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

Another example from our incredible collection.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Similar examples in the Smithsonian and Metropolitan in the USA. One very similar nkisi, from the late 19th to mid 20th century has been a highlight of the Rockefeller collection since its acquisition in 1952. we show two examples of the similar Kongo type as ours, from around the same time, in the gallery of photographs

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

Code: 25513

An Original & Rare Flintlock 'Chief's' Hudson’s Bay Co. Trade Musket. The Identical Form of Parker Field Trade Musket Used By Chief Sitting Bull, of The Battle at Little Big Horn. The Final Engagement of Colonel George A. Custer & His 7th Cavalry

If there was ever a fine historical musket of the Americas worthy of a finest museum collection, this is it.

In superb condition, In fact we would go as far to say you may never see a better condition example like this beauty. Likely untouched since it was retired from use likely 150 years ago. Almost identical to the very same guns as were used by Crow Indian Chief Fighting Bear, and Chief Sitting Bull, world renowned and most famed leader of the Lakota Souix at the Battle of the Little Bighorn

With maker marked flint lock, maker stamped with the tombstone inspectors mark and a seated fox, and a superb serpent sideplate. They were carried into the mountain ranges, open plains, and vast deserts by the native people who relied on the Northwest Gun’s dependability, simple – and importantly, easily repaired – mechanics, and readily available ammunition. In short, no other single firearm was carried through as much of American history, from the primeval forests of the east to the shores of the western coast, as were these Northwest Trade Guns.

This very nice specimen was manufactured by the firm of Parker, Field, & Co. of London and is so legibly stamped on the tail of the lock plate. In front of the cock, the lock plate bears the famous Hudson’s Bay Company viewer (inspector) stamp, the “Tombstone Fox” seated over the initial’s “EB”. The initials are believed to be those of Edward Bond, an early viewer employed by the HBC, and whose descendants served the company for many decades after Edward’s death, continuing to use their forbearer’s cartouche.

A very special feature of this Native American Chief’s Trade Gun is the relatively rare viewer’s acceptance stamp which was applied once the gun was fully assembled and delivered to the HBC. This stamp is partially legible on the right side of the butt stock – the outline of the ½” circle that when originally newly struck it would have been fully legible, it wasa an encircled a standing fox surrounded by the initials “H. H. B. C.” for the Honorable Hudson’s Bay Company.
These acceptance stamps were characteristically lightly struck, and with any wear or handling, they were soon worn away. To my knowledge, only two guns exist on which this stamp is fully legible, and it is very rare that even the outline of the stamp survives as is present on this Trade Gun. The presence of this stamp is certainly an added value and interest.

This is a very good specimen of a Northwest Trade Gun which was traded from the Hudson’s Bay Company at a time before the Indians had access to the later metallic cartridge guns, and certainly present during the active conflicts of the Indian War engagements in the west immediately following the Civil War.

Some Parker Field trade muskets are known to have been used at the Battle of Little Bighorn, and other incidents at the end of the Indian Wars. Another Parker, Field & Sons Trade Gun sold in 2018, it is carved with Sitting Bull's name on the butt, and is directly attributed to him. {See the photos in the gallery}, It sold at auction for $162,500 in 2018. You will notice his had fared poorly under the Chief's ownership, with considerable fore-stock damage.

Another identical Parker Field, Hudson's Bay Co. trade musket belonged to the Apsáalooke (Crow) leader, Fighting Bear. That musket was formerly in the collection of Edwin W. Countryman (1872-1946, a Buffalo, New York, attorney); it was subsequently acquired by Reuben B. Oldfield a collector of Indian items from Bath, New York, at an unknown date; then it was purchased from Reuben Oldfield by Thomas J. Watson (Chairman and CEO of IBM) in 1947; transferred to the IBM Gallery of Arts and Sciences; then donated to the Metropolitan Museum of Art, by the IBM Gallery of Arts and Sciences in 1960.

One other photo in the gallery is an old painting of Sitting Bull holding his musket.

By the early eighteen hundreds, the trading companies had established rigid requirements for the Northwest guns. The full-stocked, smoothbore trade guns varied little in shape and style, but under went changes in barrel lengths. By the late 1820’s, the shorter barrel had become popular. The overall length of a standard Northwest gun with a 30-inch barrel was 45.5 inches. A distinctive feature of these guns was the dragon or serpent shaped side plate. Most Indians would not trade for a gun that did not have the serpent plate. Hansen states that the earliest record of the Hudson’s Bay gun with its distinctive dragon ornament is dated 1805.
After 1800, almost all the Indian trade guns were supplied with blue barrels, brown-varnished stocks, and bright polished locks. These guns were stamped below the pan with a large sitting fox-like animal and enclosed in a viewers panel. These guns carried the brass serpent side plate and an over sized trigger guard for use with mittens.

The following excerpts from an article on The Guns of the Little Big Horn by Terry Shulman are interesting:
In the Battle of the Little Bighorn, Lieutenant Colonel George A. Custer and five companies of the 7th Cavalry were overwhelmed in southeastern Montana Territory by a combined force of Lakota and Cheyenne Indians on June 25, 1876.
The Seventh Cavalry troopers were armed with the Springfield carbine Model 1873 and the Colt Single Action Army revolver Model 1873. The best effective range for this carbine was less than 300 yards.
There is much speculation as to the guns carried by the Indians. Private Charles Windolph of Company H was probably closest to the truth when he estimated that half the warriors carried bows and arrows, one-quarter of them carried a variety of old muzzleloaders and single-shot rifles, and one-quarter carried modern repeaters.
At the Little Bighorn, about 42,000 rounds were either expended or lost. At that rate, the soldiers hit one Indian for about every 840 shots. Since much of the ammunition was probably lost–Indians commented on capturing ammunition in cartridge belts and saddlebags–the hit rate must have been higher.
In the Battle of the Rosebud, eight days before the Little Bighorn fight, General George Crook’s forces fired about 25,000 rounds and may have caused about 100 Indian casualties–about one hit for every 250 shots.

28 inch barrell 44 inches overall
If we knew the name of the Native American Chief that once owned this gun, in our opinion, it would add at least another nought to its price, but, needless to say, we sadly don't.

* Slight error in photos 1,2, & 3. In those photos the trigger guard looks proud to the wood, it isn't, it had not been screwed back in place correctly. See photos 8 and 9 to see how it correctly looks

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

Code: 24795

An Incredibly Impressive Collectors Piece of Substantial Heft. A Native American Plains Indian Stone War-Club Hunting-Maul, Wood Handle Raw Hide Bound

Basalt stone head, held and bound with rawhide with tassles and a small tail of beadwork. Possibly, Lakota, Dakota, Nakoda style. Known as an iwatajinga, they can have conical pointed stone heads, right through to round stone heads. The term Nakota (or Nakoda or Nakona) is the endonym used by those native peoples of North America who usually go by the name of Assiniboine (or Hohe), in the United States, and of Stoney, in Canada.

They are Dakotan-speaking tribes that broke away from the main branches of the Sioux nation in earlier times. They moved farther from the original territory in the woodlands of what is now Minnesota into the northern and northwestern regions: Montana and North Dakota in the United States, and Manitoba, Saskatchewan, and Alberta in Canada. Later they became competitors for resources and enemies of their former language-family "allies". (In each of the dialects, nakota, dakota and lakota means "friend" or "ally".).
Probably late 19th early 20th century. 19 inches long, stone head 4.75 inches across.
Importing this indigenous native item into the USA is not possible. It is completely understandable that it is no longer possible to export American indigenous native art and artifacts from America in order to preserve the cultural integrity of Native US artifacts within America, but taking this rule to an entirely mystical level of curiousness, it is no longer legal to import such pieces back into America either, ie to return them from whence they came.??? Thus American bureaucracy insists nothing of such valuable early native history is allowed to leave anymore, but they don’t want anything back either.  read more

Code: 23688

A Most Powerful Rare Romano-Frankish Iron Socket Spear 1900 to 1500 Years Old. A Stunning Original Antiquity Of Great Heft & Presence, This Would Make A Fabulous Addition or Any Collection of Ancient Roman Empire Artifacts From The Era Of Emperor Commodus

To the invasions of Rome by the Huns and Visigoths.

Recovered many centuries ago from a Merovingian warrior's excavation of the 6th century. Roman to Frankish period 2nd to 6th century AD. Diamond form blade which would have incredible penetrative power, strong enough to pierce the strongest armour or breastplate of the time. Romano-Germanic cultural contact begins as early as the first Roman accounts of the Germanic peoples. Roman influence is perceptible beyond the boundaries of the empire, in the Northern European Roman Iron Age of the first centuries AD. The nature of this cultural contact changes with the decline of the Roman Empire and the beginning Migration period in the wake of the crisis of the third century: the "barbarian" peoples of Germania Magna formerly known as mercenaries and traders now came as invaders and eventually as a new ruling elite, even in Italy itself, beginning with Odoacer's rise to the rank of Dux Italiae in 476 AD.

The cultural syncretism was most pronounced in Francia. In West Francia, the nucleus of what was to become France, the Frankish language was eventually extinct, but not without leaving significant traces in the emerging Romance language. In East Francia on the other hand, the nucleus of what was to become the kingdom of Germany and ultimately German-speaking Europe, the syncretism was less pronounced since only its southernmost portion had ever been part of the Roman Empire, as Germania Superior: all territories on the right hand side of the Rhine remain Germanic-speaking. Those parts of the Germanic sphere extends along the left of the Rhine, including the Swiss plateau, the Alsace, the Rhineland and Flanders, are the parts where Romano-Germanic cultural contact remains most evident.

Early Germanic law reflects the coexistence of Roman and Germanic cultures during the Migration period in applying separate laws to Roman and Germanic individuals, notably the Lex Romana Visigothorum (506), the Lex Romana Curiensis and the Lex Romana Burgundionum. The separate cultures amalgamated after Christianization, and by the Carolingian period the distinction of Roman vs. Germanic subjects had been replaced by the feudal system of the Three Estates of the Realm. 11.85 inches long 250 grams Almost every iron weapon that has survived today from this era is now in a fully russetted condition, as is this one, because only the swords of kings, that have been preserved in national or Royal collections are today still in a good state and condition.  read more

Code: 21964

A Stunning, Demi-Shabraque Of An Officer Of The British Monarch, Her Late Most Beloved Majesty Queen Elizabeth IInd Mounted Bodyguard of the Household Cavalry The Horse Guards. Post 1953 With 19 Battle Honours Up to 1991

With the regiments Garter Star, the lion surmounted the Queen's Crown {the Imperial State Crown}, with 19 battle honours around and below. All in the finest gold and silver bullion, on a garnet cloth with a wide bullion trim with embossed oak leaves of the mounts fore-quarter shabraque.

A post 1953 shabraque, with battle honours up to 1991.

This shabraque would look amazing bespoke framed

The Household Cavalry is classed as a corps in its own right, and consists of two regiments: The Life Guards and The Blues and Royals (Royal Horse Guards and 1st Dragoons). They are the senior regular regiments in the British Army, with traditions dating from 1660, and act as the King's personal bodyguard. They are the cavalry element of the guards regiments and, with the five foot guard regiments, constitute the seven guards regiments of the Household Division.

A shabrack or shabraque is a saddlecloth, formerly used by European light cavalry.

The shabraque was an accoutrement of the hussar cavalry, based on the Hungarian horsemen in Austrian service who were widely imitated in European armies in the 18th and 19th centuries. The shabraque was a large cloth which in its original form, covered the Hungarian-style saddle, and was itself surmounted by a sheep or goat skin.

Made of Sheep or Goat skin, The Shabrack was a common Military article during The Napoleonic Wars, used by both The French, their Allies and by The English and theirs. Traditionally, Royal Regiments bore their Monarch's Signet – often embroidered in Silver or Gold Thread.

By the end of the 19th Century and into the 20th, Shabracks (when found), were used solely by Officers of various Elite Cavalry Units (such as those found today on Great Britain). Variations were used by both American and Confederate Officers during The American Civil War. Today, in The American Army, The Shabrack is most commonly used for Funeral Processions known as The ''Fallen Rider''.

The corners of the shabraque were rounded at the front and elongated into long points at the rear. It could be elaborately decorated with a contrasting border and a royal cypher or regimental crest. It was often discarded while on active service and by the start of the 20th century, was confined to ceremonial use; in the British Army, it is used by the Household Cavalry and by General Staff officers.  read more

Code: 25510

A Fine Cased Pair of 1840's Victorian Rear Admirals Epaulettes.

Overall in jolly good condition for age, in their original Japanned lacquer tin case. Made and used in the days of sail, aboard the great ships-of-the-line and the '100 gunners'. Admirals always served aboard the larger vessels in the fleet [also known now as capital ships] in the Royal Navy, His vessal would be known as the admiral's 'flag ship' and flying his personal rank flag. Rear admiral is a naval commissioned officer rank above that of a commodore (U.S. equivalent of rear admiral lower half) and captain, and below that of a vice admiral. It is generally regarded as the lowest of the "admiral" ranks, which are also sometimes referred to as "flag officers" or "flag ranks".
It originated from the days of naval sailing squadrons and can trace its origins to the Royal Navy. Almost all of the modern traditions of the world's navies can trace there traditional origins back to the British Royal Navy. Each naval squadron would be assigned an admiral as its head, who would command from the centre vessel and direct the activities of the squadron. The admiral would in turn be assisted by a vice admiral, who commanded the lead ships which would bear the brunt of a naval battle. In the rear of the naval squadron, a third admiral would command the remaining ships and, as this section of the squadron was considered to be in the least danger, unless from a surprise attack from the rear. The admiral in command of the rear would typically be the most junior of the squadron admirals. This ranking has survived into the modern age, with the rank of rear admiral the most-junior of the admiralty ranks of many navies. Epaulette is a type of ornamental shoulder piece or decoration used as insignia of rank by armed forces and other organizations. In the French and other armies, epaulettes are also worn by all ranks of elite or ceremonial units when on parade. It may bear rank or other insignia, and should not be confused with a shoulder mark - also called an shoulder board, rank slide, or slip-on - a flat cloth sleeve worn on the shoulder strap of a uniform (although the two terms are often used interchangeably).

Epaulettes are fastened to the shoulder by a shoulder strap or passenten, a small strap parallel to the shoulder seam, and the button near the collar, or by laces on the underside of the epaulette passing through holes in the shoulder of the coat or by a metal slide arrangement. Colloquially, any shoulder straps with marks are also called epaulettes. The placement of the epaulette, its colour and the length and diameter of its bullion fringe are used to signify the wearer's rank. Although originally worn in the field, and they certainly were when these were made, epaulettes are now normally limited to dress or ceremonial military uniforms. A photo in the gallery of Nelson's shot-through epaulette from Trafalgar. He has two stars due to his superior Admirals rank.  read more

Code: 21806

A Superb, English, Late 18th Century Duelling Pistol By One of The Worlds Greatest Gunsmiths, John Manton of Dover St. London

The serial number, 2873, dates the manufacture to circa 1798. Finely engraved steel mounts with spur trigger guard with pineapple finial. Browned twist Damascus barrel, gold inlaid with the name Manton and London. Fine walnut stock with, carved horn forend, chequered grip, and barrel retaining key. Very tight and crisp action, overall in nice condition with natural age and wear and some surface russet marking

Converted to Manton's percussion system by likely Joseph Manton sometime in the early 19th century. The pistol is serial numbered very closely to a pair of cased duelling pistols also by John Manton, freely acknowledged to be possibly the finest English duelling pistols in the world, certainly the finest ever to appear at auction, and they were estimated to be worth, several years ago, up to $180,000. That pair see a photo in the gallery are serial numbered 2837 and dated to 1797. He was supposedly making in his workshop 100 guns per annum and our pistol is numbered just 36 away from the cased pair.

John Manton is regarded as one of the most innovative English gun makers of the late 18th and early 19th centuries. His inventive spirit and desire for continued improvement challenged the designs of the old masters. Manton''s patents and new designs changed the gun industry not only from a manufacturing standpoint, but also for his gentlemanly clients.

About John Manton.

John Manton was born in 1752 in Lincolnshire. He first began his career as a foreman to John Twig. At the age of 29, Manton opened his own gun shop at No. 6 Dover Street. His business quickly prospered, and he had many elite patrons, such as the Royal Family. His sons became a part of the business as well, and the firm of John Manton and Son produced a wide range of guns for their most discerning clientele.

About his duelling pistols.

One of the greatest technologies Manton refined was the accuracy of the duelling pistol. The inaccuracy of the duelling pistols as they were led to less wounds and deaths, and were designed for a quick draw. Manton wanted to improve the slow shot of the duelling pistol because of the increasingly popular event of target practise. He produced heavier barreled duelling pistols and Manton's were at a clear advantage if they were to be caught defending their honour. Many gentleman would visit the shooting gallery of Manton to practise their slow shots, and refine their precision so that they could always be ready for a duel. Including such as Lord Byron

John Manton is considered to by one of the greatest London gunmakers of his time. Around the age of 30 he started his own business at 6 Dover Street where he remained for the rest of his career. He died in late 1834, leaving his business to his son George Henry.

As with all our antique guns, no license is required as they are all unrestricted antique collectables  read more

Code: 24861

A Fabulous Museum Grade Samurai Daimyo's Art-Sword. From The Koto Era. A Samurai Wakizashi Sword By Master Tadamitsu With Rare Gaku-mei Nakago. Blade, Circa 1440-1460. Mino Goto Koshirae, With Deep Red Ishime Lacquer Saya & Black Silk Binding

With very rare gaku-mei framed nakago, where the mei (signature) was moved from this original nakago tang, and inserted into the shortened tang, and framed in order to preserve the important master smith’s signature, upon his museum grade blade. Overall this stunning art-sword is in incredible near flawless condition. The term art-sword refers that highest grade of samurai sword, that was certainly made for all forms of combat use, yet are decorated with such beauty and skill that they are as much works of art as a samurai's combat arm. Likely made for for the highest ranking samurai or daimyo clan lord.

With its spectacular suite of beautiful, original, Edo period Mino-Goto fittings, with tsuba, in shakudo, and uttori of pure gold decor of flowers, cricket, catydid and praying mantis. Deep red ishime urushi stone finish lacquered saya, with carved buffalo horn fittings and a Mino-Goto throat mount.
Superb black silk tsuka-ito over fine pure gold decorated menuki.

A wonderful Muromachi era blade almost 600 years old, with a superb, incredibly active hamon, in a beautiful polish with gold foil habaki and blade smith shortened tang with its original preserved ‘folded over’ signature inlaid and inserted within the tang.

The hamon forms a delightful gunome pattern, mixing with clove (Choji) outline which is slanted generally. The founder of the sword maker school, Tadamitsu in Bizen, is referred in the Shouou period (1288-93) and the oldest existent Tanto by him has the date year, Teiji 3,1364) during the Nanbokucho period, then later generations shows the records of Ouei to Bunmei era (1394-1486) in Muromachi period. The preserved 'folded over' system, that can be seen beautifully done on this blade, in order to preserve the blade smith's signature, was only reserved for the best and most highly revered blades, often of historical significance to the samurai's family. The ancient province of Kibi (of which Bizen was the easternmost region; now Okayama prefecture) possessed excellent ironmaking technology, which helped make Kibi into a powerful state. The region is blessed with all the vital ingredients needed for Japanese sword making: iron sand, water, and charcoal of Japanese red pine, which has excellent thermal efficiency. Research on Japanese swords since the Meiji period has revealed five different features or styles based on the regions in which they were made: Yamashiro (Kyoto prefecture), Yamato (Nara prefecture), Bizen (Okayama prefecture), Sagami (Kanagawa prefecture), and Mino (Gifu prefecture. The characteristic styles of these five regions were passed down from master to disciple and from one region to the next. These are collectively known as Gokaden (five traditions of swordmaking). The province of Bizen was located far from Japan's political center throughout its history, allowing it to prosper regardless of the political state of sovereignty of the day. The most typical Bizen blade has a steel surface grain called itamehada (wooden board grained) with a unique pattern called chōji (clove-shaped) on the blade. This pattern is a feature of Bizen swords and it is what makes Bizen swords special.

The Gotō School of sword-fittings makers was founded in the fifteenth century by Gotō Yūjō, who is said to have been patronized by the shogun Ashikaga Yoshimasa (1435–1490). The work of the Gotō masters is characterized by painterly designs carved in high relief on a ground of shakudō (an alloy of copper and gold chemically treated to turn a rich blue-black), finished in nanako (tiny circles punched regularly over the surface to give it a granular appearance) with colorful accents in gold and silver. The succeeding generations of Gotō masters continued to work in these soft metals and concentrated on the smaller sword fittings, such as kozuka (the handle of the small utility knife fitted into a slot on some swords, on the the back of a sword’s saya or scabbard), kōgai (a skewer-like hairdressing tool carried in the front of the scabbard), and menuki (a pair of grip ornaments secured by the handle wrappings). The production of the stouter sword guards, or tsuba, was left to other masters. While earlier generations had not signed their work, some Gotō masters in about 1600 began to authenticate the work of their predecessors; the attributions usually were engraved on the backs of the pieces themselves. These attributions bear testimony to the keen interest in early sword fittings as status symbols for high-ranking samurai.
Fuchi kashira,menuki and tsuba from the Mino School. Sometimes known as an offshoot from the Goto School, the Mino tradition of kinko have their roots from the Koto period, Known as Ko-Mino, that style led to the Edo Mino tradition which used the difficult technique of Uttori, or gold foiling. The gold on these stunning pieces are not plated, but rather have generous hammered gold foil applied in a very difficult technique not seen today except in habaki work. Because it was so time consuming and difficult, there are relatively few works by this school. Design is very traditional of kiku (chrysanthemums) and flowering blossoms and leaves, with catydids and praying mantis etc. and is executed very well indeed.

“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
As once told to us by an esteemed regular visitor to us here in our gallery, and the same words that are repeated in his book;

Overall blade length from base of habaki to tip 21.5 inches long.  read more

Code: 23519

A Very Fine, 1917 US Bayonet, The *U.S. Model 1913 ‘1917’ Dated Remington Bayonet and Scabbard.

Excellent plus, and an exceptional example. The American U.S. Model 1913 , dated 1917 Bayonet in leather and steel scabbard with frog button mount. Known as a 'sleeper', in the collecting market, in that it was put into storage in 1946 and hasn't seen the light of day since, we have just acquired a super collection of bayonets all in stored or mint condition.

This is a superb 1913- 1917 pattern bayonet marked to the blade with 1917 over Remington in a circle on one side and U.S. on the other with the grenade stamp. These bayonets were originally manufactured by the U.S. in WWI and acquired by the British in WWII for use mainly by the Home Guard.

Pattern 1913/17. In excellent order. Made by Remington. The pattern of bayonet that was continually used in WW2 by the British Home Guard. With twin cuts in the wood grip added to differentiate for British forces that it was the American bayonet and not a British 1907 Wilkinson.

Originally the bayonet design was made for the British in September 1917 (the 9 17 mark) by Remington in the US as the 1913 Pattern intended to be issued with the P14 Rifle in .303 inch calibre. However, when America entered the war they changed production of the P14 rifle over to .30 inch calibre, at which point it became their M17 rifle. As the calibre change meant no alteration to the bayonet was required they basically took the unfinished/unshipped bayonets and made them American property by over-stamping the British marks with American marks, thus becoming M1917 bayonets.

This bayonet beautifully original with all original blue and parkerised blade.

Generic photos in the gallery, this bayonet is actually better that the one photographed  read more

Code: 25111

A Very Rare Scots Fusilier Guards Officer's Bearskin Cap 1854. Used at Alma. Of Major Sir Charles J. J. Hamilton, 3rd Baronet Hamilton, Commander Of The Battalion Of Scots Fusilier Guards, Hero of Alma. Cousin of Capt. E.A.Hamilton Coldstream Guards

He commanded a battalion of the Scots Fusilier Guards at the Battle of Alma, and had his horse shot under him.

Acquired with a pair of books presented to his cousin, his heir, the 4th & 2nd baronet Hamilton, Edward A. Hamilton, Coldstream Guards in 1858. They are interred in the same family crypt at Brompton cemetery.

A person can be both the 4th baronet of one line and the 2nd baronet of another by inheriting two separate, distinct baronetcy titles from different branches of their family.
This scenario typically arises through a combination of inheritance, a lack of direct male heirs in one branch, and the merger of family lines.

In overall very good condition, the interior is lined with a leather cap, stitched to the skin, as could be usual for the Crimean bearskin, so the caps could be transported flat one supposes, and it also has the officer's velvet band partially intact. It has no hackle mount externally, which is correct for the Scots Fusilier Guards bearskins, as they wore no hackle, unlike the Grenadiers, and Coldstream Guards. This is only the second 1850's example used in the Crimea we have seen outside of the Guards Museum
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This is the bearskin headdress of an 1850's officer of the Scots Fusilier Guards, one of the most famous regiments of infantry in the British Army. This celebrated item, still worn by the Guards Division on ceremonial duties, has its origins in the Battle of Waterloo, where the 1st Foot Guards of Wellington's army fought against the French Imperial Guard, who wore bearskin caps. It was during the reign of King George IV that the Guard uniforms were changed, along with the Guard Regiments themselves. The scarlet coatee was introduced, with gray or white trousers and in 1832 the bearskin cap became the official headdress of all three guards regiments, thus creating the ceremonial uniform that essentially remains in use today.

In the Crimean war the bearskin was reduced in height and the cap's pelt could be attached to a leather cap, as is this one, and not mounted on a frame of willow or rattan, one such bearskin mounted is in the Guards Museum London

In the Crimean war they were still a combat helmet, classified as a bearskin cap. Sometime after the Crimea the bearskin was only in use by the guards, and fusiliers as a dress cap, as it still is today.

The guards combat details follow below {in a brief resume} at the Battle of Alma, during the retreat and second attack.

By now, the 1st Division had finally crossed the river and the Russians in the greater redoubt saw approaching them the Guards' Brigade, with the Grenadier Guards on the right, the Scots Fusilier Guards in the centre, and the Coldstream Guards on the left. Out of sight on the far left was the Highland Brigade, commanded by Sir Colin Campbell. Campbell was irritated by the Guards' delay and ordered an immediate advance. A firm believer in the charge with bayonets, Campbell told his men not to fire their rifles until they were "within a yard of the Russians".

The Scots Fusiliers, by then ahead of the rest of the division, started to move uphill immediately, repeating the Light Division's mistake, which at that moment was running down from the redoubt, pursued by Russian infantry. The Light Division crashed into the advancing Scots Fusiliers with such force that the line was broken in many places. The Scots faltered, but emerged on the other side with only half their numbers and continued towards the great redoubt in a chaotic state. When they were 37 m (40 yd) from the redoubt, the Russians mounted a massive volley. The Scots Fusiliers were forced to retreat, stopping only when they reached the river.

The two other guards regiments filled the gap left by the Scots Fusiliers, but refused orders to charge with bayonets up the hill. Instead, the Grenadiers and the Coldstream formed into lines and started firing Minié volleys into the Russian advance parties. This stopped the Russians, and the Grenadiers and the Coldstream were soon able to close the gap between them; the Russians were again forced back into the redoubt. Vintage, replaced chinscales

Photos in the gallery of Hand-coloured photograph of three soldiers of the Scots Fusiliers Guards who served in the Crimean War. From right to left are Corporal Judd, Edward Temple and William Reynolds. They are all seated with Judd resting his bearskin on his lap and Temple holding one of the three rifles joint together pointing upwards.

Sir Charles John James Hamilton, 3rd Baronet, of Marlborough House, Hampshire, was the only son of Admiral Sir Charles Hamilton, K.C.B., 2nd Baronet, and Henrietta Martha, only daughter of George Drummond, of Stanmore in Middlesex. Educated at the Charterhouse, he was a career soldier, and appointed a Major in the Royal Scots Fusiliers. He succeeded his father in 1849, and was promoted a Colonel in the Army in 1854 in which year he retired. He commanded a battalion of the Scots Fusilier Guards at the Battle of Alma, and had his horse shot under him. He was awarded the Crimean Medal and Clasp, and the Turkish War Medal and was nominated a Companion of the Order of the Bath by special statute. He married, 14 December 1833, Catherine Emily, daughter of William Wynne of Dublin, but they had no children, and when he died in 1892 he was succeeded by his cousin, Sir Edward Archibald Hamilton, 2nd Baronet of Trebinshun House, Breconshire.

"Sir Charles John James Hamilton, Baronet, 1776, of Iping, succeeded. to the Baronetcy, 14 Sep. 1849 (1854) Major Scots Fusilier Guards, distinguished himself at the battle of the Alma, Sep. 1854, but retired in 1855 as Lieut.-Colonel ; C.B., 1855.

Throughout the war Queen Victoria had taken an active interest in the welfare of the troops and on their return from the Crimea she met a number of the veterans at Buckingham Palace, Chatham Military Hospital and Aldershot Garrison. Following these meetings she commissioned a series of photographs of the veterans from the photographers Joseph Cundall and Robert Howlett.

The other coloured photograph is of Colour Sergeant William McGregor of the Scots Fusilier Guards.  read more

Code: 24947