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pastel on paper, signed, titled label verso mounted, framed and under glass image size 21cm x 29cm, overall size 42cm x 50cm Label verso: The Open Eye Gallery, Edinburgh Note: Painter, draughtsman and teacher, born John Knox at Kirkintilloch, Dunbartonshire. He studied at Glasgow School of Art, 1953–7, where his teachers included William Armour and David Donaldson. In 1958 won a travelling scholarship which enabled him to study in Paris under André Lhote. Knox painted in a variety of styles, being influenced by the American Abstract Expressionists for a time, although on occasion creating still lifes in the manner of the Dutch Old Masters. From 1965–81 Knox taught at Duncan of Jordanstone College of Art, Dundee, in 1981 becoming head of painting at Glasgow College of Art. Took part in many group shows in Scotland and abroad and had a series of one-man exhibitions, including 57 Gallery, Edinburgh; Serpentine Gallery in London; and Civic Arts Centre, Aberdeen. In 1983 a solo show was toured to a number of Scottish venues by the Scottish Arts Council; Drawings 1956–1998 was held by Cyril Gerber Fine Art and Compass Gallery, Glasgow, in 1998. Was elected RSA and has work in many public collections, including Scottish National Gallery of Modern Art, Edinburgh. Lived for some time in Carnoustie, Angus.

Ca. AD 200 - 400 . A cylinder seal made of rock crystal. It depicts a fighting scene between soldiers using knives and spears, wearing helmets and armour, alternating with recumbent animals. The seal is pierced vertically with a drill. Size: 25.4mm x 12.7mm; Weight: 7.4g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

Ca. AD 1500 - 1700.A steel chamfron boxed over each side of the muzzle and flanged around the eyes, the flat rectangular steel cheek plates attached to either side of the chamfron with short chain mail links, with integrated convex blinkers, featuring central cartouche designs to the bridge of the nose, and a central gold fixture to the centre of the forehead for holding a banner or plume. The chamfron, a type of armour designed to protect a horse’s head in battle, and shaped to fit over the horse’s forehead, extending down to cover the cheeks and nose.Size: 590mm x 330mm; Weight: 1.13kgProvenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ming Dynasty, Ca. AD 1368-1644. A pair of terracotta warriors dressed in full armour. The soldiers stand in a commanding pose, asserting authority. Such items were likely used in burial practices for the deceased. Size: 230-230mm x 90-90mm; Weight: 1kg Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong.

Collection of metal ware, including silver plated cutlery, brass and copper teapots, brass armour leg, collectors drawers containing pipes, etc

A XX Century Metal Armour Breastplate, of concertina form, 37cm long (unextended) and a helmet, having helderberg flaps. (2).

French cast iron fireback, arched form with relief of medieval armour and heraldic symbols, including a shield with a cross and a plumed helmet

A lamp standard formed by a knight in armour, supported on a square cut oak frame, 155cm high

A c.17th century Dutch genre tavern scene with a woman and two cavaliers, lower left there is an armour chest plate and possibly a rolled up Prinsenvlag flag, oil on panel, unsigned, 15.5 x 15.5 cm, unframed

Star Wars - Full Size replica Altmanns Armour Star Wars Stormtrooper helmet, Official Lucasfilm Licence product, model with green plastic eye pieces, in vg condition

ROLEX GMT-MASTER II DATE STAINLESS STEEL WRISTWATCH, ref. model 16710, serial number F234XXX, circa 2004, black dial, date aperture at 3 o'clock, luminous dot and baton hour markers, 'Mercedes' hands with luminous inserts, centre seconds, minute track, bi-directional rotating 'Pepsi' bezel, oyster bracelet numbered 78790A, GMT-Master booklet, green Rolex oyster booklet, guarantee certificate, purchase receipt and valuation from Armour-Winston Ltd both dated 22/06/2014, in Rolex box and outer boxProvenance: private collection Pembrokeshire since 2014Comments: fine example in excellent condition, light wear, some scratches to bracelet commensurate with age, seldom worn, ticking, viewing highly recommended

A composition three dimensional wall plaque, depicting a knight in armour  33"h

* JAMES S DAVIS DA PAI RSW FRSA (SCOTTISH b. 1944), O'ER THE HILLS TO ARDENTINNY oil on board, signed, titled verso mounted, framed and under glassimage size 45.5cm x 51cm, overall size 74cm x 77cmNote: James Davis was born in Scotland in 1944. He studied contemporary painting at the Glasgow School of Art between 1963 and 1967. He specialised in drawing and painting under the tutorage of Scottish artists William Armour and David Donaldson. For more than 40 years James Davis paintings have been exhibited extensively with the Royal Glasgow Institute ( RGI), Royal Scottish Watercolour Society (RSW), Royal Scottish Academy RSA and the Paisley Art Institute ( PAI). James Davis was elected to the RSW in 2003. James Davis paintings are predominantly landscapes, figurative and portraits and he paints in both watercolours and oils. Davis has been the recipient of many art awards for his contemporary paintings including the David Cargill Award; RGI in 2003 and the Reid Kerr Painting Award in 2005. James has established a strong following with leading private and corporate art collectors of contemporary Scottish art. These include: HRH The Duke of Edinburgh; The Royal Collection; Holyrood Palace; King Hussein Family Private collection; Vatican Commission Scott's College Rome; Glasgow City Chambers; Merk Finance; Arisaig Holdings (Singapore) and Strathclyde Education Authorities. His paintings also feature in many private contemporary art collections in the UK, Canada, USA, Italy, Holland, France, Switzerland, Australia and Tasmania.

* GORDON HOPE WYLLIE RSW (SCOTTISH 1930 - 2005), HILLSIDE FARM mixed media on paper, signed and dated '84, titled versomounted, framed and under glassimage size 19cm x 19cm, overall size 42cm x 42cmNote: Gordon Wyllie was born in Greenock and in 1949 was accepted to study at the Glasgow School of Art. Under the tutelage of such luminaries as Edward Odling and Mary and Willie Armour, Gordon distinguished himself, graduating in 1953 after an eminent final year. He was awarded the post-diploma, or Masters course, won the Scottish Academy Award and also the Newbery Medal, the school's most prestigious prize. This was all the more remarkable considering that Gordon had, in his diploma year, returned home to care for his father, whose seriously deteriorating health ended in death two months before the degree show, and Gordon himself had suffered a bout of pneumonia. With a scholarship award, he studied that summer at Hospitalfield, Arbroath, as a post-graduate under Ian Fleming. Fleming inspired Gordon and encouraged him in abstraction, with which he occupied himself for the next few years. Meanwhile, he trained at Jordanhill College of Education in Glasgow to become a teacher, in the vanguard of the resurgence of art teaching in Scottish schools by the new art masters, undoubtedly because they painted actively while teaching full-time. Passionate about art education, he was instrumental in influencing many students to pursue a career in the creative industry. A former pupil aptly described his classroom as a "guided exploration rather than a formal lesson". His love of the Scottish countryside is mirrored in his work and undoubtedly stemmed from the bank of images he built when, as a youngster, he travelled with his parents around the country. Argyll and the Western Isles were his favourite destinations, where he was fascinated by the crofts and farms sprouting from the land. Small houses typified his landscapes and still-lifes included abstracted landscapes; flowers, particularly poppies, fruit and fish feature in his later output. In 1996, he was awarded the Alexander Graham Munro prize at the RSW exhibition in Edinburgh. His work featured regularly in one-man and combined shows and at his last one-man show in London in 2003, demand for his paintings remained high, as it has done ever since.

* JACK KNOX RSA RSW RGI (SCOTTISH 1936 - 2015), HERON FISHING pastel on paper, signed, titled label versomounted, framed and under glassimage size 21cm x 29cm, overall size 42cm x 50cm Label verso: The Open Eye Gallery, EdinburghNote: Painter, draughtsman and teacher, born John Knox at Kirkintilloch, Dunbartonshire. He studied at Glasgow School of Art, 1953–7, where his teachers included William Armour and David Donaldson. In 1958 won a travelling scholarship which enabled him to study in Paris under André Lhote. Knox painted in a variety of styles, being influenced by the American Abstract Expressionists for a time, although on occasion creating still lifes in the manner of the Dutch Old Masters. From 1965–81 Knox taught at Duncan of Jordanstone College of Art, Dundee, in 1981 becoming head of painting at Glasgow College of Art. Took part in many group shows in Scotland and abroad and had a series of one-man exhibitions, including 57 Gallery, Edinburgh; Serpentine Gallery in London; and Civic Arts Centre, Aberdeen. In 1983 a solo show was toured to a number of Scottish venues by the Scottish Arts Council; Drawings 1956–1998 was held by Cyril Gerber Fine Art and Compass Gallery, Glasgow, in 1998. Was elected RSA and has work in many public collections, including Scottish National Gallery of Modern Art, Edinburgh. Lived for some time in Carnoustie, Angus.

* JAMES (JIM) WYLIE, SUNSET STUDY oil on canvas, signed, titled versoframed and under glassimage size 20cm x 25cm, overall size 42cm x 47cm Note: Jim Wylie, a native of Glasgow, is a graduate of Glasgow School of Art where he studied Drawing and Painting under such prominent figures as Willie Armour, Geoff Squire, Sinclair Thomson, and Duncan Shanks. The grounding he received in composition and in colour in the true Glasgow tradition has remained a mainstay of his work. Wylie exhibits continually in a variety of private galleries across Scotland, with work also widely available in cards and in print. He is a member of Paisley Art Institute and contributes regularly to the annual exhibition, one of the largest of its kind outside Glasgow or Edinburgh, where he has been awarded prizes on five occasions.

[GRIMALDI, Stacey.] A Suit of Armour for Youth. London: by the Proprietor [R. Ackermann], 1824. First edition, 12mo (179 x 100mm.) Engraved hand-coloured frontispiece by Cosmo Armstrong after William Grimaldi, 11 hand-coloured engraved plates with movable flap overlays showing a symbolic illustration of armour. (Offsetting to text, mild toning, blanks replaced.) Near contemporary Spanish calf bound by Root & Son with two black morocco pieces to the spine, gilt fillet borders, g.e. (rebacked, endpapers replaced, crease to covers).

A FINE GERMAN (SAXON) RAPIER, CIRCA 1580-1600 with slender tapering blade of flattened-hexagonal section, struck with the sacred trigram ‘IHS’ enclosed by a series of decorative marks within a short fuller on each face at the forte, border-engraved tapering ricasso enclosed by a blackened rain-cover with roped edge, blackened iron hilt (the colour refreshed in places), comprising a pair of slightly drooping quillons of hollow-triangular section broadening towards their pointed tips and each engraved with a pair of chevrons on the front, outer ring-guard en suite and fitted with a flat plate pierced with four heart-shaped apertures, diagonal inner-guard formed of a broad plate joined to the quillon-block by a heart-shaped thumb-loop, large faceted plummet-shaped pommel engraved with pairs of lines, and fishskin-covered grip, perhaps early, bound with slender iron bars between shaped collars, 105.38 cm blade ProvenanceAn Important English Private Collection LiteratureThe Fourth Park Lane Arms Fair, 1987, p. 6. This form of hilt is recorded from the second quarter of the 16th century and remained popular at the somewhat conservative Dresden court until the early 17th century. Other swords of this type are preserved in the former Electoral Armoury Dresden. Five further swords from this group are listed in the Princes Schwarzburg Armour inventory of 1708, and a near identical example in the Victoria and Albert Museum (inv. no.M.46-1947). See Hilbert 1998, p. 69; Norman 1980, pp. 75-76; Henkel and Kessler 2017, p. 160 and Hayward 1963, no.3c.

A FINE AND IMPORTANT NORTH ITALIAN ENGRAVED THREE-QUARTER CUIRASSIER ARMOUR, CIRCA 1620-30, PROBABLY BRESCIAcomprising Zischagge with one-piece skull rising to a low comb of inverted V-section, fitted at its nape with a plume-holder and at its apex with a bulbous finial on a large quatrefoil washer, projecting forward at the brow to an obtusely-pointed peak with a rectangular staple above it carrying a nasal with elaborately shaped finial and secured by a thumb-screw, and fitted at its rear with a pronounced flared neck-guard of four lames, the lowest of pointed ogee profile (disarticulated at right end), and at each side with a two-piece pendant cheek-piece, fitted at its centre with a domed rivet enclosed by eight radiating rectangular slots within a frame of circular ventilation-holes and stepped at the front top to accommodate the peak; collar of a single plate front and rear, fastened at the right by a stud and key-hole slot; heavy breastplate formed in one piece with a low medial ridge, struck with the proof mark of a bullet at the right of the chest, fitted at each side with a stud to receive a shoulder-strap and a further stud at its centre, a pierced stud at each side to receive a swivel-hook from the back-plate, flanged outward at its base to receive a pair of tassets each of fifteen lames divisible at the eighth; poleyns of four lames the second in each case fitted with a large centrally-puckered wing; backplate matching the breastplate, struck with the proof mark of a bullet, fitted at each shoulder with a leather strap reinforced with four iron scales, at the base with a hook at each side to engage the breastplate, and at its base with a broad culet of seven lames; a pair of full arm-defences comprising a pair of symmetrical pauldrons each of seven lames overlapping outwards from the third, connected by a turner to a pair of vambraces each formed of a tubular upper and lower cannon linked by a couter of four lames with a centrally puckered oval wing at the front, and enclosed at the inside of the elbow by ten lames overlapping inwards from the sixth, the lower cannon fastened at the front by a sprung stud; a pair of gauntlets each with a flared cuff closed at the inside, articulated by a wrist-plate to three metacarpal plates, a shaped knuckle-plate, a hinged thumb-defence and finger-lames (with small restorations); the principle borders of the armour formed with plain inward-turned edges, those of the base of the cullet roped, the whole decorated throughout with engraved trophies-of-arms within elaborate strapwork frames filled with pointié foliage, the turners and gauntlets each with trophies incorporating cannon and artillery tools, a running border of flowers at the principle edges, the secondary borders with a frieze-work of blind arcading, the breastplate with a Patriarchal Cross in the centre at the neck; the inside of the skull and the backplate painted with a white inventory number ‘45’, in clean, stable condition throughout (the bottom edge of the left poleyn with light pitting and small chips, the decoration of the culet with areas of wear, minor disarticulations, expertly releathered, some buckles restored): on a wooden stand with leather boots ProvenancePerhaps one of the group of armours purchased by Lord Somers in 1853, stated (incorrectly) to be of Emperor Charles V’s bodyguard and preserved in Milan for many years.Charles Somers-Cocks, 3rd Earl Somers (1819-83), Eastnor Castle, thence by descent LiteratureLady Henry Somerset, Eastnor Castle, London 1889, p. 22: ‘A three-quarter suit of Plate Armour, engraved with trophies of arms and fleur-de-lys’. A helmet of very similar form, decorated in the same style, is preserved in the former collection of the Dukes of Este at Konopiště, Czech Republic (inv. no. I.c.D-114, and illustrated Šáda 1986, p. 37, no. 18.t.) The specific inclusion of cannon and artillery tools such as ladles and sponges on the turners and gauntlets may suggest that this was intended for a senior officer of artillery. The Patriarchal Cross, also called the Cross of Lorraine, is probably a reference to the venerated relic of the True Cross in the cathedral at Brescia that is housed within a cross of the same form. Two morions of circa 1570-80, decorated with a similar cross along with the rampant lion of Brescia and attributed to the that town’s guard are respectively preserved in the Metropolitan Museum of Art, New York (acc. no. 14.25.532) and the Museo Civico L. Marzoli, Brescia (inv. no. 330). See Rossi and Di Carpegna 1969, p. 55 cat. no. 120. Another armour of this type, formerly in the collection of Tosio Martinengo, and now in the Museo Civico L. Marzoli, Brescia, is illustrated Rossi, p. 77, cat. No B67. The armour in Brescia has a close helmet in place of Zischagge, a matching stud in the centre of the chest, divisible tassets, enclosed elbows, and similar decoration throughout including the rampant lion of Brescia on the breastplate. A cuirass decorated in a similar manner and attributed to the ownership of one of the Counts Martinengo, is preserved in the Armeria Reale, Turin. See Boccia and Coelho, p. 526, nos. 445, 446 and 448. A slightly later cuirass in the Victoria and Albert Museum (inv. no. 5778-1859), is decorated in a related manner, with the conjoined initials ‘AM’, and a Count’s coronet above a Patriarchal Cross and Orb in the centre. The initials are similar to those on the ricasso of a left-hand dagger attributed to Pietro Antonio Martinengo, Count of Brescia (recorded 1644-1671), now preserved in the Art Institute of Chicago (ref. no. 1982.2150).

A VERY FINE MEDIEVAL SWORD, CIRCA 1420-60 with markedly tapering straight double-edged blade of flattened diamond-section with shallow concave faces and a sturdy acute point (Oakeshott type VIII), struck on each face with a maker's mark (one filled edge nick towards the forte), iron hilt comprising a pair of quillons of flattened-diamond section, swelling at the centre to form an écusson and tapering towards their downturned terminals, large wheel-shaped pommel (Oakeshott type J), recessed on each face with a circular panel centring around a small dimple, low pyramidal button with squared off top, plain tapering tang, and in characteristic excavated black-patinated stable condition throughout, 73.0 cm blade, 90.4 cm overall ProvenanceChristie’s London, 8th July 1980, lot 37An Important English Private Collection LiteratureOakeshott, Ewart, A River-Find of 15th Century Swords, in, Stuber, Karl and Wetter, Hans, Blankwaffen, 1982, pp. 17-32, sword no. 4.Oakeshott, Ewart, Further Notes on a River-Find of 15th Century Swords, in, The First Park Lane Arms Fair, 1984, pp. 7-12, illustrated pp. 7-8.Oakeshott, Ewart, Records of the Medieval Sword, 1991, p. 134, sword no. XV8.Oakeshott Ewart, The Swords of Castillon, in, The Tenth Park Lane Arms Fair, 1993, pp. 7-16, illustrated p. 10, no. B Thomas, Clive, Additional Notes on the Swords of Castillon, in, The Park Lane Arms Fair, 2012, pp. 40-63, illustrated p. 47. This very well formed and remarkably well preserved sword has been described as 'one of the finest and.....the most handsome' (Oakeshott 1984, op.cit.) found near the site of the last battle of the 100 Years War. Fought near Castillon in Gascony in 1453, the battle was won decisively by the French, who used cannon for the first time with devastating effect against the English. The latter included a task force that had been specially raised and equipped in England by John Talbot, Earl of Shrewsbury, who was at that point in his 70s. Some years earlier the Earl had been released, on condition that he never again don armour, which he did and was killed by a ball at that battle. In Monstrelet’s account written shortly afterwards he wrote that a number of English escaped across the River Dordogne, where the group to which this sword belongs was found later on: ‘those who could not enter the town fled by land or water, but in regard to the last, they were mostly all drowned…’

GUY FRANCIS LAKING (1875-1919) A PAINTING OF THE MOUNTED GERMAN GOTHIC ARMOUR IN THE WALLACE COLLECTION (NO. A21)signed G. F. Laking (lower right), in gilt frame, circa 1905, pencil, grey brown wash heightened with white35.2 x 45.7 cm ProvenanceChristie's 16th July 1997, lot 72 LiteratureClaude Blair: Introduction to Sir Guy Francis Laking, Bart., C.B., M.V.O., F.S.A., A Record of European Armour & Arms through Seven Centuries, 2000, p. XXI. The sale at Christie's included two further pictures that also show Laking's very skilled draughtsmanship. Though best known as an authority on antique arms and armour Laking trained as an artist, having left Westminster School 'somewhat early, owing to a boyish escapade with a pony...' See Blair op. cit.

A RARE INDIAN SHAFFRON OF HARDENED HIDE, 17TH/18TH CENTURY formed of a main plate and two large cheek-pieces, all constructed of very narrow imbricated strips of hide with invected edges and retained by stitching, with its fabric lining (holes) and soft leather borders (patches of wear, staining, small losses), 57.0 cm For a complete horse armour of this type see Ricketts and Missillier, 1988 cat. no.141.

A FINE AND WELL MATCHED COMPOSITE NORTH ITALIAN THREE-QUARTER ARMOUR WITH ETCHED DECORATION, CIRCA 1590comprising close helmet with rounded one-piece skull rising to a high roped medial comb (pierced at its apex for attachment of a plume, and showing a small patched repair) pierced with nine holes in rosette-formation at each side at the base, fitted at its nape with plume-holder, visor, upper bevor and lower bevor attached to it by common fluted pivots, the visor sloping forward to a centrally-divided vision-slit (lacking lifting-peg), the prow-shaped upper bevor pierced at its right with nine ventilation-holes and secured to the lower bevor at the same side by a pierced stud and swivel-hook (the latter replaced), and three gorget-plates front and rear (the lowest front lame cracked through and repaired); collar formed of a single deep plate front and rear, each struck with a small octopus-like mark and secured at the right by a stud and key-hole slot (small chips on the left); breastplate formed of a main plate of deep 'peascod' fashion, embossed with a pair of adorsed volutes beneath the neck-opening, fitted at its arm-openings with originally movable gussets, pierced with two holes at its right for a lance-rest, and flanged outwards at its lower edge to receive a fauld of one lame, fitted at each side with three straps supporting a pendent tasset of six lames (the fifth at the left with a small chip); one-piece backplate formed at its lower edge with a short biliobate flange, fitted at either side of the neck with a buckle (replaced) for a shoulder strap and at its waist with a belt (replaced); two pauldrons of asymmetrical design (not a pair), each embossed front and rear with a volute and formed of seven and eight lames respectively; vambraces of fully articulated tubular design, each fitted at its upper end with a turner of two lames, and at its elbow with a winged bracelet couter of three lames; two gauntlets (not a pair) each formed of a flared and pointed tubular cuff closed at the inside of the wrist by an overlapped join, four and five metacarpal-plates respectively, a knuckle-plate, the left decorated with a roped transverse rib, (thumb-and finger-scales missing); upper leg-defences each formed of a cuisse with a short gutter-shaped main plate fitted at its lower edge with a poleyn of four lames of which the second is formed at its outside with a large medially-puckered oval side-wing; the main edges of the armour formed with file-roped inward turns and recessed borders accompanied by narrow bands of cabling, and its surfaces decorated with etched designs including classical portrait rondels on the volutes of the breastplate, backplate and pauldrons, the latter each accompanied by a large cartouche front and back enclosing scenes from the Labours of Hercules, bands and borders of ornament consisting of trophies of arms within ropework borders all on a blackened and stippled ground and enclosed between narrower bands of guilloche, a number of secondary borders with slender frames of beadwork, and the principle elements painted with the early inventory number ‘29’ (small areas of pitting, the cuisses attached by rivets to the tassets, releathered) Stand not included ProvenanceOne of the group of armours purchased by Lord Somers in 1853, stated (incorrectly) to be of Emperor Charles V’s bodyguard and preserved in Milan for many years.Charles Somers Somers-Cocks, 3rd Earl Somers (1819-83), Eastnor Castle, thence by descent LiteratureLady Henry Somerset, Eastnor Castle, London 1889, p. 21: ‘On stands round the Hall are ranged thirty-three three-quarter suits of plate armour, each consisting of helmet, back and breast plates, lobster cuisses and knee-pieces, pauldrons, arm-pieces and gauntlets. This was the armour of the body-guard of the Emperor Charles V, and was preserved in Milan for many years, where it was purchased by Lord Somers in the year 1853.’ This armour would have been intended for use without greaves. The decoration is very well matched throughout, perhaps assembled from two, or a small number of armours from a series. A further pair of cuisses from this series are preserved in the Wallace Collection (inv. no. A293 & A294).

TWO ANCIENT EGYPTIAN BOWS, PROBABLY MIDDLE KINGDOM CIRCA 2000 B.C., AND THREE STONE ARROWHEADS the bows slender, circular in profile, with thin nocks and substantial set in the limbs, one made of two pieces of wood joined at the centre, the other thinner and made from a single piece of wood, in a glazed display case with the inscription ' Egyptian bows of Middle Kingdom (about 2000B.C.), the wood of Carob Bean (Ceratonia silliqua) native of Mediterranean region, the case of English Yew, presented to the Royal Company of Archers, "F.R.S. Balfour & A.N. Balfour, of Dawyck. 1936’; the arrowheads with a note: 'Flint Implement from Gibelun about. 2500BC' (4), each made of chert knapped from a blade core, with visible bulb of percussion on the tangs and pressure-flaked sawtooth edges, 111.0 cm in length Frederick Balfour was initially employed in his family firm in London. He travelled extensively on business and made several expeditions to the Pacific coast of North America, on one occasion staying there for 4 years, acquiring a deep knowledge of forest trees. He introduced the cultivation of several pines including Picea brewiana and developed the Arboretum at the family estate at Dawyck near Peebles, which he had inherited from his father in 1886. In 1916 Balfour was sent to France to liaise with the French Army over supplies of timber, being appointed Lieut. Colonel for the purpose. His interest in forestry continued after the war and he travelled extensively to supplement the Dawyck collection. With many business interests and directorships, Balfour was a member of the King’s Bodyguard for Scotland, Royal Company of Archers and a local Justice of the Peace and Vice Lieutenant of the county in Peeblesshire (see Desmond 1945). His son, Alastair Norman Balfour (1909-96) was a member of Royal Company of Archers from 1930 onwards. During the Old and Middle Kingdom, the most commonly encountered bow was of simple stave-like form, sometimes with a single or double curve. This was replaced by the composite bow from the Eighteenth Dynasty onwards, probably introduced by the Hyksos, along with the use of the horse and chariot and copper alloy for use in armour. See McLeod 1960 and Grayson 2004.

A COMPOSITE INDIAN FULL ARMOUR, 17TH CENTURY comprising helmet (coif), of heavy rings of D-section wire alternating with solid rings of near square-section wire, fitted at the top with a small iron rondel, a flap covering the face-opening, extending over the upper chest and the upper back, mail and lamellar shirt, open at the front, of dense mesh over the chest, extending to the thigh and with a pair of full length arms, fitted with two pairs of large plates each with four hasps for closure, and a pair of additional plates on each side, one plate with an inscription, back with three columns of downward-lapping scalloped and additional side plates, mail and lamellar arm-defence formed of seven rectangular plates, a moulded curved wrist-plate with an additional plate either side, extending over the hand, and full length trousers (small losses), complete with a rare pair of iron shoes, each drawn-out to a point at the tip: on a mannequin with glass base (the mail with small losses and restorations), 175.0 cm high ProvenanceRoy Elvis Catalogue Number A34

A RARE INDIAN SHAFFRON OF HARDENED HIDE, 17TH/18TH CENTURY formed of a main plate and two large cheek-pieces, all constructed of very narrow imbricated strips of hide with invected edges and retained by stitching, with a its fabric lining (holes) and soft leather borders (patches of wear, staining, one edge missing, small losses), 52.0 cm For a complete horse armour of this type see Ricketts and Missillier, 1988 cat. no.141.

A RARE INDIAN PART HORSE ARMOUR OF HARDENED HIDE, 17TH/18TH CENTURY including flank pieces shaped for the saddle and extending over the rump and five further panels, all constructed of very narrow imbricated strips of hide with invected edges and retained by stitching, with soft leather borders and a portion of an early fabric lining (patches of wear, staining, small losses) For a complete horse armour of this type see Ricketts and Missillier, 1988 cat. no.141.

1811 George III silver Three Shillings Bank Token, 26 acorns (S 3769, ESC 408 A1/A2, Bull 2065). Obverse: first laureate draped bust in armour, right, front laurel leaf to end of 'E', 'GEORGIUS III DEI GRATIA REX' around. Reverse: oak wreath with 26 acorns, 'BANK TOKEN 3 SHILL. 1811'. Weight: 14.82g. Diameter: 34.9mm. Grade: EF - light tone with a hint of colour and some lustre, Extremely Fine.

A PAIR OF JAPANESE PORCELAIN SATSUMA VASESMeiji period, of hexagonal section, decorated with soldiers in armour and figures in robes, 30cm high (2)

Second World War British Dunkirk Medal Group attributed to Captain Maurice J.W. Jacobs Royal 9th Machine Gun Battalion, Royal Northumberland Fusiliers. Comprising of 1939-45 Star, Italy Star, Africa Star, Defence Medal, 1939-45 War medal and 1940 Dunkirk medal together with set of medal miniatures, Ribbons, Captain eppelautes, Northumberland Fusiliers Hackle, Cap Badges, Wool Bullion Prize Marksman qualiftication badge, Signalman qualification badge. Together with 1939 dated Frenchs Ltd Officers Map case named "M.J.W.Jacobs" Y. Coy 9.R.N.F" with original map of Dunkirk and Dieppe area. with further photograph of Captain Jacobs and Copy of telegram from Major General H.O. Curtis congratulating him on holding Steenbeque against enemy Armour and infantry for 48 hours - dated 25th May 1940

Lead Knights, Britains set 1307 16th Century Knights in Armour with only five figures (box fair), boxed Timpo Mordred, and a selection of mounted, on foot and in battle Knights and Crusaders (condition, good to fair), (lot).

Chinese red clay figure of a warrior in traditional armour, holding a scroll in left hand, H33cm.

Irish Medieval Figure Sculpture 1200-1600. A study of Irish tombs with notes on costume and armour. John Hunt, Peter Harbison, photographs David Davison. Irish Academic Press. 1974. Large format. 2 volume etc. near fine.

Irish Medieval Figure Sculpture 1200-1600. A study of Irish tombs with notes on costume and armour. John Hunt, Peter Harbison, photographs by David Davison. Irish Academic Press. 1974. Large format. 2 volume etc.

WW1 37MM RUSSIAN NAVAL AP ROUND. First World War Russian Naval 37mm armour piercing round, Russian ordnance markings to base, dated 1905, (Please note this item is being sold in the United Kingdom and responsibility for collecting/shipping resides with the buyer).

Gerrit van Honthorst ( 1592-1656) – attributed, Portrait of a young gentleman in half armour , oil on canvas, framed. 73X60 cm

A late 19th century French mantel clock maker LeRoy Paris the gilt metal a d marble vase surmounted with figures of soldiers in armour the movement silk suspension striking on a bell and with makers stamp and numbered 471. With pendulum not seen working. 60cm wide 40cm high

A miniature Medieval suit of armour with longsword and shield , 43cm tall. Postage category C

Erik Lamela white No.11 Tottenham Hotspur short-sleeved shirt, 2015-16, Player issue, Under Armour size M, crew neck collar, embroidered badge, reverse lettered LAMELLA with the UEFA Europa League flash on the right sleeve and the UEFA Respect flash on the left. There is some evidence on match wear soiling both on front and back of the shirt. 

Nathan Redmond grey and yellow No.22 Southampton short-sleeved shirt, 2019-20, Under Armour, M, with button-up collar and embroidered cloth badge inscribed SOUTHAMPTON FC, the reverse lettered REDMOND, the right sleeve with Premier League flash.

A Victorian painted cast iron heraldic crest, late 19th/early 20th century, the crest with a sheep above a knight in armour and scrolls, 48cm wide44cm high

Franklin Mint Armour Collection 1:48 scale diecast model Hurricane MkIIB Tropical RAF274SQN, in original box No.B11B576 (1)

Franklin Mint Armour Collection 1:48 scale diecast metal B-24 Liberator USAAF Little Gramper, in original box No.B11C967 (1)

Oxford 70th Anniversary 1:72 scale diecast The Battle of Britain Collection including Supermarine Spitfire MkI, Hawker Hurricane MkI & Gloster Gladiator MkII, boxed & Armour Collection 1:48 scale Messerschmitt BF109, boxed (2)

Franklin Mint Armour Collection 1:48 scale diecast model F-86 Sabre Beautious Butch II USAF 12910/FU-910, in original box No.B11B297 (1)

An extensive collection of die-cast vehicles, boxed, including Matchbox, Oxford, Corgi, Collection Armour, RBS Collectables, etc.

Eight desk sealslate 19th / early 20th century comprising a large continental silver seal cast as a knight in armour with squire, a silver-gilt German seal engraved with scrolling foliate decoration, a planished silver seal, a silver seal of tapering design with guilloche enamel decorated terminal, a German Jugenstil design silver seal, etc. first length 10.9cm., total weight of silver seals approx. 7.62oztCondition:Mostly good condition. Some loss to enamel terminal of tapering seal/ One seal is a marriage with a gilt metal seal and an associated handle

ERII Household Cavalry Royal Horse Guards 1st Dragoons cuirass/breastplate. Consists of front and rear armour sections and shoulder straps. black lacquered steel breastplates with brass edging and brass studs. Shoulder straps of brass plates on leather straps. Front and rear plates are backed in leather. inside named 'Carpenter 063' and 'Kennedy'. stamped 'Comd Sup London District' and dated 15th September 1989. together with a pair of Royal Horse Guards 1st Dragoon Epaulettes and Aiguillettes

A vintage fireside companion set, in the form of a knight in armour. Height 46 cm.

Herald - Set H7599 - Trojan Warriors, Uncatalogued Painting Proof set for First Issue [joint Britains/Herald] Paint Scheme introduced in 1958/59], comprising: Mounted General on a White Horse, 3 x Warriors on Foot with Swords, 1 x Warrior with Spear and an Archer [slight loss to bow tip] Unusually all Weapons, Armour & Helmets are Painted in Combinations of Gold & Bronze [many early examples have been seen with gold helmets but without exception all are depicted with silver shields & armour]. New Scheme Applied by Charles Biggs [Britains Chief Designer & Director] & Used as a Paint Sample, but Never Put into Commercial Production. Excellent overall, contained [strung on plain black insert card with early Herald label] in a Near Mint [some very minor age wear] Early issue Herald "Cartoon" Type Label Black & Yellow Set Box with Charles Collection Label to Base Believed UNIQUE

Unconfirmed Maker - Possibly Rose, NHD or Similar - Roman Empire Series, comprising: Scorpion Siege Bow with Crew, Legion Armourer Burnishing Armour, Quadriga Chariot with Driver & Spearman [some display wear], Roman Legionaire with Pack Mule & Roman Auxillary Infantryman. Generally near Mint overall [some minor display wear], now contained in Mint plain boxes. [5]

Catalogues - Auction Catalogues, Posters, Medals, Military Badges, Military Themed Postcards, Etc., comprising: a quantity [100+ Pieces] Includes: Masonic Medals in Leather Pouches, Military Postcards, Wallis & Wallis Arms & Armour Catalogue, Etc. Very Good overall. [Qty]

Britains - Royal Armouries Series [Hand painted collectible Armour Series], comprising: Set 40291 - Pavia 1525 - Diorama, Set 40286 - Henry VIII Mounted, Set 40285 - Henry VIII, Set 40287 - Charles I, Set 40288 - Two Princes, Set 40289 - The Lion Armour & Set 40290 - James II Mint overall, contained in near Mint set boxes. [7]

Pair of brass framed mirror wall sconces, each with two candle holders (27cm x 22cm) and a pair of novelty brass candlesticks in the form of soldiers in armour each bearing two candle holders aloft (H 19cm). (4)

A BOX OF INERT SHELL AND BULLET CASES, to include a 30mm armour piercing round, SA80 rounds in speed loader etc. (All inert)

A DECORATIVE METAL FIGURE OF A STANDING KNIGHT IN ARMOUR HOLDING A POLE ARM, H 89 cm

A WW2 RUSSIA INERT 57mm ARMOUR PENETRATING PROJECTILE, circa 1944

A pair of fine miniature armours, 19th century in the 16th century style, each comprising: a close helm with high comb finished with a rope-twist crest and with a ribbed and pierced visor, cuirasses suspending faulds and tassets supplemented by mail skirts, pauldrons, vambraces with rotating joints to the upper cannons and couters with heart-shaped inner guards, gauntlets, cuisses, poleyns, greaves, and square toed sabatons, one armed with a sword and one with a mace; most parts fully articulated, the borders finished with rope twist details and rows of domed brass rivets; each armour mounted on a miniature mannequin with painted face (one naturalistic and one gold) and set on a gilt-wood plinth; all within two later glazed cases; each armour approximately 305 mm high. [2]

Arms and Armour: a collection of illustrated hardback reference books, including: Oswald Graf Trapp & Mario Scalini, 'The Armoury of the Castle of Churburg', two volumes boxed together; Alan Williams, 'The Knight and the Blast Furnace, a History of the Metallurgy of Armour in the Middle Ages & the Early Modern Period' and 'The Sword and the Crudible'; 'The Armourer's Art, Essays in Honor of Stuart Pyhrr'; Hans Prunner (ed.), Charles A. Stothard, 'The Monumental Effigies of Great Britain'; Electa Editrice, 'Armi e Armature Lombarde'; Mario Trosso, 'Le Armi in Asta'; and other similar titles. [qty]

Arms and Armour: a collection of illustrated hardback reference books and museum catalogues, including: Tobias Capwell, 'Masterpieces of European Arms and Armour in the Wallace Collection', in presentation box with complimentary USB stick; Susan Marti (ed.), 'Charles the Bold Splendour of Burgundy'; Carlo Paggiarino and Hans Prunner (ed), 'The Wallace Collection', 'The Churburg Armoury' and 'The Royal Armouries' Vols. 1 & 2; Jan Piet Puype and Harm Stevens, 'Arms and Armour of Knights and Landsknechts'; Bengt Thordeman, 'Armour from the Battle of Wisby 1361'; I. G. Boccia, 'L'Armeria del Museo Civico Medievale di Bologna'; and other titles. [qty]