Arms Cavalcade Edition 2019 by Arms Cavalcade

AUGUST 2019 ISSN 1325-779X

Contents Colt Conversions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Javanese Keris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Boxlock Double - Barrelled Pocket Pistol . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A Helmet for Foreign Service . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mortimer Rifles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Wheel Locks with Two Hammers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Art and Design in Japanese Sword Fittings Sergeant McNamaraâ&#x20AC;&#x2122;s Pocket Watch

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The Cave Dwellers Club of Tasmania . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Contributors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

38 04

14 09 26 2

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04 09 14 16 18 22 26 33 38 43

OFFICE BEARERS Chairman Harvey Facer Secretary Terry Hartmann Treasurer Andrew Gryta

EDITOR’S NOTE The journal this year covers topics from a pistol club in Tasmania, a NSW helmet in Boer Africa, police and bushrangers in NSW, an English muff pistol, and Mortimer rifles to keris in Java, and tsubas in Japan. The articles are written by collectors; persons who collect objects as they are beautiful, valuable or interesting. Recently reading an historical novel, The Hare with Amber Eyes, A Hidden Inheritance, by Edmund de Waal, I came across a wonderful comment written by Guy de Maupassant in 1883. “Of all the passions, of all without exception, the passion for the bibelot is perhaps the most terrible and invincible. The man smitten by an antique is a lost man. The bibelot is not only a passion, it is a mania.” The book follows a collection of netsuke passed on through several generations. A bibelot is a small object of beauty or rarity. But collecting is, of its very nature, a future focused activity and we must nurture something of the essence of that maverick spirit which built those very collections we work so hard to protect, promote and develop. Enjoy this edition.

REGISTERED OFFICE C/- Hartmann & Associates 135 Macquarie St Sydney NSW 2000

EDITORS Paul Duffy Bill Taylor Mike Smith

COMMITTEE Paul Duffy Mitch Frost Bill Newbold Dominic Hassett Ken Buxton David Rasko Geoff Pogson Rick Jones

PHOTOGRAPHY Ivan Fitz-Gerald

Visit our website at: www.antiquearmssociety.org.au © No part of this magazine may be reproduced by any process without written permission from the editor or authors.

DESIGN Scribbly Bark Design

18 ARMS CAVALCADE 2019

Colt Conversions Words By Peter Dahdah

he self-contained metallic cartridge was nothing new by the time of the American Civil War. Jean Samuel Pauly was granted a patent in 1812 for a self-contained, self-primed centrefire metallic cartridge. Lefaucheux invented the self-contained pinfire metallic cartridge in 1846 and a new type self-contained, centrefire, metallic cartridge in 1854. Smith and Wesson discontinued their association with Volcanic repeaters in 1856, turning instead to revolving pistols featuring the novelty of a patent issued in 1855 to a former Colt employee Rollin White: chambers bored through from end to end. One of the major criticisms levelled at Samuel Colt by contemporary historians is that he did not appreciate or understand the climatic change that self-contained cartridges would bring about in firearms construction. Did he make a major blunder?

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After all, until 1857 Colt held an American masterpatent which the US courts had upheld to give him a monopoly right to manufacture revolvers in which the cylinder was mechanically rotated by cocking the hammer. No other American arms manufacturer could produce anything but manually rotated revolvers or self-cocking pepper boxes. The Exhibition, Samuel Colt: Arms, Art, and Invention was organised in 2006 by the Wadsworth Atheneum Museum of Art, Hartford Conn, USA. The stunning book produced with the exhibition presented in detail the evolution of Colt’s most famous invention (the “Colt” revolver patented in 1835) and to document the unsurpassed Colt firearms collections held by the Wadsworth Atheneum. In the chapter, The Emergence of the Metallic Cartridge Era, Herbert G Houze the editor and noted Colt historian writes: “This assertion is baseless. Colt’s

Richards - Mason Conversions

C.B. Richards Conversions

correspondence and directives demonstrate that the opposite is true.” Houze refers to letters in the Colt archives from Eugene Lefaucheux in late 1854, and his patent attorneys in 1855 which shows that a challenge to White’s claims would be based on the fact that his design for a bored-through cylinder was neither novel nor new - two essential points in securing a US patent. Colt’s interest was more than academic, he authorised the manufacture of two sample metallic cartridge revolvers in 1855. Why didn’t Colt pursue the patent challenge? Simply put, it was not in his best interests at the time. By late 1859 the political climate in the US was unsettled, and Colt had enough orders for percussion cap revolvers to keep the Armoury running at full capacity. By the end of the US Civil War in 1866, Samuel Colt had died, and there were many thousands of Colt

percussion revolvers (mostly 1860 Army and 1851 Navy models) in government armouries and in stock. There were many revolvers produced which were direct infringements of the Rollin White patent, and in Europe there were no restrictions on the boredthrough cylinder. In England Tranter, Adams and Webley produced revolvers with bored-through cylinders. This also happened in Europe, especially in Belgium. The Colt factory introduced the Thuer Conversion, followed by the C.B. Richards in 1868, followed by the Mason Richards in 1872. The Thuer System didn’t draw the enthusiasm originally expected. Colt’s factory engineers were hard at work designing metallic cartridge revolvers with bored through cylinders. In this article are illustrated examples of the C.B. Richards conversion and the Mason Richards conversion.

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Colt Conversions

Richards - Mason Conversions

C.B. Richards Conversions Charles B. Richards was a prominent inventor and expert mechanic among the Colt factory employees. His first patent (US Patent #81,290) was awarded in 1868 for a breech-loading firearm, followed in 1871 by a second one (US Patent 117,461) for the “Richards Conversion.” These patents were assigned to The Colt’s Patent Firearms Manufacturing Company. The patent drawing is reproduced here. As stated by the inventor himself in the patent text: “My invention relates to that kind of revolver which has a chambered breech or cylinder. It has for its object to provide a compact and cheap form of this kind of this arm, which shall be fitted for the convenient use of a flanged metallic cartridge, and it is particularly useful as furnishing a means of converting a revolver constructed and intended for loose ammunition into one adapted for the kind of metallic cartridges which are loaded into the chambers from the rear.” All Richards’ conversions require the fabrication of a new breech-plate, often referred to as the conversion ring. The conversion ring as manufactured consists of a 1.675 inch diameter disk with an integral rear site at top and a cartridge loading channel cut into its right side.

C.B. Richards Conversions

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Richards - Mason Conversions

C.B. Richards Conversions The percussion recoil shield of the 1860 Army revolver was then cut back 0.1875 inch to receive the Richards breech-plate, and a cartridge loading channel, matching that of the new breech-plate, was cut into its right side. A cartridge ejector rod, spring, head and housing were newly fabricated to fill the openings required for the loading lever and plunger of the original percussion barrel. Finally, the original percussion hammer face was ground flat for the First Model Richards conversions. The Richards - Mason conversions consisted of a simple and inexpensive cartridge ejector to be used with the new conversion barrel. Although the new Richards system of conversion was an excellent design with many sound mechanical features, the short rebounding firing pin and complex cartridge extractor made it costly to manufacture. During the early to mid-1870s the factory inventory of 1860 Army percussion barrels had been depleted, thus requiring new ones for the .44 calibre conversions. William Mason, an experienced and talented firearms designer and pattern maker spent one year with the Colt Company from 1861 - 62. He returned in 1866 as superintendent of the Armoury where he remained until 1882.

Richards - Mason Conversions

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Colt Conversions

The combination of the design features retained from the Richard’s patent 117,461 and the new cartridge ejector system of the Mason patent, 128 644 resulted in the final design to be known as the Richards - Mason conversion. These conversions were used on many Colt Revolvers, the 1860 Army, the 1851 Navy, the 1861 Navy, and variations of the 1862 Police and Pocket Navy. A few Richard - Mason conversions are found with barrels shorter than the standard 8 inch length. These have been cut shorter by owners and gunsmiths. I recently watched the movie 3:10 to Yuma, a remake of the 1957 western of the same name. The movie is adapted from an Elmore Leonard story. I mention this as the hero Dan Evans (Christian Bale), and his son William (Logan Lerman) use a Colt 1851 Navy revolver with Richards - Mason conversion to fire metallic cartridges. The movie is set in the 1880s and tells the story of a small-time rancher, Dan Evans who is hired by the stagecoach line to put big-time captured outlaw

leader Ben Wade (Russell Crowe) on the 3:10 train to Yuma. Wade’s gang tried to free him. Dan Evans is killed, his son though gets him to the train (with a Colt M1851 conversion) with the help of Ben Wade using a Colt SAA, 4 ¾ “ barrel who helps shoot the gang and then goes off to jail on the 3:10 to Yuma. The Firearms used on the film range from a Spencer 1860 carbine, a Colt M1855 with cartridge conversion, a Henry M 1860, Springfield Ms 1861 and 1863, and Winchester 1866 “Yellow Boy” and an M 1873. The handguns, as well as the 1851 Navy with Richards - Mason conversion, and the Colt S. A. A, are a Smith and Wesson Schofield M3, Colt 1860 Army, a Spanish S + W model 3 clone, and a Remington M1875. Also used were three shotguns, Spencer 1882, Colt 1878 double-barrelled, sawn off, and a Colt 1874 Gatling Gun. My thanks to Paul Duffy for his help in writing this article.

References 1. A Study of Colt Conversions and other Percussion Revolvers by R. Bruce McDowell. 2. Colt. An American Legend, by R.L. Wilson. 3. The Revolver 1965-1888 by A.W.F. Taylerson. 4. Samuel Colt, Arms, Art & Invention edited by Herbert G Houze.

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Javanese Keris Words By Paul Duffy & Wazeem “Wizzer” Johnston

avanese society has many unique features compared with other communities. In the 2013 edition of this Journal Alan Maisey in his article “An Interpretation of the Pre-Islamic Javanese Keris”, wrote: “The Javanese people use symbolism as a means of communication and social regulation. One of the major symbols in Javanese society is the keris. It is a symbol in and of itself, and it also contains symbols that provide an iconographic message, if these symbols can be understood.” In this article I will illustrate and describe three keris from Java each with a different small figure carved into the base of the blade. A complete keris comprises the hilt, blade and the sheath. The hilt sometimes has a selut, an ornamental ferrule, usually of metal, that encases the base of the hilt, and a mendak, the delicate piece of jewellery which supports the hilt on the blade base.

Village in the slope of Mount Semeru

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Jarvanese Keris

The first keris has an old blade with 13 waves, the ganja also has a wave shape to fit the blade. The form of the ganja (crosspiece) greatly affects the overall character of the blade. There are several types of separate ganja. It is essentially straight where the base of the blade is fitted to it and only very slightly curved across the top. Undulating ganja are less common, probably because they require. much more modelling and skilled fitting. Every part of the blade has a name, although in this article I am concentrating on the small sculpture at the base of the blade. On the first keris, the head of an elephant has been carved that incorporates the kembang kacang, which has the alternate name of “telalai gajah”. “Telalai gajah” means “elephant trunk”, and in Javanese thought the elephant is linked to Ganesha, the elephant headed deity who is the son of Shiva and Parvati. Ganesha is revered as the “Disturber of Disturbances”, he removes obstacles and is linked to

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knowledge and intellect. The hilt has been carved in the form of The Rojomolo, the spirit of the Solo River. The top of the scabbard, warangka or wrongko is in “formal wear” form. The wood is finished to show off the beautiful natural grain, on top and along the sides. The lower part of the scabbard is covered with a gilt over brass pendok that has a chased floral pattern. The hilt stands on a gold mendak. There is no selut on this keris. The blade of this keris is very old, it has worn thin and there are small gaps along the edges. The edges of the sculptured greneng (at the base opposite the elephant head) have also worn. The second keris has a blade with 7 waves, finely sculptured to show a naga with the scales on its body running up to the tip of the blade. The ganja and the bottom of the blade behind the naga’s head has been completed with a chiselled floral pattern. When creating the pattern (pamor) on the blade, the maker has included a line around the edge. This keris

Jarvanese Keris

is well made and was possibly a gift to a mid- ranking government official. The blade would have recognized his position. The line around the edge of the blade is called a wengkon. When the Susuhunan (Ruler) of Surakarta created a new bupati (regent) he placed that bupati in control of a number households, over which the bupati had control and taxation rights, as well as the responsibility of protection. The wengkon symbolised the protective duty and the right of the bupati over his area of control. Sometimes a single upright of pamor is shown in the middle of the blade, this is adeg (standing) pamor and if present inside a wengkon it symbolises the people for whom the bupati has the responsibility of protection. The wengkon always has a talismanic value of protection, and a keris with a wengkon was always considered an appropriate gift for a newly created official. The hilt, also finely carved and finished in wood is a planar form, again showing the wood grain. The

planar hilt has a long history. When Jawa was split into two kingdoms under the Treaty of Giyanti, in 1755, Jogjakarta (Ngayogyokerto) was split off from the Kingdom of Surakarta. The Royal House concerned is the House of Mataram, and Surakarta is the senior entity of the House of Mataram, Jogja is the junior entity. The House of Mataram is traceable back to the Kingdom of Majapahit, but through the female line, linking to Pajang. In the sorting out of who got what in the division, agreement was reached that Surakarta and Jogjakarta would have different keris styles and dress. Surakarta followed the Majapahit style, Jogjakarta followed the Mataram style, as this second kingdom of Mataram was in the locality of the kraton of Sultan Agung. The hilt of the Jogja keris style was given the name of â&#x20AC;&#x153;Nunggak Semiâ&#x20AC;? (also tunggak semi) meaning a new shoot on an old stump. Jogjakarta was the new shoot of the House of Mataram, the junior division of the House.

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Jarvanese Keris

The top of the scabbard, in informal shape, has also been carved from wood and shows the natural grain. The Pendok has been skillfully chased and carved to show trees, mountains, garden scenes, a naga and a river. These are all Javanese symbols. The third keris is elegant. The blade has 13 waves, a fine pattern (pamor), and the maker has sculpted a figure at the base of the blade. The figure, the base of the blade and the ganja are carved with floral scenes and covered in gold, using a technique known as â&#x20AC;&#x153;kinatahâ&#x20AC;?, which is similar to the koftgari work found on Indian arms. The top of the ganja is also finished in a gold floral design. This figure is probably intended to be Semar, who was one of the oldest characters in Indonesian mythology and was derived from Hindu mythology. He was made famous by performances of Shadow Puppets, in the islands of Java and Bali as a rather unattractive, short man, with breasts, great sized behind and uncontrollable urge for farting. In traditional Wayang performances, Semar acts the part of a jester. The handle, and top of the sheath are carved from

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ebony. The handle is another slight variation on the planar style of handle. The pendok is a finely chased and sculptured metal work. At a distance the metal looks the same from top to bottom, however when looked at carefully you can see each piece of the puzzle is slightly different. It shows the quality of the workmanship. The symbols on the keris are engaging. On a keris a symbol can be found in almost all parts. Such as on a blades, pamor, figural representations, gold ornaments. They each have a different message, and are not merely a function as a symbol, they also serve as decorative features. Some are finished with gold, some are left plain. Remember that statues have been used as a manifestation of the divine expression, art and humanity itself for centuries. In Indonesian culture, elephants have been known since ancient times. In both Hinduism and Buddhism in Indonesia, beliefs about the elephant grew stronger, as the elephant is a sacred animal in both religions. Elephants were also a symbol in Buddhism.

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Sometimes the depiction of the elephant is with another animal, such as liman manglar, (winged elephants) naga liman (elephant-headed dragon) or naga liman manglar (dragon headed elephant with wings). In the field of art, the naga was used as a symbol in many areas, ranging from fine art in the form of decoration and sculpture in temples, a motif in batik painting and various other artifacts. They exist in the performing arts such as in wayang and dance.

In 2005 UNESCO proclaimed “The Indonesia keris” a “Masterpiece of the Oral and Intangible Heritage of Society.” This was an important recognition on an international basis. We can see that the keris has survived, from its beginning as a weapon through to being a Masterpiece of the Oral and Intangible Heritage of Java, and still as a symbol, a symbol of the masculine. I will finish with a quote from Alan Maisey:

“If we wish to understand the nature of the keris we need to devote ourselves to study of the society of Java, its history and belief systems and we need to cultivate the mental facilities that will enable us to comprehend Javanese values and belief systems.”

References 1. Keris Jawa by Haryono Harga. 2. The Javanese keris, Isaac Groveman & David Van Duuren. 3. Keris Kuno, Ancient keris, Aesthetic Symbol & Philosophy by Arief Syaifuddin. 4. The Keris & The Naga, Alan Maisey, Arms Cavalcade 2000 5. An Interpretation of the Pre Islamic Javanese keris by Alan Maisey, Arms Cavalcade 2013 6. Ethnographic Arms & Armour Forum. 7. http://www.kerisattosanaji.com – Website of Alan Maisey.

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Boxlock Double-Barrelled Pocket Pistol An ideal muff pistol by William Jover of London c.1780 Words By Brad Manera

n the dangerous streets of the growing cities of Europe in the 18th and 19th centuries women of means took to carrying firearms. Small pistols were frequently secreted in the muffs they used to protect delicate hands from the evening or morning chill. But they were not always used for self-protection. At a trial reported in The Times on 31 January 1827 Miss Sarah Emma Harwood “a genteelly-dressed, handsome young female” was charged with firing a pistol at Mr James Lewendon Randall, a coal merchant. The article describes how the two had known each other and “a connexion commenced”. Randall broke off the relationship but Miss Harwood took to following him. On the night in question “He [Randall] saw her draw a something from her muff.” He retreated to a nearby watchhouse and while Randall and a friend waited for the door to open Harwood “presented a pistol in the direction of his face …and it snapped. The flint struck fire; but the powder did not ignite.” Randall’s friend, turned witness, “stated, that he was used to fire-arms[sic], and he was sure he did not move the trigger himself, in struggling to get possession of the pistol. The pistol was loaded with powder to within an inch of the end of the barrel, but there was no bullet.” Another witness said he did not see the flash or he nor hear the snap but claimed Harwood “unloaded the pistol herself, because there was nothing handy in the watchhouse to do it. She picked out the wadding with a pin. “Perhaps it was a nail given her by the beadle. He could not tell what she picked it out with; they had better ask the beadle. (Laughter.)”

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Gin Lane by William Hogarth The Alderman retired to consider his verdict. Fortunately for Harwood, as a gentlewoman, she would not suffer the indignity of incarceration with common prisoners. The article concludes “The Alderman said he thought the charge completely established; but he remanded her for a week, that she might have the superior accommodations at the Compter instead of Newgate until the sessions approached.” The newspaper does not record the type of flintlock pistol the handsome, young Miss Harwood kept in her muff but if she had any taste at all it should have been something like this flintlock, double-barrelled, over-and-under pocket pistol with boxlock action.

Boxlock double or multi-barrelled pistols had become popular with the gentry from the mid-18th century. Small, light and delicate they were ideal for pocket, purse or muff. Having more than one barrel that could have been preloaded increased the shooter’s rate of fire. This boxlock has a tap on the side of the action that enabled the firer to discharge a second shot as soon as the pan had been re-primed and re-cocked. This pistol was made by William Jover of London. Jover was an established master gunsmith and a Freeman of the Worshipful Company of Gunmakers. In 1775 locksmith and aspiring gunmaker Henry Nock persuaded Jover and John Green to form a company. Nock could not make guns as he was not a member of the guild. Nock, Jover & Green, gunmakers of 83 Long Acre, London, opened for business in 1775. The American Revolution reaped handsome profits for the firm so, in 1777, they moved to Oxford Street. In 1784 Nock was finally admitted to the Worshipful Company of Gunmakers. He left Jover, the master who had given Nock his entry into the industry, and opened in competition. William Jover’s son William joined his father and the firm was renamed Jover & Son. They moved to new premises at 65 New Bond Street. After the retirement of his father young William Jover moved the business to 26 Mortimer Street and continued to produce fine guns until 1810.

The crossed flags design raised on the brass frame of the pistol was used by both Nock and Jover in the 1770s and early 1780s as a background to their names engraved in serif capitals within an oval. The silver inlay on the pistol grip and finely embossed silverbutt plate over the end of the grip are rare and unusual. They appear on some of Jover’s finest pistols. Given the similarities between this pocket pistol and surviving examples in museums, that were made by William Jover or Henry Nock, this pistol is likely to have been made between 1775 and 1783. From 1784 pistols made by Jover were usually engraved Jover & Son While Jover concentrated on making quality guns Nock preferred innovation, experimentation and self-promotion. He was not above taking the ideas of others and patenting them as his own. The company profited greatly from the American Revolution. William Jover, father and son, continued their boutique gun making business into the 19th century. Henry Nock became famous and rich earning government contracts in the early Napoleonic wars. Today Jover is remembered only by students of the gunmaker’s art while Nock is much more famous and mou ouss a his company survives as Wilkinson Swords.

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A Helmet for Foreign Service In a corner of the museum in Colesberg in the Northern Cape last month I discovered a most remarkable object, a British Foreign Service helmet dating to the Second Anglo-Boer War (1899–1902). Words By Brad Manera

olesberg was on the front line during the 1899–1900 Boer advance into the Cape Colony at the start of the war; the theatre of war the Boers called the Southern Front. So why is this object so remarkable? The answer is in the story behind the helmet. This Foreign Service helmet is not a standard pattern. Rather than being made from cork pith, the body of it is constructed of woven fibre. The fibre body is covered with six panels of faded khaki cloth with a padded hatband between brim and crown, rather than a pleated puggaree. Inside it are the remains of a label with the text “HAROON SAIT / [missing text] OTH [missing text], space, [missing text] ONTR [missing text]” (possibly CLOTHING CONTRACTOR) and a crescent moon suggesting that it was made in India. As well as the printed label around the now missing vent base inside the body of the helmet, the owner’s details “PTE S MCLENNAN” and “NSW” over “83” are hand written in black ink. The domed vent button at the top of the helmet is missing as is the liner or sweatband. The whole structure is weakened and there is evidence of insect damage. This battered relic appears to be the only surviving example of the Foreign Service helmets issued to the first Australian colonial contingents to arrive in South Africa for service in the war. The Australians arrived in Africa wearing slouch hats. As they deployed to the front near Colesberg in January and February 1900 the British Field Force commanders decided that they could be mistaken for Boers and so demanded that they be re-issued with Foreign Service helmets. This helmet was issued to No.83 Private Simon McLennan of the 1st NSW Infantry.

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Simon McLennan from Sydney, in the colony of New South Wales, was 19 when he enlisted in the colonial contingent to serve in the war against the rebellious Boer republics. He was the only son of a widowed mother. Simon had three sisters Lydia, May and Dorothy.

NSW volunteers for the Boer War 1899. Simon McLennan is in the second row, far left (Australian Light Horse Association Website)

British Scouts firing on a Boer Patrol

Private McLennan’s helmet

McLennan’s contingent embarked from Sydney on 3 November 1899 aboard the “Aberdeen”. After breaking their voyage at Port Elizabeth they disembarked at Cape Town on 7 December. Two days later they became part of a composite colonial unit with the title “The Australian Regiment” at Belmont and marched to the front. On 1 February 1900 they were converted to mounted rifles at Naauwpoort. There the men were given Indian cavalry remount (horses) and it may be that Indian made Foreign Service helmets were also issued. The unit was retitled E Squadron, 1st NSW Mounted Rifles. Through February and March they were in frequent contact with the Boers around Colesberg. Ill-defined front lines around the Boer-held town meant that running skirmishes between small groups of mounted men were part of every patrol. In such a clash near Maeder’s Farm Private Simon McLennan was mortally wounded. He died of wounds in a British field hospital

on 3 March 1900. He was among the first soldiers, and probably the youngest, from this colony to die on active service in the Second Anglo-Boer War. McLennan was subsequently reinterred in the British Military Cemetery in Colesberg. His name is listed on the central monument in that cemetery. Back in Sydney a ceremony was held at his parish church. Private Simon McLennan’s name is listed among the fallen on the wall of St John’s Church in Paddington, Sydney. For over a decade after the war McLennan’s mother and sisters would remember him in the ‘In Memoriam’ column of the Sydney Morning Herald. We can only speculate on the journey the battered helmet has taken from the time it was worn by Private McLennan in his brief but bloody battle with Boer commandos in early 1900 to its donation to the museum at Colesberg. We can only hope that the museum can take care of this significant piece of our shared history.

“PTE S MCLENNAN” and “NSW” over “83”

Looking into the Orange Free State

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Mortimer Rifles The first of the Mortimer family of gunmakers was Harvey Walklate Mortimer who traded in London as H. W. MORTIMER. LONDON. He was born in 1753 in Newcastle – Under Lyme. Words By Tony Wood

e traded as H. W. Mortimer at 89 Fleet Street London. Lee Munson in his excellent book, “The Mortimer Gunmakers” explains that although his first name was in truth Harvey, his baptismal record, registered in Newcastle – Under – Lyme on 19th April 1753, is misspelt Hervey. The Henry William name is both fact and fancy. This fancy originated with the careless, yet prophetic compiler of Lowndes Street Directory in 1797. He quite coincidentally “created” the name Henry William from those initials that had always appeared in previous directories and which continued thereafter. The rifle here is a 12 bore rifle made by H. W. Mortimer which illustrates the theme extended to the big game of Asia and Africa. The gun itself is a double barrelled rifle with gold lined pans, gold touch holes, and gold bands inlaid at the breech. The barrels are 82.5 cm long and signed H. W. MORTIMER LONDON on the left barrel and GUNMAKER TO HIS MAJESTY on the right. The trigger guard is engraved with an image of an adult male lion with a somewhat scraggly mane. The trigger guard finial depicts a seated lioness or lionet. The terminus of the ramrod pipe, inlet into the fore end of the stock, repeats the female or young male figure. For the most part, Mortimer seemed to have held fast to the custom of restricting animal engravings to the appropriate sporting gun, although on a few occasions they did depart from this rule.

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There are London proof and view stamps in the underside of both barrels and breeches. Another large bore weapon, also sometimes called “an elephant gun” because of its size, was illustrated and described in the classic work English Guns & Rifles by J N George in 1947. This example is not a smooth bore, but a rifle which fires a solid patched ball weighing 6 to the pound. When measured between the grooves of the rifling, the bore is actually 4 gauge and would fire an unpatched ball weighing 4 to the pound. The octagonal barrel on that rifle is rifled with 16 moderately deep grooves with a twist of approximately one turn in its 33 inch length. For reasons well defined in George’s book, rifles of this calibre did not have enough penetrating power to be an effective elephant gun, but were probably meant for hunting either bear or tiger. Briefly stated, with a round ball, the twist of the rifling must be relatively rapid as the size of the bore increases in order that accuracy is maintained. The result is that the powder charge must be reduced, and for the friction of the ball in the grooves increased, to prevent the ball from “stripping” from its hold in the rifling. This considerably reduced the velocity of the shot and thus lessened its stopping power. This rifle is not dated, however is marked “H W MORTIMER GUNMAKER TO HIS MAJESTY”. This dates the gun to after 1789 when he received this award. The stock is also fitted with a German pattern patch box with a sliding wooden cover. This type of cover went out of fashion when the Baker rifle was adopted by the Rifle Brigade in 1805. That assumption is substantiated by the style of the lock which appears to be earlier than the end of the 18th century. The plate is flat with bevelled edges and a rebated tail which is engraved with a lioness under a palm tree. Below the pan it is signed in script. The pan is water proof, the touch hole is gold, a roller is on both fizzen spring and the lock which is fitted with two set triggers.

The cock and fizzen are very gracefully formed with a comb sculptured in a concave shape. The stock is chequered at the wrist and fore end and is fitted with a patch box. The fore end is tipped in silver and escutcheons surround both ends of the barrel wedge. A lower barrel rib meets the stock about midway in its length and is grooved to hold the very sturdy ramrod.

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Mortimer Rifles

The second rifle is a percussion single shot piece with a 29 inch barrel, 69 cal. with a half stock. The top of the barrel is engraved at the breech and marked EDINBURGH. The lock is also engraved and marked MORTIMER. The furniture is German silver and the top of the buttstock is also engraved and numbered 5781. This rifle was made by T. E. Mortimer. Thomas Ebsworth Mortimer was born in 1807 in London, and moved to Edinburgh in 1834. Thomas Ebsworth Mortimer was the son of Thomas Jackson Mortimer, the brother of Harvey Walklate Mortimer who made the double barrelled flint lock rifle. T. E. Mortimer also advertised himself as “Gunmaker to Her Majesty” after 1837. This would have been shortly after the ascension of Queen Victoria on 21st June 1837. Lee Munson has listed some serial numbers of T. E. Mortimer 1834 – 1860. There is a record of a single barrelled percussion rifle #5767 made in Edinburgh so I assume this percussion rifle, numbered 5781 would have been made shortly after T. E. Mortimer moved to Edinburgh, possibly in the early to mid-1840s. Early in the century the demand for duelling pistols had provided good business for quality examples. The demand for duelling pistols had fallen off substantially by the time he moved to Edinburgh. Duellists continued to murder and maim each other on the field of honour, but at a much slower rate than during the 18th century and the first quarter of the 19th century. The “sport” of duelling seems to have emigrated to America where it continued both formally and informally through the 1870s. The percussion rifle however comes with a dark green, bi-corn hat complete with original trim, black feather and a badge for the West of Scotland County Archery and Rifle Club. The hat was retailed by John Kirsop, late Nixon and Kirsop, 98 Argyle Street, Glasgow. There is a name written in ink inside the hat, however it can’t be read.

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On the patch box of the rifle is engraved the badge of the same club showing, a rampant lion with a shield and holding up a bow. John Kirsop and Son held the premier position among the high class hatters of Glasgow, with an association going back to the 17th century. And this elegant bicorn hat has survived in good condition mainly because it is still stored in its original tin case. I have been intrigued by the name of the club, which is mentioned in the London Illustrated News, dated 15th August 1846. This article reports on the Kilwinning Papingo. Kilwinning is a pretty little town about twenty six miles from Glasgow on the line of the railway to Ayr. It is famed as the cradle of Freemasonry in Scotland and as an ancient seat of archery. A company of archers having been organised there in 1488 when archery was a military art and holidays were ordered by statute to be passed in the exercise of the bow. One of the customs of the Company has been to shoot annually for a prize at the Papingo Popinjay, njay, or artificial parrot. This ancient society, under the patronage of his Royal Highness Prince Albert, t, held their 364th anniversary in 1846. “The day y was splendid, as well as local archers a large body came from Glasgow by the morning railway trains, rains, and in ancient costume”. The report also mentions tions that a new society styled “The County Archery y and an nd Rifle Club for the West of Scotland,” with several ral a of its officers were present in their very handsome som me uniforms. They had their Captain General B. W. Dobbs Esq of Glasgow to offer two silver medals alss to al to be shot for by the inhabitants of Kilwinning. The report in the Illustrated London News re rela relates ates te es he Butt ut that the members of the society retired after th the shooting to the Inn for the transaction of business nes e s and reassembled at the Tower at 2 o’clock for the e purpose of shooting at the Papingo. It is a pity that neither of the cases for these rifles has survived. The trade or makers labels and the accruements in each case would have been interesting. My thanks ks to oP Paul a Duffy for his help in writing this article. 1.

References and Images 1 The Hat was retailed by John Kirsop, 98 Argyle Street, Glasgow. 2. West of Scotland County Archery and Riﬂe Club. 3. The Mortimer Gunmakers 1753-1923, H. Lee Munson. 4. Photograph of Other Big Game - Guns with Bear, Lion. 5. English Guns & Riﬂes, J.N. George. 6. Heer Der Neue Stockel 1978. 7. The London Illustrated News 15th August 1846.

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Wheel Locks With Two Hammers The wheel lock remained in wide use throughout the first half of the 17th Century, although during the second quarter it began to be supplanted by the various forms of snaplock. Words By Paul Duffy

Smaller Brescia, 17th Century

Larger Europe, 17th Century

hese are two detached wheel lock actions from the 17th century, unique in that they have 1 wheel and 2 hammers or dogs. They were both purchased from Czerneys International Auction House (catalogue A45 2014). The first and smaller of the two is “A Wheel lock with two hammers, Brescia, 17th Century. Flat plate with external hammer, the frame of the wheel and hammers are both chiselled, the springs engraved, sliding pan cover. Scarce.” The second and larger of the two is “A big Wheel lock with two hammers, Europe 17th Century, smooth flat plate with external wheel, provided with two large hammers, sliding pan cover, the inside surface marked “LN” under star. Very scarce.” When a new piece arrives I try to identify marks or find similar examples. I have found the following references; “Brooker” in Landeszeeughaus, Graz, Austria (p677. RG64) illustrates a superimposed barrel with a double lock, and two wheels. “L.G. Boccia in The Museo Stibbert Collection (V1 p201. #70 and plate 546a) illustrates a wheel lock arquebus with two hammers. This is reported to be made by Maestro A.M., from Brescia or Gardone. This detached lock is similar to my first, smaller lock.”

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“Landeszeughaus Graz Austria”

“The Museo Stibbert Collection”

In the collection of Museo delle Armi, “Luigi Marzoli” in Brescia, is a small wheel lock from an arquebus with two hammers, and described as Brescian, XVII Century.

Michael Spencer in Early Firearms 1300 – 1800 has a wheel lock with two hammers on the cover of his book. An Italian gun, possibly from Sicily c.1650. He also notes “Provision of a second, reserve dog was common gun making practice on Italian wheel lock firearms.” Michael Spencer has also illustrated the interior of another Italian wheel lock c 1650. “This is a typically elegant Brescian product. The Italian liking for a second dog is again apparent.” The interior of this lock is similar to my smaller lock, so I have reproduced his photo. And similar to the locks in the line drawings from Nolfo di Carpegna’s book.

“Guida del Museo delle Armi” This lock is very similar to the second line drawing in Brescian Firearms. The fine decorative work on the wheel and arms of the hammers is visible on the line drawing, especially the faces and small figures.

“Early Firearms 1300 -1800”

“Brescian Firearms”

Nolfo di Carpegna in Brescian Firearms has illustrated by line drawings, two small wheel locks, both with two hammers. The first is listed as Brescia, Marzoli, and the second “ibed”, which I assume is also Marzoli. Ippolifo Marzoli, son of Andrea, was active as a gun maker in Brescia between 1637 and 1662.

John Haywood in The Act of the Gunmaker V 1 (plate 7a) shows a wheel lock with 2 hammers and in V 2 (p 133) another. John Haywood in European Arms, plate 36 illustrates an Italian wheel – lock with two hammers (a reserve dog) from the collection of the Victoria and Albert Museum. The plate on this lock is incised with conventional foliage and gilt against a punched blued background, external wheel with chiselled wheel guide. “Brescian Firearms” The small lock is described as “Brescian,” even though it has no distinguishing marks. Di Carpegna lists his two locks as “Italo Spanish firearms,” to indicate a rather large group of firearms, both wheel and flintlocks, whose place of origin has been subject to widely varying suggestions, but still remains unknown. “European Firearms”

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Wheel Locks

Europe, 17th Century Both wheel and flintlocks, where anonymous, can be regarded as produced in the Brescian area, possibly in Marcheno, Sarezzo or Lumezzane, three little centres not far from Gardone, specializing in the production of locks. They were intended for export to a particular and strictly limited area where showiness was more sought after than elegance and refinement. This would explain the absence of marks or signatures. The destination is likely to have been southern Italy, especially Naples then a Spanish sphere of influence. Di Carpegna also notes that, notwithstanding the presence of some typical features of the Italo – Spanish locks, other characteristics prevail, and seem to point to Brescian workmanship; the shape of the lock plates, the elegant form of the cocks, the slim circular wheel bridles, the presence of decorative motives. In 2007 the Wadsworth Museum of Art, Hartford Connecticut, put on an exhibition; “Samuel Colt, Arms, Art and Invention”. In the book published with the exhibition is a photo of the interior of a detached wheel lock. I have reproduced this photo to illustrate a lock not made in the area of Brescia.

Hayward in European Firearms, notes “During the first quarter of the 17th Century, the wheel-lock was made considerably lighter by a reduction in size of the lock-plate. At the same time the heavy wheel-cover which was secured to the lockplate by two screws, one on each side, was, in the case of pistols and carbines, often replaced by a light hook, set on the left side of the wheel.” Neither of these locks I have illustrated has a wheel-cover. I have included a diagram of the front and inside of a wheel lock. Although the lock in this diagram has only one hammer.

View External Parts of a 16th Century wheel lock.

“Samuel Colt - Arms, Art, and Invention” In the Tojhusmuseet Museum in Copenhagen, there are detached locks, but there is no stock to help with dating and identification. The large lock is, I assume, from a large hunting rifle. The small one from a smaller or carbine rifle, although it could be for a large pistol. I do not think that either were made for military weapons, they are very well finished. The wheel and arms of both hammers of the larger piece are engraved.

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Cutaway view showing internal parts of a 16th Century wheel lock.

Brescia, 17th Century

Differently from a flintlock, where a flint stone is striking sparks out of a carbon steel battery, with wheel locks the sparks will be ground out of a relatively soft iron pyrite by the rotating ignition wheel (similar to a cigarette lighter). The ignition process is slow and more sensitive to fuel. The failure rate even with perfectly adjusted wheel locks is between 10% and 15% and with poor quality weapons and under battle conditions up to 25%. The smaller lock has no distinguishing marks. The larger one has “LN” under a * on the inside of the lock plate. In Der Neue Stockel (V2 p 885) this is a reference to a wheel lock rifle, c.1605 made by Emanuel Sadeler with two hammers.

I have spent time searching for the mark LN on the insid inside of the big lock. I can find nothing in the 17th Century C period. This lock is very well made, with incised decoration on the wheel and arms, however not as elegantly made as the smaller one. I assume the marks “LN under a star on a shield and “LN under a star in a dotted circle” on page 81 of Brescian Firearms are not the mark on my lock. I have used the spelling “Wheel lock”, although I note the spelling Wheel-lock and Wheellock is also used. I have also used the word “hammer” although the words “dog” and “cock” are also used. I would like to return to Brescia again and visit the Museo delle Armi “Luigi Marzoli”. The collection on display is excellent.

10.

Literature 1. European Firearms by J. F. Hayward. 2. The Art of the Gun Maker by J. F. Haywood. 3. Landeszeughaus Graz Austria by Robert Brooker. 4. Heer Der Neue Stockel. 5. Pollards History of Firearms, General Editor, Claud Blair. 6. Early Firearms 1300 – 1800 Michael Spencer. 7. Samuel Colt, Arms, Art and Invention, Herbert G Houze. 8. Brescian Firearms by Nolfo di Carpegna . 9. Guide del Museo delle Armi “Luigi Marzoli”. 10. Wheelock Firearms of the Royal Armouries, by Graeme Rimer.

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Art and Design in Japanese Sword Fittings Part 1 â&#x20AC;&#x201C; TSUBA The history of Japanese sword making extends for well over a thousand years. They have always been highly prized in Japan, and a surprising number of the swords produced over that millennium exist today in collections in many countries. Words By W T L Taylor

he history of Japanese sword making extends for well over a thousand years. They have always been highly prized in Japan, and a surprising number of the swords produced over that millennium exist today in collections in many countries. Respect for antique sword blades is intrinsic to samurai values, with a culture of sword analysis and appreciation that has its own subtle language and traditions. It is a rewarding collecting field - but not for the faint hearted, as the complexities of Japanese blade lore and the related specialist terminology can be confounding.

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There is a parallel collecting field in the specialised fittings for Japanese swords, which also has a strong international following, including some major art museums. Some of the most impressive internationally recognised private collections have been formed by jewellers, reflecting their respect for the remarkable standard of design and craftsmanship attained by the best Japanese makers. Their designs range from austerely abstract to highly decorative. The best of them illustrate Japanese art at its best - a celebration of life in all its forms and all its nuances. A starting point for appreciating sword fittings is recognising that they were a distinct form of male jewellery, visually attesting to the ownerâ&#x20AC;&#x2122;s taste and status. Over its working life a good sword blade may have had several sets of fittings to cater for different types of use. There were simple and robust iron fittings for military purposes, fine but austere fittings for formal occasions; and more decorative fittings for dressing up to go out on the town. Because sword blades were handed down over centuries, later owners often ordered new sets of fittings to reflect changes in fashion, or simply because they preferred something different. The old fittings were not necessarily discarded. Fine ones would be put in special handmade boxes and retained. In time those fittings became collectorsâ&#x20AC;&#x2122; items in their own right. This is the first of two articles.

The tsuba The antique sword fitting most frequently found is the largest - the tsuba (hand guard). The tsuba was the most significant fitting on a Japanese sword blade. They were generally made of forged iron, but were also made of various combinations and patinated alloys of silver, copper and gold. There were thousands of tsuba makers through the centuries. Over that time a wide range of designs, styles and schools emerged. I do not intend here to catalogue them, but rather to provide a variety of examples of artistic style and execution, and of common legends and folk stories. Before we look at some examples, let’s consider how designs are laid out on the tsuba’s plate. The key feature affecting design is the triangular hole in the middle, through which the blade fits. Most tsubas are designed to show the pointy end of the triangle facing up; this is because katanas (long swords), wakizashis (medium swords), and tantos (short dirks or daggers) were always worn thrust through the waist sash (obi) with the cutting edge uppermost. The scabbard (called a saya) was tied to the samurai’s sash with a thin but strong cord. The only sword worn with the edge downwards was the extra long tachi (essentially a cavalry sword intended for use on horseback) which was slung from the waist in the same way as most European swords. Sword wearing was not restricted to the samurai class, but only the samurai could wear two swords - usually a katana, combined with a wakizashi or a tanto. When the fittings of the two swords matched, the pair was called a daisho.

A major factor in the way that a tsuba is decorated is the predominance given to its right hand side. If you visualise the wearer facing you with his swords through his sash on his left hand side, with their blade edges facing upwards, the main feature of the tsuba design must be on the outside in order to be visible. The tsuba often has a lozenge shaped hole on the left side of the central triangular hole. This hole is to make room for the top of a little utility knife (kozuka) that may be fitted into a slot on one side of the sword scabbard. If there is also a hole on the tsuba’s other side it is to allow for other implements. These holes enable the implements to be drawn from their slots without having to lift the sword blade from its scabbard.

Iron tsuba with gold overlay signed Mitsuhaya (c 1800) Tsuba artists designed around these holes. They also left clear the area around the central aperture, because it was covered by washers that kept the hilt tight on the blade. When a tsuba was to be fitted to a sword with only a kozuka, the owner could select one with just a single hole for the kozuka. However if he wanted to fit a favourite tsuba which already had two holes, he would get the craftsman to fill the unwanted one with a polished soft metal plug. The practical role of a tsuba was to be a guard for the swordsman’s hands, but its shape, decoration and artistic theme also expressed the nature of the man who chose it for his sword. Tsubas were acquired directly from the craftsmen who made them, who often continued with a tradition and style adopted by their families for many generations.

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Japanese Sword Fittings

The sword owner could commission a tsuba which showed the crest (mon) of the samurai lord he had allegiance to, usually when the fittings were for a daisho to be worn on formal occasions. For more general use, he may want a design that expressed his readiness for battle, or his appreciation of life, or his nostalgia for better times, or his reverence for values espoused by some legendary or historical figure - in fact just about anything that took his fancy. Tsubas display a very wide range of themes.

The next example also refers to the Brotherhood of the Peach Garden. It is an iron tsuba (c 1750) signed Hitotsuyanagi Tomoyoshi saku, with high relief decoration finely detailed in gold, silver and sentoku. It shows Liu Bei with Guan Yu looking at a scroll, which may represent the agreement they signed, or a plan for battle. Guan Yu is the large fearsome armored figure with the red face, a big black beard and a halberd (a kwanto), which are his signature features.

Hitotsuyanagi Tomoyoshi

Guan Yu For example, this iron 19th century tsuba is an example of Chinese history being absorbed into Japanese culture. In the 3rd century BC in China three young men, Guan Yu, Liu Bei and Zhang Fei, formed a famous fighting alliance (the Brotherhood of the Peach Garden) during a period of constant wars. With the support of Guan Yu and Zhang Fei, Liu Bei became one of the emperors of the Three Kingdoms. Guan Yu (Kwanyu in Japan) became a famous warrior and was later worshipped as a Taoist guardian deity (in Buddhism a bodhisattva). He is revered in China, and in Japan his figure is a recurring theme in sword fittings, indicating that he was a source of inspiration for many samurai. Guan Yu is shown here in a version of a story where he was asked by Liu Bei to guard his wives overnight. It was a test of his integrity; he is shown sitting at a scholarâ&#x20AC;&#x2122;s desk, with the curtains to the bedroom of the emperorâ&#x20AC;&#x2122;s beautiful wives shown on the other side. The samurai who selected this tsuba for his katana was signalling his loyalty and integrity to his own lord.

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The extraordinary diversity of designs is a strong part of the charm of tsubas. Although most are pictorial, their designs may at times be very subtle, requiring imagination and research to appreciate fully what the maker wanted to convey. This is an iron tsuba from around 1750, unsigned, with raised and inlaid gold, silver and coloured alloys depicting irises and rocks in a field, with a stream on the reverse. There is more to this design than at first appears. The long narrow iris leaf at the top symbolises a sword blade, and the iris is a metaphor for victory, so in Japanese culture this scene represents the aftermath of a field of battle.

Older tsubas are generally more severe in their designs, reflecting their utilitarian purpose for battle rather than decoration, for until 1600 Japan had few periods of peace, as warlords and factions fought constantly for power. Nonetheless, iron tsubas made in early times include designs of surprising sophistication and artistry. The best of them use sparing designs which use open space as part of the design, showing their strengths in silhouette. This style was carried over into the more settled period after 1600, and would be usually selected by samurai for their set of field mounts. A fine sword by a famous maker would often be mounted with a severely stylised tsuba from a famous maker or school when worn on formal occasions. Generally collectors look for a design that is balanced, artistic and a clever representation of its theme, usually with an underlying cultural significance.

There are often subtle messages or references in Japanese designs, and deciphering them is one of the peculiar joys of collecting. Fortunately there are good reference books available (and of course our friend Google) which help to unlock mysteries. The design of another iron tsuba made around 1750 refers to the Japanese appreciation for plum trees and their blossoms, which had a particular meaning for samurai. Hardy, weather beaten plum trees which produced each year a profusion of beautiful blossoms were seen as a metaphor for the life of a warrior: someone strong and enduring who was also capable of appreciating the beautiful things in life. It is from the Kawaji School, Hagi, in Choshu province, and illustrates how the artist used open space to great effect.

This is an example of a later tsuba of this type, showing a chrysanthemum and bamboo grass in silhouette. The small drops of dew seen on the bamboo grass on the left are a typically subtle Japanese reference to the sharpness of the sword (I have a fine old blade with the same message chiselled into its tang, saying â&#x20AC;&#x2DC;whatever this touches will fall as dew falls from grassâ&#x20AC;&#x2122;). This iron tsuba is signed Choshu Hagi-no-ju Kawaji saku by a master craftsman working in Choshu in the early 1700s.

Choshu Hagi-no-ju Kawaji

A much earlier design comes from over four hundred years ago. It is simple and robust with a strong rim and minimal decoration. It is signed Nobuiye, one of the most famous tsuba makers of that period. There are many copies of his work but this one has been verified by an international expert. The tsuba has a shiny black plug on one side made of shakudo. The tsuba was last fitted to a sword in a scabbard that had a slot for an implement on one side but no slot on the other side, so the shakudo plug was Nobuiye made to satisfy aesthetics.

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Japanese Sword Fittings

Below is another early tsuba (c 1550) which bears traces of the same makerâ&#x20AC;&#x2122;s signature. It has a design of mushrooms, another symbol of the transitory nature of life. It shows evidence of having been mounted on many different swords over its long life, and close examination reveals the fine laminations of its original forging.

The tsuba below was made c 1600 from iron with a heavy rim. It depicts a gnarled pine tree trunk in shakudo, with pine needles and distant mountains in gold. The reverse depicts a rock, flowers and pine branch with needles. This is another example of themes important to samurai, as old pine trees symbolised long life and hardiness. It is a large tsuba intended for a katana.

with worn Nobuiye signature

From 1600 more decorative designs emerged, and the addition of soft metal alloys became more common. The most obvious was gold in various colours, but another favoured alloy was shakudo, a black alloy made from copper and 3 - 6% gold, which takes a deep lustrous black colour when treated with the right patinating compounds. Copper was often used. The face of Guan Yu above is of copper, with fine shakudo moustaches. Brass inlays and encrusted decoration also became more common at this time.

The variation in iron tsubas is extraordinary. For example, this unsigned tsuba from the 1800s is made to resemble a piece of aged and weathered timber with fine spider webs in gold.

For a samurai the brief beauty of flowers and insects was a reminder that life could be short and should therefore be savored and appreciated. The following unsigned tsuba depicts dew drops on leaves, with a butterfly. In contrast with the delicacy of its subject matter, the tsuba is strongly made for use on a large katana.

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Another popular legendary figure is Shoki the demon hunter. He is usually depicted with staring eyes and a long straight sword, sometimes near a bridge, as demons were associated with hiding beneath them. The following tsuba shows Shoki poking with his sword at a cloak on the ground, which he believes conceals a demon. In the background is a bridge.

Legends provided themes for many tsuba. One of the enjoyable challenges for Western collectors is deciphering the images: any scene found on a tsuba has a meaning, and depictions of people often refer to particular legends. Fortunately there are many good reference books on Japanese legends and folk stories that usually reward a careful search. The following mid 1800s iron tsuba with silver and gold overlay shows a man at a scholarâ&#x20AC;&#x2122;s table in a pavilion under a spreading pine tree. On one side of the pavilion are two huge carp tails waving upright in the air. The image relates to the legend of the Chinese sage (sennin in Japan) Kinko. According to the legend, Kinko Sennin was once at a river when Takusui the King of the Carp appeared and offered to take him on a tour of the underwater world. Kinko told his disciples he would be away for some time. After a month he returned riding on the back of the huge carp, but after instructing his disciples never to kill fish he dived into the water and disappeared forever. This folk story is very commonly found in Japanese art.

In 1876 swords were forbidden by the Emperor to be worn by samurai or any other person unless authorised for their official function. Although the making of swords and sword furniture consequently decreased rapidly, it happened at the same time as the opening up of Japan and its art and culture to the Western world. From the 1880s there was an explosion of interest in Britain, Europe and America in Japanese art, including antique swords and their fittings. Japanese dealers were thus able to buy superb pieces for sale to the West, both antique and contemporary, for which the local market had collapsed. Western tastes were drawn initially to jewel-like tsubas made entirely in soft alloys of gold, silver, and copper for which the Japanese had developed patinating techniques and colours that were both unusual and highly attractive. Some show pieces are so finely made that even under a strong magnifying glass, the detailed inlays and carving are remarkable. The best of them command very high prices internationally. Although iron was the most common material for tsuba, all kinds of alloys were treated to give differing colours for highly decorative tsuba, particularly towards the end of the samurai sword wearing era. Some of the most decorative items collected today were never mounted on swords, but appear to have been made from the outset as works of art.

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Japanese Sword Fittings

In comparison, the following tsuba is more to samurai taste. Its iron plate has been deliberately left with the visible ridging of its forging, to give the sense of roughness and solidity of rock. It has then been inlaid with delicate tendrils of vine leaves in gold, silver and black shakudo, with a fan and a scroll in black shakudo. Its subtlety does not lead to an obvious meaning: it could be an allusion to a famous poem. Composing short poems such as haiku was one of the social arts that all educated Japanese were expected to be proficient at. Samurai particularly liked poems about life and death, so sword fittings that referred to famous poems were by no means uncommon.

The following tsuba was made at the very end of the Edo period, just before swords were forbidden to be worn in 1876. It has never been mounted on a sword. The design is of puppies in black shakudo, playing amongst plants inlaid in fine gold on the iron base, under a pierced window of a tea house. It is signed Ichiryusai Masamitsu. Masamitsu worked in the 2nd and 3rd quarters of the nineteenth century and died in 1881. His work was highly regarded and is represented in the renowned Baur Collection in Switzerland.

Signatures Although many tsubas are signed with the name of the person who made them and where they came from, it is common for the signature to be the generic name of a particular family or school of craftsmen, rather like a modern brand name. Sometimes advanced collectors spend a great deal of time and discussion trying to identify the particular maker of a tsuba from a tsuba making family that operated for several generations. They assess minute variations in style and signature to arrive at a conclusion. The tsuba can also be submitted to a panel of experts in Japan which attaches its formal opinion to a special certificate. Having such a certificate attesting to a piece by a famous maker can add a great deal to its market value. However there are also many fine tsubas of museum quality that have no signature at all. The situation is further complicated by the number of antique pieces that have a false signature. Prudent collectors must therefore learn to judge a piece on its merits - or simply buy what appeals to them. Tsubas are still being made. At the bottom end, cheap Chinese versions can be found flooding eBay: some can be deceptive to the untrained eye, but as a general rule all cheap tsubas should be avoided. At the other end of the scale are Japanese and international craftsman who produce art pieces of high quality that are submitted for special awards in Japan. If you are interested in seeing a modern master craftsman produce an exceptional piece, look up this link and watch the videos: www.fordhallam. com/utsushi---in-search-of-katsuhi The second uce th part of this series will introduce the other fittings found on Japanese swords.

References 1. The Baur Collection, Japanese Sword-Fittings and Associated Metalwork, B.W. Robinson, 1980 2. Legend in Japanese Art, Henri L. Joly, first published 1908, reprinted subsequently 3. Japanese Art and Handicraft, Henri L. Joly and Kumasaku Tomita, first published 1916, reprinted subsequently 4. The Arts of the Japanese Sword, B. W. Robinson, first published 1961, reprinted subsequently 5. Bonhams London sales catalogues, Fine Japanese Art

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Sergeant McNamara’s Pocket Watch The two related events described in this narrative were separated by 750 kilometres and 140 plus years. Words By John Newton

he first episode occurred on 24th November, 1867 at Mossgiel Station, a location on the coach route between the Lachlan and the Darling Rivers, now the Cobb Highway, 50 kms southwest of Ivanhoe in the state of New South Wales. As with many other regions of the state, the southern areas of N.S.W. were not immune from the gangs of outlaws who found it easier to plunder the property of the hard working rural settlers rather than get involved in honest enterprises . One such gang was made up of four members John Williams, William Brookman, Edward Kelly (no relation to the more notorious bushranger of the same name), and John Payne. These four miscreants, who liked to be referred to as “The Riverina Bushrangers”, created much havoc in the Lachlan region, even going as far on one occasion of holding up the entire village of Redbank. The National Library in Canberra has many Trove articles pertaining to this gang, particularly the Goulburn Herald and Chronicle covering various dates in 1867 On November 24th 1867 the four bushrangers took advantage of a large gathering of cashed-up shearers who were participating in a race meeting at Whittaker’s store, about one mile from Mossgiel Station, near the Willandra. Leaving two of their companions to relieve the race spectators of their betting money, Brookman and Williams rode to the store where they encountered Constable Michael McNamara, a Booligal based trooper, who, on that day, was searching out sly grog operators.

Recognising the pair from previous encounters, and also because Brookman’s family was very well known and respected in the district, the Constable challenged them and a violent struggle ensued during which both McNamara and Brookman were wounded. Archival documentation generously provided by respected police historian, Phil Patterson, provides evidence of the courtroom proceedings at the trial in Deniliquin of the four men. Witnesses at the scene testified that the two shots fired were both discharged by Brookman and Williams. Brookman’s bullet shattered the constable’s wrist, and the second bullet, fired by Williams, missed the intended target and wounded his accomplice Brookman in the back of the head. Two bystanders, Mr Edward Crombie and Mr Peerman, the Mossgiel overseer, rushed to the constable’s assistance and together they overpowered and disarmed the two bushrangers and locked them under armed guard in a shed. Police records indicate that five loaded revolvers were taken from the two felons - two Colts, two Tranters and an Adams.

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Sergeant McNamara

On 3rd July 1874, the Legislative Assembly of New South Wales carried out a lengthy debate on bushrangers which resulted in a general amnesty. This saw twenty four bushrangers, including the Riverina Gang, released from custody on 8th July 1874. Perhaps the most well known prisoner to be freed was Frank Gardiner, who, on release, was encouraged to leave the colony and spent the remaining nine years of his life in San Francisco. Later unproven rumours were circulated that Gardiner had returned to the colony under an assumed name and retrieved some of his gang’s hidden gold. For his actions in taking on the two armed bushrangers, Michael McNamara was promoted to the rank of Sergeant in 1868. He was also presented with a gold hunter pocket watch inscribed with the details of his endeavours on that day. In all likelihood this valuable reward for valour was not an official departmental presentation, but more likely a token of gratitude from grateful citizens of the Lachlan region. Kelly and Payne returned from their robbery of the shearers and, on finding their two fellow gang members under arrest, turned and fled the scene. Both were captured by the police within two weeks. On 16th January 1868 the four gang members were tried with two found guilty of wounding with intent to murder Constable Michael McNamara. Brookman and Williams were sentenced to hang. Payne and Kelly received lengthy gaol terms. After much lobbying, particularly by Brookman’s family, pleading that he was only seventeen and from a respectable family, the death penalties were commuted to fifteen years labour on the roads. This clemency resulted in much public outrage in the region with the threat of vigilante groups being a distinct possibility. ’Lynch Law on the Lachlan’ was one strident newspaper headline. Trove newspaper articles held at the National Library give indication of the anger felt by many in the community at the perceived leniency afforded to these criminals. Bushrangers were definitely not seen as the romantic , heroic characters as depicted in fictional literature. The Sydney Morning Herald, 26th February, 1868 “ we conceive that the effect of this extraordinary leniency cannot favourably influence the Police Force. The least society can do, if it requires that Force to be efficient, is to surround the lives of the men with some commensurate amount of protection.” The four gang members did not even serve out their reduced sentences.

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There are in existence several awards given to police officers for acts of bravery whilst apprehending lawbreakers. The majority of these presentations are engraved silver medals. The earliest known example is an award to Sergeant Thomas Quigley for heroism in successfully leading a party in pursuit of bushrangers for eight weeks. This silver medal is in the possession of the Museum of Applied Arts and Sciences, Sydney. Another is the silver medal presented to Constable Alexander Walker for his capture of the bushranger Fred Ward (Thunderbolt). Presentations to civilians who assisted police, or acted individually , in the capture of dangerous lawbreakers were much more ostentatious and often gold.

The young Faithful brothers received gold medals for their bravery in holding off members of the Ben Hall gang from accessing their parent’s property. The incident at Mossgiel Station was not the first time Michael McNamara had put his life on the line while carrying out his duty as a Police Officer. McNamara, born in 1835 in Ireland, was appointed to the New South Wales Police Service on 22nd October, 1863. Reference N.S.W. State Archives Reel 3043, Item 8/3251. On 20th May 1864 at the Bang-Bang Hotel, situated between Cowra and Young (now Koorawatha), a group of hardened bushrangers, led by Ben Hall, planned to steal valuable race horses being rested at the premises. Constables McNamara and Scott were attending to their own horses in the stables as the hold-up began. When challenged, the bushrangers, Hall, Tom Gordon and Jimmy Dunleavy began firing their revolvers at the two constables who returned fire and forced the felons to retreat and abandon the robbery attempt. A plaque commemorating this gun battle was erected at the site by the late colonial historian, Edgar Penzig.

After being feted for his achievement in playing a major role in ridding a lawless scourge from the Lachlan district Michael McNamara’s career seems to have hit a rocky patch. Police records show that his promotion to Sergeant was short lived and in 1870 he was reduced in rank to Constable. Within the same year he was reassigned to the rank of Senior Constable. Shortly after, in 1871, Michael McNamara resigned from the Police and no details of his post police career are in evidence. Phil Patterson did find a brief article in the ‘Hay Standard and Advertiser’ stating that a transfer of a liquor licence for the Mossgiel Inn was granted from a Michael Macnamara (alternate spelling) to Daniel Riddell. However, his gold watch was to re-appear in most unusual circumstances over a century later. This narrative now jumps forward more than 130 years to a much different era. However, the location of this second chapter is not much different from what it would have been like in the mid to late 1800s. Seven hundred and fifty kilometres north west of Mossgiel, in the far corner of New South Wales, is what remains of the township of Milparinka. The Indigenous meaning of Milparinka is ‘water can be found here’ - but not much! In 1845 the explorer Charles Sturt, on his quest to find an inland sea, was forced to spend months in this region at Depot Glen when his party ran short of water. Mount Poole is named after Sturt’s second in command, James Poole, who died of scurvy and is buried nearby. In his diary Sturt referred to this area as “a very dreary place”. Even considering the hostile environment with little surface water, summer temperatures regularly topping 45 degrees celsius, freezing winters, this geographical location had its notable years in history.

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Sergeant McNamara

McNamara’s Watch Remains

Site where McNamara’s watch was found.

As with many other sites across Australia, the discovery of gold was the incentive to attract hardy fossickers to the area. Was one of them Michael McNamara ? Within a fifty kilometre radius of Milparinka, in an arid outback setting, are numerous gold mining sites - Albert Goldfields, Evelyn Creek, Four Mile, New Bendigo, Billy Goat Hill, Mt Poole, Mt Browne and many more. The lack of a reliable water supply necessitated a method of prospecting called ‘dry blowing’. The extremely difficult conditions made it unappealing to the larger mining companies and their heavy equipment. The area became known as ‘the poor man’s diggings’

modern ’nomads’ who have an interest in our history and also those with a dream of finding an elusive gold nugget or two. One of these intrepid fossickers is a friend of mine, who, with his trusted ’Minelab’ metal detector, often travels long distances to try his luck at long abandoned gold fields - often quite successfully. Not only the odd nugget or two but sometimes an interesting item from our colonial past. The muff pistol unearthed was interesting. It was late in the day on one of his trips - this time to the Billy Goat Hill site - when he decided to do one more sweep on an undulating area away from the main historical gold field. There is no doubt that this area would have been scanned by hundreds of fossickers over the years. The old bottle dump nearby would have been picked over regularly. His thoughts of calling it a day and getting back to his camp site were interrupted by the urgent chime of his detector. Thinking it was probably another horseshoe, bolt or shovel blade, he had second thoughts about spending fading daylight in digging up the object. Fortunately he took the time and with a minimum of effort - the object was only about 30 cm below the surface. Initially it was difficult to determine what it was he had found. Whatever had been the outer covering had deteriorated to such an extent that it was impossible to determine its original composition. It disintegrated when an effort was made to remove it from the earth. A little more gentle coaxing and what emerged from the clumps of soil was identifiable as a pocket watch. Not wanting to do further damage to the item it was taken away to be cleaned and appraised. The internal movement of the watch, now identified on the outer case as hallmarked gold, was rusted almost beyond recognition. Although much of the porcelain dial was intact.

A camel wagon on the way to Milparinka 1882 Even with the deprivations experienced by the miners it is a credit to their tenacity that in the two years 1881 and 1882, 16,430 ounces of gold was transported out, either by coach or camel train, and, under police escort, taken the 320 kms to Wilcannia for shipment down the Darling. Michael McNamara’s name does not appear on any records for the area. Even though the region is still as desolate as described in Sturt’s diaries, it has a fascination for

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● Milparinka

● Mossgiel

Further examination and a gentle clean revealed the engraving which verified that this pocket watch was originally the property of Sergeant Michael McNamara. A few minor repairs and replacement of corroded screws and the gold hunter case opens and shuts as it should. The engraving is remarkably clear considering the great length of time buried in often horrendous climatic conditions. A little research gave evidence that this watch had been made by the well respected watchmakers ‘Settle Brothers - London and Coventry’ in the mid 1860s. Being a full hunter cased watch, and 18ct gold, it would have been an expensive and much appreciated presentation.

An amazing ’cold case’ scenario. How did the watch get from Mossgiel to the far distant goldfields? Why was such a valuable item buried in the arid outback location? Did Michael McNamara ever visit these gold fields after resigning as a police officer? Was the watch stolen from Michael McNamara and then hidden for fear of detection and apprehension? Melting it down for the gold content would have been a better option. Was the watch sold or given to an acquaintance who journeyed to the gold fields? But if so, why bury it? The ‘what ifs” are numerous. A noted German philosopher, Immanuel Kant, wrote in about 1720 -

“Truth is the child of time.” However, it is highly unlikely that the full story of the Trooper’s pocket watch will ever come to light and it will remain the subject of conjecture.”

References 1. National Library of Australia, Canberra. 2. N.S.W. State Archives. 3. Edgar Penzig. Historical publications. 4. Trove Newspaper articles. 5. Phil Patterson. F.A.I.H.A. ARMS CAVALCADE 2019

The Cave Dwellers Club of Tasmania In late June of 2015, I came across a Webley Mk III Target Revolver for sale on a popular website. Words By Geoff Pogson

here was a short, intriguing description and story about the pistol, which aroused my interest. This pistol dates to the 1920s and had been inscribed with “To Will Allen from Pete” on the left hand side of the barrel, while “A token of Friendship” is engraved on the right hand side of the barrel. The description went on to add that “This is one of several Tasmanian pieces, the history of which dates back to early last century. A group of friends gifted handguns to each other in their collecting group. They referred to themselves as “The Cave Dwellers” and the initials of “CD” are found on some of the guns associated with the group” Now isn’t that a great “hook”. Of course I had to call to see if the pistol was still available, and on finding that, “Yes it is, and yes, you can pay it off,” I sent a deposit to secure the purchase. The seller was also able to answer some of the many questions I had about both the pistol and the mysterious Cave Dwellers, and I quickly became even more hopeful that the story might be one I could pursue. I then shifted all obstacles to put the rest of

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the money together and, as I start this story, in December 2015, I own it. The Pistol arrived at my local dealers a couple of weeks before the PTA turned up but I was able to go and check it out and be very pleased with what I had just acquired. Then, at last, the PTA arrived and I was in possession, though I had by then made many calls to anyone whom I thought might be in the know. This proved to be very few in the end. From the start I had thought this would make an interesting article and began asking questions of Tasmanian friends, including the seller, and another, older gentleman I had dealt with a few months previously. All sources agreed that the main well of knowledge of the “Cave Dwellers” was our late friend, Peter Thurley, who is sorely missed As a younger man in the 1950’s Peter knew the remaining couple of members of the “Cave Dwellers” as did another of my informants, and contacts in Tasmania. Both of these gentlemen had, at some time, owned one or more of these celebrated pistols, including the one that is now mine.

Webley Mk 111 Target Revolver

In trying to find more information I also asked my son in law, to contact another shooting friend we know in the North of Tasmania to see if he had any clues to add to my acquired knowledge. This effort was not fruitful, but my daughter, being a student of the local history of the area, got wind of my project, and managed to dig deeper with her computer and found one or two mentions of the CD group tucked away in old records. One item, though very brief, gives the names of several of the members, their occupations and social standing together with some of their involvement with this little club, which was once referred to as ”The Most Exclusive club in Tasmania and probably Australia” Most were from wealthy and influential families, made so by their endeavours on the land or in business, and include the surnames of some respected old pioneers from the 1820’s, the early settlers who set up the great sheep properties of the Colony. The members were all keen sportsmen, with rod and rifle and shotgun or mounted on a horse, with hounds and the usual team sports cricket and football. Some had become big game hunters with trips to Africa and North America and Canada. All the members that have so far been researched hail from the Midlands and the Northern areas, though it has been suggested that there were a couple of Victorians also invited to join, in later years I have been told that there was a private shooting range at Westbury, a few miles west and a little south of Launceston, owned by Mr Clarke, living nearby, and members often came over for shooting matches from other small towns in an area south of that same city.

“To Will Allen from Pete”

“A token of Friendship”

Webley Mk III Target Revolver

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Cave Dewellers Club

“Rosier” Marked, Webley RIC

Engraved “To R. A. Anderson C.D.“

Engraved “From The Chief”

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From a very interesting site connected with Museum Victoria I obtained a suggestion that the group was named by Daniel Lance Archer, scion of a prominent landed family, when visiting a fellow collector, “Pete” Anderson, who lived in a hillside suburb of Trevallyn. On noting all the houses appearing dug into the hillside, Mr Archer suggested that the occupants were all troglodytes (cave dwellers) The name was struck and worn proudly by the very few members. The members names I have so far unearthed being are as follows. Daniel Lance Archer, one of the founders of the club, was a member of a pioneering grazier family with long association with the midlands farming district. He owned and managed several of the leading properties in that area. He was a keen sportsman, playing cricket and football and was a renowned boxer, as well as a keen marksman, hunter and fisherman. He made several trips to Africa and the Canada on big game hunts. H A, “Pete” Anderson, of Danish descent, lived in Trevallyn, on the Western shore of the River Tamar at Launceston, Tasmania. He was a prominent local man with a furniture business, a noted marksman and collector, with a large and varied collection of arms, and was a philanthropist. The “Rosier” Marked, Webley RIC left, was featured by “Collectish” and is owned by a fellow collector in Victoria and I am much indebted to him for his very useful information Hugh von Stieglitz was from an Irish family of German origin that emigrated to Tasmania in the late 1820’s, taking up land that they bought to set up a sheep breeding property, like many other early settlers at the time. The Archers had preceded them by only a few years. R A “Pete” Anderson was presented with a first model RIC revolver, illustrated above, by Hugh von Stieglitz. It was inscribed, “To R A Anderson, CD”, “From the Chief” this being a nickname given to the presenter, Hugh (or Hugo) von Stieglitz. Another member was Will Allen, which is the name inscribed on my Webley Mk III target Pistol in 38 Cal, mentioned at the beginning, although so far not much is known about him. There is the common link of the shooting and hunting sports tying them all to the Club Others of whom little is known at present, are Robert Lindsay Mason, a Mr Taylor of “Camelford”, and “other notable Tasmanians and, in later years. two Victorians” It is unlikely that there were ever more than a dozen members and it was truly a very exclusive club.

Smith & Wesson .38 Special Target Revolver Mr T W H Clark, 1869-1945, was a very notable citizen in Tasmania and Australia, having made several visits to Africa on exploration and big game hunting expeditions , and laid claim to the discovery of a new species of antelope in Somaliland, unknown to science until his visit. Mr Clark had a very large collection of small arms and an impressive trophy display of the big and small game that he had hunted around the world at his home in Tasmania. Many of the trophies are still housed there in the care of descendants. At his death in June 1945, Mr Clark stipulated in his will that Peter

Anderson choose three guns from the collection, as a bequest. Likewise to Hugo Stieglitz, with the rest to be sold at auction. Since I began this story I have obtained another pistol bearing the monogram of Daniel Lance Archer, as many of his personal weapons did, and I only include it as Mr Archer was a prominent member of the club, but it is not strictly a â&#x20AC;&#x153;CD Clubâ&#x20AC;? gift pistol, but a very nice example of the S&W, calibre .38 Special, six shot Target Revolver. Bought from a fellow member, it is a fine example in splendid condition.

S&W .38 Special

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Cave Dewellers Club

Just to hand as I write are some photos of a cased, similarly inscribed Smith and Wesson “Lemon Squeezer “ .38 revolver marked “To D L Archer” and “From Peter Anderson” inscribed on the right side of the frame, while the barrel carries the phrase “A Token of Friendship”. There is no other inscription on the left hand side of the arm. The case is highly polished and made of Huon Pine, and I understand that a gold sovereign was beaten into an oval, inscribed with the name of Daniel Lance Archer, and set into the lid of the case. It makes a nice finish on a very nice little package. I am indebted to the owner for providing me with photos and information about his pistol. There was another Cave Dweller marked pistol for sale in Tasmania recently; a large Webley No 3 Express revolver in 44WCF Black Powder calibre inscribed

with “D L Archer from an unknown friend”, which is also thought to have a link to the “Cave Dwellers Club” To summarise, although the pistols themselves may not be uncommon or of great intrinsic value, the story behind them, of which I may have only written the first chapter, must be worth the telling and recording, so that better informed readers than I can fill in the details that are not, as yet, available to me. It is a story of a time now hardly remembered, of the camaraderie and fellowship of this small group of men who shared sporting and collecting interests for a long span of years in the Tasmania of the early twenties through to the nineteen Seventies. I hope that this story may jog the memory or interest of someone else who may be able to correct this or add to a tale that needs telling, of times worth the remembering.

References 1. Museum of Victoria. “Collectish” Website. 2. Published Archives and Newspapers in Tasmania . 3. Word of mouth from contemporaries of some of the last surviving club members, alive into the mid 20th Century. 4. And my grateful thanks for the great assistance other owners of “C D Club” Arms, who kindly shared their information, and to my daughter Lynne for her research and encouragement

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Contributors PETER DAHDAH Colt Conversions I’ve been a collector of carbines and pistols of the American Civil War. This has led me to visit and research those battlefields and the history of the period. I’ve also had an interest in the First World War because of my uncle Tossey Andrews.

PAUL DUFFY Wheel Locks & Javanese Keris I started with British military and sporting arms, as they were available, especially those with colonial markings. But I became fascinated with the art of the gunmaker and the complexity and culture of Islamic and Javanese weapons. Working with metal.

BRAD MANERA A Helmet for Foreign Service & Boxlock Pocket Pistol Growing up in my grandparents’ home inspired an interest in objects with stories. The piano and mantelpiece were lined with sepia photos of young men in ill-fitting uniforms, slouch hats and puttees. After 40 years working in museums I’m still facinated researching great objects and their stories.

JOHN NEWTON Sergeant McNamara’s Pocket Watch Over the past fifty plus years I have spent many rewarding hours researching colonial Australian arms, particularly police and gaols firearms, and the lives of those who used them. I also attend trap shooting competitions where the goal is to use vintage shotguns manufactured in the Victorian era.

GEOFF POGSON The Cave Dewellers Club of Tasmania In 1968 a lucky find in the Chatswood White Elephant Store spurred me to add collecting to my shooting interests. I began picking up interesting old guns as well as rabbits, foxes and cats. The book was British Pistols and Revolvers, by J. N. George. From this, my collecting became my main focus.

BILL TAYLOR Art & Design in Japanese Sword Fittings Bill Taylor has been collecting antique arms for forty five years in Sydney, Canberra and Adelaide. He specializes in English flintlock pistols, and still enjoys finding something good, hidden under a couple of centuries of grime. He also collects antique Japanese swords and fittings.

TONY WOOD Mortimer Rifles A collector for many years, originally British, Colonial and American arms. I then became fascinated with Islamic arms and armour, especially from India and Persia.

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