Antique Armour

Depicting the allegories "Poesie" (Poetry), the left panel, a figure playing a harp or lyre, and "Stärke" (Strength), the right panel, a knight in armor with a sword. The reliefs wer...

The sitter is shown wearing polished ceremonial armour of the type fashionable in the final decades of the seventeenth century.

The top row shows soldiers from reliefs: a soldier in helmet and cloak with a sword and oval shield, two legionaries in plate armor with curved rectangular shields, a standard bearer...

The varied mix of figures, coins and armor gives the sheet a lively pattern on a wall.

Below, four smaller scenes show soldiers in segmented armor carrying blocks and working with tools beside buildings and tents, men building curved brick walls and carrying baskets be...

At either side stands a large trophy: a helmet and a cloak or a scale armor cuirass set up on a post, hung with long hexagonal shields and oval shields, with winged boys at the base.

Attached below is the original multi-lame yodare-kake (throat guard), beautifully laced with finely woven silk cords in warm golden tones, demonstrating the meticulous craftsmanship ...

The symmetrical layout around the sword gives the sheet a strong presence in a frame, alone or with other armor plates. Condition: Light age toning, a little darker toward the edges...

Clothing was made of silk brocade and his armor is metal and lacquer. His face is made of gofun, the features are finely painted and the eyes were made of glass.

The combination of the dragon's animated expression, sinuous form, and the tortoise's protective armor lends the sculpture a compelling sense of movement and mythical authority.

A highly decorative English bronze figural table lamp dating to circa 1920, modelled as a Roman or classical warrior standing in full battle armour and supporting an elegant cranberr...

Keywords: Henri IV, Henry IV of France, Bourbon dynasty, French king, Renaissance France, equestrian portrait, royal portrait, Thomas de Leu, Chevignard, 1596, horse, Renaissance arm...

The work was among the first large French publications to rely on color lithography throughout, and its plates were drawn directly from manuscripts, textiles, armor and goldsmiths' w...

The red, blue and gold make this one of the brighter armor plates, and it frames well alone or in a group.

Clothing was made of silk brocade and his armor is metal and lacquer. His face is made of gofun, the features are finely painted and the eyes were made of glass.

The two contrasting royal figures are presented in their respective ceremonial and military armour, offering an interesting visual comparison between the two Tudor and Lancastrian mo...

The work was among the first large French publications to rely on color lithography throughout, and its plates were drawn directly from manuscripts, textiles, armor and goldsmiths' w...

Designed as an oval shaped face painted with enamel to depict the Greek Goddess Athena Enamel is opaque peach, pink, yellow, black, and white in color - minimal loss Depicted in prof...

The rectangular setting is ornamented with a hang carved agate cameo, depicting a profile of a man in armor, bearing figural ornamentation to the upper portion of his helm, in additi...

Clothing was made of silk brocade and his armor is metal and lacquer. His face is made of gofun, the features are finely painted and the eyes were made of glass.

The work was among the first large French publications to rely on color lithography throughout, and its plates were drawn directly from manuscripts, textiles, armor and goldsmiths' w...

He bears a fierce, wrathful expression to terrify evil spirits, wielding a drawn sword in one hand while clad in incredibly elaborate, high-relief ceremonial armour. He stands triump...

This print originates from 'A critical inquiry into antient armour as it existed in Europe (..)' by Sir Samuel Rush Meyrick.

The lighting highlights the female figure, accentuating her delicate complexion and exquisite drapery, while the warriors' burnished armor creates an effective chromatic contrast. Th...

Raised decorative panels depict helmeted, armored figures in profile, their angular forms outlined in gold against deep brown grounds.

The work was among the first large French publications to rely on color lithography throughout, and its plates were drawn directly from manuscripts, textiles, armor and goldsmiths' w...

The character is represented in armor, mounted on a horse with a raised gait, in an attitude imbued with dignity and authority.

He wears classic Roman armor in an iridescent metallic blue that highlights his muscular build, yet is balanced by the celestial and idealized grace of his beautiful face.

The god's face and hands are gilt and the beard is biscuit; an aubergine cape falls over apple green scale armor, and the horse's trappings are in white biscuit or gilt.

The subjects are 1 Samuel 14, Jonathan and his armour bearer attack the Philistines, and 1 Samuel 15, Samuel slays Agag.

Particularly attractive are the mounted knight in full armor, the richly caparisoned horseman, the crowned noble figure in ceremonial armor, and the noblewoman accompanied by a child.

Anthropomorphic (human-shaped) haniwa have a distinct appearance, consisting of a small head and blank, minimalist face with cutout openings for eyes This particula haniwa is a war...

Excellent quality early half length portrait in armour set within an oval. Presented in an early gilt carved frame. unsigned Measurements 39'' x 31'' approx.

The artwork serves as an illustration for Lord Byron's 1814 narrative poem Lara, depicting the faithful page Khaled supporting the wounded, armored knight mounted on a battle horse.

This print originates from 'A critical inquiry into antient armour as it existed in Europe (..)' by Sir Samuel Rush Meyrick.

Clad in a belted tunic, laced cross-gartered leggings, and an enveloping mantle, the figure is rendered with crisp linear drapery and traditional armour detailing. Constructed for...

Produced during the Edo period, such masks formed part of a suit of armour and were designed both to protect the wearer and to project an intimidating martial presence on the battlef...

ㅤ The crest, depicting an arm in armour with a bow at the wrist and broad arrow, closely corresponds with that recorded for the Downing family of East Hatley.

This print originates from 'A critical inquiry into antient armour as it existed in Europe (..)' by Sir Samuel Rush Meyrick.

This print originates from 'A critical inquiry into antient armour as it existed in Europe (..)' by Sir Samuel Rush Meyrick.

Kuan Ti has biscuit scale armor under an apple green robe with four-clawed dragons, and the third figure's pedestal shaft is paneled in lozenge and swastika trellis.

He wears a green cap with a yellow fillet and green lozenge armor with a blue lion mask clasp, his hands now empty; the horse is a delicate marbled aubergine with green and yellow ha...

His right foot rests on a black-striped yellow tiger, and both the tiger and the tiger head on his belt bear the character wang for power. The engraved scale armor is soft aubergine ...

The face is an unusual aubergine and the hands a lighter aubergine; the colors reverse those of the companion, with a green undergarment and soft yellow armor, and the biscuit masks ...

The face and hands are in extraordinarily brilliant blue enamel, with a soft yellow undergarment and green armor, a black girdle with an aubergine mask of power, and a five-section c...

He holds one dragon on his knee and sets his right foot on another rising from the sea, wearing green armor engraved with lozenges over aubergine garments and yellow breeches.

The plate reproduces a whole illuminated manuscript page in facsimile: Louis XII and Anne of Brittany seated with their ladies under a green and gold canopy, a courtier kneeling befo...

The work was among the first large French publications to rely on color lithography throughout, and its plates were drawn directly from manuscripts, textiles, armor and goldsmiths' w...

The warship was conceived as a direct response to the German Imperial Navy's Moltke-class battlecruisers, introducing notable advances in speed, primary armament, and belt armour com...

These Guardian Foo Dogs or Tibetan snow lions in armor are known for their protective qualities.

The work was among the first large French publications to rely on color lithography throughout, and its plates were drawn directly from manuscripts, textiles, armor and goldsmiths' w...

The crocodilian is shown vertically within the composition, its elongated head, articulated legs, armored body and tapering tail carefully worked in relief.

This print originates from 'A critical inquiry into antient armour as it existed in Europe (..)' by Sir Samuel Rush Meyrick.

A clean, diagrammatic plate that hangs well in a study or alongside other prints of arms and armor. Condition: Light wear to the top right corner.

In the upper image a knight in scale armor and a conical helmet with a nasal guard rides a gray horse, raising one hand to his helmet; he carries a long kite shaped blue shield paint...

A grand Renaissance wall monument rises in tiers against the Gothic piers of a great church in this upright steel engraving. At the top an armored horseman rides beneath a niche betw...

This print originates from 'A critical inquiry into antient armour as it existed in Europe (..)' by Sir Samuel Rush Meyrick.

This print originates from 'A critical inquiry into antient armour as it existed in Europe (..)' by Sir Samuel Rush Meyrick.

This print originates from 'a critical inquiry into antient armour as it existed in Europe (..)' by Sir Samuel Rush Meyrick.

This print originates from 'A critical inquiry into antient armour as it existed in Europe (..)' by Sir Samuel Rush Meyrick.