Scarce Antique Victorian Regimental Racoon Skin Cap of The Northumberland Fusiler's. Flaming Fusiler Grenade Badge With George and The Dragon Regimental Motto Quo Fata Vocant With Red and White Feather Hackle, and Curb Chin Chain

In 1874 all Fusilier Regiments took into wear for all ranks a fur cap of black racoon skin, around 9 inches high, with a gilt grenade in the front, bearing the regimental badge. The chin strap was a gilt curb chain lined with black leather or velvet.

At this date, the Northumberland Fusiliers was the only Fusilier Regiment wearing a plume, of red and white, though subsequently plumes were authorised for all other Fusilier Regiments ".

After the Napoleonic Wars, the regiment spent time in the West Indies, the Mediterranean, Ireland and Mauritius. In 1857, it raised a 2nd Battalion again. This unit remained at home, while 1st Battalion was sent to serve in the Indian Mutiny (1857-88).

1st Battalion returned to India in 1866, staying for 14 years and forming part of the Peshawar Field Force during the Second Afghan War (1878-80). It was replaced in India by 2nd Battalion in 1880. The latter took part in the Black Mountain Expedition on the North-West Frontier in 1888.

During the 1881 Army reforms, the regiment’s name changed again, now becoming The Northumberland Fusiliers.

1st Battalion sent a detachment to West Africa for the Fourth Ashanti War in 1895. The entire battalion then fought in the Sudan in 1898 and on the North-West Frontier of India in 1908.

Both regular battalions also saw action in the Boer War (1899-1902) from 1899. They fought in several battles, including Belmont, Graspan, Modder River, Magersfontein, Stormberg, Reddersberg and Sanna's Post.

Indeed, the regiment raised two additional regular battalions in 1900 to meet the demands of this conflict. 3rd Battalion served in South Africa, while 4th Battalion was stationed in Ireland. However, these were both disbanded in 1907.

The Northumberland Fusiliers raised 50 Reserve, Territorial, New Army, Garrison and Home Service battalions for the First World War (1914-18), a number only bettered by the all-territorial London Regiment. 29 of these battalions served overseas, earning 67 battle honours in France and Flanders, Salonika, Gallipoli, Egypt and Italy. The regiment sustained over 16,000 dead.

Of its regular units, 1st Battalion spent the whole of the conflict on the Western Front, arriving there in August 1914 and going on to fight in many of the main engagements. 2nd Battalion was in India on the outbreak of war, but deployed to France in January 1915. Later that year, it was transferred to Egypt and then to Salonika.

The 1st Battalion served in Ireland during that country's War of Independence (1919-21) and then deployed to Germany on occupation duties. Following a spell of home service, it then spent time in the West Indies and Egypt (1931-34), before moving to Palestine in 1937 where it helped suppress the Arab Revolt (1936-39).

Meanwhile, 2nd Battalion served in Iraq in 1920 and then undertook a long spell of garrison duties in India. It deployed to Shanghai in 1930 and after several years at home moved to Palestine in 1936.

During the 1930s, the regiment's two regular battalions were converted into heavy machine gun units. The regiment also gained a ‘Royal’ prefix in 1935 to recognise its wartime service.

Second World War
1st Battalion was in the Middle East on the outbreak of the Second World War (1939-45) and went on to fight in the North Africa campaign. This service included Tobruk (1941) and El Alamein (1942). It spent much of 1943 in Syria before deploying to Italy where it spent the rest of the war.

In 1939, 2nd Battalion deployed to France with the British Expeditionary Force, but was evacuated from Dunkirk in 1940. It spent the next two years on home defence duties. In 1943, it joined the Tunisian campaign before landing at Salerno in Italy.

The regiment also raised eight Territorial and hostilities-only battalions during the conflict. These served as infantry and machine gun battalions, but also in motorcycle, reconnaissance and searchlight roles. They served at home, in North Africa, Italy, North-West Europe and the Far East.  read more

Code: 25416

Ancient Early Imperial 1st Century Roman Equestris Legionary's or Centurion's Ring Intalglio Engraved With Horse Mounted Roman

Classified by the seminal classification of ancient ring forms, by Dr. Martin Henig, as Ancient Roman, Henig type Xb.

Wide oval bezel affixed to flattened shoulders engraved copper alloy, with a fair amount of aged surface russetting. Almost identical to one found in the UK, near Hadrian's Wall. The ring was important for displaying the Roman's status. For example Tiberius, who was after all left-handed according to Suetonius, thus displays a ring in his bronze portrait as the Pontifex Maximus:

The most common alloy employed for the largest number of ornaments and with the greatest variety of shapes was brass, the alloy of copper and zinc. The high number of alloys with a different composition indicates that there was a significantly increased demand for jewellery similar in colour to precious metal, but less expensive and easier to produce. Made from the time of the Emperors Augustus, Tiberious, Caligula, Claudius, and Nero and l;ikely used up to era of Emperor Marcus Aurelius. In 181 AD, Marcus Valerius Maximianus, an important Roman general, was the general of the 1st Legion Italica, and he was a confident of Emperor Marcus Aurelias, during the period of the Marcomannic Wars. It is said he inspired the composite fictional general Maximus Decimus Meridius, the main character and Roman General in Gladiator played by Russell Crowe, and it was the Marcomannic wars that are depicted in the earliest scenes in Gladiator in which the fictional version of Marcus Valerius Maximis was a commanding general. The real Marcus Valerius Maximianus was placed in charge of detachments of the praetorian fleets of Misenum and Ravenna and also of African and Moorish cavalry used for scouting duties in Pannonia. While on active service with the cavalry Maximianus killed a Germanic chieftain named as "Valao, chief of the Naristi" with his own hand and was publicly praised by the Emperor, who granted him the chieftain's "horse, decorations and weapons". He was appointed prefect of the lance-bearing cavalry and was in charge of the cavalry.
The complete Roman Empire had around a 60 million population and a census more perfect than many parts of the world (to collect taxes, of course) but identification was still quite difficult and aggravated even more because there were a maximum of 17 men names and the women received the name of the family in feminine and a number (Prima for First, Secunda for Second…). A lot of people had the same exact name.
So the Roman proved the citizenship by inscribing themselves (or the slaves when they freed them) in the census, usually accompanied with two witnesses. Roman inscribed in the census were citizens and used an iron or bronze ring to prove it. With Augustus, those that could prove a wealth of more than 400,000 sesterces were part of a privileged class called Equites (knights) that came from the original nobles that could afford a horse. The Equites were middle-high class and wore a bronze or gold ring to prove it, with the famous Angusticlavia (a tunic with an expensive red-purple twin line). Senators (those with a wealth of more than 1,000,000 sesterces) also used the gold ring and the Laticlave, a broad band of purple in the tunic.

So the rings were very important to tell from a glimpse of eye if a traveller was a citizen, an equites or a senator, or legionary. People sealed and signed letters with the rings and its falsification could bring death.
The fugitive slaves didn’t have rings but iron collars with texts like “If found, return me to X” which also helped to recognise them. The domesticus slaves (the ones that lived in houses) didn’t wore the collar but sometimes were marked. A ring discovered 50 years ago is now believed to possibly be the ring of Pontius Pilate himself, and it was the same copper-bronze form ring as is this one.  read more

Code: 24786

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

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

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

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

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

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

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

Code: 24407

A Fabulous Shinto Katana Circa 1620 With Fine Edo Koshirae

The gently undulating yet exceptionaly deep hamon is very fine quality and this is a most beautiful an impressive katana. A very fine Shinto blade set in very fine quality shakudo, Edo period mounts, of multi coloured patination and pour gold onlaid d?cor. The saya has it's original Edo red lacquer, and the sword is mounted with it's koto period o-sukashi iron tsuba carved with profiles of flying geese. The production of swords in Japan is divided into specific time periods: jokoto (Ancient swords, until around 900 A.D.), koto (old swords from around 900?1596), shinto (new swords 1596?1780), shinshinto (new new swords 1781?1876), traditional gendaito (modern swords 1876?1945).

The first use of "katana" as a word to describe a long sword that was different from a tachi is found in the 12th century. These references to "uchigatana" and "tsubagatana" seem to indicate a different style of sword, possibly a less costly sword for lower ranking warriors. The evolution of the tachi into the katana seems to have started during the early Muromachi period (1337 to 1573). Starting around the year 1400, long swords signed with the "katana" signature were made. This was in response to samurai wearing their tachi in what is now called "katana style" (cutting edge up). Japanese swords are traditionally worn with the signature facing away from the wearer. When a tachi was worn in the style of a katana, with the cutting edge up, the tachi's signature would be facing the wrong way. The fact that swordsmiths started signing swords with a katana signature shows that some samurai of that time period had started wearing their swords in a different manner. However, it is thought by many, that as many as 70% of katana made were never signed at all.

The rise in popularity of katana by samurai is believed to have been due to the changing nature of close-combat warfare. The quicker draw of the sword was well suited to combat where victory depended heavily on fast response times. The katana further facilitated this by being worn thrust through a belt-like sash (obi) with the sharpened edge facing up. Ideally, samurai could draw the sword and strike the enemy in a single motion. Previously, the curved tachi had been worn with the edge of the blade facing down and suspended from a belt

The length of the katana blade varied considerably during the course of its history. In the late 14th and early 15th centuries, katana blades tended to be between 68 to 73 cm (26 to 28 in) in length. During the early 16th century, the average length was closer to 60 cm (23.5 in). By the late 16th century, the average length returned to greater lengths. However, with every new owner [and early blades may have had 20 owners] the blade could be reduced if required to fit, and the shorter samurai would need shorter swords however long the considered norm may have been. Overall 40 inches long in saya  read more

Code: 22659

A King George Vth, King George VIth & WW2 Regimental Painted 1st Battalion Grenadier Guards, Rope Tension Snare Drum With Battle Honours Up to The End of WW1, 1918

The regiment's early history saw it take part in numerous conflicts including the War of the Spanish Succession, the War of the Austrian Succession, the Seven Years' War, and the Napoleonic Wars; at the end of this period the regiment was granted the "Grenadier" designation by a Royal Proclamation. During the Victorian era, the regiment took part in the Crimean War, the Anglo-Egyptian War, the Mahdist War, and the Second Boer War.

During the First World War, the Grenadier Guards was expanded from three battalions to five, of which four served on the Western Front, while later during the Second World War, six battalions were raised, and several were converted to an armoured role as part of the Guards Armoured Division. These units fought in France, North-West Europe, North Africa and Italy.

After the Second World War the regiment was reduced first to three battalions, then to two, and finally to one battalion in the mid-1990s. Major deployments during this time have included operations in Palestine, Malaya, Cyprus, Northern Ireland, the Gulf War, Afghanistan and Iraq.

The main instrument featured in a Corps of Drums is the side drum. These were originally of a rope-tension design with wide wooden hoops, a wooden shell, and an animal-skin head. In the British Army, this model has been continuously upgraded, with the inclusion of snares, more modern metal rod-tension, nylon hoops, and plastic heads.

The side drum was increasingly decorated throughout the 19th century, until it bore the fully embellished regimental colours of the battalion, including its battle honours. As such, a regiment's drums are often afforded respect.

Historically, all members of a Corps of Drums would beat the various calls on the drum, but some would also play a fife in order to provide melody to accompany long route marches when not in combat. This has been replaced in the modern British Army by the five-key flute.

When the bugle replaced the drum mid-way through the 19th century as the most common means of battlefield communication, it was sounded on parade to give certain orders, to offer salutes, or to play the "Last Post" (or "Taps") at funerals.

As the musical role of a Corps of Drums became more ceremonial in the 19th and 20th centuries, more instruments were added for a more musically complete sound. A modern Corps of Drums may include a range of percussion instruments such as a bass drum, tenor drums, cymbals, and occasionally glockenspiels to fill out the sound.

In the gallery is Macpherson's painting of a young drummer and drum-major show how the Grenadier Guards restored colour and pageantry to post-Great War Britain after the khaki years in the mud of France and Flanders. They are both members of the Corps of Drums despite the similarity between the drum-major's tunic and that of the bandsmen. When performing in public it was easily noticable that the drummers had an abundance of white lace with blue fleur-de-lis patterns while the bandsmen had gold lace. The same difference applies in today's Guards bands but there is less gold on the musician's tunics. The drum-major was still sergeant-drummer at this stage; the down-grading lasted from 1881 to 1928, but they were always unofficially called drum-majors. He was the leader of the Corps of Drums but had gold lace across his chest and ten gold chevrons on his sleeve, including the one that edged his cuff. His cuff also has the gold-laced flap to show his senior NCO rank. The band sergeants shared this distinction. His blue collar is obscured, at the front, by gold lace and he has a silver embroidered grenade badge each side. His shoulder wings are richly laced and fringed with gold. The drum-major's embroidered sash is worn on the left shoulder and his sergeant's crimson sash is worn on the right. He has a sword, as worn by senior NCOs, hanging from his waist-belt, and he holds the gilded mace carried in stately fashion on parades. The drummer has two good-conduct stripes on his left forearm. He also wears the undress forage cap which at this stage is almost identical to the cap worn today except that the peak is not as vertical.  read more

Code: 25413

A Very Good 1796 Pattern Infantry Officer's Sword, Beautiful Gilt and Solid Silver Grip. Stunningly Hand Engraved with Royal Crest, Crowned Cyphers And A Standing Infantry Officer Holding His 1796 infantry Sword.

Superb gilt hilt with double shell fold down guard and sold silver bound grip, and fully engraved blade with Royal cypher and crest with engraving of an infantry officer, inlaid with gilt, and dark blue blade. From the Napoleonic Wars, the Peninsular war, The War of 1812 in America, then in 1815 at Quatre Bras and Waterloo. A simply stunning sword in wonderful condition. British infantry officer's sword of the Napoleonic Wars. The Napoleonic Wars (1803–1815) were a series of major conflicts pitting the French Empire led by Emperor Napoleon I against an array of European powers formed into various coalitions. They revolutionised European armies and played out on an unprecedented scale, mainly owing to the application of modern mass conscription. The wars are traditionally seen as a continuation of the Revolutionary Wars, which broke out in 1792 during the French Revolution. Initially, French power rose quickly as the armies of Napoleon conquered much of Europe. In his military career, Napoleon fought about 60 battles and lost seven, mostly at the end. The great French dominion collapsed rapidly after the disastrous invasion of Russia in 1812. Napoleon was defeated in 1814, and then once more in 1815 at Waterloo after a brief return to power. The Allies then reversed all French gains since the Revolutionary Wars at the Congress of Vienna.

Before a final victory against Napoleon, five of seven coalitions saw defeat at the hands of France. France defeated the first and second coalitions during the French Revolutionary Wars, the third (notably at Austerlitz), the fourth (notably at Jena, Eylau, and Friedland) and the fifth coalition (notably at Wagram) under the leadership of Napoleon. These great victories gave the French Army a sense of invulnerability, especially when it approached Moscow. But after the retreat from Russia, in spite of incomplete victories, France was defeated by the sixth coalition at Leipzig, in the Peninsular War at Vitoria and at the hands of the seventh coalition at Waterloo.

The wars resulted in the dissolution of the Holy Roman Empire and sowed the seeds of nationalism that would lead to the consolidations of Germany and Italy later in the century. Meanwhile, the global Spanish Empire began to unravel as French occupation of Spain weakened Spain's hold over its colonies, providing an opening for nationalist revolutions in Spanish America. As a direct result of the Napoleonic wars, the British Empire became the foremost world power for the next century, thus beginning Pax Britannica.

No consensus exists about when the French Revolutionary Wars ended and the Napoleonic Wars began. An early candidate is 9 November 1799, the date of Bonaparte's coup seizing power in France. However, the most common date is 18 May 1803, when renewed war broke out between Britain and France, ending the one-year-old Peace of Amiens, the only period of general peace in Europe between 1792 and 1814. Most actual fighting ceased following Napoleon's final defeat at Waterloo on 18 June 1815, although skirmishing continued as late as 3 July 1815 at the Battle of Issy. The Second Treaty of Paris officially ended the wars on 20 November 1815. Overall this battle cum dress sword is in fabulous condition, from a large former museum collection of original Napoleonic Battle of Waterloo swords

The last photo in the gallery shows a photograph of one section of the former collection in the museum of Waterloo, taken in around 1900, showing all the weapons of Waterloo en situ, including all the protagonists {British, French, Prussian and Belgian muskets, swords, pistols, armour uniforms, etc}. The museum was founded and owned by a veteran of the 7th Hussars that fought at Waterloo .

No scabbard.  read more

Code: 25411

A Superb, Victorian, 12th 'Prince of Wales' Royal Lancers Czapka

This Victorian helmet, built of hard leather, features a large brass helmet plate showing the multiple Battle honours of the 12th Lancers. It features a horse hair plume and comes with brass interlocking ring chin scales backed by leather overall in really nice condition for age and use. Traditionally this Regiment of Lancers all had bright Red Horse Hair plumes


In 1816, the 12th Light Dragoons were armed with lances after the cavalry of Napoleon's Army had shown their effectiveness at Waterloo and were thus re-titled the 12th (The Prince of Wales's) Regiment of (Light) Dragoons (Lancers). In 1855, it reinforced the Light Cavalry Brigade in the Crimea after the Charge of the Light Brigade at the Battle of Balaclava. The Regiment was to take part in the Indian Mutiny Regiments where they formed part of the Saugur Field Force which helped to pacify Central India. For their services in the Mutiny the 12th received the Battle Honour ‘Central India’. In 1861, the regiment was renamed 12th (The Prince of Wales's) Royal Regiment of Lancers. It was stationed in India between 1857 and 1860 in response to the Indian Rebellion and in Ireland from 1865 to 1870, before fighting in the Second Anglo-Afghan War in the late 1870s.

Boer War

The 11th Earl of Airlie, who was killed while commanding the regiment at the Battle of Diamond Hill in the Second Boer War
The regiment was deployed to South Africa for service in the Second Boer War in October 1899, and took part in the relief of Kimberley and the ensuing Battle of Paardeberg in February 1900. The commanding officer of the regiment, the 11th Earl of Airlie, was killed at the Battle of Diamond Hill in June 1900. Following the end of the war in 1902 they went to India. Almost 530 officers and men left Cape Town aboard SS Lake Manitoba in September 1902, arriving at Bombay the following month and was then stationed at Ambala in Punjab.

"The 12th Lancers at Moy, France, on 28 August 1914" by George Wright
The regiment, which had been based in Norwich at the start of the war, landed in France as part of the 5th Cavalry Brigade in the 2nd Cavalry Division in August 1914 for service on the Western Front. On 28 August 1914, 'C' Squadron of the 12th Lancers, led by Lieutenant-Colonel Frank Wormald, made a successful charge against a dismounted squadron of Prussian Dragoons at Moÿ-de-l'Aisne in the Great Retreat. The 9th/12th Royal Lancers celebrated Mons/Moy Day annually, which commemorated the last occasions on which each predecessor regiment charged with lances.

The regiment's battle honours up to the end of WW1 were as follows:

Early Wars: Egypt, Salamanca, Peninsula, Waterloo, South Africa 1851-2-3, Sevastopol, Central India, Relief of Kimberley, Paardeberg, South Africa 1899–1902
The Great War: Mons, Retreat from Mons, Marne 1914, Aisne 1914, Messines 1914, Ypres 1914 '15, Neuve Chapelle, St. Julien, Bellewaarde, Arras 1917, Scarpe 1917, Cambrai 1917 '18, Somme 1918, St. Quentin, Lys, Hazebrouck, Amiens, Albert 1918, Hindenburg Line, St. Quentin Canal, Beaurevoir, Sambre, France and Flanders 1914–18

This headdress developed initially as a square-topped variant of a shako. In its early, compact form from 1784 onwards the czapka was introduced by Austrian uhlans, during the time Galicia was under Habsburg rule. Its use was spread from eastern Europe by the Polish Legion, fighting for the French in the Napoleonic Wars, and became popular not only among Napoleon's French and allied forces, such as Westphalia, Bavaria, Saxony, and Naples, but also among the armies of his enemies. The Duchy of Warsaw used them for infantry and artillery units, but otherwise they were only ever used for uhlan units.

After the Polish lancers proved their effectiveness during the Napoleonic Wars, armies across Europe quickly adopted the concept of the lancer regiments, complete with the czapka as their headdresses.

Several versions of lancer caps were used by the British regiments of lancers from throughout the 1830s and 1840s. The 1846 dress British Army regulations included the following description: “Cap-cloth; colour of the facings, eight inches and three quarters deep in front, nine inches and a half at back, and the top nine inches and a half square; gold cord across the top and down the angles; on left side a gold bullion rosette, with embroidered V.R., on blue velvet; round the waist a band, two inches wide, of gold lace, with a blue stripe; in front a gilt ray plate, with silver Queen’s arms and regimental badges; peak and fall of black patent leather, braided with gold; gilt chain, fastening to lion’s heads at the sides.”This was the cap that was used by the lancer regiments in the famous Charge of the Light Brigade during the Crimean War, but it was not the most commonly encountered version. This was the 1856 pattern of lancer cap and subsequent versions. As with the German models, over time the height of the British lancer cap was reduced, until it was just six and half inches high in the front and eight and a half inches at the top. From 1856 onward, feathers were generally worn on officers’ helmets, while other ranks wore a horsehair plume; the colour of each was determined by the regiment. And while the British lancers took part in combat in many campaigns after the Crimean War, none of these were in Europe,



Lancer regiments in the British Army continued to wear czapkas (described as "lance caps") for full dress until 1939 and the modern Royal Lancers still retains this historic headdress for its Lancer Honour Guard. Along with the traditional double-breasted plastron-fronted lancer jacket, it is also still worn by the band of the Royal Yeomanry.  read more

Code: 25409

An Original, Victorian, Regimental British Army Leopard Skin Apron & Guards Bandsman’s Tunic for The Ornately Uniformed Regimental Bass Drummer

Overall in very nice condition, full jaguar pelt including head, legs and tail. The apron is trimmed, exactly as it should for original examples, in traditional British Army Piccadills in red, and full inner red cloth lining.

Some drummers in the British Army wear leopard skins as part of their ceremonial uniforms. This tradition dates back to the 18th century, when certain regiments were granted the privilege of wearing leopard skin caps or aprons as a mark of distinction and honour.

The use of leopard skin in British Army uniforms is closely tied to the history of the Grenadier Guards regiment. In the early 1700s, King George II presented the Grenadier Guards with a pair of captured leopard skins, which the regiment then incorporated into their ceremonial dress. Over time, this became an established tradition for certain drumming and piping roles within the British Army.

The leopard skin is seen as a symbol of bravery and prowess in battle, as leopards were viewed as fierce and formidable animals. Wearing the leopard skin was meant to imbue the drummers with a sense of martial pride and warrior spirit when performing ceremonial duties.

Today, the practice continues, though the leopard skins used are now typically replicas made from synthetic materials rather than actual animal pelts. The distinctive leopard skin uniforms remain an iconic part of British Army ceremonial traditions.

Leopard skin first appeared in the C18th worn occasionally as decorative ‘turbans’ on leather helmets worn by light cavalry or light infantry, sometimes a painted emulation rather than the real thing. It was about this time that military bands with exotic elements became a fashionable accessory- black African personnel, ‘Turkish Crescent’ (or Chinese Hat) percussion devices, ornately uniformed Drum Majors etc.

The European military began using bass drums in the third quarter of the 18th century. These large barrel drums had been popular with Turkish armies for many years, and British, German and French soldiers who fought in the American Revolution were familiar with their sound. The musical taste of both enemies and allies influenced American musicians. As the war continued, Americans began adopting the use of the bass drums. By the early 19th-century, the bass drum was a standard part of America's military music.
The tunic is a great 20th century, completely original Household Division bandsman's issue, with bullion epaulettes {covered by the skin}, it is not the original one for the apron, but it does set it off superbly.

Cities approved made prior to 1947. A percentage of the proceeds from this skin will be for the benefit of ‘Help for Heroes’ charity.  read more

Code: 25403

A Most Fine Victorian Scottish Military Horsehair Sporran with Silver Cantle and Tassels

A Scottish Victorian military horsehair sporran, with ball finials, and the shaped arched silver cantle and conical tassel mounts are finely engraved with scrolls and dragon, 45cm long overall, maker's mark only, Forsyth Glasgow,19th century .
Since the traditional kilt does not have pockets, the sporran serves as a wallet and container for any other necessary personal items. It is essentially a survival of the common European medieval belt-pouch, superseded elsewhere as clothing came to have pockets, but continuing in the Scottish Highlands because of the lack of these accessories in traditional dress. The sporran hangs below the belt buckle; and much effort is made to match their style and design. The kilt belt buckle can be very ornate, and contain similar motifs to the sporran cantle and the Sgian Dubh. Early sporrans would have been worn suspended from the belt on one or other of the hips, rather than hung from a separate strap in front of the wearer.

When driving a carriage, dancing, playing drums, or engaging in any activity where a heavy pouch might encumber the wearer, the sporran can be turned around the waist to let it hang on the hip in a more casual position. One ball finial lacking  read more

Code: 21453

Fabulous Solid Silver & Enamel, Cigarette Case of Rudyard Kipling’s, Richard Caton Woodville’s and Sir Arthur Sullivan’s Boer War Soldier’s Relief Fund. ‘The Absent Minded Beggar, A Gentleman in Kharki. By Victorian Silversmiths Saunders & Shepherd

This is a unique, stunning and exceptional antique Victorian sterling silver and enamel cigarette case. Made for one of the principles, possibly one of the main instigators of the Boer War Relief Fund Charity, Kipling, Woodville or Sullivan, or Lord Northcliffe or his brother Lord Rothermere, the publishers of the Daily Mail, a fund raised by an appeal started by The Daily Mail.
It has a rectangular form with rounded corners. Just regular Victorian solid silver and fine enamel cigarette cases are very highly prized, and have been incredibly collectable over the past hundred years, and can achieve incredible prices, but this is one of the rarest and most historical examples, made for one of the most successful charitable causes of the Victorian age, that one can find. This fabulous Victorian case has a subtly curved form proffering a comfortable fit in the majority of pockets. The anterior cover of this Victorian case is embellished with an impressive painted enamel panel depicting a British soldier holding a rifle and standing on a rocky hillside, with a blooded bandage around his head and a helmet to his feet.
The enamel decoration is accented with the quote
A Gentleman in Kharki
Importantly, with the engraved word ‘copyright’ to the lower edge. This was a stipulation that only items made specifically for the relief fund could display, to ensure all receive monies went to the fund.
The posterior surface and rounded sides of this cigarette case are plain.
This silver Victorian cigarette case is fitted with a push fit catch, which when released reveals two hinged compartments.This impressive case retains the original gilded interior and two retaining straps.
It was crafted by the Birmingham silversmiths Cornelius Desormeaux Saunders & James Francis Hollings (Frank) Shepherd.
This notable illustration in enamel on the case front, is a representation of Richard Caton Woodville's ‘A Gentleman in Kharki’. This design accompanied the song/poem The Absent-Minded Beggar by Rudyard Kipling, with music composed by Gilbert & Sullivan’s, Sir Arthur Sullivan, and was used in a press release to raise funds for the British soldier in the Boer

"The Absent-Minded Beggar" is an 1899 poem by Rudyard Kipling, set to music by Sir Arthur Sullivan and often accompanied by an illustration of a wounded but defiant British soldier, "A Gentleman in Kharki", by Richard Caton Woodville. The song was written as part of an appeal by the Daily Mail to raise money for soldiers fighting in the Second Boer War and their families. The fund was the first ever such charitable effort for a war.

The chorus of the song exhorted its audience to "pass the hat for your credit's sake, and pay– pay– pay!" The patriotic poem and song caused a sensation and were constantly performed throughout the war and beyond. Kipling was offered a knighthood shortly after publication of the poem but declined the honour. Vast numbers of copies of the poem and sheet music were published, and large quantities of related merchandise were sold to aid the charity. The "Absent-Minded Beggar Fund" was an unprecedented success and raised a total of more than £250,000.

The Daily Chronicle wrote that "It has not been often that the greatest of English writers and the greatest of English musicians have joined inspiring words and stirring melody in a song which expresses the heart feelings of the entire nation". Sullivan's manuscript was later auctioned for £500 towards the fund.

The popularity of the poem was such that allusions to it were common. Mark Twain wrote that "The clarion-peal of its lines thrilled the world". By 18 November, less than a month after publication of the poem, "a new patriotic play" was advertised to open the next week, titled The Absent Minded Beggar, or, For Queen and Country. The same month, the Charity Organisation Society called "The Absent-Minded Beggar" the "most prominent figure on the charitable horizon at present." Even a critical book on the conduct of the war, published in 1900, was titled An Absent-Minded War. Kipling was offered a knighthood within a few weeks of publication of the song but declined, as he declined all offers of State honours. Historian Stephen M. Miller wrote in 2007, "Kipling almost single-handedly restored the strong ties between civilians and soldiers and put Britain and its army back together again."

A performance of "The Absent-Minded Beggar March" on 21 July 1900 at The Crystal Palace was Sullivan's last public appearance, and the composer died four months later. "The Absent-Minded Beggar" remained popular throughout the three-year war and for years after the war ended. It became a part of popular culture of the time, with its title becoming a popular phrase and cartoons, postcards and other humorous representations of the character of the absent-minded beggar becoming popular. The song is performed in John Osborne's 1957 play The Entertainer. T. S. Eliot included the poem in his 1941 collection A Choice of Kipling's Verse.

The picture in the gallery is of Rudyard Kipling in his study. Recognised my millions of people around the world as the English composer of the greatest poem ever written, certainly one of the most popular of all poems. ‘If’

Copy and paste below Sir Micheal Caine reading his favourite poem. ‘If’

https://www.youtube.com/watch?v=sqOgyNfHl1U

If you can keep your head when all about you
Are losing theirs and blaming it on you;
If you can trust yourself when all men doubt you,
But make allowance for their doubting too:
If you can wait and not be tired by waiting,
Or being lied about, don't deal in lies,
Or being hated don't give way to hating,
And yet don't look too good, nor talk too wise;

If you can dream—and not make dreams your master;
If you can think—and not make thoughts your aim,
If you can meet with Triumph and Disaster
And treat those two impostors just the same:
If you can bear to hear the truth you've spoken
Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to, broken,
And stoop and build 'em up with worn-out tools;

If you can make one heap of all your winnings
And risk it on one turn of pitch-and-toss,
And lose, and start again at your beginnings
⁠And never breathe a word about your loss:
If you can force your heart and nerve and sinew
To serve your turn long after they are gone,
And so hold on when there is nothing in you
⁠Except the Will which says to them: 'Hold on!'

If you can talk with crowds and keep your virtue,
Or walk with Kings—nor lose the common touch,
If neither foes nor loving friends can hurt you,
If all men count with you, but none too much:
If you can fill the unforgiving minute
With sixty seconds' worth of distance run,
Yours is the Earth and everything that's in it,
⁠And—which is more—you'll be a Man, my son!

Made by Cornelius Saunders & Francis Shepherd
Hallmarked 1899 made in Birmingham, England. 83mm long, 99.5 grams  read more

Code: 21734