Antique Arms & Militaria

An Ancient Roman Eastern Empire Battle Axe, 4th Cent. & Through The 1st Millenia A.D. An Amazing, Original, Collectors Item From the Ancient Roman Empire of Constantine The Great. A Throwing Axe Often Classified as The Arch Shaped Axe, The Francisca

This is a typical axe for the Eastern Roman Empire legionary and warrior. From the time of Emperor Constantine 'The Great' and used to The beginning of Byzantium period. A blade form that evolved slightly, and thus remained popular as a throwing axe right into the early Viking and Anglo Saxon warrior eras. As a companion throwing axe, used alongside the Danish Huscarles great axe.

There is a very similar arch shaped example, but with a slanting socket, in the British Museum, classified as a throwing axe, or Francisca from circa 500 a.d. found in a war grave at the foot of Mount Blanc. See photo 7 in the gallery. Museum number
1856,0701.1416

The Battle of Cibalae was fought in 316 between the two Roman emperors Constantine I (r. 306–337) and Licinius (r. 308–324). The site of the battle, near the town of Cibalae in the Roman province of Pannonia Secunda, was approximately 350 kilometers within the territory of Licinius.

Constantine won a resounding victory, despite being outnumbered.

The opposing armies met on the plain between the rivers Sava and Drava near the town of Cibalae .
The battle lasted all day. The battle opened with Constantine's forces arrayed in a defile adjacent to mountain slopes. The army of Licinius was stationed on lower ground nearer the town of Cibalae, Licinius took care to secure his flanks. As the infantry of Constantine needed to move forward through broken ground, the cavalry was thrown out ahead, to act as a screen. Constantine moved his formation down on to the more open ground and advanced against the awaiting Licinians. Following a period of skirmishing and intense missile fire at a distance, the opposing main bodies of infantry met in close combat and fierce hand-to-hand fighting ensued. This battle of attrition was ended, late in the day, when Constantine personally led a cavalry charge from the right wing of his army. The charge was decisive, Licinius' ranks were broken. As many as 20,000 of Licinius' troops were killed in the hard-fought battle. The surviving cavalry of the defeated army accompanied Licinius when he fled the field under the cover of darkness

It is a matter of debate when the Roman Empire officially ended and transformed into the Byzantine Empire. Most scholars accept that it did not happen at one time, but that it was a slow process; thus, late Roman history overlaps with early Byzantine history.

Constantine I (the Great) is usually held to be the founder of the Byzantine Empire. He was responsible for several major changes that would help create a Byzantine culture distinct from the Roman past.

As emperor, Constantine enacted many administrative, financial, social, and military reforms to strengthen the empire. The government was restructured and civil and military authority separated. A new gold coin, the solidus, was introduced to combat inflation. It would become the standard for Byzantine and European currencies for more than a thousand years. As the first Roman emperor to claim conversion to Christianity, Constantine played an influential role in the development of Christianity as the religion of the empire. In military matters, the Roman army was reorganised to consist of mobile field units and garrison soldiers capable of countering internal threats and barbarian invasions. Constantine pursued successful campaigns against the tribes on the Roman frontiers the Franks, the Alamanni, the Goths, and the Sarmatians, and even resettled territories abandoned by his predecessors during the turmoil of the previous century.

The age of Constantine marked a distinct epoch in the history of the Roman Empire. He built a new imperial residence at Byzantium and renamed the city Constantinople after himself (the laudatory epithet of New Rome came later, and was never an official title). It would later become the capital of the empire for over one thousand years; for this reason the later Eastern Empire would come to be known as the Byzantine Empire. His more immediate political legacy was that, in leaving the empire to his sons, he replaced Diocletian’s tetrarchy (government where power is divided among four individuals) with the principle of dynastic succession. His reputation flourished during the lifetime of his children, and for centuries after his reign. The medieval church upheld him as a paragon of virtue, while secular rulers invoked him as a prototype, a point of reference, and the symbol of imperial legitimacy and identity. The Varangian Guard was an elite unit of the Byzantine Army, whose members served as personal bodyguards to the Byzantine Emperors. The Varangian Guard was known for being primarily composed of recruits from northern Europe, including Norsemen from Scandinavia and Anglo-Saxons from England. The recruitment of distant foreigners from outside Byzantium to serve as the emperor's personal guard was pursued as a deliberate policy, as they lacked local political loyalties and could be counted upon to suppress revolts by disloyal Byzantine factions.

These axe form and evolved into somewhat similar correspondent to the type 1 of the classification made by the Kirpichnikov for early axes. Particularly, it seems akin to the specimens of Goroditsche and Opanowitschi, dated in the turn of 10th - 11th centuries however, due to its earlier ageits shape is slightly different, considering the strong influence of the Roman Armies on the much later Baltic ones in 11th century.

The general Nikephoros Ouranos remembers in his Taktika (56, 4) that small axes were used at the waist of the selected archers of infantry : "You must select proficient archers - the so called psiloi - four thousand. These men must have fifty arrows each in their quivers, two bows, small shields and extra bowstrings. Let them also have swords at the waist, or axes, or slings in their belts".

The axe was inserted in its wooden shaft and fixed to it by means of dilatation of the wood, dampened by water.

The Byzantine Empire is the great Greek-language Christian empire that emerged after 395AD from the eastern part of the Roman Empire, Thanks to efficient government and clever diplomacy that divided its many enemies, the empire survived. Much diminished after 1204 AD when it was sacked by Christian Crusaders from the west en route to liberate Jerusalem, it finally fell to the Turks in 1453--indeed its fall is often used to date the end of the Middle Ages. Its capital was Constantinople, built on the site of the Greek colony of Byzantium and which is now known as Istanbul). The center of Orthodox Christianity, it is famous as well for its art and culture. The inhabitants of the empire referred to themselves as 'Romans' and considered themselves as such, the term 'Byzantine' not being used to describe the empire and its peoples until the seventeenth century, but after the seventh century the language of empire changed from Latin to Greek.

Almost every iron weapon that has survived through the millennia, to today, from this ,era is now in a fully russetted condition, as is this one.

Condition; very nicely preserved with small projecting upper front point lacking, likely a battle loss.

For reference see;; ROACH SMITH C. 1854. Catalogue of the Museum of London Antiquities, Collected by, and the Property of, Charles Roach Smith, privately printed, p. 102 no. 544
Axe; Registration number
1856,0701.1416
https://www.britishmuseum.org/collection/object/H_1856-0701-1416  read more

Code: 22671

A Fabulous, Incredibly Impressive, Historical & Very Rare Large 1754 American Anglo-French-Indian War & Revolutionary War of 1776 Period Flintlock Sea Service Bronze Cannon Barrel Blunderbuss. A Stunning Work Of Art As Much As A Huge Sea Service Flintlock

Blunderbuss that survive from this earliest era are so incredibly rare. An amazingly beautiful sea service flintlock that was made and saw service during the era of the American theatre of conflict of the Anglo-French-Indian war {1754-1763}, the era as wonderfully depicted in the classic historical novel, of the Anglo-French-Indian War in the Americas in the late 1750's 'Last of the Mohican's' by James Fenimore Cooper, featuring the Mohican Chingachgook, and his white adopted son 'Hawkeye'.

The British colonists were supported at various times by the Iroquois, Catawba, and Cherokee tribes, and the French colonists were supported by Wabanaki Confederacy members Abenaki and Mi'kmaq, and the Algonquin, Lenape, Ojibwa, Ottawa, Shawnee, and Wyandot (Huron). Fighting took place primarily along the frontiers between New France and the British colonies, from the Province of Virginia in the south to Newfoundland in the north. It began with a dispute over control of the confluence of the Allegheny River and Monongahela River called the Forks of the Ohio, and the site of the French Fort Duquesne at the location that later became Pittsburgh, Pennsylvania. The dispute erupted into violence in the Battle of Jumonville Glen in May 1754, during which Virginia militiamen under the command of 22-year-old George Washington ambushed a French patrol. The British sent out their fleet in February 1755, intending to blockade French ports, but the French fleet had already sailed. Admiral Edward Hawke detached a fast squadron to North America in an attempt to intercept them.

In June 1755, the British captured French naval ships sent to provide war matériel to the Acadian and Mi'kmaw militias in Nova Scotia.
In a second British action, Admiral Edward Boscawen fired on the French ship Alcide on June 8, 1755, capturing her and two troop ships. The British harassed French shipping throughout 1755, seizing ships and capturing seamen. These actions contributed to the eventual formal declarations of war in spring 1756.
This blunderbuss may have potentially seen service, amongst other conflicts, at the Battle of Restigouche. It was a naval battle fought in 1760 during the French and Indian War on the Restigouche River between the British Royal Navy and the small flotilla of vessels of the French Navy, Acadian militia and Mi'kmaq militias. The loss of the French vessels, which had been sent to support and resupply the troops in New France after the fall of Quebec, marked the end of any serious attempt by France to keep hold of their colonies in North America. The battle was the last major engagement of the Mi'kmaq and Acadian militias before the Burying of the Hatchet Ceremony between the Mi'kmaq and the British.

Bronze gun-metal two stage cannon barrel, fitted with the earliest so-called 'banana' form flint lock, predominantly used in the early to mid 18th century.
Hand carved hand-rail stock, with superb natural age patina, also, with typical and distinctive 18th century naval sea-service flat butt plate, as to be seen on all the British {and American} sea-service Brown Bess and blunderbusses at the time.

All the metal apart from the lock is made of gun-metal bronze, a higher copper content than the more common brass barrel blunderbuss. A most rarely seen type of blunderbuss, used before and during the American Revolutionary War, possibly, even made in America itself, as it is devoid of the usual top of the barrel proof mark, as American domestic gunsmiths used no proof markings to their flintlock gun barrels. Although potentially made in America it would certainly still have been used in the Royal Navy at the time, for ships of the line were always re-stocked with provisions, and often re-armed, at their port of destination when required.
The Blunderbuss (born of the Dutch word "Donderbus", appropriately meaning "Thunder Pipe" or "Thunder Gun") came to prominence in the early part of the 18th Century (1701-1800) and was more akin to the modern day shotgun than a "long gun" musket or heavy pistol of the time. As such, she excelled in close-in fighting, be it within the confines of naval warfare or walled nature of the urban environment, where her spread of shot could inflict maximum damage to targets at close ranges. Its manageable size, coupled with its spread shot, ensured some level of accuracy for even the novice user and its appearance was rather intimidating to those unfortunate enough to be staring down the business end. As with modern firearms, the Blunderbuss also made for an excellent security-minded weapon and soon found popularity amongst all matter of operators - military, civilian and, of course, criminal parties - by the middle of the 1700s. Even George Washington championed the Blunderbuss for Continental Army "Dragoon" units of the burgeoning American military as opposed to the carbine this being nothing more than a full-featured long gun of lesser overall length, proving suitable for horse-mounted handling. In fact, the short-form version of the Blunderbuss came to be known as the "Dragon", giving rise to the term "Dragoon" for such gun-wielding cavalrymen. Dragoons went on to form specialized units of mounted infantrymen within their respective armies during the end of the 17th Century and into the middle of the 18th Century - in a way, becoming an evolutionary step of the fabled mounted knight of the Middle Ages. Their use of Dragons soon gave way to the widely-accepted carbine musket. Thus this fabulously impressive arm began to be known as the "Blunderbuss" or Thunder Gun

As with all our antique guns no license is required as they are all unrestricted antique collectables. Overall 33.5 inches long, barrell length 18 inches.  read more

Code: 23168

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

An Absolutely Stunning Napoleon IIIrd, French Bronze. The Woman Reading, ‘La Liseuse’ by World Renown Sculptor, Albert-Ernest Carrier-Belleuse, Mentor to His Apprentice Auguste Rodin Who Became One of The Worlds Most Famous and Valued Sculptors

One of three versions he sculpted titled 'the Reader' by Carrier-Belleuse, and the rarest. One other, was the same model but she was wearing full Renaissance dress, including head-covering, another, of the same model was a woman reading with two small companions, and this scuplture, the erotic version, was of his favourite female model of a woman in a classical robe, semi naked reading a small book.

Albert-Ernest Carrier de Belleuse as known as Carrier-Belleuse (1824 - 1887) is one of the the most famous sculptors of the Second Empire, who touched all areas of sculpture, from porcelain of Sevres to monumental sculpture of marble, by way of a production of terracotta and bronze statuettes. He also trained one of the worlds greatest sculptors Auguste Rodin, who impressed his mentor to such a degree they even later collaborated on sculptures together.

Until 1872 Rodin's principal employer was Albert Ernest Carrier-Belleuse, the renowned decorative sculptor whose work cites those of the 18th century Rococo master Clodion. Rodin conceived of L'innocence tourmentée par l'amour, and, per his agreement with his teacher, Carrier-Belleuse signed the younger artist's works that were made at his studio. Rodin revisited this theme of cupids encouraging the sexual flourishing of a young woman in his later works, such as in Toilette de Vénus. Compagnie des Bronzes de Bruxelles produced editions of L'innocence tourmentée par l'amour for Carrier-Belleuse in terracotta, marble, biscuit de Sèvres and bronze until 1910.

Rodin created what is said to be the world's most famous sculpture. 'The Kiss' for Boston Millionaire E.P. WARREN, for £1,000 in around 1900 and it was delivered in 1904, and it lived in Warren House in Lewes East Sussex, then Lewes Town Hall in 1914. Then to a stable block in 1917, due to its unacceptable erotic nature, It lived in Lewes for a total of around 30 years.

12 years ago a pair of bronzes by Carrier-Belleuse, of the same age, quality and styl, titled, Spring and Summer, 2 works of gilt and patinated bronze and onyx circa 1850-1875, height 35.4 inches. They were sold at Christie's London April 29, 2010 lot 100 for $366,529.

Beginning at the age of thirteen at chiseler Beauchery’s workshop, Carrier-Belleuse learned from different goldsmiths, and was marked by the importance of the decorative arts. He worked quickly with Ferdinand Barbedienne and Deniere, the greatest bronze craftsmen of the century, in the realization of decorative objects, such as candelabra and fireplace garniture.

Fatherless orphan and protege of the Arago family, he obtained an official commission in 1848, a statue of the muse Rachel in gilded plaster. In 1863, his Bacchant in marble shown at the Salon is bought by Napoleon III, confirming his importance in the Second Empire. It was placed in the garden of the Tuileries from 1872 until 1984. He hence made the decoration of several prestigious buildings, in the Louvre, the Theatre of the Renaissance, on the pediment of the Bank of France, or at the Opera House of Palais Garnier, of which he supplied the two torches of the grand staircase.

As early as 1855, Carrier-Belleuse opened a workshop at the rue de la Tour d'Auvergne, 15, which welcomed many pupils, including Jospeh Cheret, Jules Dalou, and especially the great Auguste Rodin, who greatly benefited from this apprenticeship, and made his portrait in bust.

Carrier-Belleuse was probably best known for his production of statuettes and busts, as he realized many portraits of the personalities of his time, such as Theophile Gautier, Honore Daumier and Eugene Delacroix. He also sculpts portraits of some official figures with several busts of Napoleon III, and an important statue of the Countess of Castiglione. On the day following the ball of the 9th of February 1863 at the Tuileries, she wanted to make a portrait of her in her costume of Queen of Etruria, in a dignified pose, in order to counteract the slanders she had been the target of.

Carrier-Belleuse is also a great admirer of the Renaissance and the 18th century, from which he sculpts portraits of Shakespeare or Jean-Jacques Rousseau. He is inspired in his works by Renaissance art, especially the art from Fontainebleau. But he is also often considered as a new Clodion, 18th century sculptor of terracotta statuettes, for many gallant subjects and elegant busts of young women, such as the Bust of a young woman wearing a diadem, preserved in the Orsay Museum.

Thus, the monumental mirror exhibited by Barbedienne at the World’s Fair of 1867 , the true centerpiece of the stand, which emphasizes the pre-eminence of French skills in ornamental bronze, is decorated with characters by Carrier-Belleuse, in a Benvenuto Cellini manner.

Being one of the founding members of the Central Union of Fine Arts applied to Industry, now the Decorative Arts, his work is in keeping with the motto of this institute: "Beautiful in Useful". At the end of his career, he became art director of the Manufacture de Sevres, where he invented many designs with small sculptures, such as the Buire de Blois, at which Rodin worked. Finally, at the end of his life, a collection of drawings by Carrier-Belleuse was published, showing his involvement in the diffusion of beauty by the objects of everyday life: Application of the human figure to industrial decoration and ornamentation, 1884.

The son of Albert-Ernest Carrier-Belleuse, Louis-Robert Carrier-Belleuse, also became a renowned artist of decorative arts. Trained as a painter, and also a sculptor like his father, he mainly worked in ceramics, becoming art director of the Choisy

Famed works of art he created;

Monument to André Masséna
Nice, 1869
Hebe asleep, 1869
Paris, Musée d'Orsay
Pediment sculpture of Abundance, Pavillon de Flore, South façade of the Great Galerie, Louvre palace, Paris, circa 1863
Caryatids themed on the four seasons, Vichy Opera, for architect Charles Badger, 1865
Architectural sculpture for the Tribunal de commerce de Paris (Commercial Court of Paris), on the Île de la Cité, for architect Antoine-Nicolas Bailly, completed 1865
A silvered bronze chimney-piece for the Hôtel de la Païva, Paris, 1866
Monument to André Masséna, Nice, 1869
Architectural work at the Brussels Stock Exchange, Brussels, circa 1870
Mary Queen of Scots, Private Collection, ca. 1870
Two elaborate multifigure torchères for the base of grand staircase, Palais Garnier (Paris Opera), Pairs, 1873
Tomb of Belgian photographer Louis Ghémar, Laeken Cemetery, Brussels, 1873
Architectural work for the Théâtre de la Renaissance, Paris, for architect Charles de Lalande, 1873
Sea Nymph for the fountain at the Place du Theâtre-Français, Paris, for architect Gabriel Davioud, 1874
Bust of Aimée-Olympe Desclée for her tomb, 1874
Four Seasons fountain, Hotel de Ville, Fleurance
Mausoleum of José de San Martín, Buenos Aires Metropolitan Cathedral, Buenos Aires
Equestrian statue of Mihai Viteazul, University Square, Bucharest, Romania
Equestrian statue of Manuel Belgrano, Plaza de Mayo Square, Buenos Aires, Argentina
Equestrian statue of Bernardo O'Higgins, Alameda, Santiago de Chile, Chile
Statue for the victims of the La Compañía fire, originally at the place of the fire, today in front of the General Cemetery in Santiago de Chile, Chile

41cm height x 13cm depth x 15cm width

The much less rare 'fully clothed' version of The Woman Reading is shown in photo 10 in the gallery  read more

Code: 24454

A Very Nice Original Simkin Watercolour of an Officer 2nd Lifeguards 1876

Simkin was born in Herne Bay, Kent, on 5 November 1850, (some references cite 1840) the son of a commercial traveller, also named Richard. After marrying his wife, Harriet, in 1880, He spent much of his time at Aldershot, Hampshire, and may also have been a volunteer in the Artists Rifles. He was employed by the War Office to design recruiting posters, and to illustrate the Army and Navy Gazette. In 1901, he created a series of 'Types of the Indian Army' for the Gazette. he obtained much of the information from the Colonial and India Exhibition of 1886. During his lifetime, he, along with Orlando Norrie produced thousands of watercolours depicting the uniforms and campaigns of the British Army. Simkin also contributed illustrations to numerous publications including the Boy?s Own Magazine, The Graphic and others; many were published by Raphael Tuck and sons.
He died at his home at 7 Cavendish Street, Herne Bay on 25 June 1926, survived by his wife and two daughters. Today, his pictures can be seen in numerous regimental museums and his illustrations appear in regimental histories, 7 inches x 9.8 inches  read more

Code: 23070

Ancient Roman Gladiator Bronze Seal Ring, With Intaglio of Standing Gladiator With Shield and Flagellum. Early Imperial Julio-Claudian Emperors Period From The 1st Century A.D. of Emperors Augustus, Tiberious, Caligula, Claudius & Nero

In copper bronze with great, natural age patination. Classified as Henig type Xb by Dr. Martin Henig.

By far the greatest percentage of rings from the Roman era were engraved in the stylised form, such as this fine example. Worn either by a higher ranking, possibly freed gladiator, or, possibly an owner of gladiators, as was portrayed by Oliver Reed in the movie 'Gladiator', depicting the world famous combat slaves of Rome.

The wearing of the ring was the prerogative alone of Roman citizens or those of high rank and esteem, that some gladiators always aspired to but rarely achieved due to their short life span within their violent craft. However some did achieve such great success and were rewarded with riches, freedom and the right to wear the traditional Roman bronze status ring.

Another picture in the gallery is of a well-preserved fresco, recently unearthed in Pompeii—the Roman city razed by Mount Vesuvius’ eruption in 79 A.D.—it depicts the final act of a gladiator fight: As one combatant begs for mercy, the victorious warrior awaits instructions on whether to kill or spare his opponent.

A gladiator was an armed combatant who entertained audiences in the Roman Republic and Roman Empire in violent confrontations with other gladiators, wild animals, and condemned criminals. Some gladiators were volunteers who risked their lives and their legal and social standing by appearing in the arena. Most were despised as slaves, schooled under harsh conditions, socially marginalised, and segregated even in death. However, success in the arena could mean riches and fame beyond their wildest dream. For many this was the greatest escape from slavery there was.

Irrespective of their origin, gladiators offered spectators an example of Rome's martial ethics and, in fighting or dying well, they could inspire admiration and popular acclaim. They were celebrated in high and low art, and their value as entertainers was commemorated in precious and commonplace objects throughout the Roman world.

The origin of gladiatorial combat is open to debate. There is evidence of it in funeral rites during the Punic Wars of the 3rd century BC, and thereafter it rapidly became an essential feature of politics and social life in the Roman world. Its popularity led to its use in ever more lavish and costly games.

The gladiator games lasted for nearly a thousand years, reaching their peak between the 1st century BC and the 2nd century AD the time of Emperor Commodus. Christians disapproved of the games because they involved idolatrous pagan rituals, and the popularity of gladiatorial contests declined in the fifth century, leading to their disappearance.

Marcus Aurelius acceded to the throne alongside his adoptive brother, who reigned under the name Lucius Verus. Under his rule the Roman Empire witnessed heavy military conflict. In the East, the Romans fought successfully with a revitalized Parthian Empire and the rebel Kingdom of Armenia. Marcus defeated the Marcomanni, Quadi, and Sarmatian Iazyges in the Marcomannic Wars; however, these and other Germanic peoples began to represent a troubling reality for the Empire.

Commodus was the Roman emperor who ruled from 177 to 192. He served jointly with his father Marcus Aurelius from 177 until the latter's death in 180, and thereafter he reigned alone until his assassination. His reign is commonly thought of as marking the end of a golden period of peace in the history of the Roman Empire, known as the Pax Romana.
Commodus became the youngest emperor and consul up to that point, at the age of 16. During his solo reign, the Roman Empire enjoyed reduced military conflict compared with the reign of Marcus Aurelius. Intrigues and conspiracies abounded, leading Commodus to revert to an increasingly dictatorial style of leadership, culminating in his creating a deific personality cult, with his performing as a gladiator in the Colosseum. Throughout his reign, Commodus entrusted the management of affairs to his palace chamberlain and praetorian prefects, named Saoterus, Perennis and Cleander.

Commodus's assassination in 192, by a wrestler in the bath, marked the end of the Nerva–Antonine dynasty. He was succeeded by Pertinax, the first emperor in the tumultuous Year of the Five Emperors.

Not only did the ‘games’ centre on gladiators, they also included animals fighting other animals, such as bears fighting lions or lions vs horses. Since ancient times horses have been trained for combat, not just to be non-fearful in carrying its rider into the melee of hand to hand combat, but to kill any adversary, albeit a man or another animal.

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  read more

Code: 25080

Ancient Early Imperial 1st Century Roman Equestris Legionary's or Centurion's Ring Intalglio Engraved With Horse Mounted Roman

Classified by the seminal classification of ancient ring forms, by Dr. Martin Henig, as Ancient Roman, Henig type Xb.

Wide oval bezel affixed to flattened shoulders engraved copper alloy, with a fair amount of aged surface russetting. Almost identical to one found in the UK, near Hadrian's Wall. The ring was important for displaying the Roman's status. For example Tiberius, who was after all left-handed according to Suetonius, thus displays a ring in his bronze portrait as the Pontifex Maximus:

The most common alloy employed for the largest number of ornaments and with the greatest variety of shapes was brass, the alloy of copper and zinc. The high number of alloys with a different composition indicates that there was a significantly increased demand for jewellery similar in colour to precious metal, but less expensive and easier to produce. Made from the time of the Emperors Augustus, Tiberious, Caligula, Claudius, and Nero and l;ikely used up to era of Emperor Marcus Aurelius. In 181 AD, Marcus Valerius Maximianus, an important Roman general, was the general of the 1st Legion Italica, and he was a confident of Emperor Marcus Aurelias, during the period of the Marcomannic Wars. It is said he inspired the composite fictional general Maximus Decimus Meridius, the main character and Roman General in Gladiator played by Russell Crowe, and it was the Marcomannic wars that are depicted in the earliest scenes in Gladiator in which the fictional version of Marcus Valerius Maximis was a commanding general. The real Marcus Valerius Maximianus was placed in charge of detachments of the praetorian fleets of Misenum and Ravenna and also of African and Moorish cavalry used for scouting duties in Pannonia. While on active service with the cavalry Maximianus killed a Germanic chieftain named as "Valao, chief of the Naristi" with his own hand and was publicly praised by the Emperor, who granted him the chieftain's "horse, decorations and weapons". He was appointed prefect of the lance-bearing cavalry and was in charge of the cavalry.
The complete Roman Empire had around a 60 million population and a census more perfect than many parts of the world (to collect taxes, of course) but identification was still quite difficult and aggravated even more because there were a maximum of 17 men names and the women received the name of the family in feminine and a number (Prima for First, Secunda for Second…). A lot of people had the same exact name.
So the Roman proved the citizenship by inscribing themselves (or the slaves when they freed them) in the census, usually accompanied with two witnesses. Roman inscribed in the census were citizens and used an iron or bronze ring to prove it. With Augustus, those that could prove a wealth of more than 400,000 sesterces were part of a privileged class called Equites (knights) that came from the original nobles that could afford a horse. The Equites were middle-high class and wore a bronze or gold ring to prove it, with the famous Angusticlavia (a tunic with an expensive red-purple twin line). Senators (those with a wealth of more than 1,000,000 sesterces) also used the gold ring and the Laticlave, a broad band of purple in the tunic.

So the rings were very important to tell from a glimpse of eye if a traveller was a citizen, an equites or a senator, or legionary. People sealed and signed letters with the rings and its falsification could bring death.
The fugitive slaves didn’t have rings but iron collars with texts like “If found, return me to X” which also helped to recognise them. The domesticus slaves (the ones that lived in houses) didn’t wore the collar but sometimes were marked. A ring discovered 50 years ago is now believed to possibly be the ring of Pontius Pilate himself, and it was the same copper-bronze form ring as is this one.  read more

Code: 24786

A Victorian, Stilleto Style, So-Called Courtesan’s Dagger. A Most Elegant Garter Knife Ideal For A Victorian Ladies Concealmet

With very attractive pressed ivorine handle made to simulate finest ivory.
A courtesan’s dagger was so called due to their attractiveness and useful size for concealment by unaccompanied ladies abroad after dark.

Of course they would never have been sold as such by retailers, and the term has entered the vernacular of collectors probably even after the time they were actually made, however, like the term 'mortuary hilted swords' that bore the engraved visage of the king in the hilt from the English Civil War, they were never actually called that until almost 200 years later.

They are most attractively designed elegant daggers, just such as this fine example, with a slender and most efficient blade. Ladies of the night became a major concern and a focal point for social reformers in the 19th century. Concerns were seen everywhere including the literature of notables such as Charles Dickens. He created characters (some of which may have had real life versions) like Nancy in Oliver Twist, and Martha Endell in David Copperfield.

No one knows for certain, but there were somewhere between 8,000 and 80,000 in London during the Victorian Age. It is generally accepted that most of these women found themselves in prostitution due to economic necessity.

There were three attitudes towards prostitution – condemnation, regulation, and reformation. Dickens adopted the last and was intimately involved in a house of reform called Urania Cottage.
No scabbard as it possibly may never have had one. Blade 4.25 inches, overall 8.25 inches long  read more

Code: 24413

A Stunning 'Grand Tour' Antique Rococo Italian 19th Cen. Carved Venetian Grotto Stool, Pauly et Cie. A Wonderful Original Object D'art, Italian Renaissance Revival. George Cukor Had An Entire Room Dedicated to 'Grand Tour' Dolphin & Shell Furniture

In carved walnut, baroque style, with a seat shaped as a rotating elevating scallop shell, docorated in ebonised lacquer, with a scrolled front, set on a relief carved gilded dolphin, and tripartite black ebonised lacquer base. Elaborately carved style of the rococo revival.

One could just as easily imagine the great composer Mozart sitting upon such a fabulously extravagant stool, playing a spinet in one of the great palaces in Venice, and similarly, Sir Elton John seated upon it, performing one of his iconic compositions at a Oscars after party in Hollywood. Just as a piano stool should do, this stool’s shell seat rotates upon a steel spindle in order to adjust its seating height to perform at such as a Steinway or Bechstein grand piano. From 20.5 inches in height, to 23 inches high

In the ‘Grand Tour’ era of 19th century France such pieces of fine art were created for the highly classical ‘after the antique’ market. Such as gilt bronze miniature copies of ‘Napoleons’ column in Place Vendome, and small yellow simulated marble versions of Ancient Greek and Roman columns and arches, and architectural features, and sometimes whole structures, such as Cleopatra’s Needle. Bronzes and marbles ‘after the antique’ of busts of Roman Emperor’s, and elegant statuary. Companies such as Granger of Paris, that worked in the 1840's, created wonderful miniature suits of armour, mounted on horse armour or free standing, and they are of incredibly detailed quality. Such pieces by Granger are in such incredible demand, by collectors or interior decorators, that can they achieve values in the tens of thousands of pounds, even approaching six figures today, and for most that are no more than two feet or around 50 cms high complete. Wondrous full size armour was also created, such as extravagant armour helmets from the Renaissance, the designs made fore the kings of France in the 16th century. Also shields, gauntlets, and gorgets exactly as this fabulous piece. That were ideal for classical art displays and interior décor of the finest Georgian country estates, and the glorious Palladian terraced mansion houses in the cities, such as London, Edinburgh, Bath and Brighton.

As early as the 1500's grottoes were meant to complement Italian Renaissance gardens and provide cool places for Europeans to retreat from the sun. Of course there was a need to furnish these spaces, so fantasy furniture, called grotto furniture, became quite the trend and Grotto had it's own "style". Today home grottoes and shell encrusted furniture are undergoing something of a revival as we too long to bring our love of the ocean indoors with fun and whimsical seashell-inspired decor. Antique Venetian grotto furniture is now rare and immensely collectable. The scallop form became increasingly popular between the fifteenth and nineteenth centuries, as focus on classical, organic and symmetrical forms became more and more popular.
As the scallop form gradually became more used in architecture, its popularity started to be reflected in additional ways, predominantly having a vast influence on Italian Renaissance and Rococo furniture.
Furniture makers in Venice were very prolific in their seating designs, and were particularly known for chairs that had nautical themes. Shells, coral, dolphins and seahorses were often sculpted into chairs that took inspiration from the designs of Venetian grottoes. First created by the ancient Greeks, the grotto was formed out of caves situated near a water source and decorated with tufa, stones and shells. The grottoes acted as shrines, a restful space to pay respect to the spirits of water. In the Renaissance, grottoes became a popular addition to the landscapes of villas for those who could afford it. The Italian landscape designers revived and created a new tradition of grottoes, elaborately decorated into man-made monuments of natural beauty. The Renaissance grotto symbolized the quest for knowledge and an awareness of one's surroundings.

The Italian grotto style peaked during the nineteenth century, and furniture was created to reflect this passion for nautical themes. From the mid to late nineteenth century, furniture makers in Venice fashioned chairs based on the feel of the grotto, creating an eclectic mix of Renaissance and Rococo inspired sculpted imagery. The nineteenth century Venetian grotto chairs were most likely intended for hallways and were aimed to be sold to visitors on their European 'Grand Tour'. This stool is in superb condition with just some light erosion of the gilt and lacquer areas.

Apparently brought back to England by a British General after the Italian campaign in 1944/5, as a personal gift of an Italian nobleman.

The Brighton Pavilion Palace of the Prince Regent is profusely decorated with items of furniture influenced in what is now called the grotto style, with a heavy rococo influence throughout. With fabulously carved gigantic beasts such as dragons and ho ho birds, and this same shell design on stools in the music room. Items of original antique Venetian grotto seating, with the nautical shell infuence, are now commanding huge prices. Franco Zefferelli had a pair in collection that sold for $30,000  read more

Code: 22356

Archaic Chinese Warrior's Bronze Sword, Around 2,300 to 2,800 Years Old, From the Zhou Dynasty to the Qin Dynasty, Including the Period of the Great Military Doctrine 'The Art of War' by General Sun-Tzu

Chinese Bronze 'Two Ring' Jian sword used in the era of the Seven Kingdoms period, likely in the Kingdom of Yue up to the latter part of the Eastern Zhou dynasty (circa 475 BC). A specific kingdom, which had been known as the "Yue Guo" (越國) in modern Zhejiang, was not mentioned until it began a series of wars against its northern neighbor Wu during the late 6th century BC. According to the Records of the Grand Historian and Discourses of the States, the Yue are descended from Wuyu, the son of Shao Kang, the sixth king of the Xia dynasty.

With help from Wu's enemy Chu, Yue won after several decades of conflict. The famous Yue King Goujian destroyed and annexed Wu in 473 BC. During the reign of Wuqiang (無彊), six generations after Goujian, Yue was partitioned by Chu and Qi in 306 BC.
During its existence, Yue was famous for the quality of its metalworking, particularly its swords. Examples include the extremely well-preserved Swords of Goujian and Zhougou.

From our wonderful collection of ancient Chinese weaponry we recently acquired, another stunning ancient sword around 2500 years old or more. From the Zhou dynasty, and the area of the King's of Wu, in Chu, or more likely the Kingdom of Yueh. From a collection of antiquities, swords daggers, and rings, many pieces sold for the part benefit of the Westminster Abbey fund, and the Metropolitan Museum fund

Swords of this type are called “two-ring” swords because of the prominent rings located on the hilt. this is the very type of sword 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.
We show a painting in the gallery of a chariot charge by a Zhou dynasty warrior armed with this very form of sword.
The Chinese term for this form of weapon is “Jian” which refers to a double-edged sword. This style of Jian is generally attributed to either the Wu or the Yue state. The sword has straight graduated edges reducing to a pointed tip, which may indicate an earlier period Jian.

The blade is heavy with a midrib and tapered edges
A very impressive original ancient Chinese sword with a long, straight blade with a raised, linear ridge down its centre. It has a very shallow, short guard. The thin handle would have had leather or some other organic material such as leather or hemp cord, wrapped around it to form a grip. At the top is a broad, round, dished pommel.

The Seven Kingdom or Warring States period in Chinese history was one of instability and conflict between many smaller Kingdom-states. The period officially ended when China was unified under the first Emperor of China, Qin pronounced Chin Shi Huang Di in 221 BC. It is from him that China gained its name.

The Zhou Dynasty (1046-256 BCE) was among the most culturally significant of the early Chinese dynasties and the longest lasting of any in China's history, divided into two periods: Western Zhou (1046-771 BCE) and Eastern Zhou (771-256 BCE). It followed the Shang Dynasty (c. 1600-1046 BCE), and preceded the Qin Dynasty (221-206 BCE, pronounced “chin”) which gave China its name.

In the early years of the Spring and Autumn Period, (770-476 BC) chivalry in battle was still observed and all seven states used the same tactics resulting in a series of stalemates since, whenever one engaged with another in battle, neither could gain an advantage. In time, this repetition of seemingly endless, and completely futile, warfare became simply the way of life for the people of China during the era now referred to as the Warring States Period. The famous work The Art of War by Sun-Tzu (l. c. 500 BCE) was written during this time, recording precepts and tactics one could use to gain advantage over an opponent, win the war, and establish peace.

Sun Tzu was a Chinese general, military strategist, writer, and philosopher who lived in the Eastern Zhou period of ancient China. Sun Tzu is traditionally credited as the author of The Art of War, an influential work of military strategy that has affected both Western and East Asian philosophy and military thinking. His works focus much more on alternatives to battle, such as stratagem, delay, the use of spies and alternatives to war itself, the making and keeping of alliances, the uses of deceit, and a willingness to submit, at least temporarily, to more powerful foes. Sun Tzu is revered in Chinese and East Asian culture as a legendary historical and military figure. His birth name was Sun Wu and he was known outside of his family by his courtesy name Changqing The name Sun Tzu by which he is more popularly known is an honorific which means "Master Sun".

Sun Tzu's historicity is uncertain. The Han dynasty historian Sima Qian and other traditional Chinese historians placed him as a minister to King Helü of Wu and dated his lifetime to 544–496 BC. Modern scholars accepting his historicity place the extant text of The Art of War in the later Warring States period based on its style of composition and its descriptions of warfare. Traditional accounts state that the general's descendant Sun Bin wrote a treatise on military tactics, also titled The Art of War. Since Sun Wu and Sun Bin were referred to as Sun Tzu in classical Chinese texts, some historians believed them identical, prior to the rediscovery of Sun Bin's treatise in 1972.

Sun Tzu's work has been praised and employed in East Asian warfare since its composition. During the twentieth century, The Art of War grew in popularity and saw practical use in Western society as well. It continues to influence many competitive endeavours in the world, including culture, politics, business and sports.

The ancient Chinese people worshipped the bronze and iron swords, where they reached a point of magic and myth, regarding the swords as “ancient holy items”. Because they were easy to carry, elegant to wear and quick to use, bronze swords were considered a status symbol and an honour for kings, emperors, scholars, chivalrous experts, merchants, as well as common people during ancient dynasties. For example, Confucius claimed himself to be a knight, not a scholar, and carried a sword when he went out. The most famous ancient bronze sword is called the “Sword of Gou Jian”.

This is one of a stunning collection of original archaic bronze age weaponry we have acquired, from the Anthony Dove Collection, and has now arrived. 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.
Anthony Dove, alongside Alan Williams of the Wallace Collection, wrote academic papers on the observations and identification of metals used in the manufacture of ancient Chinese swords, and, thus their authenticity, considered to be a seminal work of its kind.
As with all our items, every piece is accompanied by a certificate of authenticity, based on our 100 plus years of established experience, based in Brighton, since 1920.

21 inches long overall 17 inch blade

Ref; SOME OBSERVATIONS ON EARLY CHINESE BRONZE SWORDS
By
Anthony Dove and Alan Williams The Wallace Collection} 65 publications  read more

Code: 24388