Antique Arms & Militaria

A Deeply Convex Domed Moghul & Sikh Indian Hand Forged Steel Shield, Decorated With Koftgari Work

Just returned from over 40 hours of specialist hand cleaning and polishing with final conservation . This Indo-Persian Dahl is a circular, convex shield used in military combat or as an ornamental item, originating from the Indian and Persian regions. These shields, also known as Sipar, were typically made from steel or leather and were adorned with elaborate floral designs, often using koftgari (gold and silver inlay), and featured four domed bosses.

a style of shield as popular with the Moghul and the Sikh empires

The Mogul-Sikh Wars were a series of conflicts between the Sikh community and the Mughal Empire, primarily during the late 17th and early 18th centuries. The tensions began with the growing popularity of Sikhism, founded by Guru Nanak in the Punjab, and escalated with the persecution of Sikh leaders, particularly under Mughal Emperor Jahangir. Key figures, such as Guru Hargobind and Guru Gobind Singh, played pivotal roles in militarizing the Sikh community in response to Mughal oppression, leading to the formation of the Khalsa, a collective of Sikh warriors devoted to defending their faith.

The conflicts intensified with the rise of Emperor Aurangzeb, who targeted the Sikhs due to their increasing power and influence. Following significant battles, including the siege of Anandpur, the Sikhs faced heavy losses, but their resolve only strengthened, leading to notable victories against Mughal forces. The eventual execution of Sikh leader Bandā Bahādur and subsequent massacres highlighted the brutal nature of these confrontations. Ultimately, the resistance of the Sikhs contributed to the decline of the Mughal Empire, as they established a robust martial tradition and expanded their influence throughout the Punjab region, fostering a sense of unity and resilience within the Sikh community.  read more

Code: 25900

Ancient Viking, Gemstone, Clawset Bronze Ring {Gemstone Not Present}. Circa 9th Century. 1820 Grand Tour Souvenir from Northern France, Recovered From The Seine Around Paris

Like many of our selection of antiquities, many originally arrived in England as souvenirs of a Grand Tour, from around 200 years ago. Two such pieces are gemstone claw-set Viking rings, around 1200 years old from Normandy, Northern France. This one has no stone remaining, the other, likely for a female Viking one, does

Bronze mount and claw set. This first ring of the two we acquired from the same original location, was likely for a female Viking


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

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

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

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

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

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

There were two Norse sieges of Paris. The first was in 845; and though a fairly minor affair in terms of battle, it had great symbolic significance. The second was roughly two generations later, in 885-886; was much larger (and deadlier); and had greater direct ramifications. Before the first siege, Viking raids were a new and growing problem for the peoples of Western Europe; but hitherto raids had been made by relatively small war bands bent on plunder. The Scandinavian adventurers might sack monasteries or villages, but would usually shun larger, better defended targets (Churchill, 1956). However, success was making the Norsemen bolder.

Aware of this growing threat, the aging emperor, Charlemagne, built a series of maritime defenses to protect his coasts and rivers from these new dragon ships. For the first few decades, the defenses worked; but the Vikings were growing in number, ability, and ambition and a new breed of leaders was coming to the fore. One of these leaders was a man the Frankish chroniclers call Reginheri; but who has since been widely equated with the semi-legendary figure Ragnar Lothbrok (Dzhak, 2016). Under Ragnar, Vikings were ready to step foot on the world stage. They were ready to capture the jewel of Western Europe, the city of Paris.

So, in Spring of 845, 120 dragon ships carrying about 5000 Scandinavian warriors, broke through the late emperor’s defenses and surrounded the walled city of Paris (Dzhak, 2016). In the ninth century, Paris was already more than a thousand years old. It was wealthy from its position as a trading center, and was the seat of one of Charlemagne’s three competing heirs, Charles the Bald. At this time, the heart of the city was confined to the islands in the center of the Seine, the Île de la Cité where the cathedral of Notre Dame stands today. This position made Paris eminently defensible in the eyes of the Frankish elite that ruled there; but it made it easily surrounded by the ship-born Vikings.  read more

Code: 26432

Fabulous Louis XVI Style, 19th Cent. Portico Clock, Signed François-Pierre Jolly Known as Gaston-Jolly in White Marble and Gilt Bronze Ornamentation, Enamel Dial Bearing a Large Laurel Wreath Sumounted by Four Columns. Napoleonic Directoire Period Maker

Each of the four columns are encircled with very fine gilt bronze foliage, rich decoration of urns, flowers, acorns and chains, radiating mask pendulum, small toupie feet, from the late 18th century to early 19th century Napoleonic era clock maker.

François-Pierre Jolly, known as Gaston-Jolly, is one of the most important Parisian horologists of the late 18th century and the early 19th century. After he became a master, on May 6, 1784, he established his workshop in the rue de Arcis and quickly earned a reputation among Parisian horological connoisseurs. During the Directoire and the Empire, he created several clocks, which were sought-after due to the quality of their movements and their original compositions. He is recorded first in the rue Pavée Saint-Sauveur from 1810 to 1820, then in the boulevard Poissonnière in 1820. Certain of his creations were recorded during the Empire as belonging to important collectors of the day, such as the wife of Charles-Philibert-Marie-Gaston de Lévis, comte de Mirepoix, la comtesse Alexandrine-Marie-Julie-Félicité de Montboissier-Beaufort-Canillac. See picture five in the gallery of her portrait in the Louvre. She is widely believed to be the subject of Jeune femme attachant un bouquet de fleurs (around 1784), a miniature portrait painted by Jacques-Antoine-Marie Lemoine. The piece is housed in the Department of Prints and Drawings at the Louvre Museum. Her father, Philippe-Claude de Montboissier-Beaufort-Canillac, marquis de Montboissier was executed by guillotine in 1794, during the French Revolution.

Another famous collector of Jolly's clocks was Bernard-Charles-Louis-Victor, Marquis de Lostanges, Napoleon’s Chamberlain. During the First Empire, Lostanges-Béduer was noted among Parisian connoisseurs and collectors of luxury decorative arts, notably acquiring fine horological works from renowned clockmakers such as François-Pierre Jolly. Lostanges-Béduer died in 1812, the same year as Napoleon's ill-fated Russian campaign, in which many officers of the Imperial Household participated.

Picture 5 in the gallery is a portrait of renown Gaston {François-Pierre} Jolly clock collector, now in the Louvre 'Jeune femme attachant un bouquet de fleurs (around 1784), a miniature portrait painted by Jacques-Antoine-Marie Lemoine.'

Steel Suspension Spring pendulum. Clockmakers transitioned from fragile silk threads to thin, flexible steel suspension springs during the 19th century. Replacing thread with a flat spring leaf reduced friction, prevented stretching from humidity, and allowed for much easier regulation. Many older silk-suspension clock movements were later retrofitted or "converted" by horologists to use steel springs when the original silk mechanisms could be improved by upgrading

Overall 19 inches high, 9.5 inches across, 5 inches depth.

Small aged hairline in the marble by the top of the front right collumn  read more

Code: 26430

Ancient Viking, Glass Gemstone, Clawset Bronze Ring. Circa 9th Century. 1820 Grand Tour Souvenir from Northern France, Recovered From The Seine Around Paris

Like many of our selection of antiquities, many originally arrived in England as souvenirs of a Grand Tour, from around 200 years ago. Two such pieces are gemstone claw-set Viking rings, around 1200 years old from Normandy, Northern France. One has no stone remaining, this first one does

Narrow shank in a rope design and a fold at the base to reduce the ring size for wear. This first ring of the two we acquired from the same original location, was likely for a female Viking


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

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

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

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

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

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

There were two Norse sieges of Paris. The first was in 845; and though a fairly minor affair in terms of battle, it had great symbolic significance. The second was roughly two generations later, in 885-886; was much larger (and deadlier); and had greater direct ramifications. Before the first siege, Viking raids were a new and growing problem for the peoples of Western Europe; but hitherto raids had been made by relatively small war bands bent on plunder. The Scandinavian adventurers might sack monasteries or villages, but would usually shun larger, better defended targets (Churchill, 1956). However, success was making the Norsemen bolder.

Aware of this growing threat, the aging emperor, Charlemagne, built a series of maritime defenses to protect his coasts and rivers from these new dragon ships. For the first few decades, the defenses worked; but the Vikings were growing in number, ability, and ambition and a new breed of leaders was coming to the fore. One of these leaders was a man the Frankish chroniclers call Reginheri; but who has since been widely equated with the semi-legendary figure Ragnar Lothbrok (Dzhak, 2016). Under Ragnar, Vikings were ready to step foot on the world stage. They were ready to capture the jewel of Western Europe, the city of Paris.

So, in Spring of 845, 120 dragon ships carrying about 5000 Scandinavian warriors, broke through the late emperor’s defenses and surrounded the walled city of Paris (Dzhak, 2016). In the ninth century, Paris was already more than a thousand years old. It was wealthy from its position as a trading center, and was the seat of one of Charlemagne’s three competing heirs, Charles the Bald. At this time, the heart of the city was confined to the islands in the center of the Seine, the Île de la Cité where the cathedral of Notre Dame stands today. This position made Paris eminently defensible in the eyes of the Frankish elite that ruled there; but it made it easily surrounded by the ship-born Vikings.  read more

Code: 26431

A Stunning & Most Rare Large Viking Bronze Stylus With Bulbous Finial and Circular Eraser for Wax Tablets. Similar to Another In Oldsaksamlingen, Historisk Museum, Oslo, Norway. 9th Century. Often Buried With a High Rank Viking To Take To The Afterlife

A typical 9th-century Viking bronze stylus was dual-purpose, operating as both a pen and an eraser:

These styli were used to compose temporary text, layout draft designs, and teach literacy. They were utilized for writing everything from Norse runes to Latin and Glagolitic characters depending on the trade network. Because metal writing tools were expensive and wax tablets required specialized upkeep, styli are typically recovered from high-status trading hubs, early Christian churchyards, or rich pagan burials where merchants and elites wanted to take their prized tools to the afterlife

Extant examples from this era show incredible regional variety. For example, a 9th-10th century bronze stylus found in Borre, Norway features an intricate bulbous finial formed by curved bands, while other regional variants found across Eastern Europe (such as the Kievan Rus spheres) display highly unique zoomorphic symbols or attached suspension rings
The opposite end featured a flattened, widened, or bulbous decorative side. This was used to smooth or flatten the wax out, essentially "rubbing out" mistakes or clearing the tablet so it could be reused.

The Viking afterlife
Valhalla: Odin's golden hall in Asgard, where half of the elite warriors slain in combat are chosen by the Valkyries to train and feast in preparation for Ragnarök.
Fólkvangr: The "field of the host" ruled by the goddess Freyja, who claims the other half of those who fall in battle. Poetic Edda poem Grímnismá.
Fólkvangr er inn níundi,
en þar Freyja ræðr
sessa kostum í sal;
halfan val
hon kýss hverjan dag,
en halfan Óðinn á.
Rán's Realm: An underwater domain beneath the waves presided over by the sea goddess Rán, welcoming those who drowned at sea.

The Schøyen Collection (MS 1987/12): Houses a famous Viking Stylus from Norway dating to the 9th–10th century. Discovered near Borre, Vestfold, it is an 18 cm bronze piece featuring a round, flattened eraser.
7.5 inches long  read more

Code: 26422

A Most Fine Original, Antique, Early Napoleonic Wars Period 19th Century Antique North African Moukhala Snaphance Lock Gun With Wonderful Intricate Silver Wirework Inlay & Ivory Butt Plate

The lock is an Arabian North African made version of a Dutch snaphance. The lock plate is 20 cm long, and is of considerable thickness and is shaped with a decorative finial at the tail and a simple point at the front. Screwed to it is a long deep gutter shaped pan whose outer end is closed by a thick iron disc having its outer face covered in sheet silver. The flat-faced cock has a prolonged tail that engages with the nose of the horizontal sear where it protrudes through the plate and is arrested by a buffer screwed to the plate. The square frizzen is operated on by a spring whose outer edges are filed to a waved shape. The rod that links the tumbler with the pan cover is missing. The lock is fastened to the stock by three dome headed screws
There is a circular makers mark stamped on the outside of the lockplate below the buffer.

A most similar example in the Royal Armouries collection was made by tradition for the Viceroy of Tetuan, Morocco in the early 19th century

At present in the Leeds Armoury, Asian and African Gallery.

In inlaid silver there is an Islamic inscription that 'may' translate to "Allah (God) is sufficient for me, and He is the best disposer of affairs." (Alternatively: "Sufficient for us is Allah, and He is the best Disposer of affairs.")
This phrase comes directly from the Quran (Surah Ali 'Imran, 3:173). Inscriptions of this form are notoriously difficult to interpret, as they can use numerous different forms of Islamic script .

حسبي الله ونعم الوكيل

This type of flared butt musket is typical of Tetuan, in Morocco, see A C Tirri, Islamic weapons, Maghrib to Moghul, 2003, fig. 2. A7.722 centre gun.

These are often called Kabyle guns.
Cites registered.

Not suitable for export, UK mainland sale only.  read more

Code: 26427

Some of The Best Ideas For Christmas Have Come From The Lanes Armoury, Britain's Favourite & One Of The Oldest Families of Antique Collectors Shops. Our 105th Christmas, and Still Counting

Now is the time to choose that perfect gift for Christmas, even if it's for yourself!!

Unique, ancient, antique and vintage beautiful items are our speciality, and be sure and certain that anything from us will be the best choice you can make this Christmas time.

Every item will be accompanied with our unique, presentation quality, 'Certificate of Authenticity' that will not only fully certify it's genuineness, but it will detail the circumstance of it's origin, and where and when it may have been used in it's specific or generic history.

And please be further assured, all gift purchases may be changed after Christmas for any form of suitable alternatives.

"Doesn't someone you know deserve something unique from The Lanes Armoury"

The Lanes Armoury once described by the 'New York Times' as one of the very best stores to visit when in Europe.
A living, breathing gallery containing a huge ‘Cabinet of Curiosities’ containing thousands of original pieces from the ancient long past, to the near recent.

We are certainly not the biggest premier store in Europe recommended by the New York Times, in fact we are probably the smallest, but what we lack in size, apparently, we more than make up for in amazement, and, we have been doing so for over 100 years

For example, we added recently items that range from an Ancient Roman Republic centurian's bronze shield boss, some incredible samurai swords, many museum pieces, plus a sword once used by one of Napoleon's generals, and numerous other Napoleonic wars swords.  read more

Code: 24523

An Original And Beautifully Exotic North African or Arabian Heavily Decoratively Inlaid Snaphaunce Lock Kabyle Musket With 7 Florid Engraved Silver Cappuchines (Barrel Bands) Circa 1790 to 1820 with Carved Butt

Kabyle Flintlock Musket (Moukhala) with sheet silver and bone decoration, late 18th C.Steel, wood, sheet silver, bone, brass. Long North African flintlock musket of Moukhala type with smooth round barrel, secured by multiple capucines clad in sheet silver. Flintlock with fine engraving and sheet silver overlay. Straight wooden stock with carved flat butt, and rich bone inlay decoration and sheet silver mounts in florid patterns. Ramrod present. Wedge-shaped shoulder rest with characteristic ribbed structure and bone appliqués. The stock and trumpet-shaped butt is enhanced with a carved butt.
With a good Snaphaunce lock of 17th century style form, fine detailed engraving around the stock, distinctive deep flattened butt, and the stock is inlaid.

Two systems of gunlock prevailed in Kabyle guns, one, which derived from Dutch and English types of snaphance lock, usually with a thicker lockplate. Half cock was provided by a dog catch behind the cock. At full cock, the sear passing through the lockplate engaged the heel of the cock. The other mechanism was the so-called Arab toe-lock, a form of miquelet lock, closely allied to the agujeta lock (which required a back or dog catch for half cock) and the Italian romanlock. The term miquelet is used today to described a particular type of Snaplock. The miquelet lock, in all varieties, was common for several centuries in the countries surrounding the Mediterranean, particularly in Spain, Italy, the Balkans, and the Ottoman Empire domains including the coastal states of North Africa. The type of musket would be described as a Kabyle snaphance

The Moukhala is the traditional flintlock musket of the Berbers and Kabyles of North Africa, particularly the Algerian Kabylia region. The elaborate decoration with sheet silver mounts and bone inlays identifies this as a high-quality piece, possibly intended as a ceremonial or prestige weapon. The flintlock shows influences of the Miquelet type, which reached North Africa via the Spanish and Italian arms-making traditions. Comparable examples are held by the Metropolitan Museum of Art, New York, and the Royal Armouries, Leeds.

This example is all locally made, and probably originates from anywhere from Morocco in the West to Saudi Arabia in the East. It features a very attractive snaphaunce style lock.

King Philip III of Spain signed an EDICT OF EXPULSION in 1609 to purge the nation of over half a million "Moors" who had arrived in Spain over the previous 500 years. These unfortunates were compelled to return to their ancestor's lands in North Africa. When leaving they took many "Western Skills" learned in Spain with them. Gunmaking was one such skill and a contingent of Muslim Gunsmiths set up in the City of Tetuan in what we now call Morocco.


They continued to make the latest style of firearms then dominant in Spain which was the Snaphaunce system, a forerunner of the traditional flintlock soon to be introduced in France.These Arab made long guns intended for use from the saddle of a Camel were smooth bored but surprisingly accurate and production of the same ignition system continued for over 200 years and more even through the late Victorian era.

What we offer here is a beautiful example of the snaphaunce muskets made between 1800 and 1820 using the finest materials available in the region, and enhanced in masses of Coin Silver most likely smelted from Spanish 16th and 17th century "Treasure" looted or mined in South America.
In Europe these most distinctive and elaborate Snaphaunce guns gained great favour in the Elizabethan era and their influence was greatly felt in Arabia, originally along the eastern trade routes, that were travelled and used by early Europeans in order to buy the finest eastern silks, gemstones & spices. They were continually used in the Middle East and the Maghrib long after they had become unfashionable in Europe. One of the most renown Berbers in history was Saint Augustine it is said of him "Of all the fathers of the church, St. Augustine was the most admired and the most influential during the Middle Ages ... Augustine was an outsider - a native North African whose family was not Roman but Berber ... He was a genius - an intellectual giant" Interestingly this gun would have been likely last used in the resistance battle against French colonial conquest of Algeria, and one of the most famous was a woman, a warrior leader called Lalla Fadhma n'Soumer (born Fadhma Nat Sid Hmed in Abi Youcef, Algeria c.1830) She was an important figure of the Algerian resistance movement during the first years of the French colonial conquest of Algeria. She was seen as the embodiment of the struggle. Lalla, the female equivalent of sidi, is an honorific reserved for women of high rank, or who are venerated as saints. Fadhma is the Berber/French spelling of the Arabic name Fatima, which is colloquially pronounced Fatma in most Arabic dialects as well as Berber

One of a Kind. The Kabyle (sometimes Jezzail from the Arabic) is a simple, cost-efficient and typically handmade muzzle-loading long arm commonly used in the Middle East region in the past. These were all highly personalized, so no two were alike.

Barrel 43.5 inches long, overall 58 inches

Not suitable for export. UK mainland sale only.  read more

Code: 26425

A Simply Stunning & Unique 'Good King Wenceslas' Art Nouveau Original Illuminated Calligrafic Manuscript Watercolour, From The Golden Age of illustration, By Arthur B Packham. In The Manner Of Alberto Sangorsky. Calligrapher and Illuminator for Riviere

This wonderful original illuminated manuscript would make a superb and most pertinent Chistmas Gift, or a singularly fine addition to any collection of rare works of art, especially dedicated to the golden age of illustration

Circa 1897. A.B.Packham's artistry, calligraphy and illumination is incredibly similar to renown calligraphic illuminated manuscript artists Alberto Sangorsky, and William Morris. Sanghorsky was the Calligrapher and Illuminator for Riviere & Son world reknown bookbinders. His works within bound volumes, that are including his original manuscripts, can achieve from £20,000 to over £150,000. Sangorski's profession was as a secretary to a goldsmith until he was 43 years of age, whereupon he began to create works for his brother at Riviere and Sons.

The first two lines and last two lines of the carol's first verse are part of the calligraphy on pure gold leaf.

The painting is in two sections, Good King Wenceslas observing from his window, {the second section} a poor man gathering winter fuel.

Good King Wenceslas looked out
On the feast of Stephen,

When a poor man came in sight,
Gathering winter fuel.

The words to the carol were written in 1853 by John Mason Neale but the melody is much older – it’s a 13th-century tune called ‘Tempus adest floridum’ in praise of the spring.

The carol was written for the Feast of St Stephen, better known as Boxing Day. And it celebrates the long tradition of charitable giving on the Second Day of Christmas.

It’s become one of the best loved carols ever written – and was even performed by The Beatles.

A. B. Packham was an architect by profession but illustrated several books based around country properties and walks around Sussex. Being a professional man, apparently, he had no interest in marketing his skillful works, so very few of his watercolurs are recorded. This example has to be one of his premier works.
Whether he followed the art of his famous contemporary, Alberto Sangorski, or followed his own path is not known, but his artistry is superb, and this wonderful piece may have been created for a book that we are currently unaware of.

The combination of "Art Nouveau" and "illuminated manuscript watercolours" describes a modern artistic approach that blends the decorative, organic style of Art Nouveau with the historical techniques of illuminated manuscripts, often using watercolor as the primary medium for modern creations. This fusion results in contemporary works that feature Art Nouveau's characteristic flowing lines, nature-inspired motifs (like tendrils and organic forms), and intricate details, but are created on a modern medium and often utilize watercolor techniques for coloring and shading. It is distinct from the original medieval practice of illuminated manuscripts, which used pigments like tempera and gouache, not watercolors

Key characteristics
Art Nouveau's influence: Incorporates the style's hallmarks, such as sinuous, organic lines, natural forms, and complex decorative patterns.
Illuminated manuscript tradition: Draws inspiration from historical manuscripts, often focusing on decorative initial letters and intricate borders.
Watercolor medium: Uses watercolor for coloring, shading, and creating effects, unlike the historical use of pigments like tempera or gouache.
Nature-inspired motifs: Features designs rooted in nature, such as flowers, leaves, and other botanical elements.

In frame 11.5 inches x 8.75 inches, the manuscript is 8.75 x 5.75 inches

Within its original wooden banded frame {bearing a couple of nicks}

Interestingly it was framed over 125 years ago by our former neighbours, W. Stepney gilders and frame makers in Bond St. Brighton  read more

Code: 25957

A Roman or Pre-Roman Copper-Alloy Bronze Shield Boss {Umbo} Featuring A Stunning Lions Head and Mane. 3rd Century To 1st Century BC. Made and Used During the Roman-Etruscan Wars Era 509-264BC

A Roman or pre-Roman bronze shield boss (umbo), likely from the area later known in the Republic Era of Augustus as Italia, featuring a lion's head was a rare, striking piece of military hardware designed to intimidate opponents and display strength or status on the battlefield. Roman-Etruscan wars era, 509-264 BC.

Shaped or hammered into a bold lion's portrait with prominent facial features (eyes, nose, ears, and mane).
The lion image was intended to inspire courage in the wearer and strike fear into the enemy.

While standard Roman legionary shields (scuta) typically featured iron or plain bronze bosses to protect the center grip, specialized or decorative lion-head bosses were sometimes linked to cavalry units (such as a turma), senior officers, or parade/ceremonial armour.
Similar lion-emblem shield traditions trace back earlier through Etruscan and Mediterranean metalwork (dating from the 7th–5th century BC onwards) before appearing in Roman-era contexts around the 1st to 3rd century AD.

The Copper-Alloy Bronze Lion's Head Shield Boss, most similar to ours, {see photo in the gallery} is displayed as an object spotlight in Segedunum's 'Following the Eagle' exhibition, in North East England, this striking bronze shield boss featuring a bold lion's head design was uncovered near the Vindolanda Roman Fort along Hadrian's Wall  read more

Code: 26418