Arms Cavalcade 2015 Edition

JUNE 2015 ISSN 1325-779X

Contents

The Ensigns Pistol . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Carved Powder Horns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Bayonets Oddeties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Corporal Tossey Andrews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Tranter Army Revolver & Webley Look Alike . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Early Duelling Pistols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Keris Hilts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Contributors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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EDITOR’S NOTE The 2015 edition is here, by mail, although we are investigating digital alternatives. The Society covers a wide range of interests and contributions are always welcome. Contact the editor if you have an article to publish, or need help with an article.

We collect because we are interested, and hope to make a reasonable investment. On the stock market industrial stocks are now being priced at levels just prior to the GFC, despite facing a number of known economic headwinds – falling mining investment, declining terms of trade and the prospect of higher unemployment.

As collectors we look for opportunities for pieces in good condition, with provenance or historical connection. Prices at the Melbourne auction conducted by Australian Arms Auction and at Gun Shows indicate demand for interesting pieces. But have colonial marked items bounced back, and what of the tired pieces that need attention?

With the internet we have access to information, dealers, auctions and other collectors on a world wide basis Visit our website at: www.antiquearmssociety.org.au

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OFFICE BEARERS

REGISTERED OFFICE

COMMITTEE

PHOTOGRAPHY

Chairman Harvey Facer Deputy Chairman George Psychas Secretary Terry Hartmann Treasurer Ron Cook

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

Paul Duffy Mitch Frost Bill Newbold Dominic Hassett Peter Cameron Gary Locke Ken Buxton Martin Sweeney

Ivan Fitz-Gerald

EDITORS Paul Duffy Bill Taylor

DESIGN Scribbly Bark Design © No part of this magazine may be reproduced by any process without written permission from the editor or authors.

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The Ensig

BY BILL TAYLOR

my first consideration had been its quality, closely followed by its condition

O

ur antique arms association asks its members to bring an item to its monthly meetings in accordance with a theme for that month, and to be prepared to talk about it.

Having selected a suitable piece for a recent meeting, I was prompted to think about why I liked it enough to buy it in the first place, and why I still derived pleasure from it many years later. Why did it ‘work’ for me?

I realized that there were several factors at work: the quality and condition of the item; its fitness for purpose; and its historical context.

My talking piece was a cased double barreled travelling pistol made by James Wilkinson and Son of London in the late 1830s. Wilkinson, London is engraved on the top plate of the box lock.

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gn’s Pistol

Quality and condition In deciding to buy the pistol, my first consideration had been its quality, closely followed by its condition.

You can have one without the other but my preference is for them to be present in roughly equal proportions. For example, if an antique is like new but is a poorly made thing of no quality it is of no interest to me – fine condition alone is not enough. Similarly, if a fine quality item has been so badly handled by time that it is no more than a bedraggled example of its type, I would rather not have it. (These are my personal preferences – other collectors

may value rarity or technical ingenuity well above an item’s quality or condition, or be very happy with a rusted relic found on a gold field or famous battle site).

The Wilkinson pistol has quality in abundance. It is a well made percussion pistol with good scroll engraving, a finely chequered walnut butt, and it is cased in mahogany with all its original fittings. In the sharp finish of its components, in the beautifully fitted meeting points of timber and steel, and in the crisp operation of its mechanism it is an example of London gun making by hand craftsmen at their high point.

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The Ensigns Pistol

This pistol is a compact and formidable weapon Fortunately its condition is also good. It has been used but well maintained. Traces of original finish remain and combined with expert rebrowning of the barrels, make it an attractive example of its type.

Fitness for purpose Another collecting criterion is whether I would have bought the item back at the time it was made. This is relevant to me because despite the fact that some pieces survive in fine condition, they don’t have a clear fitness for purpose. They might feel clumsy, unbalanced, too large

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or too small. A piece needs persuade me that it would work reliably, would fit my hand, would perform at least as well as its contemporary alternatives, and would be easily maintained.

This pistol is a compact and formidable weapon.

Its overall length is 11 inches/28 cms, its barrels are 6 inches/14.8 cms. The barrels are .53� calibre, with London proofs, a bead foresight and plain rear sight.

Its weight is designed to enable controlled shooting with loads powerful enough to stop an assailant instantly; it is fitted with a strong belt hook for field use; its ramrod

is captive so it cannot be dropped and lost in the heat of battle; its butt cap contains a trap for two spare balls; and it has half cock safety catches so it can be carried loaded.

Its weight is designed to enable controlled shooting Like all good quality English pistols of that era, it is supplied in a fine case with a full set of accessories. In keeping with its purpose as a travelling pistol that might be needed at short notice, it is fitted upside down in its mahogany case so that it can be withdrawn quickly by the right hand, ready to fire.

It passed my fitness for purpose test with ease.

I would have chosen it in 1839 without hesitation.

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The Ensigns Pistol

Historical context Another collecting criterion is whether the item helps me to understand the history and people of the time.

Knowing the identity of the original owner is an excellent start, but in cases where I have nothing to identify him, an item may still have a fascinating historical background.

In this case the historical context is rich, for the pistol has not only a fine pedigree but also an interesting owner.

The Wilkinson firm of gun makers and sword cutlers had its origins in the early nineteenth century The Wilkinson firm of gun makers and sword cutlers had its origins in the early nineteenth century. James Wilkinson married the daughter of famous gun maker Henry Nock and subsequently took over the premises of his London firm when Henry died in 1805. James’ son Henry took over in 1825: in 1891 the firm became the Wilkinson Sword Company, as it is still known today.

We are fortunate that the name of the pistol’s original owner is engraved on the escutcheon of the pistol case, and can be researched through the British Army Lists.

Thomas Snow almost certainly purchased this pistol when he went to India to join the Bengal Cavalry as an Ensign in 1839. The Army Lists tell us that Thomas Rochford Snow was promoted to Lieutenant in 1842, Captain in 1854, Major in 1862, Lt Colonel in 1863, and Colonel in 1875. He was transferred to the Supernumerary List in 1881. He was a serving officer during a most turbulent time in India, including the Mutiny in 1857.

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A final historical note – just over twelve years after this pistol was made, English Army officers could acquire the greatly increased firepower of the newly developed Adams and Colt revolvers. Both types of revolver were rapidly taken up, with the battle for market supremacy being eventually won (at least in England) by the Adams.

a significant step forward in the technology of firearms It was a significant step forward in the technology of firearms, taken considerably further in the late 1860s by the introduction of metallic cartridges.

These technological advances were a good thing for my Wilkinson double pistol: becoming obsolete in less than two decades was undoubtedly a factor in its survival today in fine condition.

References 1. British Gunmakers, Their Trade Cards, Cases and Equipment1760-1860, W. Keith Neal and D.H.L Back, 1980 2. Gunmakers of London 1350-1850, Howard L. Blackmore, 1986 and supplement 1999.

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Carved Powder Horns

BY TONY WOOD

P

owder horns or flasks of any sort long preceded those of metal made in the 19th century. The horn may have come from cattle or game animals (such as goat and deer on the Continent). Makers on the Continent appear to have been proficient in turning out lanthorn horn flasks: examples of French and Austrian artistry are appreciated for the pressed and engraved work on this material.

Powder horns are more fragile than metal flasks Powder horns are more fragile than metal flasks, and as a consequence their rate of damage means many are lost to collectors.

There is a beauty and charm to be found in this material and in the craftsmanship or artistic quality of well carved powder horns, 010

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especially when a story can be read from the carving and decoration.

The illustrated flasks are not military horns made in a quantity for a company or regiment. These are unique and artistically finished horns made to be used as powder flasks, but then intricately decorated with motifs and words linking them to New Zealand and Australia.

The first horn is quite long (56cm/22in) with at the narrow end, a wooden stopper carved as a clenched fist. The rest of the narrow end is faceted and carved with several bands. At the large end there is a fine engraving of an unofficial Australian coat of arms, flanked by an emu and a kangaroo above the motto “Advance Australia�.

There is a beauty and charm to be found in this material ARMS CAVALCADE 2015

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Carved Powder Horns

The crest seems to be a sun over an anchor, a ship, a sheaf of wheat and a sheep

The crest seems to be a sun over an anchor, a ship, a sheaf of wheat and a sheep. The standard of engraving is quite good.

The second flask shows images from New Zealand, and is 46cm/18in long. This flask has a silver topped stopper and an end plate engraved with flowers. The body is engraved with a Maori woman above a group of dancing Maoris. The end plate is engraved, “Souvenir from New Zealand Mrs Alfred Priestley from her friend Stephen Hutchison 1867”

Souvenir from New Zealand Mrs Alfred Priestley from her friend Stephen Hutchison 1867 There are two brass carrying rings. The engraving is very well done, and reflects the Maori style of tattooing. The extent of coverage of the horn is impressive, as is the engraving on the silver end plate, which is well attached.

I don’t know who Mrs Alfred Priestly was but there is a record of Stephen Hutchison Esq in the Otago Daily Times on 14th March 1867 being proposed by 3 electors to represent the Peninsular District in the approaching election for the Provincial Council, in the electoral district of Wakatipu.

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From this I assume that Stephen Hutchison was an important and successful man: a man who could afford to have this splendid flask engraved for Mrs Priestly.

The third flask is smaller: 36cm/14in in length. The stopper is lost. It is carved with three bands, two chequered, and the body is engraved with Britannia above the Royal Arms, rose, shamrock and thistle and a three masted ship, an aboriginal carrying spears, a snake, a bandicoot, an emu and kangaroo flanking the words ADVANCE AUSTRALIA and the poem;

The brave sons of Erin the shamrock praise The thistle let Scotia record her lays But the horn of Australia when full to the brim Tho’ humble my verse its praises I’ll sing

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Carved Powder Horns

plug, or a chipped or split spout should never prevent a collector from acquiring a choice example.

The horn is a by-product of the cow, oxen and steer industry that slaughtered animals for their meat and hides and packed those for shipment.

No period documents describe the method used to prepare horns to serve as powder containers. However in an article in the 1931 edition of The New York Historical Society Quarterly Bulletin (V.XV. No1) Mr Rufus A Grider wrote;

A cured horn possessed all the requisites for carrying gunpowder by the soldier in wartime.

There is a wooden end plate. The quality of the engraving is not as fine as the others, but the work covers the horn.

In the past, curators and collectors who thought that powder horns were supposed to be bone white scrubbed a great many examples and even used caustics and abrasives. The result was irreversible damage, for not only were the inherent colour and original artificial pigments removed, but the structural integrity of the proteins of which horns are composed was attacked.

A horn’s plug and the pins that secure it, the engraving of the body, and all incidental cracks and crevices should be consistent and free of accumulations of recent pigment.

Condition is important but I believe that minor surface problems, the loss of a 014

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“A cured horn possessed all the requisites for carrying gunpowder by the soldier in wartime.

It was easily obtained, light in weight, quickly prepared and very strong. It neither moulded nor decayed, even if buried in the earth. When carefully fitted, the powder kept dry even if the horn were carried in the rain for days. A horn could also be floated on

water without harm to the powder within, which was of great importance when an army had to ford streams. When a horn was fresh, the pith inside was removed by soaking or boiling it in water; then it was scraped, cleaned and fitted with a wooden end. The point was shortened by being sawed off, and was then bored to effect an opening. Next came polishing and engraving.

Crude engraving could be done with a pocket knife, but that method fractured the surface and the lines.

Some horns were neatly marked by pricking the surface with a needle, but the best work was done by means of a graver (or burin), the decoration being first outlined with a lead pencil.

All those (horns) made by professionals

were given a bath in some yellow or orange dye which imparted an amber colour. To show the engravings, the surface was rubbed with wet or dry brown colour which filled the lines made by the graver. When that was dusted and cleaned, the process ended by a polish with emery and oil.

Sometimes vermillion was used in giving prominent features, (such) as forts, roofs of buildings, etc. The yellow dye used was enduring; water and soap had no effect upon it and it could only be removed by scraping. What was used to produce such a lasting dye could not be ascertained; some thought it was due to boiling in water with copperas or butternut rind, but experiments did not reveal the process, hence it will have to be classed among the lost arts.”

Literature

1. The Powder Flask Book by Ray Riling 2. Drums A’Beating, Trumpets Sounding.

A catalogue of an excellent exhibition of Artistically Carved Powder Horns in the Provincial Manner 1746-1781, in America, by William H Guthman.

3. The Sumptuous Flask. A catalogue of European and American Decorated Powder Flasks of 16th – 19th century

by Herbert G Houze at the Buffalo Bill Historical Centre, Cody, Wyoming.

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Bayonet Oddities

BY RON COOK

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Nowadays it is generally accepted that all patterns or types of bayonets that were used or issued with long arms in Colonial Australia have been identified, illustrated and described in specialist bayonet reference books or articles dealing with Colonial arms and their bayonets.

However what may appear from their dimensions and appearance to be a well known, relatively common pattern bayonet for a particular long arm may in fact be for a different pattern firearm. Correct identification may be ascertained only after unsuccessfully attempting to fix the bayonet to the long arm it is assumed to belong to, then finding the one to which it actually belongs.

As an example of this situation, for many years I owned several bushed Pattern 1853 Enfield rifle socket bayonets, which I assumed were bushed to fit the .450” calibre Martini Henry rifle.

However, on attempting to ‘fix’ the bayonets on Marks I, II, and III Martini Henry rifles to my surprise they would not fully fix, although it was clear that they belonged to a .450” calibre rifle.

The reference books relating to the bushed Pattern 1853 Enfield rifle socket bayonet for the Martini Henry rifle stated that this bushing was carried out at the Royal Small Arms Factory at Enfield, and such bayonets should bear RSAF Enfield conversion marks.

Bushed Pattern 1853 socket bayonets stamped on ricasso with the capital letter “B” over a rack number

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Bushed Pattern 1853 socket bayonets

Colonial arms and their bayonets On examining these bushed Pattern 1853 Enfield socket bayonets that would not fix, I noticed there were no RSAF Enfield conversion marks. The ricasso of each blade was stamped with a “B” over a serial number.

The “B” could stand for “Birmingham” or for the Braendlin Armoury Company of Birmingham.

As I owned another bushed Pattern 1853 socket bayonet which had been one of the original 2,000 bayonets for the NSW purchased .577” calibre Pattern 1853 Enfield rifles it occurred to me that the firearm to which these bayonets belonged was most likely one that had seen service in the Colony of New South Wales.

The only other .450” calibre long arm used in New South Wales with a barrel capable of fixing a socket bayonet of this size was the .450” calibre Braendlin Cadet Carbine model of 1891. I retrieved my example from storage and tried each of these bayonets to see if they would fix. As I suspected, each fixed correctly.

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Bayonet Oddities NSW Pattern 1853 Enfield socket bayonet, probably “A” series with original marks disfigured, bushed locally

The records of the NSW Public School Cadet Corps make no reference to any of the 1,000 Braendlin Cadet Carbines being supplied with socket bayonets.

However the cadets of the Public School Cadet Corps were accustomed to handling and carrying bayonets for other carbines which comprised a substantial portion of the total arms on issue to the cadets.

The ricasso of each blade was stamped with a “B” over a serial number The three examples of the Braendlin converted bayonets known to the author are stamped as shown here: Under close examination the name “DEAKIN” also appears across the ricasso of the blades. Deakin and Sons were bayonet manuacturers who made all the socket bayonets for the Victorian and New South Wales issued General Hay’s percussion rifles.

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The possibility that these bayonets were not purchased with the 1,000 rifles acquired by the NSW Government but were supplied with rifles privately purchased by a school or college has been discounted as there are no other known Braendlin Cadet Carbines.

It is not known whether all the 1,000 Braendlin Cadet Carbines were supplied with bushed Pattern 1853 socket bayonets or whether there were a smaller number (say 100) just sufficient to arm cadet colour parties escorting the unit and Union flags on formal parades.

It is also not known whether the locally converted NSW Pattern 1853 Enfield socket bayonet was bushed to replace a lost or damaged original Braendlin converted bayonet, or to increase the total number of socket bayonets for the Braendlin carbine.

The author would like to hear from anyone who has a Braendlin Cadet Carbine socket bayonet with a number over 100.

Braendlin Armoury Co .500/.450” No. 1 carbine calibre cadet rifle with bushed Pattern 1853 socket bayonet

Braendlin Cadet Carbine action stamps: • Braendlin Armoury Co, Makers • Trade mark - crossed flags over B • 1891

For their new .450” calibre Martini Henry rifle the War Department in London adopted several different patterns of sword bayonets. Some were earlier yataghan style bayonets bushed to fit the smaller diameter Martini Henry barrel, while others were new designs such as the Pattern 1875 saw backs, the 1871 Naval Cutlass bayonets and later the Pattern 1886 Enfield Martini bayonets converted to fit the Naval issue Martini Henry rifle.

When in 1885 the New South Wales Government finally decided to rearm its Defence Forces with the Martini Henry rifle and carbine, the 14,100 Martini Henry long rifles ordered from the War Department in London for the use of the Land Forces were all to be supplied with Pattern 1876 socket bayonets. The 1200 Martini Henry Artillery Carbines were all provided with Pattern 1879 Artillery saw back bayonets.

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Bayonet Oddities

the War Department in London adopted several different patterns of sword bayonets.

the War Department in London adopted several different patterns of sword bayonets.

Knowledgeable collectors will notice that the Martini Henry rifle depicted in this article has a yataghan style sword bayonet affixed to it with a spatulate shaped cross guard quillon: they may think “That’s odd, there is no official pattern yataghan style sword bayonet for the Martini Henry rifle with a spatulate cross guard quillon.”

And they would be perfectly correct!

This bayonet is, of course, the sword bayonet for the Alexander Henry patent breech loading Artillery carbine and Short Naval Pattern rifle. Why is it affixed to a NSW Engineers issued Martini Henry rifle?

The answer is quite simple – the NSW Engineers liked the yataghan sword bayonet of their former service arm the Alexander Henry Short Naval Pattern rifle, so they had the bayonets modified to fit their new Martini Henry rifles by having armourers deepen the locking slot in the bayonet pommel and renumber the bayonets to their new

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rifles with their 5,000 series rack numbers. Because the muzzle ring diameter of the Alexander Henry bayonet is slightly larger than the diameter of the Martini Henry rifle barrel, when fixed they rattle a little.

As well as their modified Alexander Henry sword bayonets, the NSW Engineers were issued with the normal Pattern 1876 Martini Henry socket bayonets. These were also numbered to their Martini Henry rifles.

For the information of readers the NSW Military Forces allocated the block of rack numbers from 5001 onwards for the Martini rifles and bayonets of the NSW Engineers.

Mark III .450” Martini Henry rifle Class 1 manufactured

by BSA and M Co in 1885 with strengthened extractor: one of the 10,000 new or refurbished rifles with Pattern 1876 socket bayonets purchased by the NSW Government in 1885/6, a number of these rifles and their bayonets subsequently being issued to the Engineers.

The block of numbers from 6001 onwards were allocated to the Martini rifles and bayonets of the NSW Mounted Rifles.

How the NSW Engineers came to be armed with Alexander Henry patent Short Naval Pattern rifles is an interesting saga in itself. In 1872 the NSW Government had purchased from Alexander Henry in Edinburgh 100 Henry patent Artillery carbines with yataghan sword bayonets to arm the NSW Permanent or Paid Artillery.

the Martini Henry rifle depicted in this article has a yataghan style sword bayonet Four years later the decision was made to rearm all the Volunteer Artillery with the Alexander Henry Artillery carbine. An order was dispatched to the Agent General for the Colony in London to enter into a contract with Alexander Henry for the supply of 1,700 Alexander Henry rifles and carbines. These were to comprise 500 Long Infantry Rifles; 1,100 Artillery carbines; and 100 Short Naval Pattern rifles for the Naval Forces – all chambered for the Government pattern .450” calibre Martini Henry rifle cartridge.

The Agent General in London was not sure of the precise description of the Artillery Carbine and cabled Sydney for its particulars.

Braendlin Cadet Carbine butt stamps • “NSW” for NSW Government ownership • “CF” for Cadet Force • “861” for rack number 861 of 1000

Someone in the Colonial Secretary’s Department made an enquiry and appears to have been informed that the Artillery carbine was similar to a Short Naval Pattern rifle.

This erroneous information was duly cabled to the Agent General in London who, unbeknown to the Commandant of the Military Forces, then ordered 1,100 Short Naval Pattern rifles instead of 1,100 Artillery carbines.

Around the same time, the NSW Government requested Alexander Henry to send a team of skilled armourers to New South Wales together with the necessary tools and machinery to re-chamber all the earlier model .450” calibre 3¼ ” case Boxer Henry Calibre Alexander Henry patent arms in the possession of the NSW Military and Naval Forces to the Government pattern .450” calibre Martini Henry cartridge.

A few Alexander Henry rifles had been accidentally destroyed by fires in houses and other buildings. This was a relatively common occurrence in those times, with candles and oil lamps for illumination, open fires for heating amd slow combustion stoves for cooking.

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Bayonet Oddities

NSW Engineers’ Martini Henry rifle and its bayonets

All the surviving military and naval issue rifles and carbines purchased from 1871 to 1876 were converted save two – one having been sent to England as a pattern arm and the other lent to the skipper of the schooner Esperanza, which had subsequently foundered somewhere in the Pacific Ocean.

Although Alexander Henry was a manufacturing gunsmith he did not maintain a stock of his patent military arms. When orders were received from Colonial or foreign governments he would subcontract the manufacture to other British gun makers.

Comtempory newspaper reports suggest that the first Alexander Henry Rifles issued to the NSW Engineers were old long infantry rifles returned to the armoury after the re-organisation of the NSW Military Forces of late 1878.

Under this re-organisation the old volunteer rifle companies were disarmed being replaced by newly raised companies of volunteer infantry. However the issue of these old long rifles may have only been a temporary measure as there is evidence that they have later been replaced with an issue of new 1877 dated short naval pattern rifles with yataghan sword bayonets. The two naval pattern yataghan sword bayonets illustrated in this article both have factory serial numbers evidencing they were supplied with the 1200 short naval pattern rifles made in 1877 by the National Arms & Ammunition Co Ltd. During the period 1869 to 1880 the following gun makers are known to have produced his patent military arms – the Birmingham Small Arms Co., Westley Richards Arms and Ammunition Co., the Braendlin Armoury Co. and the National Arms and Ammunition Co. Ltd.

NSW Engineers’ Martini Henry rifle with yataghan sword bayonet

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A few Alexander Henry

rifles had been accidentally Alexander Henry arranged for the manufacture of the 1,700 rifles for New South Wales to be carried out by the National Arms and Ammunition Company Ltd. in 1877.

These rifles were numbered by the manufacturers 1 to 1,700 on the left hand side of the Nock’s form. As usual the bayonets were manufactured by the Weyersberg Brothers of Solingen, Germany.

On the arrival of the 1,700 arms in Sydney the Commandant was dismayed to find that instead of short, handy Artillery carbines, he had ended up with 1,100 long, heavy, Naval pattern rifles.

There was nothing he could do but advise the Officers Commanding the Artillery and Engineer Corps of the situation, and ask them if the Short Naval Pattern rifles would be acceptable for the respective branches of the Service. On being advised that they were acceptable,

destroyed by fires

Two Alexander Henry Short Naval Pattern Sword Bayonets adapted to fit Engineers’ Martini Henry rifles

Markings:

• L eft bayonet cross guard marked on one side “E 5273” and number on pommel “1576” (this last number stamped in England on the Alexander Henry rifles and their bayonets before their dispatch to NSW) • Right bayonet cross guard marked on one side “E 5150” and marked on the other “NSWG” for New South Wales Gaols, with number on pommel “387” • Bayonet scabbard frog stud on top chape numbered “E5275”

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Bayonet Oddities

Socket bayonet Pattern 1876 Markings:

• r icasso stamped “5052” indicating Engineers Martini Henry rifle number 5052 • double arrow stamp for British Government warlike stores sold to Colonial Governments, etc • “R” stamp for Repair/Refurbishment at RSAF Enfield prior to sale.

Mark III .450” Martini Henry rifle Class 1 Stock Markings:

• “ Left: British Government disposal mark for warlike stores sold to Colonial Governments or other purchasers • Right: markings cancellation stamp

• “ NSW” for New South Wales • “E” for Engineers; rack number 5022 • “97” indicating 1897 date of withdrawal from active service the Short Naval Pattern rifles and their bayonets were issued to the Volunteer Artillery, Engineers and some Infantry companies. These rifles were allocated their own distinctive alphabetical letter codes indicating that they were Army owned rifles and not Naval arms, ie AB, AC, AD, AF, AE, AG, AH, AJ, and AK followed by rack numbers starting at 1 for each batch issued.

It is not known which alphabetical codes were allocated to the NSW Engineers as the sword bayonet markings (if any) were later replaced by the new markings to their Martini Henry rifles.

After the .450” calibre Martini Henry rifles and bayonets of the NSW Engineers had been replaced with .303” calibre arms, many were transferred to the NSW Gaols for use as Prison Warders arms.

Gaol Warders could be employed as an auxiliary defence force

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The NSW Gaols and Public Works Prisons had in fact Some years ago the Department of Corrective Services been armed with early model Martini Henry Cavalry decided to dispose of all the obsolete arms held in prison and Garrison Artillery carbines years before any Martini armouries. A few examples of each type were donated Henry arms were in possession of the NSW Defence to museums and to the ABC Television Studios property Forces. Surprisingly the Gaols continued to receive issues department, and the remaining obsolete arms were sold to of new Martini Henry Artillery carbines from the Military registered firearms dealers, from whom they were quickly Forces in the mid 1880’s and 1890’s. snapped up by local collectors. Since then the ABC Although not supported by documentary evidence it Television studios have themselves sold some of these ex is possible that these Artillery carbines and their sword NSW Gaols arms. bayonets were provided to the Gaols so that in the At a recent monthly Sydney antique fair, I saw another event of an attack on Sydney or other coastal ports by a ex NSW Engineers Alexander Henry Short Naval pattern hostile power the Gaol Warders could be employed as an yataghan bayonet with a NSW Engineers Martini Henry auxiliary defence force. rifle rack number marking.

One of the author’s ex NSW Engineers Alexander Henry yataghan sword bayonets is stamped unevenly along the cross guard with the letters “NSWG”. On NSW Cavalry swords this marking stands for NSW Government.

However in this particular case “NSWG” undoubtedly stands for NSW Gaols.

References 1. B ritish and Commonwealth Bayonets, Ian Skennerton and Robert Richardson.

2. N SW Parliamentary Printed Papers and Reports, including Annual Reports of the NSW Public School Cadet Corps.

3. G eneral Orders of the NSW Military Forces.

4. C opies of correspondence from the NSW Department of Corrective Services relating to the disposal of obsolete arms.

Corporal Andrews 4th Australian Brigade Light Weight Boxing Champion 1917

BY PETER DAHDAH

T

ossey Andrews was from Cobar, in Western NSW, a labourer who at the age of 22 on 5th January 1916 joined the Australian Commonwealth Military Forces in Sydney. He joined the 13th Battalion, 18th Reinforcement. On 3rd May 1916 the 13th Battalion embarked from Sydney on board HMAT A46 Maigillivray.

the 4th Brigade was transferred temporarily to the 2nd Australian Division The unit disembarked at Alexandria months later. By this time Gallipoli had been evacuated, and the Anzac forces were based at camps around Egypt, mainly at Serapeum. The reinforcements from Sydney joined the 13th Battalion.

On the evening of 31st May 1916 the 13th Battalion entrained at Serapeum for Alexandria, embarking the next day on the Transylvania for Marseilles. They had finished with Egypt and were pleased to be proceeding to France where something “was doing�.

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Tossey

After an enjoyable and uneventful voyage the 13th reached Marseille, where they were trained northwards. They were issued with steel helmets, and moved to Erquinghem, and the south-west outskirts of Armentieres preparatory to taking over the Line south of Bois Grenier. Here the 4th Brigade was transferred temporarily to the 2nd Australian Division.

They commenced training as raiding parties, the trenches for training being a model of those they would probably have to attack. By midnight on 28th June the 13th were in possession of the Australian first Battalion area on the Western Front.

They were relieved on 11th July 1917 and entrained for the Somme. Their nursery training was over. It had been severe mainly owing to their own activity, but it had given them confidence that they could more than hold their own in the war in France.

4th Brigade, suffered heavy losses at Bullecourt in April when they attacked strong German positions From then until 1918 the 13th took part in bloody trench warfare. Their first major action was at Pozieres in France in August 1916. The 13th Battalion along with most of the 4th Brigade, suffered heavy losses at Bullecourt in April when they attacked strong German positions without the promised tank support. The battalion spent much of the remainder of 1917 in Belgium advancing to the Hindenburg Line.

In March and April 1918, they helped to stop the Germans spring offensive, and played a strong role in the great allied offensive of 1918, fighting near Amiens.

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Corporal Tossey Andrews

And now the tale of Cpl Tossey Andrews, the Light Weight Boxing Champion in the 4th Australian Infantry Brigade. Tossey was promoted to corporal from 1st January 1917, some months after arriving in France.

Tossey was 5’ 8”, a tough labourer from Cobar Tossey was 5’ 8”, a tough labourer from Cobar. His father was Greek, his mother Lebanese and they came to Australia in the 1870s. News of gold and a new world had attracted the family to Australia, where they followed the work. They adopted the name Andrews as their Lebanese names were too difficult for the officials.

They travelled to Lithgow, where work was available and on to Cobar 712 ks north west of Sydney where there were also copper mines and pastoral properties, and jobs.

This is where Tossey was born.

In The Fighting Thirteenth, the History of the Thirteenth Battalion, T.A. White the author refers to the sports events conducted to keep the men “out of trouble”, when they were away from the front.

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ACKNOWLEDGEMENT My thanks to the Lithgow Small arms Factory Museum for the photos of the 1915 Lithgow SMLE MK111

In Egypt, after Gallipoli: On the 17th we held St Patricks Sports, and on the 23rd, Brigade Sports, the 13th at the latter winning the Drill Competition, Tug of War, Bombing Teams Race, and Officers Flag Race, Twynans fine horsemanship being responsible for the last named.

Anzac Day 1916 was celebrated by a Memorial Service and a Brigade Sports Meeting. On 29th we polled for the Federal Elections.

The Brigade Boxing Tournament on the 29th was honoured by the presence of many distinguished visitors.

This was before Tossey arrived in Egypt.

But on 1st September 1917, T.A. White writes, we rested at Verte Rue in Nieppe Forest and had a general personal clean-up.

This was after the actions in Messines, Ploegstreet and Gapaard, where the fighting was fierce and the losses heavy.

T.A. White relates an interesting tale of the 13th who for three full months, without a fortnights comparative rest, had been in the Line. They were war weary. Smartness in appearance generally “slipped” in the line.

“We were straggling very wearily back when we passed a billet containing spick and span English officers just fresh from their Officers School, and soon to go into the line for their first time. A curious Lieutenant, was astonished at the mud on all from head to foot, and put his head in through the mess window and said: “I say, Skipper, look at those fellows!” “What are they?” meaning

when one replied in a voice full of weariness, and sarcasm; “Soldiers” “What regiment are they?” queried the inside officer. The “Loot”, to answer the question, came out onto the road, asking:- “I say, you fellows, what are you?” also meaning “What regiment?” The weary men hardly noticed him until he repeated the question, “What are you?” when one replied in a voice full of weariness, and sarcasm .....

“Soldiers”

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Corporal Tossey Andrews

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Again back to the boxing. I know about Tossey’s victory because I have the silver cup awarded to:

5650 Cpl T. ANDREWS His cup is inscribed 4th AUS INF BRIGADE LIGHT WEIGHT CHAMPIONSHIP FRANCE AUGUST 1917 WON BY 5650 CPL T. ANDREWS 8

This win is recorded by T.A. White in his official history, although T.A. White mentions that “A delightful fortnight passed all too quickly. Swimming in a pretty streamlet daily, Brigade Pierrots – the Blue Dandies – each evening, finalising the cricket competition and a boxing tournament, made a splendid musketry and Lewis Gun course arranged by Murray seem nothing.

The 13th won both Cricket and Boxing Cups, the latter owing mainly to the splendid fighting of Fritz Theiring (middleweight) and Tossey Andrews (lightweight).

The 13th won both Cricket and Boxing Cups

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I mention these dates, and the August 1917 date on the cup as the war record shows that the 13th was in the trenches for most of August. They were relieved on August 29th.

I can understand that the cups were acquired in advance, but the engraving should not have been completed until after the fights, which I assume took place in September 1917. But this is a minor quirk. The cup is 13 cm high. Not big, but most impressive as you will see from the illustrations.

Thank goodness the sports events took place in early September, as Tossey’s record shows that he was then sent to hospital “sick” for two months. He re joined the battalion on 29 November 1917. On 27 March 1918 he was accidently wounded, and sent to England for convalescence. These incidents are important because with the cup are several period photos of Tossey, right hand bandaged, with other wounded soldiers. I presume they were taken while he was convalescing in England.

Tossey returned to Australia on 15th September 1918.

After his return, and with war ending, Tossey stayed around Sydney, as the family had real estate investments near Darlinghurst. The war had taken a lasting physical and psychological toll. Tossey had lost the index finger on his right hand, and he was not in good health. He didn’t marry although he rejoined the army for WW2, and as a sergeant he served with the home forces. He died in the mid 1950s.

I am proud of Tossey Andrews, he was my great uncle, and that’s why I have the silver cup. Another family member had his medals, until they were stolen in recent years in Sydney.

(If any member comes across a 1914-15 Star, a British War Medal 1914-20 or a Victory Medal inscribed to Cpl T Andrews, please contact me).

LIST of PHOTOS 1. Andrews family, about 1900 when Tossey was 6 or 7.

2. Tossey (on the right) recuperating in England with a friend and a dog.

3. Another larger group of recuperating soldiers, with Tossey sitting in front, bandaged in his slouch hat.

4. Tossey in the 40’s, off to a nightclub 5. The cups won by the 13th Battalion, including the Light Weight Boxing Championship won by Cpl T Andrews.

6. A group of recuperating soldiers around a Royal Flying Corps plane that took them up for joy rides.

7. A pair of WW1 German army issue binoculars stamped E Leitz Wetzlar-Feruglas 80.

Tossey bought them back from the war.

8. Tossey as a Sergent, circa WW11

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Tranter 18 Army Revolver Webley & Look Alike

BY GEOFF POGSON

T

his Tranter would be a great addition to any collector’s display. It is one of the earliest and least available of all the Tranter cartridge revolver designs.

Chambered for the .442 rim fire round, the same model also appeared in .442 centre fire chambering, probably in greater numbers. It is a very heavy revolver, with a heavy spring load to both the single and double action functions. It is a soldier’s arm: some were used in military service in Africa and Afghanistan, together with Tranter’s other Army Models of 1868 and 1878, when the John Adams revolver suppliers couldn’t meet demands of the sudden campaigns.

Recently, I was lucky enough to be offered a chance to buy this pistol The later models of 1868 and 1878 were simplified and improved compared to this 1863 example, which is

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characterised by its unusual compound type extractor.

The extractor acts upon the rim of the case-mouth rather than the base of the case when clearing a fired chamber.

It seems that the construction of the early cases made it likely that too much pressure on their bases would likely cause them to collapse under the power of the compound extractor.

Recently, I was lucky enough to be offered a chance to buy this pistol. Never having had the good fortune to own one before, how could I refuse! There were a few minor problems both with the pistol and with my finances, but I managed to come to an agreement on terms which solved the solvency snag: the mechanical problems had to wait till the prize was mine, which like all things, came to pass in due course.

In its one hundred and forty odd years existence the Tranter has not fared too badly. The left side loss of finish indicates many years lying in one place: in a case perhaps.

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This Tranter would be a great addition to any collestor’s display

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Tranter 1863 Army Revolver

Like all the 1863 model Tranter revolvers this pistol has a removable side-plate The shiny dark blue evident in abundance on the right hand side of the barrel is replaced by brown patina on the left hand side, which to me adds character and interest. At least it has not rusted.

When I received it the main hitch was a problem with the cocking of the hammer in single action. It just could not be cocked though the double action seemed to work OK. There were a couple of manmade faults to be solved as well, so I began by dismantling the pistol prior to a thorough cleaning and oiling.

Like all the 1863 model Tranter revolvers this pistol has a removable side-plate, which once separated, permits inspection of the action making diagnosis a lot easier. In this case the problem of a broken link twixt hammer and mainspring, though suggested by logic, was confirmed by inspection. Disassembly was made tricky by the fully opened mainspring, but after some careful jiggling I was able to retrieve both spring and link, followed by the complete stripping to clean and lubricate the pistol. I made a new link, copying the remains of the old one and used it when I had reassembled after cleaning and oiling.

The Tranter and Adams percussion revolvers were made with a flat ended arbor pin to facilitate the removal of their cylinders. The model 1863 uses a similar design for its arbor pin. This set-up works well when the arm is properly maintained, but both brands suffer from the same problem when due care is not

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given - the arbor becomes stuck and needs persuasion to be withdrawn. With patience this can be achieved without damage, but quite often a hammer or similar was resorted to, causing the flat head to be broken or disfigured. This example had been chewed up a bit.

The arbor has a thicker section of the pin which stays outside the frame when in position in the arm, so I turned it down a half inch or so in length and ran a thread onto the reduced diameter. After making a flat headed section on a half inch shank with an internal thread, I was able to screw the new end onto the original pin and, with some fitting and a bit of blue, make it good again.

The loading gate was the only other anomaly: it would not completely close and kept falling down. Inspection showed that there was a very small screw, (8BA) which had been partly removed and then half the screw head had broken off at the screwdriver slot. The finished screw head had been filed flush with the curving surface of the gate itself, and having been turned one quarter of a turn, there was now a section of it protruding so the gate would not close and latch. It seemed as though the screw had

been disturbed in an effort to clean the latch spring which was full of dirt and rust, which stopped the latch working properly. I drilled out the tiny screw, removed and cleaned the latch and spring and cavity, renewed the spring (which was rusty) and then reassembled it. It was a great feeling to have the old arm back in business again.

The loading gate was the only other anomaly: it would not completely close and kept falling down When I first saw the photograph of this 1863 Army revolver, I mentally compared it with a similar pistol which I obtained a few years ago. Though somewhat lighter in weight, and also chambered for calibre .442 it is a double action, centre fire arm. It is inscribed on the top of the barrel with the name G H Daw, 57 Threadneedle Street London. The five chambered cylinder has English proof marks on every chamber, and the lower barrel flat bears two more.

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A Webely Look Alike

Though George Daw played an important role in gun and ammunition design and was an active retailer, I have not been able to find very many examples which were actually credited to him as the maker, though I will be happy to hear of any known to any reader. I have not located any other markings on the pistol to indicate another maker, but at first glance it has the lines of a Webley. A more detailed study picks out features which I have only seen on other Webleys and on the occasional Adams revolvers:

George Daw played an important role in gun and ammunition design

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1. just below the lower front of the cylinder, there is a very small screw in the frame, which secures and positions a friction spring which bears on the lower edge of the cylinder, acting as a brake. Webley used the same idea in some of the early solid frame revolvers.

2. Similarly the plain, unfluted cylinder has raised cylinder stop projections on the rear edge.

3. As with the Tranter Army, the eight side barrel of this pistol is screwed into the frame which bears a close resemblance to the former frame shape.

4. Both Webley and Tranter used the backward opening loading gate present on the Daw pistol 5. Both makers used wooden scales for grips secured by a screw attached butt plate, which has small up facing projections which extend into the bottom face of the plate, also used on the Daw marked arm.

It is a well-made and finished revolver which could have been made by any good maker of the time, and looks to be from about the 1870’s.

In researching both of the my Tranter books and my pair of Webley books I found photographs and detailed drawings of similar pistols, but in the end it was in one of the Webley books that I found the perfect match, having all the features mentioned in the preceding passage: the same cylinder stops, the friction spring, the gate and external gate spring, and grip plates and butt cap. So I have to think this George Daw revolver was made by Webley.

References 1. The Firearms of William Tranter, Ron Stewart 2. The Webley Story, W C Dowell 3. Webley Revolvers G Bruce and E Reinhart

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Early Due

BY BILL TAYLOR

F

or centuries in England a formal duel between gentlemen was an accepted element of social structure, albeit illegal.

Society generally endorsed duelling, provided that the parties adhered to a strict code intended to ensure fair play.

Even minor disagreements or slights were regarded as sufficient grounds for a duel. There was considerable social pressure to accept a challenge: and even though the grounds of the challenge might be trivial, a gentleman who declined to duel would often be regarded by society as a coward.

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Before the development of suitable firearms gentlemen needed to be proficient with the sword. For those who might be called out by a challenger, ability to fight with a sword was literally a matter of life and death. Skilled swordsmen inclined to social bullying could behave outrageously knowing that only another fine swordsman would dare challenge them.

Swords were favoured by duellists well into the middle of the eighteenth century, perhaps because firearms were not trusted until then to perform reliably.

However firearms development changed that perception,

elling Pistols a formal duel between gentlemen was an accepted element of social structure

and by the end of the 1760s in England the first transitional duelling pistols were being made. By 1770 a true duelling pistol style had emerged, typified by the pistols illustrated here.

These early duelling pistols were made around 1775

by Bateman of London, and are notable for their unusual lightness and elegance. London duelling pistols were made to fit the hand of the customer, which indicates that these unusually slender pistols were made for someone of small stature.

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Early Duelling Pistols

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The walnut stocks have finely carved scallop decoration behind the barrel tangs. This is one of several indicators of their 1770s manufacture, as such decoration was generally discarded within a decade.

The walnut stocks have finely carved scallop decoration behind the barrel tangs The octagonal barrels and flat sided butts are typical of the style innovations of early duellers, as are the engraved side-nail cups replacing the full side plates seen on holster pistols. The barrels in these pistols were originally pinned to the stocks, but during their working life the pins were replaced by a single barrel slide which enabled easier dismounting of the barrel for cleaning.

The 10” long octagonal smoothbore barrels of .515” calibre bear the name Bateman London in flowing script.

They have London Gunmakers’ Company proofmarks and the barrel maker’s stamp HV for Hugh Verncomb.

There are silver foresights but no rear sights, the firer being expected to take aim and fire rapidly, like a shotgun shooter. Duelling pistols with heavier barrels and fine adjustable sights more suited to deliberate target shooting were not introduced until well after this pair was made.

A feature of early duellers was the fitting of roller bearings to the frizzen springs or to the heel of the frizzen to speed lock times. The large roller bearings on these pistols are usually seen only on very early pairs.

Other innovations of the 1770s included set triggers and half cock safeties, which were almost universal by 1785. However early duellers did not always have them – these do not.

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Early Duelling Pistols

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The iron trigger guards have the acorn finial seen on English flintlock arms between 1765 and 1785. The acorn was subsequently replaced by the pineapple finial design that was so popular that it was still seen on shotguns a century later.

The mahogany case has the raised Chippendale style carrying handle found on early cases, a typical diamond shape ivory key escutcheon, and a decorative inlaid edge rarely seen on pistol cases. There is no trade label in the lid as labels were not introduced for at least a decade after these pistols were made, but in any event the case has been relined at some stage, perhaps to replace the paper lining used in very early cases. Originally it would also have had fastening hooks and rings on the front.

We now regard duelling as a strangely deviant form of socialised aggression. There was little to recommend it as a means to settle an argument or a grievance, given that a good shot or swordsman had little to fear from anyone other than someone with similar skills.

The iron trigger guards have the acorn finial seen on English flintlock arms Its saving grace is the survival of the instruments of the duel – the superbly designed and crafted pistols that are now valued for their quality and beauty.

References 1. Collecting Duelling Pistols, W Keith Neal, Arms and Armour Press, 1968 2. The British Duelling Pistol, John Atkinson, 1978 3. Duelling Pistols, John Atkinson, 1964 4. Early Firearms of Great Britain and Ireland, The Collection of Clay Bedford, Metropolitan Museum of Art, 1971 5. Great British Gunmakers 1740-1790, Neal and Back, 1975 6. London Gunmakers and the English Duelling Pistol 17701830, Keith Dill, Arms and Armour Press, 1994

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Keris Hilts

BY PAUL DUFFY & W J0HNSTON

K

eris hilts are wonderfully carved, chased or engraved objects, and the details in their abstract, zoomorphic, or anthropomorphic forms provide clues as to precisely where each individual hilt was manufactured.

The hilt is fitted into an intricately worked cup-shaped metal element frequently studded with precious stones or coloured glass. It is fixed to the tang (an extension of the blade) by means of a small piece of twisted cloth, sometimes replaced by human hair.

The shape of a keris hilt has to fit the hand and is carved to fall to the left. They are made commonly from wood, deer horn, bone, ivory, fossil but can also be made from gold or silver.

The keris hilts in Java (from Surakarta and Yogyakarta palaces) are generally made of a wood that has a beautiful grain, like tamarind wood, yellow kemuning wood, kendayaan wood, and timaha pelet wood.

The Balinese keris hilt has more freedom in exploring its decorative form. According to Hindu belief, Balinese art from one period to another has specific artistic meaning as an expression of worship and devotion.

In addition to being a skilled carver, chaser, and embosser, and to having a highly developed sense of beauty, the artist/craftsman who makes the hilt must also

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be thoroughly familiar with the tradition, symbolism and magical properties of the materials used in fashioning the hilt. Nothing is left to chance, and every material is chosen for a specific purpose; for example, ivory is believed to drive away enemies, while ivory derived from the fossilized molar of an elephant counteracts evil spirits.

Tridacna Gigas, the giant clam, protects against sterility, and is the symbol of spiritual rebirth. Akar-

Bahar or black coral, is a powerful talisman against black magic and for this reason is commonly employed also in necklaces and bracelets. Water buffalo, rhinoceros or deer horn symbolise strength, sexual potency, fertility and authority, and are believed to be an aphrodisiac as well as being a purifying agent. Iron, whether from the earth or the sky (ie meteoric iron), has the dual effect of warding off ill luck, but also of being its victor. Gold is a symbol of knowledge and immortality. Silver is linked to the moon – water – female element triad and symbolises purity. The same applies to a number of other materials, such as marine ivory, mother of pearl, buffalo and whale bone, brass, coconut fibre, and suasa, an alloy of gold, silver and copper.

But the most prized material of all is wood, whether ebony, Cassia, teak, Murraya, sandalwood or klein hovia – all scented, prime quality woods with splendid and unusual grains, often coming from trees inhabited by a spirit, which helps increase the power of the keris.

The figures represented on the hilt are often extremely enigmatic, their origin and meaning often having been lost with the passage of time.

Specific designs of the keris hilt can be classified with several specific locations. For example Surakarta and Yogyakarta; East Java (Madura); the coastal area of Cirebon and Tegal; Sulawesi; Kalimantan; Bali and Lombok; Sumatra and the Malay Peninsular.

Alan Maisey has written that he can see more than just two sources of keris hilt origin. There are the giants, the spirits, the demons, the deities, the wayang characters, and perhaps even ancestors.

There are also purely vegetable forms, and animal and bird forms. There are also the rarest of the rare; the naturally occurring forms that are adopted for use as keris hilts.

There are many sources for keris hilt motifs, but it seems that many if not most motifs are in use in Java, and we can read this to include Madura, and ornamental decorations are the result of some sort of influence: Hindu, Chinese, Islamic, European. It would be an interesting exercise to identify the indigenous motifs.

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Keris Hilts

Java, Yogyakarta, Surakarta These four hilts are from Java, in the areas of Surakarta and Yogyakarta. They appear plain, however the combination of geometric angles and carvings is meaningful. The small carvings on the inside of the hilt comprise the cecekan, the perfect simplicity which represents the classical minimalist impression of the floral decorative variety, and called Planar hilts.

These type of hilts were created during the era of the Islam Kingdom to replace the keris hilt of the Majapahit era (15th century), that went in the direction of Hinduism – Buddhism. It is thought that this was after the downfall of the Hindu – Buddhist Kingdom and after the establishment of the Islamic Kingdom in Java.

These four hilts are made from wood, ivory and horn, and you see that the carving of the cecekan is intricate, and formal.

the combination of geometric angles and carvings is meaningful The last one is a Rajamala hilt. This one is made of tayuman wood (cassia laevigata). The head of the “Rajaman” giant in realistic form imitates the ornament at the bow of the Rajaman ship, and is an exception to the principle in Islamic art not showing not showing a figure.

Rajamala possessed supernatural powers thanks to water. This is probably why the kings of Java placed an image of Rajamala on the prows of their ships. A prow portraying Kjai Ragamala is on exhibit in the Kraton of Surakata. This dates from early 19th century.

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Rajamala’s mother offered him a lake, the waters of which would heal him when necessary. In battle with Bima (one of the 5 Pandawa), Rajamala was repeatedly wounded. However, his wounds were healed by bathing in this magic lake. Aijuna (Bima’s brother) then poisoned the lake with an arrow, so that its water could no longer cure Rajamala, resulting in his death.

Bali Hilts from Bali (known as danganan) often depict Hindu myth characters. The first are variations on the Kocet-Kocetan group (Capricorn beetle or mantis religiosa). The ivory one shows very good carving combined with jewels. The carving of the face is particularly intricate. The other two are wood, with the smaller one showing fine decoration. The third is also wood and is finished in red juice from pacas leaves and with a gold wash.

The next two hilts are carved from ebony. The first is a representation of the god Ganesha, with his elephant head, and seated on a throne.

The last one is probably an elder or priest also seated on a throne.

Madura The Donoriko style which is typical of many hilts from Madura, is characterised by a massive upper section, the so called head, which is rounded and bent forward, with two protuberances at the sides that look like ears. An array of floral and/or semi-figurative motifs decorate the rest of the figure.

The first two hilts are similar, on the sides of the larger one and on the chest of the smaller one is the mythical winged horse Kuda Sembrain, which recurs in Madura hilts and in the coat of arms of the Sultan of Sumenep (eastern part of the island). Both these hilts are made of ivory.

The third hilt, also ivory, is in the form of a corn cob, janggelan. This shows intricate openwork carving and engraving.

These styles of hilts in Madura developed from the 17th century, as competition developed among dignitaries and rich merchants who were proud of their heirlooms. They were proud to wear the Donoriko hilt as it was big and was usually made of expensive ivory.

The last hilt is carved from wood. The hilt is called Pulasir (a creation of Kyai Remen in the 19th century).

On the chest of this hilt is the winged horse. The word Pulasir derives from “Kurassier” (an 18th century Dutch term meaning cavalier with a helmet and breastplate). The figure shows a Dutch helmet, with epaulettes on a coat with a belt.

The meaning of the word “donoriko” has been lost over the centuries.

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Keris Hilts Semar This wooden hilt from Surakarta depicts Semar, a character in Javanese mythology who frequently appears in shadow plays. He is one of the punokawan (clowns), but he is divine and very wise. He is the guardian spirit of Java, and is regarded by some as the most sacred figure of the wayang set. Samar is usually depicted with a flat nose, a protruding lower jaw, a tired eye, and a bulging rear, belly and chest. He wears a chequered hip cloth, symbolizing sacredness.

The first known appearance of Semar was during the Majapahit era The first known appearance of Semar was during the Majapahit era, in 1358 in relief of Sudamala in Candi Tigamangi, and in Candi Sukuh dated 1439. The relief was copied from a wayang story from the period, where Semar was first known to have appeared.

Cirebon – Northern Coast of Java During the Middle Ages Cirebon became one of the important cities on the northern shore of Java. There are many variations to the hilts from Cirebon and it is difficult to distinguish them from the hilts from other areas near Cirebon.

This example is a hilt with a face like a bird in a squatting position This example is a hilt with a face like a bird in a squatting position, with its right hand is on its knee, and the other hand wrapped around its calf. This hilt shows the Hindu-Buddhist influence, and is made of wood.

The second hilt has a face carved in the form of a wayang face, with intricate long hair.

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Bali These are two figurative hilts, carved from wood. Both seated figures depict an elder or priest with a turban, moustache and beard. One holds a drum and the other is carrying a book under his left arm.

Both hilts are red, and show traces of gold leaf Both hilts are red, and show traces of gold leaf. The red colour may have been applied by rubbing them with pacar leaves and then applying the gold leaf.

These are two well carved hilts, which may come from Bali. They are quite large and figurative.

Monkey Hilts There are so many variations of the keris hilt to be found in the Indonesian archipelago, that there may be thousands of variations. Some craftsmen follow the principle guides (the pakem), and others don’t so it is often difficult to pin point the exact area where the hilts come from.

These two monkey hilts carved from wood are quite large, and possibly were carved in Bali These two monkey hilts carved from wood are quite large, and possibly were carved in Bali. The first represents a figure with the face of a monkey sitting astride a throne. His left arm rests on his head, and the right arm rests on his hip. The wood may be ebony and the figure has been painted in white with a red sarong.

The second figure also has the face of a monkey and is squatting on a stool. This figure may also be ebony, but it is covered in gold leaf, although much has rubbed off. However this monkey holds a large and most impressive phallus in his hands. I don’t know when this hilt was carved, but it is possibly late 19th century. In Java and Bali these porn style hilts are called Linggam or Phallus. I have only seen photos of them but they are very well carved.

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Keris Hilts

Malay Peninsular: Bugi or Sumatra The Bugis-Malay Pangulu hilt is carved to show respect. It is in the position of bowing very low and often found in the Minangkabau area of the peninsular. This was an old kingdom in Central Sumatra, established about 1347 A.D. Minangkabau prospered because of its gold mine, from which merchants made gold jewellery and traded on the beach. These people were associated with Islamic traders, especially from Aceh.

The Bugis-Malay Pangulu hilt is carved to show respect bowing very low This first hilt is made from ivory, well carved, although the original mendalk has been replaced many years ago by wire.

The second one made from ivory is called garuda mungkur in the stylised form of an angle’s face behind the head of a Hindu keris hilt. The carving of this old hilt is very intricate, and along the pierced top are small fish and floral motifs.

The eagle’s beak has been damaged, but it is a wonderful example of the old carving.

The next two hilts are from the area of Palembang and Lampung. These hilts, made from wood show a strange bird’s face. This is like a figure, possibly a Garuda bird squatting with its hands on its knees. This is the pralambapadsama position. This Garuda was always connected to the god Visnu.

Literature 1. The Javanese Keris by Isaac Groneman, introduction by David Van Duuren.

2. Kris Hilts, Masterpieces of South-East Asian Art by Vanna Ghiringhelli 3. The Invisible Krises 2 by Vanna Ghiringhelli 4. The World of Javanese Keris by Garrett & Bronwen Solyom 5. The Beauty of Kris Hilt by Aswin Wirjadi 6. Tafsir Kiris. Kris an Interpretation by Toni Junus 7. Keris Bali Bersejarah. Neka Art Museum 8. Dew Indonesiske Kris by Karsten Sejr Jensen 9. Ensiklopedi Keris by Bambang Harsrinuksmo 10. Ethnographic Arms & Armour Forum 11. kerisattosanji.com

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Contributors BILL TAYLOR

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

TONY WOOD

Powder Horns

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

RON COOK

Bayonet Oddities Ron’s interest in 19th century British and Colonial issued military long arms started when he was 18., buying a club members long arm. This has now extended to researching British military long arms and their bayonets particularly those issued to Australian Colonies prior to Federation in 1901.

GEFF POGSON

Tranter Army Revolver & Weberly Look Alike In 1968 a lucky find in the Chatswood White Elephant Store spurred me to add collecting to my shooting interests. I began picking up interesting old guns as well as rabbits, foxes and cats. The book was British Pistols and Revolvers, by J N George. From this, collecting became my main focus.

PETER DAHDAH

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

PAUL DUFFY Keris Hilts

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

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