We found 42009 price guide item(s) matching your search

Royal Arch apron and sash, Masonic Mark apron and books in case

An early 19th century Italian ebonised cabinet on stand with an arrangement of drawers and cupboard with bone inlaid decorated front enclosed by two doors with arch panels on turned leg base, 103cm wide by 155cm high (NC)

•JOHN THOMPSON (1924-2011) MIXED MEDIA Man and woman with dog outside a shop, figure through an arch in the background Signed and inscribed 0/3 and monogram 18½" x 15" (47cm x 38.1cm)

A Regency Brass Gothic Lantern England circa 1810, each face is surmounted by a Gothic ogee arch and flanked by stylized spires, the supporting columns are fashioned as a cluster of three with capitals cast as feathers, the lantern has a period smoke cowl and is wired for electricity, 35cm wide, 77cm high, 32cm deep

A Gothic Clock England circa 1860, signed Thos Moreland, Chester, the silvered face with Roman numerals is framed with a gothic arch surmounted and flanked by elaborate scrolls, finials and royal masks, the sides have further elaborate arches and a pierced quatrefoil at the apex, 34cm wide, 51cm high, 24cm deep

An Indian Embroidered Panel India circa 1840, probably Kashmir, worked on very fine cotton showing a variety of flowers within a mihrab arch and with a series of patterned borders, 74cm wide, 110cm high

A North American painted cast iron mechanical Tammany Bank, Approx 14.5cm H, with inscription to arch of chair 'PAT DEC 23 1873'

Arch top overmantle mirror in ivory frame with carved pediment, W126cm x H127cm overall

Arch top overmantle mirror in gilt frame with carved pediment, W127cm x H100cm overall

A silver gilt Royal Arch Chapter Masonic medal Bengal, together with a 1914-18 silver Masonic medal and a cased silver Inter Banks Athletics medal

A Masonic jewel engraved Members Jewel 617 Excelsior A.L.5853.No 900. cased, together with twelve Masonic Royal Arch chapter jewels and a New York belt buckle (14)

Early 20th Century German walnut mantel clock, the three finial top with arch above a gilt dial and Arabic hours, shaped base, twin train movement striking on a gong, 48cm high

Victorian mahogany Longcase clock, the domed hood above a arched glazed door, flanked with half columns, the arched painted dial with cottage scenes painted to the arch and spandrels, the long trunk door flanker by barley twist columns, raised on a trunk base, twin train movement striking on a bell, 205cm high

OAK ARCH BACKED ARMCHAIR

A 19th Century mahogany sideboard, with satinwood stringing, of D form with central frieze drawer over arch flanked to either side by cupboard doors, on square tapering legs, 146.5cm wide, 31cm high, 59cm deep

A 19th Century broken arch top mahogany and shell inlaid 8" wheel barometer with arched and moulded long thermometer box, maker Cetti & Co. 25 Red Lion St, Holburn, London

Two 19th Century mahogany and inlaid broke arch top 8" wheel barometers with long thermometer boxes, for restoration

An early 19th Century mahogany and inlaid stick barometer with broken arch top, silvered dial signed F. Molton, open tubed (empty)

*Germany, Fulda, Bishopric, Placidius von Droste (1678-1700), 7 ducats, 1688, by P.H. Müller, capped bust right in ecclesiastical vestments, p.h.m. on truncation, placidus d g abb fuld s r i pr d a arch p germ & gall pr, rev., oval garnished arms with three ornate helms over, date below, pietate et constantia, 24.82g, 43.7 mm (F. 1046 (“unique”) = UBS auction 64, 24 January 2006, lot 1162, described as “unique”), die flaw below bust, extremely fine and extremely rare, possibly the second known specimen (both coins show the die flaw below the bust in a similar state)

*China, Warring States (c. 475-221 B.C.), flat handled and arch footed spade, inverted inscription reads “liang yi jin” (Jen 15), patinated, very fine

A GEORGE III LONGCASE CLOCK with 8-day movement, the enamel dial with subsidiary seconds dial and date aperture, named 'J Hodge Helstone', painted with scenes of cottages to the spandrels and a river scene to the arch top, in crossbanded mahogany case, 224cm high

A GEORGIAN MAHOGANY ARCH TOP LONGCASE CLOCK HOOD, with foliate marquetry motif to each side, suitable for use as a miniature display cabinet, 35cm wide 35.5cm high 23cm deep

A large 19th century walnut Black Forest rectangular wall clock, the broken arch pediment carved with a stag flanked by a pair of recumbent dogs, the single door with glazed panel flanked by pair of fox heads and carved hunting motifs, enclosing eight day movement with mother of pearl inlaid chapter ring set with Roman numerals around a carved central panel depicting a boar hunting scene, height 164cm. CONDITION REPORT: Replaced platform for movement to sit on (now plyboard). Stag antler missing. Losses to ear of two lower corner foxes. Cartouche in bottom section is missing an animal head. Glass on left panel is cracked. No worm.

An Edwardian satinwood and inlaid five piece salon suite comprising triple arch back settee and four side chairs, each with central inlaid medallion, padded seats and square section front legs to moulded spade feet, width of settee 132cm.

A set of four Edwardian light oak dining chairs with shaped backs with carving and an arch and column form, circular legs, stuffover seats and padded backs.

HENRY GEORGE GAWTHORN (1897-1941); a large poster lithograph in colours "Forth Bridge, East Coast to Scotland, L.N.E.R.", published by The London and North Eastern Railway, 101 x 62cm, framed and with UV protected glass. CONDITION REPORT: It has been folded into eighths so has visible folds/creases and has not been examined out of the frame. It doesn't appear to have been cut down but cannot confirm as the mount covers the edge. Scuff to A and I of RAILWAY in margin, large scratch across three figures at bottom left. Scuff between TO and SCOTLAND. 3in scratch in trees. Small scuff under first arch of bridge. Colours are fairly fresh. Cost to post within UK £22.50. Other countries will have to be quoted when parceled.

1854. BELIZE to KINGSTON (JAMAICA). Red postmark PAID /AT / BELIZE and manuscript "Prepaid" and "Pr Pkt", on reverse double arch date stamp BELIZE and arrival. VERY FINE AND SCARCE COVER. Cert R.P.S.L. (SGcc1 4000£)

Good Art Deco cut glass silver collared decanter with faceted neck and ribbed banding with hobnail cut arch panels and original stopper, 10" high

Good Victorian giltwood and gesso arch top overmantel mirror, with applied pierced foliate and scroll mouldings, 65" high x 46" wide approx

Antique style hardwood campaign desk, the hinge lid enclosing a leather slide and pigeon holed interior, upon swept legs united by an arch stretcher, 28" wide x 31" high

Mahogany arch topped mantel clock, the silvered dial with twin train movement, Arabic numerals and Chime/Silent, striking on chime, 36cm x 24cm x 16cm

B. HOWDEN; four oils on canvas, an acrylic collage of Shenanigan's pub Liverpool, an acrylic and collage of the Chinese Arch Liverpool, oil and collage of the Pier Head Liverpool, also a collage and oil of Mann Island project Liverpool, signed, 71 x 81xm (4).

A William IV gilt brass Gothic style table lamp, with a cluster column stem, the base with a female robed figure within an arch door, 67.3cm high, 15.5cm wide.

A 9 inch radius arm vernier "Bell" pattern Mark III sextant by Heath and Co: lacquered tulip frame with mirror and shades sighting scope, silvered arch calibrated to 150 degrees, signed as per title also engraced W.A Moens RN together with shades and accessories in a fitted mahogany case.

Modern bevel plate arch top scroll decorated oval mantle mirror.

Painted floral arch top bevel plate over mantle mirror.

Edwardian mahogany inlaid astragal glazed, arch topped display cabinet with under shelf on cabriole legs.

Early 20th Century oak, glazed, arch top display cabinet.

GIROLAMO MARCHESI DA COTIGNOLA and workshop (Cotignola, c. 1480-c. 1545) 1530s Madonna and Child with St. Mercurial, St. John the Baptist and the Donor Oil on canvas, 198 x 145 cm Formerly in the collection of Claudio Strinati This painting may be considered a second autograph version – with help from the as- sistants in his workshop – of an identical altarpiece by Cotignola in oil on wood, now in the Pinacoteca Civica in Forlì. It is an unusual work because second versions of 16th century altarpieces such as this are extremely rare. Known from a photograph taken in the 1960s and now in Federico Zeri's photographic library (PI-0353 / n. arch.77182), where it is listed as by an anonymous 16th century artist from Parma and erroneously identified by Donati as a coeval copy (A.Donati, Girolamo Marchesi da Cotignola, San Marino 2007, pp. 167–8, s. 81, plates on pp. 118–19), our altarpiece is in fact a faithful, autograph replica of the painting which stood until 1866 in the Orsi Chapel in the church of San Mercuriale in Forlì (see, in this connection, R. Zama. Girolamo Marchesi da Cotignola, catalogo generale, Faenza 2007, pp. 178–80 and relevant plate) and which was moved to the Pinacoteca Civica in Forlì in 1893. Being a second version, most of which must be by the hand of the master himself in view of the high quality of the painting, the not uncommon choice of a canvas support rather than the more traditional popolar panel was prompted by considerations of cost and conservation as well as by the practical features inherent in linen cloth. This par- ticular canvas is extremely important also with respect to the prototype in Forlì itself, which is in a very poor state of conservation today. Our own piece testifies to the picture's complete aspect before Ottorino Nonfarmale's restoration in 1972, which restored it to the public in the version we can see today, namely with numerous gaps. Our canvas, on the other hand, despite displaying a yellowish tinge due to an oxidised varnish probably applied during restoration in the 1950s or 1960s, is in an excellent state of conservation and may be considered to be one of the rare canvas works from the Romagna area painted between the 1520s and the 1530s. Compared to Cotignola's early work – which he produced between the 1510s and the 1520s and to which period the prototype in Forlì should be ascribed – our altarpiece reveals the master's more nuanced, mature style found, for instance, in such pictures as the Madonna and Child with the Young St. John, St. Francis and St. Bernardino in the Pinacoteca Nazionale in Bologna (inv. 532) or in a small panel with the Madonna and Child with St. John and St. Francis which was sold by Sotheby's in London in 1968 and which has been correctly attributed to Cotignola both by Zama (R. Zama 2007, op. cit., p. 188) and by Ervas (P. Ervas, Per Girolamo Marchesi. Da Bologna alla pala di Sant’Aniello, in Proporzioni, VI, 2005, p. 73). According to Vasari (G. Vasari, Lives of the Artists..., edited by G. Milanesi, V, Florence 1880, pp. 182 et seq.), Cotignola probably painted our altarpiece during his second visit to Rome (regnante papa Paulo III), a period of which little is known and of which we consider our picture to be an outstanding example, also in view of its brushwork, which is more vigorous than is to be found in the painter's earlier output.

A Victorian oak and mahogany 2.5 door bookcase sideboard, a shaped top over twin arch glazed doors and matching half centre panel, the base with single long drawer, twin opening cupboard doors and central half panel all with surface mounted shield shaped raised panels, supported on shaped bracket feet, 85 x 56 ins (216 x 142 cms)

An impressive French Louis XV style ormolu mounted kingwood pedestal clock The dial bearing signature for Julien Le Roy, Paris, circa 1900 The clock with rectangular eight-day outside countwheel bell striking movement and 8 inch circular twelve-piece Roman numeral cartouche dial with sculpted steel hands and hinged cast brass bezel, the case with seated cherub surmount to the shaped superstructure over break-arch cornice and geometric parquetry infill around dial flanked by projecting angled terms modelled as to represent the four continents and shaped side windows, the front with arched aperture revealing the pendulum applied with enamel plaque inscribed Julien Le Roy to apex beneath dial, standing via four generous 's' scroll supports on a matching tapered pedestal centred with a large gilt medallion depicting Atlas and Zeus flanked by acanthus cast corner mounts over slender crossbanded panel upright applied with raised gilt moulded borders and central foliate motifs, resting via four richly cast paw feet onto a shaped skirt base, 249cm (98ins) high overall.

A Regency papier mache mantel timepiece Francis Shuttleworth, London, early 19th century The four pillar single fusee movement with anchor escapement and arch shaped top and bottom edges to the geometric border engraved backplate, the 5 inch circular convex Arabic numeral enamel dial signed SHUTTLEWORTH, DUKE STREET, LONDON to centre and with gilt pierced hands set behind moulded hinged convex glazed cast brass bezel, the waisted case painted in gilt with a musical trophy beneath dial and with stylised floral sprays over festoon garlands to sides, on serpentine fronted skirt base incorporating bracket feet to the canted angles, 38cm, (15ins) high. Francis Shuttleworth is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working fron Duke Street, London 1805-15.

A 19th century mahogany 8-day longcase clock, enamelled dial signed Mason, Chesterfield, moon phases to the arch, in panelled case with swan-neck cresting, 7ft. 11in.

London Underground ENAMEL ROUNDEL SIGN from Marble Arch Station. This is one of the highly collectable, smaller-size signs measuring 24" (60cm) across by 20" (50cm) high, estimated to date from the 1980s/90s, and comes in three parts plus original brass frame. In very good condition. [1]

A late 19th Century embroidered silk and bullion depiction of a saint, in an elaborately carved wooden pointed-arch frame, 35 cm high

A late 19th / early 20th Century Sheraton revival marquetry-inlaid mahogany display cabinet, having a pediment with central arch section, incorporating a dentil-inlaid cornice with bell-flower and swag inlaid frieze echoing the decoration throughout, above three astragal-glazed doors enclosing wooden shelves, a central slender drawer and a base with three inlaid doors, on short square tapering legs with spade feet, 50 cm x 144 cm x 202 cm high

AN ELIZABETHAN DESIGN OAK BENCH, chip carved and moulded seat on arch carved frieze, carved supports with plain stretchers, 122cm x 30cm

A George III Oak and Inlaid Longcase Clock, the broken arch pediment above an arched door with reeded pilasters, the shaped door below flanked by reeded canted corners, raised upon bracket feet, the painted dial with moon phase movement and with Arabic numerals, seconds dial and date aperture and with two train movement, the dial inscribed 'Richard Sims, Walford'

A leaded light Gothic arch panel

H. MACE "Figures going over twin arch bridge", watercolour, signed lower right, together with one other by H. MACE

A cased set of sterling silver and New Zealand green stone (Jade) handled coffee spoons from Dunedin, New Zealand, prov. Arch Deacon Fitchett, Roslyn. Stamped Sterling Silver and makers mark JS & S.

Far From The Madding Crowd (1967) Royal World Charity Premiere Promotional Insert for the Odeon Theatre Marble Arch signed to the front cover in blue biro by Julie Christie, Prunella Ransome, Frederic Raphael & John Schlesinger23 x 15cm

AN 18th CENTURY OAK CASED LONG CASE CLOCK, the white enamel dial with Roman numerals, date aperture and subsidiary dial, floral painted spandrels and painted in the arch with a bird, sign Rider, Pool, (probably William Rider a.1798), with an eight day movement striking on a bell, the hood with a moulded broken swan neck pediment surmounted by three ball, spike and bird finials above blind carved fret work over an arched glazed door flanked by tapering fluted cylindrical columns with gilt metal caps, the trunk with a shaped moulded panel door flanked by fluted quarter columns raised on a moulded and panelled plinth base and bracket feet. 2.35m by 0.57m by 0.25m

An Admiral Fitzroy forecasting barometer of typical form in a Gothic style arch top light oak case with carved pediment and carved detail to interior of arch, the interior with fitted glass instruments and printed instructions to back board, 105cm high

An attractive 19th century wall mirror of rectangular arch top form, the glass plate set within a brass frame with foliate cut corners, foliate etched and bevelled glass panels to the perimeter, fabric covered back, 57cm high by 44cm wide

**A COMPOSITE CAP-A-PIE FIELD ARMOUR IN THE 'GOTHIC' FASHION, GERMAN, ITALIAN AND FLEMISH, CIRCA 1450-1510 AND LATER comprising sallet with a broad rounded crown rising to slightly hollowed medial keel pierced at its apex with a circular hole for the attachment of a crest, fitted at its rear with a long pointed 'tail' of two lames (restored), and at its front with a pivoted demi-visor (also restored) cut at its upper edge with a broad shallow notch serving as the lower edge of its stepped vision-slit, and secured to the skull at the right by a spring-catch with push-button release (restored); bevor formed of a main plate shaped to the chin and throat, a chevron-shaped face-plate articulated to its upper edge and supported at the right by a spring-catch, and a single V-shaped gorget-plate articulated to its lower edge; lance-rest (restored) of sturdy one-piece construction pierced at its base with four rectangular slots to fit over the pierced staples of a breastplate; tassets (restored) each formed with a pronounced medial ridge, fitted at its upper end with a pair of suspension-buckles, descending at its lower end to an obtusely point edge and cut away slightly at its inner edge; backplate formed of a straight-topped main plate fitted laterally with smaller side-plates (the left associated and the right restored), and overlain at its lower end by a centrally-cusped plackart struck at its centre with the maker's mark GI beneath a cross, and flanged outwards at its lower edge to receive a culet of three medially-ridged lames, the lowest of which descends to an obtuse point and is fitted at each side-with a small tasset replicating in miniature the tassets proper; large asymmetrical pauldrons formed in each case of seven lames overlapping outwards from the third and largest of them (the lowest four of the left and all those of the right restored), the seventh fitted at its lower edge with a vambrace (restored) formed of an upper cannon open at the inside of the arm and articulated by means of internal leathers through a large shell-like couter, also open at its the rear and strongly shaped to the point of the elbow, to a mitten gauntlet formed of an elbow-length cuff with a separate hinged inner plate, five metacarpal-plates, a shaped knuckle-plate and four finger-plates with longitudinal V-shaped flutes separating the fingers; pendent besagues each of peripherally-scalloped circular form, decorated with flutes radiating from a pyramidal central boss; cuisses each formed of a long gutter-shaped main plate fitted at is upper edge with four extension-plates, at its lower edge with a winged poleyn of six lames, and at its outer edge with a hinged side-plate that is likewise fitted at its upper edge with four extension-plates matching those of the main plate, and at its lower edge with two more; a pair of ankle-length tubular greaves each cut with an arch over both the heel and foot; the main edges of the armour formed in part with either inward or outward turns, its subsidiary edges cusped at points, and the surfaces of the bevor, the pauldrons and the vambraces decorated with sprays or cascades of flutes in part emphasised by incised lines (extensively pitted and patinated with some rust-perforations, cracks and patching; the restorations in many cases using old metal) See note at front of catalogue for information concerning stands Provenance Dr Bashford Dean, Riverdale, New York, privately sold 1921 with different sallet Clarence H. Mackay, Harbor Hill, Long Island, New York, sold from his estate by Jaques Seligman & Co, New York, 9 November 1940 JWHA Inv. No. 2607 Exhibited 'Medieval and Renaissance Splendor', Ringling Museum, Sarasota, Florida, 9 February - 1 May 1984 The mark struck twice on the lower part of the backplate of the mid-15th century, has been identified as that of the Milanese armourer Giovanni da Garavalle, recorded 1438-74. It also occurs on the leghharness of the well-know 'Avant' armour from Schloss Churburg, now in the Glasgow Museum and Art Gallery, Acc. No. '39-65e (Lionello G. Boccia, Le Armature di S. Maria Delle Grazie di Curtatone di Mantova e l'Armarura Lombarde del '400, Busto Arsizio, 1982, p. 282, figs 46-7, 188a.). Except that it has a demi-visor rather than a full one, the fine sallet resembles one of about 1480-90 in the Royal Armouries Museum, Leeds, Inv. No. IV. 428, from the armoury of the Knights of St John at Rhodes (W. J. Karcheski Jr & T. Richardson, The Medieval Armour from Rhodes, Leeds & Worcester, MA, 2000, pp. 25-6). In its markedly bell-shaped form, it is reminiscent of works attributed to the celebrated Augsburg imperial armourer, Lorenz Helmschmied, recorded 1467-1515 (Arms and Armour Society, The Art of the Armourer, Victoria & Albert Museum, London, 1963, p. 16, nos 28-9; and B.Thomas & O. Gamber, Katalog der Leibrustkammer,I.Teil, Vienna, 1976, pp. 106-8,pls. 34-5 & 40). The pauldrons are strikingly similar in design to those of a partial armour formerly in the Imperial Armoury in Vienna and now in the Hungarian National Museum, Budapest (Claude Blair, 'The Emperor Maximillian's Gift of Armour to King Henry VIII', Archaeologia, Vol. XCIX,1965, p. 37,pl. XIVc,d), bearing the mark of the Flemish imperial armourer Guillem Margot, recorded 1505-20).

**A COMPOSITE CAP-A-PIE FIELD ARMOUR IN THE SO-CALLED 'MAXIMILIAN' FASHION, SOUTH GERMAN, EARLY 16TH CENTURY AND 19TH CENTURY comprising close helmet with broad rounded one-piece skull (patched at its lower edge) fitted at its rear with a rounded neck-guard of two lames (restored) and at its front with a 'sparrow's beak' visor (restored) and bevor (associated and trimmed to fit) attached by common domed pivots (replaced), the visor stepped below its centrally-divided vision-slit, pierced on the upper surface of its 'beak' with eight small circular ventilation-holes, on the lower surface with ten horizontal ventilation-slots and fitted at its right with a short lifting-peg, and the bevor flanged outwards at its lower edge to form a short integral front gorget-plate and secured to the skull at the right of the neck by a spring-catch with push-button release (replaced); collar of four lames front and rear (the front ones restored and the uppermost rear one associated); breastplate (restored) formed of a rounded main plate with a straight upper edge, fitted at each of its arm-openings with a moveable gusset, at the right of its chest with a folding lance-rest attached by two screws and within its lower edge with a waist-lame flanged outwards to receive a fauld of two lames, the lowest of which is cut with a shallow arch separating a pair of tassets of square form, each of four lames (all of the right and the upper two of the left restored) and suspended from a pair of straps; backplate (restored) en suite with breastplate, formed of a main plate fitted within its lower edge with a waist-lame flanged outwards to receive a culet of one lames; large symmetrical pauldrons (restored) formed in each case of six lames, the lowest four of which protect only the outside of the arm and are connected by a turner to fully articulated vambrace (restored) formed in each case of a tubular upper and lower cannon linked to one another by an intervening winged couter of three lames open at the inside of the elbow; mitten-gauntlets (the right restored) formed of a short flaring obtusely-pointed cuff closed at the inside of the wrist by an overlapped and riveted join and extending downwards over the metacarpals to two shorter metacarpal-plates and three finger-plates (one of the left patched at its upper end) alternating with three knuckle-plates decorated in each case with boldly roped transverse ribs; and a laterally-hinged thumb-defence formed of a lozenge-shaped main plate having attached to its truncated distal end a small fragment of later Eastern mail; cuisses (restored) each formed of a gutter-shaped main plate fitted at its convex upper edge with a crescentic extension-plate and at its lower edge with a poleyn of four lames, the second of which is shaped to the point of the knee and formed at its outside with a large wing ; and full-length tubular greaves (restored) each fitted within the arched lower edge of its front plate with a broad-toed sabaton of eight lames; the main edges of the armour formed with inward turns of prominent and angled form in the case of those of the neck and arm-openings of the breastplate, and boldly roped in the case of those of the tassets, gauntlets and legharnesss, its surfaces decorated overall, except on the visor, bevor, waist-lames, gauntlets and greaves, with bands and panels of flutes emphasised by pairs of incised lines See note at front of catalogue for information concerning stands Provenance Clarence H. Mackay, Harbor Hill, Long Island, New York (sold from his estate by Jaques Seligman & Co, New York, 9 November 1939) JWHA Inv. No. 2605

**A COMPOSITE SOUTH GERMAN CAP-A-PIE ARMOUR FOR TOURNEY USE WITH LATER EMBOSSED, ETCHED AND GILT DECORATION, PARTLY AUGSBURG, LATE 16TH CENTURY comprising collar of three lames front and rear (the second in each case restored and the third associated); breastplate formed of a main plate of 'peascod' fashion fitted at its arm-openings with moveable gussets (restored), at the right of its chest with five vertically-pierced staples bearing a rigid one-piece lance-rest serrated along its front edge and secured by a pin (the staples, lance-rest and pin all restored), and flanged outwards at its lower edge to receive a fauld of one lame (restored) fitted at each side of a small arch cut into its lower edge with a pair of straps supporting a large pendent tasset of seven lames (restored); one-piece backplate (restored) with a broad shallow neck-opening and outward-flanged lower edge; large symmetrical pauldrons each of seven lames (the lowest four protecting only the outside of the upper arm, in each case restored), its lower end fitted with an integral vambrace, probably for use in the foot tourney, of fully articulated tubular design, fitted at its upper end with a turner of one lame, at its elbow with a bracelet couter of three lames, and closed at the inside by a series of eleven lames; gauntlets (extensively restored using reworked old elements) each formed of a flared and obtusely-pointed tubular cuff fitted with a separate fixed inner plate, six metacarpal-plates, a shaped knuckle-plate, a shaped finger-plate and scaled finger and thumb-defences, the latter attached by a lateral hinge to the distal metacarpal-plate, and fitted with a buff leather lining (old but not original); cuisses each formed of a short gutter-shaped main plate fitted at its concave upper edge with three detachable extension-lames rising to a sloping convex upper edge, and at its lower edge with winged poleyn of six lames; and full-length tubular greaves (restored) each formed with a detachable rear plate cut away over the heel, and a front plate fitted within its arched lower end with an integral sabaton of eleven lames (restored but probably incorporating old elements), terminating in a laterally pinched toe-cap; the main edges of the armour formed with finely file-roped and gilt inward turns each side of the breastplate, the lower ends of the tassets, the main plates of the pauldrons and couters, the cuffs of the gauntlets, the main plates of the cuisses and poleyns, and the toes of the sabatons all embossed in low relief with foliate volutes, fleur-de-lys and quatrefoils etched on a gilt and stippled ground with running foliages, and the breastplate further decorated in a raised medial band with similar ornament involving flower-heads See note at front of catalogue for information concerning stands Provenance Dukes of Ratibor, Schloss Grafenegg, Krems, Austria (sold Gallerie Fischer, Lucern, 2 September 1933, lot35) JWHA Inv. No. 2205 Literature Hans Tietze, Die Sammlungen des Schlosses Grafenegg (Oestereichishe Kunst-topographie, Beiheft zum Band I), Vienna, 1908, p.85, pl. 8 Stephen V. Grancsay, Catalogue of Armor: The John Woodman Higgins Armory, Worcester, 1961, pp. 96-7 Cynthia P. Duval & Walter J. Karcheski, Medieval and Renaissance Splendor, Ringling Museum, Sarasota, Florida, 1983, cat. No. 10, p. 24 Exhibited People's Bank, Worcester, Massachusetts, 8 January - 8 February 1963 Medieval and Renaissance Splendor, John and Mabel Ringling Museum, Sarasota, Florida, 9 February 1984 - 1 November 1956 'Romance in Steel: The Heritage of Armour', J. W. Higgins Armory Museum, Worcester, Massachusetts, 2 January - 3 June 2001 The decoration of the armour is inspired by that found on several works of the celebrated Augsburg armourer, Anton Peffenhauser (recorded 1545-1603) whose clients included the Imperial, Bavarian and Saxon courts (see Bruno Thomas, 'Augsburger Harnische und Stangenwaffen", in Welt im Umbruch: Augsburg zwischen Renaissance und Barock, Vol.II, Augsburg 1980, pp. 525-6, 529-34; Mann 1962,Vol.I,pp. 46-7, pl. 25; and Norman 1986, pp. 16-17)

**A CAP-A-PIE FIELD ARMOUR FOR A YOUTH, WITH ETCHED DECORATION, 19TH CENTURY IN THE SOUTH GERMAN STYLE OF CIRCA 1540 comprising close helmet with rounded two-piece skull joined by soldering along the base of the left side of its low boldly roped medial comb, fitted at its rear with a broad tapering plume-holder and its front with a 'sparrow's beak' visor and bevor attached by common pivots with low domed heads, the visor stepped beneath its centrally-divided vision-slit, pieced at the right of the upper face of its 'beak' with six small circular ventilation-holes, pierced on the same side of its lower face with two horizontal ventilation-slots and fitted at its right with a baluster-ended lifting-peg, and the bevor secured to the skull at the same side by a spring-catch with push-button release, the lower edges of the skull and bevor each flanged outwards to receive a single rounded gorget-plate; collar of four lames front and rear; one-piece breastplate of rounded medially-ridged form, flanged outwards at its lower edge to receive a fauld of three lames, the lowest of which is cut with a shallow arch and it fitted to either side of it with an integral tasset of five lames; backplate formed of a central main plate and a pair of side-plates rigidly riveted to one another, and a waist-lame and culet of two lames; large narrow-fronted pauldrons formed in each case of four lames, the lowest connected by a turner with a plain transverse rib to a fully articulated vambrace formed of a tubular upper and lower cannon linked by an intervening winged couter of three lames, open at the inside of the elbow (the wing of the right broken off and preserved separately); mitten-gauntlets each formed of a moderately long, pointed and slightly flared cuff fitted with a shorter separate inner plate, four metacarpal-plates, a transversely-roped knuckle-plate, four finger-plates and a laterally-hinged thumb-defence of four scales (the right detached); cuisses each formed of a long gutter-shaped main plate fitted at its upper edge two extension-lames and at its lower edge with a winged poleyn of four lames; and a pair of full-length tubular greaves each articulated twice at the ankle and terminating in an integral broad-toed sabaton of nine lames; the main edges of the armour formed with file-roped inward turns and is surfaces etched in bands and borders, on a blackened stippled ground, with scrolling foliage and involving classical and biblical subjects, the latter including David's defeat of Goliath, putti, allegorical subjects and soldiers in both classical and contemporary costume, some in combat See note at front of catalogue for information concerning stands Provenance The Duque del Infantado, Madrid, May 1931 JWHA Inv. No. 1645 Exhibited Mrs Charles Wilding White, Winchester, Massachusetts, 1 December 1965 - 10 February 1966

**A CAP-A-PIE FIELD ARMOUR, BY LORENZ KILIAN, MUNICH, BEFORE 1919, IN THE LATE 15TH CENTURY HIGH 'GOTHIC' STYLE OF LORENZ HELMSCHMIED OF AUGSBURG comprising sallet with broad low crown rising to a pair of hollowed medial keels, projecting rearwards as a long pointed 'tail' of four lames, and fitted at the front with a pivoted visor stepped beneath its single broad vision-slit and fastened at the right by a spring-catch with push-button release; bevor formed of a main plate shaped to the chin and throat, a face-plate articulated to its upper edge and supported at the right by a spring-catch, and two gorget-plates articulated to the lower edge of the main plate and pierced at the lower end of the second with a cruciform aperture to fit over a staple of the breastplate; collar of three lames front and rear, opening at the right; medially-ridged breastplate formed of a main plate protecting the thorax and fitted at its top centre with a staple and separate spring-loaded key for the attachment of the bevor, and at its right with a sturdy detachable folding lance-rest, its lower edge overlapped by a double-articulated centrally-cusped plackart protecting the abdomen and flanged outwards at its lower edge to receive a fauld of three lames, the lowest of which is cut at the centre of its lower edge with a shallow arch separating a pair of one-piece scutiform tassets, each suspended on a pair of straps and buckles (the outer strap of the right tasset torn); backplate formed of a main plate protecting the shoulders, cut at its upper edge with a deep rounded neck-opening and overlapping at its lower edge two waist-lames, the lowest of which is flanged outwards to receive a culet of three lames; large asymmetrical pauldrons formed in each case of eight lames cut away at the armpit which is protected by a slightly-dished peripherally-cusped pendent besague fitted at its centre with a pyramidal spike riveted through an elaborate quatrefoil washer; vambraces each formed of a tubular upper and lower cannon, the former surmounted by a turner, and the two articulated to one another by means of internal leathers through a large intervening couter of shell-like form, strongly shaped to the point of the elbow and open at the rear; fingered gauntlets each formed of long flared and pointed cuff with a short fixed inner plate, a wrist-plate with a prominent boss over the end of the ulna, two metacarpal plates, a shaped knuckle-plate (in each case lacking its scaled finger-defences), and a laterally-hinged thumb-defence (the right missing and the left lacking its distal scales); cuisses each formed of a gutter-shaped main plate fitted at its upper edge with three extension-plates, at is outer edge with a hinged side-plate likewise fitted at its upper edge with three extension-plates, and at its lower end with a winged poleyn of seven lames; a pair of full-length tubular greaves each fitted within the arched lower edge of its front plate with an acutely-pointed integral sabaton of eight lames; the main edges of the armour formed in most cases with plain inward turns, its subsidiary edges elaborately cusped and fretted, and its surfaces decorated, except on the bevor, breastplate, and greaves and sabatons with ripple-like fluting in the 'Gothic' fashion, in part emphasised by incised lines See note at front of catalogue for information concerning stands Provenance Ernst Schmidt, Munich, 9 November 1929 JWHA Inv. No. 1125 Exhibited Denholme & McKay Co., 22 April - 5 May 1952 Worcester WMCA, 12-14 December 1953 Lithuanian Folk Festival, 25-29 November 1960 Children's Museum, Jamaica Plains, Massachusetts, 3 February - 2 July 1964 Berkshire Museum, Pittsfield, Massachusetts, 6 January 1965 - 21 February 1966 Oneida County Junior Museum, New York, 11 September 1967 - 8 January 1968 St Anselm's College, Manchester, New Hampshire, 13 February - 20 March 1979 Schnectady Museum, New York, 4 June - 13 September 1979 Sands Point Park and Preserve, New York, June 1982