A Magnificent & Fantastic Presentation Limited Edition Leather & Gilt Bound Huge Volume Of Lucien Rousselot's Uniforms of Royal and Imperial French Army From the 18th century Ancien Regime, to the First Empire of The Emperor Napoleon

An exceptional leather bound in gold tooled bright red and cream calf leather, and a considerably weighty tome of 18 pounds, or 8.15 kilos, that any Ancien Regime & Imperial French Armee collector or historian would be thrilled to own and enjoy. Likely printed around 50 years ago.

The uniform plates of the famous military painter Lucien Rousselot, is an indispensable source for the ancien Regime and Napoleonic era. We have never seen such a fabulous example of this very rarely seen, deluxe, especially published edition. We have only ever seen one other, decades ago, and that had many plates removed in order to have them framed.

Lucien Rousselot, was the official painter of the French Army, created plates on the Napoleonic period between 1943 and 1971, drawing on his painstaking research in the military archives. Some 60 plates {numbered I to XXX x 2} in this hefty tome are devoted to the Ancien Régime, & the First Empire. All are highly detailed, meticulously researched and stunningly coloured. The master combed every source he could find for uniform details and exceptions.
It comes in a handsome slipcase, that has taken the external wear, that will undoubtedly take pride of place in any library of a French Napoleonic collector.

A painter and illustrator of military subjects, and during his illustrious career, he produced an iconography dealing with the uniforms worn within the French Army over a vast period ranging from the 16th century to the end of the 19th century . From the 1920s he worked as an illustrator and uniformologist for the magazine Le Passepoil directed by Eugène-Louis Bucquoy, for whom he also illustrated some of the series of cards devoted to the uniforms of the First Empire. A member of the company La Sabretache, he also collaborated for the company's magazine Le Carnet de la Sabretache until the 1990s. His work, considered major, is the series of 106 uniformological plates dealing, for more than half of them, French uniforms worn during the First Empire The French Army, its uniforms, its armament, its equipment that he produced from 1943 to 1970.
To create his paintings and plates he used articulated mannequins of soldiers and miniature horses that he had made on a 1/7 scale , accompanied by accessories. He is buried in Marles en Brie (Seine et Marne).

The honours that were awarded to him were;

Knight of the Legion of Honour
Officer of Arts and Letters,
&
Knight of the Academic Palms

The printing house, Les Procedes Dorel, Paris

48 cm x 40 cm x 8 cm or 19 inches x 16 inches x 3 inches.

Each picture, on every page, is frame mounted, individually, and is 30.5 cm x 22.5 cm  read more

Code: 25239

A Noble Family Crested Victorian Officer's Artillery Cavalry Sword

Used from 1845 to around 1900. Bearing a family’s noble crest of a collared female griffon head facing sinister, and a pair of wings facing dexter, and a monogram J.D. etched with royal devices on a pair of lances and an artillery cannon, and typical florid decor.
Three bar cavalry type hilt, wirebound wood bound grip. overall russet surface.
The British Military forces have continually used artillery cannon in some form or another since the 15th century. Until 1716, they were provided by artillery trains, raised and disbanded on a campaign-by-campaign basis. But that year, King George I issued a Royal Warrant to set up two permanent field artillery companies of 100 men each. This force soon grew in size as the demand for artillery increased.

Other artillery regiments were also set up at this time, such as the Royal Horse Artillery in 1793, which provided artillery support to cavalry units. Some of these other regiments were merged into the main Royal Artillery, such as the Royal Irish Regiment of Artillery in 1801, and the artillery of the disbanded East India Company in 1862.

The Royal Regiment of Artillery and the Corps of Royal Sappers and Miners, as technical supporting Arms, lived in an alternative military world run by the Board of Ordnance. The commission purchase system was not extended to their officers, who were all professionally trained at the Royal Military Academy at Woolwich. The Gunners were organised into Field Artillery supporting the Infantry, Horse Artillery supporting Cavalry, and Garrison Artillery providing coastal defence and siege guns. Their field guns were relatively short range 6pdr and 9pdr muzzle loaders which had last seen service at Waterloo. The most commonly used all-purpose ammunition was solid iron round shot; with a direct accurate range of around half a mile for a 9pdr, it bounded along on landing like a well struck giant golf ball, to double the range on hard ground. Shrapnel, which exploded via a timed fuse, was particularly effective against massed troops in the open. Finally, Case, or Grapeshot, was the last gasp do-or-die shell; it operated at close range like a huge shotgun cartridge, scattering small projectiles forwards in all directions. Rates of fire were largely determined by the necessity for careful aim, and shortcuts on safety taken by the five man detachment. Two to three rounds per minute was generally taken as normal, and anything higher usually meant that the team were risking accidents.

Field Batteries and RHA Troops consisted of a mix of four field guns and two howitzers. Howitzers lobbed a larger shell as if from a lofted golf club onto a target, which might be hidden from sight. Howitzers did not fire round shot.

No scabbard  read more

Code: 24139

French Model 1874 "Gras" Sword Bayonet

This bayonet, made by scarce maker L Deny Paris in 1880, was the last of the French "sword-type" bayonets. It was manufactured to fit the French Model 1874 "Gras" Infantry Rifle, basically a refinement of the Model 1866 Chassepot Infantry Rifle. The "Gras" was manufactured from 1874 to about 1885.
The French wars during the useful "life-span" of this bayonet were:
Sino-French War 1883-1885;
Madagascar Wars 1883-1885 and 1895;
1st Mandingo-French War 1883-1886;
1st Dahomeyan-French War 1889-1990;
2nd Dahomeyan-French War 1892-1894;
2nd Mandingo-French War 1894-1895;
Conquest of Chad 1897-1914;
3rd Mandingo-French War 1898;
Moroccan War 1907-1912;
World War I (early). Blade 20.5 inches overall 26 inches  read more

Code: 19122

A Good King George IIIrd Period Belgian Light Dragoon Type Percussion Holster Pistol

Based very comparably to the British 1756 Light Dragoon pattern holster pistol, but made circa 1822. A very strong an robust pistol bearing numerous Belgian proof and military inspection stamps, and a Liege 1811 barrel proof stamp, brass skull-crusher butt cap with lanyard ring. percussion action, finest walnut stock that its surface has been fully relief carved with a snakeskin pattern, a cross, a heart and a serpent, and has a fabulous natural patina. strong mainspring, overall 16 inches long, 9 inch barrel. Set to a hair-trigger action  read more

Code: 23641

A Stunning, Fearsome Yet Beautiful, Edo Period Shirohige Ressei-Menpo "Mask With Fierce Expression" Samurai Face Armour,, Probably Myochin School, 18th century

Men-yoroi (面鎧), also called menpō (面頬) or mengu (面具), are various types of facial armour that were worn by the samurai class and their retainers in feudal Japan. These include the sōmen, menpō, hanbō or hanpō, and happuri.

A resseimon cheek is a form of cheek below the eyes, and is a mask with a very fierce, angry, and threatening expression. He is characterized by wrinkles on his nose and cheeks, wide open mouth, moustache and gold teeth. This work is a typical ressei mask made of iron and covered with black lacquer over the entire surface, and is attached with a collar called a kuruwa, which was commonly used in the Edo period.

This is a wonderful piece of Japanese Samurai 'art' made for warfare, which features a kuchi hige (mustache), shiwa (facial wrinkles). Extremely collectable art that is most desirable in its own right, often stunningly used for interior decoration as an individual work of samurai art in its own right. A very good urushi lacqured embossed iron mask of 'Me no Shita Men' (half face) type. Mid Edo period 18th century. Typical Myochin school craftmanship with very sharp embossing. A multi coloured silk bound yodarekake, neck defence with hooked standing cord pegs for attaching with cords to the samurai. A doeskin top to the neck defences decorated in a black inked pattern of Shishi lion dogs on a leaf pattern background. The inner face is decorated with vermillion lacquer, and the neck lames are covered in black urushi lacquer under the cords. Face armour, menpo, is samurai armour, and this is called 'with a fierce expression' masks They were worn with the Samurai's armours to serve as a protection for the head and the face from sword cuts. Even if the mask in unsigned, the type, and its the features suggest this fabulous face armour menpo was made by a smith from the Myochin school.

There are 4 types of mask designs that came into general use in Japan: happuri (which covers the forehead and cheeks), hanbō (covers the lower face, from below the nose all the way to the chin), sōmen (covers the entire face) and the me-no-shita-men (covers the face from nose to chin). We can also classify those mask depending on their facial expressions, most of which derive from the theatre masks. It has an asenagashino ana a hole under the chin to drain off perspiration and orikugi two projecting studs above the chin to provide a secure fastening to the wearer. In the 16th century Japan began trading with Europe during what would become known as the Nanban trade. Samurai acquired European armour including the cuirass and comb morion which they modified and combined with domestic armour as it provided better protection from the newly introduced matchlock muskets known as Tanegashima. The introduction of the tanegashima by the Portuguese in 1543 changed the nature of warfare in Japan causing the Japanese armour makers to change the design of their armours from the centuries old lamellar armours to plate armour constructed from iron and steel plates which was called tosei gusoku (new armours). Bullet resistant armours were developed called tameshi gusoku or (bullet tested) allowing samurai to continue wearing their armour despite the use of firearms.
The era of warfare called the Sengoku period ended around 1600, Japan was united and entered a relatively peaceful Edo period. However, the Shoguns of the Tokugawa period were most adept at encouraging clan rivalries and conflicts and battles were engaged throughout the empire. This of course suited the Shogun very well, while all his subordinate daimyo fought each other they were unlikely to conspire against him. Samurai use continued to use both plate and lamellar armour as a symbol of their status but traditional armours were no longer necessary for war, but still for battle. The most important branch of the Myochin school is probably that of the Ki region. Founded by Kunimichi, it became popular between 17th and 18th century for the works of Munesuke, who had the technical ability and the artistic capacity to create samurai armour of great beauty, In fact, this is the period when Japanese armor makers became aware that they were living in a peaceful time and their works begun looking back at the mediaval samurai armour as an inspiration: kabuto started again to be of circular shape and decorations became again large and rich, as in the old o-yoroi armor.

The best ability of Munesuke was the hammering technique (uchidashi): his menpo look almost exagerated in their shapes, with a very long chin, sharp and deep wrinkles on the cheeks and theatrical mouth. Moustaches are often inlaid in silver or gold, instead of being in fur as on Nara style menpo.

But the armor maker who really brough the uchidashi technique to the highest level is Muneakira, pupil and adopted son of Munesuke, which we can consider the best maker for samurai armour of modern times: his hammeried works are extraordinary, with precise and sharp lines of a quality that nobody else achieved.

The men-yoroi, which covered all or part of the face, provided a way to secure the top-heavy kabuto (helmet). The Shinobi-no-o (chin cord) of the kabuto would be tied under the chin. Small hooks called ori-kugi or posts called odome located on various places would help secure the chin cord. The men-yoroi was constructed from iron, leather, or a combination of both. It had a lacquered or rusted type of finish and included a variety of facial details, such as a moustache, fierce teeth and a detachable nose. With the exception of the happuri, a men-yoroi had a small hole underneath the chin for sweat drainage.

Face armour in Japan begins with the happuri, which is depicted in Heian- and Kamakura-era yamato-e paintings and is thought to have appeared during the 10th or 11th centuries. It is depicted as being worn with or without a helmet by both mounted warriors and foot retainers. By the 14th century, the hōate appears, and according to Tom Conlan, this development is behind decreased facial wound statistics. However, others, such as Yamagishi Sumio, believe that the hōate was not widespread at that time, as it—and the later menpō—restricted the vision of the wearer. Hōate are also portrayed in art and literature of the period, most notably the Aki no yo no Nagamonogatari scroll and Taiheiki. The menpō (half-mask with detachable nosepiece) and the sōmen (full face mask) are believed to have been introduced around the mid to late 15th century, and the hanbō (chin guard) in the second half of the 16th century
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Code: 25241

A Most Impressive & Stunningly Beautiful Bladed Antique Shinto period, Edo Era Samurai Horseman's Katana. Matsushiro Sinano School Koshirae

A simply amazing sword, of the 1700's, with a blade of breathtaking beauty, with a highly complex and attractive gunome hamon, with 'crabclaws', 'islands' and 'gems' of hardened temper. It gives the impression of a mountain range { somewhat like multiples of Mount Fuji} and crashing seas.

All original Edo period fittings, and a superb takebori iron sukashi tsuba. The fuchigashira and sayagaki and jiri are all matching brass decorated with fulsome designs and silver striping. Fully matching suite of sinchu and contrasting silver line mounts to the tsuka and saya, of the Edo Matsushiro Sinano school The saya has all its original period Edo lacquer impressed with a cloud patterning, and in dark bulls blood red. The menuki are horsemen's saddle stirrups, called abumi, and a horseman's yari pole. The blade has a superb and elaborate gunome hamon.

This is a katana made for a senior ranking samurai based on horseback in combat, certainly not a light and cursive katana, but a battle sword, made to complete an uncomprimising task of close combat and aggressive swordmanship.
Designed as much for cleaving armour and helmets in two, as much as defeating another samurai on horseback. Although samurai would not, one would say, be a cavalry based warrior, all senior samurai would be mounted and thus travel on horseback, and some cavalry type samurai could be deployed in battle, but with differing combat styles depending on what part of Japan they came from. The cavalry troops, being Samurai, had personal retainers that stayed closer to them in the Sonae, carried their weaponry and worked as support units, much like an European squire. They also joined the fight whenever possible (especially in the mounted infantry scenario) and were often responsible of taking heads for their lords.
These foot Samurai were also used as heavy infantry or archers to support the ashigaru lines.


Tactics
Given the fact that the Samurai could directly dismount and operate as infantry, there were some specific tactics for horsemen.
Cavalry in general was only used after the battle was already started, either to deliver a decisive victory or to trying to save the day.

Norikiri
This is a classic charge, where several small groups of five to ten horseman ride consequently (possibly with a wedge formation) into a small area against the enemy lines, to maximize the shock. It was mainly used by heavy cavalry in the East, but given the fact that the ideal target where "weavering" units with low morale or disorganized, even medium cavalry could perform this charge.
The main role of this charge was to create confusion; if it didn't succeed, the cavalry regroups and either retreat or deliver another charge.

Norikuzushi
This is a combined infantry and cavalry charge. The horseman charged first, and after creating mayhem, a second charge is delivered by infantries armed with polearms, which could keep on fighting. The main target for this tactics were ranged units detached by the army. After a Norikuzushi usually follows a Norikiri by the cavalry group. 28 inch blade tsuba to tip. The saya has some old wear marks, but very nice indeed and untouched.  read more

Code: 25240

Another 180 Books Arrived on Saturday! Plus Dozens of Swords, Pistols, Arms and Armour. To Our Regulars Our Weekly E.mail Sendouts Resumed Today

We have simply had too little time to list, catalogue and photograph all our new additions.

New items arriving including several original US Civil War revolvers and sabres, a jolly rare piece of WW2 Section XII SOE sabotage kit, an amazing presentation huge leather bound tome filled with paintings of French Ancient Regime and First Empire army uniforms and swords helmets etc. A stunning collection of sword sticks of the highest quality,

We are trying our best to resume our usual latest additions send-out early this coming week. Apologies to our disappointed regulars.  read more

Code: 25236

A Fine & Most Beautiful Japanese Katana, Signed Mitsuhiro Saku Late Koto to Shinto Period

A very attractive samurai katana, around 400 to 450 years old in a superb colour livery of blue-green tsuka-ito and a two colour saya of brown ishime {stone finish} and bright black urushi ribbed lacquer to the top quarter section, bound with white sageo, and a polished carved buffalo horn kurigata and sayajiri. The blade is signed, Mitsuhiro and shows a beautiful gunome hamon. The pair of menuki are a pair of caught Warasubo spine toothed fish, one with a mouse foraging on the top of its body. The mud flats of Japan’s Ariake Sea are home to a creature that is reportedly as delicious as it is disgusting-looking. Introducing the “Warasubo”, an eel-like xenomorph goby fish that for obvious reasons is known as the “Alien of Ariake Sea”, found in a large bay in Kyushu,

The fuchi kashira tsuka fittings are a pair of Edo period iron Higo school inset with silver droplets either representing a heavenly constellation, or snowflakes falling at night.

Made and used in the time of the greatest battle in samurai history. The Battle of Sekigahara Sekigahara no Tatakai) was a decisive battle on October 21, 1600 that preceded the establishment of the Tokugawa shogunate. Initially, Tokugawa's eastern army had 75,000 men, while Ishida's western army numbered 120,000. Tokugawa had also sneaked in a supply of arquebuses. Knowing that Tokugawa was heading towards Osaka, Ishida decided to abandon his positions and marched to Sekigahara. Even though the Western forces had tremendous tactical advantages, Tokugawa had already been in contact with many daimyo in the Western Army for months, promising them land and leniency after the battle should they switch sides.

Tokugawa's forces started the battle when Fukushima Masanori, the leader of the advance guard, charged north from Tokugawa's left flank along the Fuji River against the Western Army's right centre. The ground was still muddy from the previous day's rain, so the conflict there devolved into something more primal. Tokugawa then ordered attacks from his right and his centre against the Western Army's left in order to support Fukushima's attack.

This left the Western Army's centre unscathed, so Ishida ordered this unit under the command of Shimazu Yoshihiro to reinforce his right flank. Shimazu refused as daimyos of the day only listened to respected commanders, which Ishida was not.

Recent scholarship by Professor Yoshiji Yamasaki of Toho University has indicated that the Mori faction had reached a secret agreement with the Tokugawa two weeks earlier, pledging neutrality at the decisive battle in exchange for a guarantee of territorial preservation, and was a strategic decision on Mori Terumoto's part that later backfired.

Fukushima's attack was slowly gaining ground, but this came at the cost of exposing their flank to attack from across the Fuji River by Otani Yoshitsugu, who took advantage of this opportunity. Just past Otani's forces were those of Kobayakawa Hideaki on Mount Matsuo.

Kobayakawa was one of the daimyos that had been courted by Tokugawa. Even though he had agreed to defect to Tokugawa's side, in the actual battle he was hesitant and remained neutral. As the battle grew more intense, Tokugawa finally ordered arquebuses to fire at Kobayakawa's position on Mount Matsuo to force Kobayakawa to make his choice. At that point Kobayakawa joined the battle as a member of the Eastern Army. His forces charged ?tani's position, which did not end well for Kobayakawa. Otani's forces had dry gunpowder, so they opened fire on the turncoats, making the charge of 16,000 men mostly ineffective. However, he was already engaging forces under the command of Todo Takatora, Kyogoku Takatsugu, and Oda Yuraku when Kobayakawa charged. At this point, the buffer Otani established was outnumbered. Seeing this, Western Army generals Wakisaka Yasuharu, Ogawa Suketada, Akaza Naoyasu, and Kutsuki Mototsuna switched sides, turning the tide of battle

The top section of the blade, near the kissaki has two very small areas of natural age pitting  read more

Code: 25237

 read more

Code: 25323

A Very Fine & Very Beautiful 'Samurai Pony' Fitted Katana, Signed and Attributed to Hizen Kuni ju Tadayoshi, Circa 1640. With A Simply Stunning Blade with An Amazing Hamon

The whole sword is an fine beauty, fitted with excellent quality and finest gold enhanced mounts, Its fittings are stunning, Edo Period, koshirae mounts of depictions of galloping and grazing samurai ponies throughout. This fine samurai sword has been completely untouched since it arrived from Japan as an esteemed antique gift some 145 years ago, but has now just returned from a blade polish conservation that took four months and looks amazing, The new photos have now been added.

The signed blade bears a stunning and most beautiful hamon temper line, with incredible extravagance and activity.

The fushi is sublime, premier quality, with a pure hammered gold pony over a shakudo nanako ground, and it is signed by the fitting maker. The menuki are shakudo ponies, and the tsuba of a grazing pony enhanced with gold, beneath a gilt flowered cherry blossom tree, on a mokko form iron plate ground.

It has excellent hand applied 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 tsuba also bears a gilt pony, and there are a pair of shakudo menuki underneath the Edo silk tsuka-ito wrap. The gold horse or pony has an ancient place in Japanese culture, the Ainus of Japan are the first indigenous Japanese, believed a belief in a world with three levels, and that one may travel from one world to the next via the golden horse. It may be from the following story that the significant place of ponies in Japanese culture and status began. The Ainus tale 'The Man who lost his Wife'. A man had lost his wife, and was searching for her everywhere, over hill and dale, forest and sea-shore. At last he came to a wide plain, on which stood an oak-tree. Going up to it he found it to be not so much an oak-tree as a house, in which dwelt a kind-looking old man. Said the old man: "'I am the god of the oak-tree. I know of your loss, and have seen your faithful search. Rest here awhile, and refresh yourself by eating and smoking. After that, if you hope to find your wife again, you must obey my orders, which are as follows: Take this golden horse, get on his back, fly up on him to the sky, and, when you get there, ride about the streets, constantly singing."

So the man mounted the horse, which was of pure gold. The saddle and all the trappings were of gold also. As soon as he was in the saddle, the horse flew up to the sky. There the man found a world like ours, but more beautiful. There was an immense city in it; and up and down the streets of that city, day after day, he rode, singing all the while. Every one in the sky stared at him, and all the people put their hands to their noses, saying: "How that creature from the lower world stinks!" At last the stench became so intolerable to them that the chief god of the sky came and told him that he should be made to find his wife if only he would go away. Thereupon the man flew back to earth on his golden horse. Alighting at the foot of the oak-tree, he said to the oak-god: "Here am I. I did as you bade me. But I did not find my wife." "Wait a moment," said the oak-god; "you do not know what a tumult has been caused by your visit to the sky, neither have I yet told you that it was a demon who stole your wife. This demon, looking up from hell below, was so much astonished to see and hear you riding up and down the streets of heaven singing, that his gaze is still fixed in that direction. I will profit hereby to go round quietly, while his attention is absorbed, and let your wife out of the box in which he keeps her shut up."

The oak-god did as he had promised. He brought back the woman, and handed over both her and the gold horse to the man, saying: "Do not use this horse to make any more journeys to the sky. Stay on earth, and breed from it." The couple obeyed his commands, and became very rich. The gold horse gave birth to two horses, and these two bred likewise, till at last horses filled all the land of the Ainos. The Ainu people are historically residents of parts of Hokkaido (the Northern island of Japan) the Kuril Islands, and Sakhalin. According to the government, there are currently 25,000 Ainu living in Japan, but other sources claim there are up to 200,000. The origin of the Ainu people and language is, for the most part, unknown. However, there have been many theories on the subject.

One theory suggests that the Ainu people are remnants of the Jomon-jin, or the hunter-gathers who inhabited Japan during the Jomon Period (14,500 BC ? 300 AD) and perhaps even before. Around the year 300 AD, another group of immigrants known as the Yayoi people made their way to the islands of Japan, introducing new agricultural techniques and technology and integrating with the Jomon people. It is believed that the Yayoi group may not have reached as far as the Northern island of Hokkaido, allowing the Jomon hunter-gatherer way of life to survive in that area.


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 trading  read more

Code: 21729