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Two ivory backed hair brushes, a clothes brush and an ivorine comb and hairbrush

Large attractive chuval face of mina khani design by the Ersari Turkmen of Beshir, south Turkmenistan, first half 19th century, 3ft. 3in. x 5ft. 9in. 1m. x 1.75m. Overall wear with losses to lower elem especially to the left corner; fraying to sides; thin in places; repaired kink to left lower side. Note that among the elegant flowering trees of the lower elem, curiously only one has been woven in ivory; the rest are in blue. A row of tiny comb motifs decorates the narrow top elem. A very good looking chuval face of somewhat archaic design. Lustrous wool and very soft handle. Cf. Mackie, L & Thompson, J. Turkmen, p. 176; pl. 89 for a similar face but of a later date.

A late 19th ash and elm spindle back West Country style rocking chair, with a comb shaped top rail raised above an arrangement of double spindles with shaped arms on ring turned supports joined by a 'H' stretcher, the whole raised on a rocker base, 109cm high.

A matched Elizabeth II silver part dressing table set, to include hairbrush, comb, hand mirror 22cm high, lidded jar, pin dish, etc, each heavily embossed with scrolls and fern leaves, (a quantity, various years, AF).

A quantity of hallmarked silver items including a cased gents brush and comb set, a tea strainer, two white metal filigree bracelets, cased pencil set etc

A hallmarked silver capstan inkwell, a white metal sauce boat (marked 800) 65g, a hallmarked silver RAF comb,a white metal spoon and a tray

A Pierce and Dalton hair comb, the gold top set with turquoise

A hallmarked silver brush, comb and mirror set together with an Olympus trip 35, an album of the story of Grand Prix Motor Racing, some postcards about Dudley, motor-fuel ration books, two elephants, a compass, a selection of old calculators and a miniature Bible

A mid 19th century rosewood marquetry and faux grained Swiss music box, playing eight aires on a 6 inch cylinder with single piece comb and side ratchet winding, under a hinged glazed dust cover, the marquetry lid with symbolic centre within three bands of boxwood stringing, 42.5cm wide, 12.5cm high, 19cm deep

A late Victorian / Edwardian brass fireman's helmet with dragon comb (incomplete), 26.5cm high

A 19th century rosewood, fruitwood and marquetry Swiss music box the lever wound movement with single piece comb playing on a 14 inch cylinder the base plate stamped 424*5 74, 55.5cm wide, 13cm high, 18cm deep

Three early 20th century dressing case bottles with silver and ivory lids together with a matching ivory backed hairbrush and comb.

A stylish Birmingham hallmarked silver and blue guilloche enamel four piece dressing table set comprising mirror, hairbrush, clothes brush, comb, fitted in original case.

A miscellaneous collection of silver dressing table items, various makers, Birmingham, London & Sheffield, 1895, 1905 & 1909, comprising: a hair brush, a clothes brush, a comb and a button hook, various designs (4)

Pre-Columbian, Ecuador, Coastal Manabi Province, Bahia, ca. 100 to 500 CE. A very rare and endearing prone female figure from the coastal Manabi Province of ancient Ecuador. She lays on her belly with her arms crossed and legs spread behind, her magnificent head propped up and facing forward with a slight lean to the left. Her visage projects a rather peaceful countenance with nearly closed coffee bean shaped eyes, a petite nose, and a smile. She wears a sizeable, smooth, domed headdress adorned with three circular appliques, a shell-shaped comb on the backside, and large round earspools. A beautiful and tranquil figure! Size: 3.5" L x 3" H (8.9 cm x 7.6 cm) Provenance: Ex-Arnovick collection, San Francisco, CA. Condition: Small firing flaw on forehead. Otherwise intact and excellent. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #111174

North America, Alaska, Inuit, ca. 19th century CE. A finely carved bone comb adorned with a pair of prone foxes, lying flat at each end, facing one another, the one handled comb carved from creamy white bone. Several Inuit myths and legends reference the fox. For example, "How Fox Saved the People" is about a fox who saves the Inuit from a famine. A lovely piece from the indigenous Inuit of Alaska. Size: 7.5" L (19 cm). Provenance: Estate of Paul & Louise Bernheimer Condition: Repaired, missing one tooth All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #111429

A mid 20th Century hallmarked silver backed four piece dressing table set, comprising of mirror, two brushes and comb, each with embossed foliate decoration and central vacant cartouche, cased, Birmingham 1952, W I Broadway and Co.

A 20th Century hallmarked silver back four piece dressing table set, comprising mirror, two brushes and comb, each with engraved decoration and central vacant cartouche, cased, Birmingham 1967, W I Broadway and Co.

Two small silver hallmarked ladles William IV and a spoon 1832, a German silver marked .800 for Peller comb holder, a boxed set of six silver teaspoons and a pair of nips, Sheffield 1911-12 and two silver handled knives - Weighable silver approx. 4.25 troy oz

A carved bobbin case, netsuke and comb

A METAL FRAMED & MOUNTED COLLECTION OF FIVE JAPANESE MEIJI PERIOD GOLD LACQUERED WOOD COMBS, of various sizes and designs, with fine quality decoration in a variety of techniques, the frame 14.9in x 8.7in, the widest comb 4.6in wide.

A SIMILAR METAL FRAMED & MOUNTED COLLECTION OF THREE JAPANESE MEIJI PERIOD GOLD LACQUERED WOOD COMBS, two decorated with butterflies, the third with implements and scattered blossoms, the frame 9.7in x 7.4in, the widest comb 4.75in wide.

A CHINESE IVORY WRIST REST, together with a fitted wood stand, the interior carved in high relief with Guanyin, 6.2in high overall on stand; together with an ivory comb and applied silver-metal mount, 6.7in wide

SILVER AND PINK GUILLOCHE ENAMEL HAIR BRUSH together with a cherub embossed oval silver clothes brush, a silver mounted tortoiseshell comb and a set of six silver and nephrite handled coffee spoons in a fitted case (4)

An early 20th Century Belgian black leather helmet with brown fur comb to top with red plume to side with brass badge to front, together with an early 20th Century spelter sculpture of a French infantry soldier titled to front ‘anos braves régiments de ligne’ (A/F). (2)

A boxed silver brush, napkin ring, comb etc.

A quantity of silver to include a cased engine turned brush and comb set and eight silver sherry and port labels

An Edwardian fifteen piece, tortoiseshell and part silver mounted vanity set, in a contemporary tooled, gilded hide and an engraved green satin lined presentation case, comprising a jewellery casket, a manicure set, a pair of hair and a pair of clothes brushes, a hair tidy, glove stretchers, a shoe horn, button hook and comb, three various trays and a hand mirror

An early Grodnerthal wooden doll, 1830s, with painted blue eyes, rosie cheeks, black hair forming curls around face, a carved yellow comb at top of head, pierced ears into the side of head, slender neck with black bead necklace, jointed wooden body with painted lower limbs, original cream cotton dress, low square cut neck line, leg of mutton sleeves, dark brown floral printed cotton apron and underclothes - 14in. (36cm.) high (missing one leg and front of other foot, slight crazing)

A Japanese leaf dish a Japanese gold lacquer comb, a collection of Chinese engraved mother of pearl counters, a netsuke, a Chinese carved wood stand, (probably originally held a jade piece), and a Japanese oval dish

A collection of miscellaneous items viz a Victorian doll, a mother of pearl dish, a tortoiseshell comb, fans, evening bags and other pieces including a Japanese cabinet

Impressive composite French Cuirassiers' uniform comprising reproduction helmet with brass comb, fur trim and horsehair and feather plumes, pair plated steel cuirassis with brass studs and straps and red and white cloth trim, old French coatee with red epaulettes, modern jodhpurs, boots and gloves, all mounted on a mannequin

Post-War French Cuirassiers Cavalry helmet with gilt brass comb with flaming grenade badge, plain brass skull with suede covering to peak and tail, horsehair plume, brass chinstraps with suede and cloth lining

A carpet maker's comb, two native arrows, an African wooden head etc.

**A COMPOSITE NORTH ITALIAN CAP-A-PIE ARMOUR WITH ETCHED DECORATION, LATE 16TH CENTURY comprising close helmet with rounded one-piece skull rising to a high roped medial comb (patched), and associated visor, upper bevor and lower bevor attached to it by common pivots, the 'frog-mouthed' visor fitted beneath the right of its pair of vision-slits with a short lifting-peg (replaced), and the blunt prow-shaped upper bevor pierced at its right with nine circular ventilation-holes in rosette-formation, the upper and lower bevor each fastened at the same side by means of hinged hasps and turning-pins, and the lower edges of the skull and bevor fitted with extension-plates formed with hollowed rims designed to fit over and rotate on the turned upper edge of the collar; the composite collar formed of three plates front and rear (the lowest front one restored); breastplate formed of a main plate of deep 'peascod' fashion fitted at its arm-openings with moveable gussets and flanged outwards at its lower edge to receive a fauld of one lame fitted at each side with a pair of straps supporting a pendent tasset of five lames (the waist-flange and left gusset of the breastplate each with a crack at its centre); one-piece backplate flanged outwards at its lower edge; two pauldrons (not a pair) of near-symmetrical design, each formed of seven lames (the uppermost two of the right and the lowest four of each associated); two vambraces (not a pair) of fully articulated tubular design, each fitted at its upper end with a turner, the right of two lames, and the left of one, and at its elbow with a bracelet couter of three lames; two gauntlets (not a pair), each formed of a flared and obtusely-pointed tubular cuff (the tip of the right chipped), closed at the inside of the wrist by an overlapped join, five metacarpal-plates (the last of the right restored and the inner end of the left disarticulated) and a shaped knuckle-plate (the right restored , both lacking their scaled finger-defences); two cuisses (not a pair) each formed of a short gutter-shaped main plate rising to a convex upper edge and fitted at its lower edge with a poleyn of four lames formed at the outer end of its third with a small medially-puckered oval side-wing (the lowest lame of the right poleyn patched); and a pair of greaves (restored) each of full-length tubular form, articulated at the ankle and terminating in a moderately broad-toed integral sabaton of eight lames; the main edges of the armour formed with inward turns decorated, other than on the cuirass and gauntlets, with roping, and its surfaces etched in bands and borders on a blackened ground, variously stippled or cross-hatched, with trophies involving at some points busts, masks, cherubs and interlace, original in the case of that applied to the skull and bevor of the helmet, the upper lames of the collar and the main plate of the right pauldron, but more recently added elsewhere (the armour lightly to moderately patinated overall)See note at front of catalogue for information concerning stands Provenance Duveen Brothers, New York, (no. 24444) JWHA Inv. No. 424 Exhibited Worcester Art Museum, Massachussetts, 1928-30

**A CAP-A-PIE FIELD ARMOUR, 19TH CENTURY IN THE GERMAN 'MAXIMILIAN' STYLE OF THE EARLY 16TH CENTURY comprising close helmet with rounded two-piece skull rising to a low roped medial comb, fitted at its rear with a neck-guard of two lames and at its front with a bellows visor and bevor attached by common pivots, the visor stepped below its centrally-divided vision-slit, pierced with three rows of ventilation-slots and fitted at its right with a lifting-peg, and the bevor flanged outwards at its lower edge to form an integral front gorget-plate; collar of three lames front and rear; breastplate formed of a rounded main plate fitted at each of its arm-openings with a moveable gusset, at its right with a cabled folding lance-rest and within its lower edge with a waist-lame flanged outwards to receive a fauld of four lames and integral tassets each of four lames; backplate formed of a main plate fitted within its lower edge with a waist-lame flanged outwards to receive a culet of three lames; large asymmetrical pauldrons formed in each case of five lames fitted at the front of the third and largest of them with an upstanding haute-piece; vambraces formed in each case of a tubular upper and lower cannon linked by internal leathers to a large well-shaped intervening winged bracelet couter; mitten-gauntlets each formed of a short straight-ended cuff fitted with a separate hinged inner plate, four metacarpal-plates, a transversely-roped knuckle-plate and four finger-plates; cuisses each formed of a gutter-shaped main plate fitted at its upper edge with a short crescentic extension-plate and at its lower edge with a winged poleyn of four lames; and full-length tubular greaves each fitted within the arched lower edge of its front plate with a broad-toed sabaton of seven lames; the main edges of the armour formed with boldly-roped inward turns accompanied by recessed borders, and its surfaces decorated overall, except on the visor, bevor, waist-lames, haute-pieces and greaves, with bands and panels of flutes See note at front of catalogue for information concerning stands Provenance Chateau Vic near Carcassone, France, 1926 JWHA Inv. No. 1964

**A COMPOSITE GERMAN LIGHT FIELD ARMOUR, PARTLY NUREMBERG, LATE 16TH TO EARLY 17TH CENTURY, WITH LATER ETCHED DECORATION comprising burgonet with rounded one-piece skull slightly boxed at each side and rising to a high file-roped medial comb, projecting forward to an obtusely-pointed peak struck at its centre with the quality-control mark of the City of Nuremberg and three circles in triangular formation, fitted at its flanged lower edge, just beneath a slender tapering plume-holder, with an obtusely-pointed neck-guard of one lame, and at each side with a cheek-piece shaped at its upper front corner to fit over the rear of the peak and flanged outwards at its lower edge to form a continuation of the neck-guard, and pierced at its centre within a raised circular panel decorated with an eight-pointed recessed asterisk with nine small circular auditory holes arranged in rosette-formation; 'Almain' collar formed of three lames front and rear, the lowest front one struck internally with the Nuremberg mark of an N within a circle (the lowest rear one associated), and each side fitted with an integral spaudler, the left formed of seven lames and the right of eight (two of the left and five of the right restored or associated, and one of each patched); breastplate formed of a medially-ridged main plate fitted at its arm-openings with moveable gussets (the right restored) and at its flanged lower edge with a fauld of three lames of which the lowest is cut at its centre with a shallow arch separating a pair of long pendent tassets each of seven lames extending to just above the knee (the right associated and reworked to match the left and the inner end of three of its lames patched); backplate formed in one piece with a broad shallow neck-opening and a short flange at the waist; a circular besague (restored) rising slightly to a conical boss at its centre; fingered gauntlets (the right restored) each formed of a long, flared and pointed cuff fitted with a short separate inner plate, five metacarpal-plates, a transversely-roped knuckle-plate, a shaped finger-plate, and scaled finger and thumb-defences, the latter laterally attached by a short leather hinge to the inner end of the last metacarpal-plate, and the whole retaining a fragmentary buff-leather lining-glove; the main edges of the armour turned inward and decorated, except on the backplate, with roping, the subsidiary edges of the burgonet decorated with pairs of incised lines, and the surface of the armour decorated with bands and borders of later etching consisting for the most part of running foliate scrolls executed on a blackened and stippled ground, but including on the breastplate three coats of arms and on the comb of the burgonet, warriors in combat accompanied by a bear and lion on the right and a scroll bearing the inscription HERCVLA on the left See note at front of catalogue for information concerning stands Provenance The armour without burgonet, Charassé, rue Bonaparte, Paris, circa 1889 The burgonet, Seymour Hayden, sold F. Muller & Co., Amsterdam, 26 April 1911, lot 219 The armour with burgonet, Dr Bashford Dean, Riverdale, New York, sold American Art Association, New York, 23 November 1928, lot 148 JWHA Inv. No. 610 Exhibited Worcester Art Museum, Massachusetts, 1928-30 Literature F.H. Cripps-Day, A Record of Armour Sales 1881-1924, London, 1925, p.153

**A COMPOSITE CAP-A-PIE FIELD ARMOUR, GERMAN AND ITALIAN, MID-16TH TO EARLY 17TH CENTURY comprising close helmet of so-called 'Savoyard' type with rounded skull formed in two halves joined by a turn along a low medial comb, peak, face-defence and bevor attached to it by common pivots (replaced) with heads cast in relief as lions' masks, the peak of narrow obtusely-pointed form, the face-defence formed as a human mask with flanged oval eye-opening, a nose embossed in high relief and pierced with nostrils, and an engraved grinning mouth pierced with five circular ventilation-holes, the face-defence and bevor each secured by a pierced stud and swivel-hook (the latter probably replaced), and the lower edges of the skull and bevor each flanged outwards to receive a single deep rounded gorget-plate (both associated and the lower edge of the rear one restored); collar of three lames front and rear; breastplate formed of a medially-ridged main plate projecting forward over the belly, possessing a shallow neck-opening, fitted at its arm-openings with movable gussets, struck with four bullets, two of which have respectively pierced or cracked the metal, and flanged outwards at its lower edge to receive a fauld of three lames (associated) the lowest of which is cut with a shallow arch pierced just above its centre with a hole for the attachment of a codpiece and fitted to either side of it on three straps (the inner one in each case broken) supporting a knee-length tasset of ten lames, divisible between the fifth and sixth, and terminating in a winged poleyn of three lames; backplate (restored) formed in one piece with shallow neck and arm-openings and flanged outwards at its lower edge to receive a culet of three lames; large symmetrical pauldrons each formed of eleven lames of which five at the front serve as a fan-like extension of the lower edge of the third and main one, operating about a pivot (replaced) furnished with a lion's-mask head en suite with those of the helmet (the lowest three lames of the right pauldron protecting the outside of the arm associated); two fully articulated vambraces (not a pair), each fitted at its upper end with a turner of one lame and at its elbow with a winged couter of three lames open at the inside of the elbow, the second decorated at the point of the elbow with an embossed eight-petalled flower-head (the right couter cracked and patched at points and having associated upper and lower lames); fingered gauntlets each formed of a moderately long flared and pointed cuff fitted with a shorter separate inner plate, a wrist-plate, five metacarpal-plates, a shaped knuckle-plate, a shaped finger-plate and scaled finger and thumb-defences (some scales detached or missing); and a pair of full-length tubular greaves each terminating in an integral broad-toed sabaton of eight lames; the main edges of the armour turned inwards and, except on the helmet and greaves, extensively decorated with roping, and the subsidiary edges of the collar, tassets and pauldrons decorated with pairs of scored linesSee note at front of catalogue for information concerning stands Provenance The Vigier family, Solothurn Count R. von Kaunitz, sold Gallerie Fischer, 13 May 1936, lot 85 JWHA Inv. No. 2354 Literature Stephen V. Grancsay, The John Woodman Higgins Armoury, Worcester Masssachusetts, 1961, pp. 98-9

**A COMPOSITE PARTIAL NORTH GERMAN LIGHT FIELD ARMOUR, SECOND HALF OF THE 16TH CENTURY comprising burgonet with rounded skull formed in two pieces joined along the notched crest of a high medial comb, projecting forward to an acutely-pointed integral peak (chipped at its right rear edge), backwards to an obtusely-pointed integral neck-guard and cut away at each side to receive a missing hinged cheek-piece; 'Almain' collar formed of three lames front and rear and fitted at each side with an integral spaudler of five lames (associated and in part composite); breastplate formed of a medially-ridged main plate with near-straight upper edge, projecting forward over the belly and fitted at its arm-openings with moveable gussets and at its flanged lower edge with a fauld of two (originally three) lames; backplate formed in one piece with a slightly convex upper edge and an outward-flanged lower edge bearing a culet of one lame cut with a notch at the centre of its lower edge; the main edges of the armour formed with boldly roped inward turns accompanied by recessed borders, those at the upper edges of the breastplate and backplate of ogival form, and its surfaces decorated in low relief with narrow bands enclosed by grooves, forming broader bands originally burnished bright against a black-from-the hammer ground in the 'black-and-white' fashion (now cleaned to a mottled patina overall) See note at front of catalogue for information concerning stands Provenance Possibly from the armoury of the Princes Radziwill, Niescwiez Castle, Poland, sold Christies, London, 29 June 1926, lot 49 York Galleries, New York, July 1930 JWHA Inv. No. 1125

**A MOUNTED ARMOUR FOR THE 'JOUSTS REAL' IN THE SPANISH STYLE OF CIRCA 1500-10, MAINLY 19TH CENTURY WITH SOME EARLY 16TH CENTURY ELEMENTS of great weight, comprising helm with rounded one-piece skull rising to a low medial comb, shaped to the nape, extending downwards over the top of the backplate and fitted at each side of the brow with a projecting sprung stud to engage a frog-mouthed visor and bevor formed in two pieces joined by rivets just behind the vision-slit, the bevor gently shaped to the chin and extending downwards over the upper part of the breastplate to which it is attached by bolts, and its right side fitted with a hinged trapdoor closing a large rectangular ventilation-hole; breastplate formed of a medially-ridged main plate fitted at the top of its right arm-opening with a projecting flange and at its centre with a fixed reinforcing breastplate through which protrude at each side five pierced staples, retaining at the right a large rigid openwork lance-rest, and at the left, an even larger openwork frame fitted with studs to support a shield, and the lower edge of the main plate fitted with a waist-plate bearing at its left side a large loose ring to support the bridle-arm and flanged outwards at its lower edge to receive a fauld of two lames, the lower edge of which retains on a pair of turning-pins at each side a medially-ridged one-piece tasset, the left longer than the right, and both cut away in a curve over the crotch; backplate formed of a central main plate that narrows to its lower end and two side-plates (the right patched at its lower end) rigidly connected to one another by rivets and overlain at their lower ends by a tall plackart formed at its upper end with three cusps and fitted within its lower edge with a culet of two lames; a pair of spaudlers each of three lames overlapping outwards from the second and boxed in six vertical panels, its fifth lame attached by a single rivet to a fully articulated tubular vambrace boxed en suite with the spaudler, fitted at its upper end with a one-piece turner, at its elbow with a winged couter of five lames open at the rear and decorated on the front of the wing of its two-piece main plate with a spray of flutes in the 'gothic' fashion, and at the upper end of the outer plate of the lower canon with a flange shaped to the base of the couter (the inner plates of both lower cannons patched); an asymmetrical wooden shield curving forward at its upper and lower ends, pierced towards its outside with a pair of large lace-holes, faced with overlapping rectangular plates secured in each case by a single nail and covered elsewhere with red velvet; a conical vamplate decorated peripherally within a recessed border with scallops; a wooden saddle covered overall with quilted crimson velvet (worn) decorated around its edge with a yellow fringe and faced on its upstanding bow and cantle with three saddle-steels in each case, those of the bow stepped at the right side and those of the cantle projecting at their upper corners as curved arms; two stirrups (not a pair), each with slightly flaring fluted sides and a tread of four bars, the two inner bars in one case writhen (each pitted and worn); a curb-bit of tinned iron with simple pierced and engraved ornament and fitted with later bridle of leather covered with crimson velvet edged with gold piping and decorated at intervals with rosettes and scrolls of gold braid; and an heraldically-decorated caparison of yellow fabric strips each faced with black velvet (now largely faded to green) and terminating in tassels of gold bullion See note at front of catalogue for information concerning stands Provenance Sixth Count of Asalto, Guadamur Castle, near Toledo, circa 1887 Ambrose Monell, Tuxedo Park, New York, before 1911 Henry Furmage, London George F. Harding Jr, Chicago, purchased 1927 Transferred to the Art Institute of Chicago, 1982, Acc. Nos 1982.2216; 1982.2697a-h 1982. 2879a & b; 1982.3110; 1982.3113; and 1982.3143a & b. The horse bit: His Imperial Highness, Archduke Eugen, Veste Hohenwerfen, Salzburg, sold Anderson Galleries, New York, 4 March 1927, lot 932 Literature Bashford Dean, Loan Exhibition of Arms and Armor, The Metropolitan Museum of Art, New York, 1911, p. 10, pl. VII The main and side-plates of the backplate, the turner and cannons of each vambrace and the stirrups are all of early 16th century date. The horse-bit is probably of 17th century date.

A RARE GERMAN ETCHED AND GILT MORION OF THE TRABANTENLEIBGARDE OF THE ELECTORS OF SAXONY, NUREMBERG, CIRCA 1580-90 formed in one piece with a rounded crown rising to a high roped medial comb pierced towards its rear with a transverse hole for tying up a plume, and a narrow integral brim turned down at each side and rising front and rear to an acute point, the front point stuck with the quality-control mark of the city of Nuremberg and a makers mark consisting of the conjoined initials 'HP' or 'HR', the edges of the brim formed with file-roped inward turns, the crown pierced at the nape with a pair of holes for the attachment a missing plume-holder and encircled around its base by sixteen lining-rivets of brass of which twelve are original and formed as lions' masks, in three cases retaining brass rings in their mouths, and the remainder are old replacements formed as rosettes, and below them fourteen later lining-rivets of iron with small round heads and polygonal internal washers, the crown decorated with etched and gilt bands of scrolling strapwork enclosing in circular cartouches at the left and right sides respectively the figures of Mutius Scaevola before Porsena and Marcus Curtius leaping into the Gulf, the comb with further etched and gilt bands of repeated scrolls enclosing in smaller circular cartouches at the left and right sides respectively, the arms of the Archmarshalcy of Saxony and of the Dukes of Saxony, and the brim bordered by narrow bands of etched and gilt scrolls matching those of the comb (the right of the brim showing a small crack at its centre; the helmet worn and lightly patinated overall) 29.0 cm; 11? in Provenance The Saxon Electoral Armoury, Dresden The morion belongs to a distinctive group of such helmets which were first made for the Trabantenleibgarde of the Elector August I of Saxony (1553-86) and continued to be used and probably added to in the time of his successors Christian I (1586-91) and Christian II (1601-11). They would have been worn with the black doublets and yellow trunk-hose that formed the uniform of the guard. A large number of helmets of this group , which may have included the present example, were removed from the Electoral armoury in the 1830s and sent to the State Opera House in Dresden for theatrical use, many of which were seen there by Dr Bashford Dean in 1912. See Nickel 1989, pp. 117-21; and Eaves 2002, pp. 149-50.

**A CLOSE HELMET IN THE LATE 16TH CENTURY ITALIAN, 19TH CENTURY with a rounded two-piece skull joined by brazing along the crest of a high roped medial comb, fitted at the nape with a tapering plume-holder and at the front with a visor, upper bevor and bevor attached by common pivots, the forward-sloping visor stepped and roped beneath its centrally divided vision-slit and fitted at the right with a baluster-ended lifting-peg, the near-upright prow-shaped upper bevor pieced at each side with six X-shaped ventilation-slots arranged in two rows, the bevor proper fitted at its right with a pivoted visor-prop formed and decorated with incised lines as a stylised serpent, the upper bevor and bevor proper respectively secured by a spring-catch and a swivel-hook and pierced stud, and the flanged lower edge of the bevor and skull fitted in each case with a pair of rounded gorget-plates having file-roped inward turns at their lower edges accompanied by a recessed borders 33.0 cm; 13 in

A SOUTH GERMAN COMB-MORION, NUREMBERG, CIRCA 1580, WITH LATER ETCHED DECORATION with a hemispherical crown rising to a high roped medial comb, and an integral brim turned down at each side and rising to an acute point front and rear, the right of the front one struck with the quality control mark of the City of Nuremburg, the edges of the brim formed with a file-roped inward turns (that at the right cracked near it front end and both sides pierced with later suspension-holes), the base of the crown encircled by sixteen round-headed lining-rivets with rosette washers of pewter, and the whole etched overall on a blackened and stippled ground with scrolling foliage inhabited by birds of prey, divided into seven vertical panels at each side of the crown and enclosing in circular cartouches at the centres of the left and right sides of the of the latter respectively, the Sacrifice of Isaac and a mounted huntsman, and in oval cartouches at the centres of the left and right sides of the comb respectively, a soldier holding a banner and a drummer (the decoration slightly worn at points) 29.0 cm; 11½ in

A GERMAN CLOSE HELMET FOR HEAVY FIELD USE, CIRCA 1560 with rounded one-piece skull rising to a high, file-roped medial comb (patched towards the rear of its crest), and visor, upper bevor and lower bevor attached to it at each side by common pivots (replaced), the forward-sloping visor pierced in front of the file-roped step of its centrally-divided vision-slit with six small ventilation-holes at each side, and fitted at the right with a combined wing-headed turning-pin and lifting-peg that fits into a shaped notch cut into the upper edge of the prow-shaped upper bevor, the latter pierced at its left side with nine small circular ventilation-holes in rosette formation, and at its right side with three vertical ventilation-slots, the upper and lower bevors each secured at the right side by spring-catches with push-button releases, the skull and bevor each flanged outwards at their lower edges (the front flange patched at its centre) and pierced with three pairs of holes, now plugged with blind rivets, for the leathers that originally attached their gorget-plates, the upper bevor decorated medially and at its upper edge respectively with a band and border each burnished bright, along with the sides of the comb, against an originally black-from-the-hammer ground (now cleaned bright) 28.0 cm; 11 in

A SOUTH GERMAN BURGONET, CIRCA 1580 with well-formed one-piece skull rising to a high file-roped medial comb and fitted within it with a quilted canvas lining, projecting forward at the brow as an obtusely-pointed integral peak, flanged outwards at its rear to receive a matching one-piece neck-guard fitted within its centre with a leather suspension-tab (split distally), and fitted at each side with a hinged cheek-piece (the left associated and partly reworked) flanged outwards at its lower edge to serve as a continuation of the neck-guard, shaped at its upper edge to fit over the rear of the peak and pierced at its centre with a pattern of small auditory holes, the main edges of the helmet formed with boldly roped inward turns accompanied by recessed borders, and the comb decorated to either side of its crest and base with single incised lines, and its surface blackened overall 28.5 cm; 11¼ in

A GERMAN BURGONET, CIRCA 1620 with rounded two-piece skull joined along the crest of a high medial comb, fitted within the skull with a quilted canvas lining, within its front edge with an obtusely pointed flat peak, at its flanged rear edge with a matching one-piece neck-guard, and at each side with a hinged cheek-piece flanged outwards at its lower edge to serve as a continuation of the neck-guard and pierced at its centre with five auditory holes in dice-formation, the main edges of the helmet formed with plain inward turns and its surface retaining a black from the hammer finish overall 24.0 cm; 9½ in

AN ITALIAN BURGONET, CIRCA 1570 with rounded one-piece skull rising to a high boldly roped medial comb (perforated towards its rear), projecting forward at the brow as an acutely-pointed integral peak (the point bent upwards), at its rear as a similarly pointed integral neck-guard, and fitted at each side with a hinged cheek-piece (in each case associated, the right cut and retaining traces of simple linear etching) flanged outwards at its lower edge to serve as a continuation of the neck-guard and pierced at its centre with small auditory holes, the main edges of the helmet formed with boldly roped inward turns accompanied by recessed borders, and the comb decorated to either side of its crest and base with single incised lines (painted black over an oxidised surface) 30.0 cm; 11¾ in

A SOUTH GERMAN BURGONET, AUGSBURG, CIRCA 1600 with rounded one-piece skull rising to a high medial comb, projecting forward at its brow to a short acutely-pointed integral peak struck at the front with the fir-cone mark of the city of Augsburg, flanged outwards at its rear to receive an obtusely pointed one-piece neck-guard, and fitted at each side with a hinged cheek-piece flanged outwards at its lower edge to serve as a continuation of the neck-guard and pierced at its centre with five small auditory holes in dice-formation, the main edges of the helmet formed with plain inward turns, and its surface retaining a black-from-the-hammer finish overall 30.0 cm; 11¾ in

A GERMAN BURGONET WITH EMBOSSED DECORATION IN THE 'BLACK AND WHITE' FASHION, CIRCA 1620 with rounded two-piece skull joined along the crest of a high medial comb, fitted within its front end with an obtusely-pointed integral peak, flanged outwards at its rear to receive a short rounded one-piece neck-guard (the left end detached), and fitted at each side with a hinged cheek-piece (associated and cut at its front edge) flanged outwards at its lower edge to serve as a continuation of the neck-guard, the main edges of the helmet formed with plain inward turns (removed from the peak), its surfaces decorated with raised bands and borders originally burnished bright against a blackened ground (now heavily oxidised overall) 25.0 cm; 9? in

A GERMAN BURGONET WITH EMBOSSED DECORATION IN THE 'BLACK AND WHITE' FASHION, CIRCA 1620-30 with rounded two-piece skull joined along the crest of a high medial comb, projecting forward and upwards at the brow as an obtusely-pointed integral peak, at its rear as an obtusely-pointed integral neck-guard, and fitted at each side with a hinged cheek-piece (associated and cut) flanged outwards at its lower edge to serve as a continuation of the neck-guard and pierced at its centre with seven auditory holes in rosette-formation, the main edges of the helmet unturned or cut and the skull decorated at each side with a raised band originally burnished bright against a blackened ground (now heavily oxidised overall) 24.0 cm; 9½ in

A GERMAN 'BLACK AND WHITE' BURGONET, EARLY 17TH CENTURY with rounded skull formed in two pieces joined along the crest of an exceptionally high file-roped medial comb, projecting forward to a broad obtusely-pointed integral peak and backwards to a flange bearing an obtusely-pointed one-piece neck-guard, fitted around the brow and nape with small lining-rivets and brass rosette-washers, and at each side with a hinged cheek-piece (associated) flanged outwards at its lower edge to serve as a continuation of the neck-guard and pierced at its centre, in the case of the right, with five small auditory holes in dice formation, the main edges of the helmet formed with file-roped inward turns and its surfaces decorated in low relief with bands and borders (the borders of the right cheek-piece recessed) burnished bright against a blackened ground (refreshed with paint) 33.0 cm; 13 in

A SOUTH GERMAN 'BLACK AND WHITE' BURGONET, NUREMBERG, THIRD QUARTER OF THE 16TH CENTURY with rounded one-piece skull rising to a moderately high file-roped medial comb (pierced transversely with two later holes at the front and two more at the rear), projecting forward to a short obtusely-pointed integral peak struck at its front edge with the quality-control mark of the city of Nuremberg, and backwards to a flange bearing a more acutely-pointed one-piece neck-guard, and fitted at each side with a hinged cheek-piece flanged outwards at its lower edge to serve as a continuation of the neck-guard and pierced at its centre, within a low circular boss, with nine small auditory holes in rosette-formation, connected by radiating incised lines, the main edges of the helmet formed with file-roped inward turns and its surfaces decorated with recessed bands and borders burnished bright against a blackened ground (refreshed with paint; the neck-guard and cheek-pieces associated) 28.5 cm; 11¼ in

A NORTH GERMAN 'BLACK AND WHITE' COMB MORION, EARLY 17TH CENTURY with rounded two-piece crown joined along the crest of high medial comb, and 'swept' integral brim rising to an acute point front and rear (the front one bruised and patched at its junction with the crown), the edge of the brim formed with a plain inward turn, the base of the crown encircled by twelve lining-rivets with brass rosette-washers and pierced at the nape with two holes for the attachment of a plume-holder, and each side decorated in low relief with an octofoil enclosed by a circle bordered by stylised acanthus foliage burnished bright, along with each side of the comb, against a blackened ground (refreshed with paint) 28.0 cm; 11 in

GERMAN COMB MORION WITH EMBOSSED DECORATION IN THE 'BLACK AND WHITE' FASHION, EARLY 17TH CENTURY with rounded two-piece crown joined along the crest of high medial comb, and 'swept' integral brim rising to an acute point front and rear (each point holed proximally), the edge of the brim formed with a plain inward turn, the base of the crown encircled by eleven (originally fourteen) lining-rivets with copper rosette-washers, and fitted at the nape with the proximal end of plume-holder, and each side decorated in low relief with a large vertically-symmetrical fleur-de-lis enhanced by incised lines, formerly burnished bright, along with each side of the comb, against a blackened ground (now heavily oxidised overall) 28.5 cm; 11¼ in

A French amboyna and inlaid musical sewing box, circa 1870, of rectangular form with canted corners, the cushion form lid with cut brass cartouche on an inlaid ground, within crossbanded, brass and line inlaid borders, the crossbanded sides on four ball feet, the interior with inset mirror lid within a fancy material frame, over a compartmentalised and lidded interior with two of four original scent bottles, with a central tool tray, with a selection of original and replacement tools, the musical movement with complete comb and playing well, with key, 28.5cm x 20cm x 13.5cm.

A French inlaid rosewood sewing box with musical movement, in the form of a grand piano, edged in boxwood and ebony, the lid with a keyboard in bone and ebony, on five turned and ebonised tapering legs, the lid interior fitted with a mirror, over a red velvet flush set tray with embroidered pincushion, ivory thimble, cut glass scent bottle, two pairs of ivory handled scissors, ivory handled tweezers, bodkin, needlecase, stiletto and two of four ivory silk winders in mirror base compartments, tools, possibly associated, the musical movement operative, the comb lacking two teeth, complete with keys, box 29cm x 19cm x 15cm.

A mixed lot, comprising; an elaborate pierced bone personal tool with comb, earspoon, bodkin and hook, one side a.f., 8cm, another similar with burnt circle decoration, a tortoiseshell notelet, s.d. to one corner, 10.5cm x 7cm, and an unidentified swivel tool with seven spectacle style panels with alphabetical inscriptions, 6cm. (4)

A mixed lot comprising; a pair of opera glasses with mother-of-pearl grips, 11cm, boxed set of four thimbles, hair comb, ivory paper knife, silver mounted cheroot holder, folding brass rule, two bone implements, swivel toilet mirror, mirrored circular plinth, 11.5cm diameter, embroidered lady's evening bag with elaborate white metal clasp, on chain,3 5cm, tortoiseshell lorgnette, 16cm and four cards of Dorset buttons. (16)

A comb form silk winder in Mauchline ware (Stroud, Gloucestershire), 5cm.

Large quantity of Victorian jet, including a hair comb, jet chains, fabric trims, other items of jet jewellery and numerous beads,