Antique Arms & Militaria

An Early, Historical and Fine, Original, Moghul Empire Katar. As With Most Of The Fine, Surviving, Early Katar It Has an Armour Piercing Blade. Made and Used From the Time Of Moghul Emperor Shah Jahan in the 17th Century

Indian long blade armour piercing katar from the era of Shah Jahan, builder of The Taj Mahal, the most famous monument to a beloved wife in the world.

It was well known for its armour piercing capabilities, as many historical katars featured a blade that dramatically thickened into a diamond-shaped tip {see photo 9 in the gallery of this katar's blade tip}. This was intentionally engineered to enter directly through steel chainmail or split shields during an ambush.

The Katar is one of India's oldest weapons, characterised by its H shape grip and triangular blade. The Katar was predominantly used in battle and by skilled assassins as a thrusting dagger due to its design similar to the boxing method the user would hold the dagger in the hand with the aim of piercing chain mail and the opponent. Due to the build of the Katar, with its H shaped grip, the Katar also provided a great defence as the handle bars protected the wrist from getting cut. Katars could also be paired with other weapons, such as a Kard or Pesh Kabz and utilised for slashing; as many of them hard sharp edges. From becoming a predominantly functional weapon, during the Mughal reign of India (from the 1500s onwards) rulers would wear a highly bejewelled gold covered example {see the portrait in the gallery}

The portrait in the gallery, circa 1650, is of Moghul Shah Shuja who was the second son of the Mughal Emperor Shah Jahan and Empress Mumtaz Mahal. He is wearing his similar form katar. Although his katar was naturally decorated with fabulous jewels, ours is plain steel.
He was the governor of Bengal and Odissa and had his capital at Dhaka, presently Bangladesh. He suffered and ignominious fate at the hands of his brother, Aurangzeb, who declared himself the next Emperor. In the Moghul Empire it was entirely normal for the most powerful son of the previous Shah to kill, banish or imprison their brothers, who would or even might be contenders for the throne. It was similarly the normal practise of the Ottomans.

Shah Jahan is best remembered for his architectural achievements. His reign ushered in the golden age of Mughal architecture. Shah Jahan commissioned many monuments, the best known of which is the Taj Mahal in Agra, in which is entombed his favorite wife, Mumtaz Mahal. His relationship with Mumtaz Mahal has been heavily adapted into Indian art, literature and cinema. He owned the royal treasury, and several precious stones such as the Kohinoor and has thus often been regarded as the wealthiest person in history.

The death of his father Jahangir in late 1627 spurred a war of succession between his sons Shahryar and Khurram from which Shah Jahan emerged victoriously. He executed all of his rivals for the throne and crowned himself emperor on January 1628 in Agra, under the regnal title "Shah Jahan" (which was originally given to him as a princely title). His rule saw many grand building projects, including the Red Fort and the Shah Jahan Mosque. Foreign affairs saw war with the Safavids, aggressive campaigns against the Shia Deccan Sultanates,10 conflict with the Portuguese, and positive relations with the Ottoman Empire. Domestic concerns included putting down numerous rebellions, and the devastating famine from 1630-32.

In September 1657, Shah Jahan fell seriously ill. This set off a war of succession among his four sons in which his third son, Aurangzeb, emerged victorious and usurped his father's throne. Shah Jahan recovered from his illness, but Emperor Aurangzeb put his father under house arrest in Agra Fort from July 1658 until his death in January 1666. He was laid to rest next to his wife in the Taj Mahal. His reign is known for doing away with the liberal policies initiated by Akbar. Shah Jahan was an Orthodox Muslim, and it was during his time that Islamic revivalist movements like the Naqsbandi began to shape Mughal policies.

9 1/4 inch long blade, overall 17 3/4 inches long. 3 1/2 inches wide.  read more

Code: 26355

Grande Armee Issue, From the Consular To Ist Empire Period. French Napoleonic Year 13 Cuirassier Sword, Manufactured at Versailles in the Early Imperial Period, Circa 1804-1806. Inspected by Nicholas Cherrer, Chef De Battalion

Blade stamped with the mark of the Fasces for the 'Petit Garantie' 1798 to 1809, plus AP for L'Atelier Precision Paris, Paris Workshop and the hilt has the Versailles approval stamp.

Versailles was the premier hilt manufactury and assembly workshop for the Republic and Empire, and only the very finest would pass acceptance. All of the Elite Imperial Guard sword hilts were supplied from here. The Versailles Director was Boutet, probably the greatest & most respected Arms maker that ever lived, his pistols and guns, made for the King and Napoleon, are some of the most beautiful objects ever created by man.

This would have seen service in the Elite Cuirassiers of Napoleon's great heavy cavalry regiments of the Grande Armee such as in 1807 at Friedland. And in the French invasion of Russia ( Campagne de Russie) that began on 24 June 1812 when Napoleon's Grande Armee crossed the Neman River in an attempt to engage and defeat the Russian army. Napoleon hoped to compel Tsar Alexander I of Russia to cease trading with British merchants through proxies in an effort to pressure the United Kingdom to sue for peace. The official political aim of the campaign was to liberate Poland from the threat of Russia. Napoleon named the campaign the Second Polish War to curry favour with the Poles and provide a political pretence for his actions. The Grande Armee was a very large force, numbering nearly half a million men from several different nations. Through a series of long marches Napoleon pushed the army rapidly through Western Russia in an attempt to bring the Russian army to battle, winning a number of minor engagements and a major battle at Smolensk in August. Napoleon hoped the battle would mean an end of the march into Russia, but the Russian army slipped away from the engagement and continued to retreat into Russia, while leaving Smolensk to burn. Plans Napoleon had made to quarter at Smolensk were abandoned, and he pressed his army on after the Russians. The battles continued, but once the winter set in Napoleon's army was facing insurmountable odds that left it effectively shattered beyond repair. Napoleon fled, it is said, dressed as a woman, and the army left to it's sad and miserable fate. Only around 27,000 were able to return after a mere six months of the Russian campaign. The campaign was a turning point in the Napoleonic Wars. The reputation of Napoleon was severely shaken, and French hegemony in Europe was dramatically weakened.
The Grande Armee, made up of French and allied invasion forces, was reduced to a fraction of its initial strength. These events triggered a major shift in European politics. France's ally Prussia, soon followed by Austria, broke their alliance with France and switched camps. This triggered the War of the Sixth Coalition. The Cuirassiers Heavy Cavalry Regiments used the largest men in France, recruited to serve in the greatest and noblest cavalry France has ever had. They fought with distinction at their last great conflict at the Battle of Waterloo in 1815, and most of the Cuirassiers swords in England very likely came from that field of conflict, after the battle, as trophies of war. However, this sword was one of the few that were allowed to remain in the elite cuirassier corps after Waterloo, serving King Loius XVIIIth both before Napoleon's 100 days, and after his crushing defeat by Wellington at Waterloo. In fact one can see it has been issued, re-issued and even re-inspected by Capt. Louis Balaran, at least twice times with numerous serial numbers and inspection stamps stamped and struck out in its working life from 1806.

Every warrior that has ever entered service for his country sought trophies. The Mycenae from a fallen Trojan, the Roman from a fallen Gaul, the GI from a fallen Japanese, the tradition stretches back thousands of years, and will continue as long as man serves his country in battle. In the 1st century AD the Roman Poet Decimus Iunius Iuvenalis Juvenal
wrote; "Man thirsts more for glory than virtue. The armour of an enemy, his broken helmet, the flag ripped from a conquered trireme, are treasures valued beyond all human riches. It is to obtain these tokens of glory that Generals, be they Roman, Greek or barbarian, brave a thousand perils
and endure a thousand exertions". A truly magnificent Napoleonic sword in superb condition for it's age.
The largest sword of its kind that was ever made or used by the world's greatest cavalry regiments. The cuirassiers were the greatest of all France's cavalry, allowing only the strongest men of over 6 feet in height into its ranks. The French Cuirassiers were at their very peak in 1815, and never again regained the wonder and glory that they truly deserved at that time. To face a regiment of, say, 600 charging steeds bearing down upon you mounted with armoured giants, brandishing the mightiest of swords that could pierce the strongest breast armour, much have been, quite simply, terrifying. The brass basket guard on this sword is first class, the blade is double fullered and absolutely as crisp as one could hope for. Made in the early Napoleonic Wars period.
Just a basic few of the battles this would have been used at such as Friedland in 1807, in 1812 and beyond 1812: Borodino and Moscow, Ostrowno, and Winkowo 1813: Reichenbach and Dresden, Leipzig and Hanau
1814: La Rothiere, Rosnay, Champaubert, Vauchamps, Athies, La Fere-Champenoise and Paris
1815: Quatre-Bras and Waterloo. The blade has fabulous steel bright colour, and hilt has fabulous patina. Overall 45.75 inches long in its scabbard, the spear pointed blade is 37.5 inches long. Just old staining to the scabbard steel.

The French Elite Cuirassier Sword is surely one of the most impressive Heavy Cavalry swords ever made, being of incredible size quality and stature. Used in the great campaigns of Napoleon by the Elite Grande Armee Cavalry, from Austria through the Russian Campaign, into the Peninsular War and finally the The Battle of Waterloo. All the Cuirassier were front line regiments, none ever utilized as Militia. With steel combat scabbard, multi fullered blade, brass 4 bar hilt with wire bound leather grip. Circa 1806. The blade is exactly as it should be, and bearing the matching Atelier Paris and Versailles stamp of 1806. Leather grip re-covered some time long past. Excellent condition hilt, and blade, later scabbard  read more

Code: 26351

An Antique 19th Century, Victorian, Naval Ship's Cutlass Iron Bowl With Steel Blade and Cast Ribbed Brass Grip

Likely made by Henry Wilkinson and this particular pattern are recorded as part of Wilkinson's naval cutlass contract in the late 19th century.

Ratings of the Royal Navy have used cutlasses, short, wide bladed swords, since the early 18th century. These were originally of non-uniform design but the 1804 Pattern, the first Navy-issue standard cutlass, was introduced at the start of the 19th century. This was a bluntish weapon that was perhaps intended for cutting away canvas and ropes rather than as a thrusting combat weapon. The 1845 Pattern cutlass introduced a bowl-style hand guard which provided greater protection, with a longer and more curved blade. Its sharper point made it more useful for thrusting attacks, which were now emphasised in the drill manual. The 1845 Pattern was modified several times including shortening and straightening the blades, which weakened them. The 1889 Pattern had a straight, spear-pointed blade with a hilt that curved outwards to catch and redirect an opponent's sword point. The 1900 Pattern, the last navy-issue cutlass, was similar to its predecessor with the introduction of a fuller and a hilt insert that cushioned the user's little finger. It was used in combat in 1900 during the Boxer Rebellion. The cutlass was withdrawn from service in 1936 but remains in use for ceremonial purposes. However, we show a photograph in the gallery of British seamen assesing and polishing the ships cutlasses before combat in WW2. Plus, one of our late artisan's was a formar navy man, and he used them in the South China Seas in boarding parties against pirates in the 1950's.

Sailors received little training in sword technique and indeed these weapons were often snatched up at the last minute from chests kept on deck, either to repel boarders or to take on a boarding made against another ship.
Scabbards were not needed because a sailor would need his cutlass for immediate use in battle. However one in ten were made with scabbards for shore parties.
Boarding over the side of another ship in the days of sail was often a difficult affair. Sometimes the enemy's vessel could be much bigger than your own, or indeed much smaller, necessitating either a climb up the gunports and through the anti-boarding nettings of the other ship or a plunge down, probably on a rope's end, onto the deck of the smaller vessel.
At the encounter between the 14-gun Speedy and the 32-gun Gamo in 1801 a British boarding party led by Captain Thomas Cochrane took the Spanish frigate by boarding in a fierce action. The small British ship was manoeuvred to come close alongside the enemy and eventually under the Spanish guns' maximum depression. Then Cochrane led the entire 40 crew - except for eight casualties and the surgeon who was left at the wheel.

Armed with cutlasses, axes and pikes the British sailors fought ferociously in hand-to-hand combat with Cochrane calling loudly for another 50 fictitious reinforcements to follow. The Spanish flung down their weapons and surrendered.

The RN retained cutlasses in service aboard vessals officially until 1936, although there are reports of personnel carrying such weapons in WWII. And it is still used in Courts Marshal. The cutlass was last officially used in the Altmark incident where the British Naval Ship, HMS Cossack, liberated the prisoners captured by the Battleship Graf Spee that were being transported illegally through Norwegian waters by the German ship Altmark.  read more

Code: 26347

A Fine Regimental Victorian 60th Rifles Officer's Sword of the Rifle Brigade Signed Blade by Kemp, Leddell & Co. Armourers, 41 London Wall, London, Used In The Zulu War and in The Boer War As The Later Regiments Name The Kings Royal Rifle Corps

Etched with foliate scrolls, crowned VR cypher, regimental title device of the strung bugle blade in superb bright polish. Regulation grey steel gothic hilt, also incorporating a slung bugle horn, wire bound fish skin covered grip, in its good steel combat weight scabbard with two suspension rings. Sword bespoke commisioned from Kemp, Leddell & Co in London, circa 1870

3rd Battalion, 60th or The King’s Royal Rifle Corps (1755-1958)

The 60th Rifles in 1879 were part of No. 1 Column (the Main Force) under Colonel Glyn and Lord Chelmsford.
Fought in key engagements, including the decisive Battle of Ulundi on July 4, 1879, which effectively broke Zulu military power. After the Zulu war the regiments name was changed to the KRRC, the Kings Royal Rifle Corps.

The 60th Rifles (The King's Royal Rifle Corps) served actively during the Anglo-Zulu War of 1879, (with individual officers like Major Charles Walter Robinson served on staff).

The 3rd Battalion arrived in South Africa as part of the vital wave of British reinforcements sent after the initial disaster at Isandlwana. Before reaching Ulundi, they took heavy part in relieving the siege of Eshowe and fought at the Battle of Gingindlovu on April 2, 1879.
The British fought in their traditional square formation at the battle of Gingindlovu, with the 60th Rifles taking position on the northern face of the square. According to Castle and Knight, “the main Zulu body split into columns, then crossed the Nyezane (River) at two drifts a mile apart; and, as it advanced up the slopes towards the laager, it fanned out into the traditional chest and horns attack formation. The order to hold fire until the enemy were within 300 yards condemned the troops at the front of the square to the nerve wracking spectacle of the Zulus deploying to attack without a shot being fired to stop them. It was a sight that was to strain the nerves of the untried men of the 60th. The British fought in their traditional square formation at the battle of Gingindlovu, with the 60th Rifles taking position on the northern face of the square. According to Castle and Knight, “the main Zulu body split into columns, then crossed the Nyezane (River) at two drifts a mile apart; and, as it advanced up the slopes towards the laager, it fanned out into the traditional chest and horns attack formation. The order to hold fire until the enemy were within 300 yards condemned the troops at the front of the square to the nerve wracking spectacle of the Zulus deploying to attack without a shot being fired to stop them. It was a sight that was to strain the nerves of the untried men of the 60th.

At Ulundi: The battalion marched into the heart of Zululand with Chelmsford's advancing field force. At the decisive Battle of Ulundi, the British formed a massive, mobile hollow square (or rectangle) out on the Mahlabatini plain to repel an estimated 20,000 Zulu warriors.

During the Second Anglo-Boer War (1899–1902), the King's Royal Rifle Corps (KRRC)—originally the 60th Regiment of Foot—served with distinction in South Africa. Their actions inspired several notable historical paintings, commemorative prints, and portrait commissions.

The Battle of Talana Hill (20 October 1899): The 1st Battalion KRRC played a pivotal role in this early clash, successfully storming the heights alongside the Royal Dublin Fusiliers. Famous period illustrations and paintings capture the intense infantry assault up the boulder-strewn slopes where the KRRC's commanding officer, Lieutenant Colonel Gunning, was killed.

The Battle of Colenso (15 December 1899): The 3rd Battalion KRRC was deployed just 700 yards behind Colonel Long's exposed artillery batteries to prevent the Boers from capturing the guns. This chaotic scene is immortalised in multiple famous paintings depicting the desperate struggle to rescue the artillery pieces under heavy fire.  read more

Code: 26344

A Cased Very Fine English Transitional Percussion Rifled Revolver. This Fine Cased Revolver Set is An Absolute Beauty To Behold.

Decorative engraving to the side plate, bar hammer and butt-cap. Finely chequered grips. Complete in it's original wooden carrying case containing a copper powder flask, steel bullet mold. Cap box and brass tipped wooden clearing rod. Overall length of the pistol inches. The blue baize lined case measures inches with a brass plaque to the lid. The action in very good working order and in excellent condition retaining some of it's original blued finish. A development from the pepper-box was the transitional revolver. This weapon uses the same action but with one barrel attached to the front of a pepper-box cylinder. James Ewell Brown “Jeb” Stuart (1833-1864) was a U.S. Army officer and later a Major General and cavalry commander for the Confederate States of America during the Civil War (1861-65). In 1857 he was shot in the chest at point blank range with a pepper-box by a Cheyenne warrior, Stuart survived probably due rumour has it, to a very weak powder charge. Guns of this type also saw use in the Mexican War as an alternative to the Colt revolver, most notably by General Winfield Scott. During the Mexican-American War (April 25, 1846 – February 3, 1848) U.S. forces under General Winfield Scott entered Mexico City and raise the American flag over the Hall of Montezuma, concluding a devastating advance that began with an amphibious landing at Vera Cruz six months earlier.

A most fine example of an English percussion transitional revolver in its original case retaining much of its original finish.

Every single item from The Lanes Armoury, Britain's most famous, favourite, and oldest original Armoury Antique store, 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, and thus, it is a lifetime guarantee.  read more

Code: 25205

A Very Good 5 Shot Revolver of The United States Civil War, By E.Whitney of New Haven Connecticut

A scarce American Civil War era 5 shot Percussion revolver made by E. Whitney. Circa 1860. The 6 inch barrel marked on top E. WHITNEY N. HAVEN. Two piece walnut grips and brass trigger guard. With nice overall aged patination, serial numbered under the grip 26941. Good tight spring action and rotation of the cylinder.

Eli Whitney Sr. established his Whitneyville Armory in 1798 and produced firearms (among other things) by contract for the United states government. Just prior to this in 1793, Whitney invented the mechanical cotton gin, which dramatically changed the economic landscape in the United States, namely in the South. His labour saving device made the processing of harvested cotton extremely efficient and requiring fewer labourer's. This machine caused the market for cotton to explode and more labourer's were needed to plant, grow and harvest the crop. This resulted in a corresponding boom in the Southern slave trade. Great fortunes were created, and the population of the South became such that one in three Southerners were slaves. All this provided the fuel that would become the American Civil War. Eli Whitney died in 1825, and his son, Eli Whitney Jr began running the family business in 1841. In 1847 Whitney Jr. began to manufacture 1,000 of Samuel Colt’s latest revolver the Colt Walker revolver. Production of this revolver helped both parties immensely as it kept Colt in business and it allowed Whitney Jr. to gain experience making revolvers. With the expiration of Colt’s patents in 1857, Whitney began production of percussion revolvers based on Colt’s patents, some of them very closely copied. The Whitney Revolver were produced at the Whitneyville Armory manufacturing centre in the Whitneyville section of New Haven, Connecticut from the late 1850's through to the early 1860's. Many of these were purchased by individual soldiers for use when they were going off to the American Civil War.

Every single item from The Lanes Armoury, Britain's most famous, favourite, and oldest original Armoury Antique store, 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, and thus, it is a lifetime guarantee.

Overall length 11 inches. In good overall condition, showing commensurate signs of use and wear. A super Civil War era percussion revolver.  read more

Code: 25256

A Fabulous, Original, Museum Piece, A Medieval Knight's 13th to 15th Century Long Dagger From the Time of the Plantagenet & Lancastrian Kings, From Henry IIIrd, Edwards I/II/III, Richard IInd to King Henry IVth, & King Henry Vth's Battle of Agincourt

Worthy of a world class collection of fine and early arms and armour, or a single statement piece as a compliment to any form of home decor from traditional to ultra contemporary. A piece that would be the centre of conversation and attraction in any location. A most rarely seen, original, complete, & intact, long dagger or short sword of the medieval period, used from the reigns of King Henry IIIrd to King Henry Vth, from the era of the Crusades and the Templar Knights, right through to the Anglo French Battles, the Victories of England against France, at the Battle of Crecy, in 1346, by King Edward IInd and His son the Black Prince, and later at the Battle of Poitiers, in 1356, the victory of King Edward IInd's son, the Black Prince, and King Henry Vth's victory at Agincourt, in 1415.

Daggers surviving from this ancient era are most rare, substantially more rare in fact than the swords themselves. Items such as this were oft acquired in the 18th century by British noblemen touring 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 traveling for many months, or even years, througout classical Europe, acquiring antiquities and antiques for their private collections. This dagger's history travels from the English Plantagenet Kings Henry IIIrd, Edward 1st, Edward IInd, Edward IIIrd, & Richard IInd, to the Lancastrian Kings Henry IVth & Henry Vth including use at The Battle of Agincourt, where King Henry carried a near identical dagger and his longer version matched sword that are part of his achievements, hanging above his tomb at Westminster Abbey.
A very fine and very rare museum grade medieval knight's long dagger, with large segmented circular pommel, used for a period of around three centuries from the 13th to 15th century.
An iron double edged dagger with lentoid section tapering blade, curved quillon crossguard and scrolled ends, with narrow tang and with an impressive large segmented wheel pommel.
The Battle of Agincourt was a major English victory in the Hundred Years' War. The battle took place on 25 October 1415 (Saint Crispin's Day) in the County of Saint-Pol, Artois, some 40 km south of Calais. Along with the battles of Crecy (1346) and Poitiers (1356), it was one of the most important English triumphs in the conflict. England's victory at Agincourt against a numerically superior French army crippled France, and started a new period in the war during which the English began enjoying great military successes.

After several decades of relative peace, the English had renewed their war effort in 1415 amid the failure of negotiations with the French. In the ensuing campaign, many soldiers perished due to disease and the English numbers dwindled, but as they tried to withdraw to English-held Calais they found their path blocked by a considerably larger French army. Despite the disadvantage, the following battle ended in an overwhelming tactical victory for the English.

King Henry V of England led his troops into battle and participated in hand-to-hand fighting. The French king of the time, Charles VI, did not command the French army himself, as he suffered from severe psychotic illnesses with moderate mental incapacitation. Instead, the French were commanded by Constable Charles d'Albret and various prominent French noblemen of the Armagnac party.

This battle is notable for the use of the English longbow in very large numbers, with the English and Welsh archers forming up to 80 percent of Henry's army. The decimation of the French cavalry at their hands is regarded as an indicator of the decline of cavalry and the beginning of the dominance of ranged weapons on the battlefield.

Agincourt is one of England's most celebrated victories. The battle is the centre-piece of the play Henry V by William Shakespeare. Juliet Barker in her book Agincourt: The King, the Campaign, the Battle ( published in 2005) argues the English and Welsh were outnumbered "at least four to one and possibly as much as six to one". She suggests figures of about 6,000 for the English and 36,000 for the French, based on the Gesta Henrici's figures of 5,000 archers and 900 men-at-arms for the English, and Jean de Wavrin's statement "that the French were six times more numerous than the English". The 2009 Encyclopaedia Britannica uses the figures of about 6,000 for the English and 20,000 to 30,000 for the French. Overall 20.5 inches long in very sound and nice condition for age. There are very few such surviving long daggers from this era, and just a few are part of the Royal Collection. As with almost all surviving daggers and swords of this age, none have their wooden grips remaining, and as such the surviving crossguards are somewhat mobile.

A fine example piece, from the ancient knightly age, from almost a thousand years past. Although this dagger is now in an obvious ancient, and historical, russetted condition, every item made of iron from this era, such as the rarest of swords and daggers, even in the Royal Collection, are in this very same state of preservation.

This piece will come with a complimentary display stand, but could also look spectacular suitably framed. We are delighted to offer such a service if required.  read more

Code: 23016

A Superb Napoleonic French 'Prisoner-of-War' Portable Travelling Dressing Case, Shaped in the Form of a Book

In wood covered in straw-work parquetry. crafted by a prisoner of war during the1793 - 1815 War between Napoleon's French Navy and the Naval forces of King George III of England. This piece was hand crafted by a captive, French, master artisan who created this unbelievably detailed box with nothing but coloured pieces of straw, paper and scraps of wood, {often taken from their bunks} for a frame, and boiled glue. This piece would have taken weeks to hand create, and the tiny pieces of straw are somehow cut into thousands of minuscule pieces and assembled in tiny multicoloured geometric patterns. A very similar example to one that is on display in the Burghley House Collection. Made by the captured Napoleonic and French wars French Prisoners-of-War in the early 1800's in order to subsidise their meagre prison rations, and this fine piece is made to give the impression it is a sizeable book when closed. The interior bears two small sections, lidded compartments with interior mirror in Georgian Vauxhall plate, and a geometric parquetry All of the interior straw-work is pristine in colour and unfaded showing wonderful contrasts.

Great Britain was at war with France continuously from 1793 to 1802. Hostilities ceased briefly in 1802, but conflict soon recommenced. The Napoleonic Wars continued until 1815, when Napoleon?s forces were finally defeated at Waterloo.

For example,iIn 1796 the first prison to house French prisoners was built at Norman Cross, some 5 miles north of Peterborough. Conditions must have been both harsh and crowded; disease killed more that 1,700 inmates between 1797 and 1814.

To supplement their rations and to provide small income, some prisoners made ornaments, models and toys, which they were allowed to sell. The materials used included straw, wood, bone and even human hair. Many of the items made were extraordinary in their complexity and design and were always very desirable to collectors. The proximity of Burghley House to the camp meant that members of the Cecil family acquired many fine examples.

Those displayed at Burghley include a number of containers made of wood with applied decoration of coloured straw, a stationery box, a set of bone spillikins in a pocket case, a framed straw-work picture of the house built for Napoleon Bonaparte on St Helena, to where he was exiled, a bone set of dominoes and playing cards and a detailed model of an 80-gun ship-of-the-line with hair rigging..

Two photos in the gallery are of New Cross market for the French POWs to sell their wears and hand made pieces to the locals and nobility who used to travel to such markets to buy these pieces that were incredibly popular with members of the aristocracy and high society. a a painting of a prison hulk in Sheerness, often made from the hulks of a scrapped old British man o'war, or a captured, damaged French or Spanish frigate,  read more

Code: 24739

A Wonderful Victorian Dandy Cane, With the Head of an Expressive Monkey

The monkey's head is made of simulated amber, with decorated highlights. It conveys a somewhat wry expression. Monkeys have created a fascination in British art, design sculpture for over two centuries and their depiction in walking or dandy canes is nothing but a delight. This is an especially endearing large example. The cane haft is dark brown with a nickel collar beneath the head. Every other portrait of a Georgian, Victorian, or Edwardian gentleman, shows some nattily dressed fellow with a walking stick pegged jauntily into the ground or a slim baton negligently tucked under the elbow. The dress cane was the quintessential mark of the dandy for three centuries, part fashion accessory, part aid to communication, part weapon, and of course, a walking aid. A dandy, historically, is a man who places particular importance upon physical appearance, refined language, and leisurely hobbies, pursued with the appearance of nonchalance in a cult of self. A dandy could be a self-made man who strove to imitate an aristocratic lifestyle despite coming from a middle-class background, especially in late 18th- and early 19th-century Britain.

Previous manifestations of the petit-maitre (French for "small master") and the Muscadin have been noted by John C. Prevost, but the modern practice of dandyism first appeared in the revolutionary 1790s, both in London and in Paris. The dandy cultivated cynical reserve, yet to such extremes that novelist George Meredith, himself no dandy, once defined cynicism as "intellectual dandyism". Some took a more benign view; Thomas Carlyle wrote in Sartor Resartus that a dandy was no more than "a clothes-wearing man". Honore De Balzac introduced the perfectly worldly and unmoved Henri de Marsay in La fille aux yeux d'or (1835), a part of La Comedie Humaine, who fulfils at first the model of a perfect dandy, until an obsessive love-pursuit unravels him in passionate and murderous jealousy.

Charles Baudelaire defined the dandy, in the later "metaphysical" phase of dandyism, as one who elevates esthetics to a living religion, that the dandy's mere existence reproaches the responsible citizen of the middle class: "Dandyism in certain respects comes close to spirituality and to stoicism" and "These beings have no other status, but that of cultivating the idea of beauty in their own persons, of satisfying their passions, of feeling and thinking Dandyism is a form of Romanticism. Contrary to what many thoughtless people seem to believe, dandyism is not even an excessive delight in clothes and material elegance. For the perfect dandy, these things are no more than the symbol of the aristocratic superiority of mind."

The linkage of clothing with political protest had become a particularly English characteristic during the 18th century. Given these connotations, dandyism can be seen as a political protest against the levelling effect of egalitarian principles, often including nostalgic adherence to feudal or pre-industrial values, such as the ideals of "the perfect gentleman" or "the autonomous aristocrat". Paradoxically, the dandy required an audience, as Susann Schmid observed in examining the "successfully marketed lives" of Oscar Wilde and Lord Byron, who exemplify the dandy's roles in the public sphere, both as writers and as personae providing sources of gossip and scandal. Nigel Rodgers in The Dandy: Peacock or Enigma? Questions Wilde's status as a genuine dandy, seeing him as someone who only assumed a dandified stance in passing, not a man dedicated to the exacting ideals of dandyism. Inches long, the ears appear to have had some old restoration. Inches long, the ears appear to have had some old restoration.  read more

Code: 23190

A Very Rare Antiquity of Ancient Roman Empire. The 1st Roman Legion, Late 1st century AD, Rectangular Building Block With Stamped Text 'LEG I ITAL' for 1st Legion 'Italica';

A notable and substantial piece formerly from the renown Scammell Collection of ancient artifacts. Its original mortar is still attached to the reverse. LEG I ITAL was the first legion raised by Emperor Nero in September 66 AD. In 181 AD, Marcus Valerius Maximianus, an important Roman general, was the general of the 1st Legion Italica, and he was a confident of Emperor Marcus Aurelias, during the period of the Marcomannic Wars. It is said he inspired the composite fictional general Maximus Decimus Meridius, the main character and Roman General in Gladiator played by Russell Crowe, and it was the Marcomannic wars that are depicted in the earliest scenes in Gladiator in which the fictional Marcus Valerius Maximis was a commanding general. Marcus Valerius Maximianus was placed in charge of detachments of the praetorian fleets of Misenum and Ravenna and also of African and Moorish cavalry used for scouting duties in Pannonia. While on active service with the cavalry Maximianus killed a Germanic chieftain named as "Valao, chief of the Naristi" with his own hand and was publicly praised by the Emperor, who granted him the chieftain's "horse, decorations and weapons". He was appointed prefect of the lance-bearing cavalry and was in charge of the cavalry. The Ist Legion was still based on the Danube in the 5th century. We show a Roman marble bust of Emperor Marcus Aurelius who was played by Richard Harris in Gladiator. The main fighting unit of the Roman army was the legion. During the first three centuries of the empire the army contained between 25 and 34 legions. Each legion was made up of about 5000 men recruited from the citizens. Although the soldiers of the legion were Roman citizens, they were drawn from all walks of life and legions often consisted of natives from conquered countries.

The legion contained within its ranks troops trained and equipped to perform many duties in wartime and peace. Although the vast majority of soldiers served as heavy infantry, other legionaries fought as cavalry, archers or light infantry. Other troops operated artillery such as the ballista, onagar and scorpio The troops were however not solely prepared for combat. Legionaries regularly served as engineers constructing fortifications, roads and bridges. As the legion counted among its complement a vast number of men with special skills, it was in many ways self-supporting. A large part of its military equipment could be produced by craftsmen drawn from the ranks. Soldiers trained as surveyors, engineers and architects ensured that the legion needed little outside help for its building requirements. As far as a Legion travelled it built buildings, bridges, even sewer systems. And their efforts were stamped upon some of their building bricks to show which legion had constructed them. There are some parts of London that still bear bricks stamped by their engineers of the Roman Legions. Bricks, blocks and tiles stamped P.P.BR.LON or some variant of this has been found associated with the traces of the old Roman palace off Cannon St. Whatever the meaning of the first P, it is clear that the P.BR.LON or PR.BR., as it sometimes appears, is an abbreviation for PROVINCIAE BRITANNIAE LONDINII. At the site of a Roman bath house in Jerusalem, three of the bricks recovered bore the same style of rectangular stamped impression of the Roman Legio X Fretensis – stamped thus LE X FR. Legio X Fretensis ("Tenth legion of the Strait") was a legion of the Imperial Roman army. It was founded by the young Gaius Octavius (later to become Augustus Caesar) in 41/40 BC to fight during the period of civil war that started the dissolution of the Roman Republic. X Fretensis is then recorded to have existed at least until the 410s. This Roman block is from the private collection of Antony John Scammell (1937-2019); acquired on the UK art market from 1960. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. It weighs 4.6 kg, and is 19 x 19cm (7 1/2 x 7 1/2").  read more

Code: 23424