Original, Antique, Victorian Household Cavalry Armour Breastplate Cuirass of the LifeGuards, The Blues &The Royals. the Mounted Personal Bodyguard Regiments of the British Monarch, Part of The Household Division

With With brass edge trim & rivets. It bears the ordnance inspection stamps. Used by all of H.M.Queen Victoria's Household Cavalry regiments.

We have a pair of these original Victorian Horse Guards cuirass breastplates, but they are for sale separately.

During a visit to the Tower several decades ago, thanks to an invitation by our friend Howard Blackmore {historian and assistant curator at the Tower} we had a discussion, amongst many other subjects, of the conversion of the Life Guards and Horseguards back to armoured heavy cavalry, after around 150 years of un-armoured service as the monarch's mounted guard since the 17th century.

This is one of those early cuirass breast plates created for the newly armoured horse guards regiments.

From 1661 to 1778, the Life Guards Troops saw action in the Jacobite Wars, the Second Dutch War
(when they served as sailors) ant the War of the Austrian Succession. In 1778 the four Horse
Guard Troops and Horse Grenadiers re-formed as the 1st Life Guards. Both Regiments fought
with distinction in the Waterloo campaign.
For the Egyptian War of 1882, Life Guards formed a Composite Household Cavalry
Regiment with the Royal Horse Guards, making Royal Horse Guards, making the famous
moonlight charge at Kassain. In 1894, for the relief of Khartoum, both Regiments contributed
soldiers to the Heavy Camel Regiment and were again formed as a Composite Household
Cavalry Regiment for the 2nd Boer War in 1900

The Royal Dragoons (1st Dragoons), initially known as The Tangier Horse, were raised by
King Charles II to form part of the garrison at Tangier, which had been acquired on his
marriage to Catherine of Braganza as part of her dowry. Known as The Royals, during the
18th century the Regiment saw service in most of the same wars as The Blues, including the
Peninsula campaign and Waterloo, where the Regiment famously captured the Eagle of the
French 105th Infantry Regiment. However, in the 19th century, unlike The Blues, The Royals
saw service in the Crimea and in India.  read more

Code: 25578

A Superb 17th Century Shinto Ryo Shinogi Yari Samurai Spear Head From the Roald Knutsen Collection. In Superb Condition With Impressive Nie-Deki (沸出来) {Martinzite Crystals} That Appear In The Rapid Quenching

Very nice blade in polish showing a good hamon temper line. Double edged four sided. A thick stout blade that would have been enormously effective in trained hands.
A Samurai ryo-shinogi yari polearm. Shinto period in nice order overall.

Yari is the Japanese term for spear, or more specifically, the straight-headed spear. The martial art of wielding the yari is called sojutsu. A yari can range in length from one meter to upwards of six metres (3.3 to 20 feet). The longer versions were called omi no yari while shorter ones were known as mochi yari or tae yari. The longest versions were carried by foot troops (ashigaru), while samurai usually carried a shorter yari such as this example. Yari are believed to have been derived from Chinese spears, and while they were present in early Japan's history they did not become popular until the thirteenth century.The original warfare of the bushi was not a thing for "commoners"; it was a ritualized combat usually between two warriors who may challenge each other via horseback archery and sword duels. However, the attempted Mongol invasions of Japan in 1274 and 1281 changed Japanese weaponry and warfare. The Mongol-employed Chinese and Korean footmen wielded long pikes, fought in tight formation, and moved in large units to stave off cavalry. Polearms (including naginata and yari) were of much greater military use than swords, due to their much greater range, their lesser weight per unit length (though overall a polearm would be fairly hefty), and their great piercing ability. Swords in a full battle situation were therefore relegated to emergency sidearm status from the Heian through the Muromachi periods. Around later half of sixteenth century, ashigaru holding pikes (naga yari) with length of 4.5 to 6.5 m (15 to 22 feet) or sometimes 10 m became main forces in armies. They formed lines, combined with harquebusiers and short spearmen. Pikemen formed two or three row of line, and were forced to move up and down their pikes in unison under the command.Yari overtook the popularity of the daikyu for the samurai, and foot troops (ashigaru) used them extensively as well
Various types of yari points or blades existed. The most common blade was a straight, flat, design that resembles a straight-bladed double edged dagger. This type of blade could cut but was designed to thrust. Though yari is a catchall for spear, it is usually distinguished between kama yari, which have additional horizontal blades, and simple su yari (choku-so) or straight spears. Yari can also be distinguished by the types of blade cross section: the triangular sections were called sankaku yari and the diamond sections were called ryo-shinogi yari.

It was formerly part of the collection of sensei Roald Knutsen, likely the worlds foremost expert and author on samurai polarms and their use in combat, with various pieces acquired with, or from, Henry Russell Robinson's private collection. (7 May 1920, Hackney, London - 15 January 1978) He became Keeper of Armour at The Tower Of London The Japanese armour exhibition in 1965, which featured samurai artefacts arranged to demonstrate evolving defensive technologies and cultural contexts, drawing thousands of visitors to the Tower.

He was a British military armourer and historian.He served in the RAF during the Second World War making models interpreting aerial photographs. This was when he met Sir James Mann, Master of the Armouries at the Tower of London. Robinson joined the staff of the Tower Armouries in 1946 as a Temporary Assistant, before rising to Assistant Keeper and finally, in 1970, Keeper of Armour.

Robinson was a founder member and president of the Arms and Armour Society. In 1965, he was elected a Fellow of the Society of Antiquaries of London. In 1977, he was awarded an honorary MA by the University of Newcastle upon Tyne.

Between 1967 and 1969, he (a practical armourer) worked with Charles Daniels to interpret and reconstruct the Roman armour nowadays known as 'lorica segmentata'. He produced a series of reconstructions of the two sub-types of armour from the Roman site at Corbridge and one from Newstead in time for them to be exhibited at the 1969 Congress of Roman Frontier Studies held in Cardiff.

His work on the armour featured in one of his best-known books, The Armour of Imperial Rome. Published in 1975 by Lionel Leventhal at the Arms and Armour Press, it included line illustrations by his friend, Peter Connolly. Robinson's system of categorizing Roman helmets has been widely adopted in the UK and USA but never really found favour in Europe.

Robinson was not only known for Roman armour, since he worked on an exhibition of Japanese armour at the Tower Armouries and subsequently wrote two books on the subject. He was also an authority on Native American artefacts and was responsible for the production of the replica of the revised reconstruction of the Sutton Hoo helmet and wrote a guide to the Stibbert Museum.

Nie (沸) literally means "seethe" or "boil." In Japanese sword connoisseurship, it is the name of larger martensite crystals that appear on the polished surface of some traditionally made Japanese swords, which sometimes look like bubbles of boiling water rising to the surface. Nie mostly forms along the temperline, but on some swords is also seen on the blade's surfaces.

In traditional Japanese bladesmithing, the hamon is achieved by applying clay to the blade, heating the blade, and then quenching it in water. The process is called yaki-ire (焼入れ). Those areas where clay is applied thicker will cool slower, while those coated with a thin layer or no clay at all will cool at a very fast rate, creating hard martensite and pearlite chrystals in the steel.  read more

Code: 26278

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 inner sword, is a mirror image of the outer, and both are simultaneously retained in a superb 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 Stunning Prussian, 25 Year Gold Long Service Medal, In Gilt Bronze. Instituted by the King of Prussia Friedrich Wilhelm III on June 18, 1825. The Tenth Anniversary Of The Battle of Waterloo

With original silk ribbon.
In superb pristine condition awarded from and after June 18 1825.

The Prussian 25-Year Long Service Cross (or Medal) in gilt bronze was awarded to military officers for a quarter-century of faithful service. Instituted in 1825, this highly collectible imperial decoration typically features a Cross Pattée design with the recipient’s year designation on the reverse.

The award is a Cross Pattée. The obverse typically features a central royal crown or the royal cypher of King Friedrich Wilhelm III.

It generally bears a Roman numeral "XXV" (25) or the number "25" to denote the years of service.
It is hung from a period-original cornflower-blue ribbon.

Prussian Long Service Award for Officers for 25 Years' Service (Dienstauszeichnung für Offiziere) was instituted by the King of Prussia Friedrich Wilhelm III on June 18, 1825 in conjunction with the tenth jubilee of the Battle of Waterloo, known in Prussia as Schlacht bei Belle-Alliance after the inn “La Belle Alliance” that was used by Napoleon Bonaparte as his headquarters. It was also there that the Duke of Wellington and Generalfeldmarschall Gebhard Leberecht von Blücher met after the allied victory. The Battle of Waterloo ended with a victory of the armies of the Seventh Coalition (comprising that of Prussia) over the French army under the command of Napoleon. Since its institution and until the beginning of the Great War, Dienstauszeichnung für Offiziere was issued to officers only, but according to 1915 regulations it was extended to senior NCOs (Feldwebel and above) as well as to military officials. However, as the WWI broke out, decorations with Long Service Awards were discontinued. Nevertheless, Dienstauszeichnungen were issued for quite a short period of time, from November 1918 until February 01, 1920.  read more

Code: 16558

A Most Rarely Seen Prussian-Danish War Medal, 1864, Made From Captured Danish Guns

Prussian, Denmark Campaign Medal. 1864 - Engraved Edge.

Since the London accords of 1852 the duchies of Schleswig, Holstein and Lauenburg were attached by personal union to Denmark. Following the new constitution of 1863 Denmark integrated these areas into the state which caused a protest from the Deutsche Bund. After a resolution of the German Bundestag the German states send "Execution" troops into the duchies which belonged to the German Federation (Holstein and Lauenburg) under the command of Generalleutnant Heinrich von Hake formed by a Saxon brigade under Generalmajor von Schimpff as the operational-force, a Hanoverian brigade under Generalleutnant Gebser as a supporting force and a Prussian and an Austrian brigade in reserve.
The Austrians took part in this Bundesexekutionscorps by sending a brigade under the command of Generalmajor Leopold Graf Gondrecourt. But in addition to this, the two German major powers, Prussia and Austria, decided to declare war on Denmark and sent an army consisting of three corps under the command of the Prussian Feldmarschall Friedrich Graf Wrangel, whose Chief of the General staff was Generalleutnant Eduard Vogel von Falkenstein.
The 1st corps was commanded by the Prussian Prince Friedrich Karl, the 2nd corps by Feldmarschall-Leutnant Ludwig Freiherr von Gablenz and the 3rd corps by Generalleutnant von der Malbe. The 2nd (Austrian) corps was formed by the 6th army corps, enlarged by a cavalry brigade and 2 heavy batteries. Additionally Graf Gondrecourt's brigade also joined the 2nd corps after leaving the surprised federal troops. On the 1st of February 1864 58,000 Prussian and 21.000 Austrian soldiers crossed the Eider and commenced operations against the Danish land forces. On the 2nd and 6th of February the Austrians were victorious at Vejle and Oeversee whilst the Prussians were successful at the Deppeler Schanzen near Sondersburg on the 18th of April 1864. On the 9th of May a naval squadron commanded by Contre-Admiral Wilhelm von Tegetthoff successfully engaged superior Danish forces near the island of Helgoland. The Danish forces retreated to Northern Jutland and the islands of Alsen and Funen and an armistice for 6 weeks was agreed for a new peace treaty of London. After the failure of these negotiations the hostilities again resumed on the 25th of June 1864 and the Austrian forces reached the Northern part of Jutland and finally Cape Skagen.
The Danish Captain Hammer, who had caused the most trouble for the Austro-Prussian naval forces was captured between the islands of Fohr and Sylt and a new armistice was implemented on the 20th of July 1864 which finally lead to the peace agreement of Vienna on the 30th of October 1864. Denmark was forced to hand over the contested duchies to Prussia and Austria. However disagreement over the administration of these duchies soon became one of the primary reasons, especially promoted by the Prussian prime minister Otto von Bismarck, for the coming conflict between the two German major powers in the war of 1866. Franz Joseph I, Kaiser of Austria, and Wilhelm I, King of Prussia, agreed to institute a commemorative medal for their successful army. The great number of captured guns, especially from the fortress of Frederica, made it possible to decide that the medals should be minted from the brass of the enemy's guns. Kaiser Franz Joseph signed the institution of the medal on the 10th of November 1864 and the regulations (Statuten) dated the 11th of November and both were published in the Armeeverordnungsblatt on the 20th of November 1864.

The official name was: "Erinnerungs-Medaille an den Feldzug 1864 gegen Danemark" (commemorative medal for the 1864 campaign against Denmark) Along the rim of the medal the words: "AUS EROBERTEM GESCHUETZ" (from captured guns)  read more

Code: 19933

A Most Rare, Historic, British, Pattern of 1859 Naval Cutlass Bayonet With Scabbard By Reeves. One of Only 800 Made. An Absolute Beauty with a Stunning Blade & Scabbard and Original, Blackened Japanned Finish, Steel Bowl Guard

Without doubt a superb and excellent example that would be nigh on impossible to improve upon.

British forces widely used the Pattern 1858 Enfield Naval Rifle (often paired with the 1859 Pattern cutlass bayonet) during the Second Opium War (1856–1860).
The Royal Navy and British Army infantry used the P1858 during joint operations, including the capture of the Taku Forts and the advance on Beijing. During the Boxer Rebellion at the end of the 19th century, older muzzle-loaders and Enfields could occasionally be found in auxiliary and reserve roles within the international expeditionary force.

The Enfield Rifle Pattern 1859 Cutlass Bayonet was imported during the Civil War by both the North and South for the both their Navy and Coastal Artillery units.
The rifle and cutlass bayonet were employed by British colonial forces and British regiments stationed in New Zealand.
Used by European mercenary forces and foreign powers involved in suppressing the rebellion in China.
Used by various factions during the Boshin War and Satsuma Rebellion as the Tokugawa Shogunate and imperial forces rapidly modernized their arsenals

The British Pattern 1859 Naval Cutlass Bayonet was designed for the Royal Navy to pair with the Pattern 1858 Enfield Naval Rifle. Manufactured by Charles Reeves & Co. of Birmingham, genuine Reeves-stamped examples are exceptionally scarce, as Reeves produced fewer than 800 pieces. The vast majority of Pattern 1859 bayonets were outsourced to Solingen, Germany
This 1859 cutlass bayonet scabbard, is stamped "SG". The "SG" mark stands for Simmons & Ginder ordnance scabbard makers. Scabbards were made of black leather with steel or brass mounts, this example has the steel mounts

This is a very fine example of the scarce British Pattern 1859 Type II Naval Cutlass Bayonet & Scabbard for use on the Pattern 1858 “Enfield” Naval Rifle. These rifles had thicker barrels than the standard Pattern 1856 rifle and were rifled with 5 grooves instead of the normal 3 grooves. The British military wanted to create a dual-purpose bayonet for the rifle, much like Admiral Dahlgren did with his Bowie Knife/Bayonet for the US Model 1861 Naval Rifle and settled on a combination naval cutlass and bayonet as the most practical design. However, the length and weight of the bayonet must have made its use on the end of a rifle very awkward. The British military contracted for about 80,000 of these cutlass bayonets, and it is interesting to note that aside from a small contract of less than 800 delivered by Reeves of Birmingham, all of the other contractors involved used Solingen made blades in the fabrication of their bayonets.

In fact, established Solingen sword maker and cutler Carl Reinhardt Kirschbaum of Solingen, working under the business name of C.R. Kirschbaum, established a new business venture for the specific purpose of producing Pattern 1859 Naval Cutlass Bayonet blades.

This cutlass is one of those 800 very rare examples made by Reeves of Birmingham.

The Pattern 1859 Type II Naval Cutlass Bayonet offered here is in FINE condition overall and is accompanied by a very hard to find original scabbard, that is in very good condition. The blade is full-length at 27” and is clearly marked with the maker mark of Reeves on the ricasso. The muzzle ring measures .830”. The blade has its original high polished steel appearance. The blade is almost entirely smooth, along its entire length. The solid iron basket hilt has a fine appearance. The interior of the guard retains about 90%+ of its original black jappaning with only some scattered scratching, light wear and surface scuffing. The original locking spring is present in the grip and functions exactly as it should. The two-piece pressed leather grip panels are in about fine condition and show only minimal shrinkage and retain about 80%+ of their original finish. The grips retain the majority of their roll embossed knurling (while the pattern is “checkered” it is not actual checkering but embossing with a roll die) and show only some light wear, minor scuffmarks and some light rounding to the sharp checking tips. The grips are much nicer than they are normally encountered on a bayonet of this pattern and are really attractive. The balance of the iron hilt has thinly oxidized brown patina that is almost entirely smooth, over the duller gray base metal. The original scabbard accompanies the bayonet, which is an extremely difficult item to come by. The scabbard is in complete and solid condition with both original iron mounts in good condition and well secured to the leather scabbard body. The scabbard body is solid and complete with the original stitching securely in place along the seam in the rear. These cutlasses in their original scabbards are very hard to find, especially by Reeves, and this is a solid, very good looking example.

Overall this is a really attractive example of one of the rarer British bayonets to be found. While there is no way to be sure, the lack of British acceptance marks raises the possibility that this cutlass bayonet may have been purchased by US or CS agents for use on one of the Enfield Pattern 1858 Naval rifles that were imported by both sides during the war. Of all the Enfield “short rifles”, the Naval Rifle was one that was imported in very small quantities, making the bayonets even more uncommon in America today. The bayonet is in really fine condition and is accompanied by a very scarce original scabbard.
This is a great example of a rare bayonet, complete with scabbard, and would be a great addition to display with any bayonet, cutlass or sword collection, especially a Pattern 1858 Naval rifle, and to add to any collection of Civil War era bayonets.

The slashing attack with the cutlass at sea wasn't practical. One must remember that ship's decks were extremely tight quarters and overcrowded. Although some longer swords made it to sea, the primary edged weapons were short hangers, cutlasses, dirks, etc. Thrusting weapons were the item of choice, evidenced by the reemergence of the ancient pike, much shortened to fit on a crowded ship's deck. The point is that it makes sense that the cutlass could be used as a sharpened bludgeon, but worked better as a stabbing implement like the pikes and dirks.

A jab to the face or neck could obviously be lethal, penetrating the airway, severing the trachea, carotids and jugular. To the chest, there is penetration of the lungs, bronchus (all fatal), heart and great vessels (aortic arch), abdominal cavity with its vascular liver and pancreas.

Also consider the cutlass in the use for defense of the ship vs the aggressor boarding party. Netting was placed over the ship to discourage boarders, with the sailors stabbing through the netting as the enemy attempted to clamber onto the deck. Again, a cutlass would work far better here as a thrusting defensive weapon, stabbing through the tight ropes at those on the other side.  read more

Code: 26277

A Fabulous, Original, 1930's Airship Zeppelin Photograph & Photograph Airship {Luftpost} Mail Postcard Collection From The Hindenberg. All Are Original & Third Reich Period, In The Collectors Album

89 total photograph and Luftpost photograph cards of the Hindenburg Zeppelin Airship. The airship that exploded in 1937 in America.
Including photograph souvenir postcards, bought from the Hindenberg by its passengers, then postal service stamped over German stamps, and ink stamped by DZR (Deutsche Zeppelin-Reederei) The Nazi Airship company, was effectively controlled byFeldmarshall Herman Goring. One particularly interesting card is the stamped Zeppelin Luftpost airmail post card for the opening of the 1936 Berlin Olympics

This is an absolute beauty and one of the best we have seen outside of an Historical Aeronautical Museum. all are in fabulous condition, and there are some really rare beauties in the collection.

LZ 129 Hindenburg (Luftschiff Zeppelin 129; Registration: D-LZ 129) was a German commercial passenger-carrying rigid airship, the lead ship of the Hindenburg class, the longest class of flying machine and the largest airship by envelope volume.3 It was designed and built by the Zeppelin Company (Luftschiffbau Zeppelin GmbH) on the shores of Lake Constance in Friedrichshafen, Germany, and was operated by the German Zeppelin Airline Company (Deutsche Zeppelin-Reederei). It was named after Field Marshal Paul von Hindenburg, who was President of Germany from 1925 until his death in 1934.

The Hindenburg made ten trips to the United States in 1936.45 After opening its 1937 season by completing a single round-trip passage to Rio de Janeiro, Brazil, in late March, the Hindenburg departed from Frankfurt, Germany, on the evening of May 3, on the first of ten round trips between Europe and the United States that were scheduled for its second year of commercial service. American Airlines had contracted with the operators of the Hindenburg to shuttle passengers from Lakehurst to Newark for connections to airplane flights.

The Hindenburg disaster was an airship accident that occurred on May 6, 1937, in Manchester Township, New Jersey. The LZ 129 Hindenburg (Luftschiff Zeppelin 129; Registration: D-LZ 129) was a German commercial passenger-carrying rigid airship, the lead ship of the Hindenburg class, the longest class of flying machine and the largest airship by envelope volume.1 It was designed and built by the Zeppelin Company (Luftschiffbau Zeppelin GmbH) and was operated by the German Zeppelin Airline Company (Deutsche Zeppelin-Reederei). It was named after Field Marshal Paul von Hindenburg, who was President of Germany from 1925 until his death in 1934. It caught fire and was destroyed during its attempt to dock with its mooring mast at Naval Air Station Lakehurst. The accident caused 35 fatalities (13 passengers and 22 crewmen) from the 97 people on board (36 passengers and 61 crewmen), and an additional fatality on the ground.

A total of 89 period photographs, with period photograph post cards. The first 34 are period photographs, index listed, and then many post cards that are rubber stamped by the airline luftpost etc., and 8 others, with postage stamps, and airmail Luftpost stamped with text and addresses, including one to a British recipients address and one to an American recipients address in Kentucky. The American one, states in the handwritten letter to the recipient, the card photo was taken just half an hour before the explosion on board. The 8 postcard, airship Luftpost mail examples, are worth around £1,000 alone.

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  read more

Code: 24934

A Fine & Rare Medieval Short Sword, 15th Century, Used in the Battle of Agincourt 1415 Period, The Weapon of A Man-At Arms, Or Foot Knight of The Anglo French Wars Era of King Henry Vth

What a fabulous original ‘statement piece’ for any collector of fine early arms. In the world of collecting there is so little remaining in the world from this highly significant era in European and British history. And to be able to own and display such an iconic original representation from this time is nothing short of a remarkable privilege.

A man-at-arms was a soldier of the High Medieval to Renaissance periods who was typically well-versed in the use of arms and served as a fully-armoured heavy cavalryman.A man-at-arms could be a knight, or other nobleman, a member of a knight's or nobleman's retinue, or a mercenary in a company serving under a captain. Such men could serve for pay or through a feudal obligation. The terms knight and man-at-arms are often used interchangeably, but while all knights equipped for war were men-at-arms, not all men-at-arms were knights

A fine example piece, from the ancient knightly age, from around 620 to 700 years ago. an ancient and original historical sword in usual russetted condition for edged weapons of this era, with some elements lacking, the grip would have been made of organic material (such as wood or horn) and such natural materials cannot survive so many centuries without constant care . Furthermore, almost every item made of iron from this period, even the rarest of swords and daggers in the Royal Collection, will likely be in this very same state of preservation, with overall traces of surface russetting.

This sword is probably of Italian origin, from the earliest renaissance period. Swords and daggers from Germany and Italy were often imported all around Europe and certainly into Britain for the use of warrior knights and men-at-arms..

A straight short sword, likely shortened from longer, with wide double-edged blade, shallow central groove, battle nicks to the sides, iron hilt with cross-guard in unusual Oakshott style 4 with a raised quillon, pommel in the Oakshott B1 type. After several decades of relative peace, the English had renewed their war effort in 1415 amid the failure of negotiations with the French. In the ensuing campaign, many soldiers perished due to disease and the English numbers dwindled, but as they tried to withdraw to English-held Calais they found their path blocked by a considerably larger French army. Despite the disadvantage, the following battle ended in an overwhelming tactical victory for the English.

King Henry V of England led his troops into battle and participated in hand-to-hand fighting. The French king of the time, Charles VI, did not command the French army himself, as he suffered from severe psychotic illnesses with moderate mental incapacitation. Instead, the French were commanded by Constable Charles d'Albret and various prominent French noblemen of the Armagnac party.

This battle is notable for the use of the English longbow in very large numbers, with the English and Welsh archers forming up to 80 percent of Henry's army. The decimation of the French cavalry at their hands is regarded as an indicator of the decline of cavalry and the beginning of the dominance of ranged weapons on the battlefield.

Agincourt is one of England's most celebrated victories. The battle is the centrepiece of the play Henry V by Shakespeare. Juliet Barker in her book Agincourt: The King, the Campaign, the Battle ( published in 2005) argues the English and Welsh were outnumbered "at least four to one and possibly as much as six to one". She suggests figures of about 6,000 for the English and 36,000 for the French, based on the Gesta Henrici's figures of 5,000 archers and 900 men-at-arms for the English, and Jean de Wavrin's statement "that the French were six times more numerous than the English". The 2009 Encyclopædia Britannica uses the figures of about 6,000 for the English and 20,000 to 30,000 for the French. Weight 552 grams, 53cm (21”). Fine condition.

See Oakeshott, R.E., The Archaeology of the weapons, London, 1960; Oakeshott, E., The sword in the Age of the Chivalry, Woodbridge, 1964 (1994).

The word daga in Italy and the Venetian Empire indicated a double edged and pointed short sword, used for both war and hunting, usually 40 to 60 cm long. This medieval short sword was often used during duels. Swords like this were able to penetrate thin parts of full plated armour owing to their sharp point.

Ewert Oakshott , Ronald Ewart Oakeshott (25 May 1916 – 30 September 2002) was a British illustrator, collector, and amateur historian who wrote prodigiously on medieval arms and armour. He was a Fellow of the Society of Antiquaries, a Founder Member of the Arms and Armour Society, and the Founder of the Oakeshott Institute. He created a classification system of the medieval sword, the Oakeshott typology, a systematic organization of medieval weaponry, a seminal work of world renown  read more

Code: 23523

A Beautiful Aikuchi Tanto Sword With a Fine Early Shinto Blade Circa 1600 & A Full Suite of Koshirae Of the Tokugawa. The Shoguns Of Japan

A most fine tanto sword blade {all Japanese swords even tanto, are classified as swords} in superb polish showing an elegant suguha hamon. In wonderful full suite of original Edo aikuchi koshirae {fittings and mounts} are shakudo and sinchu, and decorated throughout with fourteen 'mon' {clan crest} panels of Shogun Tokugawa Iyesu. Likely the stunning aikuchi tanto of a high ranking Tokugawa retainer. All are Tokugawa mon with scrolling vines and ginger leaves and roots. There are four Tokugawa mon panels on the tsuka and ten panels on the saya. The kashira and saya jiri are in the form of decorated samurai court caps.

The tanto was invented partway through the Heian period. With the beginning of the Kamakura period, tanto were forged to be more aesthetically pleasing, and hira and uchi-sori tanto becoming the most popular styles. Near the middle of the Kamakura period, more tant? artisans were seen, increasing the abundance of the weapon, and the kanmuri-otoshi style became prevalent in the cities of Kyoto and Yamato. Because of the style introduced by the tachi in the late Kamakura period, tanto began to be forged longer and wider. The introduction of the Hachiman faith became visible in the carvings in the hilts around this time. The hamon (line of temper) is similar to that of the tachi, except for the absence of choji-midare, which is nioi and utsuri. Gunomi-midare and suguha are found to have taken its place.

During the era of the Northern and Southern Courts, the tanto were forged to be up to forty centimetres as opposed to the normal one shaku (about thirty centimetres) length. The blades became thinner between the uri and the omote, and wider between the ha and mune. At this point in time, two styles of hamon were prevalent: the older style, which was subtle and artistic, and the newer, more popular style. With the beginning of the Muromachi period, constant fighting caused the greater production of blades. Blades that were custom-forged still were of exceptional quality. As the end of the period neared, the average blade narrowed and the curvature shallowed

As once told to us by an esteemed regular visitor to us here in our gallery, Victor Harris, in order to study and discuss our extensive collection, and he used the same words that are repeated in his book below;

“In these textures lies an extraordinary and unique feature of the sword - the steel itself possesses an intrinsic beauty. The Japanese sword has been appreciated as an art object since its perfection some time during the tenth century AD. Fine swords have been more highly prized than lands or riches, those of superior quality being handed down from generation to generation. In fact, many well-documented swords, whose blades are signed by their makers, survive from nearly a thousand years ago. Recognizable features of the blades of hundreds of schools of sword-making have been punctiliously recorded, and the study of the sword is a guide to the flow of Japanese history.”
Victor Harris
Curator, Assistant Keeper and then Keeper (1998-2003) of the Department of Japanese Antiquities at the British Museum. He studied from 1968-71 under Sato Kenzan, Tokyo National Museum and Society for the Preservation of Japanese Swords

One of the greatest joys of sword collecting is the opportunity to learn about the history and culture of different civilisations. Swords have been used by warriors for millennia, and each culture has developed its own unique sword designs and traditions. By studying swords, collectors can gain a deeper understanding of the people who made and used them.

Another joy of sword collecting is the sheer variety of swords that are available. There are swords in our gallery from all over the world and from every period of history. Collectors can choose to specialize in a particular type of sword, such as Japanese katanas or medieval longswords, or they can collect a variety of swords from different cultures and time periods. No matter what your reasons for collecting swords, it is a hobby that can provide many years of enjoyment. Swords are beautiful, fascinating, and historically significant objects.

Collecting antique swords, arms and armour is not merely an acquisition of objects; it’s an engagement with the historical and cultural significance that these pieces embody. As collectors, we become custodians of history, preserving these heritage symbols for future generations to study and appreciate.

We are now, likely the oldest, and still thriving, arms armour and militaria stores in the UK, Europe and probably the rest of the world too. We know of no other store of our kind that is still operating under the control its fourth successive generation of family traders


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

Blade 12 inches long  read more

Code: 26276

A Wonderful 500 Year Old Koto Period Samurai 'Dragon' Wakizashi Samurai Short Sword, Another Absolute Beauty From Our Remarkable Collection of Samurai Museum Pieces

Based entirely around the legendary Japanese dragon, Bearing the dragon on all of its fittings and mounts including its kozuka utility knife. All of the fittings are original Edo period, of very nice quality the dragon tsuba is iron with gold highlights, of a chiselled takebori dragon signed by a very good tsuba maker, Kinai.

One has to bear in mind this tanto has been used by numerous samurai over more than a dozen generations, since the era, in England, when King Henry the VIIIth was a child.

The tsuka is superb and has its original, Edo period, beautiful mid blue silk binding, that is patterned damask silk with a clan mon design theme, with two very old, small surface moth marks. It is a very rare, and most infrequently seen form of deluxe quality tsuka-ito, that is wrapped over black samegawa giant ray-skin, over the gold dragon menuki. The fuchi is fine Soten school, of a pure gold decor takebori dragon, over a shakudo Nanak o ground. The kashira is hand carved and polished black buffalo horn.

The saya has its incredible Edo period urushi lacquer in a stippled ishime stone finish. and within its saya pocket is the kozuka utility knife, with a sinchu handle, decorated with a takebori carved sea dragon in crashing waves, the saya bears a shakudo mount of a deep and crisp, rare type takebori mythical flying sea dragon with a fishtail. The blade is in super and beautiful polish, showing a delightful light notare, based on suguha, hamon.

The original Edo period urushi lacquer on the saya is in simply excellent condition for age and shows most elegant patterning, it reveals within that intricacy the finest craftsmanship and beauty worthy of a master of the art of urushi decor. Japanese lacquer, or urushi, is a transformative and highly prized material that has traced it origins, and been refined, for over several thousands of years.

Cherished for its infinite versatility, urushi is a distinctive art form that has spread across all facets of Japanese culture from the tea ceremony to the saya scabbards of samurai swords

Japanese artists created their own style and perfected the art of decorated lacquerware during the 8th century. Japanese lacquer skills reached its peak as early as the twelfth century, at the end of the Heian period (794-1185). This skill was passed on from father to son and from master to apprentice.

The varnish used in Japanese lacquer is made from the sap of the urushi tree, also known as the lacquer tree or the Japanese varnish tree (Rhus vernacifera), which mainly grows in Japan and China, as well as Southeast Asia. Japanese lacquer, 漆 urushi, is made from the sap of the lacquer tree. The tree must be tapped carefully, as in its raw form the liquid is poisonous to the touch, and even breathing in the fumes can be dangerous. But people in Japan have been working with this material for many millennia, so there has been time to refine the technique!

Flowing from incisions made in the bark, the sap, or raw lacquer is a viscous greyish-white juice. The harvesting of the resin can only be done in very small quantities.
Three to five years after being harvested, the resin is treated to make an extremely resistant, honey-textured lacquer. After filtering, homogenization and dehydration, the sap becomes transparent and can be tinted in black, red, yellow, green or brown.

As once told to us by an esteemed regular visitor to us here in our gallery, Victor Harris, in order to study and discuss our extensive collection, and he used the same words that are repeated in his book below;

“In these textures lies an extraordinary and unique feature of the sword - the steel itself possesses an intrinsic beauty. The Japanese sword has been appreciated as an art object since its perfection some time during the tenth century AD. Fine swords have been more highly prized than lands or riches, those of superior quality being handed down from generation to generation. In fact, many well-documented swords, whose blades are signed by their makers, survive from nearly a thousand years ago. Recognizable features of the blades of hundreds of schools of sword-making have been punctiliously recorded, and the study of the sword is a guide to the flow of Japanese history.”
Victor Harris
Curator, Assistant Keeper and then Keeper (1998-2003) of the Department of Japanese Antiquities at the British Museum. He studied from 1968-71 under Sato Kenzan, Tokyo National Museum and Society for the Preservation of Japanese Swords

One of the greatest joys of sword collecting is the opportunity to learn about the history and culture of different civilisations. Swords have been used by warriors for millennia, and each culture has developed its own unique sword designs and traditions. By studying swords, collectors can gain a deeper understanding of the people who made and used them.

Another joy of sword collecting is the sheer variety of swords that are available. There are swords in our gallery from all over the world and from every period of history. Collectors can choose to specialize in a particular type of sword, such as Japanese katanas or medieval longswords, or they can collect a variety of swords from different cultures and time periods. No matter what your reasons for collecting swords, it is a hobby that can provide many years of enjoyment. Swords are beautiful, fascinating, and historically significant objects.

Collecting antique swords, arms and armour is not merely an acquisition of objects; it’s an engagement with the historical and cultural significance that these pieces embody. As collectors, we become custodians of history, preserving these heritage symbols for future generations to study and appreciate.

We are now, likely the oldest, and still thriving, arms armour and militaria stores in the UK, Europe and probably the rest of the world too. We know of no other store of our kind that is still operating under the control its fourth successive generation of family traders


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  read more

Code: 24556