A Simply Stunning Antique Rococo Italian 19th Cen. Carved Venetian Grotto Stool, Probably by Pauly et Cie. A Wonderful Original Antique Work of Art From Italian Renaissance Revival Period

In carved walnut, baroque style, with a seat shaped as a rotating elevating scallop shell, docorated in ebonised lacquer, with a scrolled front, set on a relief carved gilded dolphin, and tripartite black ebonised lacquer base. Elaborately carved style of the rococo revival.

One could just as easily imagine the great composer Mozart sitting upon such a fabulously extravagant stool, playing a spinet in one of the great palaces in Venice, and similarly, Sir Elton John seated upon it, performing one of his iconic compositions at a Oscars after party in Hollywood. Just as a piano stool should do, this stool’s shell seat rotates upon a steel spindle in order to adjust its seating height to perform at such as a Steinway or Bechstein grand piano. From 20.5 inches in height, to 23 inches high

As early as the 1500's grottoes were meant to complement Italian Renaissance gardens and provide cool places for Europeans to retreat from the sun. Of course there was a need to furnish these spaces, so fantasy furniture, called grotto furniture, became quite the trend and Grotto had it's own "style". Today home grottoes and shell encrusted furniture are undergoing something of a revival as we too long to bring our love of the ocean indoors with fun and whimsical seashell-inspired decor. Antique Venetian grotto furniture is now rare and immensely collectable. The scallop form became increasingly popular between the fifteenth and nineteenth centuries, as focus on classical, organic and symmetrical forms became more and more popular.
As the scallop form gradually became more used in architecture, its popularity started to be reflected in additional ways, predominantly having a vast influence on Italian Renaissance and Rococo furniture.
Furniture makers in Venice were very prolific in their seating designs, and were particularly known for chairs that had nautical themes. Shells, coral, dolphins and seahorses were often sculpted into chairs that took inspiration from the designs of Venetian grottoes. First created by the ancient Greeks, the grotto was formed out of caves situated near a water source and decorated with tufa, stones and shells. The grottoes acted as shrines, a restful space to pay respect to the spirits of water. In the Renaissance, grottoes became a popular addition to the landscapes of villas for those who could afford it. The Italian landscape designers revived and created a new tradition of grottoes, elaborately decorated into man-made monuments of natural beauty. The Renaissance grotto symbolized the quest for knowledge and an awareness of one's surroundings.

The Italian grotto style peaked during the nineteenth century, and furniture was created to reflect this passion for nautical themes. From the mid to late nineteenth century, furniture makers in Venice fashioned chairs based on the feel of the grotto, creating an eclectic mix of Renaissance and Rococo inspired sculpted imagery. The nineteenth century Venetian grotto chairs were most likely intended for hallways and were aimed to be sold to visitors on their European tour. This stool is in suprb condition with just some light erosion of the gilt and lacquer areas.

Apparently brought back to England by a British General after the Italian campaign in 1944/5, as a personal gift of an Italian nobleman.

The Brighton Pavilion Palace of the Prince Regent is profusely decorated with items of furniture influenced in what is now called the grotto style, with a heavy rococo influence throughout. With fabulously carved gigantic beasts such as dragons and ho ho birds, and this same shell design on stools in the music room. Items of original antique Venetian grotto seating, with the nautical shell infuence, are now commanding huge prices. Franco Zefferelli had a pair in collection that sold for $30,000  read more

Code: 22356

A Superb 'Valet de Pied a la Maison' Footman's Livery Frock Coat, in Dark Blue Velvet, Silk Damask, Silver Bullion and Fine Lace, With Handmade Cut-Steel Marquesite Buttonning

Such beautiful examples of the finest and elaborate clothing is considered very much a fabulous piece of object d'art, with museum collections displaying many such surviving pieces of now long gone finery with much attention to the their fine detail, their craftsmanship, tailoring and beauty. In stunning condition. Any well considered location for such a stunning piece could only be improved by such an admirable piece. A 19th century form footman’s livery frock coat, the dark blue velvet coat with five pairs of re-made 2” wide silver braided bands to front and similar double braided bands to flared pointed cuffs, reverse of coat pleated and cut to waist with banded tie and two large, pierced, cut handmade steel marquesite buttons. Black bow at rear of neck, collar and cuffs have finely worked white lace with matching cravat. The fine quality burgundy coloured damask waistcoat with floral and foliate worked decoration and six 1” wide braided silver bands en suite with coat. A false pocket flap on each side similarly trimmed with braid. Six dark metal waistcoat buttons of floral openwork design have star marquesite button centres. The whole in very good condition due to perfect storage. Male servants were paid more than female servants (because they were expected to support a wife and children) and footmen were something of a luxury and therefore a status symbol even among the servant-employing classes. They performed a less essential role than the cook, maid or even butler, and were part only of the grandest households. Since a footman was for show as much as for use, a tall footman was more highly prized than a short one, and good looks, including well-turned legs, which were shown off by the traditional footman's dress of stockings worn below knee breeches, were an advantage. Footmen were expected to be unmarried and tended to be relatively young; they might, however, progress to other posts, notably that of butler. One 19th-century footman, William Tayler, kept a diary which has been published. He was, in fact, married; but kept his marriage secret from his employers and visited his family only on his days off.

Once a commonly employed servant in great houses, footmen became much rarer after World War I as fewer households could by then afford retinues of servants and retainers. The position is now virtually a historic one although servants with this designation are still employed in the British Royal Household, wearing a distinctive scarlet livery on state occasions.The first footman was the designation given to the highest-ranking servant of this class in a given household. The first footman would serve as deputy butler and act as butler in the latter's absence, although some larger houses also had an under-butler above the first footman.

In a larger household, various footmen might be assigned specific duties (for which there might be a traditional sequence), such as the silver specialist. Usually the footmen performed a range of duties which included serving meals, opening and closing doors, carrying heavy items, or moving furniture for the housemaid to clean behind. The footmen might also double as valets, especially for visiting guests. As with all 19th century form clothing it is a small size.  read more

Code: 20940

A Superb Crimean War and US Civil War Period Crystal Masonic Gaming Tumbler

A good size crystal gaming tumbler, engraved with numerous Masonic symbols, including the square and compass, with three gaming dice sealed within the glass hollow base.
Circa 1850's.
After 4 years of war, the weary and almost defeated Confederate Army was retreating and leaving the Confederate capital of Richmond to its own fate. As the army retreated, fires broke out in all sections of the city. Hoodlums, deserters, and criminals, with no law and order, began to pillage the city.

Just as the city seemed to be doomed, a Union cavalry unit swung up Franklin Street. The bearded colonel looked warily at the riff raff around him who were about to fire a building which bore a sign "Masonic Hall." Taking command of the moment, he halted his troopers and ordered that an adjutant "have all Masons wheel out of column." Almost half of his force moved out. From this group he ordered a suitable guard to protect the Masonic Temple. The column reformed and resumed its ride. Later General Godfrey Weitzel, a Mason, gave the order, after a request by the Lodge, to continue the guard. The building saved is said to have been the oldest purely Masonic building in America with records dating back to 1787, and the historic building itself was built in 1785 by Richmond Lodge 10. The Grand Lodge assembled here after its formation in Williamsburg until its move in 1869.

In the battle for Galveston, Texas a young Union naval officer who was a Mason was killed on board one of the Union vessels.

An armistice was sought and given for his burial at sea and his father, a Confederate officer, attended the funeral on board.

It was an April morning three days after General Robert E. Lee had surrendered to General U.S. Grant. The Southern troops, led by General John B. Gordon, a Mason, were marching in columns towards the Northern troops who were standing in formation waiting for the Southerners to stack arms and fold their flags. Suddenly a shifting of arms is heard. Gordon looked up with alarm. There was nothing to fear. General Joshua Chamberlain had ordered his troops to assume the position of "honor answering honor." Immediately, the Confederate troops snapped to attention and returned the honor. It was the first act to heal the wounds of a nation that had spent four years and 618,000 lives in civil war. That command of "honor answering honor" was ordered by a Mason.

Major General Joshua Chamberlain was a member of United Lodge 8, Brunswick, Maine. After the war, he became Governor of Maine from 1866-1871 and President of Bowdoin College from 1871-83.  read more

Code: 25504

Absolutely Superb Esoteric Antique Witchcraft Fetish Statue. An African Kongo Witch Doctor's Nail-Fetish Power Figure, A Voduo {Voodoo} Nkondi Nkisi. Historically Much Feared by Victorian Missionaries as Instruments of Sorcery. Made by The Tribal Nganga

Another example from our incredible collection.

The African Kongo Witch Doctor's power figures minkisi {plural of nkisi} that stand prominent among all minkisi is called nkisi {sacred medicine} nkondi {hunter} likely from the Bakongo people. This type of figure is commonly called a nail fetish and is one of the most recognisable and collectible figures in all of African art. These life-like figures are instantly identified by the many nails, pegs, blades, and shards that are hammered into them and made by the tribal Nganga { Witch Doctor } .

Each individual insertion represents one of three things: an oath or agreement between two parties, a pledge to provide protection against enemies and witchcraft, or a vow of vengeance. 'Nkondi' literally means 'hunter;' and it is generally considered an aggressive entity.

The insertions are driven into the figure by the nganga and represent the mambu and the type or degree of severity of an issue can be suggested through the material itself. A peg may refer to a matter being ‘settled’ whereas a nail, or metal shard, deeply inserted, may represent a more serious offense such as murder. Prior to insertion, opposing parties or clients often lick the blades or nails, to seal the function or purpose of the nkisi through their saliva. If an oath is broken by one of the parties or evil befalls one of them, the nkisi nkondi will become activated to carry out its mission of destruction or divine protection

The imposing presence and implied power of nkisi nkondi is certainly enough to keep anyone committed to a promise or agreement. Like other minkisi, powerful medicine is usually stored inside the belly, which can then covered by a piece of glass or mirror. The reflective surface represents the world of the dead and the vision of the spirits. One is a traditional naked fetish witchcraft figure, standing upright, deeply carved staring eyes a the body studded overall with hundreds of nails of iron driven into the body, a traditional fetish upwards that may, some believe, have once held a spear.

A nkisi has many interrelated functions. African doctors use it to effect healing. They use the nkisi to search for the spiritual and physical source of a malady and then chase it away from the body. As a preventive measure, spiritual leaders also use it to protect the human soul, guarding it against disease and illness. In addition, they may use it to bind its owner to a friend or to attract lovers. It is also used to serve as a charm to repel enemies, arrest them in their tracks, or inflict an illness on them. Alternatively, a nkisi can be used to embody and direct a spirit; similarly, it can be used as a hiding place for a troubled soul, keeping order.

Nkisi, in west-central African lore, any object or material substance invested with sacred energy and made available for spiritual protection. One tradition of the Kongo people of west-central Africa holds that the god Funza gave the world the first nkisi. Africans uprooted during the Atlantic slave-trade era carried with them some knowledge of nkisi making. In places throughout the United States, particularly in the Deep South, African descendants still create minkisi. Nkisi making is also found throughout the Caribbean and South America, in places such as Cuba, Haiti, and Brazil.

This wild appearance of the Nganga was intended to create a frightening effect, or kimbulua in the Kongo language. The nganga's costume was often modeled on his nkisi. The act of putting on the costume was itself part of the performance; all participants were marked with red and white stripes, called makila, for protection.

The "circles of white around the eyes" refer to mamoni lines (from the verb mona, to see). These lines purport to indicate the ability to see hidden sources of illness and evil.

Yombe nganga often wore white masks, whose color represented the spirit of a deceased person. White was also associated with justice, order, truth, invulnerability, and insight: all virtues associated with the nganga.

The nganga is instructed in the composition of the nkondi, perhaps in a dream, by a particular spirit. In one description of the banganga's process, the nganga then cuts down a tree for the wood that s/he will use to construct the nkondi. He then kills a chicken, which causes the death of a hunter who has been successful in killing game and whose captive soul subsequently animates the nkondi figure. Based on this process, *Gell writes that the nkondi is a figure an index of cumulative agency, a "visible knot tying together an invisible skein of spatio-temporal relations" of which participants in the ritual are aware

After a tribal carver artist completed carving the artifact, the "nganga" transformed it into an object capable of healing illness, settling disputes, safeguarding the peace, and punishing wrongdoers. Each work of this kind or "nkisi" is associated with a spirit, that is subjected to a degree of human control.
Europeans may have encountered these objects during expeditions to the Congo as early as the 15th century. However, several of these fetish objects, as they were often termed, were confiscated by missionaries in the late 19th century and were destroyed as evidence of sorcery or heathenism. Nevertheless, several were collected as objects of fascination and even as an object of study of Kongo culture. Kongo traditions such as those of the nkisi nkondi have survived over the centuries and migrated to the Americas and the Caribbean via Afro-Atlantic religious practices such as vodun, Palo Monte, and macumba. In Hollywood these figures have morphed into objects of superstition such as New Orleans voodoo dolls covered with stick pins. Nonetheless, minkisi have left an indelible imprint as visually provocative figures of spiritual importance and protection.

Often such figures were placed outside, or within, the hut of a certain form of tribal elder, what we would refer to as, the tribal witch-doctor, called a Nganga as a symbol of his position within the local village, and his ability to cause magical curses and unpleasantness for villagers who had fallen out with others of the village or region, who then sought out the services of the so called 'witch-doctor' to resolve the problem, with, such as, a curse.

Vintage Hand Carved African Medicine Man Nkisi figures. Esoteric collector's pieces, connected to the so-called western term of Voodoo {vodou} magic, part of the pantheon of the occult, magic & witchcraft of Africa.

Among the various Kongo peoples, nkisi means a sacred medicine. This word has been extended to include objects containing that medicine as well. The carved wooden statues referred to in the 19th century as nail fetishes and more recently as power figures containing medicine that imbues them with divine power, are therefore nkisi as well. Due to the medicine they contain (which is administered by a witch doctor or nganga), they act as agents of divine power, granting requests. healing or attesting to agreements. Each decision or resolution is literally nailed down in the figure.

A certain class of nkisi, called nkondi, are able to enforce the solutions they provide actively and to seek vengeance against those who heed them not. These figures either menace the viewer with spears and fierce facial expressions, or strike intimidating, belligerent poses.

Nkisi nkondi specialize in different areas of life. The most important nkisi nkondi carries out mangaaka, or preeminent justice.

Surveillance or watchfulness assist the effective enforcement of the power figure’s decisions. This is registered in the size of the eyes or, in some cases, by multiple sets of eyes. The rope wrapped around some figures represents a snake, a watchful predator who lends its powers of observation to the figure. Double-headed figures have double the visual powers and can see into the city of the dead and the realm of the living at the same time.

Each power figure has a distinct personality, ranging from contemplative to angry to soulful to reserved to compassionate. The ability to suggest those qualities visually with such immediacy and precision is one of the most impressive aspect of the surviving figures.

Kongo religion Kikongo: Bukongo. Bakongo religion was translocated to the Americas along with its enslaved practitioners. Some surviving traditions include conjure, dreaming, possession by the dead to learn wisdom from the ancestors, traditional healing and working with minkisi. The spiritual traditions and religions that have preserved Kongo traditions include Hoodoo, Palo Monte, Lumbalú, Kumina, Haitian Vodou, Candomblé Bantu, Kongo traditions such as those of the nkisi nkondi have survived over the centuries and migrated to the Americas and the Caribbean via Afro-Atlantic religious practices such as vodun, Palo Monte, and macumba.

Similar examples in the Smithsonian and Metropolitan in the USA. One very similar nkisi, from the late 19th to mid 20th century has been a highlight of the Rockefeller collection since its acquisition in 1952. we show two examples of the similar Kongo type as ours, from around the same time, in the gallery of photographs

*Gell, A . The Art of Anthropologie. London: Humanities Press  read more

Code: 25513

A Delightful & Beautiful Early to Mid Edo Period 1598-1863 Samurai War Arrow. A Long Bladed Armour Piercing Tagari-Ya, With Yadake Bamboo haft, & Sea Eagle Feather Flights and a Traditional Tamahagane Tempered Steel Head In Stunning Polish with Hamon

With original traditional eagle feathers, probably the large edge-wing feathers of a Japanese sea eagle. The armour pierceing arrow tip, that is swollen at the tip to have the extra piercing power to penetrate armour and helmets {kabuto}, is a brightly polished, traditional tamagahane steel hand made, by a sword smith, long arrow head, originally hand made with folding and tempering exactly as would be a samurai sword blade, possibly signed on the tang under the binding but we would never remove it to see. The Edo period early eagle feathers are now slightly worn. It is entirely indicative of the Japanese principle that as much time skill and effort be used to create a single 'fire and forget' arrow, as would be used to make a tanto or katana. A British or European blacksmith might once have made ten or twenty arrows a day, a Japanese craftsman might take a week to make a single arrow, that has a useable combat life of maybe two minutes, the same as a simplest British long bow arrow.

The Togari-Ya or pointed arrowheads look like a miniature version of a long Yari (spear) and were used only for war and are armour piercing arrows . Despite being somewhat of a weapon that was 'fire and forget' it was created regardless of cost and time, like no other arrow ever was outside of Japan. For example, to create the arrow head alone, in the very same traditional way today, using tamahagane steel, folding and forging, water quench tempering, then followed by polishing, it would likely cost way in excess of a thousand pounds, that is if you could find a Japanese master sword smith today who would make one for you. Then would would need hafting, binding, and feathering, by a completely separate artisan, and finally, using eagle feathers as flights, would be very likely impossible. This is a simple example of how incredible value finest samurai weaponry can be, items that can be acquired from us that would cost many times the price of our original antiques in order to recreate today. Kyu Jutsu is the art of Japanese archery.The beginning of archery in Japan is pre-historical. The first images picturing the distinct Japanese asymmetrical longbow are from the Yayoi period (c. 500 BC – 300 AD).
The changing of society and the military class (samurai) taking power at the end of the first millennium created a requirement for education in archery. This led to the birth of the first kyujutsu ryūha (style), the Henmi-ryū, founded by Henmi Kiyomitsu in the 12th century. The Takeda-ryū and the mounted archery school Ogasawara-ryū were later founded by his descendants. The need for archers grew dramatically during the Genpei War (1180–1185) and as a result the founder of the Ogasawara-ryū (Ogasawara Nagakiyo), began teaching yabusame (mounted archery) In the twelfth and thirteenth century a bow was the primary weapon of a warrior on the battlefield. Bow on the battlefield stopped dominating only after the appearance of firearm.The beginning of archery in Japan is pre-historical. The first images picturing the distinct Japanese asymmetrical longbow are from the Yayoi period (c. 500 BC – 300 AD).
The changing of society and the military class (samurai) taking power at the end of the first millennium created a requirement for education in archery. This led to the birth of the first kyujutsu ryūha (style), the Henmi-ryū, founded by Henmi Kiyomitsu in the 12th century. The Takeda-ryū and the mounted archery school Ogasawara-ryū were later founded by his descendants. The need for archers grew dramatically during the Genpei War (1180–1185) and as a result the founder of the Ogasawara-ryū (Ogasawara Nagakiyo), began teaching yabusame (mounted archery) Warriors practiced several types of archery, according to changes in weaponry and the role of the military in different periods. Mounted archery, also known as military archery, was the most prized of warrior skills and was practiced consistently by professional soldiers from the outset in Japan. Different procedures were followed that distinguished archery intended as warrior training from contests or religious practices in which form and formality were of primary importance. Civil archery entailed shooting from a standing position, and emphasis was placed upon form rather than meeting a target accurately. By far the most common type of archery in Japan, civil or civilian archery contests did not provide sufficient preparation for battle, and remained largely ceremonial. By contrast, military training entailed mounted maneuvers in which infantry troops with bow and arrow supported equestrian archers.

Mock battles were staged, sometimes as a show of force to dissuade enemy forces from attacking. While early medieval warfare often began with a formalized archery contest between commanders, deployment of firearms and the constant warfare of the 15th and 16th centuries ultimately led to the decline of archery in battle. In the Edo period archery was considered an art, and members of the warrior classes participated in archery contests that venerated this technique as the most favoured weapon of the samurai. In the gallery is from an edo exhibition of archery that shows a tagari ya arrow pierced completely through, back and front, an armoured steel multi plate kabuto helmet.

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

Code: 25512

A Fabulous, Original, Incredibly Rare Wild West 1876 Winchester Repeating Rifle. With 22 inch Carbine Barrel, 2nd Model With Sliding Dust Cover. Probably The Most Famous & Historical American Rifle In The World. A License Free Antique Collectors Item

A much sought after Winchester Repeating Rifle of the Wild West Era, of 'man-stopper' bore, the huge 50 cal. One of the very few original Winchester repeating rifles that is allowed to be owned due to its rare obsolete calibre, as a collector's item, and non-deactivated and can be owned and displayed in one's home without any form of licence or restriction. Fully operational condition. A wonderful original collectors item, incredibly rare and near impossible to find anywhere in the European and British market. It is perfectly possible it may be impossible to have an opportunity to find and acquire such a rare example quite like it ever again in England.

The 'Big Brother' of the Winchester '73. A very scarce antique collector's piece. Probably the most famous Repeating Rifle in the world.The big Winchester was arguably President Theodore 'Teddy' Roosevelt's favourite gun. Two photos in the gallery show Buffalo Bill and Teddy Roosevelt both with their Winchesters. For information only not included.

The Winchester Model 1876, or Centennial Model, was a heavier-framed rifle than the Models 1866 and 1873, chambered for full-powered rifle cartridges suitable for big-game hunting, rather than the handgun-sized rimfire and centrefire rounds of its predecessors. While similar in design to the 1873, the 1876 was actually based on a prototype 1868 lever-action rifle that was never commercially produced by Winchester.

Introduced to celebrate the American Centennial Exposition, the Model 1876 earned a reputation as a durable and powerful hunting rifle. Four versions were produced: a 22-inch (56 cm) barrel Carbine, a 26-inch (66 cm) barrel Express Rifle with a half-length magazine, a 28-inch (71 cm) barrel Sporting Rifle, and a 32-inch (81 cm) barrel Musket. Standard rifles had a blued finish while deluxe models were casehardened. Collectors identify a first model with no dust cover, a second model with a dust cover rail fastened by a screw, and a third model with an integral dust cover. Total production was 63,871 including 54 One of One Thousand Model 1876s and only seven of the One of One Hundred grade.

Originally chambered for the new .45-75 Winchester Centennial cartridge (designed to replicate the .45-70 ballistics in a shorter case), the Model 1876 also had versions in .40-60 Winchester, .45-60 Winchester and .50-95 Express; the '76 in the latter chambering is the only repeater known to have been in widespread use by professional buffalo hunters.

The Canadian North-West Mounted Police used the '76 as a standard long arm for many years with 750 rifles purchased for the force in 1883; the Mountie-model '76 carbine was also issued to the Texas Rangers. Theodore Roosevelt used an engraved, pistol-gripped half-magazine '76 during his early hunting expeditions in the West and praised it. A '76 was also found in the possession of Apache warrior Geronimo after his surrender in 1886 Large .50 Calibre, no license required, and not deactivated, as this calibre is declared obsolete by HM Home Office .
Photo in the gallery of Alchesay (1853-1928), a very significant and historical figure in Apache history. Chief of the White Mountain Apache people; Scout under Army General George Crook; Advocate for his people; Peace Negotiator between the Army and his friend, Chiricahua Apache leader Geronimo.


Famous and infamous westerners known to have used the Model 1876 include President Teddy Roosevelt, Johnny Ringo (Tombstone), Charlie Bowdre (Lincoln County War), Major Frank Wolcott (Johnson County War), John "Liver Eating" Johnston upon whom the movie character "Jerimiah Johnson" was based, and Granville Stuart (Montana rancher and vigilante). Teddy Roosevelt was photographed with one of his 1876 rifles. He liked the 1876 better than English double rifles. In the movie “Tom Horn” Steve McQueen uses a Model 1876. As it takes a rare, obsolete, centre fire cartridge, this rifle is not required to be deactivated or indeed a license needed in order to own or collect it.

A Winchester “One of One Thousand” Deluxe Model 1876 was one of the world's most valuable rifles which was placed in auction, sale price: $891,250.

Good lever action, fully functioning and operational, & with a light hammer throw. Overall in good condition, with average age and wear commensurate for its age and use in the historical Wild West.  read more

Code: 24962

A Solid Hallmarked Sterling Silver Horse, By Carrington and Company Of Regent Street, London, In 1961. Silversmiths To Queen Victoria, Prince Albert, Edward VII and George V, Czar Nicholas I & II,Queen Alexandra of Russia.

A beautifully crafted horse, standing erect and proud, finely cast with a finely hand engraved coat

Made in two parts, with the horse free standing upon its rectangular base {hallmarked}. The horse is hallmarked upon its hoof.

The firm of Carrington was named after its founder John Bodman Carrington who established his manufacturing business at 130 Regent Street.

He was listed as a silversmith, goldsmith and jeweller working from the London premises of the Birmingham silversmiths G.R. Collis & Co. The business was re-styled Carrington & Co in 1880 and the firm specialised in extra strong silver plate for use in restaurants, hotels and ships.

By the early 1890s Carrington were advertising themselves as jewellers, diamond merchants, dealers in precious stones and manufacturing silversmiths. At this time the partners were John Carrington, William Carrington Smith and George Bruford. They were awarded the Royal Warrant by Queen Victoria and would go on to gain the warrants of Prince Albert, Edward VII and George V, as well as Nicholas I and II and Queen Alexandra of Russia. In 1893 they created the beautiful Dorset bow brooch for Queen Mary and in 1911 they set the famous Cullinan diamonds numbers III and IV into a brooch/ pendant for her, a jewel now owned by the Queen who affectionately refers to them as ‘Granny’s chips’.

John Carrington became Prime Warden of the Goldsmiths’ Company in 1903 and retired from his business in 1906 leaving W.C. Smith to continue as sole remaining partner. Carrington co-authored a book ‘The Plate of the Worshipful Company of Goldsmiths’ which was published shortly before his death in 1926. The firm was converted into a limited liability company in 1922 and was eventually bought out by the firm Collingwood.  read more

Code: 25509

A Stunning, Demi-Shabraque Of An Officer Of The British Monarch, Her Late Most Beloved Majesty Queen Elizabeth IInd Mounted Bodyguard of the Household Cavalry The Horse Guards. Post 1953 With 19 Battle Honours Up to 1991

With the regiments Garter Star, the lion surmounted the Queen's Crown {the Imperial State Crown}, with 19 battle honours around and below. All in the finest gold and silver bullion, on a garnet cloth with a wide bullion trim with embossed oak leaves of the mounts fore-quarter shabraque.

A post 1953 shabraque, with battle honours up to 1991.

This shabraque would look amazing bespoke framed

The Household Cavalry is classed as a corps in its own right, and consists of two regiments: The Life Guards and The Blues and Royals (Royal Horse Guards and 1st Dragoons). They are the senior regular regiments in the British Army, with traditions dating from 1660, and act as the King's personal bodyguard. They are the cavalry element of the guards regiments and, with the five foot guard regiments, constitute the seven guards regiments of the Household Division.

A shabrack or shabraque is a saddlecloth, formerly used by European light cavalry.

The shabraque was an accoutrement of the hussar cavalry, based on the Hungarian horsemen in Austrian service who were widely imitated in European armies in the 18th and 19th centuries. The shabraque was a large cloth which in its original form, covered the Hungarian-style saddle, and was itself surmounted by a sheep or goat skin.

Made of Sheep or Goat skin, The Shabrack was a common Military article during The Napoleonic Wars, used by both The French, their Allies and by The English and theirs. Traditionally, Royal Regiments bore their Monarch's Signet – often embroidered in Silver or Gold Thread.

By the end of the 19th Century and into the 20th, Shabracks (when found), were used solely by Officers of various Elite Cavalry Units (such as those found today on Great Britain). Variations were used by both American and Confederate Officers during The American Civil War. Today, in The American Army, The Shabrack is most commonly used for Funeral Processions known as The ''Fallen Rider''.

The corners of the shabraque were rounded at the front and elongated into long points at the rear. It could be elaborately decorated with a contrasting border and a royal cypher or regimental crest. It was often discarded while on active service and by the start of the 20th century, was confined to ceremonial use; in the British Army, it is used by the Household Cavalry and by General Staff officers.  read more

Code: 25510

A Stunning, Surrendered in 1945, Japanese 450 Year Old Ancestral Samurai Sword, Koto To Shinto Period, Mounted In Type 98 Military Shingunto Mounts For A WW2 Imperial Japanese Officer

Part of a superb collection of original WW2 Japanese swords, and early samurai swords recently acquired by us.

This is one of the best early ancestral swords with WW2 fittings that we have seen in a long time. The blade is superb for its age, wonderfully bright with an exceptionally vibrant hamon, and all its fittings are top class in very fine condition. An absolute beauty!

Fine quality type 98 Shin gunto officer's sword mounts, with an ancestral blade around 450 years old, late Koto to early Shinto period.

Sugata shinogi-zukuri with torii-zori, medium kissaki the hamon is a broad notare choji, two-piece copper and gilt deluxe habaki , nakago is ubu mumei and unsigned. Koshirae is traditional WW2 '98' pattern of good quality, the saya is wooden with leather protective cover and suspension ring; traditional tsuka wrapped in brown silk over good giant rayskin samegawa, fine standard brass military fuchi and kabutogane, tsuba and menuki decorated with sakura and kiku.

During the Meiji period, the samurai class was gradually disbanded, and the Haitorei Edict in 1876 forbade the carrying of swords in public except for certain individuals such as former samurai lords (daimyōs), the military and police. Skilled swordsmiths had trouble making a living during this period as Japan modernised its military and many swordcsmiths started making other items such as cutlery. Military action by Japan in China and Russia during the Meiji Period helped revive the manufacture of swords and in the Showa period (1926–1989) before and during World War II swords were once again produced on a large scale.

During the pre World War II military buildup and throughout the war, all Japanese officers were required to wear a sword. Traditionally made swords were produced during this period but, in order to supply such large numbers of swords, blacksmiths with little or no knowledge of traditional Japanese sword manufacture were recruited. In addition, supplies of the type of Japanese steel (tamahagane) used for sword making were limited so several other types of steel were substituted. Shortcuts in forging were also taken, such as the use of power hammers and tempering the blade in oil rather than hand forging and water tempering; these measures created swords without the usual characteristics associated with Japanese swords.

However, families of great standing or with samurai backgrounds and ancestry were permitted to allow their son's to wear military mounted swords but containing ancient ancestral blades, usually of great significance to the family's history. this is one of those swords. it was once estimated only 1 in 100 had such historical swords to carry in combat, while serving their divine emperor Hirohito in WW2.



The scabbard for the Type 98 was made of metal with a wood lining to protect the blade, and the option of adding a combat leather cover, or, as has this sword, a wooden scabbard covered with combat leather. Metal scabbards were often painted olive green to brown, but all types, wooden or metal were suspended from the officer’s belt by a single scabbard ring mount.

25 inch blade tsuba to tip  read more

Code: 25279

An Original & Rare Flintlock 'Chief's' Hudson’s Bay Co. Trade Musket. The Identical Form of Parker Field Trade Musket Used By Chief Sitting Bull, of The Battle at Little Big Horn. The Final Engagement of Colonel George A. Custer & His 7th Cavalry

In superb condition, In fact we would go as far to say you may never see a better condition example like this beauty. Likely untouched since it was retired from use likely 150 years ago. Almost identical to the very same guns as were used by Crow Indian Chief Fighting Bear, and Chief Sitting Bull, world renowned and most famed leader of the Lakota Souix at the Battle of the Little Bighorn

With maker marked flint lock, maker stamped with the tombstone inspectors mark and a seated fox, and a superb serpent sideplate. They were carried into the mountain ranges, open plains, and vast deserts by the native people who relied on the Northwest Gun’s dependability, simple – and importantly, easily repaired – mechanics, and readily available ammunition. In short, no other single firearm was carried through as much of American history, from the primeval forests of the east to the shores of the western coast, as were these Northwest Trade Guns.

This very nice specimen was manufactured by the firm of Parker, Field, & Co. of London and is so legibly stamped on the tail of the lock plate. In front of the cock, the lock plate bears the famous Hudson’s Bay Company viewer (inspector) stamp, the “Tombstone Fox” seated over the initial’s “EB”. The initials are believed to be those of Edward Bond, an early viewer employed by the HBC, and whose descendants served the company for many decades after Edward’s death, continuing to use their forbearer’s cartouche.

A very special feature of this Native American Chief’s Trade Gun is the relatively rare viewer’s acceptance stamp which was applied once the gun was fully assembled and delivered to the HBC. This stamp is partially legible on the right side of the butt stock – the outline of the ½” circle that when originally newly struck it would have been fully legible, it wasa an encircled a standing fox surrounded by the initials “H. H. B. C.” for the Honorable Hudson’s Bay Company.
These acceptance stamps were characteristically lightly struck, and with any wear or handling, they were soon worn away. To my knowledge, only two guns exist on which this stamp is fully legible, and it is very rare that even the outline of the stamp survives as is present on this Trade Gun. The presence of this stamp is certainly an added value and interest.

This is a very good specimen of a Northwest Trade Gun which was traded from the Hudson’s Bay Company at a time before the Indians had access to the later metallic cartridge guns, and certainly present during the active conflicts of the Indian War engagements in the west immediately following the Civil War.

Some Parker Field trade muskets are known to have been used at the Battle of Little Bighorn, and other incidents at the end of the Indian Wars. Another Parker, Field & Sons Trade Gun sold in 2018, it is carved with Sitting Bull's name on the butt, and is directly attributed to him. {See the photos in the gallery}, It sold at auction for $162,500 in 2018. You will notice his had fared poorly under the Chief's ownership, with considerable fore-stock damage.

Another identical Parker Field, Hudson's Bay Co. trade musket belonged to the Apsáalooke (Crow) leader, Fighting Bear. That musket was formerly in the collection of Edwin W. Countryman (1872-1946, a Buffalo, New York, attorney); it was subsequently acquired by Reuben B. Oldfield a collector of Indian items from Bath, New York, at an unknown date; then it was purchased from Reuben Oldfield by Thomas J. Watson (Chairman and CEO of IBM) in 1947; transferred to the IBM Gallery of Arts and Sciences; then donated to the Metropolitan Museum of Art, by the IBM Gallery of Arts and Sciences in 1960.

One other photo in the gallery is an old painting of Sitting Bull holding his musket.

By the early eighteen hundreds, the trading companies had established rigid requirements for the Northwest guns. The full-stocked, smoothbore trade guns varied little in shape and style, but under went changes in barrel lengths. By the late 1820’s, the shorter barrel had become popular. The overall length of a standard Northwest gun with a 30-inch barrel was 45.5 inches. A distinctive feature of these guns was the dragon or serpent shaped side plate. Most Indians would not trade for a gun that did not have the serpent plate. Hansen states that the earliest record of the Hudson’s Bay gun with its distinctive dragon ornament is dated 1805.
After 1800, almost all the Indian trade guns were supplied with blue barrels, brown-varnished stocks, and bright polished locks. These guns were stamped below the pan with a large sitting fox-like animal and enclosed in a viewers panel. These guns carried the brass serpent side plate and an over sized trigger guard for use with mittens.

The following excerpts from an article on The Guns of the Little Big Horn by Terry Shulman are interesting:
In the Battle of the Little Bighorn, Lieutenant Colonel George A. Custer and five companies of the 7th Cavalry were overwhelmed in southeastern Montana Territory by a combined force of Lakota and Cheyenne Indians on June 25, 1876.
The Seventh Cavalry troopers were armed with the Springfield carbine Model 1873 and the Colt Single Action Army revolver Model 1873. The best effective range for this carbine was less than 300 yards.
There is much speculation as to the guns carried by the Indians. Private Charles Windolph of Company H was probably closest to the truth when he estimated that half the warriors carried bows and arrows, one-quarter of them carried a variety of old muzzleloaders and single-shot rifles, and one-quarter carried modern repeaters.
At the Little Bighorn, about 42,000 rounds were either expended or lost. At that rate, the soldiers hit one Indian for about every 840 shots. Since much of the ammunition was probably lost–Indians commented on capturing ammunition in cartridge belts and saddlebags–the hit rate must have been higher.
In the Battle of the Rosebud, eight days before the Little Bighorn fight, General George Crook’s forces fired about 25,000 rounds and may have caused about 100 Indian casualties–about one hit for every 250 shots.

28 inch barrell 44 inches overall
If we knew the name of the Native American Chief that once owned this gun, in our opinion, it would add at least another nought to its price, but, needless to say, we sadly don't.

* Slight error in photos 1,2, & 3. In those photos the trigger guard looks proud to the wood, it isn't, it had not been screwed back in place correctly. See photos 8 and 9 to see how it correctly looks

As with all our items it comes complete with our certificate of authenticity  read more

Code: 24795