Antique Arms & Militaria

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 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

Superb, Victorian 1854 Pat. British Artillery Sword of Brigadier General Arthur Herbert Hussey. Commander of The Royal Artillery in WW1 Made by Wilkinson Sword Co. in 1882. Traditional 3 Bar Hilt Bright Polished Combat Weight Blade & F.S Scabbard

Brigadier General Arthur Herbert Hussey, of Scotney Castle, Kent, was the third son of Edward Hussey III. Born in 1863, he joined the British Army and served in the Royal Artillery from the age of 19 in 1882 until his retirement in 1919 aged 56. During the First World War Arthur was a Brigadier General, his role was Commander of the 5th division Royal Artillery. This was his sword from 1882 until the close of WW1.
During the First World War Arthur was a Brigadier General, his role was to plan and co-ordinate artillery fire to support the men in the trenches.

Monogramed blade of Brig.Gen. Hussey, AHH, serial numbered for its commissioning at Wikinson’s in 1882.
Overall in superb condition, with just very minor natural age service wear on the blade midsection. Superb condition field service scabbard.

This division was under command of II Corps and as such was part of the original British Expeditionary Force. It remained on the Western Front until late 1917 when it moved to Italy, returning to the Western front soon after. It is officially recognised as particpating in the following battles end engagements:

Under overall command of Major-General Sir C. Fergusson, & Brigadier General Arthur Herbert Hussey. Commander of The Royal Artillery

1914
The Battle of Mons (23-24 August) and subsequent retreat (to 5 September), including
The Action of Élouges (24 August; only 1st Norfolk and 1st Cheshire Regiment of 15th Infantry Brigade)
The Battle of Le Cateau (26 August)
The Rearguard Action of Crépy-en-Valois (1 September; only 13th Infantry Brigade)
The Battle of the Marne (7-10 September)
The Battle of the Aisne (12-15 September)
The Battle of La Bassée (10 October – 2 November)
The Battle of Messines 1914 (12 October – 2 November; 2nd King’s Own Scottish Borderers and 2nd King’s Own Yorkshire Light Infantry of 13th Infantry Brigade under temporary command of the Cavalry Corps)
The Battle of Armentières 1914 (13 October – 2 November; only 1st Dorsetshire Regiment of 15th Infantry Brigade under temporary command of III Corps)
On 18 October, with Major-General Sir C. Fergusson having been ordered home to take command of 9th (Scottish) Division, he was succeeded by Major-General T. N. L. Morland

The First Battle of Ypres in its phase the Battle of Nonne Bosschen (11 November; only the remainder of 15th Infantry Brigade and under temporary orders of 3rd Division under command of I Corps)
1915
The Capture of Hill 60 (under II Corps) (17-22 April)
The Second Battle of Ypres in phases
The Battle of Grafenstafel (22-23 April; only 13th Infantry Brigade under temporary command of V Corps)
The Battle of St. Julien (24 April – 4 May; again only 13th Infantry Brigade under V Corps)
On 15 July, with Major-General T. N. L. Morland having been promoted to command a corps, he was succeeded by Major-General C. T. McM. Kavanagh

In late 1915, some of the regular units of 5th Division were exchanged for those of 32nd Division, a newly arrived volunteer formation. The idea was to strengthen (“stiffen” in the jargon of the time) the inexperienced division by mixing in some regular army troops; even though by now many of the pre-war regulars had gone and the regular battalions themselves were often largely composed of new recruits.

1916
In March 1916 the 5th Division moved south to take over the front line between St. Laurent Blangy and the southern edge of Vimy Ridge, east and north east of Arras. This was a lively time, with many trench raids, sniping and mining activities in the front lines.

On 1 April, Major-General C. T. McM. Kavanagh was succeeded by Major-General R. B. Stephens

When the Franco-British offensive opened on the Somme on 1 July 1916, the 5th Division was enjoying a period of rest and re-fit and was in GHQ Reserve.

The Battles of the Somme 1916 in its phases
The Attacks on High Wood (now under XV Corps) (20-25 July)
The Battle of Guillemont (XIV Corps) (3-6 September)
The Battle of Flers-Courcelette (XIV Corps) (15-22 September)
The Battle of Morval (XIV Corps) (25-28 September)
By 5 October 1916 the 5th Division had left the Somme and moved to the quieter line near Festubert. There was a constant threat from enemy artillery and sniper fire, but in comparison with the Somme it was a relatively tranquil period that lasted until March 1917.

1917
The Battles of Arras 1917 in phases
The Battle of Vimy (under the Canadian Corps, 9-14 April)
The Attack on La Coulotte (Canadian Corps) (23 April)
The Third Battle of the Scarpe (3-4 May)
The capture of Oppy Wood (XIII Corps) (28 June)
On 7 September 1917 the division was finally relieved after several months of operations in the Arras area and moved out of the line for a period, being sent next to join the great offensive in Flanders.

The Third Battle of Ypres in phases
The Battle of Polygon Wood (under X Corps) (26 September – 3 October)
The Battle of Broodseinde (X Corps) (4 October)
The Battle of Poelcapelle (X Corps) (9 October)
The Second Battle of Passchendaele (X Corps) (26 October – 10 November)
A major change now occurred, with 5th Division being one of five British formations selected to be moved to Italy. This was a strategic and political move agreed by the British Government at the request of the Allied Supreme War Council, as an effort to stiffen Italian resistance to enemy attack after a recent disaster at Caporetto. Many diaries at this time, by men who had witnessed slaughter in the floods of Passchendaele, talk of the move and Italy as being “like another world”. Much work was done preparing to move into the mountainous area of the Brenta, but eventually the division was instead moved to the line along the River Piave, taking up positions in late January 1918. The division was recalled hurriedly to France, once the enemy had made an attack in overwhelming strength on 21 March.

1918
The Battles of the Lys 1918 in phase
The Battle of Hazebrouck (under XI Corps) (12-15 April) in which the battalion fought in the Defence of Nieppe Forest
On 15 July, with Major-General R. B. Stephens having been promoted to command a corps, he was succeeded by Major-General J. Ponsonby

On 14 August 1918 the 5th Division was withdrawn for rest and placed in GHQ Reserve. Two weeks later it entered into the “Hundred Days Offensive”. Fighting through Albert (back on the old and devastated Somme ground of 1916), to Irles, Beugny, Havrincourt, Gonnelieu and the River Selle, and finally into Valenciennes and the River Sambre, the division was in more or less continuous action until late October 1918.

The Second Battles of the Somme 1918 in phases
The Battle of Albert (under IV Corps) (21-23 August)
The Second Battle of Bapaume (IV Corps) (31 August – 3 September)
The Battles of the Hindenburg Line in phases
The Battle of Épehy (IV Corps)(18 September)
The Battle of the Canal du Nord (IV Corps) (27 September – 1 October)
The Pursuit to the Selle (IV Corps) (9-12 October)
The Final Advance in Picardy in phase
The Battle of the Selle (IV Corps) (17-25 October)
The 5th Division remained in the area of Le Quesnoy until mid-December 1918. On 13 December, the division began a march into Belgium, eventually reaching the area between Namur and Wavre. The first men were demobilised on 22 December and more followed at regular intervals through early 1919.

The National Trust opened a new exhibition in 2014. 'Arthur’s War' which gave a fascinating insight into the First World War through the thoughts and belongings of Brigadier-General Arthur Hussey, Commander, Royal Artillery, of the 5th Division.

Brigadier-General Hussey’s belongings were discovered in a black metal trunk by National Trust volunteers in 2011 at his former home of Scotney Castle in Kent, now a trust property, and contained letters, diaries, photographs and battle plans. The eleven diaries in the box were the first items to be read and they span Arthur’s time at the front from 1914 – 1918.
It took a team of eight volunteers over 1,200 hours to transcribe the diaries which include passages on the use of gas, wire cutting experiments and specific battles.

The exhibition had been a year in the making and staff and volunteers had been assisted in their research by The London Stereoscopic Company, Fortnum & Mason and the Lamberhurst History Society.

In the government art collection there is a painting that depicts General Hussey with King George Vth, the President of France and the allied General Staff at Merville France in December 1914. Painted by Herbert Arnould Olivier (1861 - 1952)
https://artcollection.dcms.gov.uk/artwork/3808/
{presented to the government collection in 1983 by the Royal Collection}

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 trading  read more

Code: 25615

An Fabulous Museum Grade Sword 18th Century Silver and Enamel, Makara, Of The ' Palace of the Nawab of Lucknow’, Damascus Bladed. Probably One of The Most Beautiful & Fine Indian Swords Available in World Collecting Market

A near identical pair to another prize example Makara enamel sword in the Getty Museum in America.

A magnificent work of art, and the sword of a prince. It has a fabulous Mahomed's Ladder Kirk Narduban pattern Damascus blade, with a gold inscription and gold cartouches. In very good condition for age, the polychrome enamels are inlaid into the solid silver hilt, that is further decorated with three heads of the mythical beast, the Makara, including the pommel and both quillon ends, with just very minor enamel surface losses. The fine Damascus blade has small areas of surface pitting and a re-shaped tip. One of the finest Lucknow Damascus swords you could find today, from the one time rulers of Lucknow, and most likely originated from the palace of the Nawab of Lucknow. A Nawab was a Sovereign Prince and Governor of the Moghul Empire. An almost identical princely form of Lucknow Makara enamel silver hilted sword is in the Getty Research Institute, in LA, California. Centuries ago Lucknow emerged as one of the most important centres in the world for courtly crafts such as fine enamelling on silver. It was the capital of the state of Oudh which was established in 1750. The flourishing arts scene was largely on account of the patronage of the local, wealthy Nawabs of Oudh. By the mid-19th century, Lucknow was India's largest and wealthiest city. Lucknow Moghul daggers and swords, especially with Damascus blades, are considered to be some of the most valuable and desirable in the world of antique weaponry art. Representations of such are in the finest collections, such as the British Royal Collection, The British Museum and the Getty Museum. Dwelling in the Indian Ocean, the Makara is traditionally looked upon as a powerful deity, which was capable of harming or guarding seafarers, depending upon its whims. Many scholars naturally assume that the tales of the Makara are nothing more than myths based upon ancient eyewitness accounts of Indian elephants swimming off the coast of India, as they are sometimes known to do. Until 1719, the subah of Awadh was a province of the Mughal Empire administered by a Governor appointed by the Emperor. Persian adventurer Saadat Khan, also known as Burhan-ul-Mulk, was appointed Nizam of Awadh in 1722 and established his court in Faizabad, near Lucknow.

Many independent kingdoms, such as Awadh, were established as the Mughal Empire disintegrated. The third Nawab, Shuja-ud-Daula (r. 1753-1775), fell out with the British after aiding the fugitive Nawab of Bengal, Mir Qasim. Roundly defeated at the Battle of Buxar by the East India Company, he was forced to pay heavy penalties and surrender parts of his territory. Awadh's capital, Lucknow rose to prominence when Asaf-ud-Daula, the fourth Nawab, shifted his court to the city from Faizabad in 1775. The British East India Company appointed a resident (ambassador) in 1773 and by early 19th century gained control of more territory and authority in the state. They were, however, disinclined to capture Awadh outright and come face to face with the Maratha Empire and the remnants of the Mughal Empire. In 1798, the fifth Nawab Wazir Ali Khan alienated both his people and the British and was forced to abdicate. The British then helped Saadat Ali Khan take the throne. He became a puppet king, and in a treaty of 1801, yielded large part of Awadh to the East India Company while also agreeing to disband his own troops in favour of a hugely expensive, British-controlled army. This treaty effectively made the state of Awadh a vassal of the East India Company, although it continued to be part of the Mughal Empire in name until 1819. The treaty of 1801 proved a beneficial arrangement for the East India Company as they gained access to Awadh's vast treasuries, repeatedly digging into them for loans at reduced rates. In addition, the revenues from running Awadh's armed forces brought them useful returns while the territory acted as a buffer state. The Nawabs were ceremonial kings, busy with pomp and show. By the mid-nineteenth century, however, the British had grown impatient with the arrangement and demanded direct control over Awadh.

In 1856 the East India Company first moved its troops to the border, then annexed the state for alleged maladministration. Awadh was placed under a chief commissioner Sir Henry Lawrence. Wajid Ali Shah, the then Nawab, was imprisoned, then exiled by the East India Company to Calcutta. In the subsequent Indian Rebellion of 1857, his 14-year-old son Birjis Qadra, whose mother was Begum Hazrat Mahal, was crowned ruler. Following the rebellion's defeat, Begum Hazrat Mahal and other rebel leaders sought asylum in Nepal. Ghazi-ud-Din Haidar Shah became Nawab Wazir of Oudh on 11 July 1814 after the death of his father. In 1818, under the influence of Warren Hastings, the British Governor of the Presidency of Fort William (Bengal), he declared himself as the independent Padshah-i-Awadh (King of Oudh). This sword would likely have been part of his treasure.  read more

Code: 22605

A Charming Napoleonic Wars Period, Circa 1812 Officer's Pocket Boxlock Pistol By William Hole of No 79 Quay, Bristol. Nicely Engraved Steel Mounts, And An Excellent, Tight and Crisp Action

Effectively, the George IIIrd period, English version of a pocket Derringer pistol. Made for and used by a British officer from Bristol in the Napoleonic Wars . Finely chequered walnut bag-shaped grip, good tight action, with a single cock percussion action, converted from flintlock in around 1830, around 30 years after it was made, to enable the pistol to be far more efficient, near waterproof, and to remain in good usable and serviceable condition for another thirty years or so.

As early as 1420, vessels from the English port of Bristol were regularly travelling to Iceland and it is speculated that sailors from Bristol had made landfall in the Americas before Christopher Columbus or John Cabot. After Cabot arrived in Bristol, he proposed a scheme to the king, Henry VII, in which he proposed to reach Asia by sailing west across the north Atlantic. He estimated that this would be shorter and quicker than Columbus' southerly route. The merchants of Bristol, operating under the name of the Society of Merchant Venturers, agreed to support his scheme. They had sponsored probes into the north Atlantic from the early 1480s, looking for possible trading opportunities. In 1552 Edward VI granted a Royal Charter to the Merchant Venturers to manage the port.

By 1670, the city had 6,000 tons of shipping, of which half was used for importing tobacco. By the late 17th century and early 18th century, this shipping was also playing a significant role in British world trade.

One of the more interesting aspects common among these pistols is that the doghead was centered internally on the pistol in a fashion similar to hammers on today's modern pistols. (That is the action was mounted internally instead of one of the sides of the pistol.) Boxlock pistols were pocket pistols popular in the late 1700's and early 1800's. This type of design is known as a "box lock". The box lock was more difficult to manufacture than a typical side mounted flintlock and tended to be more expensive to produce.

Not the last original picture in the gallery, its an original Georgian period painting of a naval captain {John Paul Jones} in hand to hand combat on deck, shooting a matelot with his boxlock and tucked within his belt is a row of four further box lock pistols.

Just returned from extensive cleaning, polishing and conservation  read more

Code: 25613

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

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

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

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

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

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

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

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

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

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

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

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

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

Code: 25610