A Magnificent Tower of London Armoury 1801 Pattern 'Battle of Trafalgar 1805 Issue' Royal Navy, British Sea Service Pistol From Admiral Lord Nelson's Navy. Long 12 inch Barrel

This one has now been sold, as was our other 1805 dated example just last week.

However, we have another that will be arriving next week, one might say, somewhat akin to the ending of old English ditty about London busses, that they they often come in threes! It is a similarly very fine example indeed, profusely stamped, but possibly undated as it is yet to be closely examined. We also have an officially shortened nine inch barrel example arriving with it.

Probably one of the best complete and original examples of a Royal Navy Sea Service pistol that we ever have seen. Profusely struck with numerous ordnance and inspectors marks, clearly issue dated 1805 into the stock, with its original belt hook. Some hooks were removed in service, and we have another absolute beauty without the hook. {sn 25217}

Fantastic patina to the stock. The King George IIIrd issue British Royal Naval Sea Service pistol has always been the most desirable and valuable pistol sought by collectors, but this example, like our other 1805 sea service pistol, is truly exceptional.
Exactly as issued and used by all the British Ship's-of-the-Line, at the Battle of Trafalgar in 1805.
Such as;
HMS Victory,
HMS Temeraire,
HMS Dreadnought,
HMS Revenge,
HMS Agamemnon,
HMS Colossus
HMS Leviathan &
HMS Achilles.
Some of the most magnificent ships, manned by the finest crews, that have ever sailed the seven seas.

Battle of Trafalgar, (October 21, 1805), naval engagement of the Napoleonic Wars, which established British naval supremacy for more than 100 years; it was fought west of Cape Trafalgar, Spain, between Cádiz and the Strait of Gibraltar. A fleet of 33 ships (18 French and 15 Spanish) under Admiral Pierre de Villeneuve fought a British fleet of 27 ships under Admiral Horatio Nelson.

At the end of September 1805, Villeneuve had received orders to leave Cádiz and land troops at Naples to support the French campaign in southern Italy. On October 19–20 his fleet slipped out of Cádiz, hoping to get into the Mediterranean Sea without giving battle. Nelson caught him off Cape Trafalgar on October 21.

Villeneuve ordered his fleet to form a single line heading north, and Nelson ordered his fleet to form two squadrons and attack Villeneuve’s line from the west, at right angles. By noon the larger squadron, led by Admiral Cuthbert Collingwood in the Royal Sovereign, had engaged the rear (south) 16 ships of the French-Spanish line. At 11:50 AM Nelson, in the Victory, signaled his famous message: “England expects that every man will do his duty.” Then his squadron, with 12 ships, attacked the van and centre of Villeneuve’s line, which included Villeneuve in the Bucentaure. The majority of Nelson’s squadron broke through and shattered Villeneuve’s lines in the pell-mell battle. Six of the leading French and Spanish ships, under Admiral Pierre Dumanoir, were ignored in the first attack and about 3:30 PM were able to turn about to aid those behind. But Dumanoir’s weak counterattack failed and was driven off. Collingwood completed the destruction of the rear, and the battle ended about 5:00 PM. Villeneuve himself was captured, and his fleet lost 19 or 20 ships—which were surrendered to the British—and 14,000 men, of whom half were prisoners of war. Nelson was mortally wounded by a sniper, but when he died at 4:30 PM he was certain of his complete victory. About 1,500 British seamen were killed or wounded, but no British ships were lost. Trafalgar shattered forever Napoleon’s plans to invade England.

Obviously this arm has signs of combat use and the stock has minor dings. But when taken into consideration its service use, it is of little consequence compared to it's condition, which is truly exceptional, with, incredibly, absolutely not a trace of rust or corrosion on the more usually heavily pitted, steel, lock and barrel.

It still has it's original 12" barrel, which is very scarce as the barrels were shortened by official order, to 9", before the Napoleonic wars.  read more

Code: 25266

Was This Once The 2500 Year Old Sword of an Ancient Chinese King of Yue? One Of the Nine Kings of Yueh . It Is So Similar To The Sword of Goujian, King of Yueh, As to Be Remarkable

This fabulous treasure is so similar to another, that is now determined to have been made for one of the nine Kings of Yue, Goujian, discovered in a waterlogged tomb in the 1960's. Now known as 'The Sword of Goujian'. It has superbly chiselled or cast patterning at the forte of the blade that still contains some blue crystals and tortoise. Our sword has near identical stunning patterning {made by chiselling or casting} but our sword also has chiselling on the two grip rings and the pommel, that undoubtedly once contained the same crystals and turquoise inlays, but are no longer present.

With help from Wu's enemy Chu, Yue won after several decades of conflict. The famous Yue King Goujian destroyed and annexed Wu in 473 BC. During the reign of Wuqiang (無彊), six generations after Goujian, Yue was partitioned by Chu and Qi in 306 BC.
During its existence, Yue was famous for the quality of its metalworking, particularly its swords. Examples include the extremely well-preserved Swords of Goujian and Zhougou.

The King's Sword of Goujian still has, remarkably, all its original pure gold decor to the blade, ours has some remaining as well, but much less so.

The king's sword is also still amazingly sharp, just as is ours. The exquisitely forged blade was made primarily of copper, but the edges likely have a higher tin content, making them harder and able to keep a sharper edge.

The Sword of Goujian still has its bird-worm script in gold engraved upon the blade face, and that script has been translated and thus after extensive research, has determined its ownership by the king, Goujian, ours may have indeed had such script, some of which is visible, possibly naming another such king, but no longer.

The Goujian King's sword, currently in Hubei Museum, has a total length of 22 inches, with a 3.3-inch hilt. The exquisitely forged blade was made primarily of copper, but the edges have a higher tin content, making them harder and able to keep a sharper edge. Both sides of the blade are decorated with a repeating rhombi pattern, their dark lines standing out from the sword’s overall golden hue. The guard, meanwhile, is inlaid with blue crystals and turquoise.

On one side of the blade are eight characters engraved in what is known as bird-worm seal script. Six of these ancient characters have been deciphered. The script reads: “King of Yue” and “made this sword for his personal use.” The other two characters could not be identified, but analysts believe that they state the name of the aforementioned King of Yueh.

These intriguing details provoked much debate as to the owner of the sword. Nine kings had ruled Yue during the period attributed to the sword, making identifying one as the true owner no easy task. But after studying both the sword and the tomb for many months, archaeologists, historians and Chinese linguists came to a consensus: The sword belonged to Goujian, who ruled the Kingdom of Yueh from 496 to 465 BC.

The earliest swords in China date back to the Bronze Age, around 1600 BC. This was a critical period in the development of ancient Chinese civilization. It was during this time that metalworking techniques were first developed and applied to the creation of weapons, swords included.

The earliest known examples of hand-forged bronze swords date back to the Shang Dynasty, and they were primarily used for ceremonial and symbolic purposes, rarely seeing real combat. The very first variations were quite simple, featuring a straight blade, some of which were single-edged and others were double-edged, as well as no guard or handle.

It wasn’t until the rise of the Zhou Dynasty that swords started becoming a lot more intricate. The blades of these swords were typically quite heavy and were often decorated with intricate patterns and designs to symbolize the prestige of the owner. Swordsmiths also began implementing a guard to their designs, as a means of protection for the wielder’s hand.

Goujian (句踐) (reigned 496–465 BC) was the king of the Kingdom of Yue (越國, present-day northern Zhejiang) near the end of the Spring and Autumn period (春秋). He was the son of Marquis Yunchang.

Goujian's reign coincided with arguably the last major conflict of the Spring and Autumn period, the struggle between Wu and Yue, wherein he eventually led his state to victory, annexing the rival. As such, King Goujian is sometimes considered the last of the Five Hegemons.

The war between Wu and Yue comprised several separate phases. It began when a Yue princess, who was married to one of the princes of the neighboring state of Wu, left her husband and fled back to the State of Yue. This became the spark for the war to come. Also, as Yunchang developed Yue's strength, he came into conflict with King Helü of Wu, causing a feud between the two states.

Upon the death of Yunchang and the accession of Goujian, Helü seized the opportunity and launched an attack on Yue. At the Battle of Zuili (槜李之战), however, Yue defeated Wu, and King Helü was mortally wounded. Before his death, he instructed his son, the later King Fuchai of Wu, "Never forget Yue!" Yue would be defeated three years later by a resurgent Wu, and Goujian captured, to serve as Fuchai's servant for three years before he was eventually allowed to return to his native state.

Upon resuming his rule, King Goujian quickly appointed skilled politicians as advisors, such as Wen Zhong and Fan Li, to help build up the kingdom. During this time, his ministers also worked to weaken the State of Wu internally through bribes and diplomatic intrigue.

Whilst ruling his kingdom, Goujian never relished kingly riches, but instead ate food suited for peasants, as well as forcing himself to taste bile, in order to remember his humiliations while serving under the State of Wu. The second half of a Chinese idiom, wòxīn-chángdǎn (臥薪嚐膽, "sleeping on sticks and tasting gall"), refers to Goujian's perseverance.

After ten years of economic and political reforms, the last phase of the war began, by which time the State of Yue had come a long way from its previous defeat; as described in the Shiji, Ten years of reforms; the state is rich, the warriors well-rewarded. The soldiers charge in the face of arrows like thirsty men heading for drink... (修之十年，國富，厚賂戰士，士赴矢石，如渴得飲).

Taking advantage of Fuchai's expedition to his north to defeat Qi, Goujian led his army and successfully attacked the Wu capital, killing the Wu crown prince, You. In the 24th year of his reign (473 BC), Goujian led another expedition against Wu, laying siege to the capital for three years before it fell. When a surrender from Fuchai was refused, Fuchai committed suicide and Wu was annexed by Yue. After his victory, Goujian ruthlessly killed Fuchai's scholars, even those who helped him (including Bo Pi), not allowing himself to make the same mistake Fuchai had made by sparing the lives of his enemies. However, Goujian would not stop there; he would later force Wen Zhong to commit suicide; Fan Li, knowing that Goujian was a man who can share woe but not wealth together, left Goujian after the defeat of Wu.

King Goujian's army is known for a common misconception: scaring its enemies before battle with a front line formed by criminals sentenced to death who committed suicide by decapitating themselves. However, in the passage, "越王句踐使死士挑戰，三行，至吳陳，呼而自剄。", the literal translation of "死士" is "soldiers (who are) willing to die", not "criminals sentenced to death". "自剄" means to "commit suicide by cutting one's throat," which was a common way to end one's own life in Ancient China

In the gallery, photograph 2 shows our sword in the middle, to its left is the sword of Gujian, and to its right, a sword in the Metropolitan Museum. all incredibly similar, but in different stages of preservation. Photo 3 in the gallery is our sword's hilt on the left, and the Sword of Goujian on its right. the similarity is amazing. Photo 4 in the gallery is a close up of our blade sections that shows the original surface of gold, with what appears to be what remains of archaic script characters, possibly, one could speculate, it was the name of the king for whom it made and thus belonged. Photo 8 shows our sword's hilt and another, very similar, now in a Paris museum, the Musee Guimet. The Paris sword hilt still has its turquoise and enamel inlay still present and in place.

From a large collection of antiquities, swords daggers that recently arrived, many pieces sold for the part benefit of the Westminster Abbey fund, and the Metropolitan Museum fund

This is from part two of a stunning collection of original archaic bronze age Zhou dynasty weaponry . Many are near identical to other similar examples held in the Metropolitan in New York, the British royal collection, and such as the Hunan Provincial Museum, Hunan, China.
From the Tony Dove F.S.A. Collection, formed circa 1970's, one of England’s most revered and respected collectors, especially early silver, & he was a past honorary President of London’s Silver Spoon Society, and learned joint contributor to many scientific appraisals on ancient Chinese swords

Sword total length 20 1/4 inches long, 4 inch hilt

Ref; SOME OBSERVATIONS ON EARLY CHINESE BRONZE SWORDS
By
Anthony Dove, and Alan Williams {The Wallace Collection} 65 publications  read more

Code: 24846

Rare, Napoleonic Wars Sabre of an Officer of The Grande Armee Carabiniers De Cheval Ist Empire, a Garde de Bataille

Traditional brass fully engraved shell guard pattern also for use by an officer of cuirassiers, but, with two very small holes within the shell, for the addition of a carabiniers grenade, but the grenade could be then removed {as was this one} if the officer transferred to the cuirassiers. Sword manufactured circa 1805

Double fuller blade and steel combat scabbard with two belted rings. Small wear hole at the base of the inner scabbard above the chape.

The 1st and 2nd Carabiniers-à-Cheval were created in 1788, as regiments of heavy cavalry. They participated with distinction to the French Revolutionary Wars and Napoleonic Wars. Their uniform was described by the Etat militaire de l'an X (1802): "National blue costume and scarlet lapels, blue collar, bearskin hat, yellow bandolier and belt, with white plait on the edges. Horse equipage: saddle à la française, blue cover with white plait on the edges, a grenade in the corners, the ornaments of the bridle stamped with a grenade." Before 1810, the Carabiniers-à-Cheval did not wear a cuirass.

The decree of 24 December 1809 altered the uniform of the carabiniers: to, a white costume, double steel cuirass (breastplate and backplate) covered with brass sheathing (copper for officers), helmet with a peak and which covered the back of the neck, with a golden-yellow copper crest decorated with a chenille made of scarlet bristle. Their armament for other ranks included a carbine, a sabre (straight-bladed before c. 1811, then "a la Montmorency" – with a very slight curve) and a pair of pistols.

All of Napoleon's Heavy Cavalry Regiments fought at Waterloo, there were no reserve regiments. Some of the battles this would have been used at were; 1805: Wertingen, Ulm, Hollabrunn, Raussnitz, and Austerlitz.
1806: Jena and the Capture of Lubeck.
1807: Hoff and Eylau.
1809: Eckmuhl, Ratisbonne, Essling, Wagram, Hollabrunn, and Znaim.
1812: Borodino and Moscow, Ostrowno, and Winkowo 1813: Reichenbach and Dresden, Leipzig and Hanau
1814: La Rothiere, Rosnay, Champaubert, Vauchamps, Athies, La Fere-Champenoise and Paris
1815: Quatre-Bras and Waterloo

This would have seen service in the Elite Carabiniers of Napoleon's great heavy cavalry regiments of the Grande Armee such as in 1807 at Friedland. And in the French invasion of Russia ( Campagne de Russie) that began on 24 June 1812 when Napoleon's Grande Armee crossed the Neman River in an attempt to engage and defeat the Russian army. Napoleon hoped to compel Tsar Alexander I of Russia to cease trading with British merchants through proxies in an effort to pressure the United Kingdom to sue for peace. The official political aim of the campaign was to liberate Poland from the threat of Russia. Napoleon named the campaign the Second Polish War to curry favour with the Poles and provide a political pretence for his actions. The Grande Armee was a very large force, numbering nearly half a million men from several different nations. Through a series of long marches Napoleon pushed the army rapidly through Western Russia in an attempt to bring the Russian army to battle, winning a number of minor engagements and a major battle at Smolensk in August. Napoleon hoped the battle would mean an end of the march into Russia, but the Russian army slipped away from the engagement and continued to retreat into Russia, while leaving Smolensk to burn. Plans Napoleon had made to quarter at Smolensk were abandoned, and he pressed his army on after the Russians. The battles continued, but once the winter set in Napoleon's army was facing insurmountable odds that left it effectively shattered beyond repair. Napoleon fled, it is said, dressed as a woman, and the army left to it's sad and miserable fate. Only around 27,000 were able to return after a mere six months of the Russian campaign. The campaign was a turning point in the Napoleonic Wars. The reputation of Napoleon was severely shaken, and French hegemony in Europe was dramatically weakened.
The Grande Armee, made up of French and allied invasion forces, was reduced to a fraction of its initial strength. These events triggered a major shift in European politics. France's ally Prussia, soon followed by Austria, broke their alliance with France and switched camps. This triggered the War of the Sixth Coalition. The Heavy Cavalry Regiments used the largest men in France, recruited to serve in the greatest and noblest cavalry France has ever had. They fought with distinction at their last great conflict at the Battle of Waterloo in 1815, and most of the swords in England very likely came from that field of conflict, after the battle, as trophies of war.
Every warrior that has ever entered service for his country sought trophies. The Mycenae from a fallen Trojan, the Roman from a fallen Gaul, the GI from a fallen Japanese, the tradition stretches back thousands of years, and will continue as long as man serves his country in battle. In the 1st century AD the Roman Poet Decimus Iunius Iuvenalis Juvenal
wrote; "Man thirsts more for glory than virtue. The armour of an enemy, his broken helmet, the flag ripped from a conquered trireme, are treasures valued beyond all human riches. It is to obtain these tokens of glory that Generals, be they Roman, Greek or barbarian, brave a thousand perils
and endure a thousand exertions". A truly magnificent Napoleonic sword in superb condition for it's age.
The brass basket guard on this sword is first class, the grip is totally original leather and a great colour  read more

Code: 25275

NOW SOLD! Napoleonic Wars French Sabre De Grenadier À Cheval De La Garde Imperiale of the Grande Armee 1811. The Elite Senior " Vieille Garde, {Old Guard}”, Heavy Cavalry Regiment

Superb Ist Empire French Napoleonic Imperial Guard sword. With hilt manufactured by Versailles, and stamped thereon, a single knucklebow with two branches and a grenade within a circle set between the two branches. Early type 1 straight blade {as can be seen on the early cuirassier and dragoons sword} engraved on the back strap. Painting in the gallery of a French Grenadier a Cheval de la Garde Imp. with his type 1 straight bladed sword .
Blade engraved Manufacture Imple De Klingenthal October 1811, and stamped at the forte AP for Atelier Precision/Paris, combined with stick and fasces. Scarce variant brass scabbard with two long ovoid window panels of leather, and a pair of hanging rings {un-banded}.

The Mounted Grenadiers of the Imperial Guard (French: Grenadiers à Cheval de La Garde Impériale) was a heavy cavalry regiment in the Consular, then Imperial Guard during the French Consulate and First French Empire respectively. They were the senior Old Guard cavalry regiment of the Imperial Guard and from 1806 were brigaded together with the Dragoons of the Imperial Guard.

A part of the Republican Consular Guard, the Grenadiers became the senior "Old Guard" heavy cavalry regiment when the Imperial Guard was founded, in 1804. Their maximum official complement was just over 1100 officers and troopers, commanded by a general of division or a seasoned general of brigade, with some of the most famous cavalrymen of the time as commander.

Rarely committed to battle during the Napoleonic Wars, they were usually kept in reserve, alongside the Emperor, during the most significant battles. When sent into action, such as during the battles of Marengo, Austerlitz, Eylau, Hanau or Waterloo, as well as during a number of actions of 1814, results were usually impressive. The regiment was disbanded in 1815, after Napoleon's downfall and the second restoration of the Bourbons.

In 1812 the battles this sword would have likely seen service, but mostly as Napoleon's personal protection reserve, would be around 30 in number including
Borodino, Moscow,
Ostrowno,
and
Winkowo

In 1813: Reichenbach and
Dresden,
Leipzig and
Hanau

In1814: La Rothiere,
Rosnay,
Champaubert,
Vauchamps,
Athies,
La Fere-Champenoise and
Paris

Then in 1815: During the war of 100 Days, upon Napoleon's return from exile in Elba,
The Battles of Quatre-Bras and
Waterloo.

To put into context, where this sword would have been used, by a Grande Armee Cheval of the Imperial Guard, in just a single days battle, at the Battle of Borodino in 1812, the fighting involved around 250,000 troops and left at least 68,000 killed and wounded, making Borodino the deadliest single-day-battle of the Napoleonic Wars and one of the bloodiest single-day battles in the military history of France before WW1.

The casualties of the battle were staggering: according to French General Staff Inspector P. Denniee, the Grande Armée lost approximately 28,000 soldiers: 6,562 (including 269 officers) were reported as dead, 21,450 as wounded. But according to French historian Aristid Martinien, at least 460 French officers (known by name) were killed in battle. In total, the Grande Armée lost 1,928 officers dead and wounded, including 49 generals. The list of slain included French Generals of Division Auguste-Jean-Gabriel de Caulaincourt, Louis-Pierre Montbrun, Jean Victor Tharreau and Generals of Brigade Claude Antoine Compère, François Auguste Damas, Léonard Jean Aubry Huard de Saint-Aubin, Jean Pierre Lanabère, Charles Stanislas Marion, Louis Auguste Marchand Plauzonne and Jean Louis Romeuf.

Suffering a wound on the Borodino battlefield was effectively a death sentence, as French forces did not possess enough food for the healthy, much less the sick; consequently, equal numbers of wounded soldiers starved to death, died of their injuries, or perished through neglect. The casualties were for a single day of battle, while the Russian figures are for the 5th and the 7th, combined. Using the same accounting method for both armies brings the actual French Army casualty count to 34,000–35,000.

Both the French and Russians suffered terrible casualties during the fighting, losing over a third of their armies. Some 52,000 Russian troops were reported as dead, wounded or missing, including 1,000 prisoners; some 8,000 men were separated from their units and returned over the next few days, bringing the total Russian losses to 44,000. Twenty-two Russian generals were killed or wounded, including Prince Bagration, who died of his wounds on 24 September. Historian Gwynne Dyer compared the carnage at Borodino to "a fully-loaded 747 crashing, with no survivors, every 5 minutes for eight hours". Taken as a one-day battle in the scope of the Napoleonic conflict, this was the bloodiest battle of this series of conflicts with combined casualties between 72,000 and 73,000. The next nearest battle would be Waterloo, at about 55,000 for the day  read more

Code: 25274

Rare, Archaic Chinese Warrior Prince's Bronze Jian Sword, Overlaid With Gold, Auspicious Metal, Around 2,400 to 2,600 Years Old, From the Zhou Dynasty to the Chin Dynasty, Including the Period of Sun-Tzu'. Likely of The Kingdom of Yue

Chinese Bronze 'Two Ring' Jian sword, a bronze alloy construction, with traces of pure gold, the Chinese ‘Auspicious Metal’, overlay, and now with up to 2400 years of natural aged patination and surface encrustations, made and used in the era of China's Seven Kingdoms period, likely with royal connections in the Kingdom of Yue, up to the latter part of the Eastern Zhou dynasty (475 BC). It is incredibly rare to find a sword from this period of ancient history with gold decor. It's surface is covered in superb patination and age encrustations, with various areas showing traces of layered pure gold. Of course, naturally, in its day, it would have been visibly fully covered in gold and look quite magnificent. It would have undoubtedly have been made for an ancient Chinese warrior Prince or general, absolutely a man of the highest possible status within the King’s army. 535mms long, weight 800gms

We show in the gallery photographs of another sword very similar, from the same era and reign, a non ringed hilt type, that was once also covered in gold, but now encrusted with age, like ours, that sold in 2013 for $183,750.
However, that gold sword was detailed and inlaid with surviving archaic script, somewhat like our other engraved two ring sword, that has revealed, through diligent effort, a potential translation, and the name of its owner. In a fashion, our two similar swords, but combined, would have the merged result of that single gold sword. Yet at less than a small percentage of the cost of the Christie’s sword

The Zhou script engraved on that other gold sword may state the following : Gongwu wang Guang ? yi ji jin zi zuo yong jian ('King Guang of the State of Gongwu forged this sword with auspicous metal for his usage')

From a large collection of antiquities, swords daggers, and rings, that recently arrived, many pieces sold for the part benefit of the Westminster Abbey fund, and the Metropolitan Museum fund. Formerly the property of a highly regarded renown British expert and collector, who has collaborated with museum experts, such as the Wallace Collection, on the origins, forms, styles and metallurgical investigations on ancient Chinese Bronze Age antiquities, and early British silver.

Swords of this type are called “two-ring” swords because of the prominent rings located on the hilt. this is the very type of sword used by the highest ranking officer warriors or princes alongside the world renowned General Sun Tzu, in the Kingdom of Wu, {although this sword is more likely from the Kingdom of Yueh} who is thought by many to be the finest general, philosopher and military tactician who ever lived. His 2500 year old book on the methods of warfare, tactics and psychology are still taught and highly revered in practically every officer training college throughout the world.
We show a painting in the gallery of a chariot charge by a Zhou dynasty warrior armed with this very form of sword.
The Chinese term for this form of weapon is “Jian” which refers to a double-edged sword. This style of Jian is generally attributed to either the Wu or the Yue state. The sword has straight graduated edges reducing to a pointed tip, which may indicate an earlier period Jian.

The blade is heavy with a midrib and tapered edges with seal script engraving on both sides of the bottom section of the blade near the hilt. See the photo in the gallery that shows a close up of the section of blade with the seal script.

A very impressive original ancient Chinese sword with a long, straight blade with a raised, linear ridge down its centre. It has a shallow, short guard. The thin handle would have had leather or some other organic material such as leather or hemp cord, wrapped around it to form a grip. At the top is a broad, round pommel.

A very similar sword had a detailed metallurgical analysis carried out at the Wallace Collection was measured by Graham McArthur in the Conservation Department of the Wallace Collection at a number of points near the edge using a Branson Krautkramer electronic surface hardness tester giving results ranging from 158 to 289 VPH with an average of 247 VPH, and thus thought to be from 500 BC. That particular sword, had a number of features in common with one in the Catalogue of the Warner Jennings Collection in the Chinese National Palace Museum, Peking, that is considered to have royal associations with a king of Yueh.

The Seven Kingdom or Warring States period in Chinese history was one of instability and conflict between many smaller Kingdom-states. The period officially ended when China was unified under the first Emperor of China, Qin pronounced Chin Shi Huang Di in 221 BC. It is from him that China gained its name.

The Zhou Dynasty (1046-256 BCE) was among the most culturally significant of the early Chinese dynasties and the longest lasting of any in China's history, divided into two periods: Western Zhou (1046-771 BCE) and Eastern Zhou (771-256 BCE). It followed the Shang Dynasty (c. 1600-1046 BCE), and preceded the Qin Dynasty (221-206 BCE, pronounced “chin”) which gave China its name.

In the early years of the Spring and Autumn Period, (770-476 BC) chivalry in battle was still observed and all seven states used the same tactics resulting in a series of stalemates since, whenever one engaged with another in battle, neither could gain an advantage. In time, this repetition of seemingly endless, and completely futile, warfare became simply the way of life for the people of China during the era now referred to as the Warring States Period. The famous work The Art of War by Sun-Tzu (l. c. 500 BCE) was written during this time, recording precepts and tactics one could use to gain advantage over an opponent, win the war, and establish peace.

Sun Tzu was a Chinese general, military strategist, writer, and philosopher who lived in the Eastern Zhou period of ancient China. Sun Tzu is traditionally credited as the author of The Art of War, an influential work of military strategy that has affected both Western and East Asian philosophy and military thinking. His works focus much more on alternatives to battle, such as stratagem, delay, the use of spies and alternatives to war itself, the making and keeping of alliances, the uses of deceit, and a willingness to submit, at least temporarily, to more powerful foes. Sun Tzu is revered in Chinese and East Asian culture as a legendary historical and military figure. His birth name was Sun Wu and he was known outside of his family by his courtesy name Changqing The name Sun Tzu by which he is more popularly known is an honorific which means "Master Sun".

Sun Tzu's historicity is uncertain. The Han dynasty historian Sima Qian and other traditional Chinese historians placed him as a minister to King Helü of Wu and dated his lifetime to 544–496 BC. Modern scholars accepting his historicity place the extant text of The Art of War in the later Warring States period based on its style of composition and its descriptions of warfare. Traditional accounts state that the general's descendant Sun Bin wrote a treatise on military tactics, also titled The Art of War. Since Sun Wu and Sun Bin were referred to as Sun Tzu in classical Chinese texts, some historians believed them identical, prior to the rediscovery of Sun Bin's treatise in 1972.

Sun Tzu's work has been praised and employed in East Asian warfare since its composition. During the twentieth century, The Art of War grew in popularity and saw practical use in Western society as well. It continues to influence many competitive endeavours in the world, including culture, politics, business and sports.

The ancient Chinese people worshipped the bronze and iron swords, where they reached a point of magic and myth, regarding the swords as “ancient holy items”. Because they were easy to carry, elegant to wear and quick to use, bronze swords were considered a status symbol and an honour for kings, emperors, scholars, chivalrous experts, merchants, as well as common people during ancient dynasties. For example, Confucius claimed himself to be a knight, not a scholar, and carried a sword when he went out. The most famous ancient bronze sword is called the “Sword of Gou Jian”.

The Warring States period saw a transition in military styles, from bronze weaponry and chariot-based fighting to iron and cavalry. However, the old period was still revered. Despite the cost of manufacturing bronze swords like this on a mass scale, this particular style of duan jian – a double-edged straight sword – was used in China for approximately 2,500 years. Finely made bronze weapons such as this one were signs of prestige, wealth, and fighting prowess used in both ceremonial and funerary contexts. For example, swords were worn by the Emperor and his officials in ceremonial or official dress, attached to the belt with jade ornaments.

This is one of a stunning collection of original archaic bronze age Zhou dynasty weaponry we have just acquired. Many are near identical to other similar examples held in the Metropolitan in New York, the British royal collection, and such as the Hunan Provincial Museum, Hunan, China. As with all our items, every piece is accompanied by a certificate of authenticity. Just over 26 inches long overall.
From the Tony Dove F.S.A. Collection, formed circa 1970's, one of England’s most revered and respected collectors, especially early silver, & he was a past honorary President of London’s Silver Spoon Society.

Other bronze swords bearing inscriptions inlaid in gold include the example dated to the 5th century BC in the Freer Gallery of Art, illustrated by T. Lawton, Chinese Art of the Warring States Period, Change and Continuity, 480-222 BC , Washington, DC , 1982, p. 70-71, no. 28, and one in the Musée Guimet dated 5th-4th century BC, illustrated by C. Delacour, De bronze, d'or et d'argent, Sumptuary Arts of China , Paris, 2001, p. 131. Both the Freer sword and the Guimet sword bear the same twenty-character inscription, arranged in ten characters to each side, which Thomas Lawton translates as, "On the auspicious day jen-wu, this sword was made for righteous use .

We show in the gallery, another very similar sword in a most similar state of aged preservation, but, with surviving gold inlaid archaic script upon the blade. It was sold at Christies in 2013, for $183,,750 . Lot number 1234. A very rare and important gold-inlaid bronze sword, Eastern Zhou dynasty, late 6th-early 5th century BC; 19 3/8 in. (49.3 cm.) long. Estimate 150,000 - USD 250,000. Price realised USD $183,750. Formerly of the Arthur M. Sackler Collections, New York.

Ref; SOME OBSERVATIONS ON EARLY CHINESE BRONZE SWORDS
By
Anthony Dove and Alan Williams {The Wallace Collection} 65 publications  read more

Code: 24842

Archaic Chinese Warrior's Bronze Sword, Around 2,300 to 2,800 Years Old, From the Zhou Dynasty to the Qin Dynasty, Including the Period of the Great Military Doctrine 'The Art of War' by General Sun-Tzu

Chinese Bronze 'Two Ring' Jian sword used in the era of the Seven Kingdoms period, likely in the Kingdom of Yue up to the latter part of the Eastern Zhou dynasty (circa 475 BC). A specific kingdom, which had been known as the "Yue Guo" (越國) in modern Zhejiang, was not mentioned until it began a series of wars against its northern neighbor Wu during the late 6th century BC. According to the Records of the Grand Historian and Discourses of the States, the Yue are descended from Wuyu, the son of Shao Kang, the sixth king of the Xia dynasty.

With help from Wu's enemy Chu, Yue won after several decades of conflict. The famous Yue King Goujian destroyed and annexed Wu in 473 BC. During the reign of Wuqiang (無彊), six generations after Goujian, Yue was partitioned by Chu and Qi in 306 BC.
During its existence, Yue was famous for the quality of its metalworking, particularly its swords. Examples include the extremely well-preserved Swords of Goujian and Zhougou.

From our wonderful collection of ancient Chinese weaponry we recently acquired, another stunning ancient sword around 2500 years old or more. From the Zhou dynasty, and the area of the King's of Wu, in Chu, or more likely the Kingdom of Yueh. From a collection of antiquities, swords daggers, and rings, many pieces sold for the part benefit of the Westminster Abbey fund, and the Metropolitan Museum fund

Swords of this type are called “two-ring” swords because of the prominent rings located on the hilt. this is the very type of sword used by the warriors serving under the world renowned General Sun Tzu, in the Kingdom of Wu, who is thought by many to be the finest general, philosopher and military tactician who ever lived. His 2500 year old book on the methods of warfare, tactics and psychology are still taught and highly revered in practically every officer training college throughout the world.
We show a painting in the gallery of a chariot charge by a Zhou dynasty warrior armed with this very form of sword.
The Chinese term for this form of weapon is “Jian” which refers to a double-edged sword. This style of Jian is generally attributed to either the Wu or the Yue state. The sword has straight graduated edges reducing to a pointed tip, which may indicate an earlier period Jian.

The blade is heavy with a midrib and tapered edges
A very impressive original ancient Chinese sword with a long, straight blade with a raised, linear ridge down its centre. It has a very shallow, short guard. The thin handle would have had leather or some other organic material such as leather or hemp cord, wrapped around it to form a grip. At the top is a broad, round, dished pommel.

The Seven Kingdom or Warring States period in Chinese history was one of instability and conflict between many smaller Kingdom-states. The period officially ended when China was unified under the first Emperor of China, Qin pronounced Chin Shi Huang Di in 221 BC. It is from him that China gained its name.

The Zhou Dynasty (1046-256 BCE) was among the most culturally significant of the early Chinese dynasties and the longest lasting of any in China's history, divided into two periods: Western Zhou (1046-771 BCE) and Eastern Zhou (771-256 BCE). It followed the Shang Dynasty (c. 1600-1046 BCE), and preceded the Qin Dynasty (221-206 BCE, pronounced “chin”) which gave China its name.

In the early years of the Spring and Autumn Period, (770-476 BC) chivalry in battle was still observed and all seven states used the same tactics resulting in a series of stalemates since, whenever one engaged with another in battle, neither could gain an advantage. In time, this repetition of seemingly endless, and completely futile, warfare became simply the way of life for the people of China during the era now referred to as the Warring States Period. The famous work The Art of War by Sun-Tzu (l. c. 500 BCE) was written during this time, recording precepts and tactics one could use to gain advantage over an opponent, win the war, and establish peace.

Sun Tzu was a Chinese general, military strategist, writer, and philosopher who lived in the Eastern Zhou period of ancient China. Sun Tzu is traditionally credited as the author of The Art of War, an influential work of military strategy that has affected both Western and East Asian philosophy and military thinking. His works focus much more on alternatives to battle, such as stratagem, delay, the use of spies and alternatives to war itself, the making and keeping of alliances, the uses of deceit, and a willingness to submit, at least temporarily, to more powerful foes. Sun Tzu is revered in Chinese and East Asian culture as a legendary historical and military figure. His birth name was Sun Wu and he was known outside of his family by his courtesy name Changqing The name Sun Tzu by which he is more popularly known is an honorific which means "Master Sun".

Sun Tzu's historicity is uncertain. The Han dynasty historian Sima Qian and other traditional Chinese historians placed him as a minister to King Helü of Wu and dated his lifetime to 544–496 BC. Modern scholars accepting his historicity place the extant text of The Art of War in the later Warring States period based on its style of composition and its descriptions of warfare. Traditional accounts state that the general's descendant Sun Bin wrote a treatise on military tactics, also titled The Art of War. Since Sun Wu and Sun Bin were referred to as Sun Tzu in classical Chinese texts, some historians believed them identical, prior to the rediscovery of Sun Bin's treatise in 1972.

Sun Tzu's work has been praised and employed in East Asian warfare since its composition. During the twentieth century, The Art of War grew in popularity and saw practical use in Western society as well. It continues to influence many competitive endeavours in the world, including culture, politics, business and sports.

The ancient Chinese people worshipped the bronze and iron swords, where they reached a point of magic and myth, regarding the swords as “ancient holy items”. Because they were easy to carry, elegant to wear and quick to use, bronze swords were considered a status symbol and an honour for kings, emperors, scholars, chivalrous experts, merchants, as well as common people during ancient dynasties. For example, Confucius claimed himself to be a knight, not a scholar, and carried a sword when he went out. The most famous ancient bronze sword is called the “Sword of Gou Jian”.

This is one of a stunning collection of original archaic bronze age weaponry we have just acquired and has now arrived. Many are near identical to other similar examples held in the Metropolitan in New York, the British royal collection, and such as the Hunan Provincial Museum, Hunan, China.
As with all our items, every piece is accompanied by a certificate of authenticity.

21 inches long overall 17 inch blade

Ref; SOME OBSERVATIONS ON EARLY CHINESE BRONZE SWORDS
By
Anthony Dove and Alan Williams The Wallace Collection} 65 publications  read more

Code: 24388

A Superb Collection of 10 Original Byzantine Roman Trade, Scale, Jewellery Weights Circa 8th Century

A barrel weight, 4 polyhedron weights stamped with concentric circles, the largest one weighing around 95 grams, 1 cylindrical weight and 4 square. Including I uncia Literally, “a twelfth part.” The word is the source of the English words “ounce” and “inch, Plus a ”half an uncia called a semiuncia All in good well preserved condition with nice patina. One inlaid with silver


Richard Lassels, an expatriate Roman Catholic priest, first used the phrase “Grand Tour” in his 1670 book Voyage to Italy, published posthumously in Paris in 1670. In its introduction, Lassels listed four areas in which travel furnished "an accomplished, consummate traveler" with opportunities to experience first hand the intellectual, the social, the ethical, and the political life of the Continent.

The English gentry of the 17th century believed that what a person knew came from the physical stimuli to which he or she has been exposed. Thus, being on-site and seeing famous works of art and history was an all important part of the Grand Tour. So most Grand Tourists spent the majority of their time visiting museums and historic sites.

Once young men began embarking on these journeys, additional guidebooks and tour guides began to appear to meet the needs of the 20-something male and female travelers and their tutors traveling a standard European itinerary. They carried letters of reference and introduction with them as they departed from southern England, enabling them to access money and invitations along the way.

With nearly unlimited funds, aristocratic connections and months or years to roam, these wealthy young tourists commissioned paintings, perfected their language skills and mingled with the upper crust of the Continent.

The wealthy believed the primary value of the Grand Tour lay in the exposure both to classical antiquity and the Renaissance, and to the aristocratic and fashionably polite society of the European continent. In addition, it provided the only opportunity to view specific works of art, and possibly the only chance to hear certain music. A Grand Tour could last from several months to several years. The youthful Grand Tourists usually traveled in the company of a Cicerone, a knowledgeable guide or tutor.

The ‘Grand Tour’ era of classical acquisitions from history existed up to around the 1850’s, and extended around the whole of Europe, Egypt, the Ottoman Empire, and the Holy Land.  read more

Code: 23735

A Fine, Mid Edo Signed, Samurai Sword Tsuba Umatada Tadatsugu With Hozon Papers

Signed by Tadatsugu whose family name was Umetada, Umetada Tadatsuga 1675 - 1725. Complete with Hozon papers and translation. Tsuba are usually finely decorated, and are highly desirable collectors' items in their own right. Tsuba were made by whole dynasties of craftsmen whose only craft was making tsuba. They could be simple, plain, sukashi [pierced] or highly elaborately decorated. In addition to being collectors items, they were often used as heirlooms, passed from one generation to the next. Japanese families with samurai roots sometimes have their family crest (mon) crafted onto a tsuba. Tsuba can be found in a variety of metals and alloys, including iron, steel, brass, copper and shakudo. In a duel, two participants may lock their katana together at the point of the tsuba and push, trying to gain a better position from which to strike the other down. This is known as tsubazeriai pushing tsuba against each other.  read more

Code: 23507

Scarce, Victorian, 3rd City of London Silvered Shako Helmet Plate

An extremely fine example in silver plate being a crowned eight pointed star with overlays of oak sprays and central strap 'Domine Dirige Nos' enclosing a number 3
bearing the arms of the City, over a shield and London. A rare and most collectable piece of Victorian militaria. Two loop fasteners very good condition. 4.75 inches x 3.85 inches  read more

Code: 18441

An Absolutely Stunning Napoleon IIIrd, French Bronze. The Woman Reading, ‘La Liseuse’ by World Renown Sculptor, Albert-Ernest Carrier-Belleuse, Mentor to His Apprentice Auguste Rodin Who Became One of The Worlds Most Famous and Valued Sculptors

One of three versions he sculpted titled 'the Reader' by Carrier-Belleuse, and the rarest. One other, was the same model but she was wearing full Renaissance dress, including head-covering, another, of the same model was a woman reading with two small companions, and this scuplture, the erotic version, was of his favourite female model of a woman in a classical robe, semi naked reading a small book.

Albert-Ernest Carrier de Belleuse as known as Carrier-Belleuse (1824 - 1887) is one of the the most famous sculptors of the Second Empire, who touched all areas of sculpture, from porcelain of Sevres to monumental sculpture of marble, by way of a production of terracotta and bronze statuettes. He also trained one of the worlds greatest sculptors Auguste Rodin, who impressed his mentor to such a degree they even later collaborated on sculptures together.

Until 1872 Rodin's principal employer was Albert Ernest Carrier-Belleuse, the renowned decorative sculptor whose work cites those of the 18th century Rococo master Clodion. Rodin conceived of L'innocence tourmentée par l'amour, and, per his agreement with his teacher, Carrier-Belleuse signed the younger artist's works that were made at his studio. Rodin revisited this theme of cupids encouraging the sexual flourishing of a young woman in his later works, such as in Toilette de Vénus. Compagnie des Bronzes de Bruxelles produced editions of L'innocence tourmentée par l'amour for Carrier-Belleuse in terracotta, marble, biscuit de Sèvres and bronze until 1910.

Rodin created what is said to be the world's most famous sculpture. 'The Kiss' for Boston Millionaire E.P. WARREN, for £1,000 in around 1900 and it was delivered in 1904, and it lived in Warren House in Lewes East Sussex, then Lewes Town Hall in 1914. Then to a stable block in 1917, due to its unacceptable erotic nature, It lived in Lewes for a total of around 30 years.

12 years ago a pair of bronzes by Carrier-Belleuse, of the same age, quality and styl, titled, Spring and Summer, 2 works of gilt and patinated bronze and onyx circa 1850-1875, height 35.4 inches. They were sold at Christie's London April 29, 2010 lot 100 for $366,529.

Beginning at the age of thirteen at chiseler Beauchery’s workshop, Carrier-Belleuse learned from different goldsmiths, and was marked by the importance of the decorative arts. He worked quickly with Ferdinand Barbedienne and Deniere, the greatest bronze craftsmen of the century, in the realization of decorative objects, such as candelabra and fireplace garniture.

Fatherless orphan and protege of the Arago family, he obtained an official commission in 1848, a statue of the muse Rachel in gilded plaster. In 1863, his Bacchant in marble shown at the Salon is bought by Napoleon III, confirming his importance in the Second Empire. It was placed in the garden of the Tuileries from 1872 until 1984. He hence made the decoration of several prestigious buildings, in the Louvre, the Theatre of the Renaissance, on the pediment of the Bank of France, or at the Opera House of Palais Garnier, of which he supplied the two torches of the grand staircase.

As early as 1855, Carrier-Belleuse opened a workshop at the rue de la Tour d'Auvergne, 15, which welcomed many pupils, including Jospeh Cheret, Jules Dalou, and especially the great Auguste Rodin, who greatly benefited from this apprenticeship, and made his portrait in bust.

Carrier-Belleuse was probably best known for his production of statuettes and busts, as he realized many portraits of the personalities of his time, such as Theophile Gautier, Honore Daumier and Eugene Delacroix. He also sculpts portraits of some official figures with several busts of Napoleon III, and an important statue of the Countess of Castiglione. On the day following the ball of the 9th of February 1863 at the Tuileries, she wanted to make a portrait of her in her costume of Queen of Etruria, in a dignified pose, in order to counteract the slanders she had been the target of.

Carrier-Belleuse is also a great admirer of the Renaissance and the 18th century, from which he sculpts portraits of Shakespeare or Jean-Jacques Rousseau. He is inspired in his works by Renaissance art, especially the art from Fontainebleau. But he is also often considered as a new Clodion, 18th century sculptor of terracotta statuettes, for many gallant subjects and elegant busts of young women, such as the Bust of a young woman wearing a diadem, preserved in the Orsay Museum.

Thus, the monumental mirror exhibited by Barbedienne at the World’s Fair of 1867 , the true centerpiece of the stand, which emphasizes the pre-eminence of French skills in ornamental bronze, is decorated with characters by Carrier-Belleuse, in a Benvenuto Cellini manner.

Being one of the founding members of the Central Union of Fine Arts applied to Industry, now the Decorative Arts, his work is in keeping with the motto of this institute: "Beautiful in Useful". At the end of his career, he became art director of the Manufacture de Sevres, where he invented many designs with small sculptures, such as the Buire de Blois, at which Rodin worked. Finally, at the end of his life, a collection of drawings by Carrier-Belleuse was published, showing his involvement in the diffusion of beauty by the objects of everyday life: Application of the human figure to industrial decoration and ornamentation, 1884.

The son of Albert-Ernest Carrier-Belleuse, Louis-Robert Carrier-Belleuse, also became a renowned artist of decorative arts. Trained as a painter, and also a sculptor like his father, he mainly worked in ceramics, becoming art director of the Choisy

Famed works of art he created;

Monument to André Masséna
Nice, 1869
Hebe asleep, 1869
Paris, Musée d'Orsay
Pediment sculpture of Abundance, Pavillon de Flore, South façade of the Great Galerie, Louvre palace, Paris, circa 1863
Caryatids themed on the four seasons, Vichy Opera, for architect Charles Badger, 1865
Architectural sculpture for the Tribunal de commerce de Paris (Commercial Court of Paris), on the Île de la Cité, for architect Antoine-Nicolas Bailly, completed 1865
A silvered bronze chimney-piece for the Hôtel de la Païva, Paris, 1866
Monument to André Masséna, Nice, 1869
Architectural work at the Brussels Stock Exchange, Brussels, circa 1870
Mary Queen of Scots, Private Collection, ca. 1870
Two elaborate multifigure torchères for the base of grand staircase, Palais Garnier (Paris Opera), Pairs, 1873
Tomb of Belgian photographer Louis Ghémar, Laeken Cemetery, Brussels, 1873
Architectural work for the Théâtre de la Renaissance, Paris, for architect Charles de Lalande, 1873
Sea Nymph for the fountain at the Place du Theâtre-Français, Paris, for architect Gabriel Davioud, 1874
Bust of Aimée-Olympe Desclée for her tomb, 1874
Four Seasons fountain, Hotel de Ville, Fleurance
Mausoleum of José de San Martín, Buenos Aires Metropolitan Cathedral, Buenos Aires
Equestrian statue of Mihai Viteazul, University Square, Bucharest, Romania
Equestrian statue of Manuel Belgrano, Plaza de Mayo Square, Buenos Aires, Argentina
Equestrian statue of Bernardo O'Higgins, Alameda, Santiago de Chile, Chile
Statue for the victims of the La Compañía fire, originally at the place of the fire, today in front of the General Cemetery in Santiago de Chile, Chile

41cm height x 13cm depth x 15cm width

The much less rare 'fully clothed' version of The Woman Reading is shown in photo 10 in the gallery  read more

Code: 24454