Antique Arms & Militaria

A Superb 16th Century Tudor Era Gothic Renaissance Halberd, Queen Elizabeth Ist Period. Traditional Iron Head With Tall Central Spike With A Twin Bird's-Head Axe Blade & Sharp Flat Hook Counter Blade. With Original 7ft Studded Haft

The iron head is in superb condition for its age, with fixed and shortened haft straps. It’s original haft is now very worn.
Halberds appeared by the late Middle Ages. The halberd’s origin, or its evolution from earlier battle axes, is obscure. Some Georgian-era antiquarians traced the weapon all the way back to the ancient Amazons of classical mythology. Other sources called it “the Danish axe” and credited its invention to the Vikings. In documented history, Swiss soldiers fighting for the independence of their cantons or as international mercenaries made the halberd famous in the 14th century.

Halberds were mounted on sturdy poles about six to eight feet long, which were crafted from ash or similar hardwoods. The iron head had a pointed long spear tip with two additional blades set at right angles to the central axis. One of these side blades resembled a hatchet head, and the other was a sharp, downturned fluke or hook. The hatchet blades often were small and crescent-shaped and could have elaborate contours and pierced decoration as does this halberd. On the other hand, some halberds had a monstrously large axe added to one side. Those designed for combat were usually sturdy and simple, while those with the more elaborate patterns were carried by honour guards and palace sentries.

The halberd’s pointed tip fended off opponents, as would a simple pike. The sharp point could puncture chain mail or slip between plates of armor. The curved fluke could catch a horse’s reins or pull riders down from their mounts. By swinging the six to eight-foot-long wooden handle, the axe blade landed with considerable power on the armour of a dismounted knight. Halberdiers were vulnerable when swinging their weapons back to deal a blow. They were also at a disadvantage against soldiers carrying much longer weapons, such as lances or full pikes. In practice, armies mixed halberdiers with soldiers bearing pikes, bows, and other weapons.

The introduction of the harquebus in the early 16th century heralded the slow demise of the halberd as a battlefield weapon.
Halberds also helped soldiers climb up steep slopes or defensive obstacles. The sharp axe-like blades were also perfect for hacking and tearing down field fortifications such as fascines or gabions.

It has its original studded haft but since it has been in armoury display for likely two to three centuries, all its surface velvet is now gone and overall surface worn. Delivery fully intact and full length, upon its haft, can be within the UK mainland only. Photo two in the gallery are three halberd in an Italian castle armoury, the third on the far right is very similar to this one. Note the red velvet covered hafts within the castle armoury photo of three halberds, that is how this one would have looked originally, but the red velvet is now completely lost through age, and it now looks as it does on the third halberd in the photo.

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

Code: 25650

An Absolutely Stunning Museum Piece & Fit For A Prince, An 18th-19th Century Wootz Steel & Gold Dagger. Likely Made for A Turkish, Ottoman Empire Pasha Or Noble Of the Highest Status. Napoleonic Wars Period. As Worn By A Grand Vizier of the Ottoman Empire

A wonderful antique khanjar dagger of all wootz steel, and the hilt is decorated with chiselled flower heads within an Islamic geometric cartouche form pattern, with scrolling acanthus leaves and flowers at the ricasso of the wootz Damascus blade, overlaid with fine gold koftgari.

Likely worn and used by such as, for example, a great ruler of the Ottoman's, Ali Pasha {he ruled from the 1788 till 1822}.
The great Ali Pasha was, during the Napoleonic Wars, at first, an admirer of Napoleon and formed a brief alliance with him during said Napoleonic wars, but, with changing winds he went against his previous ally in order to support the British. Napoleon thus sanctioned a planned rebellion against Ali, but the British arrived, as funds were being collected and rebels were being recruited. Ali's rival, Ibrahim Pasha of Berat, turned to the French and gathered a coalition of Ali's enemies, including Mustafa Pasha of Delvinë, Pronio Aga of Paramythia, Hasan Çapari of Margariti, the Beys of Himara, the Aga of Konispoli and the Souliotes. This coalition began attacking Ali's realm with support from French artillery, and Ali responded by bribing Ibrahim's supporters with British support. Ali besieged Ibrahim Pasha in Berat with an 8,000-man army commanded by the Albanian captain Omer Bey Vrioni, and with the aid of British rockets, Berat finally fell after a year of skirmishing. Ibrahim retired to Vlorë, and Ali told the Porte that he had taken Berat in response to the revolts in upper Albania that were the result of Ibrahim's inability to rule

The wootz of the blade is in the typical recurved form shape with an armour piercing tip. The type of dagger arm was particularly adept at piercing the armour of enemy combatants.

Developed originally in India, wootz steel technology features a system of isolating micro carbides within a matrix of tempered martensite. The ancient metalwork specialist Herbert Maryon of the British Museum in London described the metal technique as: the undulations of the steel resemble a net across running water the pattern waved like watered silk it was mottled like the grains of yellow sand. With roots in the Tamil Nudu region of the sub-continent, the technology was considered the most effective in the world for maximizing armor piercing potential. The indigenous Indian population presented the invading armies of Alexander the Great with tribute ingots of wootz around 300 B.C. From there, the process was refined over time throughout the world in Damascus, Syria; continental Europe; and later Great Britain, where the process underpinned the Industrial Revolution that began in the 18th century. The Rajahs of India submitted tulwars, shamshirs, khanjars, in addition to other ancient swords and daggers manufactured with wootz to the International Exhibition of 1851 and 1862, whereby the pieces become coveted for the quality of their steel.

We show in the gallery an 18th century portrait of Yirmisekizzade Mehmed Said Pasha, Grand Vizier of the Ottoman Empire in Paris. At his waist is his gold hilted khanjar almost identical to ours.

Originally this khanjar would have had a simple red velvet covered wooden scabbard, now lost.

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

Code: 20674

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

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

History of the grenade;

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

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

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

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

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

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

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

Approx 51/2 inches top to bottom.

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

Code: 25644

A Really Rare Chevasse & Co Confederate Contract Pattern 1856, 1856/8 Two Band Enfield Rifle Sword Bayonet with Yataghan Blade. American Civil War Import From Birmingham England, by Confederate Supply Contractor Horace Chavasse.

A British Victorian Export Enfield Pattern 56, bayonet pattern 1856-58, for the two band Enfield Rifle, a Yataghan blade sword bayonet, the regulation bar-on-barrel, model. The blade is 22 3/4", with Birmingham retailers name CHAVASSE(Horace Chavasse), at the ricasso/forte, with serial number and Confederate regimental numeral stamps. And no British government inspector or ordnance marks, just as it shouldn’t.

Overall in superb condition for age.

You really don't see such rarities available in the UK market today, and precious few in the American market actually, especially one that came from the States 50 odd years ago.

We bought the entire small collection from the widow of a 'Best of British Empire and German' Rifles and Bayonets' collector, who acquired them over the past 40 years, and only ever kept the very best he could afford to keep. Act fast they are selling really fast. All are top quality and condition,19th and 20th century scarce British and German collectables are always the most desirable of all. This bayonet he bought in Louisiana in the USA, in 1970's

Horace Chavasse of Alma Street, Aston, Birmingham (1860-1868) is known for his export contract of these M1856/8 sword bayonets to the Confederate States during The US Civil War,

It has standard chequered leather grip plates, and is production three digit numbered 509, {Confederate bayonets are often recognised as bearing four digit engraved, or, three or four number stamped serial numbers, } and it also bears Confederate regimental stamp number, '10' on the pommel top, with a good working spring catch, and usual wear on the grips, the overall condition is very good,

In 1861 Chavasse & Co, produced the 1853 Enfield socket bayonet, and sword bayonets
under contract with no British government markings or stampings to link with British government indicating that all the bayonets were made for export to America for the American Civil War Confederate States. The company was used because of its manufacturing abilities and its connections and successes in sales in the foreign market, markings on bayonet rear pommel of the hilt and blade ricasso of the sword bayonet. The mark of "CHAVASSE & Co" or 'Chavasse'. Total manufactured 11,173 of the bayonets.

It also details in the records that the 1853 and 1856 Enfield pattern rifle’s socket and sword-bayonet batches, sent to American Confederate States, did not have any British government stamps or markings.
All the above details are from their company records, and the company was based at the Crocodile Works Alma Street, Ashton Newton, Birmingham, England from 1860 to 1869

Chavasse supplied his sword-bayonets and socket bayonets from early on during the Civil War, and it was through this that he became acquainted with William Joshua Grazebrook. Their partnership was formalised in early 1862, and the pair brought a large amount of military weapons to sell to the Confederacy. Their attempt at blockade running was disastrous however, as well as financially ruinous, as the ship, the ill fated Modern Greece was wrecked off of Wilmington, North Carolina in June 1862.

Although some damaged cargo was salvaged by Confederate authorities and sold at auction, Chavasse would not receive any money from the cargo, and his partner, Grazebrook, would soon declare bankruptcy in June of 1863 after the capture of the Dolphin and Nicolai I in March of that year.

Chavasse would continue legal action against Grazebrook to no avail, as the courts determined that Grazebrook was insolvent in 1865. The financial ruin brought on by his support of the Confederacy would cause Chavasse himself to declare bankruptcy in 1868. He died virtually penniless in 1917 at the age of 87.

No scabbard, as is more usual than not for surviving sword-bayonets by Chevasse  read more

Code: 26287

An Extraordinary Original Conversation Piece. A Superb, Original, Late Queen Elizabeth Ist to King James Ist Period Miniature Pistol. Late 1500's, To The Turn of The 17th Century, Functioning Miniature Pistol

A pistol made in bronze, many hundreds of years ago, to fire off for the entertainment of the nobility and their children. Dark blue-black bronze aged patination. No moving parts.

An extraordinary little piece of rarely known history, from the earliest age of the black powder pistol. These intriguing miniature functioning pistols were called petronel, named after the original early name of matchlock and wheellock pistols, and very much of the period, from the Elizabethan to the Carolean age. we show in the gallery an Elizabethen portrait of Captain Thomas Lee by Marcus Gheeraerts the Younger, with a full sized pistol of the age, that this miniature represents {clearly in its most simplistic form}

A petronel is a 16th and 17th century black powder muzzle-loading firearm, defined by Robert Barret (Theorike and Practike of Modern Warres, 1598) as a horsemans peece. It was the muzzle-loading firearm which developed on the one hand into the pistol and on the other into the carbine. The name (French petrinel or poitrinal) was given to the weapon either because it was fired with the butt resting against the chest (French poitrine, Latin pectus) or it was carried slung from a belt across the chest. Petronels are found with either matchlock or wheellock mechanisms.

The sclopus was the prototype of the petronel. The petronel is a compromise between the harquebus and the pistol. Early petronels date back to the end of the 14th century, with a crude buttstock. Generally the touch hole is on the right side, and fired by a separate slow match. Sometimes they had small hinged plate covers to protect the priming from moisture. By extension, the term petronel was also used to describe the type of light cavalry who employed the firearm. The petronel (cavalryman) was used to support the heavy cavalry such as demi-lancers and cuirassiers. The petronel was succeeded by a similarly armed cavalryman called the harquebusier.


We acquired a stunning little collection of miniature petronel, effectively toys, and they are the Zenith of original, and historical conversation pieces, especially when one considers they are around 450 year old working pistols. Naturally they were not made with the action mechanism of a full sized petronel, one just ignited them with a smouldering match cord, to create an instantaneous small bang and puff of smoke.
Please note, under no circumstances should one try to use them today.  read more

Code: 26288

A Simply Outstanding Norman Period Medieval Sculpture Circa 11th Century. A Biblical Portrait Bust From The Old Testament. Likely Removed From a Norman Church or Monastery In the Dissolution of the Monasteries

Up to 1000 years old or later, a carved stone ancient British corbel, weighing almost 55 pounds, from such as a Norman church, monastery or even castle. It is a fabulous carved head of a the grimacing first man, Adam, he from the Garden of Eden, as told in the Old Testament Book of Genesis. His face likely revealing his regret of his being cast out by God, with his wife Eve, to face the misery of life after leaving God’s paradise, after succumbing to the serpents temptation via Eve. No doubt an allegory of the warning of the consequence that awaits those that fail in their devotion and duty. Interestingly it is one of the great historic myths that it was an apple tree within which the serpent appeared, with his poisonous apple, but there is no mention of an apple or apple tree at all in the tale. It was simply the fruit of the forbidden tree that bore peri, which just means fruit, of no particular or defined kind. It could just have easily been a peach, or even a kumquat.

The tradition of using carved stone corbels perhaps derives from stone vaults, although their ribs normally rise from capitals on wall shafts and these are usually foliate or moulded. However, Romanesque churches had external corbels below the eaves which have their architectural origins in classical brackets (and before that, the ends of roof timbers). Although most frequently carved as human heads, they could be animals, figures or grotesques. Explaining the relative lack of external decoration of churches in comparison with their interiors, William Durandus {who died in Rome in 1296 wrote: ‘for although its outward appearance be despicable, the soul which is the seat of God is illuminated from within’. It has therefore been taken that the grotesques and gargoyles seen on church exteriors are there to defend the building (heaven) and those within it from ever-present evil by fighting the Devil with his own. While literacy increased in the Middle Ages, the great majority of people entering a church would not have been able to read (and in any case, any script was most likely to be in Latin before the 16th century). Medieval people certainly recognised many more scenes from the Bible than modern churchgoers, but there were plenty of other sources of inspiration for painted and carved decoration. Hagiographical stories were widely used to convey Christian messages of morality and duty, yet the stories that concluded in considerably less than perfection also convey the consequences of failing to abide by such positive devotions. Thus in this case Adam started as the ideal of hagiographical perfection, at least in God’s eyes, but faced the painful reality after falling from God’s grace and his expulsion from paradise.

After the Norman Invasion of 1066.
William was quick to bring in Norman nobles, administrators and clerics to run this new section of his Norman empire, and, in fact, he soon left to return to pressing business in Normandy, leaving instructions as he sailed back across the English Channel, returning only when he needed to lead his armies against rebellion.
Most notably this included the Harrying of the North in 1069-70 with the Domesday Book, written some 16 years later, still recording that many villages across the northern counties were ‘laid waste.’ Such was the shocking power and devastation of the occupying Norman force.

At the heart of these plans was Feudalism that, in essence, demanded the domination of the Anglo-Saxon population, both high born and low. But given that the invading force never numbered more than some 10,000 Normans, help would be needed to achieve the subjugation demanded by the new king.
As a result, Odo ordered, on the new king’s instructions, a massive castle building programme, using the famous Norman motte and bailey plans that were so well copied in other parts of the world soon after.
These Norman castles were quickly built by masons and engineers brought in from Normandy, who worked on individual projects up and down the country under the watchful eye of the Master Mason. In general, there would be 2 types of masons who worked under him, the hewers, who carved the stones, and the layers, who placed the stones in to the building.
All of this, of course, was paid for by draconian taxes extracted from the local population. Taxes and tax collection, after all, lay at the heart of why the Domesday Book of 1086 was commissioned and why the surveyors sent out to every English town and village were ordered to be so thorough.
But alongside this huge Norman castle building programme, a huge mirror programme of cathedral building was also put in place, with 15 new Norman masterpieces put up in the next 90 years or so. Of these, 13 still remain, with only 2 lost to us: Old St Paul’s, burnt down in the Great Fire of London in 1666, and Old Sarum, soon replaced by Salisbury Cathedral, pulled down in the reign of Richard the Lionheart.


Photos in the gallery from the Norman church of Saint Mary and Saint David in Kilpeck, Herefordshire, England. It shows one of the well-preserved carved corbels supporting the roof, depicting a hound and a hare, in a delightful style of cartoon-like simplicity. Carved during the mid 12th century AD (late Norman period) by an unknown sculptor of the "Herefordshire School". (Photo by Simon Garbutt).

Another corbel from the Norman Kilpeck Church by Andy Dolman Creative Commons Attribution-Share Alike 2.0 Generic
Four corbels by Ciaran Byrne

13.5 inches high, approx, 55 pounds weight

THE LANES ARMOURY, THE PREMIER HOME OF ORIGINAL AND AFFORDABLE ANCIENT ANTIQUITIES , MILITARY ARMOURY ANTIQUES & COLLECTABLES IN BRITAIN

Every single item from The Lanes Armoury, Britain's most famous, favourite, and oldest original Armoury Antique store, 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, and thus, it is a lifetime guarantee.  read more

Code: 25806

A Very Good Victorian 1881 British Army Garter Star Helmet Plate

A very good example of the helmet plate used on the Home Service and tropical sun helmets used by all the foot regiments of the British Army in the late 19th century. In excellent condition.

In 1881, the British Army standardized its headgear by rolling out the Home Service Helmet across most line infantry and corps. Also known as the Foreign Service Helmet or pith helmet, this headdress was characterized by its cork core, cloth covering, and distinctive brass or silver fittings.Key details surrounding the 1881 Home Service Helmet
The helmet was constructed of stiff cork covered with blue cloth (or sometimes green/grey for specific light infantry and rifle regiments). The fittings varied by branch and rank; officers used gilt or silver-plated insignia, while other ranks used brass.The 1881 Childers Reforms: This specific year is historically significant because the Childers Reforms amalgamated numbered regiments into localized territorial regiments. As a result, the large, star-shaped helmet plates mounted on the front of the headdresses were heavily updated to reflect the new regional and amalgamated titles.
Helmets were topped with either a fluted metal spike (for infantry) or a "ball in a leaf cup" device (for artillery, engineers, and specific service corps).
While originally intended as a universal field and dress headdress, the introduction of khaki during the 1903 uniform updates restricted this helmet to pure Full Dress. It was phased out for field operations and eventually limited to specific ceremonial duties  read more

Code: 26286

An Absolutely Stunning Napoleonic Ist Empire Mercurial Gilt Library Clock From Paris, Circa 1804, Depicting the Bust of Roman Poet Ovid (Publius Ovidius Naso) As A Youth, Atop A Library Bookcase In Napoleon's Working Cabinet, in The Tuileries Palace

NOW SOLD!!
A fabulous statement centrepiece for a collector of original Napoleonic antiques and arms and armour from the 1st Empire of France

The 'working cabinet' is an early term for a working office library, hence the now well known term of the cabinet, and 'The Cabinet Office' in 10 Downing St.

This is exactly the kind of timepiece one would find in the Tuileries, and other great palaces and chateaux’s libraries and offices, of the great statesmen and marshals of France during Napoleon’s early empire period. The magnificent Palais Des Tuileries was Napoleon's Parisian palace and had been used by the kings of France since the 1500's. Sadly it was burnt to the ground in the Communard's revolt in Paris in 1871. Fortunately all its furniture and fittings were in storage at the time, and thus unharmed, it is said there were three of these library clocks made for Napoleon in the palace, each with a different bust atop the clock, one may indeed have been the same version as Ovids, but of Napoleon, and one hopes they are still safe in the storage house in Paris.

The bust of Ovid is in one of Napoleon's chosen poses, adorned with a laurel leaf gold crown of victory. Napoleon chose to have a bust made of himself in the same Julius Caeser pose with the crown of victory, in 1804, by Davide, likely the same year as this masterpiece of beauty was created. Another indication of its likely direct route to Napoleon. The concept of the depiction of Tuileries Palace library bookcases was emulated by other master clockmaker artistes at the time, thus likely the symbolic connection to education and science as the root and substance of Napoleon’s Empire. Napoleon saw himself in many ways as France’s Julius Caesar, crowning himself as Emperor of France with the power and position to create vassal kings of his newly conquered empire throughout the whole of Europe.

Napoleon Bonaparte and the Roman poet Ovid (Publius Ovidius Naso) are connected by the historical irony of their exiles. Ovid famously suffered banishment to Tomis on the Black Sea by Emperor Augustus, and this theme of exile—specifically their own downfalls—became intertwined in history.The shared connection largely revolves around the geography of their punishment and historical reflections of Elba to Tomis.

Ovid's fate is often juxtaposed against Napoleon's. In a twist of historical irony, Ovid discovered his ultimate fate in exile on the island of Elba, which later became the exact location of Napoleon’s first exile in 1814.
The "Carmen et Error":

Both men saw their lives defined by a combination of political indiscretions and fateful errors. While Augustus exiled Ovid for what the poet vaguely called a "poem and a mistake," Napoleon was permanently exiled to Saint Helena after losing his empire.

Napoleon was known to have a classical education, and scholars sometimes compare the isolation experienced by Ovid in Dacia to Napoleon’s own attempts to learn English while captive in Saint Helena.

The genius Roman poet Ovid was born in 43 BC at Sulmo, near Rome. At the age of 50 he was exiled to Tomis on the Black Sea where he died in the year 17 AD. Delacroix imagines what Ovid's exile was like in his painting Ovid among the Scythians. Ovid was banned and never ever made it back to Rome. He spent the rest of his life writing letters begging to be allowed back home, and he never was. He died nine years later in Tomis

He is chiefly famed for the 'Metamorphoses', a long verse narrative which retells ancient Greek and Roman legends, unifying them as a sequence and through the theme of the title. The poem, originally written in Latin, was translated and much admired in the Middle Ages; it subsequently provided a rich source of subject matter for artists as diverse as the Pollaiuolo brothers, Titian and Poussin.

Other well-known poems by him include the 'Fasti', which describes the rites of the pagan Roman calendar, and the 'Ars Amatoria' (the 'Art of Love').

A popular quote from Ovid’s Heroides anticipates Machiavelli's "the end justifies the means". Ovid had written "Exitus acta probat" – the result justifies the means.

A tangible connection to the artistic and political ideals of early 19th-century France.
Timeless Aesthetic, These clocks complement both traditional and modern interiors with ease.
With their artistic merit and historical relevance, Empire clocks such as this are the epitome of style and taste.

French Empire mantel clocks reflect the ideals of the time through their stately architectural forms, rich ornamentation, and use of precious materials. Symmetry, grandeur, and the radiant sheen of mercury-gilded bronze (ormolu) define the style. These clocks were designed as centrepieces for refined interiors, admired not only for their precision but for their narrative power and sculptural finesse.

Technically advanced, the movements were often produced by master clockmakers such as Bazile-Charles Le Roy, Louis Moinet, Louis Berthoud and Jean-Simon Bourdier, while master bronziers like Claude Galle, Pierre-Philippe Thomire, André-Antoine Ravrio, Pierre-Victor Ledure and Jean-André Reiche.

Following Napoleon’s proclamation as Emperor of the French, France entered a new cultural era known as the Empire period (1804–1815). This epoch marked a flourishing of the decorative arts, culminating in what we now recognise as the Empire style. Closely associated with Napoleon himself, this aesthetic drew heavily upon the classical world, particularly Greco-Roman architecture, sculpture, and mythology.
Probably, this timepiece was created by master clockmaker Thomire, Pierre-Philippe (1751-1843)

Mercurial gilding or fuming was already used in antiquity, treats the bronze design with 'gold amalgam' - gold powder dissolved in mercury under heating. The mercury is then driven off with a flame. The gold forms a compound (alloy) with the bronze. This process was then repeated several times to obtain a gold layer of sufficient thickness.
The poisonous mercury fumes released during fire gilding were particularly unhealthy, which is why the technique was banned around 1830.

The applied gold layer is thick but contains pores, which gives a matt appearance. The pores can be rubbed closed so that a high-gloss surface is created. This technique is called bruncheren. The alternation of high-gloss and matt parts is a characteristic of fire-gilded objects.

Mercurial or Fire-gilded clocks like this were only owned by the richest and most important citizens at the time, as a result of the artistry of various master craftsmen.
During the Ancien Régime (the period before the French Revolution), reading books was mainly aimed at acquiring knowledge.

In the gallery are two original pictures of Napoleon, both of him in his working cabinet in Le Palais des Tuileries

8 day silk suspension movement striking on a bell  read more

Code: 26285

A Stunning Antique Rock Quartz Crystal 'Witch' or 'Scrying' Ball. Containing Internal Veils, Wisps, and Tiny Fissures & Areas Of Incredible Clarity.. A Most Intriguing Classic Antique Collector's Item Of The Esoteric Mystical Arts and Occultism

Superbly polished with perfect surface. On a composition gilt stand. Showing incredible optical views and imagery. Incredibly it is like staring into our galaxy, the Milky Way itself yet with a notational movement of a mere fraction, it is interspersed with rainbows

A late 18th-century rock quartz crystal ball is a remarkably rare historical artifact. Authentic pieces from this era are highly prized for their clarity and historical significance, often linked to the Victorian revival of scrying or early, natural specimens cut from deep-earth quartz. Genuine antique crystal balls were painstakingly crafted by cutting large chunks of natural quartz rock—such as those historically mined in Burma or Brazil—against the grain using abrasive sand and water, before being laboriously hand-polished. Genuine late-1700s natural quartz spheres almost always contain internal veils, wisps, and tiny fissures.

In ancient times, quartz was fashioned into beads or used to make talismans. It was used by the inhabitants of Mesopotamia roughly 7000 years BC and, more recently, by the ancient Greek, Roman and Egyptian civilizations who followed. There was a belief that quartz was actually composed of super-cooled ice which had hardened, given its clear, transparent appearance.

Quartz was an important crystal to the Gaels, the ancient tribes which became the Irish. In the Irish language, quartz is known as ‘Grianchloch’ (sunstone) and was used extensively across Europe for passage tombs, such as the famous prehistoric monument at Newgrange or Carrowmore, Ireland. The outer wall at Newgrange is covered with a finishing layer of white quartz.

Unlike the typical crystal ball used by a magician or fortune teller, the largest crystal ball weighs 106.75 pounds, is 12.9 inches in diameter, and is 242,323 carats. It is the largest flawless quartz sphere in the world. The quartz was cut and polished in China sometime between 1923 and 1924 before arriving at the Smithsonian in 1930. Because of its spherical shape, the crystal ball makes the room appear upside-down.

It is on display in the Hall of Geology, Gems, and Minerals at the Smithsonian’s National Museum of Natural History.

Rock crystal spheres of this large size are rare. The largest, at around 32.8 cm., is now in the collection of the Smithsonian Institution in Washington, DC. The Smithsonian sphere was reportedly fashioned by Chinese lapidaries in Shanghai between 1920-1924, from a half-ton block of Burmese rock crystal. The second largest sphere is believed to be one in the collection of the University of Pennsylvania Museum of Archeology and Anthropology (accession no. C681A) measuring 25.4 cm. in diameter. It is said to have been made for the Empress Dowager Cixi (1836-1908) and was one of her prized posessions. Another slightly larger sphere, balanced on a wave stand very similar to the present stand, is in the collection of the Philadelphia Art Museum (accession no. 1944-20-2a,b).

The current sphere, like those above, was made entirely by hand in a laborious process. The final hand polishing, using finely powdered iron oxide, gave these spheres a luster rarely achieved using modern gem-polishing machinery.
Rock crystal carvings have long been prized by the Chinese, warranting a dedicated discussion chapter in collecting guides, such as the late Ming aesthete Zhang Yingwen's Pure and Arcane Collecting. Rock crystal symbolizes purity and perfection, while the sphere represents completeness and the infinity of space.

Antique carved Rock Crystal Quartz Witch's 'crystal ball', also known as a scrying ball, the crystal ball was used by gazing into their centre, for the divination of the future, and the answering of questions. As well as the warding off of evil spirits and misfortune. A fascinating treasure - of great artistic quality

Witch balls were found in England in the 1600 and 1700s originally to ward off evil spirits and spells. By the 1800s witch balls crossed the Atlantic to New England. They also spread to other parts of Europe, being found in Italy, France, and Constantinople. The witch ball originated among cultures where harmful magic and those who practiced it were feared. They are one of many folk practices involving objects for protecting the household. The word witch ball may be a corruption of watch ball because it was used to ward off, guard against, evil spirits. They may be hung in an eastern window, placed on top of a vase, or for the very wealthy set upon a decorative gold stand, either pedestal, or figural, or suspended by a cord (as from the mantelpiece or rafters). They may also be placed on sticks in windows or hung in rooms where inhabitants wanted to ward off evil.

Superstitious European sailors valued the talismanic powers of the witch balls in protecting their homes. Witch balls appeared in America in the 19th century and larger, more opaque variations are often found in gardens under the name gazing ball. This name derives from their being used for divination and scrying where a person gazes into them dreamily to try to see future events or to see the answers to questions. However, gazing balls contain no strands within their interior. The witch ball holds great superstition with regard to warding off evil spirits in our particular English counties of East Sussex and West Sussex. The tradition was also taken to overseas British colonies, such as the former British colonies of New England, and remains popular in coastal regions. Apparently, our Hawkins forebears ship’s that sailed across to the New World in the 1600’s, for both trade, emigres, and pilgrims, would carry at least one witch ball hung within a net on board. Our paternal grandmother hung one such in a net from her home’s East window all her life until her death in the 1980’s.

The history of the crystal ball as a device can be traced as far back as to the Medieval Period in central Europe (between 500 – 1500 AD) and in Scandinavia (1050 – 1500 AD). The very ancient art of using reflective surfaces in divination is called scrying and is almost as old as man himself. Queen Elizabeth I consulted Dr John Dee, philosopher, mathematician and alchemist for advice in government and a smoky quartz ball that belonged to Dee is now in the British Museum. Any antique crystal spheres are very desirable especially if a well-known reader has used them. This is the best one we have ever seen quite simply and it must have belonged to someone who took their craft incredibly seriously as it would have been tremendously expensive to make at the time.

Occultism, a group of esoteric religious traditions emerging primarily from 19th-century Europe. In particular, the term occultism is associated with the ideas of the French Kabbalist and ceremonial magician Éliphas Lévi as well as the various figures, both in France and abroad, who were strongly influenced by his writings. In the academic study of esotericism, the term is often used in a broader sense to characterize all esoteric traditions that have adapted to an increasingly secular, globalized, and scientific world, including Spiritualism, Spiritism, Wicca, and the New Age milieu.
History
The term occultism derives from occult, itself adopted from the Latin word occultus, meaning “hidden” or “secret.” In medieval and early modern Europe this term had been used in reference to “occult properties,” or forces that, even if invisible to the human eye, were believed to exist within material objects. In the 16th century the term occult gained additional meanings, coming to also describe specific traditions of thought, usually called “occult sciences” or “occult philosophies.” Among the traditions repeatedly labeled under these terms were alchemy, astrology, and magia naturalis (“natural magic”), all of which are now typically regarded as forms of esotericism.
The earliest known use of the term occultism comes from French, where l’occultisme appears in Jean-Baptiste Richard’s 1842 work Enrichissement de la langue française (“Enrichment of the French Language”). The word’s popularization nevertheless results largely from its use by Alphonse Louis Constant, a French author who published a series of books under the pseudonym Éliphas Lévi in the 1850s and ’60s. Sometimes referred to as the “founder of occultism,” Lévi was a committed Roman Catholic and socialist interested in many older esoteric traditions, including ceremonial magic, Kabbalah, and the use of the tarot. In his writings, most notably his highly influential Dogme et rituel de la haute magie (The Doctrine and Ritual of High Magic; 1854–1856), he wrote about a purported ancient and universal tradition of spiritual wisdom, the knowledge of which could help bridge the modern divide between science and religion. During the late 19th and early 20th centuries, many of the influential French figures who were inspired by Lévi—including Stanislas de Guaita, Joséphin Péladan, and Papus—also went on to describe their beliefs and practices as occultisme.
Scrying, also referred to as "seeing" or "peeping," is a practice rooted in divination and fortune-telling. It involves gazing into a medium, hoping to receive significant messages or visions that could offer personal guidance, prophecy, revelation, or inspiration

Scrying has been practiced in many cultures in the belief that it can reveal the past, present, or future. Some practitioners assert that visions that come when one stares into the media are from the subconscious or imagination, while others say that they come from gods, spirits, devils, or the psychic mind, depending on the culture and practice. There is neither any systematic body of empirical support for any such views in general however, nor for their respective rival merits; individual preferences in such matters are arbitrary

Undoubtedly, Nostradamus is the most recognized of scryers. In the sixteenth century, in ancient France, he was an astrologer and physician. He wrote in poetic quatrains which referenced future events. In his day, working as a magician conflicted with the law. His predictions were veiled to allow him to fly under the radar in that sense.

The Crystal Ball is a painting by John William Waterhouse completed in 1902. Waterhouse displayed both it and The Missal in the Royal Academy of 1902. The painting shows the influence of the Italian Renaissance with vertical and horizontal lines, along with circles "rather than the pointed arches of the Gothic".

Another painting in the gallery. Part of a private collection, the painting, by Pieter Claesz circa 1628, Still Life with Crystal Ball which depicts a crystal ball, a wand, a book of ceremonial magic, and a woman "weaving a spell", has been restored to show the skull which had been covered by a previous owner.

Yet another painting is Leonardo da Vinci's 'Salvator Mundi' Circa 1500, of Jesus Christ bearing a crystal ball in his left hand.


5 1/2 inches, 140mm  read more

Code: 26284

A Fabulous, Rare Early 19th Cent. British Explosive 10" Mortar Bomb From the War of 1812 In America. Likely, Fomerly Part of The Armament of HMS Terror, During The Bombardment of Fort McHenry in Baltimore. The Battle Site of “The Star Spangled Banner”

One of four exceptionally rare 10" Royal Naval mortar balls we are delighted to have acquired from our private historical Royal Naval collector in Plymouth, the same city where Admiral Cochrane, fleet commander at the attack on Fort McHenry, became Commander-in-Chief of the naval base in Plymouth, England, after the war of 1812.

They were apparently unloaded from ships of the line from Admiral Cochrane's returning fleet, with Commander John Sheridan of HMS Terror, supposedly in Plymouth, during the war of 1812 and the 90 pound bronze mortars were removed from his fleet. They are all in a very good state of preservation but with differing amounts of surface russetting. It is said the Admiral and his crew loathed and feared these particular huge mortars due to their likely hood of miss-fire. The 90 pounder shell had to be first primed, and then lit, before it entered the muzzle of the bronze cannon, that had previously been loaded with pounds of gunpowder, the cannon mortar was then lit and fired which thus ejected, with a massive force explosion, the explosive ball high into the sky to the centre of the enemy's ranks. However, the shell might have accidentally exploded while it was being manouvered, it might also have ignited the powder within the breech of the cannon, or, the fizzing mortar might have not have been ejected at all due to a cannon miss-fire. Any one of these horrifying events would be catastrophic, and the resulting explosion would be of of such magnitude it would likely have killed most on board, and probably sunk the vessel entirely with all hands. This a series of events that any ships captain or admiral would not consider to be entirely advantageous

The previous two 10” mortar bombs, that we had two years ago, were the very first we had had in 50 years. The first of those two we sold to an esteemed private museum in Florida USA, the other to an American private collector

We are not expecting ever to see any more of their like again. It would make a fabulous and impressive historical display piece of significant and particular Royal Naval and early American history interest

These 10" mortars explosive balls were fired by the 10" mortars used by Admiral Cochrane's fleet {with Commander John Sheridan aboard HMS Terror} against Fort McHenry, Baltimore Harbour, September 12–14, 1814, and the resulting 10" mortar bomb shell's mid air explosions, against the backdrop of the US flag flying at Fort McHenry, Baltimore Harbour, inspired the patriotic anthem, the
"Star Spangled Banner".

It was the sight of these very 10" mortar bombshells, that originally weighed around 90 pounds each, including powder therein, that when they exploded over Fort McHenry in Harbour, it inspired Francis Scott Key to write his poem that became the US anthem.
Naturally, this is a perfectly intact surviving example, and one of the 10" mortar shells that either wasn't fired, or, failed to explode.

With Washington in ruins, the British next set their sights on Baltimore, then America’s third-largest city. Moving up the Chesapeake Bay to the mouth of the Patapsco River, they plotted a joint attack on Baltimore by land and water. On the morning of September 12, General Ross’s troops landed at North Point, Maryland, and progressed towards the city. They soon encountered the American forward line, part of an extensive network of defences established around Baltimore in anticipation of the British assault. During the skirmish with American troops, General Ross, so successful in the attack on Washington, was killed by a sharpshooter. Surprised by the strength of the American defences, British forces camped on the battlefield and waited for nightfall on September 13, 1814, planning to attempt another attack under cover of darkness.

Meanwhile, Britain’s naval force, buoyed by its earlier successful attack on Alexandria, Virginia, was poised to strike Fort McHenry and enter Baltimore Harbour. At 6:30 AM on September 13, 1814, Admiral Cochrane’s ships began a 25-hour bombardment of the fort. Rockets whistled through the air and burst into flame wherever they struck. Mortars fired 10- and 13-inch bombshells that exploded overhead in showers of fiery shrapnel. It is said many exploded too soon as the fuses were set too short, which created the firework effect. Major Armistead, commander of Fort McHenry and its defending force of one thousand troops, ordered his men to return fire, but their guns couldn’t reach the enemy’s ships. When British ships advanced on the afternoon of the 13th, however, American gunners badly damaged them, forcing them to pull back out of range. All through the night, Armistead’s men continued to hold the fort, refusing to surrender. That night British attempts at a diversionary attack also failed, and by dawn they had given up hope of taking the city. At 7:30 on the morning of September 14, Admiral Cochrane called an end to the bombardment, and the British fleet withdrew. The successful defense of Baltimore marked a turning point in the War of 1812. Three months later, on December 24, 1814, the Treaty of Ghent formally ended the war. "The Star-Spangled Banner" is the national anthem of the United States. The lyrics come from the "Defence of Fort M'Henry", a poem written on September 14, 1814, by 35-year-old lawyer and amateur poet Francis Scott Key after witnessing the bombardment of Fort McHenry by British ships of the Royal Navy in Baltimore Harbour during the Battle of Baltimore in the War of 1812. Key was inspired by the large U.S. flag, with 15 stars and 15 stripes, known as the Star-Spangled Banner, flying triumphantly above the fort during the U.S. victory. During the bombardment, HMS Terror and HMS Meteor provided some of the "bombs bursting in air".

The 15-star, 15-stripe "Star-Spangled Banner" that inspired the poem
Key was inspired by the U.S. victory and the sight of the large U.S. flag flying triumphantly above the fort. This flag, with fifteen stars and fifteen stripes, had been made by Mary Young Pickersgill together with other workers in her home on Baltimore's Pratt Street. The flag later came to be known as the Star-Spangled Banner, and is today on display in the National Museum of American History, a treasure of the Smithsonian Institution. It was restored in 1914 by Amelia Fowler, and again in 1998 as part of an ongoing conservation program. Pictures in the gallery of the siege from contemporary paintings and engravings, a commemorative stamp issued in 2014, and an original War of 1812 bronze British mortar now kept at Yorktown Visitor Centre, and a photo of the flag in the National Museum of American History, 1989. The original flag that was illuminated by these very 10" mortar shells.

Sir Alexander Cochrane was born into a Scottish aristocratic family as a younger son, and like many in this position made a career out of military service. Cochrane joined the Royal Navy as a boy and fought in the American Revolution. Following this war he rose quickly in the Napoleonic Wars, earning renown in the Battle of San Domingo and the Conquest of Martinique in 1809.

By the beginning of the War of 1812, Cochrane was a well-seasoned and high-ranking officer. As a vice admiral, he was appointed Commander-in-Chief of the new North American naval station in Bermuda. He devised a clever plan to weaken the American defenses and turn America’s slaves against the country by inviting any American – slave or free – to join the British Navy. Many slaves took this offer, escaping to British lines for military service in exchange for their freedom.

By the summer of 1814, Cochrane had returned to the waters of the United States, overseeing the raids of the Chesapeake. Lieutenant General Sir George Prevost, governor of Upper Canada, suggested launching an invasion somewhere in the United States in retaliation against the sack of York and to weaken the American forces, relieving pressure on Canada. Cochrane landed the ground troops to invade Washington, and presided over the bombardment of Fort McHenry in the Battle of Baltimore.

After only moderate success in the Chesapeake, Cochrane wanted to push toward New Orleans in order to cement the British position in the United States. He orchestrated an amphibious attack on the city via Lake Borgne, an inlet of the Gulf of Mexico that could bring troops close to the city.

Although Cochrane was successful in the Battle of Lake Borgne, allowing the British Army to advance toward New Orleans, the disastrous defeat at the Battle of New Orleans damaged his reputation. The influential Napoleonic War hero the Duke of Wellington in particular blamed Cochrane of the death of his brother-in-law, Sir Edward Michael Pakenham, the British general overseeing land troops at the Battle of New Orleans.

However, despite the criticisms and ultimate failure to get a foothold in the United States, Cochrane was promoted to admiral after the war, and served out the rest of his military career as Commander-in-Chief of the naval base in Plymouth, England.

The fictional nautical adventures of Captain Horatio Hornblower were supposedly based on Cochrane’s notable maritime achievements.

HMS Terror had a most remarkable later history, alongside HMS Erebus
Franklin's lost expedition was a failed British voyage of Arctic exploration led by Captain Sir John Franklin that departed England in 1845 aboard two ships, HMS Erebus and HMS Terror, and was assigned to traverse the last un-navigated sections of the Northwest Passage in the Canadian Arctic and to record magnetic data to help determine whether a better understanding could aid navigation.The expedition met with disaster after both ships and their crews, a total of 129 officers and men, became icebound in Victoria Strait near King William Island in what is today the Canadian territory of Nunavut. After being icebound for more than a year, Erebus and Terror were abandoned in April 1848, by which point two dozen men, including Franklin, had died. The survivors, now led by Franklin's second-in-command, Francis Crozier, and Erebus's captain, James Fitzjames, set out for the Canadian mainland and disappeared, presumably having perished

The mortar is empty, inert and completely safe.

The mortar is empty, inert and completely safe. Seated on an old iron ring for the photograph, not included with the mortar  read more

Code: 25058