We found 20273 price guide item(s) matching your search

An early 19th Century mallet form decanter and stopper, the neck cut with bands of slice cut panels above strawberry diamonds and needle and comb cut flutes, target stopper, 18cm high, S/D.

A blue and white slop bowl painted with flower sprays beneath a comb pattern border 16.5cm and a sugar bowl similar (foot rim chip) 12cm diameter, possibly Caughley (2)

Dunhill vintage lighter, silver cigar cutter, another, Ronson table lighter and a silver comb

19th Century English School, Half-length profile portrait of a young lady with a comb in her curled hair, wearing a brown dress, watercolour on card, 10cms x 8cms, (4" x 3")..

An early American ebonised and red 'combed' kitchen dresser Probably mid18th century of small proportions, the projecting ebonised cornice above a re-entrant cornered frieze with incised 'cockbead' edge and three shelves grooved for plates and framed by similarly incised and lipped facings ending in downswept shoe pieces, the top with a broad moulded edge above a six-panel front composed of a pair of cupboard doors flanking a central panelled divider, each panel decorated with narrow frame mouldings, on caddy moulded uprights and stem feet, the sides with conforming double panelling 130cm wide, 194cm high, 39cm deep Note: American painted dressers of this type and size are scarce. The stylish features of this example possibly indicate a New England provenance and the use of crisply executed caddy and re-entrant mouldings suggests an early date. The dresser is in its original condition complete with wrought iron plate hooks, which are crimped flat at the ends, and turned pull handles. An escutcheon appears to have been added to the right hand door, but all the escutcheons appear to be of an early date. The dresser is composed of oak framing around pine panels with are chamfered on their internal edges, rather than presenting an outward facing 'fielded' panel. The ebonised highlights to the mouldings are perhaps more accurately described as 'brown painted.' The drawing of a comb across the wet painted surface has achieved a rippled effect, in dark and light wine-red, appealing to the eye as an example of Folk Art, in the medium of vernacular furniture making.

A rosewood cased bells-in-sight musical box with drum, Nicole Freres, late 19th century, playing a choice of eight airs via a 28.5cm pinned cylinder, steel comb, five bells and a drum mounted onto gilt finish steel bed under glass lid flanked by Start/Stop and Change/Repeat levers opposing crank winding handle, the musical trophy inlaid lid with tune sheet to interior above line inlaid front, on pad feet, the comb and Change/Repeat lever stamped NICOLE FRERES, 64cm wide.

A St Ives Pottery vase decorated with simple comb motif in shades of ochre and ash impressed St Ives seal mark 14cm. high

* A matched Edwardian silver backed, six piece dressing table set, of Art Nouveau design, by Levi & Salaman, Birmingham c.1902 /1903. Comprising two large brushes, two smaller brushes a comb & a hand mirror. Also an Edwardian chinoiserie decorated and silver mounted four piece dressing table set,retailed by Asprey's, Birmingham c.1902. (11)

An Edwardian, silver backed, eight piece dressing table set. With profuse all over embossed foliate and scroll decoration; comprising 4 various brushes; a tray; a comb; a rectangular box & cover and a cut glass and silver top cotton pot. (8)

1940s silver dressing table set comprising of a hand held mirror, brush, clothes brush and comb all with engine turned decoration and personal engraving. The dressing table set is in reasonably good condition. There are surface scratches and dents to all of the silver, and the engine turned decoration is worn in places. There are areas of tarnish in the grooves of the reeding. The glass in the mirror is spotted with age. The bristles of the brushes are discoloured and splayed, and there are a lot missing from the clothes brush. The wooden parts of the brushes are dirty and worn, and there are polish stains on parts of them. The silver mount on the comb is loose and there is a build-up of dirt and polish underneath it. The hallmark and cartouche on the comb are very rubbed and the hallmark is illegible. The 'Peggy' engravings on the other pieces are all rubbed but still legible, and the hallmarks are all indistinct and of varying degrees of legibility.

TIFFANY & CO.-Four silver accessories to include a silver comb, a silver hexagonal cased tape measure, a loop and ball design key ring with attached pendant engraved and a silver cased cuticle and nail tool. All engraved with letter B. All stamped Tiffany & Co.

A cased hallmarked silver and tortoise shell brush set comprising of twin brushes, mirror and comb, tortoise shell backs with inlaid silver floral details, Birmingham 1927.

A late 19th Century Swiss musical box by Mermod Freres with 29cm (11.25") cylinder and 27cm (10.5") single comb playing six airs, with change dial initialled M F and monogrammed, No 107501, parachute pause and advance retard, the comb monogrammed and the gilt base bearing patent plaque, the walnut case crossbanded in kingwood and with ebonised borders, fitted a drawer beneath for three further cylinders, 71cm (28") wide

A mid 18th century cherrywood comb-back Windsor armchair attributed to John Pitt, the shaped top rail above a vase shape splat with three spindles either side and a flat upright, the bow arms on five spindles and curved front supports, the large saddle seat with incised lines, on cabriole legs united by turned 'H' stretcher to pad feet. Old repairs to splat and stretcher. See Regional Furniture, The Journal of the Regional Furniture Society, vol XIX, 2005, pp.20-32 for a similar example with a label to the underside for John Pitt of Slough 1714-1759. There is evidence of a label to the underside of the above lot.

Victorian hair comb, hinged rectangular gilt metal having line of white paste in centre and bright cut edges, two mock tortoiseshell hair combs each set with triangle of white paste and large French mock tortoiseshell hair comb in Egyptian revival style, to/w black ostrich feather fan

Edwardian inlaid mahogany tub shape carver, comb back, tapering square legs

An early 20th Century ladies dressing case, the hinged lid opening to reveal a variety of fitments to include silver lidded jars and bottles, ivory comb, stretchers and letter opener; together with other items to include and envelope relating to the Cunard Company, hallmarks for GHJ, London 1901

A SWISS MUSICAL BOX, the cylinder and comb movement with six bells, playing eight airs as listed on the tune sheet, in stained wood and ebonised case crossbanded with stringing, and inlaid to the lid and fascia with musical trophies, 19th century, 21 1/4" wide

A silver three piece child's dressing table set, each embossed with a floral garland, comprising hair brush, glass jar and silver cover, and silver backed comb, cased, together with a plated four piece tea set and a collection of plated items.

A George V stained beech revolving comb back desk chair, the shaped bar back above bentwood supports and a brown leather studded seat on four splayed legs.

A silver mounted three piece dressing set, comprising; a hand mirror, a hair brush London 1924 and a comb London 1923, with banded decoration, with a fitted case by Mappin & Webb.

A Cumberland and Westmorland Constabulary chrome plated whistle, fitted to a chain, with a hook, a rectangular brass snuff box, a silver mounted imitation tortoiseshell comb, a silver mounted nail buffer, Birmingham 1915 and five manicure implements with silver handles.

A comb back Chair

An embossed white metal Hand Mirror and matching Hairbrush in art nouveau style, together with a further white metal backed Clothes Brush and Comb (4)

An early 20th Century Tortoiseshell Hair Comb

A fitted navy blue leather travelling dressing case, containing silver mounted items comprising a tortoiseshell comb, shoe horn and button hook, hand mirror, four brushes, four glass jars and two bottles, London 1930, by the Goldsmiths and Silversmiths Co., and a leather roll-up sewing case, lacking one rectangular jar and an emery board, with original cloth cover, each item including the case and cover, initialled 'E.M.C.'

A 19th Century Continental silver cream jug, bears import marks dated London 1895, of bulbous form raised on three scroll legs, a silver case, approximately 3oz, 9cm high, with engine turned decoration, Birmingham 1917, lined with simulated crocodile skin, and a silver plated folding comb.Best Bid

Mappin & Webb Ltd Green Leather, Water Silk Lined Travelling Case with partial contents inc. silver back hair brushes, comb, pair of clothes brushes, silver topped & glass containers (6), manicure items, diary, address book, glove stretchers, travelling ink well & light etc. Mappin & Webb London 1909, similar leather jewel case with lift out sections, embossed Reg No 566163

A Wemyss ware octagonal comb tray, painted with geese amongst grass within a green dentil rim, impressed RH&S mark, 26cm long

A Wemyss ware comb tray, painted with shamrock and green line rim, impressed RH&S mark, 25cm long

A 19th century Swiss Nicole Freres eight air musical box, the marquetry inlaid rosewood lid with original label, numbered 28076 (the comb lacking one needle), 13cm high x 52cm wide

A Merry Phipson and Parkers brass letter clip, a brass comb, two brass bells, horn snuff box and an inlaid coaster

A WINDSOR COMB BACK ARMCHAIR with turned supports

A Henriot key-wound Swiss music box, no. 12192, playing eight airs in a simulated rosewood rectangular hinged lid box with the original paper label to the interior of the lid (comb rusted and lacking one tooth), 49.5cm wide, 11.5cm high, 15.5cm deep

Silver, comprising; a bottom marked table spoon, London possibly 1778, with an anchor crest, a tea caddy spoon, Birmingham 1936, a napkin ring, a pair of sugar tongs, ten mostly condiment and tea spoons, a sprung pickle fork, another fork, a propelling toothpick and a silver mounted comb, Birmingham 1947.

An Eastern cast metal deity figure on a wooden stand, a cast brass figure of an acrobat, a comb case, a lady's lipstick detailed MARCEL ROCHAS, PARIS, a small mirror and seventeen items, mostly costume jewellery in a carved wooden twin compartment cigarette box.

A trio of Edwardian clear crystal globe and shaft decanters with acid engraved bands of decoration below a honey comb cut neck and lapidary stopper, tallest 31 cms.

Three oak and yew wood miniature models of Windsor armchairs, late 20th century, by Stuart King, comprising one with arched back and wheel splat, one with comb back and serpentine arms and one with vase splat to the backrest, all stamped STUART KING to the backs of the seats and MADE IN ENGLAND, to the undersides, all signed and dated in ink to the undersides, 25cm, 27cm and 25cm high respectively

A collection of 78 rpm, popular music records, c.1958 including Vogue Pop recordings, V9110 The Minorbops, Need You Tonight/Want You For My Own; V9111, Lovers, Let's Elope/ I Wanna Be Loved; V9112, Sugar and PeeWee, One Two, Let's Rock/Just a Few Little Words; London HLS 8608, Carl Perkins, Lend Me Your Comb/That's Right; London HLU 8617, Carl McVooy,Tootsie/You Are My Sunshine; and others by various artists, together with later pop records , (a lot).

A Victorian ash and elm Windsor armchair, the shaped comb spindle back with central splat over conforming arms upon turned supports united by stretcher.

Tortoiseshell and white metal mounted Spectacle Case, with hinged lid and a tortoiseshell Comb, (2).

Nicole Freres. A late 19th century musical box, playing eight airs, the 33cm. lever-wound cylinder with steel comb, the frame stamped Nicole Freres a Geneve., Serial No. 40356, Gamme No. 2179, contained in a rosewood and inlaid case, 52cm. wide.

Nicole Freres. A 19th century musical box, playing 8 airs, Gamme No. 2177, No. 40309, the crank wind handle to a 13in (33cm) l. barrel, stamped 'NICOLE FRERES A GENEVE, 40309,' the one piece comb, one tooth missing, also stamped, the marquetry inlaid and rosewood lid with birds in branches, to simulated sides, with tune sheet, 5in (13cm) h, 21in (53cm) w.

PARKER-HALE .243 (WIN.) BOLT-MAGAZINE SPORTING RIFLE, serial no. S-32956, parker-Hale scope bases, pistolgrip stock with Monte Carlo comb.

A late 19th century Swiss music box, numbered 14410, the 21cm cylinder playing four airs on a single comb, the rosewood lid marquetried with trumpets in a foliate cartouche, the sides of simulated rosewood, 39cm wide

A late 19th century Nicoles Frres music box, number 42448, playing ten airs on a 31cm cylinder and single comb, the rosewood lid inlaid with a triple wreath cartouche, the sides painted to simulate rosewood, 52cm wide

A cased silver and blue enamelled Art Deco dressing table set, A & J Zimmerman Birmingham 1930 and 1931, each with blue and white enamelled back, to include; two hand brushes, two clothes brushes and a hand mirror within fitted H H Crouch retailer s case (with replacement comb), along with a similarly enamelled glass perfume bottle A L Davenport Ltd Birmingham 1930 (7)

A silver and tortoiseshell dressing table set, Birmingham 1923, comprising; a hand mirror, two hair brushes, a comb and two clothes brushes within fitted and silk lined case, along with a similar hand mirror, Adie Brothers, Birmingham 1926, a similar circular ring box, Birmingham 1923, two glass toilet jars with silver and tortoiseshell covers, and a similar hair tidy along with two further silver dressing table boxes (13)

A COMPOSITE EUROPEAN FIELD ARMOUR, 16TH CENTURY comprising close helmet formed of a one-piece skull rising to a high roped comb (its crest damaged, the lower left corner of the face-opening patched) and fitted at the nape with a plume-holder, earlier visor and bevor attached by common pivots (replaced), the former of rounded 'sparrow's-beak' form having a stepped centrally-divided vision-slit and numerous small circular ventilation-holes at each side (the right edge patched, the beak pierced with two large rust-holes), and two gorget-plates front and rear (the lower front one restored, the lower rear one patched at its left end), early 17th century collar formed of a single deep plate front and rear, breastplate of late 'peascod' form (patched at the left side and centre of waist) with moveable gussets at each arm-opening, fauld of three lames, the lowest cut with a shallow arch over the crotch and bearing a pair of detachable tassets each of nine lames, extending to just above the knees, one-piece backplate shaped to the shoulders and flanged outwards at its lower edge (patch at left of flange) to receive a culet of one lame (patched at either end), small symmetrical pauldrons each of six lames (the top three of the left and the top one of the right patched at their front ends) connected by turners to vambraces (not a pair) each formed of a tubular upper and lower cannon articulated to one another by a winged couter of three lames, the wing of the left one formed as a separate plate, mitten gauntlets (not an exact pair), each formed of a long pointed tubular cuff, five metacarpal-plates, a knuckle-plate with boldly roped transverse rib, and four finger plates (thumb-defences lacking), and a pair of 19th century greaves of tubular construction each articulated four times at the ankle, pierced with an aperture to accommodate a spur and fitted with an integral broad-toed sabaton of seven lames, the main edges of the armour turned inwards and decorated, except on the collar, with file-roping, the collar decorated with incised bands and borders enclosed by volutes, chevrons and punched beads, the breastplate, backplate, pauldrons and upper cannons of the vambraces etched in line with symmetrical sprays of stylised acanthus foliage issuing, in the case of the breastplate, from a grotesque mask at the centre of the neck-opening, the couters, upper cannons of the vambraces, gauntlets and tassets later etched on a blackened ground with quatrefoils framed in part by repeated lozenges and engrailed bands (showing significant pitting and wear with some cracking, bruising, perforation and disarticulation throughout), stand not included Inv. no. A086. The etched decoration of the breastplate, backplate, pauldrons and upper cannons of the vambraces identifies them as part of a series of armours made for the use of the Swiss Papal Guard. Other armours of the series can be recorded in the Museo Civico L. Marzoli, Brescia, Inv. Nos 860, 927-8, 941 & 947, see F. Rossi & N. di Carpegna 1969, Cat. Nos 22-5 & 44, pp. 22-3 & 30); the Fitzwilliam Museum, Cambridge, Acc. No. Hen. M.1.2A-c-1933, see I. Eaves 2002, pp. 123-5, ill.; and the Art Institute, Chicago, see W. J. Karcheski, Jr 1995, p. 68, ill. The decoration - originally gilt on a blued ground - has in all cases been applied about 1700 to elements of late 16th and early 17th century North Italian make.

A COMPOSITE EUROPEAN CUIRASSIER'S ARMOUR, EARLY 17TH CENTURY comprising close helmet formed of a rounded one-piece skull from an early 16th century armet, rising to a low roped medial comb pierced, and fitted at the nape fitted with a brass plume-holder (replaced) and two rear gorget-plates, peak and bevor attached by common pivots (replaced), the peak fitted within its brow with a barred face-defence cut with a pair of large rectangular vision-slits and later etched with bands of foliate interlace and guilloche, the bevor fitted with a falling buff of three lames, each pierced with numerous circular ventilation-holes, and three front gorget-plates, collar formed of a single deep plate front and rear, heavy breastplate of vestigial 'peascod' fashion formed of a main plate with an internal reinforce, the former flanged outwards at it lower edge to receive a pair of long tassets each formed of ten upward overlapping lames divisible between the seventh and eighth and terminating in winged poleyns of five lames, heavy backplate with outward-flanged lower edge, the breastplate and backplate each bearing the proof-mark of a bullet, large symmetrical pauldrons each formed of nine lames overlapping outwards from the fifth and connected by a turner to a vambrace formed of a tubular upper and lower cannon articulated to one another by a winged bracelet couter of three lames, the main edges of the armour decorated with inward turns in part roped and accompanied by recessed borders, its surfaces variously decorated with bands of incised lines and roped ribs (the armour showing pitting and wear overall with some cracking, bruising, patching and disarticulation, particularly in the pauldrons and vambraces) Inv. no. A090.

A FINE NORTH ITALIAN ETCHED CLOSE HELMET FOR A CUIRASSIER, CIRCA 1620 formed of a two-piece skull joined along a high medial comb recessed at the apex to receive a finial (missing), embossed with a radiating pattern of shallow flutes, pierced over each ear with nine circular ventilation-holes in rosette formation and fitted at the nape with a plume-holder, obtusely-pointed peak, flat upper bevor and bevor attached by common pivots (the right replaced), the upper bevor and bevor each secured at the right side by a swivel-hook, the upper bevor pierced between a pair of large rectangular vision-slits and a semi-circular ventilation-slit for the mouth with alternating rows of circular and rectangular ventilation-holes of smaller size, two gorget-plates at the front, the lowest descending at its centre to a rounded point, and one gorget-plate at the rear (the second missing), the main edges of the helmet decorated with plain inward turns, its surfaces etched overall on a pearled ground amid branches of stylised symmetrical foliage with bands of guilloche enclosing trophies-of-arms, and involving at the point of the chin and at the centre of the gorget-plates respectively, a lion's mask and a lion grasping a further trophy-of-arms (the left of the peak and the left of the upper gorget-plates showing losses, the right of the peak, the left of the upper front gorget-plate and the front left of the lowest front gorget plate repaired with riveted internal patches, minor cracks and perforations, some patination and wear overall) Inv. no. A017. The etched decoration of this helmet closely resembles that of a fine, early 17th century Italian cuirass and reinforcing breastplate, probably belonging to the same armour, in the Metropolitan Museum of Art, New York, Acc. Nos 14.25.796, 797 & 817. See S.V.Grancsay 1955, cat. no. 16, pp. 8-9).

A FINELY CONSTRUCTED MINIATURE FIELD ARMOUR IN THE GERMAN STYLE OF CIRCA 1580, LATE 19TH CENTURY/EARLY 20TH CENTURY comprising close helmet with roped comb, visor with a pair of vision slits, bevor with three circular arrangements of breathes on the left and lower bevor retained by a press stud, gorget of a pair of articulated lames front and back, breast and backplate, the former with medial ridge and carrying a skirt of two lames, a pair of tassets each of five lames, full arm defences, fingered gauntlets, full leg defences with winged poleyns, articulated sabatons, and a single pointed besagew, the principle lames decorated with central notches, and with recessed borders and roped turns throughout: on a wooden stand, complete with a two-hand sword in contemporary style 76.2cm; 30in high Inv. no. A204. A strikingly similar miniature armour formerly in the Renwick Collection was sold Sotheby & Co., 21st May 1973, lot 32. It would appear that they are both based on an armour in the former Imperial Collection in Vienna.

A FLINTLOCK SEA SERVICE MUSKETOON BY BROOKS, CIRCA 1790 with 59cm; 23 1/4in steel barrel flared at the muzzle and struck with view, proof and Ordnance marks, signed border-engraved lock engraved 'Tower' and with Ordnance mark (rubbed), figured walnut full stock (cracked around one barrel pin), the butt with flat-topped comb, brass mounts of regulation type comprising trigger-guard, side-plate, butt-plate and ramrod-pipe, and contemporary brass-tipped wooden ramrod (the tip missing) 99.5cm; 39 1/8in Inv. no. F085. See H.L. Blackmore 1961, p.99. SEE FOOTNOTE TO PREVIUOS LOT OR NOTSEE FOOTNOTE TO PREVIUOS LOT OR NOTSEE FOOTNOTE TO PREVIUOS LOT OR NOT SEE FOOTNOTE TO PREVIUOS LOT OR NOT SEE FOOTNOTE TO PREVIUOS LOT OR NOT ########################

A FLINTLOCK SEA SERVICE MUSKETOON BY BROOKS, CIRCA 1790 with 61.5cm; 24 1/4in steel barrel flared at the muzzle and struck with a series of marks including view, proof and Ordnance marks, signed border-engraved lock with Ordnance mark (mainspring removed), figured walnut full stock (fore-end repaired), the butt with flat-topped comb, brass mounts of regulation type comprising trigger-guard, side-plate, butt-plate and ramrod-pipe, and contemporary brass-tipped wooden ramrod 102.8cm; 40 1/2in Inv. no. F087. See H.L. Blackmore 1961, p.99.

A FLINTLOCK SEA SERVICE MUSKETOON BY BROOKS, CIRCA 1790 with 58cm; 22 7/8in steel barrel flared at the muzzle and struck with view, proof and Ordnance marks, signed border-engraved lock engraved 'Tower' and with Ordnance mark (rubbed, the lower portion only of the steel remaining), figured walnut full stock, the butt with flat-topped comb, brass mounts of regulation type comprising trigger-guard, side-plate, butt-plate and ramrod-pipe, and contemporary brass-tipped wooden ramrod (the tip missing) 99cm; 39in Inv. no. F084. See H.L. Blackmore 1961, p.99.

A COMPOSITE GERMAN THREE-QUARTER FIELD ARMOUR, MID- TO LATE 16TH CENTURY, THE BREASTPLATE STRUCK WITH THE MARK OF PAUL MEITINGER OF INNSBRUCK comprising burgonet formed of a one-piece skull rising to a high roped medial comb, projecting forward to a short obtusely-pointed peak struck at its front edge with the ownership mark of the Austrian Landesfürstliches Zeughaus, fitted at its rear with an obtusely-pointed one-piece neck-guard (right articulating rivet loose), and at each side with a hinged cheek-piece (distal end of hinge replaced) flanged outwards at its lower edge to serve as a continuation of the neck-guard, pierced at its centre with seven small circular ventilation-holes arranged in rosette formation and fitted at its front edge with a buff leather loop (replaced) to receive a tie, 'almain' collar of three lames front and rear, the lowest front one struck with the same ownership mark as the burgonet, giving issue at either side to an integral spaudler of six downward-overlapping lames, breast late of late 'peascod' form struck at the centre of its shallow neck-opening with the maker's initials P M (the first initial partly worn) of Paul Meitinger of Innsbruck and fitted at its arm-openings with moveable gussets, and at its outward-flanged lower edge with a fauld of two lames, the lowest cut with a shallow arch over the crotch and bearing a pair of detachable tassets (not a pair) each of seven lames, extending to just above the knees, one-piece backplate shaped to the shoulders and flanged outwards at its lower edge to receive a culet of one lame, vambraces (not a pair) each formed of a tubular upper and lower cannon (the inner plate of the right lower cannon corroded at its front edge) articulated to one another by a winged couter of three lames, the main edges of the armour decorated with roped inward turns, those of the vambraces accompanied by recessed borders on a ground originally black from the hammer (the armour showing some pitting and wear overall), stand not included The records show Pa l Meitinger, the maker of the breastplate, to have been active in Innsbruck in the period 1544-80. In 1554-8 he was employed by the Imperial Zeughaus to make infantry armours. Further contracts were obtained by him in 1562-5, 1573 and 1576. He also made armours for the Jesuits of Halle in 1580. Further breastplates and backplates bearing his mark are to be found in the Hofjagd- und Rüstkammer, Vienna, Inv.Nos A 403 & 407, the collections of Schloss Ambrass, near Innsbruck, Inv. Nos WA 223 & 331, and the Museo Stibbert, Florence, Inv. No. 2367. See B. Thomas & O. Gamber 1954, pp. 87 & 105, pl. 83).

A COMPOSITE GERMAN 'BLACK AND WHITE' THREE-QUARTER FIELD ARMOUR (HARNASCH), MID- TO LATE 16TH CENTURY, THE CUIRASS NORTH GERMAN, PROBABLY BRUNSWICK comprising burgonet formed of a one-piece skull rising to a exceptionally high roped medial comb, projecting forward to an obtusely-pointed peak, pierced around the brow, face-opening and nape with pairs of lace-holes, fitted at the nape with a plume-holder (replaced) and an obtusely-pointed neck-guard of one lame, and at each side with a pair of forward-projecting cheek-pieces (associated), pierced at their centres in each case with five small circular ventilation-holes, and fitted at their front edges with buff leather loops (replaced) to receive a tie, 'almain' collar of three lames front and rear fitted at either side with a pair of integral spaudlers each formed of seven downward-overlapping lames extending downwards to the elbow where it is connected by internal leathers through a shell-like one-piece couter to a tubular lower cannon, besagues (restored) each rising at its centre to a conical boss, breastplate formed of a heavy main plate with a strong medial ridge projecting forward over the belly , its upper border struck with a serial number formed of ten dots, moveable gussets at its arm-openings and a fauld of one lames fitted within its lower edge with a pair of tassets of each of seven lames extending to just above the knees, one-piece backplate strongly shaped to the shoulders, its upper border struck with a serial number formed of five dots, and fitted with a culet of one lame, and mitten gauntlets each formed of a slightly rounded and flared tubular cuff , four metacarpal-plates, a knuckle-plate decorated with a boldly roped transverse rib, five finger-plates and scaled thumb-defence, the main edges of the armour decorated with roped inward turns, its surfaces decorated with bright bands and borders (lightly patinated and worn), variously raised or recessed against a blackened ground (refreshed), the subsidiary edges of the burgonet decorated with scalloped edges

A RARE SOUTH GERMAN CLOSE HELMET FOR THE TOURNEY, IN THE MANNER OF WOLFGANG GROSSCHEDEL OF LANDSHUT, CIRCA 1550-5 of notable weight, formed of a rounded skull rising to a high roped medial comb (bruised and cracked towards the rear), pierced at the rear of the neck with four small rivet-holes for the attachment of a missing plume-holder and to either side of it with four lace-holes, two of those at the right retaining their brass eyelets, visor, upper bevor and bevor attached by later common pivots with large domed heads, the visor with a prominent step beneath its single broad vision-slit and a spring-catch at the right side operated by a later lifting-peg with baluster-shaped terminal, prow-shaped upper bevor pierced at its left side with twenty small circular ventilation holes arranged in four rows and at the right side with eight diagonal ventilation-slots, each expanded at its centre, the right side further pierced with a threaded hole for the attachment of a reinforce and fitted with a sliding spring-catch, the bevor (with riveted patch at right of face-opening) pierced at each side of the neck with seven circular ventilation-holes in rosette formation, the central one of the right group occupied by the brass-capped pivot of a sturdy forked visor-prop, the right of the neck further fitted with a brass swivel-hook to secure the push-button operated spring-catch issuing forward from the skull, the lower edges of the skull flanged outwards to receive missing gorget-plates, the front and left of the helmet showing numerous cuts from a rebated sword (pitted overall) 34.2cm; 131/2in high The helmet compares closely in both form and detail with the contemporary products of the Landshut school of armourers, in many cases marked by or documented as the work of Wolfgang Grosschedel, recorded 1517-62, and his son Franz Grosschedel, recorded 1555-78 (A. Von Reitzenstein 1954, pp. 142-53). Analogous helmets of the school can be recorded in the Hofjagd- und Rüstkammer, Vienna, the Real Armeria, Madrid, the Musée de l'Armée, Paris, the Musée Royale de l'Armée, Brussels, the Wallace Collection, London, the Metropolitan Museum of Art, New York, and the Stadt- und Kreismuseum, Landshut (G. Spitzelberger 1975, pls 25, 31-2, 34-5, 38-9, 41& 47-52; J. Mann 1960, pls IV & VI; and A. V. B. Norman 1986, pl 214). Like the helmet under discussion, they are pieced at either side of their bevors with circular groups of ventilation-holes.

THE SKULL AND NECK-GUARD OF A GERMAN FLUTED CLOSE HELMET, CIRCA 1520 the rounded one-piece skull rising to a low boldly-roped medial comb, pierced at each side with a pivot-hole for the attachment of a missing visor and bevor, fitted at the right of the neck with a spring-catch for the bevor (lacking push-button), and flanged outwards at the nape for the attachment of a broad neck-defence of three downward-overlapping lames, the centre of the skull and neck-defence decorated with continuous flutes emphasised by pairs of incised lines, the lower edges of the skull and first two lames of the neck-guard each decorated with pairs of scored lines, and the main edge of the neck-guard decorated with a file-roped inward turn accompanied by a recessed border (lightly patinated overall) 30.5cm; 12in high

A NORTH EUROPEAN CLOSE HELMET, CIRCA 1540, POSSIBLY LOW GERMAN formed of a rounded one-piece skull rising to a low medial comb decorated along its crest with a pair of incised lines (small cracks to the rear), visor and bevor attached by common pivots with low domed heads decorated with cross-hatching, prominent 'sparrow's-beak' visor strongly stepped beneath a centrally-divided vision-slit and pierced above the mid-line to either side of the "beak" with a row of five circular ventilation-holes, and a row of three diagonal ventilation-slots on the right below the mid-line, moulded baluster lifting-peg (later), the bevor strongly shaped to the chin and secured to the skull at the right of the neck by a spring-catch with a cross-hatched release-button, and a single gorget-plate front and rear, each with plain inward turn at the lower edge (cleaned overall, areas of pitting, the flanged lower edge of the skull pierced at the centre with a later suspension-hole) 31cm; 121/4 high A very similar helmet is preserved in the Wallace Collection, London, Cat. No. A167 (James G. Mann, Wallace Collection Catalogues: European Arms and Armour, Vol. I, London, 1962, p. 137, pl. 69; and A. V. B. Norman, Wallace Collection Catalogues: European Arms and Armour, Supplement, p. 62). It has no lining-rivets in the bevor, in common with the present example.