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A decorative miniature mosaic photograph frame in the form of an artist`s paint palette, a nurse`s fob watch and a comb case.

An Edwardian Swiss musical box of rectangular form, the hinged lid opening to reveal mechanism with single comb and approximately twenty-four 11.5cm diameter discs.

A collection of jewellery and other items, including a gold and paste stick pin, a fob seal, a damaged pearl and gold bracelet, a silver Tennyson book, a Chinese mop fish counter, an enamel brooch, a silver and enamel comb, a pair of longnettes and more (parcel)

**A COMPOSITE ETCHED NORTH ITALIAN CAP-A-PIE FIELD ARMOUR, CIRCA 1540comprising close helmet with one-piece skull rising to a high roped medial comb and fitted at the nape with a later plume-holder, visor, upper bevor and bevor attached by common pivots, in each case fitted beneath its head with a rosette washer (replaced), the visor, with stepped centrally-divided vision-slit, fitted at its right with a lifting-peg (replaced), the markedly prow-shaped upper bevor pierced at its right with nine circular ventilation-holes in rosette-formation and fitted with a swivel-hook (replaced) to secure it to a pierced stud projecting from the bevor, and two rounded gorget-plates front and rear (the articulation-points of the lowest rear one patched), collar (restored) of three lames front and rear (restored), rounded and medially-ridged breastplate formed of a main plate fitted at each side with a rigidly-riveted side-plate and a movable gusset, at the right of the chest with three holes of which two serve to attach a hinged lance-rest (associated), and flanged outwards at its lower edge to receive a fauld of two lames (associated), and a pair of long, pendent tassets (the right restored) each of seven lames, one-piece backplate flanged outwards at its lower edge to receive a culet of two lames (restored), large asymmetrical pauldrons each formed of six lames, the third of the left flanged upwards to form a high haute-piece (the first and fourth to sixth of the left and the second of the right restored, and the third to fourth of the latter associated), fully articulated vambraces each formed of a one-piece turner, a tubular upper cannon, a winged couter of four lames, and a tapering tubular lower cannon, the couter open at its rear and decorated medially with a roped transverse rib, left mitten gauntlet (modern) formed of a short rounded tubular cuff fitted with a separate inner plate, five metacarpal-plates, a knuckle-plate formed with a roped transverse rib, five finger-plates and a hinged thumb-defence of five scales, a pair of short gutter-shaped cuisses (the right restored) each of one plate boxed medially and at the outside, and fitted with a winged poleyn of five lames (those of the right restored), and a pair of ankle-length greaves each fitted at its outside with a hinged side-plate and open at its inside rear (the main plate of the right patched at it lower edge, and its side-plate restored), the main edges of the armour formed with boldly-roped inward turns bordered, except on the collar, the backplate and the gauntlet by bands of finely etched linear arabesque ornament involving at either side of the comb of the helmet and the top of the haute-piece of the left pauldron a cross within a circular cartouche, that of the helmet, the right pauldron, the second and third lames of the left pauldron, the left tasset, the left cuisse and left greave original, and the remainder restoredSee note at front of catalogue for information concerning stands ProvenanceWilliam Randolph Hearst, sold Parke-Bernet Galleries Inc., New York, 4th December 1952JWHA, Inv. No. 3017 a-pExhibitedG. R. Marshall & Co, Canada, 1954Worcester Pressed Steel Co., Worcester, Massachusetts, 1954John Woodman Higgins`s summer home, 1954, 1956, 1958 and 1959Pressed Metal Institute, 1955Smith College, Northampton, Massachusetts, 18-19 November 1954 and 17-18 November 1959Natwick Q M Corps, 20 November 1964-31 January 1966Worcester Polytechnic Institute, Worcester, Massachusetts, 12-14 November 1966The helmet, the right pauldron, parts of the left pauldron, the left tasset, the left cuisse, the left greave and possibly the main plate of the breastplate form the remains of a finely decorated homogenous armour.The restoration of the armour was carried out in part by George Donaldson, armourer to William Randolph Hearst.The armour can be compared in style with the slightly later Italian armour of Cosimo de Medici, Grand Duke of Tuscany (1519-73), in the Hofjagd-und Rüstkammer, Vienna, Inv. No. A 406 (Gamber & Beaufort 1990, p. 125, pl. 61)

**A COMPOSITE ETCHED NORTH ITALIAN CAP-A-PIE FIELD ARMOUR, LATE 16TH CENTURYcomprising close helmet with one-piece skull (patched at the rear) rising to a high roped medial comb and fitted at the nape with a plume-holder of brass, visor, upper bevor and bevor (the first two associated) attached by common pivots (replaced), the visor pierced beneath its stepped, centrally-divided vision-slit with six vertical ventilation-slots, the prow-shaped upper bevor trimmed to fit its present context, the skull and bevor fastened to one another at the left of the neck by a pierced hasp and turning-pin, and formed at their lower edges with a hollowed rim serving to lock over and rotate on the upper edge of the collar, the latter formed of two lames front and rear, breastplate formed of a main plate of deep "peascod" fashion, fitted at is arm-openings with movable gussets, pierced at the right of the chest with a pair of holes for the attachment of a lance-rest and flanged outwards at its lower edge to receive an associated fauld of one lame and a pair of pendent tassets each of six lames (the first two of the left restored and the third patched), one-piece backplate (patched) flanged outwards at its lower edge, two large symmetrical pauldrons (not a pair), each of seven lames, the third of which is fitted with a detachable haute-piece (the left associated and the right restored), that of the left extending over the entire front of the pauldron, pair of fully articulated vambraces formed of a tubular turner and upper cannon (the right associated) linked by a winged bracelet couter of three lames to a tapering tubular lower cannon opening at the front, two gauntlets (not a pair) each formed of a flared and pointed one-piece cuff closed by rivets at the inside of the wrist and fitted with five metacarpal-plates, the last of the left shaped between the knuckles and the last of the right fitted with the greater part of its transversely-ribbed knuckle-plate, long one-piece cuisses (the right restored) each fitted with an associated poleyn of four lames, the third furnished with a small centrally-puckered side-wing and decorated at the point of the knee with a roped medial rib, ankle-length greaves (with various corrosion losses and perforations), each fitted at its outside with a hinged side-plate, open at its inside rear, and pierced at its lower edge with holes for the attachment of mail shoes, now represented by fragments of Oriental mail, and a pair of later toe-caps (restored) pierced around its edges with similar holes, the main edges of the armour otherwise formed with inwards turns, mostly roped and bordered at points by roped ribs terminating, in the case of those decorating the neck of the cuirass and the front and rear of each pauldron, in volutes, and its surfaces etched and gilt overall (the latter surviving only as traces) with bands and borders of classical trophies and dolphins on a stippled and blackened and ground enclosed in each case by narrower bands, mainly of guilloche, and enclosing in the interspaces of the fronts and rears of the main plates of the pauldrons cartouches framing figures of classical warriors (the etching of the visor and upper bevor of the helmet, the top three lames of the right pauldron, the vambraces, the gauntlets, the right cuisse, the poleyns and all restored elements later)See note at front of catalogue for information concerning stands Provenance:Baron de Viga de Hoz, MadridSenor Don Alberto Gonzales, Abreu, SevilleDuveen Bros, New York, No. 244445, 18th January 1928 JWHA Inv. No. 429.a-tExhibitedWorcester Art Museum, Worcester, Massachusetts, 1928-30Springfield Museum of Fine Arts, Springfield, Massachusetts, March 1943-June 1944Science Fair, Worcester Polytechnic Institute, Worcester, Massachusetts, 19-21 April 1956

**A COMPOSITE GERMAN CAP-A-PIE FIELD ARMOUR, CIRCA 1560-90, WITH LATER ETCHED DECORATIONcomprising close helmet with one-piece skull rising to a high roped medial comb and pierced at each side with five circular auditory-holes in a cross formation (the top of the face-opening trimmed and patched), visor (associated), upper bevor and bevor attached by common pivots (replaced) and in each case secured at their right sides by spring-catches (their push-buttons replaced), the visor pierced at each side, beneath its stepped and centrally-divided vision-slit, with ten rhomboidal ventilation-holes arranged in two-tiers, the prow-shaped upper bevor pierced at each side with three vertical ventilation-slots and struck at its upper edge, to the right of centre, with a row of four small circles, possibly serving as garniture-markings, and two rounded gorget-plates front and rear (the front ones restored), heavy collar of four lames front and rear, Italian breastplate formed of a main plate of "peascod" fashion, fitted at is arm-openings with moveable gussets (both patched), at the right of the chest with a folding of a lance-rest (restored) attached by two screws, and at its lower edge with an associated fauld of two lames divisible between the first and second (the latter patched at its centre and right) and fitted with pair of integral pendent tassets each of eleven lames divisible between the fourth and fifth and the ninth and tenth respectively, and terminating in winged poleyns of three lames, one-piece backplate flanged outwards at it lower edge to receive a culet of three lames (restored), narrow-fronted pauldrons each of six lames extending downwards to just above the elbow and pierced at the front of the second of them with a pair of lace-holes fitted with brass eyelets for the attachment of a besague, vambraces each formed of a tubular upper and lower cannon linked by internal leathers to an intervening winged bracelet couter decorated with a roped transverse rib, the upper cannon in each case surmounted by a turner of three lames and the lower cannon opening at the rear, mitten gauntlets (restored) each formed of a long pointed tubular cuff closed at the inside by an overlapped and riveted join and fitted at the outside with a wrist-plate, four metacarpal-plates (partly original), a knuckle-plate, scaled finger-defences and a scaled and hinged thumb-defence, and full-length tubular greaves (restored), the main edges of the armour formed with boldly roped inward turns accompanied in part by recessed borders, the surfaces of the armour, except for those of the gauntlets, etched on a blackened ground and heavily fire-gilt in the case of the collar, with bands and borders of running foliage involving, on the helmet and breastplate, trophies and fabulous beasts, and the surfaces of the gauntlets etched and gilt on a stippled and gilt ground (the gilding much worn) with trophies of arms partly occupying strapwork and enclosed in each case by narrower bands of guilloche See note at front of catalogue for information concerning stands ProvenanceProbably Philip Rhinelander II, New York, sold Parke-Bernet Galleries, New York, 17th November 1944James Graham & Sons, New York, 27th December 1944JWHA Inv. No. 2797.a-q ExhibitedWorcester Art Museum, Worcester, Massachusetts, 13 February 1945The collar, the second lame of the fauld and first four lames of the tassets are of notable weight.The construction of the fauld and tassets is typical of that employed by armourers of the Brunswick school. With its fauld reduced to a single lame, the cuirass could be worn as part of light cavalry armour (Trabharnish). Adding the short tassets allowed it to be worn, in conjunction with full leg harness, as part of a heavy field armour (Feldsküriss). Extending the tassets to just above the knees allowed it to serve as part of light infantry armour (Landsknechtharnish), while further extending them to the knees would allow the armour to be adapted to medium cavalry use (Trabharnisch).

**A COMPOSITE GERMAN CAP-A-PIE FIELD ARMOUR IN THE SO-CALLED `MAXIMILIAN` FASHION, CIRCA 1515-30comprising close helmet with rounded one-piece skull (extensively patched) rising to a low roped medial comb, bellows visor and bevor (both associated and reworked) attached by common pivots (replaced), the visor stepped beneath its centrally-divided vision-slit and pierced with eight horizontal ventilation-slots arranged in two rows and, at its right side, with a circular hole for a missing lifting-peg, and a single gorget-plate front and rear (associated), collar of four lames front and rear (restored), heavy breastplate formed of a rounded main plate fitted at each of its arm-openings with a moveable gusset, at the right of the chest with a detachable folding lance-rest (restored), at each shoulder with a pierced stud for the attachment of a reinforce (a plugged hole at the centre of its lower edge probably the site of a further such stud), and within its lower edge with a waist-lame (associated) flanged outwards to receive a fauld of four lames and a pair of integral tassets each of four lames (both the fauld and tassets restored), heavy backplate en suite with the breastplate, formed of a main plate fitted within its lower edge with a waist-lame flanged outwards to receive a culet of four lames (restored), large asymmetrical pauldrons (the right partly disarticulated) formed in each case of five lames (the first two of each and the fifth of the left restored), fitted at the front of the second of them with a large detachable reinforce (restored) extending upwards as a haute-piece, and connected at its lower end, via a turner, to a fully articulated vambrace formed of tubular upper and lower cannons linked by a couter of three lames of which the second is fitted at the front with a detachable reinforce (restored) extending over the otherwise open inside of the elbow, mitten gauntlets each formed of a short straight-ended cuff pierced around its edges with paired stitch-holes and fitted with a separate inner plate (that of the right restored), five metacarpal-plates, a knuckle-plate, five finger-plates and hinged thumb-defences (the last restored) each formed of three scales of which the first and largest is pierced around its edges with holes matching those of the cuff, cuisses (restored) each formed of a gutter-shaped main plate fitted at its upper edge with three short extension-plates and at its lower end with a winged poleyn of five lames, and full-length tubular greaves each formed of a front and a rear plate opening at the inside (the upper end of each front plate and the lower end of the right rear plate extended by patched repairs), the rear fitted at its upper end with a staple to accommodate the strap of the poleyn and at its lower end with a moderately-long spur (restored) terminating in a rowel of six slender points, and the front fitted within its arched lower end with a broad-toed sabaton of seven lames, the main edges of the armour formed with boldly roped inward turns accompanied in most cases by single or double recessed borders, and the armour decorated overall, except on the greaves, with bands and panels of flutes emphasised by pairs of incised lines (the flutes later added on the vambraces and gauntlets)See note at front of catalogue for information concerning stands ProvenanceFrédéric Spitzer, Paris, sold Anderson Galleries, New York, 9th-12th January 1929, lot 617JWHA Inv. No. 701.a-lLiteratureStephen V. Grancsay, The John Woodman Higgins Armory, Worcester, Massachusetts, 1961, p. 40 (ill.)ExhibitedRev. Seweall Emerson, Boston, Massachusetts 1957Mrs Kenneth L. Whitney, Leicester, Massachusetts, 1 July 1957Renseslaer County Junior Museum, New York, February-April 1959Williams College, Williamstown, Massachusetts, 26 April-10 May 1960Army Quartermaster, Natick, Massachusetts, 10-18 May 1962Childrens Museum, Boston, Massachusetts, 6 January -9 July 1964Ayres Agency, Worcester, Massachusetts, 3 November-7 May 1965Rockefeller Centre, New York, 1-30 June 1965Worcester Polytechnic Institute, Worcester, Massachusetts, 7 September-30 June 1966Clarke Art Institute, Williamstown, Massachusetts, 17 October-30 November 1980`The Armorer and the Printmaker`, Higgins Armoury Museum in conjunction with the Worcester Art Museum, Worcester, Massachusetts, 2 June-6 September 1998 (helmet only)The fine cuirass of the armour is of notable weight and capable of receiving, in addition, a reinforcing breastplate.

**A COMPOSITE BLUED AND GILT WESTERN EUROPEAN CAP-A-PIE FIELD ARMOUR, CIRCA 1550-80, WITH LATER DECORATIONcomprising Italian close helmet with one-piece skull rising to a high roped medial comb and struck at the nape with a maker`s mark involving a monogram, visor, upper bevor and bevor attached to it by common pivots and secured in each case by a spring-catch (the visor restored, the upper bevor associated and the spring-catches and pivots replaced), the visor pierced beneath its stepped and centrally-divided vision-slit with fourteen circular ventilation holes and fitted at its right with a lifting-peg also serving as the release for its spring-catch (broken), the prow-shaped upper bevor pierced at its left and right sides respectively with thirteen and fourteen circular ventilation-holes in rosette formation, and two rounded gorget-plates front and rear (those at the rear associated, those at the front restored using old metal), German breastplate of `deep-bellied` fashion formed of a medially-ridged main plate fitted at its neck-opening with an integral collar of two lames (restored), at its stepped arm-openings with movable gusset (restored) in each case pierced with a pair of holes for the attachment of a besague, at the right of the chest with a rigid lance-rest (restored), and at its flanged lower edge (patched) with an integral fauld of three lames (restored) supporting long tassets each of seven lames (associated and in part modified to fit their present context), the lowest lame of the left tasset struck with the Vienna arsenal-mark and the fauld pierced with a hole to receive a one-piece-German codpiece (patched at its upper edge), backplate formed of a main plate fitted at its neck-opening with an integral collar of two lames (restored) and flanged outwards at its lower edge to receive a culet of three lames (restored, probably using old metal), two large asymmetrical German pauldrons (not a pair) each formed of six lames (several showing patching and plugging, and one removed from between the fourth and fifth of the right), a pair of fully articulated Italian vambraces each formed of a one-piece turner (the left with some plugged holes), a tubular upper cannon, a winged bracelet couter of three lames and a tapering tubular lower cannon opening at the rear, German mitten gauntlets each formed of a flared and obtusely-pointed one-piece cuff closed by a riveted join at the inside of the wrist, four metacarpal-plates, a knuckle-plate decorated with a roped transverse rib, four finger-plates and a hinged thumb-defence of four scales (the metacarpal-plates and the finger-plates associated and reworked to their present context, the knuckle plates-and thumb-defences restored), short cuisses each of four lames terminating in a winged poleyn of four lames (the left cuisse and the first three lames of its left poleyn restored), and a pair of full-length tubular greaves each formed of a separable front and rear half (the front of the right and the rear of the left restored) and furnished with an integral sabaton of four lames connected by strips of Oriental mail to rounded toe-caps (restored), the main edges of the armour formed with file-roped inward turns, the couters and poleyns each decorated on the points and wings respectively of their main plates with raised quatrefoils and confronted volutes (the quatrefoils of the couters and the volutes of the poleyns later), and the remainder of the armour decorated overall with recessed borders and vertical bands (the bands later except on the codpiece), all gilt on an overall heat-blued ground (the gilding and bluing later) See note at front of catalogue for information concerning stands ProvenanceDr. Bashford Dean, Riverdale, New York, sold Parke-Bernet Galleries, New York, 26th October 1950, lot 110JWHA Inv. No. 2879.a-oExhibitedMetropolitan Museum of Art, New York, prior to 1950Berkshire Museum, Pittsfield, Massachusetts, 6 January-21 February 1966New England Museum of Science, Boston Massachusetts, 1-11 December 1966 Winterfest, Boston `Art of the Armorer`, Flint Institute of Art, Missouri, 1 December 1967-1 April 1968Worcester Pressed Steel Co., for New England Museum of Science, Boston, Massachusetts, 2-6 December 1968 Lowe Art Museum, Miami, Florida, 1 December 1979-13 January 1980`Road Warriors: Knight Riders`, Norton Museum of Art, , West Palm Beach, Florida, 24 June-4 September 2000LiteratureStephen V. Grancsay, The John Woodman Higgins Armory, Worcester, Massachusetts, 1961, p. 60 (ill.)The inside of the right greave inscribed `Toe-caps, waste [sic.] armor / parts of cuissards, 1 knee, 1 back / of lower leg modern. /Restored by R. Bartel 1916`. The rear of the lance-rest is similarly inscribed on its rear, `piece faite par / Julien Arrechea / 1916`.Raymond Bartel subsequently became armourer to William Randolph Hearst at St Donat`s Castle, Glamorganshire, Wales.The recessed vertical bands that decorate codpiece were clearly the inspiration for the embellishment of the remainder of the armour. The embossed volutes on the couters served as the inspiration for those of the cuisses, and the embossed quatrefoils of the cuisses, for those of the couters.

**A COMPOSITE NORTH ITALIAN CAP-A-PIE FIELD ARMOUR, LATE 16TH CENTURYcomprising close helmet with rounded one-piece skull (trimmed at the right of its face-opening) rising to a low roped medial comb (patched at its apex) and fitted at the nape with a plume-holder of brass (replaced), visor, upper bevor and bevor attached by common pivots (replaced), the visor with centrally divided vision-slit fitted at its right side with a moulded lifting-peg (replaced), the prow-shaped upper bevor pierced at its right side with nine small ventilation-holes in rosette-formation and secured to the bevor proper by means of a pierced stud and swivel-hook, and two short gorget-plates front and rear (the former associated), German collar of three lames front and rear, the lowest at the front struck with the fir-cone quality-control mark of the city of Augsburg (the second lame in each case restored, the lowest in each case associated), breastplate formed of a main plate of deep "peascod" fashion, decorated at the neck with a roped V-shaped rib struck there with the serial number 18 , fitted at its arm-openings with movable gussets (restored), at the right of the chest with a hinged lance-rest (restored) and flanged outwards at its lower edge to receive an associated fauld of two lames (detached) and a pair of pendent tassets (not a pair) each of nine lames (the first of the left associated), German backplate formed of a main plate fitted within its lower edge with a waist-plate flanged outwards at its lower edge to form an integral culet, both parts retaining traces within them of former `black-and-white` embossed decoration, the waist-lame with welded repairs and patches at each end), two large asymmetrical pauldrons (not a pair), each of seven lames (the lowest of the left with a patched repair) connected by a turner to a fully articulated vambrace formed of a tubular turner and upper cannon linked by a winged bracelet couter of three lames to a tapering tubular lower cannon, two gauntlets (not a pair) each formed of a flared and pointed one-piece cuff closed by a riveted join at the inside of the wrist and fitted with four metacarpal-plates, a shaped knuckle-plate, scaled finger-defences and a scaled and hinged thumb-defence (the last two restored), two cuisses (not a pair and the left extensively patched) each formed of a single medially-ridged plate, boxed at the outside and fitted with an associated poleyn of four lames, the third furnished with a small centrally-puckered side-wing, and tubular greaves connected in each case by four ankle-lames front and rear to a pair of integral round-toed sabatons formed of eight lames at the front and one at the rear (the rear plate of the left greave, the ankle-lames and the sabatons restored), the main edges of the armour formed with roped inwards turns accompanied at points by recessed borders, in some cases enclosed by roped ribs, and its subsidiary edges variously decorated with similar ribs or with single or double incised lines See note at front of catalogue for information concerning stands ProvenanceDr. Bashford Dean, Riverdale, New York, sold American Art Association, New York, 23rd November 1928, lot 149JWHA Inv. No. 611.a-pExhibitedSchenectady Museum Association, Schenectady, New York, 22 September 1959-June 1960George T. Brown, Vive-President of the Whitinsville Spring Ring Co., 17-20 May 1963Baptist Church at Adams Square, Worcester, Massachusetts, 28 June-15 July 1963John Masters, Holden, Massachusetts, 10-16 September 1963Atlantic Union College, Lancaster, Massachusetts, 7-19 February 1964LiteratureStephen V. Grancsay, the John Woodman Higgins Armory, Worcester, Massachusetts, 1961, p. 79 (ill.)

**A COMPOSITE NORTH EUROPEAN CAP-A-PIE CUIRASSIER`S ARMOUR, EARLY 17TH CENTURYcomprising close helmet with a rounded two-piece skull formed in two halves joined along a high medial comb, forward-sloping visor (restored) stepped beneath its paired vision-slits and fitted at its right with a short lifting-peg, prow-shaped upper bevor pierced at its left with nine circular ventilation-holes in rosette formation, bevor fitted at its right with a swivel-hook to secure the visor, and one-piece gorget-plates front and rear, each decorated at its centre with five rivets in cross-formation and trimmed at its upper edge to adapt it to its present context, collar of one lame front and rear, heavy one-piece breastplate of late `peascod` fashion struck at its right with the proof-mark of a bullet and flanged outwards at its lower edge to receive two long tassets (not a pair), the left and right respectively formed of fourteen lames and in each case terminating in a winged poleyn of five lames (the right associated and its lowest two lames restored) decorated at the point of the knee with an embossed hexafoil, heavy one-piece backplate en suite with the breastplate, two large symmetrical pauldrons (not a pair), each formed of eleven lames decorated at the front and rear of the sixth with later embossed hexafoils and connected by a turner and integral upper cannon to a winged couter and tubular lower cannon (in neither case a pair), two gauntlets (not a pair, the right later), each form of an elbow-length cuff with a separate inner plate, a wrist-plate, five metacarpal-plates and a shaped knuckle-plate, a pair of later demi-greaves each formed of ten plates (the lowest two cut and reworked from pieces of 17th century armour), and square-toed sabatons of nine lames each (cut and reworked from pieces of 17th century armour), the main edges of the armour formed with narrow inward turns, those of the helmet roped, and its subsidiary edges decorated with double or single incised lines (the armour heavily pitted overall, showing some cracks, patches, losses and disarticulation) See note at front of catalogue for information concerning stands ProvenanceThe Bradshaw family, Marple Hall, Cheshire, EnglandFenton & Sons Ltd, London, 23rd April 1930JWHA Inv. No. 1151.a-l

**A COMPOSITE GERMAN LIGHT FIELD ARMOUR IN THE `BLACK-AND-WHITE` FASHION, CIRCA 1570-1610comprising comb morion with rounded crown formed in two halves joined along a high medial comb, and `swept` integral brim rising to an acute point front and rear (the rear chipped), the base of the crown encircled by twelve lining-rivets with rosette-washers of brass and fitted at the nape with a slender tapering plume-holder, `Almain` collar formed of three lames front and rear and fitted at each side with an integral spaudler of seven lames (associated), breastplate formed of a heavy main plate projecting forward over the belly, and fitted with moveable gussets at the arm-openings and a fauld of three lames (the lowest two associated) supporting on straps two short one-piece tassets (not a pair), one-piece backplate en suite with the breastplate, fitted with a culet of one lame, and gauntlets with slightly flared and rounded cuffs fitted in each case with a separate inner plate, four metacarpal-plates, a knuckle-plate with roped transverse rib, a hinged thumb-defence and, in the case of the right, some finger-scales (partly detached), the main edges of the armour formed with roped inward turns, and each side of the crown of the morion and each tasset decorated with a large fleur-de-lis, the outside of each gauntlet decorated with stylised foliage involving fleur-de-lis, and the remainder decorated with plain bands and borders in all cases embossed and burnished bright against a blackened ground (refreshed); the armour accompanied by a heavy oval shield (modern) fitted at its front with a central spike and at its rear with a pair of enarmes, its surface decorated with three bright embossed fleur-de-lis against a blackened ground en suite with the armour itselfSee note at front of catalogue for information concerning stands ProvenancePhilip Rhinelander II, New York, sold Parke-Bernet Galleries, New York, 17th November 1944, lot 97, cat. No. 603JWHA Inv. No. 2778.1.a-j (armour) and 2778.2 (shield)The decoration of the cuirass, the tassets and the gauntlets is characteristically North German in style. Similarly decorated pieces are to be found in the former arsenals of Brunswick, Emden, Lübeck and Munster (K. Ullmann, 1961, figs 7 & 14; K. Ullmann, 1963, pt. 1, p. 38, figs 8, 11, 15-18 & 25; K. Ullmann, 1968, pp. 14-17 & 30-1; W. Fanger, 1981, figs 2-3, 7, 21 & 23)

**A COMPOSITE NORTH GERMAN LIGHT INFANTRY ARMOUR IN THE `BLACK-AND-WHITE` FASHION, CIRCA 1570-1610comprising comb morion with rounded crown formed in two halves joined along a high medial comb, and `swept` integral brim rising to an acute point front and rear (the front one bent), the base of the crown encircled by fourteen (originally sixteen) lining-rivets with rosette-washers of brass and fitted at the nape with a slender tapering plume-holder, `Almain` collar formed of three lames front and rear (partly disarticulated, the left of the lowest front one patched) and fitted at each side with an integral spaudler of six lames, breastplate formed of a medially-ridged main plate projecting forward over the belly and fitted at its arm-openings with moveable gussets and at its lower edge with a fauld of two lames (associated) supporting on straps two long tassets of each of six lames (the right partly disarticulated) terminating just above the knees, and one-piece backplate boxed at either side and flanged outwards at its lower end to receive a culet of one lame, the main edges of the armour formed with inward turns decorated, other than on the helmet, with roping, the breastplate decorated with three diverging bands enclosed in each case by a pair of narrower bands, the crown of the morion decorated at each side with a large fleur-de-lis enclosed within a circle surrounded by stylised acanthus foliage repeated in the borders of each of the remaining elements of the armour, and in all cases embossed and burnished bright against a blackened ground (refreshed)See note at front of catalogue for information concerning stands ProvenanceJ. Glueckselig & Sohn, Vienna, 1st December 1936 JWHA Inv. No. 2384.a-fExhibitedFort Devens Service Club, Ayer, Massachusetts, 8 August-30 October 1941The decoration of the armour is characteristically North German in style. Pieces of the same fashion can be seen in the former arsenals of Emden, Lübeck and Munster (K. Ullmann 1961, figs 7, 14 & 24; K. Ullmann 1963, figs 8, 15 & 24-25; and K. Ullmann 1968, pp. 18-19)

**A CUIRASSIER`S ARMOUR IN THE EARLY 17TH CENTURY GERMAN STYLEcomprising close helmet with rounded two-piece skull formed in two halves joined along a low medial comb and fitted at its nape with a plume-holder, two-piece peak (its left terminal restored) and bevor attached by common pivots and secured in each case by swivel-hooks (that at the left the neck missing), the underside of the peak fitted with a U-shaped face defence cut at the top with a pair of vision-slits and over the mouth with a lozenge-shaped ventilation-hole, the bevor pierced at each side with small circular ventilation-holes in a rosette formation, and a single gorget-plate front and rear, collar of two lames front and rear, heavy one-piece breastplate of the second half of the 17th century struck at the neck with the mark A(?)M , pierced around its edges with stitch-holes and flanged outwards at its slightly V-shaped lower edge to receive a fauld of one lame and a pair of long pendent tassets each of eight lames terminating in a poleyn of three lames, one-piece backplate flanged outwards at its lower edge to receive a culet of three lames, large symmetrical pauldrons each of seven lames connected by a turner to fully articulated vambraces formed of a tubular upper and lower cannon connected by a winged bracelet couter of three lames, and gauntlets each formed of an acutely-pointed one-piece cuff closed by a riveted join at the inside of the wrist, four metacarpal-plates, a shaped knuckle-plate, scaled finger-defences (the greater part of the fourth of the right missing) and a hinged and scaled thumb-defence (that of the left detached), the main edges of the armour formed with plain inward turns, and its surfaces decorated with bright bands and bright subsidiary edges against a black-painted groundSee note at front of catalogue for information concerning stands Provenance:Mrs Willis D. Wood, Long Island New York, given to the Higgins Museum 15th June 1968JWHA Inv. No. 3167ExhibitedOneida County Junior Museum, New York, 11 September-8 January 1968

**A NORTH ITALIAN COMB MORION, CIRCA 1570, WITH LATER ETCHED DECORATIONwith rounded one-piece crown rising to a high roped medial comb, and integral brim turned down at each side and rising to an acute point front and rear, the edge of the brim formed with a roped inward turn and the base of the crown encircled by fourteen (originally sixteen) round-headed lining-rivets with brass caps and brass rosette-washers (partly missing or incomplete) and fitted at the nape with a later brass plume-holder, etched on each side of the crown within an overall pattern of a scrolling foliage inhabited by dragons, fabulous birds, rams` heads and a central female nude supporting a vase of flowers, on each side of the comb with trophies of arms involving in a circular central cartouche a classical bust, and at each side of the brim with acanthus foliage, all on a stippled and blackened ground (the left of the comb showing a small rust-perforation and brazed repair, the left of the brim a crack, and the right of the brim a small patched repair at its edge)24.5 cm; 9¾ inProvenanceGiulia Morosini, sold by the American Art Association, New York, 10th-15th October 1932, lot 328JWHA Inv. No. 1822ExhibitedBeaumont Art Museum, Texas, 5 December 1977-23 January 1978Monmouth Museum, New Jersey, 27 February-6 May 1978Schenectady Museum, New York, 13 September 1979Lowe Museum, Miami, Florida, 1 December 1979-13 January 1980

**A COMB MORION WITH EMBOSSED DECORATION, 19TH CENTURY IN THE FRENCH OR FLEMISH STYLE OF ABOUT 1550-60with rounded one-piece crown rising to a high roped medial comb (perforated to the rear of its apex), and integral brim turned down at each side and rising to an acute point front and rear (the rear one chipped and the front one pierced with three later wiring-holes), the edge of the brim formed with a file-roped inward turn and the base of the crown encircled by fourteen holes for lining-rivets of which three are preserved, in one case fitted with its brass rosette-washer, the left and right sides of the crown of the helmet respectively embossed and chased in relief within borders of strapwork and grotesques with a representation of mounted classical warriors crossing a river leading to a landscape occupied by two fortresses in the background, and engaged in combat in that landscape, and the comb and brim with foliate strapwork occupied by classical busts, masks, grotesques and fabulous beasts19.5 cm; 7¾ inProvenanceEdwin J. Brett, Thanet and London, sold Christie`s, London, 22nd March 1895, lot 689Samuel J. Whawell, LondonSumner Healey, New York, 24th February 1932JWHA Inv. No. 1717Exhibited`Medieval and Renaissance Splendor`, Ringling Museum, Sarasota, Florida, and other venues, 9 February 1984-1 November 1985LiteratureEdwin J. Brett, Pictorial and Descriptive Record of…Arms and Armour…Drawn from the Author`s Collection, London, 1984, pl. LI, 3

**A FINELY ETCHED NORTH ITALIAN CLOSE HELMET FOR THE FOOT TOURNEY, MILANESE, CIRCA 1590with rounded one-piece skull rising to a low medial comb, and visor, prow-shaped upper bevor and bevor (the first two restored) attached to it by dome-headed common pivots (replaced), the visor formed with a stepped and centrally-divided vision-slit and fitted at its right side with a projecting lifting-peg, the bevor pierced at the right of the chin with a large hole to receive a locking-screw that projected from the original upper bevor, the skull and bevor fastened to one another at the right of the neck by a pierced hasp and turning-pin, and formed at their lower edges with internally hollowed rims intended to lock over and rotate on the upper edge of a collar, the armour finely etched overall with alternating bands of strapwork and trophies in each case set on a stippled ground respectively gilt and blackened (the gilding only preserved as traces), and separated by plain narrow triple bands26.5 cm; 10¼ inProvenanceDr. Bashford Dean, Riverdale, New York, sold American Art Association, New York, 23rd November 1928JWHA Inv. No. 890Exhibited`Faerie Tale Festival of Trees`, Berkshire Museum, Pittsfield, Massachusetts, 19 November-31 December 2005The decoration of the helmet is of a style employed by the distinguished late 16th century armourer Pompeo della Chiesa (recorded 1571-93) who had his workshop in the Castello Sforzesco, Milan (Norman 1986, p. 31).His signature occurs on similarly decorated armours in the collections of the Earls of Pembroke at Wilton House, Wiltshire, the Museo Stibbert, Florence, the Philadelphia Museum of Art, and the Armoury of the Knights of St John at Malta, the helmet of which is in the Metropolitan Museum of Art, New York. The design was also employed by several of Pompeo`s Milanese contemporaries, including one who signed himself with the initials IFP on an armour in the Art Institute, Chicago, one who signed himself with a triple-towered castle on pieces in the same collection and an armour formerly in the collection of the Earl of Harrington, one who signed himself with a double-towered castle on an armour in the Museo Civico L. Marzoli, and several detached pieces in thee Wallace Collection, London. (For a fuller discussion of these armours, supported by published references, see Thomas Del Mar Ltd in association with Sotheby`s, Antique Arms, Armour & Militaria, London 26 June 2007, lot 263)

**A SOUTH GERMAN CLOSE HELMET, CIRCA 1530, WITH LATER GROTESQUE VISORwith rounded one-piece skull rising to a low, boldly roped comb, fitted at its rear with two broad neck-lames and at each side, by means of replaced common pivots, with a grotesque visor and bevor in each case secured at the right by a spring-catch, the visor embossed in high relief with eyes, a hooked nose, projecting moustache and mouth caricaturing a Turkish warrior, the moustache emphasised by engraved hairs and the eyes set beneath the stepped and roped vision-slits forming the warrior`s eyebrows, and the bevor flanged outwards at its lower edge to form a neck-guard30 cm; 10¾ inProvenanceGimbel Bothers, New York, 4th December 1942JWHA Inv. No. 2702.1ExhibitedSonya Hemlin, WGBH Television, Boston, 10-12 January 1968Lowe Museum, Miami, Florida, 1 December 1979-13 January 1980

**A SOUTH GERMAN COMB MORION, NUREMBERG, CIRCA 1580, WITH LATER ETCHED DECORATIONwith rounded one-piece crown rising to a high roped medial comb, and integral brim turned down at each side and rising to an obtuse point front and rear, the edge of the brim formed with a roped inward turn accompanied by a recessed border struck within its right rear end with the quality-control mark of the city of Nuremberg (the right of the brim cracked and each side of it pierced with a later wiring-hole), and the base of the crown encircled by fifteen (originally sixteen) round-headed lining-rivets with rosette washers of iron (one missing), etched to either side of the crown with a circular cartouche enclosing at the left and right respectively the Sacrifice of Isaac and a mounted huntsman, and overlaying in each case a design of alternating bands of arabesque interlace and scrolling foliage inhabited by birds, the latter repeated on the comb and the brim, and in the former case involving at each side an oval cartouche enclosing at the left and right respectively a drummer and a soldier holding a banner, the etching in all cases set against a blackened ground, in part stippled25.5 cm; 10 inProvenanceClapp & Graham Co. Inc., 514 Madison Avenue, New York, 7th May 1930JWHA Inv. No. 1078ExhibitedAssumption College, Worcester, Massachusetts, 1 May-27 June 1961Smithsonian Institution, Washington, D.C., 1 February 1979Schenectady Museum, New York, 4 June-13 September 1979LiteratureIda Sinkevic (ed.), Knights in Shining Armor, Myth and Reality, 1450-1650, Allentown, Pennsylvania, 2006, p. 28

**A SOUTH GERMAN COMB MORION, NUREMBERG, CIRCA 1580, WITH LATER ETCHED DECORATIONwith rounded one-piece crown rising to a high roped medial comb, and integral brim turned down at each side and rising to an obtuse point front and rear, the latter struck at its right with the quality-control mark of the city of Nuremberg, the edge of the brim formed with a roped inward turn and the base of the crown encircled by sixteen round-headed lining-rivets and brass rosette-washers retaining a quilted lining (replaced) of wool covered with faded crimson velvet, etched to either side of the crown with a strapwork cartouche enclosing at the left and right respectively a coat of arms depicting a demi-lion rampant in chief separated by a fess from a hunting horn in base, and a cherub riding a dolphin, overlaying in each case an overall pattern of scrolling foliage on a stippled and blackened ground, repeated on the comb and the brim, in the former case involving at each side an oval cartouche enclosing at the right and left respectively a female nude accompanied by fabulous birds of prey and a mermaid accompanied by dolphins (the left of the helmet showing several small brazed repairs, the crest of the comb bruised, and the brim pierced at each side with a later wiring-hole)23.0 cm; 9 inProvenanceParke-Bernet Galleries Inc., New York, 13th December 1950, lot 1208JWHA Inv. No. 2898ExhibitedDenholme & McKay Co, 22 April-5 May 1952Wonder Workshop, Bridgeport, Connecticut, 19 February-28 June 1954

**A SOUTH GERMAN COMB MORION, CIRCA 1600-20with rounded two-piece crown joined along the crest of a high medial comb, and integral brim turned down at each side and rising to an acute point front and rear, the edge of the brim formed with a plain inward turn (each side of the brim pierced with a later wiring-hole and the turn at the left with slight cracks), and the base of the crown encircled by eight (originally ten) round-headed lining-rivets with brass rosette-washer and fitted at the nape with a later plume-holder, the surface of the helmet blackened overall 25.5 cm;10 inProvenanceAngelo Peyron, Florence, Italy, sold Savoy Art & Auction Galleries, New York, 4th November 1954, lot 131JWHA Inv. No. 3069.1ExhibitedChoate School, Wallingford, Connecticut, 29 March-May 1961

**A BLACK-AND-WHITE COMB MORION, EARLY 20TH CENTURY IN THE NORTH GERMAN STYLE OF THE LATE 16TH CENTURYwith rounded two-piece crown joined along the crest of a high roped medial comb, and integral brim turned down at each side and rising to an acute point front and rear, the edge of the brim formed with a roped inward turn (accompanied at each side by a small wiring-hole), and the crown encircled at its base by ten round-headed lining-rivets with brass rosette-washer, decorated in relief at each side of the crown with a fleur-de-lis encircled by stylised acanthus foliage, and at each side of the comb with radiating lobes, burnished bright in both cases against a blackened ground 29.0 cm; 11½ inProvenanceStated to be from The Armoury of Archduke Eugen, Fortress Hohenwerfen, Salzburg, Austria, sold Anderson Galleries, New York, 1st - 5th March 1927J. Glueckselig & Sohn, Vienna, 1st December 1936 JWHA Inv. No. 2383

**A SOUTH GERMAN COMB MORION, CIRCA 1600-20with rounded two-piece crown joined along the crest of a high medial comb (split at front), and integral brim turned down at each side and rising to an acute point front and rear (the front cracked and pierced with small wiring-holes), the edge of the brim formed with a plain inward turn and the base of the crown encircled by ten round-headed lining-rivets with brass rosette-washer retaining the greater part of a leather lining-band, the surface of the helmet blackened overall 26.5 cm;10½ inProvenanceThe Armoury of Archduke Eugen, Fortress Hohenwerfen, Salzburg, Austria, sold Anderson Galleries, New York, 1st - 5th March 1927, lot 139JWHA Inv. No. 146

**A SOUTH GERMAN COMB MORION, NUREMBERG, CIRCA 1580-90with rounded one-piece crown rising to a high roped medial comb, and integral brim strongly turned down at each side and rising to an obtuse point front and rear, the edge of the brim formed with a roped inward turn accompanied by a recessed border struck within its left rear end with the quality-control mark of the city of Nuremberg (each side of the brim pierced with a later wiring-hole), and the base of the crown encircled by twelve holes for lining-rivets (missing) 28 cm; 11 inProvenanceWilliam Randolph Hearst, sold Gimbel Brothers, New York, 31st October 1941JWHA Inv. No. 2639ExhibitedCharleston Art Gallery of Sunrise, Charleston, West Virginias, January-1 May 1975

**A SOUTH GERMAN BLACK-AND-WHITE COMB MORION, CIRCA 1600-20with rounded two-piece crown joined along the crest of a high roped medial comb, and integral brim turned down at each side and rising to an acute point front and rear, the edge of the brim formed with a notched inward turn (chipped at the right and accompanied by a small wiring-hole at each side), and the crown encircled at its base by ten round-headed lining-rivets with brass rosette-washer and decorated at each side with a raised band burnish bright, like the comb, against an otherwise blackened ground (slightly worn) 23.5 cm; 9¼ inProvenanceFenton & Sons Ltd, London, 8th July 1954JWHA Inv. No. 1404

**AN ENGLISH FUNERARY HELMET, LATE 17TH CENTURY, INCORPORATING EARLIER ELEMENTSwith rounded two-piece skull rising to a low medial comb, separate nape-plate, fixed peak from a mid-17th century harquebusier`s pot, bevor and deep one-piece gorget plates front and rear, the latter originally forming an early 17th century pikeman`s collar and formed at its main edges with plain inward turns accompanied in the case of the lower of them by a recessed border, the peak and bevor connected by five vertical bars forming a prognathous face-guard, and the skull fitted at its apex with a pair of rivets formerly serving to retain a spike for the attachment an heraldic crest (heavily pitted and painted black overall; the gorget-plates and the centre of the peak showing rust-perforations)37 cm; 14½ inProvenanceHenry Griffiths Keasby, sold American Art Association, New York, 5th-6th December 1924, lot 119Sumner Healey, New York, 30th April 1929JWHA Inv. No. 574

**AN ENGLISH OR FLEMISH CLOSE HELMET, MID-16TH CENTURY, CONVERTED TO FUNERARY USE IN ENGLAND IN THE 17TH CENTURYwith one-piece skull rising to a high roped medial comb, fitted at its apex with a distally-pierced vertical rod for the attachment of an heraldic crest, and at its front with a pivoted bevor contemporarily patched at its upper rear corners and fitted with a pivoted, forward-sloping visor pierced with a single broad, stepped and roped vision-slit, and deep one-piece gorget-plates front and rear, originally constituting an early 17th century pikeman`s collar and each formed at its lower edge with a plain inward-turn accompanied by a recessed borders (the helmet heavily pitted and blackened overall, and showing large rust-perforations at the left of the skull and the right of the bevor) 43.5 cm; 17¼ inProvenanceCyril Andrade Ltd, LondonSumner Healey, New York, 30th April 1929, no. 1JWHA Inv. No. 575

**A NORTH ITALIAN SKULL OF A CLOSE HELMET, CIRCA 1560-70; A NORTH ITALIAN OR FLEMISH SKULL OF A CLOSE HELMET, CIRCA 1560 AND A SOUTH GERMAN SKULL OF A BURGONET, NUREMBERG, CIRCA 1580-90of one-piece construction rising to a high roped medial comb flanked to either side by a pair of divergent roped ribs, its rear flanged outwards to receive a single gorget-plate decorated at its upper edge with a pair of incised lines, and its sides pierced over small auditory holes with a pair of larger holes for the attachment of missing visor-pivots; the second similar to the last except that it lacks a gorget-plate, auditory holes and decorative roped ribs but is fitted at its nape, beneath a pair of holes for the attachment of a missing plume-holder, with a series of lining rivets and brass rosette-washers (with some cracks and perforations, and a mottled patina overall); and the third of one-piece construction rising to a high roped medial comb (enclosed to either side by a series of later holes), boxed at each side, projecting forward to an obtusely-pointed integral peak formed at its main edge with a roped turn accompanied by a recessed border struck with the quality-control mark of the city of Nuremberg, flanged outwards at its rear to receive a missing neck-defence and cut away at each side to receive a missing cheek-piece (heavily patinated overall and showing several cracks and perforations)the first 27 cm; 10¾ in; the second 25.5 cm; 10 in; the third 25 cm; 10 in(3)ProvenanceThe first and third: Dr. Bashford Dean, Riverdale, New York, 28th September 1929The second: George L. Maxwell, sold Anderson Galleries, New York, 28th November 1928, lot 164JWHA Inv. Nos. 885, 648 & 888

**AN ELECTROTYPE COPY OF AN ITALIAN BURGONET WITH EMBOSSED AND CHASED DECORATION, THE ORIGINAL MILANESE, CIRCA 1560-5of one-piece construction rising to a high medial comb, projecting forward and backwards respectively as an obtusely pointed peak and a matching neck-guard, the latter stuck at its left side with an indistinct inscription surrounding the crowned Wittelsbach arms, and cut out between them to receive missing cheek-pieces, the left and right of the crown respectively decorated with scenes depicting the Raising of Helen and the Judgement of Paris, the comb with trophies of arms, and the edges of the peak and neck-guard with scrolls28.5 cm; 11¼ inProvenanceWürtembergische Metalwarenfabrik, Geislingen, No. 8329, 20th May 1930JWHA Inv. No. 1082The helmet is copied from that of an original preserved in the Deutsches Historisches Museum, Berlin, Inv. No. W 1004-5.Its decoration is taken from the engravings of Jean Mignon (active at Fontainebleau between 1537 and 1547 to circa 1556), after Luca Penni (1500-1556). See J.A. Godoy & S. Leydi, 2003, pp. 154-5 & 435-7, figs 16-19.

**AN ARMET IN THE WESTERN EUROPEAN STYLE OF CIRCA 1530with rounded two-piece skull rising to a low boldly roped comb and fitted at its lower edge with two short gorget-plates, at its nape with a large plume-holder, at each side with hinged cheek-pieces fastening to one another at the chin and in each case flanged outwards at its lower edge to form an integral gorget-plate, a visor formed with a stepped pair of vision-slits and a markedly concave upper bevor pierced at each side with four diagonal ventilation-slots, the last two elements attached by common pivots, the first of them decorated at its rear terminals with patterns of rivets, and the second of them secured at the right of the chin by a spring-catch, and the skull and cheek-pieces each fitted with a lining of canvas stuffed with wool and faced with buff-leather 26 cm; 10¼ inProvenanceHenry Furmage, London, 21st April 1931JWHA Inv. No. 1466

A three strand coral necklace with a floral yellow metal clasp together with a JR faux pearl clutch bag, mother of pearl set cigarette case, matching compact, cigarette lighter, comb, folding photograph album and a lipstick

A matched cased Art Deco five piece silver and enamel dressing table set, Bravingtons Ltd. & Adie Brothers, Birmingham 1930/3, each piece with silver mounted and blue guilloche enamel decoration, comprising; a hand mirror, a hair brush, a comb, a clothes brush, a circular cut glass jar and a circular cut glass perfume bottle with dispenser cover, all presented within fitted case

George VI silver backed set of dressing table set, comprising, mirror, four brushes and a comb, with engine turned decoration, by S. J. Rose & Son, London, 1951,

George V silver tazza, (filled base),silver tea strainer, a pair of silver ashtrays and a silver cased comb, various dates and marks, six silver coffee can holders with three cups and five saucers in fitted case,

Silver backed dressing table brush, mirror, comb mount, cased set of twelve teaspoons and six other teaspoons, various dates and marks,

A 19th century Swiss rosewood eight air musical box by Duccomun Girod the rosewood case with floral marquetry spray to the lid and tulipwood crossbanding, the interior with glazed dust lid and lever wound movement with 27.5cm. brass cylinder and steel comb, also playing concealed bells, the lever signed `Ducommun Girod`, printed tune indicator to inside of lid with hand written titles, 18¾ x 7¾in. (47.5 x 19.75cm.), 5½in. (14cm.) high.

A silver and pink and opalescent enamel dressing table set, comprising hand mirror, hair brush and clothes brush, Chester 1939 by Walker & Hall, together with a silver mounted comb and a silver mounted manicure set with engine turned decoration, comprising nail buffer, jar, scissors and three nail accoutrements, Birmingham 1927 by Crisford & Norris, cased.

A cased gilt metal and coloured enamel brush and comb set; a cased petit point brush and comb set

A late Victorian mahogany revolving captain`s chair, the shaped bow back above comb supports, the shaped panel seat raised on four downswept cabriole legs and castors.

A 17th Century provincial oak side chair, the shaped top rail above a comb back and solid seat, on turned and block legs, together with another similar side chair (faults).

A set of four George V oak dining chairs with carved foliate top rails and comb backs above woven seats, on barley twist and block legs, together with three other similar chairs.

An Edwardian child`s comb back Windsor armchair

A late 19th/early 20thC French Art Nouveau white metal moustache comb and brush, each piece decorated with mistletoe in a brown leather case

An Art Deco cased beadwork design dressing table set, a hand mirror, comb, brush, and matching stand

A Chinese export silver dressing table set by Wang Hing & Co., Hong Kong, Canton & Shanghai (‘WH90’ and a character mark), fl. circa 1854-1925, circa 1900, engraved and embossed with dragons amidst clouds, engraved with a monogram ‘CBM’, comprising: a rectangular tray, 30.5cm (12in) long; two hairbrushes; a clothes brush; a comb; a mirror; a boothook; a shoe horn; a rectangular box and a cylindrical box, the tray and two boxes 1220g (39.25 oz), the rest loaded. See von Ferscht, Adrien ‘Chinese Export Silver 1785-1940: Catalogue of Makers’ Marks’ Glasgow 2012, p.28.

Asprey, a silver mounted dressing set in a natural pigskin case by Asprey & Co. Ltd, London 1939-40, the ten mounted fittings engine turned, comprising: a hair brush, a comb, a hand mirror, a clothes brush, three glass bottles and three jars all fitted to one side of the case, the other for night clothes, the case and outer canvas cover initialled ‘C.A’, the case 34cm (13 1/2in) wide; sold with the original receipt from Asprey & Co. to Sir Arthur Grant dated 14th November 1942. Major Sir Arthur Lindsay Grant of Monymusk and Cullen, 11th Bt. (1911-1944) was the son of Colonel Sir Arthur Grant and Evelyn Alice Lindsay Wood and was in the Grenadier Guards. He married Priscilla Jean Fortescue Thomson, Baroness Tweedsmuir of Belhelvie, daughter of Brigadier Alan Fortescue Thomson on 14th May 1934. He was killed in action on 18th July 1944 in Normandy (mentioned in despatches posthumously). Christian Mona Grant (born 1920) was Arthur’s sister and married, firstly, Captain Michael Fife William Angas, son of Major L. Angas, on 14th November 1942. They were divorced in 1951 and she later remarried twice.

Silver and buff coloured enameled dressing table wares, comprising; a lidded glass powder bowl, a clothes brush and a comb, London 1970 and a similar hairbrush, London 1948.

A silver circular inkstand, decorated with a beaded rim, Birmingham 1920, another silver circular inkstand, a silver plated inkstand of square form, decorated with a cast scroll pierced border, an onxy inkstand, a faced glass inkstand, a silver mounted hand mirror, Birmingham 1908, a silver mounted clothes brush, a silver mounted comb and a ladies rectangular plated compact, with a box.

19th Century elm Windsor chair, high comb back, stamped R.H

19th Century elm Windsor armchair, high comb back

Silver-mounted five-piece dressing table set comprising a hand mirror, three brushes and a comb, cased.

An Elizabeth II seven piece silver dressing table set including a pair of candlesticks, hand mirror, comb, jar and brushes.

A small Windsor comb back chair together with an Edwardian crown back carver

A George V Dressing Case, maker`s mark NM, London 1912, retailed by Pittway Brothers, crushed green leather case, rectangular, with outer protective pigskin cover, opening to reveal a fitted interior with three lift-out trays containing numerous vanity utensils, including five slice cut jars/bottles and covers, pair of hair brushes, pair of clothes brushes, hand mirror, double-ended spoon, shoe horn, glove stretchers, manicure items and a curling tongs and heater box, the case (excluding the cover) 46cm wide; and A Leather and Gilt Metal Mounted Calling Card Case (2) This case displays significant original use. Some of the bottle caps are dented. Some small chips amongst the glassware. One rectangular box missing. Two vacant recesses on the mirror tray. The smallest of the lift-out trays has split at the angles and is quite scruffy, heavily worn on the green velvet surface lining material. Comb recess is empty. The largest of the glass trinket boxes has a massive chunk missing out of one angle. The hinges on the heater box are damaged. The bristles on the brushes are slightly outward pointing and very worn. Twenty-eight silver mounted items in total, leaving three steel pairs of scissors. The cover of the case is very heavily worn and damaged, and the straps have broken off. 050213

A Fine George III Musical Mahogany Striking Table Clock, signed Willm Mason, London, circa 1770, inverted bell top case, side carrying handles and pierced sound fret opening doors, applied gilt metal mask and floral mounts to the canted corners, raised on bracket feet, 8-inch arched brass dial with silvered Roman and Arabic chapter ring, matted centre with date aperture and signed silvered recessed plaque Willm Mason London, arch with four tune selection dial God Save Ye King/Home Sweet Home/Vicar Of Bray/Tom Bowling, triple fusee movement with anchor escapement, the pinned comb controlling eleven hammers striking a nest of eleven bells for the musical train every hour and followed by a further hammer striking a single bell for the hours, movement backplate engraved with basket, scroll and bird decoration, secured with brackets, 58cm high 27.02.13, Case with some pieces of veneer missing to the door, case with some small dents and crack marks in places, some mouldings around the case with chips and are slightly lifting, some small pieces of veneer has been added later, back door very slightly bowed, dials need re-silvering and brass dial plate needs cleaning, movement needs cleaning, hour striking bell post has broken and not striking on a bell at present, front plate with a small hole which has been plugged next to the anchor arbor pivot, converted to anchor from verge, the musical tunes all appear to be working at present, The home sweet home tune appears to have been added in the early 19th century which the pins to the pinned comb would have had to be slightly re-positioned on the comb.

A Nicole Frères Cylinder Music Box, 19th century, the 20`` cylinder playing on a comb within a rectangular walnut, kingwood and ebonised case with brass carrying handles, retailer`s mark for IMHOF & MUKLE, 103cm wide In good overall condition. 120313

A 19th century yew and elm comb back kitchen armchair, with a crinoline stretcher (repaired)

A quantity of miscellaneous items, including a miniature pagoda, a handbag, a tortoiseshell comb, etc

Silver dressing table set comprising tray, two glass and silver topped bottles, two brushes together with a crescent brush, comb and button hook and silver pot. (B'ham).

An embossed hallmarked silver dressing table set comprising mirror, two brushes a comb and a similar dressing table glass pot

An early 20th century Scottish green enamel and blister pearl set tiara A J Smith, of Art Nouveau form, curved scroll design, the shaped triangular centre front composed of open green to white enamelled scrolling borders surmounted by three graduated blister pearls, with hinged hair comb, contained in a tooled leather fitted case stamped A. & J. SMITH...ABERDEEN 11.5cm x 15.5cm