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Lot 62
A Royal Worcester figurine "Thoroughbred foal", designed by Doris Lindner and raised on wooden stand, together with framed limited edition certificate No'd. 30/1000, together with a Locke & Co. Worcester blushware tyg painted with a peacock and with two Royal Worcester coasters, decorated with seashells CONDITION REPORTS Please note original catalogue description should read : ".... two Royal Worcester coasters, decorated with seashells." Foal approx. 19 cm high including wooden base. has some general wear and dirt, but overall appears to be sound. Tyg approx. 5.75 cm diameter excluding handles, with some wear, scuffs and dirt, and some firing blemishes Coasters approx 9. cm diameter, have a printed design which has been hand-coloured, have some scuffs and scratches
Lot 70
A pair of Royal Worcester blushware figures "Water carriers", No'd. 1206 in puce to base CONDITION REPORTS Approx 20.5 cm high max. Some restoration, including to the jug, hand and lapel to the male figure. Faces and some parts of limbs also appear slightly shinier and show up under UV, so possibly some restoration here also. Some pitting/bubbling to surfaces. General wear and dirt.
Lot 75
Three pieces of Royal Crown Derby to include a fan shaped trinket dish, a plate and a saucer, a porcelain scent bottle with metal mounts, a Worcester miniature figure group of two fish, inscribed to base "E R Booth", a miniature figure of a bumblebee, inscribed to base "R Booth", a Royal Copenhagen figure of a fish, model No. 1602, a Coalport oval dish with goat head handles painted with lake scenes and a Coalport cottage pastille burner
Lot 76
A Royal Worcester dish painted with fruit by A Shuck (signed), a Royal Worcester plate painted with fruit by Freeman (signed), a Royal Worcester miniature cup painted with pheasants by A Shuck (signed), a Royal Worcester pin dish depicting St. James Palace and a Royal Worcester vase painted with flowers CONDITION REPORTS Plate has some light wear and scuffs, and some tiny nicks/scratches to the painted decoration but otherwise appears sound. Miniature cup has some light wear but appears to be sound. Pin dish has light wear but appears to be sound. Footed dish by Shuck has some light general wear, some firing deposits in the form of black specks to the top/painted decoration, and a few small scratches and scuffs, but otherwise appears sound. Vase has a crack/break all around the base which appears to have been glued, some chips, wear and scuffs appears sound. Sizes : footed dish 12 cm diameter x 2.5 cm high, miniature cup 5.25 cm diameter, plate 5.5 cm diamter, pin dish 9 cm diameter and vase 10.75 cm high
Lot 93
A P & O Cruises "Aurora 2012 World Circumnavigation" teapot and two matching cups and saucers, together with a collection of Royal Worcester cups, saucers, plates, jug and sugar bowl decorated with flowers and butterflies, and a collection of Paragon China "Meadow Vale" pattern coffee cups and saucers together with matching cream jug and sugar bowl
Lot 95
A box of miscellaneous items to include a Hammersley strawberry set, a Royal Worcester "The Millennium" mug (boxed), a small collection of glassware, a Hammersley china toast rack, cottage ware eggcups, a pair of Tartan crystal whisky glasses (boxed), a KPM porcelain three footed cabinet cup and saucer, etc.
Lot 24
Two boxes of miscellaneous china and glass wares to include Poole pottery plates, a Royal Chinaworks Worcester blush ware pot, a cut glass decanter, a collection of Royal Commemorative beakers, cups, etc, a collection of beer mats, , two toilet jugs, etc, together with a framed picture of a girl seated upon a rock
Lot 295
Quantity of Royal Doulton "Pastorale" Dinner Service, comprising two lidded vegetable tureen, gravy boat and saucer, oval meat platter, six dinner plates, six side plates, twelve cake plates, six soup bowls, six dessert bowls, tea pot, water pot, sugar bowl, two milk jugs, six coffee cups and saucers, six tea cups and eight saucers and a creamer and a cake plate by Royal Worcester "Chantilly" boxed.
Lot 158
Four Graingers Worcester twin handled dishes circa 1850 painted with landscapes within sky blue borders, printed marks to base, (4) 24cm wide Condition report: One plate has a small chip to the underside of the handle, another has a glazed over factory fault to the underside edge. There are very minor touches of gilt wear to the high points of the moulded rim. Condition report: see terms and conditions
Lot 160
Royal Worcester to include a cup and saucer painted with fruit signed W.H. Austin, a small plate signed E. Philips, another plate signed E. Barker, also a Minton plate decorated with raised gilt work, (5) The Minton plate measures 27cm diameter Condition report: No damage or restoration. The cup and saucer has crazing. The green border plate has wear to the gilt and some jewels lacking. Condition report: see terms and conditions
Lot 162
Worcester blue scale circa 1770 - 1790 to include four plates a saucer dish and two bowls painted with exotic birds and flora, (7) the largest piece measures 22.5cm diameter Condition report: Each piece is either cracked or re-joined. Some pieces have stapled repairs. Minor chips and gilt wear. Condition report: see terms and conditions
Lot 163
Five Worcester cups circa 1770 three painted in polychrome, two painted with blue and gilt borders, crescent marks and pseudo Meissen mark to bases, (5) Condition report: The three teacups have sections restuck, the blue and gilt coffee cups are free from damages however there is some gilt wear. Condition report: see terms and conditions
Lot 203
Royal Worcester 'Worcester Rowing Club' tankard dated 1907, painted with a boat house and printed with coat of arms, Hadley's 'H' and green printed marks to base including 1907 date code. 11cm high Condition report: well restored rim chip. No other damage, restoration or wear. Condition report: see terms and conditions
Lot 195
A FINELY ETCHED NORTH ITALIAN CLOSE HELMET FOR THE FOOT TOURNEY, MILANESE, CIRCA 1590 with 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 bands 26.5 cm; 10¼ in Provenance Dr. Bashford Dean, Riverdale, New York, sold American Art Association, New York, 23rd November 1928 John Woodman Higgins Armory, Worcester Massachusetts Inv. No. 890, sold in these rooms 20th March 2013, lot 291 Exhibited 'Faerie Tale Festival of Trees', Berkshire Museum, Pittsfield, Massachusetts, 19 November-31 December 2005 The 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 the 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).
Lot 234
**A NORTH EUROPEAN HALBERD, EARLY 17TH CENTURY with forward-leaning axe-blade pierced with numerous shaped apertures and formed with a pair of rear lugs, rear spike en suite, knife-like central blade pierced with pairs of slots and wavy lines, a pair of straps, on a wooden haft partially covered with fabric 65.5 cm; 25 ¾ in head Provenance Worcester Art Museum, Massachusetts, 19th June 1947 JWHA Inv. No. 2546
Lot 246
**AN ITALIAN SPETUM, 16TH CENTURY with tapering central blade of flattened-diamond section, a pair of crescentic basal lugs, tapering socket, on a fabric-covered wooden haft with iron shoe (small laminations, areas of pitting) 64.5 cm; 25 3/8 in head Provenance Worcester Art Museum, Massachusetts, 19 June 1947 JWHA Inv. No. 2546
Lot 261
**A COMPOSITE CAP-A-PIE FIELD ARMOUR IN THE 'GOTHIC' FASHION, GERMAN, ITALIAN AND FLEMISH, CIRCA 1450-1510 AND LATER comprising sallet with a broad rounded crown rising to slightly hollowed medial keel pierced at its apex with a circular hole for the attachment of a crest, fitted at its rear with a long pointed 'tail' of two lames (restored), and at its front with a pivoted demi-visor (also restored) cut at its upper edge with a broad shallow notch serving as the lower edge of its stepped vision-slit, and secured to the skull at the right by a spring-catch with push-button release (restored); bevor formed of a main plate shaped to the chin and throat, a chevron-shaped face-plate articulated to its upper edge and supported at the right by a spring-catch, and a single V-shaped gorget-plate articulated to its lower edge; lance-rest (restored) of sturdy one-piece construction pierced at its base with four rectangular slots to fit over the pierced staples of a breastplate; tassets (restored) each formed with a pronounced medial ridge, fitted at its upper end with a pair of suspension-buckles, descending at its lower end to an obtusely point edge and cut away slightly at its inner edge; backplate formed of a straight-topped main plate fitted laterally with smaller side-plates (the left associated and the right restored), and overlain at its lower end by a centrally-cusped plackart struck at its centre with the maker's mark GI beneath a cross, and flanged outwards at its lower edge to receive a culet of three medially-ridged lames, the lowest of which descends to an obtuse point and is fitted at each side-with a small tasset replicating in miniature the tassets proper; large asymmetrical pauldrons formed in each case of seven lames overlapping outwards from the third and largest of them (the lowest four of the left and all those of the right restored), the seventh fitted at its lower edge with a vambrace (restored) formed of an upper cannon open at the inside of the arm and articulated by means of internal leathers through a large shell-like couter, also open at its the rear and strongly shaped to the point of the elbow, to a mitten gauntlet formed of an elbow-length cuff with a separate hinged inner plate, five metacarpal-plates, a shaped knuckle-plate and four finger-plates with longitudinal V-shaped flutes separating the fingers; pendent besagues each of peripherally-scalloped circular form, decorated with flutes radiating from a pyramidal central boss; cuisses each formed of a long gutter-shaped main plate fitted at is upper edge with four extension-plates, at its lower edge with a winged poleyn of six lames, and at its outer edge with a hinged side-plate that is likewise fitted at its upper edge with four extension-plates matching those of the main plate, and at its lower edge with two more; a pair of ankle-length tubular greaves each cut with an arch over both the heel and foot; the main edges of the armour formed in part with either inward or outward turns, its subsidiary edges cusped at points, and the surfaces of the bevor, the pauldrons and the vambraces decorated with sprays or cascades of flutes in part emphasised by incised lines (extensively pitted and patinated with some rust-perforations, cracks and patching; the restorations in many cases using old metal) See note at front of catalogue for information concerning stands Provenance Dr Bashford Dean, Riverdale, New York, privately sold 1921 with different sallet Clarence H. Mackay, Harbor Hill, Long Island, New York, sold from his estate by Jaques Seligman & Co, New York, 9 November 1940 JWHA Inv. No. 2607 Exhibited 'Medieval and Renaissance Splendor', Ringling Museum, Sarasota, Florida, 9 February - 1 May 1984 The mark struck twice on the lower part of the backplate of the mid-15th century, has been identified as that of the Milanese armourer Giovanni da Garavalle, recorded 1438-74. It also occurs on the leghharness of the well-know 'Avant' armour from Schloss Churburg, now in the Glasgow Museum and Art Gallery, Acc. No. '39-65e (Lionello G. Boccia, Le Armature di S. Maria Delle Grazie di Curtatone di Mantova e l'Armarura Lombarde del '400, Busto Arsizio, 1982, p. 282, figs 46-7, 188a.). Except that it has a demi-visor rather than a full one, the fine sallet resembles one of about 1480-90 in the Royal Armouries Museum, Leeds, Inv. No. IV. 428, from the armoury of the Knights of St John at Rhodes (W. J. Karcheski Jr & T. Richardson, The Medieval Armour from Rhodes, Leeds & Worcester, MA, 2000, pp. 25-6). In its markedly bell-shaped form, it is reminiscent of works attributed to the celebrated Augsburg imperial armourer, Lorenz Helmschmied, recorded 1467-1515 (Arms and Armour Society, The Art of the Armourer, Victoria & Albert Museum, London, 1963, p. 16, nos 28-9; and B.Thomas & O. Gamber, Katalog der Leibrustkammer,I.Teil, Vienna, 1976, pp. 106-8,pls. 34-5 & 40). The pauldrons are strikingly similar in design to those of a partial armour formerly in the Imperial Armoury in Vienna and now in the Hungarian National Museum, Budapest (Claude Blair, 'The Emperor Maximillian's Gift of Armour to King Henry VIII', Archaeologia, Vol. XCIX,1965, p. 37,pl. XIVc,d), bearing the mark of the Flemish imperial armourer Guillem Margot, recorded 1505-20).
Lot 262
**A COMPOSITE NORTH ITALIAN CAP-A-PIE FIELD ARMOUR WITH ETCHED DECORATION, LATE 16TH CENTURY comprising earlier close helmet of circa 1555-60 with rounded one-piece skull rising to a high roped medial comb (dented and slightly perforated at its crest), and visor, upper bevor and lower bevor attached to it by common pivots (replaced), the visor sloping forward to a centrally-divided vision-slit (the dividing-bar restored) and fitted at its right with a moulded lifting-peg (replaced), the prow-shaped upper bevor pierced at its right with eleven cross-shaped ventilation-holes and secured to the lower bevor at the same side by a pierced stud and swivel-hook (the latter replaced), and two gorget-plates (replaced) front and rear; composite collar formed of two plates front and rear (the lowest in each case of deep form from a pikeman's armour); breastplate formed of a main plate of deep 'peascod' fashion fitted at its arm-openings with moveable gussets, at its right with a rigid lance-rest having its base pierced with four slots to fit over staples but now attached instead by two screws, and flanged outwards at its lower edge to receive a fauld of one lame (restored) fitted at each side with a pair of straps supporting a pendent tasset of five lames (restored); one-piece backplate formed at its lower edge with a short biliobate flange; two pauldrons (not a pair) of asymmetrical design, each formed of seven lames (the lowest four of the right associated, its third and seventh patched, and the lowest five of the left restored); vambraces of fully articulated tubular design (the upper cannon of the left patched), each fitted at its upper end with a turner of three lames (those of the left restored and the second of the right patched) and at its elbow with a bracelet couter of three lames (the first and third of the right patched, the second perforated at the point off the elbow); pair of gauntlets each formed of a flared and pointed tubular cuff closed at the inside of the wrist by an overlapped join, five metacarpal-plates (the first two of the right restored and the last three associated), a knuckle-plate embossed with a roped transverse rib, and a hinged thumb-defence (that of the right restored); fully articulated legharness each formed of a cuisse (the right restored) with a short gutter-shaped main plate fitted at its upper edge with two extension-plates and at its lower edge with a poleyn of five lames of which the third is formed at its outside with a large medially-puckered oval side-wing; and a pair of integral tubular greaves (restored) each terminating in a broad-toed integral sabaton of nine lames; the main edges of the armour formed with file-roped inward turns, and its surfaces decorated with etched bands and borders of ornament consisting on the helmet of running foliate scrolls involving flower-heads and fabulous beasts and birds, and on all other parts of trophies of arms involving similar devices, all executed on a blackened and stippled ground and enclosed between narrower bands of guilloche See note at front of catalogue for information concerning stands Provenance Clarence H. Mackay, Harbor Hill, Long Island, New York (sold from his estate by Jaques Seligman & Co, New York, 18 July 1939) JWHA Inv. No. 2525 Exhibited Detroit Institute of Art, Michigan, 17 March - 6 July 1948 Worcester Centennial Exposition, Massachusetts, 23 July - 2 August 1948 Hospital Trust Company, Rhode Island, 8 - 31 May 1967 Worcester Art Museum, Massachusetts, 1976 - 2013 The helmet resembles both in form and decoration, one forming part of an armour in the Philadelphia Museum of Art (formerly the C. O. von Kienbusch collection), made for William Herbert, First Earl of Pembroke, and described in the inventory taken of his armoury at Wilton House, Wiltshire, in 1558, as 'a millayne dimilance graven and gilt wth the furniture' (J. F. Hayward, 'The Armoury of the first Earl of Pembroke', The Connoisseur, April 1960, pp. 226, 228, fig. 7)
Lot 265
**A COMPOSITE SOUTH GERMAN CAP-A-PIE ARMOUR FOR TOURNEY USE WITH LATER EMBOSSED, ETCHED AND GILT DECORATION, PARTLY AUGSBURG, LATE 16TH CENTURY comprising collar of three lames front and rear (the second in each case restored and the third associated); breastplate formed of a main plate of 'peascod' fashion fitted at its arm-openings with moveable gussets (restored), at the right of its chest with five vertically-pierced staples bearing a rigid one-piece lance-rest serrated along its front edge and secured by a pin (the staples, lance-rest and pin all restored), and flanged outwards at its lower edge to receive a fauld of one lame (restored) fitted at each side of a small arch cut into its lower edge with a pair of straps supporting a large pendent tasset of seven lames (restored); one-piece backplate (restored) with a broad shallow neck-opening and outward-flanged lower edge; large symmetrical pauldrons each of seven lames (the lowest four protecting only the outside of the upper arm, in each case restored), its lower end fitted with an integral vambrace, probably for use in the foot tourney, of fully articulated tubular design, fitted at its upper end with a turner of one lame, at its elbow with a bracelet couter of three lames, and closed at the inside by a series of eleven lames; gauntlets (extensively restored using reworked old elements) each formed of a flared and obtusely-pointed tubular cuff fitted with a separate fixed inner plate, six metacarpal-plates, a shaped knuckle-plate, a shaped finger-plate and scaled finger and thumb-defences, the latter attached by a lateral hinge to the distal metacarpal-plate, and fitted with a buff leather lining (old but not original); cuisses each formed of a short gutter-shaped main plate fitted at its concave upper edge with three detachable extension-lames rising to a sloping convex upper edge, and at its lower edge with winged poleyn of six lames; and full-length tubular greaves (restored) each formed with a detachable rear plate cut away over the heel, and a front plate fitted within its arched lower end with an integral sabaton of eleven lames (restored but probably incorporating old elements), terminating in a laterally pinched toe-cap; the main edges of the armour formed with finely file-roped and gilt inward turns each side of the breastplate, the lower ends of the tassets, the main plates of the pauldrons and couters, the cuffs of the gauntlets, the main plates of the cuisses and poleyns, and the toes of the sabatons all embossed in low relief with foliate volutes, fleur-de-lys and quatrefoils etched on a gilt and stippled ground with running foliages, and the breastplate further decorated in a raised medial band with similar ornament involving flower-heads See note at front of catalogue for information concerning stands Provenance Dukes of Ratibor, Schloss Grafenegg, Krems, Austria (sold Gallerie Fischer, Lucern, 2 September 1933, lot35) JWHA Inv. No. 2205 Literature Hans Tietze, Die Sammlungen des Schlosses Grafenegg (Oestereichishe Kunst-topographie, Beiheft zum Band I), Vienna, 1908, p.85, pl. 8 Stephen V. Grancsay, Catalogue of Armor: The John Woodman Higgins Armory, Worcester, 1961, pp. 96-7 Cynthia P. Duval & Walter J. Karcheski, Medieval and Renaissance Splendor, Ringling Museum, Sarasota, Florida, 1983, cat. No. 10, p. 24 Exhibited People's Bank, Worcester, Massachusetts, 8 January - 8 February 1963 Medieval and Renaissance Splendor, John and Mabel Ringling Museum, Sarasota, Florida, 9 February 1984 - 1 November 1956 'Romance in Steel: The Heritage of Armour', J. W. Higgins Armory Museum, Worcester, Massachusetts, 2 January - 3 June 2001 The decoration of the armour is inspired by that found on several works of the celebrated Augsburg armourer, Anton Peffenhauser (recorded 1545-1603) whose clients included the Imperial, Bavarian and Saxon courts (see Bruno Thomas, 'Augsburger Harnische und Stangenwaffen", in Welt im Umbruch: Augsburg zwischen Renaissance und Barock, Vol.II, Augsburg 1980, pp. 525-6, 529-34; Mann 1962,Vol.I,pp. 46-7, pl. 25; and Norman 1986, pp. 16-17)
Lot 267
**A COMPOSITE NORTH EUROPEAN CUIRASSIER'S ARMOUR, EARLY 17TH CENTURY comprising deep collar of one lame front and rear, in each case flanged upwards at its neck-opening (the front plate probably reworked to match the rear one and patched at its left rear corner); heavy one-piece breastplate (slightly cut down at each shoulder and patched at two points of its right edge), struck at the left of the belly with the proof-mark of a bullet, fitted to either side of the chest with a later stud to receive the shoulder-strap of its associated backplate, and flanged outwards at it V-shaped lower edge to receive, on a pair of projecting studs, a pair of long tassets each of twelve lames (the right partly disarticulated) divisible between the lowest two of them and terminating in broad winged poleyns of five lames (restored); heavy one-piece backplate fitted at each shoulder with scaled shoulder-straps (restored) and flanged outwards at its lower edge to receive, on a later screw with accompanying wing-nut, a broad culet of four lames of which the last is formed in two halves; large symmetrical pauldrons each formed of nine lames overlapping outwards from the fifth (the lowest lame of the right and the lowest two of the left restored, and the remainder composed of elements largely but not entirely drawn from the same series of armours); fully articulated tubular vambraces each fitted at its upper end with a turner of one short lame and at its elbow with a winged bracelet couter of three lames; fingered gauntlets (restored) each formed of a long flared and pointed cuff struck with the mark of a small flower-head, fitted with a separate short fixed inner plate, five metacarpal-plates, a transversely ridged knuckle-plate, a shaped finger-plate and scaled finger and thumb-defences (the distal ends of the first two finger-defences of the right gauntlet and of the thumb-defences of both lacking); the main edges of the armour formed with plain inward turns accompanied by recessed borders or single incised lines (the incised lines of the breastplate and of the wings of the couter later added to make them match the elements with which they are associated), its subsidiary edges bordered, except on the gauntlets, by either double or single incised lines, and the lowest lame of the culet, the main plates of the pauldrons and the wings of the couters decorated with groups of round-headed rivets in rosette-formation (the armour lightly to moderately patinated overall) See note at front of catalogue for information concerning stands Provenance Theodore Offerman, New York, sold American Art Association, New York, 11-13 November 1937, lot 324 JWHA Inv. No. 2471 Literature Stephen V. Grancsay, Catalogue of Armor: The John Woodman Higgins Armory, Worcester, 1961, p. 107
Lot 269
**A CAP-A-PIE FIELD ARMOUR, BY LORENZ KILIAN, MUNICH, BEFORE 1919, IN THE LATE 15TH CENTURY HIGH 'GOTHIC' STYLE OF LORENZ HELMSCHMIED OF AUGSBURG comprising sallet with broad low crown rising to a pair of hollowed medial keels, projecting rearwards as a long pointed 'tail' of four lames, and fitted at the front with a pivoted visor stepped beneath its single broad vision-slit and fastened at the right by a spring-catch with push-button release; bevor formed of a main plate shaped to the chin and throat, a face-plate articulated to its upper edge and supported at the right by a spring-catch, and two gorget-plates articulated to the lower edge of the main plate and pierced at the lower end of the second with a cruciform aperture to fit over a staple of the breastplate; collar of three lames front and rear, opening at the right; medially-ridged breastplate formed of a main plate protecting the thorax and fitted at its top centre with a staple and separate spring-loaded key for the attachment of the bevor, and at its right with a sturdy detachable folding lance-rest, its lower edge overlapped by a double-articulated centrally-cusped plackart protecting the abdomen and flanged outwards at its lower edge to receive a fauld of three lames, the lowest of which is cut at the centre of its lower edge with a shallow arch separating a pair of one-piece scutiform tassets, each suspended on a pair of straps and buckles (the outer strap of the right tasset torn); backplate formed of a main plate protecting the shoulders, cut at its upper edge with a deep rounded neck-opening and overlapping at its lower edge two waist-lames, the lowest of which is flanged outwards to receive a culet of three lames; large asymmetrical pauldrons formed in each case of eight lames cut away at the armpit which is protected by a slightly-dished peripherally-cusped pendent besague fitted at its centre with a pyramidal spike riveted through an elaborate quatrefoil washer; vambraces each formed of a tubular upper and lower cannon, the former surmounted by a turner, and the two articulated to one another by means of internal leathers through a large intervening couter of shell-like form, strongly shaped to the point of the elbow and open at the rear; fingered gauntlets each formed of long flared and pointed cuff with a short fixed inner plate, a wrist-plate with a prominent boss over the end of the ulna, two metacarpal plates, a shaped knuckle-plate (in each case lacking its scaled finger-defences), and a laterally-hinged thumb-defence (the right missing and the left lacking its distal scales); cuisses each formed of a gutter-shaped main plate fitted at its upper edge with three extension-plates, at is outer edge with a hinged side-plate likewise fitted at its upper edge with three extension-plates, and at its lower end with a winged poleyn of seven lames; a pair of full-length tubular greaves each fitted within the arched lower edge of its front plate with an acutely-pointed integral sabaton of eight lames; the main edges of the armour formed in most cases with plain inward turns, its subsidiary edges elaborately cusped and fretted, and its surfaces decorated, except on the bevor, breastplate, and greaves and sabatons with ripple-like fluting in the 'Gothic' fashion, in part emphasised by incised lines See note at front of catalogue for information concerning stands Provenance Ernst Schmidt, Munich, 9 November 1929 JWHA Inv. No. 1125 Exhibited Denholme & McKay Co., 22 April - 5 May 1952 Worcester WMCA, 12-14 December 1953 Lithuanian Folk Festival, 25-29 November 1960 Children's Museum, Jamaica Plains, Massachusetts, 3 February - 2 July 1964 Berkshire Museum, Pittsfield, Massachusetts, 6 January 1965 - 21 February 1966 Oneida County Junior Museum, New York, 11 September 1967 - 8 January 1968 St Anselm's College, Manchester, New Hampshire, 13 February - 20 March 1979 Schnectady Museum, New York, 4 June - 13 September 1979 Sands Point Park and Preserve, New York, June 1982
Lot 270
**A COMPOSITE CAP-A-PIE FIELD ARMOUR, EARLY 20TH CENTURY IN THE GERMAN 'MAXIMILIAN' STYLE OF THE EARLY 16TH CENTURY comprising close helmet with broad rounded one-piece skull (repaired at its rear) decorated on its upper surface with three low, boldly-roped sub-parallel-combs, fitted at its nape with a slender tapering plume-holder bearing simple incised ornament and at its front with a 'monkey-faced' visor and bevor attached by common pivots with radially-fluted heads (moved backwards and upwards to accommodate the later associated visor), the visor stepped and roped beneath its centrally-divided vision-slit, pieced at either side of the face with four columns of vertical ventilation-slots, decorated with three vertical roped ribs serving as continuations of the combs, and fitted at its right with a baluster-ended lifting-peg, and the bevor (fitted with small riveted extensions just behind the pivots to allow their movement) strongly shaped to the wearer's chin, the visor and bevor each secured at the right by a spring-catch with push-button release, and the lower edge of the skull and bevor each formed with a boldly-roped internally-hollowed rim that locks over and rotates on the turned upper edge of the collar which is formed of two lames front and rear, the lower of which is in each case much deeper than the one above it; breastplate formed of a rounded main plate fitted at each of its arm-openings with a moveable gusset, at its right with a sturdy folding lance-rest decorated peripherally with scallops and secured by two screws, and within its lower edge with a waist-lame flanged outwards to receive a fauld of two lames cut at its lower edge with a shallow arch separating a pair of pendent tassets each of four lames; backplate formed of a main plate fitted within its lower edge with a waist-lame flanged outwards to receive a culet of one lame with a notch at the centre of its lower edge; large asymmetrical pauldrons formed in each case of six lames fitted at the front of the third and largest of them with an upstanding haute-piece and connected by a boldly-roped internally-hollowed integral turner at the lower end of the lowest of them to the flanged upper edge of a three-piece vambrace formed in each case of a tubular upper and lower cannon linked by internal leathers to a large intervening winged bracelet couter pierced around its upper and lower edges with hearts; mitten-gauntlets each formed of a short slightly flared and rounded cuff fitted with a short separate inner plate, five metacarpal-plates, a transversely-roped knuckle-plate, five finger-plates and a laterally-hinged scaled thumb-defence (the right lacking its distal scales); cuisses each formed of a tall gutter-shaped main plate rising to a convex upper edge and fitted at its lower edge with a winged poleyn of three lames; and full-length tubular greaves each terminating in a broad-toed sabaton of six lames, the last of which is decorated across its front with a boldly roped rib terminating at each end in an embossed whorl; the main edges of the armour turned inwards and boldly roped, except on the couters, and accompanied at most points by single or double recessed borders, and its surfaces decorated overall, except on the visor, bevor, waist-lames, haute-pieces, greaves and parts of the cuisses and poleyns with bands and panels of flutes emphasised by pairs of lines See note at front of catalogue for information concerning stands Provenance Ernst Schmidt, Munich, 29 November 1929 JWHA Inv. No. 1128 Exhibited Worcester Centennial Exposition, The Auditorium, Worcester, Massachusetts, July - August 1948 F. W. Woolworth Co., Worcester, Massachusetts, November - December 1954 WBZ Television, 14 January 1980
Lot 272
**A COMPOSITE CUIRASS AND OTHER ELEMENTS OF ARMOUR, PARTLY NUREMBERG, EARLY 16TH CENTURY AND PARTLY BY LEONHARD HUGEL, NEW YORK, CIRCA 1925 comprising breastplate with shallow neck and arm-openings, each formed with an angular outward turn, fitted at it lower edge with a series of blind rivets (added in the 19th to attach a mail skirt in place of a missing waist-lame), and struck at its upper edge with the quality-control mark of the City of Nuremberg; backplate formed of a central main plate and a pair of smaller side-plates (the left restored) rigidly riveted within its lateral edges, the broad shallow neck-opening and arm-opening each formed with a partial inward turn, and the main and right side-plates each struck internally with three triangular construction-marks; skirt of four lames front and rear, the lowest at the front cut with a shallow arch separating a pair of pendent tassets each of two lames narrowing to their lower ends; besagues each of circular form rising to a prominent central boss and formed around its edge with a partial inward turn; and a pair of pointed sabatons each formed of a rear section of one plate and a front section of seven plates joined to one another beneath the ankle-bones by a hinge at the inside and a self-sprung stud at the outside (the breastplate and backplate early 16th century but the remainder restored, largely using old plates; the whole moderately pitted throughout) See note at front of catalogue for information concerning stands Provenance Armoury of the Freiberg family, Schloss Hohenaschau, Bavaria, sold 1861 (breastplate) Dr Jacob von Hefner-Alteneck, Munich, sold Hugo Helbing, Munich, 6 June 1904, lot 23 (breastplate) Dr Bashford Dean, Riverdale, New York JWHA Inv. No. 938 Literature J. H. Heffner von Alteneck, Trachten, Kunstwerke und Gerätschaften, Frankfurt am Main, Vol. IV, `1882, p. 14, pl. 244 J. H. Heffner von Alteneck, Waffen, Frankfurt am Main, 1903, p. 26, pl. 36 Bashford Dean, Catalogue of a Loan Exhibition of Arms and Armor, Metropolitan Museum of Art, New York, 1911, no. 1 Stephen V. Grancsay, Catalogue of Armor: The John Woodman Higgins Armory, Worcester, 1961, pp. 6 & 32-3 Alexander von Reitzenstein, 'Hohenaschauer Waffen', Waffen- und Kostümkunde, Vol. 4, 1962, p. 39, fig. 26 Exhibited Metropolitan Museum of Art, New York, 1911 and 1914-28
Lot 273
**A SOUTH GERMAN ZISCHÄGGE AND COLLAR, EARLY 17TH CENTURY the first of notable weight, comprising rounded one-piece skull originally forming part of a close-helmet, rising to a high medial comb, struck at the left of the brow with the proof-mark of a bullet, fitted at the nape, beneath a slender-plume-holder, with a narrow round-ended neck-guard of five-lames (restored), at the front with an obtusely-pointed pivoted peak (associated and fitted at the rear of its right arm with five blind rivets designed to prevent its metal from delaminating) fitted on its underside with a later triple-barred face-defence (the central bar lacking its retaining-rivet), and at each side with a large hinged cheek-piece of four lames (restored using old metal, the right with a small patch), the uppermost lame in each case cut at the top of its front edge with a shallow outward-flanged notch shaped around the wearer's eye and pierced at its centre with nine small auditory holes in rosette-formation; the second formed of a front and rear section, each of four lames, joined by a hinge at the left and closed by studs and holes at the right; the main edges of both elements, excepting those of the neck-guard of the helmet, formed with plain inward turns, and the subsidiary edges of the helmet bordered by pairs of incised lines (both elements moderately patinated overall) See note at front of catalogue for information concerning stands Provenance The Armoury of Archduke Eugen, Schloss Hohenwerfen, Salzburg, Austria, sold Anderson Galleries, New York, 5 March 1927, lot 1064 JWHA Inv. No. 191 Exhibited Worcester Art Museum, Worcester, Massachusetts, 1928-30 Literature Stephen V. Grancsay, Catalogue of Armor: The John Woodman Higgins Armory, Worcester, 1961, p. 106
Lot 276
**A NORTH ITALIAN BACKPLATE, CIRCA 1600; AND A PAIR OF BESAGUES, 19TH CENTURY IN THE EARLY 16TH CENTURY STYLE the first formed in one piece with a broad shallow neck-opening and a flanged lower edge, its main edges formed with inward turns, later roped in the case of those of the neck and arm-openings and originally bordered there by bands of etched cabling, now largely erased; and the second consisting in each case of a circular disc rising at its centre to a prominent conical boss and formed peripherally with a plain upstanding inward turn, and its rear fitted with a leather suspension-loop and lace (3) Provenance Dr Bashford Dean, Riverdale, New York, sold from his estate, American Art Association, 23 November 1928, lot 145 JWHA Inv. No. 607 Exhibited 'The Age of Discovery and Exploration', Heritage Plantation, Sandwich, Massachusetts, February 1984 - November 1985 Literature Stephen V. Grancsay, Catalogue of Armor: The John Woodman Higgins Armory, Worcester, 1961, p. 78
Lot 281
**A PAIR OF SABATONS, PROBABLY NORTH ITALIAN, 'ALLA TEDESCA', EARLY 16TH CENTURY, AND 19TH CENTURY each of broad-toed form and composed of twelve lames overlapping inwards to the fourth (the last of the left repaired with two riveted internal patches, and the remainder restored), the last in each case decorated at its front end with thirteen divergent flutes enclosed in each case by a pair of incised lines and behind them with a similar transverse flute, and the rear of the lame bordered by a single incised line (the last lame in each case pitted) (2) Provenance Dr Bashford Dean, Riverdale, New York, sold Parke-Bernet Galleries Inc., New York, New York, 26 October 1950, lot 97 JWHA Inv. No. 2877 Literature Stephen V. Grancsay, Catalogue of Armor: The John Woodman Higgins Armory, Worcester, 1961, p. 39 The left toe-cap appears to be a rare Italian example made 'alla Tesdesca' or in the German fashion of the early 16th century (Boccia and Coelho 1967, pp. 194-222)
Lot 282
**A PAIR OF MITTEN GAUNTLETS, 19TH CENTURY, IN THE GERMAN 'MAXIMILIAN' STYLE OF THE EARLY 16TH CENTURY; AND A PAIR OF BESAGUES, 19TH CENTURY, IN THE GERMAN 'GOTHIC' STYLE OF THE LATE 15TH CENTURY the first formed in each case of a short slightly flaring straight-ended cuff closed at the inside of the wrist by a riveted patch, four metacarpal-plates, a knuckle-plate extending mid-way down the fingers, and the main plate of a laterally-hinged thumb-defence, the metacarpal and knuckle-plates decorated with a distally diverging array of seven flutes, enclosed in each case by a pair of incised lines, the lower edge of the knuckle-plate formed with a plain inward turn accompanied by a recessed border, and the lower edge of the cuff decorated with filed diagonal nicks enclosed to the inside by a single incised line (each gauntlet showing patches of light active rust); and the second formed in each case of a disc formed peripherally with eleven cusps and rising at its centre to a conical boss having a broad base formed with a like number of cusps, and the whole suspended from a leather strap (4) Provenance Purportedly from 'an ancient Spanish armory' Edward C. Converse, sold American Art Association, New York, 25-6 November 1927, lot 292 JWHA Inv. No. 404 Literature Stephen V. Grancsay, Catalogue of Armor: The John Woodman Higgins Armory, Worcester, 1961, pp. 50-1
Lot 286
**A HALF-MITTEN GAUNTLET FOR THE LEFT HAND, LATE 19TH/EARLY 20TH CENTURY IN THE GERMAN STYLE OF CIRCA 1500 formed of a short flaring obtusely-pointed cuff open at its inside, four metacarpal-plates, the last formed with an almond-shaped boss over the distal end of the ulna, a knuckle-plate and a finger-plate extending mid-way down the fingers, the knuckle-plate and the plates lying immediately above and below it shaped to the knuckles, the upper and lower edges of the gauntlet formed with plain inward turns accompanied by recessed borders, and the cuff decorated to either side of the wrist with a pair of curved flutes Provenance Sir Guy F. Laking, London Clarence H. Mackay, Harbor Hill, Long Island, New York, sold from his estate by Jaques Seligman & Co, New York, 18 July 1939 JWHA Inv. No. 2528 Exhibited Springfield Museum of Fine Arts, Springfield, Massachusetts, 17 February-12 December 1941 Literature Stephen V. Grancsay, Catalogue of Armor: The John Woodman Higgins Armory, Worcester, 1961, p. 76
Lot 292
**A PAIR OF SOUTH GERMAN CUIRASSIER'S TASSETS, CIRCA 1620-30 each formed of eight lames (the first of the right and the first two of the left restored using old metal and patched at points) divisible between the fifth and sixth of them and terminating in a poleyn of three lames (the lowest in each case restored using old metal), of which the second is shaped to the point of the knee and formed at its outer end with a small spade-shaped wing; the main edges of the tassets formed with plain inward turns or partial turns, and their subsidiary edges bordered by pairs of incise lines (moderately patinated overall) (2) Provenance The Armoury of Archduke Eugen, Schloss Hohenwerfen, Salzburg, Austria, sold Anderson Galleries, New York, 5 March 1927, lot 1064 JWHA Inv. No. 191 Exhibited Worcester Art Museum, Worcester, Massachusetts, 1928-30 Literature Stephen V. Grancsay, Catalogue of Armor: The John Woodman Higgins Armory, Worcester, 1961, p. 106
Lot 296
**A PAIR OF GREAVES AND SABATONS, 19TH CENTURY IN THE SOUTH GERMAN STYLE OF CIRCA 1550-60 each with a full-length tubular greave formed of a rear plate cut at the heel with a large keyhole slot to accommodate a spur, and a front plate cut at its lower end with an arch to accommodate an integral sabaton of seven lames, the last forming a toe-cap of rounded square form; the main edges of both elements formed with notched inward turns accompanied by recessed borders repeated at the lateral edges of the front plate of the greave, and both elements decorated medially with a pair of recessed bands (some patches of light active rusts (2) Provenance Dr Bashford Dean, Riverdale, New York Clarence H. Mackay, Harbor Hill, Long Island, New York JWHA Inv. No. 2603 Literature Bashford Dean, Catalogue of a Loan Exhibition of Arms and Armor, Metropolitan Museum of Art, New York, 1911, no.23, pl.XIX Stephen V. Grancsay, Catalogue of Armor: The John Woodman Higgins Armory, Worcester, 1961, p. 94
Lot 297
**A PAIR OF GREAVES, 19TH CENTURY IN THE NORTH ITALIAN STYLE OF THE EARLY 16TH CENTURY each formed of a front and rear plate joined to one another by a pair of hinges at the outside where they extend downwards over the ankle-bone, and open at the inside of the calf where they are fastened by straps and buckles, the lower edge of the rear plate cut with a notch to accommodate a spur, and the upper edge of that plate and the lower edge of the front plate each formed with plain outward turns (lightly patinated overall) (2) Provenance Dr Bashford Dean, Riverdale, New York, sold Parke-Bernet Galleries Inc., New York, 26 October 1950, lot 97 JWHA Inv. No. 2877 Literature Stephen V. Grancsay, Catalogue of Armor: The John Woodman Higgins Armory, Worcester, 1961, p. 39
Lot 446
A NORTH GERMAN 'BLACK AND WHITE' COMB MORION, EARLY 17TH CENTURY with rounded two-piece crown joined along the crest of a high roped medial comb, and 'swept' integral brim rising to an acute point front and rear, the edge of the brim formed with a plain inward turn, the base of the crown encircled by twelve lining-rivets with brass rosette-washers (two of the latter missing) and fitted at the rear with a later plume-holder, and each side of the crown decorated in low relief with a vertically- symmetrical fleur-de-lis enclosed within a circle bordered by stylised acanthus foliage, burnished bright, along with each side of the comb, against a blackened ground (refreshed with paint) 26.3 cm; 10¼ in A very similar morion was sold in these rooms from the J. W. Higgins Armory Museum, Worcester, Massachusetts, 20 March 2013, lot 287 (part). 2013
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