A Superb Napoleonic French 'Prisoner-of-War' Portable Travelling Dressing Case, Shaped in the Form of a Book

In wood covered in straw-work parquetry. crafted by a prisoner of war during the1793 - 1815 War between Napoleon's French Navy and the Naval forces of King George III of England. This piece was hand crafted by a captive, French, master artisan who created this unbelievably detailed box with nothing but coloured pieces of straw, paper and scraps of wood, {often taken from their bunks} for a frame, and boiled glue. This piece would have taken weeks to hand create, and the tiny pieces of straw are somehow cut into thousands of minuscule pieces and assembled in tiny multicoloured geometric patterns. A very similar example to one that is on display in the Burghley House Collection. Made by the captured Napoleonic and French wars French Prisoners-of-War in the early 1800's in order to subsidise their meagre prison rations, and this fine piece is made to give the impression it is a sizeable book when closed. The interior bears two small sections, lidded compartments with interior mirror in Georgian Vauxhall plate, and a geometric parquetry All of the interior straw-work is pristine in colour and unfaded showing wonderful contrasts.

Great Britain was at war with France continuously from 1793 to 1802. Hostilities ceased briefly in 1802, but conflict soon recommenced. The Napoleonic Wars continued until 1815, when Napoleon?s forces were finally defeated at Waterloo.

For example,iIn 1796 the first prison to house French prisoners was built at Norman Cross, some 5 miles north of Peterborough. Conditions must have been both harsh and crowded; disease killed more that 1,700 inmates between 1797 and 1814.

To supplement their rations and to provide small income, some prisoners made ornaments, models and toys, which they were allowed to sell. The materials used included straw, wood, bone and even human hair. Many of the items made were extraordinary in their complexity and design and were always very desirable to collectors. The proximity of Burghley House to the camp meant that members of the Cecil family acquired many fine examples.

Those displayed at Burghley include a number of containers made of wood with applied decoration of coloured straw, a stationery box, a set of bone spillikins in a pocket case, a framed straw-work picture of the house built for Napoleon Bonaparte on St Helena, to where he was exiled, a bone set of dominoes and playing cards and a detailed model of an 80-gun ship-of-the-line with hair rigging..

Two photos in the gallery are of New Cross market for the French POWs to sell their wears and hand made pieces to the locals and nobility who used to travel to such markets to buy these pieces that were incredibly popular with members of the aristocracy and high society. a a painting of a prison hulk in Sheerness, often made from the hulks of a scrapped old British man o'war, or a captured, damaged French or Spanish frigate,  read more

Code: 24739

A Third Reich, Kriegsmarine, 6. Schiffsstammabteilung Der Ostsee Training Crew Recruits Baltic Command

A very impressive German, Kriegsmarine cap tally from the 1930's and WW2. Photo in the gallery of the Schiffsstammabteilung Der Ostsee officers and men.

The tally on a sailor's cap is a ribbon usually bearing the name of a ship or some other establishment to which they belong.

Practice varies with each navy, though a conventional tally is black, with a gold or yellow inscription. The inscription may be simply a ship's name (e.g. "H.M.A.S. ARRERNTE"), the name of the navy ("MARINE NATIONALE") or a longer name such as "Red Banner Baltic Fleet" ("КРАСНОЗНАМЕН. БАЛТ. ФЛОТ"). During World War II, the ship's name would often be omitted from the tall—leaving just "H.M.A.S", for example—as a precautionary measure against espionage.

Likewise, the manner a tally is fastened onto the cap varies with each navy. For example, the British tie it into a bow on the left side; the Germans and Russians tie it at the back, leaving behind a pair of streamers; while the French stitch it onto the cap like an ordinary cap band.

Occasionally, the tally's colour may vary from the usual black, such as the Ribbon of Saint George tallies used in the Soviet and Russian navies to denote Guards units.  read more

Code: 19855

A Rare Collection of Three Original Early Edo Woodblock Hand Printed Books of Samurai Sword Oshigata, of Blade Forms Hamon and Kanji

Genealogy, history, plus hundreds of Samurai blades, engravings, blade patterns plus more
swords and sword making. An early printing and of amazing interest. For the not only academic study of the signatures on blade tangs, plus hamon patterns and horimono {blade decorative carvings} by old samurai sword master swordsmiths, but to wonder of the unique aspects of each sword blade and how the reverential study of all aspects of sword making that is unique to Japan for over 1000 years. These superb and beautiful hand made volumes are thus also fascinating and unique works or art, in themselves, hundreds of years old, and created for the study and enjoyment of the art of the true samurai sword.

These volumes of hand made, hand woodblock printed books, detail many aspects of very special swords and their makers. For example, one section of the volumes show hand drawn versions of smiths hamon temper lines the specialised hardening process of every sword’s edge.

Yaki-ire: Hardening the Edge
The hardening of the edge is in many ways the most important, and the most difficult, aspect of the sword-making process. It is the hardening of the edge that gives the blade its ability to take and retain amazing sharpness. To begin with, the blade is coated in yakibatsuchi, a mixture of water, clay, ash, and other ingredients. Every smith has his own special recipe, often a closely kept secret. The yakibatsuchi is applied over the surface, thicker along the spine and thinner at the edge. Working in a darkened forge room using only the light of the glowing coals, the smith carefully heats the blade. As the temperature rises, crystal structures within the metal begin to change. The smith carefully observes the color of the glowing blade, and when the critical temperature is reached the sword is quickly quenched in a trough of water.

At the critical temperature, around 750°C, the structure of steel changes to austenite, a phase where carbon thoroughly combines with iron. When the blade is quickly cooled by quenching, austenite changes to martensite, the hardest type of steel. However, where the thick yakibatsuchi was applied, the blade will cool more slowly, turning not into martensite but instead forming ferrite and pearlite, which are softer and more flexible. Like the kawagane and shingane, this combination of hard edge and softer body is what gives the blade its desirable qualities.

The hardening of the edge also creates a visible change in the surface of the metal. Depending on the way in which the clay mixture was applied, a variety of effects can be produced. This edge pattern is called the hamon, and is one of the most important aspects in the aesthetic appearance of a blade. Like the jihada, each of these patterns has a specific name. Suguha, for example, is a very straight hamon, while sanbonsugi describes a zigzag line in clusters of three.

After the hardening of the edge, if the smith is satisfied with the appearance and quality of the blade, it is then passed on to the polisher, who will give the blade its final partial mirrorlike polish, with a mixture of light and shade, displaying many different shades of grey steel, and then other craftsmen will make the scabbard {saya} and sword mountings {koshirae}. Complete mountings have many elements, including metalwork such as tsuba and menuki, lacquered wood, silk cords and wrapping, and ray-skin grips. Though these are all works of art in themselves, and some of these fittings can indeed be almost priceless in their beauty quality and indeed value, in their own right, but the blade remains the true centerpiece of the finished work, and in fact the age of the blade dictates the time period of the age of the whole sword, despite how ever old or young it’s additional fittings may be. It combines to be an example of the ingenuity of centuries of Japanese smiths and their desire to achieve the perfect blend of technology and art.  read more

Code: 24737

WW1 Ottway Naval Gunsight Telescope V.P 5 to 15,. Made by W Ottway & Co, Ealing

As used on the Dreadnought class battleships.
This amazing looking scientific instrument is a 1913 WW1 Ottway Military Gunsight Telescope V.P 5 to 15,. Made by W Ottway & Co, Ealing, 6 kilos, a noted high quality manufacturer of optical instruments.

On the gun deck of the battleship it would be securely mounted accordingly. Jolly good optics.

Composed of, predominantly, brass and its very heavy! This type of gunsight was often used on the gun turrets of British Royal Navy ships, including the capital ships the “Dreadnought.” The small additional viewing site {shown in position and separate in the photos} affixes on the top is lacking its small mounting screws.  read more

Code: 24675

A Superb Heavy Grade Viking Bearded Axe Around 1000 Years Old

Viking Axehead 9th-12th century AD. An iron axehead with triangular socket, narrow blade with curved edge with beard section.
One of the most famous Viking axes is Hel (named after the Norse death goddess), which belonged to King Magnus of Norway and Denmark. He is said to have inherited the weapon from his father, Olav Haraldsson of Norway, whose ax features prominently in Norway’s national coat of arms. Some Viking axes if they were wielded by a particularly strong and a skilled warrior could even cut through chainmail and helmets. When King Magnus’s poet credited the king with being able to split heads like firewood, he wasn’t necessarily being hyperbolic. Writing about the pre-Viking Franks and their use of throwing axes, the Francisca, Procopius makes it clear that the Franks threw their axes immediately before hand to hand combat with the purpose of breaking shields and disrupting the enemy line while possibly wounding or killing an enemy warrior. The weight of the head and length of the haft would allow the axe to be thrown with considerable momentum to an effective range of about 12 m (40 ft). Even if the edge of the blade were not to strike the target, the weight of the iron head could cause injury. The francisca also had a psychological effect, in that, on the throwing of the francisca, the enemy might turn and run in the fear that another volley was coming. It is most logical that the Vikings may well have adopted this system of axe throwing combat from the earlier Franks, as it seemed most effective in numerous combat arenas. 6 3/4 inches across Almost every iron weapon that has survived today from this era is now in a fully russetted condition, as is this one, because only the swords of kings, that have been preserved in national or Royal collections are today still in a good state and condition.  read more

Code: 22080

A Pair Of Durs Egg Boxlock Pocket Percussion Pistols Circa 1835

In very good order, with what appears to be very nice original finish. All steel furniture with engraved side plates, barrel tangs and trigger guards, slab sided walnut butts, oval name cartouches to sides, one engraved D.Egg.

Durs Egg was one of England finest ever gunsmiths, but at this period his working life was coming to an end, and after his death, his relatives John and George Frederickson carried on working in his name. Good turn-off breech loading barrels with excellent proof markings. Both actions are very crisp indeed, but one pistol is reticent to engage past first cock. As with all our antique guns no license is required as they are all unrestricted antique collectables  read more

Code: 21533

An Original, Patriotic War Period Infantryman’s, Red Army Russian Service Belt From A WW2 Veteran

Just acquired from it's original owner who served in the USSR's Red army in WW2 and in the early Cold War Era. This was his Red Star service belt that he wore, and another belt we show in the gallery was from his comrade who served in the USSR navy [now sold]. With it's original leather belt. A most scarce original example straight from it's original owner. The Red Workers' and Peasants' Army was the name given to the army and the air force of the Russian Soviet Federative Socialist Republic and from 1922 the Union of Soviet Socialist Republics. It was established in the immediate period after the 1917 October Revolution (Red October or Bolshevik Revolution), when the Bolsheviks constituted an army during the Russian Civil War opposite the military confederations (especially the combined groups summarized under the preamble White Army) of their adversaries. From February 1939, the Red Army, who together with the Soviet Navy, embodied the main component of the Soviet Armed Forces, took the official name "Soviet Army" until its dissolution in December 1991.  read more

Code: 18089

A Rare 1840 Constabulary Carbine Bayonet with Deep Defensive Sword Cut

With spring recess in the blade no spring. The most amazing feature of this bayonet is that it has parried a sword thrust, which has deeply cut into the blade elbow. A fabulous battle scar that undoubtedly saved the mans life. The socket is numbered 60. Ordnance stamped blade

The British pattern 1840 Constabulary carbine was known in to distinct patterns. the earlier carbine was derived from the Pattern 1839 Musket, and the later carbine followed the lines of the pattern 42 musket. The main differences being the lock, side plate and bayonet catch. The earlier pattern using the P'39 lock, New Land Pattern side plate and the Hanoverian bayonet catch, while the later used the P'42 lock, Lovell cups and the Lovell bayonet catch. The Pattern 1840 Constabulary Carbine has a 26" barrel and the rear sling swivel is placed at the underside of the butt, rather than at the trigger guard.

The Pattern 1840 Constabulary Carbine was issued in NSW, Victoria, Tasmania, and Western Australia  read more

Code: 17601

An Antique 'Claw and Feather' Bronze Paper Knife or a “Unicorn” Page Turner.

Originally classified in the collecting world as a late Victorian page turner, yet in fact it may well not be a mythical collectible, or so-called ‘unicorn piece’, but thus actually a rare form of paper knife.
A most interesting piece for the bibliophile. In colour patinated bronze, possibly Austrian. Circa late 1800’s. 9.5 inches long.
Uncut pages were common to Victorian Era and earlier books, artifacts of the bookbinding practices of the day. As Spellerberg explains in Reading & Writing Accessories, long sheets of paper were folded numerous times to form a “signature” of pages or “leaves,” which would be printed on both sides. Signatures would be printed, collated, and then bound (which usually meant “sewn”) to create a book. “Most of the leaves were cut during the binding process,” he writes. “However, since all books were bound by hand at that time, leaves were sometimes left uncut and could not be opened unless they were cut.” Paper-knives made such books readable.

It wasn’t just books that required paper-knives to be read, which is why the tools came in all sizes. There were long ones for newspapers and magazines, as well as shorter ones for diminutive books made to fit in the palm of the hand. Regardless of their size, some were painted in handsome designs while others were carved and fitted with sterling-silver handles, transforming these prosaic implements of paper destruction into small works of art. And, of course, a great many paper-knives were treated as handheld advertisements, sold at tourist destinations as souvenirs or given away by companies wishing to extend their brands, as we might put it today.

Impossibly so, as it turns out: After researching the topic for several years, Spellerberg concluded that page turners simply did not exist during the Victorian Era. In fact, according to Spellerberg, page turners didn’t exist during any historical period at all, making them the unicorns, if you will, of office collectibles, mythical objects that tell us more about how we imagine people lived rather than how they actually did.
Page turners, then, were actually paper-knives, and paper-knives were the tools readers employed to get at the content inside an “unopened” book.
Matthew Haley of Bonhams, stated. “I was once told, but have never confirmed, that people still occasionally request books that have never been opened at the Bodleian Libraries in Oxford,” Haley says. “They are lent a paper-knife for the purposes of cutting the pages.” In fact, as Rosie Burke of the Bodelian told me via email, “I’m pleased to confirm that it is true that after all these years we still have many books with uncut pages—either completely uncut or only partially cut. Staff will issue paper-knives to readers for certain books, but anything that is particularly old or fragile will only be cut by either reading-room staff or a member of our conservation team.”

This is obviously good news for readers—as a library, the Bodelian is in the business of spreading knowledge rather than keeping it secreted within the uncut pages of the books on its shelves. But the utility of paper-knives raises an interesting dilemma for book collectors. Is a book with uncut pages more valuable than a comparable volume whose leaves have been sundered, however carefully, by a paper-knife?

“Generally speaking,” Haley says, “there is a slight premium placed by collectors on uncut or ‘unopened’ copies, as they are closer to how the book would have been originally supplied by the bookseller. It’s one of the fascinating ironies of book collecting,” he adds, “that an unreadable book could be worth more than one that’s ready to read.”
Some years ago we had an early edition of Darwin’s ‘On the Origin of Species’ from Winston Churchill’s personal library, and many pages were still uncut, which demonstrates that despite being an early edition from the mid 19th century it had neither been read or even cut by Spencer Churchill or Winston Churchill during their ownership  read more

Code: 18896

A Scarce Large Antique Bali & Lombok Loncengan Hilt High Born Warriors Kris or Keris. Serpentine15 Luk Blade

From the Bali or Lombok island of Indonesia. The very fine blade being also very finely polished likely leans towards Bali. Most keris or kris from other islands have course blades that are not meant to be highly polished as is this fine sword.

The Dutch first visited Lombok in 1674 and settled the eastern part of the island, leaving the western half to be ruled by a Hindu dynasty from Bali. The Sasaks chafed under Balinese rule, and a revolt in 1891 ended in 1894 with the annexation of the entire island to the Netherlands East Indies. This is a beautiful and scarce Kris with bound grip typically indicative of Lombok Keris,
Because some kris are considered sacred and believed to possess magical powers, specific rites needed to be completed to avoid calling down evil fates which is the reason warriors often made offerings to their kris at a shrine. There is also the belief that pointing a kris at someone means they will die soon, so silat practitioners precede their demonstrations by touching the points of the blades to the ground so as to neutralise this effect.

Reference; a Lanes Armoury *Special Conservation* Item, restored and conserved in our workshop, see info page for details on our conservation principles.

Painting in the Royal Collection by Frans Francken the Younger in the gallery, photo 10, painted in 1617, titled 'Cabinet of a Collector', clearly shows, top left, a 16th century Kris dagger, Even as early as the 16th century, awareness and collectability of the Indonesian kris had reached far into Europe.

The kris or keris is a distinctive, asymmetrical dagger from Indonesia. Both weapon and spiritual object, the kris is considered to possess magical powers. The earliest known kris go back to the tenth century and most probably spread from the island of Java throughout South-East Asia.

Kris blades are usually narrow with a wide, asymmetrical base. The sheath is often made from wood, though examples from ivory, even gold, abound. A kris’ aesthetic value covers the dhapur (the form and design of the blade, with some 40 variants), the pamor (the pattern of metal alloy decoration on the blade, with approximately 120 variants), and tangguh referring to the age and origin of a kris. A bladesmith, or empu, makes the blade in layers of different iron ores and meteorite nickel. In high quality kris blades, the metal is folded dozens or hundreds of times and handled with the utmost precision. Empus are highly respected craftsmen with additional knowledge in literature, history and occult sciences.

Kris were worn everyday and at special ceremonies, and heirloom blades are handed down through successive generations. Both men and women wear them. A rich spirituality and mythology developed around this dagger. Kris are used for display, as talismans with magical powers, weapons, sanctified heirlooms, auxiliary equipment for court soldiers, accessories for ceremonial dress, an indicator of social status, a symbol of heroism, etc. 19.5 inch blade, overall 24.75 inches.
No scabbard  read more

Code: 24676