A Group Of WW1 Medals for the Army Veterinary Corps. Of a WW1 Trio, Special Enlistment. & The King's Medal An LCC Medal 1914-15 for Attendance, Conduct and Industry As A London Schoolboy, Straight from School as a Special Enlistment To The Western Front

For Acting Staff Sergeant G.C.Hine AVC. Special Enlistment.

During WWI, Staff Sergeants in the Army Veterinary Corps (AVC) played a crucial role in treating and managing sick or wounded horses, mules, and pigeons, with British personnel numbers expanding from 934 to 41,755. They served on the Western Front, in the Middle East, and staffed Mobile Veterinary Sections.
Key Aspects of WWI Veterinary Staff Sergeants:
Roles & Duties: Staff Sergeants supervised the care of animals in veterinary hospitals and mobile sections. They were often stationed along lines of communication, treating wounded animals transferred from the front lines.
In British records, Staff Sergeants are listed with service numbers often prefixed by "SE" (Special Enlistment). Examples of individuals include Staff Sergt A W Baird SE/366 and Acting Serjeant Benjamin Aldred SE/18086.
In the U.S. Army, veterinary training for personnel was organized at camps like Fort Riley and Camp Lee.
The British Royal Army Veterinary Corps was vital, with many veterinarians serving as officers and managing vast numbers of animals.
While some served in veterinary hospitals, they were rarely part of the initial divisional mobile veterinary section establishment.
Many AVC personnel, including sergeants are documented in archival photos from the era.

In 1914, in Great Britain, the Army had a mere 25,000 horses at its disposal , but – thanks to a well-prepared Remount Service, the body responsible for buying and training horses – was able to identify and purchase (with varying degrees of agreement on the part of the owners) between 140,000 and 165,000 horses and mules in a matter of days after the declaration of war on Germany. This enabled Britain to enter the War with the necessary numbers of cavalry and traction animals, but was soon insufficient to maintain the supply. Enter the United States and Canada, but also Argentina. Thanks to extensive breeding of – in particular – mules, in states such as Missouri, Britain was able to import, acclimatise and then transfer to the Front some 429,000 horses and 275,000 mules. The Blue Cross estimates that, by 1917, there were 869,931 horses on active service.

While detailed information on the status of the British veterinary contingent is hard to come by, a small group of British benefactors, calling themselves ‘Our Dumb Friends’ League’ (‘dumb’ in the sense of ‘mute’), which had previously been active in the care and protection of working horses in London and other major British cities, entered the scene, establishing ten horse hospitals (and later three dog hospitals) in France.

At the height of the War, more than 80 volunteer veterinarians (and 150 assigned French soldiers) were working for the League under the banner of (the Society of) the ‘Blue Cross’, a term first coined in the Balkan War of 1912 to distinguish its stocks and facilities from those of the Red Cross.

When veterinarians are accompanying these campaigns, following a few kilometres behind the military columns, they have to deal with piercing wounds (from barbed wire, sabres, bayonets, bullets, shrapnel from exploded grenades or shells), lameness and pressure wounds from saddles and gear. The latter, especially in summertime, are often further compounded by respiratory distress due to the inhalation of dust and gunpowder, while winter brings colds due to inadequate shelter against the rain and cold weather. Much lameness is due to penetrating nails, which have come off the wooden wheels of wagons, carts and gun carriages. In addition, chronic malnutrition, lack of quality roughage, lack of water and insufficient rest are widely held responsible for intestinal tract disorders, such as colic

the number for Australia's home grown Walers sent to war was catastrophic for the breed, which is still in existence but with numbers in the hundreds...
Approximately 136,000 Australian horses, known as Walers, went to war, but only one horse, Sandy, returned to Australia.

The 1914-15 London County Council (LCC) "King's Medal" was a bronze award for exemplary school attendance, conduct, and industry. It typically features King George V on the obverse, a "1914-15" bar, and is named on the rim to the student, often coming with a ribbon on County Council (LCC), taking over from the School Board for London in 1904.
Recognising the most deserving schoolchildren for consistent attendance and good behavior.
Design Details: Bronze, 32mm diameter, featuring King George V (often with engraver "F. RANSOM") on the obverse and a, "awarded by the London County Council for attendance conduct and industry" inscription on the reverse.
These were part of a series running from the late 19th century until 1920, with 1919/20 being the final year.
These were prestigious home-front awards issued during the early years of World War I  read more

Code: 26167

A Beautiful Ancient Samurai Long Sword, A Koto Period Katana Around 500 Years Old Sengoku Period With All Original Edo Period Mounts & Fittings

A most impressive and beautiful sword, a fine statement piece of any collection of oriental art. A sword mounted in wonderful original Edo period koshirae, all decorated on the theme of bamboo.
A superb pair of shakudo fuchigashira carved with bamboo leaves, shakudo 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 katana fittings such as 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.
Large iron plate tsuba with bamboo and birds, and bamboo form menuki under the green/blue silk wrap over giant rayskin. The original Edo saya is subtly decorated with incredible skill and detail with wonderful, dark, scrolling and crushed Abilene shell. Long powerful blade, with beautiful polish. The activity of the grain in the hada {blade mid section} is now visible since renovation, and it looks absolutely beautiful, especially bearing in mind it is around 500 years old.

For centuries, if not millennia, bamboo has permeated everyday Japanese life, figured in some of the country’s best-known literature and become a staple of its art, as both motif and material. Its propensity to bend yet endure makes it a cultural symbol. In both Japan and China, an ink painting of a tiger in a grove of bamboo signifies social harmony and, it would seem, political savvy, as this wily animal is among the few able to navigate the dense bamboo forest. Bamboo contains multitudes. Perhaps nowhere more than in Japan, home to over 600 species of this amazing plant, officially a subfamily of grasses but blessed with a woody stem and the ability to lift well above its weight. Japan’s ubiquitous bamboo is unsurprisingly storied. Woven artifacts evidence from the later Jomon Period (10,000-200 B.C.). The ancient nation- and culture-building texts, the “Kojiki” (Records of Ancient Matters) and “Nihon Shoki” (“The Chronicles of Japan”), record bamboo knives and combs with magical powers. The oldest surviving baskets are 8th-century offering trays kept in the Shosoin treasure house in Nara. Bamboo was obviously crucial to the 10th-century prose narrative “Taketori Monogatari” (“Tale of the Bamboo Cutter”). Tea masters of the 15th century revered seemingly artless utensils in their burgeoning spiritual practice. Emperors were gifted the choicest of bamboo wares. The Sengoku period Sengoku Jidai, "Warring States period") is a period in Japanese history of near-constant civil war, social upheaval, and intrigue from 1467 to 1615.

The Sengoku period was initiated by the Ōnin War in 1467 which collapsed the feudal system of Japan under the Ashikaga Shogunate. Various samurai warlords and clans fought for control over Japan in the power vacuum, while the Ikkō-ikki emerged to fight against samurai rule. The arrival of Europeans in 1543 introduced the arquebus into Japanese warfare, and Japan ended its status as a tributary state of China in 1549. Oda Nobunaga dissolved the Ashikaga Shogunate in 1573 and launched a war of political unification by force, including the Ishiyama Hongan-ji War, until his death in the Honnō-ji Incident in 1582. Nobunaga's successor Toyotomi Hideyoshi completed his campaign to unify Japan and consolidated his rule with numerous influential reforms. Hideyoshi launched the Japanese invasions of Korea in 1592, but their eventual failure damaged his prestige before his death in 1598. Tokugawa Ieyasu displaced Hideyoshi's young son and successor Toyotomi Hideyori at the Battle of Sekigahara in 1600 and re-established the feudal system under the Tokugawa Shogunate. The Sengoku period ended when Toyotomi loyalists were defeated at the siege of Osaka in 1615.

It has been over one thousand years ago that the art of making swords appeared in Japan. The swordsmiths of the time may not have known it but they were creating a legendary sword. The Samurai sword has seen combat in many battlefields. From the early days of the Samurai warrior to the fierce battles in the South Pacific during WWII.

From the earliest days hand-made traditional the Samurai sword was unique because it was forged using the finest skills known to man. A tremendous amount of work was dedicated to creating these pieces. They were an instrument of war as much as a beautiful artifact to adorn any decor.

As once told to us by an esteemed regular visitor to us here in our gallery, Victor Harris {the most eminent sword expert in Europe, and sword curator of the British Museum} and his same words that are repeated in his book, see below;

“In these textures lies an extraordinary and unique feature of the sword - the steel itself possesses an intrinsic beauty. The Japanese sword has been appreciated as an art object since its perfection some time during the tenth century AD. Fine swords have been more highly prized than lands or riches, those of superior quality being handed down from generation to generation. In fact, many well-documented swords, whose blades are signed by their makers, survive from nearly a thousand years ago. Recognizable features of the blades of hundreds of schools of sword-making have been punctiliously recorded, and the study of the sword is a guide to the flow of Japanese history.”
Victor Harris
Curator, Assistant Keeper and then Keeper (1998-2003) of the Department of Japanese Antiquities at the British Museum. He studied from 1968-71 under Sato Kenzan, Tokyo National Museum and Society for the Preservation of Japanese Swords
For those that have interest in original Japanese swords, this is a perfect way to have a superbly made original hand made sword that it mounted in original Japanese fittings of the early samurai form of katana.
** Authentic, currently, modern hand-made nihonto (Japanese sword blades) from licensed swordsmiths in Japan today, typically start around $10,000–$25,000 for a katana, with prices often exceeding $60,000 for renowned top-tier sword masters or customized commissions.
These blades, forged from tamahagane steel, require 12+ months to create due to strict legal limits on production, with some high-end, custom pieces from master smiths such as Yoshindo Yoshihara exceeding $10,000 for smaller tanto blades.
A brand new, katana blade from a reputable but lower ranked smith usually starts around $7,500–$10,000.

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

.
Overall in super condition, just tiny denting to the small kashira {as is often the case}, overall length in saya 37.5 inches long, when the sword is withdrawn from saya it is 35.25 inches long overall  read more

Code: 24723

A Very Fine Yasutsugu School Katana, circa 1675-1684 Likely the 4th Generation, Signed, with Aoi Mon, Namban Tetsu Oite Bushu Edo Echizen Yasutsugu

With a stunning bi coloured, black ribbed and cinnabar red lacquer saya, hand decorated with a wonderful light feathering and a scrolling silver saya jiri bottom mount. The mounts fuchi kashira and menuki are gold and shakudo decorated of the chrysanthemum. The story of the Yasutsugu lineage starts with the birth of the first generation, Ichizaemon, who is believed to have been born around the middle of the sixteenth century. His place of birth was in Shimosaka of Shiga-gun in the province of Omi. Omi is next to Mino and contains Lake Biwa. Yasutsugu was born into a sword making family headed by his father, Hironaga, reputed to be the last descendent of Yamato no Kuni Senjuin. Though his father was from Omi, he was trained in the Mino tradition. Around the 11th or 12th year of this same period of Keicho (1606-1607), Yasutsugu’s fame reached the point that he was called to Edo (Tokyo) to share his forging skills with Tokugawa Ieyasu. About this time Yasutsugu was given the privilege of using the character “Yasu” (康) from Tokugawa Ieyasu’s (徳川家康) name. Thus, from that point on, he changed his name to Yasutsugu. About the same time (some feel it was a few years later) he was given the additional privilege of carving the Hollyhock crest (Aoi mon) on his blades. These privileges were given in perpetuity to Yasutsugu and his descendants. Thus the Yasutsugu swordsmiths became the kaji of the Tokugawa Family.
Yasutsugu worked in Echizen and Edo as was the custom with the Tokugawa family in those days. It was much like the practice of Sankin Kodai (alternate year attendance) that was required of the Daimyo of the country. He died in seventh year of Genna (1621) probably in his 70’s.

Upon the death of the first generation Yasutsugu , the family mantle was taken up by his son, Ichinojô.
Nidai Yasutsugu made swords in the same style as the first generation. Some say that his ability was nearly the equal of his father’s. While all do not agree, there seems to be a consensus that he was without a doubt a close second
The two branches of the Yasutsugu school continued for many generations. The Edo school continued through eleven generations. It is generally agreed that the only two smiths of the last eight generations that were of note are the fourth our sword and the eleventh generations. The fourth generation had the advantage of being trained by the third generation, a quality smith. In addition, the fourth generation left several works in which he collaborated with the well-known smith, Izumi (no) Kami Kaneshige. The fourth generation’s working period was from 1675, the third year of Enpo to 1684, the first year of Teikyo era.
Interestingly, the steel used to produce this sword was in part sourced from Europe, likely from
Dutch traders. This steel was known as “Namban tetsu”, (lit. Southern Barbarian steel). It would
have been expensive and unique to produce swords with steel from faraway lands in the late
1600s. Thus the nakago (tang) is chiselled with the words Namban tetsu.

it is mounted with An Antique Edo Period Iron Large Tsuba Inlaid with Silver Aoi Leaves
The Tsuba can be solid, semi pierced of fully pierced, with an overall perforated design, but it always a central opening which narrows at its peak for the blade to fit within. It often can have openings for the kozuka and kogai to pass through, and these openings can also often be filled with metal to seal them closed. For the Samurai, it also functioned as an article of distinction, as his sole personal ornament. The tsukaito is beautifully traditionally rebound as is the black ribbing lacquer, on its original Edo lacquer saya.
As can be seen it is likely in its last original Edo polish in stunning condition which is beautiful, with just the tiniest natural aged surface mark. The kashira is carved buffalo horn with an applied gold lacquer partially complete aoi mon

Overall length in saya 38 3/4, blade tsuba to tip 27 3/4 inches long

It has been over one thousand years ago that the art of making swords appeared in Japan. The swordsmiths of the time may not have known it but they were creating a legendary sword. The Samurai sword has seen combat in many battlefields. From the early days of the Samurai warrior to the fierce battles in the South Pacific during WWII.

From the earliest days hand-made traditional the Samurai sword was unique because it was forged using the finest skills known to man. A tremendous amount of work was dedicated to creating these pieces. They were an instrument of war as much as a beautiful artifact to adorn any decor.

As once told to us by an esteemed regular visitor to us here in our gallery, Victor Harris {the most eminent sword expert in Europe, and sword curator of the British Museum} and his same words that are repeated in his book, see below;

“In these textures lies an extraordinary and unique feature of the sword - the steel itself possesses an intrinsic beauty. The Japanese sword has been appreciated as an art object since its perfection some time during the tenth century AD. Fine swords have been more highly prized than lands or riches, those of superior quality being handed down from generation to generation. In fact, many well-documented swords, whose blades are signed by their makers, survive from nearly a thousand years ago. Recognizable features of the blades of hundreds of schools of sword-making have been punctiliously recorded, and the study of the sword is a guide to the flow of Japanese history.”
Victor Harris
Curator, Assistant Keeper and then Keeper (1998-2003) of the Department of Japanese Antiquities at the British Museum. He studied from 1968-71 under Sato Kenzan, Tokyo National Museum and Society for the Preservation of Japanese Swords
For those that have interest in original Japanese swords, this is a perfect way to have a superbly made original hand made sword that it mounted in original Japanese fittings of the early samurai form of katana.
** Authentic, currently, modern hand-made nihonto (Japanese sword blades) from licensed swordsmiths in Japan today, typically start around $10,000–$25,000 for a katana, with prices often exceeding $60,000 for renowned top-tier sword masters or customized commissions.
These blades, forged from tamahagane steel, require 12+ months to create due to strict legal limits on production, with some high-end, custom pieces from master smiths such as Yoshindo Yoshihara exceeding $10,000 for smaller tanto blades.
A brand new, katana blade from a reputable but lower ranked smith usually starts around $7,500–$10,000.

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

Code: 24038

English Civil War Heavy Siege Gun, a 'Whole' Cannon of 7 inches. Ball 50lbs x 7 Inches. Recovered from the Siege of Chester Castle Site

50-pounder cannon was at the extreme heavy end of artillery used in this period, likely restricted to siege work rather than field battles due to transport limitations.

Charles I of England (r. 1625-1649) considered himself an absolute monarch with absolute power and a divine right to rule, but his unwillingness to compromise with Parliament, particularly over money, led to a civil war from 1642 to 1651. Fought between the 'Roundheads' (Parliamentarians) and 'Cavaliers' (Royalists) in over 600 battles and sieges, the war was a bloody and protracted conflict.

Both armies had artillery units, but the number of cannons at any given battle or siege varied depending on availability, location, and the losses or captures of artillery in previous engagements. A general commanded an artillery train while groups of cannons – a battery – came under the command of a senior officer. Each individual gun team was led by the gunner who organised his various assistants. The Parliamentarian New Model Army began with 56 cannons, but the force expanded over time, especially with additions captured from the enemy. The Royalists, however, struggled to keep pace as the necessary finances became more difficult to raise as the war went in Parliament's favour.

The gun crew consisted of at least the following: a gunner who aimed the piece, the gunner's mate who loaded it, and an assistant. A specialist artillery engineer would have first calculated the correct range and trajectory using various instruments like scales, quadrants, and rulers to measure the angle of elevation of the barrel. His instruments would provide figures that could be compared to prepared charts, but really nothing replaced practical experience with a specific cannon.

For each new shot (at least for larger cannons), the crew had to first cool down the barrel using a blanket of thin leather or sheepskin soaked in water. This was to ensure the new charge of powder did not prematurely explode. Another precaution between shots was to clear the barrel and touchhole of any blockages, residue spent powder or burning embers. When ready, the required measure of gunpowder was pushed down the barrel, blocked in place with wadding such as hay or oakum, and the cannonball gently pushed in. Another quantity of wadding was then added. A rod was next used to ram everything tightly to the bottom of the barrel. If the charge was not firmly packed then the explosive energy was lost, which reduced the range of the shot. A poorly packed charge could even blow up the cannon itself. The gunpowder was then lit through the touchhole in the top of the cannon using a slow match attached to the end of a long pole (linstock) for safety. The match lit fine-grained priming powder, which in turn set off the main powder charge.

John Byron, 1st Baron Byron (1599–1652) was a staunch Royalist soldier and politician during the English Civil War, known for his cavalry leadership and unwavering loyalty to Charles I. Created a baron in 1643, he commanded forces in Cheshire and Lancashire, defended Chester, and later served in the royal court in exile, dying in Paris.

At the outset of the English Civil War, Chester was held by forces loyal to King Charles. The city was especially important to the Royalists as its location on the River Dee and proximity to the Irish Sea made it an important gateway to both Ireland and North Wales. The central city was surrounded partially by the river and protected by strong city walls dating back to the times of the Romans. When the civil war broke out, the Royalists further strengthened the city walls and added a ring of earthwork defences extending out and around portions of the city to the north and east

The siege of Chester occurred over a 16-month period between September 1644 and February 1646 during the First English Civil War. In the engagement, Sir William Brereton and the Parliamentarians were ultimately successful in taking possession of the city and Royalist garrison commanded by Lord Byron.

Although the siege spanned nearly one and a half years, the degree to which the city was confined varied in intensity. Throughout the 16-month time period, conflicts continued to occur between the Royalists and the Parliamentarians in Cheshire and during the spring and summer of 1645, the Royalists were successful in causing the Parliamentarians to temporarily lift the siege. Ultimately, however, the Parliamentarians enforced a total blockade and captured the city.



Ref; Mark Cartwright

https://www.worldhistory.org/article/1931/artillery-in-the-english-civil-wars/  read more

Code: 26159

A Superb, Original, Antique Maasai Lion Hunter's Enkuma 'Lion Spear' . From the Maasai Mara of The Great Rift Valley of Kenya. Of the Best, 'Original Maasai Cultural Artifact' Examples We Have Seen in Over 40 years

Around 200 years old. Beautifully hand polished. From a pair we acquired from a late retired Maasai Mara game wardens collection, that he collected between WW1 and WW2. Presented to him, as a revered tribal artifact {over 100 years old then} by a tribal senior elder in the 1920's.

A fabulous piece of Maasai tribal hand crafted 'worked steel'

Heavy African spear, used by the Masai of Kenya.
Termed a lion spear called an enkuma, these were traditionally used by young men in a rites of passage to kill a lion to attain adulthood. The long iron spearhead is very robust to avoid being bent, it would fit upon a small central wooden handle section, beneath which would be a very long steel spike.

There was nothing gratuitous about killings such as these. Maasai lion hunts were a battle to the death between two worthy adversaries. This was not trophy hunting, which, too often, involves sports hunters waiting in a safely concealed position for a lion to come to a bait, then shooting it with a high-powered weapon. Killing a lion with a spear, in hand-to-hand combat, requires great skill, strength, and immense courage. Maasai lion hunts were also relatively rare, and these rite-of-passage killings had little impact upon overall lion numbers.

These spears were carried by the tribe’s young men when they are charged with protecting the cattle that the Masai depended upon from the predation of lions. Reputedly, the technique was to firmly ground the tail spike of the spear and direct the spearpoint at a lion who was then enticed to charge. If all went well, the leaping beast would be impaled on the spear. Every Maasai youth needed to kill a lion in this way to be recognised as a warrior, but the smallest mistake on the young man’s part would likely not end well.

The Maasai are nomadic pastoralists of East Africa who range along the Great Rift Valley of Kenya and Tanzania, the Samburu of Kenya, and the semi-pastoral Arusha and Baraguyu (or Kwafi) of Tanzania. Maasai subsist almost entirely on the meat, blood, and milk of their herds. Their kraal, consisting of a large circular thornbush fence around a ring of mud-dung houses, holds four to eight families and their herds.

The Maasai maintain a number of patriarchal clans grouped into two classes, or “moieties”. Within the classes members are integrated in a system of age-sets that sees groups of the same age initiated into adult life together. The age-class thus formed is a permanent social grouping that lasts the lifetime of its members. They move up through a hierarchy of grades, each lasting approximately 15 years, including those of junior warriors, senior warriors, and junior elders, until they become senior elders authorized to make decisions for the tribe. Between the ages of about 14 and 30, young men are traditionally known as “morans”. During this period they live in isolation in the bush, learning tribal customs and developing the strength, courage, and endurance for which Maasai warriors are noted throughout the world.

Important!! Not to be confused with the common tourist examples that are frequently seen and described mistakenly as lion spears  read more

Code: 26160

A Beautiful Late Edo Bakumatsu Copper Katana Tsuba With NBTHK Papers.

Bakumatsu copper tsuba, NBTHK Kicho Kodugu papers from 2020. With a translation, the "ninteisho" is introducing the document as recognition written in calligraphy. The tsuba is decorated with Aki kusa, Autumn grass [flowers], unsigned. The Nihon Bijutsu Tōken Hozon Kyōkai is a public interest incorporated foundation established in February 1948 to preserve and promote Japanese swords that have artistic value. Tsuba are usually finely decorated, and are highly desirable collectors' items in their own right. Tsuba were made by whole dynasties of craftsmen whose only craft was making tsuba. They were usually lavishly decorated. In addition to being collectors items, they were often used as heirlooms, passed from one generation to the next. Japanese families with samurai roots sometimes have their family crest (mon) crafted onto a tsuba. Tsuba can be found in a variety of metals and alloys, including iron, steel, brass, copper and shakudo. In a duel, two participants may lock their katana together at the point of the tsuba and push, trying to gain a better position from which to strike the other down. This is known as tsubazeriai pushing tsuba against each other. The tsuba has north and south kuchi-beni.
Literally "lipstick", but refers to the copper plugs of the nakago-ana. Their function is to secure the tsuba firmly when mounted on a blade. These plugs are sometimes called sekigane.  read more

Code: 23510

A Fine Antique Indo-Persian 'Mace of Rostam' the Bull's Head Mace

A Persian all iron 'Mace of Rostam' the mighty Paladin of Persia. The mace's head is a full bull's head [after Rostam's Mace] with applied horns and ears, iron haft with traces of silver damascened decoration to all three sides of the bull's head. Good overall condition for age. See Allan and Gilmour fig.26 for a closely related example, and p.189 and 315 for a discussion of these maces. Rostam, sometimes spelled Rustam, was the son of Zal and Rudaba, and the most celebrated legendary hero in Shahnameh and Persian mythology. In Shahnameh, Rostam and his predecessors are Marzbans of Sistan (present-day Iran and Afghanistan). Rostam is best known for his tragic fight with Esfandiar; the other legendary Persian hero, for his expedition to Mazandaran (not to be confused with the modern Mazandaran province); and for tragically fighting and killing his son, Sohrab, without knowing who his opponent was. Rostam was eventually killed by Shaghad, his half-brother.

Rostam was always represented as the mightiest of Iranian paladins (holy warriors), and the atmosphere of the episodes in which he features is strongly reminiscent of the Parthian period. He was immortalized by the 10th-century Persian poet Ferdowsi in the Shahnameh, or Epic of Kings, which contains pre-Islamic Iranian folklore and history.

He rode the legendary stallion Rakhsh and wore a special suit named Babr-e Bayan in battles. While out hunting Rostam awoke from his sleep to find Rakhsh had gone missing. He was distraught at losing his beloved horse and he tracked him as far as the city of Samangan. Here he greeted the King and asked for his help to find Rakhsh.

While in Samangan, Rostam met the king's lovely daughter Tahmina. The Shahname describes her as elegant as a cypress tree. One night she came to his room:

' My name is Tahmineh; longing has torn

My wretched life in two, though I was born

The daughter of the king of Samangan,

And am descended from a warrior clan.

But like a legend I have heard the story

Of your heroic battles and your glory,

Of how you have no fear, and face alone

dragons and demons and dark unknown

Of how you sneak into Turan at night

And prowl the borders to provoke a fight,

Of how, when warriors see your mace, they quail

And feel their lionhearts within them fail.

I bit my lip to hear such talk, and knew

I longed to see you, to catch sight of you,

To glimpse your martial chest and mighty face-

And now God brings you to this lowly place.

If you desire me, I am yours, and none

Shall see or hear of me from this day on.'

But their time together was brief, because once Rakhsh was found, Rostam departed for his homeland. Nine months later Tahmina gave birth to a son Sohrab, who grew up to be a warrior like his father Rostam. Scene from the Shahnama: Garsivaz prostrating himself before Siyavush in the presence of Rustam. 14th century, 54cms  read more

Code: 22529

A Stunning Original Horseguards Officer's Pattern Helmet Plate. In Gold, Red Enamel Cross, Blue Enamel Garter, And Frosted Silver Cut Steel Order of the Garter Badge Star

Probably the worlds most beautiful helmet plate ever designed.
This fabulous quality officer’s helmet plate, in use since the Queen’s coronation in 1953, was used by an officer of the Queen’s mounted bodyguard, from either the Blues and Royals or the Life Guards regiments, that combined, make up the Royal Horseguards. The helmet plate is identical for both helmets, only the colour of the yak hair plume was different, white for Life Guards, red for Blues and Royals.

The Albert helmet is the current ceremonial headgear of the British Army's Household Cavalry, for both the Life guards regiment and the Blues and Royals regiment, known collectively as Horseguards.

This pattern will now be changed very soon for the design designated for His Majesty King Charles lII. The crown will be changed to the single domed crown of all the kings since Edward VIIth. The domed crown is called either The King’s Crown or the Imperial State Crown. The late Queen’s crown, is known as St Edwards Crown.

The Albert pattern helmet was introduced by Prince Albert in 1842 and adopted by the Household Cavalry the following year. In 1847 the helmet was introduced to all heavy cavalry regiments. It remains in use as the full dress headgear of the two remaining Household Cavalry regiments, the Blues and Royals and the Life Guards. The magnificent helmet remains in use with the two current Household Cavalry regiments, the Blues and Royals with red plume and the Life Guards with white plume. These regiments are amalgamations of the four earlier regiments. The Life Guards retain the white plume and the onion from the 2nd Regiment, the Blues and Royals retain the red plume of the Royal Horse Guards. Blues and Royals officers wear a yak hair plume. Farriers in both regiments wear different plumes, the Life Guards farrier wear black and Blues and Royals farrier red.

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

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

The other ranks of the Mounted Band of the Household Cavalry wear the helmet in full dress (with the plumes of their parent regiments), except when parading in the presence of the royal family, when they wear state dress with jockey caps. Band officers wear Albert helmets on both occasions.

Its condition is considered by us as mint. A complete Horseguards officer’s helmet from the 1953 coronation period, in mint condition, will cost today somewhere between £6,500 to £10,000.

Photo in the gallery of royal Horseguards officers and men; Credit MOD  read more

Code: 24065

An Original Ancient Briton, Pre-History, Bronze Age Axe Head, Loop and Socket Form, Formerly From the Sir Alfred McAlpine Collection. 3500 to 4,000 Years Old

A bronze age axe head with square, collared socket and rectangular cheeks with flared, D-section cutting edge, small loop to attach the axe head with sinew cord binding to an axe haft.
Likely recovered from a Bronze age barrow many decades past, formerly in the Sir Alfred McAlpine collection.

A Barrow is an ancient mound where treasure and artifacts were buried with warriors as offerings. There are many ancient Iron Age and Bronze age Barrows covering Britain's ancient lands, some are simple mounds other are long or shaped. However, artifacts and treasure from most of these sights are now long since gone, or, possibly, some remain but are too deep to disturb the precious site, so wonderful finds such as this are a rare joy to see and even rarer to own.

We show another similar, earlier bronze age axe head axe found with Otzi the Ice Man, and a recreation of him in the museum holding his similar axe. We show a photo of his original axe.
The Iceman was discovered in the Otztal Alps in the fall of 1991, the location giving him his now famous name: Otzi. His preserved body and equipment have given us a wealth of information about the time in which he lived.

He died and was buried within glacial ice 5,300 years ago, alone and in pain, yet the remains of his body and equipment are teaching us more than any previous discovery about that time in history when our ancestors were moving out of the stone age and into the age of metal.

He was prepared for his trek through the Tyrolean Alps as well as any modern climber, knowing the dangers of sudden snowstorms that can occur in the spring of the year. He did die, but it was not the weather or the mountains that killed him. It was an arrow shot into his left shoulder that shattered his scapula and tore through blood vessels and nerves. Although he escaped his attacker, the combination of blood loss and the immobility of his left arm had doomed his chances of surviving.

His pain must have been great as he kept climbing, finally stopping at an altitude of 10,400 ft. He slipped his quiver over his shoulder and dropped it to the ground. Staggering a few more yards, he removed his pack frame and laid it down against a stone outcropping. Using only his right arm, he carefully removed two birchbark containers from his pack, one he set on top of the rock, the other he kept close to him, a familiar smell momentarily comforting him. He then placed his copper axe and his bow stave with the pack. Clutching his birchbark cylinder, he struggled a few more steps before he stumbled, but even then, twisting to avoid landing on his left side and protecting the treasure in the container. He painfully pulled the birch bark close to his face, inhaled the last vestiges of the smoke from the failing ember inside and died.

The axe head weighs just under 200 grams, around 3 1/2". Fine condition.  read more

Code: 24099

A Simply Stunning A Fabulous Original Antique Shinto Early Edo Period Chisa Katana. Wondrous Pure Gold and Shakudo Mounts Of The Tale of Momotarō, the Demon and The Monkey. Superbly Beautiful Blade Hamon and Hada Grain

An absolute beauty of an original samurai sword katana.

The blade is in amazing condition with a breathtaking hamon and hada, it is truly amazing! with a beautiful iron mokko plate tsuba with a silver faced figure fishing from a stream flowning down from a mountail range. The saya is decorated in ishime stone finish lacquer.

The koshirae {mounts and fittings} are equally wonderful, the kashira is carved buffalo horn and the fushi in gold and shakudo on a nanako ground, of the monkey, in three different images of it running, and the menuki are also very fine, of pure gold and shakudo depicting the monkey and the evil Oni {demon}. They represent the Japanese folklore story featuring an oni (demon/ogre) and a monkey is Momotarō (Peach Boy). 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.

Shakudo 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 color is induced by applying and heating rokusho, a special patination formula.

Shakudo Was historically used in Japan to construct or decorate katana fittings such as 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. The lacquer surface of the saya has some age bruising etc. due to its vintage

In the tale, depicted within the mounts of the sword, a monkey is one of three animal companions who aid the hero in defeating malevolent oni on Onigashima (Demon Island).

The Tale of Momotarō (Peach Boy)
An elderly couple finds a giant peach floating down a river. Inside is a baby boy, who they name Momotarō ("Peach Boy").
The Journey: Momotarō grows up with incredible strength and decides to go to Onigashima to stop the oni, who are kidnapping people and stealing treasure.
On his journey, Momotarō meets a talking dog, a monkey, and a pheasant. He shares his special millet dumplings (kibi dango) with them, gaining their loyalty and friendship.
The Battle: Upon reaching the island, the monkey uses his agility to infiltrate the demon fortress. Together, Momotarō and his companions overpower the demon chief and his followers.
Victory: The defeated oni promise never to bother the villagers again, and Momotarō returns home with the captured demon chief and stolen treasure.

The Monkey: In the story, the monkey is agile and clever, acting as a key strategist and fighter.
Oni: The oni represent evil and the obstacles that need to be overcome.
The Teamwork: The story is a famous example of team-based success in Japanese culture, emphasizing how different strengths (the dog's loyalty, the monkey's agility, and the pheasant's vision) can overcome a strong adversary.

This tale is deeply rooted in Japanese culture, particularly in Okayama Prefecture, where it is believed the legend originated.

The Chisa Katana samurai sword;

The most common blade cutting edge lengths for Chisa katana was approximately eighteen to twenty-four inches. They were most commonly made in the Buke-Zukuri mounting (which is generally what is seen on katana and wakizashi). The chisa katana was able to be used with one or two hands like a katana (with a small gap in between the hands) and especially made for double sword combat a sword in each hand.
It was the weapon of preference worn by the personal Samurai guard of a Daimyo Samurai war lord clan chief, as very often the Daimyo would be more likely within his castle than without. The chisa katana sword was far more effective a defence against any threat to the Daimyo's life by assassins or the so-called Ninja when hand to hand sword combat was within the Castle structure, due to the restrictions of their uniform low ceiling height. The hilt was usually around ten to eleven inches in length, but could be from eight inches or up to twelve inches depending on the Samurai's It has been over one thousand years ago that the art of making swords appeared in Japan. The swordsmiths of the time may not have known it but they were creating a legendary sword. The Samurai sword has seen combat in many battlefields. From the early days of the Samurai warrior to the fierce battles in the South Pacific during WWII.

From the earliest days hand-made traditional the Samurai sword was unique because it was forged using the finest skills known to man. A tremendous amount of work was dedicated to creating these pieces. They were an instrument of war as much as a beautiful artifact to adorn any decor.

As once told to us by an esteemed regular visitor to us here in our gallery, Victor Harris {the most eminent sword expert in Europe, and sword curator of the British Museum} and his same words that are repeated in his book, see below;

“In these textures lies an extraordinary and unique feature of the sword - the steel itself possesses an intrinsic beauty. The Japanese sword has been appreciated as an art object since its perfection some time during the tenth century AD. Fine swords have been more highly prized than lands or riches, those of superior quality being handed down from generation to generation. In fact, many well-documented swords, whose blades are signed by their makers, survive from nearly a thousand years ago. Recognizable features of the blades of hundreds of schools of sword-making have been punctiliously recorded, and the study of the sword is a guide to the flow of Japanese history.”
Victor Harris
Curator, Assistant Keeper and then Keeper (1998-2003) of the Department of Japanese Antiquities at the British Museum. He studied from 1968-71 under Sato Kenzan, Tokyo National Museum and Society for the Preservation of Japanese Swords
For those that have interest in original Japanese swords, this is a perfect way to have a superbly made original hand made sword that it mounted in original Japanese fittings of the early samurai form of katana.
** Authentic, currently, modern hand-made nihonto (Japanese sword blades) from licensed swordsmiths in Japan today, typically start around $10,000–$25,000 for a katana, with prices often exceeding $60,000 for renowned top-tier sword masters or customized commissions.
These blades, forged from tamahagane steel, require 12+ months to create due to strict legal limits on production, with some high-end, custom pieces from master smiths such as Yoshindo Yoshihara exceeding $10,000 for smaller tanto blades.
A brand new, katana blade from a reputable but lower ranked smith usually starts around $7,500–$10,000.

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
The blade is 22 inches long from tsuba to tip  read more

Code: 26145