It is with great pleasure that we present you this catalogue dedicated to the fascinating world of arms and armour.
This season’s catalogue is mainly attributed to India, China and Tibet. A thorough selection was made to fill our latest catalogue with some exquisite arms and works of art representing the finest craftmanship within the cultures. Varying from precious gold, silver, jade, wootz steel and more.
We invite you to browse through our catalogue and discover the many facets of our impressive selection. We hope that you, like us, will be moved by the beauty and complexity of these objects to replenish your collection.
Peter Andeweg – Antiques by the Sea
CHILANUM DAGGER
Region: Deccan Plateau, South India.
Period: 17th century
Materials: Iron, Steel, Wood, Velvet, Silver. The 'Chilanum' is a dagger which has its origin in South India.
The 'Chilanum' is a curved dagger, mostly double edged and with an distinghuised Ishaped hilt, usually made of steel. The origin of this shape lays in ancient India, but the form we know amongst todays antiques date roughly from the late 16th til 18th century. Most 'Chilanum' daggers are all-steel and have multi-fullered blades.
Our example:
Full steel with traditional hilt and additional knuckle guard. The center of the I-shaped hilt has a round bolster to provide a better grip. The dagger has an oval guard which is pierced. Inside the sloping triangle on the bottom of the hilt, a pierced lily appears which is an elegant addition to the hilt. The blade is multifullered, double edged and shows a distinctive curve. The tip is reinforced to be able to penetrate through armor like chainmail.
The 'Chilanum' comes in its original wooden scabbard which was covered in green velvet and decorated with a driven silver finial depicting a sunflower surrounded by foliage.
SILVER INLAYED TEGHA
Region: Deccan, India
Period: 17th century
Materials: Steel, Silver, Iron
The 'Tegha' is a typical sword which originates from India and was developed to cut through fabric armor and was often used for executions. It can be distinguished from the regular 'talwar' due to its relatively shorter blade with stronger curve and rather wide blade proportions. The 'Tegha' is often heavier than other swords to provide maximum downward force to cleave armor or opponents.
The hilt:
A very fine large hilt with typical Islamic Indian outlines, known as 'Karan shahi' The rounded quillons and medial ridge on the grip are a typical feature seen on Deccani swords. The disc shaped pommel was attached to the knuckle guard which features a 'makara' or tiger head with silver inlayed tiger stripes. The entire hilt is lavishly decorated with fine silver inlay floral motives and arabesque patterns. The pommel itself is decorated with four lotus leaves emerging from a background of foliage.
The blade:
Of early form, curved and showing a fine pattern welding structure which I decided to keep it as found. The forte is typically Indian and blunt on both sides, the cutting edge emerges approximately six centimeters from the hilt and runs down the entire blade. The spine starts flat and ends up in a yelman showing a false edge. The blade shows three dimples, a feature that some believe represents the count of slayed victims.
JADE KHANJAR
Region: Deccan or Mughal dominions
Period: 17th or 18th century
Materials: Nephrite Jade, Wootz steel
The 'khanjar' is a type of dagger which originates in Persia and was widely adopted in most Islamic cultures. Besides its functional use, the 'khanjar' was also worn to indicate rank or social status. The more embellished, the higher the rank. Many Mughal rulers had a collection of 'khanjar' daggers with elaborately designs, precious materials such as jade, gold and gemstones.
The hilt:
Carved out of an elegant piece of nephrite jade. Forming an exquisitely carved pistol grip, depicting carved lilies and acanthus leaves showing overturned foliage and tendrils. Many hilts, similar in quality and design are attributed to the mid 17th century according to Salam Kaoukji.
MUGHAL
Blade:
Heavy and wide lozenge section in wonderful and fine Indian wootz (jahwar). reinforced tip. Riveted on the ricasso, to prevent the tang of the blade emerging in the stone hilt, a custom which was practiced already in the early 17th century. The blades edge was polished according to Indian aesthetics and the fullers are etched showing a fabulous and consistent wootz pattern.
Conclusion:
A very good example in its kind with an astonishing hilt and perfectly matching blade. The overal large size of the 'khanjar' makes it of very high ranked proportion.
Dramatized contrast close up
PIERCED AND CHISELED ANKUS
Region: South India
Period: 19th century
Materials: Steel, Iron, Brass
The use of elephants as important method of transport is settled within India as early as 4000 BC when the first elephants believed to be tamed in the Indus Valley. The elephant is considered sacred by the Hindu as they believe they are incarnated from Ganesh, the elephant god. The ‘ankusa ‘ is the Sanskrit word for elephant goad and is considered both functional as ceremonial. It is considered one of the eight auspicious ‘Ashtamangala ‘ objects. It consists of a shaft with an attached spearhead and sharp hook, often decorated with fine chisel work.
The head of the ankus features magnificent pierce and chisel work depicting yali, creatures of Hindu mythology, parakeets and Makara heads surrounded by foliage and floral motives. Both points are reinforced and well made. The shaft is divided in four segments and has a brass end depicting a tiger head devouring another creature.
This example seems to be one of a small group of similar Ankus which shows an incredible craftsmanship from South India and are often miss-dated by many museums. While most are dated around the 17th century, this group would have been made in the 19th century to my opinion.
SIALKOT CASKET
Region: Lahore/ North India
Period: 19th century
Materials: Steel, Iron, Gold
In 19th century India, the main manufacture of fine koftgari work was in the Punjabi region in Sialkot and Lahore. Both attracted by many craftsmen during the Sikh empire. When the demand for swords and shields began to decline, the craftsman focused on regular metalwork and expanded their expertise to objects like these. The casket was made of forged steel and decorated in a very fine classical arabesque pattern in silver and gold koftgari. The combination of this type of koftgari is locally called 'Gangajamni' and is based on two rivers coming together. The base is decorated with a crosshatched pattern in damascened silver.
The inside of the box is covered with a red velvet liner which is still intact.
MARWARI SHAMSHIR
Region: Marwar Region, North India
Period: 19th century
Materials: Iron, Steel, Silver, Wood, Velvet
A fine ‘Talwar ’ hilted ‘shamshir ‘ from the Marwar region, Rajasthan. The ‘shamshir ’ is of Persian origin and is often referred to as ‘lion claw’ due to its heavy curve representing a claw. The grips vary by region and are traditionally fitted with a pistol grip hilt with horn or ivory slabs, full steel or mounted on an Indian ‘talwar ‘ hilt such as our example here.
The hilt:
In typical 'Karan Shahi' style, often seen within the Rajput culture in the Marwar (Jodhpur) region in North West India. The hilt is made of two pieces of iron, welded together with a large pommel disc featuring a stylistic pattern which represents the sun, where many Rajput clans claim their origin from. The hilt is lavishly decorated with a thick silver overlay in typical Marwar style patterns.
The blade:
A fine consistent woods blade likely imported from Persia or made in India. The pattern shows a fine consistent grain all over the entire length of the blade. The blade is curved and single edged with a near flat spine on almost the entire blade. A cartouche is chiseled near the point of balance and shows a hardly readable phrase which was fashioned in this period, just to make blades look more interesting on the market back then.
Comes with original velvet covered scabbard which seem to depict randomly placed embroidered stars.
NORTH INDIAN COMPOSITE BOW
Region: North India
Period: 18th century
Materials: Horn, Wood, Plaster, Pigment
Archery was a valued part of ancient warfare and is often neglected within the arms and armor community due to the romance and heroism associated with swords. The sword, however, was only used in close combat, while the archers maintained distance and proved extremely lethal.
In India, the composite bow was in favor for centuries. The bows were made of layers wood and horn and provided a maximum draft and range and were easy to manage on horseback. The composite bows are often called 'crab bows' due to their strongly curved appearance while being unstringed.
This example shows a fine and soft-toned orange, brownish colour and is decorated with gold painted cartouches of foliage. A style and fashion which was mostly seen in the 17th and 18th century. After the 18th century, the use of bows declined due to the use of firearms.
KHANJAR DAGGER RAJASTHAN
Region: North India
Period: 19th century
Materials: Iron, Steel, Gold
The 'khanjar' is a type of dagger which originates in Persia and was widely adopted in most Islamic cultures. Besides its functional use, the 'khanjar' was also worn to indicate rank or social status. The more embellished, the higher the rank. Many Mughal rulers had a collection of 'khanjar' daggers with elaborately designs, precious materials such as jade, gold and gemstones.
The hilt:
Made out of two halfs welded together and lavishly decorated with gold overlay in northern style cartouches filled with tendrils and foliage. The hilt has an elegant I-shaped form and has an integrated guard protecting the fingers and holding the blade firmly in place.
Blade:
The curved double-edged blade shows a flat surface of plain steel and which is filed on the edges. The blade starts as wide as the guard and extends to a sharp tip. A wooden scabbard was attached but seems to be of a more recent production with colorful floral patterns which preserves the blade.
KUTCH BRONZE SHAMSHIR
Region: North-West India, Kutch region
Period: 19th century
Materials: Iron, Steel, Brass, Wood, Velvet
A fine ‘talwar ‘ hilted ‘shamshir ‘ from the Kutch region. The ‘shamshir ‘ is of Persian origin and is often referred to as ‘lion claw’ due to its heavy curve representing a claw. The grips vary by region and are traditionally fitted with a pistol grip hilt with horn or ivory slabs, full steel or mounted on an Indian ‘talwar ‘ hilt such as our example here.
The hilt:
A typical Kutch area 'Hakim Khani'’ talwar hilt, made of casted bronze. Decorated in elaborate chisel work depicting floral motifs, foliage and tendrils. The knuckle guard is looping into a small knob which is fully decorated as well and functions to catch the opponent’s blade. The pommel is disc shaped and features a small dome which is also decorated in the same manner. The hilts of these swords were fitted with a kind of resin of which a small residue is still seen in the transition from blade to hilt.
The blade:
Made of pattern welded steel with showing a slight contrast in its current condition. The blade has a deep curve, single edge and a slightly rounded spine running down towards the tip. The point of balance is approximately ten centimeters from the forte making it surprisingly easy to handle. The end of the forte of the blade is decorated with inlayed golden cartouche and a line of ‘Urdu ‘ calligraphy running toward the mid-section, mimicking an religious phrase or quality blade smiths mark, however many swords were inlayed to make them more interesting when being sold.
Comes with its original scabbard with 'tombak' fittings, which are made of thick gilded copper depicting chased lotus petals and foliage.
China and the Himalayas
CHINESE BRONZE STIRRUPS
Region: China
Period: Qing Dynasty (1644-1912), 18th/19th century
Materials: Iron, Steel, Brass, Wood, Velvet
A fine pair of Chinese casted bronze stirrups with dragon heads facing out. The steps have a pierced bottom depicting a coin symbol which stands for luck and prosperity. The stirrups were similar in design from roughly the 16th till early 20th century, but this pair can be dated late 18th to early 19th century due to the fine natural patination and elegant ware.
BANNERMAN ‘HANJUN’ SABER
Region: South China
Period: Qing Dynasty (1644-1912), Mid 19th century
The Chinese Bannerman were a special branch within the regular Qing military and were equipped with the task to protect and forward the military banners during battles. The so called ‘Hànjūn (漢軍)’were able to operate in rougher terrains and able to conquer fortifications and siege enemy fortresses. They were divided in eight separate banner colors of which it is uncertain to which banner this saber belonged.
This saber is a typical example of a South-Chinese Bannerman saber, but it is quite short and slender compared to the regular examples. It features a plain slender blade without the usually seen chiseled ‘tonkou’ and fullers. It is unmarked but shows good craftsmanship and a layered forging construction and harder carbon steel cutting edge. The spine is thick and ends in a
The ‘Sai’ truncheon appears in East Asia, including China, Okinawa and Indonesia. While the Japanese term for ‘Sai’means ‘hairpin’ , the Chinese word for hairpin is ‘chāi’ (釵) or sometimes referred to as: ‘鐵尺’ which stands for ‘iron ruler’. In Indonesia, a wide variety of terms is used including ‘tekpi’ and ‘chabang’ .
The ‘Sai’ is a trident inspired weapon created for constabulary forces to disarm and control and later on preferred among martial arts practitioners. They come in several varieties, the regular trident shape with two bars pointing forward functioning as guard. The other, like this example, is generally referred to as the ‘manji sai’ which points to the swastika symbolism integrated in the guard. One bar pointing forward, the other pointing backwards which at the same time functions as a knuckle bow. The cross section of the rods are often segmented, octagonal or round and both bronze as iron was used.
This example:
An interesting example with typical features like a fork-shaped guard and segmented rod, which ends up in a blunted spear tip which is riveted to the octagonal pommel and surrounded with ribbed horn handle to provide excellent grip. The horn grip was accompanied by two brass ferules on both ends.
'Chai' like these can be confidently dated around the mid to late 19th century.
TIBETAN TRAVEL CHEST
Period: 17th century
Materials: Iron, Silver, Yak leather, Lacquer
Portable furniture was commonly used in Tibet by nomads and merchants since the use of the Silk Route. many chests were made of yak-leather and decorated with colorful lacquer in Tibetan taste. Chests like these were used to keep valuable belongings while traveling through the rough Tibetan steppe.
This example:
A fine example which dates from the 17th century. The sloped casket consists of hard yak-leather, covered in red lacquer and decorated with a thick chiseled and embossed silver boss depicting a phoenix surrounded by scrollwork and tendrils. The sides are clammed with iron corner profiles and the top is confirmed with iron hinges.
Genuine antique examples dating from the 17th and 18th century hardly enter the art market since many have, despite their thick leather, vanished throughout the years, especially in the rough Tibetan climate.
TIBETAN BRIDLE AND CRUPPER
Region: Tibet or West-China
Period: 19th century
Materials: Copper, Gold, Iron, Fabric Tibetan and Himalayan equestrian equipment truly stands out in its aesthetic design. A combination of the same materials was used from the early 1500's until the mid 20th century and their techniques hardly changed within this long amount of time. The main techniques are gold damascened ironwork and fire gilded copper, of which the latter seems the manner of manufacture of our bridle and crupper set.
The Tibetan style, mostly originating from Derge was populair for centuries, included in China where similar horse equipment was made for the local and Tibetan market. High quality saddles, stirrups and bridles were gifted and presented among nobilities and dignitaries to implicate rank and social status.
The bridle and bit: Provides the mounted equestrian control over his horse by comprising the horse head. It consists of a fabric band which is decorated with cast and chiseled repoussé gilded copper mounts. The mounts depict dragons chasing a flaming pearl, a populair design which shows a deeper Bhudist auspicious symbolism. The iron bit is called 'srablcags' in Tibetan and the two large bit rings are called 'srabsgor'. The mounts are 'T' and 'L' shaped and feature 'ruyi' shaped finials.
The Crupper:
A part of horse mounting which is essential to prevent the saddle from sliding off. The crupper comprises the horses tail and is strapped on its back, behind the saddle. It consists of four fabric bands, formed into an 'X' shape and decorated with the same style fittings as on the bridle. The mid section of the crupper has a domed finial on which four straps are attached, also made of gilded repoussé copper depicting a fearsome dragon.
A rather rare piece of Tibetan style equestrian art from the 19th century, depicting auspicious symbols indicating luck, prosperity and good fortune.
TIBETAN PIERCED BELT
Region: Derge, Tibet
Period: 19th century
Materials: Iron, Leather
Tibetan and Himalayan warrior equipment truly stands out in its aesthetic design. A combination of the same materials was used from the early 1500’s until the mid-20th century and their techniques hardly changed within this long amount of time. The main techniques are gold damascened ironwork and fire gilded copper with lavishly chiseled designs.
The Tibetan style, mostly originating from Derge was popular for centuries, included in China where similar craftsmanship was made for the local and Tibetan market.
Our sword belt is made of leather with fine chiseled steel fittings and pivoted D-rings to attach sword, flint pouch and knife. The decoration shows a false interloping design of scrolls with segmented borders and the buckle shows a fine rolling cloud pattern.
CHINESE ‘HUDIEDAO’ KNIVES
Region: China
Period: (Qing Dynasty 1644-1912) 19th century
Materials: Steen, Brass, Horn, Pigskin
The 'hudiedao' , commonly know as butterfly knives have their origin in China, besides military use, the 'hudiedao' was widely adopted among martial arts artists and many example were used by river pirates and even gangsters in the United States. The 'hudiedao' is a pair of cutting knives with brass of copper d-shaped guards and is seen in two versions. The thin blades examples with straight back edge and tapering cutting edge and the wide blades examples, also with a straight spine and less tapering cutting edge which usually rounds near the tip.
As mentioned besides the military, a large number of militias were also equipped with the ‘hudiedao ‘ or so called ‘eight cuttingknives‘. The knives were also highly appreciated by martial arts practitioners, who preferred the wide bladed types, due to their capability of handling and practice skills.
The hilts:
Made of brass with a D-shaped guard which has been riveted to the brass pommel cap and covering the forte of the blade with a small chiseled guard. The grips are made of buffalo horn slabs which have carved ribbed midsection to provide a firm grip.
The blades:
Very functional, thick and razor sharp. Both blades have straight spines which narrow down towards the tip. The cutting edge tapers from the spine and is extremely sharp and slightly curved towards the tip. One blade has a minor deviation which could have been arose by use.
The pair comes with its original pig-skin leather scabbard.
Indonesia
LOMBOK
‘BIMA KRODA’ KERIS
Region: Lombok, Indonesia
Period: 19th century
Materials: Iron, Brass, Glass, Pelet Tulak wood
The keris is one of the most iconic weapons of the Indonesian archipel. Besides hundreds of years of heritage, it is also known in Indonesian religion to posses mythical powers. The keris from the modern period (1300-1600A.D.) are also an important symbol of status for the owner.
Not every keris was suitable for every man. The ‘Empu ’ (bladesmith) forges the blade to identify its future owner. Aspects such as leadership, wealth, luck or capability of consorting with bad spirits are a few of the numerous types.
This example:
A rather special specimen accompanied in a very suitable 'pelettulak' dress. The hilt is called ‘cecekahan’ which means ‘uneven notches’ and is made of 'pelettulak' wood.
The use of 'pelet' wood was practiced mostly on Java, Bali and Lombok and is a type of wood which was infested by a fungus making a wonderful pattern which was considered sacred and therefor highly demanded. While the use of wood could be interpreted cheaper then lavishly decorated keris, the cost of a good piece of 'pelet' wood was even more expensive then ivory. The hilt has a gild brass ferrule called 'wewer' with inserted glass mimicking gemstones. The blade shows a rare dapur consisting of twenty three luk. The wild pamor decor which has been traditionally washed shows a fine contrast of folded iron with inserted nickel.
An interesting feature is that the 'pelet' grain on the 'gandar' shows striking similarities with the pamor on the blade. The backside of the scabbard is polychromed.
