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Late 19th-early 20th century AD. A steel theatrical helmet with face mask comprising a broad bowl and central spike with bulb finial, band of calligraphic text to the shoulder, ventail to the stepped rim; hinged bracket to the brow attaching a domed triangular mask with raised brows, nose and moustache, incised foliage and tendril ornament and text to the forehead, applied upper band with dentilled edge and crescent below. 1.6 kg, 44cm (17 1/4"). From the family collection of a Hampstead gentleman; formerly acquired in the 1980s. Fine condition.

1st century BC-1st century AD. A bronze figure of Minerva wearing a Corinthian-type helmet, advancing wearing a peplos gathered at the chest, left hand raised and right hand modelled to grip a spear(?"). 107 grams, 80mm (3"). From an old Dutch collection formed in the 1970s. [No Reserve] Very fine condition.

4th century BC. A splendid Pontus Greek helmet with hinged cheek-pieces, the bowl forged in one piece, with small nose nose-guard, moulded band traced around the eye and ear perimeters; the crown showing the typical carinated edge of the category; possibly later cheek-pieces attached to the bowl, one hole visible on each protuberance of each cheek-piece, for the fastening of the chin strap. See Rabinovich, B. Z., Trudy Otdela istorii pervobytnoi kul’tury Gosudarstvennogo Ermitazha (Works of the Department of history of prehistoric culture of the State Hermitage) I, 1941, pp.99-171; Chernenko, E. V. Skifskii dospekh (Scythian armour), Kiev, Naukova dumka (in Russian), 1968; Pflug, H., 'Chalkidische Helme' in: Antike Helme, RGZM Monographien 14. Mainz, 1988, 137-150; Connolly, P., Greece and Rome at war, London, 1981; Gorelik, M.V., Warriors of Eurasia, from the VIII century BC to the XVII century AD, Stockport, 1995; Chernenko, E.V., The Scythians 700-300 BC, Hong Kong, 1998; Shevchenko, N. F., Zaitsev, Yu. P., Mordvintseva V. I. in Vestnik drevnei istorii (Bulletin of Ancient History) (1), 2011, 115-152 (in Russian); ????????? ?. ?., '????? ??????????? ??????? ?? ????????? ??????' (Sarmatian Age Helmets from Eastern Europe), in Stratum Plus, n.4, 2014, pp.249-284. 870 grams, 29.5cm (11 5/8"). Property of a European businessman; from his private Belgian collection formed in the 1990s; previously in a North American collection formed in Illinois in the 1980s; accompanied by an academic report by military specialist Dr Raffaele D'Amato; and a metallurgic analytical report, written by Metallurgist Dr. Brian Gilmour of the Research Laboratory for Archaeology and the History of Art, University of Oxford. This helmet is very similar to various examples found in the area of the Black Sea (Chernenko, 1998, p.10), Macedonia, Thrace, Continental Greece, South Italy. The Greek colonists of the Black Sea area, from which with all probability this piece comes from, fought the Scythians and the Meotians with their own panoply. In the graves of the Sarmatian Aristocratic cavalry have been found various similar helmets. The helmet under consideration belongs, according to Symonenko, to the well known Chalcidian typology. The Chalcidian type was a derivation from the Corinthian type, appearing on the vase paintings in about 6th century BC. The presence of these helmets in the Scythian graves in Southern Eastern Europe is attested since the 4th century BC, but judging from the shape of the cheek-pieces this helmet could be paralleled to the one from the grave 3 of Mezmay cemetery, dated at the 4th century BC, though the burial complex is dated II-I century BC. The helmet is a further confirmation of the prolonged use of ancient categories of helmets among the people of the Black Sea Coast. Fine condition, restored.

1st century BC. A helmet of Pseudo-Illyrian form, the bowl made of two pieces of bronze, decorated from front to back by two hemispherical ribs, forming a double edge which runs from back to the front of the helmet, the two halves of the crown overlapping along the dividing seam, with three bronze rivets still visible; cheek-pieces either side. Cf. Chernenko, E. V. Skifskii dospekh (Scythian armour), Kiev, Naukova dumka (in Russian), 1968; Dedjulkin, A. V. 'Locally Made Protective Equipment of the Population of North-Western Caucasus in the Hellenistic Period', in Stratum Plus, n.3, 2014, pp.169-184; ????????? ?. ?., '????? ??????????? ??????? ?? ????????? ??????' (Sarmatian Age Helmets from Eastern Europe), in Stratum Plus, n.4, 2014, pp.249-284; ????????? ?. ?., '????? «????????» ????', (Novichikhin, A.M., 'A new Meotian helmet) in Parabellum Novum, Military History Journal, n.3 (36), ?????-?????????, 2015. This helmet is very similar to various samples found in the Scythian graves, although his origin is Mediterranean. Symonenko in 2014 individuated at least nine specimens of such category, partially fragmented or half broken, which he categorised variant I of the Illyrian helmet. He mentioned also the presence of three further helmets of this category in private collections, and one more in USA, plus a specimen in the Safari Park of Gelendzhik. All helmets of this type were found in the North-Western Caucasus (in Adygea"). The name of the typology came from the constant presence, on helmets of such category (especially characteristic of the so-called insular Illyrian helmets), of the double edge decorating the crown front to back. The chronological gap in the production of the original prototypes (from VII century BC on) and of these other specimens makes difficult to see the influence of the Illyrian helmets on the genesis of the pseudo-Illyrians (III-I century BC"). However one find in the necropolis of Nymphae (Chernenko, 1968, 92-93, fig.51) dated at the V-IV century BC seems to give the possibility that since this age the Illyrian helmets - always through the mediation of the Greeks - could have been diffused among the population of the North-Western Caucasus. 667 grams, 23.5cm (9 1/4"). From a London W1, UK, collection; acquired on the German art market before 2000; accompanied by an academic report by military specialist Dr Raffaele D'Amato. The common feature of this helmet category is, besides the form and manufacturing technique, the circumstance that the two halves of the bowl are riveted with an overlap along the 'sagittal seam'. The bowl is usually hemispherical, compressed on the sides. The bottom edge is wrapped out and embossed, forming a low roller. Somewhat higher, the roller is raised higher over the rim of the bowl, turning up on the front and forming the quoted double edge, along the 'sagittal seam'. Constructive details and ornamentation of the crown are however different and allow us to individuate several variants of such helmets. This helmet belongs to the variant I, whose specimens have been found in Kurganinsk, in the necropolis of Sereginskii (grave 138) and Chetuk, in the Sanctuary near Psenaf (Symonenko, 2014, fig.14, nn.1-4"). Other helmets of this variant are visible in the Karakovsky collection, while, according to V.R. Ehrlich, another specimen from Mesmay is stored in the depots of the Pushkin Museum of Fine Arts, Moscow. The specimens of Chetuk and Sereginskii are decorated with stylised diadems, with volutes at the ends, like those of the Chalcidian-attic helmets; one of the Chetuk helmets shows also several vertical ribs, on the frontal and parietal parts of the crown. These motifs, typical of the contemporary pseudo-attic helmets are clearly perceived in this decoration, probably because they were familiar to the craftsmen who made the pseudo-Ilyrian ones. The cheek-guards of this specimen, which according to the author of the present report, are not pertinent and are from a different model. Fair condition, restored.

Villanova Culture, 7th century BC. A biconvex ceramic funerary urn with flared everted rim, carination to the waist and single loop handle, band of incised multilinear square cells (some with motifs); the lid an inverted footed bowl with thick loop handle and two lateral lugs to the rim, incised ropework meander pattern below the rim. See Hayes, J.W. Etruscan and Italic Pottery in the Royal Ontario Museum, Toronto, 1985, item A1 for type. 4.5 kg total, 42cm (16 1/2"). From an old Tokyo collection; previously the property of a Japanese gentleman since the early 1970s. This type of biconical urn is typical of the Villanovan culture of the 9th–8th centuries BC. It was used to hold the ashes of human bodies after cremation. It was hand-modelled in clay by the impasto technique and decorated with incised designs, usually geometric motifs. When interred, these urns were covered by an inverted bowl or with a bronze helmet, making a statement about the status of the deceased. [No Reserve] Fine condition.

Mid 10th-late 11th century AD. A Western Medieval Banden-helm with a slightly domed bowl forged in four pieces with applied ridged bands fore-and-aft and side-to-side creating a four-section appearance; two iron strips crossing on the top are fixed to the bowl through pairs of iron rivets, and the last two pairs on the four lower parts of the helmet are also fixed around the lower edge of the bowl, a broader band to the brow, with carinated upper edge; an applied V-section nose-guard, fitted with eyebrows, with arched extension above the eyes is rivetted to the front. See Merton A. Die Buchmalerei in St.Gallen, Leipzig, 1912; Tweddle, D. The Anglian Helmet from Coppergate, (Archaeology of York) (Vol 17), 1992; Gilliot, C. Armes & Armures V-XV, Bayeux, 2008; Hood J., Ager A., Williams C., Harrington H., Cartwright C., 83 'Investigating and interpreting an early-to-mid sixth-century Frankish style helmet', in The British Museum Technical Research Bulletin, volume 6, 2012, pp.83ff. Based on the typology of Early Medieval segmented helmets proposed by Rudolph Henning and Ortwin Gamber, the dome-shaped, multiple-band construction of this helmet makes it a typical example of a category of protections of the cap developed since the Late Roman Empire, and used through the whole of the Middle Ages, i.e. the so-called Banden-Helmen. The shape of the nose-guard, and the fact that it was attached separately, resembles examples from Scandinavia of 9th-11th century date, like a recent find, still unpublished, from Sweden. 1.5 kg, 25cm (10"). From a London W1, UK, collection; acquired on the German art market before 2000; accompanied by an academic report by military specialist Dr Raffaele D'Amato. Most probably our specimen is coming from a battlefield or a river. The general construction of the helmet remembers that of the Sub-Roman or Anglo-Saxon Bandhelm of Shorvell, recently found in England by the Isle of Wight Metal-Detecting Club (Hood, Ager, Williams, Harrington, Cartwright, 2012, pp.83ff.) and also with the structure of the very famous Coppergate Helmet (Tweddle, 1992, pp.1038-1039"). The iconographic comparative sample of our helmet can be found on the head of the Anglo-Saxon and Norman warriors represented on the Bayeux Tapestry. Particularly evident are the scenes representing the siege of Dinan (Wilson,1985, pls.20-21-22-24, Norman Knights) and the battle of Hastings (Wilson, 1985, pl.65, Anglo-Saxon Housecarls"). [No Reserve] Fine condition, restored, nasal cracked.

Late 2nd century AD-early 3rd century AD.  Another 'hauntingly unforgettable work of art', with distinct artistic parallels to the famous Crosby Garrett helmet found in Cumbria in 2010; a bronze sports helmet mask of the exceptionally rare Mater Castrorum or female type, showing the head of an Amazon warrior or goddess with locks of wavy hair, topped with a tutulus hairstyle, diadems, garlands and other jewellery; the garland-diadem has a central knot with two hanging curls and is decorated with X-patterns inscribed inside rectangles; this mask was removable, being capable of being taken off at any time, proving that this type of helmet could be used not only during parades and other ceremonies, but also in combat.  Property of a London collector; previously in the Craddock collection having been acquired from a London gallery in 2006; formerly in the Brian Grover collection of Surrey since acquisition in York in the 1970s; formerly in the collection of Peter Minns; believed originally from Northern England; accompanied by a copy of a signed acquisition and provenance declaration/receipt dated 23 May 2005; a sales invoice to A. L. Craddock from 2006; a metallurgic analytical report, written by Metallurgist Dr. Brian Gilmour of the Research Laboratory for Archaeology and the History of Art, University of Oxford, report number 609/131084; an academic report by military specialist Dr Raffaele D'Amato who will be making a presentation on this helmet at our reception on 2nd September 2019; and a report by the conservation specialist who restored the helmet, discussing the similarities of style and workmanship to the 'Crosby Garrett' helmet, which concludes that it is likely made by the same craftsman, or at least from the same workshop; accompanied by an Art Loss Register certificate no. S00149981. Published: Illustrated on the front page of Antiques Trade Gazette, 31 August 2019, Roman mask leads antiquities parade, with further editorial on pages 32 & 33 entitled Mask 'matches Crosby Garrett find'. 580 grams, 26 x 24 cm without stand (10 1/4 x 9 1/2").  See Robinson, R., The Armour of Imperial Rome, New York, 1975; Garbsch, J., Römische Paraderustüngen, München, 1979; James, S., Excavations at Dura Europos 1928-1937, Final Report VII, The Arms and Armour and other military equipment, London, 2004; D'Amato R., A.Negin, Decorated Roman Armour, London, 2017. The two most evident samples resembling our specimen are the mask of Nola, today at the British Museum, and the mask of the Paul Getty Museum (D'Amato-Negin, 2017, p.220, fig.255 letters d-e). Maybe, as the facial mask from Nola, our mask depicts a goddess, Minerva or Victoria or Diana. This goddess is well suited to being depicted on protective arms since, unlike Mars, who loved blood, war and violence in any form, Minerva represented sacred defensive war and was the goddess of defence, symbolising the protection and patronage granted to the soldier. The stylistic type of the mask suggests that it is from the same school who made the masks of Nola (Italy?) and of the Paul Getty Museum (Syria or Egypt?). The similarity with the latter is astonishing, and like in the one of the Getty, the empty spaces of the diadem were probably originally encrusted with precious stones.  This mask helmet belongs to the category of Roman mask helmets usually employed in the sportive games, acting also as military training, of the so called Hyppika Gymnasia described by Arrian of Nicomedia in his Taktika, written down during the age of the Emperor Hadrian (117-138 AD). The finds of two opposed ‘male’ and ‘female’ kind of masks in the military camp of Straubing, together with items of arms and equipment of opposing teams which performed a theatrical cavalry tournament, allowed to understand that the two groups performed, in their exercises, the mythical fight amongst Greeks and Amazons. This theatrical Amazonomachy was popular among Roman soldiers as evidenced by the fact that it is depicted on one of the three oval shields of the third century AD from Dura Europos (James, 2004, pl.VII). The representation of an Amazonomachy scene was not only a tribute to mythological tradition. In warfare, time after time the Romans encountered women fighting against them: Flavius Vopiscus wrote that women dressed in male attire (apparently, Sarmatian women warriors) used to fight against the Romans on the side of the Goths even in the late third century AD (Scriptores Historia Augusta, Divus Aurelianus, XXXIV, 1). Therefore, the imitation of confrontation with these militant women might be quite popular for theatrical cavalry tournaments, as well as for the visualisation of mythological scenes (D'Amato-Negin, 2017, p.213). A. Negin, however, was able to individuate three different types of such female masks used in such tournaments and probably also on the battlefield: the ‘Amazon’ type, the ’Mater Castrorum’ type, and the ‘Medusa’ type.  Our specimen belongs to the Mater Castrorum type. E. Künzl (2008, pp.115-117) noted the similarity of some masks with images of soldiers’ empresses of the third century AD and suggested their relationship with the cult of mater castrorum (mother of the camp). It is commonly known that, besides civilian titles, an empress received this honorary title for her participation in military campaigns, like Faustina the Younger or Julia Domna (D'Amato-Negin, 2017, p.222). Examples in this group of masks date from the second half of the second to the first half of the third centuries AD. It was not necessary to make an exact copy of the portrait of a woman of the imperial family, it was sufficient to have a few distinguishing features on an item and achieve a general resemblance. According to J. Oliver, celebrations in the calends of January (Kalendae Ianuariae), as marked in the military calendar from Dura-europos (Feriale Duranum), namely 1 January, were intended to honour and bring sacrifices to the mother patroness of the military camp (mater castrorum). Negin assumed that during the solemn and theatrical ceremonies, masks of this type could be worn by the celebrant representing the divine patroness of military camps and performing games in cavalry tournaments. The relationship, at least, of a number of female masks to the cult of mater castrorum partly explains the fact that Arrian in his treatise on cavalry tournaments mentioned nothing about masks depicting female faces, as Faustina the Younger was awarded this title forty years after this source had been written. Putting on the attributes of a different gender identity, male soldiers impersonated women both in theatrical performances of Amazonomachy and in ceremonies honouring the ‘mother of the camp’.  Very fine condition, an exceptional survival from Roman Britain. Excessively rare. [A video of this item is available to view on TimeLine Auctions website.]

4th-3rd century AD. A large silver appliqué, to cover the frontal head of a horse, with richly chased decoration showing the outstanding work of probably Pontus Greek artists; in the centre the head of Athena Promachos (warrior Athena), seen from three quarters, inside a phalera (disc) decorated with foliate motifs; the Goddess is represented carrying an attic helmet ornamented with a three-folded plume (tryfaleia); the phalera is positioned and affixed between two female Deities; above a female priestess is performing a sacrifice to a statue of a goddess (probably Athena), standing on a base; on the left and right are two smaller gorgoneia, or representations of the Medusa, the snake-haired Gorgon killed by the hero Perseus, whose gaze petrified men; the phalerae and the other images are mounted upon a structure which represents the straps of a horse muzzle, upon which the fragmentary piece of armour was collocated; mounted on a custom-made stand. [A video of this item is available to view on TimeLine Auctions website.] See Daremberg - Saglio, Dictionnaire des Antiquités Grecques et Romaines, Paris, 1873 - 1917; Yavtushenko, I (ed.), Masterpieces of Platar, Kiev, 2004; ???????? ?.?., ????.???.????; ??????? ?.?., ????.???.????; ?????? ?.?., ?-?.???.????; ?????? ?.?., ????.???.????; ?????? ?.?; ????????? ?.?., ?-?.???.????; ??????? ?.?, ???????? ????????? ????????? ????? ?????????? ?? ?????, ????, 2004; The phalera with the head of Athena Promachos find a good correspondence with the famous piece found in the Scythian Koul-Oba Kurgan (near Kertsch, Crimea, S. Daremberg-Saglio, s.v. Galea, col. 1451, fig. 3476), giving us a clear idea of the provenance of the piece of armour; the representation of Athena shows her famous helmet, copying the helmet of Athena Parthenos of Phidias, decorated with a great richness and with the crest recalling the Phaloi (horse-crests) of Homeric Age; the two phalerae representing Medusa are identical to a horse phalera of 2,9 cm (dated 330-300 BC) published by Ukraine archaeologists in 2004 (????????-???????-??????-??????-??????-?????????-???????, 2004, p. 98 fig. 5b), again part of a Scythian grave deposit. 458 grams total, 28 x 33cm with base (11 x 13"). Property of a UK collector; formerly in the collection of Jan Adler, London, UK; acquired 1983; previously with Gorny & Mosch, 17 December 2014, lot 54 (20,000.00 euros); accompanied by a copy of the relevant Gorny & Mosch catalogue pages; and an academic report by military specialist Dr Raffaele D'Amato. It is not a wonder that Athena, she-protector of the war horse, was used as decoration for the front piece of the horse armour. In the Greek world horse armours were already in use since at least from the 7th century BC, but increasingly in the Hellenistic age, especially after the military reforms of Philip II and Alexander III the Great of Macedonia, where the cavalry was employed as a fundamental tactical instrument on the battlefield, and not only as support of the Phalanx. At the same time protection for the horse, especially with the creation of units of armoured cavalry following the Iranian models, increased as well. Such protection for Hellenistic and then Roman Armies was sometimes complete, comprising defences for the head (prometopidia, chamfron), the neck and the body. The Greek terms for the various elements are listed in the 2nd century BC by Pollux, in his Onomastico (I, 140-141): ????????????? (protection of the head), ???????? (eye-protectors), ??????? (cheek-pieces), ????????????? (covering for the breast), ?????????????? (protection of the flanks), ???????????? (covering for the thighs), and even ????????????? (covering for the legs"). The Prometopidion was often created from one piece of bronze or brass, but in this case was probably an openwork applied upon the leather straps of the muzzle. The piece was applied over a leather base, being a functional piece of horse protection to be worn in battle, probably by a high military commander. The ????????????? is an exquisite product of Greek Pontic art. After settling on the Pontus Euxinus Coast by the Greeks, attracted by its minerals, fertile soils and profits with local inhabitants (Scythians, Tauri, Maeoti), important Hellenic centres flourished in the area from the 5th-4th century BC, forming the main Greek states of Olbia, Chersonesos and the Pontic Kingdom. Although in general their artistic productions do not differ a lot from that of the Greek Homeland, the North-Pontic jewellers and craftsmen established their own styles of decoration. They excelled in the stamped metallic appliqué, such as this example, where the three main phalerae were produced separately to be incorporated in the structure of the frontal horse protection. Exceptional workmanship. Excessively rare.

6th-7th century AD. A spectacular gilt-bronze appliqué in the form of a facing male head with horned headgear; piriform face, discoid eyes with garnet (?) cloison inserts, the nose covered by the nasal of the headgear, the beard triangular and the ends of the moustache extending beyond the cheeks; hair covered by a helmet or mask with hatched texture extending around the upper face and developing to two crescent extensions from the temples which meet above the crown of the head; the terminals formed as birds' heads; possible remains of attachment stud to the reverse. Kevin Leahy, National Adviser, Early Medieval Metalwork of the PAS commented: This striking mount is Early Anglo-Saxon and dates from the 6th to 7th century. Faces like this, wearing a horned headdress (or sporting horns of their own) are well known, appearing on some of the foils decorating the Sutton Hoo helmet, where the warriors carry swords and spears and appear to be dancing. A similar foil was found in a burial at Caenby, Lincolnshire and the horned warrior carrying two spears appears on a gold buckle from Finglesham, Kent. Horned warriors are not restricted to England and appear on a die for making foils found at Torslunda, Sweden, and on a die from Ayton in the Scottish Borders region. The question is: who do these mounts represent? It has been suggested that they depict the god Woden, one of whose attributes was a spear and that the birds' heads on the ends of the horns represent the the god's two ravens. However, these birds often have hooked eagles' beaks not the pointed beaks of ravens. We also see multiple depictions of the horned warrior on the same foil suggesting that it was not the god, although it is possible that the god's image was duplicated to emphasise his power. Woden is sometimes shown with only one eye as he gave up his other eye in exchange for wisdom. The two garnet-inlaid eyes seen here do not preclude the face being that of Woden but it would have been helpful if it had only one eye. Finally, what was this mount used for? Other examples like the one from Rempstone, Notts., has mounting pins on its back as does a mount from Finglesham, Kent. Many of the other mounts, however, lack any signs of a fixing. It is clear that the mount described here was attached to an iron object but we are left guessing what it was: a helmet or a buckle? Unless you find one still attached we are going to be left to wonder. [A video of this item is available to view on TimeLine Auctions website.] Cf. Hammond, B. British Artefacts - volume 1. Early Anglo-Saxon, Witham, 2010, item 1.4.5-r; Raynor, K. The Rempstone Mount: Anglo Saxon and Viking Horned Man Images & Artefacts, Nottingham, 2010 ; Pollington, S., Kerr, L. & Hammond, B. Wayland's Work: Anglo-Saxon Art, Myth & Material Culture from the 4th to 7th century, Ely, 2010; Pestell, T. Paganism in Early Anglo-Saxon East Anglia in Heslop, T.A., Mellings, E.A. and Thofner, M. Icon? Art and Belief in Norfolk from Prehistory to the Present, Woodbridge, 2012, figs. 6(a,b"). Recorded with the Portable Antiquities Scheme under reference BERK-DB4E15. 10 grams, 39mm (1 1/2"). Found Kingsworthy, Winchester, Hampshire, UK, in 2017; accompanied by a copy of the Portable Antiquities Scheme report number BERK-DB4E15, and a copy of The Searcher magazine, number 389, January 2019, where it features as the only item on the front cover and a two-page exclusive article by the finder, Caroline Fathers, on pp.14 & 15. The headgear with bird-head terminals is restricted to the 6th-7th centuries in England, although there are parallels from the material culture of both Anglian England and southern Scandinavia at this time. A pair of comparable bird-helmeted human faces can be found on the reconstructed frontal plates on the helmet found in Mound 1 at Sutton Hoo (Suffolk) depicting dancing warriors, and the male face shown on a foil fragment recovered from the barrow at Caenby (Lincolnshire"). Similar also is the figure on one of the dies found at Torslunda (Öland, Sweden) showing a male wearing a helmet with a pair of bird-headed horns. A long, triangular male face is shown on the vandyke designs on the foil horn mounts from the barrow at Taplow (Berkshire"). A male figure wearing a helmet with horns and bird-head terminals is the central design on a long triangular buckle found in grave 95 at Finglesham (Kent), and also from Finglesham (grave 138) is a mount in the form of a long, triangular human head with vertical radiating bands from the top of the head, and two crescentic horns emerging from the crown, terminating in opposed birds’ heads which meet above. A similar mount was found at Rempstone (Nottinghamshire) and privately published in Raynor (2010) while others were found more recently at Attleborough (Norfolk) and Soberton (Hampshire, PAS ref. HAMP2432"). A mount depicting a similar figure, showing the upper body with hands gripping spears, was published in Hammond (2010"). The significance of the headgear has not been fully explored but the coincidence of the birds and the head recall the later myths of Oðinn and his bird messengers, and suggest that these mythic characters were familiar in early Anglo-Saxon England. Very fine condition. An extremely rare museum-quality display piece.

3rd-1st century BC. A bronze Chalcidian helmet showing the features of Attic and Chalcidian helmets of the 4th century BC, being formed of a bronze bowl with raised panels to the crown and brow, the rim on the front takes the shape of a short nose-guard, which recalls the prototypes of the Pseudo-Attic Chalcidian typology; like the helmets of the Illyrian category, along the bottom of the crown embossed with a relief running around the circumference, formed by a rolled up and forged edge; the cheek pieces are connected to the bowl by a three-part clasp, of which two bronze fastening rivets are still visible, each of the cheek-piece is D-shaped with scooped forward edge, with a hole for the fastening of the chin-strap. See Masson, M. E., Pugachenkova, G. A. Parfi anskie ritony Nisy (Parthian rhyta from Nisa"). Al’bom illiustratsii (Album of illustrations), Moscow, 1956; Beglova, E. A., Antichnoe nasledie Kubani (Ancient heritage of Kuban) III, Moscow, pp.410-422 (in Russian); Dedjulkin A. V., 'Locally Made Protective Equipment of the Population of North-Western Caucasus in the Hellenistic Period', in Stratum Plus, n.3, 2014, pp.169-184; ????????? ?. ?., '????? ??????????? ??????? ?? ????????? ??????' (Sarmatian Age Helmets from Eastern Europe), in Stratum Plus, n.4, 2014, pp.249-284. 550 grams, 29cm (11 1/2"). From a London W1, UK, collection; acquired on the German art market before 2000; accompanied by an academic report by military specialist Dr Raffaele D'Amato. This helmet is very similar to various examples found in Sarmatian and Meotian graves, although its origin is from Greek prototypes. The type is characterised by a hemispherical bowl, laterally compressed, with strong marked brow ridges and a sharp short nose-band. According both to Symonenko and Dedjulkin (2014, p.189, fig.9, nn.4-5-6), this category of helmets derived from the Chalcidian types. According to Dedjulkin, these helmets, although derived from Greek prototypes, were simplifications of the original models, made by local artisans. The related centres of productions of such items have been localised at the sites of the ancient Meotian settlements of the Trans-Kuban region, at the northern foothills of the Western Caucasus, as well as in the valleys of the Belaya and Kurdzhips rivers. These centres operated in the period from the second half of the 4th century until the 1st century BC. Judging upon the location of the finds, these types of converted and modified Greek helmets were used by the Barbarians of the North Caucasus in the Late Hellenistic Era and served as models for local blacksmiths. [No Reserve] Fair condition, restored.

Mid 10th-late 12th century AD. An Oakeshott Type Xa or Petersen type X long sword, the blade is elegant, finely tapering and fitted with well-formed fullers running down to within few centimetres of the point, the cutting edges are also in good condition and bear evidence of battlefield use; on both sides the fullers are decorated with laten inlays: on one side two fish-dragons facing each other, on the other opposed tridents formed by three arrow points; both sides of the blade also reveal traces of an inscription: on the side of the marine monsters, set within the fuller (at a distance of about 10 cm from the cross-guard) begins after a stylised monogram (the remains of a damascened cross of Jerusalem?), but now only the letter R is clearly visible; on the other side the letters are scarcely visible, only the monogram; the well preserved cross-guard is long about 20cm and in good condition, gently tapering, of the type known by the Vikings as gaddhjalt (spike-hilt), this added hilt would have given the hand of the owner considerably more protection without increasing the weight; the tang is very stout without a minute taper and ends with the usual walnut style pommel. See Leppäaho J., Spateisenzeitichle Waffen aus Finnland: Schwertinschriften und Waffenverzierungen des 9-12 Jahrhunderts, Helsinki,1964; Peirce, I., Swords of the Viking Age, Suffolk, 2002; Gilliot, C., Armes & Armures, V-XV, Bayeux, 2008; Janowski A., Kurasi?ski T., Pud?o P., 'A sign, a_symbol or a_letter? Some remarks on omega marks inlaid on early medieval sword blades', in Acta Universitatis Lodziensis Folia Archaeologica, 29/2012, pp.83-110; D'Amato R., Spasi? Duri? D., 'The Phrygian helmet in Byzantium: archaeology and iconography in the light of the recent finds from Branicevo', in Acta Militaria Mediaevalia, tom XIV, 2018, pp.29-68; this sword finds good parallels with one sword published by Peirce, preserved in the Musée de l'Armée, Paris (Peirce, 2002, p.131) and with a sword published by Leppäaho (1964, p.14 and pl.5), if it is the case, the inscription could be the same INLERURIEITI visible on this latter, which Peirce refers as having some important meaning in Antiquity; not to exclude however other inscriptions, like the one visible on a similar 12th century German sword published by Gilliot (2008, p.121) reporting SPES MEA JESUS PER OMNES... (Jesus my hope amidst all trials..."). 1.25 kg, 92.5cm (36 1/2"). Property of a Suffolk collector; formerly acquired on the European art market in the 1990s; accompanied by an academic report by military specialist Dr Raffaele D'Amato Most probably our specimen is coming from a battlefield or from a grave. Many swords of similar type can be classified as of German manufacture, and we know these kinds of pommels were in use until the 13th century. This one handed sword presents the same Brazil nut pommel of the swords visible on the lost miniatures of the Hortus Deliciarum (D'Amato-Spasi? Duri?, 2018, p.53), a German Manuscript of the second quarter of 12th century. The straight guard with thick straight quillons are typical of the style Xa of Oakeshott, a kind of sword that, with its double-edged blade, combined the cutting and the cut-and-thrust styles. The fullers, like in this case, are very marked and form not less than two thirds of the length. For a medieval warrior, and especially for a western miles (knight) the sword was closely associated with everything was most significant in a man's life-family ties: loyalty, valour in the excitement of the combat and funerary rites. A warrior was never parted from it: he carried in it in the king's hall and on all social occasions. It hung at his back when he was at table and by his bed when he was sleeping. The sword was his shoulder companion and we can well understand the lament of the Viking poet Bersi the dueller, a famous swordsman of 10th century, complaining that when he could not more weld a sword, life would hold nothing more interesting: The Trolls may have my life when I can no longer redden keen Laufi, then you may carry the destroyer of the mailshirt into the howe. Fine condition.

A World War II German Luftschutz beaded M40 helmet with Luftschutz decal on front of helmet, original liner and chinstrap, R22-38/28, Vertrieb Genehmigt Gemab 8 Luftschutzgesetz Kopfweite 58 Hochstpreis RM8 - on inside of helmet

A World War II Third Reich German Africa Korps tropical pith helmet, Eagle and Swastika embossed shield on one side, national colours shield on other side

A World War II British Army helmet, marked on inside 1-1939, good condition

A World War II German Luftwaffe helmet with Luftwaffe Eagle and National Colours Shield decals on sides, original liner, chinstrap brokenWE DO NOT CONFIRM THE ORIGANALITY OF ANY GERMAN WW2 ITEMSIn the valuers opinion it is original

A British Army WW2 helmet 1941 size 6 3/4 C.C.Y.S Ltd Cap Badge and a WW1 Victory Medal to 133434 CPL GH Taylor R.E

A Somerset Light Infantry helmet plate

PITH HELMET

A West African carved hardwood tribal helmet mask. With polychrome and kaolin pigment decorations and having shell shaped coiffure, 29cm.Condition report intended as a guide only.Large chip to the coiffure. Other wear and very minor edge chips.

A West African carved hardwood tribal helmet mask. With painted detail and chevron banding, 25cm high.Condition report intended as a guide only.Stable split to the reverse. 

A West African carved hardwood tribal helmet mask. With domed coiffure and wide geometric banded necklace, 35cm.Condition report intended as a guide only.Cracked from under the right ear.

WW2 Para Helmet and a Military Air jacket (Leather)

An Annamese blue and white jarlet, a Kangxi blue and white cup and a Qianlong blue and white helmet jug tallest 12cm

A George III silver helmet shaped cream jug by Peter, Ann & William Bateman, London, 1805, 11.6cm.

A scarce WWI Czech Legion "Adrian" pattern steel helmet, with grey/blue finish, pressed steel badge and leather lining and chinstrap. GC (minor dents).

A Japanese retainer's helmet jingasa, made for the boy's festival, 25cms diam, black lacquered with gold lacquered chidori flying over a waterfall. GC

A Japanese retainer's helmet jingasa. Of octagonal kabuto form, up-turned brim, brown lacquered overall with gilt painted Kono/Sekiyama family hiki (san) mon and ornamental tehen-kanemono. GC

A WWI period French Adrian pattern steel helmet, grenade badge with "RF" on ball, leather liner. Basically GC (some wear and rust)

An unusual WWII steel helmet, with turned over edge to rim, painted black, with liner and chinstrap. GC (some surface wear and rust).

A Cromwellian trooper's lobster tail helmet, the skull formed in two parts, the hinged visor having triple bar guard, and with one piece simulated "lobster tail" and single ear flap. GC (the visor slightly dented).

A post 1911 officer's blue cloth spiked helmet of Alexandra, Princess of Wales's Own (Yorkshire Regiment), with peak binding, velvet backed chinchain and ear rosettes, top mount and spike, HP with title scrolls (KK236), leather and silk headband, lining with logo "Best London Manufacture", GC retaining original gilt (needs careful cleaning); and a tin for blue cloth helmet with brass label "C. Clarke Esq. 1st V.B. Yorks Regt". GC

A Persian steel helmet kulah khud. Qjar dynasty, the bowl etched overall with scenes of the hunt involving mounted horsemen with bows, swords and a spear, together with assorted prey, adjustable nasal bar, square section top spike, a pair of plume sockets and a camail of butted links (minor damage). GC (some age wear).

The skull of a 1916 pattern German steel helmet, the inner rim stamped with "K64" size code, repainted with dazzle camouflage and with later replacement liner. Basically GC (has been pitted overall)

An Imperial German officer's sword, blade 34" etched with foliage, weapons, classical figures, lion mask and Imperial eagle, the brass stirrup hilt embossed with crossed cannon, classical helmet and trophies on the knucklebow, crossed swords and vacant shield on the langets, and lion mask pommel and quillon terminal, with wire bound sharkskin covered grip, in its steel scabbard with brass ring mounts and traces of nickel plating. GC (some light age wear overall). Plate 9

A WWII French tank corps helmet, padded brow protector, webbing and leather liner and chinstrap, painted maker's logo of "Franck" etc (unclear). GC

A Third Reich Fire Service double decal steel helmet, the black skull having ventilation holes, aluminium comb, police and party shield decals (the latter worn), and enamelled shield badge to the front with oak leaves and "Sommerein a.L." with leather liner, top pad, Y shaped chin strap, and leather neck guard. GC (some light wear).

An East German parachutists helmet, olive green finish with matching leather ear flaps and chinstrap, buff leather liner, with detached camouflage netting. Near VGC

A PAIR OF SILVER MOUNTED PERFUME AND SCENT BOTTLES a condiment set and stand in the form of a fireman's helmet, accompanying condiment pots with blue glass liners, silver purse etc (a quantity)

C19th Victorian Lead Garden Figurine, Cupid with bow & arrow wearing winged helmet, on rocky base, approx. 22" H CONDITION REPORT Good patina

Eight section cork Police Helmet with Avon and Somerset enamel badge

A Maruman electric table gas lighter and a helmet shaped table lighter

A 19th Century copper coal helmet

Packet of Speedway Programmes 1940's Norwich x 7 1950's Norwich x 5 Golden Helmet Norwich x 6 Wimbledon x 1 Semi Final Norwich 1950's x 1 Various others

THIRD REICH MEDAL FOR THE 1941/42 WINTER BATTLE IN THE EAST, the obverse moulded with helmet, telescope, spread wing eagle, swastika and oak leaves, the reverse inscribed ‘Winterslacht Imosten 1941/42, with ribbon

GERMAN WWII TIN HELMET, with leather interior

A miniature copper divers helmet

A Philips Discoverer Television in The 1970' Manner, shaped as a space helmet in red and black, plus remote controls.

GEORGE III SILVER HELMET SHAPED CREAM JUG & LATER SILVER TODDY LADLE ETC, the cream jug with engraved decoration and monogram in cartouche, London 1796, 3.9ozs, the ladle 'H P' circa 1808 (hallmark rubbed) mark for Peter Bateman, together with pair of footed silver salts having Bristol blue glass liners

VARIOUS METALWARE to include copper and brass handled helmet, coal scuttle, brass-style footman, candlesticks, copper bowl ETC

A VINTAGE BRASS COMPANION SET, postal scales, portal brass style clock and a vintage brown leather flying helmetno labels on the flying helmet

Two George V silver cream-jugs, one by James Dixon and Sons, Sheffield, 1910, the other by G. Bryan and Co., Birmingham, 1933, each helmet-shaped on on stepped square foot, the other on circular foot, 15.5cm high and smaller, 8.7ozt (2)

A collection of silver, comprising: a pair of salt-cellars, by Martin and Hall, Sheffield, 1899; a sugar-bowl on three feet, Birmingham, 1938; a small sauceboat, London, 1897; a cream-jug with fluted lower body, Birmingham, 1901 and two helmet-shaped cream-jugs, Birmingham, 1906 and 1913, 12.3ozt (7)

19th century helmet shaped coal bucket with cast iron swing handle and applied decoration Condition reports are not available for the Interiors Sales.

Victorian copper coal helmet, two slate cased clocks and two others Condition reports are not available for the Interiors Sales.

A Firemans helmet (dated 1986) with a painted ammo can and contents including cloth helmet etc

A German Third Reich era Luftschutz Civil Defence helmet (liner as found)

A WWII tin helmet (dated 1939) with original paint and Police insignia

A vintage helmet tin (J Haslett Woolwich)

A Cromwellian style lobster tail helmet, possibly a Victorian example

A Carlsberg Viking helmet glass bowl