 885-886; was much larger (and deadlier); and had greater direct ramifications. Before the first siege, Viking raids were a new and growing problem for the peoples of Western Europe; but hitherto raids had been made by relatively small war bands bent on plunder. The Scandinavian adventurers might sack monasteries or villages, but would usually shun larger, better defended targets (Churchill, 1956). However, success was making the Norsemen bolder.

Aware of this growing threat, the aging emperor, Charlemagne, built a series of maritime defenses to protect his coasts and rivers from these new dragon ships. For the first few decades, the defenses worked; but the Vikings were growing in number, ability, and ambition and a new breed of leaders was coming to the fore. One of these leaders was a man the Frankish chroniclers call Reginheri; but who has since been widely equated with the semi-legendary figure Ragnar Lothbrok (Dzhak, 2016). Under Ragnar, Vikings were ready to step foot on the world stage. They were ready to capture the jewel of Western Europe, the city of Paris.

So, in Spring of 845, 120 dragon ships carrying about 5000 Scandinavian warriors, broke through the late emperor’s defenses and surrounded the walled city of Paris (Dzhak, 2016). In the ninth century, Paris was already more than a thousand years old. It was wealthy from its position as a trading center, and was the seat of one of Charlemagne’s three competing heirs, Charles the Bald. At this time, the heart of the city was confined to the islands in the center of the Seine, the Île de la Cité where the cathedral of Notre Dame stands today. This position made Paris eminently defensible in the eyes of the Frankish elite that ruled there; but it made it easily surrounded by the ship-born Vikings.

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.
1 inch, maximum ext. size, UK ring size, 0 1/2  read more

Code: 25803

A Most Attractive, Serpent, Bronze Age Power Bracelet, Armilla, & Arm Ring. A Fabulous 1000 B.C. Arm Adornment, With Most Beautiful Natural Aged Patination Colour of Rich Emerald Green, In Superb Condition With Substantial Heft & Gravitas

Ancient Bronze Age, in D section form, around 3000 years old.

Armillae , bracelets worn by the Ancient Romans, in both the early republic era and the later imperial age, from Augustus, the 1st Emperor, thereafter. They were always a sign of status and power, alongside the status ring, and often, when the shape of a serpent, they were to represent renewal and immortality.

The serpent was associated with the goddess Salus protector of health and well-being, making these bracelets highly sought after in ancient civilizations. In the pre-Roman era they often had a connection to Cernunnos, the ram horned serpent. A Celtic pagan deity, sometimes depicted with horns, and, as a serpent, Cernunnos represents the earth, fertility, and the cycles of nature.

In recovered ancient art and statuary one can see great warriors and nobles adorned with such serpent based arm rings, especially in Ancient Egypt representing the Sacred Serpent Goddess Wadjet

Snake jewelry was not limited to Egypt in the Ptolemaic and Roman Periods, and, in fact, was not a traditional Egyptian sort of jewelry adornment before the Ptolemaic Period although it was very popular as an art form. Bracelets with animals, including snakes, appeared in Western Asia from about the eighth century BC, and spread to Greece in the fifth century BC, and came to Egypt mainly with the Ptolemaic Dynasty. In Greek culture there were certainly healing associations with snakes, but there may have been other associations, too.

Pictures in the gallery are of Ancient Egyptian wall art from tombs, depicting figures adorned with Wadget snake Goddess bracelets, arm rings, and crowns. Detail, from the second gilded shrine of King Tutankhamen, 13th century BCE

(Left) detail paintings of “The Roses of Heliogabalus,” Lawrence Alma-Tadema, 1888 | (Right) and “Portrait of Simonetta Vespucci,” Piero di Cosima, 1480

Gold Snake Rings, Roman Period, 1st century AD, the Metropolitan Museum of Art

2.6 inches across, just under 3 ounces in weight, maximum thickness 0.4 inch  read more

Code: 25804

Ancient Roman Gladiator's Aes Corinthiacum Bronze Ring, Of A Colosseum Barbary Lion Late Old Republic Era To Early Empire Period. Over 2000 Years Old. Made & Used From the Reigns of Julius Caeser to Emperor Trajan

Over 2000 years old. Unusually it is a good wearable size. UK size R

*Corinthian bronze, also named Corinthian brass or aes Corinthiacum, was a metal alloy in classical antiquity. It is thought to be an alloy of copper with gold or silver (or both), although it has also been contended that it was simply a very high grade of bronze, or a kind of bronze that was manufactured in Corinth.

The wearing of the ring was the prerogative alone of Roman citizens or those of high rank and esteem, that some gladiators always aspired to but rarely achieved due to their short life span within their violent craft. However some did achieve such great success and were rewarded with riches, freedom and the right to wear the traditional Roman bronze status ring. Gladiators rings would be intaglio engraved depicting the exotic and fearsome beasts they fought, such as Lions, Tigers, Bears, Rhinocerous or even Sharks in giant water tanks complete with ships, or, armoured gladiators in combat. Could one imagine simply the logistics of transporting live sharks from the sea into the middle of Rome, it is simply astounding.

Julius Caesar (though he was never officially an emperor, he held the title of dictator perpetuo and is often considered the precursor to the imperial system)
The Julian Dynasty
Augustus (also known as Octavian, he was the first official emperor, reigning from 27 BC to AD 14)
Tiberius (reigned from AD 14 to 37)
Caligula (reigned from AD 37 to 41)
Claudius (reigned from AD 41 to 54)
Nero (reigned from AD 54 to 68)
The year of the 4 emperors, preceded by reign dates.
June 68 - Jan 69: Galba
Jan 69 - Apr 69: Otho
Apr 69 - Dec 69: Vitellius

The Flavian Dynasty
69 - 79: Vespasian
79 - 81: Titus
81 - 96: Domitian

The Nerva-Antonine Dynasty
96 - 98: Nerva
98 - 117 a.d.: Trajan

The Gladiators from Caeser to Trajan
In 65 BC, newly elected curule aedile Julius Caesar held games that he justified as munus to his father, who had been dead for 20 years. Despite an already enormous personal debt, he used 320 gladiator pairs in silvered armour. He had more available in Capua but the senate, mindful of the recent Spartacus revolt and fearful of Caesar's burgeoning private armies and rising popularity, imposed a limit of 320 pairs as the maximum number of gladiators any citizen could keep in Rome. Caesar's showmanship was unprecedented in scale and expense; he had staged a munus as memorial rather than funeral rite, eroding any practical or meaningful distinction between munus and ludi.

Gladiatorial games, usually linked with beast shows, spread throughout the republic and beyond. Anti-corruption laws of 65 and 63 BC attempted but failed to curb the political usefulness of the games to their sponsors. Following Caesar's assassination and the Roman Civil War, Augustus assumed imperial authority over the games, including munera, and formalised their provision as a civic and religious duty. His revision of sumptuary law capped private and public expenditure on munera, claiming to save the Roman elite from the bankruptcies they would otherwise suffer, and restricting gladiator munera to the festivals of Saturnalia and Quinquatria. Henceforth, an imperial praetor's official munus was allowed a maximum of 120 gladiators at a ceiling cost of 25,000 denarii; an imperial ludi might cost no less than 180,000 denarii. Throughout the empire, the greatest and most celebrated games would now be identified with the state-sponsored imperial cult, which furthered public recognition, respect and approval for the emperor's divine numen, his laws, and his agents. Between 108 and 109 AD, Trajan celebrated his Dacian victories using a reported 10,000 gladiators and 11,000 animals over 123 days.

*Pliny the Elder distinguished it into three kinds, depending on the metal that is added to the copper base: in the first, gold is added (luteum); in the second, silver (candidum); in the third, gold, silver, and copper are equally blended. Plutarch and Cicero both comment that Corinthian bronze, unlike many other copper alloys, is resistant to tarnishing, and the ring certainly appears to have resisted tarnishing at the bottom two thirds of the intaglio seal engraving.  read more

Code: 25491

British Early Victorian Jacob Pattern Pierced Scroll Hilted Cavalry Sword, With Quill Back Blade. Also Known As The Rare Scinde Horse Pattern. A Most Beautiful and Exceptionally Elegant British Cavalry Sabre From the Earliest Raj Period of India

Complete with its original red cloth lined original buff hide hilt liner.
Just returned from our conservation workshop, to clean, conserve and hand polish the sword throughout, that enquired over 40 hours specialist attention

An absolute beauty of a most rare British officers cavalry sabre of the 1850’s. A rare ‘Jacob pattern’ sword, it is a type of British cavalry officer's sword that originated with John Jacob of the Scinde Irregular Horse. Bespoke commissioned from James Fisher of 37 Duke St, St James', London. Later it inspired the 1857 Royal Engineers Officer's sword, then to he mounted with the regular Wilkinson pattern blade. The Pierced Scroll {acanthus} Hilted Cavalry Sword with a Quill Back Blade is a unique and historically significant sword design, prized for its distinctive hilt and blade construction, optimized for mounted combat. The design is attributed to John Jacob, who raised the Scinde Irregular Horse.
The Scinde Horse, originally known as the 14th Horse, was an irregular cavalry regiment in British India. John Jacob, a prominent figure in the regiment, was instrumental in developing the sword pattern. The sword was popular during a period when swords were still in active use by cavalry, even as firearms were becoming more prevalent.

The Scinde Horse Pattern officer’s sword is distinct from other British cavalry swords, such as the Pattern 1821 Officers Undress Sword and the much later Pattern 1908 cavalry sword. The Pattern 1821 had a pipe-backed, double-edged blade, while the Pattern 1908 was the last service sword issued to the British cavalry and is considered by some to be the most effective.

The Scinde Horse Pattern sword is specifically recognized for its distinctive hilt and its association with the Scinde Horse regiment and John Jacob

The Quill Back Blade: First designed and used during the late Napoleonic wars
The blade's spine is hollowed out, creating a lighter blade with a distinctive profile. This design allows for a good balance between cutting and thrusting.

The Scinde Horse was raised to protect the British Caravans traversing the Spice Route - from the Bolan Pass in Afghanistan, to the Indus at Sukkur and then via Fort Abbas to Bikaner, Hissar and Delhi. The route through the Thar Desert via Jaisalmer was too difficult and dangerous. Since this involved corridor protection along the route, laying in ambush and also accompanying the caravans, they travelled mostly in civilian dress with weapons hidden to look inconspicuous. As a result, they were popularly called "The Scinde Irregular Horse". The term Irregulars is carried with pride amongst Scinde horsemen to this day as they have consistently surprised the adversary both in times of war and in competitions during peace to gain an upper hand. The Irregulars have always thought "out of the box" and accomplished the seemingly impossible.

The Regimental War Cry: The Scinde Horse Spirit is epitomised in its unique War Cry which spurs the Scinde Horse soldiers to decimate the enemy – Jai Mata Ki! Jai Chhatrapati Ki! Har Har Mahadev! Bole So Nihal – Sat Sri Akal! Hat Ja ___ Here I Come!!!

Battle of Meeanee

The Battle of Meeanee in The Illustrated History of the British Empire, as part of Sir Charles Napier's advance guard of his expeditionary force to conquer the province of Scinde, the Scinde Horse came across the forward elements of the combined forces of the Waziri tribals of Sind, led by Mir Nuseer Khan, entrenched in the Fulaillee Nala, near Meeanee, 23 miles ahead of Hyderabad, the capital town of Sind. Along with the Scinde Horse, there were amongst others, 5 Raj Rif (Napiers Rifles), the Cheshire Regiment and the Poona Horse, bringing up the rear, with the Madras Engineers providing engineering support. Not to be deterred, the regiment reconnoitred the area and made an outflanking move through dense forest and broken country, most unsuitable for horses. In an unparalleled outflanking manoeuvre in which over 70 horses died of fatigue, the Scinde Horse surprised the enemy by appearing at their rear and routed them in a cavalry charge, capturing the principal standard of Mir Nuseer Khan in the process. Seeing their Standard captured, the enemy capitulated and Sind was conquered. Sir Charles Napier cryptically signalled back "Pecavi" (I have Sinned (Sind)).

As a reward for this cavalry charge, unsurpassed in the annals of warfare, the regiment was presented eight cavalry standards (one per troop) and also allowed to retain Mir Nuseer Khan's principal standard, with the ‘Hand of Allah’ atop it, as its main Standard. This hand of Allah has played a major role in looking after the Regiment in times of need, ever since. The Scinde Horse has had the unique privilege of carrying Nine Standards on parade.

The Scinde Horse was tasked as the rear guard for the forces returning from the First Afghan Campaign. On 26 Feb 1878, it was at Khushk-e-Nakhud near the Afghan border that the regiment had taken an administrative halt and was carrying out saddlery inspection, that the early warning elements reported a large body of Afghan tribesmen approaching the camp. The men hastily gathered their weapons and mounted their horses, without saddles to engage the approaching enemy. The regiment, led by Maj Reynolds, charged the enemy before it could form up near the camp and routed them, killing many times their own numbers. Unfortunately, Maj Reynolds was martyred in this charge. Maj Douglas Giles, who was there, reduced an eyewitness account in a famous painting, 10' x 6', completing it in 1883. This painting was popularly displayed in the Louvre in Paris, from 1913 to 1921, till it found its final place in the Officers' Mess. It is unique in that it has every eye-catching detail. The colours used are from natural pigments and regain their brightness when exposed to the sun. In the Officers' Mess Ante Room, this painting is faced by a lone Horseman's Silver Trophy, representing Maj Reynolds. Ever after this Battle, The Scinde horseman never removes his sword from his person. "Taiyar-bar-Taiyar" they call it. That is why, in the Officer's Mess, now-a-days, where normally, the Belt is removed on entry, symbolising removal of the Sword, Scinde horsemen continue to wear their belt at all times

The antique militaria objects of British Raj Period are extremely scarce, and highly collectable throughout the entire world of militaria collectors, especially swords and headdress.

The sword is bright steel with highly attractive finish snd and a near mint VR cypher etched panelled blade with maker mark. The hilt is the pierced scroll ancanthus leaf pattern ceasing with its original wire bound sharkskin grip. It also has its very very rare, original red cloth lined original buff hide inner liner . The external steel does have traces of old surface age pitting.  read more

Code: 25818

Very Rare Ancient Dragon-Head Viking Fire-Starter, A 'Drepa Upp Eld'. Twin Interlinked Dragon Creating Finger Loops & Steel Striking Blade. Used With Amadou Touchwood Fungus {Fomes Fomentarius}. To Make Fire At Sea Sailing In a Viking Long Boat

Around 1100 years old.
The only other known example of this rarest type of Viking bronze and steel striker, is a specimen from a Chamber Tomb found in in Ekka, Birka, in Uppland. See a photo in the gallery of that example from the Historical Museum Historiska, Photo taken by Camilla Hällbrink, that one is also likely from second half of the 10th century. Museum item number 458255_HST.

How often is it one can own, a rarest original Viking artifact, that apparently, according to the national historical museum of Sweden, its only known similar surviving example is in that same museum in Sweden. Our example is of superior quality, and in much better condition. There are other styles that have been found, also in museums, but this is the rarest type.

Twin Viking Dragon Draken heads with open mouths, meeting at the apex, with long, scaled skin necks in circular loops with the tails being swallowed by the open mouths. Mounted holding a long steel striker blade. Like the ancient symbol of the snake swallowing its tail, it is said to represent 'infinity' and permanence.

Fire-Starting Using Flint and Steel. The term in Old Norse for percussion fire-making is drepa upp eld, from the verb drepa, "to strike, beat, knock; to produce by a blow or blows", thus drepa upp eld is "to strike up a fire." True flint and steel fire starting is a low temperature method of spark-based fire starting.

The Vikings, renowned for their seafaring prowess and ingenuity, utilized a unique method for creating fire that involved a specific type of fungus and urine. They employed the touchwood fungus, also known as Amadou (Fomes fomentarius), which grows primarily on birch and beech trees. This fungus, when processed correctly, becomes highly flammable. The Vikings would boil the fungus for several days, then soak it in human urine. The urine contains nitrates, which, when absorbed by the fungus, significantly enhance its ability to catch and sustain a flame.
After the fungus had soaked long enough to absorb sufficient nitrates, it was dried and pounded into a soft, fibrous material. This prepared fungus could then be easily ignited with a spark, making it an excellent tinder for starting fires in harsh and damp conditions. This innovative use of natural resources showcases the Vikings' deep understanding of their environment and their resourcefulness in overcoming the challenges posed by their often cold and wet climate. Their ability to produce reliable fire under adverse conditions, such as in violent stormy seas, was crucial for survival, navigation, and their various activities, including cooking and metalworking.

Every Viking torch lit march had to use exactly such a device to create the flame, every camp fire and every flaming arrow needed exactly this amazing piece of Viking history.

In the gallery are two 19th century paintings by
Everhardus Koster
& Frank Dicksee 1893

Hällbrink, Camilla, Historical Museum


Location: Björkö, North of Borg, Ancient monument: L2017:1478, Parish: Adelsö parish, Municipality: Ekerö municipality, Region: Uppland, Country: Sweden 1878  read more

Code: 25814

A Super Roman Dagger Pommel and Scabbard Mount. Around 2000 Years Old, From 100 bc to 100 ad

From the Roman Republican to Imperial Rome era. Made for and used by a Roman noble, senator or gladiator. It may even be the same form of dagger that was used to assassinate Caeser on the Ides of March. The blade grip and scabbard have not survived as is more than usual. A superb pair of Roman dagger mounts from the historical time of Julius Caeser, the first Emperor, Augustus, Mark Anthony and Cleopatra, and last, but not least, Jesus of Nazareth. The Ides of March comes from the ides, a term the Romans used to note the middle of a month. Every month has an ides around the middle (as well as a calends at the beginning of the month and nones eight days before the ides). The Ides of March feels special for a couple of reasons: it's the day Caesar was murdered, and it's the subject of a soothsayer's spooky prophecy in William Shakespeare's Julius Caesar. Before Caesar, Roman nobility and military were free to plunder the provinces they ruled. But under Caesar, Rome controlled the process and sent inspectors to check up on everything, so they could only exploit their provinces under Caesar's supervision.

That slight was compounded by Caesar's rebranding of political real estate in his name ? he built statues in his image and renamed monuments for himself. He brought power to his family by giving them political appointments and honorifics, and drew allies outside the charmed circle of Roman nobility, like his soldiers and leaders in the provinces. As far as epic betrayals go, we tend to imagine Brutus in the same league as Judas. In reality, that infamy should be reserved for someone called Decimus.

Caesar trusted Decimus much more than he trusted Brutus ? and that made his betrayal more shocking. Misspelled in Shakespeare's Julius Caesar as "Decius," Decimus was much more important than most of us realize. "There were three leaders of the assassins' conspiracy, Brutus, Cassius, and Decimus." Decimus dined with Caesar the night before his assassination and convinced Caesar to leave his house the next morning (he was staying home because his wife, Calpurnia, was worried). Decimus' betrayal followed an adult life spent at Caesar's side. Brutus, however, had often fought against Caesar, like when he took Pompey's side against Caesar in the Civil War that lasted from 49 to 45 BC. He only came over to Caesar's side after a handsome cash award and profitable political appointment. When he was stabbed, most of the sources say he tried to get up and escape. Unfortunately for Caesar, the conspirators were trained soldiers, so they'd formed a tight perimeter. "They knew how you carry out an ambush,and some of the senators were assigned the job of crowd control."

As far as what Caesar said when he died, "Et tu, Brute" is a Renaissance invention. But Caesar did perform a few resonant gestures. He tried to escape, like any soldier would, but when death was near, he covered his face before he died. It may have been an attempt to preserve his dignity. Bibilography; Professor Strauss, Cornell, Classics and History. As with all our items it comes complete with our certificate of authenticity.  read more

Code: 21864

A Fabulous 10th to 12th Century, Crusader Knights Period, Original, Large Reliquary Pectoral Cross Pendant, Crucifix. Possibly Cleaved By a Sword Cut

With a deep relief cast Jesus Christ on the cross, dressed with a long robe (sticharion) and single remaining flanking small figure (probably Saint John) to Christ’s right, the left arm has been struck off and now missing. It may well have been damaged by such as a sword cut, breaking off an arm and separating the crucifix into town pieces, of course this is only speculation. Christ stands on a pedestal that resembles a suppedaneum used to support the feet in a crucifixion.

The hollow portion formed inside the box was intended for the sacred relic that the faithful would have worn around the neck. Part of the amazing collection of Crusades period Crucifixes and reliquary crosses for the early Anglo Norman Crusader knights and Jerusalem pilgrims. As used in the early Crusades Period by Knights, such as the Knights of Malta Knights Hospitaller, the Knights of Jerusalem the Knights Templar, the Knights of St John.The new Norman rulers were culturally and ethnically distinct from the old French aristocracy, most of whom traced their lineage to the Franks of the Carolingian dynasty from the days of Charlemagne in the 9th century. Most Norman knights remained poor and land-hungry, and by the time of the expedition and invasion of England in 1066, Normandy had been exporting fighting horsemen for more than a generation. Many Normans of Italy, France and England eventually served as avid Crusaders soldiers under the Italo-Norman prince Bohemund I of Antioch and the Anglo-Norman king Richard the Lion-Heart, one of the more famous and illustrious Kings of England. An encolpion "on the chest" is a medallion with an icon in the centre worn around the neck upon the chest. This stunning and large neck worn example is bronze front panel. 10th to 12th century. The hollow portion formed inside the cross was intended for the sacred relic that the faithful would have worn around the neck. The custom of carrying a relic was largely widespread, and many early bronze examples were later worn by the Crusader knights on their crusades to liberate the Holy Land. Relics of the True Cross became very popular from the 9th century, and were carried in cross-shaped reliquaries like this, often decorated with enamels, niellos, and precious stones. The True Cross is the name for physical remnants from the cross upon which Jesus Christ was crucified. Many Catholic and Orthodox churches possess fragmentary remains that are by tradition believed to those of the True Cross. Saint John Chrysostom relates that fragments of the True Cross were kept in reliquaries "which men reverently wear upon their persons". A fragment of the True Cross was received by King Alfred from Pope Marinus I (Anglo-Saxon Chronicle, year 883). An inscription of 359, found at Tixter, in the neighbourhood of Sétif in Mauretania, was said to mention, in an enumeration of relics, a fragment of the True Cross, according to an entry in Roman Miscellanies, X, 441.

Fragments of the Cross were broken up, and the pieces were widely distributed; in 348, in one of his Catecheses, Cyril of Jerusalem remarked that the "whole earth is full of the relics of the Cross of Christ," and in another, "The holy wood of the Cross bears witness, seen among us to this day, and from this place now almost filling the whole world, by means of those who in faith take portions from it." Egeria's account testifies to how highly these relics of the crucifixion were prized. Saint John Chrysostom relates that fragments of the True Cross were kept in golden reliquaries, "which men reverently wear upon their persons." Even two Latin inscriptions around 350 from today's Algeria testify to the keeping and admiration of small particles of the cross. Around the year 455, Juvenal Patriarch of Jerusalem sent to Pope Leo I a fragment of the "precious wood", according to the Letters of Pope Leo. A portion of the cross was taken to Rome in the seventh century by Pope Sergius I, who was of Byzantine origin. "In the small part is power of the whole cross", says an inscription in the Felix Basilica of Nola, built by bishop Paulinus at the beginning of 5th century. The cross particle was inserted in the altar.

The Old English poem Dream of the Rood mentions the finding of the cross and the beginning of the tradition of the veneration of its relics. The Anglo-Saxon Chronicle also talks of King Alfred receiving a fragment of the cross from Pope Marinus (see: Annal Alfred the Great, year 883). Although it is possible, the poem need not be referring to this specific relic or have this incident as the reason for its composition. However, there is a later source that speaks of a bequest made to the 'Holy Cross' at Shaftesbury Abbey in Dorset; Shaftesbury abbey was founded by King Alfred, supported with a large portion of state funds and given to the charge of his own daughter when he was alive – it is conceivable that if Alfred really received this relic, that he may have given it to the care of the nuns at Shaftesbury

Most of the very small relics of the True Cross in Europe came from Constantinople. The city was captured and sacked by the Fourth Crusade in 1204: "After the conquest of the city Constantinople inestimable wealth was found: incomparably precious jewels and also a part of the cross of the Lord, which Helena transferred from Jerusalem and which was decorated with gold and precious jewels. There it attained the highest admiration. It was carved up by the present bishops and was divided with other very precious relics among the knights; later, after their return to the homeland, it was donated to churches and monasteries.To the category of engolpia belong also the ampullae, or vials or vessels of lead, clay or other materials in which were preserved such esteemed relics as oil from the lamps that burned before the Holy Sepulchre, and the golden keys with filings from St. Peter's chains, one of which was sent by St. Gregory the Great to the Frankish King Childebert.

Encolpion, a different anglicization of the same word, covers the early medieval tradition in both Eastern and Western civilisation.

Surface in very good condition, right arm broken off, with typical natural aged patina with encrustations. As with all our items it comes complete with our certificate of authenticity.  read more

Code: 23496