Antique Arms & Militaria

A Most Rare British Army Officer's 1801, Egyptian Campaign, Snake Goddess' Head Light Infantry Officer’s Sword. Used Throughout The Entire Napoleonic Wars Up To The Battle of Waterloo. Likely By An Officer of ‘The Glosters’

Specifically with British Army ‘Nile Club’ officer's connections, where officer members, who fought in the Egypt campaign, wore distinctive swords with zoomorphic hilts depicting animal gods and goddesses. A direct homage to Nelson's presentation zoomorphic hilted sword, dirk and sword versions of Nelson’s zoomorphic sword, as worn by his captains who served under his command, and by the marines and army officers who similarly fought in his Egypt campaign on land over the next three years, that were members of the so-called Egyptian or Nile Club. The wearing of such a sword {or a dirk} would clearly and distinctively set an officer apart as ‘one who served’ in the great hero’s victorious campaign.

Egyptian gods and goddesses, much famed in ancient Egypt, become hugely popular throughout Western artistic culture in the early 19th century.
Europe became beguiled by ancient Egyptian art and architecture in all its forms, and furniture designers and sculptors particularly, eagerly created the ‘Egyptian style’ in the Regency period England, and the Consular and Directoire period in France.

This is a most rare British officer's bespoke sword, commissioned circa 1800, with such a stylish hilt, of a rare, zoomorphic, ancient Egyptian animal god or goddess form, with its snake god head pommel, with engraved snake-scale body creating its back strap, plus, the Egyptian snake goddess Wadjet's form, as engraved hilt langets. This sword is based on the British 1796 pattern light infantry variant sabre, with its deeply curved slashing blade, superbly etched with King George’s royal cyphers. This sword was continually used throughout the Napoleonic Wars, and up to Waterloo in 1815. Very likely by an officer of ‘The Glosters” the 28th Regiment of Foot. No doubt the fact that the Goddess Wadget was the Ancient Egyptian symbol of divine authority and royal power likely had no small influence upon its choice of design.

In 1801 On the morning of March 21 a vastly superior French army, which easily outnumbered the British, attacked near Alexandria. By those times muzzle-loading rifles were in common use and the infantry fought in two ranks - one row kneeling and the rear rank firing over their shoulders.

At one point during the fierce fighting -when it looked as though the Glosters would be surrounded - the rear rank was commanded to "about face". This meant turning and fighting back-to-back against enemy soldiers coming from the rear. After much savage hand-to-hand combat the French were stopped and by mid-morning their entire army was in retreat.

As a reward for their vital contribution to the victory - and in memory of that back-to-back fighting - the Glosters were given the right to wear a badge at the back, as well as the front, of their caps - the famous sphinx Back Badge.

Napoleon's army in Egypt may have been defeated but on the European mainland his forces remained a serious threat. By 1810 both the 28th and 61st were in Spain with the task of clearing French troops from the entire Peninsular.

But it took another four years of difficult fighting - in which the Glosters lost 1,200 men - before the British, under the command of the "Iron" Duke of Wellington, finally expelled them.

In 1814, Napoleon, having escaped from Elba, once more rallied troops to his cause and the European allies - under the command of the Duke - were sent to face him.

In the summer of 1815, Napoleon was finally defeated at Waterloo and exiled to the island of St Helena. The Glosters were in the forefront of the fighting - and were the only regiment specifically mentioned by name in Wellington's famous despatch.

With a beautiful zoomorphic hilt, with its original mercurial gilt finish, of a beautifully chiselled and hand engraved snake's head and body, combined with two snake engraved langets, with its wire bound wooden grip, and deeply curved now russetted blade bearing King George IIIrd's cyphers. Deep sword cuts from close combat action on the blade edge and upon one langet. Combat damage inflicted likely in the Peninsular War up to Waterloo. Nelson's captains at the Nile formed the Egyptian Club often though referred to as the Nile Club to meet and commemorate the battle. Among their first actions were to present a sword to Nelson and commission his portrait. There were also weapons made, based on the one presented to Nelson, for the other members of the Egyptian Club, that had zoomorphic hilts in the form of crocodiles.
At the instigation, it is said, of Lady Hamilton and Captain Hardy, the Marquess of Queensbury laid out a plantation of trees on his estate near Stonehenge in Wiltshire in the formation of the fleets at the Battle of the Nile, known as the ‘Nile Clumps’. A ceremonial sword with its hilt in the shape of a crocodile commemorating Nelson's victory over the French at the Battle of the Nile in 1798, which was estimated at £40,000 to £60,000, sold at auction in 2002 for £270,650 to a private collector.

The engraved sword was one of a handful made for the elite Egyptian Club whose membership was restricted to the captains of ships which had fought at the Nile. Nelson called them his "band of brothers". However, Howard Blackmore late assistant keeper of the Tower of London Collection told us around 30 years ago, that there was a distinct possibility British army officers, that also fought at the Nile Campaign, but of course on land, formed their own version of Nelson's Egyptian Club, called the Nile Club, where officers in the campaign had zoomorphic Egyptian snake or camel hilted swords presented to each other. The snake hilted version were based on the snakes of the ancient Egyptian Goddess Wadjet, and the snake head on the Pharaoh's crown. There is a distinct possibility that this sword may well be one of those, its rare shape and form certainly shows as likely. We have heard of one serving example now in America, a Nile club officer’s sword with a zoomorphic camel head hilt. Its likely possibilities of provenance are most intriguing. Five years ago also we had a British camel headed version likely from the same club member. The French Campaign in Egypt and Syria (1798-1801) was Napoleon Bonaparte's campaign in the Ottoman territories of Egypt and Syria, proclaimed to defend French trade interests, weaken Britain's access to British India, and to establish scientific enterprise in the region. It was the primary purpose of the Mediterranean campaign of 1798, a series of naval engagements that included the capture of Malta.

On the scientific front, the expedition eventually led to the discovery of the Rosetta Stone, creating the field of Egyptology. Despite many decisive victories and an initially successful expedition into Syria, Napoleon and his Armee d'Orient were eventually forced to withdraw, after sowing political disharmony in France, experiencing conflict in Europe, and suffering the defeat of the supporting French fleet at the Battle of the Nile.

The last time we saw an Egyptian Club Zoomorphic crocodile hilted sword sold was at Sotheby's in 2020, estimated at £60,000 to £80,000 gbp, but the blue and gilt to the blade was present and it had its scabbard.

The second to last photo in the gallery is of a painting of ‘The Glosters’, that fought at Waterloo.

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

No scabbard.  read more

Code: 22179

A Large & Superbly Impressive Circa 20 Million Year Old Megalodon Giant Shark Tooth

Miocene period and one of the largest we have seen in years.
Megalodon (Otodus megalodon), meaning "big tooth", is an extinct species of mackerel shark that lived approximately 23 to 3.6 million years ago (Mya), from the Early Miocene to the Pliocene epochs. It was formerly thought to be a member of the family Lamnidae and a close relative of the great white shark (Carcharodon carcharias). However, it is now classified into the extinct family Otodontidae, which diverged from the great white shark during the Early Cretaceous.

While regarded as one of the largest and most powerful predators to have ever lived, the megalodon is only known from fragmentary remains, and its appearance and maximum size are uncertain
Extrapolating from a vertebral column and reconstructing a 3D model with dimensions based on all extant lamnid sharks suggests that a 16-meter-long (52 ft) individual, but it may have been much larger than that compared to previous estimates, possibly reaching an excess 90 feet, and weighing 61.5 metric tons (67.8 short tons) or more, in body mass; and an individual megaladon of this size would have needed to consume at least 98,175 kcal per day.

Their teeth were thick and robust, built for grabbing prey and breaking bone, and their large jaws could exert a bite force of up to 108,500 to 182,200 newtons (24,400 to 41,000 lbf) with the ability to bite a whale in half with one bite.

The tooth is length top to bottom
As with all our items it comes complete with our certificate of authenticity  read more

Code: 24809

Very Fine Napoleonic Wars 1777 Model French Charleville Musket, Made at St Etienne, Napoleonic Wars Period Manufacture Royale in 1814. During Napoleon's Exile at Elba, Used For the War of 100 Days, Quatre Bras & Waterloo, For The Emperor

This flintlock musket was made at the French Royal Arsenal at St Etienne {formerly the Imperial Arsenal} in 1814, during the period during Napoleon's defeat in 1814 and exile to Elba, and his return in 1815. Thus this fine musket was made in 1814, whereupon it was issued to the infantry, that then, very soon, transferred their loyalty back to their old emperor, Napoleon, upon his return from exile in Elba.

It was used by the Napoleonic army in the 100 Days War, culminating in Napoleon's final defeat at Quatre Bras and Waterloo by the Duke of Wellington, and this musket being taken as war booty.

Used as a regimental issue arm, by and the very best French Napoleonic frontline regiments, serving in Napoleon Bonaparte's army during the Napoleonic Wars. This is the pattern called the 1777, this is the pattern of musket that would have first seen service in the royal era, before the revolution, during the revolution, then in the early days of the Anglo French war and during Napoleon’s rise to power to finally declaring himself Emperor of France.
The French frontline infantry regiments fought with distinction throughout the entire Hundred Days War, culminating at their last great magnificent engagements at Quatre Brad and at the Battle of Waterloo, in 1815, Most of the muskets now surviving in the Tower Collection in England very likely came from that field of conflict. Collected after the battle by the British Army and representatives of the Tower, as trophies of war. This long gun may very likely have been taken from the combat field following the battle.

One can imagine this musket lying freely, or, maybe, even still clasped in his cold desperate hand, or even under the fallen infantryman’s body, at the field of conflict at Waterloo. 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".

This is truly a superb Napoleonic musket, very good condition for age, with overall, as expected, signs of service use.

Supporting the infantry were such as the cuirassiers, that were the greatest of all France's cavalry, allowing only the strongest men of over 6 feet in height into it's 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.
Made in the period that Napoleon was first defeated as Emperor, while ruling most of Europe, it was used through the Royal restoration period, when Napoleon was imprisoned at Elba, and then during the War of the 100 days, culminating at Waterloo .

All Napoleon's principle forces fought at Waterloo, and all the infantry, hussars, lancer and Cuirassier etc., without exception, fought with their extraordinary resolve, bravery and determination.

The Hundred Days started after Napoleon, separated from his wife and son, who had come under Austrian control, was cut off from the allowance guaranteed to him by the Treaty of Fontainebleau, and aware of rumours he was about to be banished to a remote island in the Atlantic Ocean, Napoleon escaped from Elba on 26 February 1815. He landed at Golfe-Juan on the French mainland, two days later. The French 5th Regiment was sent to intercept him and made contact just south of Grenoble on 7 March 1815. Napoleon approached the regiment alone, dismounted his horse and, when he was within gunshot range, shouted,

"Here I am. Kill your Emperor, if you wish."

The soldiers responded with,
"Vive L'Empereur!"
and marched with Napoleon to Paris; Louis XVIII unsurprisingly fled.
On 13 March, the powers at the Congress of Vienna declared Napoleon an outlaw and four days later Great Britain, the Netherlands, Russia, Austria and Prussia bound themselves to put 150,000 men into the field to end his rule once more. Napoleon arrived in Paris on 20 March and governed for a period now called the Hundred Days.
By the start of June the armed forces available to him had reached 200,000 and he decided to go on the offensive to attempt to drive a wedge between the oncoming British and Prussian armies. The French Army of the North crossed the frontier into the United Kingdom of the Netherlands, in modern-day Belgium. Napoleon's forces fought the allies, led by Wellington and Gebhard Leberecht von Blücher, at the Battle of Waterloo on 18 June 1815. Wellington's army withstood repeated attacks by the French and drove them from the field while the Prussians arrived in force and broke through Napoleon's right flank. The French army left the battlefield in disorder, which allowed Coalition forces to enter France and restore Louis XVIII to the French throne. Off the port of Rochefort, Charente-Maritime, after consideration of an escape to the United States, Napoleon formally demanded political asylum from the British Captain Frederick Maitland on HMS Bellerophon on 15 July 1815.

This super musket is in very nice condition overall. With all its original parts intact and the action beautifully tight and crisp. With both original sling swivels intact and present. It is as good as any example you may see in the Tower collection of arms taken from the field of Waterloo. Mark was accompanied by our old family retainer and The Lanes Armoury company gunsmith, Dennis Ottrey, for several personal guided tours of the Tower collection by Howard ‘Blackie’ Blackmore, Deputy Master of the Tower of London, founder of the Arms and Armour Society, and renown gun author, in the 1970’s, and was shown many examples exactly as this fine musket, and he recalls that none were better than this one. It bears poincon stamps for the official Napoleonic arms Inspectors, including, the inspector {from 1813} Barthelemy Compas, based at St Etienne for the inspection of gun mount garnitures, and the lock inspector, {from 1811} Monsieur Stelen at St Etienne. Also, Antoine Blachon, the regulation barrel inspector {from 1798 till 1812}

Howard Blackmore was esteemed in the USA and Canada where he lectured frequently; he was made an honorary vice-president of the Arms and Armour Society on retirement in 1972 from twenty years as president and in 1984 was one of the first recipients of its medal. He was elected a Liveryman of the London Gunmakers Company in 1991. As a researcher Blackmore had few equals, even among his academic colleagues, and was never content with second-best. He retained his boyish enthusiasms to the end and was writing articles until a week before his death on 24 November 1999

As with all our antique guns no license is required as they are all unrestricted antique collectables
Overall 55.75 inches, 141.5 cm long  read more

Code: 25619

A Stunning Pair of Antique, Signed, French Rococo Patinated Bronze and Gilt Bronze Satyr & Bacchus Candelabra, Louis XVI, Signed Clodion. On Griotte Rouge Marble, Fluted & Truncated Columns

A most fine pair of 19th century, Louis XVIth style, two-light candelabra executed in patinated bronze, they are after the great master sculptor Michel Clodion, featuring the infant Bacchus and the infant Satyr, each raising bronze branches with their gilded candelabrum. Bacchus, or Dionysus to the Greeks, has grape leaves on vines with bunches of grapes interwoven in his hair while the Satyr, with his distinctive mythical faun form of half boy half goat, is in motion with acorns and oak leaves twisted around his head. Both stand beside a rocky outcrop.On a truncated and fluted column in Griotte rouge marble

Claude Michel Clodion was a French Rococo sculptor. Noted for his versatility as an artist and for the lively charm of his figures, which included Grecian nymphs, cherubs, and gods, Clodion was both popular and highly celebrated in his day. One of his most famous works, Zephyrus and Flora (1799), depicts two fluid figures on the brink of a kiss, similar to the work of the Italian master Gian Lorenzo Bernini.
Born on December 20, 1738 in Nancy, France into a family of artists, Clodion came under the tutelage of his uncle in 1755 and worked assisting him in his sculpture workshop. Considered the finest modeller of small-scale lyric statuettes of the late eighteenth century, Clodion often created works of a Bacchanalian nature similar to the present infants as well as Satyrs and Maenads. Born in Nancy, he belonged to a family of well-known sculptors; during his youth he went to Paris where he worked with his uncle, Lambert-Sigisbert Adam, and subsequently with Jean-Baptiste Pigalle (1714 d. circa 1785). After winning the Prix de Rome in 1759, Clodion spent about ten years in Italy studying Roman antiquities, Roman Baroque sculpture, and the art of his contemporaries, from Giovanni Battista Piranesi (1720-78) to Johan Tobias Sergel (1740-1814). As a student at the French Academy in Rome, he showed his prodigious talents On his return to Paris in 1771, Clodion’s successes multiplied. He received major commissions for public and church monuments and produced countless models for vases, bas-reliefs, clocks, and other decorative projects. As a supporter of the crown, he fled Paris during the Revolution, returning in about 1797. He quickly achieved his own professional success, receiving the grand prize for sculpture at the Académie Royale. Perhaps best known for his small-scale terracotta sculptures, Clodion was collected by an international clientele and counted Catherine II among his admirers. At the height of his fame, he also sculpted the relief on the Arc de Triomphe du Carrousel in Munich. The artist eventually fell out with Parisian society after he was initially denied admission into the Académie Royale, and the oncoming French Revolution chased him for a time back to Nancy. As a supporter of the crown, he fled Paris during the Revolution, returning in about 1797. Clodion sought new patrons among Napoleon’s court and admirers but his style was considered outmoded and demand for his work diminished but today his work is considered the finest expression of late eighteenth century elegance and taste. Examples of his oeuvre can be found among many important collections in the world including the museums of Berlin, Cherbourg, Dieppe, Montpellier, Gallery Roumianzeff Moscow, Nantes, Orléans and the gardens of Château Versailles. He died on March 29, 1814 in Paris, France

Griotte is a cultural and old trade name given to a type of marbles and limestones. The natural stone is deep cherry-red to brown in colour, often flecked with small dashes of purple and/or spots and streaks of white formed by Goniatites or by later cementation. It is sometimes known as Cannes marble. The name "griotte" is derived from a French word meaning "Morello cherry"; the marble is so named because of its dark red color and because the crystals are said to resemble masses of flattened cherries. Griotte is widely used as a decorative stone in architecture. The Griotte red was one of the preferred marbles for royal apartments in 18th century, to make fireplaces in particular. Louis XIV, very fond of this peculiar red, orders the design of a large amount of fireplaces made out of this marble for the Versailles Palace . With no ornaments, only magnified by the marble’s colour, one can there admire the fireplace of Louis XV's Cabinet. The others are generally ornamented with gilt bronze, like those of the Counsel Cabinet, Louis XVI’s Wardrobe Cabinet, the Gilded Study, Madame Victoire’s Apartments, Marie-Antoinette ’s Apartments. Some parts of the Arc de Triomphe du Carrousel are made of griotte.

Another related pair of the Clodion candelabra are in the Louvre collection, {see an early black and white photo of one of the pair in the gallery}. And a further very similar pair are in the official residence of British Prime Minister in No.10 Downing Street, London.
The present candelabra are similar to a pair acquired by Djahanguir Riahi, which were included in the sale of his celebrated collection held at Christie’s New York, 2nd November 2000. Such models enjoyed enormous success during the eighteenth and nineteenth centuries and were particularly admired by English collectors during the 1800’s. For instance a pair of the similar design but with bronze bases, were purchased by a Mr. Fortnum in London 1852 from the collection of Léopold I, King of the Belgians and is now housed at the Ashmolean Museum, Oxford. Further distinguished collectors to own such pairs include the comtesse de Flahaut at Coventry House, London in 1863, whose candelabra were subsequently sold by the Trustees of the Meiklour Settlement in London. Another pair formerly owned by the 6th Lord Ashburton K.C.V.O. was sold at auction in London, 1964.

This pair are in superb condition and the candle holders have been at sometime been prepared for electrification.

18 inches, 46cm high from base to sconces, marble pediment bases 5.75 inches square, width at widest outside of the sconces 7.5 inches {each}  read more

Code: 25620

A Most Beautiful and Very Rare Medieval Tudor Period Erotically Carved Bone Hilted Knife or Dagger 500 to 600 Years Old

A most delightful and original piece of early carved erotica. That is also a functioning knife or dagger. Likely early Tudor Period, 15th to 16th century. Carved in form of a lady in traditional dress in a demi-seated position, exposing her decolletage and her lower legs, with her hand clasping the hem of her dress, resting at her knees. Single edged blade with natural well aged russeted sound blade The pose is most intriguing portraying semi nudity, in a bawdy and erotic pose. Knives of the medieval era could mounted with carved hilts for of those status and great worth, but it is very unusual to see an example with such an erotic figural design. Cutlery manufacture involved a number of specialists: the blademaker, grinder, hafter (the person who made the handle), sheather (the maker of the sheath in which the knife was carried) and the furbisher or cutler, who assembled the parts, forging the blade, and sold the finished items. The London Cutlers Company, set up in 1415, regulated the trade until the 18th century. It obliged cutlers to mark their wares with their personal devices. In the Medieval era men carried their knives, not in their pockets, if indeed they had any, but usually in sheaths hanging from a girdle which went round the body just above the hips. It was the business of the girdler, as he was called, to supply these girdles, and we shall see that in the inventory of a York girdler, dated 1439, there were many girdles and knives. Most knives although made for protection, could double as an eating knife.
There were few table-knives, in this era. and when at table nearly everybody used the knife of his or her own. In 1392 a lady bequeathed "my knife which I use," in her last will and testament. Even in the last century, in taverns, in many countries, particularly in some towns of France, knives were not placed on the table, because it was expected that each person should have one of his own. 8.25 inches overall.  read more

Code: 19762

A Wonderful Museum Grade, Rare 18th Century French Small-Sword of Parcel Gilt, Silver & Steel. As Fine As Anything Comparable in the Royal Collection, or Les Invalides Army Museum in Paris.

A stunning museum grade sword, decorated with purest gold, worthy of a finest collection of 18th century fine art and furnishings.

Likely made at Versailles by a Royal swordsmith of King Louis XVIth, such as the master swordsmiths of the king, Lecourt, Liger or Guilman. A very finest grade sword of the form as was made for the king to present to favoured nobles and friends. He presented a similar sword to John Paul Jones see painting in the gallery now in the US Naval Academy Museum. Three near identical swords to this now reside in the Metropolitan. This is a simply superb small-sword, with stunningly engraved chiselled steel hilt, overlaid with pure gold over a fish-roe background, decorated with hand chiselled patterns of scrolling arabesques throughout the hilt, knucklebow, shell guards and pommel in the rococo style. The multi wire spiral bound grip is finest silver, betwixt blued silver bands, with Turks head finials. The blade is in the typical trefoil form, ideal for the gentleman's art of duelling, and very finely engraved. The degree of craftsmanship of this spectacular sword is simply astounding, worthy of significant admiration, it reveals an incredible attention to detail and the skill of it's execution is second to none.

Other similar swords are in also in the British Royal Collection and in Les Invalides in Paris. Trefoil bladed swords had a special popularity with the officers of the French and Indian War period. Even George Washington had a very fine one just as this example. For example of the workmanship in creating this sword, for such as the King and Marie Antoinette, the keys for the Louis XVI Secretary Desk (Circa 1783) made for Marie-Antoinette by Jean Henri Riesener, one of the worlds finest cabinetmakers, and whose works of furniture are the most valuable in the world. The steel and gold metalwork key for Marie Antoinette's desk, is attributed to Pierre Gouthi?re (1732?1813), the most famous Parisian bronzeworker of the late eighteenth century who became gilder to the king in 1767. This sword bears identical workmanship and style to that magnificent key.

This is the quality of sword one might have expected find inscribed upon the blade 'Ex Dono Regis' given by the King.
Very fine condition overall, with natural aged patination throughout.

The painting in the gallery, is titled John Paul Jones and Louis XVI, by the American artist Jean Leon Gerome Ferris depicts John Paul Jones and Benjamin Franklin at the court of Louis XVIth and being presented a similar sword now in US Naval Academy Museum.

Overall length 35.5 inches  read more

Code: 23162

A Very Fine Original 16th Century Italian Field Armour Breast Plate Circa 1520

For field combat and with mountings for use in the tilt.

A very fine and original piece of finest Italian armour. Medially ridged breast plate with moveable gusset and roped arm and neck-openings. With two alligned holes for resting a lance for the tilt. The plate also has a key slot for an addition of reinforcing plate also for the tilt or joust. Jousting is a martial game or hastilude between two horsemen and using lances, often as part of a tournament. The primary aim is to strike the opponent with the lance while riding towards him at high speed, if possible breaking the lance on the opponent's shield or armour, or by unhorsing him.

Jousting emerged in the High Middle Ages based on the military use of the lance by heavy cavalry. It transformed into a specialised sport during the Late Middle Ages, and remained popular with the nobility both in England and Germany throughout the whole of the 16th century (while in France, it was discontinued after the death of king Henry II in an accident in 1559). In England, jousting was the highlight of the Accession Day tilts of Elizabeth I and James I, and also was part of the festivities at the marriage of Charles I. The medieval joust took place on an open field. Indeed the term joust meant "a meeting" and referred to arranged combat in general, not just the jousting with lances. At some point in the 14th century, a cloth barrier was introduced as an option to separate the contestants. This barrier was presumably known as tilt in Middle English (a term with an original meaning of "a cloth covering"). It became a wooden barrier or fence in the 15th century, now known as "tilt barrier", and "tilt" came to be used as a term for the joust itself by ca. 1510. The purpose of the tilt barrier was to prevent collisions and to keep the combatants at an optimal angle for breaking the lance. This greatly facilitated the control of the horse and allowed the rider to concentrate on aiming the lance. The introduction of the barrier seems to have originated in the south, as it only became a standard feature of jousting in Germany in the 16th century, and was there called the Italian or "welsch" mode. Dedicated tilt-yards with such barriers were built in England from the time of Henry VIII.

Specialized jousting armour was produced in the late 15th to 16th century. It was heavier than suits of plate armour intended for combat, and could weigh as much as 50 kg (100 lb), compared to some 25 kg (50 lb) for field armour; as it did not need to permit free movement of the wearer, the only limiting factor was the maximum weight that could be carried by a warhorse of the period

The suit of armour in the collection shown in the gallery, with a most similar breastplate, from the same period and country of origin, was manufactured in Italy around 1540. It would have been used in tournaments or battles fought on horseback. The armour is made of steel and also includes a tournament helmet, forged from a single piece. A holder for the kind of lance used in tournaments is bolted to the breastplate.  read more

Code: 22317

Crimean War, Indian Mutiny & Zulu War Service 1831 Pattern General Officer's Sword Mamaluke with Rare Copper Gilt & Leather Mounted Scabbard

This general's sword was bespoke commissioned and thus as used in the Crimean War, the Indian Mutiny, and the Zulu War, by a general of the British army. Most later Generals swords have the brass scabbard, which is still in use today, but the best and earliest types of generals sword have the leather with copper gilt mounted scabbards, as this one has, that was originally designed in the Napoleonic Wars

It is near identical to the sword of General Raglan of the Charge of the Light Brigade fame in the Crimean War. See photo 9 in the gallery of General Lord Raglan with his same sword. General Raglan became commander of the British troops sent to the Crimea in 1854: his primary objective was to defend Constantinople, and he was also ordered to besiege the Russian port of Sevastopol. After an early success at the Battle of the Alma, a failure to deliver orders with sufficient clarity caused the fateful Charge of the Light Brigade at the Battle of Balaclava.

Promoted to major-general in June 1854, it was his service in the Crimean War (1854-56) that brought him to public attention and finally made his reputation.

This sword is also just as used by General Colin Campbell in both the Crimean war and the Indian Mutiny. He commanded the Highland Brigade with notable success at the Battle of the Alma (1854). And at Balaklava (1854), his 'thin red line' of Highlanders repulsed the Russian cavalry assault.

Later in the campaign, Campbell took over command of the 1st Division from the Duke of Cambridge. He also did his best to improve the comfort of his men during the bitter Crimean winter. He was promoted to Knight Grand Cross of the Bath in July 1855. Campbell's concern for his men and his prudent desire to keep casualties to a minimum meant that he was much loved by his soldiers. Throughout his career he always stressed the importance of their physical conditioning and mental well-being. When news of the Indian Mutiny (1857-59) reached England in July 1857, the Prime Minister, Lord Palmerston, offered Campbell the position of Commander-in-Chief of India in place of General George Anson, who had just died. He left the following day, arriving in Calcutta in August. Having organised his troops and cleared Lower Bengal of mutineers, Campbell advanced on 9 November with 4,500 men to relieve the besieged garrison at Lucknow. After defeating Tantya Tope at Cawnpore in December 1857, Campbell returned to Lucknow the following March for the final capture of the city.

He attacked in set-piece fashion, moving forward from position to position, after his engineers had constructed bridges across the Gumti River. La Martiniere was captured on 9 March and two days later the Secundra Bagh and the Shah Najaf mosque fell.

The Begum Kothi palace complex was a tougher nut to crack. Severe hand-to-hand fighting led to over 700 rebel deaths. Over the next three days, Campbell's gunners blasted their way through the buildings between the Begum Kothi and the rebel posts in the Kaisar Bagh - the Nawab of Oudh's palace - which was captured on 14 March.

Another general to use a sword as this was Lieutenant-General Sir James Outram, 1st Baronet GCB, KCSI (29 January 1803 – 11 March 1863) was a British general who fought in the Indian Rebellion of 1857.

And another famous British general, that also used a sword just as this fine sword, was Lieutenant-General Frederick Augustus Thesiger, 2nd Baron Chelmsford KCB in the Zulu War . Who lost his reputation due to the massacre at Isandlwana, but regained it due to his success at Ulundi. See photo 10 in the gallery of General Thesiger, Baron Chelsford.

Excellent condition hilt, with near all its original mercurial gilt remaining, and fine carved ivory grip plates. It is finely engraved throughout with the traditional cast langets of a wreathed crossed sabre and field marshal’s baton, depicting the rank of general.
Excellent scabbard of leather over mounted with copper gilt fancy mounts bearing much original mercurial hilt remaking. The blade is fully etched with Her Majesty Queen Victoria’s cypher, bright polish with areas of old surface pitting.

This beautiful, antique, historical sword has just returned from over twenty hours of artisan hand cleaning and polishing revealing its true beauty once more

The Mamaluke pattern British Army General's sword evolved from the swords captured at the Battle of The Nile and were brought back as war trophies by Admiral Lord Nelson. These beautiful ivory hilted swords so impressed The Duke of Wellington, and his senior officers, they were worn and adopted for wear during the Napoleonic Wars. There are several portraits of Wellington and his Generals in full uniform and adorned with such swords. The pattern was formally adopted by the British Crown as The Generals pattern in 1831, although a General could choose to wear the 1822 type, the Gothic Hilted sword. This sword is from the era from the Indian Mutiny, the Crimean War, the Zulu War and The Egypt Campaign. A beautifully etched blade with full General's symbol of crossed Baton and Sabre and Queen Victoria's cypher Crown VR.
Antique ivory, exemption to the Ivory Act 2018
Submission reference
CJ293615
Antique ivory, however old, cannot be imported into the USA.  read more

Code: 25610

French Cavalry-of-the-Line Flintlock Pistol M1816 for Cuirassiers, Dragoons and Lancers, Ordnance Converted to Percussion in 1822

It has all its complete and original parts completely conserved, serviced, and cleaned by hand. Including a walnut half-stock, iron and brass mounts, ramrod lacking, and butt-cap, the lock inscribed for the French arsenal manufacture, 'M.re Rle de M? {possibly Manufacture Royale de Mutzig}. French Royal restoration period, with numerous inspector's stamps throughout all parts.

Used by the French line regiments of the cuirassiers, dragoons, or lancers from 1816 up to and including the Crimean war.

Good tight action, sound barrel. Many pistols of this type were also imported to the USA during the Civil War. At the time of the Crimean War, the army of the Second Empire was a subscripted army, but was also the most proficient army in Europe. One of the more famous groups were the Zouaves. According to Captain George Brinton McClellan, an American Military Observer, the Zouaves were the "most reckless, self-reliant, and complete infantry that Europe can produce. With his graceful dress, soldierly bearing, and vigilant attitude, the Zouave at an outpost is the beau ideal of a soldier."
The French army consisted of the Imperial Guard infantry, the line infantry including the Foreign Legion, cavalry, artillery, and engineer troops. Sources suggest that between 45,000 and 100,000 French forces were involved at one time or the other in the Crimea. Service in the French army was for seven years, with re-enlistments in increments of seven years. The Battle of Eupatoria was the most important military engagement of the Crimean War on the Crimean theatre in 1855 outside Sevastopol.

Ottoman forces were being transferred from the Danube front to the Crimean port of Eupatoria and the town was being fortified. Upon direct orders from the Czar who feared a wide-scale Ottoman offensive on the Russian flank, a Russian expeditionary force was formed under General Stepan Khrulev aiming to storm the base with a force variously estimated between 20,000 to 30,000.

Khrulev hoped to take the Ottoman garrison by surprise on February 17, 1855. His intention failed to materialise, as both the Ottoman garrison and the Allied fleet anticipated the attack.

The Russian artillery and infantry attacks were countered by heavy Allied artillery fire. Failing to make progress after three hours and suffering mounting casualties, Khrulev ordered a retreat.

This reverse led to the dismissal of the Russian Commander-in-Chief Aleksandr Sergeyevich Menshikov and probably hastened the death of Nicholas I of Russia, who died several weeks after the battle.

As for the battle's strategic importance, it confirmed that allied total command of the sea would ensure that the threat to the Russian flank would remain for the duration of hostilities. For the allies, possession of Eupatoria meant that the total investment of Sevastopol remained a viable option. For the Russians, they could not afford to commit unlimited resources from their vast army to the Crimea, for fear of a lightning allied thrust from Eupatoria closing the neck of the peninsula at Perekop.

For the Ottomans, their Army had regained its self-esteem and to some extent its reputation; most French and British realised this, although others including the high command would stubbornly refuse to make further use of their fighting abilities in the Crimean theatre. A very nice example of French cavalry percussion pistol (Ref. "French Military Weapons 1717-1938", by James E. Hicks, pp. 81 and 94).

Hand specialist conservation and preservation of original items is one of our fundamental tenets, it is not unusual for us to expend up to ten times the cost of an item in order to preserve a piece for the future, and to return it to how it once looked for posterity. Of course over restoration can be worse than no restoration at all so every care is made to ensure exactly the right amount of conservation is undertaken by our specialist and highly trained world renown artisans,

Photo in the gallery of the same pistol in the belt of an American Civil War Union trooper  read more

Code: 24803

A Pair of Original & Extraordinarily Beautiful, First Nation, Antique American Wild West Frontier Riding Gauntlets. Made for Settlers and Trade Market of The American Frontiersmen, Such As Army Scouts, Pony Express Riders & Buffalo Hunters. Likely, 1840’s

A stunning pair of simply captivating gauntlets, of the 19th century, made by First Nation native Americans, of the Huron, Lakota Sioux or Metis tribes, from the early 'Wild West Frontier' period.

Likely traditional North American Indian brain tanned and smoked leather to enable the surface to be more waterproof. To ensure a long-lasting resilience of the leather, it was traditionally stored in a special tent over wood smoke, which gave the skin a darker brown tone and also made it waterproof, thus achieving better protection. Without this process, the leather turns out to be whitish and water-sensitive

All the embroidery is incredibly technical micro stitching of amazing beauty and intricacy. These stunning and fringed gauntlets are beautifully embroidered with flowers, florid patterns and a western monogram. They were possibly traded in the 1840's from the Cree, or the Lakota Sioux tribes of North and South Dakota, but theirs is often decorated with beadwork as opposed to this very fine stitched embroidery, which may better indicate Huron or Metis craftsmanship, according to a most kind lady from the region, who visited our gallery, and who fortunately knows this form of First Nation tribal art very well.

The most famous members of the Lakota Sioux were Sitting Bull and Crazy Horse. In yellow hide likely deer buckskin with typical long fringing. Excellent condition, with a small split in base of one finger. The style of Gauntlets worn by 'Kit Carson' and his contemporaries. Superbly beautiful, charming and highly collectable pieces from the old, American, Wild West Frontier.

Gauntlets are protective gloves that distinctively have a flared protective cuff. For centuries, these cuffs protected European and Asian bow hunters and military archers from being snapped on the wrist by their bowstrings. Medieval soldiers and knights began wearing chain-mail gauntlets during the 1300s, and armoured gauntlets appeared in Europe during the 1400s. Four hundred years later and halfway around the world, leather gauntlets appeared in the American West as military uniform accessories. They were soon appropriated by Indian artists, embellished with diverse ornaments, and incorporated into the civilian wardrobe. Here they became intrinsically linked with Western people, history, and landscape, and a symbol of the frontier. The original European form was reworked with a wild American veneer. Former mountain men -- Jim Bridger and Kit Carson among them -- occasionally worked guiding emigrant trains and military units through little-known country. They also helped track renegades of diverse stripes. These scouts were colourful characters, highly skilled, and not required to maintain a military dress code. Their attire was subsequently functional, comfortable, and drawn from a variety of media and cultural sources. By the 1870s, long and abundant fringe was in style and pinked edges provided decorative flair to leather clothing that was by nature quite showy. A similar pair of gauntlets though later of the Lakota Sioux can be seen in the Eugene and Clare Thaw Collection of American Indian Art in the Fenimore Art Museum NY.

The inner lining of our gauntlets is some kind of fine quilted cloth.

These stunning gauntlets would superbly compliment any Wild West collection of original American revolvers, and would look amazing case framed. We offer a highly recommended bespoke case framing service accomplished by one of our local expert artisans.

Such original and rare items of Native American art and artefacts are new very rare in Europe, and thus most valuable to collectors, as they are almost always not permitted to be exported from North America any longer. However, strangely it is also not possible to import First Nation artefacts back into the USA either

The last photo in the gallery is of the Teton Sioux Lakota gauntlets in the Fenimore Museum, however, the embroidery on our gauntlets is very much like earlier Huron work.

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: 20890