Allen Antiques

These are the Reproductions in the Allen study collection.

Armour circa 1250

Reproduction armour patterned after David from folio 28 recto of the Maciejowski Bible. Shirt of flat rivetted mail with long sleeves, knee-length skirt with slits front and back and integral hood with ventail allowing a small face opening and to be fitted to the neck. Arms with extra rings forming a bent elbow and with tapered forarms. Helm of 5 pieces with cross applied to the center crease and eye-slots. Together with a padded coif, padded gorget, shirt, belts with custom buckles and mounts and a wooden sword. All clothing items of linen, hand-quilted. Armour made by Wade Allen. Clothing items by Tracy Justus. Constructed 2006.

Not for sale.


Armour circa 1340

Patterned after images from the Romance of Alexander (Ms. Bodley 264) and related brasses from 1330-1350. Composed of a bascinet closely patterned after the tall rounded bascinets with small face holes, short sides and central crease in the Romance of Alexander with an aventail formed of two trapezoids (rear one slightly larger to account for the breadth of the back) with extensions at the face. Trapezoids with forty five degree taper (one extra ring per row) on each side. Aventail secured to a leather band which is secured to the helmet by brass vervelles. Lining of linen with loose tow stuffing secured to the helmet by stitches to small lining holes along the edge. Linen gambeson lined with cotton. Full haubergeon with two thirds length sleeves. Fitted with expansion from the waist up to the chest, in the skirt and tapered upper arms. Fitting in the chest adding 4 rings every other row. Fitting in the skirt of two added rings every other row in the back and the front formed with 45 degree additions on each side of the center which forms the point at the centre of the front. Haubergeon split in the front to the waist and with a short collar. Over the haubergeon the arms are covered by simple upper vambrace covering the outer third of the upper arm, a floating elbow with attached rondel and full lower vambraces of two plates joined by an inset hinge on the outside and strap and buckle on the inside. Body of the haubergeon covered by a coat of plates similar to Wisby #1. Cover of two layers of linen over 1 layer of canvas. Coat of plates includes shoulder plates. Legs covered by mail chauses on the lower legs, gamboised cuisses over the thighs and knees, simple knee cops and frontal greaves (schynbalds). Chausses covering the lower leg and foot with an attached leather sole. Cuisses of linen padding in differential thicknesses with raw, cleaned linen fibre. Surcoat of linen with appliqued coat of arms in wool. Shield of formed plywood covered with linen on the front and leather back. Face gessoed and painted. Shield with two enarmes and guige strap.

External plates of 1050 spring steel. Knees and elbows raised. Bascinet formed of two pieces with central weld. Coat-of-plates plates of stainless steel attached to fabric with #14 brass escutcheon pins spaced at one half inch intervals on main body plates and three quarter inch spacing on upper and side plates. Rivets follow the outer edge of the plates in the upper plates and on side plates. Knees attached by Y straps on both sides with laces securing them to the cuisses. Elbows with central strap of a Y strap at the back and straight strap at the front and suspended from the upper vambrace plate by a leather strap. Vambrace plates laced to the mail shirt - the upper plate laced by internal leather tabs over the mail and the lower vambrace cannon laced inside the short sleeves. Most buckles forged of steel. Coat-of-plates buckles cast of nickel silver. Additional cloth coif of linen. Gambeson and cuises machine stitched, surcoat and coif with main seams machine stitched but all edge finishing,binding, and applique hand stitched. Mail 9mm flat ring with round rivets zinc coated, formed of scraps from 1250 hauberk and loose rings. Mostly assembled from rings allowing for tailoring as part of the constuction process. Geoffrey was 4 foot 8 inches tall and weighed 65 pounds at the time this was made. Total weight of the armour and clothing - 29 pounds.

Armour by Wade Allen, all fabric garments by Tracy Justus. Constructed 2009

Not for sale.

Armour Pieces

Armour Pieces late 14th c.

Parts of SCA combat armour for Wade Allen made in the late 1970's and early 1980's. Bascinet formed from a cone, raised and point pushed in. Grill secured by a rotating paddle that holds the hinge down on a pair of hook shaped staples. Breastplate of shallow globose form constructed with a weld in the bottom center. Arms rolled over a wire. Etched laurel wreath added in 1981. Arm of steel wiht 2 piece vambrace secured by a pair of hinges filed from commercial hinges and a strap and buckle. Articulation rivets of steel with brass caps. Made by Wade Allen while working with Valerius Armouries (and before)

Not for sale.

Great Helm

Great Helm circa 1380

Great helm.

Not for sale.


spurs circa 1380

Pair of spurs made for Aaron Toman. Cast brass. Leather straps.

Not for sale.

Child's Halloween Costume

Child's Halloween Costume circa 1400

Armour made as a halloween costume for a 5 year old. Composed of a bascinet with an aventail attached with tubular vervelles. Breastplate of simple globose form, rolls at the neck and arms. Spaulders, arms, Cuises with articulated poleyns, demi-greaves and sollerets of short pointed form. All on a wooden base. The armour was worn by Geoffrey for Halloween 2005. Tracy made a new grand assiette gambeson based on the Charles de Blois garment. The legharness is suspended from points on the arming doublet worn beneath the gambeson. The arms and spaulders are secured by points to the gambeson. Armour by Wade Allen, clothing by Tracy Justus.

Not for sale.

Reproduction Armour

Reproduction Armour circa 1400.

Reproduction armour. Torso armour of plates covered in leather and attached by brass rivets. Made by Wade Allen, Aaron Toman and Charles Davis working as Valerius Armouries.

Not for sale.


Armour circa 1440

Reproduction armour. Early 15th century german armour with 'Kastenbrust' breastplate. Breastplate taken from the surviving example in the City Museum of Vienna. Arms, pauldrons and clothing taken from the Knights of Christ from the Jan van Eyck altar-piece in St. Baron's Church, Ghent. Comprising breast and back with wide waist lames and 5 plate fauld/culet, breast with applied reinforcing strips at the arms and shaped stop-rib at the neck, standing collar of rivetted mail with shoulder length flaired cape, small pauldrons of 6 plates shaped to the shoulder, the lower 4 plates with long sliding rivets at the back to allow forward motion, arms with a near tubular upper, cop articulated to the upper and lower by one plate and fully-encased lower of tulip shape composed of an inner and outer plate attached by 2 hinges on the outside and strap and buckle on the inside. The images show how it was worn for Halloween. Afterward the legs with greaves were completed. The whole currently displayed together. Armour made of 1050 spring steel. Inner clothing of linen, outer of wool. Armour by Wade Allen, clothing by Tracy Justus. Constructed 2007.

Not for sale.

Italian armour in the western European style

Italian armour in the western European style circa 1465

An extremely fine replica harness comprising armet, cuirass, mail collar, pauldrons arms, cuisses, greaves and gauntlets as they would have been built in Italy c. 1465. Made of hardened and tempered steel. The armour was assembled over time and purchased from various skilled armourers. It was adapted as required for wear in a very Italian form (with additional mail elements) and later in a more western European form. The armet was built originally as part of the project to explore English armour of the mid 15th c. and then used along with the rest to build a heavy calvalry armour first in the typical Italian style, then in a more western European or English style. The cuirass precisely reproduces the authentic shapes, thicknesses and weights of fifteenth-century Italian heavy cavalry armour, with a shot-proof breastplate and skirt, and mounted with a gilded lance-rest. Buckles and mounts gilt to match. Together with a matching pair of pauldrons and arms. The design of the cuirass, pauldrons and arms has been taken from two surviving Italian export armours in Switzerland, at the Bern Historical Museum and the Town Museum, Le Landeron. Cuisses were made in 2009. They were based on the cuisses currently displayed as part of the B1 armour in Mantova. The greaves were made separately, probably earlier, and the lower plate of the cuisse was adjusted to fit. The cuisses and greaves were originally fitted with mail in the Italian fashion (comprising a valence below the knee and full mail sabatons). The instep edge of the greaves are pierced for the attachment of the mail and the lower plate of the poleyne had a strip with holes to secure mail below the knee. At this time the mail has been removed for the western European fashion. Gauntlets were based off one in the Metropolitan Museum of Art in New York which is on display - 29.150.7j. The armourer was able to look at it and make tracings. Gauntlets were made in the summer of 2012. Toby supplied the buff gloves.

Cuirass, pauldrons and arms made by Per Lillelund Jensen. Cuisses, greaves and gauntlets made by Jeff Wasson to accompany the other pieces. This was most commonly worn with an armet made by Robert MacPherson in 2003. The armet is mostly a typical Italian style of the mid 15th c. but the visor is slightly adapted to represent a more English form.

The left elbow was adapted to match the hind tasset and to reflect an English usage as illustrated in the Hoo effigy. The armour was built as another experimental armour after the famous English armour built by Mac. This armour was worn for several years in jousts around the world and it was the armour that Toby wore as part of the work associated with Richard III's reburial and the work to recreate an armour for Richard III. Overall the armour survived its years in use very well. There seems to be one small dent in the left side of the lower breastplate, it has undergone various adaptations, and leathers have been replaced and pieces adapted as the wearer changed shape. Inspection of the left gauntlet cuff shows two points of damage. They come from one blow from a steel coronel on a solid wooden lance in the jousts at Schaffhausen when a blow went just a little low and two tynes of the coronel hit the guantlet.

The armour was purchased by the present owner in three parts. The first comprised the cuirass, pauldrons and arms. After that the legs and gauntlets became available and they were purchased to keep the harness together. The final part was the armet with some associated pieces. The harness was originally assembled over time as the parts were needed and made by armourers with the requisite skills and experience. Italian 15th c. armours, even when purchased as an armour, were often built by several armourers.

For a while (between the time the first and second portions were purchased) displayed with the legs that formerly formed part of R-15 made by Wade Allen in the mid 1990's. They are a fair match for the style of armour represented by the rest of the pieces. Armet manufactured by Robert MacPherson with riveted aventail made by Tobias Capwell which includes a wrapper. Then an exchange visor for foot combat was added (manufactured by Chris Dobson). The armet includes a gilded and pearl-fretted claw ornament which acts as a crest or plume mount which was built as part of the original English armour project by Robert Macpherson. Burgundian style upper arm voiders made by Toby in the Burgundian style and an arming doublet which illustrates how the small Burgundian voiders were worn. When the legs were re-fitted for Burgundian use the valences for mail were removed (valences present) and the shorter mail demi-sabatons are also present but not attached.

Not for sale.

reproduction armour

reproduction armour circa 1470

Armour of basic Italian form. Breastplate of 'export' style. All parts hand made including the hinges, buckles and rosette-stamped washers. The legs were to R-37 temporarily. The legs displayed with this armour during this time were a somewhat earlier style of cuisses and shaped schynbalds originally made for other uses. They provide a complete, but not correct look. This image was taken with the original legs which have been returned after they were polished for use with R-37.

Not for sale.

part armour

part armour late 15th-early 16th c.

Part armour consisting of a close helmet with grotesque face, cuirass of gothic form complete with fauld, cullet and front tassets, arms and pauldrons with narrow parallel flutes in the Maximillian form.

Not for sale.

Geoffrey in Breastplate and arms

Geoffrey in Breastplate and arms circa 1480

Part armour. German style. Made as a costume for a 2 1/2 year old.

Not for sale.

Geoffrey in Cuirass and Helmet

Geoffrey in Cuirass and Helmet circa 1480

Breast back and helmet. Made for Geoffrey at 5 3/4 in Oct. 2004

Not for sale.

Barbute and Chapel de Fer

Barbute and Chapel de Fer 15th century

2 helmets. The left one is a mid 15th c. barbute. The right one is a chapel-de-fer patterned after one in the Metropolitan Museum of Art in New York.

Not for sale.

Geoffrey in puffed and slashed costume

Geoffrey in puffed and slashed costume circa 1510

Costume for 4 1/2 year old. Costume by Tracy Justus

Not for sale.

Geoffrey in three-quarter suit

Geoffrey in three-quarter suit circa 1510

Breast, back, tassets and floating arms for a Landsknecht costume for 4 1/2 year old. Breastplate with sliding gussets and waist lame. Large inward rolls at the neck and arms. Floating elbows on simple splint arms. Three piece backplate. Armour of 18g. and 21g. 1050 spring steel. Armour by Wade Allen, Costume by Tracy Justus

Not for sale.

Breastplate, fauld and long tassets

Breastplate, fauld and long tassets circa 1540

Breasplate with fauld and tassets. Includes recessed polished bands, sliding gussets and hand made buckles and washers.

Not for sale.


Armour circa 1540

Reproduction of a black and white half armour. Composed of breast, back, and gorget with munions over a doublet and slops.

The breastplate has a central crease which is drawn out to a rounded point somewhat below the center. The upper edge is rolled inward. The roll tapers from the center. The arm holes have sliding gussets. The gussets have large, hollow, inward-turned rolls. The breastplate was raised from the flat. A weld at the bottom would have been a lot easier, but I didn't do it that way. The gussets are made from straight strips and flaired to create the roll and to fit into the breastplate. The breastplate has a simple fauld of 2 lames. The lower lame has a small rolled arch at the center. The back plate is fomed of one piece with a separate waist lame forming a degenerate culet. The back is shaped agressively to the shoulder blades almost forming a point over each. The gorget is formed of 2 neck plates front and back, a large main plate front and back and shoulders of 7 lames. The neck lames are secured by 3 leather strips front and back. The shoulder plates are secured by sliding rivets at the back and interior leathers at the center and front. The smaller rolls on the top plate of the gorget, backplate and at the center of the lower fauld lame are turned over wire. The rolls on the bottom edge of the munions are just turned without wire. All of the rolls go 'in' (as appropriate for 16th c. armour). The plates are rough from the hammer with a painted black finish with raised bands of polished steel. Worn with morion A-152.

Thicknesses: breastplate .062, fauld .050, backplate .050, main gorget plates .050, munions .035.

The clothing consists of a shirt, doublet and slops. Socks and shoes are modern. The shirt is based on one in the Victoria and Albert museum in London from 1540-65. It is featured in Janet Arnold's Patterns of Fashion 4. It is assembled in the same way as the original, by finishing the individual pieces and then butting them together and (machine) embroidering over the two pieces to hold them together. The main pieces are held together by the embroidery. This copy omits the frill at neck and wrists. The doublet is fulled wool lined throughout with linen. The white on the sleeves is a layer of silk between the linen sleeve lining and the slashed wool outer sleeve. All three layers are stitched together and treated as one. The wrist openings are bound with a narrow facing. The buttons are based on some found in the Mary Rose. They are formed by covering some 7mm beads with wool which are attached by stitching through the center which gives that little dimple in the center of the button. The diagonal slashing on the sleeves frays very little. The slops are fulled wool lined with linen. The white is a layer of silk between the lining and the wool strips (panes). A rotary cutter is an excellent tool for cutting panes. They were worked flat, mounting the silk onto the linen lining and then laying the panes over that. Then they were assembled into pants. The leg opening is finished with a narrow facing and the waist has a wide waistband. The fly opening is modified in deference to the wearer by adding an invisible zipper (instead of points) and reducing the codpiece to a nearly flat flap (instead of something aggressively masculine).

Geoffrey is riding Bruce(Callaway's North Wind) his 12 year old Saddlebred.

Armour by Wade Allen, Clothing by Tracy Justus.

Not for sale.


Armour mid 16th c.

A part armour consisting of arms with connected pauldrons, breast and backplate, gorget and legs.

Not for sale.

Waistcoat Cuirass.

Waistcoat Cuirass. circa 1570

Italian. Formed to mimic the peascod style of civilian clothing popular at the time with a waist that droops at the center of the waist. Arms and neck bordered by inward-turned roped rolls. Waist flaired and cut to form picadills. Formed of five main pieces. The main front and back plates solidly at the side and shoulder. These units are then secured to the central back plate by two hinges and an alignment pin on each side. The front is decorated with a line of pointed buttons and secured by a hook through a hole in a peg at the base, a turning hook in the center and a pin in the gorget plates. The neck is extended to form an integral gorget. The gorget, like the cuirass, is formed of 3 separate pieces. One that extends the central back plate, the others that cover the sides and join at the front. The Italianate details include the form of the peascod (more rounded) the overlap at the center (many German ones just overlap to the center), the buttons down the center, and the relatively straight form of the gorget plates. All of the turns have wire inside.

The waistcoat cuirass was based on several surviving Italian waistcoat cuirasses. These included examples in the Wallace collection, Chicago Art Institute, etc. Primary design was taken from one that survives in the Odescalchi collection in Rome in the Museo di Palazzo Venezia #1251. It is illustrated in figures 167 and 168 in Armi e Armature Lombarde.

Tracy was allowed to design the clothing to suit Italian styles of the appropriate period. The outfit was inspired by a 1560 portrait by Giovanni Moroni, "The Man in Pink". It is made of silk and linen. Additional sources include a couple of outfits described by Janet Arnold in Patterns of Fashion 3 to pattern it: the 1562 grave clothes of Don Garzia de Medici and the 1618 suit of Sir Richard Cotton. There are a couple of deviations from period practice for the comfort of the wearer - the doublet and breeches do not lace together and there's a zipper behind the codpiece. The overall look is good. Geoffrey is tall and slim so he has the right physique to pull off this kind of thing. Embroidered silk-covered bead buttons.

Formed from 14g for the breast plates, 16g for the back plates and 20g for the neck plates. Full-wrap hinges formed of 20g. All of 1050.

Armour by Wade Allen, clothing by Tracy Justus. Produced for Geoffrey Allen when he was 12.

Not for sale.


Armour circa 1580

Reproduction armour. 2nd half of the 16th century munition armour. All pieces rough from the hammer and blackened. Buckles and washers of iron. Washers of rosette form and dapped in each petal. Buckles based on the surviving buckles from the tassets on the 3/4 harness A-1 in the Allen collection. Spaulders based on A-117 in the Allen collection. Composed of breast, back, gorget, tassets and shoulders. The associated morion and halbards are authentic pieces (all are of the correct style to be used with the armour). All rolls turned inwards and hand formed (without a jenny). Worn over a padded silk doublet and velvet venetians and with a velvet half cape lined with linen. The doublet is shot silk lined in linen. The venetians and cape are made of cotton velvet. The buttons on the doublet and venetians are cast in pewter and based on the ones on the leather doublet in the Museum of London. The doublet is generally based on the Heaver castle arming doublet, the collar is base on the Don Garcia di Medici one and adds a small skirt based on contemporaty paintings. The pattern for the venetians and half cape were taken from Janet Arnold. Armour made by Wade Allen, clothing by Tracy Justus. Mounted on Secret Agent - one of the horses Geoffrey uses in his riding lessons at Winslow Stables. Constructed 2008.

Not for sale.


Breastplate circa 1590

Breastplate. Simple peascod form. Raised from one piece. Rolls at the neck and arms. Flair at the waist.

Not for sale.

Half Armour

Half Armour circa 1600

Made for the Higgins Armory for their educational program.

Not for sale.

Cuirass and Sword

Cuirass and Sword circa 1620

Cuirass and simple rapier for a musketeer costume for 3 year old. Armour of 18g. 1050 spring steel.

Not for sale.

Kastenbrust cuirass

Kastenbrust cuirass circa c. 1440

consisting of a breast with fauld and back with culet. Forming a cuirass. Simple folds at the neck, arms and base of the fauld/culet. Breast with a central spray of flutes. Secured at the shoulders with straps and buckles, at the waist with spring pins.

Not for sale.

reproduction armour

reproduction armour circa c. 1500

Armet a Rondel. Bowl raised from one piece, full reinforce covering the front of the skull. Visor raised, with covered hinges. Armour by Wade Allen

Not for sale.


Burgonet circa c. 1550

Burgonet with acorn finial. Bowl raised from a cone. Moveable umbril and cheeckpieces that attach with a pin at the chin. Lined with an authentic linen lining of 2 layers stuffed with tow and quilted. All hand stitched. patterned after the burgonet lining in the Allen collection. Stitched to leather strips which are riveted along the face and neck edges of the bowl. Armour by Wade Allen, lining by Tracy Justus.

Not for sale.

Bellows Face Close Helmet

Bellows Face Close Helmet Early 16th century

Close helmet with bellows visor. Armour by Wade Allen and Aaron Toman working as Valerius Armouries.

Not for sale.

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This site last updated Wed Jun 30 13:30:53 EDT 2021