91 St London Antique Arms Fair Guide

The London AnTique Arms FAir Guide1

The 91stLondon Antique Arms Fair

Autumn 2013

Hotel Ibis London Earls Court,47 Lillie Road, London, SW6 1UD

Friday 27 SeptemberSaturday 28 September

A rare medieval sword from the Mamluk Arsenal at Alexandria. Second half of the 14th Century, probably Italian. Sold by Bonhams Knightsbridge on 18 November 2012 for £163,250

The London AnTique Arms FAir Guide2International Auctioneers and Valuers – bonhams.com/arms

Values stated include buyer’s premium. Details can be found at bonhams.com

Antique Arms & ArmourWednesday 27 NovemberKnightsbridge, London Entries now invited

Enquiries+44 (0) 20 7393 3807+44 (0) 7768 823 [email protected]

A fine pair of silver-mounted flintlock holster pistols,by Benjamin Griffin, London, London silver hallmarks for 1750Sold for £17,500

H E R M A N N H I S T O R I C AIn

tern

atio

nal A

ucti

ons

Ant

ique

Arm

s an

d A

rmou

r ✦ O

rder

s ✦ H

isto

rica

l Col

lect

ible

s

Hermann Historica oHG ✦ Linprunstr. 16 ✦ D-80335 Munich ✦ Phone +49-89-54726490Fax +49-89-547264999 ✦ E-Mail: [email protected]

A Spanish/Italian left-hand dagger, circa 1670

Parts of a Maximilian armour, Nuremberg,

circa 1510/20

A fine chiselled bichwa, South India, Tanjore, 17th century

A Balochistan/Afghan (?) khanjar with silver handle, 17th century

A magni ficent silver stirrup, Otto man or Transyl vanian, 17th century

A late Scythian/early Sarmatian steppe-nomadic silver bowl, late 4th - 3rd cen tury BC A Greek Illyrian helmet,

5th - early 4th century BC

A gold- and silver inlaid splendid rifle, F. Morgenroth, Gernrode/Anhalt, dated 1844

A Swiss flintlock pistol, circa 1640

A magnificent wheellock pistol, Nuremberg, circa 1590/1600

All catalogues online by the end of September:

www.hermann-historica.com

N E x T Au C T I O N :

4 Nov. - 16 Nov. 20136 catalogues of military and historical significance including 2 special collection catalogues

- The Friedrich Hebsacker collection of Arms & Armour- uniforms of German Military and Political units 1933 - 1945

A drop barrel target pistol,

Anton Vinzent Lebeda, Prague,

circa 1880

LonArmFair_1p_4c_A67.indd 1 03.09.2013 15:32:31 Uhr

The London AnTique Arms FAir Guide4 The London AnTique Arms FAir Guide 5

Master GunmakerRestorer of Artillery

Antique Arms

PO Box 355 • Hereford • HR2 9YETel: 07775 643762

E-mail: [email protected] www.johnsloughoflondon.co.uk

Cased pair of D/B Percussion Officers Pistols by John Manton.

Cased Percussion Pepperbox Revolver by Parker of London.

Cased pair of PercussionDueling Pistols by Samuel Nock.

John Slough Antique Arms Ad A4 21 1 11/4/10 22:52:18

The London Antique Arms Fairs 2013

A welcome from the Chairman 7

The Saving of a 6in BL Howitzer circa 1917

By John Slough 11

Index of advertisers 23

Index of exhibitors 24

Table plan for the fair 26

The Duel By F Wilkinson 28

King Joseph’s Chocolate Pot by Paul Wilcock 36

Factory Gold Inlaid Colt Percussion Revolvers 40by R.L. Wilson

The London Antique Arms Fair

is promoted by Arms Fairs Ltd.

Chairman: John Slough

Secretary: Adam Slough.

Arms Fairs Ltd., PO Box 355,

Hereford HR2 9YE

Tel: 07780 663819

E-mail: [email protected]

Website: www.antiquearmsfairsltd.co.uk

Editors: John Slough and Adam Slough

The London Antique Arms Fair guide

is published on behalf of Arms Fairs Ltd

by John Good.

© Arms Fairs Ltd., 2013.

Printed in England.

All material contained within is strictly

copyright and all rights are reserved. The

opinions expressed are not necessarily

those of the publishers. Every care is

taken in compiling the publication, but

the publishers can bear no responsibility

for effects arising therefrom or from the

advertisements contained herein.

All information correct at time of printing.


A W E L C O m E F R O m T H E C H A i R m A n

Welcome to the 91st London Antique Arms Fair

This year we will have considerably more exhibitors than ever with more tables full of the best examples of arms and armour from all around the world.

It always amazes me that when the London Arms Fair time comes around so many high quality items come out of safes, cupboards and lofts, out of private collections to see the light of day and be on display at the fair.

Record prices achieved for items of arms and armour selling at auction in the last six months proves yet again that exhibitors at the fair are providing one of the best forms of investment available at the present time. Confidence in banks and building societies is at an all time low and there are few attractive alternatives to collecting items of such craftsmanship and quality as we have to offer, not to mention the joy of owning them.

This April saw the introduction of a new and exciting feature at the fair. On the second day we staged the first ever exhibitors’ auction to be held at a London fair. This type of auction is very popular at many American gun shows.

There is no entry fee, the auctioneer’s commission is only 10% and most radically of all, there is no buyer’s premium.

Members of the public wishing to put items into the sale may do so through any one of the current exhibitors.

Lots may be entered into the sale from early September and will be on view at the fair in a designated area. The sale commences at 12 midday on Saturday.

Over the years I have been approached by collectors and exhibitors to hold such an auction at the fair. This in no way reflects on the existing auction houses as there is no doubt that they have an essential role to play in our business bringing to the market items of interest and importance from great collections from around the world.

However, I believe that there should be an opportunity for items to be sold by exhibitors at auction at no extra cost to the purchaser. We are able to do this by cutting out many of the overheads and extra costs that have arisen over the years for the auction houses such as the huge cost of premises in London, the production of beautiful, detailed sale catalogues distributed worldwide. They provide telephone bidding and now also internet bidding all of which has to be staffed and paid for and none of it comes cheap.

At our auction a list is produced in advance, sale entries are displayed at the fair in a designated area. People wishing to bid should register at the admission desk and receive a Bidder’s number. There will be no telephone or internet bidding and most importantly no Buyer’s premium. It is in fact a good old fashioned sale where you view the lots, bid for them, pay only the hammer price and clear the lots all on the same day!

I myself have some experience in this field having once worked for the last auction rooms in the City of London, B. Norman & Son of Little Britain, EC1. Sadly it closed in 1967 having been in the same family since 1824, thus marking the end of an era.I do hope you all enjoy, not only the fair, but also the auction where you can make sound investments for the future and enjoy some wonderful examples of outstanding craftsmanship.

‘Here’s to the good life’

John Slough Chairman

John Slough of London, Master Gunmaker, � e Old Forge, Peterchurch, Hereford HR2 0SDTel: 07775 643 762 Email: [email protected] www.artilleryhire.com

9 Pdr RML Field gunComplete on period fi eld carriage

Cannon and artillery for hire for fi lm industry, TV, theatre, concerts and gun salutes.John Slough of London have been in the business of restoration and conservation of cannon and artillery of all periods for over 40 years.

� e fi lm industry’s increasing need for blank fi ring big guns with experienced armourers and fi ring team means we now have a dedicated stock of period cannon and artillery ready for hire as well as the ability to produce any custom made piece for individual requirements.

Cannon and artillery for hire for fi lm industry, TV, theatre, concerts and gun salutes.

9 Pdr RML Field gun 18 pdr QF Field gunComplete on its original fi eld carriage

18 pdr QF Field gun

200 muzzle loading cannon and mortarsUsed for the Battle Proms concerts

200 muzzle loading cannon and mortars 24 pdr reproduction cast iron Scottish carronadesComplete on period carriage

24 pdr reproduction cast iron Scottish carronades


38 & 39 Duke Street, St James’s,London SW1Y 6DF

Tel: +44 (0)20 7839 5666Fax: +44 (0)20 7839 5777E-mail: [email protected]

Provenance:From the former Electoral armouries in Dresden, from a series of one hundred carried by the Trabantenleibgarde of christian i, prince Elector of Saxony (r.1586-91).

an HiSToric GErman (SaXon) WHEEL-LocK carbinE, DrESDEn, dated 1589

SpEciaLiSTS in anTiquE armS, armour & rELaTED obJEcTS


T H E S A v i n g O F A 6 i n B L H O W i T z E R C i R C A 1 9 1 7

The Saving of a 6in BL Howitzer circa 1917

By John Slough

The earlier gun of the 1890s needed to be upgraded to increase its rate of fire and trajectory. After much experimenting it was decided that a 6in BL gun could be loaded and fired as quickly and as smoothly as a 6in QF gun. The cordite charges in their innovative silk bags were deemed to save a considerable amount of weight in the magazine compared to the bulky brass of the QF cartridge cases.

These guns were considered to be state of the art by the Royal Navy and went on to see service on armed merchant cruisers well into and beyond the Second World War. In field service these guns were manned by the Royal Garrison Artillery; their successful deployment in the Battle of the Somme as counter battery fire has always been seriously under-rated. Fitting

them with the new 106 fuse enabled the shell to burst above ground on instant contact instead of forming craters. The MK VII was superseded by many 6in guns but its durability and its place in history is assured.

With a maximum range on the field carriage of 13,700 yds with a load of 13lb 5oz of Lyddite the shrapnel shell contained 874 steel balls weighing a total of 27lbs. The muzzle velocity is 2,775 ft per second, the rate of fire 8 rounds per minute, and the barrel length of 22ft 4in. A total of 898 guns of all marks were produced between 1915 and 1918.

The restoration of this 6in Howitzer started in earnest in October 2011. This was not just a matter of the refurbishment of a

complete existing gun but the culmination of several years of us searching for parts far and wide throughout the country with the idea that once the major components had been identified and procured then our goal could be achieved. ‘Us’ being myself and my gunmaker Derek Jenkins who has been restoring guns with me for over twenty years.

A major problem we faced was that after the Great War many of the remaining big guns were scrapped, sold to overseas countries or converted to meet the requirements of our modern army.

The MK 2 carriage we were lucky enough to find was one of the first carriages designed for the 8in Howitzer by Vickers & subcontracted to Beyer & Peacock of

The 6in BL naval gun dates from 1899, as well as a naval gun it was also used for coastal defence. In

1915 these guns were used as heavy field artillery in the First World War.


T H E S A v i n g O F A 6 i n B L H O W i T z E R C i R C A 1 9 1 7T H E S A v i n g O F A 6 i n B L H O W i T z E R C i R C A 1 9 1 7

Manchester. These early carriages were prone to failure in the field because of the weakness of the metal along the slideways. Vickers proceeded to beef up the design in later marks to accommodate the 8in Howitzer. It should be noted that this type of box trail enabled the gun to fire at a greater trajectory and was used on the 4.5 Howitzer in the Great War; it became the basic design for the 25pdr Gun/Howitzer that was used by British and Dominion artillerymen through World War 2 and beyond even to this day.

At the outbreak of the First World War Britain was, not for the first time, short of heavy artillery but we did have an abundance of 6in BL MK VII guns which were used for coastal defence. At first the Ministry of War called upon the expertise of Admiral Percy Scott who, as a captain serving on H.M.S. Terrible during the Boer War removed the 12pdrs and 4.7 guns from his ship and designed and had field carriages built in South Africa to fit

his guns. These guns played their part in winning the victory over the Boers. So it was that his services were once again used to design a stop gap carriage for the 6in MK VII BL gun. It was designated as 6in BL MK VII on the Percy Scott carriage.

The early carriages which failed on the 8in Howitzers were sent to Beyer & Peacock for conversion to 6in Howitzers in 1916. They did this by putting a smaller new slideway inside the existing 8in slideway and fitting a new recuperator thereby reducing the recoil of the original from 47in down to just 20in. However it made the whole gun and carriage roll back by about 6ft when the gun was fired so this was addressed by the building of ramps for the carriage to run up. It clearly worked but could not have done much for accuracy.

It was one of these carriages together with three others which were discovered at Shoeburyness in the 1980s. It was plain

to see that before they ever arrived at Shoeburyness they had been used as artillery in the field with either 6in or 7.2 guns and that they had been converted to have pneumatic tyres before being further altered to static mounts used for proofing guns.

Two of these four carriages were given to English Heritage: they had no barrels and so were scrapped. Two were donated to Royal Armouries, one of which went to a dealer on the south coast but it only consists of the saddle and the front half of the trail; it still exists.

The one remaining passed from Royal Armouries to a private museum in Stratford upon Avon where it remained for a number of years. We were aware of this carriage and its location but left it in abeyance until we could find a barrel.

This I must say was quite a daunting prospect. However at Firepower, the Royal Regiment of Artillery museum, a 6in barrel was discovered during the course of their move from the old Rotunda building and thanks to our long association with the museum we were delighted to receive it.

We were now in a position to buy the carriage from the Stratford museum. We already had most of the breech which came from a disposal at Shoeburyness some years before.

The first thing we did was to remove all the components that had been added to the original carriage including the

hubs for the pneumatic tyres and the static adaption metalwork ,leaving the trail, saddle, axle and recuperator to be dismantled, repaired, sandblasted then treated against the onset of rust inside and out before repainting in WW1 green.We acquired a pair of original wheels that had been converted for farm use from an auction in Bury St Edmunds and using original drawings from the Firepower archive we were able to restore them to fit the carriage. We converted back from the pneumatic tyres the brake system and put back the original brass hand wheels from Shoeburyness. Then came the serious task of bending and hot riveting the angle supports which run the whole length of the underside of the trail using the traditional hot rivets in the time honoured fashion.

Then came the recuperator which needed to be re-machined together with the slideways, it had been distorted over years of wear as a proofing mount. This part of the job was quite an undertaking as it weighs about 4 tons and had to be put up on a milling machine and allowed to travel 6ft in each direction. This would have been no problem to Beyer & Peacock as they made steam locomotives on a huge scale.

The quadrant was our next task: with this there should be the angular piece which transforms the power from the turning of the elevation wheel to the elevating and depressing of the gun in its cradle. This was missing from the carriage, so with no chance of finding an original, we decided to make one, again with the help of drawings from the Firepower archive. We made a wooden pattern and had it cast for us at Shentons Foundry in Tipton in the Black Country; this company has been a great help to us over the years, they have a good sense of history and understand our aims in preserving and saving heavy artillery for the future.

We then set about restoring the barrel from the Rotunda. It was minus its breech ring so we made this by machining the outer ring in three pieces then bolting and welding it together to form a piece of steel with an outside diameter of 24in and a thickness of 18in. The front two rings encompassed the outside of the chamber, then bored internally to fit the o.d. of the inner ring that was machined to fit the interrupted thread of the original breech block.


The carrier support, that is to say the female half of the hinge that carries the breech block was then added to the outside of the ring. The making of the inner ring with the interrupted thread was carried out by David McLaughlin of Ross-shire he has a C.N.C. Machine big enough to cope with this job and the experience necessary for making interrupted threads. He was able to use our breech block as a male pattern to calculate the correct thread to make the female thread in the ring. With this in place we were able to assemble the entire original breech mechanism along with an original firing pistol and block. This mechanism works by inserting a firing charge contained in what appears to be a centre fire rifle blank cartridge: when struck by the firing pin the charge is sent through the obturator then into the bag charge.

At this stage we began the assembly of the complete gun, leaving only the peripheries which include the sights and tools to add to the gun when assembled.The sights were made up from drawings and period photographs: the No.7 dial sight is original as is the telescope sight, the mounts were made to suit. The photographs of the original also showed a No.1 dial sight which is very rare so we made a copy using the one at Firepower as a pattern. With the exception of the original No.7 dial sight case all the leather boxes on the carriage are newly made by our cordwainer Mike East.

With a 1 inch aiming rife complete in its box strapped to the rear of the trail with the hand spikes and loading tray, the gun is now complete.

Proofing of the gun was undertaken outside our factory at Peterchurch in Herefordshire by Jeff Darbon from the London Proof House using a two pound black powder blank bag charge compressed with 4lb of sand. We alerted our neighbours to the event so we were joined by quite a few people keen to witness the event of firing the first 6in gun from the First World War for nearly 100 years.

The finished gun in all its glory has made its final journey to a film maker in New Zealand.Everyone involved in this unique restoration is pleased and proud to have “saved the gun”.

T H E S A v i n g O F A 6 i n B L H O W i T z E R C i R C A 1 9 1 7T H E S A v i n g O F A 6 i n B L H O W i T z E R C i R C A 1 9 1 7


Master GunmakerRestorer of Artillery

Antique Arms

A 13pdr Q. F. field gun – P.O.A.

PO Box 355 • Hereford • HR2 9YETel: 07775 643762

E-mail: [email protected] www.johnsloughoflondon.co.uk

John Slough Artillery Ad A4 20101 1 11/4/10 22:52:45

requires

ANTIQUE FIREARMS

DRAGOON • POCKET • NAVY • ARMY • POLICE • DERRINGERSEMI-AUTOS • 1873 SINGLE ACTIONS • 1877/8 DOUBLE ACTIONS

Plus ALL COLT Accessories, Cases, Moulds, Flasks, Holster,Books and Associated Material

Beautiful Nimschke-style engraved Smith & Wesson Second Model American single action revolver serial number 17837 with eight inch barrel and two-piece ivory grips

manufactured circa 1873

BUY • SELL • TRADEALSO DEALING IN REMINGTON l S&W l WINCHESTER

P.O. Box 1199, Guildford, GU1 9JRTelephone: 01483 277788 Fax: 01483 277784 Mobile: 07778 008008

email: [email protected]: www.peteholder.co.uk


FISCHER

www.fischerauktionen.chGalerie Fischer Auktionen AGHaldenstrasse 19CH - 6006 Lucernetel. +41 (0)41 418 10 10fax +41 (0)41 418 10 80e-mail: [email protected]

Auctions of Antique Arms and Armours

Next auction sale: 11 to 12 September 2014We are pleased to accept your consigments.

A magnificent imperial Austrian wheel-lock rifle, ca. 1650. Stock carved from the so-called Master of the animal headed scrolls. Butt with the monogram E inlaid in silver, the empress Eleonora was the third wife of emperor Ferdinand III. of Austria. Sold in September 2013 for CHF 96.000 | GBP 65.000 (incl. buyer's premium).

LondonArmsFairGuide_autumn2013.indd 1 16.09.2013 21:38:43


Antique Arms, Armour, Sporting Guns & MilitariaThe oldest and most prestigious antique arms fair in the country

OpeninG TiMeS

Friday 9.00am – 6.00pm

Saturday 9.00am – 2.00pm

TickeT infOrMATiOn

Friday £15 Allows access both days

Saturday £7

Children under 14 – free with an adult. Admission on door

SPRING201425 & 26 April

ORGANISed by ARmS FAIRS LTd dIReCTORS John Slough & Adam Slough07780 663 819 www.antiquearmsfairsltd.co.uk

Hotel Ibis London earls Court, 47 Lillie Road, London SW6 1Ud

The 92nd London Antique Arms Fair

A FINe CASed PAIR OF 44-bORe FLINTLOCk dUeLLING PISTOLS by JOHN mANTON & SON, dOveR STReeT, LONdON, NO. 6395 FOR 1815. SOLd by bONHAmS kNIGHTSbRIdGe ON 18 APRIL 2012 FOR £38,450.

AF Ad A4 Spring 2014.indd 1 11/9/13 07:14:49

Don’t want to carry valuables?

We offer a secure delivery servicefully insured

door to door within the UKfor items purchased at the Arms Fair.

Speak to our staff on the admissions deskor ring 07780 663 819.

The London AnTique Arms FAir Guide22 The London AnTique Arms FAir Guide 23email: [email protected] website: http://www.wallisandwallis.org

Britain’s Specialist Auctioneers ofArms, Armour, Medals & Militaria

OCTOBER 15 & 16AuTuMn COnnOISSEuR COLLECTORS’

AuCTIOn & SALE 557Connoisseur Collectors’ colour illustrated catalogue £16, R of W £17

Regular Sale catalogue £9.50, Europe £10, R of W £10.50(All prices include postage)

‘Get to know the real value of your collection’ – our last ten sale cataloguesare available, complete with prices realised, price £30 incl. postage.

All our auctions are ‘live’online with No charge for payment with debit card

&THE BISLEY ANTIQUE

CLASSIC ARMS FAIRwww.bisleyarmsfair.co.uk

THE BISLEY PAVILIONSUNdAY 27TH OCTOBER 2013

SUNdAY 30TH MARCH 2014

A SPECIAL DAY FOR COLLECTORS AND SHOOTERS.ALL THE LEADING DEALERS.

DEALERS AND COLLECTORS’ PREVIEW 8.00am, £6.00PUBLIC ADMISSION 10am, £3.00

ENQUIRIES: PHONE 020 8452 3308 or 020 8200 6384

i n D E x O F A D v E R T i S E R S

Index of advertisersname Page no

Antique & Classic Arms Fairs 23

Arms Fairs Ltd 20 - 21

Artillery Hire 6

Battle Proms 33

Bonhams 3

Bristol Fine Antique Arms Fair 35

Combat Stress 19

Finer, Peter 8-9

Fischer Auctioneers 18

martin giles Antiques 34

name Page no

gwilliam, E.A.F 51

Henry Krank 10

Hermann Historica 2

Hertsmere Fine Antique Arms Fair 35

John Slough of London 4 & 16

magazin Royal 34

magnificent Colts 39

Pete Holder Antique American Firearms 17

Thomas Del mar Ltd 52

Wallis & Wallis 22

A cased double barrelled percussion sporting gun by Manton, together with a percussion pistol/walking stick gun by Edward London, reserved for the Autumn Connoisseur Collectors’ Auction

A cased pair of cavalry officer’s pistols by Joseph Manton, reserved for the Autumn Connoisseur Collectors’ Auction


i n D E x O F E x H i B i T O R Si n D E x O F E x H i B i T O R S

Index of exhibitorsName Address and contact numbers Table No(s)

A.A.S.N. Ltd. (Andrew Kiselev) Office 3 17 Holywell Hill, St Albans, AL1 1DT, Tel. 07989 236341

[email protected] 29

Akaal Arms Ltd (Runjeet Singh) Warwickshire, UK Mob. 07866 424803

www.akaalarms.com [email protected] 18 - 19

Antique & Classic Arms Fairs (Cliff Fuller) Mob. 07850 373197 Tel. 0208 200 6384

www.bisleyarmsfair.co.uk [email protected] 49

Antique Sword Trader (Geoff Sherwin) Hamley House, Appleton Le Moors, York YO62 6TF 01751 417487 07795 344795

www.antiqueswordtrader.co.uk [email protected] 48

Appleby, Michael Wimbledon, London SW20 Tel. 020 8946 2495 61 - 62

Arbour Antiques & Arian Trading 1 The Monkery, Church Rd, Great Milton, OX44 7PB

(George Yannaghas) Tel. 01844 278139 Mob. 07768 604202

www.arbourantiques.co.uk www.ariantrading.com

[email protected] 72 - 74

Arms and Armour Research Group www.hud.ac.uk/armsandarmour

(Paul Wilcock) University of Huddersfield/Royal Armouries [email protected] 50

Arms & Armour Society (A. Dove) PO Box 10232, London SW19 2ZD 101

Ashoka Arts Tel. 07870 105285 www.ashokaarts.com [email protected] 30

Asian Arms (Tony Paul) Mob. 07973 822 996 www.asianarms.com [email protected] 70 - 71

Battle Proms Concerts (Adam Slough) Tel. 01432 355 416 www.battleproms.com [email protected] 88

Beadle, Alan 85 - 86

Bonhams 1793 Ltd Antique Arms and Armour Department, Montpelier St, London SW7 1HH

Tel. +44 (0)207 393 3807 Fax. +44 (0)207 393 3932 Mob. 07768 823711

www.bonhams.com [email protected] 102

Bottomley, A. S. Holmfirth, Yorks Mob. 07770 398 270 Tel. 01484 685234

[email protected] www.andrewbottomley.com 105 - 107

British Cavalry Sword, The (Richard Dellar) 50 King Edward Rd, Bath BA2 3PB07913 652 228

www.thebritishcavalrysword.com [email protected] 103

Bryan, N.S. Mob. 07860 225 535 [email protected] 111

Cartlidge, Michael Tel. 07810 766755 [email protected] 69

Cook, A. S. 132 Rydens Rd, Walton-on-Thames, Surrey, KT12 3DU,

Tel. 01932 228328 Fax. 01932 243126

www.antiquearms.co.uk [email protected] 82 - 83

Craddock, Richard Tel. 07747 117472 [email protected] 43

Davinder Toor Ltd (Davinder Toor) 95, High St, Langley, Slough SL3 8NG

Tel. 07939 200 087 [email protected] 27-28

Dyson, P & Son Ltd 3 Cuckoo Lane, Honley, Holmfirth, W Yorks, HD9 6AS Tel. 01484 661062

Fax. 01484 663709 www.peterdyson.co.uk [email protected] 14

English Arms & Armour Mellanoweth House, Back Lane, Angarrack, Hayle, Cornwall TR27 5JE

(Terry English) Tel. 01736 753444 31

Flintlocks at War (Richard Smith) Taunton Antiques Market, Silver St, Taunton, TA1 3DH

Mob. 07969 599 076

www.flintlocksatwar.com [email protected] 34 - 35

Garth Vincent Antique Arms & Armour The Old Manor House, Allington, Nr Grantham, Lincs NG32 2DH

(Dom Vincent) Mob. 07809 710599 Tel. 01400 281358 Fax. 01400 282658

www.garthvincent.com [email protected] 97 - 98

Gwilliam, E. A. F. Candletree House, Cricklade, nr Swindon SN6 6AX

Tel. 01793 750241 Fax. 01793 750359 Mob. 07836 613632 [email protected]

[email protected] www.edredgwilliam.com 7 - 9

H.B.S.A. (David Frohnweiser) BCM HBSA, London, WC1N 3XX

Tel. 07703 218 639 Mob. 07919 574423

www.hbsa-uk.org [email protected] 54

Hatford Antiques (P. Smith) Hatford Cottage, Faringdon, Oxon SN7 8JF Tel. 01367 710241

[email protected] 109

Hobson, G. J. Daccombe Mill, Coffinswell, Devon TQ12 4SY

Tel. 01803 873121 [email protected] Mob. 07812 133 149 32

Huw Williams Antiques The Antique Shop, Madoc St, Porthmadog, Gwynedd LL49 9NL

Tel. 01766 514741 Fax. 01766 514741 Mob. 07785 747561

[email protected] www.antiquegunswales.co.uk 37

Iosson, Andrew 211 Ringinglow Road, Bents Green, Sheffield S11 7PT

Tel. 0114 2366360 Mob. 07979 648663

www.finesportingcollectablesltd.co.uk [email protected] 36

JC Militaria Ltd (John Carlin) 1 South Parade, Bramhall, Cheshire SK7 3BH Tel: 0161 476 0436

Mob: 07786 707 191www.jcmilitaria.com [email protected] 64 - 65

John Slough Auctions (John Slough) Items for sale at Saturday auction on view Tel. 07775 643 762 44

John Slough of London PO Box 355, Hereford HR2 9YE Tel. 07775 643762

www.johnsloughoflondon.co.uk [email protected] 1 - 6

John Wilson Antiques Mob. 07941 477043 [email protected] 94 - 95

Jonathan Barrett Limited The Old Vicarage, Church Lane, Lewes BN7 2JA

Tel. 01273 486501 Mob. 07717 743 061 Fax. 01273 486501

www.jonathanbarrett.com [email protected] 25 - 26

Ken Trotman Ltd. PO Box 505, Huntingdon, PE29 2XW Tel. 01480 454292 Fax. 01480 384651

(Richard Brown) www.kentrotman.com [email protected] 99 - 100

M. L. A. G. B. (Ken Hocking) PO Box 340, Sevenoaks, Kent Tel. 01732 463214 51

Magazin Royal 65 Steenstraat, B1800, Vilvoorde, Belgium Tel. 0032 475492450

(Gilbert Putterie) Fax. 0032 22677537 [email protected] www.magazinroyal.be 90 - 91

Manuela Gil Antiguidades (Jose Silva) Rua Marquesa de Alorna 38c, 1700-304 Lisbon, Portugal Tel:(351) 218-464-313

Mob: (351) 964-055-915 www.manuelagil.pt [email protected] 87

Martin Giles Antiques Barnet, Herts Tel. 020 8441 3380 Mob. 07860 782 286 Fax. 020 8441 3432

www.mgantiques.co.uk [email protected] 75 - 76

Michael D. Long Ltd. 86 Ireton Rd, Leicester LE4 9ET Tel. +44 (0) 845 260 1910 Mob. +44 (0)7970 161701

(Bob Hedger) Fax. +44 (0)871 250 1910 www.michaeldlong.com [email protected] 41 - 42


Nobre, Eduardo Apartado 4217, 1503-001, Portugal [email protected] 88

Oriental Arms PO Box 55293, Haifa, Israel 34580 Tel. 00972 50 7587101 Fax. 00972 50 8251380

(Artzi Yarom) www.oriental-arms.com [email protected] 55

Parr, Ralph Sidegarth, Aughton, Lancaster LA2 6PG Tel. 01524 811808 Fax. 01524 811445 10 - 11

Pete Holder Antique American Firearms PO Box 1199, Guildford, GU1 9JR Tel. 01483 277788

Fax. 01483 277784 Mob. 07778 008 008

www.peteholder.com [email protected] 45 - 47

Petty, David 2 The Grange, Green Lane, Burnham, Bucks SL1 8EN Tel. 01628 605519 77 - 78

ROA Antique Arms (Sue Davies) P O Box 1904, London WC1N 3XX

Tel: 01223 968 684 Mob: 0033 684 182 054

www.roaantiquearms.co.uk [email protected] 23

Rod Akeroyd & Son (Rod/Jason) 20 Ribblesdale Place, Preston, PR1 3NA 01772 203845 Fax:01772 203855 07765

251532/07836 599464 www.firearmscollector.com [email protected] 16 - 17

Seidler, Christopher F. (Chris Seidler) PO Box 59979, London SW16 9AZ 0845 644 3674

www.antique-militaria.co.uk [email protected] 53

Spoils of War (David Hughes) Hop Hill Cottage, Aubourn, Lincoln, LN5 9DZ Tel. 01522 788807

Mob. 07784 002826 www.spoils-of-war.co.uk [email protected] 93

Stand of Arms (Chris Berry) Southgate, London N14 Tel. 0208 886 4730 Fax. 0208 482 2204

Mob. 07790 806364 www.standofarms.co.uk [email protected] 38 - 40

Thomas Del Mar Ltd 25 Blythe Rd, London W14 0PD Tel. 020 7602 4805

[email protected] www.thomasdelmar.com 110

Wallis & Wallis (Roy Butler) West St Auction Galleries, 7-9 West St, Lewes, BN7 2NJ 01273 480208

Fax:01273 476562 www.wallisandwallis.org [email protected] 20 - 22

West Street Antiques (Jon Spooner) 63 West St., Dorking, Surrey RH4 1BS Tel. 01306 883487 Fax. 01306 883487

Mob. 07855 519934 www.antiquearmsandarmour.com [email protected] 67 - 68

Wilson, Pete 56 – 60

Yorke, P. ‘Quills’, Bagshot Road, Chobham, Surrey GU24 8DE Tel. 01276 857576 80 - 81

i n D E x O F E x H i B i T O R Si n D E x O F E x H i B i T O R S

loading bay

fire exit

fire exit

fire exit

25 26 27 28 29 30

41

4 3

2324

2022

2115

1716

1819

8079

7877

76

8485

4546

47

75

47a48

8381 82

21

4344

42

reception

14

39 4038

3435

3637

3132

33

5

5655

5453

7071

7273

74

51 50

69585791

9089

8892

9596

9794

87

93

102101

10099

103

111

104

106107

108105

109110

913 7812 1011

9860

6162

6359

6766

6564

68

86

44a

40a

Table plan for the fair


T H E D u E LT H E D u E L

formed a guard for the hand. The rapier was gradually modified and by the 18th century was a lighter, shorter bladed weapon known as the small sword; decorative but still a potentially lethal weapon. The sword could be used on its own or in combination with a dagger, lamp or shield held in the left hand.

With the demise of the wearing of a sword and the growing availability of reliable firearms the pistol began to replace the blade as a chosen weapon for the duel. At first it seems that any two similar weapons would suffice but because of the social standing of the participants these were likely to be better quality or officer’s pistols. In any situation that necessitated the use of a pistol reliability was obviously of prime importance and in a duel, even more so. The essential features of shooting in a duel were a firm grip of the pistol, a rapid assumption of a good aiming position and a guarantied discharge of the shot on pressing the trigger. Ever conscious of a growing demand gunmakers began developing a pistol specially designed for the duel and, aware of the need for matched weapons were soon manufacturing pairs of virtually

identical pistols. Since each was the result of the combined efforts of several craftsmen pairs of pistols usually differ very slightly in detail if not in pattern. The next step was to supply these pairs of pistols complete with all necessary accessories and by the late 18th century there was an increasing market for cased duelling pistols. There seems to have developed a growth in the status value of these cased sets and many gentlemen apparently felt the need to own one. The owners often had an escutcheon on the case engraved with their coat-of-arms. Today cased pairs of duellers are highly prized by collectors as well as being highly priced.

In Britain in the late 18th and early 19th centuries there was no specific law forbidding duelling but if it was known that a duel was planned the law attempted to stop it in order to prevent a breach of the peace. Once a challenge had been issued every effort was made to prevent news of the forthcoming fight from becoming common knowledge. The chosen site was usually well away from the public eye. When swords were used it was important to select a level piece of ground since fencing involved much footwork and there should be no chance of a stumble. The selected time was usually early morning before most people were about although at least one well recorded duel in 1782 took place in the evening.

Essential to the whole procedure were the seconds, chosen friends of the duellists, who had to be of an appropriate social standing and were responsible for delivering the challenge, fixing the time and place and the routine to be followed. It was not a task to be undertaken without thought for, legally, the seconds were deemed to be as responsible as the fighters if any death occurred. There are several well recorded cases when the second and the principal were both charged with murder but in very few cases was a capital verdict returned. The seconds were responsible for the weapons and one of their tasks was to supervise their loading. In the mid 18th century the typical good quality pistol would have probably been fitted with a tubular barrel, mounted on a walnut stock with either brass or steel mounts, and the lock signed with the maker’s name.

The most important feature of all flintlock pistols was obviously the lock and

naturally the gunmakers concentrated their efforts on improving its reliability. Despite its basic simplicity the sequence of events was complex involving a number of actions, each of which occupied a small finite period of time but, added together, amounted to a slight delay between the pressing of the trigger and the shot firing. In a duel this might create just that difference between a lethal shot and a miss. The aim of the lock-maker was to reduce friction between moving surfaces and so shorten the time taken to complete the action.

It was difficult to improve the basic internal mechanical system apart from ensuring that bearing surfaces were as smooth as possible. Pressing the trigger set the whole sequence in motion and the cock, holding the flint between its jaws, swung forward, striking sparks of glowing steel from the L-shaped frizzen. In order that the glowing sparks fell into the priming pan the frizzen needed to tilt forward lifting the pan cover and exposing the powder and here it was possible to speed up matters. The toe of the frizzen pressed down on the spring and by inserting a small wheel or roller at the point of contact friction was reduced.

The flame from the burning priming powder passed through the touch hole to initiate the main charge but burning powder left a deposit. If not removed this could reduce or even block the touch hole potentially leading to a misfire as the flame failed to ignite the main charge. On many duellers the barrel was drilled and a plug of gold or, from early in the 19th century, platinum was inserted and the touch hole was drilled through it. Both gold and platinum are noble metals which resist corrosion so ensuring a clear passage. Another development was the damp-proof pan, its shape so designed as to reduce the chance of moisture seeping into the priming powder.

On some pistols there is an internal safety device known as a detent; this is a wedge- shaped block which drops into position when the pistol is held with the barrel pointing upwards. When in place the detent prevents the trigger activating the mechanism rendering the pistol safe but when lowered the detent disengages and the weapon is ready to fire. It is a matter of conjecture as whether the detent ever jammed?

During the 18th and the first half of the 19th centuries a man’s life expectancy seldom exceeded

about forty years. Apart from the normal hazards of health and accident any gentlemen with a claim

to social status faced an extra danger; that of being called out or challenged to a duel. Honour or

respect was a quality often valued above life itself by ‘gentlemen of quality’. Any personal insult or

sign of disrespect inevitably generated a demand for satisfaction, a challenge. Failure to accept and

fight ensured that the challenged faced a life as a social outcast, shunned by all with any pretension to

gentility; accepting it meant putting his life at risk. It was essentially, but not exclusively a male problem

and a few duels between women are recorded.

The Duel

By F Wilkinson

The reason for the challenge could be anything from an intentional insult, a casual comment, a light-hearted remark or a quizzical look. At least one Irish duel in 1792 was fought because one man used a coach that had been booked by another. Over the centuries prescribed rituals for the management of these deadly affairs developed and generally were followed by those involved. One feature of the various prescribed systems or codes of honour was a basic concept that, as far as possible, neither combatant had any physical advantage; each must have an equal chance of surviving.

The WeaponsUntil the middle of the 18th century duels were normally fought with swords and for most young gentlemen part of his education was learning to fence. There were a number of schools of fence in London and various styles of sword play were developed and supported with published manuals1. When swords were used the blades were supposed to be of the same length but there was no allowance given to the fencing skills of the duellists and a vicious few dedicated duellers delighted in picking a fight with less adept swordsmen. Before the duel began instructions were made clear to both duellists as to when and how the duel might end and unless an apology was offered the duel had to proceed.

From the 16th century until the 1780s most gentlemen carried a sword as part of their costume. During the 16th century the most common sword was the rapier

which usually had a long stiff blade with any one of a variety of hilts, composed of a series of bars, shells or cups which

Typical rapier of Northern European dating from the second quarter of the 17th century. It has a shallow disc guard with straight quillons terminating in ovoid finials. The grip is wire bound with a fluted ovoid pommel. The flattened diamond- section blade is just under 44 inched long.

An English cup hilt rapier of mid 17th century with shallow, pierced cup, recurved quillons, knuckle bow and a globose pommel. The diamond section blade is just less than 37 inches long.

A pair of percussion duelling pistols by John Manton & Son (No. 9129) dating from 1822. The 40 bore barrels are rifled, a most unusual feature suggesting they may have been intended primarily for target shooting rather than duelling. They are very early example of percussion pistols, a new feature, but conservative in style...The barrels are octagonal and sighted and have platinum plugs. The signed locks have set triggers with safety bolts. The box retains many accessories including a three- way powder flask.


T H E D u E LT H E D u E L

the grip, they made changes to the shape of the butt. It was straightened and thickened and the pommel splayed so that the whole hand was engaged with the butt, again strengthening the grip... On some later pistols an earlier feature was reintroduced and the broad flat base of the butt was fitted with a pommel plate. To improve the grip by giving it a little extra support, the top of the butt was extended back in a spur shape which sat on the web between first finger and thumb. This style of butt commonly has the main part chequered.

There was yet one more optional extra fitting introduced to improve the grip; a small curved projection set at the rear of the trigger guard and positioned so that the first finger of the shooting hand could curve round it. These extra features first appear on London-made pistols and were taken up later by the provincial makers.

Barrel design changed and the old tubular barrel was replaced by a thicker octagonal one. Many barrels had sights fitted on the top flat but there were some who argued that they were a distraction and if of silver might even flash in the sunlight so confusing the shooter. It was important that the barrel sat securely in the wooden stock and the earlier pistols use the lug and pin system. The bottom of the barrel had one or two down pointing small lugs which fitted into appropriate recesses cut into the stock and a pin was passed through stock and lug. In the 19th century a different system was more common and the breech end of the barrel had a small, sturdy hook-like projection. The stock

had a plate set into the face of the breech end section with a recess into which the hook fitted. In place of the pin which had secured the lug the newer models had a slim plate which served the same purpose but was easier to remove when releasing the barrel. Most early duellers are full stocked with the wood extending, almost to the muzzle but there was a growing fashion, particularly in the early 19th century’ to have only half stocks.

Another feature over which the customer might well have had some input was the diameter of the ball to be fired. This size was defined by the bore –the internal diameter of the barrel. In general pistol bores varied between ten and forty which represents a variation of, very roughly, half to three quarters of an inch. The size of the ball would affect the ballistics of the shot although at the range at which most duels were fought this difference would probably be only marginal. The larger ball would be less likely to penetrate deeply but might well inflict a larger wound and carry in more debris such as shreds of clothing and dirt so increasing the chances of infection. The size of the ball would also decide the amount of gunpowder for each shot but again the effect of differing powder charges would probably be small. One job for the seconds was to supervise loading the pistols prior to the duel but most of the Codes of Honour have no mention of size or quality of powder to be used.

There was some discussion amongst the shooting fraternity of the period about how the barrels should be bored, Most

favoured a simple central bore drilling but others argued that the bore should be slightly angled and some measurements taken on pistols made by Rigby and Wogdon suggest that some pistols were so bored; once again what benefit, if any, was gained is unknown. 3

From the later part of the 18th century there was a growing fashion for makers to supply pistols in wooden boxes. The advent of duelling pistols led to the production of quality oak or mahogany cases. The inside of the lid was often covered with a trade card or label listing the maker’s skills and products. The main body was usually lined with green baize and the space divided by wooden fences creating appropriate spaces to hold sundry accessories. The number and type of accessory varied but most carried a powder flask, a bullet mould and some cleaning rods. Some flasks were designed to hold, in addition to the powder, a few balls, (a two-way flask), whilst others had receptacles holding balls and a spare flint – (three-way).

As with most fashions a certain hierarchy of makers of duelling pistols developed with one or two being regard by the ‘quality’ as the best. London makers naturally lead the field and most developments first appear on London made pistols but the provincial makers soon followed on. Soon a group became the top recommend suppliers with two or three seen as the very best; Manton, Mortimer, and, above all, Wogdon. Certainly their products are of top quality but some of the provincial makers could match them but whether

There was a further improvement to some locks and that was the hair or set trigger. This internal system could be adjusted to regulate the amount of pressure on the trigger needed to activate the action. It was set by a small screw positioned by the trigger or by a second wire-like trigger. The setting of the trigger was important as too light a touch might well lead to a premature shot. It is debateable as to whether the possibility of accidental discharge outweighed the slight gain in efficiency.

A well-made lock incorporating these improvements represents probably the peak of perfection for the flintlock and with the use of good quality flints probably guaranteed a shot. The proud owner of a set of flintlock duelling pistols by a top maker probably counted himself set for life but in the 1820s the situation changed with the advent of the percussion cap. The new system offered a better performance than the flintlock and most dedicated shooters were then faced with a difficult choice. Continue with the old-fashioned system or change to percussion with a heavy price to pay for new pistols?

Fortunately the gunmakers came up with a cheaper system to convert the original pistol from flint to percussion. The lock was detached and the pan, frizzen and cock removed and the plate was smoothed, some minor alterations made and any holes filled. In place of the cock

there was a solid hammer with a recessed nose; internally the lock was unchanged. The barrel had the plug section with the touch hole drilled out and a drum and nipple was fitted into the space. The plug had the nipple set vertically and so positioned as to be struck by the nose of the hammer. A copper percussion cap was placed on the nipple and was struck by the falling hammer and detonated the chemical compound in the cap. The flash passed directly to the breech through nipple and drums and so fired the shot. This system was much cheaper than having a new barrel made with an integral nipple.

From the 1820s fewer flintlock pistols were made but by no means all shooters were won over to the percussion cap and flintlock pistols dating from the 1840s and later are not uncommon.

Converted duelling pistols are far less desirable for the collector and they fetch lower prices, a fact that encourages some enthusiasts to re-convert percussion back to flint. Some conversions are so good that it is very difficult to detect the changes. Close examination of the lock plate, front and back may expose traces of the changes but this involves removing locks and not all dealers are so obliging.

Walnut was the most popular wood for the stock as it was readily available, durable and grown in a range of differing colours. The early style duelling pistols conformed to a basic pattern but were, in general, plain lacking decoration. The butt was gently curved and either plain or perhaps with a little chequering to provide a less smooth surface to encourage a firm grasp. A common variant style was the slab-sided butt with plain flat panels. The stock was usually plain but some pistols were embellished with inlaid wire and some of the fittings, trigger guard, ramrod pipes and very occasionally a butt cap were of silver although brass or steel were more usual.

Duelling pistols were expensive and no doubt the customer probably had some input as to details of the pistol. Since the size of individual’s hands varied the butt shape may well have been tailored to sit more comfortably in his grip. The degree of curve to the butt may therefore have been adjusted slightly by top quality makers and the careful examination of different duelling pistols seems to confirm this2.

The majority of early pistol butts have this simple shape but gunmakers were innovators and, with the idea of improving

Cased pair of percussion duellers by F. Barnes & 0Co. of London, circa 1840. The mahogany case is particularly well fitted with accessories including a wad cutter punch, sundry turnscrews, rods and a fluted powder flask. The pistols are half stocked with a kind of transitional butts, retaining the earlier curve but thickened and with a splayed base with pommel cap... The furniture is of blued steel. The locks have sliding bolt safety catches, detents, some engraved decoration and the triggers are sat. The 40 bore octagonal barrels are fitted with sights and secured to the stock by a sliding bar.

Originally made by the doyen of makers Robert Wogdon these pistols have been converted to percussion after about 1820. The half stocks are of typical form with flat-sided chequering. The furniture is of silver, hall marked for 1779; the 28 bore barrels are signed in gold and have silver foresights... The mahogany case has an inset carrying handle and contains a leather powder flask.

Pistol by Galton of Birmingham with octagonal 20 bore barrel. It dates from about 1810 and exhibits most features found on the earlier examples.


Burghley house - 5 July • Blenheim Palace - 12 July • hatfield house - 19 July highclere castle - 2 august • althorP Park - 9 august • ragley hall - 16 august

www.BattleProms.com tel: 01432 355416

RegisteRed ChaRity NumbeR: 206002

a celeBration of classical music with...fireworks

sPitfire

cannons

cavalry

B at t l eP r o m sPicnic concerts

Jsl Productions Presents

follow us on:

Aerobatic Teamwith charity flight Bookings

PLUS!

BP 2014 Ad A4 all venue.indd 1 11/9/13 07:13:14

T H E D u E L

there was any great difference in shooting qualities is debateable. For the collector pistol bearing any of these names rate top prices but there are others who produced fine pieces; Rigby, Parker, Brunn, Jover and Nock. The changes of detail are useful pointers in dating examples but fortunately some work books of the makers have survived and specific dates and details of the original purchasers can still be found.

Before the duel could take place it was the duty of the seconds to see if an apology would be made and accepted and once this formality had been observed the deadly sequence began. If the code was followed strictly the seconds loaded the pistols just prior to the duel and normal loading procedure was followed although there are hints that there were some dubious variations. Once the pistol was loaded it was handed to the duellist and some codes specified exactly how this was to be done4.

The next step was to set the distance at which shots would be exchanged, again

agreed by the seconds, this was paced out, usually about ten or twelve steps. The duellists now turned to face each other and adopted the shooting position which was normally with the right side of the body facing the opponent. The signal to fire might be verbal or visual such as the dropping of a handkerchief and then shots were exchanged, normally at once although there are recorded examples of one shooter holding position and taking a steady aim. In some rare instance one combatant might fire his shot in the air as a sign that the matter was resolved and honour satisfied.

Generally any wound signalled the end of the affair but if neither shooter scored a hit it was up to all to agree whether honour was satisfied or another shot should be fired. Two shots were usually considered sufficient but at least one duel in 1796 is recorded when six shots were fired. In the event of a wound a surgeon was at hand since the seconds were bound by their duties to ensure at least one was in attendance. In the event of a death the victorious duellist made a

hasty departure because the law made no exception and this was murder and both shooter and seconds were considered to be liable for trial. Some duellist fled to Europe but some were tried and found guilty but a death penalty was rare and a manslaughter verdict was returned with a fine and a short prison sentence.

By the beginning of the 19th century British public support for the duel was waning and although opposition increased there was still no specific law prohibiting them. The advent of Queen Victoria may have strengthened the opposition but a big step leading to the virtual end of duelling came in 1844 when army officers were forbidden by regulations from taking part. It was more of a threat than a veto for if they were involved then there were penalties such as no pension for the widow in the event of a fatality. It was not the complete end and one or two duels took place but virtually it was over. For the keen shooter target practice took over and the duelling pistol became a target one, often with rifled barrels.

The author and the organisers of the London Arms Fair are indebted to Thomas Del mar for permission to use his photographs which remain in his copyright.

BibliographyThe best references for details of the makers see:Blackmore H.L. A Dictionary of London Gunmakers 1350-1840 London and Brown Nigel British Gunmakers Vols 1 and 2 Anon British Code of Duelling 1823The art of Duelling 1836Atkinson, J Duelling Pistols London 1964Baldick, R The Duel London 1965Douglas, W Duelling Days in the Army 1887Hamiliton, J Duelling Handbook London 1829Hopton, R Pistols at Dawn London 2007Landale, J Duels 2005Neal, W.K & Back, D The Mantons Gunmakers and The Manton Supplement 1967 and 1978British Gunmakers Their Trade Cards Cases and Equipment 1980Wilkinson, F Death or Dishonour Cambridge 2012A History of Handguns 2011 Wilson , J Code of Honour 1858

(Endnotes)1 See Aylward. J The English Master of Arms London 1956

2 Some interesting work on this topic is being carried out by De Witt Bailey and John O’Sullivan see Death or Dishonour

3 See Death or Dishonour

4 See Death or Dishonour

Typical fully developed duelling pistol of about 1840 with latest type butt, spurred trigger guard, 40 bore octagonal barrel with sights, signed lock and safety bolt catch and made by Lyell of London.

Good quality flintlock pistol of 1760-1770 of the type which might well have been used in an early pistol duel. The e 18 bore barrel is of brass as are the mounts. It has a full stock with spurred butt cap with grotesque mask. It was named by William T Wilson who worked in the area near the Tower of London known as the Minories, the name engraved on the barrel.


Magazin RoyalBELgium

By appointment only

Arms Anciennesde Qualitî

Tel: 32 (0)2 267 72 0732 (0) 477 206 204

European & OrientalArms & Armourmobile: 32 (0)475 492 450

Fax: 32 (0)2 267 7537

Jim Moray

tickets : www.folkbytheoak.co.uk/jimmoray

10th Anniversary Edition of Sweet Englandwith sleeve notes, bonus tracks, remixes anda limited edition 3D lenticular sleeve available

from jimmoray.bandcamp.com

The 10th Anniversary PartyPerforming his groundbreaking debut album

Sweet England in full with The Doret Ensemble plus a second set with very special guests

The Union Chapel, London N1Nov 9th 2013

presents

The BristolFine Antique Arms Fair

Sunday 2nd March, 2014Holiday Inn Bristol-Filton BS16 1QX

Tel: 07771 742191 or 07860 782286 www.tricornfairs.co.uk Email: [email protected]

Tricorn Fairs is a trading partnership of Chris Berry, Martin Giles & David Collier

The very best examples of fineAntique Arms and Armour from the

country’s leading and mostinfluential dealers, set in spacious

and comfortable surroundings. Open: 10am - 3pm £8Trade Entry: 9am £15

Image courtesy of David Collier

Tricorn Fairs Presents:

Future Date: 7th September 2014

The Holiday Inn London-ElstreeWD6 5PU

Sunday 1st June 2014

The very best examples of fine Antique Arms andArmour from the Country’s leading and most

influential Dealers, set in spacious andcomfortable surroundings.

TheHERTSMERE

Fine Antique Arms Fair

Tel: 07771 742191 or 07860 782286 Email: [email protected]

www.tricornfairs.co.uk

Tricorn Fairs Presents:

Open: 10am - 3pm £8

* London Area Fair * 2 Miles South of M25 Junction 23 * Plenty of Free Parking *

Trade Entry: 9am £15

Image courtesy of J.S.Auctions


K i n g J O S E P H ’ S C H O C O L AT E P OT

King Joseph’s Chocolate Potby Paul Wilcock

It would not be unreasonable when perusing the articles in a guide to the London International Arms

Fair to expect that they would feature a range of topics relating to the wide selection of antique

weaponry arrayed upon the dealers’ tables. Outstanding cased flintlock pistols; exquisitely decorated

swords; fine uniforms and pieces of armour; orders and decorations from campaigns fought in

centuries past…but not a chocolate pot.

Charming as it may be, it is an unlikely exhibit in a room otherwise filled with antique arms and armour. In any other year that might be the case, but 2013 is the 200th anniversary of the Battle of Vittoria, not only a significant event in the Peninsula campaign but also in the history of this small chocolate pot.

While the great majority of the historic artefacts of the Yorkshire Regiment and its antecedents are, as with most other regiments, housed in the respective regimental museums, there still remain some unusual and historically fascinating items occupying the variety of unit bases still attached to the Regiment. While not receiving the same exposure as the museum exhibits, they are often equally interesting and have similarly unusual stories behind them.

In a small alcove beside the fireplace in the Officer’s Mess at the Drill Hall in Huddersfield, once the Battalion HQ of the 5th Duke of Wellington’s Regiment, stands a small silver jug. It measures only eight inches in height, four and a half inches at its widest point and has a lid surmounted by what was once a gilded crown. To one side is an ebony handle to allow for hot liquid to be poured. It dates from the beginning of the 19th century and while simple in design has an understated elegance. The style and design lead to its identification as a chocolate pot. While these are by no means rare, they would be unlikely to form part of the accoutrements of most local households in Huddersfield in the early 1800’s. Yet the chocolate pot has been a feature of the Officer’s Mess in the Drill Hall since beyond living memory. Its journey to that comfortable alcove however is somewhat more elusive.

In December 1980 Major General Donald Isles, then the Colonel of the Duke of Wellington’s Regiment received a letter from Major General Palmer, Colonel Designate of the King’s Royal Hussars. Essentially the text of the letter indicated that he was aware of the chocolate pot and, while making no claim upon it by right, wondered how the trustees would feel about returning it to his regiment. Major General Isles reply is not recorded, but no doubt with his customary politeness he declined, evidenced indeed by subsequent correspondence, and the fact that the chocolate pot remains in its place by the fireplace today. However, the reason for the enquiry can be elicited from the inscription on the artefact itself, for while there is no doubt as to its current owners, the inscription provides a fascinating insight into its history. The inscription reads:

“Taken from King Joseph Buonaparte’s baggage at the

Battle of Vittoria on the 21st June 1813 by Capt. Anderson

14th Light Dragoons.”

While the journey the pot took from that day in 1813 to the present remains shrouded in mystery, the circumstances of its ‘liberation’ do not.

King Joseph-Napoleon Bonaparte was the elder brother of the Emperor Napoleon. Having helped Napoleon gain power during the later years of the French Revolution he continued to support him after the establishment of the Empire, being made King of Naples in 1806. Two years later Joseph reluctantly accepted

the title of King of Spain1 and arrived in Madrid at the outbreak of the revolution in 1808. His tenure was little short of a disaster: progressively losing any support he might have previously enjoyed from the Spanish nobility; his reign was effectively ended in all but name by the defeat at Vittoria. This finally resulted in him being forced to flee his domains and return to France heralding the final recapture of Spain by Wellington.

The Battle of Vittoria can be regarded as the turning point in the Peninsula War and arguably one of Wellington’s greatest victories. By 1813 Napoleon’s military ambitions in the Peninsula were in a state of near collapse. This was principally due to a combination of poor leadership on

the ground, and the fact that many of the more experienced troops had been recalled to France to repair the broken remnants of the Grande Armee after the crippling Russian campaign. Wellington had succeeded in advancing from the Portuguese border into North Eastern Spain with an army comprising not only British troops but also significant numbers of Portuguese and Spanish, both regular and irregular forces. The advance was so effective that, with his customary lack of insight, Joseph withdrew with his Chief of Staff and Governor of Madrid2, Marshal Jourdan in an effort to consolidate his forces. On reaching the town of Vittoria, Joseph had united three of his now depleted armies3, the Army of the South, the Army of the Centre and the Army

of Portugal and awaited reinforcements from General Clausel and the Army of the North.

Wellington launched his attack with troops commanded by Lieutenant General Rowland Hill who in a bold and cunning manoeuvre, advanced through the La Puebla defile. Lieutenant General Sir Thomas Picton’s forces then successfully crossed the Zadorra River despite being under heavy artillery fire from the opposite bank. As the French defensive lines began to waiver Major General Victor von Alten led his cavalry brigade in a fearless charge into the centre of Vittoria and the French forces collapsed and retreated in disarray leaving all behind them. Von Alten’s brigade consisted of

the 1st Hussars, King’s German Legion and the 14th Light Dragoons. As they pressed forward in the face of the French retreat they captured the siege train along with King Joseph’s baggage train. Losses numbered around 5,000 on either side with almost 3,000 French also being captured, however the French losses should have been much greater had they been effectively pursued as Wellington intended. As it was, the troops fell to looting allowing the French to escape. Wellington in a letter to Lord Bathurst was appalled by their behaviour

“We started with the army in the highest order, and up to the day of battle nothing could get on better; but that event has, as usual totally annihilated all order and

discipline.”4

Clearly the sight of the whole royal baggage train proved too tempting an opportunity for the victorious soldiers and, it should be remembered, the local population. The scene that met them is vividly described by Colonel Sir Augustus Frazer:

“Yelling and cheering the men fell on the van. Smashing open its doors with

their musket butts they dropped back in astonishment for the interior was packed

to the brim with church plate, bags of coin, caskets and treasure chests”5

Interestingly however, one of the items looted by a Corporal Fox of the 18th Hussars was Marshal Jourdan’s baton. Presumably much to Fox’s chagrin, it was eventually recovered from him, (including the solid gold finials!) by his commanding officer and sent by Wellington to the Prince Regent who responded by sending a Field Marshal’s baton to Wellington, in confirmation of his new appointment with the message:

“Your glorious conduct is far above human praise and far above my reward. I know of no language the world affords

worthy to express it.”6

It appears however that Wellington’s views on the behaviour of the troops were not entirely shared by the whole of his staff. Brigadier D’Urban, commander of the Portuguese cavalry writes in his journal entry for the day:


The London AnTique Arms FAir Guide38 The London AnTique Arms FAir Guide 39©2013 ROBERT M. LEE TRUST • ALL RIGHTS RESERVED • LAF SPRING

“A magnificent classic on Sam Colt and Colt firearms.” –Norm Flayderman

The First of Five Titles from The Art of the Gun SeriesCoauthored by Robert M. Lee and R.L. WilsonTwo Volume Set, 600 11x14” Landscape Pages

Available in Classic and Deluxe Editions

Deluxe Edition $2900 per set

Signed & Numbered

Limited to 500 Sets

Hand-bound in Premium Tuscan Leather

Hand-crafted clamshell case

Classic Edition $375 per setBeautiful Brillianta Cloth Covers

French Fold Double-Sided Dust Jackets

Limited to 5,000 Sets

DVD & Blu-raydisc sets included in both editions!

www.YellowstonePress.com/ LACall Toll Free: 866-520-2001

Also available at Yellowstone Press,The Art of The Gun Miniature Book Series & China Safari

“The French completely defeated and dispersed leaving to the victors 150

pieces of cannon, immense quantities of ammunition, his (King Joseph) military

chest, equipage etc. etc. The troops behaved splendidly.”7

Despite Wellington’s vehement instructions to the contrary the opportunity for significant financial reward meant that the looting continued and it is still estimated that goods and money to the value of around one million pounds in the currency of the day was taken by looters8. The 14th Light Dragoons were at the forefront and as a result of one famous acquisition they became known as the ‘Emperor’s Chambermaids’. The highly prized item was another of King Joseph’s valuable treasures, his silver chamber pot which still resides in the King’s Royal Hussars Officer’s mess to this day. It is still frequently utilised, but now as a punch bowl rather than its original intended function!

The sacking of the baggage train is most likely the point when Captain Anderson ‘liberated’ the chocolate pot since many contemporary accounts detail the spoils taken from Joseph’s baggage train9. There were serious consequences for officers who were found looting as Wellington had consistently made clear, and Francis Anderson was a career soldier with much to lose. He had been initially commissioned in 1797 as a Cornet in the 23rd Light Dragoons. He was then promoted Lieutenant ‘without purchase’ in 179810. He appears in the 1812 Army List as Captain in the 14th Light Dragoons from August 181011. His promotion and change

of regiment is confirmed in the London Gazette where he is described being promoted Captain and as taking command of a Troop12. His final appearance is in the 1818 lists but not thereafter. During his time in the Peninsula there is no doubt that Anderson saw significant action and he is recorded on the Military General Service medal roll with bars for Talavera; Salamanca; Vittoria; Nive; Orthes and Toulouse13. There are no further records of his activities and he does not appear on the Waterloo Medal Roll since the 14th Light Dragoons were not present at Waterloo.

At some point in its history the pot has been expertly engraved with the attribution above, probably at the same time it was plated with a higher grade of silver than the original pot14. It also carries the mark ‘BB’ which appears to predate the engraving describing how the pot came into Anderson’s possession. On the base are two hallmarks indicating its manufacture in Portugal15 so it would appear that this was a ‘local’ purchase for Joseph rather than one he had brought from Naples or France. There is however another design above the inscription which depicts a tree behind a cross. This holds no significance in any of the heraldic emblems of the Bonaparte family: however it may be a corruption of the clan emblem for Anderson as both the tree and the cross of Saint Andrew feature prominently. The positioning of this emblem is above and exactly central to the inscription.

Of course there in now no record of how the chocolate pot came to rest in the

Officer’s Mess in Huddersfield Drill Hall. None of the antecedent regiments who were associated with the Drill Hall fought at Vittoria. The most likely explanation, of which there are many other examples, is that the chocolate pot was retained by Captain Anderson’s family and one of his successors served with the Duke of Wellington’s Regiment and donated the item as a gift to the Mess. Regardless of all this, it remains an important reminder of past victories and of the rich heritage that is still retained in local regimental outposts.

Paul Wilcock21st march 2013

Acknowledgements

I would like to express my grateful thanks to

Capt. Ian Fillan (Retd), Col. Tim Isles (Retd)

and Major Stephen Armitage (Retd) for their

assistance in researching this article, and to my

fellow Trustees of Huddersfield Drill Hall for

permission to publish.

King Joseph’s Chocolate Pot is exhibited at

the Fair by kind permission of the Trustees of

Huddersfield Drill Hall. Images are copyright

Trustees of Huddersfield Drill Hall.


1. Almanach Imperiale MDCCCXII p.93 Joseph

is listed as being appointed from 6th June 1808

and noted as ‘Roi des Espagnes et des Indes,

Prince Francais, Grande-Elector de l’Empire’

2. Almanach Imperiale MDCCCXII p.278

Jourdan’s main title after being a Marshal of

France is listed as being Governor of Madrid

3. In practice the armies of the Centre and

Portugal consisted of only four Divisions.

4. Gurwood J. (ed.) Letter to Lord Bathurst

in Dispatches of Field Marshal the Duke of

Wellington volume X p.473, London 1834-38

5. Esdaile C., The Peninsula War – A New

History, London (2002) p.428

6. Haythornthwaite P., The Armies of

Wellington, London (1994) p.251

7. D’Urban B. The Peninsula Journal 1808-1817,

London (1988) p.307

8. This is the figure quoted by Wellington

earlier in his letter to Lord Bathurst

9. The event is well documented both because

in Wellington’s eyes it was a further example of

break down in discipline, but also for the huge

financial gains made by individual soldiers.

10. London Gazette 6th March 1798 number

14096

11. Hart’s Army List 1812

12. London Gazette 31st July 1810 number

16392

13. Military General Service Medal Roll

courtesy of Dix, Noonan & Webb, London

14. The surface of the pot is 92.55 sterling

silver whereas tests indicate the original silver

is of a lower standard

15.I am grateful to Emma Paragreen from the

Sheffield Assay Office for her assistance in

identifying the markings


F A C T O R Y g O L D i n L A i D C O L T P E R C u S S i O n R E v O L v E R S

The honour of an internship at The Royal Armouries, H.M. Tower of London in 1960, led the writer to the UK for the first semester of his senior year at Carleton College, flying the 4,000 miles from Northfield, Minnesota. Arrangements for that internship had been made through Sir James Mann, Master of The Armouries, HM Tower of London, who had been contacted on my behalf by Hermann Warner Williams, Jr. (Director, Corcoran Gallery of Art, Washington DC), Stephen V. Grancsay (Curator of Arms and Armor, The Metropolitan Museum of Art, New York), Colonel Frederick P. Todd (Director, West Point Museum) and officials from Carleton College. The applicable student exchange program was through the Experiment in International Living, Putney, Vermont.

That first trip to London led to a long time association with the UK, including not only in antique arms, but the works of modern makers like Purdey, Holland & Holland, Peter Nelson and Boss & Co., plus a comprehensive fascination with Britain, particularly the captivating genre of Country Houses.

The experience at the Royal Armouries, particularly under the guidance of William Reid, Deputy Keeper, at a time when Sir James Mann was Master, and Norris Kennard was Deputy Master, greatly broadened the writer’s interests in arms and armour.

Immediately following the Royal Armouries internship, the writer returned to the U.S. and was given a one-year leave of absence from Carleton College, in order to work full time on the loan exhibition, “Samuel Colt Presents.” The accompanying book,

Factory Gold Inlaid ColtPercussion Revolvers

by R.L. Wilson

Note: The original of this article was a feature in the Guide for the September 26-

27, 1969 London Arms Fair. The author updated that piece, based on research

discoveries made over the past 44 years. Ed.

Rare daguerreotype of Colonel Samuel Colt, c. 1851-52. Courtesy Albert Brichaux Collection. Reproduced in Magnificent Colts Selections from the Robert M. Lee Collection, © Robert M. Lee Trust. Featured in Chapter III, revealing that the portrait of Samuel Colt on the Navy pistol presented by the Colonel to E.N. Dickerson (Serial No. 3769) was based on this photograph.


subtitled A Loan Exhibition of Presentation Percussion Colt Firearms, was produced as a Museum Assistant (and later Curator of Firearms) at the Wadsworth Atheneum Museum of Art, Hartford, Connecticut.

The extraordinary opportunities of the Tower Armouries internship, and “Samuel Colt Presents” were instrumental in allowing a career in which arms and armour became a full-time passion and profession.

Relevant to those experiences is a detailed review of the evolution of the study of engraved Colt firearms, appearing in “The Engravers” section of the newly published Magnificent Colts Selections from the Robert M. Lee Collection, co-authored with Robert M. Lee. That review begins in Magnificent Colts, and then is continued in detail within the website, yellowstonepress.com.

The magic of computer technology has allowed significant advancements throughout scholarship, and that is no less true in the study of engraved firearms. Since Colts are the most examined of all engraved American weaponry, the results of the “search engines” and related progress have contributed to identifying specifically numerous engravers, and to resolve many unanswered questions.

A list of the writer’s earlier works with relevance to Colt specifically is at the end of the present article. But of all those titles (not to mention several articles in periodicals), the most up-to-date is the 600-page, two volume Magnificent Colts, as exhibited at the 2013 Arms Fair, and advertised in the present Arms Fair Guide.

The revisions made in the article which follows could not have been done without some 44 years of opportunities, among these communications with collectors, dealers, auction houses, independent scholars in various fields, studies of the extraordinary career of engraver (principally in banknotes) W.L. Ormsby, and the vehicle of computer “search engines.”

Scholars, students, collectors and a variety of experts who have contributed to this explosion of knowledge are too numerous to note here, but the two most up-to-date references in print are the above-

cited Magnificent Colts Selections from the Robert M. Lee Collection and Colt Factory Engravers of the Nineteenth Century by H.G. Houze (2012). Pete Holder’s article in The 75th London Antique Arms Fair guide (Autumn 2005), stands among the most important of breakthrough publications in a firearms-related periodical.

The Revised Article, Updating the 1969 Arms Fair Guide

“Gold Inlaid Colt Revolvers” Is As Follows:

Of all the American gun makers, Colonel Samuel Colt was the acknowledged master-salesman and entrepreneur - and the leading manufacturer, innovator and inventor - of his time. His fast-paced success in the years 1847-48, when the Colt-Hartford operations began, propelled him into national and indeed international renown. Keenly aware of potential firearm markets the world over, Colt eyed European sales and profits with a special interest and enthusiasm.

As a young seaman (c. 1831-32), Colt had visited London, touring the Tower Armouries, and delighting in the products of British gun makers. A genuine love for Britain and things British was one of several factors influencing the Connecticut Colonel’s decision to not only aggressively pursue sales in Britain and the continental countries, but in fact to open a factory on the Thames (near Vauxhall Bridge), where

Gunmaker’s pull from frame of an as-yet undiscovered Colt Dragoon Model revolver. Discovered by the author in the attic of Robert Young, grandson of Gustave Young, in Springfield, Massachusetts, c. 1967. Print believed pulled by Gustave Young, and a key source in attributions of certain deluxe arms to that artisan. Courtesy The Metropolitan Museum of Art, Department of Arms and Armor. Gift of John Gangel, 2012.

Model 1851 Navy revolver, Serial No 14332/., attributed to W.L. Ormsby, and the earliest known gold inlaid percussion Colt revolver known to the author. George F. Gamble Collection, donated to the Autry National Center of the American West. Featured in A Life’s Tapestry of a Collector The George F. Gamble Collection, coauthored by George F. Gamble and R.L. Wilson (2013).



Dragoon, Navy, and Pocket model pistols were manufactured under Colt’s patents from 1853 through 1857. For decades thereafter, Colt’s maintained an Agency in London, among the many London-related subjects expertly covered in Joseph G. Rosa’s Colonel Colt London (1976).

Two of Samuel Colt’s prime promotional techniques – exploited by him on as grand a scale in Europe as in America – were displays at fairs and expositions and special presentations to monarchy, military brass, and selected politicians. At the Great Exhibition of All Nations (1851) in London, Colt’s stand was among the most popular of the American exhibits. Some other widely heralded showings of Colt arms were the Industrial Exhibition and Exhibition of the Industry of All Nations at the Crystal Palace in New York (1853), the Universal Exhibition in Paris (1855) and the Universal Society for the Encouragement of Arts and Industry (London, 1856). Always there were engraved specimens featured in Colt’s displays. A great many notes in contemporary reports commented on these elaborate firearms in “assorted sizes, engraved and highly finished...” Generally, the finest of deluxe Colt firearms were the specific commissions of Colonel Colt as special display pieces or as special orders for presentations.

Gustave Young – Master Engraver, Inlayer and Artisan

In 1853 the potential of a promising future far from Germany inspired a youthful but brilliantly talented engraver named Gustave Young (1827-1895) to emigrate to the New World. An association between Young and his future employer may well have come from meeting Samuel Colt at the Great Exhibition of 1851; records reveal that Young was among the millions of attendees.

Young came to Hartford, Connecticut soon after his arrival in New York City (June 4, 1853), and joined the Colt firearms company. In Gustave Young, Samuel Colt hired the services of a man trained in engraving and design - and fully experienced through approximately fifteen years of professional pursuit of his craft and art. For the creation of lavish presentation and display arms, Gustave Young was the perfect candidate, and the perceptive Colt was destined to make full use of the special abilities of his new engraver.

Few engravers in America, before or since, could match Young in his complete mastery of the Germanic style. Leaving a rather substantial legacy of fine arms, more has been published about this artisan than

any other 19th century engraver working in America.

Important documents which were crucial in identifying Young and his shop are three invoices from him as engraving contractor to Colt’s. These are pictured in the author’s The Colt Engraving Book. The earliest is dated April 8, 1854; next is June 3, 1854; and the third is September 23, 1854 (pages 92-93, and 96). The total numbers of Model 1849 Pocket and Model 1851 Navy pistols listed in those invoices are 149 of the former and 72 of the latter. To date several pistols listed on these invoices have been identified, thus assisting in identifying the “Gustave Young style.”

A unique ink impression pulled from the frame of an elaborately embellished Colt Dragoon (of c. 1854) was discovered by the writer c. 1967, in the papers of the Young family. This perfect pull reveals the rich German-American scrolls, which he used in engraving several key arms, such as presentations by Colt to E.K. Root and to U.S. Secretary of War, John B. Floyd. In addition the Dragoon pull shows imaginative animal motifs, which along with American patriotic scenes, were specialties of this master craftsman. In 2012 this historic gunmaker’s pull was presented by John Gangel of Orange, California, to The

Model 1849 Pocket revolver, rosewood cased set. Serial No. 63303. Engraving attributed to W.L. Ormsby. George F. Gamble Collection, donated to the Autry National Center of the American West. Featured in A Life’s Tapestry of a Collector The George F. Gamble Collection, coauthored by George F. Gamble and R.L. Wilson (2013).


Metropolitan Museum of Art, Department of Arms and Armor, for that institution’s extensive decorative archives.

More recently discovered material offers new data on the gifted craftsman. After the celebrated Colt factory fire of February 4, 1864, Young drafted in his own hand an advertisement for publication in Hartford newspapers. The original manuscript reveals something of the man, his assignments under Colonel Colt and his general abilities.

Gold & Silver, Steel and General EngraverThe advertiser having been deprived of employment by the late destructive fire at Colt’s Armory, respectfully offers his services to the public, as an Engraver on Gold and Silver plate, rings, and every kind of ornamental jewelery, Steel and all other metals.

He has been engaged in Colonel Colt’s Establishment for the past twelve years in the highest walks of the art; and abundant proofs of his Skill are extant in this country, and in Europe, in the splendid presents that have been made to Crowned Heads, and illustrious personages in different countries. Specimens of his work have been exhibited at the different World’s Fairs and elicited the highest praise. In soliciting public patronage, the subscriber is confident, that he cannot be outdone, if equalled, in his line of art; and he is willing to hazard his professional reputation on any work with which he may be entrusted. He can be found at his Office No. Main Street, up Stairs.

Gustave Young’s Years with Smith & Wesson - Rarity of

Gold Inlaid Revolvers for That Firm

Collectors of Smith & Wesson arms will note an occasional magnificent pistol by that maker engraved or gold inlaid in a similar style. After the Colt fire of 1864, Gustave Young is known to have accepted commissions from S & W (whose factory in Springfield, Massachusetts, was but 25 miles from Hartford), and in fact the year 1869 saw Young and his family move from Hartford to Springfield where he became chief engraver for the Smith & Wesson firm. Among the fancy pistols done by Young for his new employer were gold inlaid presentations for American President U.S. Grant and for the Russian Grand Duke Alexis, plus miscellaneous display pistols for the Philadelphia Centennial Exposition of 1876 and the Columbian Exposition of 1893, in Chicago, Illinois.

Of the limited number of gold inlaid revolvers by Young for Smith & Wesson, a Model 1 ½ New Issue pistol from the factory to President U.S. Grant appears in A Life’s Tapestry of a Collector The George F. Gamble Collection. Bearing Serial No. 41993, this richly gold-monogrammed masterpiece is in a silver-mounted rosewood and ebony case, and is fitted with elaborately relief-carved mother-of-pearl grips. In 2012, the Grant presentation was donated by collector George F. Gamble, along with his extensive holdings of arms of the American West, to the Autry National Center of the American West, Los Angeles, California. The collection is scheduled to be opened for public viewing in July 2013, in the George Gamble Gallery of Western Firearms.

Acknowledged by S & W Historian Roy G. Jinks as “the finest example of engraving completed in the United States,” Serial No. 27940 New Model No. 3 was richly engraved and gold inlaid in a quite different manner than the General Grant pistol. Commissioned by S & W for the Columbian Exposition of 1893, Young regarded this revolver as his “masterpiece.” For decades the pistol remained in the Smith & Wesson Factory Museum Collection. Eventually it was sold to private collector William Foxley. Presently this elegant and historic handgun is in the Robert M. Lee Collection, and is featured on pages 40-41 of Magnificent Colts.

Three gold inlaids from The Hermitage Museum, St. Petersburg, personally presented to Czar Nicholas I by Colonel Colt. The Dragoon Serial No. 12407, the Model 1851 Navy Serial No. 20131/.; and the Pocket Model 1849 No. 63305. This photograph made for the author in 1979, while these arms were on display at The Metropolitan Museum of Art, and at the Raymond Baldwin Museum of Connecticut History, Hartford. Reproduced in Magnificent Colts Selections from the Robert M. Lee Collection, in Chapter I, “The Gold Standard.” © Robert M. Lee Trust.



No. 27940 is among the very few signed firearms by Young – something of a contrast to the well-known L.D. Nimschke and certain members of the Ulrich family, who left numerous examples of signed work, particularly on Winchester rifles.

Gold Inlaid Winchester Rifle by Gustave Young, for the Centennial Exhibition of

1876, Philadelphia

Among the most important of fresh engraving discoveries is the Winchester Model 1873 showpiece featured by the company at the Centennial Exhibition of 1876 and pictured in Magnificent Colts (page 535). Bearing serial no. 16139, this exceptional sporting rifle is identified in the factory records as “engraved by Young.” None of the factory gold inlaid percussion Colts studied by the author has been identified having a Young signature, although one pistol (serial no. 20133/.) may have a hidden signature on the side of the barrel, composed of scroll engravings and gold inlays.

Obituary Tribute to Gustave Young

The obituary of Gustave Young, published in the Springfield Daily Republican, January 3, 1895, adds further details on the background of this remarkably talented craftsman:

Gustave Young, the well-known engraver . . . died at his home on Broad Street yesterday from tumour on the brain. Mr Young was trained abroad and did some superior work, engraving the most costly pistols for the Colts while at Hartford and for Smith & Wesson in this city. In 1893 he finished the pistols sent to the Chicago fair by Mr Wesson, including a revolver [No. 27940 noted above] that cost $1,500, probably the most expensive ever made. While in Hartford he engraved a revolver sent to Gen. Grant, which had military emblems in gold on the handle. Mr. Young was born in Thuringia, Ger., May 6, 1827, and worked for a time in Berlin for the imperial engraver. While following his trade in Warsaw he furnished two fowling pieces for the czar of Russia. He moved to this country 43 years ago, and after working a short time in New York, settled in Hartford . . . . He was employed at Colt’s for many years, and in 1869 came to Springfield as engraver for Smith & Wesson . . . . Mr. Young leaves a widow and three sons, Oscar and ex-Councilman Eugene Young (both master engravers in their own right), and Alfred O. Young a machinist . . . .

Other 19th Century Engravers Who Were Rivals of Young:

Discoveries Primarily by Computer-Generated

“Search Engines” Mining Data on Craftsmen Previously Unknown or Fully Recognized

Since publication of the writer’s The Colt Engraving Book (2000-2001), research primarily computer-generated has discovered a considerable amount of relevant data – not only about Young, but of other talented engravers – many of them having also learned their trade in Germany.

These discoveries have identified not only additional gold inlaid Colt percussion firearms, but also recognized important pieces wherein the attribution should be to Young’s contemporaries – most of whom were also masters of Germanic-American styles.

A particularly talented engraver who first appeared in the writer’s The Book of Colt Engraving (1974) was Herman Bodenstein (1829-1865). Coming to the United States from Germany in 1849, Bodenstein began his employment at Colt’s c. 1852. The author located Bodenstein in a Colt factory notebook dated February 15, 1860, listing contractors and their employees. The name was also known through researching city directories, where he appears from as early as 1853 to the year of his death.

Three gold inlaids from the Colt Collection of Firearms, Raymond Baldwin Museum of Connecticut History, Connecticut State Library, Hartford. These arms employed as factory samples for decades, including as recently as in the 1960s, lent back to the Colt company for an occasional National Rifle Association of America exhibition. Dragoon Serial No. 15821/., the Navy No. 38843/., and the Pocket Model 1849 No. 71746/. From the presentation by the Pratt & Whitney Foundation of the Colt Collection of Firearms to the State of Connecticut, 1957.


“The Sultan of Turkey Dragoon,” Serial No. 12406, photographed while in the George and Butonne Repaire Collection. Later presented by the Repaires to The Metropolitan Museum of Art, New York, and presently on display in the Robert M. Lee Gallery of American Arms. The revolver was discovered in a custom made case with accessories.

As noted in Magnificent Colts, Herman Bodenstein:

became the Colt company’s engraving contractor in late 1858 or early 1859 when Gustave Young . . . returned to Germany. He also took over Young’s cottage at 40 Van Block Street immediately adjacent to the Colt armory at the same time . . . . As engraving contractor from 1858/59 to mid-1865, Bodenstein was responsible for some of the Colt company’s more famous commissions dating from that period. The most important of these were the gold-inlaid New Model Holster Pistols [1860 Army] presented by President Abraham Lincoln to the Kings of Denmark and Sweden, as well as the pair of New Model Navy Pistols [1861] given to Lewis Lippold in 1864, all of which have previously been attributed to Gustave Young...

Yet another engraver of talent in the Colt atelier, was also German-born: John Marr. Quoting from Magnificent Colts:

Born in Benshausen, near Gera, Germany, on November 6, 1831 (d. May 12, 1921, Milwaukee, Wisconsin). A brief biography of Marr appears in Peter C. Merrill, German Artists in America: A Biographical Dictionary (Scarecrow Press, Lanham MD, 1997).

This volume notes: “Engraver and sculptor. Marr was apprenticed to an engraver in Zella, where he learned to do decorative engraving on guns. He came to the U.S. in 1852 and found work at the Colt pistol factory in Hartford, Connecticut. In 1855 he moved to Milwaukee, where he established an engraving business in partnership with a Danish-born engraver, Peter L. Mossin . . . . Note that Marr married into the Bodenstein family taking Herman’s daughter Bertha as his wife.

Listing of Known Colt Percussion Revolvers, Gold

Inlaid

Colt’s commissions of key gold inlaid firearms are shared not only with Gustave Young, but principally with Herman Bodenstein, and possibly John Marr. Among these firearms are the following gold inlaid percussion revolvers. Two other engravers now believed to have gold inlaid Colts of the percussion period are Herman L. Ulrich, John R. Evans and W.L. Ormsby. Many of these arms were embellished with gold and engraving, and richly stocked and cased for displays primarily in Europe, with some specimens also exhibited in the United States.

Most of the following are pictured in The Colt Engraving Book, Volume I, in Chapter

IV “Gold Inlaid Percussion Colt Revolvers (c. 1852-1868).” Those marked with an asterisk are pictured in Magnificent Colts Selections from the Robert M. Lee Collection. The designation /. indicates that the dot accompanied major serial numbers, and was a factory mark that the raw in-the-white firearm required special polish and treatment for embellishments.

Third Model Dragoons (Nos. 12406 and 12407*, and 15821/.)Third Model London Dragoon (No. 7)Model 1849 Pocket pistols (Nos. 63271, 63303/., 63305*, 63306, 67498/.*, 71746/., and 84624/.). Model 1851 Navy pistols (Nos. 14332/., 20131/.*, 20133/.*, 23477/.*, 28470, and 38843/.) Model 1860 Army pistols (Nos. 162977/E and 162978/E; latter yet to be discovered, but known through Colt shipping ledgers)

The following engraved and gold inlaid pistols have been reattributed to Herman Bodenstein, having formerly been attributed to Gustave Young):

Model 1860 Army pistols, with silver-mounted relief carved and inlaid grips:For Frederick VII from President Lincoln (Nos. 31904 and 30905)For Charles XV from President Lincoln (Nos. 31906 and 31907)



*Model 1861 Navy pistols, presentations from E.K. Root to Lewis Lippold:Serial Nos. 17239 and 17240Model 1862 Police pistol, presentation from the Colt factory to James T. Ames, grip design by J.Q.A. Ward; engraving and inlaying by Herman Leslie Ulrich. Serial No. 38549.

The Czar Nicholas I Dragoon, Navy and Pocket Colts, As Well as Similar Revolvers

The above-noted percussion Colts were superbly engraved and mounted in flush and relief gold; backstraps were typically gold-washed – with the sole exception of the President Lincoln revolvers, wherein gripstraps and buttcaps were of silver. Except for ivory grips on Pocket pistol No. 84624/. and on 1851 Navy No. 28470, the above-noted pistols were fitted with richly finished deluxe grain select walnut grips. The majority of these arms bore the barrel marking, Saml Colt, with gold inlaid Gothic style letters. A few of these pistols accompanied Colonel Colt on an important promotional trip he made to England and the Continent in 1854. Among the calls

made by the pitchman and gun maker were to England, and to Russia and other Continental sites. The Crimean War (1854-56) pitted Great Britain, France and Turkey against Russia; but it was Samuel Colt’s business approach to “make hay while the sun shines.”

Original records of the armoury of Czar Nicholas I reveal that the gold mounted Dragoon revolver No. 12407, the Navy No. 20131/., and the Pocket pistol No. 63305 were personally presented by Colonel Colt at Cratchina, in 1854. To quote an extract from these archives (translated from the original French):

These three revolvers of different caliber have been presented to his Majesty in the autumn of 1854 (at Cratchina), by Colonel Colt, the inventor of the arm. Each one of them in its case, with accoutrements necessary for its use.

The Dragoon No. 12406 (mate to the pistol given Czar Nicholas I) was reportedly presented by (or on behalf of) Colonel Colt to the Sultan of Turkey. It was discovered in

Istanbul c. 1967 by a British collector, Robin Braid-Taylor. Later the author learned of the revolver through American collector William M. Locke, as well as through Mrs. Arlene G. Maver, then the Curator of the Colt Collection of Firearms, Raymond Baldwin Museum of Connecticut History, Hartford.

The Navy No. 20133/. was likely left in England as a display piece, and was sold through Christie’s in New York in an Americana sale, January 26, 1991. Discovery of that revolver, in an oak casing with Navy No. 23477/., was made by collector Mark Dineley in the 1950s. The oak-cased set had been turned in to the police; an illustrated newspaper clipping accompanying these Colts relates that story. The pair could easily have been destroyed by the authorities as “dangerous weapons.”

Magnificent Colts identified Navy No. 23477/. and Pocket No. 67498/. as a set, as documented on pages 26-27 of that title. Likely in the process of being used as sample pieces, the pair was somehow split up.

Matched set of Model 1849 Pocket and Model 1851 Navy revolvers, show pieces commissioned by Colonel Colt. The Pocket Model Serial No. 67498/.; the Navy Serial No. 23477/. Featured in Magnificent Colts Selections from the Robert M. Lee Collection, in Chapter I, “The Gold Standard.” © Robert M. Lee Trust.


Gold inlaid and engraved pistol, Pocket Model No. 63271, was discovered behind the ‘Iron Curtain’ in 1961. While touring museums in Eastern Europe, Dr. Nolfo di Carpegna of the Odescalchi Collection (Rome), found the pistol in Czechoslovakia, for sale in an antique shop; it was acquired for the equivalent of $15. Dr. di Carpegna had asked the writer to bring the pistol to the U.S., find a buyer for it, investing the funds in a savings account. That was the sum the Doctor needed to fund an extensive tour of the United States, a few years after his great find. In time the revolver was carefully cleaned by Lynton McKenzie, and presently resides in a private American collection, having been sold through Texas dealer and collector L.C. Jackson to Stanley Diefenthal, of Louisiana.

Serial No. 63306 gold inlaid and engraved Model 1849 Pocket was discovered c. 2010 in France, and was sold by Sotheby’s at a New York auction of Americana, January 21, 2012. That four-inch barrel prize immediately went into a private collection in the United States. The description in the Sotheby’s catalogue offers extensive, up-to-date information on No. 63306, as well as on other gold inlaid percussion Colts.

Lack of Presentation Inscriptions on Most of the

Gold Inlaid Colts

Ironically none of the gold inlaid Colt pistols known to have been presented to the Czar or the Sultan were presentation inscribed. Certainly the reason for this was that Colt had intended to use the fancy pistols for special displays, with the hope that the monarchs would be so taken by them that Colt would have no choice but to leave specimens as highly-prized gifts. Further, the cases in which the Czar Nicholas I and Sultan of Turkey revolvers were discovered had no inscriptions, and of the two, only the Sultan’s had been custom made.

Diplomatic Presentations from President Abraham

Lincoln to Kings Charles XV and Frederick VII, Serial Nos. 31904/31905 and

31906/31907

Matching the Czar Nicholas I Sultan of Turkey pistols in magnificence, and surpassing them in historical importance, are two pairs of gold-inlaid, silver-mounted

and engraved New Model Army (Model 1860) pistols commissioned from the Colt factory by American President Abraham Lincoln. These were presented in 1863 as gifts of state from Lincoln to King Charles XV of Sweden and Norway and to King Frederick VII of Denmark. Every detail on these arms is of perfection, and their designs are characteristic of the ultra-richness of Victorian America, with Germanic influences richer still.

Both pairs have buttcaps and gripstraps of sterling silver, the butts finely engraved with the seal of the President of the United States. Silver grip plaque inlays are engraved with the simple yet rather awesome inscription: The President/of the United States of America/to his Majesty/the King of... Recent research has identified Hermann Bodenstein as the master engraver who embellished these magnificent arms.

Each set is in a silver-mounted, velvet-lined rosewood case, built in Hartford by William Milton, 13 Albany Avenue, Hartford.

Cased set of Model 1851 Navy revolvers, as discovered by Mark Dineley, and acquired after the set was turned in during a police firearms amnesty, in the 1950s. The most deluxe revolver, Serial No. 21033/., contrasts with the less elaborate pistol, No. 23477/. Likely No. 20131/. had been removed from the double cased set for presentation to Czar Nicholas I, and then No. 23477/. was separated from Pocket Model No. 67498/.; this unusual and still quite striking cased and matched ensemble was the result. Sold by Christie’s, New York, January 26, 1991, in a sale of American decorative arts. Featured in Magnificent Colts Selections from the Robert M. Lee Collection, in Chapter I, “The Gold Standard.” © Robert M. Lee Trust.



Rare Colt Revolver, Presented by the Factory, Gold Inlaid

and with “Tiffany Grip”

Another gold inlaid percussion Colt revolver long known to collectors and aficionados is detailed as follows:

New Model (1862) Police revolver Serial No. 38549: gold inlaid and with gilt silver “Tiffany style” grips designed on commission of the U.S. Department of State, by John Quincy Adams Ward (1830-1910). No. 38549 is documented in Colt factory records as a presentation to James T. Ames. At the time of the revolver’s commissioning in 1866, Ames was the chief executive and owner of Ames Manufacturing Company, Chicopee, Massachusetts. U.S. State Department records in the National Archives, Washington DC, indicate that the designs for the grips were by J.Q.A. Ward. No. 38549 is presently in a private collection in the United States.

The Colt factory records indicate No. 38549 to be a factory presentation, although the entry does not mention the presence of the gilt-silver “Tiffany Grip” created by John Quincy Adams Ward. The engraving and gold

inlaying on the revolver is attributed to Herman L. Ulrich, who is likely to have designed the decoration with instructions from a highly placed official of the company.

Pictured within pages 288-289 of The Colt Engraving Book, Volume I is the following from State Department records, Instruction No. 68, of January 11, 1864, describing a pair of Colt Model 1862 Police revolvers (nos. 25513/E and 25514/E) commissioned by President Abraham Lincoln, for presentation to Kibrisili Pacha (as inscribed on each grip escutcheon), Governor of Adrianople. These cased and deluxe revolvers have cast silver grips, but major steel parts were engraved only and not gold inlaid:

The designs for the handles, which are of solid Silver . . . and those on the barrels were made by Mr. Ward, a young and promising sculptor of New York, who also superintended the workmanship,

which as you will perceive, is of the finest description.

The Colt factory gift to James T. Ames, New Model Police Serial No. 38549, though fitted with the J.Q.A. Ward grips, may or may not have had its gold inlaying and engraving executed

based on designs by Ward. Certainly Herman L. Ulrich was quite capable of designing his own embellishments.

Conclusion

The estimated total production of gold inlaid percussion Colt revolvers is some 30 to 35. This minute figure needs to be contrasted with the number of Colt percussion arms manufactured c. 1836-42 and 1847-1873: the total is in excess of 1,000,000. In rarity, in workmanship, in artistry, and in historical interest, gold inlaid percussion revolvers represent the most desirable single group of arms in the Colt field.

The present article details the limited number of gold inlaid Colt percussion revolvers embellished by Gustave Young, Herman Bodenstein, and other artisans presently known to the collecting fraternity. Intriguingly, Colt factory, Young family records and other sources indicate that additional gold inlaid Colt percussion arms are yet to be discovered. Among these treasures is a pair of New Model (1861) Navy pistols and a New Model (1862) Police inlaid and engraved for display at the Paris Exposition of 1867. Another pair, the Army Model of 1860, was reportedly prepared for presentation to General U.S. Grant. And probably a few additional gold inlaid and engraved pistols were presented by Colonel Colt to dignitaries in America and Europe.

From all indications, Samuel Colt anticipated his opportunities for business in Europe to have been every bit as promising as his sales in America. In this relentless push for recognition and sales, the artistry of Gustave Young and his colleagues played a distinctly significant role. And certainly in Samuel Colt, the Czar of Russia, the Sultan of Turkey, the King of Denmark, the King of Sweden and Norway, and in arms-related museums and the gun collector of today, these distinguished artisans have enjoyed the enthusiastic recognition which in the final measure is the reward artists and craftsmen strive for throughout their creative lives.

The presentation pair of Model 1860 Army revolvers, by Herman Bodenstein, inscribed from the President of the United States to King Charles XVth of Sweden and Norway. Serial Nos. 31906 and 31907. Decades ago these arms were stolen from the Royal Armouries, Stockholm, Sweden, and have yet to be recovered. For a color image, see the author’s The Colt Heritage and Colt An American Legend, Chapter V, “The New Models – An Era Ends,” page 99.

The Model 1861 Navy pistols, Nos. 17239 and 17240, custom made for presentation from then Colt President Elisha King Root to Lewis Lippold, a key Colt factory employee. Engraving and gold inlaying attributed to Herman Bodenstein. Featured in Magnificent Colts Selections from the Robert M. Lee Collection, in Chapter I, “The Gold Standard.” © Robert M. Lee Trust.


Presentation pair of Model 1860 Army revolvers, embellished by Herman Bodenstein, and inscribed from the President of the United States to King Frederick VII, Serial Nos. 31904 and 31905. Photograph by Bo Hylander, at Jaegerspris Castle, Denmark, where the set is exhibited.


EDRED GWILLIAMANTIQUE ARMS & ARMOUR

CANDLETREE HOUSE, CRICKLADE, WILTSHIRE SN6 6AX

Tel: 01793 750241 Fax: 01793 750359 Mob: 07836 613632E-mail: [email protected]

(visitors strictly by appointment)

CANDLETREE HOUSE, CRICKLADE, WILTSHIRE SN6 6AXCANDLETREE HOUSE, CRICKLADE, WILTSHIRE SN6 6AX

WANTED:I am particularly keen to purchase and

always off er immediate settlement

FOR SALE:Always a comprehensive selection of pistols,

guns, swords and armour available


New Model (1862) Police revolver, Serial No. 38549, gold inlaid and with gilt silver “Tiffany” grips, designed by John Quincy Adams Ward, on commission of the U.S. Department of State. Presentation from the Colt factory to James T. Ames, of Ames Manufacturing Co., Chicopee, Massachusetts. Engraving and gold inlaying by Herman L. Ulrich. W.C. Foxley Collection, photographs by Douglas Sandberg, Courtesy of Greg Martin.

Author’s Bibliography Relating to Colt Firearms, Engraving, and Gold InlayingSamuel Colt Presents (1961)The Arms Collection of Colonel Colt (1964)L.D. Nimschke Firearms Engraver (1965)The Rampant Colt (1969)The Book of Colt Firearms (1971)Antique Arms Annual (1971)The Book of Colt Engraving (1972)The Book of Winchester Engraving (1974)Colt Pistols (with R.E. Hable, 1976)Paterson Colt Pistol Variations (with P.R. Phillips, 1979)Theodore Roosevelt Outdoorsman (1979)The Colt Heritage (1979) The “Russian” Colts (with Dr. Leonid Tarassuk, 1979)Rare and Historic Firearms (Christie’s auction catalogue, 1981)

Colt Engraving (1982 edition)Winchester The Golden Age of American Gunmaking and the Winchester 1 of 1000 (1983)Colt An American Legend (1985)The Peacemakers Arms and Adventure in the American West (1992)The Deringer in America, Volume 2 (with L.D. Eberhart, 1993)Steel Canvas The Art of American Arms (1995)The Colt Engraving Book (two volumes; 2000, 2001)The Art of the Gun, five volume miniature set (with Robert M. Lee; 2002-2003)The Paterson Colt Book, Dennis LeVett Collection. (2002)Things I Love The William I. Koch Collection (2005, section, Western Arms and Accoutrements, pages 138-157)

American Arms Collectors The Al Cali Collection (2008)Theodore Roosevelt Hunter-Conservationist (2009)American Engravers the 21st Century, by Roger Bleile (2010; chapter by R.L. Wilson, “Gun Engraving in America From the 1700s Through Modern Times”)Magnificent Colts Selections from the Robert M. Lee Collection (with Robert M. Lee; 2011)Great Colt Treasures (2013)A Life’s Tapestry of a Collector – The George F. Gamble Collection (with George F. Gamble, 2013)

The London AnTique Arms FAir Guide52

91 St London Antique Arms Fair Guide

Documents

Transcript of 91 St London Antique Arms Fair Guide