Antique Arms & Militaria

Superb & Incredibly Sought After, US Pre-Civil War Staghorn Antler Gripped Bowie Knife, London Made By Joseph Buck, Freeman of The City of London Circa 1830's. German Silver Crossguard & Hilt Panel. With Its Original German Silver Mounted Brown Scabbard

This is a simply superb pre-American Civil War period clipped back blade Bowie knife, complete in its original scabbard, maker marked by Joseph Buck of Tottenham Court Road, London. A very rare maker of Bowie knives, from around 1833 at Tottenham Court Rd London, until he moved his main addressed premises in 1836 to Newgate St., and again in 1856

Photos in the gallery of a Sun Fire Insurance Policy record register, from 5 November, 1834 (policy 1187028) revealed business owner “Joseph Buck of No. 245 Tottenham Court Road, Saw, Plane, File and Tool Maker.”
Further pictures in the gallery of a personal photo of Joseph Buck himself, who was awarded “The Freedom of the City of London", and a photo of his admission papers as a ‘freeman’ on 20 January, 1836. All of the above are copies for informative provenance only.

Traditional, and original, American pre Civil War period, London made, US import Bowie knife, with clip back blade, maker marked by its very rare Bowie maker, Buck of Tottenham Court Rd, {London}. All the best and most collectable antique Bowies used in the pre-Civil War, the war period, and the Wild West era, were actually British imports, mostly from Sheffield, but the rarest were made in London, as is this one.

The "first" Bowie knife was reportedly a simple hunting knife, designed by Rezin Bowie for his brother James Bowie {world famous hero of the Alamo seige in Texas} and forged by blacksmith Jesse Clifft from an old file around 1827 in Louisiana. While Rezin Bowie claimed the design and his granddaughter corroborated seeing Clifft make it, the exact appearance and maker are debated, with James Black also claiming to have made the first Bowie knife for Jim Bowie. The knife gained fame after James Bowie used his version in the 1827 Sandbar Fight, leading to widespread popularity and numerous variations, including this Bowie, made just a few years after their invention and use by Jim Bowie.

The blade is very good indeed, nicely edged and tipped, the nickel hilt mounts are in superb condition, as are the staghorn grip plates. The brown scabbard has its original nickel throat mount with frog stud, and overall in very nice order indeed

The old traditional early Bowie knife was both a hunting knife and a tool. With it, one could clear a path, hack a sapling, dig a hole, or butcher game. In the siege of Bexar in 1835, Texans used Bowie knives to dig through roofs and walls and engage in hand-to-hand combat with the Mexicans. The knife was not designed or balanced for throwing.

Southerners replaced their sword canes with Bowie knives, and sought expert cutlers, North and South, to craft fine blades. The cutlers usually were surgical and dental instrument makers in large cities. Most signed their works; Peter Rose and John D. Chevalier were prominent in New York, English & Huber and Clarenbach & Herder in Philadelphia, Reinhardt in Baltimore, Thomas Lamb in Washington, Dufilho in New Orleans, Alfred Hunter in Newark, Marks and Rees in Cincinnati, Daniel Searles in Baton Rouge, and Rees Fitzpatrick in Natchez. Henry Schively also made improved versions in various styles. English cutlers in Sheffield, who had dominated the American cutlery market since colonial times, took advantage of the fascination with the Bowie knife. They capitalized on vivid reports by English journalists of murder and mayhem in America, involving the defenders of such heinous crimes and assaults, using just such as this beautifully made knife.

A trickle of Sheffield Bowie knives in the early 1830s developed into a flood before the Civil War. Bowie knife collections indicate that only about one in ten was American made. English cutlers applied clever motifs and blade etchings that appealed to American tastes and patriotic spirit. Examples include such labels as "American Bowie Knife," "Texas Ranger Knife," "Arkansas Toothpick," "Patriot's Self Defender," "Death to Abolition," "Death to Traitors," "Americans Never Surrender," "Rio Grande Camp Knife," and "I'm A Real Ripper." Handle and guard mountings also carried symbols and slogans with American appeal. Cutlers attached handles of ivory, pearl, tortoise shell, black and gray buffalo horn, India stag horn, and fine woods. Handle pommels of nickel silver featured horse heads, shells, and geometric designs. Manufacturers generally signed their blades and added such distinctive trademarks as I*XL, B4ANY, and XCEED. At the outbreak of the Mexican War in 1846, the Bowie knife was a popular weapon in Texas. Texas Rangers under Jack (John Coffee) Hayes and Ben McCulloch carried Bowie knives and Colt Dragoon pistols into battle. Knife blades stamped and etched with Mexican War motifs appeared. Zachary Taylor, mounted on Old Whitey, was a favorite subject. Bust etchings included "Old Zach," "General Taylor Never Surrenders," "Palo Alto," and "Buena Vista." Pommels featured a Taylor bust with a patriotic slogan.

In the late 1830s an alarmed public in several Southern states demanded stringent laws to curtail the increasing "rule of the Bowie knife." In January 1838 the Tennessee legislature passed "An Act to Suppress the Sale and Use of Bowie Knives and Arkansas Toothpicks in this State." However, the sale of the knives continued to accelerate, due to it being the ideal defensive sidearm against nefarious attack, reaching a peak after the Civil War. During that war, crude blacksmith made Bowie knives were popular among Confederate soldiers. Some had large, wide blades, like those of artillery shorts words; most were unmarked. The Confederates considered the knife an essential accoutrements in the early months of the war, but as the conflict wore on the knife was replaced with the bayonet. The knives had hickory or hardwood handles and iron mounts, and were worn in heavy leather sheaths with throats and tips of tin, iron, or brass. Blades had scratch engravings and crude acid etchings, with such patriotic motifs as "Sunny South," "Confederate States Defender," or "Death to Yankees." A few Confederate Bowie knives were made by experienced cutlers and exhibited excellent workmanship. Union soldiers generally wore Sheffield or British made Bowie knives.

"In the history of American arms," wrote historian Harold L. Peterson (1958), "three weapons stand out above all the rest: the Kentucky rifle, the Colt's revolver, and the Bowie knife." Each became a part of the "Great American Legend."

Overall in scabbard approx. 13 inches long, Blade approx. 8 inches long.
The blade is 90% excellent bright, yet it does have some small salt-and-pepper pitting around the makers mark, possibly caused by a non-removed thumbprint, that has corroded, as they often do if not polished off, over a long period of time, and at the ricasso there a little pitting as well on both sides, just below the nickel crossguard. An area often missed when blades are cleaned before being re-offered into their scabbards.

It is a not often realised reaction of steel to the simplest of issues, fingerprints. Fingerprints contain highly corrosive acids that if left un-removed from raw polished steel will continue its highly invasive corroding effect, often for years, that results in localised pitting of this very nature. Probably the most famous Colt revolver in the collecting world is known as the ‘Thumb Print Colt Walker’. A revolver valued today in the millions of dollars, due to its simple, corroded thumbprint pitting, on the surface of its otherwise fine finish of the pistol. The Colt Walker Dragoon revolvers were made for a very small but significant large calibre dragoon pistol order by Capt Walker of the Texas Rangers in the 1850’s. Most were over loaded with powder {a significant design fault} that they exploded in service, so very few survive, and are thus highly prized. But one, has its incredibly distinctive ‘thumbprint corrosion’ damage, and is so iconic that it now is the pistol of legend within the collecting world.  read more

Code: 25905

A Stunning & Rare Original Neolithic Battle Axe 4,000 to 5,000 Years OId. Recovered From Oxfordshire. With An Incredible Weighty Heft of Two Pounds. Potentially A PreHistoric Anglo-Norse Weapon

Although this axe was recovered some decades ago from Oxfordshire it may have been a Norse made battle axe of an English stone age settler up to 5,000 Years ago.

This lithic battle axe has convex sides that are slightly swollen around the central hole, the latter being designed for the fitting of a handle. It has been worked from a single block of carved and polished stone.
Battle-axes from the Neolithic Norse cultures were used as combat weapons in the area of Scandinavia and Northern Europe. Like the one we are now show, they were heavy and sturdy pieces, capable of dealing a heavy blow to the enemy. They were sometimes decorated with engravings and were used for hunting as well as for warfare.

The archaeological discovery of lithic industry (stone tools) is a clear sign of human activity and progress. During the Neolithic period, the lithic industry reached a high degree of skill and evolution (in fact, the very name "Neolithic" -new stone- responds to a new way of working stone, which will be polished as opposed to the carved stone of the Palaeolithic, a change that represented a real technological revolution.

Stone hand axes were in use in the Paleolithic period for hundreds of thousands of years. The first hafted stone axes appear to have been produced about 6000 BCE during the Mesolithic period. Technological development continued in the Neolithic period with the much wider usage of hard stones in addition to flint and chert and the widespread use of polishing to improve axe properties. The axes became cult objects (for example, the entry for the Battle-axe people of Scandinavia, treated their axes as high-status cultural objects). Such stone axes were made from a wide variety of tough rocks such as picrite and other igneous or metamorphic rocks, and were widespread in the Neolithic period.

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

Just over 7 inches long almost I kilo in weight  read more

Code: 24919

Stone Age Britain Flint Tools, Some of The Earliest Evidence of Stone Age Man in the UK. Paleolithic Henley Pit Chopper Core & Moortown Pit Handaxe 200,000 to -300,000 Years Old

Approximately a quarter of a million years old. A framed display containing two large stone age tools, the Paleolithic Henley Pit chopper core and the Moortown Pit handaxe Acheulian (Homo erectus) brown flint hand axe / chopper, c.300,000 to 200,000 B.C. One artefact comes from Moortown Pit, Dorset, UK. The other Henley Pit. In untouched condition before mounting. They are in jolly fine condition. From an early Lincoln Collection originally found in Dorset. The frame is somewhat later.  read more

Code: 22297

An Extraordinary Original Conversation Piece. A Superb, Original, Late Queen Elizabeth Ist to King James Ist Period Miniature Pistol. Late 1500's, To The Turn of The 17th Century, Functioning Miniature Pistol

A pistol made in bronze, many hundreds of years ago, to fire off for the entertainment of the nobility and their children. Dark blue-black bronze age patination

An extraordinary little piece of rarely known history, from the earliest age of the black powder pistol. These intriguing miniature functioning pistols were called petronel, named after the original early name of matchlock and wheellock pistols, and very much of the period, from the Elizabethan to the Carolean age.

A petronel is a 16th and 17th century black powder muzzle-loading firearm, defined by Robert Barret (Theorike and Practike of Modern Warres, 1598) as a horsemans peece. It was the muzzle-loading firearm which developed on the one hand into the pistol and on the other into the carbine. The name (French petrinel or poitrinal) was given to the weapon either because it was fired with the butt resting against the chest (French poitrine, Latin pectus) or it was carried slung from a belt across the chest. Petronels are found with either matchlock or wheellock mechanisms.

The sclopus was the prototype of the petronel. The petronel is a compromise between the harquebus and the pistol. Early petronels date back to the end of the 14th century, with a crude buttstock. Generally the touch hole is on the right side, and fired by a separate slow match. Sometimes they had small hinged plate covers to protect the priming from moisture. By extension, the term petronel was also used to describe the type of light cavalry who employed the firearm. The petronel (cavalryman) was used to support the heavy cavalry such as demi-lancers and cuirassiers. The petronel was succeeded by a similarly armed cavalryman called the harquebusier.


We acquired a stunning little collection of miniature petronel, effectively toys, and they are the Zenith of original, and historical conversation pieces, especially when one considers they are around 450 year old working pistols. Naturally they were not made with the action mechanism of a full sized petronel, one just ignited them with a smouldering match cord, to create an instantaneous small bang and puff of smoke.
Please note, under no circumstances should one try to use them today. Each pistol is to be sold seperately.  read more

Code: 24929

Beautiful European Topographic Watercolour of A Castle on The Rhine 19th C. Likely by William Callow RWS {Royal Watercolour Society} (1812-1908) Court Painting Tutor to The Children of King Louis Phillipe of France

In the British romantic landscape style, beautifully executed with fine skill, not far removed in quality by the greatest exponant of the art of watercolours, Joseph Mallord Willam Turner who is said laid the foundation for Impressionism. This is a beautiful Victorian English School watercolour, superbly executed. It is titled but unsigned, possibly by William Callow 1812-1908 {if not, by one of his esteemed contemporaries}

The topographical tradition describes a long-established tradition of painting largely or entirely concerned with specific places on the earth and their topography.

In his article "The Topographical Tradition", Bruce MacEvoy states that the topographical tradition is rooted in 18th-century British watercolour painting intended to serve practical as well as aesthetic purposes: "At the beginning of the 18th century, the topographical watercoulor was primarily used as an objective record of an actual place in an era before photography."

William Callow (1812–1908) was an English landscape painter, engraver and water colourist.

Callow was born in Greenwich on 28 July 1812. He was apprenticed to the artist Copley Fielding, where he learnt the technique of plein air sketching. He went on to study under Theodore and Thales Fielding, where he learnt to colour prints and make aquatints, and was taught water colour painting between 1825 and 1827.
In 1829 Thales Fielding found him work as an engraver in Paris, where he worked alongside his friend Charles Bentley. While in the French capital he was encouraged by Thomas Shotter Boys to take up watercolours again. After exhibiting a watercolour of Richmond Hill in the Paris Salon of 1831, he was offered a job teaching the family of King Louis Philippe I of France, and for several years gave lessons to the Duc de Nemours and Princess Clémentine, while his own works rapidly gained popularity in England.This was helped by his influence over Francois, prince de Joinville during the turbulence of the July Revolution. Briefly the 'Callow youth' was plunged into a platonic love affair that went unrequited with the darling Princess Clementine.

Elected a member of the Old Water-Colour Society, Callow returned to London in 1841 and began to paint larger pictures, moving away from the more "dashing" style of his earlier smaller works. He travelled extensively in France, the Netherlands, Belgium, Germany, Switzerland and Italy, had a large number of pupils, and enjoyed favour with the royal family. He married one of his students, the artist and composer Harriet Anne Smart, in 1846.

He kept detailed diaries of his early travels, and just before his death, his sight having failed, he dictated an autobiography. In 1855 he moved to Great Missenden, in Buckinghamshire, where he died in 1908

He made two major trips to Germany to paint such subjects, firstly in 1852, and 50 years later in 1902 when aged 90.

7 X 9.5 inches, Frame 18.25 x 15.25 inches  read more

Code: 16919

A Most Scarce Original Antique Sharpshooter's Sword Used By Swiss Mercenaries In the 1849 Italian Revolution. Made by F Horster of Solingen

Wooden grip with brass rivets. Single edged blade made by Horster of Solingen. Carried by the Swiss Infantry sharpshooters, snipers.

Used by of the swiss regimental sharpshooter mercenaries that fought for the King in the revolution in Italy in 1848.

A Swiss regiment that fought in the streets of Naples for Ferdinand II, King of the two Kingdoms of Sicily, during the uprising of 15 May 1848. Between 1856 and 1860, around 1,200 Swiss mercenaries from the Swiss regiments in Naples continued their military careers in the Dutch colonial army.

The Revolution which began in Palermo was one of a series of such events in Italy, though perhaps more violent than others. It quickly spread across the island and throughout Italy, where it prompted Charles Albert, King of Sardinia, to follow the example of Ferdinand II and issue a written constitution, the Albertine Statute {the Albertine Statute later became the constitution of the unified Kingdom of Italy and remained in force, with changes, until 1948}. In imitation of these events, riots and revolutions followed around Europe at the same time, and may be considered a taste of the socialist revolts to come.

King Ferdinand II of the Two Sicilies
By the recapture of Sicily in May 1849, the battle was said to be practically over. Filangieri, however, dared not let his troops enter the set of alleys that then made up the historic center of Messina: although the regular Sicilian forces had been exterminated or forced to flee, the bombardment of the Bourbons continued on the defenseless city, that is, on the part that had not yet been occupied by the regi, for another seven hours. The soldiers of the Bourbon army gave themselves up to the looting and violence against the inhabitants.

Homes of foreigners living in Messina were also looted and destroyed, so much so that the English consul Barker reported the incident to his government writing that many English subjects living there were reduced to ruin and that even a diplomat, the consul of Greece and Bavaria M. G.M. Rillian, despite being in uniform, had been wounded by sabre, before his dwelling was also looted and burned down. The Bourbon troops did not spare even the religious buildings from looting. For example, the church of San Domenico, rich in works of art, was first looted of its sacred objects, then burned down and totally destroyed. Loss of life was incalculable. A Bourbon official wrote to his brother, immediately after the capture of Messina, stating that the Neapolitan departments had recaptured the city with a very intense fire and "trampling corpses in every step that progressed for the space of about two miles" and then commenting "What a horror! What a fire! British Admiral Parker also condemned the work of the Bourbons, and in particular the prolonged terrorist bombardment of the city even after the end of all resistance for eight hours: "The greatest ferocity was shown by the Neapolitans, whose fury was incessant for eight hours, after all resistance had ceased".

During the siege of Messina, the last insurgents who resisted the attack of the Bourbons inside a convent, rather than hand themselves over, chose to throw themselves into a well, taking their tricolour flags with them. Messina was also troubled by the work of common criminals sent by King Ferdinand II to Sicily against the insurgents and that after tormenting the Sicilians for months with brigand actions (crimes, violence, thefts, etc.) they gave themselves at the time of the fall of the city to its looting, arriving with small boats from Calabria to make loot.

Overall in nice condition, with old traces of pitting throughout the blade , one rivet cap lacking, no scabbard. A very rarely seen sword.  read more

Code: 25907

A Superb 1821 Pattern, Victorian British Officer's Light Cavalry Sabre, For Light Dragoon's, Lancer's or Hussars. Used in the Crimean War, Such As the Famous and Renown 'Charge of the Light Brigade'.

In superb naturally bright and patinated condition. Excellent fishkin grip, copper wire bound.

A most impressive sabre, and very good indeed. The very type of regulation Hussar's, Lancer's and Horse Artillery officer's sabre, as used by British Cavalry in the ill fated 'Charge of the Light Brigade' in the Crimean War against Russia.

All steel three bar steel hilt, combat blade with fine-fishskin ribbed grip with original copper triple wire binding.

Absolutely used at the time, and as used, by all the serving officer's of the light cavalry in the famous 'Charge'.

In the Crimean War (1854-56), the Light Dragoons, Hussars and Lancers were in the forefront of the famous Charge of the Light Brigade, immortalised 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.

For example in 1854 the 13th Hussars 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 endeavoring 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. 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.

No scabbard. Great all round steel condition, and excellent grip patina.  read more

Code: 25908

Simply Fabulous, Incredibly Rare 'Queen Anne' 18th Century Hand Held, Military Grenade & Mortar Launcher 'Cohorn' Pistol, A Huge Cannon Barrelled Blunderbuss. An Incredibly Impressive Unique Blunderbuss of The American French & Indian War & Revolution

A Fabulous piece, and such a rare Cohorn pistol, an amazing, short but huge muzzled cannon barrelled blunderbuss, but designed not to fire swan shot or single ball but to launch an explosive grenade or mortar, an incredibly rare pistol size.

Made, likely in the 1730's, it is a hand portable grenade or mortar blunderbuss sometimes known in its day as a Cohorn, named after its inventor, and also known as a pyrotechnic gun. A Coehorn or {cohorn}) is a lightweight hand held mortar blunderbuss, originally designed by Dutch military engineer Menno van Coehoorn. Van Coehoorn demonstrated them in May 1701 to William III of England, and they were first used in action at the siege of Kaiserswerth in 1702

It is such a rarity today as to be likely a near unique survivor of its type.

We show in the gallery photo 10 another example, but most flamboyant and highly decorated, of another very rare hand held mortar / grenade blunderbuss gun, that sold at auction 5 years ago in Germany, for a remarkable 120,000 euros although it was certainly much more elaborate as it was a civilian gun and not made for military issue.

The two stage barrel is stunning and has traces and of scrolling flames engraved across the top. The butt has a grotesque cast mask, as was popular for some guns in the early 18th century, and a most finely engraved trigger guard, depicting and ancient helmeted warrior, and an engraved brass side plate.

Its working life, was in the Americas during the 18th century 7 years American French-Indian War, and the later Revolutionary War period of the 1770's and on into the early 19th century, as it has an American lock-maker's percussion conversion, by master gunsmith Master R. Ashmore, to enable the blunderbuss to be serviceable for at least another 20 years or so after its conversion.

Around six years ago or so we were absolutely delighted to have, albeit very briefly, a very, very rare, early, shoulder mounted grenade launcher, just As was used by the early foot grenadiers, it was also a hand held version, but larger, yet, a pistol sized version such as this, is, in some respects is even rarer still.
It has had a percussion conversion lock by R Ashmore an American maker, converted by him in the first quarter part of the 19th century. His name is engraved on the lock but worn.

The hand mortar is a blunderbuss type gun that was used in the late 17th century and 18th century to throw fused grenades. The action was similar to a flintlock, matchlock, or wheellock firearm (depending on the date of production), but the barrel was short, usually less than 2 inches (5 cm) to 4 inches (10 cm) long (though some are reported to have barrels up to 13 inches (33 cm) long), and had a very large bore to accommodate the grenade; usually between 2 and 2.5 inches (5 to 6 cm).

Between 1672 and 1740, the Royal Foundry of Berlin (Knigliches Giehaus zu Berlin) produced 302 hand mortars (Handmorser). Additionally, a mortar at the Museum of Artillery in Woolwich, Great Britain bears the inscription Fondeur Strasbourg (made in Strasbourg (France)) and several other surviving pieces bear the coat of arms of Wurttemberg indicating that they might have been made there.
The first references to the type of grenade used in a hand mortar occur in a 1472 work entitled Valturius, where an incendiary prototype may have been produced. However, widespread use of the explosive grenade does not occur until the early-to-mid-16th century under Francis I of France.
An early casualty of this type of grenade was Count de Randan who died of shrapnel wounds to the legs from a grenade during the Siege of Rouen (probably the battle of Issoire) in 1562. Explosive grenades were made from brass, glass, and possibly clay, and incendiary projectiles were made from canvas, however, Nathanael Nye, Master Gunner of the City of Worcester in a work entitled Art of Gunnery published in 1647, remarks that the soldiers of his day were not fond of handling the grenades because they were too dangerous.
While there are substantial records of infantry units called grenadiers throughout the 18th century in Europe, these units generally threw the grenades by hand, but maybe a few men of the regiment could be armed with launchers such as this. After priming the firearm and adding the gunpowder, the shooter would light a grenade fuse, place the grenade in the muzzle of the mortar, then fire it at the enemy. However, accidents could occur if the weapon misfired and the lit grenade remained in the barrel. Additional modifications attempted to light the grenade using the burning gunpowder, but accounts say that the fuse would be forced into the grenade which would explode immediately.

The low number of surviving specimens of this firearm indicate that it was not a popular weapon with their grenadier users, very possibly due to the safety issues.
In his essay on the weapon, Hewitt opines that the mortar is among a variety of "projects for destruction which have never destroyed anything but the fortunes of their inventors". At least one version of the hand mortar was probably invented by John Tinker in 1681. However, his mortar may have been an improvement on an earlier piece. A reference to this mortar may have appeared in a work entitled Ancient Armour which refers to a tinker's mortar. Another account refers to a hand mortar as a cohorn, and attributes its invention to a Dutch engineer, Menno Van Coehoorn, who lived from 1641 to 1704. Hand Mortars were also to be found in the New World. References to a hand mortar being transferred in Maryland are found in the record of The Proceedings of the Council of Maryland in 1698. Another account in the journal of Alexander Henry the younger tells of a hand mortar (called a cohorn; after Menno van Coehoorn) being loaded with a pound of powder, 30 balls, and fired in an action against Sioux indians in 1808.

Another reference to the use of cohorns in the New World can be found in The Life of Joseph Brant (Thayendanegea) including the Border Wars of the American Revolution by William L. Stone (two volumes) published Albany NY 1865. Stone in describing Sir William Johnson's Niagara campaign of 1759 notes the following: "The youthful warrior likewise accompanied Sir William during the Niagara Campaign of 1759, and in the brilliant achievements of the Baronet, after the chief command had devolved upon him upon the death of General Prideaux, is said to have acquitted himself with distinguished bravery. General Prideaux, commanding the expedition, was killed by the accidental explosion of a cohorn on the 20th of July" (Stone, Vol 1, p. 20).

The action is good and tight and the forend has old working life stock repairs.
12.5 inches long , barrel 6.75 inches long 1.25 inch bore. It weighs a most impressive 1.25 kilos {2.8 pounds.}  read more

Code: 23197

A Very Rare US Civil War Mr C.Howard's, 1862 Patent, Rimfire Action Long Gun with Underlever Action. One of Only 2000 Ever Made

Ideal for the collector of original American Civil war arms at a very low and most reasonable cost.

Only the second we have seen in the past 10 years.
The Howard-Whitney Thunderbolt.

This is undoubtedly one of the scarcest patent action guns made in the 1860's used in the American Civil War. .44 Cal Rimfire cartridge. There are elements of similarity in this rifle to the profile of Jean Baptiste Revol's of New Orleans patent breech loading rifle of 1853. In America around this time all manner of new gun actions and mechanisms were being created, in order to utilize the latest breech loading cartridges that had been designed to replace the outdated percussion muzzle loading system. This rifle, although not in pristine condition, and showing an overall russet finish, is a mighty rare gun and a must for collectors of rare patented long guns from this incredible era.
For it was this very time, when no one new for certain which way the new cartridges could be made to function to their best advantage, that probably the most significant weapons were being created, and those systems and actions were to mould the whole industry of arms production even until today. Great and legendary gunsmiths, such as Mr Henry, who sold out to Winchester, were striving to create the best, most efficient, and indeed most marketable methods to evolve the rifle into the next level of development and progress, and this is likely one of those that simply failed to make the grade. This gun is one of only 2000 Mr. C. Howard's patent guns ever made, including the examples made under contract by Whitney Arms of Conn. USA. Made from the 1862 patent by Howard from the Civil War and by Whitney from 1866 to 1870. Most examples are marked by Whitney but just a few earlier examples were completely unmarked, and made from 1862, and this is one of those. Some came to England in the late 19th century some after the war, so although a very rare gun, it is far rarer here in the UK.

As with all our antique guns no license is required as they are all unrestricted antique collectables  read more

Code: 22921

A Most Attractive, Original, Late King George IIIrd English Long Barrel Fowling Piece. Absolutely Perfect For Decorative Display

Very long barrel, and good walnut stock. Percussion action.
The earliest smoothbore firearms loaded with shot were the fowling pieces that appeared in 16th-century Europe. In the early 17th century, the barrels were made as long as 6 feet in an attempt to gain maximum accuracy. Hunting has been practised in Britain since prehistoric times; it was a crucial activity of hunter-gatherer societies before the domestication of animals and the dawn of agriculture.

In Britain, hunting with hounds was popular in Celtic Britain before the Romans arrived, using the Agassaei breed. The Romans brought their Castorian and Fulpine hound breeds to England, along with importing the brown hare (the mountain hare is native) and fallow deer as quarry. Wild boar was also hunted.

The earliest known attempt to specifically hunt a fox with hounds was in Norfolk, in the East of England, in 1534, where farmers began chasing down foxes with their dogs as a form of pest control. Packs of hounds were first trained specifically to hunt foxes in the late 17th century, with the oldest such fox hunt likely to be the Bilsdale in Yorkshire. By the end of the 17th century, many organised packs were hunting both hare and fox.

Shotguns were improved during the 18th and 19th centuries and game shooting became more popular. To protect the pheasants for the shooters, gamekeepers culled vermin such as foxes, magpies and birds of prey almost to extirpation in popular areas, and landowners improved their coverts and other habitats for game. Game Laws were relaxed in 1831 which meant anyone could obtain a permit to shoot rabbits, hares, and gamebirds, although shooting and taking away any birds or animals on someone else's land without their permission continued to be the crime of poaching, as it still is.

Hunting was formerly a royal sport, and to an extent shooting still is, with many Kings and Queens being involved in hunting and shooting, including King Edward VII, King George V (who on 18 December 1913 shot over a thousand pheasants out of a total bag of 3937), King George VI and the present day Prince Philip, although Queen Elizabeth II does not shoot. Shooting on the large estates of Scotland has always been a fashionable country sport. This trend is generally attributed to the Victorians, who were inspired by the romantic imagery of the Scottish Highlands.

The modern shotgun evolved principally from a series of 19th-century improvements in gunpowder, cartridges, and guns. The barrel was shortened and lightened, making possible the double-barreled gun, in which two barrels shoot to the same point of aim at normal ranges. The choke bore was introduced to limit the spread of the shot and increase range and accuracy. As with all our antique guns, no license is required as they are all unrestricted antique collectables

Barrel 50.5 inches long, overall 67 inches long. barrel tang screw lacking  read more

Code: 22357