Antique Arms Fair at Olympia

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CONTENTS Ian Eaves A reassessment of the date and likely ownership of the Westminster Abbey Sword

pp. 4-11

Herbert G. Houze The Firearms Collection of David Martin, ‘Limner to the Prince of Wales’

pp. 13-20

Stuart W. Pyhrr Vues de Sainte-Irène: An Ottoman Photograph Album of 1891

pp. 21-34

Map of Kensington Olympia Exhibitor List

p. 35 pp. 36-37

“Authorised Release” labels will be provided to exhibitors and must accompany any and all items which have been sold.

Name badges provided to exhibitors at registration must be worn at all times throughout the duration of the event.

Live ammunition, black powder, and any firearms that cannot be legally classified as antique are not permitted.

Exhibitors must adhere to any and all requirements and guidelines of Olympia London as listed on their website.

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A Reassessment of the Date and Likely Ownership of The Westminster Abbey Sword

by Ian Eaves

On 29 October 2015 a service was held at Westminster Abbey to commemorate the victory of a force of English and Welsh troops over those of a larger French force at Agincourt on 25 October some six centuries earlier. As part of that celebration a sword usually displayed among the Abbey’s treasures (fig. 1) was removed from show and carried in procession through the Abbey to be placed at its high altar to honour the commander of the victorious forces, King Henry V, in the belief that it had been suspended over his tomb, along with other of his relics, at the time of his death in 1422.1 The possibility that the sword might have been that used at the funeral of Henry V was first tentatively suggested by Lawrence Tanner on 28 November 1929 when he exhibited it to the Society of Antiquaries of London.2 Although James Mann questioned the suggestion as early as 1931,3 it was in due course revived by Ewart Oakeshott in 19514 and steadfastly maintained by him in his subsequent influential publications on medieval swords of 1960, 1964, 1982 and 1991.5 Support was given to Oakeshott’s view by Claude Blair in 1962.6

By 2003, however, that view was being regarded with justifiable caution. The sword when temporarily exhibited at the Victoria & Albert Museum, London, in that year together with a helm and shield also preserved in the Abbey, was merely catalogued as being associated with Henry V. Karen Watts, who catalogued these pieces, noted that although an engraving published in 1707 showed the helm and shield suspended over the tomb of Henry V, no sword was then present7. She therefore observed in regard to the latter that “There is no certainty that it came from Henry V’s achievements ... It could date anywhere in the fifteenth and early sixteenth centuries, and might have belonged to any one of a number of burials in the Abbey, including that of Henry VII”.

The sword is clearly an important one with a distinguished provenance, but its recent use in the ceremonies commemorating the Battle of Agincourt, despite Mann’s well-reasoned case for believing it to be of significantly later period than that battle, suggests that the question of its date and original ownership warrants a revisit.

Fig. 1. Sword, possibly of King Henry VII, c. 1500. Westminster Abbey 4

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It is most likely that the sword owes its survival to having been suspended over the tomb of one of the several persons of armorigeous ranks known to have been buried in the Abbey.

It would have been borne there in procession, in front of his coffin, together with the helmet, gauntlets, shield and surcoat that typically made up his heraldic “achievement”.

Tanner, in his earlier-cited work, raised the possibility that it was the sword used at the funeral of Henry V and subsequently delivered into the hands of the keeper of the Abbey’s vestry; to be referred to in the Sacrist’s Account Roll for 1422-3 as j gladius cum tota armature pro homini cum j cote armur (one sword with all the armour of a man with coat armour).8 In 1914, however, William St John Hope, writing of the funeral of Henry V and his monument, took the view that the arms mentioned in this document were “undoubtedly the equipment of the Earl who rode fully armed in the procession before the bearer of the standard”.9

What is almost certainly the first reference to the sword under discussion is that dating from 1869 when the Dean of Westminster Abbey exhibited it to the Royal Archaeological Institute in London, noting that it had been found earlier in that year “in the Coronation Kitchen in the Triforium”:10 a provenance that was still recorded on a pencilled note attached to the sword as late as 1928.11 Sir Guy Laking, who was the first to illustrate the sword,12 noted that although it was then to be seen in the Pyx Chapel, it had been “found when alterations were being made in the chapter-house in 1840”.13 Of particular significance in the present context was the view expressed by Laking that the “sword can safely be assigned to the first quarter of the XVth century”.14

It was likely this view that encouraged Tanner, when exhibiting the sword to the Society of Antiquaries in 1929, to tentatively suggest that it might perhaps have been the one used in the funeral of Henry V in 1422.

As noted above, however, Mann questioned that suggestion, arguing that the sword was of a later period than Laking had proposed. He noted that although the latter had compared it with one in the Real Armeria, Madrid, cat. no. G 23 (fig. 2),15 equipped “with just such another hilt, though of finer workmanship”,16 the blade of the Madrid sword was in fact “clearly later than the first quarter of the fifteenth century”.

As Mann pointed out, “The forte is etched and gilt with Biblical texts in Latin and ornamented with pomegranates, which suggests the later years of the century”.17 Certainly the etching is of the linear fashion popular in the late 15th and early 16th centuries. The presence of pomegranates within the ornament, moreover, raises the very real possibility that the sword might have been made for Philip “The Handsome” (1478-1506), Duke of Burgundy and Fig. 2. Sword, possibly of Philip “The Handsome”, Duke of Burgundy and future King of Castile, c. 1500. Real Armeria, Madrid, cat. no. G 23 The Antique Arms Fair at Olympia

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future King of Castile after his marriage to Joanna “The Mad” of Castile in 1496.

Mann also drew attention to two further but undecorated swords of the same kind respectively preserved in the Museo Arqueologico Provincial of Valladolid18 and the Church of St Mary the Virgin, Whitelackington, Somerset.19 To them he added another undecorated sword, furnished with a later-associated pommel of inappropriate form, that had at one time been in the collection of Robert Curzon, Baron Zouche, at Parham House, Sussex.20 This differs from the Westminster Abbey sword, however, in that its blade tapers nearly uniformly to its point, rather than, as in the case of the former, only slightly for the greater part of its length but then more markedly as it approaches the point.

The same is true of the sword forming part of the coronation regalia of the Kings of Hungary, at one time kept in the St George’s church at Buda, but now to be seen in the Hungarian Parliament Building.21 This, like the Madrid sword, is etched and gilt at the forte in the linear manner favoured in the late 15th and early 16th centuries.

Mann further drew attention to a sword, at one time in the collection of Edwin J. Brett of London,22 which shared a number of features in common with the Westminster Abbey sword but had a much wider blade than it, reminiscent in fact of those found in Italian cinquedeas of the late 15th and early 16th centuries.

Although expressing a natural reluctance to question any proposal that might add to the historical interest of one of the Abbey’s treasures, he observed that if the sword could not, as its later fashion suggested, have been that of Henry V, then it was not inconceivable that it together with a jousting helm of about 1500 that had been found in the Triforium at the same time as it, might have been that of Henry VII (1457-1485-1509).23 As Mann noted, there were only three tombs of persons buried in the Abbey to which the sword might plausibly have belonged: Sir Thomas Vaughan, died 1483; Sir Gyles Daubeny, died 1506; and King Henry VII, died 1509.24 To these, however, he added in hand to a copy of his publication belonging to the present writer, a fourth name, that of Sir Humphrey Stanley, died 1505.

Mann was able to find evidence of a sword being carried as part of the funeral ritual of only one of the persons included by him in his list of potential candidates for its ownership: namely Henry VII. According to the chronicles of Edward Hall, first published in 1548, there were offered at the last mass of the King, his “banner and coarser, his coate of armes, his sworde, his tartget, and his helme.”25

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Oakeshott, as noted above, failed to be persuaded by Mann’s arguments and in 1951 argued for a return to Tanner’s suggestion that the sword might have formed a part of the funeral achievement of Henry V. Whereas Mann had reasonably looked for weapons possessing the greatest overall similarity to the Abbey’s sword, Oakeshott made it clear from the outset that he would approach the study of the sword in a different way. As observed by him:

“Any attempt to compare the sword in its entirety with others which are in every respect similar must inevitably be misleading and would in fact be impossible; for no two mediaeval swords are identical. Several might have similar blades, but their pommels and quillons would vary. Or they might have similar pommels, but the likelihood of finding two with similar pommel, quillons and blade together would be remote. It is possible to classify individually those three elements of a mediaeval sword, and by means of such classification, often to date them within a decade or so. But clearly there must be some overlapping of dateable styles when the three are assembled in one weapon. So we may arrive at a more just assessment of a sword’s date if we treat these elements separately when making comparisons.”26

Setting aside the highly questionable truth of the opening sentence of this statement, Oakeshott’s proposed approach to the study of the Abbey’s sword can be accepted as having some merit; at least in theory. In practice, however, there are instances in which it breaks down, either because the analogous material cited by Oakeshott is not reliably dated, or because it is less closely analogous in its details than he would endeavour to suggest. In some areas, moreover, Oakeshott tended to overly emphasise small variations in form that might plausibly be accounted for by personal taste or different workshop practices.

Oakeshott began by arguing that Mann’s comparison of the Westminster Abbey sword with that in Madrid sword was invalid insofar as that the blade of the latter is formed with a sharp medial ridge, whereas that of the former “is four-sided, each face of the four sides being slightly hollowed”.27 In fact, both blades can be seen as possessing hollowed faces separated by medial ridges that differ from one another only in regard to height. More significantly, however, the pronounced medial ridge that Oakeshott saw as diagnostic of blades of the last quarter of the 15th century, is already to be seen on the Great Sword of the city of Dublin, granted to it in 1403 by Henry IV (1366/7-1399-1412/13) and originally made for the King’s own use.28 By way of contrast, the sword of the young Philip I “The Handsome” (1478-1506) preserved in the Hofjagd- und Rüstkammer, Vienna, inv. no.

A 456, and dated by the authorities there to about 1490, 29

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and by Oakeshott himself to about 1500,30 has not only the same overall form as the Westminster Abbey sword, but also the same profile and section to its blade (fig. 3). The same kind of blade is in fact to be found on numerous Italian swords dateable on stylistic grounds to about 1500.31 Oakeshott’s arguments relating to the evolution of bladesections do not therefore bear critical examination.

Equally unconvincing are his arguments regarding the form of pommel fitted to the Abbey’s sword. Oakeshott describes the latter as of “wheel” form, rightly noting that that form was produced from the 11th to the early 16th centuries.32 However, that range of dates only applies to the form having a solid central boss on each of its faces. It is found for example on several swords in the Askeri Museum, Istanbul, bearing inscriptions recording their deposition in the Mamluk arsenal in Alexandria in 1368/9.33 The same series of swords also includes a few with pommels having recessed central bosses, bearing dates in the range 1415/16 to 1436/7.34 However, the pommel of the Westminster Abbey sword differs from these in being formed with a well-defined “wall” around each of its recesses. Oakeshott himself subsequently recognised this as a distinctive variant and observed that many examples of the type are to be seen in English brasses of the period c. 1420 to c. 1450.35 In fact, the details of these two-dimensional representations tend not for the most part to lend themselves to the unambiguous separation of the pommels that they depict from the two types just discussed above – as Oakeshott himself conceded.36

Pommels of the Westminster Abbey type are, however, to be found in some numbers on a notable group of swords recovered in recent years from the River Dordogne near Castillon-la-Bataille, Northern France, the site of a battle fought between English and French forces on 17 July 1453.37 Examples are in any event to be found on swords that can reliably be dated from the style of their decoration to the final years of the 15th century.38

Oakeshott, despite observing that “careful research has shown beyond question that the quillons of a medieval sword are by no means reliable as dating criteria”, 39 nevertheless discussed in great detail perceived analogies to the quillons of the Westminster Abbey sword. His analogies, however, were drawn in the main from manuscript illuminations and sculptured representations – both traditionally requiring cautious interpretation – as well as undated archaeological material. The problem with his rather complex analysis is that it involved, in part, the conflation of two distinct types of quillon. The quillons of the Abbey’s sword are broad and ribbon-like in plain view and curve down gently to their scrolled terminals.

Fig. 3. Sword of the young Philip “The Handsome”, Duke of Burgundy and future King of Castile, c. 1490. Hofjagd- und Rüstkammer, Vienna, inv. no. A 456 The Antique Arms Fair at Olympia

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Oakeshott, by lumping this form together with one having more or less straight, tapering quillons with sharply downturned terminals, argued that its introduction could be taken back to well before the second half of the 15th century.

The rod-like form can indeed be found on several dateable swords of the late 14th century and early 15th centuries.40 Significantly, it is still to be found on many of the large group of swords recovered from the River Dordogne near Castillon-la-Bataille, that Oakeshott believe to have been lost by fleeing English forces in 1453.41

In any event, Oakeshott, in his efforts to assign an early date to the Westminster Abbey sword, sought to compare it with one shown on the monumental brass of Richard Fox in the church of St Mary the Virgin, at Arkesden, Essex, which he dated to c. 1430.42 The brass must, however, date from some time shortly after the death of Fox in 1439.43 Of more concern, Oakeshott drew the quillons of Fox’s sword (only one of which in fact survives) as being slightly more curved than they actually are, thus artificially emphasising their similarity to those of the Abbey’s sword. 44 Whereas the quillons of the latter are of ribbon-like form and gently curved for their entire lengths, those of the Fox brass appear not only to have been of rod-like form, but are angled downwards only slightly before they approach their distal ends where they then curve downwards more markedly to their strongly scrolled terminals. The quillons depicted in the Fox brass can perhaps be viewed as a mid-15th century transitional form bridging the two forms discussed above.

This transitional form can also to be seen in the brass of Thomas de St Quintin at Harpham, Yorkshire, died 1445, and that of Thomas Sherborne at Sherborne, Norfolk, died 1458.45 But quillons of the more uniformly curved, ribbonlike form found on the Westminster Abbey sword appear not to be recorded on any weapons reliably assignable to a period earlier than that suggested by Mann.

The list of swords recorded by the latter as having affinities with the Abbey’s sword was by no means exhaustive.

Strikingly similar to it, excepting only that its pommel is formed of ivory and gold rather than iron, is the earliermentioned sword in the Hofjagd- und Rüstkammer, Vienna, inv. no. A 456, made for the young Philip “The Handsome” (1478-1506): dated to about 1490 by the Viennese authorities, and to about 1500 by Oakeshott himself (fig. 3). Although the etched and gilt decoration of its blade is of the same Italianate character as that recorded by Mann on the Madrid and Budapest swords, the Viennese authorities incline to the view that the weapon was in fact produced in Burgundy.46 Be that as it may, the Westminster Abbey sword proves that swords of that fashion also found their way into England.

Fig. 4. Sword probably from an English funerary achievement, c. 1500.

The blade bears traces of etched and gilt decoration.

Royal Armouries Museum, Leeds, inv. no. IX. 1426

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In the Church of the Blessed Virgin Mary, Whitelackington, Somerset, is a sword with a hilt of the type under discussion, but fitted with a late 16th century blade, that is, together with a close helmet, traditionally associated with the tomb of Sir George Speke, died 1637.47 Also having such a hilt, but fitted with a blade of more parallel form is a sword that, together with a jousting helm of about 1490-1500, probably hung at one time over the tomb of a member of the Browning family in St Mary’s Church, Melbury Sampford, Dorset.48 Another sword of this type is preserved over the monument of the Fulford family in St Mary’s Church, Dunsford, Devon.49

Of altogether greater significance in the present context, however, are two fine swords recently brought to light in England and likely from their condition to have at some time formed parts of funerary achievements suspended over English tombs. The first was sold anonymously through Sotheby’s, London, on 5 July 1965, lot 104, and subsequently passed in April 1975, via the English dealer Ralph Parr, into the collections of the Tower of London Armouries (now the Royal Armouries Museum, Leeds), inv. no. IX. 1426 (fig, 4).

Aside from the fact that its blade is of slightly narrower proportions than the Westminster Abbey sword, it closely resembles the latter in almost every aspect of its form.

Importantly, however, its blade is etched at the forte with the same kind of Italianate linear ornament as Mann had recorded on the Madrid sword.

Despite that, Oakeshott dated the sword to c. 1425-50, arguing that its decoration may have been added c. 1470-80 to an older sword, but conceding that it was not impossible that the sword itself was of the same later date as its decoration.50

Closely resembling the Royal Armouries sword, except that the central recess of its pommel has no raised peripheral wall, is one obtained from a private collection in England about 2007 and sold in 2017 to a private collector in the U.S.A. (fig.

5). As noted above, its condition suggests that it, like that just described, had at some time formed part of an English funerary achievement. Not only does its hilt – like that of the Westminster Abbey sword – retain small traces of gilding but its blade once again retains traces at the forte of etched and gilt decoration of an Italianate character. To attempt to suggest as Oakeshott did in regard to the Royal Armouries sword, that this American-owned sword of the same pattern and bearing similar embellishment to it is once again to be seen as an old one with later-added decoration, would surely be stretching credulity unacceptably far. All the evidence points to these two swords and the several others of their kind discussed above as dating from the final years of the 15th century or even the earliest years of the next.

Fig. 5. Sword probably from an English funerary achievement, c. 1500.

The blade bears traces of etched and gilt decoration. U.S. Collection The Antique Arms Fair at Olympia

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This has significance not only for the dating of the Abbey’s sword, but for the dating of swords of its pattern in general.

Oakeshott classified the pattern as his type XVIII: a single-hand weapon with a blade of lozenge-shaped section that tapered only slightly for the greater part of its length and then more rapidly as it approached its point.51 Oakeshott, believing that the Westminster Abbey sword had belonged to Henry V, repeatedly used it to argue that it proved that swords of his type XVIII had been introduced in the early 15th century and perhaps even the late 14th century.52

There are, however, no dated or reliably dateable examples of the type that can safely be assigned to a period earlier than the mid-15th century. Oakeshott in 1964 cited as evidence in support of his early dating a sword in the Metropolitan Museum of Art, New York, bearing an Arabic inscription recording its deposition in the Mamluk arsenal in Alexandria in 1419.53 In 1991, however, he identified that same sword as an example of his type XVIIIa:54 a “hand-and-a-half ” version of his single-hand type XVIII. In fact a relatively large number of similar “hand-and-a-half ” swords from Alexandria can be recorded, principally in the Askeri Museum, Istanbul, where they bear dates ranging from 1415/16 to 1436/7.55 Curiously, however, although firm evidence exists for the manufacture of the “hand-and-a-half version of Oakeshott’s type XVIII in the earlier part of the 15th century, the same seems not to be true for the single-hand version. Perhaps the earliest dateable examples of the latter are those forming part of the group recovered in recent years from the River Dordogne near Castillon-la-Bataille, which Oakeshott suggested were lost in the year 1453;56 but firm evidence for the manufacture of swords of Oakeshott’s type XVIII in the early part of the 15th century seems not so far to have been recorded.

Viewing overall the various lines of evidence examined above, Oakeshott’s oft-repeated belief that the Westminster Abbey sword originally formed part of the monument to Henry V must be seen as untenable. Everything points to its having been made in the latest years of the 15th century or even the earliest years of the next. Mann’s view that the sword, together with the contemporary jousting helm for a while housed together with it in the Abbey’s Triforium, originally hung over Pietro Torrgiano’s spectacular monument to Henry VII who died 1509, must in that case be seen as that which most closely accords with the available facts.

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NOTES

1. https://dailym.ai/2QdVHka

2. L. E. Tanner, “A Fifteenth-Century Sword and a Medieval Bronze Figure from Westminster Abbey”, Antiquaries Journal, Vol. X, April, 1930, pp. 146-8

3. J. G. Mann, “A Sword and a Helm in Westminster Abbey”, Antiquaries Journal, Vol. XI, October, 1931, pp. 405-9

4. R. E. Oakeshott, “A Fifteenth-Century ‘Royal Sword’, The Connoisseur, Vol. CXXIX, no. 526, May 1952, pp 104-8 & 128 5. R. E. Oakeshott, The Archaeology of Weapons, London, 1960, pp. 322-3, pl. 16, e, fig. 164; R. E. Oakeshott, The Sword in the Age of Chivalry, London, 1964, p. 68; R. E. Oakeshott, “A River-Find of 15th Century Swords”, in K. Stüber & H. Wetter, Blankwaffen - Armes Blanches - Edged Weapons, Zurich, 1982, p. 23; and R. E. Oakeshott, Records of the Medieval Sword, London, 1991, pp. 172-3 6. C. Blair, European and American Arms c. 1100-1850, London, 1962, p. 83, pl. 33

7. K. N. Watts, “Helm, shield and sword associated with the funeral of King Henry V”, in R. Marks & P. Williamson (eds), Gothic: Art for England 1400-1547, Victoria & Albert Museum, London, 2003, cat, no. 54, pp. 194-5, pp. 322-3. The engraving mentioned by Watts was produced by Pieter van der Ao of Leiden for James Beverell’s Les Delices de la Grande Bretagne of 1707. A further engraving of the tomb, dating from1870, also shows the King’s funeral achievement without his sword (https://www.alamy.com/stock-photo-1870-westminster-abbey-chantryhenry-v-5-coffin-crypt-chapel-sarcophagus-15266498.html).

8. Tanner, op. cit., pp. 146-8

9. William St John Hope, “The Funeral, Monument, and Chantry Chapel of Henry V”, Archaeologia, Vol. LXV, 1914, pp. 129-86. He provides the fullest survey of the documentary evidence relating to the King’s funeral. The reference to a sword and armour in the Sacrist’s accounts of 1422-3 is recorded by him on p. 140, n. 2

10. Dean and Chapter of Westminster, “A sword and helmets recently found in the ‘Coronation Kitchen’ in the Triforium of Westminster Abbey, Archaeological Journal, Vol. 26, 1869, p. 283 11. Tanner, op. cit., pp. 146-8

12. G. F. Laking, A Record of European Armour and Arms through Seven Centuries, Vol. 2, London, 1920, fig. 640

13. Ibid., p. 265 14. Ibid., p. 265

15. Conde de Valencia de Don Juan, Catálogo Histórico-Descriptivo de la Real Armería de Madrid, Madrid, 1898, p. 205, fig. 120; and A. F. Calvert, Spanish Arms and Armour: being a Historical and Descriptive Account of the Royal Armoury of Madrid, London, 1907, pl. 188 16. Laking op. cit., p. 265 17. Ibid. p. 405, fig. 2

18. Ibid., p. 405, fig. 1. This was traditionally known as the sword of Pedro Ansúrez, the 11th-century founder of the city’s cathedral.

19. Mann, op. cit., p. 405; citing F. H. Cripps-Day in Proceedings of Somerset Archaeological and Natural History Society, Vol. LXXXV, 1929, pl. V, I

20. Sotheby’s, London, 10-11 November 1920, lot 44; and Mann, op. cit., pp. 405-6, pl.

LIX,2 21. Mann, op. cit., p. 405, pl. X, 2

22. Christie’s, London, 18-25 March 1895, lot 819; and Mann 1931, p. 406, fig. 2. Mann noted that the authenticity of the sword had been doubted at the time of the sale, possibly due to a suspicion that the blade had been manufactured from the head of a partisan.

23. Mann, op. cit., pp 407-8

24. Ibid., p. 408

25. Ibid., p. 409

26. Oakeshott 1951, loc. cit., p. 104

27. Ibid., p. 104-5

28. C. Blair & & I. Delamer, “The Dublin Civic Swords”, Proceedings of the Royal Irish Academy, Vol. 88c, 1988, pp. 87-127, pls I

29. Oakeshott 1991, loc. cit., p. 184

30. B. Thomas & O. Gamber, Katalog der Leibrüstkammer, Vol. I, 1976, Vienna, p. 120, pl. 37, a 31. L. G. Boccia & E. T. Coelho, Armi Bianche Italiane, Milan, 1975, figs 281-7 32. Oakeshott 1951, loc. cit., pp. 106-7

33. D. G. Alexander, “European Swords in the Collections of Istanbul: Part 1. Swords from the Arsenal of Alexandria”, Waffen- und Kostümkunde, Third Series, Vol. 27, part 2, 1985, pp. 91-102

34. Ibid., p. 103

35. Oakeshott 1964, loc. cit., p. 103

36. Oakeshott 1951, loc. cit., p. 106

37. R. E. Oakeshott, “A River-Find of 15th Century Swords”, in Karl Stüber & Hans Wetter, Blankwaffen - Armes Blanches - Edged Weapons, Zurich, 1982, pp. 17-32, 1982, pp. 18-19 38. See for example Mann op. cit.., figs 1 & 2, pl. LVIII, 2; and Oakeshott 1964, loc. cit., pls 35, a & 45

39. Oakeshott 1951, loc. cit., p. 106

40. Alexander, op. cit., pp. 103-4; and Blair & Delamer op. cit., pls 1, 2a & IX-XI 41. Oakeshott 1982, loc. cit., p. 17

42. Oakeshott 1951, loc. cit., p. 107

43. M. Christy & W. W. Porteous, “On some interesting Essex Brasses”, Transactions of the Essex Archaeological Society, Vol. VII, pt I, 1898, pp. 1-3

44. http://bit.ly/2wZsqBN

45. M. Clayton, Victoria and Albert Museum: Catalogue of Rubbings of Brasses and Incised Slabs, third impression, London, 1968, pls 19 & 22

46. Thomas & Gamber 1976, p. 120, pl. 37,a

47. F. H. Cripps-Day, “On Armour Preserved in English Churches”, in. G. F. Laking, A Record of European Armour and Arms, Vol. V, London, 1922, p. 235-6, fig. 1730, d 48. J. G. Mann, “A Tournament Helmet in Melbury Sampford Church”, Antiquaries Journal, Vol. XX, 1940, pp. 376-7, pl. LXII, a & b 49. Cripps-Day 1922, p. 173, fig. 1607

50. Oakeshott 1991, loc. cit., p. 174

51. Oakeshott 1964, loc. cit., pp. 67-9

52. Oakeshott 1964, loc. cit., p. 68; Oakeshott 1982, loc. cit., pp. 17 & 23; and Oakeshott 1991, loc. cit., p. 171 53. Oakeshott 1964, loc. cit., p. 68

54. Oakeshott 1991, loc. cit., p. 189

55. Alexander, op. cit., pp. 103-4

56. Oakeshott 1982, loc. cit., pp. 20-2 & 24

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The Firearms Collection of David Martin, “Limner to the Prince of Wales”

by Herbert G. Houze

Fig. 1 David Martin, Self-portrait, circa 1760. Courtesy of the National Galleries of Scotland (NG 569, Presented by the artist’s relatives, the Misses Bryce, to the RSA; transferred and presented 1910).

Over a period of twenty-one days in January and early February of 1799, the Edinburgh auctioneer Cornelius Elliot sold a remarkable collection of drawings, engravings, paintings, as well as other property, from the estate of David Martin,1 who had died on December 30, 1797.2 Included amongst this material were seventeen pistols and thirty-one long arms that were noteworthy for either their construction or the identity of their makers.

Due to Martin’s fame and social importance, Elliot distributed the sales catalogue not only in Edinburgh, but also London where the artist had lived for many years. This decision may account for the relatively detailed descriptions of the arms, a feature not normally encountered in catalogues of the period.3

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Lot 130 One pair double-barrelled pistols, barrels 12 inches, maker J. Werch4 Lot 131 One curious four barreled do., silver mounted, brass barrels, which turn successively to the pan, barrels 7 inches, maker Sadlier, London5 Lot 132 One capital double-barrelled pistol, silver mounted, barrels 9½ inches, by P. Gandon, London6 Lot 133 One pair do., brass mounted, barrels 8 inches, by M. Delince77 It is likely that this pair of pistols was made by a member of the Delince or Delincee family of gun makers who worked in Amsterdam during the eighteenth century (Johan F. Stockl, Haandskydevaabens Bedommelse, Vol. I [Tojusmuseet; Copenhagen: 1964], p. 74). For a pair of pistols made in the early nineteenth century by either Jean Toussaint Delincee or T. Delincee, see J. P. Puype, The Visser Collection, Arms of the Netherlands in the Collection of H. L. Visser, Vol. I, Part 2 (Waanders Publishers; Zwolle: 1996), pp. 462-463.

Lot 240 A pair double barreled pocket pistols, barrels 2½ inches, steel locks, neatly engraved Lot 241 A curious pistol, with 2 locks, fires twice from one barrel, barrel 12 inches, by J. Wallis8 Lot 242 A double barreled pistol, barrel 12 inches, by Saive9 Lot 243 A single barreled do. barrel 7 inches.

Lot 244 A pair do. one of them for belt, chamber opens by a moveable cylinder, barrels 8 inches, by Gandon10 Lot 366 One steel pistol for belt, antique, lock damaged, barrel 13½” inches11 Lot 367 One do. for do. brass mounted, barrel 10 inches Lot 368 One fine do. rifle barrel, curious lock, barrel 10 inches,

by E. Wetschgy12 Lot 369 A beautiful do. for belt, curious lock, barrel 12 inches

Long Arms Lot 134 A fowling piece, chamber opens by moveable cylinder,

by Bird Extreme length 3f. 10in.13 Lot 135 A beautiful rifle-barrelled gun, chased lock and barrel, the chasing of exquisite workmanship, with box in butt for shot, double sights, by Fischer, Hannover Extreme length 3f. 6in.14 Lot 136 A curious barrel and lock, without a stock Extreme length 2f. 9in.

Lot 137 A blunderbuss, brass barrel, wanting the lock Extreme length 2f. 2in.

Lot 138 A beautiful rifled fusee, highly ornamented with mother of pearl figures, box in the butt for shot Extreme length 2f. 11in.

Lot 139 A very curious rifle-barrelled gun, with cylinder for double charge, barrel screws off, with box in butt for shot Extreme length 3f. 2in.15 Lot 140 A do. do., stock inlaid with mother of pearl and ivory, very curious wheel lock, with key Extreme length 3f. 8in.

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Lot 141 A do. do., with cylinder for double charge, by Martin Raynold Extreme length 3f. 7in.16 Lot 142 A small beautiful Indian matchlock, highly ornamented, barrel and ramrod inlaid with gold, with curious sling Extreme length 2f. 11in.

Lot 245 A blunderbuss, bell mouthed, brass barrel and mounting, by Powell, extreme length 2f. 9in.17 Lot 246 A do. mounted with brass, curious lock [extreme length] 3f. 1in.

Lot 247 A very curious rifled old fowling piece, wheel lock, neatly mounted with steel, and key, by Rowland, London [extreme length] 3f. 8in.18 Lot 248 A blunderbuss, bell mouthed, curious wheel lock, and key [extreme length] 3f. 10in.

Lot 249 An air gun, brass pump, wooden barrel Extreme length 6f. 5in.

Lot 252 A very handsome seven-barrelled rifle gun, highly finished, with patent mould for bullets, powder flask, shot box, turn screws, &c. in a wainscot box, with lock and key, maker H. Nock, London19 Lot 253 A handsome double-barrelled fowling piece, gold bushed, by Wilkinson Extreme length 4f. 4in.20 Lot 366 A small fuzee, with bayonet, by Barbar Extreme length 3f. 11in.21 Lot 380 A rifle-barrelled gun, curious lock, brass mounted Extreme length 3f. 10in.

Lot 381 A do. fowling piece, blue barrel, by Griffin & Tow Extreme length 4f. 3in.22 Lot 382 A do. do. very strong, brass mounting, with box in butt for shot Extreme length 4f. 10in.

Lot 383 A fine old fowling piece, wheel lock, with key and box in butt for shot Extreme length 5f. 10in.

Lot 384 A long do. by Jo. Anderson, Edinburgh Extreme length 6f. 0in.23 Lot 465 A large fowling piece Extreme length 6f. 5in.

Lot 466 A very curious Indian matchlock, mounted with ivory Extreme length 5f. 8in.

Lot 467 A do. gun, supposed Turkish, neatly mounted Extreme length 5f. 5in.

Lot 468 A very old do., barrel damaged, stock richly ornamented with mother of pearl and ivory, without lock Extreme length 5f. 4in.

Lot 469 A fine fowling piece, neatly mounted with brass, curios lock, barrel blued by Manuel Cams Extreme length 4f. 10in.24 Lot 470 Old do., mounted with brass, curious lock Extreme length 4f. 8in.

Lot 471 A remarkable fine AIR GUN, barrel bronzed, musket lock, with iron pump, curious, by N. Franzer in Coblentz Extreme length 4f 4in.25 Lot 472 A rifle-barrelled gun, curious lock, with box in butt for shot, by A. Lousgren Extreme length 3f. 11in.26 Lot 473 A curious stock, wheel lock, with box in butt for shot

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Fig. 2 Title page of the 1799 sales catalogue issued by C. Elliot and William Bruce of Edinburgh dispersing the property of David Martin. Author’s Library.

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Fig 3.

Fig. 3 Illustration accompanying Emanuel Wetschgi’s French-language promotional handbill describing the advantages, as well as the operation, of the repeating flintlock pistols and rifles he was making in Augsburg circa 1724. The nobleman firing the pistol may represent Christian III, Count Palatine of Zweibrucken, while the figure holding the sporting gun may have been intended to depict Emanuel Wetschgi. Photograph courtesy of the Staats- und Stadtbibliothek, Augsburg, Germany.

Without question the most interesting aspect of David Martin’s gun collection is the number of multi-shot arms it contained. Quite apart from those that had more than one barrel, he owned a pistol (Lot 241) and two rifles (Lots 139 and 141) that were capable of firing superimposed loads or had breeches drilled with two chambers. In addition, two pistols (Lot 134), as well as a rifle (Lot 244), were described as breech-loaders and the Wetschgy pistol (Lot 368) was almost certainly a magazine gun on the Lorenzoni system.

Since arms of these types are rarely encountered even today, their presence in Martin’s collection likely indicates that he had more than a passing interest in firearms. This contention is further supported by his ownership of a Nock volley gun (Lot 252) that, due to its date of manufacture, was almost certainly purchased by Martin directly from the maker.

While it is likely that some of the arms included in the 1799 sale were acquired by Martin for use as models in paintings, the sheer volume of pieces exceeds anything that would be needed for that purpose. Further evidence that Martin’s collection most likely arose out a technical interest in firearms, rather than mere happenstance, is suggested by another aspect of the painter’s life: his love of history. Aside from being recognized during his lifetime as a painter of some accomplishment, Martin was regarded as an important antiquarian.27 His interests in this field are demonstrated not only by the number of antiquities sold at the 1799 auction, but more importantly by his election to a Fellowship in the Society of Antiquaries in Scotland.28 In light of these factors, David Martin must be considered a true arms enthusiast and one of the eighteenth century’s more important private collectors.

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Fig 4.

Fig. 4 Handbill published by Emanuel Wetschgi the Younger in 1728 describing improvements he had made to the breech-loading magazine firearms invented by his father. Photograph courtesy of the Staats-und Stadtbibliothek, Augsburg, Germany.

With respect to his life, Martin was born in Anstruther, County Fife, Scotland, on April 1, 1737.29 His aptitude for the arts was apparently recognized at an early age and he eventually became a protégé of the portrait painter, Alan Ramsay, accompanying that artist to Italy in 1756.30 Upon his return to England, Martin attended the St. Martin’s Lane Academy in London where he excelled at figure drawing.31 After completing these formal studies, Martin spent a brief period working with Ramsay before establishing his own studio in Soho, London, circa 1765.32 His talents were quickly recognized and over the following years he was commissioned to paint the portraits of some of the most influential people in Britain and Europe.33 One of Martin’s earliest sitters was Benjamin Franklin, whose portrait completed in 1766, is now regarded as the most accurate image of that statesman. Sometime after the death of his wife in 1775,34 Martin returned to Scotland. On March 31, 1780, he became a member of the Royal Company of Archers or the King’s Bodyguard in Scotland;35 and in January of 1785, he was appointed court painter to the Prince of Wales in Scotland.36 As noted previously, Martin died on December 30, 1797, at his home No. 4, St. James’s Square, Edinburgh.

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NOTES 1

2 3

4 5

6

The Edinburgh Magazine or Literary Miscellany, “Deaths,” Vol. XI New Series (February 1798), p. 159.

The published descriptions of arms sold at auction during the eighteenth century are notoriously brief. In many instances, mention was not even made to makers’ names.

For example, in 1730 Mr. Miller of London listed the following two lots among the effects of Col. Francis Lee: “A neat Fowling Piece” and “A pair of fine Steel Pistols” (A CATALOGUE of all The Curious Fire Arms, Fine Pictures, Books, Plate, Glasses, Fine wrought Tables, China, wearing Apparel, and other valuable Effects.

Belonging to The Honourable Colonel Francis Henry Lee, Master of the Revels, lately Deceased [Mr. Miller; London: January 21, 1730], Lots 57 and 67, p. 5). In 1771, Samuel Paterson provided sale attendees with slightly more detailed descriptions of arms from the estate of Daniel Campbell: “A couch gun, by Harman;” “A fowling piece, with a double bridle lock, by Barbar;” “A pair of pistols, Freeman, with double bridle stop locks;” “A pair of beautiful belt pistols, by MURDOCH, curious engraved and inlaid with silver;” “A curious fowling piece, by Harman, 3 foot 6 inches, steel mounted;” etc. (A Catalogue Of the curious and entire COLLECTION of ARMS of various Nations, of The late Daniel Campbell [Samuel Paterson; London: January 25, 1771], Lots 57, 59, 60, 92 and 95 respectively, pp. 34). Yet other entries in this catalogue were maddeningly brief: “A neat pistol and hanger, inlaid with silver;” “A long fowling-piece, Spanish barrel & gold touchhole;” “A scrue[sic]-barrel gun and a blunderbuss;” and “A pair of pocket pistols, inlaid with gold (ibid., Lots 62, 63, 90 and 91, p. 4). John Gerard similarly described sale lots without much concrete information in his 1790 catalogue of Gustavus Brander’s estate: “A curious fowling-piece;” “An ancient rifle-barrel gun with a curious lock;” etc. (A CATALOGUE of the genuine COLLECTION of Antiquities and other Curiosities of the late GUSTAVUS BRANDER, Esq. F.R. & A.S. [Mr. Gerard; London: March 10, 1790], Lots 78 and 80, p. 5). In those instances where makers’ names were listed, the absence of any other substantive information precludes any positive identification of the arms listed. For example, Aaron Lambe listed “A pair of small pistols by Shaw & B. Fisher” and “A ditto [curious] screw barrel bullet gun with a stop to the cock by Easterby” among the effects of Col. Mercer and Nicholas Hawksmoor (A CATALOGUE of the Household Furniture, and Effects of the Hon. Col. JOHN MERCER, Ö And Nicholas Hawksmoor, Esq. [Aaron Lambe; London: April 18, 1736], “Fire-Arms,” Lots 3 and 12, p. 17). Likewise, though Christopher Cock provided the makers’ names for all sixteen firearms in Sir Joseph Eyles’ estate, the descriptions were limited solely to whether the item was a pistol or fowling piece (A CATALOGUE of the Particulars of the Dwelling-House, Coach-House, and Stables for four Horses, with another House, Ware-House, and Court-Yard adjoining, near Bethlem, Of Sir JOSEPH EYLES, Deceas’d [Mr. Cock; London: December 17, 1740], “Fire-Arms,” Lots 1-12, p. 10).

The identity of this maker has not been determined.

Francis Sadlier (Sadleir) is recorded as having worked in London ca. 1769 (Howard L. Blackmore, Gunmakers of London 1350-1850 [George Shumway Publisher; York, PA: 1986], p. 172).

While it has been stated that Peter/Pierre Gandon the Elder died circa 1743 (W. Keith Neal and David H. L. Back, Great British Gunmakers 1540-1740 [Historical Firearms; Norwich: 1984], p. 438), he evidently lived to a considerable age since his will was not proved until February 7, 1766 (Prerogative Court of Canterbury, PROB 11/916, Tyndal Quire: 51-96 pp. 61-62, National Archives, London). In this will, which was prepared in London on June 10, 1749 and then amended at Carlisle in Cumberland on March 3, 1756, he made provisions for his son Peter, Peter’s children, his daughter Mary (wife of Stephen Bolton) and nephews James Gandon (son of his brother James) and Stephen Amiot (husband of his only niece Judith Gandon daughter of Estienne).

Since there is some confusion about the Gandon family genealogy (caused in large part by Thomas J. Mulvany’s The Life of James Gandon, Esq., M.R.I.A., F.R.S., etc., Architect, with Original Notices of Contemporary Artists, and Fragments of Essays [Hodges and Smith; Dublin: 1846] where it was stated that James Gandon, the architect, was the son of Peter Gandon the Younger [p. 1]), a brief summary is presented below.

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Peter/Pierre Gandon (author of the above-mentioned will) Born: c.1680-1685 Married: Esther Moulliot (widow of Andre Thebault) October 1712 Children: Pierre christened August 13, 1713 apprenticed to his father April 4, 1728 (Neal & Back, op. cit., p. 441; for some reason this apprenticeship was turned over to Louis Goudry on July 1, 1728 [London Metropolitan Archives, Freedom Admission Papers 1681-1925, Apprenticeship Papers, COL/CHD/FR/02/0568-0573 (“Peter Gandon Son of Peter of St. Martin in the fields in the County of Middlesex Gunsmith”), image 173/1811]) married Jane Burchall November 25, 1739 (the marriage bond was posted on September 10, 1739) registered his mark with Gunmakers’ Company 1742 bankrupt April 1754 (The London Gazette, No. 9367, April 27-30, 1754, p. 4, col.1; the next issue contained a note reading “In last Tuesday’s Gazette, Page 4, Col. 1, Line 14, for Peter Gandon, read Peter Gandon the Younger” [Ibid., No. 9368, April 30-May 4, p. 4, col. 2]) released from bankruptcy July 26, 1755 (ibid., No. 9496, July 1-5, 1755, p. 5, col. 1) died ?

A CATALOGUE OF THE VALUABLE AND CHOICE COLLECTION OF BOOKS, PRINTS, BOOKS of PRINTS, SKETCHES, ORIGINAL DRAWINGS, PORTRAITS, PAINTINGS, BY THE FIRST MASTERS, viz. Trivisani, Zucki. Studio, Leonardo da Vinci,, Snyder, Agostina, Cuyp, Canaloli, Guido, Rembrandt, Raphael, Poussin, Salvator Roas, Worton, Bourbonion, Bergham, &c. ALSO A LARGE COLLECTION OF BOWS and ARROWS, GUNS, PISTOLS, SWORDS, SPEARS, DAGGERS, SHIELDS or TARGETS, and other Ancient Armour of all Nations. AND, COINS and MEDALS, ENGRAVED COPPERPLATES, An EIGHT-BARRELLED HAND ORGAN; With many Curious and uncommonly Scarce Articles, well worth the Attention of the ARTIST, CONNOISSEUR, AND ANTIQUARY. THE PROPERTY OF THE LATE DAVID MARTIN, ESQUIRE, Portrait Painter to His Royal Highness THE PRINCE OF WALES (C[ornelius] Elliot; Edinburgh: January 14, 1799).

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James christened March 6, 1714 died ?

Mary born November 27, 1719, christened December 13, 1719 married Stephen Bolton September 12, 1736 (Bolton was an executor of Gandon’s will of June 10, 1749, but was noted as having been “lately Deceased” in the revision of March 3, 1756) died ?

Esther christened January 4, 1716 died prior to 1721

Esther (II) christened March 22, 1721 died ?

Estienne Gandon (brother of Peter/Pierre the Elder) Born: Married: Judith Children: Estienne christened December 9, 1711 Judith christened May 1, 1715 married Stephen Amiot April 10, 1737 (Amiot was an executor of Gandon’s will of June 10, 1749, as well as its revision of March 3, 1756) James Gandon (brother of Peter/Pierre the elder) Born: Married: Children: James born February 29, 1742/3; died 1823

It would be interesting to speculate whether or not David Martin secured this pistol and the pair listed in Lot 244 through the agency of the architect, James Gandon (1743-1823), nephew of the maker. That the two men knew each other and had a more than passing relationship is beyond question since they both served as directors of the Society of Artists of Great Britain during the 1770s (The ROYAL KALENDAR; or Complete and Correct ANNUAL REGISTER For England, Scotland, Ireland, and America, FOR THE YEAR 1773 [J. Almon; London: 1773], p. 220; THE COURT and CITY REGISTER, or Gentleman’s Complete ANNUAL CALENDAR, For the Year 1775 [J. Jolliffe; London: 1775], p. 217; etc.).

Further complicating the proper identification of the Gandon family’s various members is the existence of a collateral group which included another James Gandon who was apprenticed to the gunmaker Samuel Blanckley on June 30, 1743.

The apprenticeship indenture states that his father was “James Gandon of Spanish Town in Jamaica Carpenter (London Metropolitan Archives, Freedom Admission Paper, 1681-1925, COL/CHD/FR/02/0738-0745). James Gandon, the carpenter, was naturalized in London on February 1, 1710 and was residing in Jamaica as of May 14, 1726 (Lloyd deWitt Bockstruck, Denizations and Naturalizations in the British Colonies in America, 1607-1775 [Genealogical Publishing Co., Inc.; Baltimore, MD: 2005], p. 101). While presumably related to Peter/Pierre Gandon, the exact nature of the relationship is unknown.

8

9

A superimposed-load flintlock fowling piece dating from approximately 1685, signed by T. Wallis is illustrated and described in W. Keith Neal and David H. L. Back, Great British Gunmakers 1540-1740 (Historical Firearms; Norwich: 1984), pp. 194-195.

This pistol was most likely made by Urbain de Saive who was active in Liege during the last decade of the seventeenth century (J. P. Puype, The Visser Collection, Arms of the Netherlands in the Collection of H. L. Visser, Vol. I, Part 3 [Waanders Publishers; Zwolle: 1996], pp. 88-89).

10 11

See note 6 above.

Based upon its description, this pistol is almost certainly of Scottish origin.

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Examples of Berselli or Lorenzoni pattern repeating firearms made by Emanuel Wetschgi the Elder are preserved in the Kremlin Armory (Inv. No. 7571); Schloss Ambras (Inv. No. 2480); the Statens Forsvarhistoriske Museum, Copenhagen (Inv. No. 22-B1199); and Tojhusmuseum, Stockholm (Inv. No. B.1201).

A Benjamin Bird is recorded as having worked in London ca. 1747 (Blackmore, op. cit., p. 53).

Since the description of this rifle is more consistent with a weapon made during the eighteenth century, it was probably made by Johann Bernard Fischer, active from 1726 to 1746, rather than Jobst Fischer born in 1661 (Wolfgang Glage, Das Kunsthandwerk der Buchsenmacher im Land Braunschweig [Braunschweigischen Landesmuseum; Brunswick: 1983], p. 112).

For similarly constructed arms by the London Makers Andrew Dolep and Jacques Gorgo see Neal & Back 1540-1740, op. cit., pp. 234-236, 239-240 and 250-252.

Martin Raynold was an engraver and gun maker who worked in York (Richard Holmes, “Brass at Darrington, Near Pontefract,” The Yorkshire Archaeological Journal, Vol. XV [1900], p. 244; and Mill Stephenson, “Monumental Brasses in the City of York,” ibid., Vol. XVIII [ 1905], p. 1). A silver-mounted button trigger flintlock belt/pocket pistol signed on the barrel, “M. Raynold,” dating from approximately 1660 was at one time in the present author’s possession. A pair of turn-off barrel flintlock pocket pistols signed “Martin Raynold” were sold at Sotheby’s New York in 1993 (Sotheby’s New York, European Works of Art, Arms and Armour, Furniture and Tapestries, May 24, 1993, Lot 300 [illustrated]); and a single rifled turn-off barrel pistol signed “M. Raynold Fecit” was formerly in the collection of W. Keith Neal (Christie’s London, Fine Antique Firearms from the W. Keith Neal Collection, October 25, 2001, Lot 215). A magazine gun made by Raynold was exhibited by William Bullock at his Liverpool Museum during the first decade of the nineteenth century:

32. MAGAZINE GUN, made at Pontefract, in Yorkshire, by Martin Raynald [sic]; it may with ease and safety be fired eight times in half a minute with only once charging. (William Bullock, A COMPANION to the LIVERPOOL MUSEUM, Containing a brief Description of upwards of Four Thousand of its Natural & Foreign Curiosities, Antiquities, & Productions of the FINE ARTS, OPEN FOR PUBLIC INSPECTION, In Five Apartments, built and fitted up for the Purpose, At The House of WILLIAM BULLOCK, Church-Street, Jeweller and Silversmith to His Royal Highness The Duke of Gloucester [J. Ferraby; Hull, England: 1808], p. 89)

This piece was later displayed at Bullock’s London Museum and Pantherion at the Egyptian Temple (William Bullock, A Companion to the London and Pantherion, Containing a Brief Description of Upwards of Fifteen Thousand Natural and Foreign Curiosities, Antiquities, and Productions of the Fine Arts [Whittingham and Rowland; London: 1813], p. 21)

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18

This blunderbuss may have been made by Thomas Powell of London, who was active during the 1690s (Blackmore, op. cit., p. 161; and Neal & Back 15401740, op. cit., p. 179).

This is almost certainly the .61 caliber wheel-lock sporting gun by Rowland that was formerly in the Charles M. Schott, V. T. Hammer, Charles D. Cook, and Winchester Repeating Arms Company Factory Reference Collections that is now preserved in the Cody Firearms Museum at the Buffalo Bill Historical Center in Cody, Wyoming (Catalogue of The Choice and Valuable Collection of Rare Antique Guns and Pistols, Edge Weapons, Accessories, Etc. formed by Mr. Charles M. Schott, Jr. of New York City [Scott & O’Shaughnessy; New York, NY: November 19, 1918], p. 5, Lot 14 and Pl. 4; V. T. Hammer Collection, Branford, CT, ; C. D. Cook Collection Catalogue [James E. Serven, Santa Ana, CA, 1952]; Winchester Repeating Arms Company Inv. No. W2877; Cody Firearms Museum Acc. No. 1988.8.2513). It is signed on the barrel “R. Rowland Londino” and has an overall length of 45.5”

Robert Rowland was active in London from approximately 1704 until his death in 1722 (Blackmore, op. cit., p. 171; and Neal and Back, Great British Gunmakers 1540-1740, op. cit., p. 399).

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20 21

22

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24

25

26

For a Nock volley gun most likely cased in the same manner see W. Keith Neal and David H. L. Back, British Gunmakers Their Trade Cards, Cases and Equipment (Compton Press; Warminster, Warwickshire: 1980], p. 119, fig. 436).

This shotgun was probably made by James Wilkinson, Henry Nock’s works manager (Blackmore, op. cit., p. 202).

This piece was most likely made by Lewis Barbar who was active from the late seventeenth century until his death in 1741 (Neal & Back, Great British Gunmakers 1540-1740, op. cit., pp. 288-302). Alternatively, it could have been made by James Barbar, active from approximately 1722 until his death in 1773 (Blackmore, op. cit., p. 46).

The firm of Griffin & Tow was established in 1771 and ceased to exist in 1782 (W. Keith Neal and David H. L. Back, Messrs Griffin & Tow and W. Bailes [Historical Firearms; Norwich: 1989], pp. 25-27). For fowling pieces most likely resembling the one sold as Lot 381 see, ibid., pp. 86-88.

John Anderson was apprenticed to John Scot on February 21, 1763 for a period of 7 years and worked as a gun maker in Edinburgh from 1773 until his death in 1778 (Charles E. Whitelaw, Scottish Arms Makers: A biographical dictionary of makers of firearms, edged weapons and armour working in Scotland from the 15th Century to 1870 [Arms and Armour Press; London: s.d.], pp. 139 and 196).

W. Keith Neal recorded a gun maker having the surname Cams as having worked in Ripoll, Spain, c.1735 (W. Keith Neal, Spanish Guns and Pistols [G. Bell and Sons, Ltd.; London: 1955], pp. 94 and 98).

Nikolas Franzen from Coblenz is recorded as being in Vienna, Austria, on September 14, 1738 (Hans Schedelman, “Die Deutschen Buchsenmacher, I Band: Die Wiener Buchsenmacher und Buchsenschafter,” Zeitschrift Fur Historische Waffen-und Kostumkunde, II Beihaft [1944], p. 54).

It is likely that A. Lousgren was a German gunmaker.

Fig. 5 Wheel-lock rifle made by Robert Rowland of London, circa 1702-1716, that almost certainly once was among the arms owned by David Martin.

Cody Firearms Museum, Buffalo Bill Center of the West, Cody, Wyoming (Acc. No. 1988.8.2513, Gift of Olin Corporation – Winchester Arms Collection).

Photographs by Stuart Mowbray.

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Sir John Sinclair, The Statistical Account of Scotland. Drawn Up From The Communications of the Ministers of the Different Parishes, Vol. Ninth (William Creech; Edinburgh: 1793), p. 223.

Martin’s fellowship in the Society of Antiquaries of Scotland was noted in his obituary (The Edinburgh Magazine or Literary Miscellany, “Deaths,” Vol. XI New Series, No. 2 (Feb. 1798, p. 159).

George Courlay, Anstruther: or Illustrations of Scottish Burgh Life (A. Westwood & Son; Cupar-Fife: 1888), p. 149.

The Monthly Magazine, and British Register, Part I. 1798. From January to June, Inclusive, Vol. V (R. Phillips; London: 1798), p. 158 (No. XXVIII, February 1798); and Edward Edwards, Anecdotes of Painters Who Have Resided or Been Born in England; with Critical Remarks on their Productions (Luke Hereford & Sons; London: 1808), p. 252.

For a list of the monetary awards presented to Martin for drawing while he was a student at the St. Martin’s Academy see Alexander M. Bailey, One Hundred and Six Copper Plates of Mechanical Machines, and Implements of Husbandry, Approved and Adopted by The Society for the Encouragement of Arts, Manufactures, and Commerce, and Contained in their Repository, in the Adelphi Buildings in the Strand (Benjamin White; London: 1782), pp. 204 (1759), 206 (1760) and 209 (1761).

Martin is listed as a “History Painter” living in “Soho Square” in A List of the Society for the Encouragement of Arts, Manufactures and Commerce. London, July 3, 1765 (The Society for the Encouragement of Arts, Manufactures and Commerce; London: [1765]), p. 43. In the 1768 edition, his address was listed as being in “Scotland Yard” (A List of the Society for the Encouragement of Arts, Manufactures and Commerce. London, April 6, 1768 [William Adlard; London: [1768], p. 31). During this period Gandon collaborated with John Wolfe in the production of Volumes 4 and 5 of Vitruvius Britannicus, or The British Architect, Containing the Plans, Elevations, and Sections of Buildings, both Public and Private in Great Britain which were published in 1767 and 1771.

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Among those who commissioned portraits from Martin were Prof. Joseph Black; Henry Dundas, 1st Viscount Melville; Henry Home, Lord Kames; Thomas Mills; Thomas Mills; the Prince of Wales; etc. Martin was also responsible for painting what is regarded as the most accurate portrait of Benjamin Franklin in 1766 (a copy of which done in 1772 is in the collections of the Pennsylvania Academy of Fine Arts in Philadelphia).

Martin married the daughter of Simeon Hill on July 20, 1771 (The Town and Country Magazine or Universal Repository of Knowledge, Instruction and Entertainment, “Marriages,” Vol. III, July 1771, p. 392. Mrs. Martin apparently died sometime during 1775 (Edwards, op. cit.).

Sir James Balfour Paul, The History of the Royal Company of Archers, The Queen’s Body-Guard for Scotland (W. Blackwood; Edinburgh: 1875), p. 371.

The Scot’s Magazine, “ PREFERMENTS. From the London Gazette,” Vol. 47, No. 1 (January 1785), p. 52, col. 2.

ACKNOWLEDGEMENTS

The author would like to thank the following individuals who provided assistance during the preparation of this article.

Frau Korber, Staats- und Stadtbibliothek, Augsburg, Germany Andrew Mowbray, Lettweiler, Germany Stuart Mowbray, Woonsocket, Rhode Island, U.S.A. The National Galleries of Scotland, Edinburgh

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Vues de Sainte-Irène: An Ottoman Photograph Album of 1891

by Stuart W. Pyhrr

Fig 1. Front cover of the photograph album Vues de Sainte-Irène, Constantinople, 1891.

The Metropolitan Museum of Art, Gift of Howard Ricketts in memory of Roy and Neil Cole, collectors, 2016 (2016.466?)

Fig 2. Back cover

In 2016 the Department of Arms and Armor in the Metropolitan Museum of Art was presented a deluxe album of photographs by the firm of Abjullah Frères. Dated 1891, the album includes thirty-three exterior and interior views of the former Byzantine church of Hagia Eirene (Saint Irene) in Istanbul.1

Following the fall of Constantinople (Istanbul) to the Turks in 1453, the church was absorbed into the sultan’s palace complex of Topkapi and was put to use as the imperial Ottoman arsenal, a weapons depot housing not only the arms of the janissaries but also the booty brought back to the capital from the Ottoman campaigns in the Middle East, Balkans, and Mediterranean. The church, with its rich holdings of armor, weapons, flags, and cannon, became the site of the Military Museum (Askeri Müze) in the nineteenth century and remained so until 1940, when the collection was evacuated for the duration of World War II and the museum relocated elsewhere in the postwar years. The collection formerly housed in Saint Irene is appreciated today by specialists as one of the great – and still largely unstudied – repositories of fifteenth and sixteenth century Islamic and European armor and weapons. In the absence of modern publications on the collection, vintage images of Saint Irene remain essential references for the historic arms once housed there. Sadly, copies of the Abdullah photographs are exceptionally rare and even single prints are greatly prized by the museums and collectors lucky enough to have them. For this reason the entire series of images in the Met’s new album are reproduced here for easy reference. High resolution images are also available on the Metropolitan Museum’s website.

The album came to the Museum as a generous gift from Howard Ricketts and was given by him in memory of Roy and Neil Cole, collectors, friends for many decades, and the album’s previous owners. That Howard possessed such an album should come as no surprise, as he is internationally recognized as a pioneer collector of nineteenth century photography, as well as one of the leading dealers in European and Islamic arms. The photographs will be especially valued by two of the Museum’s curatorial departments, Arms and Armor and Photographs.

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Sumptuously bound in gold-tooled black morocco, the album’s front cover (fig. 1) is stamped with the tugra (calligraphic monogram) of Sultan Abdülhamid II (r. 18761909) above the title Vues de Sainte-Irène, Constantinople, 1891, Photographies par Abdullah Frères, while its back cover (fig. 2) bears a large crescent. Both covers are outlined with slender tooled borders of running foliage, alternately gilt and blind, and elaborated at the corners with gilt foliate scrolls. The inner faces of the covers are lined with brilliant red silk. The album is composed of thirty-three albumen silver prints, each measuring approximately 10 x 8 inches (25.5 x 20 cm) and mounted on card stock outlined by a slender decorative frame printed in gold. The three exposed edges of each leaf are gilt. Measuring 17 ¾ x 13 x 2 ⅜ inches (45.1 x33 x 6 cm) and weighing 13 lbs. (5.89 kg), this impressive volume was clearly intended to be appreciated as a contemporary work of Ottoman art.

The photographs were produced by the firm of Abdullah Frères (Abdullah Brothers, 1858-1899), the pre-eminent photographers in Turkey and official photographers to the Ottoman court.2 In 1889 the head of the firm, Vichen Abdullah, was named “Chief Photographer to His Majesty the Sultan” and was commissioned to produce a series of topographical images of Istanbul, its monuments, and modern institutions. According to a newspaper reference of February 13 that year, the first photographs to be made were those of the antiquities and weapons in the Topkapi Sarayi treasury and armory. Those of the Saint Irene arsenal must have been made immediately afterward, with the series completed by the time the album was assembled in 1891.

The Museum’s album is one of a series of opulently bound volumes of photographs, arranged by subject, which were intended for presentation by the sultan to foreign governments, diplomats, and high-ranking visitors to the court. Each volume is the work of a single photographer or firm. One important purpose of the albums was propaganda, to advertise the antiquity, wealth, and modern achievements of the empire and Abdülhamid’s regime. Many different photographers were eventually employed to achieve the ambitious photographic survey, the results of which are evident in the more than 33,000 prints preserved at the Istanbul University Library. Two similar sets of 51 albums each, each set comprising over 1800 photographs, were presented by the sultan to the American and British governments in 1893-94 and are preserved today in the Library of Congress, Washington, D.C., and British Library, London, respectively.3 The set residing in the Prints and Photographs Division of the Library of Congress, known as the “Abdul Hamid II Collection,” is available online and includes two albums of prints by Abdullah Frères pertaining to arms and armor: one entitled “Armory museums,

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Istanbul” (LOT 11910), comprising 34 prints, includes most of the images in our album; the other, “Military personnel, arms depots, and other buildings, Istanbul” (LOT 11905), focuses on Turkish military subjects but contains several previously unpublished images of related interest that will be discussed below. Unlike the Met’s album, the prints in Washington are annotated in Turkish and French, captions that occasionally provide useful information not available elsewhere.

Of the thirty-three prints in the Museum’s album, about a third focus on the architecture of the church itself, often showing great sensitivity to the effects of light and shadow in the interior spaces, an aspect of the Abdullah firm’s artistry greatly admired by historians of photography. The remaining prints show wall- or column-mounted panoplies of arms and also weapons mounted on modern display boards. Some of these images will be familiar, having been reproduced in recent articles focusing on European armor and weapons, especially Arabic-inscribed swords, that can be identified as having formerly been in the Ottoman arsenal.4 Other images appear to be unpublished and will therefore be of fresh interest to specialists.

Images of the column-mounted panoplies are perhaps the best known prints and have traditionally been identified as part of the Saint Irene displays. The form of the columns and railings behind them, however, look modern and are not recognizable in other views of the church interior. This conundrum is resolved by several images in the abovementioned Library of Congress album devoted to military subjects (LOT 11905), where prints showing these same panoplies are captioned as views of “the large depot of old arms at Maçka,” referring to the Maçka Barracks, the military barracks and weapons depot in the Maçka district of Istanbul.5 The depot had as a centerpiece a great three-story hall outfitted with large square columns, railings, and panoplies of ancient weapons and nineteenth century cavalry helmets and cuirasses, exactly as featured in the Saint Irene album (Fig. 3). Histories of the Askeri Müze make clear that in the nineteenth century the ancient and modern arms in Saint Irene were frequently rearranged and relocated, and that a large number of weapons and armor from that source eventually found their way to the Maçka Barracks, where they were utilized as decoration. The fact that the Abdullah firm photographed both the church and Maçka Barracks in the same campaign and combined the photographs within the album devoted to Saint Irene suggests that the arms were considered as belonging to the same collection. The arms composing the Maçka panoplies were apparently returned to the Military Museum in the early twentieth century.

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Fig 3. Central hall in the Maçka Barracks, Constantinople. Photograph by Abdullah Frères, c. 1889-91. (Library of Congress: retrieved September 2018 ) https://www.loc.gov/item/2003673389/

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Fig 4. Standard head, Turkey (?), 15th-16th century(?). The Metropolitan Museum of Art, Gift of William H. Riggs, 1913 (14.25.466).

Fig 6. Ceremonial arrow head, Bohemian, c. 1437-39.

The Metropolitan Museum of Art, Rogers Fund, 1966 (66.199).

As was noted above, the Abdullah photographs provide important evidence as to the arms that have since left Istanbul.

Hundreds of fifteenth and sixteenth century Islamic and European arms were discarded in about 1839, when the arsenal of Saint Irene was reorganized during the reign of Sultan Abdülmejid I (r. 1839-61), and these probably account for the majority of early Islamic arms in European and American collections today.6 Still other weapons must have left shortly after being photographed by Abdullah Frères: the trident-like standard or ensign pictured in one of the prints (Fig. 10.25), presumably the same one now in the Metropolitan Museum (Fig. 4), was purchased in Paris by William H. Riggs around 1893 from a Turkish dealer named Beshiktash.7 The wall panoplies in Maçka include several Arabic-inscribed swords, including distinctive widebladed fifteenth-century examples of the type Bashford Dean purchased in Istanbul around 1920, one of which is now in the Metropolitan Museum (Fig. 5 and Fig. 10:32),8 and two ceremonial arrow heads of large size that bear the monogram of King Albert I (1397-1439), king of Hungary, Bohemia, Croatia,

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Fig 5. Sword, European, before 1419. The Metropolitan Museum of Art, Bequest of Bashford Dean, 1929 (29.150.143).

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and Germany (Fig. 6 and Figs 10:21, 23), in the same collection.9 Both are incised with what collectors refer to as the Turkish arsenal mark, suggesting that they, like so many European arms in Istanbul, were originally taken as booty during the Ottoman incursions into eastern Europe in the fifteenth or sixteenth century.

A final word must be said about the provenance of the album.

The verso of the album’s first page is inscribed “Souvenir offert à Monsieur R. Stuyvesant, Le 18 Mai 1896. Constantinople, Ahmed Aly Pacha,” with an annotation in another hand that identified the last named as “aide de camp de Sa. Maj[esté] le Sultan” (Fig. 7). From this it would appear that the album was given in the name of Sultan Abdülhamid II, through his aide-de-camp, to Rutherfurd Stuyvesant (1843-1909), a founding trustee of the Metropolitan Museum and one of the earliest American collectors of arms and armor (Fig. 8).10 This suggests that the subject of the album was carefully chosen with the recipient’s interests in mind. The purpose of Stuyvesant’s visit to Istanbul in 1896 is not recorded and therefore it is not known under what circumstances the album was presented. However, the quality of the album and the choice of subject matter suggest that he was perceived as a visitor of importance and may even have been granted an audience with the sultan. One cannot help but speculate, perhaps a little romantically, if Stuyvesant’s visit to Istanbul inspired his acquisition of the few early Islamic arms in his collection, which was otherwise devoted to European examples. Most important among his ‘oriental’ arms was an exceptionally rare and important shirt of mail and plate inscribed with the name of Mamluk sultan Qaitbey (r. 14681496) (Fig. 9). Like the album of Abdullah Frères, this is a recent addition to the Metropolitan Museum’s collection.11

Fig 7. Presentation inscription inside the album.

Fig 8. Rutherfurd Stuyvesant, photograph c. 1900.

Fig 9. Shirt of mail and plate bearing the name of Mamluk sultan Qaitbay, probably Egyptian, c. 1468-96. The Metropolitan Museum of Art, Purchase, Arthur Ochs Sulzberger Gift, and Rogers, Acquisitions and Fletcher Funds, 2016 (2016.99).

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Fig 10 (1-33). Vues de Sainte-Irène.

Fig 10 (1-33).

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Fig 10:2.

Fig 10:3.

Fig 10:5.

Fig 10:4.

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Fig 10:6.

Fig 10:7.

Fig 10:8.

Fig 10:9.

Fig 10:10.

Fig 10:11.

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Fig 10:12.

Fig 10:13.

Fig 10:14.

Fig 10:15.

Fig 10:16.

Fig 10:17.

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Fig 10:18.

Fig 10:19.

Fig 10:.20.

Fig 10:21.

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Fig 10:22.

Fig 10:23.

Fig 10:24.

Fig 10:25.

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Fig 10:26.

Fig 10:27.

Fig 10:28.

Fig 10:29.

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Fig 10:30.

Fig 10:31.

Fig 10:32.

Fig 10:33.

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NOTES

1 The album was previously discussed, with some of its images reproduced, in my earlier article, “The Ottoman Arsenal in Hagia Eirene: Some Early Photographs and Visitors’ Accounts”, [Catalogue of] The Spring 2007 London Park Lane Arms Fair, David Oliver ed., London, 2007, pp. 29-46. As the album was then only known to me through photographs, some errors in the description of the binding (brown rather than blue leather) and contents (33 rather than 36 images) are corrected here.

2 For a comprehensive discussion of Abdullah Freres and their place in early photography, see Bahattin Öztuncay, The Photographers of Constantinople: Pioneers, Studios and Artists from 19th Century Istanbul, 2 vols., Istanbul, 2003, I, pp. 179-233.

3 For the Washington albums, see William Allen, “The Abdul Hamid II Collection,” History of Photography 8 (1984), pp. 119-145, and for those in the British Library, Muhammad Isa Waley, “Images of the Ottoman Empire: The Photograph Albums Presented by Sultan Abdülhamid II”, British Library Journal 1991 (online edition).

4 See, for example, Clive Thomas, “The ‘Harriet Dean’ Sword. The Rediscovery of an Important sword from the Arsenal of Alexandria,” in [Catalogue of] The Spring 2018 London Park Lane Arms Fair, David Oliver ed., London, 2018, pp.92-100.

Thomas’s bibliography provides selected references to the recent study of Arabicinscribed swords, some of which can be identified among the panoplies photographed by Abdullah Frères.

5 O. Sermed Moukhtar, Musée Militaire Ottoman Situé à Ste.-Irène, Place de TopKapou-Sérail: Guide, 3 vols, Constantinople, 1920-22, I, pp. 33-38; Sadik Tekeli et al, Turkish Military Museum Collections (guidebook), Istanbul, nd., pp. 11-12. The Maçka Barracks were installed in 1860 in a neo-Renaissance-style edifice built by the English architect Williams James Smith over the years 1846-52; the building was subsequently taken over by the Ministry of Education in the 1920s and is now occupied by the Architecture faculty of Istanbul Technical University. Clive Thomas appears to have been the first to recognize the Maçka Barracks as the site for the photographs of the column-mounted panoplies; see Thomas 2018, p. 98 (see note 6).

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6 Stuart W. Pyhrr, “European Armor from the Imperial Ottoman Arsenal”, Metropolitan Museum Journal 24 (1989), pp. 87-90.

7 David Alexander, Islamic Arms and Armor in the Metropolitan Museum of Art, New York, 2015, pp. 251-252, no. 105.

8 Clive Thomas, “A Distinctive Group of Swords from the Arsenal of Alexandria,” [Catalogue of] The 20th Anniversary London Park Lane Arms Fair, David Oliver ed., London, 2003, pp. 29-44, in which Dean’s two swords from Istanbul are discussed under nos. 14-15; and Thomas 2018 (see note 6).

9 Dirk H. Breiding, A Deadly Art: European Crossbows, 1250-1850, New York: The Metropolitan Museum of Art, 2013, pp.126-8, no. 47a.

10 For Stuyvesant, see especially Bashford Dean, The Collection of Arms and Armor of Rutherfurd Stuyvesant, privately printed, 1914, which includes a biographical note and a catalogue of 218 works selected from a larger collection that comprised almost 600 items; and Arms and Armor, Books on Arms, Armor, and Heraldry, … From the Collection of the Late Rutherfurd Stuyvesant, Sold by Order of His Heir, Parke Bernet Galleries, Inc, New York, April 12, 1950. The Abdullah Frères album was not included in the 1950 sale and it is not known when and by what means it was acquired by Roy Cole.

11 Pierre Terjanian, “Shirt of Mail and Plate of Al-Ashraf Sayf ad-Din Quaitbay, 18th Burji Mamluk Sultan of Egypt”, in “Recent Acquisitions. A Selection: 2014-2016”, The Metropolitan Museum of Art Bulletin, Fall 2016, p. 29. Stuyvesant purchased the shirt from Baron de Lèry in Paris (Dean, 1914, no. 218; see n.12).

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EXHIBITOR LIST A.A.S.N Ltd aasn@hotmail.co.uk Alan Beadle Antique Arms & Militaria Alan S. Cook Antique Arms & Armour 01932 228 328 / 07785 252 120 antiquearms@btinternet.com www.antiquearms.co.uk Alban Arms 01494 863 026 info@albanarms.com Andrew Lumley andrew@andrewlumley.co.uk Armoury Antiques & Militaria info@armouryantiques.com www.armouryantiques.com 07887 852 523 Andrew Spencer Bottomley 01484 685 234 www.andrewbottomley.com Arsenal Russe vlad@arsenalrusse.com Asian Arms 0208 9669 138 tony@anu1.demon.co.uk

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David Petty 01628 605519 davidpetty@petty.wyenet.co.uk Geoff Hobson 01803 873 121 Centaur1931@aol.com Hatford Antiques 01367 710 241 gunpsmith@gmail.com HBSA http://www.hbsa-uk.org/ John Ormiston & Co. 07831 568 149 johnormiston@mail.com Jonathan Barrett Ltd info@jonathanbarrett.com www.jonathanbarrett.com Jones & Jones Oriental Art 01536 743 004 jonesorientalart@aol.com Magazin Royal 0032 475 492 450 info@magazinroyal.be Mark Austick sales@antiqueguys.co.uk www.antiqueguys.co.uk

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EXHIBITOR LIST Nicholas McCullough Nicholasmccullough37@yahoo.com 01798 831 272

Garry Parr Antiques 01524 691 95 arranarms@yahoo.co.uk

Michael German Antiques 020 7937 2771 info@antiqueweapons.com

Robert Hales (C.I. Ltd) rhantique@aol.com www.roberthales.co.uk

Morion Antique 0035 844 274 2258 morionantique@gmail.com Oriental Arms Ltd 00972 507 581 101 www.oriental-arms.com Patrick Mestdagh +32 475 46 73 15 www.patrickmestdagh.com Peter Finer Ltd 020 7839 5666 gallery@peterfiner.com www.peterfiner.com Peter Yorke 01276 857 576 yorkepeter@btinternet.com

Rod Akeroyd & Son 01772 203 845 info@firearmscollector.com Runjeet Singh Ltd 07866 424 803 info@runjeetsingh.com www.runjeetsingh.com The Arms and Armour Society http://www.armsandarmoursoc.co.uk/ Waterloo Militaria 07935 324 562 waterloomilitaria@hotmail.co.uk www.waterloomilitaria.com West Street Antiques 01306 883 487 weststant@aol.com www.antiquearmsandarmour.com

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