3rd Century Roman Axe-Adze 'Dolabra' Roman Empire to Byzantine Period For The Construction of Military Forts & Bridges, To The Making of Seige Weapons, Such as Catapulta and Ballista In Times Of Combat Used From the 3rd to 14th Century. A Tool & Weapon

In complete condition, without repair and restoration, The form used by Rome for over a 1000 years. Just arrived after two weeks of hand conservation in our workshop.
Ancient Roman utility axe used from the construction of military forts and bridges, to the making of seige weapons in time of combat, and it doubled as an incredibly effective combat weapon. Almost identical to another iron dolabra recovered recently from the Harzhorn event, from the time of Emperor Maximinus Thrax 235 to 236 ad .{see photo in the gallery.}
The Roman Battle of Harzhorn ;
The battle between Roman legionaries and auxiliary troops and Germanic tribes around 235 AD on the western edge of the Harz Mountain.

The axe was a fundamental weapon of the Roman to Byzantine soldiers - both on foot and on horseback. Aside from combat, one of the main utility tools of the Roman army was the axe. The adze axe was useful in splitting wood and a fundamental tool needed to do everything from constructing military forts, to building large siege weapons such as catapulta and ballista. In times of war, these axes doubled as highly effective weapons, able to defeat armour, breaking bones and crushing skulls with a single blow. This specific adze axe 'dolabra' was found on an ancient battlefield with a large number of other iron weapons, over a century ago, indicating its final use was in combat. It has now been professionally cleaned and conserved by us recently..

This item was used by the Imperial Roman army and its type by the Byzantine Roman armies defending the Empire's northern border along the Danube River in the present day East Balkans. This region was the northern-most boundary of the Roman Empire for most of its duration and evolution into Byzantium right up until 1336 AD when the area fell under Ottoman rule. In the Balkans, Roman camps and fortresses along the Danube were constantly being challenged by opposing tribes and armies. The river served as a natural barrier against attacks from the north. Collected from a region that was once occupied by the Byzantine Roman military as they fought against the challengers of the Christian Roman Empire, they were utilized by Roman soldiers in one of the many violent and frequent battles that took place in defense of Byzantium.

The dolabra is a versatile axe, of two main types, used by the people of Italy since ancient times. The more curved and longer dolabra could serve as a pickaxe, used by miners and excavators, a priest's implement for ritual religious slaughtering of animals and as an entrenching tool (mattock) and further used in Roman infantry tactics. The shorter less curved regular dolabra (like this one) was used for both construction and combat In the 1st century CE, at the Siege of Augustodunum Haeduorum, where famously, armoured Gallic gladiators were defeated by legionaries wielding such dolabrae. See depictions carved into Trajans column in the gallery for their use in combat.
The Siege of Augustodunum Haeduorum (modern Autun, France) took place between 269 and 270 AD, during the reign of the Gallic Emperor Victorinus. The city, which had declared allegiance to Claudius Gothicus, was besieged by Victorinus' troops for seven months before being captured and plundered.

Early Roman Dolabra.
General Gnaeus Domitius Corbulo famously once said, "you defeat the enemy with a pickaxe"

We show in the gallery a recently excavated near pair to our dolabra found in the famous Harzhorn Event. Not only is it a near identical pair to ours, it was in the identical condition state as ours before both were conserved. See the photo of theirs and ours side by side in the gallery before and after conservation. Note the state of corruption of our iron dolabra {before connservation} is absolutely identical to the state of iron corruption of the Battle of Harzhorn recovered dolabra, before conservation, that had remained buried for around 1800 years, just as was ours.

The term Harzhorn event refers to several connected battles that took place between several thousand Roman legionaries and their auxiliary troops and an unknown number of Germanic tribes around the year 235/236 on the western edge of the Harz Mountains on the Harzhorn hill and represent a comparatively late example of the military presence of the Romans in Germania .

The archaeological sites are located near the Kalefeld district of Wiershausen on the northern edge of the Northeim district of Lower Saxony and initially covered an area of ​​2.0 × 0.5 kilometers (as of April 2009). At the end of 2010, another extensive site was discovered approximately three kilometers away. Both sites are considered by the scientists commissioned to investigate them to be spectacular discoveries of extraordinary scientific importance: Along with the Kalkriese region, they are the best-preserved ancient battlefield in Europe. This offers a unique opportunity to examine the archaeological remains of a Roman army engaged in combat.

To date, around 1,700 artifacts from the fighting have been found (as of summer 2013). Along with the Roman camp at Hedemünden , the Bentumersiel site , the Roman marching camp at Wilkenburg, and the Kalkriese region, the sites around the Harzhorn are one of the largest sites of Roman militaria in northern Germany. This find is also significant because of its context in the historical events at the beginning of the so-called Imperial Crisis of the 3rd century . Previously, historical research had considered such wide-ranging military operations by the Romans to be impossible at this time and in this area. According to current evidence, it is almost certain that the battle belongs in the context of the Germanic Wars of Emperor Maximinus Thrax in 235 and 236.

Dolabrae are mentioned several times in ancient literature, are depicted on the reliefs of Trajan's Column and appear in the finds of imperial military camps, but also in battlefield finds such as in Kalkriese.

11 inches long 2.1 pounds in weight.  read more

Code: 25810

Most Rare & Desirable, Roman Legionary's Status Ring, An Original Ancient Roman Bronze Ring Engraved With A Roman Legion’s Eagle Around 1900 to 2000 Years Old From The Era From Emperor Augustus to Emperor Commodus

A fabulous Ancient Roman bronze Legionary's ring, in excellent condition for its great age, and very possibly a centurion as it was a symbol of status and high rank within a cohort of a Roman legion, from the era of the earliest and most famous emperors. The circular bezel is intaglio engraved with a stylized Legionary Eagle. In superb, original, natural age patina of a rich dark bronze colour. The eagle was a powerful symbol to the Roman military. With each Roman legion a special eagle-bearer (aquilifer) had the honour of carrying the Legionary Eagle standard into battle and to guard its existence. Unusually, it is a comfortably wearable sized ring {which is somewhat rare due to original ancient Roman rings and armilla being usually smaller sized} In copper bronze with stunning, natural age patination.. By far the greatest percentage of rings from the Roman era were engraved in the stylised form. The wearing of the ring was the prerogative alone of Roman citizens or those of high rank and esteem, and legionaries. Some gladiators always aspired to but rarely achieved the ring likely 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.

Made for and used by an Imperial German Legionary during the era of the following Emperors;

Augustus (27 BC–14 AD
Tiberius (14–37 AD}
Caligula (37–41 AD
Claudius (41–54 AD
Nero (54–68 AD
Galba (68–69 AD
Otho (January–April 69 AD
Aulus Vitellius (July–December 69 AD
Vespasian (69–79 AD
Titus (79–81 AD
Domitian (81–96 AD
Nerva (96–98 AD
Trajan (98–117 AD
Hadrian (117–138 AD
Antoninus Pius (138–161 AD
Marcus Aurelius (161–180 AD
Lucius Verus (161–169 AD
Commodus (177–192 AD

The eagle was a powerful symbol to the Roman military. With each Roman legion a special eagle-bearer (aquilifer) had the honour of carrying the Legionary Eagle standard into battle and to guard its existence.

During a battle, the standard was carried by the aquilifer, or "eagle-bearer."

The standard was the mode of communication for generals and troops. A horn blast would instruct the soldiers to look to the emblem, then the aquilifer would wave, raise, or lower it to direct the troops on their next move.

The bearer was also tasked with guarding the standard. In terms of rank, aquilifers fell just underneath centurions. Within the legion, they received higher pay and better rations than the typical soldier.

The standard served as a symbol to place the legion as a collective above the individual. Losing a standard was emotionally devastating because of its intense symbolism. When one was lost in battle, the surviving legionaries were left in shame for failing their fallen brothers in arms. The group promptly disbanded and members devoted themselves to reacquiring the lost icon.
Standards often included an image of the reigning emperor or his name beneath the eagle, adding to the importance of the symbol. In many instances, the eagle on the standard was perched above an orb, signifying Rome's dominion over the entire world.

Subdivisions of legions each carried a smaller standard that identified their group number or name. These were used to quickly assemble the components of the legion when mobilizing for battle.
Some of the most famous standards in Roman history were the ones lost at the Battle of Teutoburg Forest in 9 AD. During a long campaign to conquer Germania, the tribes lured three legions into the forest and launched a guerilla warfare campaign, slaughtering the Roman soldiers.

In 16 AD, General Germanicus led his Roman troops into Germania to seize the lost standards, crossing borders established by Augustus.
Eagles played a central role in Roman life and culture, right from the society's inception.

The aquila, or eagle, is one the most enduring symbols of Roman civilization.

While different animals and mythological creatures served as meaningful signifiers throughout the Republic and Imperial eras, the eagle continuously symbolized power and authority.

In the city's founding myth, the brothers Romulus and Remus agreed to settle their dispute over where to build their kingdom by letting the gods decide. Remus spotted six eagles and Romulus later spotted twelve of the birds.
The eagle was considered majestic and transcendent, to the point that live birds were often caged on emperors' funeral pyres. Once they broke free and flew skyward, the Romans considered it a manifestation of the deceased emperor's transition to godhood.

Ancient Romans esteemed the eagle and adopted it as a symbol of victory. Pliny the Elder wrote extensively on eagles, noting that they possessed excellent eyesight and were skilled parents.

Symbolically, he claimed eagles were the only creature immune to lightning strikes, underscoring their divinity. Up to modernity, eagles are depicted with lightning bolts clutched in their talons.
The earliest standard used by the Roman army was a bundle of straw affixed to a tall staff. Over time, the Romans began using emblems of eagles, wolves, minotaurs, horses, and boars.

Following a crushing defeat in 105 BC at the Battle of Arausio during the Cimbrian War, the Romans completed a self-assessment. The consul Gaius Marius led a reorganization of the military structure. Marius' reforms transformed the Roman legions from a loose militia into a professional fighting force.

As part of the restructure, he declared the eagle as the military's standard and retired the other four creatures mentioned above. Putting the emphasis on the eagle was meant to place its central qualities, bravery and power, at the forefront of the army's identity.

From the mid-Republican era onwards, the legion's standard was a bronze or silver Aquila with spread wings.

Outside diameter: 28mm, ring size UK S 1/2  read more

Code: 25702

A Stunning, Original, Ancient Roman-Egyptian Ist Cent BC Ancient Bronze 'Twin Headed' Cobra 'Ureas Ring' of the Sacred Serpent Goddess Wadjet, Late Egyptian Ptolomeic Period & the Roman Pharoahs Era. Worn In The Time of Anthony And Cleopatra

Circa 2020 to 2100 years old. From our amazing new collection of original, important, Imperial Roman, Egyptian, Viking, Medieval and Napoleonic War artefacts we just acquired

Romano-Egyptian coiled and engraved bronze twin serpent head ring, decorated and engraved heads and scales. An ureaus ring, from the time of Cleopatra, Julius Caeser and Mark Anthony.

The Uraeus is the name given to the symbol of a rearing cobra, used in ancient Egypt to denote royalty and divine authority. it has a special significance in Roman culture royalty and art, and especially with Cleopatra the last Egyptian Pharoah to wear the Nemes serpent crown, and who famously, allegedly comitted suicide utilizing the bite of the asp serpent.

The pharaohs, dynastic kings and queens of Egypt, wore the Uraeus symbol as a head ornament as part of their crown. As far back as the Old Kingdom (3rd millennium BCE) wearing the Uraeus serpent communicated the pharaoh's legitimacy in ruling the lands of Lower Egypt.

In hieroglyphics, the Uraeus was often used to refer to a priestess or a goddess such as Isis. One myth about the origin of the Uraeus symbol claims that Isis created the first Uraeus, forming it from dust and spit. Isis used the snake in order to win the throne of Egypt for Osiris, her husband.
Egyptian Snake Goddess
The Uraeus is the symbol of the Egyptian snake goddess Wadjet. One of the oldest deities in the Egyptian pantheon, Wadjet was worshiped as the patroness of the Nile Delta and the protector of Lower Egypt. The center of Wadjet's cult was Per-Wadjet. The snake symbol worn by the pharaohs was seen to symbolize Wadjet's protection of the pharaoh and her approval of his claim of sovereignty. Some goddesses were also depicted wearing the Uraeus upon their heads, suggesting that the Egyptians believed these goddesses embodied aspects of Wadjet or fell under her protection.

When the Upper and Lower Kingdoms of Egypt unified, an image of Nekhbet, the vulture goddess and patron of Upper Egypt joined the image of Wadjet as the Uraeus on the pharaoh's crown. The two goddesses were known as the Nebty, the two ladies, and were seen as joint protectors of the newly-unified kingdom. When the sun god Ra rose to prominence during the Middle Kingdom and the pharaohs began to be seen as manifestations of Ra, the Uraeus was believed to protect them by spitting fire from the sun onto their enemies.

The Roman pharaohs, rarely referred to as ancient Egypt's Thirty-fourth Dynasty, were the Roman emperors in their capacity as rulers of Egypt, especially in Egyptology. After Egypt was incorporated into the Roman Empire in 30 BC, the people and especially the priesthood of the country continued to recognise the Roman emperors as pharaohs, according them traditional pharaonic titularies and depicting them with traditional pharaonic garb, engaging in traditional pharaonic activities, in artwork and at temples throughout Egypt.
Cleopatra VII had affairs with Roman dictator Julius Caesar and Roman general Mark Antony, but it was not until after her 30 BC suicide (after Mark Antony's defeat against Octavian, who became Emperor Augustus) that Egypt became a province of the Roman Republic. Subsequent Roman emperors were accorded the title of pharaoh, although exclusively while in Egypt. As such, not all Roman emperors were recognized as pharaohs. Although Octavian made a point of not taking the Pharaonic crown when he conquered Egypt, which would have been difficult to justify to the wider empire considering the vast amount of propaganda which he had spread about the "exotic" behavior of Cleopatra and Antony, the native population of Egypt regarded him as the pharaoh succeeding Cleopatra and Caesarion. Depictions of Octavian, now called Augustus, in traditional pharaonic garbs (wearing different crowns and the traditional kilt) and sacrificing goods to various Egyptian gods were made as early as around 15 BC and they are present in the Temple of Dendur, built by Gaius Petronius, the Roman governor of Egypt. Even earlier than that, Augustus had been accorded royal titles in the Egyptian version of a 29 BC stele made by Cornelius Gallus, despite royal titles not being present in the Latin or Greek-language versions of the same text.

Approx I inch across

Last pictures in the gallery of Roman bust of a Roman emperor wearing the Egyptian Nemes serpent crown, and another Egyptian tomb figure wearing the Nemes crown in carved wood and gold.
As with all our items it comes complete with our certificate of authenticity  read more

Code: 25690

A Impressive Ancient Roman Dolabra Pick-Axe. General Gnaeus Domitius Corbulo Once Famously Said Of This Form Of Dolabra, "You Defeat The Enemy With a Pickaxe". Thus It Was Used For Combat & The Destruction of Fortifications. Used From The 1st Century

Gnaeus Domitius Corbulo (Peltuinum c. AD 7 – 67) was a popular Roman general, brother-in-law of the emperor Caligula and father-in-law of Domitian. The emperor Nero, highly fearful of Corbulo's reputation, ordered him to commit suicide, which the general carried out faithfully, exclaiming "Axios", meaning "I am worthy", and fell on his own sword.

Corbulo's early career is unknown but he was suffect consul in AD 39 during the reign of Caligula, his brother-in-law through Caligula's marriage to Corbulo's half-sister Milonia Caesonia.

After Caligula's assassination, Corbulo's career came to a halt until, in AD 47, the new Emperor Claudius made him commander of the armies in Germania Inferior, with a base camp in Colonia (Cologne).

The new assignment was a difficult one and Corbulo had to deal with major rebellions by the Germanic Cherusci and Chauci tribes. During his stay in Germania, the general ordered the construction of a canal between the rivers Rhine and Meuse. Parts of this engineering work, known as Fossa Corbulonis or Corbulo's Canal, have been found at archaeological digs. It ran largely parallel to the modern-day Vliet canal, which connects the modern towns of Leiden (ancient Matilo) and Voorburg (Forum Hadriani). Upon reaching lower Germania, Corbulo employed both the army and naval squadrons of the fleet patrolling the Rhine and the North Sea, eventually expelling the Chauci away from the Roman Provinces and instituting a rigorous training program in order to ensure maximum effectiveness of his legions. He supposedly executed two legionaries after they were found to have laid aside their swords when labouring in the construction of fortifications on a marching camp. Corbulo is famously, purported to have said, "You defeat the enemy with a pickaxe."
The Siege of Augustodunum Haeduorum
Legionaries used dolabrae to defeat armoured crupellarii gladiators.
An instance occurred in 21 AD during the Florus and Sacrovir revolt, where enemy rebels used heavily armored gladiators called crupellarii as their front ranks. The Romans could not pierce the armour of the crupellarii with their swords, so they retrieved their pickaxes and mattocks to batter the rebel gladiators into submission.

In complete condition, without repair and restoration, The form used by Rome for over a 1000 years.
This ancient Imperial Roman utility pick axe (dolabra) was used from the construction of military forts and bridges, to the destruction of enemy fortifications, and it further doubled as an incredibly effective weapon against armoured enemies of Rome, yet just as effective for the tearing down of walled defences. Another iron, axe-adze dolabra was recovered recently from the Harzhorn event, from the time of Emperor Maximinus Thrax 235 to 236 ad .{see photo in the gallery.}
The Roman Battle of Harzhorn ;
The battle between Roman legionaries and auxiliary troops and Germanic tribes around 235 AD on the western edge of the Harz Mountain.

The axe was a fundamental weapon of the Roman to Byzantine soldiers - both on foot and on horseback. Aside from combat, one of the main utility tools of the Roman army was the axe. The pick axe was useful in splitting wood and a fundamental tool needed to do everything from constructing military forts, to building large siege weapons such as catapulta and ballista. In times of war, these axes doubled as highly effective weapons, able to defeat armour, breaking bones and crushing skulls with a single blow and destroying enemy fortifications. This specific long adze axe 'dolabra' was found on an ancient battlefield with a large number of other iron weapons, over a century ago, indicating its final use was in combat. Professionally cleaned and conserved.

This item was used by the Imperial Roman army, and similar versions still used by later Byzantine Roman armies defending the Empire's northern border along the Danube River in the present day East Balkans. This region was the northern-most boundary of the Roman Empire for most of its duration and evolution into Byzantium right up until 1336 AD when the area fell under Ottoman rule. In the Balkans, Roman camps and fortresses along the Danube were constantly being challenged by opposing tribes and armies. The river served as a natural barrier against attacks from the north. Collected from a region that was once occupied by the Byzantine Roman military as they fought against the challengers of the Christian Roman Empire, they were utilized by Roman soldiers in one of the many violent and frequent battles that took place in defense of Byzantium.

The dolabra is a versatile utility axe {either axe -adze, or pick axe} used by the people of Italy since ancient times. This dolabra could serve as a pickaxe, used by miners and excavators, a priest's implement for ritual religious slaughtering of animals, as an entrenching tool (mattock) and also used in Roman infantry combat tactics. In the 1st century CE, at the Siege of Augustodunum Haeduorum, armoured Gallic gladiators were defeated by legionaries wielding dolabrae. The Siege of Augustodunum Haeduorum (modern Autun, France) took place between 269 and 270 AD, during the reign of the Gallic Emperor Victorinus. The city, which had declared allegiance to Claudius Gothicus, was besieged by Victorinus' troops for seven months before being captured and plundered.

Describing the Roman Dolabra.
Gnaeus Domitius Corbulo said, "you defeat the enemy with a pickaxe"

The term Harzhorn event refers to several connected battles that took place between several thousand Roman legionaries and their auxiliary troops and an unknown number of Germanic tribes around the year 235/236 on the western edge of the Harz Mountains on the Harzhorn hill and represent a comparatively late example of the military presence of the Romans in Germania .

The archaeological sites are located near the Kalefeld district of Wiershausen on the northern edge of the Northeim district of Lower Saxony and initially covered an area of ​​2.0 × 0.5 kilometers (as of April 2009). At the end of 2010, another extensive site was discovered approximately three kilometers away. Both sites are considered by the scientists commissioned to investigate them to be spectacular discoveries of extraordinary scientific importance: Along with the Kalkriese region, they are the best-preserved ancient battlefield in Europe. This offers a unique opportunity to examine the archaeological remains of a Roman army engaged in combat.

To date, around 1,700 artifacts from the fighting have been found (as of summer 2013). Along with the Roman camp at Hedemünden , the Bentumersiel site , the Roman marching camp at Wilkenburg, and the Kalkriese region, the sites around the Harzhorn are one of the largest sites of Roman militaria in northern Germany. This find is also significant because of its context in the historical events at the beginning of the so-called Imperial Crisis of the 3rd century . Previously, historical research had considered such wide-ranging military operations by the Romans to be impossible at this time and in this area. According to current evidence, it is almost certain that the battle belongs in the context of the Germanic Wars of Emperor Maximinus Thrax in 235 and 236.

Dolabrae are mentioned several times in ancient literature, are depicted on the reliefs of Trajan's Column and appear in the finds of imperial military camps, but also in battlefield finds such as in Kalkriese.

Picture 8 in the gallery is of our other Dolabra, identical to one found in a recent excavation at the Imperial Roman Harzhorn battle sites of 265AD, before conservation and after, compared to ours. Picture 10 is this long Dolabra before and after conservation. Note the state of corruption of both dolabra is absolutely identical to the state of iron corruption of the Battle of Harzhorn recovered dolabra, that had remained buried for around 1800 years, just as was ours.

11 inches long measured straight, 14 inches along its curvature. 2 pounds in weight  read more

Code: 25811

A Vintage Carved Aboriginal Culture Wunda Parrying Shield With a Chip Carving Design of Kangaroo and Emu.

Very nice quality & stands as a piece of art as well as an Aboriginal implement.
It is a good size (22" long x 4" at the widest) & handcarved from a heavy solid grain timber, possibly West Australian Mulga It is in very nice condition

Best of all is the quality of the decoration, it has one kangaroo and two emu on the back (handle side) & a wonderful scene with three kangaroos & two emu on the front. Even the background has been carved with a fine textured look which must have taken some time, no doubt the artist really had talent & took pride in the quality of their work.

Australian Aboriginal shield come in many different forms depending on the tribe that made them and their function. Aboriginal shields come in 2 main types, Broad shields, and Parrying shields. Parrying shields parry blows from a club whereas broad shields block spears. Shields for parrying are thick strong and narrow whereas broad shields are wide but thin. Aboriginal shields were made from different materials in different areas, they were made from buttress root, mulga wood and bark.
This shield was probably also used as a ceremonial dance shield.

19th to 20th century.  read more

Code: 16780

A Simply Outstanding Norman Period Medieval Sculpture Circa 11th Century. A Biblical Portrait Bust From The Old Testament. Likely Removed From a Norman Church or Monastery In the Dissolution of the Monasteries

Up to 1000 years old or later, a carved stone ancient British corbel, weighing almost 55 pounds, from such as a Norman church, monastery or even castle. It is a fabulous carved head of a the grimacing first man, Adam, he from the Garden of Eden, as told in the Old Testament Book of Genesis. His face likely revealing his regret of his being cast out by God, with his wife Eve, to face the misery of life after leaving God’s paradise, after succumbing to the serpents temptation via Eve. No doubt an allegory of the warning of the consequence that awaits those that fail in their devotion and duty. Interestingly it is one of the great historic myths that it was an apple tree within which the serpent appeared, with his poisonous apple, but there is no mention of an apple or apple tree at all in the tale. It was simply the fruit of the forbidden tree that bore peri, which just means fruit, of no particular or defined kind. It could just have easily been a peach, or even a kumquat.

The tradition of using carved stone corbels perhaps derives from stone vaults, although their ribs normally rise from capitals on wall shafts and these are usually foliate or moulded. However, Romanesque churches had external corbels below the eaves which have their architectural origins in classical brackets (and before that, the ends of roof timbers). Although most frequently carved as human heads, they could be animals, figures or grotesques. Explaining the relative lack of external decoration of churches in comparison with their interiors, William Durandus {who died in Rome in 1296 wrote: ‘for although its outward appearance be despicable, the soul which is the seat of God is illuminated from within’. It has therefore been taken that the grotesques and gargoyles seen on church exteriors are there to defend the building (heaven) and those within it from ever-present evil by fighting the Devil with his own. While literacy increased in the Middle Ages, the great majority of people entering a church would not have been able to read (and in any case, any script was most likely to be in Latin before the 16th century). Medieval people certainly recognised many more scenes from the Bible than modern churchgoers, but there were plenty of other sources of inspiration for painted and carved decoration. Hagiographical stories were widely used to convey Christian messages of morality and duty, yet the stories that concluded in considerably less than perfection also convey the consequences of failing to abide by such positive devotions. Thus in this case Adam started as the ideal of hagiographical perfection, at least in God’s eyes, but faced the painful reality after falling from God’s grace and his expulsion from paradise.

After the Norman Invasion of 1066.
William was quick to bring in Norman nobles, administrators and clerics to run this new section of his Norman empire, and, in fact, he soon left to return to pressing business in Normandy, leaving instructions as he sailed back across the English Channel, returning only when he needed to lead his armies against rebellion.
Most notably this included the Harrying of the North in 1069-70 with the Domesday Book, written some 16 years later, still recording that many villages across the northern counties were ‘laid waste.’ Such was the shocking power and devastation of the occupying Norman force.

At the heart of these plans was Feudalism that, in essence, demanded the domination of the Anglo-Saxon population, both high born and low. But given that the invading force never numbered more than some 10,000 Normans, help would be needed to achieve the subjugation demanded by the new king.
As a result, Odo ordered, on the new king’s instructions, a massive castle building programme, using the famous Norman motte and bailey plans that were so well copied in other parts of the world soon after.
These Norman castles were quickly built by masons and engineers brought in from Normandy, who worked on individual projects up and down the country under the watchful eye of the Master Mason. In general, there would be 2 types of masons who worked under him, the hewers, who carved the stones, and the layers, who placed the stones in to the building.
All of this, of course, was paid for by draconian taxes extracted from the local population. Taxes and tax collection, after all, lay at the heart of why the Domesday Book of 1086 was commissioned and why the surveyors sent out to every English town and village were ordered to be so thorough.
But alongside this huge Norman castle building programme, a huge mirror programme of cathedral building was also put in place, with 15 new Norman masterpieces put up in the next 90 years or so. Of these, 13 still remain, with only 2 lost to us: Old St Paul’s, burnt down in the Great Fire of London in 1666, and Old Sarum, soon replaced by Salisbury Cathedral, pulled down in the reign of Richard the Lionheart.


Photos in the gallery from the Norman church of Saint Mary and Saint David in Kilpeck, Herefordshire, England. It shows one of the well-preserved carved corbels supporting the roof, depicting a hound and a hare, in a delightful style of cartoon-like simplicity. Carved during the mid 12th century AD (late Norman period) by an unknown sculptor of the "Herefordshire School". (Photo by Simon Garbutt).

Another corbel from the Norman Kilpeck Church by Andy Dolman Creative Commons Attribution-Share Alike 2.0 Generic
Four corbels by Ciaran Byrne

13.5 inches high, approx, 55 pounds weight  read more

Code: 25806

A Superb Antique Edo Period Musha-Ningyo Samurai General Warrior Doll. A Uniquely Japanese Art Form Representing The Legendary Samurai

Adorned with full traditional miniature armour of lacquerwork and lacings and court cap jingasa and damask silk clothing, he is holding a katana. He is seated on a traditional stool. Warrior dolls also known as musha-ningyo are very popular as fine Japanese traditional works of art among Western collectors. Embodying the martial spirit of the samurai, these figures are decked out in full military regalia with lacquered armour, weaponry. They frequently represent very specific historical characters and are a fascinating window into Japan’s rich military past. There may be a continuity in the making of the dogū, humanoid figures, by the ancient Jomon culture in Japan (8000-200 BC) and in the Haniwa funerary figures of the subsequent Kofun culture (around 300-600 AD). Expert Alan Pate notes that temple records refer to the making of a grass doll to be blessed and thrown into the river at Ise Shrine in 3 BC; the custom was probably even more ancient, but it is at the root of the modern doll festival or Hinamatsuri. There are various types of traditional dolls, some representing children and babies, some the imperial court, warriors and heroes, fairy-tale characters, gods and (rarely) demons, and also people of the daily life of Japanese cities. Many have a long tradition Musha, or warrior dolls, are usually made of materials similar to the hina dolls, but the construction is often more complicated, since the dolls represent men (or women) seated on camp chairs, standing, or riding horses. Armor, helmets, and weapons are made of lacquered paper, often with metal accents. There is no specified "set" of such dolls; subjects include Emperor Jimmu, Empress Jingu with her prime minister Takenouchi holding her newborn imperial son, Shoki the Demon-Queller, Toyotomi Hideyoshi and his generals and tea-master, and fairy-tale figures such as Momotaro the Peach Boy or Kintaro the Golden Boy. In the nineteenth century ningyo were introduced to the West.

Doll collecting has since become a popular pastime in the West. Famous well known collectors from the West include individuals such as James Tissot (1836–1902), Jules Adeline (1845–1909), Eloise Thomas (1907–1982), and Samuel Pryor (1898–1985). During the Meiji period, three men became pioneers in collecting ningyo, Shimizu Seifū (1851-1913), Nishizawa Senko (1864–1914), and Tsuboi Shogoro (1863–1913). The three men are referred to as "Gangu San Ketsu" (the three great toy collectors). They introduced a systematic approach to collecting ningyo in an effort to preserve and document the various forms of ningyo. Shimizu, an artist and calligrapher, put his artistic ability to use by creating an illustrated catalog of his own collection of 440 ningyo dolls. The catalog was published in 1891, under the title Unai no Tomo. Nishizawa, a banker, gathered a significant collection on hina-ningyo. He was an active researcher, collector of stories, documents, and information relating to the development of hina-ningyo during the Edo period. Nishizawa’s son Tekiho (1889–1965) inherited his collection but a great portion of the collection was lost in the Kanto earthquake of 1923. Tsuboi, founder of the Tokyo Anthropological Society, was the most trained of the three, and he brought a scientific element to the collecting of ningyo. Dolls have been a part of Japanese culture for many years, and the phenomenon of collecting them is still practiced. Many collections are preserved in museums, including the Peabody Essex Museum, Kyoto National Museum, and the Yodoko Guest House.
The doll is similar to the work of Maruhei a famous Japanese doll artist from Kyoto
Dimensions: 17.5 inches high
Condition: The doll is in very good condition according to age and with wonderful antique taste. Some wear and fading to fabric in places.  read more

Code: 24815

The Incredible Story of Japanese Urushi Lacquer on Our Original Ancient and Antique Samurai Sword's Saya & Fittings. Without Doubt, Japanese Urushi Lacquerwork & Decor is The Finest Skilled Craftsmanship Of Its Kind In The World

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.

Some provinces of Japan were famous for their contribution to this art: the province of Edo (later Tokyo), for example, produced the most beautiful lacquered pieces from the 17th to the 18th centuries. Lords and shoguns privately employed lacquerers to produce ceremonial and decorative objects for their homes and palaces.

The varnish used in Japanese lacquer is made from the sap of the urushi tree, also known as the lacquer tree or the Japanese varnish tree (Rhus vernacifera), which mainly grows in Japan and China, as well as Southeast Asia. Japanese lacquer, 漆 urushi, is made from the sap of the lacquer tree. The tree must be tapped carefully, as in its raw form the liquid is poisonous to the touch, and even breathing in the fumes can be dangerous. But people in Japan have been working with this material for many millennia, so there has been time to refine the technique!

Flowing from incisions made in the bark, the sap, or raw lacquer is a viscous greyish-white juice. The harvesting of the resin can only be done in very small quantities.
Three to five years after being harvested, the resin is treated to make an extremely resistant, honey-textured lacquer. After filtering, homogenization and dehydration, the sap becomes transparent and can be tinted in black, red, yellow, green or brown.

Once applied on an object, lacquer is dried under very precise conditions: a temperature between 25 and 30°C and a humidity level between 75 and 80%. Its harvesting and highly technical processing make urushi an expensive raw material applied in exceptionally fine successive layers, on objects such as bowls, boxes, samurai sword saya and fittings. After heating and filtering, urushi can be applied directly to a solid, usually wooden, base. Pure urushi dries into a transparent film, while the more familiar black and red colours are created by adding minerals to the material. Each layer is left to dry and polished before the next layer is added. This process can be very time-consuming and labour-intensive, taking up to a year for each item, which contributes to the desirability, and high costs, of traditionally made lacquer goods. The skills and techniques of Japanese lacquer have been passed down through the generations for many centuries. For four hundred years, the master artisans of Zohiko’s Kyoto workshop have provided refined lacquer articles for the imperial household.

Photo in the gallery of several examples of exceptionally beautiful urushi lacquer on our currently available antique samurai swords.

We pride ourselves on trying our utmost to provide the largest and most varied selection of original, ancient and antique samurai swords for sale in the world, from which our clients can choose, outside of Japan.

As once told to us by an esteemed regular visitor to us here in our gallery, probably the most respected Japanese sword expert in the world, in order to view and study our Japanese edged weapons and armour gallery, and the very same words he spoke to us, are repeated in his book;

“In these textures lies an extraordinary and unique feature of the sword - the steel itself possesses an intrinsic beauty. The Japanese sword has been appreciated as an art object since its perfection some time during the tenth century AD. Fine swords have been more highly prized than lands or riches, those of superior quality being handed down from generation to generation. In fact, many well-documented swords, whose blades are signed by their makers, survive from nearly a thousand years ago. Recognizable features of the blades of hundreds of schools of sword-making have been punctiliously recorded, and the study of the sword is a guide to the flow of Japanese history.”
Victor Harris
Curator, Assistant Keeper and then Keeper (1998-2003) of the Department of Japanese Antiquities at the British Museum. He studied from 1968-71 under Sato Kenzan, Tokyo National Museum and Society for the Preservation of Japanese Swords.  read more

Code: 24325

Huge & Impressively Bladed 400 Year Old Samurai Tanto Signed Omi Kami Minamoto Kagehiro. Shinto Period From The Province of Settsu

A beautiful and large samurai dagger, with fine 'status' blade. Squared sukashi tsuba in iron, pure gold inlaid shakudo fushi, decorated with a constellation of stars and celestial bodies, that are inlaid with gold over a nanako ground, with a carved and polished buffalo horn kashira.
Pure gold and shakudo menuki of takabori crabs. Fine shakudo kozuka decorated in relief with mount Fuji, two piece habaki. Wide blade without ridge line flat sided with suguha hamon. A most impressive and sizeable tanto.
It has its original Edo period lacquered saya scabbard in rich dark brown urushi lacquer, with a kozuka {utility knife} of shakudo, decorated with a fishermen within a small boat, with Mount Fuiji in the distance. The kozuka blade is very nicely signed.

Shakudo is a billon of gold and copper (typically 4-10% gold, 96-90% copper) which can be treated to form an indigo/black patina resembling lacquer. Unpatinated shakudo Visually resembles bronze; the dark color is induced by applying and heating rokusho, a special patination formula.

Shakudo Was historically used in Japan to construct or decorate katana fittings such as tsuba, menuki, and kozuka; as well as other small ornaments. When it was introduced to the West in the mid-19th century, it was thought to be previously unknown outside Asia, but recent studies have suggested close similarities to certain decorative alloys used in ancient Egypt, Greece, and Rome. The lacquer surface of the saya has some age bruising etc. due to its vintage.  read more

Code: 22206

A Very Fine, Original, Ancient, Punic War Period Early Roman Republic Era Short Sword, A Gladius Hispaniensis Double Leaf Shaped Blade Circa 2,400 Years Old

Gladius is a Latin word properly referring to the type of sword that was used by ancient Roman foot soldiers starting from the Republic period of the 3rd century BC, and until the mid Roman Empire period of 3rd century AD. From thence forward the more standard Roman sword was the spartha

Early ancient Roman swords were similar to those of the Greeks, called xiphe . From the 3rd century BC, however, the Romans adopted a weapon based on the sword of the Celtiberians of Hispania in service to Carthage during the Punic Wars, known in Latin as the gladius hispaniensis, meaning "Hispanic-type sword". Over time, the Romans improved their standard iron version weapon depending on how Roman battle units waged war and also created a number of variants. By 20 BC the Hispaniensis was replaced by the Mainz gladius (named after Roman swords found in Germany), in turn replaced by the Pompeii gladius. Finally, in the third century AD the heavy Roman infantry replaced the gladius with the spatha (already common among Roman cavalrymen), relegating the gladius as a weapon for light Roman infantry.

The Roman Republic had been aggressively expanding in the southern Italian mainland for a century before the First Punic War. It had conquered peninsular Italy south of the Arno River by 270 BC, when the Greek cities of southern Italy (Magna Graecia) submitted after the conclusion of the Pyrrhic War. During this period of Roman expansion Carthage, with its capital in what is now Tunisia, had come to dominate southern Iberia, much of the coastal regions of North Africa, the Balearic Islands, Corsica, Sardinia and the western half of Sicily in a thalassocracy.

Beginning in 480 BC Carthage fought a series of inconclusive wars against the Greek city-states of Sicily, led by Syracuse. By 264 BC Carthage was the dominant external power on the island, and Carthage and Rome were the preeminent powers in the western Mediterranean. Relationships were good and the two states had several times declared their mutual friendship via formal alliances: in 509 BC, 348 BC and around 279 BC. There were strong commercial links. During the Pyrrhic War of 280–275 BC, against a king of Epirus who alternately fought Rome in Italy and Carthage on Sicily, Carthage provided materiel to the Romans and on at least one occasion used its navy to ferry a Roman force. According to the classicist Richard Miles Rome had an expansionary attitude after southern Italy came under its control, while Carthage had a proprietary approach to Sicily. The interaction of these conflicting policies caused the two powers to stumble into war more by accident than design. The immediate cause of the war was the issue of control of the independent Sicilian city state of Messana (modern Messina). In 264 BC Carthage and Rome went to war, starting the First Punic War

A picture is shown in the gallery of a vase painting depicting a hoplite, 5th century BC. He is armed with a bronze cuirass, a leaf shaped hoplite sword and a hoplite shield of the Argive type, very similar to the gladius hispaniensis. (Paris, Louvre Museum). We show another sword carried in a period vase painting of the Death of Actaeon.

Bronze copper alloy, with superb natural age patination. And likely, the copper of the alloy was sourced from the ancient Cretan copper mines, with a percentage of added tin, in order to create the stronger bronze alloy. Small old age crack at the base of the blades tang. The Hilt would have been made from organic material, such as horn, bone or wood, a material that never survives once buried for the two millennia since it was last used in war. So all that remains is the bronze blade and its tang  read more

Code: 20468