Antique Arms & Militaria

A Mid 19th Century, Crystal Witch Ball Scrying Glass On A Fabulous, Bronze Figure of the Ancient Greek Titan, Atlas Bearing The Armillary Celestial Sphere. A Most Intriguing Classic Antique Collector's Item Of The Esoteric Mystical Arts and Occultism

A simply fabulous original antique collectors item, probably Italian, from a Grand Tour, is of a bronze ‘after the antique’ statue of the Titan, Atlas bearing the heavens, set upon a polished wood pediment. A stunning piece that would look absolutely wonderful upon a desk or set upon a mantle. The crystal skrying ball is removed by simply lifting it from its armillary. An armillary is a spherical framework mounted atop a figure or stand, with which a sphere could be held or mounted within. If a metal sphere was within it, it could be plain, or engraved, with stars or celestial bodies { see a Grand Tour variant version in the gallery}

The crystal ball was used by gazing into their centre, for the divination of the future, and the answering of questions. As well as the warding off of evil spirits and misfortune. A fascinating treasure - of great artistic quality. Antique bronze sculpture of Atlas, set with a Louis XVI style armillary sphere

War and punishment of the Titanomachy
Atlas and his brother Menoetius sided with the Titans in their war against the Olympians, the Titanomachy. When the Titans were defeated, many of them (including Menoetius) were confined to Tartarus, but Zeus condemned Atlas to stand at the western edge of the earth and hold up the sky on his shoulders. Thus, he was Atlas Telamon, "enduring Atlas", and became a doublet of Coeus, the embodiment of the celestial axis around which the heavens revolve.

A common misconception today is that Atlas was forced to hold the Earth on his shoulders, but Classical art shows Atlas holding the celestial spheres, not the terrestrial globe;

Witch balls were found in England in the 1600 and 1700s originally to ward off evil spirits and spells. By the 1800s witch balls crossed the Atlantic to New England. They also spread to other parts of Europe, being found in Italy, France, and Constantinople. The witch ball originated among cultures where harmful magic and those who practiced it were feared. They are one of many folk practices involving objects for protecting the household. The word witch ball may be a corruption of watch ball because it was used to ward off, guard against, evil spirits. They may be hung in an eastern window, placed on top of a vase, or for the very wealthy set upon a decorative gold stand, either pedestal, or figural, or suspended by a cord (as from the mantelpiece or rafters). They may also be placed on sticks in windows or hung in rooms where inhabitants wanted to ward off evil.

Superstitious European sailors valued the talismanic powers of the witch balls in protecting their homes. Witch balls appeared in America in the 19th century and larger, more opaque variations are often found in gardens under the name gazing ball. This name derives from their being used for divination and scrying where a person gazes into them dreamily to try to see future events or to see the answers to questions. However, gazing balls contain no strands within their interior. The witch ball holds great superstition with regard to warding off evil spirits in our particular English counties of East Sussex and West Sussex. The tradition was also taken to overseas British colonies, such as the former British colonies of New England, and remains popular in coastal regions. Apparently, our Hawkins forebears ship’s that sailed across to the New World in the 1600’s, for both trade, emigres, and pilgrims, would carry at least one witch ball hung within a net on board. Our paternal grandmother hung one such in a net from her home’s East window all her life until her death in the 1980’s.

The history of the crystal ball as a device can be traced as far back as to the Medieval Period in central Europe (between 500 – 1500 AD) and in Scandinavia (1050 – 1500 AD). The very ancient art of using reflective surfaces in divination is called scrying and is almost as old as man himself. Queen Elizabeth I consulted Dr John Dee, philosopher, mathematician and alchemist for advice in government and a smoky quartz ball that belonged to Dee is now in the British Museum. Any antique crystal spheres are very desirable especially if a well-known reader has used them. This is the best one we have ever seen quite simply and it must have belonged to someone who took their craft incredibly seriously as it would have been tremendously expensive to make at the time.

Occultism, a group of esoteric religious traditions emerging primarily from 19th-century Europe. In particular, the term occultism is associated with the ideas of the French Kabbalist and ceremonial magician Éliphas Lévi as well as the various figures, both in France and abroad, who were strongly influenced by his writings. In the academic study of esotericism, the term is often used in a broader sense to characterize all esoteric traditions that have adapted to an increasingly secular, globalized, and scientific world, including Spiritualism, Spiritism, Wicca, and the New Age milieu.
History
The term occultism derives from occult, itself adopted from the Latin word occultus, meaning “hidden” or “secret.” In medieval and early modern Europe this term had been used in reference to “occult properties,” or forces that, even if invisible to the human eye, were believed to exist within material objects. In the 16th century the term occult gained additional meanings, coming to also describe specific traditions of thought, usually called “occult sciences” or “occult philosophies.” Among the traditions repeatedly labeled under these terms were alchemy, astrology, and magia naturalis (“natural magic”), all of which are now typically regarded as forms of esotericism.
The earliest known use of the term occultism comes from French, where l’occultisme appears in Jean-Baptiste Richard’s 1842 work Enrichissement de la langue française (“Enrichment of the French Language”). The word’s popularization nevertheless results largely from its use by Alphonse Louis Constant, a French author who published a series of books under the pseudonym Éliphas Lévi in the 1850s and ’60s. Sometimes referred to as the “founder of occultism,” Lévi was a committed Roman Catholic and socialist interested in many older esoteric traditions, including ceremonial magic, Kabbalah, and the use of the tarot. In his writings, most notably his highly influential Dogme et rituel de la haute magie (The Doctrine and Ritual of High Magic; 1854–1856), he wrote about a purported ancient and universal tradition of spiritual wisdom, the knowledge of which could help bridge the modern divide between science and religion. During the late 19th and early 20th centuries, many of the influential French figures who were inspired by Lévi—including Stanislas de Guaita, Joséphin Péladan, and Papus—also went on to describe their beliefs and practices as occultisme.
Scrying, also referred to as "seeing" or "peeping," is a practice rooted in divination and fortune-telling. It involves gazing into a medium, hoping to receive significant messages or visions that could offer personal guidance, prophecy, revelation, or inspiration

Scrying has been practiced in many cultures in the belief that it can reveal the past, present, or future. Some practitioners assert that visions that come when one stares into the media are from the subconscious or imagination, while others say that they come from gods, spirits, devils, or the psychic mind, depending on the culture and practice. There is neither any systematic body of empirical support for any such views in general however, nor for their respective rival merits; individual preferences in such matters are arbitrary

Undoubtedly, Nostradamus is the most recognized of scryers. In the sixteenth century, in ancient France, he was an astrologer and physician. He wrote in poetic quatrains which referenced future events. In his day, working as a magician conflicted with the law. His predictions were veiled to allow him to fly under the radar in that sense.

The Crystal Ball is a painting by John William Waterhouse completed in 1902. Waterhouse displayed both it and The Missal in the Royal Academy of 1902. The painting shows the influence of the Italian Renaissance with vertical and horizontal lines, along with circles "rather than the pointed arches of the Gothic".

Another painting in the gallery. Part of a private collection, the painting, by Pieter Claesz circa 1628, Still Life with Crystal Ball which depicts a crystal ball, a wand, a book of ceremonial magic, and a woman "weaving a spell", has been restored to show the skull which had been covered by a previous owner.

Yet another painting is Leonardo da Vinci's 'Salvator Mundi' Circa 1500, of Jesus Christ bearing a crystal ball in his left hand.

Another photo in the gallery is an extremely similar study, a 17th century patinated bronze version of the same study, after the antique, yet bearing within an armillary a bronze sphere. That slightly older and taller variant version was recently valued at around 8,000 gbp.


Overall the the crystal ball is very good indeed but just the odd near invisible age marking. 25.5 cm high  read more

Code: 25501

A Superb Esoteric Collection of Vintage Witchcraft Pieces, Witchballs & African Kongo Nail-Fetish Figures, & A Voduo {Voodoo} Entangled Simian Carved Figure. Feared by Victorian Missionaries as Instruments of Sorcery by The Tribal Nganga.

This great piece, a so called ‘voodoo’ zoomorphic simian, is a witch doctors fetish that is tightly bound by rattan over strips of cloth.

This came from a wonderful collection acquired over many decades that arrived with us. Added to our site incrementally last year annd this, and many earlier added pieces were rapidly sold, including some intriguing original Kongo Voodou Nkisi oath figures, and a few, fabulous, antique, so called, Witch's 'crystal balls'. The scrying balls, are set in superb, original antique, ormulu gilt and bronze mounts, in the rococco, classical and French Empire style, all based upon a classical and mythical theme, Ancient Roman, Ancient Greek, or Ancient Druidian. All designed to mount their occult scrying balls, that were used by gazing into their centre, for the divination of the future, and the answering of questions. As well as the warding off of evil spirits and misfortune. Only the last one, the latest added antique, classical bronze, statuary mounted witch ball remains available.

Witch balls were found in England in the 1600 and 1700s originally to ward off evil spirits and spells. By the 1800s witch balls crossed the Atlantic to New England. They also spread to other parts of Europe, being found in Italy, France, and Constantinople. The witch ball originated among cultures where harmful magic and those who practiced it were feared. They are one of many folk practices involving objects for protecting the household. The word witch ball may be a corruption of watch ball because it was used to ward off, guard against, evil spirits. They may be hung in an eastern window, placed on top of a vase, or for the very wealthy set upon a decorative gold stand, either pedestal, or figural, or suspended by a cord (as from the mantelpiece or rafters). They may also be placed on sticks in windows or hung in rooms where inhabitants wanted to ward off evil.

Superstitious European sailors valued the talismanic powers of the witch balls in protecting their homes. Witch balls appeared in America in the 19th century and larger, more opaque variations are often found in gardens under the name gazing ball. This name derives from their being used for divination and scrying where a person gazes into them dreamily to try to see future events or to see the answers to questions. However, gazing balls contain no strands within their interior. The witch ball holds great superstition with regard to warding off evil spirits in our particular English counties of East Sussex and West Sussex. The tradition was also taken to overseas British colonies, such as the former British colonies of New England, and remains popular in coastal regions. Apparently, our Hawkins forebears ship’s that sailed across to the New World in the 1600’s, for both trade, emigres, and pilgrims, would carry at least one witch ball hung within a net on board. Our paternal grandmother hung one such in a net from her home’s east window all her life until her death in the 1980’s.

Also see our Völva’s Viking Draken head {item 24789} from an iron staff or wand. It was an important accessory used by the Völva when carrying out Seiđr, Viking magic. A Völva was a Viking Sorcerer or Sorceress of Seiđr. 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 African Kongo Witch Doctor's power figures that stand prominent among all minkisi is called nkisi nkondi 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. 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 approx 200 similar 3 inch nails, on 2 flat feet on an integral carved pedestal, approx 22.25 " high. Another 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. One more is this piece, of an entangled zoomorphic figure of a simian. Tightly bound and encased at the body in cloth with wood strapping.

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.  read more

Code: 25492

Magnificent Original Viking Age Broadsword With 'Hemse, Gotland' Bronze Hilt Mounts & Beautiful 'Sun Wheel' Sólarhvél. Jelling Decor. 800-1000 Years Old. Pattern Welded Blade, With Bronze Jelling Decorated Scabbard Chape, Viking Helmet & Head Design

The Viking broadsword was very often the status weapon of high ranked Vikings, such as Jarls, or the most successful leaders in battle, the general weapon of the warrior would be the spear or axe

Viking society was structured around powerful, elite leaders known as jarls (or earls), who functioned as regional chieftains and warlords. While they did not have a strict, feudal "lord" system in the early Viking Age, these, wealthy, high-ranking individuals held significant power, often governing territories in a king's stead or acting as independent rulers.
Jarls (Earls): These were the highest in the social hierarchy, often wealthy landholders who did not perform hard labour and commanded loyal armies.
Rather than a central state, power was decentralized among numerous, smaller chieftains or magnates.
Kings: In the Viking Age, a "king" was often a leading, charismatic magnate ("first among equals") rather than a hereditary monarch with absolute power.
These leaders hosted, managed trade, led raids, and maintained local law.
Well-known leaders often described as kings or powerful jarls include Ragnar Lodbrok, Harald Fairhair (who united Norway), and Cnut the Great.

Due to the seven-lobed or faceted hilt pommel, crossguard and scabbard chape, being of bronze, they have been remarkably well preserved showing every part of their Viking symbolism, and repeated sun wheel sólarhvél design. The pattern welded steel blade, a Geibig Viking typography type 5, with a moderate profile taper and elongated point, is also very fine indeed, and in a great state of preservation for age. The crossguard is moveable. Sólarhvél { Viking for sun-wheel} has, over the centuries, evolved into one of its later names, Odin's Cross

There are two very similar, bronze, sun-wheel Jelling decorated Viking age sword hilts in the Gotland Museum in Sweden. See photo 4 for reference. The stunning jelling bronze scabbard chape, that clearly shows in its intricately pierced design, a Viking nasal bar helmet worn upon the Viking warrior’s head, with his bared teeth, goatee beard, and surrounded by Viking knotwork decoration, is now all that remains of its former leather scabbard that obviously rotted away over the past millennia.

The Viking sunwheel originates from ancient European, particularly Nordic, Bronze Age (c. 1800–500 BCE) petroglyphs and, pre-dating the Viking Age itself. These sun crosses, found in Scandinavia, symbolized the sun, the movement of the sun, and the cycle of seasons. It is not a solely Viking-specific symbol but a broader, ancient Indo-European symbol.
Prehistoric Roots: The sun cross, a circle with radial arms, appears in prehistoric rock carvings, such as those at Madsebakke, Denmark, and in Bohuslän, Sweden.
Symbolic Significance: It represented the sun and was used in, or as part of, prehistoric, sun-oriented rituals or as a general symbol of well-being.
Symbolism in Nordic Context: These motifs, including various forms of wheels, crosses, and swastikas, were associated with "sun worship" and the changing seasons.

Modern Appropriation: The term sonnenrad was later appropriated, notably for the "Black Sun" (a 12-spoke wheel) by the Nazis, but the ancient Viking form is fundamentally different in, and much older than, the Nazi-associated, 12-spoked, concentric, and often crooked "Black Sun" design. The closest design the Third Reich appropriated was the regular Viking sun wheel swastika used for decor of the Luftwaffe first pattern swords and dagger hilts

Viking swords with seven-lobed or seven-faceted pommels (often classified under Type T, L, or R in Petersen's typology) represent a distinct, highly ornate style prevalent in the 10th to 11th centuries, frequently found in Baltic and Scandinavian regions. These swords are characterized by a pommel composed of seven distinct lobes or sections

The Baltic Vikings (or Curonians) were a fierce tribe that lived on the shores of the Baltic Sea Known as the "Baltic Vikings," they were renowned for their maritime prowess, raiding, piracy and a warrior culture so formidable that they were often feared by all the other Scandinavian Vikings. .
From the 7th to the 13th centuries, the Baltic Vikings were active pirates and raiders.They frequently attacked the shores of Sweden and Denmark, sometimes in alliance with the Oeselians (Estonian Vikings).
Covering the entire region the warlike Norse Men or "Vikings" were infamous for their identical lifestyle of shipbuilding, seafaring, and plundering.

They were so disruptive as they fought others {outsiders} as much as each other, the Danes against Norwegian Vikings, Norwegian against Swedish Vikings, or Lapp Vikings, that some Norse prayers reportedly asked for protection from "fire, storms, and Baltic Vikings the Curonians" of the Baltic lands.

They grew wealthy from the Amber Road, trading "the gold of the north" as far as Egypt and Rome. They were also famous for their high-quality horses.
The Baltic Vikings were among Europe's last pagans, fiercely resisting Christianisation. Their culture included powerful oracles and soothsayers sought after by people from as far away as Greece.

The Vikings that used this fabulous sword were persistent raiders and pirates throughout their whole era, and despite not always prevailing in combat, were the most feared of all the Norsemen. In many respects they almost equalled the notorious Viking ‘Berserkers’, a Viking group of warrior’s named that was so feared through the Viking age history, it has travelled down to today, to represent those going ‘berserk’, effectively, meaning those that are demonstrating insanely violent and aggressive behaviour.


The Viking Age (about 800–1050 CE) was the period during the Middle Ages when Norsemen known as Vikings undertook large-scale raiding, colonising, conquest, and trading throughout Europe and reached North America. The Viking Age applies not only to their homeland of Scandinavia but also to any place significantly settled by Scandinavians during the period. Although few of the Scandinavians of the Viking Age were Vikings in the sense of being engaged in piracy, they are often referred to as Vikings as well as Norsemen
One of their recorded conflicts are mentioned among other participants of the Battle of Brávellir.

Grobin (Grobiņa) was the main centre of the Curonian Vikings during the Vendel Age. Chapter 46 of Egils Saga describes one Viking expedition by the Vikings Thorolf and Egill Skallagrímsson in Courland. Curonians established temporary settlements near Riga and in overseas regions including eastern Sweden and the islands of Gotland and Bornholm.

Rimbert in his Vita Ansgari described early conflicts between the Curonians and other vikings. In 854, Curonians rebelled and refused to pay tribute to Sweden. The rebellious Apuolė fortress was first attacked by the Danes, who were hoping to make the town pay tribute to Denmark. The locals were victorious and gained much war loot. After learning of Danish failure, King Olof of Sweden organized a large expedition into Curonian lands. Olof first attacked, captured, and burned Grobiņa before besieging Apuolė. According to Rimbert, 15,000 locals defended themselves for eight days but then agreed to surrender: the Curonians paid a silver ransom for each man in the fortress, pledged their loyalty to Sweden, and gave 30 hostages to guarantee future payments








For reference see photo 4 of the two Gotland guards (Hemse on the top left) and their Latvian analogy.
Source: SHM; Gotlands Museum; Tomsons 2012: Fig. 2.1.

Based on the reference to Tomsons 2012 (Fig. 2.1), the image illustrates a comparative study of Viking Age sword components found on the island of Gotland, specifically focusing on cross-guards or pommel parts that show stylistic similarities with finds.
Hemse (Top Left): Refers to a sword guard (likely a hilt component) found in Hemse parish, Gotland, often housed in the Gotland Museum or SHM (Swedish History Museum).

Geibig’s blade type analysis, sourced from Ian Peirce’s Swords of the Viking Age.

Picture 7 in the gallery is a page from the Stuttgart Psalter, circa 830 ad, that clearly shows the Viking age sword, and its distinctive lobed pommel, being wielded by a Viking lord, and another within the other noble's scabbard, who also wields a spear.

Every single item from The Lanes Armoury is accompanied by our unique Certificate of Authenticity. Part of our continued dedication to maintain the standards forged by us over the past 100 years of our family’s trading, as Britain’s oldest established, and favourite, armoury and gallery

Original ancient iron swords, if they still have a crossguard, never have their original wooden grips, the wooden grip never survives the hundreds of years passing which means, the crossguard becomes mobile and no longer in a fixed position.  read more

Code: 26048

A Beautiful & Massive Ancient Bronze Age Long Sword Circa 1200 to 800 BC. As Used From Before and Including the Greco-Persian Wars, Such as the Battles of Marathon & Thermopylae. As Used in Hand To Hand Combat Between Xerxes' Immortals, and The Hoplites

Massive bronze age sword with Double Ear Pommel, 10th-9th Century BC. with partial green encrustations, with some parts of the blade end showing hand to hand combat denting. A sword that was possibly made in around 1200 bc, but expected at the time to have a functioning use of 500 to 600 years or even more. Swords were immensely expensive, and being of bronze easy to maintain and repair, but constant sharpening was also required as they couldn't hold an edge as the much later Iron age sword could.

A magnificent, enormous bronze sword of the “double ear” pommel style, made using the lost wax casting technique by highly trained urban artisans for an elite member of a nomadic horse-riding clan. The blade was cast first, and then the handle was cast onto it - scans of similar swords have revealed tangs inside the handles.

This well-balanced weapon has a slender, square hilt, with raised decorative elements on each of the four sides joining to a pommel that divides into two finely decorated semi-circular “ears” at right angles to the blade. A rectangular guard carefully designed with crescent-shaped horns extends down to firmly grip the upper end of the prominent midrib that tapers regularly with almost straight cutting edges to a point.

The “double ear” style of sword - with both bronze and iron blades - has been excavated from graves in southern Azerbaijan, the Talish and Dailaman regions of northwest Iran, and the urban sites of Geoy Tepe and Hasanlu, also in northwestern Iran. Another, with both bronze pommel and blade, was pulled from the Caspian Sea, where it may have been thrown as an offering. It seems that swords like this example were not just made to be used in battle, but instead to show status or as votive weapons.

There is a strong tradition in the ancient Near East of swords and other weapons being associated with the gods. For example, there is a rock carving dating to circa 1300 BC from this region that shows a scene of the gods of the Underworld, including one who is holding a sword similar to this one. Similarly, a golden bowl excavated at Hasanlu (northwestern Iran) shows three swords of similar form to this one that are associated with three deities from the Hittite pantheon. Whatever its original function, this would have been a spectacular weapon to behold, with a deep, shining surface when polished. Whoever commissioned this sword must have been an elite individual of high status, perhaps seeking to honour the gods by handling such a weapon.

The late bronze age early Luristan culture was renowned for their bronze workmanship and this cast bronze sword is an excellent illustration of their skill. Cast using the lost wax process, this sword is a rare example of the double ear pommel type found in the great museums of the world.

This well-balanced and mighty weapon, is around the same proportions of the much later Roman gladius. It features a slender square hilt that joins to a pommel that divides at right angles to the blade into two finely decorated semi-circular "ears". The pommel features with a semi-circular opening in the centre of each ear. A rectangular guard carefully designed that extends down to firmly grip the upper end of the double-edged blade.
The wide graduated blade that tapers regularly to a point and it has, low, twin central midribs that taper regularly with almost straight cutting edge to a point, making it most suitable for thrusting and cutting.
It is the austere perfection of line and proportion that makes this weapon so beautiful.

This type of pommel represents the north-western Persian version of weapons evolved from Elamite or Mesopotamian flange-hilted blades. They are found made throughout the northern regions of Persia in both bronze and iron, and sometimes with a combination of bronze hilt and iron blade. Items such as this were oft acquired in the 18th century by British noblemen touring Northern France and Italy on their Grand Tour. Originally placed on display in the family 'cabinet of curiosities', within his country house upon his return home. A popular pastime in the 18th and 19th century, comprised of English ladies and gentlemen travelling for many months, or even years, throughout classical Europe, and Middle East, acquiring antiquities and antiques for their private collections. This is a most handsome ancient bronze weapon from the era of the so called Trojan Wars. The ancient Greeks believed the Trojan War was a historical event that had taken place in the 13th or 12th century BC, and believed that Troy was located in modern day Turkey near the Dardanelles. In Greek mythology, the Trojan War was waged against the city of Troy by the Achaeans (Greeks) after Paris of Troy took Helen from her husband Menelaus, the king of Sparta. The war is among the most important events in Greek mythology and was narrated in many works of Greek literature, including Homer's Iliad and the Odyssey . "The Iliad" relates a part of the last year of the siege of Troy, while the Odyssey describes the journey home of Odysseus, one of the Achaean leaders. Other parts of the war were told in a cycle of epic poems, which has only survived in fragments. Episodes from the war provided material for Greek tragedy and other works of Greek literature, and for Roman poets such as Virgil and Ovid.

The war originated from a quarrel between the goddesses Athena, Hera, and Aphrodite, after Eris, the goddess of strife and discord, gave them a golden apple, sometimes known as the Apple of Discord, marked "for the fairest". Zeus sent the goddesses to Paris, who judged that Aphrodite, as the "fairest", should receive the apple. In exchange, Aphrodite made Helen, the most beautiful of all women and wife of Menelaus, fall in love with Paris, who took her to Troy. Agamemnon, king of Mycenae and the brother of Helen's husband Menelaus, led an expedition of Achaean troops to Troy and besieged the city for ten years due to Paris' insult. After the deaths of many heroes, including the Achaeans Achilles and Ajax, and the Trojans Hector and Paris, the city fell to the ruse of the Trojan Horse. The Achaeans slaughtered the Trojans (except for some of the women and children whom they kept or sold as slaves) and desecrated the temples, thus earning the gods' wrath. Few of the Achaeans returned safely to their homes and many founded colonies in distant shores. The Romans later traced their origin to Aeneas, one of the Trojans, who was said to have led the surviving Trojans to modern day Italy. Made in copper bronze in the Western Asiatic region. Western Asiatic bronzes refer to items dating from roughly 1200-800 BC that have been excavated since the late 1920's in the Harsin, Khorramabad and Alishtar valleys of the Zagros Mountains especially at the site of Tepe Sialk. Scholars believe they were created by either the Cimmerians or by such related Indo-European peoples as the early Medes and Persians. Weapons from this region were highly sought after by warriors of many cultures because of their quality, balance and durability.

The Battle of Thermopylae
The first decision, to hold the narrow Vale of Tempe between Macedonia and Thessaly, was abandoned when it was realised that the position could easily be turned. The Greeks then occupied the still narrower pass of Thermopylae with 6,000 or 7,000 hoplites and stationed 271 triremes at Artemisium in northern Euboea. The positions were linked by communication between the Spartan commanders, King Leonidas at Thermopylae and Eurybiades at Artemisium, who intended to halt and damage the Persian forces. Meanwhile, Xerxes was advancing slowly. He made no use of separate columns, and his fleet suffered heavy losses in a storm when it was convoying supply ships along the coast. It was already August when Xerxes began the operations, which extended over three days.

On the first day, Xerxes sent a detachment of 200 ships, unseen by the Greeks, to sail around Euboea and close the narrows of the Euripus Strait. He also attacked with his best infantry at Thermopylae, where the Greeks inflicted heavy casualties. During the afternoon the Greek fleet, having learned about the Persian detachment from a deserter, engaged the main Persian fleet with some success. The Greeks intended to sail south that night and destroy the detachment the next day, but a tremendous storm kept the Greeks at Artemisium and wrecked the 200 Persian ships off south Euboea. On the second day, news of the Persian disaster was brought up by a reinforcing squadron of 53 Athenian ships. Xerxes attacked again with no success at Thermopylae, and the Greeks sank some Cilician vessels off Artemisium.

A Greek traitor, Ephialtes, offered to guide the Persians along a mountain path and turn the position at Thermopylae. The Immortals, a cadre of elite Persian infantry, were entrusted to him. At dawn on the third day, they began to descend toward the plain behind the Greek position. Leonidas retained the troops of Sparta, Thespiae, and Thebes and sent the remainder south. He then advanced. He and his soldiers fought to the death, except the Thebans, who surrendered. Meanwhile, the Persian fleet attacked at noon. Both sides suffered heavy losses, and the Greeks realized that they could succeed only in narrower waters. That evening, when the fall of Thermopylae was known, the Greek fleet withdrew down the Euboic channel and took station in the narrow straits of Salamis.

For reference see: Moorey P.R.S. "Catalogue of Ancient Persian Bronzes in the Ashmolean Museum" (1971), pg. 80 fig 63, Mahboubian, H. "Art of Ancient Iran" pg 304 386(a) & (b) and pg 314-315 397a-I, Moorey PRS "Ancient Persian Bronzes in the Adam Collection" pg 58 28 and Muscarella "Bronze and Iron, Ancient Near Eastern Artifacts in the Metropolitan Museum of Art" pgs 282-285 385-390.

Around 26 inches long overall.  read more

Code: 24766

A Beautiful Matched Pair of An Ancient Bronze Sword and Dagger With Pierced Bird Cage Pommels. From The Era of the Ancient Greco-Persian Wars, Circa 5th Century B.C.

It is incredibly rare to find two weapons that may likely have been made by the same sword-maker up to 2500 years ago, likely for the same warrior, and them to still be together today. Almost certainly excavated, two hundred years ago or more during the era of the Grand Tour, possibly from the same warrior's tomb or burial or an ancient battle site or sunken bireme. A bireme is an ancient oared warship (galley) with two superimposed rows of oars on each side. Biremes were long vessels built for military purposes and could achieve relatively high speed. They were invented well before the 6th century BC and were used by the Phoenicians, Assyrians, and Greeks. The bireme was also recorded in ancient history on the 8th and early 7th-century BC Assyrian reliefs, where they were used to carry out an amphibious attack on the coast of Elam and the lagoons of the Persian Gulf during the reign of Sennacherib. Over the centuries in the Persian Gulf the Aegean Sea and the Northern Mediterranean, ancient artifacts, pottery and the like have been drawn up by numerous fishermen’s nets, such as, for example our Minoan spears recovered by 18th century Cretan fishermen from the sea bed. See the picture in the gallery of a 500bc Greek bireme.

A picture in the gallery from a mosaic tile floor excavation in Medeina of an ancient Roman Villa, showing a bird in a cage, the inspiration of the shape and form for the pommels on these swords, that were likely made up to 1000 years before the villa was built by the Romans in the 2nd century.

Double edged graduating blades with central midrib. Hollow grips, the dagger with open panels for side plate inserts, the short sword with cylindrical grip. The short sword has a pair of rounded quillon crossguard with widened flattened ends.

The style of warfare between the Greek city-states, which dates back until at least 650 BC (as dated by the 'Chigi vase'), was based around the hoplite phalanx supported by missile troops. The 'hoplites' were foot soldiers usually drawn from the members of the middle-classes (in Athens called the zeugites), who could afford the equipment necessary to fight in this manner. The heavy armour (the hoplon) usually included a breastplate or a linothorax, greaves, a helmet, and a large round, concave shield (the aspis) .Hoplites were armed with long spears (the dory), which were significantly longer than Persian spears, and a sword (the xiphos). The heavy armour and longer spears made them superior in hand-to-hand combat and gave them significant protection against ranged attacks. Lightly armed skirmishers, the psiloi also comprised a part of Greek armies growing in importance during the conflict; at the Battle of Plataea, for instance, they may have formed over half the Greek army. Use of cavalry in Greek armies is not reported in the battles of the Greco-Persian Wars.



The Battle of Marathon
The Persian fleet headed south down the coast of Attica, landing at the bay of Marathon, roughly 40 kilometres (25 mi) from Athens. Under the guidance of Miltiades, the general with the greatest experience of fighting the Persians, the Athenian army marched to block the two exits from the plain of Marathon. Stalemate ensued for five days, before the Persians decided to continue onward to Athens, and began to load their troops back onto the ships. After the Persians had loaded their cavalry (their strongest soldiers) on the ships, the 10,000 Athenian soldiers descended from the hills around the plain. The Greeks crushed the weaker Persian foot soldiers by routing the wings before turning towards the centre of the Persian line. The remnants of the Persian army fled to their ships and left the battle.89 Herodotus records that 6,400 Persian bodies were counted on the battlefield; the Athenians lost only 192 men.

As soon as the Persian survivors had put to sea, the Athenians marched as quickly as possible to Athens. They arrived in time to prevent Artaphernes from securing a landing in Athens. Seeing his opportunity lost, Artaphernes ended the year's campaign and returned to Asia.

The Battle of Marathon was a watershed in the Greco-Persian wars, showing the Greeks that the Persians could be beaten. It also highlighted the superiority of the more heavily armoured Greek hoplites, and showed their potential when used wisely  read more

Code: 24850

Superb Crimean War 1853 Issue British Cavalry Sabre, Exactly as Used by The Charge of the Light Brigade, and, The {Less Well Known, Yet Ironically More Successful} Charge of the Heavy Brigade. In Its Stunning Steel Scabbard, With White Buff Hide Knot

A stunning 1853 pattern sabre that superseded the earlier issue 1821 pattern. A beautiful three bar bright steel hilt, with regulation chequered leather grip, held with 5 rivets. A Regulation steel blade with ordnance stamps and ordnance contract maker stamp, Mole. In its regulation pattern, rolled sheet steel, mirror bright plated scabbard. Many Mole blades were used extensively by the British Army, including during the Crimean War (in the Charge of the Light Brigade) this sword has every indication to have been one of them, such as in the 13th Light dragoons

This original 1853 pattern trooper's sabre was the replacement of the previous 1821 pattern. This particular sabre was issued, just in time, to a few of the hussar and lancer regiments that departed for service in the Crimean War, but it took around another 10 years or so to be supplied to all the other cavalry regiments in the army, especially if they were in service at the time within the far flung reaches of the empire. We have also acquired, a similarly fabulous, 1821 issue example, from the same collection. However, all our other, fabulous condition British cavalry sabres, that we recently acquired from the Crimean War collection, have now been sold over the past few weeks.

Both cavalry charges against the Russian lines happened on the same day in the Crimean War, at Balaklava, on the 25th October 1854, and barely two hours apart. The first charge was at 9.30 am and was the 'Charge of the Heavy Brigade', and it was followed at 11.10 am by the famed 'Charge of the Light Brigade'. This sabre would very likely have been used in either charge as the 1853 pattern was designated for use by both light and heavy cavalry. It bears the same ordnance maker's mark, as an identical pattern issue sword, from the Charge of the Light Brigade, used by a trooper the 13th Light Dragoon's in the charge, that is now in the 13th-18th Royal Hussars and Light Dragoons Regimental Museum {see a photo of that sword in the gallery}.
Our sword also bears the line regt. issue ordnance inspectors marks.

Following the Battle of the Alma in September 1854, British, French and Ottoman forces had begun to besiege the Russian naval base of Sevastopol. The siege lines, running back to their base at Balaklava harbour, went through two valleys and a ridge, and were vulnerable.

Seeking to take advantage of this, the Russians planned to break the British lines and then capture the base.
'The Thin Red Line'
The Russian cavalry charged on Balaklava, but their route was blocked by the 93rd (Highland) Regiment of Foot. Traditionally, infantry facing a charge would form a square, four lines deep. But the Highlanders took an unconventional approach, making two lines instead.

In the face of the oncoming Russian horses, the Highlanders' commander, Major-General Sir Colin Campbell, told his troops: ‘There is no retreat from here, men. You must die where you stand.’ They fired two disciplined volleys at the advancing enemy, which turned the Russians back.

'Charge of the Heavy Brigade'
The Heavy Brigade, moving up to support the Highlanders, then intercepted the retreating Russian cavalry.

The 800 British horsemen were hugely outnumbered by the 3,000-strong Russian cavalry. But seeing their enemy halted and vulnerable to attack, they charged uphill all the same. Their advance was little faster than a trot and only lasted 10 minutes, but it sent the Russian horsemen into disorder.

'Charge of the Light Brigade'

‘Cavalry to advance rapidly to the front’
To prevent the Russians moving the guns they had captured earlier, Lord Raglan issued an order to the Light Brigade to go and retrieve them. He was still waiting on reinforcements from Sevastopol to arrive, so the light horsemen were the only troops available to him.

But the cavalry commanders, who lacked Raglan’s view of the battlefield, were uncertain as to which guns his order referred to. What’s more, all they could see was a Russian artillery battery at the end of a heavily defended valley.

In response to their orders, the Light Brigade began their charge, but at the wrong gun batteries. They galloped through Russian artillery fire from three sides and on into the ‘Valley of Death’ suffering heavy losses in the process.

Some of the horsemen succeeded in reaching the Russian guns at the end of the valley, and even drove the men operating them into retreat before charging the Russian cavalry beyond.
After intense fighting, the remnants of the Light Brigade were forced to retreat from the guns. They made their way back through the ‘Valley of Death’ before reaching safety. Fortunately, their return was ensured by the French cavalry, who cleared the Russians from the north side of the valley.

Although the reinforcements from Sevastopol had now deployed and were ready to begin an assault on the heights, no further action was taken.

The battle ended in strategic stalemate, with the Russians controlling the heights and the road, but Balaklava still in Allied hands. Unfortunately, Russian possession of the road made supplying the forces besieging Sevastopol during a terrible winter much harder.

The loss of the Light Brigade was one of Britain’s most spectacular military disasters. It is remembered because of Alfred Lord Tennyson’s popular poem ‘The Charge of the Light Brigade’, written a few weeks after the battle.

Years later, Tennyson also wrote ‘The Charge of the Heavy Brigade’ to raise money for Crimean veterans, many of whom were living in poverty. For similar reasons Rudyard Kipling wrote ‘The Last of the Light Brigade’ in 1890 to raise awareness of the hardships faced by veterans.

The blade is grey stained.

Over two decades ago we were delighted to buy Captain Nolan's undress sabretache that was used to carry the order in the Charge of the Light Brigade, and was recovered from beneath his, and his horses bodies after the battle. It spent most of its life after the charge in two museums, one at the rebuilt and re-sited Crystal Palace in London. We were privileged to buy direct it from the original family owners with the personal assistance of the late Gordon Gardner, Militaria Expert of Sotheby's from 1979.

"Robert Mole & Sons" was a prominent British sword manufacturer and contractor active during the 19th and early 20th centuries.
Established in Birmingham, England, in 1835 by a descendant of German craftsman Hermann Mohll (later Anglicized to Mole).
Government Contractor: The firm was a significant supplier to the British War Office, the Admiralty, and the Government of India, particularly from 1852 to 1919.
Produced swords, sword bayonets, lances, and matchets (machetes). They were known for high-quality production, often considered second only to Wilkinson Sword during the Victorian era.
Mole blades were used extensively by the British Army and Navy, including during the Crimean War (Charge of the Light Brigade), the Boer War, and World War I.
During the American Civil War (1861-1865), Robert Mole & Sons produced swords, including cavalry sabers and naval cutlasses, that were imported by the Confederacy.
Blades are typically marked "RobT Mole & Sons, Makers, Birmingham" or simply "Mole" on the spine or ricasso.
Records of their production were discovered in 1988, detailing contracts from 1852-1920. The company eventually became part of Wilkinson Sword.  read more

Code: 26098

A Singularly Beautiful Napoleonic Wars, Elite Cuirassier's 'Year 13' Imperial French Dated Sword, Of The War of The 100 Days, Culminating at the Battle Of Quatre Bras & The Battle of Waterloo, the Duke of Wellington's Decisive Victory Over Napoleon

Superb and beautiful hilt, with very fine original leather bound grip, and a very fine double fullered blade with stunning bright patina. Steel combat scabbard without denting.

We are very privileged to be the UK’s premier original military antiques gallery and website, and to be able to consistently, continually, and regularly, offer the finest original collectors items in our shop for over 100 years

French Napoleonic 'An 13', year 13 swords, were manufactured from 1805 and discontinued in late 1815, whereupon it was superceded in general by the later hilt style of the 1816 model, although some of the surviving models, such as this beauty, continued in service.
Renown throughout the world of historic sword collectors as probably the biggest and most impressive cavalry sword ever designed. This would have seen service in the Elite Cuirassiers of Napoleon's great heavy cavalry regiments.

Napoleon hoped to compel Tsar Alexander I of Russia to cease trading with British merchants through proxies in an effort to pressure the United Kingdom to sue for peace. The official political aim of the campaign was to liberate Poland from the threat of Russia. Napoleon named the campaign the Second Polish War to curry favour with the Poles and provide a political pretence for his actions. The Grande Armee was a very large force, numbering nearly half a million men from several different nations. Through a series of long marches Napoleon pushed the army rapidly through Western Russia in an attempt to bring the Russian army to battle, winning a number of minor engagements and a major battle at Smolensk in August. Napoleon hoped the battle would mean an end of the march into Russia, but the Russian army slipped away from the engagement and continued to retreat into Russia, while leaving Smolensk to burn. Plans Napoleon had made to quarter at Smolensk were abandoned, and he pressed his army on after the Russians. The battles continued, but once the winter set in Napoleon's army was facing insurmountable odds that left it effectively shattered beyond repair. Napoleon fled, it is said, dressed as a woman, and the army left to it's sad and miserable fate. Only around 27,000 were able to return after a mere six months of the Russian campaign. The campaign was a turning point in the Napoleonic Wars. The reputation of Napoleon was severely shaken, and French hegemony in Europe was dramatically weakened. The Grande Armee, made up of French and allied invasion forces, was reduced to a fraction of its initial strength. These events triggered a major shift in European politics. France's ally Prussia, soon followed by Austria, broke their alliance with France and switched camps. This triggered the War of the Sixth Coalition. The Cuirassiers Heavy Cavalry Regiments used the largest men in France, recruited to serve in the greatest and noblest cavalry France has ever had. They fought with distinction at their last great conflict at the Battle of Waterloo in 1815, and most of the Cuirassiers swords in England very likely came from that field of conflict, after the battle, as trophies of war. However, this sword was one of the few that were allowed to remain in the elite cuirassier corps after Waterloo, serving King Louis XVIIIth both before Napoleon's 100 days, and after his crushing defeat by Wellington at Waterloo. Inspected on the blade by Napoleonic inspectors, Lobstein and Bick, also back strap engraved Manufacture Rle January 1815. Made during the abdication period and used in the War of the 100 days. Less than a year following his abdication (April 6, 1814) and the Bourbon Restoration, Napoleon left his island exile in the Tyrrhenian Sea and landed at Cannes on March 1, leading 1,500 men, and marched at once upon Paris. Louis XVIII fled to Ghent on March 13, and Napoleon entered Paris one week later. To broaden his support, Napoleon made liberal changes to the Imperial Constitution, which led a number of former opponents, most notably Benjamin Constant, to rally to his cause. On March 25 Austria, Britain, Prussia, and Russia concluded an alliance against Napoleon and forced a series of military engagements leading up to the fatal Battle of Waterloo (June 18).

Every warrior that has ever entered service for his country sought trophies. The Mycenae from a fallen Trojan, the Roman from a fallen Gaul, the GI from a fallen Japanese, the tradition stretches back thousands of years, and will continue as long as man serves his country in battle. In the 1st century AD the Roman Poet Decimus Iunius Iuvenalis Juvenal
wrote; "Man thirsts more for glory than virtue. The armour of an enemy, his broken helmet, the flag ripped from a conquered trireme, are treasures valued beyond all human riches. It is to obtain these tokens of glory that Generals, be they Roman, Greek or barbarian, brave a thousand perils
and endure a thousand exertions". A truly magnificent Napoleonic sword in superb condition for it's age.
The largest sword of it's kind that was ever made or used by the world's greatest cavalry regiments. The cuirassiers were the greatest of all France's cavalry, allowing only the strongest men of over 6 feet in height into it's ranks. The French Cuirassiers were at their very peak in 1815, and never again regained the wonder and glory that they truly deserved at that time. To face a regiment of, say, 600 charging steeds bearing down upon you mounted with armoured giants, brandishing the mightiest of swords that could pierce the strongest breast armour, much have been, quite simply, terrifying. The brass basket guard on this sword is first class, the grip is totally original leather and a great colour
only shows expected combat wear, the blade is double fullered and absolutely as crisp as one could hope for. Made in the Napoleonic Wars period.
Used at Quatre-Bras and Waterloo. Apparently every remaining French elite cuirassier regiment fought at Waterloo for Napoleon, and there were no cuirassier reserve, and there were no cuirassier militia

The blade has wonderful steel bright colour, and the hilt has fabulous patina. Overall 45.5 inches long in its scabbard, the spear pointed blade is 37.7 inches long. Old original aged patina and regular usual surface blacking to the scabbard steel.  read more

Code: 25736

A Simply Superb Looking Original, Victorian, 8th King's Royal Irish Hussars 'Charge of the Light Brigade', 1821 Pattern, Hussar Trooper's Sword In Simply Amazing Fully Restored and Conserved Condition. With White Buff Hide Knot

Polished bright steel hilt with original triple wire bound leather grip, regimentally marked, for the 8th Hussars upon the quillon, excellent and bright polished rolled steel dent free scabbard, showing areas of previous light polished out surface pitting.
Blade is superb with a few sword to sword, close combat edge cuts
Around 180 years old and still as fine as it was when issued.

During the Crimean War, the regiment formed part of the Light Brigade. The regiment set sail from Plymouth in early March 1854. Five ships were needed to transport them to the Black Sea. The Echunga, Mary Anne and the Shooting Star left first, followed by the Medora and the Wilson Kennedy on 1 May.4 The next battle was near the River Alma in September 1854 and the 8th Hussars were awarded the battle honour for a convincing defeat of the enemy. On 28 September, following a report that Russian troops were out in front of Balaklava town, the troop of the 8th, which made up Lord Raglan's escort under Captain Chetwode, was thrown out in skirmishing order. The Horse Artillery then came up and opened fire, causing the Russians to abandon all their wagons and flee from the scene. Some 70 wagons and carts were captured, some only containing small arms ammunition, which was destroyed. The rest of the wagons contained black bread. The troops were allowed to pillage the wagons that did not contain anything of value to the Commissariat. As a result, within a few minutes, the ground was strewn with various pieces of clothing – Hussar uniforms, fur cloaks, and wigs. The carriages were said to belong to the suite of Prince Menshikov. After this engagement until 25 October, the regiment furnished patrols and outpost duties, being billeted close to vineyards and barns containing water, corn, hay and fuel.5

The charge of the Light Brigade, October 1854; The 8th Hussars were in the third line of cavalry (on the right of the picture)
In October, Balaklava and the Charge of the Light Brigade took place. It was started when 25,000 Russians tried to capture Balaklava, the British Army's only port, defended by the 93rd Highlanders, some Turks, and the Cavalry Division. Lieutenant Colonel Sherwell led the King's Royal Irish Hussars, forbidding two soldiers to carry their swords in the charge because they had "Disgraced the regiment by smoking in the presence of the enemy". The charge through the crossfire into the mouths of the Russian guns is vividly described by Lieutenant the Hon S Calthorpe, an 8th Hussar ADC.

The pace of our Cavalry increased every moment, until they went thundering along the valley, making the ground tremble beneath them. On they went headlong to death, disregarding aught but the object of their attack. At length they arrived at the guns, their numbers sadly thinned, but the few that remained made fearful havoc amongst the enemy's artillery.3


The Charge of the Light Brigade by Richard Caton Woodville
As part of the second wave of the brigade's attack, the 8th were in line with the 4th Light Dragoons and, advancing in support at a steady pace, came under fire. Wounded men and horses from the leading squadrons kept dashing out, making the lines unsteady. With the pace increasing, the 4th were not checked by their officers and the lines separated. In spite of the fall of men and horses, the regiment passed the remains of the battery in the valley.6 The 8th pushed through the line of Russian gunners to the remnants of the first line in retreat, unaware that a Russian brigade of light cavalry was at hand. A regiment of Russian lancers was advancing from behind, as the 8th Hussars went through the infantry crossfire and lost half their men. The remnants of the brigade formed up, totalling about 70 men. They decided to attack the Russian lancers, eventually overthrowing them. The ground was now opened up for the brigade to retire, the 8th now pursued their course to their original position, followed by all the other horsemen of the other regiments and, as their horses became blown or wounded, they tailed. The Russians were now recovering in confidence and they pursued the dismounted men. The officers of the 8th called off the men, freeing up the ground for artillery fire, which gave many the chance to escape. Overall, two officers and 19 other ranks were killed and two officers and 18 other ranks were wounded. One officer and seven other ranks were taken prisoner-of-war.

Indian Rebellion of 1857

The 8th spent a year in England after the Crimea, but were called to India to help suppress the Indian rebellion of 1857 and were ready for war in February 1858. The most celebrated action of the war came three months later at Gwalior when a squadron of the 8th, under Captain Heneage fought a large Indian force under Rani Lakshmibai trying to leave the area. The 8th Hussars charged into the enemy, killing swathes of Indian soldiers, taking two guns and continuing the charge right through the Phul Bagh encampment. Rani Lakshmibai, the Queen of Jhansi state, dressed as a cavalry leader, was badly wounded. She did not want the British to capture her body, so she told a hermit to burn her body. General Sir Hugh Rose awarded the squadron four Victoria Crosses under Clause 13 of the Victoria Cross warrant.9 This meant that one officer, one NCO, and two for the corporals and troopers, all to be elected by their comrades. Captain C W Heneage, Sergeant J Ward, Farrier G Hollis and Private J Pearson were chosen to be recipients. The citation was published in the London Gazette of 28 January 1859, The remaining year of the Mutiny consisted of the pursuit of the rebel forces. On 5 September 1858, a squadron of "D" Troop, 8th Hussars, caught the mutineers at Beejapore, inflicting heavy losses. Of the 850 enemy troops, no less than 450 bodies were counted dead on the field. On 8 September 1858, at Beejapore, when both the officers attached to the troop were disabled, Troop Sergeant-Major James Champion, although severely wounded himself at the start of the action, continued to do his duty and wounded several of the enemy. For this action, he too was awarded the Victoria Cross. From then on, until 21 May 1859, when the Headquarters Troop reached Nusserabad, all troops had been in search of the rebels. In its time in India, the 8th had gone through two hot-weather campaigns, H.Q. Troop had shifted camp 300 times and marched over 3000 miles with some of the other Troops marching close to 4000 miles. Reaching Meerut in February 1861, there was an epidemic of cholera in which the regiment lost two officers and thirty-one men. The title of the regiment was simplified in 1861 to the 8th (The King's Royal Irish) Hussars.

This 1821 pattern trooper's sabre was gradually replaced by the 1853 pattern, that was issued in time to a few of the hussar and lancer regiments in the Crimea, but it took around another 10 years or so to be supplied to all the other cavalry regiments in the army, especially if they were in service at the time within the far flung reaches of the empire. We have also acquired an 1853 issue example, in the same fabulous order, from the same collection.  read more

Code: 26099

A Most Scarce Antique Ching Dynasty Chinese Shuāngjiàn (雙劍). A Twin-Sword Jian, Late 18th Early 19th century. Near Identical to Admiral Sir James Hanway Plumbridge's Sword in the National Maritime Museum Collection. His Sword Was a Single Blade Version

A 19th century Chinese double sword (Shuang Jian) with tortoise shell and brass mounts, engraved with shou characters and bats. A most rare sword arrangement where each sword has a rounded outer and a flat inner side hilt system, of two swords that fit back to back and parallel together, and are simultaneously worn in a single scabbard. The blades were designed to be used in pairs, one in each hand. During the Qing Dynasty, these were not just combat weapons but also popular symbols of high status. Many Jian were brought back to England by the earliest visitors to China, both before and after the Boxer rebellion.

A similar piece was exhibited in the British Museum, Chinese weapons and armour, 15th of December 1994 to the 15th of January 1995.

A Chinese jian double or twin sword, with two double edged blades retained in a single scabbard. Principle sword with a engraved brass mounts, the bats and longevity symbols on the brass mounts form the pun fúshòu (福壽), meaning a long and happy life, and a lined darkwood grip, the secondary sword has a plain hardwood grip with buffalo horn, and both are simultaneously retained in a superb single tortoishell covered scabbard, with two interior slots, one for each blade, with typical stylized brass mounts, typically decorated with a traditional, intricate, bat and seal design, fúshòu (福壽). The stylized longevity symbol called shòu (壽) surrounded by bats, fú (蝠)
Each sword has a double edged blade.

Overall with stunning original patination that has been now revealed.It has just returned from ten hours of museum grade hand conservation and polishing.Thanks to such extraordinarily successful efforts, that required no repairs at all due, to its condition, this would be a Chinese antique sword that would likely be impossible to improve upon.

Likely brought back to England as a souvenir of the Opium War period to the Boxer Rebellion. Truly original, antique, Chinese weapons are very scarce indeed, as historically, few swords were ever brought back from China. Porcelain and silk were far more popular and preferable souvenirs and exports for Europeans, and in China, in the mid 20th century, nearly all the surviving antique edged weapons were melted down and destroyed in the era of Mao, under Chairman Mao's Cultural Revolutionary instructions, in order to create new steel.

A fabulous example that has breathtaking natural age patina. Effectively, in wondrous condition for its age.

A near identical sword {but withy a single blade} was once belonging to Admiral Sir James Hanway. His family believed he wore it as a midshipman at the Battle of Trafalgar in 1805. It is on display in the National Maritime Museum, exhibit number; WPN1157. Described as follows
Chinese sword, which belonged to Admiral Sir James Hanway Plumbridge (1787-1863). The hilt of the sword consists of a gilt pommel and crosspiece with very short down-turned quillons, and a fluted brown grip. The hilt is ornamented with a design of bats, which are a symbol of good luck. The steel blade is straight and double-edged. The point of the blade has evidently been broken off; it is about an inch too short for the scabbard and is rather roughly ground. The wooden scabbard is covered with lacquered paper actually tortoishell, and has four gilt lockets and a chape, which is ornamented with a design of bats. The two middle lockets are fitted with loops. This sword was offered to the National Maritime Museum as the sword which was worn by Admiral Sir James Hanway Plumbridge when he was a Midshipman at Trafalgar. It is inconceivable that he wore a Chinese weapon at Trafalgar. He probably obtained the sword during one of his three commissions in the East Indies. Admiral Sir James Hanway Plumbridge (1787-1863) entered the Royal Navy on the 6th September 1799 and was a Midshipman in HMS 'Leda' in the expedition to Egypt in 1801. At Trafalgar he was acting 6th Lieutenant in HMS 'Defence', and on the 20th August 1806 he was confirmed in rank. See photo 10 in the gallery, it shows the admiral's identical Jian sword on display in the National Maritime Museum, the photo is sadly of poor quality

The two paintings in the gallery are original Chinese gouache of a seated Ching Emperor, and his sword bearer, holding the same type of Jian sword, but with a green tortoiseshell scabbard.

The antique Chinese jian is a straight, double-edged sword used in China for over 2,500 years, with the earliest examples dating to the 7th century BC. We actually have some original, ancient jian museum pieces, from this era, acquired by us from the world renown Dove Collection. See them offered for sale within our website.
It was a multi-purpose weapon, optimized for thrusting but also capable of cutting and slashing, and was a symbol of status. The design was effective and remained relatively consistent over long periods, with minor variations in length, weight, and balance.
The jian's most defining feature is its straight, double-edged blade. While it could be used for both cutting and thrusting, it was often considered more optimized for thrusting than the single-edged dao (sabre).
The jian was a symbol of power and status, wielded by the elite and sometimes carried as a symbol of authority.
Its use dates back to the Spring and Autumn period, with some of the earliest specimens being the Sword of Goujian.
Design variations: The length, balance, and weight of the jian varied significantly across different periods and purposes.
It is a crucial tool in traditional Chinese martial arts training.
Military use: It was a formidable weapon on the battlefield and, due to its length and reach, was sometimes used like a long spear to favour thrusting techniques.
The jian is a significant symbol in Chinese culture and history, frequently appearing in films, historical reenactments, and museum exhibits.
Antique jian are valuable as historical artifacts, collectibles, and striking decorative pieces.  read more

Code: 26100

A Most Rare & Large Museum Piece. A Dirigible Airship Medal, Of The 170 Foot Long Airship 'La France', The Medal Of Experiences a L'Etablissement de Chalais Meudon 1885: The Medal of the Early Airship Experiments at Chalais-Meudon, France

Identical examples of this large bronze medal are in both the American Aeronautical and Space Museum of the Met, and the Yale Art Collection

In 1885, the La France airship continued pioneering, controlled flights at Chalais-Meudon, France, managed by Charles Renard and Arthur Constantin Krebs. Following its 1884 debut, this electric-powered, cigar-shaped dirigible successfully returned to its starting point 5 out of 7 times in 1885, proving the viability of fully controlled, closed-circuit flight before the project was halted due to heavy battery weights.
Key Aspects of the 1885 Chalais-Meudon Experiments:
The Airship La France: The airship, constructed by 1884, was a 50.9-meter-long, 8.4-meter-diameter, elongated balloon designed for stability and control.

While the inaugural flight was in August 1884, the airship continued to operate in 1885, with its final flight of that series on September 23, 1885. It successfully achieved its goal of maneuvering and returning to its base in the majority of trials.
Key Personnel: Charles Renard and Arthur Constantin Krebs led these experiments, developing advanced, lightweight electric motors for the vessel.
Infrastructure: The flights originated from Hangar Y at Chalais-Meudon, which was the world's first airship hangar.

Although the heavy, inefficient battery-powered electric motor proved to be a dead end for long-range travel, the 1885 experiments were crucial in proving that steered flight, rather than mere floating, was possible.
The experiments were heavily focused on military applications for France.
The work at Chalais-Meudon directly influenced later, more successful, and larger airship designs by demonstrating that controlled flight was achieved.

A stunnng original and rare bronze medal, featuring "BALLONS DIRIGEABLES EXPERIENCES A L'ESTABLISSEMENT DE CHALAIS-MEUDON 1885," it was a medal issued to mark the significance of its flights and significance


Experiences at the Establishment of Chalais Meudon 1885 commemorative medal; Obverse: relief of the mythical figures Icarus and Daedalus depicted, embossed text "LABOR, IMPROBUS, OMNIA VINCIT."; Reverse: relief of a robed female figure pointing at a dirigible depicted, embossed text "SIC ITUR AD ASTRA, BALOONS DIRIGEABLES EXPERIENCES A L'ETABLISSEMENT DE CHALAIS MEUDON 1885"  read more

Code: 26097