Crimean War, Indian Mutiny & Zulu War Service 1831 Pattern General Officer's Sword Mamaluke with Rare Copper Gilt & Leather Mounted Scabbard

This general's sword was bespoke commissioned and thus as used in the Crimean War, the Indian Mutiny, and the Zulu War, by a general of the British army. Most later Generals swords have the brass scabbard, which is still in use today, but the best and earliest types of generals sword have the leather with copper gilt mounted scabbards, as this one has, that was originally designed in the Napoleonic Wars

It is near identical to the sword of General Raglan of the Charge of the Light Brigade fame in the Crimean War. See photo 9 in the gallery of General Lord Raglan with his same sword. General Raglan became commander of the British troops sent to the Crimea in 1854: his primary objective was to defend Constantinople, and he was also ordered to besiege the Russian port of Sevastopol. After an early success at the Battle of the Alma, a failure to deliver orders with sufficient clarity caused the fateful Charge of the Light Brigade at the Battle of Balaclava.

Promoted to major-general in June 1854, it was his service in the Crimean War (1854-56) that brought him to public attention and finally made his reputation.

This sword is also just as used by General Colin Campbell in both the Crimean war and the Indian Mutiny. He commanded the Highland Brigade with notable success at the Battle of the Alma (1854). And at Balaklava (1854), his 'thin red line' of Highlanders repulsed the Russian cavalry assault.

Later in the campaign, Campbell took over command of the 1st Division from the Duke of Cambridge. He also did his best to improve the comfort of his men during the bitter Crimean winter. He was promoted to Knight Grand Cross of the Bath in July 1855. Campbell's concern for his men and his prudent desire to keep casualties to a minimum meant that he was much loved by his soldiers. Throughout his career he always stressed the importance of their physical conditioning and mental well-being. When news of the Indian Mutiny (1857-59) reached England in July 1857, the Prime Minister, Lord Palmerston, offered Campbell the position of Commander-in-Chief of India in place of General George Anson, who had just died. He left the following day, arriving in Calcutta in August. Having organised his troops and cleared Lower Bengal of mutineers, Campbell advanced on 9 November with 4,500 men to relieve the besieged garrison at Lucknow. After defeating Tantya Tope at Cawnpore in December 1857, Campbell returned to Lucknow the following March for the final capture of the city.

He attacked in set-piece fashion, moving forward from position to position, after his engineers had constructed bridges across the Gumti River. La Martiniere was captured on 9 March and two days later the Secundra Bagh and the Shah Najaf mosque fell.

The Begum Kothi palace complex was a tougher nut to crack. Severe hand-to-hand fighting led to over 700 rebel deaths. Over the next three days, Campbell's gunners blasted their way through the buildings between the Begum Kothi and the rebel posts in the Kaisar Bagh - the Nawab of Oudh's palace - which was captured on 14 March.

Another general to use a sword as this was Lieutenant-General Sir James Outram, 1st Baronet GCB, KCSI (29 January 1803 – 11 March 1863) was a British general who fought in the Indian Rebellion of 1857.

And another famous British general, that also used a sword just as this fine sword, was Lieutenant-General Frederick Augustus Thesiger, 2nd Baron Chelmsford KCB in the Zulu War . Who lost his reputation due to the massacre at Isandlwana, but regained it due to his success at Ulundi. See photo 10 in the gallery of General Thesiger, Baron Chelsford.

Excellent condition hilt, with near all its original mercurial gilt remaining, and fine carved ivory grip plates. It is finely engraved throughout with the traditional cast langets of a wreathed crossed sabre and field marshal’s baton, depicting the rank of general.
Excellent scabbard of leather over mounted with copper gilt fancy mounts bearing much original mercurial hilt remaking. The blade is fully etched with Her Majesty Queen Victoria’s cypher, bright polish with areas of old surface pitting.

This beautiful, antique, historical sword has just returned from over twenty hours of artisan hand cleaning and polishing revealing its true beauty once more

The Mamaluke pattern British Army General's sword evolved from the swords captured at the Battle of The Nile and were brought back as war trophies by Admiral Lord Nelson. These beautiful ivory hilted swords so impressed The Duke of Wellington, and his senior officers, they were worn and adopted for wear during the Napoleonic Wars. There are several portraits of Wellington and his Generals in full uniform and adorned with such swords. The pattern was formally adopted by the British Crown as The Generals pattern in 1831, although a General could choose to wear the 1822 type, the Gothic Hilted sword. This sword is from the era from the Indian Mutiny, the Crimean War, the Zulu War and The Egypt Campaign. A beautifully etched blade with full General's symbol of crossed Baton and Sabre and Queen Victoria's cypher Crown VR.
Antique ivory, exemption to the Ivory Act 2018
Submission reference
CJ293615
Antique ivory, however old, cannot be imported into the USA.  read more

Code: 25610

French Cavalry-of-the-Line Flintlock Pistol M1816 for Cuirassiers, Dragoons and Lancers, Ordnance Converted to Percussion in 1822

It has all its complete and original parts completely conserved, serviced, and cleaned by hand. Including a walnut half-stock, iron and brass mounts, ramrod lacking, and butt-cap, the lock inscribed for the French arsenal manufacture, 'M.re Rle de M? {possibly Manufacture Royale de Mutzig}. French Royal restoration period, with numerous inspector's stamps throughout all parts.

Used by the French line regiments of the cuirassiers, dragoons, or lancers from 1816 up to and including the Crimean war.

Good tight action, sound barrel. Many pistols of this type were also imported to the USA during the Civil War. At the time of the Crimean War, the army of the Second Empire was a subscripted army, but was also the most proficient army in Europe. One of the more famous groups were the Zouaves. According to Captain George Brinton McClellan, an American Military Observer, the Zouaves were the "most reckless, self-reliant, and complete infantry that Europe can produce. With his graceful dress, soldierly bearing, and vigilant attitude, the Zouave at an outpost is the beau ideal of a soldier."
The French army consisted of the Imperial Guard infantry, the line infantry including the Foreign Legion, cavalry, artillery, and engineer troops. Sources suggest that between 45,000 and 100,000 French forces were involved at one time or the other in the Crimea. Service in the French army was for seven years, with re-enlistments in increments of seven years. The Battle of Eupatoria was the most important military engagement of the Crimean War on the Crimean theatre in 1855 outside Sevastopol.

Ottoman forces were being transferred from the Danube front to the Crimean port of Eupatoria and the town was being fortified. Upon direct orders from the Czar who feared a wide-scale Ottoman offensive on the Russian flank, a Russian expeditionary force was formed under General Stepan Khrulev aiming to storm the base with a force variously estimated between 20,000 to 30,000.

Khrulev hoped to take the Ottoman garrison by surprise on February 17, 1855. His intention failed to materialise, as both the Ottoman garrison and the Allied fleet anticipated the attack.

The Russian artillery and infantry attacks were countered by heavy Allied artillery fire. Failing to make progress after three hours and suffering mounting casualties, Khrulev ordered a retreat.

This reverse led to the dismissal of the Russian Commander-in-Chief Aleksandr Sergeyevich Menshikov and probably hastened the death of Nicholas I of Russia, who died several weeks after the battle.

As for the battle's strategic importance, it confirmed that allied total command of the sea would ensure that the threat to the Russian flank would remain for the duration of hostilities. For the allies, possession of Eupatoria meant that the total investment of Sevastopol remained a viable option. For the Russians, they could not afford to commit unlimited resources from their vast army to the Crimea, for fear of a lightning allied thrust from Eupatoria closing the neck of the peninsula at Perekop.

For the Ottomans, their Army had regained its self-esteem and to some extent its reputation; most French and British realised this, although others including the high command would stubbornly refuse to make further use of their fighting abilities in the Crimean theatre. A very nice example of French cavalry percussion pistol (Ref. "French Military Weapons 1717-1938", by James E. Hicks, pp. 81 and 94).

Hand specialist conservation and preservation of original items is one of our fundamental tenets, it is not unusual for us to expend up to ten times the cost of an item in order to preserve a piece for the future, and to return it to how it once looked for posterity. Of course over restoration can be worse than no restoration at all so every care is made to ensure exactly the right amount of conservation is undertaken by our specialist and highly trained world renown artisans,

Photo in the gallery of the same pistol in the belt of an American Civil War Union trooper  read more

Code: 24803

A Stunning Quality Edo Period Tanto Fuchi In Shakudo and Pure Gold. Incredible Fine Quality Chisselled Takebori Carving of Rats Around a Gold Koku Traditional Rice Bale. Signed with Kikihan

Decorated shakudō (copper/gold alloy) with a hammered ground of fine nanako (fish-roe) points and decorated with rats and an applied pure gold rice bale. Signed Sadachika with kao (the artist's personal kakihan art signature seal). A wondeful indication of his skill, one can clearly see with a 10x magnifying glass the rats individual hairs on their body.

This is probably by the master fuchgashira maker Nomoto Sadachika, although relatively little is known about him, other than he worked in the later Edo period, his skill is self evident and was obviously exemplary.

In old Japanese culture the illustration of the rat in art was not a negative connotation, but a positive one. The presence of rats symbolised a successful harvest, so their presence was a symbol of good fortune,

Nanako Ji: "fish roe ground" A surface decoration produced by forming very small raised bosses by a sharply struck punch or burin called 'nanako tagane'. Shakudo is the metal most often used, but copper and gold are quite often employed. The harder metals, shibuichi, silver and iron are rarely decorated in this way. The size of the dots vary from 0.04" to 0.008" (25 to 125 and inch) and the regularity of the work is marvelous as the dots must be spaced entirely by touch. The dots are usually arranged in straight lines or in lines parallel to the edge of the piece being decorated, but sometimes in more elaborate patterns. Used on guards since the Momoyama period although the technique existed since much earlier periods. Usually done by specialist 'nanako-shi', but sometimes done by the maker of the guard himself. The articles of sword ornamentation made by the Goto artists were practically all on shakudo grounds with nanako finish; after the emergence of the machibori artisans in the mid-Edo period and the popularity of the newly inspired kozuka, shakudo grounds with nanako finish "became the rage". Nanako finish is probably an evolution and refinement of a very old style finish (which it vaguely resembles); "millet finish", 'awa ishime', which is found on some old armorer tsuba. However, awa ishime consisted of small, round dimples punched into the surface of the ground; on the other hand, nanako is formed by striking the ground with a cup-shaped punch to raise, and project upward from the surface, small semi-hemispheric nipples. Since we find nanako finish on old yamagane grounds, it was in use as early as the Kamakura period. It is note-worthy that a nanako finish on a shakudo ground has been used since the time of the first Goto 1440 - 151 in the mitokoromono, "set of three", for use on formal or ceremonial occasions. Later, shakudo nanako became the regular finish for use by the metal artisans. (deleted repeated sentences) In applying nanako, meticulous and scrupulous care must be used in positioning and striking the "cupping tool" in order to achieve fine, regular, carefully and closely spaced, identical results, row after row. Careless, imprecise and even coarse workmanship can be detected in the nanako of some older works and on "ready made" products, but work of later years, executed with infinite and scrupulous care, are beautiful beyond belief. However, even the finest of execution of nanako finish applied to brass (shinchu) or shibuichi fails to carry the distinct air of refinement and elegance of similar work on shakudo. The very elegance of nanako workmanship reflects not only the extraordinary skills of the Japanese in the execution of minute, detailed work, but also their tremendous patience and artistic inspiration. It is said that blindness of nanako workers at thirty years of age was usual because of the microscopic and meticulous work so carefully and patiently executed. On many old tsuba, pre-dating the period of the Goto, one encounters nanako laid in horizontal or vertical rows; on subsequent work nanako was applied along curved lines conforming to the shape of the tsuba.

Shakudo {that can be used to make samurai sword mounts and fittings} is a billon of gold and copper (typically 4-10% gold, 96-90% copper) which can be treated to form an indigo/black patina resembling lacquer. Unpatinated shakudo Visually resembles bronze; the dark colour is induced by applying and heating rokusho, a special patination formula.

Shakudo was historically used in Japan to construct or decorate the finest katana fittings such as fuchi-kashira, tsuba, menuki, and kozuka; as well as other small ornaments. When it was introduced to the West in the mid-19th century, it was thought to be previously unknown outside Asia, but recent studies have suggested close similarities to certain decorative alloys used in ancient Egypt, Greece, and Rome.  read more

Code: 25598

Fine Pair of Samurai Sword Mounts, A Fuchigashira In Pure Gold Onlay & Inlay On Shakudo, Soten School, Edo Period {1615-1868} Inscribed Sōheishi Nyūdō Sōten Sei. Taira Atsumori (1169-1184) Riding On Horseback Through Crashing Waves To Escape The Minamoto

Soten school, late, Edo period {1615-1868} By Sōheishi Nyūdō Sōten Sei. It is rare to find Soten work in shakudo or any soft metals as they typically worked in iron

Very likely depicting Taira Atsumori (1169-1184) Riding On Horseback Through Crashing Waves To Escape The Minamoto Warriors. Woodcut By Toyokuni Utagawa,

The founder of the
Soten school, Kitagawa Sōteen I (also called Shūten and possibly Sōheishi Niūdō), flourished about 1650 and, like his successors, worked at Hikone, whence the name Hikone-bori for the style they evolved. The signature of his son, Sōten II (Sōheishi Niūdō), is that most frequently found on tsuba sword guards of this school.

The Sōten style may be summed up as the marubori-zōgan with the addition of elaborate landscape details. The figures, whether large or small, are either modeled completely in the round, the ground being more or less cut away and the whole enclosed by a border; or else they are in high relief on a solid ground. The work is nearly always in iron, with the nude portions encrusted in silver or copper, the patterns of the garments and the minute botanical details of the landscape being richly overlaid with gold.

The favourite subjects are taken from Chinese history and legend, or represent Japanese battle-scenes, especially from the Gempei campaigns of the 12th century and the Korean expeditions of the Empress Jingō and the Taikō Hideyoshi.

According to The Tale of the Heike, the Taira were scattered by Yoshitsune's attack from the Ichi-no-Tani cliff. Kumagai no Jirō Naozane, while scanning the beach for fleeing soldiers, spotted the young Atsumori swimming towards the fleeing vessels.

Ukiyo-e of Kumagai Naozane and Taira no Atsumori
Kumagai beckoned Atsumori with his fan, taunting Atsumori by saying, “I see that you are a commander-in-chief. It is dishonorable to show your back to an enemy. Return!”

Atsumori returned and they grappled on the beach. Kumagai was stronger. He knocked off Atsumori's helmet to deliver the finishing blow, only to be struck by the beauty of the young noble. Atsumori was “sixteen or seventeen years old, with a lightly powdered face and blackened teeth—a boy just the age of Naozane's own son...”

Kumagai, wishing to spare the life of the boy, asked for Atsumori's name, but the youth refused. He simply said that he was famous enough that Kumagai's superiors would recognize his head when it was time to assign rewards. At that moment, other Minamoto warriors arrived, and Kumagai knew that if he did not kill Atsumori, the other warriors surely would. Kumagai reasoned that it was better if he was the one to kill Atsumori, because he could offer prayers on his behalf for the afterlife.

Kumagai while crying beheaded the youth, searched the body for something to wrap the head in, he came across a bag containing a flute. He realized that Atsumori must have been one of the soldiers playing music before the battle and thought, “there are tens of thousands of riders in our eastern armies, but I am sure none of them has brought a flute to the battlefield. Those court nobles are refined men!”

It is said that the beheading of Atsumori is what led Kumagai to take priestly vows and become a Buddhist monk.

See photo 10 in the gallery of a similar subject fuchigashira in the Metropolitan Museum of Art
Sword-Hilt Collar and Pommel (Fuchigashira)
Japanese ca. 1615–1868 Fuchi inscribed: 藻柄子入道宗典製 Sōheishi Nyūdō Sōten sei (Made by the lay priest Sōheishi Sōten)
Donated by Herman A. E. and Paul C. Jaehne, New York and Coco Beach, Florida (by 1915–43; their gift to MMA).  read more

Code: 25605

A Most Beautiful Signed Koto Katana, Circa1500's. All Original Edo Mounts of Onlaid Pure Gold, Silver & Shakudo Fuchi-Kashira of A Samurai Warrior In Armour On Horseback

A circa 500 year old Koto period samurai katana blade, with a signed nakago, Bitchu ju Kuni... {the last part of the name can't be clearly read}.
It has a very good suguha hamon, and a traditional silk bound over samegawa gint rayskin tsuka, with stunning shakudo fuchi-kashira with gold and silver decoration of a takebori samurai on horseback on the kashira, and a samurai by a shoreline with overhanging trees and wave,s on the fuchi, beautiful gold bamboo leaves menuki, circular iron tsuba chiselled with leaves, in its black urushi lacquered saya. Black tsuka-ito over gold bamboo leaves, on samegawa giant rayskin.

The motif of this iron tsuba’s takebori design seems to be numerous conch shells, known as “Horagai” (法螺貝). The conch shell originates from Hinduism and is closely linked to the teachings of Buddha. Historically, Yamabushi (mountain ascetics) used it to convey sermons. The conch was brought to Japan around 806 AD by monks like Kukai (空海) and Saicho (最澄), who returned from Tang China, with five of the eight bringing conch shells. Its sound represents the teachings of Buddha, making it a sacred instrument in Japanese esoteric Buddhism. The conch is one of the Eight Auspicious Symbols in Tibetan Buddhism, symbolizing purity and the dissemination of Buddhist teachings.

Shellfish have been eaten all over the world since ancient times. At the same time, they have been used in a wide variety of applications, such as coins, ornaments, daily necessities, and toys, due to the beauty and preservability of their shells. In Japan, there is also a folk belief that seashells with prominent projections are hung from the eaves to ward off evil spirits, and their names are said to ward off fire, such as the Suijigai (水字貝, 水 means water in Japanese). In addition, ascetic monks who trained in the mountains blew trumpet shells to exorcise evil spirits. During the Warring States period (戦国時代, 1467-1615), trumpet shells were used to signal the formation of battle lines and to boost the fighting spirit. It is only natural that this shell, which was used as a cue in battle and to raise the fighting spirit of soldiers, was incorporated into the decoration of armour, which is the uniform of fighting.

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 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 were 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.

As 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, it is said, warriors, 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. Swords in Japan have long been symbols of power and honour and seen as works of art.
Shakudo {that can be used to make samurai sword mounts and fittings} is a billon of gold and copper (typically 4-10% gold, 96-90% copper) which can be treated to form an indigo/black patina resembling lacquer. Unpatinated shakudo Visually resembles bronze; the dark colour is induced by applying and heating rokusho, a special patination formula.

Shakudo was historically used in Japan to construct or decorate the finest katana fittings such as fuchi-kashira, tsuba, menuki, and kozuka; as well as other small ornaments. When it was introduced to the West in the mid-19th century, it was thought to be previously unknown outside Asia, but recent studies have suggested close similarities to certain decorative alloys used in ancient Egypt, Greece, and Rome.
Blade surface has areas of the usual age surface micro thinning seen in Koto blades

Blade 27.25 inches long tsuba to tip, overall sword length in saya 38 inches long  read more

Code: 24182

A Pair of Original & Extraordinarily Beautiful, First Nation, Antique American Wild West Frontier Riding Gauntlets. Made for Settlers and Trade Market of The American Frontiersmen, Such As Army Scouts, Pony Express Riders & Buffalo Hunters. Likely, 1840’s

A stunning pair of simply captivating gauntlets, of the 19th century, made by First Nation native Americans, of the Huron, Lakota Sioux or Metis tribes, from the early 'Wild West Frontier' period.

Likely traditional North American Indian brain tanned and smoked leather to enable the surface to be more waterproof. To ensure a long-lasting resilience of the leather, it was traditionally stored in a special tent over wood smoke, which gave the skin a darker brown tone and also made it waterproof, thus achieving better protection. Without this process, the leather turns out to be whitish and water-sensitive

All the embroidery is incredibly technical micro stitching of amazing beauty and intricacy. These stunning and fringed gauntlets are beautifully embroidered with flowers, florid patterns and a western monogram. They were possibly traded in the 1840's from the Cree, or the Lakota Sioux tribes of North and South Dakota, but theirs is often decorated with beadwork as opposed to this very fine stitched embroidery, which may better indicate Huron or Metis craftsmanship, according to a most kind lady from the region, who visited our gallery, and who fortunately knows this form of First Nation tribal art very well.

The most famous members of the Lakota Sioux were Sitting Bull and Crazy Horse. In yellow hide likely deer buckskin with typical long fringing. Excellent condition, with a small split in base of one finger. The style of Gauntlets worn by 'Kit Carson' and his contemporaries. Superbly beautiful, charming and highly collectable pieces from the old, American, Wild West Frontier.

Gauntlets are protective gloves that distinctively have a flared protective cuff. For centuries, these cuffs protected European and Asian bow hunters and military archers from being snapped on the wrist by their bowstrings. Medieval soldiers and knights began wearing chain-mail gauntlets during the 1300s, and armoured gauntlets appeared in Europe during the 1400s. Four hundred years later and halfway around the world, leather gauntlets appeared in the American West as military uniform accessories. They were soon appropriated by Indian artists, embellished with diverse ornaments, and incorporated into the civilian wardrobe. Here they became intrinsically linked with Western people, history, and landscape, and a symbol of the frontier. The original European form was reworked with a wild American veneer. Former mountain men -- Jim Bridger and Kit Carson among them -- occasionally worked guiding emigrant trains and military units through little-known country. They also helped track renegades of diverse stripes. These scouts were colourful characters, highly skilled, and not required to maintain a military dress code. Their attire was subsequently functional, comfortable, and drawn from a variety of media and cultural sources. By the 1870s, long and abundant fringe was in style and pinked edges provided decorative flair to leather clothing that was by nature quite showy. A similar pair of gauntlets though later of the Lakota Sioux can be seen in the Eugene and Clare Thaw Collection of American Indian Art in the Fenimore Art Museum NY.

The inner lining of our gauntlets is some kind of fine quilted cloth.

These stunning gauntlets would superbly compliment any Wild West collection of original American revolvers, and would look amazing case framed. We offer a highly recommended bespoke case framing service accomplished by one of our local expert artisans.

Such original and rare items of Native American art and artefacts are new very rare in Europe, and thus most valuable to collectors, as they are almost always not permitted to be exported from North America any longer. However, strangely it is also not possible to import First Nation artefacts back into the USA either

The last photo in the gallery is of the Teton Sioux Lakota gauntlets in the Fenimore Museum, however, the embroidery on our gauntlets is very much like earlier Huron work.

Every item is accompanied with our unique, Certificate of Authenticity. Of course any certificate of authenticity, given by even the best specialist dealers, in any field, all around the world, is simply a piece of paper,…however, ours is backed up with the fact we are the largest dealers of our kind in the world, with over 100 years and four generation’s of professional trading experience behind us  read more

Code: 20890

A Wonderful, & Most Rare New Zealand Maori Jade Large Hand Axe 13th-17th Century Pounamu Toki

Some of the most fascinating objects in British museum collections come from many far flung places all over the world. They arrived in their collections due to the explorers and travellers gathering trinkets and objects of curios during the 19th century. One such object is this Pounamu Toki or the Greenstone Axe from New Zealand. These axes were used as a tool for daily work as well as being employed in ceremonial form.

We have had several over the past 50 years but unfortunately, none of them have ever had their handles remaining. They retain considerable meaning for the Maori, as Greenstone is known as the God Stone, and to the Europeans, Jade. They are imbibed with mysticism and sacred power to the Maori. Greenstone is a sacred material and most rare. It occurs naturally in the South island of New Zealand and is found in several areas and has been discovered in rivers as boulders or pebbles or washed up on the coast.

Maori myth and legend is attached to the greenstone and its origins. The Ngati Waewae tribe tells of a legend about a fearsome Taniwha (sea monster) and a beautiful princess kidnapped by the Taniwha. The princess eventually gets turned to greenstone on the riverbed. This myth tells how the greenstone was created. 6.25 inches long x 3.5 inches wide.  read more

Code: 21861

A Very Fine & Rare Original Napoleonic Wars ANXI Light Cavalry Trooper's Sabre. Used by Napoleon's Most Famed Lancers, Hussars, Chasseurs. The Sabre Troupe de Cavalerie Légère Modèle AN XI

Very rare combat sabre for the troop, perfectly homogeneous and authentic to discover in superb state of conservation considering all the battles it experienced during the Napoleonic wars it deserves to find a fine place in a thematic collection.

During a parade the sight of the hussars would the women’s hearts made wildly pounding. In combat they rode yelling most unearthly, cursing and brandishing their weapons. They had their own code - that of reckless courage that bordered on a death wish. The hussars were the eyes, ears and … egos of the army.
With their look suitably piratical their hair plaited and queued they were one heck of mean buggers. Some regiments were composed of fellows who had a natural longing for a fight (or trouble !) The mutually supporting camaraderie of the hussars was important factor of their esprit de corps. Tactically they were used as scouts and screen for other troops and due to their combativeness were also used in pitched battles. It was not a rare sight to see a hussar in a forefront of a hack-and-slash melee, gripping his reins with his teeth, a pistol in one hand and saber in the other.

Three bar guard the pommel back strap piece has a slight tilt forward complete the hilt's elegant form. One unique elements of this sabre is the leather bound, ribbed grip with its brass olive shaped stud. The arsenal markings are on the back of the slightly fulled 34 3/4 inch blade.

Hilt stamped stamped by Joseph Innocent Krantz, Chef de Batt'on, the Napoleonic Imperial period sword inspector from 1812, and Jean George Bick's mark of 1812 a controller 1st class. Blade marked, Klingenthal Man Imperial Janvier 1813 {only Janvier 1813 is still easily visible} Joseph Innocent Krantz, Chef de Batt'on, stamp is also on the blade face

Referenced in the works of Michel Pétard "Des sabres et des épées - Troupes à cheval de l'Empire à nos jours - Tome Second", pages 137 and 138; long-tailed cap; calf-covered wooden handle with brass olive mount.
One of the rare sabres specifically made to re-arm the French cavalry after the catastrophic losses in 1812 in Russia.

The disaster of 1812 in Russia
It is estimated that 175.000 excellent horses of cavalry and artillery were lost in 1812 in Russia ! The remnants were mounted on Russian and Lithuanian peasant ponies. The rebuilding of the cavalry in 1813 was more difficult than infantry and artillery. Shortages of trained cavalrymen, officers, NCOs and war horses were critical. Promotions were rapidly handed out and temporary squadrons were formed.
In the beginning of April 1813 general Bourcier gathered 10.000 battle-hardened veterans from 60 regiments spread across the countryside. The cavalry centres were in the cities of Magdeburg and Metz. Horses were coming from northern Germany. During Armistice was more time to train the young troops and many regiments showed improvements in their maneuvers. But they never reached the level of pre-1812.

French Cavalry Under Napoleon.
"When I speak of excellent French cavalry,
I refer to its impetous bravery,
and not to its perfection"
- General Jomini

Napoleon's Cavalry and Its Leaders "Cavalry is useful before, during and after the battle," wrote Napoleon, and he stressed the need for audacity in its employment and careful training to achieve true discipline. He was also insistent that careful categorization according to role was of great importance... It was some time before the French cavalry reached its full potential, as it had suffered the loss of many officers during the Revolutionary period, but by 1807 it was reaching its prime. The great charges led by Murat at Eylau and Grouchy at Friedland played vital parts in the outcome of these battles." (Chandler - "Dictionary of the Napoleonic Wars" pp 85-86)
"Under Napoleon, the French cavalry were, in contrast to the infantry, far more renowned for their action in masses than for their duty as light troops. They were deemed irresistible, and even Napier admits their superiority over the English cavalry of that day. Wellington, to a certain degree, did the same. And strange to say, this irresistible cavalry consisted of such inferior horsemen ... no soldiers are so careless of their horses as the French." ("The Armies of Europe" in Putnam's Monthly, No. XXXII, published in 1855).

Used in such battles as;

In the Battle of Lützen (German: Schlacht von Großgörschen, 2 May 1813), Napoleon I of France defeated an allied army of the Sixth Coalition.

The Russian commander, Prince Peter Wittgenstein, attempting to forestall Napoleon's capture of Leipzig, attacked the French right wing near Lützen, Saxony-Anhalt, Germany, surprising Napoleon. Recovering quickly, Napoleon ordered a double envelopment of the allies. After a day of heavy fighting, the imminent encirclement of his army prompted Wittgenstein to retreat. Due to a shortage of cavalry, the French did not pursue.

The two armies would clash again in the Battle of Bautzen three weeks later.

The Battle of Vitoria in North-Eastern Spain, to the South of Bilbao and near the French border.

Wellington’s army comprised 52,000 British and 28,000 Portuguese troops. An army of 25,000 Spanish troops co-operated in the campaign. Wellington’s army had 90 guns.

The French army, drawn from the Army of the South, the Army of the Centre and the Army of Portugal, comprised 50,000 troops (including 7,000 cavalry), with 150 guns. It was Wellington’s decisive defeat of Joseph Bonaparte’s French army on 21st June 1813 in North-Eastern Spain in the Peninsular War

The Battle of Leipzig, also known as the Battle of the Nations, was fought from 16 to 19 October 1813 at Leipzig, Saxony. The Coalition armies of Austria, Prussia, Sweden, and Russia, led by Tsar Alexander I and Karl von Schwarzenberg, decisively defeated the Grande Armée of French Emperor Napoleon Bonaparte. Napoleon's army also contained Polish and Italian troops, as well as Germans from the Confederation of the Rhine (mainly Saxony and Württemberg). The battle was the culmination of the German Campaign of 1813 and involved 560,000 soldiers, 2,200 artillery pieces, the expenditure of 400,000 rounds of artillery ammunition, and 133,000 casualties, making it the largest battle of the Napoleonic Wars, and the largest battle in Europe prior to World War I.

The War of One Hundred Days, culminating in Quatre Bras and Waterloo. This fabulous sabre was almost certainly a trophy of war from Waterloo, and any or all of the the previously listed battles it would likely have seen service within.

After the fighting at Quatre Bras (16 June 1815) the two opposing commanders Marshal Ney and the Duke of Wellington initially held their ground while they obtained information about what had happened at the larger Battle of Ligny. They received intelligence that the Prussian army under the command of Prince Blücher had been defeated by the French Army of the North under the command of Napoleon Bonaparte.

Upon receiving this news Wellington organised the retreat of the Anglo-allied army to a place he had identified a year before as the best place in Belgium for him to be able to employ his reverse slope tactics when fighting a major battle: the escarpment close to the village of Waterloo.

On the 17th, aided by thunderstorms and torrential rain and before the arrival of Napoleon, Wellington's army successfully extricated itself from Quatre Bras and passed through the defile of Genappe. The infantry marched ahead and were screened by a large cavalry rearguard. The French harried Wellington's army, but were unable to inflict any substantial casualties before night fell and Wellington's men were ensconced in bivouacs on the plain of Mont-Saint-Jean.
As with all our items it comes complete with our certificate of authenticity
Without scabbard  read more

Code: 25565

The Spectacular, Elizabeth Taylor, 'Million Dollar' Gold, Diamond And Ruby Rolex 'Mystery' Watch, With a Diamond & Ruby Bracelet. Described As, Probably, The Most Spectacular, Beautiful and Unique Rolex Watch in the World

What an incredible idea for a special occasion.
A unique, bespoke, Rolex ‘mystery’ watch, probably one of the most spectacular ‘statement watches’ ever to be seen anywhere in the world today, that once belonged to one of the greatest movie legends of them all, Elizabeth Taylor.

The concealed Rolex watch movement is hidden within the spectacular, gold diamond and ruby set 'belt and buckle' bracelet, and when worn, the watch movement is entirely concealed, and hidden, and can be viewed by simply lifting the end of the belt tab.
The current cost of a 1970's Bulgari Serpenti 'Mystery' Watch, available on the market today, is anything up to £170,000. But the fabulous Bulgari mystery watches hold not a candle to this simply unique and exquisite piece..

This extraordinary watch is as close to a Million Pound watch as you can get. Its provenance is as follows;

In the middle of October 1970, Elizabeth Taylor and Richard Burton arrived in Brighton for the location filming of Burton's latest film, Villain. During the filming they toured The Lanes in Brighton and visited our shop in Prince Albert St, in order to discuss with David Hawkins snr, the purchase of a mansion David had recently bought in Hove. During their hour long visit to our store some extraordinary business was transacted, between Elizabeth and Camilla Hawkins, Mark and David's mother, and wife of their father David snr. Camilla bought from Elizabeth, this most spectacular custom made, Rolex movement, gold and diamond bracelet 'mystery' watch that Richard had somewhat recently bought for Elizabeth.

It was the culmination of a conversation that Elizabeth had with David and Camilla concerning the purchase of a Hove mansion, that David and Camilla owned in Hove, that Michael Wilding {a very famous British actor and another former husband of Elizabeth Taylor} was attempting to buy from David Hawkins snr, for Michael Wilding's 'other' ex wife, Susan Wilding. Elizabeth had been asked by Michael to intercede on his behalf, and convince David to sell the Hove mansion to Michael, that, so far, he had thus refused to do.

That most curious conversation, and negotiation, obliquely developed into an entirely disconnected heated discussion between Elizabeth and Richard, concerning a ring that Elizabeth had seen in a neighbouring jewellers in the Brighton Lanes that very day, and that Elizabeth was determined to buy for herself. However, Richard had ‘forbade’ her from buying it. He strongly protested, and loudly argued, that he was the only one allowed to buy her Jewellery, and Elizabeth, took great exception to this affront to her status and independence. Bearing in mind, Elizabeth had, and always was, paid far more for her performances than Richard was for his. Richard’s talent and fame was world renown, but Elizabeth’s fame and status was positively stratospheric. This was the uncomfortable element to their relationship, that Richard never truly overcame.

In high dudgeon, to his unwanted rebuke, Elizabeth removed this fabulous Rolex watch from her wrist, and immediately offered it for sale, and duly sold it, to Camilla, most likely, simply in order to frustrate, anger and annoy Richard, and very possibly to also demonstrate her indifference of his opinions and wishes. which it certainly did. So, the upshot was, Camilla gained this magnificent watch that October, from Elizabeth, and subsequently, just a few years later, gave it to Mark her son as a wedding present, in May 1978.

Mark { the elder partner of The Lanes Armoury} was in fact present in the shop when the entire argument between Elizabeth and Richard took place, and thus personally witnessed exactly how the watch was offered and purchased from Elizabeth, within the shop, on that grey but significantly eventful October day in 1970.
It was, he says,
"certainly one of the most curious, momentous and unforgettable days I had ever experienced in the shop during the past 50 plus years".
It is certainly not every day one is personally witness to two of the most famous and talented movie stars in the world, having a full blown, somewhat high decibel, hour long marital discourse, within just a few feet.

Bearing in mind Elizabeth and Richard were true, original ‘superstars’ in the truest sense of the word. No celebrities today could even touch the fame that those two fabulous actors enjoyed in their day.

Dame Elizabeth Taylor had another, very similar quality diamond and gold 'Mystery' watch, and she was indeed photographed wearing it on the set of Cleopatra in 1962 {see the gallery photos}. It was a serpent 'mystery' watch with a very similar watch movement encased and hidden within the head of a diamond and gold coiled snake, acting as its bracelet, made by Bulgari. That watch was sold in December 2011 for over $974,500, however it did have the benefit of a photograph of Elizabeth wearing it, and so far we have never found a photograph of Elizabeth wearing our far superior example.
It is said that to custom hand-make and replicate this unique, finest quality gold, diamond and ruby bracelet watch, with the manual 'fold-out' movement by Rolex, would likely cost over a million dollars today.
Over the past near 40 years we have combed the world of photographs of Elizabeth Taylor to find her wearing it, sadly without success, and when she created her magnificent book on her world famous jewel collection, as it was thirty years after this magnificent Rolex had been sold to Camilla.

A photo in the gallery is of Richard and Elizabeth arriving at Brighton Station on the 16th October 1970, and she may well have been wearing it then, but her arms are obscured by her jaguar print pant suit. We also show views from her famous jewel collection book,' Elizabeth Taylor, My Love Affair With Jewellery' published in 2002, that we also include with the watch. The watch is being sold in part to benefit Mark and Judy's {Mark's beloved late wife} favourite charities, the National Society for the Prevention of Cruelty to Children, and The Guide Dogs for The Blind Association.
10.5 inches long x 1.4 inches wide at the buckle, 130.8 grams. Bears Swiss .750 hallmark, set with 24 diamonds and 40 rubies. There was once a small personal calling card with it from Elizabeth that doubled as it's receipt, but sadly it was lost many decades ago.

After meeting on the set of Cleopatra in the early '60s, actress Elizabeth Taylor (1932-2011) and actor Richard Burton (1925-1984) began one of the most publicized and turbulent love stories of all time, captivating millions with their on-again, off-again relationship. Despite the drama, they shared a love that was deep and fierce, the kind of love that can often be as destructive as it is beautiful. According to TIME, Burton admitted he was making movies due to his desire for money, not a love for the art. However, he thought quite highly of his talented wife. He once wrote, "You are probably the best actress in the world, which, combined with your extraordinary beauty, makes you unique. When, as an actress, you want to be funny, you are funnier than W.C. Fields; when, as an actress, you are meant to be tragic, you are, tragic."
We recommend this watch is professionally serviced before wearing, which we can undertake if required. Over the decades we have sold many watches, of course, mostly of a military nature, but we have never seen another watch so beautiful as this. A true work of the finest object d'art, as well as a piece of useful and functional jewellery. It will be accompanied with a signed statement from Mark Hawkins detailing its full story, but sadly there is no longer any surviving paperwork from Elizabeth Taylor.
However, if one wished for Rolex to create such a fabulous bespoke watch today it would very likely cost up to a million pounds.
We offer it set within a fine Cartier watch box .

Another photo in the gallery is of Elizabeth's other 'Mystery Watch' by Bulgari, which she was photographed wearing on the set of Cleopatra. It sold in 2011 for $974,500.

The bespoke watch case and bracelet of our watch was likely originally custom made for Elizabeth by an exclusive, finest Parisian or Swiss jeweller, such as, for example, Van Cleef & Arpels or Boucheron, and was then fitted with its fold-out ‘hidden’ Rolex movement.

The watch is an amazing 10.5 inches long x 1.4 inches wide at the buckle, and it weighs over 4 ounces {130.8 grams}. It bears a Swiss .750 18ct hallmark and contains 24 diamonds and 40 rubies.

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  read more

Code: 22793

Two Original Medieval Pages From Sir John Froissart's Chronicles Of France Printed in 1495, of the 14th Century, From The Printing Personally Ordered By King Henry VIIth Of England.

Two original loose pages from the original medieval 1495 printed book, mounted and bound in folio form, within cloth hard back binding with gold titles, 13 x 9 inches. Original medieval pages taken from the book printed in Paris in 1495 by Verrard. This particular printing [that these pages came from] was personally ordered in book form by King Henry VIIth of England from Anthoine Verard in Paris, and his copy now resides in the British Museum. Froissart's Chronicles were initially in manuscript form with fine illustration but were first transformed in to book form in Paris in 1495. Full and complete copies of this book, published by Anthoine Verard in 1495, and as was ordered by King Henry, can now achieve six figure sums. Froissart might be called the great interviewer of the Middle Ages. The newspaper correspondent of modern times has scarcely surpassed this medieval collector of intelligence. He traveled extensively in the various countries of Europe; he conversed with gentlemen of rank everywhere; and he had the remarkable knack of persuading those about him to divulge all he wanted to know. He learned the details of battles from both sides and from every point of view. He delighted in the minutest affairs of every cavalry skirmish, of the capture of every castle, and of every brave action and gallant deed. He lived from 1337 to about 1410, and wrote chiefly of contemporaneous events. The Chronicles are universally considered as the most vivid and faithful picture we have of events in the 14th century. As a picture of the most favorable side of chivalry, the work has no equal (Adams, Manual of Historical Literature, 334-35). There has never been any difference of opinion on the distinctive merits of this great work. It presents a vivid and faithful drawing of the things done in the 14th-century. No more graphic account exists of any age. No historian has drawn so many and such faithful portraits? (Britannica). The Chronicles were originally circulated in manuscript form, with the first printed version appearing around 1498 in Paris. Froissart was one of the greatest of the medieval European writers. In his own century, -the fourteenth it is not easy to see anyone who can be put beside him as a prose-writer. But the literary language of the day was still predominantly verse, and prose was still regarded as something of a utility medium. Because
of this and because Froissart is known principally for his descriptions of warfare - the greatest and most famous chronicle of French and English medieval history. Jean Froissart (1338-C.1410) is the supreme annalist of medieval chivalry, historian, poet, traveller, friend of Chaucer, and by far the most entertaining source for our knowledge of the Hundred Years’ War. It is as much a profane romance as a history book. It is filled with delightful stories and adventures reported first-hand.
Froissart was born in Valenciennes. At the age of 18 he came to England where he entered the service of Queen Philippa of Hainaut, acting as her secretary and private diplomat. In 1366 he set off again on his long travels, settling for a time in the Duchy of Brabant. Much of his great chronicle was probably written in his home town of Valenciennes, and he continued it over his life to the events after the murder of Richard II in 1399.
Froissart began writing Book I sometime after 1370, possibly at the request of Robert de Namur, to whom the earliest version was dedicated. It covers the period from 1322 to 1377, including the accession of Edward III, his campaign in Scotland and his marriage to Philippa of Hainault, the battle of Sluys, the Siege of Tournai, the Breton war of succession, the Battle of Crécy, the Siege of Calais, the battle of Neville’s Cross, the battle of Winchelsea, the battle of Poitiers, Etienne Marcel’s merchant revolt in Paris, the Black Prince’s campaigns in the south of France, the peace of Brétigny, the death of king John II of France, the battle of Cocherel, the battle of Auray, the Castilian Civil War, the battle of Chizé, the deaths of the Black Prince and Edward III and the accession of Richard III. We show in the gallery three hand coloured illustrations that have been used to illustrate the various versions of his works in manuscripts or books. One shows the execution of Hugh the Younger Despenser.  read more

Code: 20579