Peter Finer 2020 Winter Catalogue

P E T E R

F I N E R

FINE ANTIQUE AR MS, AR MOUR & REL ATED OBJECTS

FINE ANTIQUE ARMS, ARMOUR & RELATED OBJECTS 38–39 Duke Street, St James’s, London, SW1Y 6DF +44 (0)20 7839 5666 gallery@peterfiner.com www.peterfiner.com

Museums and foundations to whom we have sold: ASIA Chi Mei Culture Foundation, Taiwan The National Museum of Singapore CANADA The Glenbow Museum, Calgary EUROPE Deutsches Klingenmuseum, Solingen Rüstkammer, Dresden Landesmuseum für Kultur- und Landesgeschichte, Schloss Tirol Stedelijke Musea Kortrijk GREAT BRITAIN The Victoria and Albert Museum, London The Aberdeen Art Gallery The Royal Armouries, Leeds The National Army Museum, London The Royal Naval Museum, Portsmouth The National Museum of Scotland, Edinburgh The Royal Scots Regimental Museum, Edinburgh IRELAND The National Museum of Ireland, Dublin UNITED STATES OF AMERICA The Metropolitan Museum of Art, New York The Philadelphia Museum of Art The Museum of Fine Arts, Boston The Cleveland Museum of Art The Wadsworth Atheneum, Hartford The Memorial Art Gallery of the University of Rochester The Nelson-Atkins Museum of Art, Kansas City The Snite Museum of Art, Notre Dame The Museum of Fine Arts, Houston The Corning Museum of Glass, Corning

38–39 Duke Street, St James’s, London, SW1Y 6DF +44 (0)20 7839 5666 gallery@peterfiner.com www.peterfiner.com

It is hard to believe that it is now 25 years since we published our first catalogue.

In 1995 we wrote in our introduction that the supply of Arms & Armour was diminishing, and that there was a declining number of good sales being held by the auction houses. At the same time, we noted a steady increase in the value of rare genuine pieces in fine condition. This is even more relevant today. Provenance is a crucially important factor; naturally we guarantee the authenticity of each piece and likewise its pedigree.

Another mainstay is our personal enthusiasm and excitement for the ‘treasure hunt’. All of our catalogues represent this search, and it remains in part what drives us. Discoveries can still be made.

This catalogue, larger than we have produced in recent years, contains some great rarities, which span thousands of years of history from the Neolithic to the Bronze Age, from Anglo-Saxon times to the Middle Ages, culminating in the early 19th century. The catalogue holds a truly eclectic range of pieces which we hope you will enjoy.

There are many to thank for the production of the catalogue: its authors, Nicholas McCullough, Thom Richardson, FSA, and Graeme Rimer, for their academic rigour and expertise. We are equally, continually, grateful to Ian Eaves, MVO FSA, and Dott Mario Scalini, and thank Colin Crisford for his superb photography, and David Bonser for his design.

Wishing everyone healthy holidays and we hope to see you in 2021!

Redmond Finer

Peter Finer

Roland Finer

CONTENTS 1

A Collection of Neolithic Period Axes, c. 2500 BC

2

Two Bronze Age Lance Tips with ‘Emerald’ Patina, c. 13th – 11th century BC

3

A Pair of Celtic Helmet Horns, c. 2nd – 1st century BC

4

An Anglo-Saxon Shield Boss and Matching Fittings, Mid-7th century

5

A Medieval Harness Pendant of a Crowned Lion Rampant, c. 1200

6

A Medieval Heraldic Horse Pendant of a Lion Passant, c. 1275

7

A Pair of Spanish Medieval Armorial Saddlery Mounts, Late 14th – 15th century

8

A Silver Harness Roundel Engraved with the Emblems of the Duchy of Burgundy, c. 1465 – 77

9

A Belt Terminal, Mid-14th – 15th century

10

A Devotional Plaquette, Mounted as a Badge, Late 15th – early 16th century

11

A Medieval Rondel Dagger, c. 1480

12

A Knightly Mail Collar or Pizaine, Mid-14th – 15th century

13

A Gothic Lugged Hunting-Spear, Mid-15th century

14

A Knightly Mace, Late 15th – early 16th century

15

A Large Gothic Crossbow, c. 1450 – 75

16

A Late Medieval Dagger, Second-half of the 15th century

17

A Gothic Knightly Mace, c. 1500

18

A German Horseman’s Hammer, later used in service of the Swedish Crown, c. 1525 – 50

19

An Italian Burgonet or Capellina, c. 1530 – 40

20 A Breastplate from a Field Armour made for the Court of Julius, Duke of Brunswick-Wolfenbüttel, c. 1562 – 65 21 A Wheel-Lock Carbine, c. 1580 – 90 22 A Crossbow-winder or Cranequin, Dated 1582 23 A European Shoehorn, Dated 1598 24

An Italian Demi-Shaffron, c. 1590 – 1600

25 A French Gorget, c. 1610 26 A Burgonet for an Officer’s Three-quarter Armour, c. 1620 – 30 27 An English Pikeman’s Armour, c. 1625 28 An English Pair of Rowel Spurs, c. 1630 29 A Combined Priming-Flask and Wheel-Lock Key, Early 17th century 30 An English Rapier, c. 1635 31 An English Civil War Period Military Matchlock Musket, c. 1645 32 A Harquebusier’s Breastplate, c. 1650 33 A Sporting Crossbow, Mid-17th century

34 An Italian Hunting-Sword, c. 1660 35 A Sporting Crossbow, c. 1660 – 1700 36 A German Wheel-Lock Sporting Rifle, c. 1670 – 80 37 A Pair of Dutch Bronze Saluting Cannon, Dated 1671 38 A Mace Head or Topuz, 17th century 39 A Hunting Bayonet, 18 th century 4 0 A French Armorial Shield, 17th century 41

A Norwegian Powder Horn by Sven Nielssøn, Dated 1706

42 A Dutch Armorial Achievement, Late 17th – early 18 th century 4 3 A Fine Pair of Silver-mounted Flintlock Holster Pistols, c. 1730 – 40 4 4 A Highland Officer’s Silver Basket-Hilted Backsword, c. 1745 45 A Pair of Silver-Mounted Pistols by Jonathan Stanton, c. 1760 4 6 A German Gold-Hilted Small-Sword Set with Diamonds and Enamels, c. 1745 – 55 47 A French Hunting-Sword, c. 1760 – 70 4 8 A Pair of English Silver Mounted Flintlock Holster Pistols by Henry Hadley, c. 1761 49 An Important Highland Officer’s Decorated Silver Basket-Hilted Broadsword, the hilt by John Radborn,

dated 1767, the Blade German (Solingen), early 17 th century 50 A Northern European Hunting-Sword, c. 1770 51

A Pair of English Silver-Mounted Flintlock Duelling Pistols, by Griffin & Tow, London, c. 1775

52 A Pair of Silver-mounted Flintlock Pistols, by Thomas Trulock, Dublin, Made in 1776, 1777 or 1778 5 3 A French Silver-Gilt Small-Sword set with Paste Brilliants, c. 1778 – 9 5 4 A Cased Pair of Flintlock Duelling Pistols by Griffin & Tow, London, c. 1775 55 A Pair of Flintlock Turn-off Pocket Pistols by Wilson, London, c. 1780 56 A Pair of French Officer’s Pistol Holsters, Late 18 th century 57 An English Lorenzoni System Flintlock Repeating Magazine Pistol, c. 1785 5 8 A Pair of Madrid-Lock Holster Pistols by Joseph Deop of Ripoll, Late 18 th century 59 A Pair of Flintlock Deluxe-Quality Pocket Pistols in the Versailles Fashion, c. 1795 – 1800 60 A Pair of Flintlock Box-lock Pocket Pistols by Jackson, London, c. 1800 61 A Collection of Falconry Hoods and Bells, 18 th – 19 th century 62 A Pair of Pistols by Ketland & Co, London, c. 1800 63 A Pair of Flintlock Turn-off Pocket Pistols by T. Archer, Birmingham, c. 1800 6 4 A Pair of Flintlock Turn-off Pocket Pistols by R. Allen, Birmingham, c. 1800 65 A French Ship Model of an English 1st Rate Warship, Early 19 th century

1

A Collection of Neolithic Period Axes c. 2500 BC

Scandinavia. Stone The largest: 21 cm / 8.25 in PROVENANCE Private collection, Denmark

2

Two Bronze Age Lance Tips with ‘Emerald’ Patina c. 13 th – 11th century BC

Europe. Bronze The larger: 21 cm / 8.25 in PROVENANCE Private collection, South Germany Private collection, Switzerland

3

A Pair of Celtic Helmet Horns c. 2nd – 1st century BC

Celtic. Iron and silver 21.5 cm / 8.5 in and 21 cm / 8.3 in PROVENANCE Private collection, Germany, acquired before 1983 Private collection, USA

A Bronze statue of a Celtic warrior with horned helmet and torc, 3rd c. BC, in the Antikensammlung (SMPK) Museum, Berlin

4

An Anglo-Saxon Shield Boss and Matching Fittings Mid-7th century

Britain. Iron, silver, copper alloy and gold foil Diameter of the boss: 15.3 cm / 6 in Mounts: 20.2 cm / 7.9 in Ă— 5cm / 2 in PROVENANCE Private collection, United Kingdom

Anglo-Saxon shield mounts are extremely rare. The shields themselves - a circular piece of wood - were constructed from planks glued together; it was common for shields to be covered in leather, which held these planks together and they were often decorated with fittings of bronze or iron.

Anglo-Saxon shield bosses fall into two main categories based on the method of manufacturing: the carinated boss, including the present example, was the most common type.

Its designs originated in continental Europe and those found in England date to at least the fifth to mid-seventh century.

The use of gold and silver, and the cross pattĂŠe symbol, which was an early knightly symbol, suggests this shield boss and fittings belonged to a warrior of high status and wealth.

5

A Medieval Harness Pendant of a Crowned Lion Rampant c. 1200

England. Copper alloy and enamel 7 cm / 2.75 in PROVENANCE Private collection, United Kingdom Private collection, USA LITERATURE M. Finlay, ‘Medieval Harness Pendants’, The Journal of the Antique Metalware Society, Vol. V1 (June 1998), pp. 25 - 31

6

A Medieval Heraldic Horse Pendant of a Lion Passant c. 1275

England. Copper alloy, gold and enamel 8.5 cm /3.25 in PROVENANCE Private collection, United Kingdom Private collection, USA LITERATURE M. Finlay, ‘Medieval Harness Pendants’, The Journal of the Antique Metalware Society, Vol. V1 (June 1998), pp. 25 - 31, this pendant illustrated on the cover of the Journal

7

A Pair of Spanish Medieval Armorial Saddlery Mounts Late 14th – 15th century

Spain. Copper, gold leaf and enamel 5 cm / 2 in PROVENANCE Private collection, United Kingdom

The heraldic shield of Spanish adarga type, in white enamel, is shown at the centre of each mount. The adarga was the distinctive bi-lobated leather and wooden shield of the medieval Spanish Moors. It was adopted in the 14th and 15th century by the Christian Spanish light cavalry, and over successive centuries the adarga was also used in a Spanish equestrian tournament known as the juego de las cañas, held in the Plaza Mayor in Madrid.

8

A Silver Harness Roundel Engraved with the Emblems of the Duchy of Burgundy c. 1465 – 77

Eastern France or Flanders and Brabant. Silver and iron 6.5 cm / 2.5 in PROVENANCE Private collection, United Kingdom

This Roundel is engraved with the Burgundian ducal cross of Saint Andrew, and carries in its upper void the firesteel of the Order of the Golden Fleece crossed by two arrows. These appear on a ‘pounced fish-roe’ ground sown with engraved emblematic ‘Tongues of Fire.’

The crossed arrows device became widely used in conjunction with the recognised emblems of the Valois Dukes of Burgundy until the duchy became extinct, with the death of Charles the Bold in 1477. His daughter Maria married the Emperor Maximillian I in that year.

9

A Belt Terminal Mid-14th – 15th century

Europe, likely France. Bronze 6.2 cm / 2.4 in × 3 cm / 1.2 in PROVENANCE Private collection, France

The flowering acanthus plant symbolized the resurrection of Christ and the concept of immortality in medieval Christendom. The right-hand panel is embellished by a single Gothic letter ‘P’ and a relief animal mask; with its extended tongue forming the loop of the piece.

10

A Devotional Plaquette, Mounted as a Badge Late 15th – early 16th century

Probably Northern Italy. Gold, brass and copper alloy 7 cm / 2.75 in PROVENANCE Private collection, Italy

This plaquette differs in several respects from the late medieval and renaissance badges which were conventionally worn on pilgrimage. Foremost, it is a sculptural casting of greater sophistication and artistic merit than exists in the conventional pilgrim type. Second, the brass and copper alloy, with its luxurious fire-gilt finish, was costly, and a material used in valued art works of the period; this is markedly different from the ubiquitous lead alloy or light gilt-copper of the typical pilgrim badge. Furthermore, it is clear that the frame in which this plaquette is set is an addition, but one certainly made for use within its early historical period. The encircling holes and the additional two holes top and bottom would enable the plaquette to be worn as a badge, on either a hat or a cloak. The incised and punched nodular frame is in fact very much in keeping with the workmanship of pilgrim badges, and it follows that a more well-to-do owner may have worn the piece as their badge while on pilgrimage.

11

A Medieval Rondel Dagger c. 1480

England. Iron, brass and leather 34.5 cm / 13.6 in PROVENANCE Private collection, United Kingdom

With a rare bronze fish-tail pommel, this dagger retains much of its original blued finish and is stamped with a maker’s mark.

12

A Knightly Mail Collar or Pizaine Mid-14th – 15th century

Germany, probably Nuremberg. Iron and brass 38.5 cm / 15 in × 50 cm / 20 in PROVENANCE Private collection, United Kingdom

The form of this pizaine, its seam running down the right

Comparable to the present piece is the mail pizaine from

shoulder, is very rare. Half riveted mail of this type was

London in the British Museum (no. 1856.0701.2244), and a

the most traditional used in Europe until the middle of the

group of pizaines in the Metropolitan Museum of Art, from

fourteenth century, when it became largely replaced by all-

the Radziwill collection at Nesvizh Castle (nos 27.183.1–8, of

riveted mail. The dating of this transition has only recently

which only 27.183.5 is half-riveted.) The riveted mail of the

been discovered, in the accounts of the Privy Wardrobe at

collar sections of nos 1, 2 and 8 of the group is particularly

the Tower of London, in which detailed descriptions of the

close to the example here, and the size and character of

mail at the time of the transition between 1340 and 1360

this mail suggest a mid-fifteenth century date for the collar

allow a fuller understanding of the process.

section, which would have been added to the older shawl section. Such reuse and updating of mail garments was common practice in the European Middle Ages.

13

A Gothic Lugged Hunting-Spear Mid-15th century

Germany or Austria. Steel 40 cm / 15.75 in PROVENANCE Private collection, Austria

Triangular-bladed spears, constructed to include increasingly developed basal lugs, or ‘wings’, emerged in the 14th century.

The resulting Knebelspiess, or ‘Bohemian ear spoon’, with its highly accentuated lugs, was a weapon probably better suited to war than to the hunt, but by the end of the century variations of the type had become the weapon of choice in the pursuit of boar and bear. Evidence of this is seen in the Devonshire Hunting Tapestries, dated circa 1425 – 50, in the Victoria and Albert Museum.

14

A Knightly Mace Late 15th – early 16th century

Germany or Italy. Steel and brazing metals 42 cm / 16.5 in PROVENANCE Private collection, Italy

15

A Large Gothic Crossbow c. 1450 – 75

Switzerland or Central Europe. Iron, fruitwood, staghorn, cowhorn, bone, animal sinew, resin, paper, varnish, leather and corded hemp 98 cm / 38 in × 74 cm / 29 in PROVENANCE Private collection, Austria

Although rare and in a superb state of conserved preservation, the inherent quality of this crossbow lies in its particular elegance, a hallmark of the finest bows produced in the late Gothic period in central Europe. The slender white and dark strips of polished horn veneer bring a pleasing contrast to the warm tone of the fruitwood stock. The spikey blind tracery terminals at the ends of the white staghorn strips are augmented by lobated piercings which are in turn darkstained in their voids to underscore the contrast; all of these ornaments are classic motifs from the High Gothic palette.

Crossbows of this type were used in both hunting and war alike. Conventional to the manufacturing of crossbow lathes in the 14th century, and to almost all those of the 15th century, the present example is of so-called ‘composite’ construction. This term refers to the process of building up a lathe by layering slender strips of horn and sinew around a wooden core, all held together with thick glue-like resin and waterproofed by an outer layer of varnished bark or paper.

The result was a flexible lathe four times more powerful than a wooden bow. The present example is original and is in an exceptionally fine state of preservation.

Another account of 1455 praises the advantage of bow Despite the 15 century introduction of steel bow lathes,

lathes of composite construction over the steel alternatives,

an account of 1469 records the contemporary difficulties

relating that unlike poor-quality steel they did not break in

in tempering the steel and resulting breakage in the field.

very cold weather and cause horrible injuries.

th

16

A Late Medieval Dagger Second-half of the 15th century

England. Iron, brass and wood 41 cm / 16 in PROVENANCE Private collection, England

Medieval military daggers with quillon hilts were derived from the sword hilts of the period, the earliest surviving example probably dating from the late 12th century. Those daggers, intended to be carried in conjunction with swords, mirrored the swords in style.

The western European fashion for beak-like pommels on swords and daggers emerged in the second-half of the 15th century; an example of a beak-pommel infantry sword from this period is preserved in the Royal Armouries, Leeds (IX.144). This sword is said to have been found on the site in England of the Battle of Wakefield, fought in 1460, a likely date for the present dagger. Another example of a dagger mounted with a blade near-identical to the present, with a variant beak pommel, is in the Royal Armouries, Leeds (X.1706).

17

A Gothic Knightly Mace c. 1500

Germany. Steel 49 cm / 19.3 in PROVENANCE Private collection, England

18

A German Horseman’s Hammer, later used in service of the Swedish Crown c. 1525 – 50

Germany. Steel and wood Inscribed: ‘PAX. VO’ ‘Bis. 1622. Olo Hake’ 49 cm / 19.29 in PROVENANCE Private collection, Scandinavia

This short-hafted type of war hammer was intended for use

weapons include a proportion characterised by them pre-

by mounted troops and as such in German it is called a

dating their renewed 17th century use, some considerably so,

reiterhammer. The belt-hook enabled the hammer to be

having been sourced from stocks of weapons considered

suspended from the saddle and was popular throughout the

anachronistic to current German military thinking. The

16th century. It remained a weapon on the battlefield well into

present hammer provides a perfect illustration of this

the age of military firearms, and the present example was

historical recycling, the proof of which is provided by the

evidently used in service of the Swedish crown.

inscriptions and the notable date 1622 from a Swedish hand.

The Latin inscription on the head is a truncated abbreviation

The kingdom of Sweden had since its civil war at end of

of ‘Pax Vobiscum’ (‘Peace with you’), is a salutation common

the 16 century been engaged in a succession of armed

to both the Catholic Mass and the Lutheran Divine Service.

conflicts which depleted not only the Swedish treasury

The continued parts of the inscription form a Scandinavian

th

but its domestic re-supply of military arms. For this reason,

male name: Olo Hake, almost certainly the name of the man

Sweden was compelled to buy in stocks of arms from

armed with this hammer in 1622.

Germanic sources. Surviving examples of these imported

19

An Italian Burgonet or Capellina c. 1530 – 40

Northern Italy. Steel, brass alloy and gold 24 cm / 9.5 in × 20 cm / 8 in PROVENANCE Private Collection, Portugal

By around 1510 a new form of open-faced light helmet

the nape date it to 1530-40. A closely comparable example

appeared in Northern Italy, derived from the Milanese tailed

of this style of pronounced broad fluting is an Italian early

open sallet, and a replacement for the heavier Venetian-

burgonet of circa 1540, in the Museo Poldi Pezzoli, Milan

styled gothic sallet. The new helmets, referred to collectively

(n. inv. 1754).

as capellini, were intended for wear with both foot and light cavalry armours.

The final decorative flourish added to the present helmet is

The present helmet, with a comparatively tall and stalked

a ‘Green Man’ mask, the ancient symbol of rebirth revived

pointed skull is a very rare surviving example. The gracefully

within 16th century iconography.

the plume-holder, cast in relief in gilt-bronze, in the form of

executed pair of broad scrolling flutes which rise from above

20

A Breastplate from a Field Armour made for the Court of Julius, Duke of Brunswick-Wolfenbüttel c. 1562 – 65

Northern Germany, Braunschweig Steel and blacking pigment 42 cm / 16.5 in × 37 cm / 14.5 in

The ducal title which concludes the inscription (identified by the abbreviations ‘H.Z BVL’) refers to the medieval titular styling ‘Duke of Brunswick and Lüneberg’. This remained

PROVENANCE The Armoury of the Dukes of Brunswick-Wolfenbüttel and their successors, the Kings and Princes of Hanover; successively housed in the Wolfenbüttel arsenal (zeughaus), Schloss Blankenburg and Schloss Marienburg.

LITERATURE Alheidis von Rohr, ‘Die Braunschweigischen Prunkharnische des Herzog Julius’, Waffen und Kostümkunde, 1988, Heft 1 / 2, p.108, fig 9 (detail), p.124, no.3

used as their formal address by the Wolfenbüttel ducal line throughout the 16th century and up to the early 19th century.

Perhaps uniquely within this series, the present breastplate has in addition a deeply etched fleur-de-lys device placed opposite the Daniel roundel, with two smaller versions located left and right beneath it towards the base.

Much of the etched decoration throughout the series draws on allegorical scenes and figures from classical Greek mythology, together with grotesques inspired by the engravings of influential designers of the German Renaissance. In common with these themes the present

This breastplate is identified by the quality of its etching and

breastplate is decorated in its uppermost panel with a

belongs to the series of extremely finely etched field armours

Germanic representation of ‘The Judgement of Paris’. The

associated with the court of Julius, Duke of Brunswick-

present version reveals, for example, the possible influence

Wolfenbüttel (r. 1568 – 89). Together with examples from the

of the German sculptor Dorman Thomas Hering, whose

remaining group of eight armours that form the final dispersal

stone relief representation of the scene (dated to 1529) gives

of the Royal Hanoverian armour collection, this breastplate

Paris the identity of a knight awakened by Mercury from a

is illustrated and described in the von Rohr survey of the

dream. Unlike the Dorman version, however, Aphrodite (here

Brunswick armours at Schloss Marienburg.

accompanied by Cupid) reverts to being the conventional

This series all share variations of the roundel etched on

versions were also painted by the renaissance master Lucas

the left-hand side of the present breastplate. All of these

Cranach the Elder (on at least twenty-three occasions).

recipient of the Golden Apple. Further similarly detailed

roundels, either circular or lobated, enclose the biblical scene of Daniel in the Lions’ Den, attended by an angel (Daniel 6:

Typical of the varieties of elongated and sinuous figures

16-24). Carried within the roundel frame is the etched pious

included throughout this series of armours is that of the

inscription ‘ACH. GOTT. BEVAR. NICH. MERE. DAN. LEIB.

Goddess Athene (Pallas) who in this instance dominates the

SELEN. GVT. VND. ERRE. H. Z BVL.’, in translation: ‘Oh God,

central vertical band of etching. A very closely comparable

protect no more than life, soul, property and honour. Duke

representation, similarly standing beneath a renaissance

of Brunswick and Lüneburg.’ Daniel imagery was popular

baldachin, is found on the breastplate of armour no. 16 in the

among German Protestants in the mid-16 century, almost

exhibition of Brunswick armour held at the Tower of London

certainly symbolising among the Brunswick population of

in 1952. The etched bands flanking the median perfectly

th

Lower Saxony their isolation within the Catholic states of

illustrate the influence of a celebrated designer of the German

Europe.

grotesque, the Nuremberg engraver Peter Flötner.

21

A Wheel-Lock Carbine c. 1580 – 90

Germany, Nuremberg. Steel, fruitwood and staghorn 99.5 cm / 30.1 in Lock struck with Nuremberg mark and maker’s mark

EXHIBITED L’Art Ancien à l’Exposition Nationale Belge, Brussels, 1883 Exposition d’Armes, Château de Laerne, 1968

PROVENANCE Baron Armand van Zuylen (1838-96); sold Sotheby’s, Fine Continental Firearms Arms and Armour from the Collection of Baron Armand van Zuylen, 1st April 1980, lot 82 Private collection, Austria

The inlaid stock of this carbine presents us with an ideal

Van Zuylen began his collections of antiquities and arms &

example of the art of South German gunmaking within the

armour when he was eighteen, but it was the arrival of his

latter decades of the 16th century.

inheritance from his father in 1867 that provided the means

Arguably the most interesting theme inlaid over the stock is

clocks, scientific instruments, textiles and costumes, with a

a frieze-like series of hunting scenes after the designer and

subsequent further move into painting, sculpture, medieval

engraver Virgil Solis of Nuremberg (circa 1530 – 62). These

art, porcelain and faience. Armour from the collections was

scenes include huntsmen on foot armed with spears, with

sold by Sotheby’s in 1971, preceding the sale by Sotheby’s

their packs of hounds and in pursuit of hares and stags. A

in 1980 of van Zuylen’s main interest, his antique firearms.

to expand his interests in the fields of musical instruments,

number of comparable original engraving by Solis, both of huntsmen in mid-16th century dress and of narrow friezes of smaller-scale huntsmen, hounds and game animals are in the Victoria and Albert Museum, London.

Baron Armand van Zuylen (1838-96) was born in Liège and studied at the Acadèmie des Beaux Arts in Antwerp.

22

A Crossbow-winder or Cranequin Dated 1582

Germany or Switzerland Steel, copper alloy and wood 38 cm / 15 in PROVENANCE Private collection, Europe Private collection, USA

Though the mark, in a shield, a rampant rooster with a pentagram under the raised leg is recorded on a cranequin dated as early as 1531 (Neue Støckel 7572, in the Kurpfälzisches Museum, Heidelberg,) the latest recorded example, on a cranequin in the Deutsches Historisches Museum, Berlin, dated 1584, accords with the example here. At least nine more examples bearing this mark exist in museum collections, variously dated across the intervening decades, although only four are known to be decorated.

Over this extraordinary span of five decades it is unlikely that this mark could be attributable to a single maker, rather it was probably continued by his family, or an apprentice. In his published study of early Swiss arms makers, the Swiss authority Hugo Schneider attributes the mark to a Hartmann Windenmacher (winder-maker), active in Zurich circa 154143, but without supporting evidence.

The mark has alternatively (but again without historic documentation) been attributed by Sir James Mann to the Henneberg family, Counts of Southern Thuringia, to their castle, to an adjacent town and to the wider area centred on the arms manufacturing city of Suhl (which was held by the Counts Henneberg). Mann’s premise was that the rooster mark described above was perhaps a version of the Suhl control mark (a hen, a play on Henneberg).

The present cranequin is decorated around the upper surface of its cog-wheel with an etched circular frieze of leafy tendrils inhabited by hounds in pursuit of a hare and a stag.

A closely related etched frieze is found on the ratchet-bar of a cranequin preserved in the Historical Museum, Bern, dated 1575, and which again bears the same mark discussed above (Kat. Nr. 523, Wegli 2012). A cranequin bearing the same alloy-lined mark and dated 1556 is in The Metropolitan Museum of Art, New York (07.24.48b).

23

A European Shoehorn Dated 1598

Possibly German or Dutch Cowhorn 59 cm Ă— 23.25 in PROVENANCE Private collection, France

The artistry seen on the present shoehorn is reminiscent of decorative elements found on powder horns and flasks of the same period, made of ivory or antler.

24

An Italian Demi-Shaffron c. 1590 – 1600

Northern Italy. Steel, gold, brass and leather 38 cm / 15 in Ă— 23 cm / 9 in PROVENANCE Hollingworth Magniac Collection, sold Christie, Manson and Woods, 2 July 1892, lot 747 Edwin Brett Collection, sold Christie, Manson and Woods, 18-21 and 26 March 1895, lot 446 Private collection, Europe Private collection, USA

The shape of this shaffron and the distinctive styling of its upper and lower terminal points suggests a manufacturing date close to 1600, and as such it compares with a shaffron in the Wallace Collection, London (A 355). The etched bands of trophies of armour and weapons are characteristic of the Italian armour workshops both in Milan and Brescia.

25

A French Gorget c. 1610

France, Paris or Moulins Steel, gold, leather, textile and bullion wire 29 cm / 11.5 in PROVENANCE Private collection, USA Private collection, France

This gorget was made to be worn independent of armour,

The town of Moulins in the Auvergne region, seat of the

perhaps with a coat of buff leather, and indicated the owner

Dukes of Bourbon, was second only to Paris in its renown

was an officer. The emblematic composition of the etched

for manufacturing fine etched armour and this gorget could

design is inspired by the Italian, German, Flemish and

only have been created in the workshops of these two cities.

French books of mannerist engravings of symbolic subjects published in the second half of the 16th century. These

A comparable French etched gorget or colletin, dated circa

were popularly used as pattern books across the range of

1600, is in the Royal Collection at Windsor (RCIN 38793);

French decorative arts beyond the first quarter of the next

its etched composition similarly draws on figural themes. An

century. The use of warrior figures wearing armour in the

Italian embossed gorget of circa 1610 with a frontal plate

fanciful Roman antique style, called all’antica, is typical of

shaped very similarly to the present one is in the Wallace

the period. The central figure in the present gorget’s design

Collection (A 238).

is undoubtedly a personification of bravery, and it has been suggested by Art Historian Dott. Mario Scalini that it represents the French King Henri IV of France.

26

A Burgonet for an Officer’s Three-quarter Armour c. 1620 – 30

Switzerland. Steel, brass, leather, textile and wool 29 cm / 11.5 in × 23 cm / 9 in PROVENANCE Private collection, Switzerland

The constructional distinctions between armour from South German and Swiss workshops are subtle but are well-illustrated in the burgonet here. The bold and broad proportions of the skull, the acute point of the peak and the accentuated depth of the cheek-pieces all typify Swiss work.

In addition, the fine finish of the turned borders, the closeset profusion of lining-rivets on their large decorative brass rosette washers and the highly distinctive pierced design of the plume-holder each firmly point to Swiss manufacture.

Unusually, the inner-lining of this helmet remains intact, which is rarely found.

27

An English Pikeman’s Armour c. 1625

England, London. Iron, leather and paint. Minor restorations Stamped with the crowned A mark of the Armourers' Company of London.

190 cm / 74.5 in × 68 cm / 26.75 in (including mount) PROVENANCE Kirkleatham Parish Armoury Private collection, United Kingdom

Outside the national collection these armours are of the

Richard Wright. Unmarked examples of the group include

greatest rarity; The present armour comes originally from

one in the Royal Collection (RCIN 67349) and a group in the

the Kirkleatham Parish armoury, almost all the remainder of

Royal Armouries, nos. ii.112, probably from the indigenous

which of which is preserved in Kirkleatham Museum, Redcar,

Tower Armoury, and a slightly different but closely related

having been secured by the local museum in 1999 and 2001.

form of decoration including embossed scallops appears on

This is one of a relatively small group of pikeman’s armours

(no. 19.129).

the armour in the Metropolitan Museum of Art, New York, decorated in this style, all probably made for infantry officers.

They have been attributed to the production of the Royal

The inspiration for the decoration of this group is probably to

Workshops at Greenwich, but are now known to have

be found in the ‘flame stitch’ type of Bargello work, named

been made by members of the Armourers' Company, partly

after a series of chairs in the Bargello Palace, Florence, also

because this one and another armour in a private collection

known as Hungarian point or Irish stitch, a type of needle

are stamped with the company mark used before 1649,

point embroidery in which long stepped chevrons in multiple

making this armour of considerable importance in the study

colours create a flame-like effect. The popularity of this

of seventeenth-century armour Other parts of armours from

type of textile in England can be seen in surviving interiors

the series are stamped by London armourers, such as

in which it is used to decorate entire rooms, such as the

Gawen Helm and John Slator (Museo Stibbert, Florence) and

Fettiplace Closet at Chastleton House, Oxfordshire.

28

An English Pair of Rowel Spurs c. 1630

England. Iron and silver Each 18 cm / 7 in PROVENANCE Private collection, Belgium

This fine pair of spurs represents the epitome of style and quality for an English gentleman in the 1630s.

Such spurs would have been worn over riding boots.

29

A Combined Priming-Flask and Wheel-Lock Key Early 17th century

Germany. Steel 10.8 cm / 4.25 in PROVENANCE W. Keith Neal R.T. Gwynn, Sold Christie’s 24th April 2001 Private collection, USA EXHIBITED The International Hunting Exhibition, Berlin, 2 - 21 November, 1937

Steel priming-flasks of this distinctive type were intended for military use, specifically by cavalry armed with a pair of wheel-lock holster pistols.

Further examples, all near-identical, are preserved in a number of German historical armoury collections. Others of the same type are in The Metropolitan Museum of Art, New York (14.25.1469), the von Kienbusch Collection in The Philadelphia Museum of Art (1963 cat. no. 723) and in the Musée de l’Armée, Paris (M.2101).

30

An English Rapier c. 1635

England. Steel, silver, wood and copper 115 cm / 45.2 in PROVENANCE Private collection, United Kingdom Private collection, USA

This hilt construction incorporates a range of English design characteristics of the period 1620 – 50. It is dated to the 1630’s based on evidence in English portraiture of the period.

31

An English Civil War Period Military Matchlock Musket c. 1645

England. Steel and walnut wood 156.4 cm / 61.5 in PROVENANCE John Nigel George (b.1903, K.I.A. 4th September 1942), author of the ground-breaking studies English Pistols and Revolvers and English Guns and Rifles.

Thirty-six military matchlock muskets of several types all

however, to have skimped slightly below the 48 inches

attributed to circa 1645 are preserved within the renowned

length required for the barrel. Under the same ruling the bore

historic Civil War armoury of the Popham family at Littlecote

size was specified as '12 bullets to the pound rowelling in’.

House. A minority of these examples have barrels, locks and

After 1642 it would seem that military matchlock muskets

stocks which closely resemble those of the present musket;

were being made significantly lighter than previously, enough

one example from this smaller group bears a boldly struck

to do away with the need for a musket rest to be supplied at

‘RI’ mark identical to that struck on the breech of the barrel

additional expense. The London gunmaker William Watson

of the musket under discussion. The mark is not identified in

was still supplying rests at 12d a piece in June 1642 but after

the Littlecote catalogue, in the instance of these initials not

this no further record is known to exist, this progression of a

conforming to those of any known barrelmaker or ordnance

reduced weight explained by Randal Holme in his Academie

supplier of the period the catalogue has attributed the mark

of Armorye of 1688.

to that of an unspecified owner: see ibid, p.194, inv. no.

XII.5317 (M2). The remaining marks which are found on the

Concerning the cost of a matchlock musket (presumably

Littlecote musket do not appear to relate to the traces of

similar both to the Crown and to Parliament), on 19th October

other marks found on the present musket. This previously

1644 William Watson and six other gunmakers delivered 500

unrecorded second instance of the ‘RI’ mark will nonetheless

matchlock muskets with bandoliers at 16s each. With the

be of significance in the further study of the firearms of the

parallel military use of the more costly snaphaunce and early

Civil War period.

flintlock muskets growing in quantity, it appears that 1651 saw the final delivery of matchlocks by London makers to the

While the overall length of this musket conforms almost

Commonwealth, thereafter these were supplied by Scottish

exactly with the 62 inches specified in 1630 under the

makers: for all of the references cited above see Richardson

Council of War’s ‘Order for the general uniformitie of all

and Rimer 2012, p. 192-3.

sorts of armes both for horse and foote’, the maker seems,

32

A Harquebusier’s Breastplate c. 1650

Dutch. Steel 40 cm /15.75 in × 34 cm / 13.5 in PROVENANCE Private collection, United Kingdom

The tradition for this style of armour for the battlefield with overall decoration seems to come from Antwerp, where etchers such as Adrian Collaert decorated armour for soldiers such as Sir Philip Sidney and Robert Dudley, Earl of Leicester, during the Eighty Years War. That these decorated armours were popular in Holland is attested by their appearance in numerous civic guard portraits, the earliest of which, in the Alkmaar groups, probably represent imported Antwerp

Originally forming part of a half-armour for an harquebusier

armour, while the later Amsterdam paintings probably

together with matching backplates and nasal potts. The

represent Dutch made and decorated armour. Where the

breastplate is bullet proof, and is covered in punched and

Flemish decoration was etched, the Dutch version was

incised decoration, comprising trophies of arms with shields,

punched and engraved, and this Dutch style of decoration

lions’ heads, tassets and burgonets all on a stippled ground.

was as influential as their innovations in warfare, leading to

It is stamped at the neck with the mark MM of an unidentified

imitation of both armour decoration and military systems in

Dutch maker.

Britain during the Civil Wars and after.

33

A Sporting Crossbow Mid-17th century

Germany. Steel, fruitwood core, ebony wood veneer, staghorn and corded hemp 58.4 cm / 23 in PROVENANCE Removed from Burg Feistritz am Wechel, Neunkirchen, Lower Austria Sold Galerie Fischer, 23 June 1965, lot 122, and subsequently 2 July 1969, lot 272 Christie’s South Kensington, Antique Arms and Armour, December 1998, lot 318

The

relatively

light

and

compact

massively imposing fortification most probably first dating

are

from the mid-12th century, constructed as part of a chain of

referred to by the German term ‘Halbe

defences against eastern invasion. By the middle of the 17th

Rüstung’. This indicates that it was a

century, the period in which this bow was constructed and

smaller bow intended for the lighter

first used, the castle was occupied by the von Rottal family, it

proportions

of

this

crossbow

game animals, a fact borne out by the engravings of small deer, foxes and hares included within the

having been bought in 1547 by Wilhelm, Freiherr von Rottal (d.1610).

horn veneers and plaques which ornament the tiller.

In 1682 the castle was again sold, to Carl, Freiherr von Pergen.

This crossbow was included in the 1965 dispersal of antique

Under his occupation the castle remained unconquered by

arms from Castle (Burg) Feistritz in the town of Wechel, in

the Turks during their sweeping invasion of Lower Austria

the Neunkirchen district of Lower Austria. The castle is a

and consequential siege of Vienna in the following year.

34

An Italian Hunting-Sword c. 1660

Italy. Steel, brass and staghorn 76 cm / 29.9 in PROVENANCE Private collection, Austria

The distinguishing feature of this hilt is the extended use of natural staghorn, beyond it simply being the traditional practical material from which to form the grip. In this instance liberal use has been made of strips of unworked antler to overlay the framework of the hilt, the strips being secured by rivets with prominent domed brass heads. This appropriately rustic style of decoration enjoyed widespread popularity throughout the German-speaking lands, with particularly elaborate sophisticated garnitures of similarly overlaid hunting weapons and their accessories being made for the hunting castles of the Saxon Electors. This fashion spread in the first half of the 17th century to the Danish Royal Court and south of the Tyrol to Northern Italy.

A comparable Italian hunting-sword is in the collection of the Metropolitan Museum of Art, New York (14.25.975a).

35

A Sporting Crossbow c. 1660 – 1700

Germany, probably Dresden Steel, iron, gilding, wood, exotic hardwood veneer, staghorn, hemp cord, leather and silk 60 cm × 23.6 in PROVENANCE Private collection, France

Bows of this type were produced primarily for the sport of shooting the ‘Popinjay’, a painted bird-like wooden target set atop a high pole. This pastime was particularly popular with the nobility and landed classes in the German regions, the colourful competitions took on highly elaborate protocols and regalia, and consequently Dresden emerged as the centre for the manufacturing of crossbows of notable high quality. The maker’s mark struck on the bow-lathe, a wheel with a cocks' comb, is characteristically found on a range of Saxon crossbow laths produced throughout the period 1575 – 1700.

36

A German Wheel-Lock Sporting Rifle c. 1670 – 80

Germany, Suhl. Steel, fruitwood and iron 107 cm / 42.1 in PROVENANCE H. Bauquis Collection, France

Fine sporting firearms with their stocks carved and inlaid in

The brass-lined stamp on the breech is that of the barrel-

this highly distinctive style enjoyed a widespread popularity

maker, quite possibly in this instance the maker of the gun

among the German nobility within the period circa 1645-85.

as a whole. The design of this stamp is almost certainly a

The use of grotesques and small monsters within the overall

variant of either one of the very closely similar marks used

scroll-work scheme is very much the fashion of the period

by two gun-makers, namely Cornelius Klett and Christian

and is found across German decorative and fine arts, having

Reich. Cornelius Klett was a prolific maker of high quality

recently disseminated from the master designers of Paris.

firearms working in Suhl. He died in 1661 but the business continued and his stamp used until 1688 by his widow

The mark struck on the inside of the lock-plate confirms that

Susanna and his brother Johann Paul. Another example of

the present gun was made in or in the vicinity of the famous

this stamp attributed to Klett is struck on the barrel of a rifle

gun-making centre of Suhl, the city being under the rule of

dated 1674, of closely comparable design to this present one,

the Saxon Albertine line since 1660. The version of the Suhl

preserved in the Swedish Royal Armoury (Livrustkammaren)

control mark on the lock-plate is relatively rare, unusually

in Stockholm (inv. no. LRK 3197.) Christian Reich worked in

involving an iron pick crossed with the sole of a shoe: these

Osterwick, near Rosendahl in Westphalia, circa 1661-1680.

devices form a pictogram, the pick representing Erzbergbau

His stamp is included on the barrel of a wheel-lock rifle

(ore mining) and the sole forming a German play on words

formerly in the Grand Ducal collection in Schloss Ettersburg.

ultimately representative of Salzgewinnung (salt production).

This rifle, now attributed to circa 1680, is now in the German Hunting Museum in Munich (cat. no. 2476).

37

A Pair of Dutch Bronze Saluting Cannon Dated 1671

Dutch, likely Rotterdam. Bronze 62.5 cm / 24.6 in PROVENANCE Private collection, USA

The identity of the founder is most likely Cornelis Ouderogge from Rotterdam.

38

A Mace Head or Topuz 17th century

Turkey. Iron and silver One flange missing 41 cm / 16 in PROVENANCE Private collection, France

The mace was used among the Turkic tribes of central Asia as a symbol of authority, and as such it spread among the Turkish successor states into western Asia and India. By the sixteenth century maces were regularly carried by officers of sipahis and janissaries as symbols of rank. The iron haft and flanges of this example are decorated in foliate scrolls in silver koftgari, illustrating its role as such a symbol, but comparison with plain fighting maces of the same period, preserved in museum collections in Serbia and excavated from battle sites in Bosnia, show that the mace was also a functional weapon.

Identical forms, known as buzogányok and usually fitted like the Ottoman fighting maces with wooden hafts, were used in Hungary during the same period, and several examples are preserved in the National Museum, Budapest such as no.

59.7850, including the silver gilt mace of György II Rákóczi of Transylvania, dated 1658.

39

A Hunting Bayonet 18 th century

Probably France Steel, iron, wood, coral and glass 53.5 cm / 21 in PROVENANCE Private collection, France

It has been suggested that sometime in the early years of the 16th century an unknown sportsman, confronted by a dangerous animal, perhaps a wild boar, thrust the handle of his hunting knife into the muzzle of his recently-fired sporting gun and thus created a form of pike with which to defend himself. Thus the so-called ‘plug’ bayonet grew out of an urgent need for self-defence and would see extensive and widespread use, both military and sporting, throughout the 17th century, and in sporting use for some time after that.

40

A French Armorial Shield 17th century

France. Marble 37 cm / 14.5 in Ă— 28.8 cm / 11.3 in PROVENANCE Private collection, Europe

The heraldic helm surmounting the coat-of-arms on the inner shield indicates that these arms were those of French nobility. The lion crest above the helm is, however, an unusual addition in French heraldry, crests historically being of lesser importance to the French than they were to Italian, Germanic and British knights. The pair of lions supporting the shield of arms are a further characteristic of French heraldic adornment. The shape of the larger shield is inspired by the Franco-German fashion of the late 16th century, and at its base the human grotesque mask is a complementary nod to the 16th century taste for classical antiquity.

The basic design structure of the present arms is shared by nine Northern French families, five of which originate in the Brittany region. The marble shows no trace of ever having been painted or gilded. One can reasonably presume that when sited in the original context of the family residence or chapel that it was thought unnecessary to colour the attractive marble carving.

41

A Norwegian Powder Horn by Sven Nielssøn Dated 1706

South Norway, almost certainly Oslo Cowhorn, walnut wood and metal alloy 16cm / 6.2in PROVENANCE Private collection, Scandanavia

The body of this object is constructed entirely of cowhorn,

of Feracund, said to be a giant, the enemy of Charlemagne

its greater lower portion carved with a tiered series of panels

slain by Roland (captioned ‘FERAKON’)’; the two figures are

filled with both early Christian figural subjects and figural

typically represented in a mirrored stance and bearing raised

subjects taken from the Scandinavian prose romance

swords.

Karlamagnus Saga ok Kappa hans.

Vertically bisecting their captions and the encircling It is signed by its maker ‘SVEN/NIELSSØN’ and dated

inscription beneath is the two-part inscription ‘DANIEL’ and

‘1706’ in a band of continuous characters around its base.

‘DREFTE/DRAGEN’. These caption the panel to their left, in

This stylistically matches the inscriptions which caption the

which the biblical figure Daniel is portrayed killing the Dragon

series of figural panels and is characteristic of the majority

by feeding it a ball of pitch. The Christian story of Daniel and

of the existing horns of this type. The signature inscription

the Dragon does not occur in the Bible but is instead found

continues the words ‘EGBEN/HAND’, which translate as

in the apocryphal Book of Bel and the Dragon, verse 27:

‘(with or by) his own hand’. The word which immediately follows, ‘ANKELOS’, is almost certainly a colloquial rendition

“Then Daniel took pitche, and fatto, and heare and did seethe

of ‘Ansolo’, one of several originally medieval versions of the

them together, and made lumpes thereof: this he put in the

name for the modern city of Oslo. The inclusion of the name

Dragon’s mouth, and so the Dragon burst in sunder.”

of the city on the river Lo would appear to be very unusual among horns of this type.

Beneath the Roland and Feracund figures is a frieze of knights, both mounted and on foot, and encircling the

In the upper panel at the inner curve ‘The Temptation in Eden’

centre of the carved portion of the horn is a strip filled with

is represented, the Serpent is entwined about the Tree of

the corresponding inscription ‘OLLA/STRANGESSØ?N/

Knowledge, Adam and Eve on either side, their respective

HAABAAR/KONGENSØN/DAVED’. This last concludes with

captions read ‘ADAM/BOND’ and ‘EVA/HVSTR’.

a reference to the biblical King David.

Flanking this scene in a small panel is the mounted figure

Below the ‘Temptation in Eden’ are a further two biblical

of Roland, the nephew of Charlemagne and celebrated in

panels portraying, respectively, King David at his harp, and

the Charlemagne Cycle of Romances as a chivalric hero.

Delilah giving Samson the wine by which he might be put

Opposing him within a matching panel is the mounted figure

to sleep.

42

A Dutch Armorial Achievement Late 17th – early 18 th century

Netherlands. Marble 33.5 cm / 13.1in × 29 cm / 11.4 in PROVENANCE Private collection, France

These two coats-of-arms are arranged in conjunction to record the marriage between two families and were often used to symbolise a political alliance. The right-hand shield (the viewer’s left-hand) is that of the husband, a member of the Schoeff family, prominent citizens of Amsterdam; those of the wife’s family, on the oval, are yet to be identified. The superbly delicate and lifelike quality of the carving denotes this work as an expensive commission.

43

A Fine Pair of Silver-mounted Flintlock Holster Pistols c. 1730 – 40

Continental, possibly Liège Steel, iron, silver, gilding and walnut Each: 45 cm / 17.75 in PROVENANCE Private collection, France

The beaked or ‘bird’s-head’ form of these pistols is a design which became popular in parts of continental Europe by the middle years of the 18th century, especially in such centres of gun making as Liège and Carlsbad.

The nature of the chiselled and gilded decoration on the locks and barrels is reminiscent of the style which would become popular in Russia very soon after these pistols were made. The influence of craftsmen from several European gun making centres, but especially from Carlsbad, who were invited to work in Russia, is believed to have been one of the factors which, by the middle years of the 18th century, inspired the style of decoration now often regarded today as characteristically that of the Imperial Arms workshops in Tula.

44

A Highland Officer’s Silver Basket-Hilted Backsword c. 1745

England, probably London Silver, steel, wood, fish-skin and woollen cloth 98 cm / 38.5 in PROVENANCE Earlshall Collection

This is one of very few known examples of a hilt of this form made in silver. The root of the quillon is struck on its inner face with a mark like a capital letter H and with two stamps resembling the symbol of infinity.

Swords with silver basket hilts of this design are very rare, and this is one of the finest surviving examples. Several appear in 18th century portraits, the most notable of which is that of Colonel William Gordon, who is shown in an extravagant romantic pose and wearing Highland dress in a portrait by Pompeo Batoni done in Rome in 1766, while the colonel was there on the Grand Tour. Until quite recently this portrait had been taken to indicate that swords of this type had been made in the 1760s, but in 2014 an example was sold which bears London silver marks including the date letter for 1745. With this knowledge it became clear that these hilts were being created somewhat earlier than had previously been thought. It seems clear that for a relatively short period in the middle years of the 18th century this elegant form of silver basket hilt was popular with senior Highland officers who, judging from the surviving examples, appear to have commissioned sword makers in London to produce them.

45

A Pair of Silver-Mounted Pistols by Jonathan Stanton c. 1760

England, London. Steel, iron, silver, horn and walnut Each: 34.5 cm / 13.6 in PROVENANCE Private collection, USA Sold at Christies, 12 th December 1967, lot 166 Purchased by Geoffrey Jenkinson for 520 guineas ($1,310 US)

The maker, Jonathan Stanton, was apprenticed in 1739 to his uncle, the noted London gunmaker William Turvey, became Free of the Gunmakers' Company in 1747 and provided his proof piece and was granted the use of his mark in 1754. He was elected Assistant to the Company in 1761 and Master in 1765. He was recorded as a gunmaker, as nephew and successor to William Turvey, at premises next to Furnival Inn, Holborn, from 1748 and died in 1766. Given that Stanton was granted use of his mark in 1754 and that he died in 1766 a manufacturing date close to 1760 would be appropriate for these pistols.

46

A German Gold-Hilted Small-Sword Set with Diamonds and Enamels c. 1745 – 55

Germany. Gold, diamonds, enamel, steel, lizard skin, wood and brass 95 cm / 37.4 in

PROVENANCE Field Marshal Sir George Howard K.B. (1718 - 1796) To his grandson, Richard William Vyse (1784 - 1853), later a general in the army also and who in 1812 changed his name by royal sign-manual to Howard-Vyse Thence by descent to Richard Howard-Vyse, Esq EXHIBITED The National Army Museum, London (Acc. No. 6311-186) LITERATURE C. Blair, 'An unrecorded diamond-hilted small-sword', Connoisseur, CLX, 1965, pp. 77-8 A.V.B. Norman, The Rapier and Small-Sword 1460-1820, London 1980, p.192, plate 123

In addition to its unmissable intrinsic splendour, this

brilliant gemstones, the fashionable province of the

sword is made the more compelling as a very rare

extremely wealthy. The passage of years and the

memento of the significant British role in the military

passing of the fashion for wearing a sword saw the

campaign in Germany which shaped Northern

general destruction of these magnificent swords for

Europe in the mid-18th century. The surviving

their melt value and stones. Of those very few which

jewelled swords of the mid-18 century are today

have survived the majority have done so because

almost exclusively those of royal provenance and

they formed a part of royal regalia.

th

these are preserved appropriately within the historic collections of great institutions, namely Windsor

Sir George Howard’s heir was his grandson, Richard

Castle, Rosenborg Castle in Denmark, The Louvre

William Vyse (1784-1853). The boy was the only son

in Paris, the Moscow Kremlin, the Swedish Royal

of Howard’s surviving daughter, Anne, who in 1780

Armoury in Stockholm, and the State Art Collections

had married Richard Vyse (1746-1825), only to die

in Dresden. It is therefore further remarkable that this

soon after giving birth to her son. Richard William

prized possession of a distinguished British senior

Vyse went on to become a general in the army

officer, a noted participant in the North German

also. He changed his name by royal sign-manual to

campaign of the Seven Years War, should have

Howard-Vyse upon inheriting estates at Boughton

remained unrecorded until its eventual publication in

and Pitsford in Northamptonshire in 1812.

1965 in Connoisseur magazine.

Among the bequests to this child mentioned in Sir The author of the article, Claude Blair, makes the

George Howard’s will is the following:

point that by the mid-18th century the small-sword had in one hundred years evolved from a true fighting

“I give to my said Grandson at his Age of twenty-one

weapon to become, in reality, an item of masculine

years my Sword set with Diamonds given to me by

jewellery. Never was this more obviously the case

the late Duke Ferdinand of Brunswick when I took my

than with the sword hilts and scabbard mounts

last leave of him at the end of the German War in one

constructed of precious metals and encrusted with

thousand seven hundred and sixty two.”

47

A French Hunting-Sword c. 1760 – 70

France. Steel, silver and agate 71 cm / 28 in PROVENANCE Private collection, Austria

This particularly delicate sword exemplifies the development of the hunting-sword in the France of Louis XV to its ultimate refinement, essentially as an elegant accessory to a gentleman’s formal hunting wardrobe. Agate had been popular in London and Dresden as early as the late 17th century as an ideal material with which to give hunting-swords and courtly small-swords a truly luxurious appearance, and naturally this fashion was further popularised by the fourbisseurs of Paris.

Hilts such as this one were frequently carved and then stained in order to enhance their variegated colours. The finished agate was exported in notable quantities from the agate mining town of Idar-Oberstein in the RhinelandPalatinate.

A French hunting-sword of this period with a silver and agate hilt comparable to the present example is in the Metropolitan Museum of Art, New York (26.145.244).

48

A Pair of English Silver Mounted Flintlock Holster Pistols by Henry Hadley c. 1761

England, London. Wood, steel, silver and gold Each: 38 cm / 15 in The silver mounts bearing the maker’s mark of Jeremiah Ashley and London hallmarks for 1761 PROVENANCE Private collection, USA

Henry Hadley moved to the West End of London in 1745, and from 1755 – 1771 he occupied premises at Suffolk Street in the Strand. His outstanding skills earned him patronage at the highest levels: in the collection of HM The Queen at Windsor Castle are two pairs of pistols by him bearing respectively the crests of the Prince of Wales and a Royal Duke, while in the Royal Armouries Museum, Leeds, is another pair bearing the arms of the 4th Duke of Marlborough.

An Important Highland Officer’s Decorated Silver Basket-Hilted Broadsword, the hilt by John Radborn, dated 1767, the Blade German (Solingen), early 17 th century

49

England, London. Silver, steel, wood, gilding and fish-skin 99 cm / 39 in PROVENANCE Private collection, United Kingdom

Due to the particular Scottish nature of this hilt, the exceptional amount and quality of its decoration, and the date of its manufacture, it has been suggested that it might have been made for Archibald Montgomerie, 11th Earl of Eglinton (172696), to mark his appointment in 1767 as Colonel of the 51st Regiment of Foot.

The light and elegant basket hilt of this sword is almost certainly unique. It is of the particular form known among scholars today as a ‘pinch-of-snuff’ hilt, since many of the bars forming the guard are of ‘pinched’ or waisted outline.

Silver examples of pinch-of-snuff hilts are among the rarest among Scottish basket hilts.

This hilt was the work of John Radborn (or Radbourne, or Radburn), a noted maker of silver hilts who was recorded from 1737 to 1780 at New Street Precinct, Fetter Lane, in the City of London. A number of silver-hilted swords by John Radborn are known and are notable for their consistently fine style and quality. Examples are preserved in the Royal Armouries, the Victoria & Albert Museum, and in the Metropolitan Museum, New York. All these, however, are small-swords - the sword here is the only example known of a basket hilt by John Radborn.

The fine two-edged blade of this sword is associated. There is an inscription on the forte, etched in large letters and then gilded. On the outer face is; ٠CLEMENS٠ HORNN٠ I٠ / ٠MEFECIT٠SOLINGE -, while on the inner face it reads ٠PVGNA٠PRO٠PATRIA٠

/

٠SOLI٠DEO٠GLORIA٠B.

In

translation: 'Fight for your country' and 'To God alone the glory'.

Clemens Horn (or Hornn) was an important bladesmith who worked in Solingen during the first three decades or so of the 17th century.

50

A Northern European Hunting-Sword c. 1770

Northern Europe, probably Germany. Steel, silver, wood, tortoiseshell and mother-of-pearl 67 cm / 26.4 in PROVENANCE Private collection, Austria

Hunting-swords of the rococo period formed an essential part of the formal hunting wardrobe, suspended in a baldrick or crossbelt which was frequently embroidered with hunting motifs en suite with the sword hilt and its decorated blade.

This silver-hilted example makes a further statement of exotic opulence by its enriching tortoiseshell and mother-of-pearl veneers. Hunting-swords with similarly decorated hilts are found in the historic collections of hunting castles throughout the German-speaking regions.

51

A Pair of English Silver-Mounted Flintlock Duelling Pistols, by Griffin & Tow, London c. 1775

England, London. Wood, steel and silver The silver mounts, bearing the maker’s mark of John King and London hallmarks for 1775 Each: 38 cm / 15 in

The partnership of Joseph Griffin and John Tow started in 1771; they were at 10, New Bond Street, London from 1772 – 82. Griffin was succeeded by John Tow in 1787. John King is listed in the census of April 22, 1775 as living at 73, Little Britain, London.

52

A Pair of Silver-mounted Flintlock Pistols,

by Thomas Trulock, Dublin Made in 1776, 1777 or 1778

Ireland, Dublin. Iron, steel, silver, gold and walnut Struck with Dublin silver marks Each: 36cm / 14.25 in PROVENANCE Private collection, United Kingdom

Thomas Trulock (sometimes spelt Truelock) was born in 1718

one Catherine Jones. In 1781 he acquired another property,

and became an important gunmaker in Dublin, producing

4 St.Andrew’s Street, which would subsequently be inherited

many very fine firearms, of which this pair of pistols is an

by his son George and then his granddaughter Sarah; this

excellent example.

would remain in her possession until 1832. Between 1786 and 1797 he was recorded at 22-23 Suffolk Street, and his

Trulock became a significant figure among the citizens of

final location, during the 1790s, was at Simmonscourt (or

the city of Dublin. He was married for the first time in 1748,

Symons Court).

to one Elizabeth Brownrigg, and by 1761 was recorded as a gunmaker in Castle Yard. Between 1762 and 1771 his

Trulock became a man of property and evidently sustained

business address was College Green, then between 1767

civic duties as well as his gun making business. In 1753 was

and 1783, during which time this pair of pistols was made, he

made a Freeman of the City of Dublin, and later in his life he

was at 28 Dame Street. In 1778 he married again, this time to

is consistently referred to as Alderman Trulock.

53

A French Silver-Gilt Small-Sword set with Paste Brilliants c. 1778 – 9

France, Paris. Steel, paste, silver, gold, leather and wood 76.5 cm / 30 in PROVENANCE The descendant family of Arthur Richard Dufty CBD, (1911-1993), Master of the Royal Armouries (1963-76) and President of the Society of Antiquaries (1978-81) Christie’s, 20 th October 1969, lot 142

A sword very comparable to the present is in the collection of the Metropolitan Museum of Art, New York (inv. no.

26.145.302.)

54

A Cased Pair of Flintlock Duelling Pistols

by Griffin & Tow, London c. 1780

England, London Steel, iron, walnut, brass, baize fabric, leather and oak Each: 38.5 cm / 15.25 in

father’s death Joseph took over the business, and by 1771 had formed a partnership with John Tow, an individual about whom little is known but who evidently had both social and business ties to the Griffin family. The partnership existed

PROVENANCE Keith Neal Collection Private collection, USA

only from 1771 to 1782, when Joseph Griffin died, but John Tow continued as a gunmaker at the same address, 10 New Bond Street, until 1793, dying just two years later.

The form and quality of these pistols represent the very

Griffin is one of the most resonant names from among the

epitome of the finest 18th century English duelling pistols

best London gunmakers of the 18 century. The firm was

at the height of their fashion. With only the most restrained

begun by Benjamin Griffin in Bond Street around 1735 and he

engraved decoration, their desirability, both originally and

is recorded in business until his death in 1770. He was joined

today, lies in their simplicity and elegance of line. The locks

th

by his son, Joseph, who had previously been his apprentice

have the expected refinements for pistols of this quality

and who became Free of the Gunmakers' Company in 1750,

(a semi-waterproof pan and a roller on the steel-spring to

his proof piece and mark being recognised in 1759, the

ensure smooth and efficient operation), while they each

year in which he was elected Assistant to the Company. In

have discreet panels of engraved floral decoration on the

1763 Joseph became Master of the Company and was also

tail of the lockplate, the elegant swan-necked cock and the

appointed Gunmaker to His Majesty (George III). After his

frizzen bridle.

55

A Pair of Flintlock Turn-off Pocket Pistols by Wilson, London c. 1780

England, London. Steel, silver and walnut Each: 18.5 cm / 7.3 in PROVENANCE Private collection, USA

These fine quality pocket pistols were almost certainly made

by William Wilson, whose premises were the Minories, in London. William followed his father Richard in becoming a gunmaker and in 1760 became Master of the Gunmakers' Company. After Richard’s death in 1766 William continued using his father’s mark - the initials RW under a six-pointed star - which is present on these pistols. William became a contractor, and established contracts with the Board of Ordnance, the East India Company and the Hudson’s Bay Company.

56

A Pair of French Officer’s Pistol Holsters Late 18 th century

France. Leather, brass and bone 34 cm / 13.5 in × 13.5 cm / 5.25 in PROVENANCE Private collection, France

These finely made leather holsters were undoubtedly commissioned personally by a French officer of considerable means. They are highly unusual in being decorated with the most exquisite tooling executed ‘in reserve’ to create a cameo effect, whereby the design is heightened through the surrounding field being minutely cut away. Our holsters were originally the property of a very grand officer indeed.

57

An English Lorenzoni System Flintlock Repeating Magazine Pistol c. 1785

England, probably Birmingham. Steel, silver and walnut 28 cm / 11 in

PROVENANCE The Collection of Clay P. Bedford, California, USA Private collection, USA EXHIBITED Metropolitan Museum of Art, Early Firearms of Great Britain and Ireland from the Collection of Clay P. Bedford, New York, 1971

This pistol was made using a system which had been

bring the cocking mechanism to the safe half-cock position.

developed in Italy around 1660, and although its true

The shooter was then simply required to bring the lock to full

inventor has never been firmly established it is now always

cock and, having fired, repeat the process for ready use.

associated with a 17 century Florentine master gunmaker, th

Michele Lorenzoni.

Firearms using this system were made until early in the 19th century, and this example, which has 'London' engraved on

The mechanism used magazines for loose balls and black

the top surface of the breech of the barrel, is unsigned. It

powder contained in the butt and another for priming powder

may be one of the fine quality examples made by gun trade

mounted externally adjacent to the pan of the lock. Rotation

workshops in Birmingham which was to have the name of

by 180 degrees of the long lever on the left of the action would,

its London retailer engraved on the lock. Its silver mounts

in conjunction with gravitational tilt, simultaneously load a ball

bear the mark of the silver smallworker Charles Freeth, the

into the breech chamber, align a charged powder chamber

anchor for Birmingham, the sovereign’s head mark and the

with the breech, prime the pan of the lock and additionally

date letter ‘N’ for 1785.

58

A Pair of Madrid-Lock Holster Pistols by Joseph Deop of Ripoll Late 18 th century

Spain. Steel, gold, silver, gilt-bronze, walnut wood and horn 41.9 cm / 16.5 in

These pistols are rare products of the Catalonian arms

PROVENANCE Private collection, United Kingdom Private Collection, Hong Kong

The late 18th century economic renaissance of the Catalan

industry centred in the town of Ripoll, having been

region was still in its infancy when these pistols were made,

constructed in the glittering Madrid taste of Bourbon Spain.,

so it is very unlikely that they would have been made for a

This style of lock had by the 1730’s become the height of

Catalan grandee. It is more probable that Joseph Deop made

royal gunmaking fashion in Madrid, but they present pair

them for a Spanish Bourbon aristocrat to keep his business

are highly unusual in for having been produced by a Ripoll

afloat. The maker of the barrels of the present pistols, Pedro

gunmaker. Catalonia, was committed to restoring its cultural

Esteban, or Esteva, was established in Barcelona. Joseph

independence, which in the 18 century had been eroded

Deop belonged to a dynasty of gunmakers who, as three

by Bourbon rule. Remarkably, in the face of this suppression,

brothers, had come to Ripoll, probably from Germany, in

the Ripoll gunmakers had continued to produce their

the mid-16th century. There are at least forty members of the

traditionally styled firearms.

Deop family recorded in the business of gunmaking in Ripoll

th

over three hundred years.

59

A Pair of Flintlock Deluxe-Quality Pocket Pistols in the Versailles Fashion c. 1795 – 1800

France. Steel, silver and ebony wood 14.3 cm / 5.6 in PROVENANCE Private collection, France

This pair of pistols closely follows the earlier tradition of luxury

be from Aesop’s works. Aesop’s fables and their like were

gunmaking which emerged at the Versailles manufactory

enormously popular in France during the second half of the

of the virtuoso gunmaker Nicolas Noël Boutet, in the years

18th century, many being acted and told, others the subjects

just prior to the commencement of the Premier Empire.

of musical compositions. (A noteworthy detail is the former

Although unsigned, these pistols have likely come from a

inclusion of a large Aesop subject statue in the gardens of

Paris workshop.

the Royal Palace at Versailles, prior to its destruction following the fall of the monarchy.)

The bands of delicate flowering foliage encircling the barrels and the rows of bead-like rosettes are as much from the

Closely related designs of animals’ heads are included in a

Versailles palate as are the consciously slightly differing

series of engraved designs for the mounts of a fowling-piece,

designs on the undersides of the actions; these in their careful

by Augustin Dupré, Paris (in the Museé des Arts Décoratifs,

minute detail fully conceal the triggers in their folded position.

Paris). Others, also comparable, are given as incidental motifs of the chase within the wider engraved Empire designs for

The animal and bird vignettes engraved on the action sides

firearms ornament published by Rennesson in 1807-8, under

have an allegorical purpose rather than being face-value

the direction of J.F.Lucas.

ornaments. The most readily identifiable is the fable of The Crow and the Sheep, a moral tale from Aesop. The other

The charm of the present pair of pistols is today matched by

subjects are of the same school of story-telling but may not

their remarkable state of preservation.

60

A Pair of Flintlock Box-lock Pocket Pistols

by Jackson, London c. 1800

England, London. Steel, silver, brass and walnut Each: 15 cm / 6 in PROVENANCE Private collection, United Kingdom

These pistols are engraved 'Jackson' and 'London', and are of a style which had become well-established by the end of the 18th century. Given their probable date, their most likely maker was George Jackson, of White Hart Yard, Strand, London, who is known to have signed his pieces simply JACKSON.

61

A Collection of Falconry Hoods and Bells 18 th – 19 th century

Europe. Leather, velvet, feathers, brass and iron The tallest: 13 cm / 5.1 in Mounted: 24 cm / 9.5 in PROVENANCE Private collection, United Kingdom

62

A Pair of Pistols by Ketland & Co, London c. 1800

England, London. Steel, brass and walnut Each: 37 cm / 14.6 in PROVENANCE Private collection, England

These handsome pistols, made in military style, were made

made these pistols was succeeded by James Ketland in

by a company of gunmakers whose main workshops were in

1800, and a Birmingham gunmaker called William Ketland,

Birmingham, although it had a ‘Wholesale Gun & Birmingham

operating as William Ketland & Co., had a London branch

Warehouse’ at various addresses in London between 1785

until 1818. A Birmingham-based firm of Ketland and Walker

and 1800. At the time these pistols were made the business

was also contractor to the Board of Ordnance between

address was No.1 Angel Court, Throgmorton Street, London.

1799 and 1812. From the beginning of Thomas Ketland’s

It is not entirely clear which members of the Ketland family

business, however, this associated group of Birmingham-

operated this The company at this time; it had been begun

based gunmakers makers had often signed many of their

by Thomas Ketland in 1765, while the company which

pieces ‘London’.

63

A Pair of Flintlock Turn-off Pocket Pistols by T. Archer, Birmingham c. 1800

England, Birmingham. Steel, silver, paktong alloy and walnut Stamped with Birmingham proof marks Each: 17.5 cm / 6.9 in PROVENANCE Private collection, USA

Both items 61 and 62 are examples of the type of pistols produced by the English gun trade by the late 18th century for the purpose of self-protection. The barrels and actions are of the high-nickel copper alloy popularly called ‘paktong’.

64

A Pair of Flintlock Turn-off Pocket Pistols by R. Allen, Birmingham c. 1800

England, Birmingham. Steel, silver, paktong and walnut Marks of private proof houses in Birmingham flank a maker’s mark of a crown over TA Each: 16 cm / 6.3 in PROVENANCE Private collection, USA

65

A French Ship Model of an English 1st Rate Warship Early 19 th century

Made in England by a French prisoner of war during the Napoleonic Wars. Boxwood, bone, straw, bronze, fibre and fabric The case is 35 cm / 13.75 in Ă— 32 cm / 12.5 in PROVENANCE Private collection, United Kingdom

Armed with 114 guns this fine and small boxwood model is likely the 'Hibernia' which was laid down in 1793 and finally commissioned in 1804.

NOTES

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