A Unique Leaf From The Published Work of Nicolas Jenson Printed in 1472

A single original surviving leaf from one of the earliest and rarest books ever printed. A complete volume of this work, if were ever to be on the open market could be worth well over a million pounds. Nicolas Jensen, who is roundly considered one of history?s greatest printers and typographers, turned out beautiful volumes from his Venetian workshop in the 15th century. There is a similar leaf from Diogenes Laertius, Lives of the Philosophers by the Jensen Press, 1475. In resides in the Salisbury House Permanent Collection. A great and incredibly rare treasure from the very earliest days of printed text, with original handwritten annotations. This is a Folio. 6pp plus and original unique leaf from Ambrosius Aurelius Theodosius Macrobius's "In Somnium Scipionis Exposito". In Publisher's wrappers. 1 of only 73 ever published folio's that contained an original unique leaf from the master's great work of 1472. In very good condition. In The Manual Of Linotype Typography, the folio containing the rare single leaf was published in 1923, he clearly regarded him as one of the three greatest master printers of all time, alongside Gutenberg and Aldus. To own an original unique piece of Jenson's work, with annotations may be considered by some as one of the greatest privileges afforded to admirers of the printed word. An entire volume would be priceless, or at the least exceeding a million pounds or considerably more. Some hypothesize that Jenson studied under the tutelage of Gutenberg, the man who printed the rarest and most valuable book of all time, the Gutenberg or Mazarin Bible [one was apparently lost on the Titanic]. Jenson worked before the greatest English printer, the legendary William Caxton, and the very first book ever to be printed in English by Caxton was in 1473, "Recuyell of the Historyes of Troye" Jenson's story; In October 1458, while acting as Master of the French Royal Mint, Jenson was sent to Mainz, by King Charles VII, to study the art of metal movable type. Jenson then went to Mainz to study printing under Johannes Gutenberg. In 1470 he opened a printing shop in Venice, and, in the first work he produced, the printed roman lowercase letter took on the proportions, shapes, and arrangements that marked its transition from an imitation of handwriting to the style that has remained in use throughout subsequent centuries of printing. Jenson also designed Greek-style type and black-letter type. By 1472, Jenson had only been printing for two years. Even so, his roman type quickly became the model for what later came to be called Venetian oldstyle and was widely imitated. Though Jenson's type was soon superceded in popularity by those of Aldus and Garamond, it was revived again by William Morris in the late 19th century and became the model of choice for a number of private press printers.

Twentieth century commercial interpretations include Centaur and Cloister lightface, and most recently, ITC Legacy and Adobe Jenson. The books of Johann and Wendelin de Spira were printed with a new fount, a roman
type; this was a style of type that is familiar to the present day, but was at the time a radical innovation. A year later, in 1470, a new, slightly lighter and more elegant version appeared in books with a new imprint, that of Nicolas Jenson. In the colophons of books
printed from 1470 his name appears along with praise for his typographical skills. It is here that we see for the first time statements that leave no room for doubt. Jenson hasrightly become famous as the designer and cutter of the punches for the new roman typefaces as well as other founts that for a long time were the standard for legal and
theological works. Confirmation of his status as typographer is found in his last will and testament, written in 1480, where he made careful dispositions for what should be done
with his punches, the tangible results of a life?s experience and work that he wished to be protected. All these circumstances together lead to the notion that it was Jenson who improved the production of movable type by cutting excellent punches, a skill that he
had brought from the traditions of the Mint in Paris, and that he may first have applied inMainz to the long-lasting types used by Fust and Schoeffer.It is only in the last ten years of his life that Nicolas Jenson abandoned his anonymity,
and became prominent as a printer of magnificent books. Executed in sober, almost sculptural layouts they became models for centuries of printing. A famous example is the monumental edition of Pliny?s classical encyclopaedic work, his Historia naturalis, published by Jenson in 1472. An Italian translation, also published by Jenson, appeared in 1476 . The translation and printing were commissioned by the Florentine merchant Girolamo Strozzi, who also took care of the marketing.
Following in the tradition of Thomas Jefferson, whose library contained numerous works on European history, politics, and culture, the Library of Congress has many comprehensive European collections. The rarest of these works come to the Rare Book and Special Collections Division.
A special category of the division's European holdings is its collection of incunabula--books printed before 1501. Printed during the first decades of printing with movable type, these very rare and valuable books cover the whole spectrum of classical, medieval, and Renaissance knowledge and represent many of the highlights of the division's European materials. Over its nearly two-hundred-year history the Library of Congress has collected nearly 5,700 fifteenth-century books, the largest collection of incunabula in the western hemisphere. When Congress originally established its Library in 1800 and saw its collections destroyed by fire in 1814, it had no fifteenth-century books. Neither did the collection that Thomas Jefferson sold to Congress in 1815. This is not surprising because the books in the first Library served the need for general literature, and Jefferson primarily collected modern, scholarly editions in handy formats.

For the first fifty years or so after the acquisition of Jefferson's collection, the Library acquired incunabula very sparingly. The 1839 Catalogue of the Library of Congress lists only 2 incunabula: the Chronecken der Sassen (Mainz: Peter Schoeffer, 6 March 1492) and Ranulphus Hidgen's Polychronicon (Westminster: Wynkyn de Worde, 13 April 1495). The earliest incunabulum with a recorded date of acquisition is a 1478 edition of Astesanus de Ast's Summa de casibus conscientiae (Venice: Johannes de Colonia and Johannes Manthen, 18 March 1478).
The date that marks the real beginning of the incunabula collection at the Library of Congress is April 6, 1867, when the last shipment of Peter Force's library was received at the Capitol. His personal library held approximately 22,500 volumes, including 161 incunabula. The collection had some important books. The earliest imprint was Clement V's Constitutiones (Mainz: Peter Schoeffer, 8 October 1467); also included were a copy of Hartmann Schedel's Liber chronicarum (Nuremberg: Anton Koberger, 12 July 1493) and Jenson's printing of Pliny's Historia naturalis (Venice: Nicolaus Jenson, 1472).
Gutenberg, Aldus and Jenson  read more

Code: 22403

A Simply Beautiful Ancient Koto Katana, Sengoku Era, Circa 1530, Signed Fuchi with Artisans Kakihan of a Cursive Monogram and Signed Tsuba, And the Matsudaira Tokugawa Clan Mon Gold Habaki

Beautiful Koto blade with wonderful quality original Edo fittings of a signed fushi hilt mount of shakudo and pure gold, with a takebori samurai daimyo lord, in court dress, wearing his tachi.

Very good tsuba in iron, also signed. Menuki of cranes underneath the silk ito. Very beautiful blade with typical Koto period narrow straight hamon of fine simplicity. Engraved gilt habaki blade collar with Tokugawa clan mon of Aoi hollyhock leaves. Original utushi lacquer saya with small wear areas.

Before the Edo period, there were 19 major branches of the Matsudaira clan: Takenoya (竹谷), Katanohara (形原),4 Ōgusa (大草), Nagasawa (長沢),5 Nōmi (能見),6 Goi (五井), Fukōzu (深溝), Ogyū (大給),7 Takiwaki (滝脇),8 Fukama (福釜), Sakurai (桜井), Tōjō (東条), Fujii (藤井),9 Mitsugi (三木), Iwatsu (岩津), Nishi-Fukama (西福釜), Yata (矢田), Udono (鵜殿), and Kaga (加賀). Each of these branches (with the exception of the Kaga-Matsudaira, which relocated to Kaga Province) took its name from the area in Mikawa where it resided. Also, many of the branches often fought with each other.

Matsudaira of Okazaki
It was the main Matsudaira line residing in Okazaki Castle which rose the highest during the Sengoku period. During the headship of Matsudaira Hirotada, it was threatened by the Oda and Imagawa clans, and for a time was forcibly brought into Imagawa service. After the death of Imagawa Yoshimoto and the fall from power of the Imagawa clan, Hirotada's son Matsudaira Motoyasu was successful in forming an alliance with Oda Nobunaga, the hegemon of Owari Province. Motoyasu is better known as Tokugawa Ieyasu, who became the first Tokugawa shōgun in 1603.
The Sengoku Period (Sengoku Jidai, 1467-1568 CE), also known as the Warring States Period, was a turbulent and violent period of Japanese history when rival warlords or daimyo fought bitterly for control of Japan. The period falls within the Muromachi period (Muromachi Jidai, 1333-1573 CE) of Japanese medieval history when the Ashikaga shogun capital was located in the Muromachi area of Heiankyo (Kyoto). The beginning of the Sengoku period witnessed the Onin War (1467-1477 CE) which destroyed Heiankyo. The fighting that followed over the next century would eventually reduce the warlords to only a few hundred in number as the country was effectively carved up into princedoms. Eventually, one warlord rose above all his rivals: Oda Nobunaga, who set Japan on the road to unification from 1568 CE.

To many of us in the West, the movie image of the samurai in his fantastic armour, galloping into battle on his horse, his colourful personal flag, or sashimono, whipping in the wind on his back, has become the very symbol of Japan, the Empire of the Rising Sun. And, truly, to the samurai of real life, nothing embodied his warrior's code of Bushido more than his sword, considered inseparable from his soul.

Indeed, a sword was considered such a crucial part of a samurai's life that when a young samurai was about to be born, a sword was brought into the bedchamber during the delivery. When the time came for an old samurai to die and cross over into the White Jade Pavilion of the Afterlife his honoured sword was placed by his side. Even after death, a daimyo, or nobleman, believed he could count on his samurai who had followed him into the next world to use their keen blades to guard him against any demons, just as they had wielded their trusty weapons to defend him against flesh-and-blood enemies in this life. 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 colour 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  read more

Code: 22207

A Most Impressive & Stunningly Beautiful Bladed Antique Shinto period, Edo Era Samurai Horseman's Katana. Matsushiro Sinano School Koshirae

A simply amazing sword, of the 1700's, with a blade of breathtaking beauty, with a highly complex and attractive gunome hamon, with 'crabclaws', 'islands' and 'gems' of hardened temper. It gives the impression of a mountain range { somewhat like multiples of Mount Fuji} and crashing seas.

All original Edo period fittings, and a superb takebori iron sukashi tsuba. The fuchigashira and sayagaki and jiri are all matching brass decorated with fulsome designs and silver striping. Fully matching suite of sinchu and contrasting silver line mounts to the tsuka and saya, of the Edo Matsushiro Sinano school The saya has all its original period Edo lacquer impressed with a cloud patterning, and in dark bulls blood red. The menuki are horsemen's saddle stirrups, called abumi, and a horseman's yari pole. The blade has a superb and elaborate gunome hamon.

This is a katana made for a senior ranking samurai based on horseback in combat, certainly not a light and cursive katana, but a battle sword, made to complete an uncomprimising task of close combat and aggressive swordmanship.
Designed as much for cleaving armour and helmets in two, as much as defeating another samurai on horseback. Although samurai would not, one would say, be a cavalry based warrior, all senior samurai would be mounted and thus travel on horseback, and some cavalry type samurai could be deployed in battle, but with differing combat styles depending on what part of Japan they came from. The cavalry troops, being Samurai, had personal retainers that stayed closer to them in the Sonae, carried their weaponry and worked as support units, much like an European squire. They also joined the fight whenever possible (especially in the mounted infantry scenario) and were often responsible of taking heads for their lords.
These foot Samurai were also used as heavy infantry or archers to support the ashigaru lines.


Tactics
Given the fact that the Samurai could directly dismount and operate as infantry, there were some specific tactics for horsemen.
Cavalry in general was only used after the battle was already started, either to deliver a decisive victory or to trying to save the day.

Norikiri
This is a classic charge, where several small groups of five to ten horseman ride consequently (possibly with a wedge formation) into a small area against the enemy lines, to maximize the shock. It was mainly used by heavy cavalry in the East, but given the fact that the ideal target where "weavering" units with low morale or disorganized, even medium cavalry could perform this charge.
The main role of this charge was to create confusion; if it didn't succeed, the cavalry regroups and either retreat or deliver another charge.

Norikuzushi
This is a combined infantry and cavalry charge. The horseman charged first, and after creating mayhem, a second charge is delivered by infantries armed with polearms, which could keep on fighting. The main target for this tactics were ranged units detached by the army. After a Norikuzushi usually follows a Norikiri by the cavalry group. 28 inch blade tsuba to tip. The saya has some old wear marks, but very nice indeed and untouched.  read more

Code: 25240

A Good Koto Period O Sukashi Tsuba

Cirtca 1550. Probably Owari school. The OWARI school should be divided into three periods. The first period comprises those pieces made in the Muromachi age. The earliest tsuba of the first period are a little younger than the earliest Kanayama tsuba. The second period is the work of the Momoyama age. The third period is from the early Edo age to the Genroku era (1688-1703). A few facts may be stated based on examination of the work of this school. They are always of positive silhouette design. The subjects of the designs vary greatly but they always have in common a strong masculine feeling. They are a noble tsuba whose influence may be seen in many contemporary schools.
Yamasaka Kichibei was the name of the first tsuba artist of this family. Later members of this school shortened the name to Yamakichibei, still later onwe see the name Yamakichi. The working period of the first Yamasaka Kichibei is from Tensho to Keicho eras (1575-1615), about contemporary with the second Nobuiye. The first generations lived in the Kiyosu area, but the later generations lived at Nagoya in Owari Province. Tsuba were made by whole dynasties of craftsmen whose only craft was making tsuba. They were usually lavishly decorated. In addition to being collectors items, they were often used as heirlooms, passed from one generation to the next. Japanese families with samurai roots sometimes have their family crest (mon) crafted onto a tsuba. Tsuba can be found in a variety of metals and alloys, including iron, steel, brass, copper and shakudo. In a duel, two participants may lock their katana together at the point of the tsuba and push, trying to gain a better position from which to strike the other down. This is known as tsubazeriai pushing tsuba against each other.  read more

Code: 20801

A 600 Year Old Samurai Wakazashi, Higo Han Dachi Mounted, Signed by Nobukuni

All original fittings and koshirae of the Edo period, the Higo han dachi mounts are most exceptional and a form very rarely seen, in that all seven pieces in the original full suite are Higo scholl, iron ground, stunningly decorated with splashes of pure silver droplets applied somewhat like flakes of snow falling in the night. They are absolutely captivating in their beauty.

The blade has an absolutely stunningly complex and active hamon, that looks fabulous, with totally as to be expected, a small area of the tip of the blade with pitting, Some pitting was left in place by the polisher, a conscious choice that helps to preserve as much of the original form, thickness, and therefore handling characteristics as possible. Otherwise, in good shape. The saya has its original Edo period ishime stone lacquer in super condition with just a couple of old areas of surface repair, with a kozuka pocket and its complimentary plain iron Higo kozuka [utility knife] present.
It has a fine mokko iron plate tsuba, decorated with a full moon over clouds and a gold and silver inlaid hanging rope, with attachments, over crashing waves.
Han-dachi mounted swords originally appeared during the Muromachi period when there was a transition taking place from tachi slung swords to katana obi mounted swords. The sword was being worn more and more edge up when on foot, but edge down on horseback as it had always been. The handachi is a response to the need of a sword to be worn in either style.
The samurai were roughly the equivalent of feudal knights. Employed by the shogun or daimyo, they were members of hereditary warrior class that followed a strict "code" that defined their clothes, armour and behaviour on the battlefield. But unlike most medieval knights, samurai warriors could read and they were well versed in Japanese art, literature and poetry.
Samurai endured for almost 700 years, from 1185 to 1867. Samurai families were considered the elite. They made up only about six percent of the population and included daimyo and the loyal soldiers who fought under them. Samurai means one who serves."

Samurai were expected to be both fierce warriors and lovers of art, a dichotomy summed up by the Japanese concepts of bu [to stop the spear] expanding into bushido (the way of life of the warrior) and bun (the artistic, intellectual and spiritual side of the samurai). Originally conceived as away of dignifying raw military power, the two concepts were synthesised in feudal Japan and later became a key feature of Japanese culture and morality. The quintessential samurai was Miyamoto Musashi, a legendary early Edo-period swordsman who reportedly killed 60 men before his 30th birthday.

 read more

Code: 24251

A Superb, French, Superior Officer's Spontoon From The Battle of Minden, August 1st 1759 One Of The Great Victorious Battles Of The Anglo French 7 Years War. The Major Victory for The Allied Anglo-Hanoverian Forces Against The French of King Louis XVth

The Battle of Minden was a major victory for the Anglo-Hanoverian forces against the French on August 1, 1759, during the Seven Years' War. The Battle of Minden was a major engagement during the Seven Years' War, fought on 1 August 1759. An Anglo-German army under the overall command of Prussian Field Marshal Ferdinand of Brunswick defeated a French army commanded by Marshal of France, Marquis de Contades. Two years previously, the French had launched a successful invasion of Hanover and attempted to impose an unpopular treaty of peace upon the allied nations of Britain, Hanover and Prussia. After a Prussian victory at Rossbach, and under pressure from Frederick the Great and William Pitt, King George II disavowed the treaty. In 1758, the allies launched a counter-offensive against the French and Saxon forces and drove them back across the Rhine.

After the allies failed to defeat the French before reinforcements swelled their retreating army, the French launched a fresh offensive, capturing the fortress of Minden on 10 July. Believing Ferdinand's forces to be over-extended, Contades abandoned his strong positions around the Weser and advanced to meet the Allied forces in battle. The decisive action of the battle came when six regiments of British and two of Hanoverian infantry, in line formation, repelled repeated French cavalry attacks, contrary to all fears that the regiments would be broken. The Allied line advanced in the wake of the failed cavalry attack, sending the French army reeling from the field, ending all French designs upon Hanover for the remainder of the year.

In Britain, the victory is celebrated as contributing to the Annus Mirabilis of 1759.

Fine steel head with two stage blade with twin fullers and long extended ricasso twin opposing hook quillons, finely engraved with rococco scrols snd flower heads. after its loss in the battle the wooden haft rotted away leaving the steel head finely intact.
Recovered from the battle field at Minden during a Grand Tour, circa 1820, and acquired by the Hamilton family of the 10th Duke of Hamilton. Just returned from six months hand cleaning and conservation by our expert artisans, revealing the superb engraving required for a weapon of both combat and dress, and an infantry symbol of higher rank of a French regimental officer, and nobleman of France. Interestingly this would likely have been its last service in combat, as the French infantry officers had been slowly abandoning the spontoon since 1756, with the oldest highest ranked officers being the last to see service with the spontoon.

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.

French officers would have used spontoons at the Battle of Minden, as they were still a standard symbol of rank for senior infantry officers in the French army in 1759. Although the army had begun to shift away from using them in combat, regulations at the time still required them for senior officers, though junior officers had started to carry fusils instead. The spontoon's function was not primarily as a weapon but as a mark of rank that officers used to give orders and signal to troops.
Regulations: According to military regulations, French infantry officers were required to carry spontoons.
Combat role: While spontoons were not typically intended for combat, officers used them to provide direction to their troops during battle.

Picture in the gallery of an Officer of Le regiment de Languedoc with his spontoon.  read more

Code: 25951

A1930's Third Reich, Deutsche Zeppelin-Reederei Air Ship Silver Knife & Fork, From The Hindenberg Dining Room, Allegedly Recovered After The Crash By a Lakehurst Based Military Officer. Made by Gebr.Hepp {the Hepp Brothers}

The Deutsche Zeppelin-Reederei (the German Zeppelin Transport Company, or DZR) was established on March 22, 1935, to operate German passenger airships.

On May 6, 1937. The world reknowned Nazi airship Hindenberg, upon landing at Lakehurst USA, exploded into a ball of fire. One of the very first international disasters that was captured live on film.

If one looks at the live disaster explosion photos in the gallery it seems remarkable that most of the passengers and crew survived. There were about 97 people onboard just 36 of them perished. During an attempt to land at Lakehurst Naval Air Station, the Hindenburg airship caught fire and disintegrated into a raging ball of fire near-instantaneously, in a display of rapid combustion unlike any other. Despite its enduring legacy as a horrific disaster, less than half of the people on board the Hindenburg actually died. 62 passengers and crew escaped with their lives.

A simple yet powerful memorial marks the site of the crash. A cement outline in the shape of the Hindenburg stretches across the airfield in the spot where the airship crash-landed in flames.

The site was declared a Registered National Historic Landmark in 1961.

Prior to the establishment of the DZR, passenger zeppelins were built by the Luftshiffbau Zeppelin (the Zeppelin Airship Construction Company, known as the “LZ”) and operated by DELAG (Deutsche Luftschiffahrts-Aktiengesellschaft, or German Airship Transportation Corporation Ltd), which was established in 1909 as an offshoot of the LZ and dominated by Hugo Eckener. With the establishment of the DZR, airship activities were divided between the LZ, which would continue to build the airships, and the DZR, which would operate them. Consistent with Nazi ideology, the airship was expected to be more than just a private commercial venture; it was to be a public symbol of the new German nation. In a speech marking the founding of the DZR, Göring commented: “I hope that the new ship will also fulfill its duty in furthering the cause of Germany… The airship does not have the exclusive purpose of flying across the Atlantic, but also has a responsibility to act as the nation’s representative.”

The establishment of the DZR may have also been partly inspired by the bureaucratic rivalry between Air Minister Göring and Propaganda Minister Joseph Goebbels, and Goering’s commitment of 9 million marks to the zeppelin project, on condition of the creation of the DZR, came shortly after Goebbels offered the Zeppelin Company 2 million marks toward the completion of LZ-129 in the summer of 1934.

In March 1935, the South Atlantic flights became the responsibility of the Nazi controlled Deutsche Zeppelin-Reederei, after this company had been set up jointly by Luftschiffbau Zeppelin, the German Air Ministry and Deutsche Lufthansa. The DZR was created at the instigation of Air Minister Hermann Goring as a way to increase Nazi control over zeppelin operations, and can be see as part of the larger policy of Gleichschaltung, or coordination, which affected all aspects of German life in the years following Hitler’s assumption of power.

Consistent with Nazi ideology, the airship was expected to be more than just a private commercial venture; it was to be a public symbol of the new German nation.

In a speech marking the founding of the DZR, Goring commented:

“I hope that the new ship will also fulfil its duty in furthering the cause of Germany
The airship does not have the exclusive purpose of flying across the Atlantic, but also has a responsibility to act as the nation’s representative.”

The even larger airship, the LZ 129 'Hindenburg' joined the 'Graf Zeppelin' in 1936, and, in addition to South Atlantic flights with its partner, inaugurated a service over the North Atlantic, between Frankfurt and Lakehurst in New Jersey, in the summer. Also in 1936 the South American route was extended to Rio de Janeiro. Deutsche Zeppelin-Reederei ceased operations as the commercial use of airships came to an abrupt end on 6 May 1937, when the 'Hindenburg' exploded at Lakehurst.
We also have a silver tray from the same flights, and was the product of the same silver company that made the Third Reich military cutlery and other silver objects for the Third Reich hierarchy - Gbr. Hepp. {Hepp Brothers}

His company, alongside his rival, Wellner, was a maker of much of the Fuhrer's formal dinnerware, and the Reich chancellery dinnerware pieces. Many items by were used in several of Hitler's residences, the Hotel Der Deutscher Hof personally used by Hitler, and numerous state offices. The Zeppelin Corps became one of the shortest-lived German service branches of World War II. After the German invasion of Poland in 1939, the Luftwaffe ordered the last two Zeppelin airships moved to a large Zeppelin hangar in Frankfurt. In March of 1940, Goring ordered their destruction and the aluminium fed into the Nazi war industry. In May, a fire broke out in the Zeppelin facility which destroyed most of the remaining parts. The rest of the parts and materials were soon scrapped with almost no trace of the German "Giants of the Air" remaining by the end of the year.

Although the dining-room cutlery was the same for both the Hindenberg and the Graf Zeppelin, by family repute this cutlery pair came from the Hindenberg, recovered after the fatal crash. They were blackened with soot but were polished up beautifully, and fully intact. The family originally had a military officer stationed at the base at Lakehurst, New Jersey, at the time, and he witnessed the explosion and helped directing the clear-up over the following few days. the last photo in the gallery is the crash site with the clean-up crew to the top left of the photo, the officer that found this knife and fork is apparently one of those men.

Another fork from the Hindenburg was featured on an episode of the show Antiques Roadshow {US} in the "Vintage Tampa" episode, which aired as Season 18, Episode 20.
Mon, Jun 23, 2014  read more

Code: 25947

SOLD An Original English Civil War Period Portrait of General George Monk & General Monk's Early Leather Bound Biography. IInd Edition Of Thomas Skinner M.D,'s Manuscript, Edited For J. Graves in St James'

A fine portrait After Samuel Cooper of George Monk, 1st Duke of Albemarle. Oil on canvas laid on board, inscribed Gen: Monk, Duke of Albermale upper centre. And a fine volume of The Life of General Monk, Duke of Albemarle 2nd Edit. 1724. George Monk, 1st Duke of Albemarle, KG (6 December 1608 - 3 January 1670) was an English soldier and politician and a key figure in the Restoration of Charles II. During the operations on the Scottish border in the Bishops' Wars (1639-1640) he showed his skill and coolness in the dispositions by which he saved the English artillery at the Battle of Newburn (1640).

At the outbreak of the Irish rebellion (1641) Monck became colonel of Robert Sidney, 2nd Earl of Leicester's regiment under the command of James Butler, 1st Duke of Ormonde. All the qualities for which he was noted through life his talent for making himself indispensable, his imperturbable temper and his impenetrable secrecy were fully displayed in this post. The governorship of Dublin stood vacant, and Leicester recommended Monck.

However, Charles I overruled the appointment in favour of Charles Lambart, 1st Earl of Cavan, and Monck surrendered the appointment without protest. James Butler, 1st Duke of Ormonde viewed him with suspicion as one of two officers who refused to take the oath to support the Royal cause in England and sent him under guard to Bristol.

Monck justified himself to Charles I in person, and his astute criticisms of the conduct of the Irish war impressed the king, who gave him a command in the army brought over from Ireland during the English Civil War. Taken prisoner by Parliament's Northern Association Army under Sir Thomas Fairfax, 3rd Lord Fairfax of Cameron at the Battle of Nantwich in January 1644, he spent the next two years in the Tower of London. He spent his imprisonment writing his Observations on Military and Political Affairs Monck's experience in Ireland led to his release. He was made major general in the army sent by Parliament against Irish rebels. Making a distinction (like other soldiers of the time) between fighting the Irish and taking arms against the king, he accepted the offer and swore loyalty to the Parliamentary cause. He made little headway against the Irish led by Owen Roe O'Neill and concluded an armistice (called then a "convention") with the rebel leaders upon terms which he knew the Parliament would not ratify. The convention was a military expedient to deal with a military necessity. When in February 1649 Scotland proclaimed Charles, Prince of Wales, as Charles II, King of Scotland, the Protestant Ulster Scots settlers did the same and following Charles's lead took the Solemn League and Covenant. Most of Monck's army went over to the Royalist cause, placing themselves under the command of Hugh Montgomery, 1st Earl of Mount Alexander. Monck himself remained faithful to Parliament and returned to England.

Although Parliament disavowed the terms of the truce, no blame was attached to Monck's recognition of military necessity. He next fought at Oliver Cromwell's side in Scotland at the 1650 Battle of Dunbar, a resounding Roundhead victory. Made commander-in-chief in Scotland by Cromwell, Monck completed the subjugation of the country.

In February 1652 Monck left Scotland to recover his broken health at Bath, and in November of the same year he became a General at Sea in the First Anglo-Dutch War, which ended in a decisive victory for the Commonwealth's fleet and marked the beginning of England's climb to supremacy over the Dutch at sea.

On his return to shore Monck married Anne Radford (nee Clarges).In 1653 he was nominated one of the representatives for Devon in Barebone's Parliament. He returned to Scotland, methodically beating down a Royalist insurrection in the Highlands. At Cromwell's request, Monck remained in Scotland as governor During the confusion which followed Cromwell's death on 3 September 1658, Monck remained silent and watchful at Edinburgh, careful only to secure his hold on his troops. At first he contemplated armed support of Richard Cromwell, but on realising the young man's incapacity for government, he gave up this idea and renewed his waiting policy. In July 1659 direct and tempting proposals were again made to him by the future Charles II. Monck was elected Member of Parliament for both Devon and Cambridge University in the Convention Parliament of 1660. Though he protested his adherence to republican principles, it was a matter of common knowledge that the parliament would have a strong Royalist colour. Monck himself, in communication with Charles II, accepted the latter's Declaration of Breda of 4 April 1660, which was largely based on Monck's recommendations. On 1 May the newly convened Convention Parliament formally invited Charles, as King Charles II, to be the English monarch in what has become known as the Restoration. The painting size is 27cm x 23.5 cm., and in its frame it is 16.75 inches x 15.5 inches  read more

Code: 22723

A Rare Original Handwritten German Picture Postcard From Hitler's Titanic, One of The Most Famous Ships of WW2. German Ship Sunk By Soviet Submarine with the Loss of up to 11,000 Lives Making It The Greatest Loss in Worldwide Maritime History

It is most rare to find an original, dated, addressed and handwritten postcard from the Willhelm Gustloff.

MV Wilhelm Gustloff was a German military transport ship which was sunk on 30 January 1945 by Soviet submarine S-13 in the Baltic Sea while evacuating civilian evacuees from East Prussia, Lithuania, Latvia, Poland and Estonia and German military personnel from Gotenhafen (Gdynia) as the Red Army advanced. By one estimate, 9,400 people died, making it the largest loss of life in a single ship sinking in history.

Originally constructed as a cruise ship for the Nazi Strength Through Joy (Kraft durch Freude) organization in 1937, Wilhelm Gustloff had been requisitioned by the Kriegsmarine (German navy) in 1939. She served as a hospital ship in 1939 and 1940. She was then assigned as a floating barracks for naval personnel in Gotenhafen before being fitted with anti-aircraft guns and put into service to transport evacuees in 1945.

Headline from a German newspaper recording the disaster, translation;

​"Wilhelm Gustloff" - Disaster
​Party stormed with inquiries

​​ ​The offices of the Party and the Navy in all parts of the Reich were yesterday stormed by anxious persons, who suspect that their relatives were perhaps onboard the "Wilhelm Gustloff", which was torpedoed by a Russian submarine on January 30th at 9:00 pm in the Danzig Bay and sunk within 15 minutes. The number of victims of the "Wilhelm Gustloff" disaster is still not certain, since no office of the Party or of the Kriegsmarine can accurately say, how many Eastern refugees and members of the Wehrmacht were on board, when the ship left Gotenhafen.

​​932 saved
​ On the basis of the latest research, it must be assumed that not 8,000, as we reported yesterday, but 10 to 11,000 passengers were on board. Only 932 were saved. ​Of which 658 were members of the Kriegsmarine. Serious accusations are now being raised against the Danzig Party offices, who insisted that the "Wilhelm Gustloff" should depart on January 30th, even though the head of the Security Baltic Sea had pointed out that the necessary number of security units could not be placed before February 4.
​
​The "Wilhelm Gustloff" departed nevertheless on the 30th of January in the evening with the completely inadequate securing from an outpost boat and two R-boats. All the decks of the "Wilhelm Gustloff" were so crowded that no one could move. At the embarkation it was said, the journey takes however only a few hours.When the ship was hit by the Russian torpedo at exactly 9 o'clock pm, just an hour after the departure, hardly anybody could escape from the lower decks. Many passengers were thrown into the sea at the time the ship capsized, frozen in the icy water before they could be helped.
​
​Survivors report the horror scene, which took place after the explosion onboard the ship. All lights on board are extinguished at a stroke. In wild panic, the passengers tried to find a way to the deck despite the darkness. Hundreds of women and children were trampled to death on the stairs and corridors.
​
​Women and children
​ In the fierce battle that took place around the few rescue boats, women and children were ruthlessly pushed overboard. After just ten minutes, the 25,000 - ton ship listed hard. Five minutes later, the "Wilhelm Gustloff" capsized and took many thousands with her into the depth. Others, who had fallen from the deck or hurled into the sea, fell into the wake of the sinking ship and disappeared into the flood. The "Wilhelm Gustloff" was finished in 1937 as a KdF ship and was taken over by the Kriegsmarine in 1940 first as a hospital ship. Since March 1941 she was the home of the submarine teaching division in Gotenhafen.

The newspaper is shown for education purposes only  read more

Code: 24443

A Koto Period Signed Kiyomitsu Chisa Katana With Original Edo Period Mounts & Saya With The Toyatomi Clan & Imperial Kiri Kamon

Circa 1500,
With original urushi lacquer saya in black featuring a design of the Kiri mon. A jolly nice, likely Koto period, iron, round tsuba, decorated with a seated silver figure, with gold, cloud and shimmering water highlights, and a background twin mountain scene. Carved buffalo horn kurigata and kashira, gold fuchi engraving decorated. A pair of nice menuki over patterned silk and strong tsuka-Ito.

Kaga (Kashu) Kiyomitsu: This line of swordsmiths was active for multiple generations, with different smiths known as "Kiyomitsu" existing in various provinces like Bizen, Mino, and Kaga.
Providence: Swords signed by Kiyomitsu were sometimes used by historical figures, such as the legendary Shinsengumi swordsman Okita Soji, though this is a point of debate among experts

The Kiyomitsu line was quite prosperous during the multiple wars of the Muromachi period. Since there were many smiths using this mei, it is very hard to assign a work without a personal name to a certain specific generation.

Hawley likely lists this swords potential smith to be active 1467-1510 and mixes in information for Kiyomitsu Shodai, i.e. being a son of Yukumitsu. This records fills the generation gap between Kiyomitsu Shodai and Nidai. It appears to be either Hawley's mistake or he possessed other information about some Kiyomitsu who was active between 1st and 2nd generations.

This early sword is perfect for the antique historical admirer of samurai warfare and history, the blade has signs of wear from the past five centuries, yet it is still a beautiful sword, thus it is absolutely perfect for the ancient historical samurai warfare collector, rather than those dedicated to seeking simply blade perfection.


The chisa katana was able to be used with one or two hands like a katana (with a small gap in between the hands) and especially made for double sword combat a sword in each hand. It was the weapon of preference worn by the personal Samurai guard of a Daimyo Samurai war lord clan chief, as very often the Daimyo would be often likely within his castle than without. The chisa katana sword was far more effective as a defence against any threat to the Daimyo's life by assassins or the so-called Ninja when hand to hand sword combat was within the castle structure, due to the restrictions of their uniform low ceiling height. But in trained hands this sword would have been a formidable weapon in close combat conditions, when the assassins were at their most dangerous. The hilt was usually around ten to eleven inches in length, but could be from eight inches or up to twelve inches depending on the Samurai's preference. Chisa katana, Chiisagatana or literally "short katana", are shoto mounted as katana. It is fair to say wakizashi are shoto which are mounted in a similar way to katana, but in this instance we are considering the predecessors of the daisho. In the transitional period from tachi to katana, katana were called "uchigatana", and shoto were referred to as "koshigatana" and "chiisagatana", in many cases quite longer than the later more normal length wakizashi.  read more

Code: 25946