Antique Arms & Militaria

An Amazing, Huge, Antique Indian Ceremonial Steel Tabar Axe Inlaid in Brass, With Scene of Krishna & Temple Decor. Massive Crescentric Blade and Spike End, And Steel Chhajjas

This is a very unusual and rare tabar indeed, as it is twice the size of any example we have seen before, certainly in the past 100 years. The last example we saw was in the Dr. Jorg Zimmerman Collection.

Of typical shape with a large crescentric cutting edge, embellished with chased brass overlaid figural decoration depicting Krishna playing the flute inside a domed shrine, flanked by two attendants surrounded with etched floral decor with inscription and surmounted by steel chhajjas (domed pavillion-shaped structures) the top of the axe head has a sharp faceted steel spike, the patinated wooden shaft is embellished with brass rosettes and a domed pommel end. ,

This 19th century tabar - or saddle axe - is Indian. During the 17th and 18th centuries, the tabar was a standard weapon given to calvalrymen on the field of battle. The tabar would have been carried under the horseman's saddle. This is the elaborate ceremonial version of the tabar saddle axe.
Krishna
Krishna, Sanskrit Kṛṣṇa, one of the most widely revered and most popular of all Indian divinities, worshipped as the eighth incarnation (avatar, or avatara) of the Hindu god Vishnu and also as a supreme god in his own right. Krishna became the focus of numerous bhakti (devotional) cults, which have over the centuries produced a wealth of religious poetry, music, and painting. The basic sources of Krishna’s mythology are the epic Mahabharata and its 5th-century-CE appendix, the Harivamsha, and the Puranas, particularly Books X and XI of the Bhagavata-purana. They relate how Krishna (literally “black,” or “dark as a cloud”) was born into the Yadava clan, the son of Vasudeva and Devaki, who was the sister of Kamsa, the wicked king of Mathura (in modern Uttar Pradesh). Kamsa, hearing a prophecy that he would be destroyed by Devaki’s child, tried to slay her children, but Krishna was smuggled across the Yamuna River to Gokula (or Vraja, modern Gokul), where he was raised by the leader of the cowherds, Nanda, and his wife Yashoda.

The child Krishna was adored for his mischievous pranks; he also performed many miracles and slew demons. As a youth, the cowherd Krishna became renowned as a lover, the sound of his flute prompting the gopis (wives and daughters of the cowherds) to leave their homes to dance ecstatically with him in the moonlight. His favourite among them was the beautiful Radha. At length, Krishna and his brother Balarama returned to Mathura to slay the wicked Kamsa. Afterward, finding the kingdom unsafe, Krishna led the Yadavas to the western coast of Kathiawar and established his court at Dvaraka (modern Dwarka, Gujarat). He married the princess Rukmini and took other wives as well.

Krishna refused to bear arms in the great war between the Kauravas (sons of Dhritarashtra, the descendant of Kuru) and the Pandavas (sons of Pandu), but he offered a choice of his personal attendance to one side and the loan of his army to the other. The Pandavas chose the former, and Krishna thus served as charioteer for Arjuna, one of the Pandava brothers. On his return to Dvaraka, a brawl broke out one day among the Yadava chiefs in which Krishna’s brother and son were slain. As the god sat in the forest lamenting, a huntsman, mistaking him for a deer, shot him in his one vulnerable spot, the heel, killing him.  read more

Code: 25964

A Most Interesting & Unusual Form of Antique Tibetan Buddhist Large Dagger-Short Sword. A Dpa'dam. Decorated With Repousse Dragon and Buddha, Seated in the Padmasana Pose, in Dhyana Mudra, With Mandorla, a Coral Stone Bead Inset & Unalome Spiral Sun

The Buddhist spiral unalome sun represents the confusing, winding path of life before spiritual awakening, with its detours and obstacles. Carved polished bone handle. Single edged steel blade.

Tibetan craftsmanship, blending deep spiritual symbolism with intricate artistic detail.

Buddhist symbols on oriental weapons include images like Buddha, seated in the padmasana pose, in dhyana mudra, with mandorla, the Dragon, Vajra (thunderbolt), the Dharma Wheel, the Lotus flower, and Kannon, the thousand-armed deity, the Sun Wheel Spiral. These symbols serve as protection for the user, represent inner power or the Buddha's teachings, and reflect spiritual qualities like mindfulness and the growth of the spirit through practice. Engravings of Buddhist figures like Fudo and Sanskrit characters are also common for warding off evil.

Tibetan Buddhism is a form of Buddhism that evolved in Tibet and is practiced in the Himalayan region, Bhutan, Mongolia, and parts of Russia, with a global following. It combines Mahayana Buddhist teachings with Vajrayana (Tantric) practices and elements from the indigenous Tibetan religion, Bon. Key aspects include a strong emphasis on the teacher-student relationship, the Tulku tradition (recognized reincarnating lamas), and a spiritual ideal centered on the bodhisattva, who seeks enlightenment for all beings.

Overall 19.5 inches long, blade 14.5 inches long  read more

Code: 25963

 read more

Code: 25962

A Beautiful & Sacred, Antique Tibetan Buddhist Wall Hanging Featuring A Dragon & Buddhist Symbology. A Simply Stunning, Somewhat Esoteric, Work Of Art

This rare sacred ritual wall hanging is a stunning embodiment of traditional Tibetan craftsmanship, blending deep spiritual symbolism with intricate artistic detail. Measuring 35 inches long, this piece features vibrant turquoise and coral stones, thoughtfully embedded into a brass symbolic cross, to enhance both its visual appeal and spiritual energy. Made with stones, including turquoise and coral, the materials used elevate the beauty and symbolism. This stunning wall hanging serves not only as a beautiful decorative element but also as a meaningful symbol of Tibetan ritual traditions. Its exceptional design, crafted from brass and copper and adorned with turquoise and coral stones, and spiritual significance make it an ideal addition for those seeking to enrich their environment with authentic cultural artistry and serene energy.

It showcases exquisite, intricate detailing that captures the core of Tibetan spiritual traditions. The embedded turquoise stones, renowned for their protective and healing qualities, complement the vibrant coral, which represents life force and vitality, creating a piece rich in symbolism and positive energy. Beyond its striking aesthetic, the wall hanging serves as a meaningful tribute to Tibetan culture and its profound spiritual heritage. Perfect for enhancing the ambiance of your home, meditation room, or sacred space, it brings a sense of tranquility and reverence. This artful creation not only elevates your décor but also invites healing and vitality, making it an essential addition for anyone seeking to deepen their connection with Tibetan spirituality and enrich their surroundings with authentic cultural significance.  read more

Code: 25953

A Simply Stunning & Unique 'Good King Wenceslas' Art Nouveau Original Illuminated Calligrafic Manuscript Watercolour, From The Golden Age of illustration, By Arthur B Packham. In The Manner Of Alberto Sangorsky. Calligrapher and Illuminator for Riviere

This wonderful original illuminated manuscript would make a superb and most pertinent Chistmas Gift, or a singularly fine addition to any collection of rare works of art, especially dedicated to the golden age of illustration

Circa 1897. A.B.Packham's artistry, calligraphy and illumination is incredibly similar to renown calligraphic illuminated manuscript artists Alberto Sangorsky, and William Morris. Sanghorsky was the Calligrapher and Illuminator for Riviere & Son world reknown bookbinders. His works within bound volumes, that are including his original manuscripts, can achieve from £20,000 to over £150,000. Sangorski's profession was as a secretary to a goldsmith until he was 43 years of age, whereupon he began to create works for his brother at Riviere and Sons.

The first two lines and last two lines of the carol's first verse are part of the calligraphy on pure gold leaf.

The painting is in two sections, Good King Wenceslas observing from his window, {the second section} a poor man gathering winter fuel.

Good King Wenceslas looked out
On the feast of Stephen,

When a poor man came in sight,
Gathering winter fuel.

The words to the carol were written in 1853 by John Mason Neale but the melody is much older – it’s a 13th-century tune called ‘Tempus adest floridum’ in praise of the spring.

The carol was written for the Feast of St Stephen, better known as Boxing Day. And it celebrates the long tradition of charitable giving on the Second Day of Christmas.

It’s become one of the best loved carols ever written – and was even performed by The Beatles.

A. B. Packham was an architect by profession but illustrated several books based around country properties and walks around Sussex. Being a professional man, apparently, he had no interest in marketing his skillful works, so very few of his watercolurs are recorded. This example has to be one of his premier works.
Whether he followed the art of his famous contemporary, Alberto Sangorski, or followed his own path is not known, but his artistry is superb, and this wonderful piece may have been created for a book that we are currently unaware of.

The combination of "Art Nouveau" and "illuminated manuscript watercolours" describes a modern artistic approach that blends the decorative, organic style of Art Nouveau with the historical techniques of illuminated manuscripts, often using watercolor as the primary medium for modern creations. This fusion results in contemporary works that feature Art Nouveau's characteristic flowing lines, nature-inspired motifs (like tendrils and organic forms), and intricate details, but are created on a modern medium and often utilize watercolor techniques for coloring and shading. It is distinct from the original medieval practice of illuminated manuscripts, which used pigments like tempera and gouache, not watercolors

Key characteristics
Art Nouveau's influence: Incorporates the style's hallmarks, such as sinuous, organic lines, natural forms, and complex decorative patterns.
Illuminated manuscript tradition: Draws inspiration from historical manuscripts, often focusing on decorative initial letters and intricate borders.
Watercolor medium: Uses watercolor for coloring, shading, and creating effects, unlike the historical use of pigments like tempera or gouache.
Nature-inspired motifs: Features designs rooted in nature, such as flowers, leaves, and other botanical elements.

In frame 11.5 inches x 8.75 inches, the manuscript is 8.75 x 5.75 inches

Within its original wooden banded frame {bearing a couple of nicks}

Interestingly it was framed over 125 years ago by our former neighbours, W. Stepney gilders and frame makers in Bond St. Brighton  read more

Code: 25957

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

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

An Absolutely Superb Esoteric Antique Witchcraft Fetish Statue. An African Kongo Witch Doctor's Nail-Fetish Figure, A Voduo {Voodoo} Nkondo Nkisi. Historically Much Feared by Victorian Missionaries as Instruments of Sorcery. Made by The Tribal Nganga

In the world of art collecting, original rare African tribal carvings of Mangaaka Power figures such as this,are about as desirable one can get.

Some of the most valuable collections of such Mangaaka Power figures etc. {from the 1880's to 1900's} in the world, are now in the Met or Smithsonian in America, donated by such as the Michael C. Rockefeller wing collection by Nelson Rockefeller.

The African Kongo Witch Doctor's power figures minkisi {plural of nkisi} that stand prominent among all minkisi is called nkisi {sacred medicine} nkondi {hunter} likely from the Bakongo people. This type of figure is commonly called a nail fetish and is one of the most recognisable and collectible figures in all of African art. These life-like figures are instantly identified by the many nails, pegs, blades, and shards that are hammered into them and made by the tribal Nganga { Witch Doctor } .

Each individual insertion represents one of three things: an oath or agreement between two parties, a pledge to provide protection against enemies and witchcraft, or a vow of vengeance. 'Nkondi' literally means 'hunter;' and it is generally considered an aggressive entity.

The insertions are driven into the figure by the nganga and represent the mambu and the type or degree of severity of an issue can be suggested through the material itself. A peg may refer to a matter being ‘settled’ whereas a nail, or metal shard, deeply inserted, may represent a more serious offense such as murder. Prior to insertion, opposing parties or clients often lick the blades or nails, to seal the function or purpose of the nkisi through their saliva. If an oath is broken by one of the parties or evil befalls one of them, the nkisi nkondi will become activated to carry out its mission of destruction or divine protection

The imposing presence and implied power of nkisi nkondi is certainly enough to keep anyone committed to a promise or agreement. Like other minkisi, powerful medicine is usually stored inside the belly, which can then covered by a piece of glass or mirror. The reflective surface represents the world of the dead and the vision of the spirits. One is a traditional naked fetish witchcraft figure, standing upright, deeply carved staring eyes a the body studded overall with hundreds of sharp shards of iron driven into the body, a traditional oath taking figure, with its right arm outstretched, upwards that may, some believe, have once held a spear.

A nkisi has many interrelated functions. African doctors use it to effect healing. They use the nkisi to search for the spiritual and physical source of a malady and then chase it away from the body. As a preventive measure, spiritual leaders also use it to protect the human soul, guarding it against disease and illness. In addition, they may use it to bind its owner to a friend or to attract lovers. It is also used to serve as a charm to repel enemies, arrest them in their tracks, or inflict an illness on them. Alternatively, a nkisi can be used to embody and direct a spirit; similarly, it can be used as a hiding place for a troubled soul, keeping order.

Nkisi, in west-central African lore, any object or material substance invested with sacred energy and made available for spiritual protection. One tradition of the Kongo people of west-central Africa holds that the god Funza gave the world the first nkisi. Africans uprooted during the Atlantic slave-trade era carried with them some knowledge of nkisi making. In places throughout the United States, particularly in the Deep South, African descendants still create minkisi. Nkisi making is also found throughout the Caribbean and South America, in places such as Cuba, Haiti, and Brazil.

This wild appearance of the Nganga was intended to create a frightening effect, or kimbulua in the Kongo language. The nganga's costume was often modeled on his nkisi. The act of putting on the costume was itself part of the performance; all participants were marked with red and white stripes, called makila, for protection.

The "circles of white around the eyes" refer to mamoni lines (from the verb mona, to see). These lines purport to indicate the ability to see hidden sources of illness and evil.

Yombe nganga often wore white masks, whose color represented the spirit of a deceased person. White was also associated with justice, order, truth, invulnerability, and insight: all virtues associated with the nganga.

The nganga is instructed in the composition of the nkondi, perhaps in a dream, by a particular spirit. In one description of the banganga's process, the nganga then cuts down a tree for the wood that s/he will use to construct the nkondi. He then kills a chicken, which causes the death of a hunter who has been successful in killing game and whose captive soul subsequently animates the nkondi figure. Based on this process, *Gell writes that the nkondi is a figure an index of cumulative agency, a "visible knot tying together an invisible skein of spatio-temporal relations" of which participants in the ritual are aware

After a tribal carver artist completed carving the artifact, the "nganga" transformed it into an object capable of healing illness, settling disputes, safeguarding the peace, and punishing wrongdoers. Each work of this kind or "nkisi" is associated with a spirit, that is subjected to a degree of human control.
Europeans may have encountered these objects during expeditions to the Congo as early as the 15th century. However, several of these fetish objects, as they were often termed, were confiscated by missionaries in the late 19th century and were destroyed as evidence of sorcery or heathenism. Nevertheless, several were collected as objects of fascination and even as an object of study of Kongo culture. Kongo traditions such as those of the nkisi nkondi have survived over the centuries and migrated to the Americas and the Caribbean via Afro-Atlantic religious practices such as vodun, Palo Monte, and macumba. In Hollywood these figures have morphed into objects of superstition such as New Orleans voodoo dolls covered with stick pins. Nonetheless, minkisi have left an indelible imprint as visually provocative figures of spiritual importance and protection.

Often such figures were placed outside, or within, the hut of a certain form of tribal elder, what we would refer to as, the tribal witch-doctor, called a Nganga as a symbol of his position within the local village, and his ability to cause magical curses and unpleasantness for villagers who had fallen out with others of the village or region, who then sought out the services of the so called 'witch-doctor' to resolve the problem, with, such as, a curse.

Vintage Hand Carved African Medicine Man Nkisi figures. Esoteric collector's pieces, connected to the so-called western term of Voodoo {vodou} magic, part of the pantheon of the occult, magic & witchcraft of Africa.

Among the various Kongo peoples, nkisi means a sacred medicine. This word has been extended to include objects containing that medicine as well. The carved wooden statues referred to in the 19th century as nail fetishes and more recently as power figures containing medicine that imbues them with divine power, are therefore nkisi as well. Due to the medicine they contain (which is administered by a witch doctor or nganga), they act as agents of divine power, granting requests. healing or attesting to agreements. Each decision or resolution is literally nailed down in the figure.

A certain class of nkisi, called nkondi, are able to enforce the solutions they provide actively and to seek vengeance against those who heed them not. These figures either menace the viewer with spears and fierce facial expressions, or strike intimidating, belligerent poses.

Nkisi nkondi specialize in different areas of life. The most important nkisi nkondi carries out mangaaka, or preeminent justice.

Surveillance or watchfulness assist the effective enforcement of the power figure’s decisions. This is registered in the size of the eyes or, in some cases, by multiple sets of eyes. The rope wrapped around some figures represents a snake, a watchful predator who lends its powers of observation to the figure. Double-headed figures have double the visual powers and can see into the city of the dead and the realm of the living at the same time.

Each power figure has a distinct personality, ranging from contemplative to angry to soulful to reserved to compassionate. The ability to suggest those qualities visually with such immediacy and precision is one of the most impressive aspect of the surviving figures.

Kongo religion Kikongo: Bukongo. Bakongo religion was translocated to the Americas along with its enslaved practitioners. Some surviving traditions include conjure, dreaming, possession by the dead to learn wisdom from the ancestors, traditional healing and working with minkisi. The spiritual traditions and religions that have preserved Kongo traditions include Hoodoo, Palo Monte, Lumbalú, Kumina, Haitian Vodou, Candomblé Bantu, Kongo traditions such as those of the nkisi nkondi have survived over the centuries and migrated to the Americas and the Caribbean via Afro-Atlantic religious practices such as vodun, Palo Monte, and macumba.

Similar examples in the Smithsonian and Metropolitan in the USA. One very similar nkisi, from the late 19th to mid 20th century has been a highlight of the Rockefeller collection since its acquisition in 1952.

*Gell, A . The Art of Anthropologie. London: Humanities Press.  read more

Code: 25498

An Extraordinary, 1100 to 1200 year old, Original, Ancient Viking Draken Head Staff Mount. A Knob of a Staff or Wand of Magic, Used By A Völva, a Sorcerer or Sorceress of Seiđr. A Seiðstafr, The Staff of Power in Viking Occult & Magick

Just returned from expert conservation {undertaken over many months}.
A fabulous ancient bronze Draken head {Viking for dragon} with remains of its forged iron wand attached to its socket mount. Modelled on one of the greatest iconic symbols of the Viking Norsemen, the Draken head, the iconic symbol on the prow of a Viking longship, the Draken figurehead.

The iron staff or wand was an important accessory used by the Völva when carrying out Seiđr, Viking magic. The.magic staffs were around two to three foot long, forged of iron, often in the form of a distaff, with a knob pommel, that could take many forms, made of other metals, more usually brass or bronze, sometimes the knob might be inlaid with gems, and the staff was used by professional Viking sorcerers and sorceresses when performing Seiđr, the Viking tradition of the occult.

These staffs acquired a plenitude of meanings and functions, from symbolic to practical. As such the staff may be understood as the attribute of a völva, the rod keeping up the world, a distaff spinning the future

"From the beginning seiðr was the prerogative of the gods, and it is clear that its origins predate the Viking Age by several centuries (Hedeager 1997). The sources relate how Òðin became the supreme master of sorcery, having learnt of its powers from the goddess Freyja."
(Price, N. 2008 “Sorcery and Circumpolar Traditions in Old Norse Belief” p. 245 in “The Viking World” Brink, S. & Price, N. eds)

Ok hon hafði staf í hendi, ok var á knappr

Eiríks saga rauða describes a seiðkonur with her staff:

"(Thorbjorg the seiðkonur) was dressed in such wise that she had a blue mantle over her, with strings for the neck, and it was inlaid with gems quite down to the skirt. On her neck she had glass beads. On her head she had a black hood of lambskin, lined with ermine. A staff she had in her hand, with a knob thereon; it was ornamented with brass, and inlaid with gems round about the knob."

A völva buried in Fyrkat, Denmark was buried with a box containing talismans or taufr. These included an owl pellet, small bones from birds and animals as well as henbane seeds. When thrown on a fire, henbane seeds can produce a hallucinogenic smoke that gives those who inhale it a sense of flying which may have enhanced the völva’s trance. The völur who were buried in the Oseberg ship were similarly outfitted with a pouch of cannabis seeds for their journey beyond life.

Völur were also buried with a staff, not only a shamanic implement but also an insignia of their profession. The Old Norse term völva has been widely translated to mean a “wand carrier” or “magical staff bearer”. Many shamans use a ceremonial staff as an object of spiritual power. Held during the visionary ritual of seiðr these seiðstafr or völ, may have been representation of the World Tree as is common among shamans from the Arctic to Asia and down to the Peruvian Amazon. Since the spiritual principle uniting the spirit worlds for the Norse was the Great Tree, Yggdrassil it makes sense that völur would carry a staff. Being able to travel into the realms of the spirits is a critical requirement for any shamanic practitioner. The wand or staff would function as a connection to all the realms of spirit as well as another kind of tether to help a völva return to this world.

We show in the gallery one drawing of a museum exhibit, an iron staff of power recovered from a burial, in Klinta, Oland, Sweden, and held to the right is a recreated copy of the ancient Viking relic with its brass, formed, knob pommel.

Being a staff pommel, we believe it is the smallest surviving part of a Seiðstafr, {The Staff of Power} yet, of all the surviving examples we have seen in the past 50 years, and they are so few as to be near non-existent, this example is, in our opinion, the most iconic Viking image example existing, and likely now unique in the world {so far discovered}, and as such, may be the only surviving part of its type to appear on the open market, or ever likely to.

The closest example we have ever seen are the small, semi flat, cast draken head clothing pins that were cast, often in lead, in intaglio carved mould stones. Which show just how important the draken (dragon) head was to Viking symbolic culture. We show a really rare find, of one such small Draken head clothes pin moulds, in carved soapstone, now in the collection of Swedish History Museum.

For example; With regards to expert conservation methods of bronze {copper alloy} objects {and some other materials} The dirt from the surface of the object could be removed manually using a scalpel under magnification. Care would be taken not to dislodge the powdery, corroding surface. Where the surface was in particualrly bad condition the dirt will be left in situ and small areas might be locally consolidated using 2.5% HMG Paraloid B72 (methyl ethyl methacrlylate) in 50:50 Acetone (propan-1-one/dimethyl ketone) and Industrial methylated spirits (ethanol,methanol. This method of conservation is also used by the British Museum {amongst other institutions}

Our Draken head is approx. 6cm long overall, including the remaining iron staff top.
As with all our items it comes complete with our certificate of authenticity  read more

Code: 24789

A Good 19th Century, Heavy Grade, Antique 'Berber's' Jambiya or Koummya

Two ring mounting with beautiful and finely scroll engraved panelled front decoration The koummya is the characteristic traditional dagger of the Berber and Arabic peoples of Morocco. Stone classifies these as being one localised variant of the Arabic jambiya, and the contoured handles, curved double-edged blades and exaggeratedly upturned scabbard tips are all features consistent with such an interpretation. In the context of the traditional regional manner of dress, the koummya is worn visibly at the left side, generally about at the level of the waist and is suspended vertically, with the scabbard tip forward, by a long woolen baldric, attached at either end to one of the two scabbard rings, and worn crossing in front and back of the torso and over the right shoulder. A much greater diversity in forms and decoration exists than is represented by the examples presented here and presumably such features could be used to place particular examples geographically and temporarily.
Koummya blades are curved and double edged with the portion nearer the hilt remaining relatively straight while the curvature becomes pronounced in the half towards the tip. The length of the blade which is bevelled and sharpened is longer along the concave side than along the opposite convex side. Blade thickness tapers from the base of the blade, where it is thickest, to the tip. While the edge bevels may give the blade a flattened diamond or lenticular cross-section towards the tip, the cross-section is rectangular at the forte. These blades are characteristically relatively thin and utilitarian and the presence of fullers or ridges is not typical.  read more

Code: 23296