Whilst looking through the piles of surplus ‘kit’ in my friends warehouse in Germany I came across an interesting find, an Explosive Ordnance Disposal (EOD) training kit that has several examples of WWII and after ordnance that might be found on training grounds and former battlefields throughout Europe.
One of the elements from that training kit was a PIAT or Projector, Infantry, Anti-Tank, round. Many of these have been found across northwest Europe since the end of WWII and it was important for EOD teams to be able to identify them and understand how they work in order to safely dispose of them.
This time we examine an example of the Mk3 PIAT Bomb.
There were 7 marks of PIAT bomb:
MkI yellow/green/yellow band 808 stamped on green band, red x’s around nose cone
Mk2 as above
Mk3 yellow/blue/yellow band TNT stamped on blue band, red circle around nose cone
Mk4 as above
Inert bomb black with yellow band INERT in white
Drill bomb black with DRILL in white x 2
Practice bomb – to fit the practice insert tray, painted white and it looks nothing at all like a PIAT bomb!
Our inert bomb isn’t painted black, instead it is painted up as a Mk3 to emulate what a live blind found in the field would look like.
Here’s an extract from the PIAT’s manual explaining how the fuze was fitted to a live round:
From the PIAT manual: The fuze. – Until required for use the fuze is kept in a container attached to the drum tail by a spring clip….
ii. To fuze. – Remove the fuze container from the drum tail and take out the fuze. Remove the thimble from the bomb nose by pressing it downwards and turning it clockwise. Remove the transit plug from the fuze chamber and insert the fuze flat end first. Replace the thimble. The transit plug should be placed in the fuze container and the latter put in the carrier, in case the bomb should later have to be unfuzed.
In his first video with TAB Jack takes a look at en bloc clips, specifically double stack en blocs. Using examples from his impressive collection he discusses how en bloc clips work and takes us through their pros and cons.
He examines the ubiquitous 8-round en bloc used by the M1 Garand as well as the much rarer 10-round clip for John Pedersen’s PA rifle which was chambered in his .276 round. Finally, Jack treats us to a look at a PTRS-41 anti-tank rifle en bloc clip which holds five massive rounds of 14.5x115mm.
Huge thanks to Jack for putting this video together for us, we’re really excited to have videos from him and we’re looking forward to more from him in the future! In the mean time you can find Jack’s project Cartridge Gram over on Instagram and on Facebook. He has a wealth of great photos and information on ammunition.
The 1890s were one of John Browning’s most prolific periods, during which he developed a host of firearms which would never actually see production. Here, we’re lucky enough to be able to examine one of those prototypes that were never produced. Dating from 1892, this rifle departs from Browning’s earlier lever-action rifle designs in a number of interesting ways. Perhaps the most interesting aspect of the design is its use of en bloc clips, instead of the tube magazine traditionally used by Winchester’s repeating rifles. John Browning, and his brother Matthew, filed the patent covering the design in June 1892.
The rifle is in what is typically referred to at the time as a ‘Musket’ configuration, signifying that it is a military long-arm. It has a long 32.5 inch barrel, which is held in place by two barrel bands. Overall the rifle is around 50 inches in length and weighs just over 9lbs. The rifle is chambered in a .30 calibre cartridge, likely the then new .30-40 Krag round given its proposed market. It has a ladder-style rear sight with range graduations from 100 to 1,000 yards.
Okay, let’s take a closer look at the prototype. During the 1890s Browning experimented with a series of magazine systems including an en-bloc clip system. This rifle uses a 5-round magazine which is fed from an en-bloc clip. The idea of an en-bloc clip was relatively new with Ferdinand Mannlicher patenting the idea in the 1880s and using it in his Model 1886 and 1888 rifles. It is unclear if Browning was familiar with Mannlicher’s system but the two are very similar. If you’re unfamiliar with en bloc clips it means that the cartridges are loaded into the weapon in the clip rather than stripped from the clip.
Browning’s prototype holds five rounds in its clip, which from patent drawings we can see was not reversible. Sadly, we don’t have an example of Browning’s clip to examine but his 1892 patent (see above) gives us a good idea of what it would have looked like. It clearly has a cut at the top of the clip which appears to have been used to help guide the round up into the chamber.
Rounds were pushed up into the action by a follower arm which was actuated by a v-spring located at the front of the magazine housing. The bottom of the fixed magazine housing has a cut-out corresponding to the clip to allow it to fall or be pushed clear by a new clip once it was empty.
The rifle also departs from the traditional hammer system and uses a striker-fired action. From the patent drawings we can see how the rifle’s striker worked, with a coil spring extending into the stock and a sear holding the striker to the rear. The striker is made up of two pieces with the striker hitting a long firing pin inside the bolt.
The striker has, what the patent refers to as, a ‘thumb piece’ to enable re-cocking and to indicate if its cocked or not. The striker was cocked by the cycling of the lever and held in place by the trigger sear.
The lever was held in the close position, preventing out of battery discharges, by what Browning’s patent calls a downward-projecting dog, which projected through a small hole in the trigger assembly link and locked into a catch in the front of the lever loop.
The use of a striker, rather than an exposed hammer, allows the rifle bolt’s travel to be enclosed rather than have the bolt project out of the rear of the receiver, as in previous Winchester lever-actions, we can see that this rifle’s bolt slides back at an angle partially down into the wrist of the stock. This is arguably more ergonomic and potentially helps to prevent ingress of dirt.
The first half of the lever’s travel pulls the bolt to the rear, while the second part cocks the striker. An arm extending from the lever pushed the bolt rearward until the trigger sear was engaged. In order to give the lever enough throw to open the action far enough to allow a round to be loaded the trigger mechanism has to be pivoted out of the action, much like the earlier Winchester 1886.
The bolt has a pair of trunnions which project from the sides of the bolt, these run inside longitudinal grooves either side of the receiver, while the rear of the bolt is free to angle up and down as it cycles. The action is locked by the rear of the bolt secured against the rear of the receiver, rather than with a rising locking bolt.
During the period Browning was also working on other lever action and, even more unusual, so-called pull-apart actions as well as various magazine types including a revolving magazine, stripper-clip box magazines and of course as we’ve already seen a detachable box magazine-fed rifle. The 1890s were a truly prolific period for Browning.
The design was purchased by Winchester and the Brownings’ patent was granted in November 1892. The gun, like many of Browning’s other designs of the period, never saw production. Making this rifle a rare one-of-a-kind prototype. It’s an elegant design and the action is smooth. When Winchester did finally seek to produce a military lever-action they chose another of Browning’s designs which retained his traditional rear-locking bolt, which became the Model 1895.
I recently had the opportunity to visit the National Army Museum in London and check out their current exhibition, The Art of Persuasion, a look at the wartime work of graphic designer Abram Games. While you may not recognise the name you will probably recognise some of his impressive and striking posters.
Games’ work is instantly arresting with an eye-catching starkness which underlines the messages he sought to convey. In the video above I aim to give a feel for the exhibition and, if you are unfamiliar with him, a feel for Games’ work.
He joined the army in 1940 and began designing posters for both military and civilian audiences in 1941. Over the next 5 years he designed over 100 posters, some of which have become iconic.
Describing himself as a ‘graphic thinker’ Games used silhouettes and contrasting colour and vivid subjects. Largely self-taught Games was extremely passionate about his work and by November 1942 had been made ‘Official War Poster Artist’.
The exhibition not only displays his work but also explains how Games created his posters, often working from models or taking photographs of soldiers training. Some posters have his original sketches displayed next to them to show how the concepts evolved.
His posters encouraged young women to join the ATS, soldiers to volunteer for the Commandos and civilians to support the war effort. In addition to posters for the War Office, some of his most recognisable work, including the ‘Your Britain, Fight For It Now’ posters were designed for the Army Bureau of Current Affairs in an effort to raise morale and promote the idea of post war reform and progress. He also designed a series of powerful, striking posters for appeals to aid Europe’s Jews, a cause he was deeply connected to as a Jew. Games was demobilised in 1945 and enjoyed a long, successful civilian career, he died in 1996.
The National Army Museum’s exhibition works hard to give a feel for not just the work but also the man and his motivations. Games’ wartime posters are extremely, unsurprising when most were covered or torn down after a few months, so it was a rare treat to see them in person, up close you get a sense of what it would have been like to see one on a barrack wall or a billboard 75 years ago. The exhibition also had some interesting interactive elements with a touch screen allowing visitors to create their own Games-style posters and also another screen with video interviews with Games’ daughter and people who knew him talking about his work.
Games’ work are not just pieces of art but also important historical objects that can help us understand what the war was like and what motivated people to fight.
Find out more about the exhibition on the National Army Museum’s website, here.
We’re proud to present our very first bayonet-centric episode. Vic takes a look at a bayonet for a Sudanese contract AR-10 as part of his ongoing Surplus Zone series. While a rather rare bayonet this example has some interesting features.
In 1958 the Sudanese Military contracted with Samuel Cummings company Interarmco, to supply 2,508 AR-10 Battle Rifles. 2,500 standard rifles and 8 adapted to mount optical sights as sniper rifles.
One of the requirements for the Sudanese rifles were that they were to be able to mount bayonets, something the AR-10 did not have a capability to do in its then current form. This inability to mount a bayonet was overcome by a rather simple and ingenious addition to the rifle. A cast and machined sleeve was fitted over the barrel between front sight base/gas block and the flash hider. This was pinned to the barrel just forward of the front sight base/gas block. It had machined into the underside of the bayonet adaptor a longitudinal rail to which the bayonet could be attached. This is the same interface as seen on WWII German issued Kar98K rifles, the significance of which will become clear!
It is uncertain why Interarmco chose the design of bayonet which they did. It would have been quite an expensive and complex one to manufacture but it is obvious that it is based upon the late WWII SG-42 bayonet come utility/fighting knife. The Sudanese contract AR-10 bayonet has a more symmetrical blade than that of the SG-42 and has no ‘blood groove’ (properly known as a fuller) which hints at the fact that it is seen more of a utility knife than as a ‘cut and thrust’ fighting knife/bayonet.
It has been established that the SG-42 was manufactured by Waffenfabrik Carl Eickhorn in Solingen, Germany (determined by its cof marking / WaA19 inspection code), whereas the toolkit was made by Robert Klaas of Solingen (inspection code: ltk). Inside the bayonet’s grip are a number of tools which detach from the grip and can be used for rifle maintenance. The tools also include a bottle opener and a corkscrew. Inside the toolkit stored in the bayonet’s grip are a number of tools which detach from the grip and can be used for rifle maintenance. The tools also include a bottle opener and a corkscrew.
In regard to the AR-10 Sudanese bayonet, the Eickhorn company does not deny being the manufacturer of the Sudanese contract bayonet, they simply cannot confirm that they were the maker, since all relevant factory records have been lost!
In the Dutch AR-10 archives, Interarmco (i.e. Samuel Cummings) does not disclose the name of the manufacturer, but refers only (in the pertinent correspondence with A.I.) to “the Solingen manufacturer” of this knife-bayonet for the Sudanese contract.
Check out Vic’s earlier Surplus Zone videos hereand his special series on the AR-10 here.
Matt recently had the pleasure of attending the Autumn 2019 Soviet Threat event at the Hack Green Nuclear Bunker in Cheshire. One of the people Matt had the chance to speak to was Allen from the MECo group of collectors and reenactors.
Allen was portraying a member of the Royal Army Service Corps, with uniform representing that of 1964, the year before the corps became the the Royal Corps of Transport. Allen was kind enough to explain his uniform and kit on camera.
Check out our earlier video with Rifleman Moore discussing his 60s PARA portrayal here.
Matt had the pleasure of attending the Autumn 2019 Soviet Threat event at Hack Green Nuclear Bunker in Cheshire at the weekend and spoke to many of the reenactors and collectors attending the event. Check out our earlier video about the event here.
One of the people Matt had the chance to speak to was Simon of the Rifleman Moore YouTube channel. Simon is a collector of uniforms and kit and part of the MECo group of collectors and reenactors. Simon was kind enough to film a quick video with Matt and discus his kit.
At Soviet Threat he was portraying a member of the British Army’s PARA’s as they would have been dressed and equipped circa 1964 – twenty years on from Operation Market Garden, which took place 75 years ago this year.
Here’s a closer look at the deactivated L1A1 Self-loading Rifle Simon completed his portrayal of a period PARA with.
The rifle was an Royal Small Arms Factory Enfield-production L1A1, inch pattern semi-automatic adaptation of the FN FAL, manufactured in 1958, as attested to by it’s UE58 prefixed serial number.
Many thanks to Simon for taking the time to speak to us and run through his uniform and kit. Check out his channel here.