A Fine and Long, Saudi Arabian, Silver & Copper Alloy Dharia Jambiya 19th Century

A scarce jambiya to find as the smaller Omani and Yemeni types were made in far greater numbers over the past century.

A long bladed Dharia jambiya, with shbeyl hilt type, more within the short-sword size, with a flat beyd blade as opposed to the more frequently seen Omani dagger sized pieces. Late 19th century also called in the west a Wahhabi jambiya covered in geometrically patterned silver. A "Wahhabi jambiya" is a occidental collector's term. "Weapons of the Islamic World" by The King Faisal Centre, the Centre for Research & Islamic Studies categorises these by type, tribal or regional origin, not by religious sect.
Obviously jambiyas of this type were carried by Wahhabis and certain of the tribes they are associated with would be predominately Wahhabi.
These are from the Asir, Hejaz, Nejd (generally the South, West and Central Saudi Arabia) and were the origins and backbone of the "Ikwhan" which was of course Wahhabi. Dharia is the term used to describe the long dagger which originates from the west of modern day Saudi Arabia, around the Azir/Hijaz area, and down as far as Yemen.

The word Dharia appears to come from the Arabic Dhura'eyah which translates as Arm Long Dagger. These daggers are also called Sabiki, Sabak, Sabik etc depending on the spelling. The term Wahabite is also commonly used to describe these, but any direct connection with the Wahhabi Movement except perhaps the actual geographical area is likely very co-incidental, and perhaps that this style was one used by them.

The jambia was given its name because it is worn on the side of a person – the word jambia is derived from the Arabic word janb (Arabic: جنب, lit. 'side'). A jambia is constituted of a handle, a blade, and a sheath in which the blade is held. It is made of a certain sort of wood, to hold the blade that is fixed to the waist from underneath with an upward curved sheath. The belt that holds the jambia is made of tanned leather, or some thick cloth. There are specialised markets and handicraft markets that decorate it with golden wires.

The jambia handle often tells of the social status of the man who wears it. Jambias can be made with ivory handles or hilts of other rare and exotic materials.
T. E. Lawrence was famous for using a jambiya knife historically.  read more

Code: 26264

Truly Exceptional, Original, Highest Grade Napoleonic Wars Period Museum Piece Silver Miquelet, A Magnificent Musket Dated 1776 Presented To Ali Pasha the Lion of Alexandria. An All Silver Mounted Miquelet Gun, Another Was Presented to President Jefferson

Just returned today from silver conservation.

Dated lock 1190 AH which translates to 1776 to 1777 AD. combined with Sultanate mark in script. The lock is stunningly inlaid with silver and gold. The walnut gunstock has around twenty intricate panels of rococo silver inlaid throughout, a very fine long barrel inlaid with an intricate silver design and held by five silver mounting capuchine bands. The ram rod has a long silver fore-end. The stock has a brass butt-stock end, superbly engraved throughout.

We were astounded when we were offered this fabulous presentation piece, also from the peak of the Ottoman Empire, that was almost certainly e near pair, presented to Ali Pasha, 'The Lion of Alexandria' the famous Great Pasha and ruler in the Ottoman Empire, to another, near identical Miquelet example, that we sold just a few months ago. It is also a near pair to one presented to President Thomas Jefferson {now in the Smithsonian}

Intriguingly, it is more than possible this fabulous silver mounted long gun was likely presented to Ali Pasha in order to counteract its previous presentation pair. When this Miquelet presented it may have been so gifted on behalf of either, The Duke of Wellington or Napoleon Bonaparte, as they were both currying favour with the Great Pasha, in order for him to change allegiances, which he did, from Napoleon to Wellington, and then assisted the Ottoman Army to eject napoleon from Egypt in 1802.

Muhammad 'Ali Pasha, also known as 'the Father of Egypt' and the 'Lion of Alexandria', held a significant role in shaping modern Egypt. After a long period of foreign occupation in Egypt, his ascendancy in 1806 marked a pivotal point as he established control over Egypt and Sudan, a domination that endured until the Egyptian revolution of 1952.

Born in Kavalla, Macedonia in the late 1760s, Muhammad 'Ali gained prominence as a commander in the Albanian military, collaborating with British and Ottoman forces to expel Napoleon Bonaparte's army from Egypt in 1802. After the allied forces withdrew, Muhammad 'Ali remained in power, eventually declaring himself Egypt's de facto ruler in 1806. He skillfully navigated the geo-political complexities of his time, securing recognition from the Ottomans as governor or pasha, and thereby successfully reinstating an autonomous and hereditary dynasty at a time when the Ottoman Empire was exerting growing control over other Arab regions.
Fabulous arms were the great pieces of choice in order to be presented from Kings, Emperors and Generals, to their foreign counterparts {other Kings, Emperors, and Generals} in order to sway their decisions of state, for alliances and influence, essential in times of great war.

This very type of magnificent silver inlaid long gun were renown as the presentation pieces of choice for Emperors, Kings, Pashas and Presidents. President Thomas Jefferson was presented another near identical example just like ours, in November 1805, by the Bey of Tunis, it is now part of the Smithsonian Collection of great arms, in America.

Photo 10 though is Ali Pasha’s other identical example, now in the Metropolitan Museum in New York. Clearly these magnificent silver long guns were the personal favourites of the great Pasha, likely one kept in each of his royal palaces, in his empire.

Ali Pasha of Tepelena had several residences and strongholds, with his primary palace located in Ioannina (modern-day Greece), where he ruled as the Ottoman governor. Additionally, he maintained significant fortresses/residences at Porto Palermo and in his hometown of Tepelenë (both in modern Albania).
Ioannina Palace: His main administrative centre and audience chamber were in Ioannina, which became a cosmopolitan hub under his rule.
Porto Palermo Castle: A well-known coastal fortress on a small peninsula near Himara, often associated with a romantic legend.
Tepelena Castle: A large, 4-hectare castle in Tepelenë served as a vital residence and stronghold.
Butrint Castle: He used a small, fortified, formerly Venetian, structure on an islet at the mouth of the Vivari Channel

Another singularly spectacular ‘statement piece’ for any collection of rare and fine arms or antiques. From the Napoleonic Wars era, made for the famous Ottoman ruler Ali Pasha.
**See photo 10 in the gallery for reference, and link below, to another almost identical example and another of Ali Pasha's miquelets now in the Metropolitan in New York

The great ruler of the Ottoman's, Ali Pasha was, at first, an admirer of Napoleon and formed a brief alliance with him during the Napoleonic wars, but, with changing winds he went against his previous ally to support the British. Napoleon thus sanctioned a planned rebellion against Ali, but the British arrived, as funds were being collected and rebels were being recruited.
Ali's rival, Ibrahim Pasha of Berat, turned to the French and gathered a coalition of Ali's enemies, including Mustafa Pasha of Delvinë, Pronio Aga of Paramythia, Hasan Çapari of Margariti, the Beys of Himara, the Aga of Konispoli and the Souliotes. This coalition began attacking Ali's realm with support from French artillery, and Ali responded by bribing Ibrahim's supporters with British support. Ali besieged Ibrahim Pasha in Berat with an 8,000-man army commanded by the Albanian captain Omer Bey Vrioni, and with the aid of British rockets, Berat finally fell after a year of skirmishing. Ibrahim retired to Vlorë, and Ali told the Porte that he had taken Berat in response to the revolts in upper Albania that were the result of Ibrahim's inability to rule

In 1809, Lord Byron together with John Cam Hobhouse visited Ali's court in Tepelena and Ioannina in 1809.
Byron recorded the encounter in his work Childe Harold. They traveled to Albania to see the country that was, until then, mostly unknown in Britain. Byron presented Albanians as a free people who lived in their state under their leader, Ali Pasha, described by Byron as a
"a man of first abilities, who governs the whole of Albania"

A near identical long gun of Ali Pasha, {the third of its kind} is in the Metropolitan museum, exhibited as the Miquelet Rifle of Ali Pasha. Being cognisant of the manipulations of great rulers of history, it is logical to assume the envoys of both King George for Wellington, and Napoleon were informed exactly how to impress the great Pasha, by presenting him with his favourite silver mounted miquelets, hand made by the rulers gunsmith in his empire. Thus with such magnificent pieces Ali Pasha would be swayed to agree to military alliances and mutual defensive pacts. It clearly worked, but likely both Wellington and Napoleon were unawhere just how ‘flexible’ he was in his allegiances.

His rule by Ali's definition, included central and southern Albania, and parts of mainland Greece; in particular, most of the district of Epirus and the western parts of Thessaly and Macedonia. He managed to stretch his control over the sanjaks of Yanina, Delvina, Vlora and Berat, Elbasan, Ohrid and Monastir, Görice, and Tirhala. Ali was granted the Sanjak of Tirhala in 1787, and he delegated its government in 1788 to his second-born Veli Pasha, who also became Pasha of the Morea Eyalet in 1807.
Ali's eldest son, Muhtar Pasha, was granted the Sanjak of Karli-Eli and the Sanjak of Eğriboz in 1792, stretching for the first time Ali's control down to Livadia and the Gulf of Corinth, except Attica. Muhtar Pasha also became governor of the Sanjak of Ohrid in 1796–7 and of the Sanjak of Vlora and Berat in 1810.

Similar finest examples may be viewed in the Topkapi Museum in Istanbul and the Hermitage in Russia. A most similar gun was presented to President Thomas Jefferson by the Bey of Tunis.

A simply superbly beautiful antique presentation long gun from the Early 19th century. A miquelet gun with a very high quality miquelet toe lock decorated with numerous chiseled and fretted silver panels and inlaid foliate arabesques.

The gun is richly inlaid with silver throughout and fitted with a chisseled bronze-brass butt plate, with matching silver barrel bands, and its original silver mounted ramrod. Figured hardwood three-quarter stock profusely inlaid over its full length with numerous silver plaques.

A most similar gun was a gift of the Russian Romanov Tsar to Augustus II King of Poland and Elector of Saxony on his coronation in Krakow.
That gun is published in the book Prunkwaffen: Waffen und Rustungen aus dem Historischen Museum Dresden by Johannes Schobel (Leipzig, 1973) p.249, pl. 178.

Guns of this style with miquelet actions, were popular throughout the whole of Central, Eastern Europe, Russia, the Caucasus and The Ottoman Empire. However this magnificent piece is a much, much higher quality example, made solely for presentation to potentates, rulers and the like, than is more often seen, and certainly sets it well apart from the usual plain miquelet musket of its type.

After the conquest of Istanbul by Mehmed the Conqueror at 1453, construction of the Topkapi Palace was started at the year 1460 and completed at 1478 .The Palace was built upon an Eastern Roman Acropolis located at the Istanbul Peninsula between Sea of Marmara, Bosphorus and the Golden Horn. Topkapi Palace, was the administrative, educational and art center of the Empire for nearly four hundred years since Mehmed the Conqueror until Sultan Abdulmecid who is the thirty-first Sultan. Although Palace was abandoned by the Ottoman Dynasty by moving to the Dolmabahce Palace at middle 19th century, the Topkapi Palace latterly became a world class museum containing some of the worlds finest antique arms and armour.

The year of Catherine II’s acquisition of the Gotzkowsky collection is the Hermitage museum’s birth date. In 1764 Empress Catherine II acquired the collection formed by Johann Gotzkowski for King Frederick II of Prussia. A rich Berlin merchant and founder of silk and porcelain factories in Berlin, Johann Gotzkowski was one of Frederick's agents, in charge of the purchase of works of art for the royal collection. Frederick II (the Great), owner of a wonderful collection of contemporary French paintings, ordered Gotzkowski to purchase paintings by old masters. The merchant was a zealous agent and it took him only a few years to put together a large collection, but by this time Frederick had lost large sums of money in the Seven Years War and he refused to make the purchase.

The enterprising merchant was forced to look around for alternative buyers and he offered the collection to Russia. Catherine II was pleased to take the opportunity of hurting Frederick's self-esteem and of proving that the Russian State Treasury, despite losses which were no less than those of Prussia, could still afford to make such an expensive acquisition. From this purchase onwards the Hermitage has become one of the foremost museums in the world, alongside the British Museum, The Metropolitan, The Louvre and The Prado.

This miquelet is 71 inches long, {our previous near pair example was 55.5 inches long overall}. This gun was likely made purposely longer in order to greately impress the Pasha that its presenter had greater respect for the Great Pasha. This of course, is, reasonable supposition, we have no way of knowing if it is correct.

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

For reference, the rifle of Ali Pasha
https://www.metmuseum.org/art/collection/search/28998

See photo 10 in the gallery of the Metropolitan Museums Miquelet Rifle of Ali Pasha
lock and stock, Algerian; barrel, European
lock and stock, dated A.H. 1224/1809–10 CE; barrel, 18th century

Every single item from The Lanes Armoury is accompanied by our unique Certificate of Authenticity. Part of our continued dedication to maintain the standards forged by us over the past 100 years of our family’s trading, as Britain’s oldest established, and favourite, armoury and gallery

Another magnificent and extremely similar Miquelet, undoubtedly by the same gunsmith of Ali Pasha, was the silver inlaid gun presented to President Thomas Jefferson presented by the Bey of Tunis in 1805 is a 7-foot-long, Miquelet-lock Jezail (musket). It was presented as a gift intended to strengthen diplomatic relations following the end of the Tripolitan War. It now resides by loan in the Smithsonian affiliated museum, the Buffalo Bill Museum of the West in Cody Wyoming

The musket was presented on November 30, 1805, at the Washington Navy Yard by Sidi Soliman Mellimelli, the ambassador of the Bey of Tunis.

Link;

https://americanhistory.si.edu/explore/stories/journeying-west-distinctive-firearms-travel-buffalo-bill-center-west

Lock locates with a single side nail instead of three. Small panel of inlay lacking at the cheek side butt.  read more

Code: 26221

M43 Luftwaffe Trapezoid Eagle 'Ski Cap' Insignia. Tunic Removed

From a small collection of breast eagles, cap badges, and uniform medals etc acquired from a British Army veteran's family, of WW2 1945 German POW surrendered combatants. Taken from German uniforms worn by the captured soldiers and officers.

Luftwaffe NCOs wore two main styles of ski caps, or Bergmütze. These caps featured fold-down ear and neck flaps secured by either one or two pebbled buttons.The primary variants they wore included, Luftwaffe Mountain Cap (1937 Pattern)
Originally introduced for skiing and mountain sports. It was later authorized for signals and Flak (anti-aircraft) troops stationed in mountainous regions. This cap was made of blue-grey wool or cotton twill and had a slightly shorter visor than standard caps.

Officially introduced in 1943, the M43 replaced earlier side caps and was based directly on the ski cap designs of the Gebirgsjäger (mountain troops). These were widely worn by Luftwaffe ground units and Flak crews.Insignia & Distinguishing Features:Both caps were adorned with the Luftwaffe national eagle emblem and a national tricolour cockade.
NCO (Unteroffizier) caps were unpiped (lacking the silver or gold twisted cords reserved for officers).  read more

Code: 26262

WWII German Kriegsmarine Coastal Artillery Breast Eagle Tunic Removed

From a small collection of breast eagles, cap badges, and uniform medals etc acquired from a veteran's family of WW2 1945 German POW surrendered combatants. Taken from German uniforms worn by the captured soldiers and officers.

The Kriegsmarine Coastal Artillery (Marine-Artillerie) was a dedicated naval branch responsible for protecting Germany's occupied and home coastlines from sea and air attacks. Manned by naval sailors and officers, they operated heavy shore batteries and anti-aircraft guns, eventually integrating into the Atlantic Wall.
Engaging enemy warships, protecting harbors, and defending against amphibious landings.Units: Organized into Naval Coastal Artillery Battalions (Marine-Artillerie-Abteilung or MAA), and Marine Anti-Aircraft Battalions (Marine-Flak).Command: Despite being land-based, these units were strictly under Navy command, led by a regional naval commander known as the Seekommandant.

Naval artillery constituted the most formidable firepower of the Atlantic Wall, ranging from 6.5 cm to 40.6 cm guns.English Channel: Batteries like the Batterie Todt and Batterie Lindemann in the Pas-de-Calais region engaged in long-range duels across the Dover Strait.Notable Survivors: The Longues-sur-Mer Battery in Normandy is a famous example that engaged Allied naval forces on D-Day, and is one of the few in France still retaining its original guns.Scandinavia: Vast networks of heavy batteries were deployed throughout Norway to control shipping lanes.

Unlike Army units placed further inland, naval coastal batteries were stationed directly on the coastline and utilized direct fire control methods similar to those used on warships  read more

Code: 26261

A Super Rare Volume, Superbly Bound in Vellum, of :The Voiages and Travels of John Struys through Italy, Greece, Muscovy, Tartary, Media, Persia, East-India, Japan, and other Countries in Europe, Africa, and Asia Published in 1684

Containing Remarks and Observations Upon the Manners, Religion, Polities, Customs and Laws of the Inhabitants; and a Description of Their Several Cities, Towns, Forts, and Places of Strength: Together with an Account of the Authors Many Dangers by Shipwreck, Robbery, Slavery, Hunger, Torture, and the Like. And Two Narratives of the Taking of Astracan by the Cossacks, Sent from Captain D.
Done Out of Dutch, by Johh sic Morrison.
STRUYS, Jan Janszoon.  read more

Code: 26255

A Superb Leather Bound Volume of Sir Arthur Conan Doyle's, - The Memoirs of Sherlock Holmes. Leather Bound Ist Longmans' Colonial Library Edition, Published In 1894

It has all the classic Sydney Paget illustrations, including this famous one of "The Death of Sherlock Holmes."

The Longmans, Green & Co. Colonial Library edition of The Memoirs of Sherlock Holmes, typically published in 1894, is a scarce and highly collectible variation of Sir Arthur Conan Doyle's classic second collection. It is highly sought after by collectors of antique literature and Arthur Conan Doyle editions

Longmans, Green & Co. released this as part of their Colonial Library series in 1894.
Unlike the larger 1893 Newnes quarto edition, the Longmans release is a standard crown octavo format.
These vintage printings typically include the original, iconic illustrations by Sidney Paget.

Original copies generally featured standard publisher's cloth or paper-wrapped boards (such as pale green decorated cloth) rather than bespoke leather. True leather-bound copies on the market today are almost always custom, post-publication bespoke bindings or rebound versions from private collectors.  read more

Code: 26259

Rare Ist Edition Of 'The Hunting of the Snark', Publication Date 29 March 1876, Subtitled An Agony, in Eight Fits By Lewis Carroll.

The Hunting of the Snark, subtitled An Agony, in Eight Fits, is a poem by the English writer Lewis Carroll. It is typically categorised as a nonsense poem. Written between 1874 and 1876, it borrows the setting, some creatures, and eight portmanteau words from Carroll's earlier poem "Jabberwocky" in his children's novel Through the Looking-Glass (1871).

Macmillan published The Hunting of the Snark in the United Kingdom at the end of March 1876, with nine illustrations by Henry Holiday. It had mixed reviews from reviewers, who found it strange. The first printing of the poem consisted of 10,000 copies. There were two reprints by the conclusion of the year; in total, the poem was reprinted 17 times between 1876 and 1908. The poem also has been adapted for musicals, movies, opera, plays, and music.

The narrative follows a crew of ten trying to hunt the Snark, a creature which may turn out to be a highly dangerous Boojum. The only crew member to find the Snark quietly vanishes, leading the narrator to explain that the Snark was a Boojum after all.

Carroll dedicated the poem to young Gertrude Chataway, whom he met in the English seaside town Sandown on the Isle of Wight in 1875. Included with many copies of the first edition of the poem was Carroll's religious tract, An Easter Greeting to Every Child Who Loves "Alice".

Various meanings in the poem have been proposed, among them existential angst, an allegory for tuberculosis, and a mockery of the Tichborne case.

While Carroll denied knowing the meaning behind the poem, he agreed in an 1897 reply to a reader's letter with an interpretation of the poem as an allegory for the pursuit of happiness.
Henry Holiday, the illustrator of the poem, considered the poem a "tragedy"

This Ist edition of Hunting of The Snark, valued at £200,000, became the central theme of an entire film episode of 'Lewis' from the cannon of works based around Inspector Morse the now world famous Oxford detective. His sergeant, Lewis, had his own Oxford based series after he was promoted to Inspector following the death of his dear friend, mentor and senior colleague of the Thames valley Police.

The Soul of Genius.
DI Lewis and DS Hathaway investigate the murder of Murray Hawes, an Oxford professor whose body was found in a shallow grave in the woods. Dawes lived in a spartan apartment but had recently made an expensive purchase: an edition of Lewis Carroll's The Hunting of the Snark, annotated by the author himself, for £200,000. In fact, their investigation shows that he was fanatical on the subject of the snark and was determined to solve Carroll's intricate riddle. Where he got the money is one line of inquiry but it's clear that he and his brother, the Rev. Connor Hawes, were in dangerous competition, something they had been doing since childhood. Making life more difficult for the police is Michelle Marber whose son was found dead several years ago. Although the coroner ruled death by misadventure, she is convinced that he was killed by Dr. Alex Falconer who had some type of connection with Hawes. Falconer, a medical research scientist, denies any knowledge of Hawes. Several suspect ts have lied to the police and the motivation of one of them leads the police the to killer.  read more

Code: 26256

A Magnificent and Large Horse Mounted Samurai's Battle Sword Katana, With A Simply Stunning Shinto Blade In Near Mint Condition for Age. The Mounts Are All Completely Original Edo Period.

A beautiful substantial and impressive Bizen tradition war katana, with a very fine classic koshi no hiraita midare hamon. High-ranking warriors sword that were the only samurai permitted to fight on horseback.

Plain tettsu Higo school fuchi kashira in a traditional russet finish. Original Edo tsuka ito wrapped over ancient form menuki of russet iron spear heads, in early yari and naganata form. Round tetsu Higo schookl kinuki tsuba with two udenuki-no-ana. The holes being for the passage of a cord, tying the tsuba to the scabbard.

The saya is very fine, with a sayjiri bottom iron mount, with light ‘cinnabar pink’ urushi lacquer finish, also known as coromandel pink {named from the pink petaled flower} urushi lacquer to the saya, often made with the addition of perilla oil. The condition of both saya is very good just a couple of aged surface nicks
The colour created from urushi lacquer mixed with cinnabar was rewarded to them as the most famous warriors of all the samurai clans of Japan, the Li, and the Takeda.

Samurai endured for almost 700 years, from 1185 to 1867. Samurai families were considered the elite. They made up only about six percent of the population and included daimyo and the loyal soldiers who fought under them. Samurai means one who serves."

Samurai were expected to be both fierce warriors and lovers of art, a dichotomy summed up by the Japanese concepts of bu to stop the spear expanding into bushido (the way of life of the warrior) and bun (the artistic, intellectual and spiritual side of the samurai). Originally conceived as away of dignifying raw military power, the two concepts were synthesised in feudal Japan and later became a key feature of Japanese culture and morality. The quintessential samurai was Miyamoto Musashi, a legendary early Edo-period swordsman who reportedly killed 60 men before his 30th birthday.

In Japan the term samurai evolved over several centuries

In Japanese, they are usually referred to as bushi (武士,) or buke (武家). According to translator William Scott Wilson: "In Chinese, the character 侍 was originally a verb meaning 'to wait upon', 'accompany persons' in the upper ranks of society, and this is also true of the original term in Japanese, saburau. In both countries the terms were nominalized to mean 'those who serve in close attendance to the nobility', the Japanese term saburai being the nominal form of the verb." According to Wilson, an early reference to the word samurai appears in the Kokin Wakashū (905–914), the first imperial anthology of poems, completed in the first part of the 10th century.

Originally, the word samurai referred to anyone who served the emperor, the imperial family, or the imperial court nobility, even in a non-military capacity.It was not until the 17th century that the term gradually became a title for military servants of warrior families, so that, according to Michael Wert, "a warrior of elite stature in pre-seventeenth-century Japan would have been insulted to be called a 'samurai'".
This is a katana was likely made for a senior, high ranking samurai, a seieibushi. based upon horseback in combat, certainly not a light and deeply cursive katana, but a battle sword, made to complete an uncomprimising task of close combat and aggressive close quarter hand to hand swordmanship. Designed as much for cleaving through samurai armour and kabuto helmets in two, as much as defeating another samurai while on horseback. Although samurai would not, one would say, be a cavalry based warrior, all senior samurai would be mounted and thus travel on horseback, and some cavalry type samurai could be deployed in battle, but with differing combat styles depending on what part of Japan they came from. The cavalry troops, being Samurai, had personal retainers that stayed closer to them in the Sonae, carried their weaponry and worked as support units, much like an European squire. They also joined the fight whenever possible (especially in the mounted infantry scenario) and were often responsible of taking heads for their lords.
These foot Samurai were also used as heavy infantry or archers to support the ashigaru lines.

Tactics
Given the fact that the Samurai could directly dismount and operate as infantry, there were some specific tactics for horsemen.
Cavalry in general was only used after the battle was already started, either to deliver a decisive victory or to trying to save the day.

Norikiri
This is a classic charge, where several small groups of five to ten horseman ride consequently (possibly with a wedge formation) into a small area against the enemy lines, to maximize the shock. It was mainly used by heavy cavalry in the East, but given the fact that the ideal target where "weavering" units with low morale or disorganized, even medium cavalry could perform this charge.
The main role of this charge was to create confusion; if it didn't succeed, the cavalry regroups and either retreat or deliver another charge.

Norikuzushi
This is a combined infantry and cavalry charge. The horseman charged first, and after creating mayhem, a second charge is delivered by infantries armed with polearms, which could keep on fighting. The main target for this tactics were ranged units detached by the army. After a Norikuzushi usually follows a Norikiri by the cavalry group


30 inch blade overall 43 inches long in saya.  read more

Code: 25539

Beautiful ‘Queen Anne’, London, Dragoon Officer's Long Barrel Horse Pistol, Lock Named James Barber A Most Beautiful Example.

12 inch Barrel, bearing early barrel proof stampings of A.R., the crossed sceptre gunsmith proof markings of Queen Anne, 1702-1714, stamped in the early period position, at the top of the breech of the barrel. Later on, and henceforth, proof marks were stamped on the left hand side of the breech. The pistols military furniture is all brass, with a typical officer's type short eared style skull crusher butt cap terminating with a grotesque mask the early type, from the time of King William IIIrd, before the long spurred style became fashionable in the 1740's. The lock is the early banana form, typical of the earliest 18th century long pistols, with a the good and clear name of Mr. Barbar inscribed. It has a good and responsive action. The stock is fine walnut. It has a single ramrod pipe, also typical of the early Queen Anne style. This would not be a trooper's pistol, but a officer's private purchase example, from one of the great makers and suppliers to the dragoon regiments and officers of his day, during the time of King George IInd. This pistol would have seen service during the War known as King George's War of 1744-48, in America, and the 7 Years War, principally against the French but involving the whole of Europe, and once again, also fought in America. Recognized experts like the late Keith Neal, D.H.L Back and Norman Dixon consider James Barbar to be the best gun maker of his day. Dixon states, "Almost without exception, unrestored and original antique firearms made by James Barbar of London are of the highest quality". In Windsor Castle there are a superb pair of pistols by James Barbar and a Queen Anne Barbar pistol also appeared in the Clay P. Bedford exhibition at the Metropolitan Museum of Art. Barbar supplied complete dragoon pistols for Churchill's Dragoons in 1745, also guns for the Duke of Cumberland's Dragoons during 1746 to 48, and all of the carbines for Lord Loudoun's regiment of light infantry in 1745.
James was apprenticed to his father Louis Barbar in October of 1714. Louis Barbar was a well known gun maker who had immigrated to England from France in 1688. He was among many Huguenots (French Protestants) who sought refuge in England after the revocation of the Edict of Nantes by Louis XIV in 1685. Louis was appointed Gentleman Armourer to King George I in 1717, and to George II in 1727. He died in 1741 .

James Barbar completed his apprenticeship in 1722 and was admitted as a freeman to the Company of Gunmakers. By 1726 James had established a successful shop on Portugal Street in Piccadilly. After his father's death in 1741, James succeeded him as Gentleman Armourer to George II, and furbisher at Hampton Court. He was elected Master of the Gunmakers` Company in 1742. James Barbar died in 1773.

The book "Great British Gunmakers 1740-1790" contains a detailed chapter on James Barbar and many fine photographs of his weapons. This lovely pistol is 19 inches long overall. It has had some past overall service restoration within the past 100 years. The mainspring, stock were replaced, as was the ramrod. But, it is often the case as this pistol may likely have seen somewhat rigorous combat service during its working life for upwards of 80 years. It is a beautiful looking pistol, and a fine looking example of the early British military pattern gunsmiths. As with all our antique guns no license is required as they are all unrestricted antique collectables  read more

Code: 21363

A Beautiful 19th Century Damascus Twist Barrelled Sporting Gun By Manton of London. One Of The Greatest Names In the Realm of English Gunsmiths

Back action lock bearing Manton's name and decorative pattern engraving. It has a hook breech with double platinum lining and very attractive fine Damascus browning, walnut half stocked with steel furniture bearing further overall engraving.

Joseph Manton (6 June 1766 - 29 June 1835) was a British gunsmith who innovated in sport shooting, improved the quality of weapons and paved the way to the modern artillery shell. Joseph was also a sports shooter in his own right and a friend of Colonel Peter Hawker. There were two Manton brothers, John was the elder and Joseph the younger. John Manton was born in 1752 and after his apprenticeship, set up in London in Piccadilly.

Manton began producing percussion guns in 1825 and Manton himself died in 1834, leaving the business in the hands of his son. Some of Manton's weapons are considered the finest of the flintlock and percussion age. They can fetch more at auction than Holland & Holland's shotguns. His workforce included James Purdey (who went on to found Purdey's), Thomas Boss, William Greener and Charles Lancaster. These four all went on to establish major firms of gun makers, which continue to this day. The true English Damascus barrel is prepared from three rods, twisted as described and put together as shown in the twisted riband, and is known technically as three-iron Damascus ; the silver-steel Damascus is similarly made, but of different metal piled in a different order. The rods having been twisted, and the required number welded together, they are sent to the iron-mill and rolled at a red heat into ribands, which have both edges bevelled the same way. There are usually two ribands required for each barrel, one riband or strip to form the breech-end, and another, slightly thinner, to form the fore, or muzzle, part of the barrel. Upon receiving the ribands of twisted iron, the welder first proceeds to twist them into a spiral form. This is done upon a machine of simple construction, consisting simply of two iron bars, one fixed and the other loose ; in the latter there is a notch or slot to receive one end of the riband. When inserted, the bar is turned round by a winch-handle. The fixed bar prevents the riband from going round, so that it is bent and twisted over the movable rod like the pieces of leather round a whip-stock. The loose bar is removed, the spiral taken from it, and the same process repeated with another riband. The ribands are usually twisted cold, but the breech-ends, if heavy, have to be brought to a red heat before it is possible to twist them, no cogs being used. When very heavy barrels are required, three ribands are used; one for the breech-end, one for the centre, and one for the muzzle-piece. The ends of the ribands, after being twisted into spirals, are drawn out taper and coiled round with the spiral until the extremity is lost, as shown in the representation of a coiled breech-piece of Damascus iron. The coiled riband is next heated, a steel mandrel inserted in the muzzle end, and the coil is welded by hammering. Three men are required one to hold and turn the coil upon the grooved anvil, and two to strike. The foreman, or the one who holds the coil, has also a small hammer with which he strikes the coil, to show the others in which place to strike. When taken from the fire the coil is first beaten upon an iron plate fixed in the floor, and the end opened upon a swage, or the pene of the anvil, to admit of the mandrel being inserted. When the muzzle or fore-coil has been heated, jumped up, and hammered until thoroughly welded, the breech-end or coil, usually about six inches long, is joined to it. The breech-coil is first welded in the same manner, and a piece is cut out of each coil; the two ribands are welded together and the two coils are joined into one, and form a barrel. The two coils being joined, and all the welds made perfect, the barrels are heated, and the surplus metal removed with a float; the barrels are then hammered until they are black or nearly cold, which finishes the process. This hammering greatly increases the density and tenacity of the metal, and the wear of the barrel depends in a great measure upon its being properly performed. A very nice and tight action and overall in nice condition for age. A very small piece of wood lacking from the breech tang area. As with all our antique guns no license is required as they are all unrestricted antique collectables  read more

Code: 20766