Antique Arms & Militaria

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

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 palaces and chateaux libraries and offices, of the great statesmen and marshals of France during Napoleons early empire period

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: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.Pierre Jean Louis Ovide Doublet: In a less direct note, a French administrator named Pierre Jean Louis Ovide Doublet served as the Secretary General to the Commission of Government installed by Napoleon Bonaparte during his capture of Malta in 1798

The 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 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.
Value: With their artistic merit and historical relevance, Empire clocks tend to retain, and often increase, their worth over time.

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.
Possibly By Thomire, Pierre-Philippe (French, 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.

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 of such as the Milky Way and 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

1796 Pat. Foot Artillery Officer's Sword of Capt. Andrew {Andreas} Cleeves of the Kings German Legion at Waterloo & Previously at the Peninsular War in 1809. The KGL Were Stationed Near La Haye Sainte, & Supported the Right of the Line Near Hougemont

The sword is in beautiful condition with much original mercurial gilt remaining, and silver wire bound grip. Twin shell guards, with one folding down action in order the wear against the uniform. Straight blade, with just traces of old engraving overall traces of russetting polish beautifully bright, with urn shaped pommel hilt. Leather and brass mounted scabbard, with twin ring mounts and a frog mount button We acquired this superb historic sword with a 3 pounder cannon ball recovered by Captain Cleeve at Waterloo after it was fired by his battery at the French.

The King’s German Legion (KGL) Artillery was a highly elite, veteran contingent within Wellington’s army at Waterloo. They were organized into two horse artillery troops and one foot artillery battery, fielding a total of about 543 men, and primarily utilized standard British 9-pounder cannons and 5.5-inch howitzers, and with 3 pounders.
The KGL Artillery units played pivotal roles in holding the centre and right flank of the Allied line:
1st Horse Artillery (Captain Augustus Sympher): Stationed near the critical crossroads of La Haye Sainte, this battery engaged in heavy counter-battery fire and helped repel aggressive French cavalry charges.
2nd Horse Artillery (Captain Heinrich Jakob Kuhlmann): Placed with the Allied reserve, this unit moved into the frontline as casualties mounted, delivering devastating canister fire to break French infantry columns.
2nd Foot Artillery (Captain Andreas Cleeves): Supported the right of the Allied line near Hougoumont, maintaining continuous artillery fire against French artillery and infantry throughout the day.
The KGL artillerymen served with incredible distinction; their exceptional resilience resulted in approximately 130 casualties. For their bravery during the battle, Majors Kuhlmann, Sympher, and von Arentsschildt were knighted into the Order of the Bath.

The 4th Foot Battery saw action at Copenhagen and throughout the Peninsular War distinguishing themselves at Oporto, Talavera, Busaco, Albuera, Ciudad Rodrigo, Salamanca, Vittoria and Orthes. Then, final glorious action occurring at Quatre Bras and culminating in the battle of Waterloo, holding position behind La Haye Sainte in the centre-right of the Allied line on Mont St. Jean ridge. The regiment was commanded by Colonel Christian von Ompteda. Second-in-command was initially Major von Linsingen who was later succeeded by Majors Röttiger then Hartmann. The 4th foot battery was commanded initially by Captain Heise, then Sympher and finally, Capt. Cleeves at the Battle of Waterloo.

Normal more usual ordinance for this battery in the latter stages of the war were six nine-pounder guns and two 5.5-inch Howitzers. The 3 pounders were light artillery bronze cannon, known affectionately as British "Grasshopper" Guns: Famously used by the British Army as light field guns, these highly mobile 3-pounders were designed to be dragged by infantry or horses through rough terrain. Their lightweight split-trail mounts and propensity to jump backward upon firing earned them the nickname "grasshopper"

Prior to Waterloo Capt. Cleeves was in the Peninsular Campaign
Campaign of 1809
Under the Immediate Command of Beresford
Three Portuguese batteries under the command of Major Victor von Arentschild, of the King's German Legion, with guns of 6 pounders, a light battery with of 3 pounders.
A
The Napoleonic Wars combat-dress sword, used by him in service in the KGL, of Capt. Cleeve, that he carried from around 1808 to the mid 1820's, {after the KGL was disbanded in 1816}. He died in the North of England in 1830

Hilt bears his monogram and KGL stamp,

Photo in the gallery of a similar, and same period 3 pounder bronze cannon, used at The Battle at Seringapatam by the Tiger of Mysore, Tipu Sultan. That cannon, sold for 1.4 million pounds at auction in 2015
Very small contemporary leather slit repair to the scabbard  read more

Code: 26280

Battle Of Waterloo Recovered Near The Crossroads of La Haye Sainte, 3 Pounder Cannon Ball Used By The Kings German Legion at Waterloo Commanded by Cpt Andrew {Andreas} Cleeves. And Kept By Him after The Battle

The 3-pounder cannon were cast for the KGL at the Royal Woolwich Brass Foundry, by I.H. King. Master General of the Ordnance, 1806-1807. Mounted on a field carriage for battle, together with a limber and other accoutrement

The Royal Armouries at the Tower of London, holds two 3 pounder guns see H.L. Blackmore’s book “The Armouries of the Tower of London” page 84. Original documents from 1807 located at The National Archives, London, and, listed in the Order Book from The Board of Ordnance to the Royal Woolwich Brass Foundry, that show that the cannon were commissioned, {and they were subsequently present at the Battle of Waterloo} as per entry 11th June 1807, for the King’s German Legion – Hanoverian Regiment –
They were using their 3- pounders at the Battle of Waterloo, under Capt Andreas {Andrew} Cleeves} KGL, but prior to that, in 1809, with Capt Cleeves KGL in the Peninsular.

We also have his {Captain Andreas Clevees'} sword. For sale seperately.

The King’s German Legion (KGL) Artillery was a highly elite, veteran contingent within Wellington’s army at Waterloo. They were organized into two horse artillery troops and one foot artillery battery, fielding a total of about 543 men, and primarily utilized standard British 9-pounder cannons and 5.5-inch howitzers.The KGL Artillery units played pivotal roles in holding the center and right flank of the Allied line:1st Horse Artillery (Captain Augustus Sympher): Stationed near the critical crossroads of La Haye Sainte, this battery engaged in heavy counter-battery fire and helped repel aggressive French cavalry charges.2nd Horse Artillery (Captain Heinrich Jakob Kuhlmann): Placed with the Allied reserve, this unit moved into the frontline as casualties mounted, delivering devastating canister fire to break French infantry columns.2nd Foot Artillery (Captain Andreas Cleeves): Supported the right of the Allied line near Hougoumont, maintaining continuous artillery fire against French artillery and infantry throughout the day.The KGL artillerymen served with incredible distinction; their exceptional resilience resulted in approximately 130 casualties. For their bravery during the battle, Majors Kuhlmann, Sympher, and von Arentsschildt were knighted into the Order of the Bath.

The 4th Foot Battery saw action at Copenhagen and throughout the Peninsular War distinguishing themselves at Oporto, Talavera, Busaco, Albuera, Ciudad Rodrigo, Salamanca, Vittoria and Orthes. Then, final glorious action occurring at Quatre Bras and culminating in the battle of Waterloo, holding position behind La Haye Sainte in the centre-right of the Allied line on Mont St. Jean ridge. The regiment was commanded by Colonel Christian von Ompteda. Second-in-command was initially Major von Linsingen who was later succeeded by Majors Röttiger then Hartmann. The 4th foot battery was commanded initially by Captain Heise, then Sympher and finally Cleeve at the battle of Waterloo.

Normal more usual ordinance for this battery in the latter stages of the war were six nine-pounder guns and two 5.5-inch Howitzers. The 3 pounders were light artillery bronze cannon, known affectionately as British "Grasshopper" Guns: Famously used by the British Army as light field guns, these highly mobile 3-pounders were designed to be dragged by infantry or horses through rough terrain. Their lightweight split-trail mounts and propensity to jump backward upon firing earned them the nickname "grasshopper"

Recovered from the battle site by Capt. Cleeves  read more

Code: 26279

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

A French Four Pounder Cannon Ball Fired at Waterloo Recovered at La Haye Sainte, the Battle of Waterloo. Approx 3 inches Diameter

The surface is very russetted by is nicely preserved overall, and it is a fabulous, historical, conversation piece.

Recovered alongside some relic items of combat, soldiers thimbles plus another cannon balls etc. discovered around La Haye Sainte (named either after Jesus Christ's crown of thorns or a bramble hedge round a field nearby).

It is a walled farmhouse compound at the foot of an escarpment on the Charleroi-Brussels road in Belgium. It has changed very little since it played a crucial part in the Battle of Waterloo on 18 June 1815.

La Haye Sainte was defended by about 400 King's German Legion troops during the Battle of Waterloo. They were hopelessly outnumbered by attacking French troops but held out until the late afternoon when they retired because their ammunition had run out. If Napoleon Bonaparte's army had captured La Haye Sainte earlier in the day, almost certainly he would have broken through the allied centre and defeated the Duke of Wellington's army.

The capture of La Haye Sainte in the early evening then gave the French the advantage of a defensible position from which to launch a potentially decisive attack on the Allied centre. However, Napoleon was too late—by this time, Blücher and the Prussian army had arrived on the battlefield and the outnumbered French army was defeated.

Strategic importance

A view of the battlefield from the Lion's mound. On the top right are the buildings of La Haye Sainte. This view looks east, with Allied forces behind the road to the left (north) and French forces out of shot to the right(south)
The road leads from La Belle Alliance, where Napoleon had his headquarters on the morning of the battle, through where the centre of the French front line was located, to a crossroads on the ridge which is at the top of the escarpment and then on to Brussels. The Duke of Wellington placed the majority of his forces on either side of the Brussels road behind the ridge on the Brussels side. This kept most of his forces out of sight of the French artillery.

During the night from the 17th to the 18th, the main door to the courtyard of the farm was used as firewood by the occupying troops. Therefore, when the King's German Legion (KGL) was stationed in the farm at the morning of the battle they had to hastily fortify La Haye Sainte.

The troops were the 2nd Light Battalion KGL commanded by Major Georg Baring, and part of the 1st Light Battalion KGL. During the battle, they were supported by the 1/2 Nassau Regiment and the light company of the 5th Line Battalion KGL. The majority of these troops were armed with the Baker rifle with grooved barrels, as opposed to the normal Brown Bess musket of the British Army. The French troops also used muskets which were quicker to load than the Baker rifle but the latter was more accurate and had about twice the range of a musket.

Both Napoleon and Wellington made crucial mistakes about La Haye Sainte as it was fought over and around during most of the day. Napoleon failed to allocate enough forces to take the farm earlier in the day while Wellington only realised the strategic value of the position when it was almost too late.

By 1812 the French had cannon operating on several organizational levels. Most infantry regiments had their own guns, each division would likely have a battery or two of artillery, and on top of that there would be several batteries in the reserve artillery of each Corps. It can get a bit confusing, so I decided to organize what I have and also plan ahead to make sure that I don't make too many mistakes when buying these impressive pieces.
Regimental Guns
Napoleon experimented with regimental guns already in 1809. To bolster both the impact and morale of his regiments he sprinkled out light cannon to give them some extra local firepower. This unfortunately had tactical disadvantages, since the guns could hinder the troops both when moving on the battlefield and during marches.

These were mostly smaller guns, by now completely outmatched in regular batteries. The regular infantry in 1812 were, according to research, largely equipped with 3-pounder cannon captured from Austria's impressive record of military misfortune. As far as I know these cannon came with or without a strange kind of fork-like attachment at the front.

The 9lb British “Blomfield” cannon used at the Battle of Waterloo. The heaviest type of artillery used by the British Army at Waterloo, {apart from the howitzers} it fired a solid cannonball weighing around nine pounds (about four kilos). Cannons were a vital part of warfare at the time of Waterloo, with the ability to rip through massed ranks of troops and inflict terrible casualties.

In 1780 Captain Thomas Blomfield RA was appointed Inspector of Artillery and Superintendent of the Royal Brass Foundry. Three years later he was given responsibility for re-organising the Ordnance Department. At the same time he was experimenting with new forms of ordnance. The resultant Blomfield guns had thicker breeches, thinner chases and a cascabel ring to control recoil, making them stronger without increasing their weight.

The Blomfield 9-pounder cannon, fired a round shot ball around 4 inches in diameter, was introduced to the Royal Artillery (RA) in 1805 as a response to the heavier French calibre guns. At Waterloo Wellington had 157 pieces but only 60 were 9-pdrs, in 12 batteries. The remaining 13 batteries had 6-pdrs and howitzers. Interestingly, the Dutch-Belgian and Brunswick Artillery, who fought alongside the British at Waterloo, used French cannons (known as An. XI Ordnance). Wellington employed his Royal Horse Artillery very effectively during the battle as a mobile reserve to plug holes in his line. For example, with Hougoumont under attack, Major Bull’s troop was brought forward in support from its original position towards the rear of the allied position.

The allied artillery faced 246 pieces in 34 French batteries. As was his usual tactic, Napoleon started the battle with a heavy artillery bombardment on the Allied line to soften up the enemy.

Cannons on both sides used round-shot of six nine or twelve pounds but the French also had four pounders, as is this ball. They were all lethal against columns of infantry, knocking down several men at once for as long as the ball continued to travel. Case shot or canister (tin coated iron cans) packed with smaller iron balls was devastating at close range. Only the British used spherical case (Shrapnel) where a shell was filled with small iron balls. A specially cut wooden fuse detonated a bursting charge.

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: 26165

Original, Antique, Victorian Household Cavalry Armour Breastplate Cuirass of the LifeGuards, The Blues &The Royals. the Mounted Personal Bodyguard Regiments of the British Monarch, Part of The Household Division

With With brass edge trim & rivets. It bears the ordnance inspection stamps. Used by all of H.M.Queen Victoria's Household Cavalry regiments.

We have a pair of these original Victorian Horse Guards cuirass breastplates, but they are for sale separately.

During a visit to the Tower several decades ago, thanks to an invitation by our friend Howard Blackmore {historian and assistant curator at the Tower} we had a discussion, amongst many other subjects, of the conversion of the Life Guards and Horseguards back to armoured heavy cavalry, after around 150 years of un-armoured service as the monarch's mounted guard since the 17th century.

This is one of those early cuirass breast plates created for the newly armoured horse guards regiments.

From 1661 to 1778, the Life Guards Troops saw action in the Jacobite Wars, the Second Dutch War
(when they served as sailors) ant the War of the Austrian Succession. In 1778 the four Horse
Guard Troops and Horse Grenadiers re-formed as the 1st Life Guards. Both Regiments fought
with distinction in the Waterloo campaign.
For the Egyptian War of 1882, Life Guards formed a Composite Household Cavalry
Regiment with the Royal Horse Guards, making Royal Horse Guards, making the famous
moonlight charge at Kassain. In 1894, for the relief of Khartoum, both Regiments contributed
soldiers to the Heavy Camel Regiment and were again formed as a Composite Household
Cavalry Regiment for the 2nd Boer War in 1900

The Royal Dragoons (1st Dragoons), initially known as The Tangier Horse, were raised by
King Charles II to form part of the garrison at Tangier, which had been acquired on his
marriage to Catherine of Braganza as part of her dowry. Known as The Royals, during the
18th century the Regiment saw service in most of the same wars as The Blues, including the
Peninsula campaign and Waterloo, where the Regiment famously captured the Eagle of the
French 105th Infantry Regiment. However, in the 19th century, unlike The Blues, The Royals
saw service in the Crimea and in India.  read more

Code: 25578

A Most Scarce Antique Ching Dynasty Chinese Shuāngjiàn (雙劍). A Twin-Sword Jian, Late 18th Early 19th century. Near Identical to Admiral Sir James Hanway Plumbridge's Sword in the National Maritime Museum Collection. His Sword Was a Single Blade Version

A 19th century Chinese double sword (Shuang Jian) with tortoise shell and brass mounts, engraved with shou characters and bats. A most rare sword arrangement where each sword has a rounded outer and a flat inner side hilt system, of two swords that fit back to back and parallel together, and are simultaneously worn in a single scabbard. The blades were designed to be used in pairs, one in each hand. During the Qing Dynasty, these were not just combat weapons but also popular symbols of high status. Many Jian were brought back to England by the earliest visitors to China, both before and after the Boxer rebellion.

A similar piece was exhibited in the British Museum, Chinese weapons and armour, 15th of December 1994 to the 15th of January 1995.

A Chinese jian double or twin sword, with two double edged blades retained in a single scabbard. Principle sword with a engraved brass mounts, the bats and longevity symbols on the brass mounts form the pun fúshòu (福壽), meaning a long and happy life, and a lined darkwood grip, the inner sword, is a mirror image of the outer, and both are simultaneously retained in a superb tortoishell covered scabbard, with two interior slots, one for each blade, with typical stylized brass mounts, typically decorated with a traditional, intricate, bat and seal design, fúshòu (福壽). The stylized longevity symbol called shòu (壽) surrounded by bats, fú (蝠)
Each sword has a double edged blade.

Overall with stunning original patination that has been now revealed.It has just returned from ten hours of museum grade hand conservation and polishing.Thanks to such extraordinarily successful efforts, that required no repairs at all due, to its condition, this would be a Chinese antique sword that would likely be impossible to improve upon.

Likely brought back to England as a souvenir of the Opium War period to the Boxer Rebellion. Truly original, antique, Chinese weapons are very scarce indeed, as historically, few swords were ever brought back from China. Porcelain and silk were far more popular and preferable souvenirs and exports for Europeans, and in China, in the mid 20th century, nearly all the surviving antique edged weapons were melted down and destroyed in the era of Mao, under Chairman Mao's Cultural Revolutionary instructions, in order to create new steel.

A fabulous example that has breathtaking natural age patina. Effectively, in wondrous condition for its age.

A near identical sword {but withy a single blade} was once belonging to Admiral Sir James Hanway. His family believed he wore it as a midshipman at the Battle of Trafalgar in 1805. It is on display in the National Maritime Museum, exhibit number; WPN1157. Described as follows
Chinese sword, which belonged to Admiral Sir James Hanway Plumbridge (1787-1863). The hilt of the sword consists of a gilt pommel and crosspiece with very short down-turned quillons, and a fluted brown grip. The hilt is ornamented with a design of bats, which are a symbol of good luck. The steel blade is straight and double-edged. The point of the blade has evidently been broken off; it is about an inch too short for the scabbard and is rather roughly ground. The wooden scabbard is covered with lacquered paper actually tortoishell, and has four gilt lockets and a chape, which is ornamented with a design of bats. The two middle lockets are fitted with loops. This sword was offered to the National Maritime Museum as the sword which was worn by Admiral Sir James Hanway Plumbridge when he was a Midshipman at Trafalgar. It is inconceivable that he wore a Chinese weapon at Trafalgar. He probably obtained the sword during one of his three commissions in the East Indies. Admiral Sir James Hanway Plumbridge (1787-1863) entered the Royal Navy on the 6th September 1799 and was a Midshipman in HMS 'Leda' in the expedition to Egypt in 1801. At Trafalgar he was acting 6th Lieutenant in HMS 'Defence', and on the 20th August 1806 he was confirmed in rank. See photo 10 in the gallery, it shows the admiral's identical Jian sword on display in the National Maritime Museum, the photo is sadly of poor quality

The two paintings in the gallery are original Chinese gouache of a seated Ching Emperor, and his sword bearer, holding the same type of Jian sword, but with a green tortoiseshell scabbard.

The antique Chinese jian is a straight, double-edged sword used in China for over 2,500 years, with the earliest examples dating to the 7th century BC. We actually have some original, ancient jian museum pieces, from this era, acquired by us from the world renown Dove Collection. See them offered for sale within our website.
It was a multi-purpose weapon, optimized for thrusting but also capable of cutting and slashing, and was a symbol of status. The design was effective and remained relatively consistent over long periods, with minor variations in length, weight, and balance.
The jian's most defining feature is its straight, double-edged blade. While it could be used for both cutting and thrusting, it was often considered more optimized for thrusting than the single-edged dao (sabre).
The jian was a symbol of power and status, wielded by the elite and sometimes carried as a symbol of authority.
Its use dates back to the Spring and Autumn period, with some of the earliest specimens being the Sword of Goujian.
Design variations: The length, balance, and weight of the jian varied significantly across different periods and purposes.
It is a crucial tool in traditional Chinese martial arts training.
Military use: It was a formidable weapon on the battlefield and, due to its length and reach, was sometimes used like a long spear to favour thrusting techniques.
The jian is a significant symbol in Chinese culture and history, frequently appearing in films, historical reenactments, and museum exhibits.
Antique jian are valuable as historical artifacts, collectibles, and striking decorative pieces.

Another picture in the gallery {photo 6} is another near identical Ching dynasty twin sword. Part of the Metropolitan Museum Collection. Their sword/s have a single green scabbard.  read more

Code: 26100

A Most Rarely Seen Prussian-Danish War Medal, 1864, Made From Captured Danish Guns

Prussian, Denmark Campaign Medal. 1864 - Engraved Edge.

Since the London accords of 1852 the duchies of Schleswig, Holstein and Lauenburg were attached by personal union to Denmark. Following the new constitution of 1863 Denmark integrated these areas into the state which caused a protest from the Deutsche Bund. After a resolution of the German Bundestag the German states send "Execution" troops into the duchies which belonged to the German Federation (Holstein and Lauenburg) under the command of Generalleutnant Heinrich von Hake formed by a Saxon brigade under Generalmajor von Schimpff as the operational-force, a Hanoverian brigade under Generalleutnant Gebser as a supporting force and a Prussian and an Austrian brigade in reserve.
The Austrians took part in this Bundesexekutionscorps by sending a brigade under the command of Generalmajor Leopold Graf Gondrecourt. But in addition to this, the two German major powers, Prussia and Austria, decided to declare war on Denmark and sent an army consisting of three corps under the command of the Prussian Feldmarschall Friedrich Graf Wrangel, whose Chief of the General staff was Generalleutnant Eduard Vogel von Falkenstein.
The 1st corps was commanded by the Prussian Prince Friedrich Karl, the 2nd corps by Feldmarschall-Leutnant Ludwig Freiherr von Gablenz and the 3rd corps by Generalleutnant von der Malbe. The 2nd (Austrian) corps was formed by the 6th army corps, enlarged by a cavalry brigade and 2 heavy batteries. Additionally Graf Gondrecourt's brigade also joined the 2nd corps after leaving the surprised federal troops. On the 1st of February 1864 58,000 Prussian and 21.000 Austrian soldiers crossed the Eider and commenced operations against the Danish land forces. On the 2nd and 6th of February the Austrians were victorious at Vejle and Oeversee whilst the Prussians were successful at the Deppeler Schanzen near Sondersburg on the 18th of April 1864. On the 9th of May a naval squadron commanded by Contre-Admiral Wilhelm von Tegetthoff successfully engaged superior Danish forces near the island of Helgoland. The Danish forces retreated to Northern Jutland and the islands of Alsen and Funen and an armistice for 6 weeks was agreed for a new peace treaty of London. After the failure of these negotiations the hostilities again resumed on the 25th of June 1864 and the Austrian forces reached the Northern part of Jutland and finally Cape Skagen.
The Danish Captain Hammer, who had caused the most trouble for the Austro-Prussian naval forces was captured between the islands of Fohr and Sylt and a new armistice was implemented on the 20th of July 1864 which finally lead to the peace agreement of Vienna on the 30th of October 1864. Denmark was forced to hand over the contested duchies to Prussia and Austria. However disagreement over the administration of these duchies soon became one of the primary reasons, especially promoted by the Prussian prime minister Otto von Bismarck, for the coming conflict between the two German major powers in the war of 1866. Franz Joseph I, Kaiser of Austria, and Wilhelm I, King of Prussia, agreed to institute a commemorative medal for their successful army. The great number of captured guns, especially from the fortress of Frederica, made it possible to decide that the medals should be minted from the brass of the enemy's guns. Kaiser Franz Joseph signed the institution of the medal on the 10th of November 1864 and the regulations (Statuten) dated the 11th of November and both were published in the Armeeverordnungsblatt on the 20th of November 1864.

The official name was: "Erinnerungs-Medaille an den Feldzug 1864 gegen Danemark" (commemorative medal for the 1864 campaign against Denmark) Along the rim of the medal the words: "AUS EROBERTEM GESCHUETZ" (from captured guns)  read more

Code: 19933

A Most Rare, Historic, British, Pattern of 1859 Naval Cutlass Bayonet With Scabbard By Reeves. One of Only 800 Made. An Absolute Beauty with a Stunning Blade & Scabbard and Original, Blackened Japanned Finish, Steel Bowl Guard

Without doubt a superb and excellent example that would be nigh on impossible to improve upon.

British forces widely used the Pattern 1858 Enfield Naval Rifle (often paired with the 1859 Pattern cutlass bayonet) during the Second Opium War (1856–1860).
The Royal Navy and British Army infantry used the P1858 during joint operations, including the capture of the Taku Forts and the advance on Beijing. During the Boxer Rebellion at the end of the 19th century, older muzzle-loaders and Enfields could occasionally be found in auxiliary and reserve roles within the international expeditionary force.

The Enfield Rifle Pattern 1859 Cutlass Bayonet was imported during the Civil War by both the North and South for the both their Navy and Coastal Artillery units.
The rifle and cutlass bayonet were employed by British colonial forces and British regiments stationed in New Zealand.
Used by European mercenary forces and foreign powers involved in suppressing the rebellion in China.
Used by various factions during the Boshin War and Satsuma Rebellion as the Tokugawa Shogunate and imperial forces rapidly modernized their arsenals

The British Pattern 1859 Naval Cutlass Bayonet was designed for the Royal Navy to pair with the Pattern 1858 Enfield Naval Rifle. Manufactured by Charles Reeves & Co. of Birmingham, genuine Reeves-stamped examples are exceptionally scarce, as Reeves produced fewer than 800 pieces. The vast majority of Pattern 1859 bayonets were outsourced to Solingen, Germany
This 1859 cutlass bayonet scabbard, is stamped "SG". The "SG" mark stands for Simmons & Ginder ordnance scabbard makers. Scabbards were made of black leather with steel or brass mounts, this example has the steel mounts

This is a very fine example of the scarce British Pattern 1859 Type II Naval Cutlass Bayonet & Scabbard for use on the Pattern 1858 “Enfield” Naval Rifle. These rifles had thicker barrels than the standard Pattern 1856 rifle and were rifled with 5 grooves instead of the normal 3 grooves. The British military wanted to create a dual-purpose bayonet for the rifle, much like Admiral Dahlgren did with his Bowie Knife/Bayonet for the US Model 1861 Naval Rifle and settled on a combination naval cutlass and bayonet as the most practical design. However, the length and weight of the bayonet must have made its use on the end of a rifle very awkward. The British military contracted for about 80,000 of these cutlass bayonets, and it is interesting to note that aside from a small contract of less than 800 delivered by Reeves of Birmingham, all of the other contractors involved used Solingen made blades in the fabrication of their bayonets.

In fact, established Solingen sword maker and cutler Carl Reinhardt Kirschbaum of Solingen, working under the business name of C.R. Kirschbaum, established a new business venture for the specific purpose of producing Pattern 1859 Naval Cutlass Bayonet blades.

This cutlass is one of those 800 very rare examples made by Reeves of Birmingham.

The Pattern 1859 Type II Naval Cutlass Bayonet offered here is in FINE condition overall and is accompanied by a very hard to find original scabbard, that is in very good condition. The blade is full-length at 27” and is clearly marked with the maker mark of Reeves on the ricasso. The muzzle ring measures .830”. The blade has its original high polished steel appearance. The blade is almost entirely smooth, along its entire length. The solid iron basket hilt has a fine appearance. The interior of the guard retains about 90%+ of its original black jappaning with only some scattered scratching, light wear and surface scuffing. The original locking spring is present in the grip and functions exactly as it should. The two-piece pressed leather grip panels are in about fine condition and show only minimal shrinkage and retain about 80%+ of their original finish. The grips retain the majority of their roll embossed knurling (while the pattern is “checkered” it is not actual checkering but embossing with a roll die) and show only some light wear, minor scuffmarks and some light rounding to the sharp checking tips. The grips are much nicer than they are normally encountered on a bayonet of this pattern and are really attractive. The balance of the iron hilt has thinly oxidized brown patina that is almost entirely smooth, over the duller gray base metal. The original scabbard accompanies the bayonet, which is an extremely difficult item to come by. The scabbard is in complete and solid condition with both original iron mounts in good condition and well secured to the leather scabbard body. The scabbard body is solid and complete with the original stitching securely in place along the seam in the rear. These cutlasses in their original scabbards are very hard to find, especially by Reeves, and this is a solid, very good looking example.

Overall this is a really attractive example of one of the rarer British bayonets to be found. While there is no way to be sure, the lack of British acceptance marks raises the possibility that this cutlass bayonet may have been purchased by US or CS agents for use on one of the Enfield Pattern 1858 Naval rifles that were imported by both sides during the war. Of all the Enfield “short rifles”, the Naval Rifle was one that was imported in very small quantities, making the bayonets even more uncommon in America today. The bayonet is in really fine condition and is accompanied by a very scarce original scabbard.
This is a great example of a rare bayonet, complete with scabbard, and would be a great addition to display with any bayonet, cutlass or sword collection, especially a Pattern 1858 Naval rifle, and to add to any collection of Civil War era bayonets.

The slashing attack with the cutlass at sea wasn't practical. One must remember that ship's decks were extremely tight quarters and overcrowded. Although some longer swords made it to sea, the primary edged weapons were short hangers, cutlasses, dirks, etc. Thrusting weapons were the item of choice, evidenced by the reemergence of the ancient pike, much shortened to fit on a crowded ship's deck. The point is that it makes sense that the cutlass could be used as a sharpened bludgeon, but worked better as a stabbing implement like the pikes and dirks.

A jab to the face or neck could obviously be lethal, penetrating the airway, severing the trachea, carotids and jugular. To the chest, there is penetration of the lungs, bronchus (all fatal), heart and great vessels (aortic arch), abdominal cavity with its vascular liver and pancreas.

Also consider the cutlass in the use for defense of the ship vs the aggressor boarding party. Netting was placed over the ship to discourage boarders, with the sailors stabbing through the netting as the enemy attempted to clamber onto the deck. Again, a cutlass would work far better here as a thrusting defensive weapon, stabbing through the tight ropes at those on the other side.  read more

Code: 26277