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

A pistol made in bronze, many hundreds of years ago, to fire off for the entertainment of the nobility and their children. Dark blue-black bronze age patination

An extraordinary little piece of rarely known history, from the earliest age of the black powder pistol. These intriguing miniature functioning pistols were called petronel, named after the original early name of matchlock and wheellock pistols, and very much of the period, from the Elizabethan to the Carolean age.

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

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


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

Code: 24929

A Fabulous, Rare, Original, Ancient Viking Wrought Iron Battle Hammer-Axe. Around 1100 to 1200 Years Old. Discovered During An Old Excavation at York in 1872. Typography Wheeler TypeIV From The Earliest Period of The Viking Incursions Into England

The renown and famed battle axe of a fearsome Viking warrior, however this is an exceptional and rare type, that incorporates a battle-hammer for smashing and crushing helmets and the like. It is also of heavy weight, ideal for two handed use, but also for single handed combat, provided the owner had considerable strength. This fabulous example has an extra large hammer, likely for use by such as the homicidal Viking Berserkers who had that vital extra strength and power associated with their iconic reputation at the time. Ironically even the Viking warriors, who were no shrinking violets, had huge respect and considerable fear of their combat allies, the Viking Berserkers {from where the term 'going berserk' stems from}. It is thought that they may have ingested some form of hallucinogenic plant immediately before combat, in order to remove all forms of hesitation and fear, thus, many regular Vikings feared they could be just as dangerous to them in combat, as their enemies.

We were delighted to acquire this superb historical piece, with a Berserker's bronze torc collar, together with a few other fine original Viking artefacts, however, we are offering them all separately.

Renown scholar Alcuin of York was back at Charlemagne's court by at least mid-792, writing a series of letters, regarding the brutal Viking raid at Lindisfarne, to Æthelred, to Hygbald, Bishop of Lindisfarne, and to Æthelhard, Archbishop of Canterbury in the succeeding months, dealing with the Viking attack on Lindisfarne in July 793. These letters and Alcuin's poem on the subject, "De clade Lindisfarnensis monasterii", provide the only significant contemporary account of these events. In his description of the Viking attack, he wrote: "Never before has such terror appeared in Britain. Behold the church of St Cuthbert, splattered with the blood of God's priests, robbed of its ornaments.

The Vikings began arriving en masse with armies intent on conquest. These armies were led by Ivar the Boneless, Halfdan, and Ubba, three of the sons of Ragnar Lodbrok, who had been killed by the Northumbrian King Ælla. The first English city to fall to the invaders was York, conquered in 866. The Northumbrians tried in vain to retake the city, and King Ælla was killed in the process. One-by-one, other Saxon realms capitulated until virtually all of north and eastern England was under the direct control of the Danes.

At this point, the strongest Anglo-Saxon kingdom was Wessex, and upon the death of its king Æthelred, Alfred succeeded the throne and took the fight to the Vikings in England, who had begun annexing huge chunks of Mercia, an ally of Wessex. Alfred’s initial campaign against the Vikings was, however, a complete failure. Anglo-Saxon military tactics and defenses were incapable of dealing with Viking raids, and Alfred was eventually forced into hiding in the Somerset Marshes. The Vikings in England had succeeded in opening up the whole of Anglo-Saxon England to their mercy.
In 878, King Alfred came out of hiding and met with the lords still loyal to his cause. During his time in the Somerset Marshes, he had carefully planned a major counter-offensive against the Danish Viking army under Guthrum. Alfred’s campaign was successful, and Guthrum’s army was beaten, first in the field at Edington and then starved into submission at Chippenham. Several years later, a boundary was established, dividing England in two, with one half under Anglo-Saxon control and the other half, known as the Danelaw, under the control of the Vikings.

King Alfred organized better defenses, as well as a powerful free-standing army better equipped to deal with Viking tactics. As a result, subsequent raids and a major invasion attempt were thwarted. The Vikings who were part of this invasion attempt either ended up settling in Danelaw or sailing to Normandy and settling there.
Beyer, Greg. "The Vikings in England (Or were they Danes?)" TheCollector.com, March 11, 2023, https://www.thecollector.com/danes-or-vikings-in-england/

Title page of a late manuscript of the Prose Edda written by Snorri Sturluson (13th century), showing the Ancient Norse Gods Odin, Heimdallr, Sleipnir, and other figures from Norse mythology, plus the legendary axe hammer.

The Tjängvide image stone with illustrations from Norse mythology
By Berig - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=3682858
Showing axe hammers in combat and a Viking longship

7 1/2 inches across, cutting edge 2 3/4 inches,  read more

Code: 25866

An Original Very Rare Neck Torc of a Legendary, Notorious & Terrifying Viking Mercenary Warrior, A Spectacular, Original & Ancient Viking 'Berserker's' Status Neck Adornment in Bronze. Even the Fiercesome Viking's Were in Fear Of Them. 1200 Years Old

This superb historical antiquity was acquired by us, with a companion piece, a Viking War Hammer- Axe, and, due to its heft, it was also likely used by a Viking Berserker, rather that a more regular Viking warrior. They are both {the axe and torc} around same age, circa 840 ad.

It was thanks to our last, very rare example, being noticed on our website by a Viking collector, who owned this fabulous similar torc, and a war hammer-axe and javelin spear, who then offered us his pieces.

This example however has a different twist copper bronze alloy design, and a naturally 'polished' patinated surface, our last example had an unpolished patinated surface, caused by differing geological conditions that it was conserved within, for the past 1000 years, that it was buried. There is normally ten to twenty years between pieces such as this appearing to us, but thanks to our improving worldwide presence we are delighted to be offered this beauty in such a remarkably short time frame since our last remarkable example.

If any former collector of original Viking warfare bronze adornments has similar pieces they may wish to sell, please consider contacting us, we are always incredibly keen to acquire additional rare Viking antiquities for our gallery’s collection. As the largest specialist dealers in Europe in military antiques and antiquities we are always keen to be contacted by current or former collectors.

A very large bronze Torc, in traditional Viking twisted wirework, heavy grade copper bronze with a fine emerald green patina. Berserkers were among the most feared of the Norse Viking bare-skinned warriors of their age, ingesting hallucinogens to induce a trance-like fury that carried them through battle.
It is believed they fought hand to hand, naked, and bearing nothing but their weapons, a shield and wearing only their status neck torc

The Lewis Chessmen, discovered in Scotland but believed to be Norwegian, date to the 12th century and include a number of pieces showing wild-eyed berserkers biting their shields.

In the fierce warrior culture of the Vikings, there was one type of elite, almost possessed, norse warrior that stood out for their battle fury and violence: the Viking Berserker.
They were careless in their fury, leading many historians to think that they used mind-altering substances to hype themselves up for battle. Berserkers may have felt as though nothing could hurt them. And the English phrase “berserk,” usually describing a frenzied state of anger, comes from these Norse warriors.

Viking berserkers existed as mercenaries for hundreds of years during the Scandinavian Middle Ages, traveling in bands to fight wherever they could get paid. But they also worshiped Odin and were associated with mythological shapeshifters.
And eventually, Norse berserkers became so fearsome that they were entirely outlawed by the 11th century
The Torslunda Plates, which were discovered in Sweden and date to the 6th century, likely depict how berserkers would have dressed in battle.

Most of what comprised the life of a Viking berserker is a mystery because their practices weren’t recorded in detail until the using mind-altered states in battle had been outlawed by the Christian church.
At this time, Christian writers on a mission to condemn any sort of pagan traditions often gave biased, altered accounts.
We do know that berserkers were inhabitants of Scandinavia. It’s written that they guarded Norway’s king Harald I Fairhair as he reigned from 872 to 930 A.D.
They also fought for other kings and royal causes. Archaeological findings from the time when a Viking berserker would have reigned supreme show that they were among elite warriors who were wild and reckless when fighting battles.

A detail of one of the 6th-century Torslunda Plates found in Sweden. It is believed to depict Odin wearing a horned helmet and a berserker wearing the mask of either a wolf or bear.

According to Anatoly Liberman in Berserks in History and Legend, the berserkers roared and otherwise made a lot of noise when in battle. One artistic depiction of the berserkers found in Tissø, West Zealand, showed them wearing a horned helmet.

The word “berserker” itself is derived from the Old Norse serkr, meaning “shirt,” and ber, the word for “bear,” suggesting that a Viking berserker would have worn the hide of a bear, or possibly wolves and wild boars, to battle.
But, rather than wearing the skins animals, the stories told of the Norse warriors who would be so enraged for war that they would literally become wolves and bears to win the battles before them.
In the National Museum of Denmark is the Golden Horn
Imagery of berserkers often depicted them semi-nude, like on this 5th-century golden horn discovered in Møgeltønder, Denmark with naked berserkers wearing neck torcs
Berserkers were originally thought to be named after a hero in Norse mythology who fought without any protective gear or “bare skinned.”

“The nakedness of the berserkers was in itself a good psychological weapon, because such men were naturally feared, when they showed such disregard for their own personal safety,” according to the National Museum of Denmark.
“The naked body may have symbolized invulnerability and was perhaps displayed to honour a war god. The Berserkers were thus dedicating their lives and bodies to the battle.”

Although this imagery is fascinating, experts now think that the term comes from wearing bear skins instead of “bare skin”. So, it’s likely that they got their name from wearing animal skin in battle.
Artistic depictions of a Viking Berserker showed Norse warriors wearing the skins of animals in battle. They may have felt like wearing the skins of perceived wild animals like wolves and bears helped increase their strength.
They might have also thought that it helped them channel the aggression and brutality that hunting animals have when going after their prey.

In 872 AD, Thórbiörn Hornklofi described how Norse warriors that were bear-like and wolf-like fought for King Harald Fairhair of Norway. Nearly a thousand years later, in 1870, four cast-bronze dies depicting Berserkers were discovered by Anders Petter Nilsson and Erik Gustaf Pettersson in Öland, Sweden.
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 trading  read more

Code: 25824

A Very Good & Most Rare Viking Period Javelin Spear, A 'Frakka' Head, ᚠᚱᛅᚴᚴᛅ. During the War Between The Aesir & The Vanir, Odin Threw A Javelin Into The Vanir Host. Circa 900 AD.

Just arrived with a bronze copper alloy Viking Berserker's neck torc and a substantial war hammer-axe. possibly all from a grave of a Viking Berserker uncovered in the 1870's.

Medially ridged leaf shaped blade, with a long tapering spiked tang. Although not as glamorous as the sword, the spear was in every sense the definitive weapon of the Viking Age and used as the primary weapon of combat by almost every warrior. This form of long throwing javelin spear has an iron socket spike at the base, that in order to create a javelin, its bottom spike would be driven into a suitable haft by around 4.5 inches, up to the end of the socket, and this would thus create a most devastating long distance throwing weapon of warfare.

Decorated spearheads inlaid with precious metals prove that in the Viking Age spears were not seen as the poor man's choice and one has only to look at the representations of warriors from the illuminated manuscripts of the era to quickly come to the conclusion that the use of the spear was ubiquitous. Swords are considered a most valuable historical find, as is a same era spear, however, a similar condition surviving Viking era sword could cost today well over 18,000 pounds, so the cost of this large spear by comparison is very good value indeed.
A fine example of a 10th century spear that can be found in England, that came from Viking invaders, who used such spears from Eastern Europe, all Scandinavia, Northern Europe, Central Europe and Britain. Many of the Anglo-Saxon phrases used to describe both battle and warrior help to underline the importance of the spear. In Voluspo (from the Norse Poetic Edda) line 24 onwards -we read :

Vápnum sínum skal-a maðr velli á
feti ganga framar,
því at óvíst er at vita,
nær verðr á vegum úti geirs of þörf guma

let fly a spear, hurled it over the host;
that was still the first war in the world,
the palisade surrounding the Aesir's stronghold was breached
by the Vanir battle-magic, as they strode the plain.
During the War between the Aesir and the Vanir, Odinn threw a javelin into the Vanir host to signal the commencement of hostilities. The practice of symbolically throwing a spear into the enemy ranks at the start of a battle was sometimes used in historic clashes, to seek Odinn’s blessing.

17.5 inches long overall. Part of an original medieval collection we have just acquired, of Viking and early British relics of warfare from ancient battle sites recovered up to 220 years ago. 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 later swords of kings, that have been preserved in national or Royal collections, are today still in a good state and condition, but due to rarity no Viking swords remain that are still in a good surface condition.  read more

Code: 22759

A Scarce Victorian 1895 Pattern British Infantry Officer's Sword, With Field Service Scabbard. Used At The Battle of Omdurman, Through WW1 & Into WW2. Reports From Its Use, The 1895 'New Pattern' Were Very Positive In Its Use In Combat At Omdurman

This infantry officer's sword, of regulation pattern, with its Field Service leather covered wooden scabbard, was used in combat service in the The Battle of Omdurman. Then continually, in the following 20th century, in the two world wars. It is the rarest pattern of its type of infantry officer's sword, that was made in 1895 for just two years before the pattern was slightly altered at the half basket. The 1895 had a sharp edge in the inner bowl that used to wear when it rubbed against the officer's uniforms, this was changed by creating a small curl at that inner edge in 1897, and the pattern then titled the 1897 regulation pattern

Omdurman was fought on September 2, 1898, and was a decisive victory for the Anglo-Egyptian forces led by General Kitchener against the Sudanese Mahdist army commanded by the Khalifa Abdallahi ibn Muhammad.
This battle marked the culmination of the Anglo-Egyptian reconquest of Sudan and effectively ended the Mahdist state.

The blade is straight and symmetrical in shape about both its longitudinal axes. The thick blade has a deep central fuller on each side and is rounded on both its edge and back towards the hilt, giving a “dumbbell” or “girder” cross section. Through a gradual transition, the blade becomes double edged towards the tip, and the last 17 inches were sharpened when on active service. The blade ends in a sharp spear point.
The guard is a three-quarter basket of pressed, plated steel. It is decorated with a pierced scroll-work pattern and had the royal cypher of the reigning monarch set over the lower knuckle bow. In this case it is VR for Queen Victoria.

The 1895 regulation pattern Infantry officer's sword was slightly improved after two years with a small rim fold in the half basket in 1897, and has thus remained unchanged to the present day.
By the time of its introduction, the sword was of somewhat limited use on the battlefield against rapid-firing rifles, machine guns and long-range artillery. However, the new sword was regarded, when needed, as a very effective fighting weapon. Reports from the Sudan, where this sword was used in close-quarters fighting, during the Reconquest of the Sudan 1896-99, were highly positive.

Field Marshal Montgomery advanced into battle with his 1897 Pattern drawn during a counter offensive in the First World War. The actual sword he carried is exhibited in the Imperial War Museum, London.

One of the famous British officer's of WW2, who was a devoted exponent of hand to hand sword combat, using his sword in battle, was infantry officer 'Mad' Jack Churchill.
After fighting at Dunkirk, he volunteered for the Commandos. On one occasion, a general who had commented on his weaponry, Churchill is said to have replied "Any officer who goes into action without his sword is improperly dressed."

Very bright polish with traces of old polished out light pitting throughout. Small leather chape lacking from the base of the scabbard  read more

Code: 25870

A Super, 1950's Vintage, Yet Incredibly Affordable, Triple Calender Moon-Phase, Complication Movement of 17 Rubies, Wristwatch, in Rolled Gold By Rex of Switzerland. Hand Winding Movement. An Amazingly Beautiful Collector's Piece.

We show in the gallery two other vintage hi-end collectors watches, of around the same age, and looking very similar to ours. However, the Rolex examples we show are valued at six figures, one for sale by top class watch specialist is $250,000 dollars!.

Important note, we are specialists in many fields, such as antiquarian books, affordable, original antiquities, and military antiques, especially Japanese. But, we are not watch specialists, in any way at all. We have bought many thousands of fine pocket and wrist watches, over the past 100 years, but we have yet to service a single example. We buy them, enjoy brief ownership, and pass them on to collectors, ‘as is’, as antique or vintage collectables, but, always priced accordingly.

This delightful watch we offer is a Circa 1950's Rex triple calendar, moon-phase, plus small seconds dial, watch, in a 34mm yellow gold filled case with steel back. With its original silvered dial, with embossed yellow gold indices and red 'crescent moon' day date on a perimeter arm. Overall, in nice original condition for its age, working, but not inspected for cleaning etc. at all. The lens looks original, but does have the usual old surface scratches and a near invisible very small hairline crack.

It looks extraordinarily similar to the two Rolex examples we show in the gallery, but at a mere fraction of a fraction of the price.

Apparently founded in 1783, Rex was a Swiss watch maker specialising initially in fine pocket watches, day date disk complication pocket watches, and latterly in the 20th century, in wrist watches, however, they are no longer trading anymore.

In its essence, a moon-phase watch relays the 29.5 day lunar cycle by displaying the current phase (sunlit portion) of the moon on the dial of the watch. The 29.5 day cycle is the time it takes to get from a new moon, when it’s not visible, to a full moon and back again. Most often a moon-phase display is referred to as a moon-phase complication since it’s an added feature to the watch similar to the date.

The moon-phase complication was instrumental in developing a perpetual calendar. The first wristwatch with a moon-phase complication and perpetual calendar was by Patek Philippe in 1925 with the reference 97975. Rolex introduced its own version of the complication in 1949 with the reference 8171.

The true magic of these tiny mechanisms is that they are like miniature mirrors, reflecting to the wearer nothing more than the passage of the earth around the sun, decoding this celestial information and compiling it in a tangible and readable format.

Every function that is added to a mechanism requires further math, more gears and greater attention to the precision of the passage of time. These additional functions are aptly referred to as complications.

The triple-date moon phase watch has four extra complications, each marking the next higher increment of time. First we have the inclusion of the date, a common enough complication among mechanical pieces. Next is the addition of the day of the week, still a relatively straightforward addition. Beyond this, the addition of the month, a feature that necessitates further calculation, higher orders of the accumulation of time across many days. Finally, is the addition of a complication which indicates the phase of the moon – from the new moon to the full and back again, it marks the position of the moon in relationship to our position on the planet.

While moon phase clocks have been in existence for centuries (and in some cases even longer!), the first known example of a wristwatch with this level of complication was the Breguet Perpetual Calendar, released in 1929. Not surprisingly, these early moon phase watches trade at incredible values (a version of this early Breguet sold at Christies a few years ago for over $475,000), many brands successfully created moon phase watches of their own, such as REX and Movado, allowing for many great options at much more approachable price points.

As a point of interest, one of the best points about this watch, is, that from only four feet away, when worn on the wrist, it looks near identical to its same aged cousin { the Rolex moon-phase watch}, however, it's finest advantage is that it is £995, not, $250,000.  read more

Code: 25867

A Good 18th Century Wootz 'Tiger's Claw' Bladed Khanjar, With An Islamic Text Panel Upon The Blade, With Carved Horn Hilt

 read more

Code: 25865

Original German WWII 15cm Nebelwerfer 41 Inert Rocket. Original, WW2 German Third Reich 'Nebelwerfer 41' Un-Fired or Failed Detonation Rocket. D-Day 'Operation Overlord' Vintage

The German designation Nebelwerfer, (Smoke Launcher), was actually a camouflage term used to hide the development of rocket launchers which had been banned as a result of the Treaty of Versailles following the end of WWI. Under the camouflage term German armament firms continued development of rocket launchers which fired smoke or high explosive shells in direct violation of the Treaty. In 1941 the 15cm Nebelwerfer 41 was introduced and it would be come the standard weapon utilized by the Nebeltruppen. The Nebelwerfer 41 consisted of six firing tubes mounted on a two wheeled split trail carriage. The 15 cm Nebelwerfer 41 (15 cm NbW 41) was a German multiple rocket launcher used in the Second World War. It served with units of the Nebeltruppen, German Chemical Corps units that had the responsibility for poison gas and smoke weapons that were also used to deliver high-explosives during the war. The name Nebelwerfer is best translated as "smoke mortar". Allied troops nicknamed it Screaming Mimi and Moaning Minnie due to its distinctive sound.

Rocket development had begun during the 1920s and reached fruition in the late thirties. This offered the opportunity for the Nebeltruppen to deliver large quantities of poison gas or smoke simultaneously. The first weapon to be delivered to the troops was the 15 cm Nebelwerfer 41 in 1940, after the Battle of France, a purpose-designed rocket with gas, smoke and high-explosive warheads. It, like virtually all German rocket designs, was spin-stabilized to increase accuracy. One very unusual feature was that the rocket motor was in the front, the exhaust venturi being about two-thirds down the body from the nose, with the intent to optimize the blast effect of the rocket as the warhead would still be above the ground when it detonated. This proved to greatly complicate manufacture for not much extra effect and it was not copied on later rocket designs. It was fired from a six-tube launcher mounted on a towed carriage adapted from that used by the 3.7 cm PaK 36 and had a range of 6,900 meters (7,500 yd). Almost five and a half million 15 cm rockets and 6,000 launchers were manufactured over the course of the war.

Inert rocket example is dated 1944 and bears the manufacturer code emh. Round is approximately 37" tall constructed in steel with three main sections which can be taken apart with its inner workings present and waffenamt stamped. Overall condition is excellent with areas of minor pitting.

The Nebelwerfer 41, is unlimbered and placed in position by its crew of four men. As soon as the protective coverings have been removed, the projector is ready to be aimed and loaded. The ammunition is attached to the right and to the left of the projector, within easy reach, and the shells are introduced two at a time, beginning with the lower barrels and continuing upward. Meanwhile, foxholes deep enough to conceal a man in standing position have been dug about 10 to 15 yards to the side and rear of the projector. The gunners remain in these foxholes while the weapon is being fired by electrical ignition. Within 10 seconds a battery can fire 36 projectiles. These make a droning pipe-organ sound as they leave the barrels, and, while in flight, leave a trail of smoke. After a salvo has been fired, the crew quickly returns to its projectors and reloads them. Only its original empty steel shell casing and parts, no propellant, no ingnition system, thus completely safe in all regards.
No restrictions to ownership or personal display, but only for sale to over 18's.

Not suitable to Export. UK mainland delivery only. 38 inches long approx.
Copy and paste for original film of Nebelwefer in use on youtube; https://www.youtube.com/watch?v=xtSTMYGEyaM


A similar example can be found at the Smithsonian National Air and Space Museum as seen at this link; Rocket, Surface-to-Surface, Nebelwerfer 15cm Wgr. 41 Spr.  read more

Code: 25868

A Fabulous Quality Crimean War Cavalry Officer's Pistol of Carbine Bore, Damascus Barrel with Paget Style Captive Ramrod. Near Identical to the Pistol of Colonel John Yorke, 1st Royal Regt of Dragoons,.

Part of superb Crimean War period collectables we have just acquired. Beautifully scroll engraved lock and mounts, in superb condition for age, with Damascus twist barrel with hook breech and barrel slide, 'Paget' captive ramrod, juglans regia walnut stock with micro chequering and silver escutcheon. Sliding safety to lock. Dolphin percussion hammer. Excellent tight and crisp action.
Photo in the gallery of a near identical pistol, also of carbine bore, showing all the same features as this pistol, such as sliding safety, hook breech Damascus barrel retained with barrel slides, fine walnut stock with micro chequring and paget swivel ramrod. The pistol of Colonel John Yorke, 1st Royal Regt of Dragoons, wounded at Balaklava, supporting the Light Brigade in the Valley of Death. The pistol in the household Cavalry Museum.

This cavalry officer's pistol is absolutely typical of the type carried by some officer's that took part in the charge, and may very well have been used by one.

The Charge of the Light Brigade {Aka, Into the Valley of Death} was a world famous military action undertaken by British light cavalry against Russian forces during the Battle of Balaclava in the Crimean War, resulting in many casualties to the cavalry. On 25 October 1854, the Light Brigade, led by Lord Cardigan, mounted a frontal assault against a Russian artillery battery which was well prepared with excellent fields of defensive fire. The charge was the result of a misunderstood order from the commander in chief, Lord Raglan, who had intended the Light Brigade to attack a different objective for which light cavalry was better suited, to prevent the Russians from removing captured guns from overrun Turkish positions. The Light Brigade made its charge under withering direct fire and reached its target, scattered some of the gunners but was forced to retreat immediately.

The events were the subject of Alfred, Lord Tennyson's narrative poem "The Charge of the Light Brigade" (1854), published six weeks after the event. Its lines emphasise the valour of the cavalry in carrying out their orders regardless of the risk. Responsibility for the miscommunication has remained controversial, as the order was vague and Captain Louis Nolan, who delivered the written orders with some verbal interpretation, was killed in the first minute of the assault.

Out of interest, around 30 years ago we owned the very foul weather sabretache of Captain Nolan that he used, and carried, that very order to charge the Russian guns into the Valley of Death. The sabretache, was the one upon which he fell, when he perished when fatally wounded within sixty seconds of the commencement of charge. It came to us through the family ownership and had previously been on display in two museums until the mid 20th century.

The charge;

The Light Brigade set off down the valley with Cardigan in front, leading the charge on his horse Ronald. Almost at once, Nolan rushed across the front, passing in front of Cardigan. It may be that he realised that the charge was aimed at the wrong target and was attempting to stop or turn the brigade, but he was killed by an artillery shell and the cavalry continued on its course. Captain Godfrey Morgan was close by:

The first shell burst in the air about 100 yards in front of us. The next one dropped in front of Nolan's horse and exploded on touching the ground. He uttered a wild yell as his horse turned round, and, with his arms extended, the reins dropped on the animal's neck, he trotted towards us, but in a few yards dropped dead off his horse. I do not imagine that anybody except those in the front line of the 17th Lancers saw what had happened.

We went on. When we got about two or three hundred yards the battery of the Russian Horse Artillery opened fire. I do not recollect hearing a word from anybody as we gradually broke from a trot to a canter, though the noise of the striking of men and horses by grape and round shot was deafening, while the dust and gravel struck up by the round shot that fell short was almost blinding, and irritated my horse so that I could scarcely hold him at all. But as we came nearer I could see plainly enough, especially when I was about a hundred yards from the guns. I appeared to be riding straight on to the muzzle of one of the guns, and I distinctly saw the gunner apply his fuse. I shut my eyes then, for I thought that settled the question as far as I was concerned. But the shot just missed me and struck the man on my right full in the chest.

In another minute I was on the gun and the leading Russian's grey horse, shot, I suppose, with a pistol by somebody on my right, fell across my horse, dragging it over with him and pinning me in between the gun and himself. A Russian gunner on foot at once covered me with his carbine. He was just within reach of my sword, and I struck him across his neck. The blow did not do much harm, but it disconcerted his aim. At the same time a mounted gunner struck my horse on the forehead with his sabre. Spurring "Sir Briggs," he half jumped, half blundered, over the fallen horses, and then for a short time bolted with me. I only remember finding myself alone among the Russians trying to get out as best I could. This, by some chance, I did, in spite of the attempts of the Russians to cut me down.

The Light Brigade faced withering fire from three sides which devastated their force on the ride, yet they were able to engage the Russian forces at the end of the valley and force them back from the redoubt. Nonetheless, they had suffered heavy casualties and were soon forced to retire. The surviving Russian artillerymen returned to their guns and opened fire with grapeshot and canister shot, indiscriminately at the mêlée of friend and foe before them  read more

Code: 24948

A Fabulous, Extraordinarily Beautiful and Exquisite Quality Pure Koftgari Gold Inlaid Gentleman’s Walking Stick ‘Dandy Cane’ Inlaid With Incredibly Skillful Craftmanship

One of the most beautiful and finest quality examples we have ever seen. A steel handle inlaid with amazing two colour Koftgari goldwork of simply stunning quality. Koftgari is the Indian form of damascening which closely resembles the damascening found in Persia and Syria.

The inlay process begins after the piece is moulded and fully formed. The intended design is engraved into the base metal and fine gold or silver wire is then hammered into the grooves.

The base metal is always a hard metal, either steel, iron or bronze, and the inlay a soft metal, either gold or silver. This combination prevents the base from deforming when the wire inlay is hammered into the surface and results in the inlaid areas being well defined and of sharp appearance.

Swords, shield and armour were often decorated in koftgari work and domestic items such as boxes and betel containers, were also made. Every other portrait of a Georgian, Victorian, or Edwardian gentleman, shows some nattily dressed fellow with a walking stick pegged jauntily into the ground or a slim baton negligently tucked under the elbow. The dress cane was the quintessential mark of the dandy for three centuries, part fashion accessory, part aid to communication, part weapon, and of course, a walking aid. A dandy, historically, is a man who places particular importance upon physical appearance, refined language, and leisurely hobbies, pursued with the appearance of nonchalance in a cult of self. A dandy could be a self-made man who strove to imitate an aristocratic lifestyle despite coming from a middle-class background, especially in late 18th- and early 19th-century Britain.

Previous manifestations of the petit-maître (French for "small master") and the Muscadin have been noted by John C. Prevost, but the modern practice of dandyism first appeared in the revolutionary 1790s, both in London and in Paris. The dandy cultivated cynical reserve, yet to such extremes that novelist George Meredith, himself no dandy, once defined cynicism as "intellectual dandyism". Some took a more benign view; Thomas Carlyle wrote in Sartor Resartus that a dandy was no more than "a clothes-wearing man". Honoré de Balzac introduced the perfectly worldly and unmoved Henri de Marsay in La fille aux yeux d'or (1835), a part of La Comédie Humaine, who fulfils at first the model of a perfect dandy, until an obsessive love-pursuit unravels him in passionate and murderous jealousy.

Charles Baudelaire defined the dandy, in the later "metaphysical" phase of dandyism, as one who elevates æsthetics to a living religion, that the dandy's mere existence reproaches the responsible citizen of the middle class: "Dandyism in certain respects comes close to spirituality and to stoicism" and "These beings have no other status, but that of cultivating the idea of beauty in their own persons, of satisfying their passions, of feeling and thinking …. Dandyism is a form of Romanticism. Contrary to what many thoughtless people seem to believe, dandyism is not even an excessive delight in clothes and material elegance. For the perfect dandy, these things are no more than the symbol of the aristocratic superiority of mind."

The linkage of clothing with political protest had become a particularly English characteristic during the 18th century. Given these connotations, dandyism can be seen as a political protest against the levelling effect of egalitarian principles, often including nostalgic adherence to feudal or pre-industrial values, such as the ideals of "the perfect gentleman" or "the autonomous aristocrat". Paradoxically, the dandy required an audience, as Susann Schmid observed in examining the "successfully marketed lives" of Oscar Wilde and Lord Byron, who exemplify the dandy's roles in the public sphere, both as writers and as personae providing sources of gossip and scandal. Nigel Rodgers in The Dandy: Peacock or Enigma? Questions Wilde's status as a genuine dandy, seeing him as someone who only assumed a dandified stance in passing, not a man dedicated to the exacting ideals of dandyism.  read more

Code: 23513