Antique Arms & Militaria

A Most Scarce Edward VIIth 20th Hussars Cap Badge, Used in The Boer War and WW1

The regiment was not deployed to South Africa until December 1901 for service in the Second Boer War and therefore only took part in the final drives against the Boer commandos in spring 1902. The regiment was based in Ireland again from 1908 to 1911.

The regiment, which was based in Colchester at the start of the First World War, landed in France as part of the 5th Cavalry Brigade in the 2nd Cavalry Division in August 1914 for service on the First World War. The regiment saw action at the Battle of Mons in August 1914 and both the First Battle of the Marne and the First Battle of the Aisne in September 1914. It went on fight at the First Battle of Ypres in October 1914, the Battle of Arras in April 1917 and the Battle of Cambrai in November 1917. It later took part in the German Spring Offensive in 1918, the Battle of Amiens in August 1918 and the final push as the war drew to a close  read more

Code: 21116

An Absolutely Fabulous & Spectacular Javanese Kris Royal Dagger. With Pure Gold Snake or Dragon God, A 'Naga' Symbol Onlaid on to The Fabulous Pamor Serpentine Blade of 13 Lok or Waves. Boat Shaped Ladrang Scabbard of Javan Pelet Wood

Probably 19th to early 20th century., in overall superb condition for age.

In an esteemed London auction house, a most similar quality gold inlaid example, of the same age, sold four Decembers ago for just over £5,400 inc commission. This is simply one of the most beautiful we have seen on the market in over 20 years.

A sarpa lumarka wavy blade with a gold naga snake in sangkelat 13 waves, or lok. Ladrang form of wrangka hilt crosspiece boat form of a simply stunningly grained wood, which may well be Javan pelet, with a fine gilt metal sleeve covering the haft, with a most intricate and detailed pieced design on the obverse side. In Java, the metal sleeve is called pendokbunton, which is a full metal sleeve.

The keris or kris is considered a magical weapon, filled with great spiritual power. In Javanese there is a term "Tosan Aji" or "Magic Metal" used to describe the keris. The keris is replete with the totems of Malay-Indonesian culture of hindu and islam. The blade is a mixture of meteoric steel and nickel According to traditional Javanese kejawen, kris contain all the intrinsic elements of nature: tirta (water), bayu (wind), agni (fire), bantolo (earth, but also interpreted as metal or wood which both come from the earth), and aku (lit: "I" or "me", meaning that the kris has a spirit or soul). All these elements are present during the forging of kris. Earth is metal forged by fire being blown by pumped wind, and water to cool down the metal. In Bali, the kris is associated with the naga or dragon, which also symbolizes irrigation canals, rivers, springs, wells, spouts, waterfalls and rainbows; thus, the wavy blade symbolizes the movement of the serpent. Some kris have a naga or serpent head carved near the base with the body and tail following the curves of the blade to the tip. A wavy kris is thus a naga in motion, aggressive and alive; a straight blade is one at rest, its power dormant but ready to come into action.

In former times, kris blades were said to be infused with poison during their forging, ensuring that any injury was fatal. The process of doing so was kept secret among smiths. Different types of whetstones, acidic juice of citrus fruits and poisonous arsenic bring out the contrast between the dark black iron and the light coloured silvery nickel layers which together form pamor, damascene patterns on the blade. The distinctive pamor patterns have specific meanings and names which indicate the special magical properties they are believed to impart  read more

Code: 22745

A Rare & Incredible Gilbert Islands Shark’s Tooth Kiribati Warriors Sword. In the Native Culture of The Islands It Is Called a Tebute. A Simply Amazing Original Conversation Piece.

A rarely seen {we have only had two in 15 years}, late 19th to early 20th century shark tooth sword, known as a tebute, and it is unique to the Gilbert Islands of Micronesia, the islands today are known as the nation of Kiribati.

The sword is made from seasoned wood of the coconut palm with cutting edges made from sharks teeth, attached with fine fibrous cords.

Most of these swords were destroyed by the maritime visitors to the islands. Kiribati has a history of contrived and ritualized duels. The armour was made of thickly woven sennit, a kind of coconut fibre. The duellists wore helmets made of blowfish remains. The helmets were resilient and, due to the structure of blowfish, covered with many points, which had the ability of damaging weapons. The weapons resembled broadswords with a serrated edge created with many shark teeth. The duels were performed mostly for the purpose of settling disputes and maintaining honour. The practicality of the duels is debatable. Due to the difficulty of moving in this armour, falling over and becoming unable to get back up was common enough that duel assistants were required. Kiribati has been known for its traditional martial arts which were kept within the secrets of several families for generations. The Kiribati arts of fighting as opposed to Asian martial arts are not often mentioned or even advertised to be known by the general public. Though, there may be some noticeable parallels in principle to that of Asian martial arts, they are merely really different. For instance, generally, there is no kicking as in Karate kicks or Kung Fu kicks, and speed is more important than power. A list of some of these traditional martial arts is as follows: Nabakai, Nakara, Ruabou, Tabiang, Taborara, Tebania, Temata-aua, Te Rawarawanimon, and Terotauea.

The essence of Kiribati traditional martial arts is the magical power of the spirits of the ancestral warriors. All these martial arts skills share one thing in common. That is, they came from an ancestral spirit.

"Nabakai" is a martial art from the island of Abaiang originated from the person named Nabakai. Nabakai was a member of the crab clan called "Tabukaokao". The three ancestral female spirits of this clan "Nei Tenaotarai", "Nei Temwanai" and "Nei Tereiatabuki" which usually believed to manifest themselves with a female crab came to him and taught him the fighting art. Overall 61 cm long.  read more

Code: 20923

An Absolutely Supurb Original Antique Maritime Collectable. A Battle of Trafalger Period Royal Navy Rum, Stoneware Ceramic Rum Barrel, with King George IIIrd Royal Crest And Lions, & 'Fore and Aft' Barrel Tap Apertures

One can easily imagine the Royal Naval officer's of the days before the Battle of Trafalgar availing themselves daily of tots of rum from this magnificent vessal. For meals though, the officer's were supplied with decanted Port.

This is a simply superb navy rum barrel, stunningly impress decorated throughout the whole surface. with the Hanovarian royal crest of the Lion and Unicorn with lion surmounted crown, over the Hanovarian garter and shield. To the base of the crest are twin facing lions, in the same seated pose as can be seen at the base of Nelson's Column in Trafalgar Square.

Prior to 1655, a sailor's ration of alcoholic beverage was originally beer with a daily ration of one gallon (i.e. eight pints). This official allowance continued until after the Napoleonic Wars. When beer was not available, as it would often spoil easily, it could be substituted by a pint of wine or half a pint of spirits depending on what was locally available. In 1655, the difficulty in storing the large quantities of liquid required led to beer's complete replacement with spirits, with the political influence of the West Indian planters giving rum preference over arrack and other spirits. The half-pint of spirits was originally issued neat; it is said that sailors would "prove" its strength by checking that gunpowder doused with rum would still burn (thus verifying that rum was at least 57% ABV).

The practice of compulsorily diluting rum in the proportion of half a pint to one quart of water was first introduced in 1740 by Admiral Edward Vernon (known as Old Grog, because of his habitual grogram cloak). The ration was also split into two servings, one between 10 am and noon and the other between 4 and 6 pm. In 1795 Navy regulations required adding small quantities of lemon or lime juice to the ration, to prevent scurvy. The rum itself was often procured from distillers in Jamaica, Trinidad & Tobago and the British Virgin Islands. Rations were cut in half in 1823 and again in half, to the traditional amount, one-eighth of an imperial pint in 1850.

The abolition of the rum ration had been discussed in Parliament in 1850 and again in 1881 however nothing came of it. However, one dark day in 1970, Admiral Peter Hill-Norton abolished the rum ration as he felt it could have led to sailors failing a breathalyser test and being less capable to manage complex machinery.
This decision to end the rum ration was made after the Secretary of State for Defence had taken opinions from several ranks of the Navy. Ratings were instead allowed to purchase beer, and the amount allowed was determined, according to the MP David Owen, by the amount of space available for stowing the extra beer in ships. The last rum ration was on 31 July 1970 and became known as Black Tot Day as sailors were unhappy about the loss of the rum ration. There were reports that the day involved sailors throwing tots into the sea and the staging of a mock funeral in a training camp. In place of the rum ration, sailors were allowed to buy three one-half imperial pint cans of beer a day and improved recreational facilities. While the rum ration was abolished, the order to "splice the mainbrace", awarding sailors an extra tot of rum for good service, remained as a command which could only be given by the Monarch and is still used to recognise good service. Rum rations are also given on special occasions: in recent years, examples included the 100th anniversary of the Royal Canadian Navy in 2010 and after the Queen's Diamond Jubilee celebrations in 2012.
Heavy stoneware, around 8 kilos {guess} size, 17 inches high 13 inches across/  read more

Code: 25216

A Beautiful Silver Mounted Javanese Pedang Lurus Dagger. A Fine Example of 19th Century Javanese Silverwork.

A Javanese dagger pedang lurus . Slightly swollen single edged blade 21cms with striking pamor, often made of meteorite steel mixed with meteorite nickel, silver hilt and sheath nicely embossed and engraved with foliage. Good condition. In Western literature this type of Indonesian edged weapon is often called pedang lurus, literally straight sword, even though they are not always perfectly straight. It probably refers to the fact they are straighter than a keris or saber. The term is specifically used for a group of Indonesian shortswords that come mounted entirely in silver. They typically bear some striking resemblances to European hunting swords, like the shape of handle and guard, the belt stopper on the scabbard, and the often ribbed scabbard end. The mounts, and sometimes the blades, were probably inspired by such hunting swords that were worn by colonists.

This straight bladed sword or pedang lurus represents a fine example of 19th century Javanese silverwork. Also known as a pedang luwuk, the pedang lurus is associated with central Java, particularly Surakarta and to a lesser extent Yogyakarta, each being royal centres with kratons (palaces) and flourishing court arts.
The hilt has been cast, chased and engraved in high relief with rococo-inspired leafy and stylised flowering motifs. It is shaped as a stylised kris hilt which in town often are shaped as highly stylised wayang characters.
The pomel is covered in sheet silver and has been lightly etched with foliate and floral motifs.
The scabbard is of plain sheet silver over a wooden base, and is beautifully engraved on both sides with a repeated serrated leaf and flower motiff.
The blade, in watered iron/nickel is straight and highly decoratively adorned
Overall, this is an beautiful pedang lurus in a form that is not often encountered.. REFERENCES
Avieropoulou Choo, A., Silver: A Guide to the Collections, National Museum Singapore, 1984.

Hardianti, E.S. & P. ter Keurs (eds.), Indonesia: The Discovery of the Past, KIT Publishers for De Nieuwe Kerk, Amsterdam, 2005.

National Museum Jakarta, Treasures of the National Museum Jakarta, Buku Antar Bangsa, 1997.

Van Zonneveld, A., Traditional Weapons of the Indonesian Archipelago, C. Zwartenkot Art Books, 2001.  read more

Code: 22571

Antique Zulu-Tsonga Prestige Staff Possibly Carved by a Carver Known as the 'Baboon Master'. With a Carved Female Head

19th century. This dignatory's staff has a most figurative carving. They have been collected in Southern Africa since the mid-19th century. Recent research by Anitra Nettleton suggests, however, that Tsonga sculptors may actually have produced most of these carvings. There is evidence that the Tsonga migrated to the Natal from southern Mozambique as early as the 1850s. Recognized for their carving skills, they were soon producing fine artifacts for Zulu dignatories. Two related staffs, were purchased for the collection of the Standard Bank Foundation in Johannesburg. One staff of theirs is surmounted by a baboon and the other by a male figure with a beard. Both are said to be turn-of-the-century staffs carved by the same hand, by a most accomplished and sought after artist dubbed the 'Baboon Master', who was possibly of Tsonga origin. 31 inches long.  read more

Code: 23116

An Antique 18th Century Indian Armour Piercing Punch Dagger Katar, Combat Damaged, or Adapted For Armour Wear

The Katar is an amazing combat weapon from the Indian sub continent, in combat use by select warriors and nobles for five centuries, it is a scarcely seen piece, yet highly distinctive and iconic. It was designed in several forms, some long and relatively light, others extremely robust and overtly powerful. This is one of the latter types. It’s ‘crow’s beak’ penetrating tip shows and strongest possible ribbed blade design was so efficient that effectively there was likely no body armour that could not be penetrated by such a powerful piece, once in the hands of a Katar wielding expert. It has been forged in great and powerful quality, and is a very high quality example with superior heft.
One of the bracing arms has been lost, very possibly from an opponents sword cut, although we have seen this before and we were informed by an esteemed elderly Indian warfare scholar that it has been known for one arm to ge removed so an an armoured warrior could use a the Katar while wearing the right fore-arm protector combat armour, known as the the bazu band. While wearing the bazu band armour the warriors forearm is much wider than usual and a Katar’s narrow arm extensions would preclude its use in combat while wearing armour.

The katar originated in Tamil Nadu where its Dravidian name was kattari before being altered to katar in the north. The earliest forms occur in the medieval Deccan kingdom of Vijayanagara. Katar dating back to this period often had a leaf- or shell-like knuckle-guard to protect the back of the hand, but this was discarded by the latter half of the 17th century. The Maratha gauntlet sword or pata is thought to have been developed from the katar. As the weapon spread throughout India it became something of a status symbol, much like the Southeast Asian kris or the Japanese katana. Among the Rajputs, Sikhs and Mughals, princes and nobles were often portrayed wearing a katara at their side. This was not only a precaution for self-defense, but it was also meant to show their wealth and position. Upper-class Mughals would even hunt tigers with katar. For a hunter to kill a tiger with such a short-range weapon was considered the surest sign of bravery and martial skill. The heat and moisture of India's climate made steel an unsuitable material for a dagger sheath, so they were covered in fabric such as velvet or silk. Because the katara's blade is in line with the user's arm, the basic attack is a direct thrust identical to a punch, although it could also be used for slashing. This design allows the fighter to put their whole weight into a thrust. Typical targets include the head and upper body, similar to boxing. The sides of the handle could be used for blocking but it otherwise has little defensive capability. As such, the wielder must be agile enough to dodge the opponent's attacks and strike quickly, made possible because of the weapon's light weight and small size compared to a long sword. Indian martial arts in general make extensive use of agility and acrobatic maneuvers. As far back as the 16th century, there was at least one fighting style which focused on fighting with a pair of katara, one in each hand.  read more

Code: 24644

A Most Interesting & Rare, Antique, 19th Century, American Presentation Boy's Sword. Presented to George Mellor in 1890. Made to The Standard Fully Functional Sword Specification Grade and Quality of an Adult's Sword At The Time

Made by Thurkle of Soho London. A most intriguing and interesting original antique curiosity and collector's item.

The hilt design is based on an officer's sword of the American Civil war, with a straight blade, but around two thirds the regular size, suitable for a boy of, say, 4 to 8 years of age.

We show the very same kind of sword held by a young boy dressed in a uniform in front of a patriotic portrait photograph of president William McKinley, in 1896.

Cast brass hilt with wire bound leather grip over wood. Tempered blad fully etched with patterning and presentation name and date, George Mellor 1890 . Maker marked by Thurkle of Soho.

Overall in very good condition.
Photo of child held in the Library of Congress {copyright free}

No scabbard

21 inches long overall, hilt, 5 inches  read more

Code: 26123

A Nice Quality Antique Arabian Jambiya Traditional Omani Dagger. Partial Silver Mounts.

Very similar to Lawrence of Arabia's jambiya when he was serving in WW1 in the Turkish Campaign in Arabia. The word jambiya actually means “something worn at one’s right side” (from the triliteral root j-n-b). Lawrence of Arabia had several very similar ones presented to him, they were his favourite dagger, and he was frequently photographed wearing them. One picture is a portrait of Lawrence with his Jambiya, most similar to this example. photo for historical context information only and not included It is made from silver metal, but usually, more often than not, coin silver, certainly not English hallmarked silver. The jambia, a curved Islamic dagger, is the main customary accessory to the clothing worn by Arabian men. For centuries the people of South Arabia have inherited the their jambiahs from generation to generation. There are several theories about the origin of the Jambia. There are historical facts, concerning the existence of the Jambia revealing that it used to be worn at Sheban times, in the Himiarite kingdom. They take the statue of the Sheban king (Madi Karb 500 bc ) as proof. This statue, which was discovered by an American mission in Marib in the 1950s, was found to be wearing a Jambia.

Overall in super condition. No scabbard  read more

Code: 26118

A Superb Late 18th Century, Napoleonic Wars British Officer's Sabre With a French 'Trophy' Blade, With An Ancient Egyptian Goddess Wadget Entwined Serpent British Hilt

Gilt bronze serpent hilt chisselled in great detail and of very fine quality. Talisman symbol Napoleoniuc blade. Circa 1800. Very possibly a war trophy from the Battle of the Nile, with Nile Club connections There are numerous examples of snakes depicted in Napoleonic swords, such as the Lloyds swords, but usually with other beasts, such as lions, tigers or hounds, but to have two opposing serpents alone is very rare indeed. Snake sculpture - the Staff of Aesculapius, the Staff of Mercury, and the Embodiment of Wisdom Snakes are fairly frequent in Georgian sculpture, and of course from other periods. In art generally in fact from medieval times onwards, the snake is also associated with wisdom, and in this capacity is often found with statues of Prudence. The way this sword is constructed shows it is likely a trophy blade, captured in combat and mounted with a Napoleonic French sabre, etched with talismanic symbols of a crescent moon, sun, grand Turk's head, stand of arms. In fact the whole sword may indeed now be described as talismanic. Blade in superb condition, original scabbard in very good condition indeed, and the hilt is excellent. Scabbard throat lacking.
Egyptian gods and goddesses, much famed in ancient Egypt, become hugely popular throughout Western artistic culture in the early 19th century.
Europe became beguiled by ancient Egyptian art and architecture in all its forms, and furniture designers and sculptors particularly, eagerly created the ‘Egyptian style’ in the Regency period England, and the Consular and Directoire period in France.

The last photo in the gallery shows a photograph of one section of the 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



Overall 39 inches long, blade 32 inches  read more

Code: 23387