Antique Armor LLC, 7242 Sw 42 Ter, Miami, FL (2026)

03/29/2026

Come visit us at the Original Miami Beach Antique Show. Booth 233

03/04/2026

ULTRA RARE 6 COPPER-ENGRAVED COLOR DRAWINGS/PAGES FROM “WEAPONS HANDLING OF CAVILERS, MUSKETS AND PIKES” BY J. de GHYEN 1608:

Introduction: The entireultra-rare, highly expensive manual sells for over $25,000 when available!The six drawings (pages) under discussion sell for a fraction of that and will adorn the wall of any early 1600’s collector.
And it costs a microscopic fraction of the cost of the book!
Created in 1607–1608 under the orders of Prince Maurice of Orange, the manual was designed to standardize infantry drills for the Dutch army during their revolt against Spain. It provided a step-by-step visual and written guide to teach

“inexperienced soldiers”, the “entire and perfect handling” of standard 17th-century weaponry.

The book was an “overnight sensation” in Europe and was quickly translated into German, English, and Danish. It even influenced artists like Rembrandt, who is said to have drawn inspiration from its depictions of soldiers for his famous painting, The Night Watch. While the original Dutch version (Wapenhandelinghe) was published in 1607, the French edition followed in 1608, published in Amsterdam by Robert de Baudous.

While commissioned by the Dutch Prince Maurice, the French editions were widely circulated in France during the reign of Louis XIII (1601–1643), as the king was a noted arms enthusiast and military reformer who centralized French infantry training.

Discussion: The manual is famous for its 117 copper engravings, which are divided into three distinct series:
Arquebuses: 42 plates showing the use of the lighter matchlock firearm. Muskets: 43 plates illustrating the handling of the heavier musket and its fork rest. Pikes: 32 plates demonstrating postures for the long pike.

Jacob De Gheyn II (Jacob De Gheyn the Younger), who was born in Antwerp in 1565 and died in The Hague on 29 March 1629, was a...

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03/04/2026

BOMBARD OF WROUGHT IRON CIRCA 1425:

Description: This cannon is too big and heavy to be considered a hand cannon and not big enough to be a bombard designed to tear down castle walls. Instead, it would have been attached to a carriage or castle wall and possibly used as an anti-personnel weapon. It can be identified from its short, relatively stout proportions as an early example of its kind. It would have been secured to its stock using iron bands. The lug recoil hook on the rear bottom would serve the function of a recoil suppressor by transversing the stock and absorbing the recoil. The lifting ring at the top would have been used to lift and transport the hexagon powder chamber with roping decoration, a touch point with a channel, and moldings at the muzzle.

Dating: This example certainly postdates the vase-shaped Loshult example. It was probably made in the first half of the 15th-century.

Dimensions: Bore 65mm. Length 290mm. The height from the vertical lifting ring and the bottom of the lug is 290mm.

Discussion: The introduction of the hand cannon/gun likely closely followed that of the cannon itself. The earliest unequivocal evidence for the existence of guns dates from 1326 when the Council of Florence passed a decree authorizing the appointment of two men to make metal cannons (cannones de metallo) for the defense of the Republic. The “English Royal Privy Wardrobe Accounts” for the year 1346 refers to guns with tillers (cum telariis), probably meaning handguns. The accounts of the Italian commune of Perugia in 1364 specifically refer to “500 bombards of a span in length, which can be carried in hand” (Blair, op. cit., p. 40; and Blackmore, op. cit., p. 5). The earliest reference to the...

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03/02/2026

AN EXCEPTIONALLY ELEGANT ETCHED GERMAN BURGONET IN THE TASTE OF CIRCA 1580 BY MASTER ARMORER ERNST SCHMIDT:

Introduction: This burgonet is so well-made that most people who see it in person think it’s a mint condition museum piece that you spent $30K-$40K to acquire! This is a masterful etched burgonet by German Master Armorer Ernst Schmidt 1870s–1930). He was a prominent German craftsman and dealer based in Munich, Germany, renowned for his highly detailed reproductions of Medieval and Renaissance Arms and Armor. His reproductions are highly collectable and are displayed even in museums today.
The Victorian period in the United Kingdom was from 1837 to 1901; The Historismus period refers to a similar period in Germany and surrounding countries that was widespread in the 19th century and still partly resonated in the early 20th century. During the Victorian and Historismus periods, the fad among the mega wealthy was collecting Arms and Armor. Collecting was fashionable, but there weren’t enough authentic period Arms and Armor pieces to satisfy demand, so many exceptional reproductions were made. Many of these pieces were very well made by old-world artisans. Now, after over 100 years, these pieces have aged and, for many collectors, are difficult to distinguish from period pieces.
Discussion: If this were an etched burgonet from 1580 in similar mint condition, you would be paying $20,000 -$30,000! Instead, it’s priced at a fraction of that. Here are some key facts about German Master Armorer...

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02/19/2026

AN ULTRA ELEGANT GERMAN CURASSIER HEAVY CAVALRY ARMOR CIRCA 1610: All period pieces with no Victorian replacements! Exceptionally well matched with many homogeneous pieces. Bargain-priced for a quick sale.

Introduction: Walk into the office, living room, or den of any house with a full suit of armor, and instantly your eye is drawn to it. A suit of armor makes a loud and powerful statement of class, style, taste, sophistication, wealth, power, fortitude, and a certain unique mystique that no other decoration or art can match. It speaks volumes about its owner without saying a single word.

Heavy Cavalry consisted of a three-quarter armor with a close helmet and knee-length tassets. Greaves and sabatons were replaced with leather boots. From 1620 onwards, they were referred to as cuirassier after discarding their lances. By circa 1600, the heavy lance began to go out of vogue, except for Scotland and Spain. The Germans continued to manufacture cuirassier armor much longer than England and other parts of Europe until circa 1650. The cuirassier was active as early as the English Civil War and in the Thirty Years’ War.

Mass-produced suits of armor such as this one under discussion (typically for export) were usually made in three sizes: (A) small, (B) medium, and (C) large. I believe this armor is large. Mass-produced armor is the opposite of a custom suit of armor made for a wealthy knight or nobility that was measured the same way a modern custom tailor measures for a perfectly fitting suit. Both contract production and custom-made armors are considered homogeneous if all parts are kept together.

Discussion: The decline of armor had already begun around the middle of the 16th century. Protective defensive armor came to a screeching end circa 1640. Most attribute the decline of Visit the website in the bio or DM me now for more information.

02/19/2026

RARE ETCHED CLOSE HELMET, CIRCA 1560, IN THE PEFFENHAUSER FASHION FORMERLY IN THE BIDERMANN COLLECTION: Peffenhauser fashion refers to the distinct style of Anton Peffenhauser (1525–1603), one of the most prolific and celebrated armorers of Augsburg, Germany.

Introduction: The most sought-after Arms and Armor item by collectors and decorators is the “close helm” (closed helmet). The most sought-after close helm is etched. An etched close helm indicates that the original owner, who commissioned the helmet’s creation, was wealthy and had exceptional taste. The same can be said of a collector who owns one.
Even a person who knows very little about Arms and Armor will recognize a Medieval/Renaissance “close helm” and understand its historic value, artistic value, beauty, and mystique. The etching elevates it to a new and much higher level. When you walk into a room and look across and see a Renaissance helmet, it makes a statement of chivalry, power, class, and elegance , which reflects on its owner. Closed helmets, like fine statues, display exceptionally well on flat surfaces, such as shelves, tables, or desks.
Description: Constructed with a round one-piece skull that rises to a roped medial comb. The visor, upper bevor, and lower bevor are attached by a common pivot (restored). The upper bevor is pierced with sixteen circular ventilation holes displayed evenly within a circle on both side.

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02/19/2026

HIGHLY CHISELED SPANISH RAPIER BY SWORDMAKER TO THE KING MASTER AVAL DEL MONTE CIRCA 1580:

Introduction: This exceptional rapier was made in Toledo, Spain, home to some of the most exceptional rapiers ever made. The rapier is almost undeniably of Spanish origin and is probably Spain’s‚ most significant contribution to the Renaissance arms race. Rapiers from Toledo are legendary and highly sought by collectors. Under the Norman typology, this rapier is classified as a hilt 63 , which was used for a short period of time from 1615 to 1635.

Discussion: A highly expensive and ornate rapier such as this one was the equivalent of a person in our day and age making a fashion or opulence statement by wearing very expensive jewelry, such as a Rolex or Audemars Piguet watch. High fashion was an essential status and power symbol in the late Middle Ages and the Renaissance. High fashion was especially important among the mega-wealthy, who wanted to outdo their rivals, neighbors, and peers in the fashion arena. Not all wars were fought on the battlefield with swords, lances, and armor. A non-bloody war was in the fashion and status arena. Fashion also extended deeply to Arms and Armor. The phrase… “keeping up with the Joneses” … is not a new 20th-century concept.
In an era lacking effective policing, the private citizen was forced to protect himself from society’s criminal dregs. The weapon of choice was the rapier from the mid-16th to the late 17th century. The rapier is a simple yet highly effective sword against non-armored opponents. The rapier was primarily a thrusting weapon that could inflict serious injury to an adversary‚ vital organs with minimal effort. It was also an...

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02/19/2026

A VERY FINE MUSEUM-QUALITY GILDED NORTH GERMAN SWEPT HILT RAPIER, CIRCA 1600:

Introduction: This is an exceptional rapier. A highly expensive, ornate rapier such as this one was the equivalent of a person in our day and age making a fashion or opulence statement by wearing very expensive jewelry, such as a Rolex or Audemars Piguet watch. High fashion was an essential status and power symbol during the late Middle Ages and the Renaissance. High fashion was especially important among the mega-wealthy, who wanted to outdo their rivals, neighbors, and peers in the fashion arena. Not all wars were fought on the battlefield with swords, lances, and armor. A non-bloody war was in the fashion and status arena. Fashion also extended deeply to Arms and Armor. The phrase… “keeping up with the Joneses” … is not a new 20th-century concept.
Discussion: In an age lacking effective policing, the private citizen was forced to protect himself from society’s criminal dregs. The weapon of choice was the rapier from the middle of the 16th to the end of the 17th century. The rapier is a simple yet highly effective sword against non-armored opponents. The rapier was primarily a thrusting weapon that could inflict serious injury to an adversary‚ vital organs with minimal effort. It was also an exceptional slashing and cutting weapon; however, the slash was not as lethal as the thrust. The slash was used more as a feint to set up a finishing thrust. The slash was also a dire...

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02/19/2026

MUSEUM QUALITY HIGHLY DECORATED CROSSBOW FROM THE ARMORY OF THE PRINCE OF HANNOVER CIRCA 1650s:

Introduction: The exceptional decoration and craftsmanship of this crossbow are most indicative of a person of great wealth and stature who commissioned its original creation. The inlay on the crossbow’s side tiller is in the Mannerist style of Etienne Delaune (1518-83), a prominent French Renaissance goldsmith, engraver, and designer whose work significantly influenced the decorative arts of the 16th century. He is credited with designing some of the most elaborate parade armor of the French Renaissance, including his most prominent work, a Royal Armor for Henry VII, currently housed in the Louvre Museum. His work is preserved in major world collections, including the Metropolitan Museum of Art, the Victoria and Albert Museum, and the British Museum.

Discussion: Just as topics and negotiations are discussed on the golf course today, the hunt in the Medieval and Renaissance periods played the same role. It was also a time to show off‚ wealth and socialize among the rich. It was a conservative affair among the wealthy and powerful who reminisced about earlier times; this may explain why the crossbow tiller was identical to a Gothic crossbow tiller and did not adopt the stock of a contemporary rifle, which would have been the crossbow’s natural next progression.

The crossbow’s silent discharge made it better for hunting than a firearm. The silence allowed hunting without scaring away animals, and the absence of gunpowder odor meant the hunter’s position was not betrayed. Crossbows for hunting were much more elaborate and expensive, such as the one under discussion, compared to military crossbows, which had a Spartan appearance.

The wealthy hunted bear, boar, and deer in what was referred to as the “high hunt.” Lesser animals, such as birds and rabbits, were hunted by the Visit our website for more photos. Link in Bio

02/18/2026

MASSIVE MUSEUM QUALITY HIGHLY DECORATED NUREMBERG STRONGBOX CIRCA 1650: I have never seen a bigger, more massive, and elegant Nuremberg strongbox (often incorrectly called an Armada chest) in any museum or collection in 40 years! This chest is ENORMOUS! This is a unique and rare opportunity. When you walk into a room, this stunning masterpiece catches your interest and draws you like a magnet. It will leave you in awe! It’s the first thing people will walk up to you in astonishment and ask you about.

Introduction: The Nuremberg strongbox ( also called a coffer or Armada chest) was initially designed for the Nobility and the wealthy to store their money and valuables. Eventually, it was also adopted by wealthy travelers, but to a lesser degree. With the passage of time, these Renaissance strongboxes have eventually found their way into contemporary homes as decorative and conversational pieces of furniture.
Discussion: This strongbox is estimated to be a very early example of a Nuremberg manufacture because of its elegance, weight, design, and superior craftsmanship. As Nuremberg strongboxes developed, a very sophisticated locking mechanism that locks on all sides of the lid developed as well. Most of these strongboxes were made in Nuremberg, with a much smaller production in Augsburg. Nuremberg strongboxes were the first chests forged completely in sheet iron and reinforced with intersecting strips and fittings made of iron/steel. During this period, the Italians were making their money chests out of wood with metal bands.
During the Victorian era, Nuremberg strongboxes were renamed “armada chests” under the mistaken impression that they had accompanied the Spanish during the “Invincible Armada” of 1588. Another misconception was that the conquistadors filled them with gold on their return.
Description: Constructed with an...

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02/18/2026

RARE GERMAN WAR MATCHLOCK RIFLE CIRCA 1600:

Introduction: Early military/war matchlock rifles are much more difficult to find in the collectors market, even though they vastly outnumber highly expensive decorated hunting rifles. Why? Because military matchlocks were not decorated, they were designed as utilitarian weapons of war with one objective: to kill the person they were shooting at. When the matchlock became obsolete with the advent of wheellocks and flintlocks, its purpose as a defensive weapon was greatly diminished. Since they were not highly ornate, expensive items like the inlaid rifles purchased by the wealthy for hunting, they were never considered objects of beauty to be openly displayed, and sadly, in most cases, not cared for.

Discussion: The matchlock was the natural progression from the Medieval cannon that permitted the user to fire his rifle without losing concentration on his target. This was accomplished by simply pulling a lever attached at the other point called a serpentine with a burning piece of flammable cord or twine that made contact with the rifle’s gunpowder via the flash pan, thus igniting the priming powder. The flash from the priming powder traversed to the main gunpowder charge in the barrel’s breech.

The matchlock was highly effective, easy to teach, simple, and inexpensive to build, and featured a reliable, simple mechanism. As a result, in Europe, it survived from 1411 to 1750, when it was finally trumped by the flintlock. The fact that the matchlock had a working life of almost 350 years speaks volumes about its effectiveness and importance during the medieval and Renaissance periods.

Description: Constructed with a round barrel containing a smooth bore (approx. 42.52 inches) with a “D” mark adjacent to the pan. The firing mechanism appears to still work flawlessly as the day it was made. The lockplate with the markers mark “Suhler Henne”, swiveling pan cover, walnut stock—possibly original wooden ramrod with ...

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02/18/2026

IMPRESSIVE ITALIAN DEEP BELLIED BREASTPLATE CIRCA 1540: From 1540 to 1560, the breastplate developed by the Italians had a “deep-bellied form” such as this example. They are highly sought out by collectors and rare in the marketplace. This is the only example of this type I have had in 40 years.

Description: Masterfully constructed with a deep spherical bellied one-piece main plate, roping at the edges turning inwards with movable gussets at the arm openings. Holes at the waist plate to attach a fauld of four lames, possibly original or working life.
Arsenal inventory control # Y 17 in red ink on the backside.
Condition: Museum quality.
Introduction: Breastplates emulated the form and fashion of the contemporary civilian doublet (a man’s short-fitting padded jacket). During the first 40 years of the 1500s, breastplates were spherical/bulbous at the belly and called globose with strong turns at the edges. The gussets had movement and a narrower waist plate with a laminated fauld to which a set of tassets (see page 139 in my book) were attached. The tassets can be attached by rivets, hinges, buckles, and straps; the fauld is held by rivets and washers.
During the first two decades, the Italians produced a more spherical breastplate that they called “bombe”. Bombe can be fluted in the Maximilian fashion or smooth. From 1540 to 1560, the breastplate developed a “deep-bellied form” (see page 173- #5 and #6 in my book). From 1560 to circa 1600, the deep-bellied form was replaced by the peascod (see page 173- #7), an exaggerated, deeper V-shaped belly.
Discussion: Helmets and breastplates are the most sought-after by collectors and people looking for a unique decoration of historical value. Helmets are the earliest form of body armor. Both aristocratic knights and simple infantrymen used them. Helmets are the most difficult item to make in a suit of armor. Because of their elegance, workmanship, and symbolism of power and chivalry, helmets are readily accepted by most as...

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