1439 items found
A Superb, Tibetan Shamen's Phurba or Kila, The Demon Killer Dagger. Potentially A Truly Unique Gift Idea For Christmas, a Fabulous Addition, or Indeed Start, of An Amazing Collection of Esoteric, Rare Artifacts. In Brass and Terrestrial or ‘Sky’ Iron

A Superb, Tibetan Shamen's Phurba or Kila, The Demon Killer Dagger. Potentially A Truly Unique Gift Idea For Christmas, a Fabulous Addition, or Indeed Start, of An Amazing Collection of Esoteric, Rare Artifacts. In Brass and Terrestrial or ‘Sky’ Iron

The magical demon killing dagger of Tibet. The magic of this Magical Dagger apparently comes from the effect that the material object has on the realm of the spirit. A most special artefact of once most rare interest. Just only around 150 years ago, original items of Tibetan Buddhist shamanism were all but unknown, to all of the greater public of Western civilisations, due to Tibet being a near closed society. But now, more is becoming universally known, and thus it is creating incredible interest to this amazing, unique, kind and generous peoples of the Himalayas.

The art of tantric magicians, shamens or lamas lies in their visionary ability to comprehend the spiritual energy of the material object and to willfully focus it in a determined direction. . . The tantric use of the phurba encompasses the curing of disease, exorcism, killing demons, meditation, consecrations (puja), and weather-making. The blade of the phurba is used for the destruction of demonic powers. The top end of the phurba is used by the tantrikas for blessings. With the three faces of Vajrakila in brass, steel midsection of a vajra brass face of followed by an iron three sided pointed blade. The fabrication of kila or Phurba is quite diverse. Having pommel, handle, and blade, kila are often segmented into suites of triunes on both the horizontal and vertical axes, though there are notable exceptions. This compositional arrangement highlights the numerological importance and spiritual energy of the integers three and nine.

Kila may be constituted and constructed of different materials and material components, such as wood, metal, clay, bone, gems, horn or crystal.

Like the majority of traditional Tibetan metal instruments, the kila is often made from brass and iron terrestrial and/or meteoric iron. 'Thokcha' means "sky-iron" in Tibetan and denote tektites and meteorites which are often high in iron content. Meteoric iron was highly prized throughout the Himalaya where it was included in sophisticated polymetallic alloys such as Panchaloha for ritual implements. The pommel of the kila often bears three faces of Vajrakila, one joyful, one peaceful, one wrathful, but may bear the umbrella of the ashtamangala or mushroom cap, ishtadevata (like Hayagriva), snow lion, or stupa, among other possibilities. The handle is often of a vajra, weaving or knotwork design. The handle generally has a triune form as is common to the pommel and blade. The blade is usually composed of three triangular facets or faces, meeting at the tip. These represent, respectively, the blade's power to transform the negative energies known as the "three poisons" or "root poisons" of attachment/craving/desire, delusion/ignorance/misconception, and aversion/fear/hate.

As a tool of exorcism, the kila may be employed to hold demons or thoughtforms in place (once they have been expelled from their human hosts, for example) in order that their mindstream may be re-directed and their inherent obscurations transmuted. More esoterically, the k?la may serve to bind and pin down negative energies or obscurations from the mindstream of an entity, person or thoughtform, including the thoughtform generated by a group, project and so on, to administer purification.

The kila as an iconographical implement is also directly related to Vajrakilaya, a wrathful deity of Tibetan Buddhism who is often seen with his consort Diptacakra. He is embodied in the kila as a means of destroying (in the sense of finalising and then freeing) violence, hatred, and aggression by tying them to the blade of the kila and then transmuting them with its tip. The pommel may be employed in blessings. It is therefore that the kila is not a physical weapon, but a spiritual implement, and should be regarded as such. The kila often bears the epithet Diamantine Dagger of Emptines. As Beer (1999: p. 277-278) states, transfixing kila , charnel ground, scorpion and Padmasambhava:

The sting of the scorpion's whip-like tail transfixes and poisons its prey, and in this respect it is identified with the wrathful activity of the ritual dagger or kila. Padmasambhava's biography relates how he received the siddhi of the k?la transmission at the great charnel ground of Rajgriha from a gigantic scorpion with nine heads, eighteen pincers and twenty-seven eyes. This scorpion reveals the k?la texts from a triangular stone box hidden beneath a rock in the cemetery. As Padmasambhava reads this terma text spontaneous understanding arises, and the heads, pincers, and eyes of the scorpion are 'revealed' as different vehicles or yanas of spiritual attainment. Here, at Rajgriha, Padmasambhava is given the title of 'the scorpion guru', and in one of his eight forms as Guru Dragpo or Pema Drago ('wrathful lotus'), he is depicted with a scorpion in his left hand. As an emblem of the wrathful kila transmission the image of the scorpion took on a strong symbolic meaning in the early development of the Nyingma or 'ancient school' of Tibetan Buddhism”

For reference; To see a similar example on display in the Met.

Ritual Dagger (Phurba) and Stand
late 14th–early 15th century
On view at The Met Fifth Avenue in Gallery 253

Ritual utensils are the essential tools of Tibetan Vajrayana Buddhism practice, used to drive away the delusions that act as impediments to enlightenment. The phurba (Sanskrit: kila) dagger seen here was designed to symbolically consume the triple poisons of ignorance, greed, and delusion that impede spiritual progress. The phurba is the embodiment of the Vajrakila Buddha, who is empowered to suppress all evil in the world. Its ritual use is first described in the Vajrakilaya Tantra, a Vajrayana text dating to the eighth century or earlier.
https://www.metmuseum.org/art/collection/search/75826  read more

Code: 22515

1295.00 GBP

A Most Fine 18th-19th Century Indo Persian Khula Khud Helmet

A Most Fine 18th-19th Century Indo Persian Khula Khud Helmet

The helmet has a hemi-spherical skull engraved throughout, the skull fitted at its apex with a high spike, a pair of plume-holders at the front and with a staple for a sliding nasal guard, decorated over the greater part of its surface with traces of gold koftgari of scenes of a hunt, and a band of koranic Islamic text, and mail neck-defence of butted links. Khula Khud helmets originated in Central Asia, and were worn by Persian Empire soldiers in the 18th and 19th Centuries. Despite the similarity in their design, the Khula Khud helmets were decorated with a wide degree of variations depending on the cultures from which they were created. Decorations often appeared in the skull and the nasal bar, which were often heavily decorated with patterned motifs of inlaid brass, silver or gold; or decorated with figurative images. Some Mughal helmets feature calligraphic inscriptions from the Quran, supposedly to gain "Help from Allah and a speedy victory." Made of steel, these bowl-shaped helmets were designed as either low and flat, or high and pointed. They sometimes contained a spike socket such as this one, at the top of the helmet, which resembles a spearhead with a cross-like section. Two or three plume holders were attached on either side of the skull, used to mount feathers from birds such as the egret or peacock.  read more

Code: 22516

1950.00 GBP

A Most Fine Bronze Age Leaf Shaped Spear Head With Tang Trojan War Period, from the Time of the legendary Heroes Paris, Hector, Achilles , Agamemnon  & Helen of Troy. Around 3000 to 3200 years old

A Most Fine Bronze Age Leaf Shaped Spear Head With Tang Trojan War Period, from the Time of the legendary Heroes Paris, Hector, Achilles , Agamemnon & Helen of Troy. Around 3000 to 3200 years old

The for of ancient spear head traded around the Eastern Mediterranean from Persia to Greece in the 13th-7th century BC. A bronze leaf-shaped spearhead with central midrib and square-sectioned tang which terminates in right-angle turn. In remarkably good condition, with surface patination and a very good naturally aged colour.
180 grams, 7 3/4". provenance from a private collection in Cambridgeshire
Items such as this were oft acquired in the 18th century by British noblemen touring the Middle East, Northern France and Italy on their Grand Tour. Originally placed on display in the family 'cabinet of curiosities', within his country house upon his return home. A popular pastime in the 18th and 19th century, comprised of English ladies and gentlemen travelling for many months, or even years, throughout classical Europe, and the Middle East, acquiring antiquities and antiques for their private collections. A type of weapon often made by the renown bronze makers, in the valleys around the Zagros mountains, in the ancient Babylonian Kingdom period, but traded throughout the entire Eastern Mediterranean region 3000 odd years ago. The ancient Greeks believed the Trojan War was a historical event that had taken place in the 13th or 12th century BC, and believed that Troy was located in modern day Turkey near the Dardanelles. In Greek mythology, the Trojan War was waged against the city of Troy by the Achaeans (Greeks) after Paris of Troy took Helen from her husband Menelaus, the king of Sparta. The war is among the most important events in Greek mythology and was narrated in many works of Greek literature, including Homer's Iliad and the Odyssey . "The Iliad" relates a part of the last year of the siege of Troy, while the Odyssey describes the journey home of Odysseus, one of the Achaean leaders. Other parts of the war were told in a cycle of epic poems, which has only survived in fragments. Episodes from the war provided material for Greek tragedy and other works of Greek literature, and for Roman poets such as Virgil and Ovid.
As with all our items it comes complete with our certificate of authenticity.
 read more

Code: 23609

495.00 GBP

A Very Good British Army Officer's Sword WW1, Regimentally Marked for The Army service Corps

A Very Good British Army Officer's Sword WW1, Regimentally Marked for The Army service Corps

With deluxe quality blade, showing traditional royal cypher of King George Vth, and the ASC beneath crown for the Army Service Corps. In its Field Service leather bound wood scabbard. Traditional three bar hilt in steel, full sharkskin triple wire bound grip.

During WW1 it was a most hazardous and perilous corps to be a member of, as it meant every day the officers and men were travelling to the combat front of every single combat region of the trenches. And supply trains and bridges etc. were a fond and useful target of the German air force, and dedicated, concentrated artillery fire, due to the fact that the cutting of supply lines, and eliminating of supply troops to the front could achieve as much effective damage as a huge barrage of artillery against a full line of the British entrenched positions. Thus the corps was awarded many Victoria and George Crosses for valour in the field.

The shortcomings of the supply chains during the early stages of the Crimean War (1854-56), and the ensuing public outrage, persuaded the Army to set up a new supply unit in 1855. This was known as the Land Transport Corps, before changing its name to the Military Train.

Army supply overall, however, was still in the hands of a unit of uniformed civilians known as the Commissariat. In 1869, this merged with the Military Train’s officers to form the Control Department. The Military Train thereby became a unit solely composed of other ranks who were commanded by officers from the Control Department. In 1870, the Military Train was renamed the Army Service Corps.

In 1875, the Control Department split into the Commissariat and Transport Department (CTD) and the Ordnance Store Department (OSD), the latter forming the predecessor to the Royal Army Ordnance Corps. In 1880, the CTD was renamed the Commissariat and Transport Staff (CTS), while the Army Service Corps became the Commissariat and Transport Corps (CTC).

In 1888, the CTS, the CTC and the War Department Fleet merged to form a new Army Service Corps, bringing officers and other ranks back together into one unit. That unit went on to absorb some of the Royal Engineers’ transport duties.

During the First World War, the Army Service Corps (ASC) operated the transport systems that delivered ammunition, food and equipment to the Front Line. The ASC used motor vehicles, the railways and waterways as part of a complex supply line linking Britain to the various Fronts. As this poster demonstrates, despite the increasing mechanization of warfare, much reliance was also made on horse-drawn transport.  read more

Code: 25057

520.00 GBP

A Very Rare French 6 inch Howitzer Round Shot Iron Cannon Ball. Recovered From Waterloo, Weighing Considerably More Than 24 Pounds

A Very Rare French 6 inch Howitzer Round Shot Iron Cannon Ball. Recovered From Waterloo, Weighing Considerably More Than 24 Pounds

Very rare piece indeed, in that the Howitzer were sparsely used at Waterloo, due to there size, with 6 regular cannon, used in support, by the French artillery, for every two Howitzers used, and each Howitzer was operated with a 13 man crew. And of course, more than half of all the Howitzer six inch rounds were explosive, and thus detonated, leaving no residual cannonball to recover.

What an amazing, large and impressive historical centrepiece for any collector or collection. Imagine the family gatherings or dinner parties that would be enlivened by such an incredible historical artefact and conversation piece! To speculate the incredible hours of battle, with hand to hand combat and the frantic melee that this cannonball was involved within, fired by a French Howitzer crew at the heroic British infantry, or our valiant Prussian volunteer allies of the Kings German Legion, during the glorious defence of La Haye Saint, or the British Guards regiments defenders of Hougemont

The artillery of the French army was almost completely redesigned by Jean Baptiste Grimbeauval from 1765 onwards, standardising gun calibres and making gun carriages lighter and easier to transport, allowing for more flexible and efficient manoeuvring. A typical French artillery battery during the Napoleonic Wars was made up of four to six cannons with the support of two 6-inch howitzers. The shell we discovered would have had a maximum range of around 1100m and would have been most deadly at a range of 640m

Our shell would have been shot from a 6-inch howitzer, that fired, either hollow cast or solid round shot cannonballs. Around 24lb in iron weight for a hollow cast exploding mortar, and around 30lb in weight for round shot. It was the largest of the 3 sizes of howitzer used by the French during the Battle of Waterloo, which would have required 4 horses to draw it and 13 crewmen to fire it – an efficient team would have been able to fire one round ever minute.

A cannonball is a solid ball of metal, known as round shot, which could smash through the ranks of soldiers, causing massive devastation. In contrast, an explosive mortar howitzer shell is a hollow iron sphere filled with gunpowder, with a slow burning fuse fitted to the case. Once lit, it was intended to explode above the heads or at the feet of the Allied soldiers, causing enormous amounts of damage to their formations. A howitzer throws it shells high into the air with a sharp trajectory, and is designed to bring ‘indirect fire’ down on enemy formations either in buildings as at Hougoumont, or, as here, behind a ridge and out of direct sight. While the shell discovered at Mont Jean is known as a 6-inch howitzer shell, an Old French inch is actually equivalent to 1.066 modern inches, so the dug up shell was in fact 6.4 inches in diameter but with size losses due to surface erosion.

We show in the gallery the 6 inch French Howitzer cannon ball recently recovered at Mont St Jean at Waterloo, that when fired, impacted deep underground, and was latterly recovered from the dig. the engraving photographed in our galler shows the farm house of Mont St. Jean. This house being close to the rear of the action, it was much dilapidated by random shot (1815). Engraver James Rouse. Note the round shot impacts through its walls.  read more

Code: 25049

645.00 GBP

An Exceptional 1821 Pattern Victorian British Cavalry Officer's Combat Sabre By Hawkes & Co. Piccadilly. Fully Etched Deluxe Quality Blade. The Regulation Pattern Used in the 'Charge of the Light Brigade' in the Crimean War.

An Exceptional 1821 Pattern Victorian British Cavalry Officer's Combat Sabre By Hawkes & Co. Piccadilly. Fully Etched Deluxe Quality Blade. The Regulation Pattern Used in the 'Charge of the Light Brigade' in the Crimean War.

Bearing Queen Victoria's VR cypher with crown. Regulation three bar steel hilt and sharkskin bound wired grip. Slightly curved blade, bearing the maker's name, address and Royal Warrant of Hawkes and Co.

The very type of Hussar's and Lancer's sabre as used by British Cavalry Officer's in the ill fated charge in the Crimean War against Russia. All steel three bar steel hilt, Full original wire binding over complete fish skin grip. Overall in fine all bright patina. Sadly, of course, we have no way of knowing if this sword was ever used by a specific officer in the charge, however it is absolutely used at the time and is the type used by all the serving Cavalry officers The Cavalry officers actually used two types of sword, this, the 1821 pattern, and a few officers also used the mamaluke pattern sword In the Crimean War (1854-56), the Light Dragoons were in the forefront of the famous Charge of the Light Brigade, immortalized by Tennyson's poem of that name ("Into the valley of death rode the six hundred").
The regiments adopted the title hussars at this time, and the uniform became very stylish, aping the hussars of the Austro-Hungarian army. But soon the blues and yellows and golds gave way to khaki as the British army found itself in skirmishes throughout the far-flung Empire, in India and South Africa especially.
In 1854 the regiment received its orders from the War Office to prepare for service overseas. Five
transport ships - Harbinger, Negotiator, Calliope, Cullodon, and the Mary Anne – embarking
between the 8 May and 12 May, carried 20 officers, 292 other ranks and 298 horses. After a
troubled voyage, the regiment arrived at Varna, Bulgaria on the 2 June. On the 28 August the
entire Light Brigade (consisting of the 4th Light Dragoons and 13th Light Dragoons, 17th
Lancers, the 8th Hussars and 11th Hussars, under the command of Major General the Earl of
Cardigan) were inspected by Lord Lucan; five men of the 13th had already succumbed to cholera.
On the 1 September the regiment embarked for the Crimea - a further three men dying en-route.
On the 20 September the regiment, as part the Light Brigade, took part in the first major
engagement of the Crimean War, the Battle of the Alma. The Light Brigade covered the left
flank, although the regiment’s role in the battle was minimal. With the Russians in full retreat by
late afternoon, Lord Lucan ordered the Light Brigade to pursue the fleeing enemy. However, the
brigade was recalled by Lord Raglan as the Russians had kept some 3,000 uncommitted cavalry
in reserve.

During the 25 October the regiments, the Light Brigade, took part in the Battle of
Balaclava and the famous Charge of the Light Brigade.
The 13th Light Dragoons formed the right of the front line. The 13th and 17th moved forward; after 100 yards the 11th Hussars, in the second line, also moved off followed by the
4th and 8th. It was not long before the brigade came under heavy Russian fire.Lord Cardigan, at the front of his
men, charged into the Russian guns receiving a slight wound. He was soon followed by the 13th
and 17th. The two squadrons of the 13th and the right squadron of the 17th were soon cutting
down the artillerymen that had remained at their posts. Once the Russian guns had been passed,
they engaged in a hand-to-hand fighting with the enemy that was endeavouring to surround them
by closing in on either flank. However, the Light Brigade having insufficient forces and suffering heavy casualties, were soon forced to retire. The last picture in the gallery is of Capt. Louis Edward Nolan (January 4 1818-October 25 1854), who was a British Army officer of the Victorian era, an authority on cavalry tactics, and best known for his controversial role in launching the disastrous Charge of the Light Brigade during the Battle of Balaclava. He was the first casualty of that engagement. His identical sword can be plainly seen in that painting. This sword has no scabbard at present, however, it may well become available, as the last owner had it but it was lost in their home, if it is found, and if required, it will be supplied by us at its cost price to us.

Overall in excellent condition for age.

The regulation pattern of sword used by British cavalry officer's, such as all the hussar and lancer officer's that took part in the 'Charge of the Light Brigade' in the Crimean War.

We show in the gallery a photograph of Winston Churchill holding his sword around the time he was in the Charge of Omdurman, another with Lord Cardigan of the Charge, holding his identical sword, and a photograph by Fenton, taken in the Crimean of officers of the Light Brigade all with their identical sword.  read more

Code: 25050

895.00 GBP

A Very Good Peninsular War and Waterloo British Napoleonic Regulation, Ordnance, Front Line Rank Issue, 1796 Light Dragoon Trooper's Sabre by An Ordnance Supply Contractor from the Early 1800's

A Very Good Peninsular War and Waterloo British Napoleonic Regulation, Ordnance, Front Line Rank Issue, 1796 Light Dragoon Trooper's Sabre by An Ordnance Supply Contractor from the Early 1800's

All steel scabbard, with steel P hilt and leather bound grip. The blade is very good indeed, and nicely bright overall, with ordnance crown inspection stamp 4, and maker stamp on the blade spine, of ordnance contractor from 1802 to 1803. All the steel mounts have excellent patina. Overall very nice condition for age, obviously seen combat service but it has been cared for very well since it left service over 200 years ago

The mounted swordsmanship training of the British emphasised the cut, at the face for maiming or killing, or at the arms to disable. This left masses of mutilated or disabled troops; the French, in contrast, favoured the thrust, which gave cleaner kills. A cut with the 1796 LC sabre was, however, perfectly capable of killing outright, as was recorded by George Farmer of the 11th Regiment of Light Dragoons, who was involved in a skirmish on the Guadiana River in 1811, during the Peninsular War:
"Just then a French officer stooping over the body of one of his countrymen, who dropped the instant on his horse's neck, delivered a thrust at poor Harry Wilson's body; and delivered it effectually. I firmly believe that Wilson died on the instant yet, though he felt the sword in its progress, he, with characteristic self-command, kept his eye on the enemy in his front; and, raising himself in his stirrups, let fall upon the Frenchman's head such a blow, that brass and skull parted before it, and the man's head was cloven asunder to the chin. It was the most tremendous blow I ever beheld struck; and both he who gave, and his opponent who received it, dropped dead together. The brass helmet was afterwards examined by order of a French officer, who, as well as myself, was astonished at the exploit; and the cut was found to be as clean as if the sword had gone through a turnip, not so much as a dint being left on either side of it" The blade is remembered today as one of the best of its time and has been described as the finest cutting sword ever manufactured in quantity. this sword still has its original wooden liner in the scabbard present.

We have more from our Waterloo recovered souvenirs to add this coming week.
Some very small, amazing yet most inexpensive pieces, and a few absolute beauties, shrapnel, cannon balls, grenades {grenades now all sold}, swords, French and British many now also sold}, and, it included, an iron fire back that bears an unknown family crest, that was likely ripped out from a fire place at La Haye-Sainte farm house, to use just like sniper shield’s were a hundred years later in the trenches of WW1. The rear, of the very heavy iron plate, about two feet square, shows likely impact marks of ball and shrapnel. It has now been sold, and due to be delivered to its new lucky owner in America

The last photo in the gallery shows a photograph of one section of the collection in the museum of Waterloo, taken in around 1900, showing all the weapons of Waterloo en situ, including all the protagonists {British, French, Prussian and Belgian muskets, swords, pistols, armour uniforms, etc}. The museum was founded and owned by a veteran of the 7th Hussars that fought at Waterloo.

An extract from an 1862 publication;

“Facts are stubborn things.”

This Hotel, kept by a niece of the late Sergeant-Major Cotton, is situated in the very centre of the field of Waterloo, and is strongly recommended to visitors on account of its proximity to the scenes of interest connected with the great battle, and also for the excellent accomodation and comfort it offers at moderate charges.—See Bradshaw’s continental Guide.

Available from the Project Gutenberg.

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: 25037

1350.00 GBP

Another Reason To Visit Brighton-by-the-Sea. To View ‘The Encampment At Brighton’, by Francis Wheatley, RA, 1747-1801. Which We Were Most Proud To Assist and Enable It’s Donation to Brighton Exactly 50 Years Ago

Another Reason To Visit Brighton-by-the-Sea. To View ‘The Encampment At Brighton’, by Francis Wheatley, RA, 1747-1801. Which We Were Most Proud To Assist and Enable It’s Donation to Brighton Exactly 50 Years Ago

We recently celebrated the completion of a multi million pound three year restoration of the main saloon in the Royal Pavilion palace in Brighton, and we are continually proud to know that our family donation enabled the premier work of art, of a depiction of an hussars regiment, encamped in the hills above Brighton, by Francis Wheatley RA, and thus to be saved for posterity for the Brighton Museum collection.
Possibly their most famous work of art, certainly one of their best. 'The Encampment at Brighton', is a major work by Francis Wheatley RA (1747?1801). (b London, 1747; d London, 28 June 1801). A most fine English painter of his day in the reign of King George IIIrd. His early works were mainly small full-length portraits and conversation pieces in the manner of Zoffany. In 1779 he moved to Dublin to escape creditors, and after his return to London in 1783 his work broadened in scope. It included landscapes, history paintings, and life-size portraits, but he is best known for works produced to be engraved for the Georgian print market. His works now reside in the government collection, the Royal Collection and many of the finest museums and collections around the country.
We were delighted to have enabled its acquisition, back in 1973, and over the past few decades we have been pleased to know of its permanent presence in the City collection, saved for posterity and enabling the museums visitors to view this magnificent work based and painted in Brighton in the 1790's.
Any visitors to Brighton who make a visit to our world famous store, The Lanes Armoury, ought to consider visiting Brighton Museum as part of your visit, in order to view its superb collection, and especially visit our magnificent Royal Pavilion, former summer palace of King George IVth, {former the Prince Regent} donated to Brighton by Her Majesty Queen Victoria, and considered today, by many, to be the most wonderful palace of its kind in the world.

A joyous combination of Indo-Chinese architecture and fine art. A magnificent example of the Royal Family’s diversity, 200 years before the word even became known, and as so significant as it is today.

Brighton has been for centuries a long exponent of diversity, and without doubt certainly one of the best most loved and diverse cities in the entire world. For example, during World War I, the Royal Pavilion palace’s royal stables, that later became the world famous Dome Theatre, was turned over to become a hospital for the desperately wounded, heroic, Indian, volunteer soldiers, it is said that many Indian soldiers when they recovered consciousness and awoke in the palace, believed they had died and gone to heaven, which was a recreation of an Indian Palace.
It was almost 60 years later The Dome Theatre was the host venue of ABBA’s very first public explosion on to the world stage, in fact Mark, {the Lanes Armoury’s elder partner} was coincidentally there in person, just outside the stage area, listening to their very first hit, Waterloo, {somewhat ironic} at the Eurovision Song Contest 50 years ago.

The Royal Pavilion contains some of the finest and most magnificent Chinoiserie works of art to seen anywhere in the world. Some of the original Prince’s treasures were, very recently, just returned from the Buckingham Palace Royal Apartments, to be once more placed on display in the Royal Pavilion in Brighton, as one of the last, and personal benevolent instructions of Her Late Well Beloved Majesty Queen Elizabeth IInd. In order that once more, our city, and it’s millions of visitors, can enjoy the fabulous royal treasures in their original, former, location, the magnificent home of the Prince Regent.

Somewhat like us at The Lanes Armoury, the Royal Pavilion is certainly not one of the largest of the world’s Royal Palaces, in fact, it is possibly one of the smallest, but it is considered, by many, to be the very best.

We also show in the gallery a painting by Richard {Dickie} Compton, commissioned by our family from the artist, of our Holland & Holland, London to Bath and Wells, Royal Mail Road Coach, passing in front of the statue of The Prince Regent, which itself is in front of the Royal Pavilion. The road coach, later photographed, still in use in 1969, outside of the gates to the Royal Pavillion, and the oil painting are part of the late Camilla Hawkins Collection.

As like many Brightonians, our personal family connections to the palace go back since it was first built, over two hundred years ago. Our family used to supply shellfish from Brighton for His Majesty’s table {we held the shellfish concession for many decades in the 18th and 19th century}. A family member worked in the staff -a very lowly position naturally, bearing in mind, our family history, always was, and still is, in ‘trade’- considered by ‘society’ to be at the time, as not particularly in much higher regard than *coster mongers-. We later owned the annex of the Royal Stables, a stable yard around 100 yards from the palace, now demolished and on the site of the current My Hotel in Jubilee Street. And in the early 1970’s Mark purchased from an elderly farmer in the North, the original huge pump organ made for the Prince Regent’s music room in the palace. But it was either never installed, or, if it was, it was not much later removed by Queen Victoria, and sold off. When Mark bought it, it had the original schematic and plans for installation, which were magnificent in their beauty and detail, somewhat like the architects plans much have been for the original palace. We offered to donate it to the Palace Trustees in the 1970’s, but it was refused as impractical to re-install, unless we paid for its installation, but the cost involved would have been prohibitively astronomical. So, we sold it to an Australian diocese instead, and apparently it was installed not much later in an Australian Cathedral.

* coster monger or hawker, A costermonger, coster, or costard was a street seller of fruit and vegetables, sometimes fish, in British towns. The term is derived from the words costard (a medieval variety of apple) and monger (seller), and later came to be used to describe hawkers in general. In fact our family name, Hawkins, was a medieval derivative from Hawker, which would therefore, have been our family trade and social position in the post Roman occupation era. Pretty low down the social scale, before our family moved to Plymouth, and our seafaring nature brought some element of success and thus elevation with a knighthood for Sir John Hawkins, and Sir Francis Drake, his cousin, who was later Admiral for Queen Elizabeth Ist. Drake was John’s cousin due to being adopted by William Hawkins, famed seafarer of Plymouth, and thought to have been adopted, as possibly being his bastard son.
Sir Francis Drake's heraldic achievement and coat of arms contains the motto, Sic Parvis Magna, which means: "Great achievements from small beginnings".  read more

Code: 21652


A Most Incredible and Finest Quality King George IIIrd Napoleonic Wars Scottish Presentation Sword, Presented In The Months Following the Battle of Trafalgar, by The New ‘Battle Company’ of the  Midlothian Regiment

A Most Incredible and Finest Quality King George IIIrd Napoleonic Wars Scottish Presentation Sword, Presented In The Months Following the Battle of Trafalgar, by The New ‘Battle Company’ of the Midlothian Regiment

This is a magnificent ‘royal grade’ museum piece, a sublime quality presentation sword, made with the finest copper-gilt mounts, silver panels, and a stunning blue and gilt blade with deluxe engraving and etched presentation panel. A sword of the highest rank, commissioned to be hand made by Rundell & Bridge, personal goldsmiths to King George IIIrd, and one of the worlds finest makers of objects of magnificence, including the British Crown Jewels, universally recognised as the finest suite of royal regalia in the world.

Formerly in the world famous Smithsonian Collection in Washington, America, sold by them over 25 years ago to raise an urgent need of funds.
In the days it was commissioned it would have been made by Rundell and Bridge for the equivalent and likely same cost of the £100 Lloyds Patriotic Fund Presentation Swords, that were presented to the heroes of the Royal Navy, such as that fought at Trafalger etc. Bearing in mind the value of £100 in 1806 was a simply remarkable sum, for example only 6% of the families in Britain had a total income of £100 in an entire year in 1806, an equivalent today of around £80,000.

Presentation inscription motto etched onto the blade reads;
‘Into whose hand
this sword is put,
It’s hop’t will not
fear Buonaparte,

So draw me out
I shine so clear
and if I strike
my foes may fear”

This fabulous sword, was made by Philip Rundell and George Bridge whose company later made The British Imperial State Crown, the most famous and important royal crown of state ever made, and last used by her Majesty Queen Elizabeth II for her coronation in 1953. This wondrous sword was formerly from the Smithsonian Collection in Washington, and is remarkably similar to the most valuable and highest quality presentation British swords of the Napoleonic Wars, the Lloyds Patriotic Fund sabres, that today can fetch up to £220,000, considerably more than they were achieving 40 years ago when we sold a fine £100 pound Lloyds sword, and even 20 years ago when we sold our last Lloyds £100 pound sword. This sword's makers were King George IIIrds personal goldsmiths, and made the Irish Crown Jewels in 1830, and Queen Victoria's Imperial State Crown " expressly made for the solemnity of the Coronation" That was last used by Her Majesty Queen Elizabeth IInd for her coronation. This spectacular sword is inscribed that its bearer should fight Napoleon Bonaparte without fear, but his foes The French will fear its startling brightness and beauty. It has a sharply curved blade, decorated with stands of arms, a crowned GR cypher, the king's Royal arms, a figure of Britannia, and the motto see photo in the gallery and another further Scottish regimental presentation panel on the opposing side of the blade see photo. The dedication reads;

Presented by the New battle company of
The Eastern Regt. of Midlothian Volunteer
Infantry, to David White Esq, their Captain
as a Mark of their Regard and Esteem, 1806

It has a superbly detailed classically styled stirrup hilt decorated with acanthus scrolls, oak leaves and acorns, with the langets decorated with stands of arms, it has a copper gilt simulated wire and ribbon bound grip, contained in its ornately mounted silver and copper gilt leather scabbard, each mount finely engraved and decorated with acanthus leaf bouquets and featuring a central oval silver plaque decorated with stands of arms, the upper mount with maker's panel. This amazing sword was formerly in the collection of the Smithsonian in Washington, USA, bequeathed to them by a famed American collector of Napoleonic arms, which they sold for the benefit of the Smithsonian's funds over 25 years ago. Blade 75 cm approx. Maker marked by Philip Rundell and George Bridge of London. The firm was appointed as one of the goldsmiths and jewellers to the king in 1797 and Principal Royal Goldsmiths & Jewellers in 1804, and the firm held the Royal Warrant until 1843. They served four monarchs: George III, George IV, William IV and Victoria. After the Congress of Vienna (1814–1815), the firm prepared 22 snuff-boxes to a value of 1000 guineas each to be given as diplomatic gifts.

In 1830–1831, the firm created the Irish Crown Jewels from 394 precious stones taken from the English Crown Jewels of Queen Charlotte and the Order of the Bath star of her husband George III, and Queen Victoria's Imperial State Crown for her coronation. Despite the incredible success of the Battle of Trafalgar, and the routing of Napoleon’s French and Spanish fleet by Admiral Nelson, concern was still great amongst the people of Britain, in fact it was never greater, of the fear that Bonaparte would continue his efforts to confound and attempt to conquer Britain and its empire, and thus to create his own empire controlling all of Europe And Russia. Rundells quality of workmanship was so fine and renowned throughout the world that there are over 100 items by Rundells in the Royal collection alone.

This wonderful sword was obviously worn with pride by its recipient officer, thus the blade shows commensurate signs of light surface wear as to be expected.

We can, if required, commission a contemporary, bespoke glazed & framed display cabinet made by our local specialist artisan. Perfectly suitable for table or wall mounting. With several options of wood framing types, such as gilt, black or silver, also with coloured velvet backing options, and a suitably engraved brass plaque if required.  read more

Code: 23375

36950.00 GBP

A Superb Battle of Waterloo Artifact Recovered from the Battle Site, a Soldier's Silver Finger Ring,

A Superb Battle of Waterloo Artifact Recovered from the Battle Site, a Soldier's Silver Finger Ring,

From our recently arrived original Waterloo battle site collection.
This extraordinary Waterloo battle relic was already old when it was lost at Waterloo, and thus discovered around La Haye Sainte (named either after Jesus Christ's crown of thorns or a bramble hedge round a field nearby). Yet it is in very good condition, clear signs it has been worn , naturally, but very nicely preserved indeed.

It is a walled farmhouse compound at the foot of an escarpment on the Charleroi-Brussels road in Belgium. It has changed very little since it played a crucial part in the Battle of Waterloo on 18 June 1815.

La Haye Sainte was defended by about 400 King's German Legion troops during the Battle of Waterloo. They were hopelessly outnumbered by attacking French troops but held out until the late afternoon when they retired because their ammunition had run out. If Napoleon Bonaparte's army had captured La Haye Sainte earlier in the day, almost certainly he would have broken through the allied centre and defeated the Duke of Wellington's army.

The capture of La Haye Sainte in the early evening then gave the French the advantage of a defensible position from which to launch a potentially decisive attack on the Allied centre. However, Napoleon was too late—by this time, Blücher and the Prussian army had arrived on the battlefield and the outnumbered French army was defeated.

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.

Perfectly wearable still, but, a small size, approx. English size K, but please note, prior to WW1, almost every male of military service age had the body mass of the equivalent to that a 9 year old boy has today {not the height though, but the body mass}. This is due to the consistent lack of protein for generation after generation {such as little or no meat etc. in the average persons diet for centuries}. For example, every uniform we have ever had, made before 1918, has to be displayed on a modern made, 8 year old boy's mannequin, in order for it to fit. Usually the only people in all society that enjoyed a bigger body mass, were the powerful, such as senior nobility, and senior members of the priesthood. Even in days of great famine, the powerful never starved, and bishops etc. comfortably fitted into the category of, 'the powerful'.  read more

Code: 25029

295.00 GBP