A Beautiful and Good Example, of An Original, Zulu War Sabre, An 1822/45 Pattern British Infantry Officer's Sword, of Field Rank, For Majors & Above, With Gothic Hilt and Queen Victoria's Cypher

Good brass Gothic hilt British infantry officers sword, light grade, with beautifully pierced gothic pattern guard, and clear full deluxe etching to the blade. With traditional sharkskin multi wire bound grip, and complete with brass, field rank, officer's scabbard.
Maker marked blade by Peter Orr of Madras one of the best and most famous British silversmiths, instrument and sword makers in the Raj & Empire, he was based in Mount Street Madras, where he employed a remarkable 600 artisans. This sword was commissioned for a British Infantry officer who first served in the Raj, and then transferred and fought in the Zulu War. Peter Orrs silverworks and swords were considered some of the very finest, and many of his finest pieces were presented to the Prince of Wales in the 1870's

This is the very kind of sword used by Lt. Bromhead as played by Michael Caine in "Zulu" at Rorkes Drift in 1879. Photo in the gallery from the film "Zulu" and Michael Caine as Bromhead with his sword, for information only not included.

The 1822/45 pattern of sword with gothic hilt and Queen Victoria's cypher in the pierced oval centre. Made in around 1871 this sabre would have seen service by an officer at the very cusp of England's Glory of Empire. A sabre fit to represent the age and used throughout the Zulu War and numerous other great and famous conflicts of the Victorian era. The 1822 pattern infantry with it's elegant pierced gothic style hilt, and the graceful monogram of Queen Victoria make it one of the most attractive patterns of sword ever used by British Army officers, and it was a pattern that saw service for almost 80 years.

The blade is the Henry Wilkinson type, developed in 1845 pattern blade, with traces of superb Victorian etching. Many swords of British officers were continually used for many decades, until the 1890's in fact, as swords were quite often passed on from father to son, down the generations, in many military families. During the period of this sword's use, two of most famous pair of engagements in the British army's history, during the last quarter of the 19th century, happened over two consecutive days. Curiously, it is fair to say that these two engagements, by the 24th Foot, against the mighty Zulu Impi, are iconic examples of how successful or unsuccessful leadership can result, in either the very best conclusion, or the very worst. And amazingly, within only one day of each other. The 1879 Zulu War, for the 24th Foot, will, for many, only mean two significant events, Isandlhwana and Rorke's Drift. This is the brief story of the 24th Foot in South Africa; In 1875 the 1st Battalion arrived in Southern Africa and subsequently saw service, along with the 2nd Battalion, in the 9th Xhosa War in 1878. In 1879 both battalions took part in the Zulu War, begun after a British invasion of Zululand, ruled by Cetshwayo. The 24th Foot took part in the crossing of the Buffalo River on 11 January, entering Zululand. The first engagement (and the most disastrous for the British) came at Isandhlwana. The British had pitched camp at Isandhlwana and not established any fortifications due to the sheer size of the force, the hard ground and a shortage of entrenching tools. The 24th Foot provided most of the British force and when the overall commander, Lord Chelmsford, split his forces on 22 January to search for the Zulus, the 1st Battalion (5 companies) and a company of the 2nd Battalion were left behind to guard the camp, under the command of Lieutenant-Colonel Henry Pulleine (CO of the 1/24th Foot).

The Zulus, 22,000 strong, attacked the camp and their sheer numbers overwhelmed the British. As the officers paced their men far too far apart to face the coming onslaught. During the battle Lieutenant-Colonel Pulleine ordered Lieutenants Coghill and Melvill to save the Queen's Colour—the Regimental Colour was located at Helpmakaar with G Company. The two Lieutenants attempted to escape by crossing the Buffalo River where the Colour fell and was lost downstream, later being recovered. Both officers were killed. At this time the Victoria Cross (VC) was not awarded posthumously. This changed in the early 1900s when both Lieutenants were awarded posthumous Victoria Crosses for their bravery. The 2nd Battalion lost both its Colours at Isandhlwana though parts of the Colours—the crown, the pike and a colour case—were retrieved and trooped when the battalion was presented with new Colours in 1880.

The 24th had performed with distinction during the battle. The last survivors made their way to the foot of a mountain where they fought until they expended all their ammunition and were killed. The 24th Foot suffered 540 dead, including the 1st Battalion's commanding officer.

After the battle, some 4,000 to 5,000 Zulus headed for Rorke's Drift, a small missionary post garrisoned by a company of the 2/24th Foot, native levies and others under the command of Lieutenant Chard, Royal Engineers, the most senior officer of the 24th present being Lieutenant Gonville Bromhead. Two Boer cavalry officers, Lieutenants Adendorff and Vane, arrived to inform the garrison of the defeat at Isandhlwana. The Acting Assistant Commissary James Langley Dalton persuaded Bromhead and Chard to stay and the small garrison frantically prepared rudimentary fortifications.

The Zulus first attacked at 4:30 pm. Throughout the day the garrison was attacked from all sides, including rifle fire from the heights above the garrison, and bitter hand-to-hand fighting often ensued. At one point the Zulus entered the hospital, which was stoutly defended by the wounded inside until it was set alight and eventually burnt down. The battle raged on into the early hours of 23 January but by dawn the Zulu Army had withdrawn. Lord Chelmsford and a column of British troops arrived soon afterwards. The garrison had suffered 15 killed during the battle (two died later) and 11 defenders were awarded the Victoria Cross for their distinguished defense of the post, 7 going to soldiers of the 24th Foot.

The stand at Rorke's Drift was immortalised in the 1964 movie Zulu, and Michael Caine is carrying this very same pattern of sword

The sword is in very fine condition for age with most its original gilt remaining to the hilt, the blade superbly bright with all its original deluxe royal Victorian etching present. The brass, field rank officer service, combined combat-dress scabbard is good, but bears a few, close hand-to-hand combat surface impact dents, most near the chape one near the throat.  read more

Code: 26364

A Beautiful Samurai Edo Period Aikuchi Ko-tantō Dagger With a Fine, Unokubi (鵜首). Zukuri Blade & A Full Suite of Koshirae Of the Tokugawa, The Shoguns Of Japan For Over 250 years

A most fine tanto sword blade {all Japanese swords even tanto, are classified as swords} in superb polish Unokubi (鵜首) Zukuri Shin Shinto Blade. In wonderful full suite of original Edo period aikuchi koshirae {fittings and mounts} that are shakudo and sinchu, and decorated throughout, with eight 'mon' {clan crest} panels of Shogun Tokugawa Iyesu. Likely the stunning aikuchi tanto of a high ranking Tokugawa retainer. All are Tokugawa mon with scrolling vines and ginger leaves and roots. There are two Tokugawa mon panels on the tsuka and six panels on the saya. The kashira and saya jiri are in the form of decorated samurai court caps.

We acquired a 'matched' pair of Tokugawa koshirae aikuchi tanto, one o-tanto this one ko-tanto, but we are offering them seperately as tanto are not worn as pairs.

The Ko-tantō, are highly lightweight daggers. Because of their compact size, they were highly favoured as concealable personal defense weapons. They were frequently carried inside the robes kimono where they were known as a kaiken or tucked away by samurai for emergency defense.

The tanto was invented partway through the Heian period. With the beginning of the Kamakura period, tanto were forged to be more aesthetically pleasing, and hira and uchi-sori tanto becoming the most popular styles. Near the middle of the Kamakura period, more tanto artisans were seen, increasing the abundance of the weapon, and the kanmuri-otoshi style became prevalent in the cities of Kyoto and Yamato. Because of the style introduced by the tachi in the late Kamakura period, tanto began to be forged longer and wider. The introduction of the Hachiman faith became visible in the carvings in the hilts around this time. The hamon (line of temper) is similar to that of the tachi, except for the absence of choji-midare, which is nioi and utsuri. Gunomi-midare and suguha are found to have taken its place.

During the era of the Northern and Southern Courts, the tanto were forged to be up to forty centimetres as opposed to the normal one shaku (about thirty centimetres) length. The blades became thinner between the uri and the omote, and wider between the ha and mune. At this point in time, two styles of hamon were prevalent: the older style, which was subtle and artistic, and the newer, more popular style. With the beginning of the Muromachi period, constant fighting caused the greater production of blades. Blades that were custom-forged still were of exceptional quality. As the end of the period neared, the average blade narrowed and the curvature shallowed

As once told to us by an esteemed regular visitor to us here in our gallery, Victor Harris, in order to study and discuss our extensive collection, and he used the same words that are repeated in his book below;

“In these textures lies an extraordinary and unique feature of the sword - the steel itself possesses an intrinsic beauty. The Japanese sword has been appreciated as an art object since its perfection some time during the tenth century AD. Fine swords have been more highly prized than lands or riches, those of superior quality being handed down from generation to generation. In fact, many well-documented swords, whose blades are signed by their makers, survive from nearly a thousand years ago. Recognizable features of the blades of hundreds of schools of sword-making have been punctiliously recorded, and the study of the sword is a guide to the flow of Japanese history.”
Victor Harris
Curator, Assistant Keeper and then Keeper (1998-2003) of the Department of Japanese Antiquities at the British Museum. He studied from 1968-71 under Sato Kenzan, Tokyo National Museum and Society for the Preservation of Japanese Swords

One of the greatest joys of sword collecting is the opportunity to learn about the history and culture of different civilisations. Swords have been used by warriors for millennia, and each culture has developed its own unique sword designs and traditions. By studying swords, collectors can gain a deeper understanding of the people who made and used them.

Another joy of sword collecting is the sheer variety of swords that are available. There are swords in our gallery from all over the world and from every period of history. Collectors can choose to specialize in a particular type of sword, such as Japanese katanas or medieval longswords, or they can collect a variety of swords from different cultures and time periods. No matter what your reasons for collecting swords, it is a hobby that can provide many years of enjoyment. Swords are beautiful, fascinating, and historically significant objects.

Collecting antique swords, arms and armour is not merely an acquisition of objects; it’s an engagement with the historical and cultural significance that these pieces embody. As collectors, we become custodians of history, preserving these heritage symbols for future generations to study and appreciate.

We are now, likely the oldest, and still thriving, arms armour and militaria stores in the UK, Europe and probably the rest of the world too. We know of no other store of our kind that is still operating under the control its fourth successive generation of family traders


We are very privileged to be the UK’s premier original military antiques gallery and website, and to be able to consistently, continually, and regularly, offer the finest original collectors items in our shop for over 100 years

Blade inches long  read more

Code: 26367

A Beautiful Samurai Aikuchi Ō-tantō Dagger With a Fine Early Shinto Blade Circa 1600 & A Full Suite of Koshirae Of the Tokugawa. The Shoguns Of Japan

A most fine tanto sword blade {all Japanese swords even tanto, are classified as swords} in superb polish showing an elegant suguha hamon. In wonderful full suite of original Edo aikuchi koshirae {fittings and mounts} are shakudo and sinchu, and decorated throughout with fourteen 'mon' {clan crest} panels of Shogun Tokugawa Iyesu. Likely the stunning aikuchi tanto of a high ranking Tokugawa retainer. All are Tokugawa mon with scrolling vines and ginger leaves and roots. There are four Tokugawa mon panels on the tsuka and ten panels on the saya. The kashira and saya jiri are in the form of decorated samurai court caps.

In Japanese terminology, the prefix Ō- (大) means "large" or "great," while Ko- (小) means "small" or "short". A standard traditional Japanese tantō (dagger) generally has a blade length (known as nagasa) of under 1 shaku, which is approximately 30.3 cm (11.9 inches). This one being the Ō-tantō has a 12 inch blade

We acquired a 'matched' pair of Tokugawa koshirae aikuchi tanto, this one is an Ō-tantō, the other is a Ko-tantō, but we are offering them seperately as tantō are not usually worn paired like the daisho.

The larger Ko-tantō may be worn in the obi, the smaller Ō-tantō concealed withing the robes of the samurai.

The tanto was invented partway through the Heian period. With the beginning of the Kamakura period, tanto were forged to be more aesthetically pleasing, and hira and uchi-sori tanto becoming the most popular styles. Near the middle of the Kamakura period, more tanto artisans were seen, increasing the abundance of the weapon, and the kanmuri-otoshi style became prevalent in the cities of Kyoto and Yamato. Because of the style introduced by the tachi in the late Kamakura period, tanto began to be forged longer and wider. The introduction of the Hachiman faith became visible in the carvings in the hilts around this time. The hamon (line of temper) is similar to that of the tachi, except for the absence of choji-midare, which is nioi and utsuri. Gunomi-midare and suguha are found to have taken its place.

During the era of the Northern and Southern Courts, the tanto were forged to be up to forty centimetres as opposed to the normal one shaku (about thirty centimetres) length. The blades became thinner between the uri and the omote, and wider between the ha and mune. At this point in time, two styles of hamon were prevalent: the older style, which was subtle and artistic, and the newer, more popular style. With the beginning of the Muromachi period, constant fighting caused the greater production of blades. Blades that were custom-forged still were of exceptional quality. As the end of the period neared, the average blade narrowed and the curvature shallowed

As once told to us by an esteemed regular visitor to us here in our gallery, Victor Harris, in order to study and discuss our extensive collection, and he used the same words that are repeated in his book below;

“In these textures lies an extraordinary and unique feature of the sword - the steel itself possesses an intrinsic beauty. The Japanese sword has been appreciated as an art object since its perfection some time during the tenth century AD. Fine swords have been more highly prized than lands or riches, those of superior quality being handed down from generation to generation. In fact, many well-documented swords, whose blades are signed by their makers, survive from nearly a thousand years ago. Recognizable features of the blades of hundreds of schools of sword-making have been punctiliously recorded, and the study of the sword is a guide to the flow of Japanese history.”
Victor Harris
Curator, Assistant Keeper and then Keeper (1998-2003) of the Department of Japanese Antiquities at the British Museum. He studied from 1968-71 under Sato Kenzan, Tokyo National Museum and Society for the Preservation of Japanese Swords

One of the greatest joys of sword collecting is the opportunity to learn about the history and culture of different civilisations. Swords have been used by warriors for millennia, and each culture has developed its own unique sword designs and traditions. By studying swords, collectors can gain a deeper understanding of the people who made and used them.

Another joy of sword collecting is the sheer variety of swords that are available. There are swords in our gallery from all over the world and from every period of history. Collectors can choose to specialize in a particular type of sword, such as Japanese katanas or medieval longswords, or they can collect a variety of swords from different cultures and time periods. No matter what your reasons for collecting swords, it is a hobby that can provide many years of enjoyment. Swords are beautiful, fascinating, and historically significant objects.

Collecting antique swords, arms and armour is not merely an acquisition of objects; it’s an engagement with the historical and cultural significance that these pieces embody. As collectors, we become custodians of history, preserving these heritage symbols for future generations to study and appreciate.

We are now, likely the oldest, and still thriving, arms armour and militaria stores in the UK, Europe and probably the rest of the world too. We know of no other store of our kind that is still operating under the control its fourth successive generation of family traders


We are very privileged to be the UK’s premier original military antiques gallery and website, and to be able to consistently, continually, and regularly, offer the finest original collectors items in our shop for over 100 years

Blade 12 inches long  read more

Code: 26276

A Fine & Fabulous, Koto To Shinto Period, Rare, Original Antique Japanese Shikomi-zue 仕込み杖, "Prepared Cane". A Traditional, ‘Hidden Sword Stick’, 400 to 500 Years Old. With a Sakura Branch Trompe-l'œil Concealment

This is one of the nicest and most beautiful of it's type we have seen, with a beautiful chisa katana blade, up to around 400 to 500 years old, with its gilt habaki blade collar. A fine, smith made, traditional samurai blade, of super quality, in good polish for age {at present preservative lacquer coated, but being removed}.

Very finely carved Edo period wooden saya and tsuka, disguise decorated, with ishime urushi stone finished lacquer, in order to 'deceive the eye' {Trompe-l'œil} and to imitate a black bark sakura tree branch walking stick.

The early blade is superb, but at present covered in antique Victorian preservative clear lacquer, we are having it professionally artisan removed, in order to reveal the stunning polish of the blade, that is easy to see but impossible to photograph suitably at present, which we will then photograph and show here in the gallery next week once it is completely conserved. Overall this rare piece is in superb condition for age.

In the 1870's the Meiji Emperor disbanded the fuedal samurai order and banned the wearing of the sword. This created much unrest between the samurai and the government and some samurai moved to carrying 'shikome-zue' the hidden sword.

Therefore, via a circuitous route of deception, they still remain armed, but, with their katana concealed and hidden from public view. But by that deception they felt, least in part, their honour remained intact. With their most elegant and finest bespoke blade upon their person.

In ninjutsu shikomizue became quite popular, as it provided the night warriors with what they needed most – versatility, secrecy and mortality.

The walking stick was popular among all the classes of japanese society and carrying it caused no suspicion at all. Combined with the impersonation skills, shikomizue was really a dangerous and most advabntagouly concealed weapon, enabling attack of ones enemy or even assassin, most suddenly and with deadly skill.

This is possibly one of the nicest of it's types we have ever seen. The blade is typical chisa katana with elegant curvature. Very nice hamon in very nice polish {once cleaned}. The stick is fully and superbly hand carved and over lacquered in urushi to simulate an anonymous prunus tree branch walking stick.

This piece was absolutely the sword of choice of the world reknown, fictional, blind samurai, Zatoichi.

He does not carry a traditional katana, instead using a very well traditionally made shikomi-zue (cane sword) within a sakura branch Trompe-l'œil concealment, exactly as this sword is mounted.

Zatoichi's cane sword shikome-zue, was forged by a famous master bladesmith, and is of superior quality, just like this rare, fine and beautiful traditional ancient chisa katana bladed example.

A conversation piece par excellance

We show in the gallery a modern Japanese painting of Zatoichi, old poster of the blind swordsman movie, and an 1817 Japanese print by Hokusai of his depiction of an all black clad warrior, a so called ninja, climbing a rope, with what appears to be his identical mounted black shikome-zue hidden sword stick. For historical context purposes.  read more

Code: 26361

A Very Attractive Late Koto To Early Shinto Period Wakazashi With All Its Original Shinto Edo Period Koshirae. Untouched For 150 Years Since Its Gifted Presentation in Japan 1870

Around 440 years old. A most powerful and substantial blade, with considerable presence, and mounted with a two part copper habaki blade collar, and it is bearing a beautiful hamon with deep suguha hamon. The iron fuchi kashira are Higo school decorated with sporadic droplets of silver. the tsukaiti od lacquered leather over a single menuki of pure gold onlaid shakudo flower stems, on early samegawa giant rayskin. The iron mokko gata tsuba is signed and decorated with mountain and river scene with a villlage in the forground.

The original urushi lacquer saya is in a bright and matt in contrasting design, with two small inserted rectangular wood panels of black urushi decorated with gold lacquer maki-e of buddhist bonji, and it is mounted with iron fittings, with a buffalo horn kurigata.

The Edo period original lacquer work saya has some small and medium natural age edge marks and losses  read more

Code: 26366

Magnificent Large Pair of Antique,19th Century French Napoleonic Bronzes of 'Old Guard' Soldiers, a Drummer & Grenadier.'Avant le Combat' & 'Apres le Combat' Henri Dumaige. French Soldiers Often Referred to Napoleon's Old Guard as "the Immortals"

A Fine Pair of Large Bronze Figures, Entitled 'Avant le Combat' and 'Apres le Combat', Cast from the models by Etienne-Henri Dumaige (1830 - 1888) (1830 - 1888) Signed H. Dumaige, with title plaquettes.

The Old Guard (French: Vieille garde) was a formation of the French Imperial Army's Imperial Guard. Consisting exclusively of revolutionary veteran troops, it was the most prestigious formation in Napoleon's Grande Armée. French regular soldiers often referred to Napoleon's Old Guard as "the Immortals".

Famously devoted to the Emperor, who even referred to them as "my children"; the members of his Old Guard were selected based on physical traits, most notably above-average height. Their imposing stature was likely impressive to foes and allies alike. Awards as well as veterancy were also taken into consideration when selecting troops for the Old Guard.

ON THE EVENING of April 11, 1814, Napoleon Bonaparte’s 20-year career as a conqueror was seemingly at an end.

The 44-year-old emperor had just surrendered France to a coalition of a dozen European powers. As part of the armistice, he also agreed to give up the throne and go into exile on the tiny Mediterranean island of Elba.

On the eve of his departure, a shattered Napoleon marched into the courtyard of his palace at Fontenbleu to deliver a heartfelt farewell to a very special group of soldiers – his Old Guard.

“For 20 years, I have accompanied you on the road to honour and glory,” he cried before departing. “I intend to write the history of the great achievements we have performed together. Adieu, my friends. If I could, I would press you all to my heart.”

According to legend, more than a few of the battle-hardened veterans broke down as the scene played out before them.

The Guard was made up of Napoleon’s finest. They were the most seasoned soldiers of the French army and the best of his elite Imperial Guard. All were hand-picked volunteers of above-average height, each one hardened by years of campaigning.

The emperor housed his fiercely loyal Old Guard in the best quarters, dressed them in the sharpest uniforms and lavished them with the finest rations. In return, he expected them to fight ferociously when called upon. And fight they did, with unflagging bravery in all of Napoleon’s most famous battles.

Disbanded in 1814, elements of the Old Guard would reform the following year as Bonaparte escaped from exile. Yet despite their final defeat at Waterloo 100 days later, the Old Guard would go down in history as one of the most famous fighting units to ever set foot on a battlefield.

The bronzes represent two separate moments in the French Revolution, the uprising against Louis XVI and the fall of the monarchy. Both the soldiers depicted here went on to become part of Napoleon's veteran Old Guard of the Grande Armee. The most fiercely loyal and the highest regarded French soldiers of the entire Napoleonic wars era.

One figure is entitled 'Avant le combat 1792' and depicted as a Drummer calling the the citizens to the barricades.

The second figure is entitled ‘Apres le Combat 1792’ and depicted as a Grenadier or infantryman; this figure is portrayed smoking a pipe and relaxing as he leans on his musket.

Dumaige studied sculpture under Féuchère and Dumont. He exhibited his sculptures depicting groups, statues, and busts at the Salon from 1863-1886
Henry Etienne Dumaige

Born in Paris in 1830, Henry Etienne Dumaige studied sculpture under Féuchère and Dumont. He exhibited his sculptures depicting groups, statues, and busts at the Salon from 1862-1877.

He sculpted a large number of busts, groups and statuettes in marble, plaster and bronze, including statuettes of Desmoulins and Rabelais. He died at St-Gilles-Croix-de-Vié in 1888

Dumaige was a French bronzier and sculptor born in Paris in 1830, where he worked during the mid-19th Century. Dumaige exhibited his sculptures at the Paris Salon and the Academie des Beaux-Arts from 1862-1877, where he was widely acclaimed for the variety of his oeuvre. He was adept in depicting groups, statues and busts in bronze, plaster and marble.
Reference;
Lami, Stanislas (1914), Dictionnaire des Sculpteurs de l'Ecole Francais.
Berman, Harold (1981), Bronzes- Sculptors and Founders 1800-1930, Abage, Chicago.
Forrest, Michael (1988), Art Bronzes, Schiffer Publications, Pennsylvania.
Kjellberg, Pierre (1987), Les bronzes du XIX siecle, dictionnaire des sculpteurs, L'Amateur, Paris.
Dimensions
Height : 64 cm 25.5 inches Width : 11 inches Depth : 11 inches  read more

Code: 25725

A Fabulous & Most Rare Early, Large Irish Brass Barrelled Flintlock Blunderbuss Pistol, Circa 1700's By Irish Master Gunsmith, Mr O'Shiels. His Surviving Master Works Are Now Almost Non Existant

A stunning and beautiful flintlock, with a lock bearing the maker's name, within a lozenge shaped poincon stamp, of its Irish gunsmith.

Surviving examples of his craftsmanship are exceptionally scarce. Historical tracking via antique arms experts, indicates that his surviving pieces may represent uniquely rare specimens of early Irish gunmaking

Through diligent research we can find no other example of his fine workmanship surviving in the world today. Therefore, this may well be a uniquely surviving example of his finest quality pistols remaining and still in existence. This is not to say definitively there are no other examples of his {Master Gunsmith O'Shiels} work remaining somewhere, maybe within a darkened corner of a distant museum, but we can certainly find no trace of one.

The surname O'Shiels (Ó Siadhail) historically belongs to an ancient Irish sept originally rooted in Donegal, Down, and Westmeath. While historically famous for producing hereditary doctors and physicians to Irish chieftains (like the famous confederate surgeon Owen O'Shiel), this particular artisan clearly channeled his talents into metallurgy and firearm manufacturing during the transition into the 18th century

The fine brass barrel is not proved which is exactly as we would expect to find, for prior to 1712, there was no requirement or legislation in place, to cover barrel proofing in Ireland, and although officially 1712 was the official date, some were finished with unproved barrels for a decade or so later. Indeed following the Act of Union in 1801 it could be surmised that all barrels would be subject to British proof, either by the Birmingham or London Proof Houses. However, this obviously did not occur, but when barrels were imported from Irish cities, they were later marked with the relevant British proofs. But arms that remained in Ireland may have spent their entire working lives unproved. The barrel is brass and its wonderful walnut stock has a magnificent patina.

The butt cap bears the Queen Anne type grotesque butt mask, but most unusually this has a double face, both grimacing one way, and sad, when viewed from the opposite side.


Every single item from The Lanes Armoury is accompanied by our unique Certificate of Authenticity. Part of our continued dedication to maintain the standards forged by us over the past 100 years of our family’s trading

Approx 15 inches long overall  read more

Code: 23554

A Waterloo Battle Site Recovered British 1796 Light Dragoon & Hussars Troopers' Sabre Formerly In the Sgt Major Cotton Museum Collection at Waterloo. Acquired From Auction Of The Exhibits Due To The The Museum Closure in 1909

A Battle Of Waterloo Recovered, from The Cotton Museum Collection at Waterloo. 1796 Light Dragoon Trooper's Sword Near Identical To Another Recovered From Waterloo in Musee Royale De l'Armee Brussels

In recovered condition, likely buried at Waterloo for nigh on upwards of 10 years, with external steel russetting, however the blade still remains very good and bright. The grip leather is predominantly intact, traditionally wrapped over the regulation string grip binding. This sword is In still in much better condition in fact than the example in the Musee Royale De l'Armee in Brussels {see photo from the museum}, but lacking its scabbard.
Also from Vivians Brigade, apparently used by one of his Hussars between Hougemont and La Haye Sainte.

This was purchased from the auction, by the Hamilton family, in 1909, battlefield and antiquity relic collectors for over 100 years {prior to 1909}, acquiring pieces for the descended family collection of the late 10th Duke of Hamilton of Scotland

The Founder: Edward Cotton was a veteran of the 7th Hussars who became a renowned battlefield guide and innkeeper. He wrote 'A Voice from Waterloo' and gathered a massive collection of battlefield relics. After the museum closed in 1909, roughly 3,000 items, along with the hotel contents and goodwill, were auctioned off in Brussels

In April 1815, Sir Hussey Vivian was appointed to command the 6th Brigade of the Earl of Uxbridge's Cavalry Division. Vivian's brigade included the 10th and 18th Hussars as well as the 1st and 2nd Hussars King's German Legion. At the Battle of Waterloo the 6th Brigade was posted on the Duke of Wellington's left flank. In the late afternoon, Vivian's regiments, with those of General Vandeleur's 4th Brigade, were ordered to move to support the centre of the line, which was under pressure from Napoleon's Imperial Guard. After the enemy were repulsed, Vivian's hussars made the final charge of the day between Hougoumont and La Haye Sainte, sweeping the Middle Guard and Line units before them before breaking upon the squares of the Old Guard, which they soon learned to avoid. This service was rewarded by the thanks of both houses of Parliament, an award of the KCH, and the Orders of Maria Theresa and St. Vladimir from the emperors of Austria and Russia.

After hostilities had ceased, Vivian remained in France as part of the Army of Occupation in command of the 2nd Brigade of Cavalry

The Cotton Collection, the full weapons, militaria, and recovered artifact display, from the battlefield, housed at the Hotel du Musee at Waterloo, owned first by Edward Cotton, then by his descendant family, was sold by auction in 1909.

The mounted swordsmanship training of the British emphasised the cut, at the face for maiming or killing, or at the arms to disable. This left masses of mutilated or disabled troops; the French, in contrast, favoured the thrust, which gave cleaner kills. A cut with the 1796 LC sabre was, however, perfectly capable of killing outright, as was recorded by George Farmer of the 11th Regiment of Light Dragoons, who was involved in a skirmish on the Guadiana River in 1811, during the Peninsular War:
"Just then a French officer stooping over the body of one of his countrymen, who dropped the instant on his horse's neck, delivered a thrust at poor Harry Wilson's body; and delivered it effectually. I firmly believe that Wilson died on the instant yet, though he felt the sword in its progress, he, with characteristic self-command, kept his eye on the enemy in his front; and, raising himself in his stirrups, let fall upon the Frenchman's head such a blow, that brass and skull parted before it, and the man's head was cloven asunder to the chin. It was the most tremendous blow I ever beheld struck; and both he who gave, and his opponent who received it, dropped dead together. The brass helmet was afterwards examined by order of a French officer, who, as well as myself, was astonished at the exploit; and the cut was found to be as clean as if the sword had gone through a turnip, not so much as a dint being left on either side of it" The blade is remembered today as one of the best of its time and has been described as the finest cutting sword ever manufactured in quantity.

An extract from an 1862 publication;
HOTEL DU MUSÉE,
AT THE FOOT OF THE LION MOUNT.
This Hotel, kept by a niece of the late Sergeant-Major Cotton, is situated in the very centre of the field of Waterloo, and is strongly recommended to visitors on account of its proximity to the scenes of interest connected with the great battle, and also for the excellent accommodation and comfort it offers at moderate charges.—See Bradshaw’s continental Guide.

The last photo in the gallery shows a photograph of one section of the collection in the museum of Waterloo, taken in around 1900, showing all the weapons of Waterloo en situ, including all the protagonists {British, French, Prussian and Belgian muskets, swords, pistols, armour uniforms, etc}. The museum was founded and owned by a veteran of the 7th Hussars who personally fought at Waterloo. Another photo shows the front page of his collection catalogue

There are many reasons why people enjoy collecting swords. Some people are drawn to the beauty and craftsmanship of swords, while others appreciate their historical and cultural significance. Swords can also be a symbol of power and strength, and some collectors find enjoyment in the challenge of acquiring rare or valuable swords.

One of the greatest joys of sword collecting is the opportunity to learn about the history and culture of different civilisations. Swords have been used by warriors for millennia, and each culture has developed its own unique sword designs and traditions. By studying swords, collectors can gain a deeper understanding of the people who made and used them.

Another joy of sword collecting is the sheer variety of swords that are available. There are swords in our gallery from all over the world and from every period of history. Collectors can choose to specialize in a particular type of sword, such as Japanese katanas or medieval longswords, or they can collect a variety of swords from different cultures and time periods. No matter what your reasons for collecting swords, it is a hobby that can provide many years of enjoyment. Swords are beautiful, fascinating, and historically significant objects

Sadly, each sword once had its inventory label attached, but they are all now lost. With cotton's labels present the prices can be many times the value.

Pictures in the gallery of the Cotton Museum Auction pamphlet and labels, for information and historical context only. Out of interest, a few years ago half a French cuirass from the Cotton Museum Auction sold for 6000 gbp.

As with all our items, every piece will be accompanied by our fully detailed Certificate of Authenticity, based on over 100 years of our Brighton family trading  read more

Code: 26363

A Superb Battle of Waterloo Artifact Recovered From The Battle Site, A Soldier's Small Silver Metal Crucifix, Lost On The Field of Battle At Waterloo & Recovered at La Haye Sainte.

From our recently arrived original Waterloo battle site collection. Still wearable with ring aperture very sound

This extraordinary Waterloo battle relic was likely already old when it was lost at Waterloo, probably a family heirloom cross, and then discovered around La Haye Sainte (named either after Jesus Christ's crown of thorns or a bramble hedge round a field nearby). Yet it is in very good condition, clear signs it has been worn, naturally, but very nicely preserved indeed.

All our relics are exactly as they also appear in the book ‘Waterloo Relics’ by Bernard & Lachaux, {containing similar examples recovered from the battle site } see photos in the gallery.

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

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

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

Strategic importance

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

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

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

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

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

21mm long  read more

Code: 26368

Incredibly Rare British Celtic Iron Age Sword Circa Ist Cent. BC. Made Around a Century Before the Roman Conquest, by Claudius. Amazingly Its Very Type Was Noted in Caeser's Writings During His Time In Britannia. A Durotriges Celts Sword. Discovered 1857

According to the British Museum, who have an extremely similar example, there are only a few hundred remaining in existence today in the world. All of those that have been discovered, have been uncovered from famous hordes or individual finds, usually in South Central England within the past 200 years or so. This sword would have been used around what is being referred to as 'Duropolis', after the Ancient Briton, Celt, Durotriges tribe, which existed in the Wessex region. In its prime, it is thought to have contained 'hundreds' of inhabitants and would have been a major trading centre for southern Britain. The previously unknown habitation in Winterborne Kingston, near Blandford, dates from around 100BC, which makes it 80 years earlier than Colchester in Essex. Colchester was previously widely regarded as Britain's oldest recorded town.

Another fabulous hoard of around 800 Celtic iron age artefacts were announced just a few days ago in March 2025, from the Brigantes Celts of the 1st century B.C.

The most famous of the Ancient Briton Celtic tribes were the Iceni {whose name might have come from Iken, the original name of the River Ouse, where the tribe are said to have come from} who had settlements across Norfolk, in North Suffolk and East Cambridgeshire. One of them was at Brettenham on the Peddars Way, east of Thetford, which was built by Romans to quickly transport troops up to The Wash and Brancaster, where they had a fort protecting North Norfolk.

Queen Boudicca of the Iceni, probably the most famous of all the ancient Celts waged war against the Romans in Britain from 60 AD after the Romans decided to rule the Iceni directly and confiscated the Norfolk property of the leading tribesmen. The uprising was motivated by the Romans' failure to honour an agreement they had made with Boudica's husband, Prasutagus, regarding the succession of his kingdom upon his death, and by the brutal mistreatment of Boudica and her daughters by the occupying Romans.

this amazing sword is formerly from the ex-museum collection with their labelling on its display mounting board, this Ancient Briton sword was also used as a currency bar and is from the Dorset Hoard, an Iron Age hill Fort, in Dorset, excavated in 1857. It is acknowledged that this incredible and significant piece is one of the earliest examples of ancient British currency, utilizing sword blades, it is thought currency bars in the form of swords are actually the very first form of currency used in the British Isles around 2000 to 2,100 years ago, and used to barter and trade all manner of goods, and highly prized as of exceptional value at the time. It is a form of currency that is actually mentioned in Julius Caeser's writings, following Julius Caesar's expeditions to the island of Britannia in 55 and 54 BC. An Iron Age Celtic Dorset Hoard Sword, 2nd-1st century BC. It is further believed by some that they were money in the form of a sword as they were indeed once a functional sword, that was retired from combat.

A substantial long blade with the original short folded-over handle to one end; displayed in an old custom-made box housing with a recently added base and bearing old typescript 'CELTIC IRON 2nd-1st Cent B C / See Caesar's 'De Bello Gallico' V, 12 / Circulated s. and w. Britain / Dorset Hoard' label in four lines with inked correction to Spetisbury. including case (30 inches). Fair condition, held in an old museum display case with identification label.
Provenance
Ex Dorset, UK, hoard, found 1857; accompanied by a copy of the Archaeological Journal 96, pp.114-131, which includes details for the find.
Literature for reference.
See Gresham, Colin A., Archaeological Journal 96, pp.114-131, which includes details for this and other finds from the site; see also Smith, Reginald, Currency Bars, Proceedings of the Society of Antiquaries, London, 2nd Series, XX, p.182 for comparison between the examples; cf. British Museum, accession no.1862,0627.18 for an example from the site (acquired from J. Y. Akerman in 1862; other items were acquired in 1892 from the Durdan, Blandford collection). The name Brittannia was predominantly used to refer simply to the island of Great Britain. After the Roman conquest under the Emperor Claudius in AD 43, it came to be used to refer to the Roman province of Britain (later two provinces), which at one stage consist of part of the island of Great Britain south of Hadrian's wall. Almost every weapon that has survived today from this era is now in a fully russetted condition, as is this one, even the very few swords of kings, that have been preserved in national or Royal collections are today still in a relatively fair condition, but they are from a much later period.

As with all our items it comes complete with our certificate of authenticity  read more

Code: 23228