Antique Arms & Militaria
A Superb Ancient Chinese Warring States Period 480-222bc Gold & Bronze Chariot Crossbow Mount in Gold with Tiger Head Finial
Being bronze overlaid with gold, with a stunning tiger head finial, this is not the crossbow fitting of a mere officer, but likely of a young Chinese prince, or certainly a very high ranking noble in the chariot ranks of an army.
The history of the chariot and the development of the crossbow in ancient China are interrelated. The chariot is considered the world’s first war machine. As early as the Warring States period, the Chinese attempted to mount the crossbow on the chariot like a machine gun on a modern scout car. Excavation of ancient Chinese chariots has confirmed the descriptions of them in the earliest historical texts.
For the ancient Chinese philosopher, the chariot was the supreme symbol of success. It’s light weight and speed remained the wonder of ancient China. The effective commander was compared to the crossbow. Sun Tsu, in The Art of War, argued that the momentum of one really skilled in war is irresistible, because his overwhelming attack is precisely determined. His ability to strike exactly when required resembles a drawn crossbow, for he is quick as the release of the trigger.
The most significant advantage of the crossbow over the composite bow was the longer range. To be a cross bowman was an important military position in the Han period. However, it was not unusual for captive crossbowmen to be executed upon capture by the opposing army, such was the dread of the weapon and its power.
This exceptional example contains the decorative elements of a status symbol as well as the strength to be used as a deadly tool of war. The sensuous curves of the gilded handle taper into stylized dragon finials that were used to hold the taut bowstring in place. In our opinion, the style, craftsmanship and subject matter of this of gilded bronze crossbow handle indicate a Warring States dynastic date.
Fittings of this type have been excavated in pairs in association with chariots, and their function has long been a research topic of scholars. A pair of silver-inlaid bronze crossbow fittings were discovered from a Warring States tomb in Luoyang, Henan province, published in Luoyang Museum, 'The Chariot Pit Found at Chung-chou-lu', Kaogu , no . 3, 1974, p. 174, fig. 1. According to the archeological report, this pair of fittings were unearthed in front of the wooden shaft of a crossbow, near the left side of a chariot. Based on this finding, the report theorized that they were fitted to the front of a crossbow shaft to support the bow, and the upcurved terminals were meant to be the aiming mechanism. See a reconstruction drawing illustrated in Luoyang Museum, ibid., p. 177, fig. 7.
Other scholars have developed a different theory and propose that these fittings in fact functioned as crossbow supports on a chariot. Both fittings were attached horizontally to the front left panel of a chariot, adjacent to the occupants. The crossbow was placed facing down, with its bow resting on the curved shafts and its handle positioned obliquely upward, ready at hand for a quick draw.
The present fitting is notable for its bird-head terminal, which appears to be rare among extant examples. Related examples include: a silver-inlaid crossbow fitting, also with a bird-head terminal, in the Avery Brundage Collection, published in René-Yvon Lefebvre d'Argencé, Ancient Chinese Bronzes in the Avery Brundage Collection , Berkeley, 1966, pl. XLIX, fig. B. Compare also a pair of gold and silver-inlaid crossbow fittings, with a serpent-head terminal, included in the exhibition Chinese Art of the Warring States Period. Change and Continuity, 480-222 BC , Freer Gallery of Art, Washington, DC, 1982, cat. no. 26; another pair published in Chinese Gold und Silver. Die Sammling Pierre Uldry, Rietberg Museum, Zürich, 1994, cat. no. 28a; a single fitting from the Ernest Erickson Foundation, read more
895.00 GBP
A Most Rare Bronze Age 'Celtic' Ring Dagger Knife Around 2500 Years Old. In Superb Excavated Condition.
A mid-European cast bronze knife. The blade is formed as a curved casting, thickening towards the outside of the curve, and with an edge to the inside. The handle has a depression on each side with a ring pommel typical of the ancient celts. It is particularly rare in that most Celtic ring knives found in the past 250 years have been Iron Age examples, certainly the ones we have had in the past 30 years have been so, thus this being bronze, although made in the Iron Age, makes it a most scarce knife.
From a collection of antiquities, swords daggers, and rings, that arrived , many pieces sold for the part benefit of the Westminster Abbey fund, and the Metropolitan Museum fund
the ancient Celtic tribes are far too often overlooked in favour of Romans and Vikings and Anglo-Saxons, their stories stripped away to Boudicca, the Iceni and failed revolt.
Yet the reality was rather more complex, with the ultimately victorious Romans deliberately misrepresenting the Celts as noble savages in order to provide a contrast with “the idea of Rome as a disciplined, ordered, civilising presence”. History might well be written by the victors
The Romans seem to have used the term “Celt” very similarly to how the Greeks used it. They applied the term to a large collection of tribes covering huge portions of western Europe. All the Gallic tribes — the tribes of Gaul — were called Celts by the Romans. We clearly see this in Julius Caesar’s De Bello Gallico (1.1):
“All Gaul is divided into three parts, one of which the Belgae inhabit, the Aquitani another, those who in their own language are called Celts, in ours Gauls, the third.”
But beyond just using the term “Celts” to refer to the Gallic tribes, other Roman writings show that they also used the term to refer to some of the inhabitants of Iberia. For example, Strabo (3.4.5) refers to Celts in that region who became the Celtiberians and the Berones. Many other tribes in Iberia were also considered to be Celtic. In other words, we see that the Romans considered the Celts to cover several large portions of Western Europe. This is consistent with Greek description of the Celts being the single most notable people to the west.
It is important to note that the material culture of the Celtiberians was very different from the material culture of the Gallic Celts. This being so, it is evident that archaeology cannot determine which nation was or was not Celtic. It is evidently not the style of artwork or design of houses or type of pottery that determines whether one is or is not a Celt. Regarding genetics, there does not appear to be any evidence of large-scale migration from Gaul to Iberia. Yet, that does not stop the Celts of Iberia from being considered Celts, either in ancient or modern sources.
On the other hand, the genetics of the population of England is known to be primarily made up of genes from the pre-Saxon inhabitants. Yet despite that, no one would call the English a “Brythonic” nation. So it does not seem very useful to use genetics as the main criterion for determining whether a nation was or was not Celtic.
Therefore, using language as the main basis for determining that ancient populations of Europe does seem to be the most useful method, even if it is not perfect. On this basis, it is very reasonable indeed to refer to the Britons as “Celts”.
Part of the proceeds of this piece were to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
Overall 11 inches long, blade 6 3/4 inches read more
875.00 GBP
Another Fabulous Christmas Gift Idea. A Superb Pair of Regency Silhouette Portraits of a Scottish Lady and Gentleman, Possibly by George Atkins
Circa 1815 to 1830 British School. The gentleman is holding his fouling piece, and wearing a kilt. The lady is holding what appears to be her prayer book. Both silhouettes are hand cut black paper aplied to an off-white card backing, emphasized with gold shadow highlights. Original Regency rosewood frames. A silhouette is the image of a person, animal, object or scene represented as a solid shape of a single colour, usually black, with its edges matching the outline of the subject. The interior of a silhouette is featureless, and the silhouette is usually presented on a light background, usually white, or none at all. The more expensive versions could have a gold highlight such as these have. The silhouette differs from an outline, which depicts the edge of an object in a linear form, while a silhouette appears as a solid shape. Silhouette images may be created in any visual artistic media, but were first used to describe pieces of cut paper, which were then stuck to a backing in a contrasting colour, and often framed.
Cutting portraits, generally in profile, from black card became popular in the mid-18th century, though the term silhouette was seldom used until the early decades of the 19th century, and the tradition has continued under this name into the 21st century. They represented an effective alternative to the portrait miniature, and skilled specialist artists could cut a high-quality bust portrait, by far the most common style, in a matter of minutes, working purely by eye. Other artists, especially from about 1790, drew an outline on paper, then painted it in, which could be equally quick.
From its original graphic meaning, the term silhouette has been extended to describe the sight or representation of a person, object or scene that is backlit, and appears dark against a lighter background. Anything that appears this way, for example, a figure standing backlit in a doorway, may be described as "in silhouette". Because a silhouette emphasises the outline, the word has also been used in the fields of fashion and fitness to describe the shape of a person's body or the shape created by wearing clothing of a particular style or period. 10.5 x 12.5 inches framed. Picture in the gallery of a drawing a Silhouette by Johann Rudolph Schellenberg (1740?1806). Light staining to the gentlemans white backing paper. read more
595.00 GBP
What a Superb Antique Christmas Gift Idea. A Pair of Simply Delightful Original Victorian Royal Mail Coaching Prints in Fine Rosewood Veneer Frames
With their original and super old retailer's labels of the most distinguished Arthur Ackerman Gallery of Fine Arts, 191 Regent St. London, W. A charming pair of original Victorian coloured prints in fine quality frames. 6.75 inches x 8.75 inches framed In the 18th century travel was hazardous to all. Highwaymen stalked the roads and those leading into London were said to be ‘infested’ with robbers. Romantic tales of masked, gallant gentleman were far from the truth: highwaymen were ruthless and deadly.
On 4 December 1775, a Norwich stagecoach was attacked by a gang of seven highwaymen. The guard shot three robbers before being killed and the coach robbed. Richard ‘Dick’ Turpin, a famous highwayman of the time, was known to torture his victims and would even kill one of his companions to aid his own escape.
‘… recommending the Guarding of all the Horse Mails, as a measure of national importance to which the Public in some degree conceived themselves entitled…’
Francis Freeling, Resident Surveyor, 14th March 1796
A plan was written to guard all horse mails, which included the arming of all guards. In doing so the Post Office would not only secure the vast property conveyed by horse, but also save the expenses incurred in prosecuting a robber. Furthermore, it would maintain regularity of service and eliminate what was seen as a disgrace to both the Office and to the nation.
Surveyors observed that the revenue lost to robbery was twice the sum it would cost to guard the mail: it was the obvious choice. In 1784, John Palmer introduced the first mail coach from Bristol to London. This faster and well-armed postal service proved to be a great deterrent to robbers, as they risked being shot or, if caught, tried and hanged. The first recorded robbery of a mail coach did not occur until 25 July 1786.
A letter to joint Postmaster Generals asking for the establishment of a regional mail coach was signed by over 100 people, whose businesses had been damaged due to the frequency of robberies. Mail coaches were a better way of securing the post’s safe passage, though there are a few recorded instances of attempted robberies even of them.
In January 1816, an Enniskillen coach was attacked and robbed by a gang of 14 men who had barricaded the road. The guards fired off all of their ammunition but the mail bags and weapons were all stolen. the Mail Guard was issued with a a pair of flintlock pistols read more
375.00 GBP
A Very Good Victorian 19th Century Royal Artillery Officer's Pouch
Patent leather with gilt badge of an artillery cannon. A cross belt is two connected straps worn across the body to distribute the weight of loads, carried at the hip, across the shoulders and trunk. It is similar to two shoulder belts joined with a single buckle at the center of the chest. The cross belt was predominantly used from the 1700s (American Revolutionary War) to the 1840s they were not part of a soldier's equipment in the American Civil War and Anglo-Zulu War/First Boer War.
For most line infantry, skirmishers, light infantry, grenadiers and guard regiments during much of Europe's Age of Gunpowder, either a cross belt or two shoulder belts were worn.citation needed One configuration for the belts would be the cartridge box on the right hip and sword scabbard on the left. Such equipment would be attached to the belt at its lowest point, where it rests on the hip. Officers almost never carried muskets or rifles, so they typically wore only one shoulder belt, such as for the pistol cartridge box or for a sabre scabbard. As officers were often aristocratic and used many independent symbols for their family, rank, and command, their uniforms and gear organisation could be highly variable.
For British infantry, the cross belt had a metal belt plate with the regiment of the soldier inscribed on it read more
245.00 GBP
A Superb 'Valet de Pied a la Maison' Footman's Livery Frock Coat, in Dark Blue Velvet, Silk Damask, Silver Bullion and Fine Lace, With Handmade Cut-Steel Marquesite Buttonning
Such beautiful examples of the finest and elaborate clothing is considered very much a fabulous piece of object d'art, with museum collections displaying many such surviving pieces of now long gone finery with much attention to the their fine detail, their craftsmanship, tailoring and beauty. In stunning condition. Any well considered location for such a stunning piece could only be improved by such an admirable piece. A 19th century form footman’s livery frock coat, the dark blue velvet coat with five pairs of re-made 2” wide silver braided bands to front and similar double braided bands to flared pointed cuffs, reverse of coat pleated and cut to waist with banded tie and two large, pierced, cut handmade steel marquesite buttons. Black bow at rear of neck, collar and cuffs have finely worked white lace with matching cravat. The fine quality burgundy coloured damask waistcoat with floral and foliate worked decoration and six 1” wide braided silver bands en suite with coat. A false pocket flap on each side similarly trimmed with braid. Six dark metal waistcoat buttons of floral openwork design have star marquesite button centres. The whole in very good condition due to perfect storage. Male servants were paid more than female servants (because they were expected to support a wife and children) and footmen were something of a luxury and therefore a status symbol even among the servant-employing classes. They performed a less essential role than the cook, maid or even butler, and were part only of the grandest households. Since a footman was for show as much as for use, a tall footman was more highly prized than a short one, and good looks, including well-turned legs, which were shown off by the traditional footman's dress of stockings worn below knee breeches, were an advantage. Footmen were expected to be unmarried and tended to be relatively young; they might, however, progress to other posts, notably that of butler. One 19th-century footman, William Tayler, kept a diary which has been published. He was, in fact, married; but kept his marriage secret from his employers and visited his family only on his days off.
Once a commonly employed servant in great houses, footmen became much rarer after World War I as fewer households could by then afford retinues of servants and retainers. The position is now virtually a historic one although servants with this designation are still employed in the British Royal Household, wearing a distinctive scarlet livery on state occasions.The first footman was the designation given to the highest-ranking servant of this class in a given household. The first footman would serve as deputy butler and act as butler in the latter's absence, although some larger houses also had an under-butler above the first footman.
In a larger household, various footmen might be assigned specific duties (for which there might be a traditional sequence), such as the silver specialist. Usually the footmen performed a range of duties which included serving meals, opening and closing doors, carrying heavy items, or moving furniture for the housemaid to clean behind. The footmen might also double as valets, especially for visiting guests. As with all 19th century form clothing it is a small size. read more
1475.00 GBP
A Beautiful & Incredibly Impressive Original Antique Omani Silver Al Saidi 'Royal' Khanjar, Just The Type As Was Presented To The Famed Lawrence of Arabia Over 100 Years Ago
A rare and complete example of an Omani Sa'idiyyah khanjar, a Royal Khanjar with the distinctive ‘7 Rings’ to denote its owner is a person of high status, comprising of an all silver scabbard and hilt. Decorated in intricate silver filigree wirework with a pattern similar to the 'tree of life'.
Also known as the Jambiya, daggers of this quality were almost always usually custom made for presentation. Lawrence of Arabia had several very similar ones presented to him, they were his favourite dagger, and he was frequently photographed wearing them. One picture is a portrait of Lawrence with his silver Jambiya, near identical to this one. Information only not included Silver, usually more often than not, coin silver, not English hallmarked silver. The jambia, a curved Islamic dagger, is the main customary accessory to the clothing worn by Arabian men. For centuries the people of South Arabia have inherited the their jambiahs from generation to generation. There are several theories about the origin of the Jambia. There are historical facts, concerning the existence of the Jambia revealing that it used to be worn at Sheban times, in the Himiarite kingdom. They take the statue of the Sheban king (Madi Karb 500 bc ) as proof. This statue, which was discovered by an American mission in Marib in the 1950s, was found to be wearing a Jambia.
Since The most expensive and famous jambiya was purchased by Sheikh Naji Bin Abdul-Aziz Al-Sha'if, who was able to pay US $1 million for one prized and ancient piece. This jambiah had a historical importance, belonging to Imam Ahmed Hamid Al-Din, who ruled Yemen from 1948 to 1962. The Imam's most precious possession was transferred to Sheikh Hussein Al-Watari, who in turn sold it to Sheikh Al-Sha'if.
According to Sheikh Muhammad Naji, the son of current owner of the most precious jambiah, his father?s prize is the most expensive and famous one in the country. Its cost was made so high because it is one of the best jambiahs ever made by Al-Saifani, and a piece of history, as well.
The second highest price ever paid for a jambiah was for the one that Sheikh Ahmed Hamid Al-Habari sold to Sheikh Abdullah Bin Hussein Al-Ahmar for £440,000 GBP.
A picture in tha gallery from the 1950's shows a khanjar being given to a British member (Colonel Watson) of the Trucial Oman Levies
for reference see
Ernst Hieke; Zur Geschichte des Deutschen Handels Mit Oastafrika Teil, 1 Wm Oswald & Co, page 40 1939
Robert Elgood; The Arms and armour of Arabia
Approx 27 cm top to bottom read more
750.00 GBP
A fabulous Chinese Export Chinoisserie Black Lacquer and Gold Large Tea Caddy Chest of the Finest Quality, King George IIIrd, circa 1800's from the Estate of a 23rd Foot, Royal Welsh Fusiliers Peninsular War and Waterloo Officer George Fielding
An antique finest quality Chinese export hand gilded Chinoiserie tea chest caddy with hinged lid, and interior lidded pewter container, for the most precious tea, and made for the European market. Possibly made in Foo Chow.
Not only is the exterior stunningly decorated in the Chinoiserie style, the interior pewter container’s lid is exquisitely engraved to match, with another fabulous and highly elaborate oriental scene of figures and countryside. The lacquer shows scenes of a typical Southern Chinese scholar's garden with people in it, all done in black and gold. Surrounding these scenes are typical Chinese decorative motifs incorporating several auspicious symbols..
This is a superlative tea chest, and note that its exceptional size makes it a most rare type of tea 'chest' size caddy. It is hand crafted with hand painted chinoiserie gilt and ebonized black lacquer. It is painted on all sides with multiple figures, pagoda and palace gardens, with additional geometric and floral designs. It retains its original hand engraved pewter lidded tea casket; It has 2 carrying handles on the sides. It also has most satisfying heft in its weight. The lid’s gilding is worn as to be expected, but all the remaining 4 faces are in excellent near mint condition, as is the interior and the tea casket. The inner lid area contains the monogram of George Fielding, ‘G F’, a British army officer and a Peninsular War and Waterloo veteran, for whom it was commissioned. Captain George Fielding, of the 23rd Regiment of Foot, the Royal Welsh Fusiliers, was a veteran of the Battle of Waterloo who was wounded at the battle, and who resided at Startforth Hall, Startforth, County Durham.
Captain Fielding served in the Peninsular War from Aug 1811 to April 1814, at Aldea de Ponte, Badajoz, Cuidad Rodrigo, Nive, Toulouse, & Orthez. He died in Bath in 1830.
Chinoiserie, so called from 'Chinois' the French for Chinese, was a style inspired by the finest art and design imported from China, Japan and other Asian countries in the 18th century. At its height in Britain from the mid 18th century, this fanciful style relied more on the designer's and craftsman's imagination than on accurately portraying oriental motifs and ornament.
In it earliest days the tea it contained would have been valued by today’s standard thousands of pounds so one can understand why its container should be so fine and a superb work of art in it’s own right. In England in the 1700s, tea was an incredibly expensive commodity. To keep it safe, people would store it in a tea Chest or tea box, which eventually became known as a tea caddy (the word caddy is derived from the Malay "Kati", a unit of weight by which tea was sold). As tea was too expensive to risk leaving in the presence of servants, the caddy in which it was stored would generally be kept in the drawing-room. Subsequently, the tea caddy became an important & fashionable accessory for the home. Tea Caddies were made in a huge variety of styles and materials..
In the manufacture of lacquer-ware the lightest kinds of wood are used. After planing, the surface is covered with a coating of grasscloth fibre and Broussonetia paper, and a mixture of pigs' or buffaloes' gall and pulverised old red sandstone serves as a priming. The article is then placed in a dark room, and a coating of the prepared lacquer laid on with a brush and allowed to dry; and according to the fineness of the ware these coatings are repeated from 3 to 15 times. When the hut coat is dry the articles are painted and gilded. The lacquer, sap of the Vemix vemieiaf used in Canton, is imported from Szechuen or Kiangsi. The gold colouring (a solution of gold leaf in glue water) is laid on with lye of potash ; red is native cinnabar, pink a varnish prepared from Carthamus and green is formed by a mixture of hartall and indigo. Nearly all the lacquer-ware is manufactured in Canton, but magnificent specimens, far exceeding the Canton ware in beauty, colour and fineness are turned out at Foochow. They are made by a single family, said to be of Japanese origin, who brought the secret over with them and have retained it ever since.
From: Catalogue of the Chinese Imperial Maritime Customs Collection
at the United States International Exhibition, Philadelphia, 1876
Inspectorate General of Customs, 1876
13.5 inches x 9.75 inches x 8 inches read more
2150.00 GBP
A 19th Century English Boxlock Pistol By Smith of London
Circa 1830. Boxlock pistols were pocket pistols popular in the late 1700s and early 1800s. Effectively the first Derringers. The most unique feature of their design was the boxlock mechanism. Unlike most firearms which have the hammer located off to the side of the pistol, a boxlock pistol had the hammer located directly on top of the pistol. They were called a boxlocks because all of the working mechanisms for the hammer and the trigger was located in a box or receiver directly below the top mounted hammer. While the hammer obstructed the aim of the user, this system had the advantage of making the gun more compact and concealable than other pistols. The first boxlock pistols were flintlock and where later made in percussion lock. Unlike modern firearms, these pistols were not mass produced, but were hand made in gunsmith's workshops. As with all our antique guns no license is required as they are all unrestricted antique collectables read more
325.00 GBP