An Incredibly Rare Crimean War Romanov Senior Officer's Sword Knot, Such As Worn By A Romanov Grand Duke of Russia, Or General. The Bullion Gold And Crimson Silk Knot Bears The Romanov Crest on One Side and a Cyrillic Royal Monogram on The Other

A Crimean War of the 1850’s, Romanov crested General’s gold and silk bullion sword knot, bearing a superb Romanov crest of the crowned double headed eagle, which is masterfully created within the weave of the gold bullion. See photo. Gules, a double-headed eagle displayed, twice imperially crowned, grasping in the dexter claw an imperial sceptre, and in the sinister claw an imperial orb.

From the time of Czar Alexander Ist to Czar Nicolas Ist. The form of very high ranking officer such as a Romanov General or Admiral in the Crimean War, which may explain how came to Britain, possibly as a war souvenir by a British officer serving in the Crimea

We show a portrait of Grand Duke Alexei Alexandrovich Romanov of Russia, from the late 19th century, with his sword that bears the same form of knot.

In 1855 Prince Mikhail Dmitrievich Gorchakov was appointed commander-in-chief of the Russian forces in the Crimea in place of the disgraced Prince Menshikov. Gorchakov's defence of Sevastopol, and final retreat to the northern part of the town, which he continued to defend till peace was signed in Paris, were conducted with skill and energy. The Battle of the Great Redan against British forces was a notable local victory. In 1856 he was appointed namestnik of Kingdom of Poland in succession to Prince Paskevich. He died at Warsaw on May 30, 1861, and was buried, in accordance with his own wish, at Sevastopol.
It would have likely been one of his or his predecessors generals that would have used this knot. Of by whom it is likely impossible to know.
Photo 7 in the gallery is a portrait of Prince Mikhail Dmitrievich Gorchakov, and photo 8 is a close-up of his same sword knot though not well defined in the portrait. Picture 9 in the gallery is the closest original Romanov era example we can find, fitted to its sword. However, it is a much later version of knot, from the 1900’s, and for a regular ranked Officer’s sword of St George, that sold {the sword and its later knot} for £18,750 four years ago.

The knot bottom twisted gold wire loops are a little tangled in part, but overall it is in super condition for such a very rare piece of original, mid 19th century, highest quality, high ranking Romanov officer’s uniform dress ware.  read more

Code: 25335

A Very Rare Renaissance Main-Gauche, a Left Hand Parrying Dagger. Italian circa 1590-1620. Likely Made for a Royal Duke. With A Ducal Crown Engraved Pommel

A wonderful elegant example of these rare 'Maine Gauche' daggers used for parrying in the duel, in the era of England’s Queen Elizabeth the 1st, King James 1st, to King Charles the 1st, and it is in excellent plus condition.
The left handed parrying weapon used in the left hand, in conjunction with the long bladed Rapier in the right, in sword combat. In sword fighting, the main-gauche French for "left hand" is a dagger used in the off-hand, mainly to assist in parrying incoming thrusts, while the dominant hand wields a rapier or similar longer weapon intended for one-handed use. It may also be used for attack if an opportunity arises, such as for the ‘coup de grace’. The dagger has a slender four sided blade of diamond-section, with twin Crowned M armourer's marks, one per side at the ricasso. The hilt is fully engraved, and the outside of the pommel it has an engraved ducal crown within a circlet, and the inside pommel a rhombic Chinese flower, possibly part of the dukes family crest or symbol. It has an outer single ring guard and a polygon form conical pommel, converging towards the top pommel button. {A design recognised as pommel ‘32’, circa 1590-1610, in A.V.B.Normans Rapier and Small Sword 1460-1820.} It also has a very fine Turk's Head knot terminated twisted steel wire grip, in excellent condition.

We show in the gallery a close up of the pommel engraving, showing the style of crown, as can be seen in an early portrait of one being worn, that we show attached with it.

The parrying dagger is a category of small handheld weapons from the European late Middle Ages and early Renaissance. These weapons were used as off-hand weapons in conjunction with a single-handed sword such as a rapier. As the name implies they were designed to parry, or defend, more effectively than a simple dagger form, typically incorporating a wider guard, and often some other defensive features to better protect the hand as well. They may also be used for attack if an opportunity arises.
The use of this off-hand weapon gradually fell out of favour as sword fighting evolved. The use of progressively lighter primary weapons such as the small sword and épée.

The main-gauche {French for "left hand"}, was used mainly to assist in defense by parrying enemy thrusts, while the dominant hand wielded a rapier or similar longer weapon intended for one-handed use. Its most characteristic feature was downturned quillons that protected the hand, and the ring to one side.

Courtiers in later half of the 16th century did indeed wore rapiers to court as a sign of gentlemanly status and the privilege of engaging in extra-judicial duels of honour, with the main-gauche parrying dagger.

The rapier and dagger combination was primarily designed for self-defence using fighting techniques developed in Italy that are the ancestors of modern fencing. The sixteenth-century rapier was both a slashing and stabbing weapon. Its accompanying dagger was used in the left hand for parrying and stabbing in close. The stiff slender blades of both were designed to pierce clothing rather than armour.

The Renaissance was a fervent period of European cultural, artistic, political and economic “rebirth” following the Middle Ages. Generally described as taking place from the 14th century to the 17th century, the Renaissance promoted the rediscovery of classical philosophy, literature and art.

Some of the greatest thinkers, authors, statesmen, scientists and artists in human history thrived during this era, while global exploration opened up new lands and cultures to European commerce. The Renaissance is credited with bridging the gap between the Middle Ages and modern-day civilization.  read more

Code: 25340

A Simply Stunning Ancient Roman Museum Grade Fine Gold Seal Ring with Intaglio Portrait Engraved Garnet Gem Stone 2nd to 3rd Century A.D. Likely a Depiction of an Emperor Such As Hadrian, Marcus Aurelius, Lucius Verus, or Even A Parthian Vassal King.

A museum grade, around 1900 year old pure gold ancient Roman intaglio carved garnet gemstone seal ring.

Worn by such a noble as the rank of Imperial Legate { Legatus Augusti pro praetore}. The commander of two or more legions, who also served as the governor of an eastern province in which the legions he commanded were stationed. He was of Senatorial rank and was appointed by the Emperor for a term of 3 or 4 years.

The carved gem’s seal is depicting a profile hand carving, possibly of an Emperor such as Verus, or vassal King of Parthia. Possibly as a celebration of Verus’s ‘Triumph’ from the Parthian War. Classified by the seminal classification of ancient ring forms, by Dr. Martin Henig, as Ancient Roman, Henig type II

The Roman triumph was one of ancient Rome’s most important civic and sacred institutions. These spectacular processions were celebrations of Rome’s military victories, the courage of its soldiers, and the favour of the gods. They were also one of the highest honors a Roman man could achieve: designated a triumphator, he was awarded a grand procession through the imperial capital. The lavish parade of prisoners and captured treasures was sure to guarantee the eternal fame of the conquering general. Over time, the triumph became an important tool in the manipulation of Roman politics.

Made and worn by the highest ranking Roman, such as a Legate, possibly even a member of the Imperial household at the time from Emperors Marcus Aurelias, Lucius Verus, & Commodus, and just into the early following century.

Rings were one of the most popular pieces of jewellery in Roman culture. Under the Republic the wearing of gold rings was exclusively reserved to certain classes of persons or for specific occasions. In the late 3rd century BC only senators and knights equo publico had this privilege. Towards the end of the Republic, gold rings were also bestowed on civilians. Under the Roman Empire gold rings, although still regarded as a privilege and awarded as a military distinction

During the era of dual Emperors Marcus Aurelius, and Lucius Verus, 161 to 180 ad, the last part of his reign was dramatically represented in the blockbuster film 'Gladiator', starring Richard Harris as the Emperor Marcus Aurelias. He acceded to the throne of Emperor alongside his adoptive brother, who reigned under the name Lucius Verus. Under his rule the Roman Empire witnessed heavy military conflict. In the East, the Romans fought successfully with a revitalised Parthian Empire and the rebel Kingdom of Armenia. Marcus defeated the Marcomanni, Quadi, and Sarmatian Iazyges in the Marcomannic Wars; however, these and other Germanic peoples began to represent a troubling reality for the Empire. Ultimately, the Romans were victorious in the Parthian War of 161-167 CE. After the sacking of Ctesiphon and Seleucia, Lucius Verus took the title Parthicus Maximus. As a feature of his imperial titulature, the epithet conveyed his military might and power. But the question remains: to what extent can the Roman victory over the Parthian Empire be attributed to Verus?
Indeed, much of the successes the Romans enjoyed in this eastern war surely belong to the supremely able retinue of generals and administrators who were with Verus at the time. Regardless, upon his return from the campaign, Verus was awarded a triumph, the traditional celebration of Roman military conquest that had been used since the Republican era. This was to be the high point of Verus’ imperial story, however. In 169 CE, as he was journeying back from the Danubian frontier — where he had been fighting in the Marcomannic wars with Marcus Aurelius — Verus suddenly fell ill and died. It is highly probable, according to historians, that Verus was a victim of the pestilence that his soldiers had carried back to the empire with them from the Parthian War.

Commodus. the successor and son of Emperor Antoninus Pius,, was the Roman emperor who ruled from 177 to 192. He served jointly with his father Marcus Aurelius from 177 until the latter's death in 180, and thereafter he reigned alone until his assassination. His reign is commonly thought of as marking the end of a golden period of peace in the history of the Roman Empire, known as the Pax Romana.
Commodus became the youngest emperor and consul up to that point, at the age of 16. Throughout his reign, Commodus entrusted the management of affairs to his palace chamberlain and praetorian prefects, named Saoterus, Perennis and Cleander.

Commodus's assassination in 192, by a wrestler in the bath, marked the end of the Nerva–Antonine dynasty. He was succeeded by Pertinax, the first emperor in the tumultuous Year of the Five Emperors.

Jewellery in the Roman Republic
The core ideologies of the Roman Republic, centred around moderation and restraint, meant that elaborate jewellery was relatively unpopular until the transformation to imperial rule. The law of the Twelve Tables in the 5th century BC, limited the amount of gold which might have been buried with the dead. The Lex Oppia, 3rd century BC, fixed at half of an ounce the amount of gold which a Roman lady might have worn. During the Roman Empire, however, jewellery became a public display of wealth and power for the elite.
Rings of the higher ranks were often embellished with intaglios, cameos and precious gemstones. Mythology and Roman history were used as a repertoire of decorative themes. Roman rings featuring carved gemstones, such as carnelian, garnet or chalcedony, were often engraved with the depiction of deities, allegories and zoomorphic creatures.

1 inch across, UK size H1/2, {measured on the round inside the oval} 9.6 grams, approx 22 carat gold 91.16% Gold, 6.66% silver, 1.93% copper, which is a typical consistency of ancient Roman gold determined by x-ray flourescence analysis with Oxford Instruments in 2017
As with all our items it comes complete with our certificate of authenticity.  read more

Code: 24779

A Rare Japanese Edo Period Samurai War Bow 'Daikyū ' With Quiver 'Yabira Yazutsu' in a Cherry Bark Design, With Four Arrows 'Ya', Including A Rare Swallow Tail Arrow 'Ageha Ya', & A 'Tsurumaki' Functionary Yumi Rattan Bow String Holder

More photos to be added on Monday.
A wonderful original antique Edo period {1603-1863} Samurai long war bow Yumi, made in either yohonhigo or gohonhigo form {4 piece or 5 piece bamboo laminate core, that is surrounded by wood and bamboo, then bound with rattan and lacquered}
Edo Era, 1600 to 1700's, with different arrows, war and practice, three fixed with sea eagle feathers, one unfeathered, that fit into in a cherry bark lacquer quiver {yabira yazutsu} with four arrows {ya}, including a rare ageha swallow tail arrow. The ageha swallow tail arrows of this type appear mostly in the Kamakura period, the head may indeed be from that period. Experienced Kamakura archers were allowed to use arrows with the V-shaped swallowtail prong {ageha}. If armour is struck, it will splinter, so, the optimum target for a lethal blow on any opponent, wearing full traditional samurai armour (O-Yoroi), is the space just beneath the helmet visor that is often bare. It was once told to us by a very aged and respected Japanese sensei visitor, who was a master of Yabusame mounted archery, that to hit a samurai at the bridge of the nose, beneath his kabuto helmet peak, with the swallowtail ageha ya, it would penetrate both eyes at once. It may not be instantly lethal but the samurai would be immediately blinded, and thus have no function in combat.

The arrows are made using yadake bamboo (Pseudosasa Japonica), a tough and narrow bamboo long considered the choice material for Japanese arrow shafts. The black {now faded to brown} and white feather flights {hane} are likely Steller's sea eagle feather. Period 1599 -1863. The lidded quiver is a beautiful piece of craftsmanship in hardened lacquered tree bark pattern. A functionary yumi rattan bow string holder and string tsuru, it is an essential munition of an archer. Material is wooven rattan in spool shape used to wrap sinew string, often strapped with leather and horn. A functionary yumi rattan bow string holder is an essential munition of an archer.

These sets are very rarely to be seen and we consider ourselves very fortunate, indeed privileged, to offer one.
It was from the use of the war bow or longbow in particular that Chinese historians called the Japanese 'the people of the longbow'. As early as the 4th century archery contests were being held in Japan. In the Heian period (between the 8th and 12th centuries) archery competitions on horseback were very popular and during this time training in archery was developed. Archers had to loose their arrows against static and mobile targets both on foot and on horseback. The static targets were the large kind or o-mato and was set at thirty-three bow lengths and measured about 180cm in diameter; the deer target or kusajishi consisted of a deer's silhouette and was covered in deer skin and marks indicated vital areas on the body; and finally there was the round target or marumono which was essentially a round board, stuffed and enveloped in strong animal skin. To make things more interesting for the archer these targets would be hung from poles and set in motion so that they would provide much harder targets to hit. Throughout feudal Japan indoor and outdoor archery ranges could be found in the houses of every major samurai clan. Bow and arrow and straw targets were common sights as were the beautiful cases which held the arrows and the likewise ornate stands which contained the bow. These items were prominent features in the houses of samurai. The typical longbow, or war bow (daikyu), was made from deciduous wood faced with bamboo and was reinforced with a binding of rattan to further strengthen the composite weapon together. To waterproof it the shaft was lacquered, and was bent in the shape of a double curve. The bowstring was made from a fibrous substance originating from plants (usually hemp or ramie) and was coated with wax to give a hard smooth surface and in some cases it was necessary for two people to string the bow. Bowstrings were often made by skilled specialists and came in varying qualities from hard strings to the soft and elastic bowstrings used for hunting; silk was also available but this was only used for ceremonial bows. Other types of bows existed. There was the short bow, one used for battle called the hankyu, one used for amusement called the yokyu, and one used for hunting called the suzume-yumi. There was also the maru-ki or roundwood bow, the shige-no-yumi or bow wound round with rattan, and the hoko-yumi or the Tartar-shaped bow. Every Samurai was expected to be an expert in the skill of archery, and it presented the various elements, essence and the representation of the Samurai's numerous skills, for hunting, combat, sport and amusement, and all inextricably linked together.

The mounted archer mainly controls his horse with his knees, as he needs both hands to draw and shoot his bow. As he approaches his target, he brings his bow up and draws the arrow past his ear before letting the arrow fly with a deep shout of In-Yo-In-Yo (darkness and light).

Yabusame (流鏑馬) is a type of mounted archery in traditional Japanese archery. An archer on a running horse shoots three special "turnip-headed" arrows successively at three wooden targets.

This style of archery has its origins at the beginning of the Kamakura period. Minamoto no Yoritomo became alarmed at the lack of archery skills his samurai possessed. He organized yabusame as a form of practice.

Nowadays, the best places to see yabusame performed are at the Tsurugaoka Hachiman-gū in Kamakura and Shimogamo Shrine in Kyoto (during Aoi Matsuri in early May). It is also performed in Samukawa and on the beach at Zushi, as well as other locations.
On his final day in Japan in May 1922, Edward, Prince of Wales was entertained by Prince Shimazu Tadashige (1886–1968), son of the last feudal lord of the Satsuma domain. Lunch was served at Prince Shimazu’s villa, followed by an archery demonstration. Afterwards, the Prince of Wales was presented with a complete set for archery practice, including an archer’s glove, arm guard and reel for spare bowstrings

This war bow is 86 inches long {but too long to ship abroad}  read more

Code: 25342

A Beautiful Samurai's Yabusami Bow Sleeve. The Form of Samurai Bowman's Armoured Arm Protection Worn With Full Armour

For the martial art of Yabusami bowmanship in combat when in full armour. Wonderful condition for age. With a small strip of fully articulated lateral iron shoulder protection armour, decorated with war fans. Gold embossed leather scroll enhancements, doeskin panels decorated at the wrist with a date, and circular elbow protector. All the doeskin is decorated with dark brown and red highlights, in coloured ink, in a traditional floral design used on armour, on the doeskin sections, for centuries. The linen cloth sleeve has carved buffalo horn cord mounts for attaching the sleeve to the armour suit, and two printed gold circular mon decorated on the linen cloth. Although fully armoured in combat, just the archers bow sleeve, worn on the left arm, was not armoured with chain mail or iron plates at all, other than the small iron flexible ridge at the top to protect against an upper sword cut, unlike all the other parts of his samurai armour. This was to allow fully flexible left arm movement. When not armoured and only wearing regular garb, the samurai bow sleeve was shaped somewhat like a leg o'lamb with a very wide shoulder fixing that went acroos the chest to the right arm pit. As described in the section of Chuyuki (a diary written by Fujiwara no Munetada) dated 1096, yabusame has been practiced since the Heian period as a practical fighting bowmanship skill performed on horseback. A technique known as 'the Hidesato-style of yabusame' was practiced during the Kamakura period, and samurai trained in this pastime enthusiastically, giving demonstrations at events organized by the bakufu (Japanese feudal government headed by a shogun).  read more

Code: 21518

A Good Westley Richards, Maker To HRH Prince Albert, Double Barrelled Percussion Action Sporting Gun Bespoke Made Between 1842 And 1852

Fine twist barrels marked Stubbs and WR with serial number, 541. *Using the Westley Richards serial number search database they determined it was commissioned between 1842 And 1852. Fine walnut stock and fully deluxe engraved steel mounts and gunlock.

Westley Richards & Co Ltd was established in 1812 by the celebrated Birmingham gunmaker, William Westley Richards (1790-1865), He challenged the pre-eminence of the London gunmakers and his appointment as gunmaker to the Prince Consort in 1840 gave tangible expression to his success. The expansion of the firm in the nineteenth century was based on a continuous stream of technical improvements and innovations. Increasingly, it specialised in two areas: sporting guns, which continue to be the mainstay of the gunmaking part of the business, and the production of military weapons, beginning with the Enfield musket of 1853.

Like other gun makers of the time, William Westley Richards, and his successor son, Westley Richards, were involved in the development of firearms for sport and war, with many patents improving military rifles and ammunition; solid-drawn brass cartridges being notable amongst them. One of the firm’s other successes was the breech-loading, ‘monkey tail carbine’, which went into limited service in 1866, gaining popularity with cavalry and colonial forces.

Westley Richards currently offer a detailed letter, stating for whom the gun was commissioned, although they do not have complete records. This service costs £120

The gun has natural ageing and wear throughout, with a small stock repair under the gunlock, barrels browned and all other steel grey, with areas of light pitting. A perfect collectors and display piece by one of Britains finest bespoke gun makers.  read more

Code: 25341

Original, Imperial Roman Gladius, A Legionary's Sword, 1st Century, Almost 2000 Years Old. Made And Used During The Reigns in Imperial Rome of the Emperors, Augustus, Claudius, Tiberius, Caligula & Nero

A spectacular and rare beauty, as is typical just the blade remains intact. In the world of collecting early weaponry a sword is defined as it’s blade, its hilt was separate often made of vulnerable woods and organic materials that do not survive the ravages of time.
Only the second such original ancient Roman sword of its type that we have seen in the past ten years.

An absolute iconic sword, in fact, probably the most famous design of sword of antiquity. There is nothing that symbolises the age of Ancient Rome more than the legionary’s gladius. From the most famous empire that has ever existed, an empire that has had a greater influence in the development of modern civilisation than any other. There is barely a single part of today’s world that does not utilise the ancient creations, ideas, and developments of Ancient Rome. From the time of Imperial Rome and the Emperors, Augustus, Tiberius, Caligula, Claudius and Nero. Effectively from the golden age of Rome, the pinnacle of its power, the central 300 years of the 900 years of the rise and fall of the Roman Republic and Empire, and it’s dominance of the Western world, North Africa and the Middle East. A fabulous double-edged sword with the typology classification of ‘Pompeii’ type, with parallel cutting edges, sharply graduating towards the triangular point, with close combat sword-to-sword impact battle nicks to the edges, and a long tang. The ‘Pompeii’ gladius was named by modern historians after the Roman town of Pompeii. This type of gladius was by far the most popular used type of them all. Four instances of the sword type were found in Pompeii, with others turning up in other locations. Gladii were two-edged for cutting and had a tapered point for stabbing during thrusting. A solid grip was provided by a knobbed hilt added on, possibly with ridges for the fingers. The hilt/grips were of organic material, mostly wood, which simply never survives two millennia. Blade strength was achieved by welding together strips, in which case the sword had a channel down the centre, or by fashioning a single piece of high-carbon steel, rhomboidal in cross-section. The owner's name was often engraved or punched on the blade.
This kind of sword was much more suitable than the earlier Mainz typology for the fight against the Germanic tribes, allowing the legionary to deliver equally successful blows by stabbing and chopping. The specimen in question presents a very elongated blade and it is possible that it was used as weapon from horseback, representing a sort of transitional type between the short gladius and the long cavalry spatha. Similar long Pompeii blades specimens have been found in the Barbaricum and in a military camp of Germania Inferior. After Caesar's preliminary low-scale invasions of Britain, the Romans invaded in force in 43 AD, forcing their way inland through several battles against British tribes, including the Battle of the Medway, the Battle of the Thames, the Battle of Caer Caradoc and the Battle of Mona. Following a general uprising in which the Britons sacked Colchester, St Albans and London the Romans suppressed the rebellion in the Battle of Watling Street and went on to push as far north as central Scotland in the Battle of Mons Graupius. Tribes in modern-day Scotland and Northern England repeatedly rebelled against Roman rule and two military bases were established in Britannia to protect against rebellion and incursions from the north, from which Roman troops built and manned Hadrian's Wall

On the continent, the extension of the Empire's borders beyond the Rhine hung in the balance for some time, with the emperor Caligula apparently poised to invade Germania in 39 AD, and Cnaeus Domitius Corbulo crossing the Rhine in 47 AD and marching into the territory of the Frisii and Chauci. Caligula's successor, Claudius, ordered the suspension of further attacks across the Rhine, setting what was to become the permanent limit of the Empire's expansion in this direction.
Although at first sight they seem more similar to later spathae swords of the Roman army, they are examples of the great variety of weaponry existing inside the Armies of Rome, and of the way in which its structure was able to adapt itself to its various military needs. This sword type also present
a noteworthy problem in regards of precise individual dating, because without a precise archaeological context, there use can range from the 1st to the 3rd century AD (such as specimens from Windisch, Zwammerdam). For references on this sword type see; Curle, J., A Roman Frontier Post and its People, the Fort of Newstead in the Parish of Melrose, Glasgow, 1911; Bishop, M. C. & Coulston, J.C.N., Roman military equipment, from the Punic wars to the fall of Rome, London, 1993; Antonucci, C., ‘The Praetorians, the bodyguard of the Emperor Trajan, 2nd cent. AD’, in Ancient Warrior,1, Stockport, 1994, pp.3ff.; Feugère, M., Weapons of the Romans, Port Stroud, 2002; Bishop, M. C. & Coulston, J.C.N., Roman military equipment, from the Punic wars to the fall of Rome, London, 2006; Miks, C., Studien zur Romischen Schwertbewaffnung in der Kaiserzeit, I-II Banden, Rahden, 2007; for very similar specimens see Miks, 2007, n.A792 (Windisch, length 64 cm); A821 (Zwammerdam, length 71cm); A302 (Hofstade Steenberg, length 64cm); A369 (Korytnica, length 76.2cm); A354 (Klein-Winternheim, length 67cm).
In the world of collecting early weaponry a sword is defined as it’s blade, it’s hilt was separate often made of vulnerable woods and materials that do not survive the ravages of time. You simply do not often see such rare and iconic original ancient swords used by one of the most famed empires in the world, during the period of one of the greatest eras in classical history, let alone have the opportunity to own one. This sword is 855 grams, 84cm (33") including tang. Fine condition for age. Complete with a complimentary display stand  read more

Code: 23516

A Simply Wonderful Trojan War Period Full Length Bronze Sword Blade 28.75 Inches Long Circa 1200 B.C.

2nd millennium BC. A bronze sword with tapering long multi fullered blade, flat, tapered tang originally fitted with a likely organic hilt of possibly ivory or carved horn or wood. A sword that could have been traded with the Archean Greeks, the Mycenean Greeks the Trojan peoples and The Hitites.

The trade of Bronze Age weaponry followed trade routes that started in the the Assyrian Empire, East of Babylon, right through to the Mediterranean region, and all of empires and kingdoms in between. Also, all manner of Bronze Age utilitarian wares, personal adornments, and tools came from this famed bronze smithing region and their trading merchants.

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, king of Sparta. The war is one of the most important events in Greek mythology and has been narrated through many works of Greek literature, most notably Homer's Iliad. The core of the Iliad (Books II – XXIII) describes a period of four days and two nights in the tenth year of the decade-long siege of Troy; the Odyssey describes the journey home of Odysseus, one of the war's heroes. Other parts of the war are described in a cycle of epic poems, which have survived through fragments. Episodes from the war provided material for Greek tragedy and other works of Greek literature, and for Roman poets including Virgil and Ovid.

The ancient Greeks believed that Troy was located near the Dardanelles and that the Trojan War was a historical event of the 13th or 12th century BC, but by the mid-19th century AD, both the war and the city were widely seen as non-historical. In 1868, however, the German archaeologist Heinrich Schliemann met Frank Calvert, who convinced Schliemann that Troy was a real city at what is now Hisarlik in Turkey. On the basis of excavations conducted by Schliemann and others, this claim is now accepted by most scholars.

Whether there is any historical reality behind the Trojan War remains an open question. Many scholars believe that there is a historical core to the tale, though this may simply mean that the Homeric stories are a fusion of various tales of sieges and expeditions by Mycenaean Greeks during the Bronze Age. Those who believe that the stories of the Trojan War are derived from a specific historical conflict usually date it to the 12th or 11th century BC, often preferring the dates given by Eratosthenes, 1194–1184 BC, which roughly correspond to archaeological evidence of a catastrophic burning of Troy VII, and the Late Bronze Age collapse. Legend has it that the war originated from a quarrel between the goddesses Hera, Athena, 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 of Troy, 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 of Sparta, fall in love with Paris, who quit Sparta with her and returned to Troy. Menelaus's brother Agamemnon, king of Mycenae, led an expedition of Achaean troops to Troy and besieged the city for ten years because of 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, Aphrodite's son and one of the Trojans, who was said to have led the surviving Trojans to modern-day Italy.

Most of our antiquities and artefacts are from 200 year past souvenir accumulations from British ‘Grand Tours’. Beautiful Items and antiquities were oft acquired in the 18th and early 19th century by British noblemen and women touring battle sites in Northern France and Italy, in fact most of Europe and the Middle East, on their so-called ‘Grand Tour’. They were often placed on display upon their return home, within the family’s ‘cabinet of curiosities’, within their country house. Some significant British stately homes had entire galleries displaying the treasures and artefacts gathered and purchased on such tours, and some tours lasted many years, and the accumulated souvenirs numbered in their hundreds or even thousands

As with all our items it comes complete with our certificate of authenticity.  read more

Code: 24764

Original Roman Empire period, Copper Alloy, 2nd Century Signet Ring with Engraved Bird

Henig type Xb ring. Wide oval bezel affixed to flattened shoulders engraved copper bronze alloy with gilt highlights. Almost identical to one found in the UK near Hadrian's Wall. That one was engraved to represent the Zaroastrian fire altar, or vessel of sprouting grains. The ring was important for displaying the Roman's status. For example Tiberius, who was after all left-handed according to Suetonius, thus displays a ring in his bronze portrait as the Pontifex Maximus:
So the rings were very important to tell from a glimpse of eye if a traveller was a citizen, an equites or a senator, or legionary. People sealed and signed letters with the rings and its falsification could bring death.

In ancient Rome they were used as signet rings, for the elite citizens and political leaders with power and wealth using them to sign documents by transferring their impression into a hot dripping of wax. At that point in history, there was no such thing as a written signature.

The fugitive slaves didn’t have rings but iron collars with texts like “If found, return me to X” which also helped to recognise them. The domesticus slaves (the ones that lived in houses) didn’t wore the collar but sometimes were marked. A ring discovered 50 years ago is now believed to possibly be the ring of Pontius Pilate himself, and it was the same copper-bronze form ring as is this one.  read more

Code: 24854

An Original Viking Warrior's Bronze Torc Arm Ring CIrca 800's in Viking Twisted Wirework Design

A fabulous Viking twisted wire bronze alloy arm ring bracelet. A most attractive and impressive original Viking bracelet

Knowledge about the arms and armour and body adornments such as bracelets, torcs, rings and pendants, of the Viking age is based on archaeological finds, pictorial representation, and to some extent on the accounts in the Norse sagas and Norse laws recorded in the 13th century. According to custom, all free Norse men were required to own weapons and were permitted to carry them all the time, and body adornments were a way to set one apart, the more successful in combat a warrior was was the greater his share of the looted booty, and this success could only be best shown by him in his body adornment, such as rings, torcs, wrist and arm bracelets, or pendants, and finally topped off with a wolf fur cloak. The arms he bore and his jewellery were indicative of a Viking's social status: a wealthy Viking had a complete ensemble of a helmet, shield, mail shirt, sword if his status was the highest otherwise spear or axe, and his body adornments. However, swords were rarely used in battle in the same quantity as axes, as few Vikings were of the status to own or carry a sword, A typical bondi (freeman) was more likely to fight with a spear and shield, and axe, and most also carried a seax as a utility knife and side-arm. Bows were used in the opening stages of land battles and at sea, but they tended to be considered less "honourable" than a melee weapon.

The warfare and violence of the Vikings were often motivated and fuelled by their beliefs in Norse religion, focusing on Thor and Odin, the gods of war and death. In combat, it is believed that the Vikings sometimes engaged in a disordered style of frenetic, furious fighting known as berserkergang, leading them to be termed berserkers. Such tactics may have been deployed intentionally by shock troops, and the berserk-state may have been induced through ingestion of materials with psychoactive properties, such as the hallucinogenic mushrooms, Amanita muscaria, or large amounts of alcohol. Perhaps the most common hand weapon among Vikings was the axe, swords were far more expensive to make, and only wealthy warriors could possibly afford them.

Vikings and Norse people wore arm rings (also known as Torcs) as a sign of their wealth and status, and as a sign of loyalty. An arm ring is a type of heavy jewellry that is worn around the upper or lower arm. Arm rings might made of precious metals such as gold or silver, but for combat bronze was more sustainable

Norse arm rings were usually given as gifts to mark special occasions such as births, weddings, or military victories. They were also sometimes used as currency. In some cases, arm rings were passed down from generation to generation as family heirlooms. Viking arm rings have been found at many old Viking locations.

The meaning of a Viking arm ring could vary depending on its owner. For some people, it may have been a symbol of their power and wealth. For others, it may have represented their family history or heritage.

Whatever the meaning of a Viking arm ring may have been, it is clear that these pieces of jewellery were important to the Norse people. Arm rings were more than just fashion accessories; they held significant value both socially and economically.

Just under 60 mm across. In its wearing life arm rings wether for wrist or upper arm could be expanded easily by hand in order to increase its size to fit the wrist or arm of the wearer at the time, but not today of course.

As with all our items it comes complete with our certificate of authenticity  read more

Code: 24797