Antique Arms & Militaria

An 19th Century 1842 Pattern Lancer Officer's Percussion Pistol

Made by William Peacock of London. an officer's version of the type 1842 lancer's pistol, used in the Crimean war by officers such as were in the Charge of the Light Brigade. With traditional lancer's flat butt stock, and lancers captive ramrod and percussion action. Good tight working action. Pineapple engraved finial trigger guard, acanthus leaf scroll engraved butt plate.

The maker, William Peacock of Grosvenor sq. London is engraved on the lock face with scroll engraving and sliding safety, and his gold scroll address {London} engraved on the barrel flat, but some of the gold inlay is lacking so it is difficult to read. The barrel of .65 inch bore also has an inlaid partial gold line at the breech.

Charge of the Light Brigade
In response to their orders, the Light Brigade began their charge, but at the wrong gun batteries. They galloped through Russian artillery fire from three sides and on into the ‘Valley of Death’ suffering heavy losses in the process.

Some of the horsemen succeeded in reaching the Russian guns at the end of the valley, and even drove the men operating them into retreat before charging the Russian cavalry beyond.

We advanced down a gradual descent of more than three-quarters of a mile, with the batteries vomiting forth upon us shells and shot, round and grape, with one battery on our right flank and another on the left, and all the intermediate ground covered with the Russian riflemen.’
Lord Cardigan, recounting the Charge of the Light Brigade to Parliament, 1855.

After intense fighting, the remnants of the Light Brigade were forced to retreat from the guns. They made their way back through the ‘Valley of Death’ before reaching safety. Fortunately, their return was ensured by the French cavalry, who cleared the Russians from the north side of the valley.

Although the reinforcements from Sevastopol had now deployed and were ready to begin an assault on the heights, no further action was taken.

The battle ended in strategic stalemate, with the Russians controlling the heights and the road, but Balaklava still in Allied hands. Unfortunately, Russian possession of the road made supplying the forces besieging Sevastopol during a terrible winter much harder.

Lock with areas of old light pitting, usual signs of age an use commensurate to the service life and purpose of this scarce lancer officer’s pistol  read more

Code: 24900

A Beautiful, Victorian, Scottish Artillery Service Helmet of the First Renfrew and Dumbarton Artillery. Blue Cloth with Silver Badge, Fittings, Ball Top, & Rose Head Curb Chain Mounts and Chin Chain

Overall in superb condition, just the usual wear to the blue cloth surface The 1st Renfrew and Dumbarton Artillery Volunteers was a part-time unit of the British Army's Royal Artillery founded in Scotland in 1860.
The Artillery Volunteers were formed in response to perceived threats of invasion, particularly from France during the mid-19th century. By 1881, these units were well established as part of Britain’s auxiliary forces, providing coastal and homeland defense. The First Renfrew and Dumbarton unit operated in Scotland, drawing recruits from these regions, and contributed to local and national defense efforts.

Officers' helmets like this are prized by collectors for their craftsmanship and historical significance, offering a glimpse into the organization, pride, and traditions of Scottish Victorian-era volunteer forces.

The helmet plate is crafted with intricate detailing. Such plates were worn on the helmets of officers as a part of their formal uniform.

Central Emblem: The plate features a central badge, often incorporating a cannon or artillery piece, symbolizing the artillery unit, surrounded by wreaths of laurel and oak to represent victory and strength.

Crown: It is topped by a Victorian Crown (Queen Victoria's reign), indicating the era of service.

Unit Designation: The name "First Renfrew and Dumbarton Artillery Volunteers" is prominently displayed.

The enthusiasm for the Volunteer movement following an invasion scare in 1859 saw the creation of many Rifle and Artillery Volunteer Corps composed of part-time soldiers eager to supplement the Regular British Army in time of need.Three Artillery Volunteer Corps (AVCs) were formed in Renfrewshire and three more in neighbouring Dumbartonshire in 1860, and on 22 August 1863 all six were included in the 1st Administrative Brigade, Renfrewshire Artillery Volunteers, under the command of Lieutenant-Colonel John Scott, with its headquarters (HQ) at Greenock:

1st (Greenock) Renfrewshire AVC formed 20 January 1860, four batteries by 1867
2nd (Greenock) Renfrewshire AVC formed 20 January 1860, absorbed into 1st in 1864
3rd (Greenock) Renfrewshire AVC formed 20 January 1860, absorbed into 1st in 1864
1st (Helensburgh) Dumbartonshire AVC formed 9 February 1860
2nd (Rosneath) Dumbartonshire AVC formed March 1860, moved to Kilcreggan 1866, disbanded in 1872
3rd (Dumbarton) Dumbartonshire AVC formed 24 December 1860, increased to two batteries 22 March 1869
When the AVCs were consolidated in May 1880, the administrative brigade became the 1st Renfrewshire (Renfrew and Dumbarton) Artillery Volunteers, shortly afterwards adopting the title of 1st Renfrew and Dumbarton Artillery Volunteers with the following organisation
HQ, Greenock
Nos 1–4 Batteries, Greenock
No 5 Battery, Helensburgh
No 6–7 Batteries, Dumbarton

In 1882 all the AVCs were affiliated to one of the territorial garrison divisions of the Royal Artillery (RA) and the 1st Renfrew & Dumbarton AV became part of the Scottish Division. In 1889 the structure was altered, and the corps joined the Southern Division. In 1899 the RA was divided into separate field and garrison branches, and the artillery volunteers were all assigned to the Royal Garrison Artillery (RGA). When the divisional structure was abolished their titles were changed, the unit becoming the 1st Renfrew and Dumbarton Royal Garrison Artillery (Volunteers) on 1 January 1902

During the First World War, it served with 51st (Highland) Division at the Battle of the Somme before being broken up. In the Second World War, the regiment saw action in the Battle of France, in the campaigns in North Africa, Sicily, Italy, the Greek Civil War and in North West Europe.  read more

Code: 25641

To Find Antique Arms, Armour & Specialist Books in the UK There is Only one place you need to visit. We Trust You Will All Enjoy Your Visit & Viewing Experience of Our Online Site, Frequently Described As The Best Militaria Collectables Site in the World

This week we be showing our usual intriguing and amazing selection of our latest rare and fascinating pieces, including some fabulous and most beautiful and historical collectables offered on our site over the past few days, including a stunning, ancient and exceptional 1700 to 1600 Year Old Spartha Sword of A Warrior of the Roman Empire's Invasions by the Huns and Visigoths. A 10th century ceramic 'Greek Fire' grenade, very rare example incised with overal flame decor and a flaming ball spout.
A Hun or Visigoth Horseman's Sword Spartha With Its Lifstein, the Magical Life-Stone, and Original Crossguard Plus stunning ancient Roman rings, one a Gladiator’s ring, also, Greek arrow heads, spears, lead sling bullets, antiquities and rings from an 1820 Grand Tour Collection. 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 Fabulous Museum Grade Samurai Daimyo's Art-Sword. From The Koto Era. A Samurai Wakizashi Sword By Master Tadamitsu With Rare Gaku-mei Nakago. Blade, Circa 1440-1460. Mino Goto Koshirae, With Deep Red Ishime Lacquer Saya & Black Silk Binding, plus we have added another rare, original Archaic Chinese Warrior's 'Bronze & Tinned' Jian Sword, 2300+ years old, from a collection we acquired, from one of the most respected and academically admired experts in ancient Chinese swords the UK,.... and so, so much more.

We Are Also Europe's Leading Original Samurai Sword Specialists.
We were listed by the world famous New York Times as one of the ‘must see’ places for Americans to visit when in Europe!! and regularly, as one of the very best shops in the whole of Great Britain. And bearing in mind, in the UK, recorded in 2019, there were 306,655 retail outlets,..apparently, so as you can imagine, the competition was pretty stiff.

Last year we were consultants on three seperate docu/dramas based around original historical warfare

For us it is vitally important that every customer, old and new, has confidence to deal with a well established, generations old company that believes every customer must have an enjoyable, successful and satisfactory experience, and you can know that you can also enjoy a personal one to one contact with our partners during any visit to our permanent gallery in Brighton, which for us is a priority.

Here are just two of our clients comments we received in the past few days.
‘Today the armour arrived. It was of the highest quality as always and I am more than satisfied. Kindest regards C.C.’ From New York

‘The swords arrived and are simply lovely. In fact, the Light Company sabre is especially striking, and it's out of this world. You take very fine photos but they simply didn't do this piece justice. The French sword has tremendous presence. It's hard to find French Napoleonic pieces over here, especially ones with little or no wear. Many thanks again”
A.G. From Australia

Enjoy our site, it has been over 100 years in the making!.

The history of the ‘Grand Tour’

Richard Lassels, an expatriate Roman Catholic priest, first used the phrase “Grand Tour” in his 1670 book Voyage to Italy, published posthumously in Paris in 1670. In its introduction, Lassels listed four areas in which travel furnished "an accomplished, consummate traveler" with opportunities to experience first hand the intellectual, the social, the ethical, and the political life of the Continent.

The English gentry of the 17th century believed that what a person knew came from the physical stimuli to which he or she has been exposed. Thus, being on-site and seeing famous works of art and history was an all important part of the Grand Tour. So most Grand Tourists spent the majority of their time visiting museums and historic sites.

Once young men and women began embarking on these journeys, additional guidebooks and tour guides began to appear to meet the needs of the 20-something male and female travelers and their tutors traveling a standard European itinerary. They carried letters of reference and introduction with them as they departed from southern England, enabling them to access money and invitations along the way.

With nearly unlimited funds, aristocratic connections and months or years to roam, these wealthy young tourists commissioned paintings, perfected their language skills and mingled with the upper crust of the Continent.

The wealthy believed the primary value of the Grand Tour lay in the exposure both to classical antiquity and the Renaissance, and to the aristocratic and fashionably polite society of the European continent. In addition, it provided the only opportunity to view specific works of art, and possibly the only chance to hear certain music. A Grand Tour could last from several months to several years. The youthful Grand Tourists usually traveled in the company of a Cicerone, a knowledgeable guide or tutor.

The ‘Grand Tour’ era of classical acquisitions from history existed up to around the 1850’s, and extended around the whole of Europe, Egypt, the Ottoman Empire, and the Holy Land.
As with all our items, they come complete with our certificate of authenticity  read more

Code: 23801

One of The Rarest We Have Ever Seen, An Early Crusades Period 10th Century, Byzantine, Ceramic Greek Fire 'Grenade' Superbly Decorated With Incised Individual Flames & A Moulded 'Ball of Fire' Decor Spout Surround. Around 1,100 Years Old

Of semi ovoid tear-drop form. A rare most collectable ancient artefact and a wonderful conversation piece. Circa 10th century ad. A grey ceramic globular vessel of tear-drop form,. With an incised pattern throughout of individual flames. The filling spout is decorated with a moulded embossed relief flaming ball design {around the combination filling and fuse spout} to symbolise what it is, an incendiary grenade that is effectively a ball of fire. Although such surviving original pieces are most rare, this is the first in fifty years we have had that is decorated by incisions in the ceramic that demonstrate its actual purpose. All our previous examples, that we have found in the past 50 years, are either plain or simply decorated with ribbing or angular incisions.

History of the grenade;

Although grenades rose to prominence as weapons during the 20th century, grenades have much longer history that goes back over 1000 years.

They are first thought to have been used by the Byzantine Empire from around the seventh century AD. Clay vessels were filled with flammable liquid known as Greek fire and flung at the enemy.
They were often piled into catapults to increase the range and devastation they caused.

They were popular weapons in naval battles as the fire could easily spread on ships and cause devastation. In its earliest form, Greek fire was hurled onto enemy forces by firing a burning cloth-wrapped ball, perhaps containing a flask, using a form of light catapult, most probably a seaborne variant of the Roman light catapult or onager {a torsion powered catapult}. These were capable of hurling light loads, around 6 to 9 kg (13 to 20 lb), a distance of 350-450 m (380-490 yd). Greek fire, was invented in ca. 672, and is ascribed by the chronicler Theophanes to Kallinikos, an architect from Heliopolis in the former province of Phoenice, by then overrun by the Muslim conquests. The historicity and exact chronology of this account is open to question: Theophanes reports the use of fire-carrying and siphon-equipped ships by the Byzantines a couple of years before the supposed arrival of Kallinikos at Constantinople. If this is not due to chronological confusion of the events of the siege, it may suggest that Kallinikos merely introduced an improved version of an established weapon. The historian James Partington further thinks it likely that Greek fire was not in fact the discovery of any single person, but "invented by chemists in Constantinople who had inherited the discoveries of the Alexandrian chemical school".Indeed, the 11th-century chronicler George Kedrenos records that Kallinikos came from Heliopolis in Egypt, but most scholars reject this as an error. Kedrenos also records the story, considered rather implausible, that Kallinikos' descendants, a family called "Lampros" ("Brilliant"), kept the secret of the fire's manufacture, and continued doing so to his day.

The invention of Greek fire came at a critical moment in the Byzantine Empire's history: weakened by its long wars with Sassanid Persia, the Byzantines had been unable to effectively resist the onslaught of the Muslim conquests. Within a generation, Syria, Palestine and Egypt had fallen to the Arabs, who in ca. 672 set out to conquer the imperial capital of Constantinople. The Greek fire was utilized to great effect against the Muslim fleets, helping to repel the Muslims at the first and second Arab sieges of the city. Records of its use in later naval battles against the Saracens are more sporadic, but it did secure a number of victories, especially in the phase of Byzantine expansion in the late 9th and early 10th centuries. Utilisation of the substance was prominent in Byzantine civil wars, chiefly the revolt of the thematic fleets in 727 and the large-scale rebellion led by Thomas the Slav in 821-823. In both cases, the rebel fleets were defeated by the Constantinopolitan Imperial Fleet through the use of Greek fire .

The Byzantines also used the weapon to devastating effect against the various Rus' raids to the Bosporus, especially those of 941 and 1043, as well as during the Bulgarian war of 970-971, when the fire-carrying Byzantine ships blockaded the Danube.

The importance placed on Greek fire during the Empire's struggle against the Arabs would lead to its discovery being ascribed to divine intervention. The Emperor Constantine Porphyrogennetos (r. 945-959), in his book De Administrando Imperio, admonishes his son and heir, Romanos II (r. 959-963), to never reveal the secrets of its construction, as it was "shown and revealed by an angel to the great and holy first Christian emperor Constantine" and that the angel bound him "not to prepare this fire but for Christians, and only in the imperial city". As a warning, he adds that one official, who was bribed into handing some of it over to the Empire's enemies, was struck down by a "flame from heaven" as he was about to enter a church. As the latter incident demonstrates, the Byzantines could not avoid capture of their precious secret weapon: the Arabs captured at least one fire-ship intact in 827, and the Bulgars captured several siphons and much of the substance itself in 812-814 ad. This, however, was apparently not enough to allow their enemies to copy it . The Arabs for instance employed a variety of incendiary substances similar to the Byzantine weapon, but they were never able to copy the Byzantine method of deployment by siphon, and used catapults and grenades instead. In its earliest form, Greek fire was hurled onto enemy forces by firing a burning cloth-wrapped ball, perhaps containing a flask, using a form of light catapult, most probably a seaborne variant of the Roman light catapult or onager. These were capable of hurling light loads around 6 to 9 kg (13 to 20 lb) a distance of 350-450 m (383-492 yd). Later technological improvements in machining technology enabled the devising of a pump mechanism discharging a stream of burning fluid (flame thrower) at close ranges, devastating wooden ships in naval warfare. Such weapons were also very effective on land when used against besieging forces.

Greek fire continued to be mentioned during the 12th century, and Anna Komnene gives a vivid description of its use in a possibly fictional naval battle against the Pisans in 1099. However, although the use of hastily improvised fire-ships is mentioned during the 1203 siege of Constantinople by the Fourth Crusade, no report confirms the use of the actual Greek fire, which had apparently fallen out of use by then, either because its secrets were forgotten, or because the Byzantines had lost access to the areas in the Caucasus and the eastern coast of the Black Sea where the primary ingredients were to be found.

Approx 51/2 inches top to bottom.

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  read more

Code: 25644

A King George IIIrd Royal Naval Fire Bucket Issued by the Board of Ordnance Circa 1790's. As Used on HMS Victory and The British Ship's-of-the-Line

Hardened leather with all riveted seams in excellent condition, and part leather handle. Bears the remainder of an applied royal crest. Broad arrow & Board of Ordnance stamp to the base. Fire aboard a wooden ship was a constant peril, from such as burning powder shot or cannon fire, or even from an enemy fire ship, and could be the destruction of a vessel and crew in a very short time, if not subdued as quickly as possible. Thus good and sturdy leather fire buckets were an essential piece of Royal Naval equipment aboard every vessel. We show a row of Royal Naval issue fire buckets {reproductions} aboard Nelson's flagship, HMS Victory, now in permanent dock at Portsmouth. It is still the flagship of the Royal Navy in honour of Nelsons famous victory at Trafalgar. Fire buckets have been popular with collectors and owners of period homes for a very long time, but especially the board of ordnance issue examples for naval warships. They represent a time long before most towns had established and well-equipped fire departments ready to respond at a moment’s notice to a house or shop fire, when people relied on their neighbours to come to their aid. The risk for catastrophe from fire was great. A single stand-alone house could be consumed in minutes. In towns, fire in densely populated neighbourhoods could quickly result in the destruction of dozens of buildings.

Between 1630 and 1700 Boston experienced at least six major fires that destroyed well over 200 buildings. Most fire buckets were likely purchased from merchant craftsmen who specialised in leather goods, or wholesalers who imported wares from England. The earliest reference for the sale of fire buckets in Boston comes from a 1743 newspaper where an advertisement from an unnamed merchant simply states, “A Parcel of Choice Fire Buckets to be sold.” it is very rare to find a mark or signature on a fire bucket that identifies its maker.

At Christies auction house on the 17th December 2015 a fire bucket of the same form and type, from HMS Victory, Nelson's flagship, sold for £6875. The ones currently shown in the photograph on the Victory are modern reproductions.
Leather handle split in two parts remaining  read more

Code: 24830

A Beautiful, Impressed Twin Head Profile Roman Oil lamp 1st to 2nd Century, Imperial Roman Province Period. From the Time of Pontus Pilate & King Herod, to The Eruptions of Pompeii

Clay with impressed twin busts of bearded men back to back. Footed base. Oil lamps are ubiquitous at archaeological sites across the Mediterranean region. They were a crucial part of life in many cultures. Practically speaking, they were a source of portable artificial light, much like a candle or modern torch or flashlight. They were also important in sacred settings. They were frequently used in ceremonies, given as votive offerings, or placed in burial chambers. Age of the Roman Emperors
Augustus’ rule restored morale in Rome after a century of discord and corruption and ushered in the famous pax Romana–two full centuries of peace and prosperity. He instituted various social reforms, won numerous military victories and allowed Roman literature, art, architecture and religion to flourish. Augustus ruled for 56 years, supported by his great army and by a growing cult of devotion to the emperor. When he died, the Senate elevated Augustus to the status of a god, beginning a long-running tradition of deification for popular emperors.

Augustus’ dynasty included the unpopular Tiberius (14-37 A.D.), the bloodthirsty and unstable Caligula (37-41) and Claudius (41-54), who was best remembered for his army’s conquest of Britain. The line ended with Nero (54-68), whose excesses drained the Roman treasury and led to his downfall and eventual suicide. Four emperors took the throne in the tumultuous year after Nero’s death; the fourth, Vespasian (69-79), and his successors, Titus and Domitian, were known as the Flavians; they attempted to temper the excesses of the Roman court, restore Senate authority and promote public welfare. Titus (79-81) earned his people’s devotion with his handling of recovery efforts after the infamous eruption of Vesuvius, which destroyed the towns of Herculaneum and Pompeii.


Richard Lassels, an expatriate Roman Catholic priest, first used the phrase “Grand Tour” in his 1670 book Voyage to Italy, published posthumously in Paris in 1670. In its introduction, Lassels listed four areas in which travel furnished "an accomplished, consummate traveler" with opportunities to experience first hand the intellectual, the social, the ethical, and the political life of the Continent.

The English gentry of the 17th century believed that what a person knew came from the physical stimuli to which he or she has been exposed. Thus, being on-site and seeing famous works of art and history was an all important part of the Grand Tour. So most Grand Tourists spent the majority of their time visiting museums and historic sites.

Once young men began embarking on these journeys, additional guidebooks and tour guides began to appear to meet the needs of the 20-something male and female travelers and their tutors traveling a standard European itinerary. They carried letters of reference and introduction with them as they departed from southern England, enabling them to access money and invitations along the way.

With nearly unlimited funds, aristocratic connections and months or years to roam, these wealthy young tourists commissioned paintings, perfected their language skills and mingled with the upper crust of the Continent.

The wealthy believed the primary value of the Grand Tour lay in the exposure both to classical antiquity and the Renaissance, and to the aristocratic and fashionably polite society of the European continent. In addition, it provided the only opportunity to view specific works of art, and possibly the only chance to hear certain music. A Grand Tour could last from several months to several years. The youthful Grand Tourists usually traveled in the company of a Cicerone, a knowledgeable guide or tutor.

The ‘Grand Tour’ era of classical acquisitions from history existed up to around the 1850’s, and extended around the whole of Europe, Egypt, the Ottoman Empire, and the Holy Land.  read more

Code: 23747

Archaic Zhou Dynasty Bronze Halberd or ‘Ge’ Circa 5th Century BC the Period of the Great Military Doctrine 'The Art of War' by General Sun-Tzu

From a collection of ancient Chinese weapons we recently acquired including three 'Ge'. This is the very type of original ancient ceremonial halbard, defined by the ancient Chinese as a dagger axe 'Ge' and exactly the type as used by the warriors serving under the world renowned General Sun Tzu, in the Kingdom of Wu, who is thought by many to be the finest general, philosopher and military tactician who ever lived. His 2500 year old book on the methods of warfare, tactics and psychology are still taught and highly revered in practically every officer training college throughout the world.

In excavated condition, cast in one piece, slightly curved terminal blade of flattened-diamond section, pierced along a basal flange with three slots, and a hole with fabulous areas of crystallized malachite, blue/green patina.

We also show in the gallery a schematic of how this 'Ge' halbard would have been mounted 2500 odd years ago on its long haft, and used by a charioteer warrior, there is also one depicted being carried in a painting that we show in the gallery being used in a chariot charge in the Zhou dynasty.

This is a superb original ancient piece from one of the great eras of Chinese history, it is unsigned but near identical to another that was signed and inscribed with details that have now been fully translated, deciphered and a few years ago shown at Sothebys New York estimated to a sale value of $300,000. Its research details are fully listed below, and it is photographed within our gallery for the viewers comparison. Naturally, our un-inscribed, but still, very rare original version, from the same era and place, is a much more affordable fraction of this price

The signed and named Sotheby's of New York example that we show in the gallery, was formerly made for its original warrior owner, Qu Shutuo of Chu, it is from the same period and in similar condition as ours. We reference it's description below, and it is photographed within the gallery, it is finely cast with the elongated yuan divided by a raised ridge in the middle of each side and extending downward to form the hu, inscribed to one side with eight characters reading Chu Qu Shutuo, Qu X zhisun, all bordered by sharply finished edges, the end pierced with three vertically arranged chuan (apertures), the nei with a further rectangular chuan and decorated with hook motifs, inscribed to one side with seven characters reading Chuwang zhi yuanyou, wang zhong, and the other side with five characters reading yu fou zhi X sheng, the surface patinated to a dark silver tone with light malachite encrustation
An Exhibition of Ancient Chinese Ritual Bronzes. Loaned by C.T. Loo & Co., The Detroit Institute of Arts, Detroit, 1940, pl. XXXIII.
New Orleans Museum of Art, New Orleans, March - June 1948.

This inscribed bronze halberd blade, although typical in form, is uniquely important as its inscription serves as a critical primary source that reveals the name of its original owner: Qu Shutuo of Chu. The only known close counterpart to this blade is a damaged bronze halberd blade, missing the yuan, and inscribed on the hu with seven characters, which can be generally translated to ‘for the auspicious use of Qu Shutuo of Chu’. That halberd is now in the collection of the Hunan Provincial Museum, Hunan, and published in Wu Zhenfeng, Shangzhou qingtongqi mingwen ji tuxiang jicheng Compendium of inscriptions and images of bronzes from Shang and Zhou dynasties, vol. 32, Shanghai, 2012, no. 17048

The remaining thirteen inscriptions can be translated as: 'Qu Shutuo of Chu, Qu X's grandson, yuanyou of the King of Chu'. Based on the inscription, the owner of this blade can be identified as such.

See for reference; The Junkunc Collection: Arts of Ancient China / Sotheby's New York
Lot 111

We also show in the gallery a photo of another similar halberd from a museum exhibition, of a Chinese ancient king bodyguard’s halberd gilt pole mounts for his personal charioteer

This is one of a stunning collection of original archaic bronze age weaponry we have just acquired. Many are near identical to other similar examples held in the Metropolitan in New York, the British royal collection, and such as the Hunan Provincial Museum, Hunan, China. As with all our items, every piece is accompanied by a certificate of authenticity. Approx 8.5 inches across.
 read more

Code: 24341

An Original US Civil War Remington New Model Army Revolver With Later Bespoke Antique Fitted Case, Flask & Tools. One Of the Most Iconic Revolvers Used During The US Civil War & Wild West Era.

In very nice condition for age, with a really tight and crisp action. One of the most sought after and iconic American revolvers of the Civil War and Wild West era. A scarce 8 inch sighted octagonal barrel stamped with the manufacturer's details, plain cylinder and frame, the serial number, brass trigger guard, two-piece wooden grips, Sub inspector letters stamped 'U and B.

The Remington Model 1858 was a cap & ball (also called "percussion") 44-calibre revolver used during the American Civil War from 1862 onwards. It was used primarily by Union soldiers, and widely favoured over the standard issue Colt Army Model 1860 by those who could afford it, due primarily to its durability and ability to quickly reload. Of course if a gun such as this was captured in a Confederate victory it would be eagerly used by it's new southern states owner as a highly prized trophy of war. It also saw considerable use in the American West, both in its original cap & ball configuration and as a metallic cartridge conversion.
A prized possession of the Remington Arms Company is similar, original, New Model Army with ivory grips once carried by William F. "Buffalo Bill" Cody see photo in our gallery. The historic revolver is on display with Cody's simple handwritten note, "It never failed me". Cody carried the revolver in original percussion form well into the cartridge era, and never converted it to cartridge use. The Remington “Army” .44 percussion revolver was the primary competition to the Colt M1860 .44 percussion revolver during the American Civil War era. Although Sam Colt was the better salesman and marketer, Remington eventually beat Colt out of their military contracts by delivering a comparable (some felt superior) product for less money. In 1864, after the US government had finally beat Colt’s price down to $14.00 per revolver, they had been paying $20.00 or more per gun in the early days of the war, Remington agreed to furnish their “Army” revolver for only $12.00 per gun. That ended the reign of the Colt Army as the first choice for the Ordnance Department procurement officers.


In the field, even though the Colt revolver had the name and the mystique, many cavalry troopers preferred the much sturdier solid frame design of the Remington revolver. According to the research published in Remington Army & Navy Revolvers 1861-1868 by Donald L. Ware, Remington revolvers through serial 149,000 were accepted prior to the end of the Civil War. No license required to own or collect. The flask and mold in the case are non original replacements, but could easily be replaced in the future with original types. The barrel is lightly surface pitted, as is some of the frame, but the cylinder is near pitting free  read more

Code: 24976

A Most Scarce and Superb US Civil War, Savage North, Navy .36cal Revolver With Hand Carved “Trophy Cuts’. Most Likely Created By the Original Combatant, Issued to Either the Wisconsin, Missouri or Kansas Cavalry Regiments

A rare revolver that we are lucky to find only one or two a year, and this one is a particularly nice example.

During the Civil War the savage revolvers were acquired by 'Witcher’s Nighthawks', & 'White’s Rebels', two Confederate cavalry regiments in Virginia, the 11th Texas Cavalry under Col. George Reeves, and the Union’s US Navy’s warships.

The Savage was probably The most unusual and distinctive revolver ever made, and certainly the most distinctive revolver used during the American Civil War in the 1860s. Nothing was ever made before quite like it frankly since it has very modern features which were revolutionary at the time and utilised by just a few revolvers many decades. With four distinctive down stroke cuts and two cross cuts to the butt stock. This by tradition is recognised as trophy marks. One cut for each successful gunfight outcome. Produced in the 1860's. Standard three line address and patent markings on top of the frame above the cylinder. Henry North patent action, with a ring trigger for revolving the cylinder and cocking the hammer, and a second conventional trigger for firing, and a shared heart-shaped trigger guard. Very good fully operational action. Two-section cylinder, with the front section unfluted and the rear section fitted to the frame with cut-outs along the sides. Smooth grips with a distinctive blackstrap profile.

One of the very scarce revolvers of the US Civil War. With good clear maker and patent markings. A very collectable pistol that were made in far fewer numbers than their sister guns, the Colt and the Remington. A very expensive gun in it's day, it had a complex twin trigger mechanism, and a revolving cylinder with a spring operated gas seal. One of our very favourite guns of the 19th century, that epitomises the extraordinary and revolutionary designs and forms of arms that were being invented at that time, and for it's sheer extravagance of complexity, combined with it's unique and highly distinctive profile.

The Savage Navy Model, a six shot .36 calibre revolver, was made only from 1861 until 1862 with a total production of only 20,000 guns. This unique military revolver was one of the few handguns that was produced only for Civil War use. Its design was based on the antebellum Savage-North "figure eight" revolver, the Savage Navy had a unique way of cocking the hammer. The shooter used his middle finger to draw back the "figure 8" lever and then pushed it forward to cock the hammer and rotate the cylinder. The Union purchased just under 12,000 of these initially at $19.00 apiece for use by its cavalry units. Savage Navy revolvers were issued to the 1st and 2nd Wisconsin U.S. Volunteer Cavalry regiments, and 5th Kansas Volunteer Cavalry while the State of Missouri issued 292 Savage revolvers to its Missouri Enrolled Militia units. The remaining revolvers were purchased by private means and shipped to the Confederacy for use with the 34th Battalion of Virginia Cavalry (Witcher's Nighthawks), the 35th Battalion of Virginia Cavalry (White's Rebels), 11th Texas Cavalry, 7th Virginia Cavalry (Ashby's Cavalry), and 7th Missouri Cavalry. The United States Navy also made a small purchase of 800 Savages during 1861 for use on its ships. One of our very favourite guns of the 19th century, that epitomises the extraordinary and revolutionary Heath Robinsonseque designs and forms of arms, that were being invented at that time, and for it's sheer extravagance of complexity, combined with it's unique and highly distinctive profile.

We show in the gallery three different original photos of Civil War soldiers, each one proudly carries his Savage revolver for information only, not included. In May 2018 a similar Savage Navy Revolver sold in auction in America for $48,875, naturally it was a very nice example.

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

Code: 22325

A Former Helmet Created From a Helmet in the Royal Collection. A Victorian, Italian Morion Helmet, Probably From Milan, Circa 1544. Likely Created by Instruction From The Curators Of the Royal Collection In Around 1873

This is likely a unique copy made in the 19th century directly from a fabulous helmet in the Royal Collection, in the Round Tower at Windsor Castle, and believed to be from the personal collection of King George IIIrd. Naturally as the original would never become available this is a unique opportunity to own a simulacrum from Her Majesty’s armoury. This stunning helmet was made in the 19th century using the incredibly advanced copper electrotype system with fully faithful and exact detail from the royal helmet. A system so exact in its ability to recreate an identical version of the original, it was considered by some to be a magical marvel. It has a slightly misshapen damage at the comb. The plume holder etched with a religious scene (possibly the Trinity) and the inscription LAVDAMVS TE (We praise Thee) . In the Round Tower at Windsor Castle in 1904. The collection of George III included ‘A Helmet English, Very Ancient Made of Iron – Embossed with Scrolls – Stars and Leaves had formerly been Gilt’, which was sent to the armoury from Buckingham House on 20 September 1821.

Item no. 2048 in the North Corridor Inventory, which records the arrangement of the Collection at Windsor Castle. We believe it was most likely made by instruction from the curators of the Royal Collection, that commissioned a identical copy made, possibly for the national museum collection, such as the amazing plaster copies of unique worldwide masterpieces in the V&A. Opened in 1873, the Cast Courts display copies of some of the world's most significant works of art reproduced in plaster, electrotype, photography, and digital media. The cast collection is famous for including reproductions of Michelangelo's David, Trajan's Column, and Ghiberti's Gates of Paradise, amongst many others. Electrotyping was an incredible chemical method for forming metal parts that exactly reproduce a model. The method was invented by Moritz von Jacobi in Russia in 1838, and was immediately adopted for applications in printing and several other fields. As described in a treatise, electrotyping produces "an exact facsimile of any object having an irregular surface, whether it be an engraved steel- or copper-plate, a wood-cut, or a form of set-up type, to be used for printing; or a medal, medallion, statue, bust, or even a natural object, for art purposes." In art, several important "bronze" sculptures created in the 19th century are actually electrotyped copper, and not bronze at all One of the earliest documented large-scale (1.67 metres (5.5 ft)) electrotype sculptures was John Evan Thomas's Death of Tewdric Mawr, King of Gwent (1849). The electrotype was done by Elkington, Mason, & Co. for the Great Exhibition of 1851. Link to see the original example http://www.royalcollection.org.uk. The gallery shows a photo of the original Italian morion still in the Royal Collection, but made in iron, however, it was originally fully gilded, which this copy still appears to be, likely in order to show how it once looked when it was originally made in around 1544 in Italy. It is not often any collector has the opportunity to purchase an absolute identical version of a piece of armour in the Royal Collection that was actually made from the Royal original. If the original were to ever come on the open market which it never will of course it would likely be worth six figures or even seven figures 1 million pounds plus due to its Royal connection.

Probably the most famous electrotype simulacrum seen today is the Wimbledon Women’s final trophy. See photo 8 in our gallery.

Tennis fame

The version held aloft as the Wimbledon Ladies Singles Championship trophy was made in silver by the firm of Elkington and Company of Birmingham in 1864. This version is known as the Venus Rosewater Basin, and was first presented at Wimbledon in 1886. Every champion since has had her name engraved on it. The reproduction of the basin was made by the electrical deposition of silver into a mould, and used the plaster cast of an Enderlein basin in the Louvre as a model. When it was first created, the Wimbledon reproduction represented the height of 19th century modernity and was at the forefront of technological innovation. The V&A has an electrotype version which was also made by Elkington, and was moulded from the same plaster cast, 12 years before the creation of the Wimbledon trophy.  read more

Code: 23222