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Early 19th century Staffordshire pearlware figures of the Seasons and Old Agecomprising a Pratt type figure of Winter c.1790 modelled as boy huddled in a red cloak, a figure of Winter skating on ice, two figures of Summer holding a flower basket and a figure of Autumn holding grapes and a wine cup, together with a near pair of figures of Old Age the man on crutches and the woman holding a basket with a walking stick titled 'Age', (7)first height 21cm.Condition: Winter retouching to cloak. Winter skating with restoration to head. Both figures of Summer with restoration, one to base and head the other the head, Autumn with restoration to head. Restoration to one crutch of old man and back, also to basket of woman

Two late 18th/early 19th century Staffordshire pearlware busts first of the poet and diplomat Matthew Prior, c.1790, Enoch Wood type, wearing a turban and with draped robes on a faux marble socle base, impressed Prior twice, second of the philosopher John Locke modelled wearing a red cloak draped on his shoulders, on a socle base with faux marble decoration, (2)first height 19.2 cm., second height 23.5cm. Condition: First some retouching jackets second signs of retouching to cloak

Tribal Art. 'Gunyege' running mask with long woven mudcloth hood/cloak, pressed metal around large round eyes, collected from village near 'Man', Cote D'Ivoire, 23cm high.

AFTER THE ANTIQUE- A BLASHFIELD TERRACOTTA STATUE OF DIANA OF GABII DATED 1870 On an associated pedestal base, figure hand signed to the clay J M Blashfield, Stamford 1870 Figure 166cm high, 262cm high overall, base 68cm by 69cm The original 4th century marble figure on which this is based was excavated by Gavin Hamilton in 1792 on Prince Borghese's property at Gabii outside Rome. In September 1807 it was purchased together with the bulk of the Borghese antiquities by Napoleon Bonaparte and was sent from Rome to Paris and by 1820 it was displayed in the Louvre where it still stands. More commonly referred to as Artemis- the figure stands 165cm high- which Blashfield copied in this terracotta example. Rather than bearing the usual impressed Blashfield stamp, this figure has the maker's name and date hand signed into the clay prior to firing, suggesting that this was an individual commission, although the figure does appear in Blashfield's 1857 catalogue. Condition Report: The figure: Restorations to base, across legs, hands & arms, neck, head and face, and areas of raised detailing such as cloak edges. Some later washes of colour. The surface with pocking- presumably from prior weathering, Base edge chips and loses Base: with weathering, cracking, edge and corner losses and wear Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.  Condition Report Disclaimer

TWO FINE LARGE NORTH AFRICAN MOROCCAN OR ALGERIAN ENAMELLED SILVER CLOAK ORNAMENTS, 18.5cm long (2).

Circle of Antonio David (1698–1750) - Portrait of Maria Clementina Sobieska (18th Century), half-length in a gold dress and ermine-lined cloak with her crown beside her, oil on canvas, with label inscribed 'Clementina Sobieska on 'Old Pretender'' and indistinctly dated '1719'? verso, unsigned, 102 x 80 cm. Maria Clementina Sobieska (1702–1735) was the wife of James Francis Edward Stuart, a Jacobite claimant to the British throne. Descended from the Polish king John III Sobieski, she was the mother of Charles Edward Stuart ("Bonnie Prince Charlie") and Henry Benedict Cardinal Stuart.

AN INTERESTING MAORI CARVED WALKING CANE OR CEREMONIAL GREETING STICKLate 19th Century With a baluster grip above a carved figure with tattooed face, wearing a Kākahu or cloak, with further carved decoration to the tapering shaft, 88cm long

A late 19th century Continental oval porcelain plaque painted with a man wearing a grey cloak and hat, with ginger beard and blue eyes, 17cm x 12.5cm housed in silver frameCONDITION REPORTS & PAYMENT DETAILSIMPORTANT * Descriptions do not include condition reports.  Please contact us to if you require further information or images. *  Please consider shipping costs before bidding as this may affect your decision to bid *  Please familiarise yourself with our payment methods.  Our preferred method of payment is by bank transfer.  We do not take cash or card payments.

Eaglemoss & similar DC & Marvel Superhero Collection Lead Figurines & similar, a boxed group. Includes Collector’s Editions Cloak & Dagger, Ka-zar & Zabu & Ronin, Batman Automobilia & Superman Travel Mug (the magazines may not be in complete runs & may not match the figurines). Although unchecked for completeness condition generally appears to be Excellent in Good boxes, where applicable.  See photos.

Christ’s Hospital, Nautical School, 1673, a uniface silver cloak badge by J. Roettiers, standing figures of Arithmetic, Geometry and Astronomy encouraging a Bluecoat boy, fleet behind, avspicio carol secvndi regis 1673, 78mm, 39.77g (MI I, 557/218; Grimshaw p.5, no. 1; E 252). Very fine or better, toned; the wide border unusually without piercings for attachment £120-£150 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Provenance: Baldwin Auction 81, 10 May 2013, lot 3033 Christ's Hospital, or the Blue Coat School, as it was generally termed, from the outward garment of the children, was a royal foundation dating to 1552. In 1673, the Royal Nautical School received its Royal Charter from Charles II to teach mathematics for use at sea. Samuel Pepys and Sir Isaac Newton were influential figures in its early years.

In the manner of Godfrey Kneller (1646-1723). A portrait of Queen Anne wearing a pearl necklace in regal attire including blue and white Ermin cloak and resting her hand on the sovereign orb, oil on canvas, set in an ornate gilded frame. Image size 124cm x 100cm

Twenty Loose First Wave Vintage Star Wars ROTJ Figures 3 ¾ inches including: Admiral Ackbar@ LFL 1982 Hong Kong, Lando Calrissian Skiff Guard with helmet and Vibro Ax @ LFL 82 H.K. Nien Numb @ LFL 1982 Made In Hong Kong, Bib Fortuna @ LFL 83 Hong Kong, Biker Scout @ LFL 83 Hong Kong, Chief Chirpa with hood @ LFL 1983 HK, Emperors Royal Guard @ LFL 83 Hong Kong, Gamorrean Guard @ LFL 1983 H.K. General Madine @ LFL 1983 made in Hong Kong, Klaatu with Vibro Ax @ LFL 83, Logray complete @ LFL 1983 H.K. Luke Skywalker Jedi Knight with Jedi cloak snap together @ LFL 1983 Hong Kong, Princess Leia Boushh disguise, complete @ LFL 83 Hong.Kong, Rebel Commando LFL 83 Hong Kong, Ree-Yees @LFL 83 H.K. Squid Head @LFL 83 made in H.K. Weequay @LFL 83 H.K. 2 x Klaatu Skiff Guards @ LFL 1983 no coo and Nikto @ LFL 1983 no coo, all in good to excellent condition, we cannot guarantee the loose weapons in this lot. (20 items)

Fifteen Loose Vintage Star Wars ROTJ First Wave Figures 3 ¾ inches including: Admiral Ackbar with baton @1982 LFL Taiwan, Lando Calrissian Skiff Guard with helmet and Vibro Ax @ LFL 82 H.K. Nien Numb with black Pilot blaster @ LFL 1982 no coo, Bib Fortuna complete with battle staff, Biker Scout with Scout trooper blaster Pistol@ LFL 82 made in Hong Kong, Chief Chirpa with hood and staff @ LFL 1983 no coo, Emperors Royal Guard, with pike @ LFL 1983 made in Taiwan, Gamorrean Guard with Ax @ LFL 1983 H.K. General Madine with Rebel battle staff @ LFL 1983 made in Hong Kong, Klaatu with Vibro Ax @ LFL 83, Logray complete @ LFL 1983 H.K. Luke Skywalker Jedi Knight with Jedi cloak sewn shut and green lightsaber, @ LFL 1983 no coo, Princess Leia Boushh disguise, complete, red felt pen to base of one foot @ LFL 83 Hong.Kong, Rebel Commando with commando rifle, LFL 83 China, Ree-Yees with blaster staff LFL 83 H.K. all in very good to near mint condition. (15 items)

Eleven Loose ESB First Wave Vintage Star Wars Figures 3 ¾ inches including: Bossk @1980 LFL made In Hong Kong, Bespin Security Guard first issue @1980 LFL made In Hong Kong, FX-7 Medical Droid @1980 LFL Hong Kong, Han Solo Hoth gear@1980 LFL Hong Kong, IG-88 @1980 LFL Hong Kong, Imperial Stormtrooper Kama skirt @1980 LFL Hong Kong, Lando Calrissian (missing cloak) @1980 LFL Hong Kong, Luke Skywalker Bespin @1980 LFL Made In Hong Kong, Leia Organa Bespin gown, @1980 LFL made In Hong Kong, Rebel Soldier @1980 LFL Hong Kong and Yoda @1980 LFL Hong Kong, all in good to excellent condition.we cannot guarantee the loose weapons in this lot.( (11 items)

Vintage Star Wars Return of The Jedi Luke Skywalker Jedi Knight Outfit Action Figure, complete with Jedi cloak sewn shut clasp variation, Palace blaster and scarce original blue lightsaber, @ L.F.L. 1983 Hong Kong, in near mint original condition, slight rubbing to nose on face, palace blaster, plus a bespin blaster, not original, with original ROTJ 65 back header card, some biro graffiti to back.

LOT UPDATED 50 BC-50 AD uninscribed Celtic Durotriges Stater, 36% silver, billon type, (S 367). Obverse: wreath cloak and crescents. Reverse: a disjointed horse with pellets above. Weight: 3.76g. Diameter: 18mm. Grade: GF - Good Fine, a few minor obverse scrapes.

Hand painted glossy figure of a man in a green and brown cloak. Royal Doulton backstamp. Artist: Eric J. GriffithsIssued: c. 1976-1982Dimensions: 5.25"L x 4.25"W x 10"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.

EVENING CLOAK LACE AND SATIN LINED, 19th CENTURY

Assorted Victorian and later silver and costume jewellery including amethyst, rock crystal and paste set brooches, a malachite crescent brooch with heart drop and a spherical pendant, a banded agate bulls eye brooch, a micromosaic brooch, an Irish carved bog oak pendant, a Scottish silver agate set cloak pin, a carved cinnabar brooch and other items, housed in a small black leather jewellery case CONDITION REPORTS & PAYMENT DETAILS IMPORTANT* Descriptions do not include condition reports.  Please contact us to if you require further information or images.*  Please consider shipping costs before bidding as this may affect your decision to bid*  Please familiarise yourself with our payment methods.  Our preferred method of payment is by bank transfer.  We do not take cash or card payments.

KORIN: A MITSUDA INLAID FOUR-CASE GOLD LACQUER INRO WITH OTAFUKUAfter Ogata Korin (1658-1716), signed Korin zo 光琳造 and sealed Hoshuku 方祝Japan, 18th-19th century, Edo period (1615-1868)Of upright rounded form and oval section, bearing a fine kinji ground, inlaid in mitsuda (pewter) and aogai, to depict to the front Otafuku admiring a sprig of chrysanthemum, her mitsuda-inlaid cloak detailed with gold hiramaki-e grasses and butterflies. The verso decorated with a lush branch of large, blooming chrysanthemum blossoms. Signed to the underside KORIN zo [made by Korin] and with a pewter-inlaid seal Hoshuku. The interior compartments of nashiji with gold fundame rims. With a bamboo netsuke in the form of a mokugyo bell.HEIGHT 9.8 cm, LENGTH 5 cmCondition: Good condition with wear and typical losses and associated repairs to the pewter inlays. Some soiling to the verso and traces of use to the interior compartments.Provenance: From a private collection in Manhattan, New York, United States of America. An old collector's label to the interior, '422.YHO.Q 140. Korin style. X C - Vi'.Rinpa is a modern term that refers to a distinctive style of Japanese pictorial and applied arts that arose in the early seventeenth century and has continued through modern times. Literally meaning 'school of Korin,' Rinpa derives its name from Ogata Korin (1658–1716), a celebrated painter from Kyoto. It embraces art marked by a bold, graphic abbreviation of natural motifs, frequent reference to traditional court literature and poetry, the lavish use of expensive mineral and metallic pigments, incorporation of calligraphy into painting compositions, and innovative experimentation with new brush techniques. Transmitted by means of pattern books and manuals, the work of the Ogata Korin inspired numerous other craftsmen.Korin was a follower and the greatest exponent of the versatile artist and craftsman, Hon'ami Koetsu (1558-1637). Koetsu pioneered a distinctive style of lacquerwork that made use of relatively straightforward techniques of lacquer, with inlays of shell and lead. His designs are usually in silhouette with little or no interior detail.

Charming figurine of grandma figure with light green dress and green cloak. Royal Doulton backstamp. Artist: Leslie HarradineIssued: 20th CenturyDimensions: 2.5"L x 2"W x 4.25"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.

Continental brooch (C40-20BC), a Austrian Roman cloak brooch (approx. C1st-C2nd AD), and other similar items. (Victor Brox collection)

A rare German mid 19th century pink tinted china shoulder head with Royal provenance with blue painted eyes, white highlight dot, pink lips, dark pink lip detail, nostrils and dot to inner corner of eye, exposed ears, unusual brown painted and moulded hair with strands painted onto the face and short curls all over head, stuffed body with bisque hands and unusual string and hook mechanism on legs, so you can unhook and allow her to sit down, original blue and white striped silk dress, dusty pink cloak/coat, straw and pink silk bonnet and underclothes, attached to the dress a note ‘Doll given to Elizabeth Sprague by Princess Royal the Empress Frederick, when both where children 1840-50’, in original cardboard box with similar note on lid —11in. (28cm). High (broken across her shoulders)Condition Report - Please see additional images.

Mid 18th century Meissen figure of Cyrus, emblematic of Persia, modelled by Kaendler, wearing a turban, white cloak, blue coat with red sash and yellow tunic, a bear by his feet, crossed sword mark, 20cm highThere is a 'T' shaped hairline on the back. Some restoration, including to the right foot, both arms, front of robe, top of headdress, sword. Displays well.

A pair of Meissen miniature busts emblematic of Spring and Winter, mid 18th century, Spring modelled as a Classical maiden wearing a diadem of flowers, Winter as a bearded man wearing a fur-lined cloak, raised on chamfered square socles, minor faults, 8.3cm max. (2)

An early 20th century Russian 84 zolotnik and two colour enamel tie clip, 33mm and cloak clasp.

Braunschweig-Lüneburg-Celle/Gold - wohl Goldmedaille/ Goldabschlag, ähnlich einer Goldmedaille von 1703, auf das 80. Lebensjahr von Herzog Georg II. Wilhelm von Braunschweig-Lüneburg (G.Brockmann, Die Medaillen der Welfen) gestiftet von der Stadt Lüneburg, av. abweichend mit Kürzel FHB? statt E.Brabant sowie abweichender Kleidung des Fürsten eher in der Art von der Medaille von 1705 von Grale auf den Tod des Fürsten mit Harnisch, großer Perücke und umgelegtem Mantel, jedoch nicht identisch.Av: Geharnischtes Brustbild n.r. mit Mantel, am Armabschnitt Signatur, Rv: 14 Zeilen Schrift,ss, gebogen, berieben, Randkerben, Randfehler, Rand bearbeitet, berieben, Gewicht 34,2g Gold rau, Durchmesser 42,7mm. Im Gewicht ähnlich dem 10fach Dukaten, erwähnt in Num.Burckh. 2508.| Braunschweig-Lüneburg-Celle/gold - probably gold medal/gold strike, similar to a gold medal from 1703, on the 80th anniversary of Duke Georg II. Wilhelm von Braunschweig-Lüneburg (G.Brockmann, Die Medaillen der Welfen) donated by the city of Lüneburg, av. deviating with abbreviation FHB? instead of E.Brabant as well as deviating clothing of the prince rather in the manner of the medal of 1705 by Grale on the death of the prince with armor, large wig and folded coat, but not identical.Av: Armored bust to the right with cloak, signature on the arm section, Rv: 14 lines of script,ss, curved, rubbed, edge notches, edge defects, edge worked, rubbed, weight 34,2g gold rough, diameter 42,7mm . Similar in weight to the 10-fold ducat mentioned in Num.Burckh. 2508.

Württemberg/Silber - Halbtaler 1694, Herzog Eberhard Ludwig, Av: Brustbild mit römischem Panzer mit Mantel n.r., am Armabschnitt I D D, Rv: Quadriertes Wappen, darüber Fürstenhut, I I W, ss-vz, Tönung, berieben, Kratzer, 14,62g Ag rau, KM#262, KR 47a.| Wurtemberg/Silver - Half Thaler 1694, Duke Eberhard Ludwig, Obv: Bust with Roman armor with cloak to the right, on the arm section I D D, Rv: squared coat of arms, above prince's hat, I I W, VF-EF, toning, rubbed, scratches, 14.62g Ag rough, KM#262, KR 47a.

Ca. AD 175 - 300.A Roman bronze brooch decorated with four heads of horses realised in naturalistic manner. It was used principally in the Northern and Eastern part of the Empire, inspired by Thracian art. Fibulae had a fundamental role in the Roman Empire, in fact, in addition to holding the cloak they also served as an object of social distinction. This one in particular, was widespread in the military sphere and inspired by the art of the Thracians, a population from or settled on the edge of the Steppes. In these populations, horses were undoubtedly fundamental for its speed of movement. This animal was useful for pulling chariots, cultivating but also, above all, for fighting. These warriors aroused so much admiration in Emperor Marcus Aurelius that he decided to annex the war cavalry of the Sarmatians (descendants from the Thracians) into the Roman army. This fibula was in fact made and became widespread after the end of the Marcomannic wars. For similar see: Nordeuropaische fibelformen, fig.132. Size: 34mm x 32mm; Weight: 16g Provenance: Private UK collection; From an old London collection formed in the 1990s.

Ca. 450 BC.An Amazing Attic red figure kylix made in the circle of the painters of Brussels R 330. Within the tondo of this important kylix, framed by a continuous border of meander, is a departure scene. To the right stands a youthful warrior facing his woman seated opposite him. The warrior wears a long cloak. In front of him, the woman sitting in her turn dressed in a long cloak looks at the man. The scene expresses the tension between the pair as the young warrior prepares to depart to war. The exterior is decorated with two similar scenes where a woman with outstretched arms, dressed in a long kiton, cloak and a wide-brimmed headdress turns back to look at male figure surrounding her. Below and around the two opposing handles is a very refined palmette motif. For similar see MET Museum: Accession Number: 19.192.67. This piece is accompanied by a TL report from QED. Size: 310mm x 80mm; Weight: 480g Provenance: Property of a London gallery, acquired on a European art market; Ex. Nostell Priory, Yorkshire, probably acquired in 1900. Acquired by Stephaan Vermeersch, Sint-Andries, Bruges, Belgium, 1980. Acquired by A. Dijkstra, Maastricht, The Netherlands, 1995 This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Rare filigree silver belt or cloak buckle, Russia, 18th century. - Weight: 108 g - Shipping available - Region: Russia - Sizes: H 95MM X L 75MM / H 80MM X L 70MM - At first glance: good condition

BAROCKE SCHNITZFIGUR DES HEILIGEN JOHANNES EVANGELIST Süddeutschland, 17. Jh., Lindenholz, Standfigur in betontem Kontrapost mit leicht vorgestelltem Spielbein, auf Sockel stehend, das Gesicht markant geschnitzt mit schmalem langziehenden Nasenrücken und schräg geschnitzten Augen, umgeben von Haarlocken, die zur Schulter ziehen, über dem Kleid mit einigen Röhrenfalten ein Mantel, H: ca. 35 cm. (mit Sockel) Altersspuren, rest und ergänzt.| BAROQUE CARVED FIGURE OF SAINT JOHN THE EVANGELISTSouth Germany, 17th century, limewood, standing figure in accentuated contrapposto with slightly protruding free leg, standing on a plinth, the face distinctively carved with a narrow elongated bridge of the nose and obliquely carved eyes, surrounded by curls of hair that draw to the shoulder, a cloak over the dress with some tubular folds, h: approx. 35 cm. (with plinth) Traces of age, restored and replaced.

Portuguese school. Mid 18th century."Saint Peter in chair"Carved, gilded and polychrome wooden sculpture.128 x 58 x 58 cm.The monumental piece presented here depicts the first of the popes seated and imparting the blessing to the faithful, an iconography that corresponds to the name of Saint Peter on a chair. Saint Peter is shown seated on a kind of chair richly decorated with stylised, gilded plant motifs, while the armrests culminate at the front in a kind of flat leaf, also meticulously carved. Additionally, the top of the back of the piece is crowned by a rich group of recurved leaves, also gilded.The first of the popes is shown wearing a pontifical vestment with a gilded alb and a wide rain cloak, also gilded and fastened at chest level by a large brooch in the form of a poly-lobed medallion. These garments are furrowed with stiff, low-profile folds, which do not prevent them from giving the piece considerable movement, as well as small chiaroscuro effects that give it greater plasticity. In addition to these garments, there is a hood hanging from the back. It is unpolychromed and a large tassel hangs from it. The head is adorned with the pontifical tiara, which is a triple crown symbolising the pope's power as "supreme shepherd", "supreme master" and "high priest", topped by a cross.With his hands, protected by black gloves, he performs two very different actions, given that while the right hand is raised to impart the blessing, with the left he holds his two characteristic keys, now lost. The rich golden polychromy that covers the entire piece, with the exception of the face, is complemented in the different garments by a type of decoration based on incisions such as stippling that increases the sensation of luxury of these clothes.The saint has an elongated head, with a sharp profile and small facial features. Thus, the eyes are almond-shaped, with raised eyelids, curved eyebrows, a sharp and narrow nose with pierced nostrils, a tiny mouth with thin lips - he keeps his mouth half-open, as if he were about to begin speaking to the faithful - very small ears, also with a pierced ear canal, and a small beard made up of small curved locks. The hair does take on more volume, but it is largely concealed by the crown that is wrapped around his head. Contrary to the usual depiction of an old man with a white beard, the anonymous sculptor has chosen to show the saint as a mature man with smooth skin and beautiful features. From the delicacy of the face, the facial features and the morphological features of the rest of the piece, it seems that this precious Saint Peter can be assigned to an anonymous Portuguese master of the mid-18th century, probably with a workshop in the areas of Coimbra or Porto.We would like to thank Javier Baladrón, PhD in Art History, for the identification and cataloguing of this work.

Attributed to Marcos Zapata Inca (Cuzco, Peru, circa 1710 - 1773)"The Conversion of Saint Francis".Oil on canvas.156 x 124 cm.  Saint Francis of Assisi, like all those who became saints, underwent a period of conversion. This marvellous painting depicts Francis of Assisi precisely at the stage of his personal search and introspection, praying in the family chapel.Once, while he was praying, he heard a voice saying to him: "Vade, Francisce, et repara domum meam" (Go, Francis, and repair my house). "From that moment the compassion of the Crucified One was engraved on Francis' soul" (2Cel 10). The phrase appears in the painting, coming from the mouth of the Christ, before whom Francis is praying.In the background, and no less important than the main scene, the Cuzco painter depicts the moment of "his firm vow of poverty and detachment" before his parents and the local bishop.Saint Francis' father, Pedro de Bernardone, put up stiff resistance to his son's decision to follow Christ.One day, no longer knowing what to do to dissuade him from his attempts, he denounced him to the bishop.  The bishop, however, discreet and wise, advised Francis to appear at his palace and answer his father's accusations, which he did.On the appointed day he appeared before the bishop. After being comforted by the bishop's profound words, the young saint took an unexpected step: he went to a nearby room, stripped off his clothes and returned to the room completely naked (either out of modesty or because the painting was to be hung in a public place, or through the decision of the person who paid for the artwork, the painter does not reflect this) to deposit his clothes, together with all the money he was carrying, at the feet of his father, as a sign of a complete break with the world.Pedro de Berbardone, on the left and weeping, stupefied and furious, picked up his "maddened" son's belongings and left without a word.Then the prelate, with tears in his eyes, approached the young man and clothed him in his own cloak, hiding his painful nakedness in the large folds of it; he then held him tightly to his heart. Marcos Zapata Inca was a Peruvian painter born in Cuzco. He is known as one of the last representatives of the Cuzco school. Zapata specialised in religious painting, and between the years 1748 and 1764 he painted nearly 200 artworks.One of his most important commissions was the series of 24 paintings dedicated to the life of Saint Francis of Assisi that was created for the Capuchin order of Santiago de Chile in 1748.Later in 1755 he painted 50 canvases on the theme of the Laurentian Litany for Cuzco Cathedral and in 1762 he painted close to 73 artworks for The Society of Jesus in Cuzco.His style influenced the artists of his time, and was characterised by his special way of representing the Virgin Mary surrounded by angels' heads. The compositions related to the Virgin Mary with their allegories greatly interested him and it seems that he was inspired by engravings by Christoph Thomas Scheffler from 1732.Artists such as Antonio Vilca and Ignacio Chacón continued working in a similar vein. 

A red-haired woman in a green Celtic dress with pink and gold patterns, elegantly draped with a matching green velvet cloak. Marked Mattel. This item has its original box. Dimensions of the box: 5.75"L x 3"W x 13.5"H. Issued: 2001Manufacturer: MattelCondition: Age related wear.

Dark green deerstalker hat; brown cloak.Royal Doulton backstamp. Good condition. Artist: Alan MooreIssued: 1973 - 1996Dimensions: 7.5"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Good.

Variation One. Dark green deerstalker hat; brown cloak.Arthur Conan Doyle (1859 - 1930), an unsuccessful doctor, published the first of his widely popular detective stories in 1887. The amateur sleuth Sherlock Holmes shared rooms on Baker Street, as well as many adventures, with his friend and foil, Dr. Watson. Artist: Alan MooreIssued: 1973 - 1996Dimensions: 3.25"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Good.

Dark blue tam; green cloak; grey hair.Royal Doulton backstamp. Literary Characters series. Good condition. Artist: Max HenkIssued: 1973 - 1980Dimensions: 4"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Good.

A collection of five silver circular Celtic design brooches, modelled as cloak pins, three further similar silver circular brooches, all with Celtic decoration, largest 5cm wide, four other brooches, and a metal cloak pin with turquoise set decoration. (13)

A silver Celtic design cloak pin, by A. H. Darby & Sons, Birmingham 1944, 5cm diameter, and five further similar silver Celtic design cloak pins. (6)

A late Victorian Celtic design cloak pin, with blue enamel decoration, 5cm wide, two similar white metal examples, and five others various. (8)

A Victorian Scottish hardstone set cloak brooch or pin, the swing pin and terminals set with faceted yellow stones, the brooch with panels of specimen hardstones, 5cm wideInner diameter approx 4cm, outer diameter of main circle approx 4.8cm. In good condition overall, with a a couple of tiny nicks to the finial.

A Biba black velvet hooded cloak, maxi length, with satin lining, 'Biba' maker's label to interior, multisize

A Roman bronze ' boy and dolphin' brooch, 4cm, a bird form brooch, three cloak pins and a bangle. Together with a collection of mosaic floor tesserae, a mortarium fragment, samiah sherd etc

METAL - LP/12" COLLECTION. Wicked pack of 7 x 12" (including 1 x shaped 7" picture disc) plus an Iron Maiden model! TItles are Christian Death - Only Theatre Of Pain (UK, FL 2 - Ex/Ex a clean copy complete with insert), Iron Maiden - The Book Of Souls World Tour (very cool limited edition Boeing 747-400 TF-AAK model in box), Be Quick Or Be Dead (pic disc, 12 EMPD 229), No Prayer For The Dying (pic disc, EMDPD 1017) and Infinite Dreams (7" shaped disc, EMPD 117), Witchfynde - Cloak And Dagger (P EXIT 5 pic disc)Slayer - Reign In Blood (UK og, LONLP 34 - please note G side 1 with some feelable scratches/VG side 2/printed inner/VG+ sleeve) and Skid Row - Youth Gone Wild. Condition elsewhere is generally VG+ to Ex+.

A collection of three vintage Japanese style but likely continental lidded ceramic jars. Each jar in the form of a lady, one dressed in a pink kimono, one in blue and one in green with cloak. Each with plastic lid and magnetic spoon to the side. Measuring approx. 22cm tall. 

Rembrandt Van Rijn - Self-portrait in cap and scarf - 1633 / Description: Self-portrait of Rembrandt, in a cap and scarf with the face dark, bust directed to left but face to front. Rembrandt's signature and date, in lower margin: "Rembrandt f. 1633. This is an early impression of the third state. The first state was unfinished and known in only one example. In the third state small alterations to the more common second state were made to the lid of the left eye and the shade of the moustache but still generally untouched. Before the later rework by Basan in the fourth state and the heavy rework in the fifth state. / Dimensions: 13,30 x 10,40 cm / Condition: An early third state impression, superb, richly-inked with little to no sign of wear, even in the most densely cross-hatched areas such as the shadow on the face, the beret and the cloak. With full plate borders and small margins on a dense laid paper. Condition is near perfect, former hinges at top corners vaguely visible. An excellent example of maybe the the best self portrait by Rembrandt. / Literature: New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (120.III) --- Hind 1923 / A Catalogue of Rembrandt's Etchings; chronologically arranged and completely illustrated (108.II) --- White & Boon 1969 / Rembrandt's Etchings: An Illustrated Critical Catalogue (17.II) --- Bartsch 17 --- Biörklund 33-G; --------------- Rembrandt (1606-1669) etched some 30 self-portraits, with 27 singular images of himself and several others of himself in different guises or grouped with other portrait studies. This self-portrait, created at the age of 27, two years after he had moved to Amsterdam from Leyden to begin to establish himself as a successful independent artist, and months before he married Saskia van Uylenburgh, is among Rembrandt's most introspective self-renderings. / Medium: Etching /Circa: 1633 6000

Hans Sebald Beham - Moses and Aaron - 1526 / Description: Moses and Aaron; half-length figures seated on a terrace above a landscape; Aaron wearing a cloak with a hood; both holding an open book; behind Moses the Tablets of Law. Engraving from 1526 by Hans Sebald Beham (1500-1550). Signed with monogram and dated on a tablet at upper right and lettered 'MOSE' and 'AARON' at upper center above the figures. H.9, only state. A scarce print. / Dimensions: 7,80 x 11,30 cm / Condition: A good impression on laid paper with partial watermark at bottom. Complete with full plate border and margins. Left corners with small defects and two closed tiny marginal tears. Otherwise fine. / Literature: Pauli 1901-11 / Hans Sebald Beham: Ein Kritisches Verzeichniss seiner Kupferstiche Radirungen und Holzschnitte (9) --- Hollstein / German engravings, etchings and woodcuts c.1400-1700 (9) --- Bartsch / Le Peintre graveur (VIII.118.8) / Medium: Engraving /Circa: 1525 1200

Gothic poetry.- Lewis (Matthew Gregory) and others. Tales of Wonder; Written and Collected by M.G. Lewis, Esq. M.P., 2 vol., first edition, advertisement leaf at end, bookplate of Viscount Halifax dated 1887, book-label of J.O. Edwards, contemporary ink ownership inscription to head of titles, occasional light spotting or soiling, else very good, contemporary calf, rebacked but covers detached, rubbed and worn in places, [Summers, p.525-27], W. Bulmer & Co. for the author, 1801; and another, a parody of Lewis, large 8vo & 8vo (3) *** Contributors to Tales of Wonder include Robert Southey, Robert Burns, and Sir Walter Scott. Some of Scott's earliest writings appear in the volumes, which by virtue of their high cost of publication, were nicknamed "Tales of Plunder". Also included in the lot is "The Old Hag in a Red Cloak", a contemporary parody of M.G. Lewis' "The Grim White Woman" included in Tales of Wonder. 

Two Royal Navy great coats including Bakelite buttoned, together with a cloak (3)

An early 19th century carved and polychrome figural group, possibly Swiss Tyrol, depicting a man with hat and flowing cloak, with a winged cherub at his knee, 26.5cm high

Paire de statuettes en porcelaine de Meissen représentant les allégories de l'Afrique et l'Amerique, circa 1745-50A pair of Meissen allegorical groups of 'Africa' and 'America', circa 1745-50Modelled by J.J. Kaendler, 'Africa' wearing an elephant headdress and long white cloak over a feather tunic, holding a wheat sheaf and a staff and seated on a recumbent lion, 'America' seated on a crocodile by a palm tree, holding a cornucopia and a parrot and wearing a feather headdress, cape and skirt and jewelled bands, the bases applied with leaves and flowers, 18.5cm and 19cm high, 'Africa' with crossed swords mark in blue, 'America' with impressed 34 (minor chips) (2)Footnotes:The model of 'Africa' is listed in Kaendler's work records in August 1746: 'Ein Modell zertheilet, und zerschnitten Wie es Erfordert Wird, Welches das Theil der Welt Africam Vorstellet und Selbiges zum ausformen befördert' [a model sectioned and cut as required, which depicts the part of the world Africa and forwarded for moulding]. The Taxa of overtime work includes: 'Eine Grouppe Africam vorstellend, da ein Frauenzimer auff einem Löwen sizt, so in der rechten Hand einen Scepter, in der linken aber Corallen und Korn Aehren hält' [a group depicting Africa, with a lady seated on a lion, holding a sceptre in the right hand and corals and wheatsheaves in the left].The model of 'America' is listed in Kaendler's Taxa of overtime work in late 1745: 'Ein Groupgen Americam vorstellend mit Crocodille worauff ein mit vielen Juwelen gemschmücktes Fraunzimer sizt in einem Kleide von lauter Federn' [a group depicting America with a bejewelled lady seated on a crocodile wearing a feather costume]. Eberlein's work records in June 1747 note that he assisted with the preparation of the model for casting: 'Eine Figur, einen Theil der Welt, Americam vorstellend, nachgeholffen und solche zum abgießen zerschnitten' [assisted and cut up for casting a figure depicting a part of the world, America]. Kaendler's work records for August 1747 note that he corrected the model and then sent it for casting.For further information on this lot please visit Bonhams.com

Rare groupe en porcelaine de Meissen répresentant Pantalon et Colombine, circa 1738A rare Meissen group of Pantalone and Columbine, circa 1738Modelled by J.J. Kaendler, Columbine seated holding a mask in her right hand and caressing the beard of Pantalone with her left, wearing a gilt-edged white tricorn on a black bonnet with turquoise bow, a puce-lined yellow cloak, iron-red bodice with turquoise bows, yellow sash, black dress decorated with indianische Blumen and yellow shoes, Pantalone wearing a black skullcap, long iron-red-lined grey coat, gilt-edged green tunic, puce breeches with turquoise bows, a dagger from a yellow sash at his waist and yellow shoes, the base applied with leaves and flowers, 16.4cm high, traces of blue crossed swords mark on underside of base (very minor restoration)Footnotes:Provenance:Baroness Gabrielle Bentinck-Thyssen Collection, sold Sotheby's London, 4 June 1996, lot 94Kaendler originally modelled a group of Pantalone and a woman - probably Columbine - around 1736 (which is not mentioned in his work records). He remodelled the group twice, creating this version in 1738 and another in 1741. This group is listed in his work records in August 1738: 'Dem Pantaleon Nebst seinem bey sich habenden Frauen Zimmer Verneuert und solches Groppgen zum abformen aufs Neue tüchtig gemacht, Weiln Vorige Forme nach öfftern gebrauch Wandelbar Worden' [Pantalone with a figure of a lady renewed and well-made as new for moulding].A similar group is in the Metropolitan Museum of Art, New York, Gift of Irwin Untermyer 1964, inv. no. 64.101.93. Meredith Chilton notes (in Harlequin Unmasked (2001), p. 304) that - unlike Pantalone - the female figure is not titled in the work records, and that her dress does not correspond to that of a servant, so she may represent an actress or a lady in a masquerade rather than Columbine.The depiction may be based on the engraving 'Troupe of Italian Comedians' published in 1723 by Christoph Weigel (Chilton, fig. 305), though the model for the figure of Pantalone was probably the engraving by Jacques Callot of 1618-19 (Chilton, fig. 166).For further information on this lot please visit Bonhams.com

Three Limited Edition Harry Potter wall hangings by The Magic Cauldron - The Philosopher's Stone; First Year's Cloak; hogwarts

After Maurice Bouval (French, 1863-1916) - "Le Secret" - an Art Nouveau glazed ceramic figure of a semi-clad lady in creams and pale green cloak, holding a casket in her hands. After the bronze of the same name by Bouval. Indistinct ceramicist mark to underside and indistinct signature near base. Height 64cm. (L)

Cloak and Dagger (First Series) No's. 1-11; Cloak and Daggers (Second Series) No's. 1-19; Cloak and Dagger Limited Series No's. 1-4; Strange Tales featuring Cloak and Dagger & Doctor Strange No's. 1-18; Fallen Angels Limited Series No's. 1-8; Longshot Limited Series No's. 1-6; and Nomad No's. 1-19.

Black Panther No. 1; The Inhumans No's. 1 and 4; Tales Of Asgard No. 1; Iron Fist No. 5; and sundry other Marvel Comics including Marvel Two-In-One, Luke Cage, Spider-Woman, Cloak And Dagger, etc.

Power Man and Iron Fist No’s. 50, 51, 52, 54, 55, 56, 57, 65, 68-77, 79 and later issues; Shogun Warriors No’s. 1, 4, 5, 7, 8, 9, 11, 12, 13, 16 and 18; together with sundry issues of Iron Man, Cloak and Dagger; Dazzler; The West Coast Avengers, etc.

FRENCH SCHOOL 18TH CENTURY Portrait of Françoise Marie de Bourbon (1677-1749), Duchess d'Orleans, wearing a brown dress and red cloak, a landscape beyond Oil on canvas, the reverse marked with a collector's symbol, interlinked 'DG crowned' and number 'n.141', with inscription to top 52.7 x 43.1cm ProvenanceParker & Morris: The Art of Decorating.The Marquess of Tweeddale, Yester House, Gifford, East Lothian. PLEASE NOTE THAT THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

Joseph Michel Ange Pollet. (Palermo - Italy 1814 - Paris 1871)Le Duc de Brabant.Portrait of Prince Leopold II (born on 9 April 1835) in plaster on an ebony veneer plinth. The Prince, accompanied by a long-haired lion (representing Brabant) with crossed legs, leans on a ermine cloak (the monarchy), which is located on a neoclassical pedestal with inscriptions on which the Coat of Arms of Belgium is attached. Joseph Pollet studies sculpture in Italy together with Bertel Thorwaldsen and Pietro Tenerani. He came to Paris in 1836, and stayed in Ghent in 1838. He resided again in Italy from 1843 to 1845, after which he settled permanently in Paris. He exhibited for the first time at the Paris Salon in 1846. Between 1847 and 1855, Pollet won several medals. The original plaster bust of Rubens made by Joseph Pollet in 1840 is in the possession of the Royal Museums of Fine Arts of Belgium. Several works by Pollet can be found in numerous museums and public places in Paris, Musée d'Orsay (maquette en plâtre pour le décor de l'opéra de Paris) Palais du Luxembourg (Achille et Déidamie) and Palais du Louvre pavillon Colbert (La navigation commerciale et la mécanique), Grenoble, musée de Grenoble (Une heure de la nuit), Orléans, musée des Beaux-Arts d'Orléans (L'impératrice Eugénie). At the front of the pedestal is stated:SAR - Monseigneur Le Duc De Brabant - Prince Royal De BelgiqueOn the left:Deposé à Bruxelles - 10 July 1841 - Randon Editeursigned at the bottom J. Pollet(old restorations and repaintings) 43 x 28 x 20 cm.Height with base: 51 cm.