Sapper Cyril McNeile – Bull-Dog Drummond – 1st Edition Hodder & Stroughton, First UK Edition 1920 Rebound Green Morocco by Sangorski & Sutcliffe

Sapper Cyril McNeile – Bull-Dog Drummond – First UK Edition 1920

A first edition, first printing published by Hodder and Stoughton in 1920. Rare first Bull-Dog Drummond novel.
Bull-dog Drummond (later Bulldog Drummond) was the first Bulldog Drummond novel, written by H. C. McNeile under the pen name Sapper. Following serialisation in Hutchinson's Story Magazine from September 1919 to July 1920 under the title "Bull-Dog Drummond, D.S.O., M.C.", the book was published in 1920. The book included a Prologue that was absent from the serialisation. In 1921 it was adapted into a play of the same title starring Gerald du Maurier. In 1929, the book was adapted into a film of the same name starring Ronald Coleman.

Plot
The novel begins with ex-British Army Captain Hugh "Bulldog" Drummond, DSO, MC, a wealthy former World War I officer of the Loamshire Regiment, dashing and strong, but not handsome, placing an advertisement in The Times stating his desire for an adventure. He receives a reply from a young woman, concerned about some business acquaintances of her father. It turns out that her father is being blackmailed by archvillain Carl Peterson who is attempting to organise a coup d'état to enable a pro-communist takeover of Britain. This is being done for financial gain as Peterson is being paid by wealthy foreigners who will profit from this.

Drummond is captured several times, and manages to escape several times, before eventually defeating Peterson and his henchmen, with the aid of ex-army friends.

Sapper was the pseudonym of Herman Cyril McNeile, whose father was Malcolm McNeile, a Captain in the Royal Navy and, at who was at the time, governor of the naval prison at Bodmin, the town where Herman was born.

McNeile was educated at Cheltenham College and the Royal Military Academy, Woolwich and was commissioned into the Royal Engineers in 1907. He went to France in 1914 when World War I broke out and he saw action at both the First and the Second Battle of Ypres where he displayed considerable bravery, was awarded the Military Cross and was mentioned in dispatches.

His first known published work was a series of short war stories based on his own experiences, and published under the name 'Sapper' in the Daily Mail and in the magazine 'The War Illustrated'.

These stories were immediately successful and later sold over 200,000 copies within a year when subsequently republished in book-form. His realistic writing proved most popular at a time of great stress and Lord Northcliff, the owner of the Daily Mail who recognised his talent, was so impressed by that he attempted, but failed, to have McNeile released from the army so he could work as a war correspondent.

After the War was over, in 1919, McNeile resigned from the army with the rank of Lieutenant Colonel and became a full-time author, publishing his first novel, Mufti, in that year.

In 1922, he moved to Sussex and lived there for the rest of his life, having married Peggy Baird-Douglas with whom he had two sons.

He began the series for which he now best remembered, that of Hugh 'Bulldog' Drummond in 1920 and thereafter he wrote 10 novels featuring his eponymous hero. The public took to Drummond and McNeile had great financial success.

The first book was adapted for the stage and produced, to great success, at Wyndham's Theatre during the 1921-1922 season with Gerald du Maurier playing the main character. Films followed and the first talkie BullDog Drummond film in 1922 was reputed to have earned McNeile the vast sum of $750,000. There were 26 films made of his books.

As well as Drummond, he wrote about Ronald Standish but the majority of his work was short stories that were published in various popular monthly magazines and continued to earn him good money. Indeed, in addition to his novels, many of his books were short story collections.

He was reputedly an unremittingly hearty man, who even his good friend and collaborator Gerard Fairlie, who continued the Drummond series after McNeile's death with seven further books, described as "not everybody's cup of tea". He died on August 14, 1937 at his home in Pulborough, West Sussex.

His funeral, with full military honours, took place at Woking crematorium.

Sangorski & Sutcliffe is a firm of bookbinders established in London in 1901. It is considered to be one of the most important bookbinding companies of the 20th century, famous for its luxurious jeweled bindings that used real gold and precious stones in their book covers.

Sangorski & Sutcliffe was established by Francis Sangorski (1875–1912) and George Sutcliffe (1878–1943). They had met in 1896 at a bookbinding evening class taught by Douglas Cockerell at the London County Council's Central School of Arts and Crafts.

In 1898, Sangorski and Sutcliffe each won one of the ten annual craft scholarship awards, giving them £20 a year for three years to continue their training as apprentice bookbinders. They were employed at Cockerell's own bindery, and began to teach bookbinding at Camberwell College of Art. They were laid off in 1901 after a coal strike caused an economic slump, and they decided to set up on their own in a rented attic in Bloomsbury, starting on 1 October 1901. They soon moved to Vernon Place, and then, in 1905, to Southampton Row.

Sangorski's elder brother, Alberto Sangorski (1862–1932),1 worked for the firm. He became an accomplished calligrapher and illuminator, working for Rivière from 1910.

They quickly revived the art of jewelled bookbindings, decorating their sumptuous multi-colour leather book bindings with gold inlay and precious and semi-precious jewels. They were commissioned to create a most luxurious binding of the Rubaiyat of Omar Khayyam, the front cover of which was adorned with three golden peacocks with jewelled tails and surrounded by heavily tooled and gilded vines, that was sent on the ill-fated RMS Titanic in 1912. The book, known as the Great Omar, sank with the ship and has not been recovered. Shortly afterwards, Sangorski drowned.

Sutcliffe continued the firm, which became recognised as one of the leading bookbinders in London. The bindery moved to Poland Street, and managed to survive through the First World War, the Great Depression, the Second World War, and post-war austerity. It also created miniature books for Queen Mary's Dolls' House  read more

Code: 25633

Superb 95th, 1803 British Light Infantry Officer's Sabre of the Napoleonic Wars, The Peninsular War Campaign, The War of the Hundred Days Culminating in Quatre Bras, and Waterloo

Used in the Peninsular War, Waterloo & The War of 1812 by a British Officer of a light infantry such as the 95th, or flank company of a regiment. A singularly beautiful sword that was designed for battle but was superbly serviceable for full dress. It has a carved slotted hilt with the pierced cypher of King George IIIrd as the inner design within the knuckle bow and adorned with a wonderfully detailed lion's head pommel, with fine triple wire binding around the spiral sharkskin grip. This is the pattern of British Officer's sword carried by gentlemen who relished the idea of combat, but found the standard 1796 Infantry pattern sword too light for good combat. The light infantry regiments were made up of officers exactly of that mettle. The purpose of the rifles light infantry regiments was to work as skirmishers. The riflemen and officers were trained to work in open order and be able to think for themselves. They were to operate in pairs and make best use of natural cover from which to harass the enemy with accurately aimed shots as opposed to releasing a mass volley, which was the orthodoxy of the day. The riflemen of the 95th were dressed in distinctive dark green uniforms, as opposed to the bright red coats of the British Line Infantry regiments. This tradition lives on today in the regiment’s modern equivalent, The Royal Green Jackets.

This sabre was likely combat battle sharpened by the regimental armourer in the field, with his sharpening wheel, likely the very night before Quatre Bras or Waterloo, as it is still very sharp. You may have seen this represented in a few old historical films where the regimental armoured is labouring the day before the battle was to start, rotating his spinning grind wheel with his feet with a rotating belt arrangement, while a line of troopers, or officers batmen, queue outside his tent in order to have their blades combat sharpened.

The standard British infantry and light infantry regiments fought in all campaigns during the Napoleonic Wars, seeing sea-service at the Battle of Copenhagen, engaging in most major battles during the Peninsular War in Spain, forming the rearguard for the British armies retreat to Corunna, serving as an expeditionary force to America in the War of 1812, With the return of Napoleon from exile, all of the companies in England crossed the channel and landed in Belgium in May 1815, joining with those already present, so that the entire regiment, bar the five companies still in America, became part of Wellington's Anglo-Dutch army. The first battalion went on to fight at the Battle of Quatre Bras on 16 June 1815, while all three battalions would fight at the Battle of Waterloo on 18 June 1815

During the battle of Waterloo the 95th Rifles held "The Sandpit" near La Haie Sainte, near the centre of the fighting. From this covered position they could target the French columns marching to both sides & the attackers on the chateau.

In 'Burke at Waterloo', by Tom Williams, Burke’s sergeant, William Brown, is fighting alongside the riflemen, and the account accords well with real accounts of the battle for the farm.

"At last the drummers started to beat amongst the ranks of blue-uniformed warriors and the columns began to bear down on La Haye Sainte. They advanced at a quick step with loud cries of ‘Vive l’Empereur!’ From the heights behind William came a murderous artillery fire that struck down dozens of the advancing soldiers, but they came on regardless.

Now they had reached the beginning of the slope. As they approached La Haye Sainte, skirmishers broke out from the head of each of the columns. Finally, the 95th had something to shoot at. The sound of their rifles was almost lost in the din of artillery as French and British guns duelled across the battlefield.

The farm ahead of them was now the scene of desperate fighting. The French had the place surrounded on three sides, pouring fire into the farmyard. A French brigade moved towards the north of the farm to complete its encirclement. As they did so, they came within range of the sandpit and the Rifles opened up on them. William fired, reloaded and fired again. There was no careful wrapping of the balls now. He rammed home his ammunition as fast as he could. With the enemy so close, it was speed, not accuracy, that was needed. There were so many that it seemed almost impossible not to hit them. The French dropped by the score, but as fast as the men of the 95th killed them, more blue-coated figures moved to replace the dead. Outnumbered as they were, it could only be a matter of time before the Rifles were overrun.

Then, to William’s amazement, the brigade swung away, as if unwilling to face the men in the sandpit. If they were trying to escape the Green Jackets, though, this manoeuvre went horribly wrong, for their change in direction took them straight towards the company that were hidden in the hedge. Once again, their ranks were decimated by British rifle fire.

For a moment, William thought that their three companies of Rifles might achieve the impossible and beat back the French brigade, but, even as the French hesitated, an outburst of firing and cheers drew everyone’s attention to the east. There, through the chaos of smoke, he could see men in the dark blue of the Belgian infantry breaking back towards the main Allied lines while the lighter blue of the French pursued them.

Their captain saw it too, cursed, briefly but fluently, and then turned to his sergeant. ‘The Belgians have broken. We’re too exposed. We have to withdraw.’

William already had his rifle at his shoulder, so he pulled the trigger and took down one more Frenchman. Then, with the rest of the men of the 95th, he started heading back to their own lines.
and holding their positions against tremendous odds at the Battle of Waterloo."

The 1803 Sabre has frequently described as one of the most beautiful swords ever carried, and it was used, in combat, in some of the greatest and most formidable battles ever fought by the British Army during the Napoleonic Wars in Europe the Peninsular Campaign and Waterloo. This is a very attractive sword indeed and highly desirable, especially for devotees of the earliest era of the British Rifle Regiments, such as the 95th and the 60th. As a footnote, in Bernard Cornwall's books of 'Sharpe of the 95th', this is the Sabre Major Sharpe would and should have carried if he hadn't used the heavy cavalry pattern troopers sword, given to him in the story in the first Bernard Cornwall novel. Overall this battle cum dress sword is in very good order and quite stunning. Overall in very nice order,and condition. No scabbard  read more

Code: 25624

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 Superb Original Antique WW1 Leather Machine Gun Company Munition Case. A Very Rare Piece as Most Surviving Cases Were For Cordite For the Artillery, But the Machine Gun Corps Example is Very Rare Indeed

Part of a Superb WW1 Machine Gunner's Collection, British and German.
WW1 issue. Bearing the royal crest of King George Vth and British Army stamped for the 6th, 261 Machine Gun Company 6 261 MGC. Substantially strong and robust hardened buffalo hide. This is a particularly rare type, not the usual Royal Artillery version.
It is of very heavy grade solid leather, that is top, bottom and side, brass seam riveted, and with a wide leather carrying strap at the rear. The more common version used by the British army was a cordite carrier type, that are plain, lightweight and have no rivets, cork lined and are wide rim banded top and bottom. At the outbreak of the First World War in August 1914, the tactical potential of machine guns was not appreciated by the British armed forces. The prevalent attitude of senior ranks at the outbreak of the Great War can be summed up by the opinion of an officer (albeit expressed a decade earlier) that a single battery of machine guns per army corps was a sufficient level of issue.
Despite the evidence of fighting in Manchuria (1905 onwards) the Army therefore went to war with each infantry battalion and cavalry regiment containing a machine gun section of just two guns.
These organic (embedded) units were supplemented in November 1914 by the formation of the Motor Machine Gun Service (MMGS) administered by the Royal Artillery, consisting of motor-cycle mounted machine gun batteries.
A machine gun school was also opened in France.
After a year of warfare on the Western Front it was self-evident that to be fully effective - in the opinion of former sceptics - that machine guns must be used in larger units and some commanders advocated crewing them with specially trained men who not only thoroughly conversant with their weapons but who understood how they should be best deployed for maximum effect. To achieve this, the Machine Gun Corps was formed in October 1915 with Infantry, Cavalry, and Motor branches, followed in 1916 by the Heavy Branch. A depot and training centre was established at Belton Park in Grantham, Lincolnshire, and a base dep?t at Camiers in France.
The Infantry Branch was by far the largest and was formed by the transfer of battalion machine gun sections to the MGC. These sections were grouped into Brigade Machine Gun Companies, three per division. New companies were raised at Grantham. In 1917, a fourth company was added to each division. In February and March 1918, the four companies in each division were formed into a Machine Gun Battalion.
The Guards Division formed its own machine gun support unit, the Guards Machine Gun Regiment.
The Cavalry Branch consisted of Machine Gun Squadrons, one per cavalry brigade.
The Motor Branch was formed by absorbing the MMGS and the armoured car squadrons of the recently disbanded Royal Naval Armoured Car Service. It formed several types of units: motor cycle batteries, light armoured motor batteries (LAMB) and light car patrols. As well as motor cycles, other vehicles used included Rolls-Royce and Ford Model T cars.
The Heavy Section was formed in March 1916, becoming the Heavy Branch in November of that year. Men of this branch crewed the first tanks in action at Flers, during the Battle of the Somme in September 1916. In July 1917, the Heavy Branch separated from the MGC to become the Tank Corps, later called the Royal Tank Regiment.

The MGC saw action in all the main theatres of war, including France, Belgium, Palestine, Mesopotamia, Egypt, Salonika, East Africa and Italy. In its short history, the MGC gained an enviable record for heroism as a front line fighting force. Indeed, in the latter part of the war, as tactics changed to defence in depth, it commonly served well in advance of the front line. It had a less enviable record for its casualty rate, with 62,049 becoming casualties, including 12,498 killed, earning it the nickname 'the Suicide Club'.
A fabulous and beautiful artifact of WW1 Machine Gun Corps history, that is now perfectly useable as a stunning display piece, or stick stand or waste paper basket. Top section of rear leather strap handle is now detached, but it should be easily repairable. 14 inches high x 7.5 inches across  read more

Code: 20353

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

Truly A Samurai Tanto of Museum Grade & Quality. Worthy of the Finest Collection. A Stunning Samurai Aikuchi Tanto With An Around 500 Year Old Blade, Signed Kaneyoshi,

THE LANES ARMOURY, Supplying The World’s Collectors for Over a Century. We offer to you to view on our website all of our wonderful and exciting pieces, that we have the tremendous privilege of owning, even for just a brief period, and offering them to discerning clients around the globe. For example, we have one of the largest selections of original, antique and ancient Japanese weaponry for sale in the country, if not the world, and we have been doing so for just over 100 years. It’s our experience, based over generations, that we offer to all our clients, based on our established, world renowned traditions, offering wondrous delights, that we believe, one can simply not see in such incredible variety anywhere else in the world.

This is a simply fabulous tanto with its simply stunning and sublime full suite of original Edo period koshirae fittings including, the finest ‘lobster scale’ lacquer saya, decorated, with fantastic skill, and the fittings decorated with hand painted pure gold lacquer butterflies throughout, and its saya pocket is complete with a very fine quality shakudo and pure gold kozuka utility knife, decorated with a gold cockerel on a taiko war drum. The ‘cockerel on a drum’ is a combination often seen in netsuke art (or other forms of Japanese art), representing a symbol of peace and contentment, as legend says that a war drum was lying around for so long (during unusually peaceful times of the Edo period) that hens and roosters began to live in it. The rooster, is carved with the most finely carved plumage you can imagine. The skill of the craftsmanship is breathtaking. The Japanese believed that butterflies were the souls of people, according to Lafcadio Hearn in his book Kwaidan. Hearn wrote that the belief that butterflies were human souls was so popular that when a swarm of butterflies appeared over Kyoto just before a huge rebellion was about to take place, the Japanese took it as an omen that they represented the souls about to perish in the battle to come.

There were numerous important connotations of the butterfly in life in Japan------if a butterfly came through your screen door, it was said that the one you loved the most would soon visit. However the moth, like the butterfly, can be a symbol of the psyche. But, unlike the butterfly, it does not usually carry the sense of the psyche's rebirth.The tanto was designed primarily as a stabbing weapon, but the edge can be used for slashing as well. Tanto are generally forged in hira-zukuri style (without ridgeline), meaning that their sides have no ridge line and are nearly flat, unlike the shinogi-zukuri structure of a katana. Some tanto have particularly thick cross-sections for armour-piercing duty, and are called yoroi toshi. The tanto was invented partway through the Heian period. With the beginning of the Kamakura period, tanto were forged to be more aesthetically pleasing, and hira and uchi-sori tanto becoming the most popular styles. Near the middle of the Kamakura period, more tanto artisans were seen, increasing the abundance of the weapon, and the kanmuri-otoshi style became prevalent in the cities of Kyoto and Yamato. Because of the style introduced by the tachi in the late Kamakura period, tanto began to be forged longer and wider. The introduction of the Hachiman faith became visible in the carvings in the hilts around this time. The hamon (line of temper) is similar to that of the tachi, except for the absence of choji-midare, which is nioi and utsuri. Gunomi-midare and suguha are found to have taken its place.

During the era of the Northern and Southern Courts, the tanto were forged to be up to forty centimetres as opposed to the normal one shaku (about thirty centimetres) length. The blades became thinner between the uri and the omote, and wider between the ha and mune. At this point in time, two styles of hamon were prevalent: the older style, which was subtle and artistic, and the newer, more popular style. With the beginning of the Muromachi period, constant fighting caused the greater production of blades. Blades that were custom-forged still were of exceptional quality. As the end of the period neared, the average blade narrowed and the curvature shallowed. 22 inches long overall, blade 11.5 inches. The blade has three miniscule edge combat cuts, it would be fascinating to know their origins. Over the 500 years it has been repolished, but they have consistantly left the tiny edge cuts as signs of honourable combat scars. Maybe created in a most significant hand to hand combat of an ancestral owner. See photo 8 in the gallery, they are so small to be near invisible to the naked eye.  read more

Code: 23538

A Very Good MK IV D-Day Pattern Camouflage Helmet, With Original WWII Camo Netting. From a 1st Battalion The Duke of Wellington’s Regiment, Korean War Veteran

A nice example of a Camouflage MK IV Helmet, which were used by both Canadian and British Forces late in World War II and into the post war era. The helmet exhibits an overall “salty” appearance, with all its original textured paint poking through its camouflage net. The steel rim exhibits some minor paint loss which is common with these helmets. Net almost completely intact. This Camouflage Mk IV Helmet is complete with its original liner that exhibits somewhat stiff leather pads. The liner is also worn in appearance and is affixed by a replaced bolt. The helmet liner is double stamped, the first is CCL III 1952. The maker monogrammed CCL, is for either Charles Collett Ltd -- London, or, Christy & Co Ltd England. Liner makers from 1940 – 1945. {there is a debate as to the certainty of CCL representing which limited company}
They entered production in April 1944, meaning the helmets were designed for D-Day issue. This is a very nice British World War II Camouflage Mk IV Helmet that displays an honest “been there” combat appearance. These Mk IV helmets are hard to come by, especially with original camouflage net present and fully intact.

Historical Description: The Mk IV Helmet was based off its predecessor, the Mk III helmet, which was first developed for the British Army in 1941 by the Medical Research Council. Although designed in 1941, the helmet was not manufactured until late 1943 due to production issues. The Mk III helmets were first issued to troops in April 1944 and then worn in combat for the first time by both British and Canadian soldiers on D-Day. Mk III helmets were designed to provide better protection for the side of the head than its predecessor, the iconic Brodie helmet, which were worn by Commonwealth forces throughout both World Wars. Mk III and Mk IV helmets are sometimes referred to as the “turtle” helmet by collectors, because of their vague resemblance to a turtle shell. The Mk III gradually replaced the Brodie helmet from 1944 onwards and was itself replaced by the Mark IV helmet, which it closely resembled. The differences were that the rivets attaching the chinstrap to the helmet were placed much lower down on the shell and the use of a “lift-the-dot” fastener for the liner. These modifications allowed the Mk IV to be utilized for carrying water. The Mk IV helmet was finally replaced In 1985 by the nylon fibre Mark 6 helmet which ended this iconic design in the British military.

The 1st Battalion The Duke of Wellington’s Regiment, stationed in Minden, Germany, had been warned off for service in Korea in early 1952. Preparations and training was carried out in Minden and Pontefract, Yorkshire, before the Battalion sailed to Korea, aboard HMT Devonshire, on 22nd September 1952, landing at Pusan on 30th October 1952.

The Battalion joined the 29th Brigade and, on 16th November, 1952, the Battalion went into the line at Yong Dong, relieving the 3rd Battalion Royal Australian Regiment. After a month in this ‘quiet sector’ the Battalion moved to Naechon, relieving the Durham Light Infantry, just as the harsh Korean winter descended over the country, which made patrolling uncomfortable and difficult. The first casualty was suffered on 20th December, when Pte Kirkpatrick died of wounds. There was much more action in this sector, with fighting patrols clashing in No Man’s Land at night and a major raid to destroy a Chinese tunnel was conducted on 24th January, 1953.

At the end of the month, the Commonwealth Division was pulled out of the line and a hectic round of training and field exercises was conducted.

In April the Division once more went into the line and on 12/13th May the ‘Dukes’ took up positions on ‘the Hook’. A feature of great tactical importance as it controlled the entrance to the Samichon valley and through that to Seoul. It was a hotly contested feature and it had been known for some time that the Chinese intended to capture it. On 17/18th May the enemy began bombarding the position and on the 18th May a Chinese deserter brought information that a large attack was to be launched imminently. The Brigadier decided to leave the ‘Dukes’, who now knew the position and the defensive plan well, on the feature and a great deal of preparation, including bunker construction and strengthening, wiring and mining, the reconnaissance of likely enemy forming up points and many listening patrols, was carried out.

On 28/29th May the final enemy bombardment fell on the Hook position and a series of fierce enemy assaults managed to get into the positions held by D Company, and the entrances to many of the bunkers were destroyed with satchel charges. However, the Chinese were caught by the well planned artillery, tank and machine gun Defensive Fire (DF) tasks and the following waves were all but wiped out. A counter-attack by the Battalion reserve Company restored the situation and the Hook was declared clear of the enemy at 0330 hours.

There were many examples of bravery on that night, including the tenacious defence of his section position by Private Connor, for which he was awarded a posthumous Mention in Despatches, notified in the London Gazette on 14th August 1953. This honour is signified by the wearing of a bronze oak leaf on the ribbon of the relevant medal.
The ‘Dukes’ suffered three officers and 17 men killed, two officers and 84 men wounded, with 20 men listed as missing, most of these taken prisoner, during the battle. Estimates of the Chinese casualties were 250 dead and 800 wounded, largely as the result of over 38,000 artillery shells from the Divisional artillery and 1st US Corps Artillery Group.

For this action the Battalion was awarded the Battle Honour ‘The Hook 1953’. Later the 1st Battalion’s Headquarter Company was renamed ‘Hook’ Company.

At 2200 hours on 27th July, 1953, the fighting in Korea came to an end, with the formal declaration of a truce. The war between North and South Korea, though, continues to this day, with occasional flare ups and casualties on both sides.

Sir Michael Caine began his National Service with the British Army on 28 April 1952. A year into his National Service, Caine was given the option of either completing two further years standard National Service or completing only one year of Active Service in Korea. Caine chose to do the latter and set sail from Liverpool to the East Asian Theatre on the Empire Halladale. When he reached East Asia, he was based at Kure, the Southern Japanese mainland, for training. As part of the 1st Battalion of Royal Fusiliers, A Platoon, C Company, Caine was sent to the front line of the conflict - the 38th Parallel.

In an interview with the Daily Mail in 1987, Caine recounted some of his experiences while serving in the Korean war:
“...attack after attack, you would find their bodies in groups of four”-commenting on the human wave tactics employed by the enemy, which often involved groups of soldiers sharing a single weapon.
“We heard them talking and we knew they had sussed us…Our officer shouted run and by chance we ran towards the Chinese. Which is what saved us; in the dark we lost each other”. Explaining how while on patrol in a paddy field, Caine and the men he was with were nearly caught by enemy forces.

Finally, Caine’s national service was concluded by marching out of the Tower of London to the regimental march while wearing demobilisation clothes.
Later, Sir Michael Caine would draw upon his military experience in films such as A Hill in Korea, which tells the story of a group of British soldiers being cut off by Chinese forces.  read more

Code: 25617