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WEMYSS COMB TRAY, EARLY 20TH CENTURY Decorated by James Sharp with tulips, impressed and painted marks 'Wemyss', restored to one corner 25.5cm across

A Swiss musical box, playing 10 airs, No. 38207, the crank wind 9.5in cylinder with steel comb, the tune sheet printed 'National Musical Box', the rosewood veneered cover with floral marquetry, 19.25in (49cm) w.

A Swiss musical box, playing 20 airs, No. 5949, with a crank wind 11in cylinder, steel comb with muffler and six bells with painted flowerheads and butterfly strikers, with tune sheet and a rosewood veneered cover, 23.75in (60cm) w.

Nicole Freres. A Swiss musical box, playing 8 airs, Gamme No. 2228, No. 44610, with a crank wind 13.25in (33.5cm) long cylinder and steel comb, stamped 'Nicole Freres, Geneva, 44610,' with tune sheet, the rosewood veneered cover with stringing and marquetry musical trophies and foliage, 22in (56cm) l.

A late 19th century walnut table Polyphon, No. 69364, the hinged cover centre a floral marquetry spray and a printed card depicting putti, a steel comb taking 15.75in (40cm) discs, winding handle, 21in (53.5cm) w., with 15 discs.

A square parcel-gilt compact by Boucheron and a large parcel-gilt menaudiere opening to reveal sprung comb, glazed compartment, lipstick and mirror*, both with sapphire (probably synthetic) thumb pieces and another black enamelled silver gilt menaudiere. (3) *in a fitted gold and silver embroidered silk bag.

A Windsor open armchair with comb cresting rail, spindle back and turned legs united by a stretcher.

A Late 19th Century Upright Penny In The Slot Polyphon, the movement with gilt decoration and POLYPHON heightened in black, playing 50 cm diameter discs on two combs, each comb 19.5 cm, in a walnut case, the pediment having a clock with Arabic numerals, the frieze incised Polyphon, above an arched glazed door with a drawer below for the coins, the base having a pull door with a quarter veneered panel flanked by a pair of fluted columns, on a moulded base with turned feet, the movement applied two plaques to the coin escutcheon Drop a Penny In The Slot and Drop a Penny In The Slot Nicole Freres-Liepzig, and a circular gilt disc applied to the interior of the case above the movement, Polyphon Schultz Marke, 220 cm high overall, with fifty one discs See back cover colour illustration

Silver Mappin and Webb cased comb and a silver perfume funnel 3.75cm dia

Miscellaneous silver items, comprising Art Nouveau brooch with wing and figure decoration, hair comb, necklace, button hook, etc. (6)

An early 19th century ash and fruitwood comb back Windsor armchair, with two piece horseshoe shaped arms and D-shaped seat on turned legs.

A small collection of Inuit marine ivory fishing equipment, including two knives, a small comb etc., 12.75in (32.4cm) l. (7)

A COMPOSITE PIKEMAN'S ARMOUR, LONDON, CIRCA 1630 comprising pot with hemispherical crown formed in two pieces joined medially along a low comb and fitted at the nape with a plume-holder, integral brim turned down at each side and projecting to an obtuse point front and rear (each pierced with a later wiring-hole), and pendent cheek-pieces of truncated triangular form, collar with raised neck-opening, formed of one plate front and rear, each with an obtusely-pointed lower edge, one-piece breastplate of vestigial 'peascod' form fitted at each side of the chest with a pierced stud and swivel-hook to secure a shoulder-strap, the hooks (the left with incomplete tip) formed proximally as stylised thistles and riveted over pierced quatrefoil washers, struck at the neck with the maker's mark A within a pearled circle, the crowned IR government ownership mark of the time of James II and the serial number 14, and flanged outwards at its lower edge to form an integral fauld bearing at either side a pair of pierced studs to receive the hinges of a pair of pendent tassets, the hinges fitted at their upper ends with swivel-hooks and tapering at their lower ends to trefoil terminals, the one-piece tassets of trapezoidal form each embossed to simulate six lames, and one-piece backplate flanged outwards at its lower edge and fitted with scaled shoulder-straps and waist-belt, the main edges of the armour decorated with plain inward turns variously accompanied by either recessed borders or incised lines, the pot decorated around the base of its crown with a pair of incised lines, the fauld and tassets decorated with vertical columns and circles of rivets, the surfaces of the armour retaining much of their black finish (refreshed in the case of the breastplate and otherwise pitted and russeted overall; the cheek-pieces of the pot, the rear plate and upper edge of the front plate of the collar, the left tasset and outer hinge of the right tasset, and the backplate expertly restored, each struck, in most cases internally, with a maker's mark and variously dated 1991, 1994 & 1995), stand not included It has been suggested that the mark of an A within a pearled circle is that of Edward Ansley, the only maker with his final initial known to have been active in London in the relevant period. Ansley was apprenticed to William Crouch for 8 years commencing 1614. He became a freeman of the Armourers' Company in 1622, was elected its Renter Warden in 1645, Upper Warden in 1646 and 1647, and Master in 1648 and 1649. In 1650 he was appointed Clerk of the Armoury at the Tower of London and Master of the Amoury at Greenwich. He died in the following year (T. Richardson 2004, pp. 24-5). The swivel-hooks on the breastplate of the armour can be compared with those on other of this maker's works which are typically of above average quality.

A COMPOSITE HARQUEBUSIER'S ARMOUR, LONDON, MID-17TH CENTURY comprising pot with hemispherical skull formed in two pieces joined medially along a low comb, struck at the left side with an indistinct mark, possibly the helmeted A mark of the Armourers' Company of London, and fitted at the brow with a slightly down-turned pivoted peak struck at its right side with the maker's mark IL and supporting on its underside a triple-barred face-guard, at the nape with a one-piece neck-guard embossed to simulate three lames and struck at its lower end with an indistinct mark, possibly of an erstwhile owner, and its sides with pendent cheek-pieces, heavy one-piece breastplate formed with a medial ridge, a V-shaped waist-line, a raised neck-opening and a short outward-flanged lower edge, each side of the chest fitted with a stud for the attachment of a shoulder-strap, the right of the belly bearing the proof-mark of a bullet and the centre of the neck-opening struck with the same maker's mark as the pot, the right arm-opening struck with the cross of St George within an escutcheon, the government ownership mark of the time of the Commonwealth, and one-piece backplate formed with an upstanding neck-opening and outward-flanged lower edge, and fitted with scaled shoulder-straps and waist-belt, the centre of the neck-opening struck with the maker's mark RR, the right side struck internally with seven (?) wedge-shaped serial marks, the main edges of the armour decorated with plain inward turns, bordered in the case of the backplate by an incised line, its surfaces retaining much of their black finish (now extensively pitted and russeted; the cheek-pieces of the pot and the shoulder-straps of the backplate replaced, face-guard and cheek-pieces of the pot and the shoulder-straps of the backplate replaced, each struck internally with a maker's mark and the date 1992, the comb of the pot and the shoulders of the backplate pierced with later holes, the sides of the backplate reshaped in working life; and some minor cracks throughout), stand not included The Armourers' Company mark on the pot (if correctly identified), and the Government Ownership mark on the breastplate both date from the time of the Commonwealth, namely 1649-60. The maker's mark on the pot and breastplate is that of Isaac Leot who on 15 April 1678 supplied the Tower armouries with fifty harquebusier's armours, followed by another fifty-eight on 17 September. He died in Wandsworth in 1687 (T. Richardson 2004, pp. 59-60). The maker's mark on the pot is that of Richard Ray who was apprenticed to the London armourer Richard Thurlbey in 1628 and became a freeman of the Armourers' Company in 1637. The Company's Court of December 1637 recorded that he presented his mark RR which was disallowed. He delivered armour to the Tower in 1648. He is believed to have died late in 1678, see T. Richardson 2004, pp. 72-3.

A COMPOSITE HARQUEBUSIER'S ARMOUR, LONDON, MID-17TH CENTURY comprising pot with hemispherical skull formed in two pieces joined medially along a low comb and fitted at the brow with a flat pivoted peak struck at its front with the maker's mark WF and supporting on its underside a triple-barred face-guard, at the nape with a one-piece neck-guard embossed to simulate three lames and struck at its lower end with the cross of St George within an escutcheon, the government ownership mark of the time of the Commonwealth, and its sides with pendent cheek-pieces, heavy one-piece breastplate formed with a medial ridge, a V-shaped waist-line, a raised neck-opening and a short outward-flanged lower edge, each side of the chest fitted with a stud for the attachment of a shoulder-strap, the right of the belly bearing the proof-mark of a bullet and the centre of the neck-opening struck with the helmeted A mark of the Armourers' Company of London, the maker's mark CL and the serial number 30, and one-piece backplate formed with an upstanding neck-opening and outward-flanged lower edge, and fitted with scaled shoulder-straps and waist-belt, the centre of the neck-opening struck with the maker's mark RS in a rectangle, the main edges of the armour decorated with plain inward turns, its surfaces retaining much of their black-from-the-hammer finish (in parts rubbed, russeted or refreshed; the face-guard and cheek-pieces of the pot and the shoulder-straps of the backplate replaced, each struck internally with a maker's mark and the date 1988 in the first two instances, and 1991 in the third), stand not included The government ownership mark on the pot and the Armourers' Company mark on the breastplate both date from the time of the Commonwealth, namely 1649-60. The maker's mark on the pot is that of the Shropshire-born William Fosbrook who was apprenticed to the London armourer William Ambler for seven years commencing 1635. He became a freeman of the Armourers' Company in 1642. The Company's Court of 1 April 1645 recorded that "Willm ffosbrook workman armourer psented his marke of WF which was allowed him & he paid for it 4d". He was still alive in 1666 (T. Richardson 2004, pp. 39-40). The maker's mark on the breastplate is possibly a version of that of Charles le Moth who was apprenticed to the London armourer Thomas Ashton for seven years commencing 1623. He became a freeman of the Armourers' Company in 1627. The Company's Court of December 1637 recorded that he presented his mark CL which was disallowed. On 8 October 1646 he was ordered to appear before the Court for 'selling Armer wth out the Marke of this Company' (T. Richardson 2004, pp. 56-7). The maker's mark on the backplate is probably that of Richard Seywell whose mark 'ii letters RS' was listed by the Armourers' Company in 1619. He was elected Master of the Company in 1636 (T. Richardson 2004, p. 79).

A COMPOSITE NORTH EUROPEAN HARQUEBUSIER'S ARMOUR, MID-17TH CENTURY comprising pot with hemispherical skull formed in two pieces joined medially along a low comb and projecting forward as a broad down-turned peak struck at its left side with an indistinct mark (a shield divided per fess with a star in the base?) and accommodating at its rear a sliding nasal-bar secured at the brow by a rectangular staple and locking-screw, its nape fitted with a plume-holder and narrow one-piece neck-guard embossed to simulate four lames, and its sides fitted with pendent cheek-pieces (restored), one-piece breastplate formed with a medial ridge and a centrally-notched flange at its lower edge, each side of the chest fitted with a stud for the attachment of a shoulder-strap, and one-piece backplate formed with a raised neck-opening and outward-flanged lower edge, and fitted with later scaled shoulder-straps and waist-belt, the former struck internally with a maker's mark and the date 1995, the main edges of the armour decorated with plain inward turns accompanied on the peak and neck-guard of the pot by recessed borders, and elsewhere by incised lines also occurring at the edges of the simulated lames of the neck-guard and down the centre of the backplate, the surfaces of the armour blackened (extensively pitted and re-coloured throughout; each side of the skull pierced with a later pair of holes), stand not included The breastplate and backplate are homongenous and of above average quality. They are probably of Dutch make.

A .750 CALIBRE CONTINENTAL FLINTLOCK CARBINE, EARLY 19TH CENTURY cut-down from a musket, with tapering barrel retained by two brass and one steel band, rounded lock with brass pan, regulation walnut stock with flat comb and carved cheek-piece, and regulation brass mounts (worn throughout); and A CONTINENTAL SWORD, 19TH CENTURY, with curved fullered blade, brass stirrup hilt cast with a down-curved quillon formed as a lionhead, and the pommel en suite, in its steel scabbard with brass mounts the first: 64.5cm; 25 1/2in barrel (2)

A RARE NORTH ITALIAN HALF ARMOUR, LATE 16TH / LATE 17TH CENTURY, FOR USE BY THE SWISS PAPAL GUARD comprising associated morion formed in one piece with a rounded crown rising to a high roped medial comb decorated to either side of its crest and base with incised lines, and a 'swept' integral brim turned down at each side and rising to an acute point at the front and the rear (the left of the brim cracked, each point damaged), the base of the crown pierced at the nape with a pair of holes for the attachment of a missing plume-holder and encircled by eleven (originally eighteen) round-headed lining-rivets with brass rosette-washers, collar formed of a single plate front and rear (the former with a small riveted patch at the left shoulder), each flanged upwards at the neck-opening to receive one or more additional lames (now missing), their roped lower edges originally ribbed but subsequently flattened, breastplate and backplate each with an outward-flanged lower edge, the former of 'peascod' form fitted to either sides of its main plate and at the inner edges of the movable gussets of its arm-openings with working-life extensions, the latter struck at the centre of its neck-opening with the mark of a crowned escutcheon charged with three pheons(?), and large symmetrical pauldrons each formed of six lames overlapping outwards from the third and connected by a turner to a tubular upper cannon cut away diagonally at the inside of its lower edge, the main edges of the armour decorated with roped inward turns, accompanied on the cuirass and the morion by recessed borders, the subsidiary edges the pauldrons decorated with incised lines, all surfaces except those of the morion decorated with deeply incised acanthus scrolls, for the most part arranged symmetrically and involving at the top of the breastplate a grotesque mask embossed in relief, the decoration originally gilt on a blackened ground (now extensively pitted, patinated and worn), on a fabric-covered stand Provenance: The Hon. Rose Talbot, sold Christies, London, 14 April 1976, lot 75, pl. 5. The armour can be recognised from its distinctive decoration as one of a series made for the use of the Swiss Papal Guard. Other armours of the series are to be found in the Museo Civico L. Marzoli, Brescia, Inv. Nos 860, 927-8, 941 & 947 (Rossi & Carpegna 1969, Cat. Nos 22-5 & 44, pp. 22-3 & 30), the Fitzwilliam Museum, Cambridge, Acc. No. Hen.M.1.2.a-c-1933 (Eaves 2002, pp. 123-5, ill), the J. W.Higgins Armoury Museum, Worcester, Mass. Inv. No. 1137 (Grancsay 1961, p. 82, ill), and the Art Institute, Chicago (Karcheski 1995, p. 68, ill). Their decoration has in all cases been applied in the late 17th century to elements of late 16th and early 17th century North Italian make. The mark struck on the backplate is probably that of its owner. It is also to be found on the examples in the Fitzwilliam and the Higgins Museum's . The associated morion is one of a series obtained by the London dealer W. H. Fenton in Ireland at some time before 1933. Others of the series are now to be seen in the Royal Armouries Museum, Leeds, Inv. No. IV. 449 (Dufty & Reid 1968, pl. CII, c), the Fitzwilliam Museum, Cambridge, Acc. Nos Hen.M.32, 33 & 34-1933 (Eaves 2002, pp. 153-5, ill), and the Glasgow Museum and Art Gallery.

A COMPOSITE NORTH ITALIAN THREE-QUARTER FIELD ARMOUR, 16TH / 17TH CENTURY comprising close helmet with rounded one-piece skull rising to a high roped comb (patched at its apex) and fitted at the nape with a slashed and gilt plume-holder, forward-sloping visor with stepped and centrally-divided vision-slit fitted at is right side with a small lifting-peg (replaced), upper bevor of blunt prow-shaped form pierced at its right side with nine small circular ventilation-holes in rosette-formation, linked by radiating incised lines, and secured by a pierced stud and swivel-hook (replaced), bevor (replaced) fitted at its right side with a fixed slender visor-prop, the visor, upper bevor and bevor attached to the skull by common pivots (replaced), and two gorget-plates front and rear (replaced), collar of three lames front and rear (the first and third at front respectively associated and trimmed, and the first and second at the rear replaced), breastplate of early peascod form with deep neck-opening, shallow arm-openings fitted with moveable gussets, and deep waist-plate flanged outwards to receive a fauld of two lames, the lowest of which bears, to either side of a shallow central cut-out, a long pendent tasset each formed of twelve lames (nine of the left, and five of the right replaced) terminating in winged poleyns of four lames, backplate with broad shallow neck-opening (pierced at its centre with later slot and hole) and waist lame (replaced) flanged outwards at its lower edge to receive a culet of two lames (replaced), large symmetrical pauldrons each of seven lames (the top three replaced) connected by a turner to an articulated vambrace formed of a tubular upper cannon, a winged bracelet couter of three lames and tubular two-piece lower cannon, and later gauntlets each formed of a flared and pointed cuff with hinged inner plate, four metacarpal-plates, a shaped knuckle-plate, scaled finger-defences, hinged thumb-defence with matching scales and artificial leather lining-glove, the main edges of the armour decorated with inward turns, partly file-roped and in some accompanied by recessed borders, and the subsidiary edges in many cases decorated with double or single incised lines (the armour lightly pitted and patinated overall) Stand not included.

A COMPOSITE EUROPEAN CUIRASSIER'S ARMOUR, EARLY 17TH CENTURY comprising German close helmet of 'Todenkopf' fashion with rounded two-piece skull joined along the crest of a high medial comb and fitted at the nape with a plume-holder now occupied by modern black and white ostrich feathers, peak and bevor attached by common pivots, the peak fitted within its brow with a U-shaped face-defence pierced with inverted L-shaped openings for the eyes and a small rectangular opening for the mouth, the face-defence and bevor each secured at the right side by a swivel-hook, and a single gorget-plate front and rear, collar of three lames front and rear, the lower front one marked W over an indistinct four-digit number, heavy one-piece breastplate of late 'peascod' fashion, fitted at each side of the chest with a stud for the attachment of a shoulder-strap and at each side of its flanged lower edge with a hinged bolt and wing-nut (both replaced, the left bolt missing) for the attachment of long tassets each of eleven lames (the first associated), the lowest six detachable and terminating in a winged poleyn of four lames, heavy one-piece backplate en suite with the breastplate and fitted with scaled shoulder-straps, buckles for the attachment of pauldrons and a waist-belt (all except left shoulder-scales replaced), its flanged lower edge (showing small loss at right end) fitted at either side with a pierced stud to receive a culet of two lames secured by a pair of swivel-hooks, and large symmetrical pauldons each of seven lames overlapping outwards from the third and largest which is decorated at the front with nine rivets in rosette formation, and connected by a turner to a late 16th century Italian vambrace consisting of a tubular upper and lower cannon and bracelet couter of three lames, the central one fitted with a separate wing of small size, the main edges of the armour turned inwards, those of the pauldrons and vambrace decorated with roped inward turns, accompanied in the case of the vambraces by roped ribs, and those of the remainder left plain and variously accompanied on the helmet and cuirass by recessed or incised borders, the breastpate and backplate each decorated with radiating trios of incised lines, the surface of the armour painted black overall (the collar, pauldrons and couters replaced), on a wooden stand painted black

A COMPOSITE DUTCH PIKEMAN'S ARMOUR, CIRCA 1630 comprising pot with hemispherical crown (slightly dented at either side) formed in two pieces joined medially along a low comb and fitted at the nape with plume-holder retaining significant traces of gilding, integral brim turned down at each side and obtusely pointed front and rear, one-piece breastplate of vestigial 'peascod' form fitted at each side of the chest with a small stud (replaced) for the attachment of a shoulder-strap, struck at the neck with the crowned IR government ownership mark of the time of James II , and flanged outwards at its lower edge to form an integral fauld bearing at either side a pair of pierced studs (replaced) to receive the hinges of a pair of pendant tassets, the hinges fitted at their upper ends with swivel-hooks and tapering at their lower ends to trefoil terminals, the one-piece tassets of trapezoidal form each embossed to simulate six lames, and one-piece backplate flanged outwards at its lower edge and fitted with scaled shoulder-straps and waist-belt (the terminal scale of each of the former and the whole of the latter replaced), its neck-opening struck with the same mark as that of the breastplate, the main edges of the armour decorated with plain inward turns accompanied by incised lines, except on the tassets where they are accompanied by recessed borders, the backplate additionally decorated with a medial incised line, the tassets with vertical columns rivets and pairs of incised lines (much rubbed) at the upper borders of their simulated lames, the surfaces of the armour retaining much of their black finish (extensively pitted, russeted and refreshed), stand not included The armour can be compared with one in the Royal Armouries Museum, Leeds, Inv. No. II. 165 (Blackmore 1990, fig. 77). Armours of this kind are featured in the works of the contemporary military writers J. Bingham, 1616, and Henry Hexam, 1642 (ibid. figs 75 & 95). For the latter see lot 147.

A COMPOSITE SOUTH GERMAN THREE-QUARTER FIELD ARMOUR, SECOND HALF OF THE 16TH CENTURY comprising burgonet with one-piece skull rising to a high roped medial comb and projecting forward to a short integral peak pierced at its rear with a triangular hole to accommodate a missing sliding nasal-bar now represented only by its later retaining-staple and locking-bar attached by rivets at the brow, its nape fitted with a plume-holder and short neck-guard of two lames, each of its sides fitted with a later applied comb roped en suite with the medial one, and a later hinged cheek-piece pierced with circular ventilation-holes and fitted at its lower edge with a separate neck-lame, 'almain' collar formed of four lames front and rear and three more at each side extending over the top of the shoulder, heavy breastplate with medially-ridged main plate projecting forward over the belly, dipping gently at the centre of the waist, fitted at each arm-opening with a movable gusset, at the right of the chest with a pair of modern staples for the attachment of a lance-rest and at its flanged lower edge (repaired with small riveted internal patch) with a fauld of three lames (associated and pierced with three later holes), the lowest of which bears two pendent tassets nearly forming a pair, each of six lames extending to just above the knees, backplate formed in one piece boxed at its centre and each side, and fitted at its lower edge with a fauld of one lame, and spaudlers each of eight lames extending to just above the elbow, the main edges of the armour decorated with file-roped inward turns accompanied in the case of the collar and cuirass by recessed borders, the subsidiary edges of the spaudlers bordered by single incised lines (lightly patinated overall; the rivets in some cases replaced by brass-capped upholstery-nails; the collar showing some minor chips and cracks). This armour is for a man of notably large proportions, its fine collar in particular is of exceptional girth. The slight step in the neck-flange of the burgonet is a feature seen in higher quality Augsburg helmets of the late 16th century.

**A COMPOSITE GERMAN 'BLACK AND WHITE' THREE-QUARTER INFANTRY ARMOUR (KNECHTISCHE HARNASCH), NUREMBERG, CIRCA 1570-80 comprising burgonet with one-piece skull rising to a high roped medial comb, fitted at the nape with an obtusely-pointed neck-guard and a later tubular plume-holder, at the brow with an obtusely-pointed pivoted peak (replaced), and at each side with a hinged cheek-piece pierced at its centre with five small circular ventilation-holes and flanged outwards at its lower edge to serve as a continuation of the neck-guard, 'almain' collar of three lames front and rear (the top two in each case replaced) with integral spaudlers each of six lames (the first two of the right and the first of the left partly disarticulated, the third of the left with a chipped lower front corner), and medially-ridged breastplate projecting forward over the belly, fitted with moveable gussets at the arm-openings and flanged outwards at it lower edge to receive a fauld of three lames, the third pierced at its centre with a hole (probably later) for the attachments of a codpiece and cut with a shallow arch separating a pair of pendent tassets each of six lames, extending to just above the knees, the burgonet, breastplate and collar each struck with the quality-control-mark of the city of Nuremberg, the main edges of the armour decorated with file-roped inward turns, and its surfaces, with bright recessed bands and borders against a blackened ground (partly refreshed with black paint), stand not included £5000-7000 [TOM TO CHECK. LACKING BACKPLATE. PEAK RESTORED]

A COMPOSITE HARQUEBUSIER'S ARMOUR, CIRCA 1630-40, LONDON OR GREENWICH, comprising pot with hemispherical skull formed in two pieces joined medially along a low comb, its brow fitted with a broad obtusely-pointed pivoted peak supporting on its underside a triple-barred face-guard riveted through later washers, and its nape, with a matching one-piece neck-guard embossed to simulate four lames (articulation-points and left border showing some damage), one-piece breastplate of late peascod form flanged outwards at its lower edge and fitted at either side of the chest with a pierced stud and swivel- hook for the attachment of a shoulder-strap, the swivel-hook riveted over a fretted rosette washer, and matching one-piece backplate with flanged neck-opening and lower edge, the latter fitted at either side with a pair of later pierced studs, the remainder fitted with incomplete scaled shoulder-straps (only the first scale of each original), a pair of rivets for the attachment of inner shoulder-straps, and a waist-belt (replaced, its buckle detached), and long gauntlet for the left hand formed of a medially-ridged two-piece tubular cuff shaped to the point of the elbow and fitted at its lower end with both an inner and an outer wrist-plate, the former projecting as a semi-circular lobe over the base of the thumb, and the latter bearing three metacarpal-plates, the last having a shaped projection at its inner end for the attachment of a missing thumb-defence and a shaped knuckle-plate, the main edges of the armour decorated with plain inward turns, accompanied on the peak and neck-guard of the pot by recessed borders and elsewhere by single incised lines repeated at all subsidiary edges, its surfaces originally blackened (now extensively rusted), stand not included. This armour is of notable high quality. The absence of London marks makes it likely that it was made in the royal armour workshops at Greenwich. Following an official investigation of criticisms brought against it in 1630, the workshop lost its privilege of working only for the King and those who bore his personal warrant. Its output thereafter is thought to have included pikemens' and harquebusiers' armours of a quality appropriate for wear by officers and select units. Our cuirass resembles one from Littlecote House, Wiltshire, now in the Royal Armouries Museum, Leeds, Inv. No. III. 1957-8, which is thought to have belonged to Col. Alexander Popham, as well as others on loan to that museum from Scrivelsby Court, Lincolnshire, seat of the Dymoke family, hereditary royal champions. Comparison can also be made with the cuirass of the fine Greenwich harquebusier's armour in the Royal Armouries at the Tower of London, Inv. No. II. 92, made for the King Charles II about 1635 (T. Richardson 2004, pp. 11-12). The basal thumb-defence of the gauntlet forming part of the present lot shows the influence of earlier Greenwich examples. The heavy cuirass of the armour is for a man of notable size.

A RARE TOURNAMENT BROW REINFORCE, THIRD QUARTER OF THE 16TH CENTURY, GERMAN OR ITALIAN formed in one piece rising to a roped medial comb, embossed on each side with a concave moulding for fitting over the pivots and pierced at the front with a pair of holes for securing to the visor, the lower portion shaped for the vision slit, and painted with a red inventory number inside Provenance The Rolls Armoury, The Hendre, Monmouthshire. A comparable brow defence is preserved in the Metropolitan Museum of Art, New York, acc. no. 14.25.545. It is likely such reinforces were for use in the tourney or foot tournament.

A RARE SOUTH GERMAN CLOSE HELMET FOR FIELD USE, CIRCA 1510-15 with broad rounded one-piece skull strongly shaped to the nape and formed with a broad low hollowed medial comb (the crown patched,face-opening restored), 'bellows' visor formed with three transverse ridges each enclosed by a pair of incised lines, the top ridge forming a step beneath a centrally-divided vision-slit, the other two surmounted in each case by two pairs of horizontal ventilation-slots, bevor (with small riveted patched at right of neck) and neck-guard of three lames, the visor and bevor attached to the skull by later common pivots and secured at the right side in each case by a later spring-catch, the main edges of the bevor and neck-guard decorated with plain ribs (minor losses, cleaned throughout) The helmet is of notable size. Its proportions can be compared with those of an example formerly in the collections of William Burgess, Sir Guy Francis Laking and Dr Richard Williams, now belonging to the Royal Armouries Museum, Leeds (G. F. Laking 1920-2, Vol. 4, p. 89, fig. 1165). Its plain skull and broad low comb identify it as an early example of its kind.

A NORTH EUROPEAN CUIRASSIER'S CLOSE HELMET, CIRCA 1620-30, PROBABLY ENGLISH with rounded skull formed in two pieces joined medially along a high comb fitted at its apex with the remains a later iron spike for the attachment of a funerary crest and at its base with a large plume-holder, decorated to either side of the comb with a single incised line, and possessing a later lining of canvas faced with crimson buckram (detached), visor with stepped and centrally-divided vision-slit, formed medially as a forward extension of the comb and decorated at either side of its upper edge with a cusp, its right side pierced with a hole for a missing lifting-peg, bevor of upright, slightly concave profile, pierced at either side with nine small circular ventilation-holes and decorated at both its upper and lower edges with single incised lines, and at the latter with a plain inward turn, bevor fitted at its right side with pivoted visor-prop (seized in the upright position), and a single deep rigidly-riveted gorget-plate front and rear (the front one with short crack at left side), each decorated at its lower edge with a plain inward turn accompanied by a recessed border, the visor, upper bevor and bevor attached to the skull by common round-headed pivots, the last two secured at the right side by swivel-hooks and pierced studs, the surface of the helmet painted black overall (blistered and corroded) Although made for actual use, the helmet owes its survival to having subsequently been suspended over an English tomb as part of an heraldic funerary achievement. Its painted surface and fragmentary spike for the attachment of a wooden crest are typical of helmets converted to funerary use. The helmet can be compared with one in the Royal Armouries Museum, Leeds, Inv. No. IV. 1026, bearing the crowned A mark of the London Armourers' Company, and another three in the same collection, Inv. Nos IV. 53, 1028 & 1675, bearing the mark of the London armourer Peter Newton (T. Richardson 2004, pp. 7 & 62). These helmets are similar in form to contemporary Dutch examples, but differ from them in details.

A FINE SOUTH GERMAN BURGONET, CIRCA 1580 with one-piece skull rising to a high roped medial comb, projecting forward and slightly upward to an acutely-pointed integral peak (small perforation at left of brow), fitted at its outward flanged lower edge with a matching neck-guard of one lame (point pierced with two later wiring-holes), and each of its sides with a hinged cheek-piece formed of three diagonally-articulated plates (the front two restored) riveted to an underlying leather, the crown fitted with an old, possibly original lining of twill-woven fabric stuffed with tow, the main edges of the burgonet decorated with file-roped inward turns

An Anglo - Indian sandalwood and ivory mounted, double sided comb, 19th / 20th century. Possibly presented as a 'LOVE' token. The body inset with intricate geometric cut ivory panels, either side. (1 ivory panel missing). Each side carved with script. 20 x 16cm.

G. H. DAW, A 12-BORE PATENT HAMMER GUN, NO. 793, 28-inch damascus barrels with 2 1/2-inch chambers about improved cylinder borings, the rounded frame, non-rebounding back locks, hammers and snap under lever with bold scroll engraving, the maker's name signed within a scrolling banner, 14 1/2-inch figured stock with pistol grip, 'let-in' comb and engraved heel and toe plates, cracked at the hand, 7lb., nitro re-proof

An early 19th century elmseat and fruitwood comb back Windsor chair, having a dish seat, turned supports united by H stretcher

A Victorian elmseat and ash Windsor chair, having a pierced vase splat and comb back, dish seat, and raised on turned supports united by H stretcher

An early 19th century flintlock rampart gun with a military lock signed LONDON and engraved with an elephant with a castle howdah, long 4 bore barrel, full walnut stock with elongated comb at the butt barrel length 60 inches

A Rigby single barrel Mauser action .275 bolt action rifle the well figured walnut pistol grip stock with raised comb with rubber recoil pad, serial number 5686 22 inch barrel

A Rolex oyster perpetual stainless steel semi-bubble back wristwatch, honey comb dial

A 17th Century French Close Helmet. The skull with roped comb, peaked visor pierced with demi-lune sight holes and breathing perforations (later neck guard & repairs).

An Early 19th Century Welsh Comb Back Windsor Chair with a rich patination. The top having a curved top rail above long plain spindles leading down to the bowed and outswept arm rail with pad ends, above plain spindles adjoining the D-shaped seat on splayed feet. 43 1/2 ins (109 cms) high.

A George V 3-Piece Silver Dressing Table Set having engine turned decoration, comprising hand mirror, brush, comb (some comb teeth a/f), Birmingham 1923, maker JG Ltd

A Tortoiseshell and Gilt Mounted Hair Comb, another similar hair comb and 4 hair clips (6)

A Tortoiseshell Hair Comb having pierced and carved fan, leaf and scroll decoration

A 17TH CENTURY STYLE CLOSE HELMET the two piece skull with a pronounced comb, beaked visor and hinged bevor, pierced with cruciform breathes, 37cms

A 19TH CENTURY OAK AND ELM COMB BACK WINDSOR ARMCHAIR the curved wishbone arm uprights, above a saddle seat with turned legs tied by H stretchers See Illustration

A SILVER PEPPER in the form of an acorn; a silver sovereign holder; a pencil holder; a silver comb holder; a spectacle case; a silver compact; two sweet meat dishes and a further item (9).

A George V Silver Patch Box with engine turned decoration together with Silver backed dressing table hand mirror, hairbrush and comb, silver, and Mother of Pearl pen knife etc.

A CONTINENTAL SILVER MOUNTED IVORY COMB, marked TC? C1900; a PAIR OF SILVER EMBROIDERY SCISSORS, marked Cobi & Jenkins, a further pair of white metal sewing scissors and an EBONISED SILVER AND MOTHER OF PEARL INLAID CROCHET HOOK. (4)

A 19TH CENTURY ELM SEATED COMB-BACK WINDSOR CHAIR, the shaped top-rail on light spindle supports with eighteen supports below forming the tub shaped back and arms. The solid elm seat raised on turned legs, united by a turned 'H' stretcher. 89cm high.

A cased silver backed dressing table set, Williams Ltd, Birmingham 1918, each piece engraved with baskets of flowers within scrolling foliate surrounds, comprising; a hand mirror, two hair brushes, two clothes brushes and a comb, all within silk lined case, along with a glass and silver mounted toilet jar, Birmingham 1900, with faceted stopper and a further toilet jar with silver cover, London 1916 (8)

A silver calling card case, Nathaniel Mills, Birmingham 1850, of shaped, oblong form and engraved with a honey comb design within scroll engraved corners, monogrammed, 10cm x 6.5cm, weight 65gms, along with a silver cigarette case, Birmingham 1915, of plain polished form, 9.5 x 6.5cm, weight 94gms (2)

A diamond set stick pin in the form of a cockerel, set throughout with rose cut diamonds with red enamelled comb, wattle and ruby set eye, against a yellow and white metal setting with textured finish, weight 2gms

A lady's silver mounted three piece dressing set, comprising; a hand mirror, a hair brush and a comb, with engine turned decoration, Birmingham 1964.

A 20th century marriage kimono the woven gold coloured ground with honey comb shaped design overall overlayed with the out line of flying cranes decorated with stylised flower heads; together with five further everyday kimonos, 20th century, various designs and colour ways and two obi (8).

A honey comb patchwork quilt cover, the light blue cotton backing covered with honey comb shaped patches making up floral head design overall.

A tortoiseshell vanity case the tortoiseshell case with hinged lid revealing fitted interior with hinged compartments, mirror and comb

A cased tortoiseshell hair comb, with pierced filigree gold decoration set with a sapphire and two rubies, in fitted case. A gold cased fob seal, the carnelian matrix engraved with flowers. A George III quartz and seed pearl cluster ring in gold and other items of jewellery.

Four piece dressing set - clothes brush, hair brush, comb and mirror holder

An African Ebony Leather and Straw Work Hair Comb, 24.5cm long

A Tortoiseshell Hair Comb having pierced scroll and leaf decoration, 16.5cm long

A Fine Tortoiseshell Hair Comb having carved and twist pierced, scroll and leaf decoration, 16.5cm long

An 18th Century Yew Wood Windsor "Chiltern" Armchair, having splat and stick back, with elm solid seat, on round turned legs having comb stretcher

Dolls' Trunk: American cloth covered domed trunk with tray containing clothes and accessories including boxed Russian comb set, wool carrying cape, green velvet lined coat and matching wire bonnet, socks, bob, child's bodice, bod linen and cream silk frocks, one with tucks