A Stunning, Large, Original, Roman Classical Carved Carnelian Intaglio Seal of the Goddess Laetitia . This Amazing Roman Intaglio Could Make A Beautiful Ring With A Bespoke Mount

With the figure of the Goddess Laetitia leaning upon a shield of nine stars, with an anchor at her feet. A delightful object d'art in the typical classical Greco-Roman form, probably mounted in a pinchbeck type mount in Georgian England circa 1770, but the carnelian is probably 1st century bc to 2nd, 3rd century Roman, mounted in a gilded metal oval mount in the 18th century. Roman carved intaglio carnelian stone seals were very popular in the era of the English aristocracy's 'Grand Tours' with many brought back from trips to Rome and mounted as rings or seals in the time of King George IIIrd. Laetitia is the Roman Goddess of joy, gaiety, and celebration, and is especially linked with holidays and festivals. She was often shown with an anchor, as a representation of stability. Laetitia was given several epithets depending on the type of joy the Emperor was attempting to take credit for bringing to the Empire. On coins of the Emperors Gordian III and Gallienus, who both reigned in the mid 3rd century CE, She is Laetitia Augusta, "the Joy of the Emperor", which, in propaganda-style, can be taken to mean "the joy the Emperor brings to the people", though it may also have been a way of announcing the birth of a child into the imperial family. On these She is shown standing in Her typical pose, with a garland in one hand and an anchor supporting the other; The red variety of chalcedony has been known to be used as beads since the Early Neolithic in Bulgaria. The first faceted (with constant 16+16=32 facets on each side of the bead) carnelian beads are described from the Varna Chalcolithic necropolis (middle of the 5th millennium BC). The bow drill was used to drill holes into carnelian in Mehrgarh in the 4th-5th millennium BC. Carnelian was recovered from Bronze Age Minoan layers at Knossos on Crete in a form that demonstrated its use in decorative arts; this use dates to approximately 1800 BC. Carnelian was used widely during Roman times to make engraved gems for signet or seal rings for imprinting a seal with wax on correspondence or other important documents. Hot wax does not stick to carnelian. Sard was used for Assyrian cylinder seals, Egyptian and Phoenician scarabs, and early Greek and Etruscan gems. The Roman Empire was the seat of power and wealth in the Western world for hundreds of years. Because of their impressive span, they were able to trade with cultures throughout the world, not only in Europe, but also in northern Africa.

This gave them access to numerous gemstones which they could use to craft their jewelry. Because of their wealth, they were able to afford many precious and semi-precious stones, as well as detailed artisan craftwork.

We show in the gallery another similar Roman carnelian seal that has been re-mounted in a yellow gold ring mount, it looks spectacular. We show another similar sized that was remounted as a ring in the 19th century, it sold in auction for £8,125.

We also show in the photo gallery a similar Carnelion intaglio seal of Empress Catherine the Great sold recently for just under 30,000 gbp.

Pinchbeck is a durable yellow metal that resembles gold but is made with a combination of copper and zinc—much less zinc than the combo of the same two metals used to produce brass. The formula was developed by Christopher Pinchbeck, a London clockmaker who lived from about 1670 to 1732.
The seal is 32mm x 26mm in mount  read more

Code: 20846

A Beautiful Ancient Bronze and Enamel Book Clasp Around 1100 Years Old. From the Era of Anglo Saxon England & The Viking Incursions into Britain Through to The Early Crusades Period

Circa 10th-12th century AD. A stunning and most beautiful antiquity perfect for an antiquarian bibliophile as an example of the rarest of artefacts used to protect valuable volumes illuminated manuscripts and testaments.

A small and most intricate gem from the days of the Anglo Saxon’s and Vikings.

Originally from the Christian Eastern Roman Empire. A bronze tongue-shaped clasp with pelleted border and reserved peacock on an enamelled field. Anglo Saxon to early Norman period. Very fine condition. Two examples in the gallery show a 1000 year old book and a 1000 year old old testament that both had clasps such as this. The Bible is an ancient text. Like every other ancient text, the originals have not survived the ravages of time. What we have are ancient copies of the original which date to hundreds of years after their composition, for example from around 700 AD This is normal for ancient texts. For example, Julius Caesar chronicled his conquest of Gaul in his work On The Gallic War in the first century B.C. The earliest manuscript in existence dates to the 8th century AD, some 900 years later. The oldest biblical text is on the Hinnom Scrolls ? two silver amulets that date to the seventh century B.C. These rolled-up pieces of silver were discovered in 1979-80, during excavations led by Gabriel Barklay in a series of burial caves at Ketef Hinnom. When the silver scrolls were unrolled and translated, they revealed the priestly Benediction from Num 6:24-26 reading, ?May Yahweh bless you and keep you; May Yahweh cause his face to Shine upon you and grant you Peace.?6 The Ketef Hinnom scrolls contain the oldest portion of Scripture ever found outside of the Bible and significantly predate even the earliest Dead Sea Scrolls. They also contain the oldest extra-biblical reference to YHWH. Given their early date, they provide evidence that the books of Moses were not written in the exilic or postexilic period as some critics have suggested.


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. The book clasp is 10.4 grams, 38mm (1 1/2" inches long)

The dirt from the rear surface of the object was removed manually using a scalpel under magnification. Care was taken not to dislodge the powdery, corroding surface. With all hand conservation if the surface is in particularly sensitive condition the dirt was left in situ  read more

Code: 22940

Wonderful 12th-13th Century Crusader & Pilgrim Knight's Heraldic Seal Ring Of a Fantastical Beast The Manticore, A Human Headed Tiger or Lion. Used In Medeavil Heraldry On Shields, Banner, Accoutrements & Indicated To Which Noble Family A Knight Belonged

A superb naturally patinated bronze, realistically engraved with an intaglio of the Manticore a Man-Tiger or Man-Lion. For example, in the 1400's it was the Heraldic Badge of William Lord Hastings. Often used as a supporter for a noble coat of arms. The ring is also very unusual in that it is designed to be sectioned on the inside ring so as to be self adjusting for finger size.

The royal supporters of England are the heraldic supporter creatures appearing on each side of the royal arms of England. The royal supporters of the monarchs of England displayed a variety, or even a menagerie, of real and imaginary heraldic beasts, either side of their royal arms of sovereignty, including lion, leopard, panther and tiger, manticore, antelope and hart, greyhound, boar and bull, falcon, cock, eagle and swan, red and gold dragons, as well as the current unicorn.

In ancient Greek culture, the manticore represented the unknown lands of Asia, the area it was said to inhabit. In later times, the manticore was recognized by many Europeans as a symbol of the devil or of the ruthless rule of tyrants. This may have originated in the practice of using manticores as royal decorations, and heraldic devices.

The Manticore In Art, Literature, And Everyday Life
During the Middle Ages, the manticore appeared in a number of bestiaries, books containing pictures or descriptions of mythical beasts.

The manticore was also featured in medieval heraldry—designs on armour, shields, and banners that indicated the group or family to which a knight belonged.

The medieval Maniticore is featured in numerous medieval manuscripts known as Bestiary, a book written in the Middle Ages containing descriptions of real and imaginary animals, intended to teach morals, religion and to entertain.
The bestiary — the medieval book of beasts — was among the most popular illuminated texts in northern Europe during the Middle Ages (about 500–1500). Medieval Christians understood every element of the world as a manifestation of God, and bestiaries largely focused on each animal's religious meaning. Much of what is in the bestiary came from the ancient Greeks and their philosophers. The earliest bestiary in the form in which it was later popularized was an anonymous 2nd-century Greek volume called the Physiologus, which itself summarized ancient knowledge and wisdom about animals in the writings of classical authors such as Aristotle's Historia Animalium and various works by Herodotus, Pliny the Elder, Solinus, Aelian and other naturalists.

Following the Physiologus, Saint Isidore of Seville (Book XII of the Etymologiae) and Saint Ambrose expanded the religious message with reference to passages from the Bible and the Septuagint. They and other authors freely expanded or modified pre-existing models, constantly refining the moral content without interest or access to much more detail regarding the factual content. Nevertheless, the often fanciful accounts of these beasts were widely read and generally believed to be true. A few observations found in bestiaries, such as the migration of birds, were discounted by the natural philosophers of later centuries, only to be rediscovered in the modern scientific era.

Medieval bestiaries are remarkably similar in sequence of the animals of which they treat. Bestiaries were particularly popular in England and France around the 12th century and were mainly compilations of earlier texts. The Aberdeen Bestiary is one of the best known of over 50 manuscript bestiaries surviving today.These bestiaries held much content in terms of religious significance. In almost every animal there is some way to connect it to a lesson from the church or a familiar religious story. With animals holding significance since ancient times, it is fair to say that bestiaries and their contents gave fuel to the context behind the animals, whether real or myth, and their meanings.

UK size R1/2  read more

Code: 25481

A Most Fine and Rare Original Frank Brangwyn WW1 Propaganda Poster. A Superb Piece Of Original Historical WW1 Artistry,Ideal For Interior Decor

This is a superb original work of art that would look simply amazing framed and placed in the right setting.
After the June 1915 raids, when air raids intensified, the Daily Chronicle offered its readers £150 for damage to homes and their contents by hostile aircraft, £100 for fatal injuries, £30 for damage inflicted by the enemy but not by air power and £10 to cover medical fees for non-fatal injuries.

The Zeppelin Raids: the vow of vengeance. Drawn for "The Daily Chronicle" by Frank Brangwyn A.R.A. 'Daily Chronicle' readers are covered against the risks of bombardment by zeppelin or aeroplane.British infantryman, full-length standing figure, looking up and shaking his fist at a departing Zeppelin. At his feet lies the body of an old woman who is mourned by a small boy and woman, left. In the background a skyline of bomb damaged and smoke shrouded buildings text: "THE ZEPPELIN RAIDS: THE VOW OF VENGEANCE Drawn for 'The Daily Chronicle' by Frank Brangwyn ARA" (in 2 lines upper edge) & "'DAILY CHRONICLE' READERS ARE COVERED AGAINST THE RISKS OF BOMBARDMENT BY ZEPPELIN OR AEROPLANE" printed by The Avenue Press, Ltd., Bouverie St., London, E.C. Original lithograph poster.

There are other original surviving examples of this original poster in both the Imperial War Museumin London and the Library of Congress in America. Posters of this kind are rare simply due to the fact they were considered as disposable propaganda artworks and were thus disposed of when no longer needed after the wars end. Brangwyn trained at the Royal College of Art, and was an apprentice with the designer William Morris. A highly regarded and prolific draughtsman, he was an established Royal Academician by the beginning of the First World War.
Frank Pick, General Manager of London Underground and a notable supporter of high quality design, commissioned Brangwyn to produce morale raising posters for London commuters. Brangwyn also worked extensively for war charities, producing many posters in support of Belgian relief, as he had been born in Bruges. Later in the war he contributed to the Ministry of Information's print series 'Efforts and Ideals' and designed posters for the National War Savings Committee.
His emotive realism was often criticised by government officials for demoralising the public. His depiction of close combat in the War Savings poster 'Put Strength in the Final Blow' was published only after some debate. The poster caused a public outcry in Germany, but ironically Brangwyn's reputation was considerably higher on the Continent. He was featured in an illustrated article in the prestigious German poster journal, Das Plakat in 1919.
Moved by the suffering and destruction of the war, Brangwyn later became a pacifist. His career continued to flourish after the war, most prominently as a painter of murals for public buildings. He is celebrated in the Brangwyn Museum in Bruges and the Musee de la Ville at Orange, France also has large holdings of his work. During World War I, the impact of the poster as a means of communication was greater than at any other time during history. The ability of posters to inspire, inform, and persuade combined with vibrant design trends in many of the participating countries to produce interesting visual works. At the start of the twentieth century he was the one British artist whose work was revered by the European cognoscenti, and the Japanese recognised in his artistic endeavours a love of simplicity, geometric compositions, and clarity of colour. He worked for Bing and Tiffany and produced murals for four North American public buildings. A supremely charitable man with a reputation for being irascible; a pacifist whose brutal WWI poster Put Strength in the Final Blow (1918) reputedly led the Kaiser to put a price on his head.
The man whom G K Chesterton described as
‘the most masculine of modern men of genius’ could also produce exquisitely delicate and serene works like St Patrick in the Forest (Christ’s Hospital murals); and his oils are as voluptuous in colour and form as his furniture is minimalist. Original WW1 and WW2 Posters are becoming hugely popular yet some are still very affordable, prices for nice examples are reaching well into the thousands over the past few years now. If a 1920's Russian movie poster of the Battleship Potemkin will fetch over £100,000 GBP, the potential for the values of fine propaganda posters by the great artists of their day could be immense 20 x 30.25 inches  read more

Code: 22667

Used In WW1 & WW2. An Imperial German Issued Peaked Cap for Fire Protection Officer of Lubeck. Used From WW1 & Through to Early WW2 After The Organisation Was Taken Over By Himmler’s SS

A rare service cap, that is historically very interesting indeed, yet remarkably affordable.

Blue wool cloth with two red piping borders and single red and brass disc roundel. In super condition, worn areas to the lining and sweatband, as to be expected, but the peak and dark blue cloth are superb.

Made in WW1 Imperial period, worn right through the later Weimar period and into the early Third Reich era. When used in the Third Reich era, by the Fire Protection Police, it was an organization that was an auxiliary to the Ordnungspolizei, and during the war was absorbed into the SS. Feuerschutzpolizei. By 1938, all of Germany's local fire brigades were part of the ORPO. Orpo Hauptamt had control of all civilian fire brigades. ORPO's chief was SS-Oberstgruppenfuhrer Kurt Daluege who was responsible to Himmler alone until 1943 when Daluege had a massive heart attack.

From 1943, Daluege was replaced by Obergruppenfuhrer Alfred Wunnenberg until May 1945.

ORPO was structurally reorganised by 1941. It had been divided into the numerous offices covering every aspect of German law enforcement in accordance with Himmler's desire for public control of all things.

A very attractive and interesting piece in super order and totally complete.  read more

Code: 21181

A Very Fine & Rare Pair of Cased WW1 Great War Imperial German Epaulettes. For An Officer Of Adolf Hitler’s War Service Bavarian Reserve Regiment. It Is Distinctly Possible He Served With The Later Fuhrer

For the Imperial German 40th Infantry officer. Used by the German regimental officers that fought in the trenches with Adolf Hitler's infantry, and apparently the 40th relieved to command Hitler's company within the List Regiment, the Bavarian Reserve Infantry Regiment 16 (1st Company of the List Regiment).

Beautifully preserved In their original storage case in mint condition overall.
Mid blue cloth background with gilt crescent and Infantry number 40. Red back cloth.

During the war, Hitler served in France and Belgium in the Bavarian Reserve Infantry Regiment 16 (1st Company of the List Regiment). He was an infantryman in the 1st Company during the First Battle of Ypres (October 1914), which Germans remember as the Kindermord bei Ypern (Ypres Massacre of the Innocents) because approximately 40,000 men (between a third and a half) of nine newly-enlisted infantry divisions became casualties in 20 days. Hitler's regiment entered the battle with 3,600 men and at its end mustered 611. By December Hitler's own company of 250 was reduced to 42. Biographer John Keegan claims that this experience drove Hitler to become aloof and withdrawn for the remaining years of war. After the battle, Hitler was promoted from Schutze (Private) to Gefreiter (Lance Corporal). He was assigned to be a regimental message-runner

The List Regiment fought in many battles, including the First Battle of Ypres (1914), the Battle of the Somme (1916), the Battle of Arras (1917), and the Battle of Passchendaele (1917). During the Battle of Fromelles on 19?20 July 1916 the Australians, mounting their first attack in France, assaulted the Bavarian positions. The Bavarians repulsed the attackers, suffering the second-highest losses they had on any day on the Western Front, about 7,000 men  read more

Code: 22240

Original WW1 Gurkha's Kukri Field Marshall Manekshaw once said, " If someone says he does not fear death, then he is either telling a lie or he is a Gurkha".

Part of a collection of 3 original military Gurkha's kukri, two WW2 and one WW1 and a WW2 Japanese soldiers flag {now sold}. All without scabbards, with very good blade with signs if combat use and surface marking and some areas of old pitting. They were all formerly on display on the walls of a defunct in 1968 regimental officer's mess the Royal Warwickshire Regt, moved when it merged in 1968 to become Fusilier Brigade with a WW2 Japanese silk flag. All 4 pieces are being sold by us separately. Tempered steel blade and carved wood hilt. The Kukri is the renown and famous weapon of the Nepalese Gurkha.A Superb WW1 Gurkha's Kukri Combat Knife "Ayo Gorkali" The Gurkha Battle Call "The Gurkhas Are Coming!" Field Marshall Manekshaw once said, " If someone says he does not fear death, then he is either telling a lie or he is a Gurkha". The Gukhas are the finest and bravest, combat soldiers in the world, with legendary loyalty to the British Crown. When worn in combat it would normally be in a khaki canvas cover. Superb tempered steel blade, overall in fabulous condition. Field Marshall Sam Manekshaw once said, " If someone says he does not fear death, then he is either telling a lie or he is a Gurkha". On 12/13 May 1945 at Taungdaw, Burma now Myanmar, Rifleman Lachhiman Gurung VC was manning the most forward post of his platoon which bore the brunt of an attack by at least 200 of the Japanese enemy. Twice he hurled back grenades which had fallen on his trench, but the third exploded in his right hand, blowing off his fingers, shattering his arm and severely wounding him in the face, body and right leg. His two comrades were also badly wounded but the rifleman, now alone and disregarding his wounds, loaded and fired his rifle with his left hand for four hours, calmly waiting for each attack which he met with fire at point blank range. Afterwards, when the casualties were counted, it is reported that there were 31 dead Japanese around his position which he had killed, with only one arm.In the Falklands War in 1982 the Argentinians abandoned Mount William without a fight simply because the enemy forces advancing towards them were the 2nd Battalion, 7th Ghurka Rifles. Probably the most respected and feared warriors in the world, the Gurkhas of Nepal have fought in the Gurkha regiments of the British Army for around two centuries. With a degree of loyalty and dedication that is legendary, there is no greater soldier to be at one's side when in battle than the noble Gurkha. With a Kukri in his hand and the battle cry called, "Ayo Gorkhali!" "the Gurkhas are coming!", no foe's head was safe on his shoulders. Battle hardened German Infantry in WW1, or WW2 Japanese Shock Troops, have been known to tremble in their boots at the knowledge that they would be facing the Gurkhas in battle. Some of the most amazing feats of heroism have resulted in the most revered medal, the British Victoria Cross the world's greatest and most difficult to qualify for gallantry medal being awarded to Ghurkas. The blade shape descended from the classic Greek sword of Kopis, which is about 2500 years old.
Some say it originated from a form of knife first used by the Mallas who came to power in Nepal in the 13th Century. There are some Khukuris displaying on the walls of National Museum at Chhauni in Kathmandu which are 500 years old or even older, among them, one that once belonged to Drabya Shah, the founder king of the kingdom of Gorkha, in 1627 AD. But, some say that the Khukuri's history is possibly centuries older this. It is suggested that the Khukuri was first used by Kiratis who came to power in Nepal before Lichchhavi age, in about the 7th Century. In the hands of an experienced wielder Khukuri or Kukri is about as formidable a weapon as can be conceived. Like all really good weapons, Khukuri's or Kukri's efficiency depends much more upon skill than the strength of the wielder. And thus so that it happens, that a diminutive Gurkha, a mere boy in regards to his stature, could easily cut to pieces a gigantic adversary, who simply does not understand the little Gurkha's mode of attack and fearsome skill. The Gurkha generally strikes upwards with his Kukri, possibly in order to avoid wounding himself should his blow fail, and possibly because an upward cut is just the one that can be least guarded against however strong his opponent. Approx 18.5 inches long  read more

Code: 23722

An Absolutely Perfect Discerning Collectors Piece, by Charles Dickens. A Fabulous 3 Volume Charles Dickens Ist Edition, The Old Curiosity Shop & Barnaby Rudge, In, Master Humphrey's Clock. London: Chapman and Hall, 1840-41,

Alongside A Christmas Carol, the Old Curiosity Shop ranks as a true iconic tale of Victorian England, and ideal for the Christmas season.

Could one imagine anything better than settling down to read, or better still, to be read to, over a few cosy candle lit nights, a succession of Dicken’s short stories. These are the very first, original volumes, that were read at the very same time, in the very same same way, but some two centuries ago in Victorian England, and likely, dozens of times subsequently since by their various, most fortunate owners.

First edition of this collection of short stories. Large octavo, 3 volumes bound in red half morocco over marbled boards with gilt tooling to the spine in five compartments within raised gilt bands, morocco spine labels lettered in gilt, top edge gilt, marbled endpapers, engraved frontispiece to each volume, illustrated by George Cattermole and Hablot Browne. In very good condition.

Master Humphrey's Clock was a weekly serial that contained both short stories and two novels (The Old Curiosity Shop and Barnaby Rudge). Some of the short stories act as frame stories to the novels so the ordering of publication is important. Although Dickens' original artistic intent was to keep the short stories and the novels together, he himself cancelled Master Humphrey's Clock before 1848, and described in a preface to The Old Curiosity Shop that he wished the story to not be tied down to the miscellany it began within. Most later anthologies published the short stories and the novels separately. However, the short stories and the novels were published in 1840 in three bound volumes under the title Master Humphrey's Clock, which retains the full and correct ordering of texts as they originally appeared.

First edition in book form of what Gordon Ray describes as "the pinnacle of Dickensian Gothic". He goes on to note that Phiz (H. K. Browne) "is in excellent form" and that George Cattermole's "wonderful clutter of antiquarian or architectural detail is well suited to Dickens's chosen subjects".

Master Humphrey was a publishing experiment on Dickens's part, unique in his canon, of issuing two novels together: The Old Curiosity Shop and Barnaby Rudge.

3 volumes, large octavo (256 x 173 mm). Contemporary red half morocco, marbled sides ruled in gilt, spines lettered, ruled, and tooled in gilt, marbled endpapers, top edges gilt, green silk bookmarkers.

Printed frontispieces and 194 woodcut illustrations, of which 154 are by Browne, 19 by Cattermole, and 1 by Daniel Maclise.

Covers rubbed, slight rubbing and wear to extremities, vol. I front joint split at foot but remains firm, light foxing to margins, small marks to a few pages, generally bright. A superb set.

BIBLIOGRAPHY
Eckel, p. 67 ff; Ray, The Illustrator and the Book in England from 1790 to 1914, 60; Smith I, 6.  read more

Code: 24092

A Most Scarce & Collectable 1935 Issue WW2 Luftwaffe Combat Helmet M35 NS62 Single Decal But Only Partialy Visible. Stamped Batch Number D128. with Original Liner And Partial Chin Strap

Overall in jolly nice condition.
The liner is named for the Luftwaffe officer or airman.

Arguably the helmet was the most recognizable part of the individual German soldiers appearance. With a design that derived from the type used in world war one, the German helmet offered more protection then ones used by it’s enemies. The quality luftwaffe gray painted steel helmet with decals and rolled steel rim and leather liner was a labour intensive product and simplified as the war progressed.
The earliest model helmet used in world war two was this model 35 or M35 Stahlhelm. During the war the helmet was simplified in 2 stages. In 1940 the airvents changed from separate rivets affixed {as has this one} to the helmet shell to stamped in the main body of the shell. In 1942 a new model was introduced where the rim of the shell was left sharp and not rolled over as previous models. These models are known in the collector community as M40 and M42. The low sides that protect the neck and ears, the tell tale design that the Germans introduced in 1935 can still be seen in modern day army helmets.

The WW2 German helmet maker "NS" stands for Vereinigte Deutsche Nickelwerke AG (United German Nickelworks) located in Schwerte, a major manufacturer producing steel helmets (Stahlhelm) 62 is the helmets size.  read more

Code: 26039

A Spectacular Condition, Original, British 1885 Pattern Cavalry Trooper's Combat Sabre. The Sword Used to Incredible Effect At the Battle of Omdurman. Stamped WD Broad Arrow, And Issue Date 1885. {War Department} Complete With Buff Hide Sword Knot

A simply stunning 1885 Pattern Cavalry Sword. This sword has been incredibly well cared for and it is amazing condition. It would, without a shadow of a doubt, be impossible to improve upon with a better example. as good if not better than the very best examples in the National Army Museum or The Tower of London collection.

After a false start in 1882, the 1885 pattern was developed following committee input on improving the sword. The first opposite ringed scabbard came out of this process along with a slightly shorter blade. This sword saw extensive use in the campaigns in Egypt and the Sudan during the 1880s and 1890s. The shortening of the blade did allow some opponents along the Nile to lie on the ground, putting themselves out of the reach of the trooper's sword! This problem was rectified in the 1899 pattern. Still this sword represented an important step in the evolution of British Cavalry swords and was used by the 21st Lancers at the Battle of Omdurman in 1898; amongst the daring lancers was a young Winston Churchill.

The Battle of Omdurman was fought during the Anglo-Egyptian conquest of Sudan between a British–Egyptian expeditionary force commanded by British Commander-in-Chief (sirdar) major general Horatio Herbert Kitchener and a Sudanese army of the Mahdist State, led by Abdallahi ibn Muhammad, the successor to the self-proclaimed Mahdi, Muhammad Ahmad. The battle took place on 2 September 1898, at Kerreri, 11 kilometres (6.8 mi) north of Omdurman.

Following the establishment of the Mahdist State in Sudan, and the subsequent threat to the regional status quo and to British-occupied Egypt, the British government decided to send an expeditionary force with the task of overthrowing the Khalifa. The commander of the force, Sir Herbert Kitchener, was also seeking revenge for the death of General Gordon, who had been killed when a Mahdist army captured Khartoum thirteen years earlier.3 On the morning of 2 September, some 35,000–50,000 Sudanese tribesmen under Abdullah attacked the British lines in a disastrous series of charges; later that morning the 21st Lancers charged and defeated another force that appeared on the British right flank. Among those present was 23-year-old soldier and reporter Winston Churchill as well as a young Captain Douglas Haig.

The victory of the British–Egyptian force was a demonstration of the superiority of a highly disciplined army equipped with modern rifles, machine guns, and artillery over a force twice its size armed with older weapons, and marked the success of British efforts to reconquer Sudan. Following the Battle of Umm Diwaykarat a year later, the remaining Mahdist forces were defeated and Anglo-Egyptian Sudan was established.

Pictures in the gallery of photographs of the regimental armourers sharpening their 1885 cavalry swords before combat.  read more

Code: 26038