Discover a wide range of WWII model figures and miniatures from multiple makers. From Allied paratroopers to Axis tank crews, these hand-crafted pieces let collectors and history enthusiasts recreate the battles and stories of the Second World War.
The distinctive helmet and camouflage smock carry the airborne identity. By 1944, however, that identity did not mean the soldier was about to jump: German paratroopers were also fighting prolonged ground battles.
The leather jacket gives this captain a very different appearance from a marching infantryman. It also opens a revealing question about French armour in 1940: how much work could one commander be expected to do inside a tank?
The dark coat and sailor’s cap make this a naval subject at once. They do not, however, identify a submarine crewman. Del Prado’s sailor is a chance to widen the naval story beyond the U-boats that dominate so many accounts.
A tank formation is easy to reduce to its vehicles. This Del Prado sergeant brings the scale back to a person—and requires one important identification: the subject is the American 2nd Armored Division, not the French 2e Division Blindée.
Black clothing and a skull badge can lead to a hurried identification. This Del Prado figure is a German Army Panzer officer; the uniform needs to be read as a combination of details, rather than through one symbol alone.
There is no horse, but the cavalry identity still matters. Del Prado’s Hungarian major brings a distinct national uniform into a collection that can otherwise make the Eastern Front look exclusively German and Soviet.
The blue jacket and pale trousers are the first clues: this is an air-force officer, not a generic Free French army commander. His subject connects the collection to the French squadrons that fought within a much larger Allied air organisation.
The pith helmet promises a desert campaign; the date supplies the more interesting story. This Del Prado infantryman belongs to the year when Tobruk held out, forcing the war in North Africa to revolve around a stubbornly defended port.
The photograph shows a flag above the Reichstag. The city beneath it is the harder subject. By the time Yevgeny Khaldei arranged his famous image on 2 May 1945, Berlin had endured bombing, encirclement and fighting through its streets. The photograph gives the ending a single gesture. The battle had given the people inside it thousands of smaller, less conclusive moments.
On 23 February 1945, while a flag was being raised on Mount Suribachi, Hershel “Woody” Williams was working towards Japanese pillboxes with a flamethrower. The photograph on the summit would become the island’s enduring image. Williams’s task belonged to the other Iwo Jima: the close, dangerous work that continued beyond the reach of that picture.
