A Very Good, WW1 & WW2 Original Horseguards, Life Guards and Blues And Royals, Other Ranks Pattern Helmet Plate, Order of the Garter Badge Star

Original, early King's Crown type. This fabulous quality WW1 and WW2 other ranks badge, was in use since 1901, used by a trooper or NCO of the Blues and Royals or the Life Guards, that combined, make up the Royal Horseguards, until the pattern was changed with the queen's crown in 1953. The Albert helmet is the current ceremonial headgear of the British Army's Household Cavalry, the Life guards regiment and the Blues and Royals regiment. It was introduced by Prince Albert in 1842 and adopted by the Household Cavalry the following year. In 1847 the helmet was introduced to all heavy cavalry regiments. It remains in use as the full dress headgear of the two remaining Household Cavalry regiments, the Blues and Royals and the Life Guards. The magnificent helmet remains in use with the two current Household Cavalry regiments, the Blues and Royals with red plume and the Life Guards with white plume. These regiments are amalgamations of the four earlier regiments. The Life Guards retain the white plume and the onion from the 2nd Regiment, the Blues and Royals retain the red plume of the Royal Horse Guards. Blues and Royals officers wear a yak hair plume. Farriers in both regiments wear different plumes, the Life Guards farrier wear black and Blues and Royals farrier red.

The regiments also differ in how they wear the helmet's chin strap. The Blues and Royals wear it under the chin while the Life Guards wear it under the lower lip. The helmet is now in white metal for all ranks and the same helmet plate is worn by both regiments (they were different historically).

The Albert helmet is only worn in full dress review order, guard order and front yard order by other ranks and in full dress, levee dress and ceremonial rehearsal dress by officers. Medical and veterinary officers do not wear the helmet, instead wearing a cocked hat.

The other ranks of the Mounted Band of the Household Cavalry wear the helmet in full dress (with the plumes of their parent regiments), except when parading in the presence of the royal family, when they wear state dress with jockey caps. Band officers wear Albert helmets on both occasions.
one threaded affixing bolt remaining and one fold out helmet affixing stem  read more

Code: 24072

Superb Edo Period 17th Cent. Samurai Armour Gosuko, Part Suit of Armour

17th century body armour {kabuto helmet sold seperately} comprising full a cuirass {do}, of front and back plates, constructed of iron plates over lacquered and fully laced, and linked with chain mail .Plus, steel chain mail and armour plate arm defences, inner lined with blue green material. Shown with a suitable helmet {now sold} for display purposes only. The kabuto we show in photos 4 and 5, would compliment it beautifully, and for sale separately {code number 24030}.

During the Heian period (794-1185), the Japanese cuirass evolved into the more familiar style of armour worn by the samurai known as the dou or do. Japanese armour makers started to use leather (nerigawa) and lacquer was used to weather proof the armor parts. By the end of the Heian period the Japanese cuirass had arrived at the shape recognized as being distinctly samurai. Leather and or iron scales were used to construct samurai armours, with leather and eventually silk lace used to connect the individual scales (kozane) which these cuirasses were now being made from.

In the 16th century Japan began trading with Europe during what would become known as the Nanban trade. Samurai acquired European armour including the cuirass and comb morion which they modified and combined with domestic armour as it provided better protection from the newly introduced matchlock muskets known as Tanegashima. The introduction of the tanegashima by the Portuguese in 1543 changed the nature of warfare in Japan causing the Japanese armour makers to change the design of their armours from the centuries-old lamellar armours to plate armour constructed from iron and steel plates which was called tosei gusoku (new armours). Bullet resistant armours were developed called tameshi gusoku or (bullet tested) allowing samurai to continue wearing their armour despite the use of firearms. Please note the helmet is not with the armour. The silk lacing on the breast and back plate is 400 years old and very frayed throughout.  read more

Code: 20178

An Original Artwork of the London Blitz, 1939-1945, by WW2 Emigre German Artist Hellmuth Weissenborn, Famous Artist and Volunteer London Blitz Fireman

Original London blitz artworks by renown artists are most rare, especially by German born artists, and most collectible as subjective visual interpretations of the damage and destructions of the great buildings and streets of London. They are personal representations of living history by witnesses of Hitler’s attempt to destroy one of the greatest capital cities of the world, the very heart of the last remaining empire in 1939, that was determined to thwart his plans to create a new German era of conquest under his Third Reich.

It was London’s most perilous period of history since the Great Fire of 1666, and although the damage was catastrophic and incredibly extensive, the stubborn determination of Londoner’s, with the benefit of the Shakespearean like inspirational speeches of Winston Churchill, showed Herr Hitler that Londoners had other ideas, that didn’t entirely align with Hitler’s ambitions. Needless to say, both Reichsmarschall Goring’s Luftwaffe, and Adolf Hitler were somewhat disappointed with the eventual outcome.

It is probably in the medium of pastel, and charcoal. The German-born artist Hellmuth Weissenborn (1898-1982) spent the first half of his life in his native Leipzig and the second in London. He was forced to flee his homeland in early 1939 in the face of Nazi terror and found refuge in Britain. Unlike many of his fellow refugees, he never lost his sense of German heritage. German private served as machine gunner with German Army in France and Russia, 1916-1918; student and academic with Leipzig Academy, Leipzig, Germany, 1919-1937; refugee in Denmark and GB, 1937-1940; internee in Warff Mills Internment Camp, Bury and Hutchinson Internment Camp, Douglas, Isle of Man, GB, 1940; fireman served with Auxiliary Fire Service in London, GB, 1941 Weissenborn was among a number of German émigré artists who had a unique opportunity to contribute to the British art world through their creativity, craftsmanship, and innovation.

After his conscription into service in World War I he returned home with diaries and sketchbooks and enrolled at the world-famous Leipzig Academy of Graphic and Book Arts, studying art, typography, and printmaking. Artistic success came early, and soon he moved up into the staff, becoming one of the Academy's youngest professors. When the Nazis took power, he lost his post for marrying a Jewish woman and was forced to leave Germany.

Detailed on the foreground in ink, London Bomb Scene 1939-1945 WW2

He was also a noted book illustrator.

Size 9cm x 13cm frame size 26 cm x 32cm

one of the biography's of his life [see photo] From Leipzig to London, The Life and Work of the Emigre Artist, Hellmuth Weissenborn by Anna Nyburg.

Photo in the gallery of the artist at work in his studio in the interment camp in the Isle of Man
Photos for illustrative purposes only

Other examples of his works are in the Imperial War Museum

Monotype prints of some of his works are currently available from Childs Gallery in Boston MA. USA from $2,200 to $2,800 each  read more

Code: 24062

An Antque Edo Period Men-Netsuke of a Noh Mask for Sagemono

Likely an inro netsuke. men-netsuke or "mask netsuke" - These were imitations of full-size noh masks and share characteristics in common with both katabori and manju/kagamibuta. Face of a Jo an old man with moustach and glass eyes. From the ancient Japanese tradition of mask drama that can trace its origins to the Bugaku Imperial Court dancing of the 9th century. Noh is the classical theatre of Japan which was codified in the 14th century under the father and son actors Kan'ami and Zeami under the patronage of the Shogun (supreme military leader) Ashikaga Yoshimitsu. The performances utilise masks and elaborate costume. Netsuke, like the inro and ojime, evolved over time from being strictly utilitarian into objects of great artistic merit and an expression of extraordinary craftsmanship. Such objects have a long history reflecting the important aspects of Japanese folklore and life. Netsuke production was most popular during the Edo period in Japan, around 1615-1868. Today, the art lives on, and some modern works can command high prices in the UK, Europe, the USA, Japan and elsewhere.

Okimono, small and purely decorative sculptures, were often made by the same artists who produced netsuke.
Probably 18th century. 2.25 x 1.75 inches. Its condition is not good, and quite worn, but it is thus priced accordingly, however, it is a very scarce example so still most collectable.  read more

Code: 20899

Welcome to The Lanes Armoury, The Magical Place Where Wonders Are For Sale

Our beautiful pieces from history are not always just for looking at, some can still be enjoyed and worn for every one to see.

We Are Not Just A Webstore, We Are Always Welcoming Personal Visitors To Our Gallery In Brighton Every Day*

Thousands of original pieces of history, for example, from Ancient Rome and Greece to Medieval Japan, and Viking Europe. Covering British, European, and in fact, all worldwide eras of historical events from the past 4000 years, with antiquities, weaponry, armour, object d’art, militaria and books from the bronze age to WW2.

Personalised Certificates of Authenticity supplied with every purchase.

Our family have been personally serving the public in Brighton for generations, in fact, for over 100 years.

* Opening hours Monday to Saturday 11.00am till 4.00pm  read more

Code: 24055

A Super Early Samurai Sword Katana Tsuba, Kanayama and Ono School

Kanayama and Ono school tettsu tsuba, Circa 1400
Kanayama Tsuba exhibit a well forged iron with a hammered surface with prominent Tsuchime similar to Owari Tsuba but with stronger Tekkotsu visible in the rim and surface. The origin of Kanayama tsuba is still not a hundred percent clear, but most sources name a city close to Nagoya in the Owari province. In the early Edo period Ono Tsuba developed out of the Kanayama school and continued their tradition with various designs but a bit smaller in size.
The Kanayama school
Beginning in mid Muromachi to the end of Genroku (ca. 1400 to 1710). For purposes of study, the period of production is divided into three sections: the first period is the Muromachi age, second period is Momoyama age, and the third period are the pieces made in Kyoto during the Edo age. Normally round, sometimes oval.
the tsuba's seppa dai is a very good shape, squarish at top and bottom. Usually Thickness 3 to 5.09mm. this tsuba is 5 mm thick . It appears slightly large for the size of the tsuba and slightly more oblong than those found on Owari tsuba.

Many tsuba of the school have thin, raised square peripheral rims (later examples have rounded rims) with 'tekkotsu' visible.
Design Characteristics:
This school would seem to be the earliest to use ji-sukashi (positive silhouette). Most of the designs are plain, direct, and abstract, consisting largely of straight or curved lines that produce a feeling of great dignity. The openwork is so extensive that the remaining metal portions are very fine and slender.

Antique Japanese koshirae [Japanese samurai sword mounts, tsuba and fittings] are considered as fine object d'art in their own right, and have been collectable as individual items or sets, since the Edo period. They were often removed from swords, mounted in small cases, and respectfully admired for display as items of the highest quality workmanship, and symbols of the noble samurai, in their own right. Some koshirae collectors never actually have any interest in the blades themselves, and individual pieces can attain values of tens of thousands of pounds, and there are many multi million pound collections, in and out of museums, comprising of some of the finest examples of Japanese un-mounted sword fittings from the samurai historical period.

70mm across  read more

Code: 24045

A Samurai’s String of 25 Edo Period Graduating Ojime Beads, Made For a Samurai’s Inro or Tobacco Pouches Netsuke Cords, Transformed into a Necklace

25 hand carved bone graduating sized ojime beads, in the form of intricate three dimensional flowers, and combined with 17 rice grain shaped beads. Today Antique Japanese Ojime beads remain highly collectable as pieces of art, as the amount of detail that went into the components of each Sagemono [hanging cord of inro or kizeru tobacco pouch] provides a further example of the exquisite beauty of Japanese art – alongside their calligraphy, block printing, ceramics, lacquer work, and paintings to name but a few. Ojime are handcrafted decorative beads which originated in Japan as early as the 16th century. Strictly speaking the word bead is superfluous as Ojime itself means cord fastener bead. They are typically under 1 inch in diameter with a vertical hole from top to bottom, and are made from fine metals, hornbill precious stones, jade, lacquer, tortoise shell, glass, coral, bone, stag antler, boar tooth and tusk, nuts and seeds, as well as other natural materials. As will become evident, aside from being decorative, they have a very specific role to perform in traditional Japanese attire and as such they go a long way towards defining the concept of adornment, namely that which is useful as well as beautiful.Although the Japanese did not have an appreciation of jewellery in the European sense, they did have a long tradition of craftsmanship, artistry, decoration and adornment. Over time these small sets of accessories became highly refined and sophisticated. It was in the Meiji Period (1868 to 1912) that the Inro became an indicator of wealth and taste and the Ojime evolved into a functional but beautifully crafted object incorporating symbolism, mythology, poetry and other themes from everyday life.

An inro is a traditional Japanese case for holding small objects, suspended from the obi (sash) worn around the waist when wearing a kimono. They are often highly decorated with various materials such as lacquer and various techniques such as maki-e, and are more decorative than other Japanese lacquerware. Approx 27 inches long, measured straight, in total, 13 3/4 inches long once in necklace form  read more

Code: 24033

An 18th Century Flintlock Long Barrel Sporting Musket

Absolutely perfect as an original decorative display piece for the right location. Nice stock, flintlock action [not actionable] 52.5 inches long overall. This would make a delightful original display piece for any suitable location. Under barrel brass plate strengthening supports.The royal forest was an area of land designated to the king for hunting and forestry; it included woodland, heathland, and agricultural land. As of the 12th century nearly a third of England's territory was assigned as royal forest. Only the king and other permitted members of the nobility were allowed to hunt game in the assigned area. To maintain this restriction, forest law was introduced to enforce the boundaries. Special officials known as foresters were in charge of overseeing forest law. The foresters were among the most hated of royal officials as they were often corrupt, having a reputation for making illegal side profits on royal forest property by farming, extracting natural resources, and poaching game. They exacted many punishments for poaching game, farming, and other illegal activities on the royal forest. Heavy fines and imprisonment were the common discipline. While foresters were in charge of the upkeep of forest law, sometimes the king would employ the local sheriff to get involved. Hunting, however, was not the only function for the royal forest. Kings would also use these territories for cattle upbringing, farming, and extracting the land's resources. They also notably served as reserves for all kinds of wildlife. King Henry I of England was known for having a fascination with pet animals. His parks included wild animals like lions and leopards. Forest laws in regards to hunting created class distinctions. King Richard II of England issued the first game law in 1390. It constituted a property requirement of certain value to have hunting dogs or other hunting equipment. During the Regency period, game birds were shot in different ways, though Driven Game shooting was popular on larger estates. Here, where beaters are employed to drive game towards a line of standing guns through woods and over moors or fields, dependent on the quarry and time of year. The total bag (number of birds shot) will be anywhere between 80 and 300, again dependent on quarry etc. The day will be very formal, and gamekeepers or a shoot captain will oversee proceedings. Pickers-up are also employed to make sure all shot game is collected. On such estates, large numbers of pheasants, partridge and duck, but not grouse, may be released to maintain numbers. Shotguns (also known as a fowling piece or scattergun) were improved during the eighteenth and nineteenth centuries and game shooting became more popular. To protect the pheasants for the shooters, gamekeepers culled vermin such as foxes, magpies and birds of prey almost to extirpation in popular areas, and landowners improved their coverts and other habitats for game. Game Laws were relaxed in 1831 which meant anyone could obtain a permit to take rabbits, hares and gamebirds.  read more

Code: 23478

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

Code: 20940

A Most Rare, 'Trench Art', .55 Boys Anti Tank Rifle Round 1942, Converted Into a Soldier's Desert Rat Period Campaign Cigarette Lighter

As you might be aware, being a militaria and specialist bookshop for over 100 years we have had all manner of examples of ‘trench art’. It is known principally for artefacts and souvenirs made by our boys in the trenches of the first world war, and later in the second. Small pieces of military, discharged kit, artillery shell cases, bullet shell cases, and simply pieces of brass metal that were ‘hanging around, could be converted, with a little skill and effort, into useful or decorative items, for the folks back home. The creation all manner of curious pieces were constructed, from paperknives, butter knives, miniature tanks, to planes, miniature hats, dinner gongs, or armoured cars. in fact all manner of souvenirs for their loved ones. A relatively popular item was the petrol cigarette lighter, which was mostly made for their own immediate use, usually created from discharged bullets, or very small shellcases. They were no doubt extremely useful, in fact pretty much vital, especially during the privations of life in the wet and intolerable confines of a trench, in the days where smoking was nigh on compulsory.
Trench art continued to be made into the Second World War, but was not made in the same quantities as it was in WW1. The Second World War war was far more mobile, and not static as it was in the first world war, with little or no ‘down time’, unlike WW1, what with areas of trenches being maintained and occupied by soldiers of both sides, sometimes for months or even years on end.
Over the years we have seen many types of lighter but a Boys tank bullet converted to a lighter has to be one of the rarest we’ve seen, in fact I can’t remember the last one, it has possibly even as long as 40 to 50 years ago.
A .55 Boys Mark 2 Anti-Tank Rifle.55 Boys Mark 2 1942 Dated Anti-Tank Rifle Round, converted to use as a piece of functional, servicemen's, 'trench art', a useful lighter on campaign. The rifle developed by Captain H C Boys, a designer at the Royal Small Arms Factory, Enfield resulting in the .55 Boys anti-tank rifle being adopted in 1937. Although the round was adequate against light tanks in the early part of the war, the Boys was ineffective against heavier armour and was phased out in favour of the PIAT mid-war. During the early campaigns, like Norway and France, the Boys performed adequately against the thinly armored Panzer I, II and IIIs. The first German tanks knocked out by British troops were by a Boys during the Norwegian campaign. Sergeant Major John Sheppard of the 1/5th Battalion, Leicestershire Regiment (TA) was deployed near the village of Tretten to help protect the right flank when three German Panzers approached his position. Taking up the Platoon’s Boys, which he had never used before, Sheppard fired three rounds into each tank, knocking out two of them and making the rest third retreat. For his actions that day, which helped keep the right flank of the British position solid, he was awarded the Distinguished Conduct Medal.The Boys anti-tank rifle was a bolt action rifle fed from a five-shot magazine, loaded by means of a 5 round stripper clip. The rifle was large, heavy with a bipod at the front and a separate grip below the padded butt. The Boys anti tank gun was also made in Canada and sold to America, we sold it to Russia, and Finland, and many thousands were captured at Dunkirk by the German's and issued by their special anti tank units. See photos in the gallery of the British Desert Rats using in against Rommel in Africa, the Finns using it against the Russians in the Finish Russian Winter War, and by the Germans in WW2. Not suitable top export due to bullet shape.  read more

Code: 24019