**A COMPOSITE CAP-A-PIE TOURNAMENT ARMOUR WITH LATER ETCHED AND GILT DECORATION, ITALIAN AND GERMAN, EARLY TO LATE 16TH CENTURY WITH 19TH CENTURY ADDITIONS comprising close helmet with rounded one-piece skull rising at its apex to a prominent point from which radiate, alternately, four panels of scales and four ridges, visor and decorative `wings` attached to the skull at each side by common pivots with pierced and chased brass washers, the visor embossed in high relief as a grotesque mask, its eyebrows pierced with vision-slits, and the wings embossed in each case with radiating ribs separating pierced decoration, and a pair of cheek-pieces hinged to the skull at each side and fastened to one another at the chin by a turning-pin and keyhole-slot, the right cheek-piece fitted with a swivel-hook to secure the visor, and the skull and cheek-pieces each formed with internally hollowed rims designed to lock over and rotate on the turned upper edge of the collar, the latter formed of three lames front and rear, breastplate formed of a heavy rounded main plate with a shallow neck-opening, fixed gussets at the arm-openings, sturdy hasps at the shoulders and sides for the attachment of a backplate, a folding-lance-rest , several large holes, some with threaded inserts, for the attachment of an earlier lance-rest and tournament reinforces, its lower edge fitted with a shallow waist-lame to receive a fauld of three lames with applied turns at their outer edges, the centre of the lower edge of the third cut with a shallow arch separating a pair of long, tapering, pendent one-piece tassets decorated with slightly diverging flutes, backplate formed of a main plate with nearly straight upper edge, a pair of fixed side-plates (each patched), and a deep waist-lame flanged outwards at it lower edge to receive a culet of one lame, two large near-symmetrical pauldrons each formed of seven lames of which the lowest four extend inwards only to the armpit, two fully articulated tubular vambraces each surmounted by a turner and furnished with a winged bracelet couter of three lames, the central one in each case of bracelet construction and originally forming part of a three-piece vambrace, the front of the left one fitted with a turning-pin to attach a pasguard shaped to the elbow and the underlying wing of the couter, two gauntlets (the right holed and repaired at several points) each formed of a long flared and pointed cuff with a short hinged inner plate, six metacarpal-plates, a shaped knuckle-plate and the main plate of a laterally-hinged thumb-defence, pair of cuisses each formed of a long gutter-shaped main plate fitted at its convex upper end with a short extension lame and at its lower end with a winged poleyn of four lames (the main plate in each case patched at the point of the knee), and a pair of greaves each of full-length tubular form cut at the rear with a slit to receive a spur and fitted at the front with an integral broad-toed sabaton of nine lames, each decorated on its upper surface with a spray of flutes of shallow V-shaped section, the main edges of the armour decorated with roped inward turns except at the neck-opening and gussets of the breastplate which have plain angular outward turns, the borders of the armour etched and gilt on a stippled and blackened ground with running foliage, and the remainder of the surface etched and gilt overall on a similar ground with a diaper pattern of lozenges enclosing fleurs-de-lis, except on the mask of the visor which is gilt but devoid of etching (the helmet, waist-lame of the breastplate, tassets, culet, lower cannons of the vambraces and legharness restored) See note at front of catalogue for information concerning stands Provenance The Prussian Royal Collections (probably those formed by Prince Carl of Prussia) Duque del Infantado, Vineulas Castle, Madrid, Spain, 1924 - May 1931 JWHA Inv. No. 1646 Literature Hans Schedelmann, `Der Waffensammler`, Waffen- und Kostümkunde, 3rd series, vol. 6, 1964, p. 55, fig. 15. The breastplate represents a rare early 16th century Italian form for use in the jousts. The helmet is closely comparable with examples in the Royal Armouries Museum, Leeds, Inv. No. IV. 33, (Dufty & Reid 1968, pl. XCII), and the Musée de l`Armée, Paris, inv. no. H.123 (Reverseau 1982, pp. 14 & 77, fig. 1 & 20)
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**AN ITALIAN CLOSE HELMET WITH ETCHED DECORATION, CIRCA 1560 with one-piece skull rising to a high boldly roped comb fitted at its apex with a small loop, perhaps for tying up a plume (patched and holed around and beneath the latter) and pierced to either side of the nape with a pair of holes for the attachment of a plume-holder, visor, upper bevor and lower bevor attached to the skull by modern pivots fitted beneath their small round heads with large rosette washers, the restored visor formed with a stepped and centrally-divided vision-slit and the restored upper bevor of blunt prow-shaped form pierced at each side with nine circular ventilation-holes in rosette-formation, and two short articulated gorget-plates front and rear (the front ones restored), the main edges of the helmet formed with roped inwards turns generally accompanied by recessed borders, and the subsidiary edges of the gorget-plates decorated with pairs of incised lines, each side of the comb and the main borders etched with running foliage enclosed to the inside by delicate interlacing filigree-like vine-leaves, the etching bearing traces of later gilding and the intervening spaces later painted black (the whole showing extensive wear throughout) 32 cm; 12 1/2 in high Provenance Sumner Healey, New York, 21 May 1937 JWHA Inv. No. 2364 For similarly decorated Italian armours of the same period as the helmet, see Karen Watts, `The Armour of the Knights of St John, Malta`, Royal Armouries Year Book, Vol. 3, 1998, pp. 29-36, figs 1-11
**A NORTH ITALIAN MORION IN THE SPANISH FASHION, CIRCA 1570-80, WITH ETCHED DECORATION OF THE 19TH CENTURY with one-piece almond-shaped crown rising at its apex to a backward directed `stalk`, and an integral brim turned down at each side and rising slightly to an acute point front and rear, its edges formed with file-roped inward turns accompanied by narrow grooves, the base of the crown fitted at the nape with a later plume-tube of brass and encircled by fourteen round-headed lining-rivets with accompanying rosette-washers also of brass (restored), two of them at each side retaining modern chin-straps, the crown later decorated with four radiating bands of etching on a stippled and blackened ground, the lateral ones including classical warriors, masks and trophies of arms, and the medial ones stylised acanthus foliage repeated around the brim, and the interspaces between the bands occupied cartouches enclosing subjects similar to those of the lateral bands 26.5 cm; 10 1/2 in high Provenance Dr Bashford Dean, New York, sold American Art Association, New York, 24 November 1928, lot 200 JWHA Inv. No. 619 Exhibited Worcester Art Museum, Worcester, Massachusetts, 1928-30 Berkshire Museum, Pittsfield, Massachusetts, 6 January 1965 - 21 February 1966 Worcester Polytechnic Institute, Worcester, Massachusetts, 12 -15 May 1967 Oneida County Jr. Museum, Utica, New York, 11 September 1967 - 8 January 1968 Museum of our National Heritage, Lexington, Massachusetts, 20 January - 20 May 1979
**A NORTH ITALIAN MORION IN THE SPANISH FASHION, CIRCA 1590 with one-piece almond-shaped crown rising at its apex to a vestigial backward-directed `stalk`, and slightly down-turned narrow integral brim projecting to an obtuse point front and rear (the front one patched), its edge formed with a file-roped inward turns accompanied by a narrow groove pieced all round with later small holes probably for attaching a lining or decorative trim, the base of the crown fitted at the nape with a later plume-tube of fretted brass and encircled by fourteen vacant holes for lining-rivets, small rivets at the junction of the crown and brim occupy holes similar to those bordering the edge of the latter, the crown etched with four radiating bands of trophies of arms separated by diagonal bands of guilloche enclosed in each case by trios of lines, and the brim, with stylised acanthus foliage also on a stippled and blackened ground (the etching much worn) 24 cm; 9 1/2 in high Provenance Berghard Steiner, Riverdale-on-Hudson, New York, sold Walpole Galleries, New York, 26 January 1927, lot 64 JWHA Inv. No. 65 Exhibited Worcester Art Museum, Worcester, Massachusetts, 1928-1930
**AN ITALIAN BUCKLER OF IRON, SECOND HALF OF THE 16TH CENTURY of slightly convex circular form, covered over at the front with faded crimson silk (replaced, perhaps in early working like), fitted peripherally with a reinforcing-ring, over a circular aperture at its centre with a low rounded boss having a flanged and scalloped edge (perhaps an early working life association), at its lower end with a hook, and at each side with a smaller boss concealing beneath it an iron rivet (replaced) that retains the tapered end of an internal wooden hand-grip, the inside and outside of the buckler finely etched in line in two concentric circles with alternating floral scolls involving on the outside of the boss a representation of Hercules fighting the Nemean lion, and in circular cartouches above and below the hand-grip, mounted warriors on a hatch ground (the etching extensively worn and the iron rivets replaced throughout) 41 cm; 16 1/4 in diameter Provenance S.J. Whawell, London, 1926 Theodore Offerman, New York, sold American Art Association, Anderson Galleries, New York, 13 November 1937, lot 96 JWHA Inv. No. 2467 Literature Walter J. Karcheski Jr, Arms and Armor of the Conquistador, Florida Museum of Natural History, Gainsville, Cat. No. 8 (Ill.) Susan Milbrath and Jerald T. Milanich, First Encounters: An Exhibit Guide, Florida Museum of Natural History, Gainsville, p. 31 (Ill.) Exhibited `First Encounters`, Florida Museum of Natural History, Gainsville, Florida, 23 August - 15 January 1933 `The Pen and the Sword: Martial Arts Manuals in Medieval and Renaissance Europe` J. W. Higgins Museum, Worcester, Massachusetts, 26 October - 27 May 2007 `Now Thrive the Armourers: Arms and Armor in Shakespeare`, Folger Shakespeare Library, Washington, D.C., 5 June - 9 September 2008 What appears to be this buckler is shown in a photograph taken about 1921-4 of the S. J. Whawell Collection, and now forming part of the Carl Otto von Kienbusch archive in the Philadelphia Museum of Art. The inner edge of the reinforcing-ring of the buckler appears originally to have been flanged upwards, presumably to catch the point of an opponent`s weapon. See Norman 1986, A317, p. 95, for a discussion of this type of buckler. As he notes, the Italian writer Giacomo di Grassi, Ragione di Adoprar Sicuramente l`Arme, Venice, 1570, p. 59, called it il brochiero. A buckler of this fashion appears in `The Painter with Death`, a self-portrait by Gaspard Masery, dated 1559 (Musée des Beaux-Arts, Cat. No. 379)
A Caughley blue and white coffee cup, c.1780-85, printed with the Travellers pattern after an etching by Paul Sandby, with a small dog running alongside figures on and beside a donkey, printed S mark, 6.5cm. Paper label for Klaber & Klaber. Exhibited: the Caughley Bicentenary Exhibition, Ironbridge, 1999, no. 443.
†COINS, AUSTRALASIAN TERRITORIES, FIJI Elizabeth II (1952- ), Cupro-nickel Proof 6-Pence, 1953 (KM 19). Uncirculated Proof, nicely frosted bust but a few light marks. The nicely frosted bust here showing what a real proof should look like after the die polishing and the acid etching took place.
Morris Henry Hobbs (American/New Orleans, 1892-1967), seven works: "New Hampshire Winter", etching on paper, pencil-signed and titled lower right, inscribed from Alice Hobbs, sheet 5 5/8 in. x 6 3/4 in.; "French Quarter Courtyard", ink on paper, signed lower left, image 4 1/2 in. x 3 in., and "Old Merlin", 1945, four trial proof etchings on paper, all pencil-signed, titled, dated and inscribed in lower margins, matted together with inscriptions "edition of 50", largest 3 1/2 in x 4 3/4 in.; together with John Taylor Arms, N.A. (American, 1887-1953), "Cathedral of Chartres( Miniature)", 1939, etching on paper, pencil signed and dated lower right, titled in plate upper right, image 1/2 in. x 3/4 in., sheet 5 1/2 in. x 9 in., all unframed, (7 pcs.). Provenance: Collection of philanthropist Ralph M. Pons (1895-1893), New Orleans.
John L. Boqueta de Woiseri (active America, 1797-1815), "A View of New Orleans taken from the Plantation of Marigny", 1803, colored aquatint with engraving, showing saw mills, the Place des Armes, St. Louis Cathedral, three newly hoisted American flags, with an eagle holding a banner with the motto "Under My Wings Every Thing Prospers" above, sheet 13 in. x 22 3/4 in., framed. Note: Mounted on heavy stock. Note: In 1803, John L. Boqueta de Woiseri, a portrait artist by trade, who developed his talents as an engineer and designer, produced a bird`s eye view of the city of New Orleans. The etching presented here is a companion to a map produced by Boqueta de Woiseri most likely under the guidance of Pierre Clement Laussat, the prefect of Louisiana, who resided at the Marigny plantation. Boqueta de Woiseri`s etching is unique as it was the only view at the time to depict the city`s most important buildings: the Cabildo, the Presbytere, and St. Louis Cathedral. In addition, the etching celebrates the purchase of New Orleans and the Louisiana territory by the United States. This monumental event is symbolically portrayed by the eagle clutching a sixteen star-spangled banner. John L. Boqueta de Woiseri`s rendering of the newly minted American city is also included in the collection of Monticello and has been exhibited at the Historic New Orleans Collection. Reference: The Historic New Orleans Collection, Charting Louisiana: Five Hundred Years of Maps, 2003. The Historic New Orleans Collection Printmaking in New Orleans, 2006.
Alfred Heber Hutty (American/South Carolina, 1877-1954), "Corner of the Huguenot Church, Charleston, South Carolina", 1925, etching on paper laid down on board, pencil-signed and snail monogram lower right, edition of 75, plate 5 1/2 in., x 6 1/4 in., framed. Illustrated: Alfred Hutty, American Etchers Series, vol. 2, introduction by Duncan Philips, New York: Crafton Collection, 1929; Saunders, Boyd and Ann McAden, Alfred Hutty and the Charleston Renaissance, Orangeburg: Sandlapper Publishing Company, 1990, p. 78; and Arnold, Sara C. and Stephen G. Hoffius, eds., The Life and Art of Alfred Hutty: Woodstock to Charleston, Columbia: The University of South Carolina Press, 2012, p. 131
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