From Limoges, a Champleve Enamel Gilt & Bronze Sword Belt Plate of a Knight of King Henry II & Queen Eleanor of Aquitaine. Decorated With A Knight Combating A Beast with Spear and Shield . 1100's 'Opus Lemovicense' Crafted in Limoges, Aquitaine
12th century A.D.. Rectangular plaque with two attachment holes and flange one edge, with traces of a red and blue enamel design of a knight in combat with a beast, armed with a shield and spear, of 'opus lemovicense' { known as the “Work of Limoges"}. This belt plate was created by the same workshop and possibly the very same craftsmen that created on of the finest surviving medieval works of art, the Becket Casket, that now resides in the Victoria and Albert Museum. The belt plate contains the very same blue enamel as the Becket Casket.
A beautiful yet relatively very inexpensive example of 900 year old medieval enamel work from Limoges, in Aquitaine. Crafted from a highly technical workshop under the patronage of King Henry IInd and Queen Eleanor of Aquitaine
Limoges enamels, the richest surviving corpus of medieval metalwork, were renowned throughout Europe in the Middle Ages. Yet today they are little known outside academic circles. The present volume, L'Œuvre de Limoges, published in conjunction with the exhibition Enamels of Limoges, 1100–1350, brings to deserved public attention nearly two hundred of the most important and representative examples from the collections of The Metropolitan Museum of Art, the Musée du Louvre, the great church treasuries of France, and other sources. Early in the twelfth century, goldsmiths at the Benedictine Abbey of Conques in the hills of the ancient province of Rouergue began to create enamels whose jewel-like colors and rich, golden surfaces belied their fabrication from base copper. Within a generation, this technique was established in the area of the Limousin itself. By the 1160s the enamels created at Limoges, known as opus lemovicense, were a hallmark of the region. They were to be found not only in the Limousin and the neighboring region of the Auvergne but also in Paris, in monasteries along the pilgrims' road to Santiago de Compostela, at the Vatican, and in the cathedrals of Scandinavia.
The works of Limoges were created for important ecclesiastical and royal patrons. The wealth of enameling preserved from the Treasury of the abbey of Grandmont, just outside Limoges, is due chiefly to the Plantagenet patronage of Henry II and his queen, Eleanor of Aquitaine. Enamels created during their reign resonate with the elegant style of the court, and the dramatic history of Henry's monarchy is evoked by such works as the reliquary of Saint Thomas Becket. Ecclesiastical patrons such as Archbishop Absalon of Lund, Cardinal Guala Bicchieri, and, above all, Pope Innocent III were key to the dissemination of Limoges work throughout the churches of Europe.
While few of the artists who created the enamels that have come down to us are known by name, the works of several—Master Alpais, Garnerius, and Aymeric Chretien—are here juxtaposed with related pieces, some of them demonstrably from the same atelier. Clearly, the ability of the goldsmiths of Limoges to adapt their work to meet the demands of a varied clientele was an essential element in their success. Victorines and Franciscans joined Benedictines among the patrons of Limoges. Before the middle of the thirteenth century, the goldsmiths of Limoges began to create tomb sculptures of gilt copper with enameled surrounds, the most famous being the paired images of John and Blanche of France, children of Saint Louis. Objects decorated with enameled coats of arms came into prominence at about the same time.
Eleanor of Aquitaine (1137-1152) was one of the most powerful and influential figures of the Middle Ages and Queen of both France and England. Her legendary Courts of Love were said to have established and preserved many of the rituals of courtly love and chivalry- and had a far-reaching influence on literature, poetry, music and folklore.
The Becket Casket is a reliquary made in about 1180–90 in Limoges, France, and depicts one of the most infamous events in English history, the murder of Archbishop Thomas Becket. Following the assassination, relics of St Thomas were placed in similar reliquaries and dispersed across the world. This 'chasse' shaped reliquary is made of gilt-copper round a wooden core, intricately decorated with champlevé enamel to tell the story of Thomas Becket through literal and symbolic imagery. An exemplary showcasing of the Limoges enamel technique, this reliquary is now located in the Victoria and Albert Museum in London, England.
The Becket Casket is ornately decorated with champlevé enamel surrounding its wooden core and gilded copper interior. The decorative technique of champlevé enamel is a method in which high heat is utilized to fuse a powdered glass material into a recessed area of a metal surface.
The basic process of enameling involves fusing powdered material, such as glass, to the outer surface of a metallic or similar object through the use of high temperature. It is an ancient artistic process, used throughout history and crossing borders to create beautifully decorated pieces of all kinds. The process of champlevé enameling holds almost all of the basic steps as that of regular enameling. However in this technique, recesses of all shapes and sizes are carefully carved into the metallic body of the object and further filled with the powdered glass or frit, allowing for a different finish. The recessing in the body of the object can also be cast or etched, and the following steps remain the same.
The Becket Casket is shown in photo 8 in the gallery
See Taburet-Delahaye, E. & Boehm, B.D., L'Œuvre de Limoges, Paris, 1995,Enamels of Limoges, 1100–1350
Gauthier, Marie-Madeleine, Bernadette Barriere, Dom Jean Becquet, Elisabeth Taburet-Delahaye, Barbara Drake Boehm, Michel Pastoureau, Beatrice de Chancel-Bardelot, Isabelle Biron, Pete Dandridge and Mark T. Wypyski
1996
34mm x 34mm read more
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A Superb British Light Dragoon Regimental Sword. 21st LD. The Regiment's Colonel Was One Of the Most Famous & Infamous American Revolutionary War's British Light Dragoon Commanders, Colonel {Later Brevet General} Banastre Tarleton
A very good King George IIIrd regimental trooper's issue sabre, in very nice condition, and regimentaly marked for the 21st Light Dragoons, the spine bears the maker’s details, “JosH H. Reddell & Co.” Joseph Hadley Reddell was a Napoleonic War's Birmingham maker, a noted supplier of swords to the British Government Board of Ordnance.
Famous in England due to his exploits in the Americas, and at the same time, infamous to Americans, due to his reputation for given what was known as 'Tarleton’s Quarter' to the surrendered, which was effectively 'No Quarter Offered'.
Between 1806 and 1816, under Col. Tarleton’s Command, the 21st LD was stationed in Cape Colony. While stationed here it sent men to the 1807 Battle of Montevideo in South America, as well as sending men to Barbados between 1808 and 1809. In 1816 it sent men to the Capture of Tristan de Cunha, due to Napoleon's incarceration there in late 1815. Saint Helena {Napoleon Bonaparte's island of exile}, is one of the three constituent parts of Saint Helena, Ascension and Tristan da Cunha, a remote British overseas territory.
During the Napoleonic wars, under the command of Banastre Tarleton, the regiment uniquely had four black enlisted volunteer regimental trumpeters, three from the West Indies and one American.
In the course of the colonial war in North America, Cornet Tarleton's campaign service during 1776 earned him the position of brigade major at the end of the year; he was twenty-two years old. He was promoted to captain on 13 June 1778. Major Tarleton was at the Battle of Brandywine and at other battles in the campaigns of 1777 and 1778. One such battle, in 1778, was an attack upon a communications outpost on Signal Hill in Easttown Township, Chester County, Pennsylvania, which was guarded by troops commanded by Capt. Henry Lee III, of the Continental Army, who repulsed the British attack
Tarleton materially helped Cornwallis to win the Battle of Camden in August 1780. On 22 August, he was promoted to major in the 79th Regiment of Foot (Royal Liverpool Volunteers). He defeated Thomas Sumter at Fishing Creek, aka "Catawba Fords", but was less successful when he encountered the same general at Blackstock's Farm in November 1780.
On 29 May 1780, Colonel Tarleton, with a force of 149 mounted soldiers, overtook a detachment of 350 to 380 Virginia Continentals, led by Colonel Abraham Buford. Buford rejected Tarleton's invitation to surrender on essentially the same terms as the Charles Town garrison. The Continentals continued marching, not preparing for battle until they heard their rear guard in action. Only after sustaining many casualties did Buford order the American soldiers to surrender. Nonetheless, Tarleton's forces ignored the white flag and massacred the soldiers of Buford's detachment; 113 American soldiers were killed, 203 were captured, and 150 were severely wounded. The British army casualties were 5 soldiers killed and 12 soldiers wounded. From the perspective of the British Army, the affair of the massacre is known as the Battle of Waxhaw Creek. In that time, the American rebels used the phrase "Tarleton's quarter" (shooting after surrender) as meaning "no quarter offered".
Forty years later, Robert Brownfield, a surgeon’s mate in the Second South Carolina Regiment at the time of the battle, wrote an account. He said that Colonel Buford raised the white flag of surrender to the British Legion, "expecting the usual treatment sanctioned by civilized warfare"; yet, while Buford called for quarter, Colonel Tarleton's horse was shot with a musket ball, felling horse and man. On seeing that, the Loyalist cavalrymen believed that the Virginia Continentals had shot their commander – while they asked him for mercy. Enraged, the Loyalist troops attacked the Virginians and "commenced a scene of indiscriminate carnage never surpassed by the ruthless atrocities of the most barbarous savages"; in the aftermath, the British Legion soldiers killed wounded American soldiers where they lay.
Tarleton's account, published in 1787, said that his horse had been shot from under him, and that his soldiers, thinking him dead, engaged in "a vindictive asperity not easily restrained".
Regardless of the extent to which they were true or false, the reports of British atrocities motivated Whig-leaning colonials to support the American Revolution. On 7 October 1780, at the Battle of Kings Mountain, South Carolina, soldiers of the Continental Army, having heard of the slaughter at Waxhaw Creek, killed American Loyalists who had surrendered after a sniper killed their British commanding officer, Maj. Patrick Ferguson.
On 17 January 1781, Tarleton's forces were virtually destroyed by American Brigadier General Daniel Morgan at the Battle of Cowpens. Tarleton and about 200 men escaped the battlefield.
Lieutenant Colonel William Washington commanded the rebel cavalry; to deprive the rebels of leadership he was targeted by the British commander and two of his men. Tarleton was stopped by Washington himself, who attacked him with his sabre, calling out, "Where is now the boasting Tarleton?" A cornet of the 17th, Thomas Patterson, rode up to strike Washington but was shot and killed by Washington's orderly trumpeter.
Washington survived this assault and in the process wounded Tarleton's right hand with a sabre blow, while Tarleton creased Washington's knee with a pistol shot that also wounded his horse. Washington pursued Tarleton for sixteen miles, but gave up the chase when he came to the plantation of Adam Goudylock near Thicketty Creek. Tarleton was able to escape capture by forcing Goudylock to serve as a guide.
Tarleton continued to serve in the British Army and was promoted to colonel on 22 November 1790, to major-general on 4 October 1794 and to lieutenant-general on 1 January 1801. Whilst on service in Portugal, Tarleton succeeded William Henry Vane, 3rd Earl of Darlington as colonel of the Princess of Wales's Fencible Dragoons in 1799. Tarleton was appointed colonel of the 21st Light Dragoons on 24 July 1802. He was brevetted to general on 1 January 1812. He had hoped to be appointed to command British forces in the Peninsular War, but the position was instead given to Wellington. He held a military command in Ireland and another in England.
Trumpeter Andrew John Baptiste was born in the West Indies c.1780 (one source gives his birthplace as ‘Mandingo, Africa’). He enlisted in the 21st in July 1799. On enlistment he was 5/3 and ¼” tall with a black complexion, black eyes and black hair. A labourer by occupation, he was discharged, being invalided, at the Cape (South Africa), in July 1817. He is not recorded as being paid a pension, so it is likely that he was either simply discharged or received a gratuity.His surname was rendered as Babtiste and Bapliste. The Mandingo tribe Bissau.
Trumpeter Samuel Campbell was born in St Domingo c.1783. He enlisted in the 21st in October 1800. On enlistment he was 5/7 and ½” tall with a black complexion, black eyes, black hair and was a carpenter by occupation. A married man, he had probably met his wife Margaret (nee’ Roque), whilst the regiment was serving in Ireland. Their son, also named Samuel, was baptised in Woodbridge, Suffolk, when the regiment was quartered there in March 1805. He died in February 1812, serving in the latter stages of the 4th Xhosa War. Credit of £1/14s/1d was paid to his wife, Margaret, in Limerick, Ireland.
Private La Fleur Crittee was born in Pon-di-Cherry, East Indies c.1779. (Puducherry, India). He enlisted in the 21st in August 1805. On enlistment he was 5/11” tall with a black complexion, black eyes and black hair. A servant by occupation, he died in November 1815, whilst the regiment was serving in the Cape (South Africa). Sources: Forename also rendered as La Flean, and surname as Cartter, Cretie and Crittie.
Trumpeter Samuel Thomas was born in St Vincent c.1778. He enlisted in the 21st in March 1799. On enlistment he was 5/5” tall with a black complexion, black eyes and black hair. Invalided at the Cape (South Africa) in July 1817, he transferred to the Cape Cavalry. Discharged as a Trumpeter on a pension “being worn out”, in January 1821, he was described as being of “very good character”.
Trumpeter John Williams was born in Baltimore, USA c.1783. He enlisted in the 21st in September 1806. On enlistment he was 5/6” tall with a black complexion, black eyes and black hair. A labourer by occupation, he was discharged in the Cape, (South Africa), in June 1817.
No scabbard.
Painting in the gallery of the IV Light Dragoons and their black trumpeter. read more
1200.00 GBP
Choose The Ideal Christmas Gift From Great Britain's Favourite Armoury Antiques & Collector's Shop. A Battle of Agincourt Tanged Armour Piercing Bodkin Arrowhead, Battlefield Recovered In the 1820's as A 'Grand Tour Souvenir'
Yet another small part of our wondrous, new, historical, and original Ancient Roman, Ancient Greek, Viking, Crusaders, and Medeavil battlefield antiquities and artefacts, another collection that has just arrived with us .
Much of it acquired by a family in the 1820's while on a Grand Tour of Anglo French battle sites within Northern & Western France from Azincourt, in the Pas-de-Calais, to Poitiers in Aquitaine.
Most English war arrows for Longbows could vary, and some archers would have some type of armour piercing bodkin or “plate cutter” since their job was to penetrate armour (gambesons, hauberks, and plate). They had long and short bodkin, plate cutter, leaf, trefoil, crescent, and swallowtail broadheads. Broadheads were for targeting un-armoured men and knight's horses.
The Battle of Poitiers was a major English victory in the Hundred Years' War. It was fought on 19 September 1356 in Nouaillé, near the city of Poitiers in Aquitaine, western France. Edward, the Black Prince, led an army of English, Welsh, Breton and Gascon troops, many of them veterans of the Battle of Crécy. They were attacked by a larger French force led by King John II of France, which included allied Scottish forces. The French were heavily defeated; an English counter-attack captured King John, along with his youngest son, and much of the French nobility who were present.
The effect of the defeat on France was catastrophic, leaving Dauphin Charles to rule the country. Charles faced populist revolts across the kingdom in the wake of the battle, which had destroyed the prestige of the French nobility. The Edwardian phase of the war ended four years later in 1360, on favourable terms for England.
Poitiers was the second major English victory of the Hundred Years' War, coming a decade after the Battle of Crécy and about half a century before the Battle of Agincourt.The English army was led by Edward, the Black Prince, and composed primarily of English and Welsh troops, though there was a large contingent of Gascon and Breton soldiers with the army. Edward's army consisted of approximately 2,000 longbowmen, 3,000 men-at-arms, and a force of 1,000 Gascon infantry.
Like the earlier engagement at Crécy, the power of the English army lay in the longbow, a tall, thick self-bow made of yew. Longbows had demonstrated their effectiveness against massed infantry and cavalry in several battles, such as Falkirk in 1298, Halidon Hill in 1333, and Crécy in 1346. Poitiers was the second of three major English victories of the Hundred Years' War attributed to the longbow, though its effectiveness against armoured French knights and men-at-arms has been disputedGeoffrey the Baker wrote that the English archers under the Earl of Salisbury "made their arrows prevail over the French knights' armour",but the bowmen on the other flank, under Warwick, were initially ineffective against the mounted French men-at-arms who enjoyed the double protection of steel plate armour and large leather shields. Once Warwick's archers redeployed to a position where they could hit the unarmoured sides and backs of the horses, however, they quickly routed the cavalry force opposing them. The archers were also unquestionably effective against common infantry, who could not afford plate armour.
The English army was an experienced force; many archers were veterans of the earlier Battle of Crécy, and two of the key commanders, Sir John Chandos, and Captal de Buch were both experienced soldiers. The English army's divisions were led by Edward, the Black Prince, the Earl of Warwick, the Earl of Salisbury, Sir John Chandos and Jean III de Grailly, the Captal de Buch.
After several decades of relative peace, the English had renewed their war effort in 1415 amid the failure of negotiations with the French. In the ensuing campaign, many soldiers perished due to disease and the English numbers dwindled, but as they tried to withdraw to English-held Calais they found their path blocked by a considerably larger French army. Despite the disadvantage, the following battle ended in an overwhelming tactical victory for the English.
King Henry V of England led his troops into battle and participated in hand-to-hand fighting. The French king of the time, Charles VI, did not command the French army himself, as he suffered from severe psychotic illnesses with moderate mental incapacitation. Instead, the French were commanded by Constable Charles d'Albret and various prominent French noblemen of the Armagnac party.
This battle is notable for the use of the English longbow in very large numbers, with the English and Welsh archers forming up to 80 percent of Henry's army. The decimation of the French cavalry at their hands is regarded as an indicator of the decline of cavalry and the beginning of the dominance of ranged weapons on the battlefield.
Agincourt is one of England's most celebrated victories. The battle is the centrepiece of the play Henry V by Shakespeare. Juliet Barker in her book Agincourt: The King, the Campaign, the Battle ( published in 2005) argues the English and Welsh were outnumbered "at least four to one and possibly as much as six to one". She suggests figures of about 6,000 for the English and 36,000 for the French, based on the Gesta Henrici's figures of 5,000 archers and 900 men-at-arms for the English, and Jean de Wavrin's statement "that the French were six times more numerous than the English". The 2009 Encyclopædia Britannica uses the figures of about 6,000 for the English and 20,000 to 30,000 for the French. Part of an original medieval collection we have just acquired, of Viking and early British relics of warfare from ancient battle sites recovered up to 220 years ago.
It has been suggested that the bodkin came into its own as a means of penetrating armour, but research by the Royal Armouries has found no hardened bodkin points, though only two bodkin points were actually tested, not a statistically relevant number. Bodkins did, however, have greater ability to pierce mail armour than broadheads, and historical accounts do speak of bodkin arrows shot from close range piercing plate armour. Broadheads were made from steel, sometimes with hardened edges, but were more often used against lightly armoured men or horses than against an armoured adversary.
In a modern test, a direct hit from a steel bodkin point penetrated mail armour, although at point blank range. However, the test was conducted without a padded jack or gambeson, which was layered cloth armour worn under heavier armour for protection against projectiles, as it was known to stop even heavy arrows.
Armour of the medieval era was not completely proof against arrows until the specialised armour of the Italian city-state mercenary companies. Archery was thought not to be effective against plate armour in the Battle of Neville's Cross (1346), the Battle of Bergerac (1345), and the Battle of Poitiers (1356); such armour became available to European knights and men at arms of fairly modest means by the late 14th century, though never to all soldiers in any army.
Some recent tests have demonstrated that needle bodkins could penetrate all but heavy steel plate armour; one test used padded "jack" armour, coat of plates, iron and steel mail and steel plate. A needle bodkin penetrated every type, but may not have been able to inflict a lethal injury behind plate. As with all other tests, accuracy of these tests is called into question as the arrowheads were all high carbon steel and hardened, and the historical accuracy of the armour tested is unknown.The name comes from the Old English word bodkin or bodekin, a type of sharp, pointed dagger. Arrows of the long bodkin type were used by the Vikings and continued to be used throughout the Middle Ages. The bodkin point eventually fell out of use during the 16th and 17th centuries, as armour largely ceased to be worn and firearms took over from archery. 105mm long overall including socket
As with all our items it comes complete with our certificate of authenticity.
Most of our antiquities and artefacts are from 200 year past souvenir accumulations from British ‘Grand Tours’. Beautiful Items and antiquities were oft acquired in the 18th and early 19th century by British noblemen and women touring battle sites in Northern France and Italy, in fact most of Europe and the Middle East, on their so-called ‘Grand Tour’. They were often placed on display upon their return home, within the family’s 'cabinet of curiosities', within their country house. Some significant British stately homes had entire galleries displaying the treasures and artefacts gathered and purchased on such tours, and some tours lasted many years, and the accumulated souvenirs numbered in their hundreds or even thousands. A popular pastime in the 18th and 19th century, comprised of English ladies and gentlemen traveling for many months, or even years, throughout classical Europe, and the Middle East, acquiring knowledge and education on the arts, and thus returning with antiquities and antiques as souvenirs for their private collections, and these travels have been thus called ‘Grand Tours’.
long overall including tang
As with all our items it comes complete with our certificate of authenticity read more
Antique 'Ancestral' Blade of 400 to 500 Years Old Katana in WW2 Japanese Officer's Regulation Type 98 Mounting For WW2 Officers. With A Fine & Unusual Extra Light Weight Alloy Scabbard. Possibly For A Flying Officer.
This has lain in a British officer's family ownership since 1945/6, since its return as a surrendered sword from the Imperial Japanese officer to whom it formerly belonged, in the service of his emperor.
this beautiful sword would be Ideal, for a collector of such historic and desirable Japanese swords of WW2, but with an ancient ancestral blade history that stretches back almost 500 years.
Shinogi zukuri with high ridge line and very narrow mitsu mune. The saya is traditional green lacquer painted on a very lightweight alloy, with brass type 98 fittings, a single belt suspension ring and semegane; It has a tsuka of traditional wood wrapped in beige silk cloth Ito over white samegawa (ray skin), with standard 38 pattern brass military mounts, including fuchi, tsuba with its kabutogane with sarute in metal, with a pair of menuki decorated with sakura and chrysanthemums. The regulation saya retaining press button in the fuchi has been removed by the Japanese officer, as is very often the case {see photo 7}. The button clip was designed to hold the blade within its saya {scabbard} while ‘on the run” so to speak. This was a technical safety advantage, however, officers trained in iaido {the traditional martial art of the drawing of the sword from its saya} had no such fitting on regular katana, and the button could cause a millisecond or even more of delay in combat, which by traditional swordplay standards is not only unacceptable it was also, potentially, a fatal drawback and disadvantage to the swordsman. Thus, they often removed and discarded this feature from the sword entirely.
The ancestral blade was made from around 1520 to 1600, and thus this sword would have seen service by up to 20 samurai, plus the WW2 officer within it's combat lifetime. Used by that very last Japabese owner, that was mounted and taken to war, by probably the eldest son of the family, likely a pilot, from a family with old samurai heritage.
This sword has pretty much remained untouched for 75 years, and looks just as it did when, for example it was removed from the standing plane's cockpit. The Japanese combat planes often had a metal container within the cockpit that would hold the pilot's combat katana or wakazashi. Although the pilot was never expected to likely need his sword while on a mission, he was expected to die with it if his plane should crash or explode, and if his plane was to crash land, and he survived, he would have his officer's sword to maintain his life in potential enemy territory.
The blade has a stunning hamon and in jolly nice polish, that is just being lightly cleaned at present, then it will be re-photographed. A likely Crew Gunto mounted sword, with an early Koto to Shinto period ancestral chisa katana blade showing a beautiful, fine and active hamon. The whole sword is simply in super condition for it's age. The blade is set with its all traditional WW2 38 pattern Showa brass fittings, a fine tsuba with its green lacquered metal saya with all traditional brass mountings. It would be known as a crew-gunto, and carried by a Japanese fighter pilot from 1936 until 1945. The shorter military mounted swords, or those in very light weight saya, were very often worn during WW2 for those that fought, during combat, such as a bomber or a Zero fighter plane.
Photo in the gallery shows Kamikaze pilots getting into their planes, and photos of the Kaiten ceremony. Another two photos of Japanese pilots with their crew gunto swords, for information only photos not included. Collectors frequently seek Shin Gunto swords that have an original handed down 'Ancestral' blade, as it is said less than one in a hundred Japanese swords, surrendered in WW2, were swords such as this. This form of sword was often the prerogative of an eldest born son, that went to fight for his Emperor in WW2, with his ancestor's blade set in traditional military mounts.
This sword is an exceptional piece of WW2 Japanese historical interest, and very early ancestral swords are scarce in themselves, outnumbered at least 10 to 1 by gendaito swords, but the short 'crew gunto' are much rarer than even that, in our experience, so this makes it potentially, in theory, well over a 100 times scarcer than a regular Japanese WW2 officers sword in our opinion.
Overall 38 inches long, blade 22.75 inches from tsuba to tip, in beautiful polish, overall in super condition, with slight combat stress marks on the top of the ura on the shinogi ji before the yokote. The saya lacquer is around 85% intact but with small areas of lacquer loss.
Every single item from The Lanes Armoury is accompanied by our unique Certificate of Authenticity. Part of our continued dedication to maintain the standards forged by us over the past 100 years of our family’s trading, as Britain’s oldest established, and favourite, armoury and gallery read more
3250.00 GBP
A 14th Century, Edward, the Black Prince Period, Longbowman's Tanged Arrow Head, A Diamond Shaped Flesh Cutter,'Grand Tour' Souvenir From Battle of Poitier Site. For Use Against Un-Armoured Yeomen Foot Soldiers, and The Knight's Horses.
Acquired in the 1820's while on a Grand Tour Anglo French battle sites of Northern & Western France from Azincourt, in the Pas-de-Calais, to Poitiers in Aquitaine.
Most English war arrows for Longbows would have some type of bodkin or “plate cutter” since their job was to penetrate armour (gambesons, hauberks, and plate). long and short bodkin, plate cutter, leaf, trefoil, crescent, and swallowtail broadheads. Broadheads were for un-armoured men and horse. The Battle of Poitiers was a major English victory in the Hundred Years' War. It was fought on 19 September 1356 in Nouaillé, near the city of Poitiers in Aquitaine, western France. Edward, the Black Prince, led an army of English, Welsh, Breton and Gascon troops, many of them veterans of the Battle of Crécy. They were attacked by a larger French force led by King John II of France, which included allied Scottish forces. The French were heavily defeated; an English counter-attack captured King John, along with his youngest son, and much of the French nobility who were present.
The effect of the defeat on France was catastrophic, leaving Dauphin Charles to rule the country. Charles faced populist revolts across the kingdom in the wake of the battle, which had destroyed the prestige of the French nobility. The Edwardian phase of the war ended four years later in 1360, on favourable terms for England.
Poitiers was the second major English victory of the Hundred Years' War, coming a decade after the Battle of Crécy and about half a century before the Battle of Agincourt.The English army was led by Edward, the Black Prince, and composed primarily of English and Welsh troops, though there was a large contingent of Gascon and Breton soldiers with the army. Edward's army consisted of approximately 2,000 longbowmen, 3,000 men-at-arms, and a force of 1,000 Gascon infantry.
Like the earlier engagement at Crécy, the power of the English army lay in the longbow, a tall, thick self-bow made of yew. Longbows had demonstrated their effectiveness against massed infantry and cavalry in several battles, such as Falkirk in 1298, Halidon Hill in 1333, and Crécy in 1346. Poitiers was the second of three major English victories of the Hundred Years' War attributed to the longbow, though its effectiveness against armoured French knights and men-at-arms has been disputedGeoffrey the Baker wrote that the English archers under the Earl of Salisbury "made their arrows prevail over the French knights' armour",but the bowmen on the other flank, under Warwick, were initially ineffective against the mounted French men-at-arms who enjoyed the double protection of steel plate armour and large leather shields. Once Warwick's archers redeployed to a position where they could hit the unarmoured sides and backs of the horses, however, they quickly routed the cavalry force opposing them. The archers were also unquestionably effective against common infantry, who could not afford plate armour.
The English army was an experienced force; many archers were veterans of the earlier Battle of Crécy, and two of the key commanders, Sir John Chandos, and Captal de Buch were both experienced soldiers. The English army's divisions were led by Edward, the Black Prince, the Earl of Warwick, the Earl of Salisbury, Sir John Chandos and Jean III de Grailly, the Captal de Buch.
On the evening of 19 September 1356, the heir to the throne of the England entertained the King of France in his tent, near the town of Poitiers in western France. However, this was no ordinary royal meeting. The king had been captured on the field of battle and was at the mercy of one of the most legendary figures in medieval history. Although he was only in his mid-twenties, Edward, Prince of Wales, was at the pinnacle of his military career. His life personally symbolises the first half of the Hundred Years’ War, when England fought for the right to wear the French crown.
Edward, along with his father and namesake Edward III, epitomises the martial glory of the initial English victories and gained a reputation for courage and chivalry. However, Edward is known to history as ‘The Black Prince’, and, in many ways, his conduct in France was coldly brutal to those who denied their allegiance to him. His life was a contradictory mixture of idealistic heroism versus barbaric terror.
Born in 1330, Edward was brought up to be a soldier. In the medieval world the ideal king had to be a warrior and Edward III wanted his son to be in military training from an early age. At the age of seven, Edward had already been equipped with a complete suit of armour and in the same year the conflict.
As with all our items it comes complete with our certificate of authenticity read more
Choose The Ideal Christmas Gift From Great Britain's Favourite Armoury Antiques & Collector's Shop . A Most Scarce Original Late 14th Century Crossbow Bolt Quarrel. From the Reign of King Henry Vth and the Battle of Agincourt in 1415
Part of our wondrous, new, historical, and original Ancient Roman, Ancient Greek, Viking, Crusaders, and Medeavil battlefield antiquities and artefacts, another fabulous museum grade collection that has just arrived with us .
Heavy diamond form steel bolt head, and its almost complete socket
Much of it acquired by a family in the 1820's while on a Grand Tour of Anglo French battle sites within Northern & Western France from Azincourt, in the Pas-de-Calais, to Poitiers in Aquitaine.
Although the English and Welsh Longbowmen that fought at Agincourt are incredibly famous, the crossbow was used predominantly by the French army, yet some English, plus, some mounted knights used crossbows as well, as longbows were incredibly impractical if not impossible for use on horseback
Much of it acquired by a family in the 1820's while on a Grand Tour of Anglo French battle sites within Northern & Western France from Azincourt, in the Pas-de-Calais, to Poitiers in Aquitaine.
After several decades of relative peace, the English had renewed their war effort in 1415 amid the failure of negotiations with the French. In the ensuing campaign, many soldiers perished due to disease and the English numbers dwindled, but as they tried to withdraw to English-held Calais they found their path blocked by a considerably larger French army. Despite the disadvantage, the following battle ended in an overwhelming tactical victory for the English.
King Henry V of England led his troops into battle and participated in hand-to-hand fighting. The French king of the time, Charles VI, did not command the French army himself, as he suffered from severe psychotic illnesses with moderate mental incapacitation. Instead, the French were commanded by Constable Charles d'Albret and various prominent French noblemen of the Armagnac party.
This battle is notable for the use of the English longbow in very large numbers, with the English and Welsh archers forming up to 80 percent of Henry's army. The decimation of the French cavalry at their hands is regarded as an indicator of the decline of cavalry and the beginning of the dominance of ranged weapons on the battlefield.
Agincourt is one of England's most celebrated victories. The battle is the centrepiece of the play Henry V by Shakespeare. Juliet Barker in her book Agincourt: The King, the Campaign, the Battle ( published in 2005) argues the English and Welsh were outnumbered "at least four to one and possibly as much as six to one". She suggests figures of about 6,000 for the English and 36,000 for the French, based on the Gesta Henrici's figures of 5,000 archers and 900 men-at-arms for the English, and Jean de Wavrin's statement "that the French were six times more numerous than the English". The 2009 Encyclopædia Britannica uses the figures of about 6,000 for the English and 20,000 to 30,000 for the French. Part of an original medieval collection we have just acquired, of Roman, Greek, Assyrian, Celtic, Viking and early British relics of warfare from ancient battle sites, much of it recovered up to 220 years ago.
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
As with all our items it comes complete with our certificate of authenticity read more
295.00 GBP
A Most Fine & Attractive Antique Pre Edo Period Koto Han Dachi Mounted {Semi Tachi Style} Samurai Katana With A Superb Blade in Near Pristine Condition
With two part hidden secret compartment fuchi, for concealing small intelligence notes.
Circa 550 years old, and a delight to observe the wonderful elegant curvature to the blade. It has all original Edo period mounts fittings and saya, with original saya intricately patterned pine needle urushi lacquer. Typical original Edo period handachi mounts of matching, kashira, sayajiri, kurigata in a crashing wave takebori design of gilded brass, and a brass fuchi that is disguised to conceal it seperates into two parts to reveal a very narrow section to conceal small script notes. With a beautiful Edo mokko form iron tsuba with gold onlay of immortals one holding a staff, another reading a scroll held by a third figure, beneath a prunus tree . All untouched for over 150 years since it arrived in England in the 1870's. It has a very active undulating notare hamon, and fine grain within the hada, on the stunning blade, and it’s all original Edo period tsukaito binding to the hilt, in black silk, wrapped over a pair of gilt dragon menuki, and overall it has usual light signs of wear and use upon the saya, with age appropriate wear as to be expected.
Han-dachi originally appeared during the Muromachi period when there was a transition taking place from Tachi to katana. The sword was being worn more and more edge up when on foot, but edge down on horseback as it had always been. The handachi is a response to the need to be worn in either style. The samurai were roughly the equivalent of feudal knights. Employed by the shogun or daimyo, they were members of hereditary warrior class that followed a strict "code" that defined their clothes, armour and behavior on the battlefield. But unlike most medieval knights, samurai warriors could read and they were well versed in Japanese art, literature and poetry.
The samurai were roughly the equivalent of feudal knights. Employed by the shogun or daimyo, they were members of hereditary warrior class that followed a strict "code" that defined their clothes, armour and behaviour on the battlefield. But unlike most medieval knights, samurai warriors could read and they were well versed in Japanese art, literature and poetry.
Samurai endured for almost 700 years, from 1185 to 1867. Samurai families were considered the elite. They made up only about six percent of the population and included daimyo and the loyal soldiers who fought under them. Samurai means one who serves."
Samurai were expected to be both fierce warriors and lovers of art, a dichotomy summed up by the Japanese concepts of bu to stop the spear expanding into bushido (the way of life of the warrior) and bun (the artistic, intellectual and spiritual side of the samurai). Originally conceived as away of dignifying raw military power, the two concepts were synthesised in feudal Japan and later became a key feature of Japanese culture and morality.The quintessential samurai was Miyamoto Musashi, a legendary early Edo-period swordsman who reportedly killed 60 men before his 30th birthday and was also a painting master. Members of a hierarchal class or caste, samurai were the sons of samurai and they were taught from an early age to unquestionably obey their mother, father and daimyo. When they grew older they may be trained by Zen Buddhist masters in meditation and the Zen concepts of impermanence and harmony with nature. The were also taught about painting, calligraphy, nature poetry, mythological literature, flower arranging, and the tea ceremony.
it has been said that part of their military training, samurai were taught to sleep with their right arm underneath them so if they were attacked in the middle of the night and their the left arm was cut off the could still fight with their right arm. Samurai that tossed and turned at night were cured of the habit by having two knives placed on either side of their pillow.
Samurai have been describes as "the most strictly trained human instruments of war to have existed." They were expected to be proficient in the martial arts of aikido and kendo as well as swordsmanship and archery---the traditional methods of samurai warfare---which were viewed not so much as skills but as art forms that flowed from natural forces that harmonized with nature.
Some samurai, it has been claimed, didn't become a full-fledged samurai until he wandered around the countryside as begging pilgrim for a couple of years to learn humility. When this was completed they achieved samurai status and receives a salary from his daimyo paid from taxes (usually rice) raised from the local populace.
Japanese lacquer, or urushi, is a transformative and highly prized material that has been refined for over 7000 years.
Cherished for its infinite versatility, urushi is a distinctive art form that has spread across all facets of Japanese culture from the tea ceremony to the saya scabbards of samurai swords
Japanese artists created their own style and perfected the art of decorated lacquerware during the 8th century. Japanese lacquer skills reached its peak as early as the twelfth century, at the end of the Heian period (794-1185). This skill was passed on from father to son and from master to apprentice.
Some provinces of Japan were famous for their contribution to this art: the province of Edo (later Tokyo), for example, produced the most beautiful lacquered pieces from the 17th to the 18th centuries. Lords and shoguns privately employed lacquerers to produce decorated samurai sword saya and also ceremonial and decorative objects for their homes and palaces. read more
6950.00 GBP
1st Edition James Bond, Man with the Golden Gun, by Ian Fleming
London: Jonathan Cape 1965. 1st Edition 1st Impression. Flemings 12th outing for Commander Bond. Minor spotting as to be expected. With dust jacket. Cover artist Richard Chopping (Jonathan Cape ed.). The Man with the Golden Gun is the twelfth novel (and thirteenth book) of Ian Fleming's James Bond series. It was first published by Jonathan Cape in the UK on 1 April 1965, eight months after the author's death. The novel was not as detailed or polished as the others in the series, leading to poor but polite reviews. Despite that, the book was a best-seller.
The story centres on the fictional British Secret Service operative James Bond, who had been posted missing, presumed dead, after his last mission in Japan. Bond returns to England via the Soviet Union, where he had been brainwashed to attempt to assassinate his superior, M. After being "cured" by the MI6 doctors, Bond is sent to the Caribbean to find and kill Francisco Scaramanga, the titular "Man with the Golden Gun".
The first draft and part of the editing process was completed before Fleming's death and the manuscript had passed through the hands of his copy editor, William Plomer, but it was not as polished as other Bond stories. Much of the detail contained in the previous novels was missing, as this was often added by Fleming in the second draft. Publishers Jonathan Cape passed the manuscript to Kingsley Amis for his thoughts and advice on the story, although his suggestions were not subsequently used.
The novel was serialised in 1965, firstly in the Daily Express and then in Playboy; in 1966 a daily comic strip adaptation was also published in the Daily Express. In 1974 the book was loosely adapted as the ninth film in the Eon Productions James Bond series, with Roger Moore playing Bond and Fleming's cousin, Christopher Lee, as Scaramanga.
The Man with the Golden Gun film was filmed in 1974 the ninth film entry in the James Bond series and the second to star Roger Moore as the fictional MI6 agent James Bond. A loose adaptation of Ian Fleming's novel of the same name, the film has Bond sent after the Solex Agitator, a device that can harness the power of the sun, while facing the assassin Francisco Scaramanga, the "Man with the Golden Gun". The action culminates in a duel between them that settles the fate of the Solex.
The Man with the Golden Gun was the fourth and final film in the series directed by Guy Hamilton. The script was written by Richard Maibaum and Tom Mankiewicz. The film was set in the face of the 1973 energy crisis, a dominant theme in the script. Britain had still not yet fully overcome the crisis when the film was released in December 1974. The film also reflects the then popular martial arts film craze, with several kung fu scenes and a predominantly Asian location, being set and shot in Thailand, Hong Kong, and Macau. Part of the film is also set in Beirut, Lebanon, but it was not shot there. Ian Fleming wrote The Man with the Golden Gun at his Goldeneye estate in Jamaica in January and February 1964, completing it by the beginning of March. His health affected him badly during the writing process and he dropped from his usual rate of two thousand words a morning to a little over an hour's worth of work a day.
As with his previous novels, Fleming used events from his past as elements in his novel. Whilst at Kitzbuhel in the 1930s, Fleming's car, a Standard Tourer, had been struck by a train at a level crossing and he had been dragged fifty yards down the track. From that time on he had associated trains with death, which led to their use as a plot device not just in The Man with the Golden Gun, but also in Diamonds Are Forever and From Russia, with Love. To show just how much all things original Bond are appreciated in the world of collectors the Walther pistol used by Connery in the poster of From Russia With Love, in 1963, and also drawn in the man With The Golden Gun poster [as shown here] an air pistol, .177 (4.5mm) Walther 'LP MOD.53' Air Pistol, Serial No. 054159, was sold by Christies in 2010 with an estimate of £15,000 to £20,000 for an incredible £277,000. Incredible in that it was never actually used in the film, was an air pistol, not a real automatic, and only used in promotional posters. It was 'said' to have been used by accident in fact as they couldn't find a correct Walther PPK on the day of the photoshoot. read more
945.00 GBP
What A Fantastic Gift For A Sherlock Holmes Devotee! First Editions In Book Form. A Beautiful and Rare Set Of The Original 8 Book Bindings, 'The Strand Magazine', That Famously Contains the First Bound Volumes of Sherlock Holmes Adventures
The Strand Magazine July 1891 till Dec. 1893 bound in 8 Volumes } Vol. I to VIII}
First editions in bound book form . . the original stories were published as a monthly magazine in these Strand Magazines.
The first appearance of the 24 Sherlock Holmes adventures preceeding the first publishing of the books "The Adventures of Sherlock Holmes" and "The Memoirs of Sherlock Holmes" (according A10 and A14 Green/Gibson). Including many of the famous original illustrations of Sidney Paget which help form the popular image of Holmes. Also very interesting is the article in Vol. IV about the daily life of Dr. Doyle with photos of him, his wife and his home. Volume II (July - Dec. 1891) Adventure I. - A Scandal in Bohemia Adventure II. - The Red-Headed League Adventure III. - A Case of Idendity Adventure IV. - The Boscombe Valley Mystery Adventure V. - The Five Orange Pips Adventure VI. - The Man With The Twisted Lip Volume III (Jan.- June 1892) Adventure VII. - The Adventure Of The Blue Carbuncle Adventure VIII. - The Adventure Of The Speckled Band Adventure IX. - The Adventure Of The Engineer's Thumb Adventure X. - The Adventure Of The Noble Bachelor Adventure XI. - The Adventure Of The Beryl Coronet Adventure XII. - The Adventure Of The Copper Beeches Volume IV (July to Dec. 1892) Article 'A Day with Dr. Conan Doyle' with Photos of him, his wife, his house and his study Adventure XIII. - The Adventure Of Silver Blaze Volume V (Jan. to June 1893) Adventure XIV - The Adventure Of The Cardboard Box Adventure XV. - The Adventure Of The Yellow Face Adventure XVI. - The Adventure Of The Stockbroker'Clerk Adventure XVII. - The Adventure Of The "GLORIA SCOTT" Adventure XVIII. - The Adventure Of The Musgrave Ritual Adventure XIX. - The Adventure Of The Reigate Squire Volume VI (July to Dec. 1893) Adventure XX. - The Adventure Of The Crooked Man Adventure XXI. - The Adventure Of The Resident Patient Adventure XXII. - The Adventure Of The Greek Interpreter Adventure XXIII. - The Adventure Of The Naval Treaty Adventure XXIV. - The Adventure Of The Final Problem There are many other interesting factual articles in addition to fictional short stories and series of different authors in these books. One example: "Towards The North Pole" by Dr. Fridtjof Nansen.
Plus, Volume III contains the first publication of Rudyard Kipling's short story "The Lost Legion." Volume IV contains the first English translation of Jules Verne's short horror story "Frritt-Flacc" as "Dr. Trifulgas."
If one wanted experience and read of the Victorian way of life in England, this is by far the best way to uncover it. The Sherlock Holmes stories are just a fraction of what they contain. Hundreds of wonderful stories and details of exploration, by dozens of highly rated Victorian authors, thus, thousands of unrivalled hours of pleasure awaits the next owner/s of these incredible books.
Books are in very good condition. Some light wear The bindings are very nice and some areas of foxing on the paper. A very rare collectable set of the first appearance of these famous stories. Hard to find in this nice condition. All articles are richly illustrated.
"Outside of a dog, man's best friend is a book. Inside of a dog, it's too dark to read."
— GROUCHO MARX read more
1495.00 GBP
A Perfect, Very Special Christmas Gift Choice. The Collected Ghost Stories of M. R. James Published in 1931, Printed in 1949 Edward Arnold & Co London
Every year around this time we try our best to find a super original early post war edition of probably the very finest book of ingenious yet disturbing ghost stories ever written.
This year we have managed once more.
Montague Rhodes James, who used the publication name M.R. James, was a noted British mediaeval scholar & provost of King's College, Cambridge (1905–18) & of Eton College (1918–36). He's best remembered for his ghost stories which are widely regarded as among the finest in English literature. One of James' most important achievements was to redefine the ghost story for the new century by dispensing with many of the formal Gothic trappings of his predecessors, replacing them with more realistic contemporary settings.
the stories contained are;
"Canon Alberic's Scrap-Book"
"Lost Hearts"
"The Mezzotint"
"The Ash Tree"
"Number 13"
"Count Magnus"
"'Oh, Whistle, and I'll Come to You, My Lad'"
"The Treasure of Abbot Thomas"
"A School Story"
"The Rose Garden"
"The Tractate Middoth"
"Casting the Runes"
"The Stalls of Barchester Cathedral"
"Martin's Close"
"Mr Humphreys and His Inheritance"
"The Residence at Whitminster"
"The Diary of Mr Poynter"
"An Episode of Cathedral History"
"The Story of a Disappearance and an Appearance"
"Two Doctors"
"The Haunted Dolls' House"
"The Uncommon Prayer-Book"
"A Neighbour's Landmark"
"A View from a Hill"
"A Warning to the Curious"
"An Evening's Entertainment"
"Wailing Well"
"There Was a Man Dwelt by a Churchyard"
"Rats"
"After Dark in the Playing Fields"
plus " Stories i have tried to write"
According to James, the story must "put the reader into the position of saying to himself, 'If I'm not very careful, something of this kind may happen to me!'" He also perfected the technique of narrating supernatural events through implication and suggestion, letting his reader fill in the blanks, and focusing on the mundane details of his settings and characters in order to throw the horrific and bizarre elements into greater relief. He summed up his approach in his foreword to the anthology Ghosts and Marvels: "Two ingredients most valuable in the concocting of a ghost story are, to me, the atmosphere and the nicely managed crescendo. ... Let us, then, be introduced to the actors in a placid way; let us see them going about their ordinary business, undisturbed by forebodings, pleased with their surroundings; and into this calm environment let the ominous thing put out its head, unobtrusively at first, and then more insistently, until it holds the stage."
He also noted: "Another requisite, in my opinion, is that the ghost should be malevolent or odious: amiable and helpful apparitions are all very well in fairy tales or in local legends, but I have no use for them in a fictitious ghost story."
Despite his suggestion (in the essay "Stories I Have Tried to Write") that writers employ reticence in their work, many of James's tales depict scenes and images of savage and often disturbing violence. For example, in "Lost Hearts", pubescent children are taken in by a sinister dabbler in the occult who cuts their hearts from their still-living bodies. In a 1929 essay, James stated:
Reticence may be an elderly doctrine to preach, yet from the artistic point of view, I am sure it is a sound one. Reticence conduces to effect, blatancy ruins it, and there is much blatancy in a lot of recent stories. They drag in sex too, which is a fatal mistake; sex is tiresome enough in the novels; in a ghost story, or as the backbone of a ghost story, I have no patience with it. At the same time don't let us be mild and drab. Malevolence and terror, the glare of evil faces, 'the stony grin of unearthly malice', pursuing forms in darkness, and 'long-drawn, distant screams', are all in place, and so is a modicum of blood, shed with deliberation and carefully husbanded; the weltering and wallowing that I too often encounter merely recall the methods of M G Lewis.
The condition overall is good with commensurate wear for age, with its original paper slip cover, although the original slip cover does have a tear and a small section over the spine lacking. It bears the original 1949 owners name on the inner blank page. read more
495.00 GBP