A gold seal, late 18th century, of bell form with tapering strap supports and an oval cornelian tablet, intaglio engraved with a coat of arms, tested as approximately 9ct gold, a Regency gold seal, with a ridged bale, decorated urn below and reeded top with a chased border and a cushion shaped cornelian tablet, intaglio engraved with a coat of arms, tested as approximately 18ct gold, together with a late Victorian 18ct gold swivel fob, with two circular cornelian and bloodstone tablets, intaglio engraved with two crests. Hallmarked 18ct gold, Birmingham 1886 (3) The arms on the three seals are Or, an eagle displayed and the crest is a griffin's head erased. Both of these apply to the Browne family, but no one named branch in Burke's General Armory is shown using the combination. The arms and crest on the reverse of the swivel fob are those of Cressy, but again, there is no specific branch mentioned. There is a reference to a Susan Cressy (daughter of Ebenezer Cressey) who became Susan Cressy Browne. Susan Eaton Cressey was born in 1813 at Merrimack and married Charles William Browne in Michigan in 1845. She died there in 1892. Browne was born in New York State in 1819 and was in Michigan from at least the time of his marriage in 1845. He died in 1903 in Michigan. This seal would seem to be of the correct date for him, but he did have a son, Albert C Browne (presumably Cressy), who was born in 1849 and died in 1920. He may have used the seals for both his names.
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**A COMPOSITE EUROPEAN CAP-A-PIE FIELD ARMOUR IN THE SO-CALLED `GOTHIC` FASHION, CIRCA 1490-1510 comprising modern sallet with rounded skull, short separate `tail`-plate, pivoted visor with a pair of flanged vision-slits, secured to the skull at the right by a spring-catch, Spanish bevor formed of a main plate shaped to the chin and flanged outwards at its lower edge to receive a V-shaped gorget-plate (the latter associated and both elements showing patched repairs), the main plate fitted with a modern lining and mail-covered neck-strap, German breastplate formed of a rounded main plate with angular outward turns at it neck and arm-openings, and an associated plackart rising to a decoratively-shaped cusp at its centre, overlapping the lower edge of the main plate to which it is attached by a single screw and flanged outwards its lower edge to receive an associated fauld of four lames (the first and last restored), and supporting on a pair of straps and buckles at each side a medially-ridged Flemish or Spanish tasset of five lames (the lowest four of the right and the second to fourth of the left restored ), a Spanish or Flemish backplate formed of a main plate and a pair of side-plates (each with patched repairs) rigidly riveted to one another and fitted at their lower edge with an associated waist-lame flanged outwards at its lower edge to receive an associated and much restored culet of four lames, the lowest of which descends to a slight central cusp, pair of German spaudlers each of seven lames (the lowest two in each case associated), the top one of the right struck with the mark of the Innsbruck armourer Hans Maystetter, both struck with a pair of dots, and the lowest connected by a turner to a fully articulated Italian vambrace of tubular form with a couter of three lames, the central one formed with a medially-puckered oval side-wing, pair of modern radially fluted besagues, pair of German gauntlets (the right entirely restored except for the main plate of its thumb-defence, and the left patched at several points) each formed of a short straight-ended cuff open at the inside of the wrist, five metacarpal-plates, a shaped knuckle-plate, a finger-plate, modern finger-defences of mail and a hinged thumb-defence (the left restored), modern left cuisse formed of a gutter-shaped main plate fitted within its concave upper edge with two extension-lames, at its outer edge with a hinged side-plate and at its lower edge with a poleyn of five lames, the third of which is formed with a pronounced medial ridge and a medially-puckered oval side-wing (right cuisse and poleyn missing), pair of modern tubular greaves extending downwards over the ankles, and pair of modern sabatons, each formed of a front and rear section connected by a hinge at the outside and fastened by a swivel-hook and stud beneath the cut-outs for the ankles, and the front section of nine lames projecting forward to a long pointed toe-cap (the whole lightly pitted overall) See note at front of catalogue for information concerning stands Provenance The Royal Armoury, Lisbon Dr Bashford Dean, Riverdale, New York No. 46, 5 September 1929 Clarence H. Mackay, Long Island, New York Jaques Seligmann & Co., New York, 9 November 1940 JWHA Inv. No. 2606 Literature Stephen V. Grancsay, Catalogue of Armor: The John Woodman Higgins Armory, Worcester, Massachusetts, 1961, p. 35, illustrated Exhibited Monmouth Museum, New Jersey, 27 February - 6 May 1978 Worcester Art Museum, Massachusetts, April 1940 - February 1941. Mrs. Mary Lou Wilding-White, 10 February 1966 - May 1972. Witte Museum, San Antonio, Texas, 1982-3, The mark on the right spaudler is that of the Innsbruck armourer Hans Maystetter, active 1510-33 (Thomas and Gamber 1954, pp. 72-3). The bevor and backplate have a character typical of pieces deriving from the armoury of the Knights of St John at Rhodes which fell to the forces of Suleiman the Magnificent in 1522 (Karcheski & Richardson 2000, pp. 32, 37, 45, 48, 66-9).
**A COMPOSITE GERMAN CAP-A-PIE FIELD ARMOUR IN THE SO-CALLED `MAXIMILIAN` FASHION, CIRCA 1520-30 comprising close helmet with rounded one-piece skull (repaired with brazing at the right of neck) rising to a low boldly roped medial comb, restored visor and bevor attached by common pivots fitted beneath their heads with rosette washers, the visor formed as a grotesque Turk`s mask, and a single restored gorget-plate front and rear, collar of three lames front and rear (the top two in each case restored and the lowest modified from that of a later `Almain` collar), breastplate formed of a rounded main plate fitted at each of its arm-openings with a moveable gusset, at the right of the chest with a detachable folding lance-rest (restored), and within its lower edge with a waist-lame (restored) flanged outwards to receive an associated and partly composite fauld of four lames fitted at the centre of its lower edge with a prominent one-piece codpiece, and to either side of it with an integral tasset of four lames (the lowest three in each case restored), backplate formed of a central main plate and a pair of side-plates rigidly riveted to one another (the main and left plates each with a small patched repair), and a restored waist-lame and culet of three lames, pair of pauldrons (largely restored but incorporating genuine plates), each formed of seven lames of which the lowest three extend inwards only to the armpit and of which the front of the third is fitted in the case of the right with an upstanding modern haute-piece mounted on a stud and turning-pins, and in the case of the left with a modern reinforcing-plate extending upwards as an integral haute-piece and attached by a screw, pair of three-piece tubular vambraces, each fitted at its upper end with a turner of one lame, at its elbow with a large one-piece bracelet couter (replacing an articulated one) and a series of lames at the inside of the bend, pair of modern gauntlets each formed of a short, flaring, straight-ended tubular cuff, five metacarpal-lames, a knuckle-plate decorated with a boldly roped transverse rib, five finger-lames and the main plate of a laterally hinged finger-defence, pair of cuisses each formed of a long gutter-shaped main plate fitted at its lower end with a winged poleyn of four lames, and a pair of greaves each of full-length tubular form and terminating in a broad-toed sabaton of nine lames, the main edges of the armour formed for the most part with inward turns, mostly roped and accompanied by recessed borders, and its surfaces, except on the greaves, decorated with bands and panels of flutes emphasised by pairs of incised lines (the flutes of some elements later added) See note at front of catalogue for information concerning stands Provenance Dr Bashford Dean, Riverdale, New York, sold Parke-Bernet Galleries Inc., New York, 26 October 1950, lot 97 JWHA Inv. No. 2877 (main armour), JWHA Inv. No 404. (backplate and gauntlets) and JWHA Inv. No. 3018 (greaves and sabatons) Literature Stephen V. Grancsay, Catalogue of Armor: The John Woodman Higgins Armory, Worcester 1961, p. 39 (the backplate pp. 50-1) Exhibited Clark Art Institute, Williamstown, Massachusetts, 17 October - 30 November 1980 `Medieval and Renaissance Splendor`, Ringling Museum, Sarasota, Florida, 9 February - 1 May 1984
**A COMPOSITE NORTH ITALIAN CAP-A-PIE FIELD ARMOUR WITH ETCHED DECORATION, PROBABLY MILANESE, CIRCA 1570-80 comprising composite close helmet with one-piece skull rising to a high roped medial comb and fitted at the nape with a later plume-holder of brass, upper bevor and lower bevor attached to the skull at each side by common pivots (replaced), the visor with a stepped, centrally divided vision-slit fitted at its right with a lifting-peg (replaced), the upper bevor with a near-vertical profile, pierced at its right side with five ventilation-holes in dice-formation, the lower bevor secured to it at the right by a swivel-hook and pierced stud (restored), and two gorget-plates front and rear, collar of two lames front and rear (the lowest in each case originally decorated with recessed bands), breastplate formed of a main plate of deep `peascod` fashion, fitted at its arm-openings with moveable gussets (the right patched) and flanged outwards at its lower edge to receive a restored fauld of one lame and a pair of pendent tassets of trapezoidal form, each of thirteen lames (extensively patched at their articulating points), one-piece backplate flanged outwards at its lower edge, large asymmetrical pauldrons each of six lames of which the lowest three extend inwards only to the armpit, and of which the third is fitted at its the front in the case of the right with an upstanding modern haute-piece mounted on a mushroom-headed studs and turning-pins, and in the case of the left with a large modern reinforcing-plate extending upwards as an integral haute-piece and attached by a screw, pair of fully articulated tubular vambraces, each fitted at its upper end with a turner of one lame (the left associated) and at its elbow with a bracelet couter of three lames, pair of modern gauntlets, each formed of a flared and obtusely pointed tubular cuff, five metacarpal-plates, a shaped knuckle-plate decorated with a roped transverse rib, scaled finger and thumb-defences (those of the left incomplete), pair of modern cuisses each formed of a short gutter-shaped main plate rising to a convex upper edge and fitted at its lower edge with a poleyn of five lames formed at the outside of the third with a small medially-puckered oval side-wing, and a pair of modern greaves each of full-length tubular form fitted at its lower end with a round-toed sabaton of eight lames, the main edges of the armour formed with roped inward turns and its surface etched in bands and borders on a stippled and blackened ground with trophies, winged cherub`s heads, masks and fabulous beasts, enclosed by narrower band of cabling or, in the case of the pauldrons and vambraces, by engrailing repeated at their subsidiary edges, except on the gauntlets which are etched in their main bands with strapwork interlace (the etching modern throughout except on the breastplate and pauldrons) See note at front of catalogue for information concerning stands Provenance Duke of Osuna, Beauraing, Belgium Victor Bachereau, Paris Edmund C. Converse, sold American Art Association, New York, 26th November 1927, lot 291, $2,100 JWHA Inv. No. 403 Literature Stephen V. Grancsay, Catalogue of Armor: The John Woodman Higgins Armory, Worcester 1961, p. 88, illustrated
**A COMPOSITE NORTH ITALIAN CORSLET WITH ETCHED DECORATION, PARTLY BY THE `MASTER OF THE CASTLE` OF MILAN, LATE 16TH CENTURY comprising morion with rounded one-piece crown rising to a high roped medial comb (perforated near the front), and `swept` integral brim rising to an acute point front and rear (the rear with a small welded repair, collar of two lames front and rear (the upper one in each case restored), breastplate formed of a main plate of deep `peascod` fashion, fitted at its arm-openings with moveable gussets (the right restored) and flanged outwards at its lower edge to receive an associated fauld of one lame and a pair of pendent tassets each of four lames (restored, the right damaged at its inner end), pair of large symmetrical pauldrons, each formed of six lames of which the lowest three extend inwards only to the armpit (both with patched repairs), two fully articulated tubular vambraces (not a pair), each fitted at its upper end with a turner of one lame (the left originally surmounted by at least one more), and at its elbow with a winged bracelet couter of three lames, and two gauntlets (not a pair) each formed of a flared and round-ended tubular cuff, four metacarpal-plates, a shaped knuckle and finger-plate, the main plate of a laterally hinged thumb-defence (restored) and a detached scaled defence for the second finger of the right gauntlet, the main edges of the armour formed almost throughout with file-roped inward turns, and its surfaces, except on the fauld and top of the collar, decorated with etching on a stippled and blackened ground (in part worn), that of the morion consisting of strapwork interlace occupied by trophies of arms, birds, fabulous beasts and human figures in both classical and contemporary dress, and that of the remainder consisting of bands and borders of trophies of arms generally enclosed by narrow bands of cabling and enclosing in the interspaces and volutes of the fronts and rears of the pauldrons, busts and full-length figures of classical warriors, and involving at the neck-opening of the breastplate the device of a two-towered castle; together with a pair of modern scaled chin-straps, each etched on a stippled and blackened ground with running foliage in the German fashion of the 16th century, and a pair of modern cuisses each of four lames, fitted at their lower ends with winged poleyns of four lames and etched with bands and borders of etching in the Italian fashion of the second half of the 16th century See note at front of catalogue for information concerning stands Provenance Victor A. Bachereau, Paris, Dr Bashford Dean, Riverdale, New York Edmund C. Converse, sold American Art Association, New York, 26 November 1927, lot 294, $4,300 (with horse armour) JWHA Inv. No. 406 Literature Stephen V. Grancsay, Catalogue of Armor: The John Woodman Higgins Armory, Worcester, 1961, p. 83, illustrated The device of a castle etched at the neck-opening of the breastplate represents the signature of one of the most important Milanese armourers of the late 16th century, know to scholars today as the `Master of the Castle`. It is possible that he, like his contemporary, Pompeo della Chiesa, was privileged to work in the Castello Sforzesco, residence of the Dukes of Milan. Other extant works bearing his signature include the fine garniture made for Wolf Dietrich von Raitenau, Prince Bishjop of Salzburg, probably after 1587, and now divided between the Bayerisches Nationalmuseum, Munich, the Wallace Collection, London, and the Hermitage Museum, St Petersburg, as well as various armours preserved in the Museo Civico L. Marzoli, Brescia, the Real Armeria, Turin, the Real Armeria, Madrid, the Musée de l`Armée, Paris, and the Wallace Collection, London (C. R. Beard, The Barberini and Some Allied Armours, pp. 1924, 11-12; K. Maurice, `Armour for an Archbishop`, Apollo, Vol. CXII, pp. 474-5; Norman, 1986, pp. 29, 32-3 & 36-7; and D. J. LaRocca, `A Notable Group of Late Sixteenth-Century Etched Italian Armour`, Journal of the Arms and Armour Society, Vol. XVI, no. 4, March 2000, pp. 181-97).
**A COMPOSITE GERMAN CUIRASSIER`S ARMOUR, IN PART PROBABLY BY MARTIN SCHNEIDER THE YOUNGER, NUREMBERG, CIRCA 1620 comprising Zischägge with a two-piece hemispherical skull joined along the crest of a low file-roped medial comb fitted at its rear with a modern plume-tube of brass, the skull projecting forward to a short, obtusely-pointed integral peak pierced at its centre with a rectangular slot to receive a sliding nasal-bar (restored) expanding at its lower end to a large rounded triangular finial and secured at the brow by a modern staple and screw, fitted at the nape with an associated neck-guard of three lames, the last of which is formed at its lower edge with a prominent central cusp, and at each side with a modern forward-sloping hinged cheek-piece of two lames, the upper one embossed with a flower-head, collar of two lames front and rear (the lower rear one restored), one-piece backplate of late `peascod` fashion, struck internally, just below the neck, with the large letter `T`, and formed at it lower edge with a flange later fitted at each side with a projecting screw and wing-nut to attach a pair of composite cuisses each formed of a single boxed upper lame from which are suspended, by means of a pair of modern straps and buckles, a further eleven lames of which the last is fitted at its lower edge with a poleyn of four lames, one-piece breastplate struck at the neck with the quality-control mark of the city of Nuremberg and a maker`s mark consisting of a pair of scissors within a shield, and formed at it lower edge with a short flange, large asymmetrical pauldrons (not a pair), the left of seven lames and the right of six, two vambraces (not a pair) of fully articulated tubular form, each of late 16th century Italian make and fitted at its upper edge with a turner of one lame and at its elbow with a bracelet couter of three lames, and two gauntlets (not a pair) each formed of a flared and pointed cuff with a separate inner plate, several metacarpal-plates (four in the case of the left and five in the case of the right), a knuckle-plate decorated with a file-roped transverse rib, and a shaped finger-plate (composed and in part reworked from old plates), the main edges of the armour formed with inward turns, mostly roped and in many cases accompanied by lining-rivets retaining the remains of crimson velvet piccadils edged with gold bullion, and a few of the main edge, along with most of the subsidiary ones and three divergent bands of the breastplate and backplate respectively decorated with double or treble incised lines (in part later additions) gilt against a blued ground (some minor damage and patching throughout) Provenance Sumner Healey, New York, 6 June 1932 Exhibited `The Art of Collecting, J. W. Higgins Museum, Worcester, Massachusetts, October, 1984 Travelling exhibition visiting several locations in the south of the U.S.A. February 2004- September 2008 JWHA Inv. No. 1737 The mark of the scissors struck on the backplate is probably identifiable as that of the Nuremberg armourer Martin Schneider the Younger (his surname translates into English as `Tailor` ). The same or similar mark can be found on other Nuremberg pieces such as a steel target in the Historisches Museum, Dresden (Ehrenthal 1898, p. 34), as well as another in the J. W. Higgins Armory Museum, Worcester, Massachusetts, JWHA Inv. No. 2647 (`The Age of Armor`, 13 February 2003 - 31 August 2003). It is also to be found on an armour in the Musée d`Art et d`Histoire, Geneva, and a breastplate in the Hallwyll House Museum, Stockholm, Cat. No. E.2.
**A COMPOSITE GERMAN CUIRASSIER`S ARMOUR, CIRCA 1620 comprising shot-proof close helmet of `Todenkopf` form with rounded two-piece skull joined medially by rivets, its lower edge formed with a short integral rear gorget-plate, and peak, upper bevor and lower bevor attached to the former at either side by common pivots with low domed heads, the peak arched over the eyes and descending between them as a V-shaped projection, the near-vertical, medially-ridged upper bevor with slightly convex profile cut at its upper edge with a pair of U-shaped apertures for vision, a horizontal ventilation-slot over the mouth, and fitted to the right of the latter with a slender lifting-peg (restored), and the lower bevor formed with an integral front gorget-plate (its right end patched), `Almain` collar formed of a single lame front and rear, fitted at each side with an integral spaudler (associated) of seven lames, one-piece breastplate of late `peascod` fashion flanged outwards at its lower edge and fitted there with two pairs of modern hinges for the attachment of a pair of knee-length tassets each formed of eleven lames of which the last and longest is cut away slightly at the inside of the knee and fitted at its lower edge with a winged poleyn of three lames, one-piece backplate flanged outwards at its lower edge and fitted within it with a pair of modern projecting tabs, each bearing a pierced stud for the attachment of a deep flaring culet of four lames, the first traversely boxed and the last formed in two halves joined medially by rivets and deepening to its outer ends, a pair of modern besagues, each of circular form, rising at its centre to a conical boss, a pair of later sleeves of butted mail, probably Near or Middle-Eastern, and two long gauntlets, not a pair, each formed of a long, slightly flared tubular cuff closed at the inside by a separate plate and extending over the point of the elbow, five metacarpal-plates, a knuckle-plate decorated with a file-roped transverse rib, and a lining-glove of brocaded linen, that of the right retaining its distal two thumb-scales, the main edges of the armour formed with plain inward turns accompanied in part by recessed borders, and the subsidiary edges in most cases bevelled and polished bright to contrast with the overall black finish of the armour (refreshed with paint) Provenance Solothurn Arsenal, Switzerland (cuirass only) Dr Bashford Dean, Riverdale, New York, sold by American Art Association, New York, 23-4 November 1928, lot 147 JWHA Inv. No. 609 Literature Stephen V. Grancsay, Catalogue of Armor: The John Woodman Higgins Armory, Worcester 1961, p. 101, illustrated
**A GERMAN CAP-A-PIE FIELD ARMOUR BY LORENZ KILIAN, MUNICH, 1911-19, IN THE LATE 15TH CENTURY HIGH `GOTHIC` STYLE OF LORENZ HELMSCHMIED OF AUGSBURG comprising sallet with broad low crown rising to a hollowed medial keel, projecting backwards over the neck as a long pointed `tail, and fitted at the front with a pivoted demi-visor cut at its upper edge with a broad shallow notch serving as its vision-slit, bevor formed of a main plate shaped to the chin and throat, and a face-plate articulated to its upper edge and supported at the right of the chin by a projecting spring-catch, and fitted at the lower edge of its main plate with a hasp serving to secure it to the top of the breastplate, medially ridged breastplate formed of a main plate protecting the thorax, and fitted at its right with a detachable folding lance-rest of brass, 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 supports a pair of pendent one-piece tassets, backplate formed of a main plate protecting the shoulders, cut at its upper edge with a deep V-shaped neck-opening and overlapping at it lower edge three waist-lames, the lowest of which is flanged outwards to receive deep culet of four lames, symmetrical pauldrons each of seven lames, cut away over the front of the arm-pit which is protected by a pendent besague of circular form and rising at its centre to prominent conical boss, pair of three-piece tubular vambraces each possessing a large shell-like bracelet couter strongly embossed over the point of the elbow, pair of gauntlets each formed of a long, flared and pointed cuff with a short fixed inner plate, five metacarpal-plates, a strongly-shaped knuckle-plate of brass and a laterally-hinged thumb-defence ( the finger-defences in each case lacking), pair of cuisses each formed of a gutter-shaped main plate fitted at its upper end with four extension plates, the first with a convex upper edge, and at its lower end with a winged poleyn of five lames, a pair of full-length tubular greaves, each fitted at its lower end with an integral sabaton of eight lames of which the foremost takes the form of a pointed toe-cap and is furnished with a turning-pin allowing an even longer and more acutely pointed toe-cap to be fitted over it, the main edges of the armour, except for those of its greaves and sabatons, decorated with applied brass borders formed at their outer edges with roping and at their inner ones sides with fleurs-de-lis separated by pierced hearts, and its subsidiary edges with elaborate cusping and fretting, and the surfaces of the armour decorated with bands and sprays of ripple-like flutes See note at front of catalogue for information concerning stands Provenance Ernst Schmidt, Munich, 20 August 1939 JWHA Inv. No. 1002 Literature Stephen V. Grancsay, Catalogue of Armor: The John Woodman Higgins Armory, Worcester, Massachusetts, 1961, p. 123, illustrated Exhibited `The Art of Collecting, J. W. Higgins Armory Museum, Worcester, Massachusetts, October, 1984 The details of the armour are inspired by those in the Hofjagd- und Rüstkammer, Vienna, Inv. Nos A 60, A 62 & A 79, made respectively for the Archduke (later Emperor) Maximilian I and The Archduke Siegmund of Tirol, about 1480-5 (Thomas and Gamber 1976, pp. 99-100, 106-7 & 108-10, pls 34-5, 40& 42).
**A SOUTH GERMAN BURGONET, CIRCA 1570-80 with rounded one-piece skull rising to a high file-roped medial comb, projecting forward to an upturned obtusely-pointed integral peak (the point patched), fitted at the nape with a tapering tubular plume-holder, at its flanged lower edge with a neck-guard of one obtusely-pointed lame, and at each side with a hinged cheek-piece pierced at its centre with nine small auditory holes in rosette formation and flanged outwards at its lower edge to receive a separate front neck-guard continuing the line of that at the rear (the main plate of the right cheek-piece associated and slightly reworked, its neck-guard and the whole of the left cheek-piece restored), the main edges of the helmet formed with file-roped inward turns accompanied by recessed borders enclosed to the inside in each case by narrow grooves, and its secondary edges scalloped and bordered by pairs of incised lines (showing mottled patination overall and some pitting on the main plate of the right cheek-piece) 36 cm; 14 in high Provenance Dr Bashford Dean, Riverdale, New York, purchased from his estate, 28 September 1929 JWHA Inv. No. 875 The helmet is shown in plate 7 (third from left) of a photograph album recording the stock-of the Parisian dealer Louis Bachereau about 1890 (copy in the library of the J. W. Higgins Armory Museum).
**AN ITALIAN BURGONET, CIRCA 1570-80 with rounded one-piece skull rising to a high file-roped medial comb, projecting forward to a slightly upturned obtusely-pointed integral peak (the point cracked) and backwards to a matching integral neck-guard, and fitted at each side with a hinged cheek-piece (restored) with a straight forward edge projecting downwards beneath the chin, the main edges of the helmet formed with file-roped inward turns accompanied by recessed borders, and the crown decorated around its base and to either side of the comb with pairs of incised lines 35 cm; 13 3/4 in high Provenance Frank Macomber, Boston, Massachusetts, sold 10-12 December 1936, lot 429 JWHA Inv. No. 2430 Exhibited Schnectady Museum, New York, 4 June - 13 September 1979 Lowe Museum, Miami, Florida, 1 December 1979 - 13 January 1980 `The Pen and the Sword: Martial Arts Manuals in Medieval and Renaissance Europe`, J. W. Higgins Armory Museum, Worcester, Massachusetts, 26 October 2006 - 27 May 2007
**A `HOUNSKULL` BASINET IN THE ITALIAN STYLE OF THE LATE 14TH CENTURY, LATE19TH CENTURY with a tall conical skull struck twice at its right rear with a mark comprising a reversed gothic B (?) over a fleur-de-lis, pierced around its lower edge and face-opening with holes for the attachment of vervelles and a lining, and fitted with a pivoted visor of `hounskull` form with boxed slits over the eyes and mouth, and small circular ventilation-holes beneath its projecting conical `snout`, the arms of the visor connected to their pivots by hinges with removable pins (replaced) which would originally have been connected by chain-guards to pierced studs located to either side of the skull just behind the pivots (the surface of the helmet pitted overall) 29 cm; 11 1/2 in high Provenance Giulia P. Morosini, sold American Art Association, Anderson Galleries Inc., New York, 10-15 October 1932, lot 487 JWHA Inv. No. 1783 Exhibited Children`s Museum, Hartford, Connecticut, March - April 1976 Schnectady Museum, New York, 4 June - 13 September 1979 The helmet closely resembles one previously sold from the collections of the J. W. Higgins Armory Museum by Thomas Del Mar Ltd, 20 March 2013, lot 315. Both appear to form part of a group made near Paris about 1890 (See Laking 1920-2, Vol. V, pp. 144-6, figs 1567-8)
**A COMPOSITE SOUTH GERMAN BACKPLATE OF ANIME CONSTRUCTION, CIRCA 1560, WITH LATER ETCHED DECORATION formed of four lames articulated to one another by sliding-rivets, of which the first is cut at its upper edge with a broad shallow neck-opening, the first to third are cut at their outer ends with arm-openings and the fourth is formed at its lower end with a waist-flange with a slightly concave edge, the main edges of the piece formed with notched inward turns and its surface later etched in bands and borders on a stippled and blackened ground with interlace involving cartouches enclosing clasped hands, and enclosed to either side by narrower bands of foliate interlace 43 cm; 17 in high Provenance William Randolph Hearst, sold Parke-Bernet Galleries Inc., New York, 24 November 1939, lot 131 Exhibition Worcester Junior College, Worcester, Massachusetts, 30 January 1951 - 17 November 1954 `Romance in Steel: The Heritage of Armor`, J. W. Higgins Armory Museum, 2 January - 3 June 2001 JWHA Inv. No. 2557 Except that it is of anime construction, the backplate closely resembles in both form and decoration, one in the Royal Armouries Museum, Leeds, Inv. No. III.1338, which includes in its decoration badges associated with Rocco Guerrini, Count of Lynar (Dufty & Reid 1968, pl. CXVI). Both may have been etched in the mid-19th century by craftsmen in the employ of the London armour dealer Samuel Luke Pratt. The inspiration for their design appears to be an armour of Emanuel Filiberto of Savoy, in Armeria Reale, Turin, Inv. No. B 34 (Mazzini et. al 1982, Cat. No. 26-26a/b).
**TWO COMPOSITE VAMBRACES FOR THE LEFT AND RIGHT ARMS RESPECTIVELY, GERMAN AND ITALIAN, LATE 16TH CENTURY each formed of a tubular upper cannon fitted at its upper end with a turner and at its lower end with an associated articulating-lame, a shell-like one-piece couter and a tubular lower cannon, fitted at its upper end in the case of the latter with a separate articulating-lame, the main edges of both vambrace formed with roped inward turns accompanied at the cuffs of the lower cannons with a double recessed border (that of the left later added to match the right), and the couter decorated with pairs of incised lines (lightly patinated overall) (2) Provenance Sir Guy F. Laking, London Clarence H. Mackay, Long Island, New York, cat. No A-24 Jacques Seligmann & Company, New York JWHA Inv. No. 2528 Exhibited Springfield Museum of Fine Arts, Springfield, Massachusetts, 17 February-12 December 1941 Literature Stephen V. Grancsay, The John Woodman Higgins Armory, Worcester, Massachusetts, 1961, p. 76 The couters are of North German make, the right vambrace of South German make and the left vambrace of North Italian make.
**AN IRON ANVIL, DATED 1763, PROBABLY GERMAN of `Church Window` form, with flat face and square ends, the front decorated with incised hatched border-ornament enclosing a star dividing the date `1763` and the initials `E. F. B.`, formed with two pronounced `windows` beneath, the rear incorporating a conical horn, stepped base, and an aperture on each side for lifting (bent in profile) 36 cm; 14 ¼ in x 45.5 cm; 17 ¾ in x 28 cm; 11 in Provenance Dr Bashford Dean, Riverdale, New York, purchased from his estate 28 September, 1929 JWHA Inv. No. 908 Literature Stephen V. Grancsay, Catalogue of Armor: The John Woodman Higgins Armory, Worcester, 1961, p. 29, illustrated
**A PAINTED LIMESTONE FIGURE OF ST ELIGIUS, PERHAPS LORRAINE EARLY 16TH CENTURY the saint modelled as a blacksmith shoeing the partial leg of a horse, his anvil resting on a pedestal hung with tools, plinth entitled: St Eloi 110 cm; 43 ¼ in high Provenance William Randolph Hearst, sold Gimbel Brothers, New York, 31 October 1941, no.1381-8 JWHA Inv. No. 2648 Literature Stephen V. Grancsay, Catalogue of Armor: The John Woodman Higgins Armory, Worcester, 1961, p. 29, illustrated
A 19th century South African rhinoceros horn axe, the tapering shaft with a bulbous finial and an iron swallow tail blade, with remains of painted inventory number, 86.2cm high. Provenance: Newton Theological School, Massachusetts, 22nd March 1946. John Woodman Higgins Armory Collection, Thomas Del Mar Ltd, 20th March 2013, Lot 64. Sold with CITES pre-sale authorisation letter. A copy is available up request.
Clarence Millet, A.N.A. (American/Louisiana, 1897-1959), "A Lower Manhattan Street Corner in the Rain", 1922/1924, oil on canvas board, signed lower right, 12 in. x 16 in., period coved frame of Modernist design. Note: A native of Hahnville, Millet came to New Orleans in 1917 to work with Robert Grafton and Louis Oscar Griffith, who were painting their celebrated murals in the lobby of the St. Charles Hotel. From 1922 to 1924 Millet studied at the Art Students` League in New York City, before returning in the latter year to New Orleans, where he worked for the rest of his life. The combination of these facts, with the Gimbels Department Store stencil on the reverse of this canvas board, very strongly supports the hypothesis that this bold and innovative painting was executed in New York during those formative years. Indeed the depicted cityscape seems to bear this out, with the broad "avenue" at left intersected by a typically narrower "side street" in the foreground. The unassuming commercial scene itself appears to fit this interpretation: the size and character of the buildings, their awnings and signage, the flickering images of fast-moving traffic, with a few rain-lashed pedestrians under a lurid night sky, all suggest the strong effect on this 26-year-old artist of the bombshell of European Expressionism, which had burst on the American scene through New York`s notorious Armory Show of 1913, just ten years before. Reference: Estill Curtis Pennington, Downriver: Currents of Style in Louisiana Painting, 1800-1950, New Orleans Museum of Art, 1990/91, pp. 169-174.
AN ITALIAN PLACKART IN THE GERMAN FASHION, LATE 15TH CENTURY of medially-ridged, sub-triangular form, pierced at it`s apex with a rivet-hole to articulate it to the breastplate proper and formed at its lower edge with a short flange similarly pieced to receive a fauld (heavily pitted and patinated overall with some losses and minor perforations, slightly trimmed at its upper edge and fitted with four riveted internal patches) 25.5 cm; 10 in Provenance Believed to have come from the armoury of the Knights of St John at Rhodes, which fell to the Turks in 1522. Similar plackarts from the armoury at Rhodes are to be found in the Museum of the Order of St John, London, and the J. W. Higgins Armory Museum, Worcester, Massachussets (Karcheski & Richardson 2000, pp. 59-61).
**A JAPANESE ARMOUR (TOSEI GUSOKU), EDO PERIODcomprising twenty four plate hoshi-sujikabuto profusely studded over its outer surface, fitted with mabizashi lacquered red on its underside, engraved brass maedate in the form of a vajra and decorated with flowers and foliage, shikoro of three lacquered iron lames, the uppermost with fukigaeshi, finely modelled russet iron ressei style mempo lacquered red on the inside, fitted with a pair of pierced ears, detachable nose and with traces of a moustache, yodarekake of three lames, russet iron lamellar dô lacquered on the inside, kusazuri of five lames, a pair of ko-sode each of seven lames, the middle lames applied with an engraved gilt-brass plaque (one with four detached lames, a pair of russet iron and mail kote, lacquered iron haidate, suneate and kogake ProvenanceJWHA Inv. No. 2032See note at front of catalogue for information concerning stands LiteratureStephen V. Grancsay, The John Woodman Higgins Armory, Worcester, Massachusetts, 1961, p. 124 (ill.)
**SIX SOUTHEAST ASIAN EDGED WEAPONS FROM THE PHILIPPINES CAMPAIGN OF 1898-1906, AND LATER PRESENTED TO THE HIGGINS MUSEUM BY THE DESCENDANT FAMILY OF BRIGADIER GENERAL WILLIAM HAMDEN SAGE (1859-1922)the first three Moro kris, the blades encrusted with silver bands at the base, the grips overlaid with sheet silver and silver wire in alternating bands, and two with silver pommels formed as a stylised dragon; the fourth a barong, with broad leaf-shaped blade, and carved bone grip encased with chased copper at the base; the fifth a parang, with cleaver shaped blade and carved wooden grip, the sixth an Igorot headsman`s axe, of characteristic form, with long wooden haftthe first: 56.5 cm; 22 1/4 in bladeProvenanceDonated to the John Woodman Higgins Armory Collection 9th May 1957 by Nathaniel Sage, Jr. and William H. Sage III, grandsons of Brigadier General William Hamden Sage (1859-1922).JWHA Inv. Nos. 3143.10, 3143.13, 3143.6, 3143.15, 3143.12, 3143.7Sage was born at Centerville, New York, 6th April 1859. He graduated from West Point in 1882; from the Army War College in 1907. He was commissioned a Second Lieutenant, 5th United States Infantry, June 13, 1882 and was promoted through the grades to Colonel, 12th U.S. Infantry, June 13, 1915; temporary Major General, National Guard, August 5, 1917. He was professor of Military Sciences and Tactics, Central University of Kentucky, Richmond, Kentucky, 1892-93; on garrison duty in Texas, 1894-95; Aide-de-Camp to General Ovenshine in the Philippines in 1898; served as Adjutant General, 1st and 2nd Brigades, 1st Division, XIII Army Corps; Adjutant General, 3rd District, Mindanao and Jolo, Philippines; Malsbang, Philippines, 1906; at the War College, 1906-07; Adjutant General, Department of the Columbia, 1907; Mexican Border Service, 1916-17; Commander, Camp Shelby, Hattisburg, Mississippi, September 1917-March 1918; served with the American Expeditionary Forces in France in World War I. He was awarded the Medal of Honor for service during the Philippine Insurrection, at Zapote River, Philippines, June 13, 1899. The citation reads as follows: "With nine men volunteered to hold an advanced position and held it against a terrific fire of the enemy estimated at 1,000 strong. Taking a rifle from a wounded man, and cartridges from the belts of others, Captain Sage himself killed 5 of the enemy." He died on June 4, 1922 and is buried in Arlington National Cemetery. Abridged from http://www.arlingtoncemetery.net
**A RARE MORO TRIBESMANS SHIRT 19TH CENTURYformed of thick brass butted links extending to the upper thigh and the top of the arms, the front and back with rows of horn plaques, a single row of brass plaques towards the base, the main frontal plates enriched with small chased silver plaques, and fitted with a pair of catches for closure (one incomplete, some plaques cracked, small losses)ProvenanceDonated to the John Woodman Higgins Armory Collection 9th May 1957 by Nathaniel Sage, Jr. and William H. Sage III, grandsons of Brigadier General William Hamden Sage (1859-1922).JWHA Inv. No. 3521See footnote to previous lot
**A GREEK CORINTHIAN BRONZE HELMET, 6TH CENTURY BCformed in one piece with a rounded crown turned outwards at its rear to form a neck-guard, and projecting downwards at its front to form a deep face-defence cut with a broad Y-shaped opening formed at its centre with a sturdy forward-sloping nasal-bar, the brow embossed in low relief with a `horn` motif beneath a scallop-shell, with raised shaped eyebrows either side (the whole heavily patinated throughout, showing numerous perforations due to corrosion, and several glued repairs)26.5 cm; 10½ inProvenanceSumner Healey, New York, 27th September 1927JWHA Inv. No. 56LiteratureStephen V. Grancsay, Catalogue of Armor, The John Woodman Higgins Armory, 1961 pp. 18-19 (ill.)ExhibitedMichael C. Carlos Museum, Atlanta, Georgia, 14 July 1999-14 July 2001`A Show of Power: Talons, Swords and Samurai`, Berkshire Museum, Pittsfield, Massachusetts, 23 January-6 June 2010`Armed and Dangerous` sent by the Berkshire Museum, Pittsfield, Massachusetts, to the Memphis Brooks Museum, Memphis, Tennessee, November 2011-March 2012
**A LEAD PORTRAIT MEDALLION OF NICHOLAS COUNT OF SALM, PROBABLY GERMAN, LATE 19TH CENTURYthe hatted bust in high relief profile surrounded by the inscription: `Niclas.Graf.zu.Salm.der.Elter` and beside the date 1521 in Roman numerals, reverse scratched: J.W.H. Armory No.692, 6 cm, 2 3/8 in diameter; together with a "In Tempestate Securitas" silver medal, the talisman based upon a Thaler coin, well worn; and an apparently Louis XIII brass coin(3)ProvenanceMedallion: Frédéric Spitzer, Paris, sold Anderson Galleries, New York, 10th January 1929, lot 291Medal: A. Swatek, Grosstes Antiquataten Lager, Salzburg, sold 2nd May 1930JWHA Inv. Nos. 692, 1190, 1725.104
**A GROUP OF THREE IRON KEYS:a folding key with elaborate bit, perhaps 18th century; a key with circular pierced bow and later shaft and bit, perhaps 17th century; and a key with pierced decorative bow and elaborate bit in late 17th century style(3)ProvenanceFirst key: Sumner Healey, New York, 27th December 1930Second key: St. Christopher`s Church, Worcester, Massachusetts, given to Higgins Armory Museum 9th April 1968JWHA Inv. Nos. 1358, 3449.b, 558
**TONY-FRANCOIS DE BERGUE (FRENCH, 1820-1890)THE ARMOURER AND HIS CAVALIERSsigned `Tony De Bergue` l.r.;oil on panel47cm x 39; 18 1/2in x 15 1/2ProvenanceDonated to the John Woodham Higgins Armory Collection by Mr & Mrs Samuel Mixter, Brookline, Massachusetts, USA, 17th September, 1950JWHA Inv. no.6209
**EMILY BURLING WAITE (AMERICAN, 1887-1962)A GERMAN ARMOUR WITH THE ORDER OF THE GOLDEN FLEECE AND SCULPTURE IN THE BACKGROUNDSigned U. L;oil on canvas80cm x 64.5; 31 1/2in x 25 1/4ProvenanceJWHA Inv. no.1979.01The German armour (JWHA no.938) is displayed in the John Woodman Higgins Armory and is illustratedwearing the "Order of the Golden Fleece". In the background is a sculpture,offered in this sale as lot 136
**A COMPOSITE GERMAN CAP-A-PIE FIELD ARMOUR IN THE SO-CALLED `MAXIMILIAN` FASHION, CIRCA 1515-30comprising close helmet with rounded one-piece skull (extensively patched) rising to a low roped medial comb, bellows visor and bevor (both associated and reworked) attached by common pivots (replaced), the visor stepped beneath its centrally-divided vision-slit and pierced with eight horizontal ventilation-slots arranged in two rows and, at its right side, with a circular hole for a missing lifting-peg, and a single gorget-plate front and rear (associated), collar of four lames front and rear (restored), heavy breastplate formed of a rounded main plate fitted at each of its arm-openings with a moveable gusset, at the right of the chest with a detachable folding lance-rest (restored), at each shoulder with a pierced stud for the attachment of a reinforce (a plugged hole at the centre of its lower edge probably the site of a further such stud), and within its lower edge with a waist-lame (associated) flanged outwards to receive a fauld of four lames and a pair of integral tassets each of four lames (both the fauld and tassets restored), heavy backplate en suite with the breastplate, formed of a main plate fitted within its lower edge with a waist-lame flanged outwards to receive a culet of four lames (restored), large asymmetrical pauldrons (the right partly disarticulated) formed in each case of five lames (the first two of each and the fifth of the left restored), fitted at the front of the second of them with a large detachable reinforce (restored) extending upwards as a haute-piece, and connected at its lower end, via a turner, to a fully articulated vambrace formed of tubular upper and lower cannons linked by a couter of three lames of which the second is fitted at the front with a detachable reinforce (restored) extending over the otherwise open inside of the elbow, mitten gauntlets each formed of a short straight-ended cuff pierced around its edges with paired stitch-holes and fitted with a separate inner plate (that of the right restored), five metacarpal-plates, a knuckle-plate, five finger-plates and hinged thumb-defences (the last restored) each formed of three scales of which the first and largest is pierced around its edges with holes matching those of the cuff, cuisses (restored) each formed of a gutter-shaped main plate fitted at its upper edge with three short extension-plates and at its lower end with a winged poleyn of five lames, and full-length tubular greaves each formed of a front and a rear plate opening at the inside (the upper end of each front plate and the lower end of the right rear plate extended by patched repairs), the rear fitted at its upper end with a staple to accommodate the strap of the poleyn and at its lower end with a moderately-long spur (restored) terminating in a rowel of six slender points, and the front fitted within its arched lower end with a broad-toed sabaton of seven lames, the main edges of the armour formed with boldly roped inward turns accompanied in most cases by single or double recessed borders, and the armour decorated overall, except on the greaves, with bands and panels of flutes emphasised by pairs of incised lines (the flutes later added on the vambraces and gauntlets)See note at front of catalogue for information concerning stands ProvenanceFrédéric Spitzer, Paris, sold Anderson Galleries, New York, 9th-12th January 1929, lot 617JWHA Inv. No. 701.a-lLiteratureStephen V. Grancsay, The John Woodman Higgins Armory, Worcester, Massachusetts, 1961, p. 40 (ill.)ExhibitedRev. Seweall Emerson, Boston, Massachusetts 1957Mrs Kenneth L. Whitney, Leicester, Massachusetts, 1 July 1957Renseslaer County Junior Museum, New York, February-April 1959Williams College, Williamstown, Massachusetts, 26 April-10 May 1960Army Quartermaster, Natick, Massachusetts, 10-18 May 1962Childrens Museum, Boston, Massachusetts, 6 January -9 July 1964Ayres Agency, Worcester, Massachusetts, 3 November-7 May 1965Rockefeller Centre, New York, 1-30 June 1965Worcester Polytechnic Institute, Worcester, Massachusetts, 7 September-30 June 1966Clarke Art Institute, Williamstown, Massachusetts, 17 October-30 November 1980`The Armorer and the Printmaker`, Higgins Armoury Museum in conjunction with the Worcester Art Museum, Worcester, Massachusetts, 2 June-6 September 1998 (helmet only)The fine cuirass of the armour is of notable weight and capable of receiving, in addition, a reinforcing breastplate.
**A COMPOSITE BLUED AND GILT WESTERN EUROPEAN CAP-A-PIE FIELD ARMOUR, CIRCA 1550-80, WITH LATER DECORATIONcomprising Italian close helmet with one-piece skull rising to a high roped medial comb and struck at the nape with a maker`s mark involving a monogram, visor, upper bevor and bevor attached to it by common pivots and secured in each case by a spring-catch (the visor restored, the upper bevor associated and the spring-catches and pivots replaced), the visor pierced beneath its stepped and centrally-divided vision-slit with fourteen circular ventilation holes and fitted at its right with a lifting-peg also serving as the release for its spring-catch (broken), the prow-shaped upper bevor pierced at its left and right sides respectively with thirteen and fourteen circular ventilation-holes in rosette formation, and two rounded gorget-plates front and rear (those at the rear associated, those at the front restored using old metal), German breastplate of `deep-bellied` fashion formed of a medially-ridged main plate fitted at its neck-opening with an integral collar of two lames (restored), at its stepped arm-openings with movable gusset (restored) in each case pierced with a pair of holes for the attachment of a besague, at the right of the chest with a rigid lance-rest (restored), and at its flanged lower edge (patched) with an integral fauld of three lames (restored) supporting long tassets each of seven lames (associated and in part modified to fit their present context), the lowest lame of the left tasset struck with the Vienna arsenal-mark and the fauld pierced with a hole to receive a one-piece-German codpiece (patched at its upper edge), backplate formed of a main plate fitted at its neck-opening with an integral collar of two lames (restored) and flanged outwards at its lower edge to receive a culet of three lames (restored, probably using old metal), two large asymmetrical German pauldrons (not a pair) each formed of six lames (several showing patching and plugging, and one removed from between the fourth and fifth of the right), a pair of fully articulated Italian vambraces each formed of a one-piece turner (the left with some plugged holes), a tubular upper cannon, a winged bracelet couter of three lames and a tapering tubular lower cannon opening at the rear, German mitten gauntlets each formed of a flared and obtusely-pointed one-piece cuff closed by a riveted join at the inside of the wrist, four metacarpal-plates, a knuckle-plate decorated with a roped transverse rib, four finger-plates and a hinged thumb-defence of four scales (the metacarpal-plates and the finger-plates associated and reworked to their present context, the knuckle plates-and thumb-defences restored), short cuisses each of four lames terminating in a winged poleyn of four lames (the left cuisse and the first three lames of its left poleyn restored), and a pair of full-length tubular greaves each formed of a separable front and rear half (the front of the right and the rear of the left restored) and furnished with an integral sabaton of four lames connected by strips of Oriental mail to rounded toe-caps (restored), the main edges of the armour formed with file-roped inward turns, the couters and poleyns each decorated on the points and wings respectively of their main plates with raised quatrefoils and confronted volutes (the quatrefoils of the couters and the volutes of the poleyns later), and the remainder of the armour decorated overall with recessed borders and vertical bands (the bands later except on the codpiece), all gilt on an overall heat-blued ground (the gilding and bluing later) See note at front of catalogue for information concerning stands ProvenanceDr. Bashford Dean, Riverdale, New York, sold Parke-Bernet Galleries, New York, 26th October 1950, lot 110JWHA Inv. No. 2879.a-oExhibitedMetropolitan Museum of Art, New York, prior to 1950Berkshire Museum, Pittsfield, Massachusetts, 6 January-21 February 1966New England Museum of Science, Boston Massachusetts, 1-11 December 1966 Winterfest, Boston `Art of the Armorer`, Flint Institute of Art, Missouri, 1 December 1967-1 April 1968Worcester Pressed Steel Co., for New England Museum of Science, Boston, Massachusetts, 2-6 December 1968 Lowe Art Museum, Miami, Florida, 1 December 1979-13 January 1980`Road Warriors: Knight Riders`, Norton Museum of Art, , West Palm Beach, Florida, 24 June-4 September 2000LiteratureStephen V. Grancsay, The John Woodman Higgins Armory, Worcester, Massachusetts, 1961, p. 60 (ill.)The inside of the right greave inscribed `Toe-caps, waste [sic.] armor / parts of cuissards, 1 knee, 1 back / of lower leg modern. /Restored by R. Bartel 1916`. The rear of the lance-rest is similarly inscribed on its rear, `piece faite par / Julien Arrechea / 1916`.Raymond Bartel subsequently became armourer to William Randolph Hearst at St Donat`s Castle, Glamorganshire, Wales.The recessed vertical bands that decorate codpiece were clearly the inspiration for the embellishment of the remainder of the armour. The embossed volutes on the couters served as the inspiration for those of the cuisses, and the embossed quatrefoils of the cuisses, for those of the couters.
**A COMPOSITE NORTH ITALIAN CAP-A-PIE FIELD ARMOUR, LATE 16TH CENTURYcomprising close helmet with rounded one-piece skull (trimmed at the right of its face-opening) rising to a low roped medial comb (patched at its apex) and fitted at the nape with a plume-holder of brass (replaced), visor, upper bevor and bevor attached by common pivots (replaced), the visor with centrally divided vision-slit fitted at its right side with a moulded lifting-peg (replaced), the prow-shaped upper bevor pierced at its right side with nine small ventilation-holes in rosette-formation and secured to the bevor proper by means of a pierced stud and swivel-hook, and two short gorget-plates front and rear (the former associated), German collar of three lames front and rear, the lowest at the front struck with the fir-cone quality-control mark of the city of Augsburg (the second lame in each case restored, the lowest in each case associated), breastplate formed of a main plate of deep "peascod" fashion, decorated at the neck with a roped V-shaped rib struck there with the serial number 18 , fitted at its arm-openings with movable gussets (restored), at the right of the chest with a hinged lance-rest (restored) and flanged outwards at its lower edge to receive an associated fauld of two lames (detached) and a pair of pendent tassets (not a pair) each of nine lames (the first of the left associated), German backplate formed of a main plate fitted within its lower edge with a waist-plate flanged outwards at its lower edge to form an integral culet, both parts retaining traces within them of former `black-and-white` embossed decoration, the waist-lame with welded repairs and patches at each end), two large asymmetrical pauldrons (not a pair), each of seven lames (the lowest of the left with a patched repair) connected by a turner to a fully articulated vambrace formed of a tubular turner and upper cannon linked by a winged bracelet couter of three lames to a tapering tubular lower cannon, two gauntlets (not a pair) each formed of a flared and pointed one-piece cuff closed by a riveted join at the inside of the wrist and fitted with four metacarpal-plates, a shaped knuckle-plate, scaled finger-defences and a scaled and hinged thumb-defence (the last two restored), two cuisses (not a pair and the left extensively patched) each formed of a single medially-ridged plate, boxed at the outside and fitted with an associated poleyn of four lames, the third furnished with a small centrally-puckered side-wing, and tubular greaves connected in each case by four ankle-lames front and rear to a pair of integral round-toed sabatons formed of eight lames at the front and one at the rear (the rear plate of the left greave, the ankle-lames and the sabatons restored), the main edges of the armour formed with roped inwards turns accompanied at points by recessed borders, in some cases enclosed by roped ribs, and its subsidiary edges variously decorated with similar ribs or with single or double incised lines See note at front of catalogue for information concerning stands ProvenanceDr. Bashford Dean, Riverdale, New York, sold American Art Association, New York, 23rd November 1928, lot 149JWHA Inv. No. 611.a-pExhibitedSchenectady Museum Association, Schenectady, New York, 22 September 1959-June 1960George T. Brown, Vive-President of the Whitinsville Spring Ring Co., 17-20 May 1963Baptist Church at Adams Square, Worcester, Massachusetts, 28 June-15 July 1963John Masters, Holden, Massachusetts, 10-16 September 1963Atlantic Union College, Lancaster, Massachusetts, 7-19 February 1964LiteratureStephen V. Grancsay, the John Woodman Higgins Armory, Worcester, Massachusetts, 1961, p. 79 (ill.)
**AN EMBROIDERED HORSE CAPARISON IN EARLY 17TH CENTURY STYLE, 19TH CENTURYof red velvet, embroidered in gold with bold sprays of foliage over its surface, trimmed with bullion, comprising two large panels for the torso, with further smaller panels for the reins, breastplate, and harness (areas of light wear, losses); together with a saddle pad and saddle liningProvenanceThe first: Hollingworth Magniac CollectionJoseph DuveenOliver H. P. BelmontClarence H. Mackay, sold Seligmann & Co., New York, 9th November 1940JWHA Inv. Nos. 2610.10, 2604.5LiteratureStephen V. Granscay, The John Woodman Higgins Armory, Worcester, Massachusetts, 1961, p. 70-71 (ill).The museum archives state that the first was formerly in the collections of the Counts Czarpary and also Ca` Morosini, Venice.
A FINE RUSSIAN ICON OF THE SIGN MOTHER OF GOD, CIRCA 1700. A finely painted icon echoing elements of the Moscow Armory School style. Here, the Mother of God is depicted in this ancient waist up composition with hands held up in prayer and the infant Christ within a mandrolla upon her chest as red six-winged seraphim look on. The double raised border painted with the family saint Paraskeva. In an excellent state of original preservation retaining 95% of the original paint layer as well as original varnish. 12.25 inches x 11 inches (31 x 28 cm).
An early 19th century flint lock brass barrelled blunderbuss with spring bayonet, the barrel octagonal at the breech with two muzzle rings and a bell shaped mouth, length of barrel 39cm, lock with engraved line decoration and the makers mark H Nock, with walnut stock, brass furniture with engraved decoration to the trigger guard, complete with ramrod. This lot is accompanied by an invoice from the Lanes Armory of Brighton, East Sussex, dated 19th November 2001 at a price of £2,400 (illustrated)
Rare Colt`s Patent Fire Arms Manufacturing Co. Letter Describing Shoulder Stocked ArmiesColt letter from their offices on 240 Broadway St, New York dated 14 Jany 1861 to Mr. Col. W.T. Mantin. Text of letter states Brought of Colt`s Patent Fire Arms Manufacturing Co. 160 8 in NM Army pistols $25 $4000.00. 80 breech stock solid 8 640.00. 80 Holsters 1.00 80.00. 10.000 cartridges for Do 2.75 275.00.The total with a 10% discount of 499.50 was 4,495.50. Plus 80 Powder Flasks 1.25 100.00 25 no caps 1.50 34.50 The total was 4,633.00. Letter states Rec. & Paid Jany 16, 1861 Wm. B. Hartley Secty Co. Lot further includes 13" x 10" (w/frame) engraving of Colt`s Armory and Machine Shops Hartford, Conn. by the Atlantic Publishing and Engraving Co. New York. Condition: Letter is excellent. Print with 5.5" tear in bottom right margin only.Starting Price: $500
Springfield Model 1872 Light Cavalry Officer`s Sword34" blade with etched panels of military motifs. On the blade near the ricasso in four lines is an etched panel marked U.S., Armory, Springfield, Mass. This type of marking was used on swords circa 1880. Shagreen and gilt brass wire wrapped handle, with gilt chased pommel and three-fingered guard. Metal scabbard with chased brass fittings and drag. Condition: Blade and handle are in excellent condition. Blade retains 98% of the nickel finish. Nickel scabbard is speckled with storage rust. Overall excellent example of an early light cavalry sword.Starting Price: $325
Springfield Model 1860 Field and Staff Officer`s Sword31.25" length blade with etched panels of military motifs. Marked in a panel near the ricasso in four lines U.S. Armory, Springfield, Mass. Leather and brass wire wrapped handle. Chased brass pommel, chased brass knuckle bow and cupped guard. Metal scabbard with brass fittings. Marked on the drag "6" and SWP. Condition: Sword is excellent overall. Scabbard has some speckling of patina mixed with the original nickel finish.Starting Price: $300
*Springfield Armory Model 1899 Krag Carbine.30-40 Krag cal., 22" barrel, S/N 226035. 1898 carbine marked rear sight with "C" on the blade and the leaf; 1898 carbine handguard. Correct 1898 band; front sight with sight protector. Walnut stock with cartouche 1899/JSA. Condition: This is a very fine carbine retaining 95% of the barrel blue. Receiver has a mottled grey look. Stock is excellent with some very minor nicks and dings. Hand-guard and stock are evenly matched and appears to have been together since leaving the arsenal.Requires FFL or C&RStarting Price: $1000
*U.S. Springfield Armory Model 1922 Bolt Action Rifle.22 LR cal., 24" barrel, S/N 19601. Blue finish, walnut stock, bolt numbered to the gun; 3/30 barrel date. Condition: Excellent condition with an excellent bore. It retains ca 97% original blue finish and has an excellent stock with only minor dings and scratches. This is a clean and collectible M1922.Requires FFL or C&RStarting Price: $1250
*Springfield Armory Model 1922 M2 Rifle.22 LR cal., 24" barrel, S/N 21129. Parkerized finish, nickel steel bolt with M2 marks on bolt body and handle and numbered with electric pencil to match serial number, walnut stock, coarse checkered buttplate. Condition: Excellent condition with an excellent bore. It retains ca 98% original parkerized finish with only light handling marks. The stock rates excellent and it would be hard to find a better example.Requires FFL or C&RStarting Price: $2000
*Springfield Armory Model 1922 M2 Rifle.22 LR cal., 24" barrel, S/N 17101. Parkerized finish, walnut stock. Condition: Excellent condition with an excellent bore. This rifle is as nice as you will find with ca 99% original parkerized finish and an excellent stock.Requires FFL or C&RStarting Price: $1500
*WWI Colt 1911 Semi-Auto Pistol with Holster.45 ACP cal., 5" barrel, S/N 247905. Blue finish, walnut checkered grips; 1918 date of mfg. Hoyt 1917 dated holster with J.J.M. inspector`s mark; Springfield Armory magazine. Condition: Excellent condition with an excellent bore. This gun has been professionally restored and retains ca 95% of the added finish with the only missing finish being a replaced mainspring housing with no finish. All markings are crisp and metal surfaces are excellent with some small areas of pitting under the new finish. The grips are replacements and are in excellent condition. The original holster is excellent.Requires FFL or C&RStarting Price: $500
*Springfield Armory Trophy Match 1911 Semi-Auto Pistol.45 ACP cal., 5" barrel, S/N NM197340. Stainless steel finish, checkered rosewood grips, adjustable sights, adjustable trigger, beavertail grip safety, extended thumb safety, skeletonized hammer, checkered grip-straps; original box. Condition: Excellent condition with an excellent bore. This gun is in near-new condition.Requires FFL.Starting Price: $350
Burke, Sir Bernard The general armory of England, Scotland, Ireland and Wales. London, 1884. 8vo, modern red cloth gilt, tape repaired, bookplate, previous ink inscription removed from endpaper; Burke, John Heraldic illustrations. London, 1844. 8vo, engraved title and frontispiece, plates, contemporary half morocco gilt, worn, waterstaining, bookplate; Morant, Alfred General armory two. London, 1973. 8vo, original red cloth gilt, very clean and bright, bookplate; King, Col. E.J. The seals of the order of St. John of Jerusalem. London, 1932. 8vo, one of 400 copies, frontispiece, original cloth gilt, stains to upper boards, interior clean, bookplate; Papworth, J.W. Ordinary of British armorials. London, 1985. 8vo, original red cloth gilt, rubbed, bookplate; and 8 others (13)
A hardbound volume - ``Burke`s General Armory`` 1878 with dedication to the fly leaf ``John Devereux Van Loder Carns on his birthday April 19, 1878 from his affectionate Father J.W. Stradling Carns, St. Donats Castle`` and embossed ``Nash Manor, Cowbridge, South Wales``; and two hardbound Volumes ``Debrett`s Peerage and Titles of Courtesy`` 1946 and Debrett`s Baronetage, Knightage and Companionage 1946
A 19th Century American Five Shot Rimfire Pocket Revolver, the 7cm octagonal steel barrel stamped "WHITNEYVILLE ARMORY CT. U.S.A. PAT.MAY 1871", with foliate engraved fluted cylinder, the nickel plated frame engraved with diapering and acanthus leaves, with sheath trigger, two piece rosewood bird head grip, the pommel strap numbered 3935B.
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