We found 7199 price guide item(s) matching your search

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. Royal Doulton backstamp. Artist: Alan MooreIssued: 1973 - 1991Dimensions: 2.75"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.

Lynn Chadwick R.A. (British, 1914-2003)Standing Couple signed with initial, dated and numbered '798S/1980/2/9/c' and stamped with Morris Singer foundry mark (on the female figure's cloak)bronze with a black patina and polished faces55.9 cm. (22 in.) longConceived in 1980 and cast by Pangolin Editions in 1986Footnotes:ProvenanceThe Artist, from whom acquired by the family of the present ownerPrivate Collection, AustraliaExhibitedMilan, Galleria Blu, Lynn Chadwick, November 1986, cat.no.4 (another cast)LiteratureDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1997, p.330, cat.no.798SDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, p.338, cat.no.798SDennis Farr & Éva Chadwick, Lynn Chadwick Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.344, cat.no.798SWe are grateful to Sarah Chadwick for her assistance in cataloguing this lot.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Pastellmaler um 1810/20: Madonna im GebetPastell. Unsigniert. 30 x 24 cm. Gerahmt & hinter Glas48 x 39 cm. Nach dem Vorbild Carlo Dolcis gemalte Maria im leuchtend blauen Mantel mit zum Gebet gefalteten Händen und gesenktem Blick Leicht stockfleckig. Pastel painter c. 1810/20: Madonna at prayerPastel. Unsigned. 30 x 24 cm. Framed & behind glass48 x 39 cm. After the model of Carlo Dolci painted Mary in a bright blue cloak with hands folded in prayer and lowered gaze Lightly foxed. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Betende MadonnaÖl/Holz. Unsigniert. 18. Jh. 34 x 23,5 cm. Gerahmt45 x 35 cm. Maria im blauen Mantel mit über die Brust gelegten Händen und zum Himmel gerichtetem Blick Altersspuren. Praying MadonnaOil / wood. Unsigned. 18th c. 34 x 23.5 cm. Framed45 x 35 cm. Mary in blue cloak with hands folded over the chest and looking to the sky Traces of age. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

After Carlo Dolci, 19th Century, portrait of a Madonna in a blue cloak, oil on metal panel, 10.5" x 7.75", (27 x 19.5cm).

Buckles - three, comprising an oval silver example decorated with masks and leaf scrolls, Chester 1890, Cornelius Desormeaux Saunders and James Francis Hollings, 9.5cms, a Burmese rectangular silver buckle, 4.5cms, and a silver plated chained cloak clasp or buckle, 12.5cms. (3)

Vintage black woollen opera cloak with hood and 'Hagarty, Irish hand woven tweed, pure new wool' label and silky lining. (B.P. 21% + VAT)

A silver and enamel cloak clasp by Bertha Lillian Goff, two silver flowerhead panels with turquoise blue enamel details, with chain link, in Tadema Gallery fitted box, unsigned 8cm. wide ProvenanceTadema Gallery, 2004

Fibula / cloak pin (Berber, Tunisia, 19th century) silver. This type of fibula (also called a cloak pin or cloth pin) was used by women in northern Africa to pin a draped garment to the shoulder. In many parts of North Africa, the triangular shape is known as a symbol of fertility. North Africa, Tunisia, 19th century - signs of use and wear. 37 grams, 800/1000. Dim. L 12.8 cm, W 6.1 cm.

FOUR STAFFORDSHIRE FIGURES (4)1840's Comprising; a figure of Queen Victoria, seated on a square base, wearing a crown, ermine-lined cloak and long robe, 18cm high; a porcelain figure of a Turkish musician resting on a chaise-longue, 13cm length; a porcelain standing Turkish man, 16.5cm high and a porcelain figure of a Turkish gardener, 14cm high. Provenance: The Turkish musician from the Brook-Hart Collection, with paper labelQueen Victoria- restored break through her neck and back of chair. Some restoration to the ermine either side of neck. Slice chip through little finger of right hand. Some wear to the gilding. Minor chips around baseTurkish musician- restored through neck. Several haircracks to the sides of the chaise-longue. Minor flaking to the enamelsStanding Turk- a network of fine glaze cracks around the base.Otherwise in good conditionTurkish gardener- restoration to hat and flower in right hand.

Two 1930s British comic ducks, a Chad Valley with white artificial silk plush, clear and black glass eyes, yellow felt beak, green artsilk feet, felt bonnet and cloak and red and white woven label on foot —8in. (20cm.) high (some moth damage to felt); and a Dean’s Rag Book Co. sailor duck with green and white label in neck seam (faded)

A Derby 'Dry Edge' figure emblematic of Winter, circa 1752-55Modelled by Agostino Carlini, seated on a low mound base and draped in a voluminous cloak, he warms his hands over a fire on the ground before him, left in the white, 11cm highFootnotes:ProvenanceWatney Collection, 22 September 1999, lot 368Another example was sold by Bonhams on 22 June 2022, lot 482 and a complete set is illustrated by Dennis G Rice, Derby Porcelain (1983), p.79.For further information on this lot please visit Bonhams.com

A Dutch stipple-engraved opaque twist wine glass, circa 1760Perhaps by J Wolff, the round funnel bowl delicately engraved with a semi-nude putto, perhaps Cupid, a single rose raised in his left hand and a bunch of three roses in his right, his cloak billowing behind him, on a double-series stem with two pairs of opaque white threads around a central gauze column, over a conical foot, 13.8cm highFootnotes:This glass is not recorded by Frans Smit in his catalogue, Uniquely Dutch Eighteenth-Century Dutch Stipple-Engravings on Glass (1993), but the charmingly naïve style of the engraving suggests that it may be by J Wolff. Compare to lots 101 and 102 in this sale and see the footnote to lot 102 for a commentary on J Wolff's distinctive style of engraving.For further information on this lot please visit Bonhams.com

A Plymouth figure of Winter, circa 1768-70 From a set of The Seasons, modelled as a putto gathering his fur-lined cloak around him, standing over a flaming brazier, the hollow mound base moulded with shells and scrolls picked out in puce and green, 14.7cm high Footnotes: A very closely related figure was produced at Vauxhall in soft-paste porcelain. The Vauxhall figure modeller Thomas Hammersley was later employed by William Cookworthy at Plymouth and also Bristol and it seems likely that he is responsible for these models. See Roger Massey, Vauxhall and Plymouth Figures A Connection: Thomas Hammersley, ECC Trans, Vol.16, Pt.1 (1996), p.68-9. For further information on this lot please visit Bonhams.com

Irish Volunteers / Na Fianna Éireann, piper's cloak pin. A convex brass plate centred by a harp in a shamrock wreath, 3½" (9cm) diameter

Arthur Dooley (1929-1994)WarriorInitialled and dated (19)73, bronze, 66cm highArthur Dooley was a self-taught artist from Liverpool. He left school at 14 and worked on Mersey tugboats and apprenticed at Cammell Laird’s shipyard. When looking back in 1994, Dooley said to the author Peter Davies ‘The shipyard was really my art school’.In 1945 he enlisted into the Irish Guards as bagpiper and rose to the rank of Sergeant. However, he left without leave to join the Palestine Liberation Organisation, where he served as a Colonel. When he was captured, Dooley was sent to a military prison, and it was here that he started to experiment with sculpture, it was also during this period he became a devout Catholic and staunch communist.After Dooley left the army in 1953, he worked as a janitor and observed students at St. Martins School of Art in London. He developed his sculptural style from working with discarded material, particularly scrap metal, and was informed by his industrial experiences working at the docks. In 1961 Dooley exhibited his works at his first one man show at St. Martins. He then returned to Liverpool where he learned more about the metal casting process whilst working for Dunlop’s in Speke as a rubber moulder and created sculptures such as "Warrior".This patinated bronze sculpture depicts an elongated figure with a featureless face, wearing a cloak and helmet. The figure’s feet are planted in a strong stance on a textured rectangular base and brandishes a round shield with textured embellishment and a spear. This ‘Warrior´ is a recurring theme in Dooley’s oeuvre, with various versions created since 1966 with differing bases and heights, sometimes under the title ‘Centurion.’Dooley continued to exhibit around the UK, work on commissions such as the 1974 ‘Four Lads who Shook the World,’ Beatles Memorial in Liverpool, and campaigned on TV and in his home city for redevelopment, abolition of high-rise housing and better care for the unemployed. In the (19)90s, he founded a workshop for unemployed people and helped found the Liverpool Academy of Arts. Some surface dirt, in particular behind the shield and underneath the base. Surface wear to his back left shoulder to the cloak. Surface scratch to the lower section of his breastplate. Surface scratches to the front of his right leg and wear to his right hip. See additional images.

A RARE IVORY NETSUKE OF A SENNIN WITH ONIUnsignedJapan, late 18th century, Edo period (1615-1868)The gleefully laughing sennin standing tall and dressed in an elaborately flowing robe with incised cloud designs and wearing a tiger pelt cloak over his shoulders. He holds a fruiting branch in one hand while a mischievously grinning oni seated behind on his shoulders is grasping after the stem of the branch. Fine patina, particularly to the back.HEIGHT 9.3 cmCondition: Very good condition. The ivory slightly worn with a fine patina. A signature has been added, though is easily removed.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

A RARE RUSSIAN PORCELAIN FIGURE OF A BEARDED MAN wearing a long cloak, on a white shaped base. 11ins high.

A modern Juliana Collection resin figurine depicting a Native American with eagle totem cloak

A large collection of 16th-19th century copper alloy, pewter and lead alloy buttons, including livery, dandy, hunting and sportsmen types, and a collection of early cast copper alloy and bronze buttons and cloak fasteners.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

5 advertising models, Booths Gin with red lion, Bulmers Cider with woodpecker, model of man in cloak in black Sandermans marked 'Wade' to base, figure of man in waistcoat with monocle stating Martel Cognac Brandy, Sandland Hanley to base and glass Gordons Gin Dragons Head

ENGLISH SCHOOL (17TH CENTURY)PORTRAIT OF A BEARDED MAN, HALF-LENGTH IN A RED COATOil on canvas (in a Lely panel frame)73 x 61.5cm (28½ x 24 in.) Provenance:The Crawley-Boevey family Sold Flaxley Abbey, Gloucestershire: Catalogue of the Valuable Contents, Bruton, Knowles & Co., 29 March - 5 April 1960, lot 1309Bought by Mr and Mrs Frederick Baden-Watkins and thence by descent at Flaxley AbbeyCondition Report: The canvas has been relined and is on a later stretcher. Surface dirt and signs of mould. Areas of thinning paint and paint shrinkage, mainly in the sitter's cloak and in the background above his shoulders where the ground is clearly visible. Abrasions around the edges from contact with the frame. Craquelure throughout, UV light also reveals retouched craquelure (mainly in the sitter's face).Condition Report Disclaimer

ENGLISH SCHOOL (CIRCA 1680)PORTRAIT OF FRANCIS VANACKER, HALF-LENGTH, IN AN EMBROIDERED CLOAK; AND PORTRAIT OF HIS WIFE, CORNELIA BOEVEY, IN A MAUVE DRESSOil on canvas, a pair73 x 61cm (28½ x 24 in.) oval (2)Provenance:Possibly at the sitter's home, Erith Manor, Kent Probably inherited by Catherina Boevey in 1702 and thence by descent Sold Flaxley Abbey, Gloucestershire, Bruton, Knowles & Co., 29 March-5th April 1960, lot 1323Bought by Mr and Mrs Frederick Baden-Watkins and thence by descent at Flaxley Abbey Literature:A Brief Account of the Antiquities, Family Pictures and Other Notable Articles at Flaxley Abbey, co. Gloucester, Bristol, 1912, pp. 11, no. 7Francis Vanacker (d.1686, aged 38) was High Sheriff of Kent and a descendant of a London merchant family. He married Cornelia Boevey (d.1702) in 1671, who was the only daughter of the merchant, lawyer and philosopher James Boevey (1622-1696) by his second wife Isabella de Visscher. Upon Francis' death in 1686 Cornelia remarried to William Bateman of Clifton. She died at Erith Manor in 1702 without issue making it likely that this pair of portraits was inherited by her sister-in-law Catherina, owing to the early death of her brother William in 1692. Condition Report: Both with surface dirt and discolouration of the varnish, both canvases have been relined and show abrasions around the edges from contact with the frame. The male portrait with some bulging of the paint below his hair on the right, as well as a repaired tear in the same area. UV also reveals retouched craquelure in the sitter's face. The female portrait with several small repairs, visible under UV light, mainly to the left of the figure in the background, as well as some retouched craquelure in her face and neck. Condition Report Disclaimer

19thC Grodnertal painted wooden Eastern pedlar doll wearing a red cloak and a basket with her wares including a miniature Grodnertal peg doll, height 27.5cm

AR * Attwell (Mabel Lucie, 1879-1964). Five original illustrations for Troublesome Topsy and Her Friends by May Baldin, Tabitha Smallways Schoolgirl by Raymond Jacberns and That Troublesome Dog by Arthur Raymond Jacberns, watercolour and pencil, depicting various scenes including: I am monitor for cloak-rooms this week and I have to see that rules are kept and they suprised Mrs Brown by coming in at the kitchen door, etc., four signed, image size from 23.5 x 15.5 cm to 27 x 17 cm, all in matching mounts and frames, largest 46 x 37 cm, together with copies of Tabitha Smallways Schoolgirl by Raymond Jacberns, London: W. & R. Chambers Ltd, 1922 and Troublesome Topsy and her Friends by May Baldwin, London: W. & R. Chambers Ltd, 1913, both 8voQTY: (5)

A youth visiting a yogini in a cave, Rajasthan, India, 19th century, opaque pigments on paper heightened with gold, the scene in a rocky landscape, the yogini in a white cloak with gold trim, a tiger lying before her, with 5ll. of devanagri text in a cartouche above, mounted, glazed and framed,  28.5 x 19.5cm

WILLIAM A BREAKSPEARE (1855-1914) Portrait of a Cavalier in a Broad brimmed Hat and Blue Cloak, three quarter length, oil on panel, signed, 10" x 8", gilt frame (Est. plus 24% premium inc. VAT)Cleaned with some slight rubbing, some crazing throughout.

ATTRIBUTED TO WILLIAM SHAYER (1811-1892) Travellers Resting, oil on canvas, unsigned, 23 3/4" x 19 3/4", gilt frame (Est. plus 24% premium inc. VAT)Cleaned, relined and reframed, mild crazing, small repair/loss of paint (?) on red cloak and in tent, small scratch to centre.

An early 14th century silver seal matrix, finely carved to depict a Lady standing on a plinth beneath a gothic canopy, facing left, and wearing a long robe and outer cloak, her headdress tied under the chin, her right hand raised, a hawk perched on her left hand, within outer legend: ‘s’agacie d’ :talemaehe’, with suspension loop to the reverse, dimensions 35 x 21mm. £2,000-£3,000 --- Provenance: The seal matrix was found by the vendor’s father on his farm in Suffolk in the 1960’s. The seal translates as ‘the seal of Agacie Talemache’ which is derived from an old French word meaning ‘knapsack’. The English noble family of Talemache were first found in Suffolk, owners of a Manor house at Bentley, near Ipswich, and later at Helmingham Hall. They have had an important influence in East Anglia both politically and economically since the reign of Edward I. An impression of a seal of Alice Talemache is recorded in the Public Records Office (Reference P774). In the Middle Ages, hawking was a popular pursuit amongst wealthy noble women. Condition Report Very fine and a deeply engraved highly detailed design.

Full length midnight blue velvet cloak with a pair of enamel Czechoslovakian fastening clips.

TANGKA REPRÉSENTANT LE PORTRAIT DE DAMARUPATIBET CENTRAL, MONASTÈRE DE NGOR, VERS 1600 Distemper on cloth; with original blue cloth mounts inscribed on the reverse along the top in Tibetan, identifying the painting's subject, and also with original red lacquered, gold painted dowel rod; verso inscribed in black ink with 'om, ah, hum' incantations behind each figure and many lines arranged into the form of a stupa, comprising Sanskritized and Tibetan prayers and mantras consistent with a formula repeated throughout the Ngor lamdre lineage set of paintings; the painted recto with Tibetan inscriptions in gold identifying the majority of figures, and two separate lines of inscription along the bottom red painted border, the second identifying the secondary 'Chandali Perfection Stage Lineage' sequence of figures within the painting, the first an homage to the central subject, translated:'Seeing the excellent meaning of reality,By releasing from worldly practiceAnd remaining in the conduct of accomplishment;To Damarupa, I bow.'Himalayan Art Resources item no. 88707 Image: 78.5 x 67 cm (30 7/8 x26 3/8 in.); With silks: 126 x 68 cm (49 5/8 x 26 3/4 in.)Footnotes:A PORTRAIT THANGKA OF DAMARUPACENTRAL TIBET, NGOR MONASTERY, CIRCA 1600藏中 俄爾寺 約1600年 達瑪如巴肖像唐卡 Published:Pratapaditya Pal, Tibetan Painting, Basel, 1984, pl. 40.Wisdom Calendar of Tibetan Art, Schneelowe Verlagsberatung und Verlag, Haldenwang, 1987 (October).Pratapaditya Pal, Himalayas: An Aesthetic Adventure, 2003, p. 262, no. 174.Rob Linrothe, Holy Madness: Portraits of Tantric Siddhas, New York, 2006, pp. 300-1, no. 51.David Jackson, The Nepalese Legacy in Tibetan Painting, New York, 2010, pp. 22 & 41, fig. 2.23. Exhibited:Himalayas: An Aesthetic Adventure, Art Institute of Chicago, 5 April – 17 August 2003; National Museum of Asian Art, Smithsonian Institution, Washington D.C., 18 October 2003 – 11 January 2004. Holy Madness: Portraits of Tantric Siddhas, Rubin Museum of Art, New York, 11 February – 3 September 2006.The Nepalese Legacy in Tibetan Painting, Rubin Museum of Art, New York, 3 September 2010 – 23 May 2011. Provenance:Schoettle Ostasiatica, Stuttgart, 1982Michael Henss Collection, ZurichOne of the best-preserved paintings from the famous Ngor lamdre lineage set, this near-pristine composition depicts Mahasiddha Damarupa, 'The Drummer'. According to traditional accounts, Damarupa trained under Kanha at every potent charnel ground and site of tantric power in India, prompting his zestful depiction. In addition to being the third mortal master of the lamdre tradition, Damarupa is a renowned adept of the important Chakrasamvara Tantra, which the composition alludes to through the pair of Chakrasamvara deities from differing teaching traditions in the corners at either side of his ornate throne-back. His eponymous damaru, a double-sided hand drum, embodies one of three principal ritual instruments of a tantric practitioner, alongside the vajra and ghanta (bell). Formed by attaching two craniums of enlightened masters, the drum, in the context of Chakrasamvara Tantra, is the Prajna (wisdom) to which the male applies his skillful means (i.e. compassion) activating the union of these two highest Buddhist principles (Huntington & Bangdel, The Circle of Bliss, 2003, no. 106). With modulations from soft to loud and slow to rapid beats, Damarupa, as the drum's archetypal practitioner, is able to produce a single tone that summons all Buddhas, inspiring them with supreme joy (Beer, The Encyclopedia of Tibetan Symbols and Motifs, 1999, p. 258).At the center of the painting, Damarupa whips the pair of golden clappers against the drum with a flick of his wrist. The drum's long tassel of jade beads, gems, gold fastenings, and tri-colored silk streamers trail in countermovement. The painter repeats its flurried arc with the extension of Damarupa's left leg, which, coupled with a half-cocked elbow gingerly cradling a skull cup full of nectar, deftly conveys the peripatetic drummer in a half-seated-half-dancing liminal posture. Airy crimson sashes twirl around his arms and knees, and spiral before his feet. Damarupa's piercing, bloodshot brown eyes and excited grin invite the viewer to hear the 'sound of great bliss' he has produced for all those that can perceive it. He wears a crown of five emblazoned gems borne alternately from Indian lotuses and Chinese peonies. The colored order of each gemstone correlates to the surrounding structure of green, red, and blue aureoles of perfect Newari scrollwork. Meanwhile, his black hair wrapped in an intricate bone lattice is pulled up into a trilobed bun that echoes the edge of the throne-back above him, further harmonizing with the mahasiddha's visage.Twenty-six vividly executed portraits comprising the 'Chandali Perfection Stage Lineage' surround Damarupa in formal rows along the top and side registers. This secondary lineage within the painting is one of over thirty traditional Sakya tantric lineages for which Ngor claimed to excel. Delightful details abound throughout the depicted succession of masters, including Vajra Ghantapa's mid-air tantric sexual congress with his consort (3), and the founder of the Sakya tradition, Sachen Kunga Nyingpo's, aqua cloak and strigine tufts of hair (12).

STATUETTE DU CINQUIÈME SAKYA TRIDZIN, JETSUN DRAGPA GYALTSEN, EN ALLIAGE DE CUIVRE DORÉATTRIBUÉ À TSUGTOR (A. XVE SIÈCLE), TIBET, VERS 1479A Tibetan inscription identifying the subject, front center on the top of the lotus base, translated, 'Homage to Jetsun Dragpa'.Himalayan Art Resources item no. 4811treasuryoflives.org no. P1614 31.7 cm (12 1/2 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF THE FIFTH SAKYA TRIDZIN, JETSUN DRAGPA GYALTSEN ATTRIBUTED TO TSUGTOR (A. 15TH CENTURY), TIBET, CIRCA 1479西藏 約1479年 銅鎏金五世薩迦法王扎巴堅贊像 應為珠多之作（活躍於十五世紀）Provenance:With Claude de Marteau, Brussels, by 1970sThis outstanding gilded bronze depicts Jetsun Dragpa Gyaltsen (1147-1216), the Fifth Tridzin (Throne Holder) of the Sakya order of Tibetan Buddhism. Its caster, almost certainly a master artist named Tsugtor (a. 15th century) working for a Tibetan royal patron, reflects Dragpa Gyaltsen's quintessential portrait, recognizable for the shorn cut, groomed facial hair, and full-sleeved layman's cloak emblazoned with the Eight Auspicious Symbols (ashtamangala). Also regarded as the third of the Five Founding Fathers of the Sakya tradition (Jetsun Gongma Nga), Dragpa Gyaltsen is revered as a peerless tantric master believed to have conversed at times directly with tantric deities while developing many of the Sakya's core teachings (Dinwiddie (ed.), Portraits of the Masters, 2003, p. 207). As his impact in the field of tantric theory and practice would never be surpassed in the Sakya tradition, he is often represented with the same attributes and pose—crossing the vajra and ghanta before his chest—as the Primordial Buddha Vajradhara, who is considered the divine progenitor of most tantric cycles. This magnificent portrait can be attributed to the Tsugtor, who is known to have created gilt bronzes around 1479 for Sakyong Ayi Sengge, a prince of Mustang, which at the time was a wealthy, semi-independent kingdom controlling an important trade route linking Tibet and India. This information came to light through inscriptions naming artist and patron on two bronzes studied by Amy Heller. Undoubtedly from the same workshop as the present sculpture, both bronzes depict the Fourth Abbot of Ngor monastery, Gyaltshap Kunga Wangchuk (1424-78), and were offered at Sotheby's, New York, 19 March 2008, lots 306 & 307 (HAR 12576 & 12577). Gyaltshap Kunga Wangchuk collectively spent over a decade in Mustang before passing away there in 1478. The inscriptions indicate the portraits were royally commissioned in memoriam the following year in 1479, which appears to coincide with an historical record of golden statues being made for the lama's memorial ceremonies (after Heller; see the Ngor Abbots Lineage biographies, Ngor gdan rabs nor bu phreng ba, composed c. 1700, and see also Jackson, 'Sources on the Chronology and Succession of the Abbots of Ngor E-vam chos-Idan', in Berliner Indologische Studien, 1989, vol. 4/5, pp. 49-94). The two commemorative portraits appeared at auction alongside two further bronzes (lots 304 & 305; HAR 12574 & 12575), depicting Shang Kongchog Pel (1250-1317) and Dragpugpa Sonam Pel (1277-1350), that are stylistically identical to the present lot and clearly belong to the same initial set representing the lamdre lineage masters of the Sakya order. Manifest in the present sculpture of Dragpa Gyaltsen, Tsugtor evidently drew from the Tibeto-Chinese stylistic tradition of the Yongle period (1403-24). For example, the robe's pleating over Dragpa Gyaltsen's legs, the heavy beading around the lotus base, the compact treatment of the petals with trifurcating tips, and the master's sweet, downcast expression all recall Yongle idioms, as exhibited by sculptures of Maitreya and Vajrapani in the Rietberg Museum, Zurich (Uhlig, On the Path to Enlightenment, 1995, pp. 87 & 107, nos. 42 & 59). The location of the Tibetan inscription on top of the base before the feet of Dragpa Gyaltsen also echoes the practice of engraving reign marks on imperial bronzes that are thought to have been dispatched as diplomatic gifts to prominent Tibetan monasteries. However, the chased motifs embellishing Dragpa Gyaltsen's cuffs and cloud collar, while redolent of luxurious Chinese silks, reflect a Tibetan taste for patterning the textiles in gilt bronze sculptures which was never used by early Ming imperial workshops. In both form and technique, these symbols correspond to similar patterning known definitively to have been practiced in Shigatse, Central Tibet, from the work of another identified master artist, named Sonam Gyaltsen, working for local royal patrons of the Sakya order earlier in c. 1430 (See Watt in Bonhams, New York, 19 March 2018, lot 3033). Mustang is generally not known for gilded bronzes, and both the inscriptional evidence within the Gyaltshap Kunga Wangchuk portraits and these stylistic and technical features might place Tsugtor at a workshop in Shitgatse, not Mustang, and where Ngor monastery commissioned its bronzes as well. The present Dragpa Gyaltsen, therefore, offers a rare and important ability to localize these inspired artistic exchanges between China and Tibet in the 15th century, in addition to being among the most substantial and exquisitely modelled gilt bronze portraits of a Tibetan hierarch to ever appear on the market.For further information on this lot please visit Bonhams.com

STATUETTE DE KRODHA VAJRAPANI EN ALLIAGE DE CUIVRE DORÉTIBET, XIVE SIÈCLEHimalayan Art Resources item no. 4818 21.3 cm (8 3/8 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF KRODHA VAJRAPANITIBET, 14TH CENTURY西藏 十四世紀 銅鎏金金剛手菩薩像Published:Arman Neven, Le Tantrisme dans l'art et la Pansee, Bruxelles, 1974, p. 76, no. 389. Exhibited:Le Tantrisme dans l'art et la Pansee, Palais des Beaux-Arts, Bruxelles, March - 10 April 1974. Provenance:With Claude de Marteau, Brussels, by 1974This rare figure depicts Krodha Vajrapani (lit. wrathful vajra bearer), who is distinguished from his numerous other forms by the combination of the vajra he brandishes above his head and the bell he rests against his hip, dampening its sonorous ring. Even scarcer among gilt bronzes of this subject is a windswept cloak clinging to this Krodha Vajrapani's immense frame, conveying the wrathful deity's astonishing agility and vigor as he crushes a pair of demons beneath his feet. Counter to his brutality, there is a jollity to Vajrapani's pudgy grimace and an apparent reluctance by the artist to depict him with a grotesque face, thereby producing a more endearing representation of Buddhism's primary protector, who uses his invincibility to help the religion's followers. The style of this work belongs to a long artistic tradition that traces back to Northeastern India around the 11th and 12th centuries and spreads to Nepal, Tibet, and China. To begin with, the sensuous curls of the lotus petals, and the lavishly beaded rim that decorates the edges of Vajrapani's lotus base, derive from sculptures of the Late Pala period (see von Schroeder, Buddhist Sculptures in Tibet, Vol. I, 2001, pp. 299 & 303, nos. 100B & 102B). These elements were continued to great effect by the Newars, an ethnic group from Nepal's Kathmandu Valley whose artistry was renowned for its sensitive modelling and benign visages. The Newars were highly sought-after for major artistic projects in Tibet and China during the Early Malla period (1200-1482), a time of prosperity that coincided with Tibetan rule between the Sakya order and the Yuan dynasty (1279-1368). It was within this political climate around the 14th century that the present work was made, likely by a Newari artist for a Tibetan donor or monastery, based on the presence of a consecration plate underneath the base. See a 14th-century image of Panjaranata Mahakala from the Claude de Marteau Collection, Part 2, sold at Bonhams, Paris, 4 October 2022, lot 9, that draws many close parallels to the present work. Such parallels include Vajrapani's rotund physique based on proportions favored by Newaris and the lack of inset stones to emphasize his rich gilding instead. These types of images later gave rise to the art of the early Ming dynasty, whose rulers strived to model themselves as the spiritual successors to the Mongol rulers of the Yuan in their continuing sponsorship of monasteries and artists. See a Yongle image of Hayagriva with hooped jewelry, dwarfish features, and rotund dimensions like the following work, published in von Schroeder, Buddhist Sculptures in Tibet, Vol. II, 2001, p. 1261, nos. 348C-D. Lastly, compare an image of Legden Mahakala who sports a similar cloud-collared robe in the Rubin Museum of Art, New York (C2003.10.3; HAR 65208).For further information on this lot please visit Bonhams.com

SPECTACULAR SPIDER-MAN #41 to 100 (63 in Lot - 2 copies of issues #41, 64 & 98) - (1980/1985 - MARVEL - US & UK Price Variant) - Unbroken run of 60 issues including the first appearance of Roderick Kingsley, the first appearance and origin of Cloak and Dagger, the second appearance of Spider-Man's black costume + The first appearance of Spot - Flat/Unfolded

A vintage Rumonte red velvet lady's mid length Coat with single button fastening and bishop sleeves and a black velvet cloak with beige lining, a/f

Three Minster ducks comprising Sunday Best, William with scarf, and Miss Duck with pink cloak and bonnet boxed.

A 20th century gold silk theatrical cloak. H.180 W.80cm

Harry Tittensor for Royal DoultonA 'Spook' figure, model no. HN58, 1916-1936Glazed ceramic, with red cap and blue titanium crystalline cloak, on marble ashtray base. 20 cm high including baseInscribed to the base H.Tittensor.For further information on this lot please visit Bonhams.com

A C1970s velvet cloak in black velvet with decorative double button finish to the neck along with 7 pairs of vintage gloves (qty)Cloak is in good, clean condition

An 18thC tin glazed earthenware figure modelled as an Oriental gentleman in cloak, on a square leaf decorated base, 15cm high. (AF)

LORD OF THE RINGS. A Topps, Lord of the Rings, Fellowship of the Ring Card Binder. Includes: two Bonus Foil Cards; a set of Prismatic Foil Cards, No. 1 - 10; the Main Character Cards, No, L1 - L20; one Authentic Movie Memorabilia Card, Boromir's cloak; 14 Authentic Autograph Cards including Sean Bean, Orlando Bloom, Hugo Weaving, Dominic Monaghan, Christopher Lee, Sean Astin, Cate Blanchett, Billy Boyd, Sir Ian Holm, Sir Ian McKellen, Viggo Mortensen, Liv Tyler, Elijah Wood, & John Rhys-Davies; a full set of Fellowship of the Ring Cards, No. 1 - 162.  Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING.  The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.

Harry Potter - Mattel - And The Philosopher Stone. A selection of Four boxed items including figures and a game. Items appear in Mint condition in Excellent boxes. Lot to include: #50686 Hermione #50845 Invisibility Cloak Harry. #53886 Snitch Chasing Harry Electronic Figure. #42907 Levitating Challenge Electronic Skill and Action game. All Mattel branded. (This does not constitute a guarantee).

A large Islamic animal hide cloak

THREE ROYAL DOULTON FIGURES, comprising Town Crier HN3261, height 11cm, Guy Fawkes HN3271, A La Mode HN2544 (marked as second quality and large crack through lower half of body) (3) (Condition Report: Guy Fawkes has marks to cloak under the glaze)

TWO ROYAL DOULTON FIGURES, comprising The Jester HN2016, signed and dated to base in gold ink, and Town Crier HN2119 (2) (Condition Report: pieces appear in generally good condition, Town Crier has a small coloured in glaze chip to back of cloak, and a code written on the base in red ink possibly by a previous owner, The Jester has adhesive foam attached to base)

Mid 19th Century English School - Oil painting - Scene from Ovid's "Metamorphoses" of Diana and Acteon, Diana here emerging from a river, her quiver full of arrows and purple cloak hanging in a branch nearby, canvas, 32ins x 25ins, in gilt moulded frame Note: Ink inscription to verso of canvas reads "H J Quintin Pinxt 1846"

A Devon and Cornwall Constabulary Police helmet with helmet plate together with relating Cornwall Constabulary cloak, great coat and one other coat etc.

Black-purple tricorn and cloak.Series: Character from Williamsburg. Royal Doulton backstamp. Artist: Max HenkIssued: 1963 - 1983Dimensions: 7"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Good.

Variation One. Black hat; red cloak; black hair and moustache.One of the much-loved three musketeers in the 1844 novel by Alexandre Dumas, Porthos roamed Europe with his merry band in search of adventure. "One of the Three Musketeers" was included in the early backstamp to indicate that Porthos was one the famous Musketeers. Series: The Three Musketeers; Characters from Literature. Royal Doulton backstamp. Artist: Max HenkIssued: 1956 - 1991Dimensions: 4"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.In a poem written by Robert Burns in 1791, Tam O' Shanter is a drunken farmer who happens upon witches who pursue him and his horse. He escapes, but his horse doesn't quite make it - one witch pulls its tail off. The Scottish woolen cap is reputedly named after this poem's hero. Royal Doulton backstamp. Artist: Max HenkIssued: 1973 - 1980Dimensions: 3.25"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Good.

Royal Doulton Character Jug, Porthos D6516 (black hat; red cloak; black hair and moustache). Designed by Max Henk. Series: Characters from Literature/ The Three Musketeers, issued 1960 -1991. Size: 2.75"H (mini)One of the much-loved three musketeers in the 1844 novel by Alexandre Dumas, Porthos roamed Europe with his merry band in search of adventure. "One of the Three Musketeers" was included in the early backstamp to indicate that Porthos was one the famous Musketeers. Manufacturer: Royal DoultonCountry of Origin: England

Part of the Literary Characters Series. Issued to commemorate the 50th anniversary of the death of Sir Arthur Conan Doyle (1859-1930). Depicted wearing green hat and cloak, with brown coat. Royal Doulton backstamp. Artist: Robert TabbenorIssued: 1981-1991Dimensions: 5.5"L x 4.5"W x 8.75"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.

Brought to our saleroom by the current owner family mistakenly thinking that it was a Spanish colonial work, due to its exquisite details, quality and meticulousness, our experts rapidly deduced that it could undoubtedly be a work by Luisa Roldán "La Roldana". Much more coincident in period, style and meticulous quality to the best female artist of the Spanish Baroque. We thank Mr. José Antonio Díaz Gómez, Doctor of Art History and Professor of the Department of Art History at the University of Seville, for his help in cataloging and identifying this extraordinary work. This is, without a doubt, one of those magnificent discoveries that happen once in a lifetime, every detail in this work is sublime, delicate... beautiful, the Mother of God looks at the sky with an innocent gesture of tenderness and innocence, under two dazzling blue eyes in painted glass of which various models executed by La Roldana are known; Her body is covered by a delicate golden green cloak, dotted and sgraffito with golden edges studded with detailed flourishes of painted roses. Under the feet of the Blessed Virgin, five smiling angels of unappealable craftsmanship from La Roldana gaze tenderly at the viewer. Sculptural group in gilt and polychrome terracotta, preserving all its original polychrome and gilding, measurements: 43 x 23 x 14 cm. Provenance: Spanish private collection. Reference bibliography: García Olloqui, María Victoria (2000). Luisa Roldán La Roldana, Seville: Guadalquivir. ISBN 84-8093-068-3. Similar examples: see "Immaculate Conception" by Luisa Roldán, La Roldana. Virgen con el Nino. 1680-1686, National Gallery of Art, Washington, for a similar example of lesser quality and detail than the present work offered in our saleroom.

Montague (J.) The Figure in the Cave and other Essays, 1989, First Edn. Hardback, with d.w.; also paperback of same, and The Great Cloak, D. (Dolmen) 1978, First; Durcan (Paul) Life is a Dream, 40 Years Reading Poems Lond. 2009, d.w.; The Laughter of Mothers, L. 2007, First Edn., d.w.; & 1 other same author; McGahern (John) Love of the World Essays, L. 2009, d.w.; Moore (Brian) Lies of Silence, L. 1990, First Edn., d.w. (8)

Stained Beechwood Bentwood Cloak and Stick Stand, approx. 188cm high

Mid century Retro and Red Atomic style Cloak Stand with Red Plastic Hooks, 168cm high

Gil de Siloé (Antwerp, Belgium or Urliones, France?, circa 1467 - Burgos, 1505)"Saint Barbara"Carved, gilded and polychromed wooden sculpture.110 x 28 x 30 cm.This image bears a great resemblance to the polychromed limestone sculpture of the Virgin and Child, from the facade of the arch of Santa María la Mayor, in Burgos, and which is currently on display at the Burgos Museum. The similarity to the face is remarkable, being an almond-shaped oval, with a long, thin nose and a small mouth with an expression so characteristic of the sculptor. To this can be added the treatment of the hair, made up of long, wavy locks, loose on both sides of her face.The Saint is represented in a frontal position, standing with her right leg slightly forward, creating a contrapposto effect. Dressed in rich courtly clothing, she wears a dress in reddish tones tied with a fringed chord which falls to her feet forming folds reminiscent of Gothic folds. With a pronounced bosom, her white blouse peeks out and she is covered from shoulders to feet in a luxurious gold cloak with a blue interior. Saint Barbara gathers up the cloak with her right arm to pick it up, in one of the sculptor's graceful gestures.This sculpture gives a strong indication of Gil de Siloé's origin being Flemish, evident in the headdress that covers part of the saint's head, in her extremely delicate hands and in the sweet beauty of the face.Finally, the wonderful tower held in her left hand is remarkable and symbolizes Saint Barbara's attribute. In her other hand she would have held a palm, which is not preserved, symbolizing her martyrdom.The tower, according to tradition, consists of three windows "to remember the words of the Saint, according to whom the light had entered her through the three windows of the Father, the Son and the Holy Spirit", as indicated by Don Luis Monreal y Tejada in his Iconography of Christianity. In this tower she was locked up by her father, Dioscuros, to protect her from her suitors. Saint Barbara, who had previously baptized herself, fled from the tower and was therefore arrested, tried and sentenced to death. The miracle occurred when, before being beheaded, lightning struck, killing her tormentors.Saint Barbara, virgin and martyr, lived in Antioch in the middle of the 3rd century under the rule of Maximian.Gil de Siloé was a sculptor who was the greatest representative of Elizabethan Gothic, a style typical of the Crown of Castile which originated after the merging of Mudejar art and Flamboyant Gothic with Flemish influences. His origin remains uncertain: it seems likely that he was Flemish and the fact that he sometimes signed "Gil de Enberres" (Amberes being the Spanish for Antwerp) attests to this, but he also sometimes signed "Gil de Urliones" (possibly referring to Orleans) so a possible French origin remains on the table.Be that as it may, Burgos and his great artistic activity attracted him. He arrived there, as el Prado explains in its biography, with an already "defined sculptural language that he would maintain throughout his career and that is characterized by a detailed and meticulous technique that tends to cover all surfaces with decorative elements.” Despite having been called by the rich activity of Burgos, "he lived and worked in Burgos, in Castile, without his clients or the environment influencing him enough to make him change his art", affirms the professor of Art History from the University of Burgos, Dr. Alberto C. Ibáñez Pérez, in the article on Siloé from the Royal Academy of History.The great quality and renown of his work resulted in the creation of a sculptural focus in Burgos, which "radiated its activity and influence throughout the Castilian territory" from the end of the 15th century.Highlights of the artist's output include the altarpiece of the Tree of Jesse, the main altarpiece of the chapel of the Conception in Burgos Cathedral, made between 1483 and 1486, which is considered his first great work and was conceived "with the idea of uniting the three major arts in order to offer a message, in which reality presented with elegant detail served as visual support for the idea,” Ibáñez explains.Also remarkable is the tomb of the parents of Queen Isabel the Catholic, documented in 1486, and that of her brother, Prince Alfonso, both works commissioned by the Queen and sculpted in alabaster, for the Miraflores Charterhouse. The church also has a a Madonna and Child by Siloé, known as the Virgin of the Choir, practically identical to the one exhibited in the Museo del Prado (E000961).Reference bibliography:- Monreal y Tejada, Luis. (2000). “Iconografía del Cristianismo”. El Acantilado.- Ibáñez Pérez, Alberto C. (s.f.). “Gil Siloe”. Real Academia de la Historia. https://dbe.rah.es/biografias/14526/gil-siloe- Museo del Prado. (s.f.). “Siloé, Gil de”. https://www.museodelprado.es/aprende/enciclopedia/voz/siloe-gil-de/fa1e7ddb-348a-4871-8f36-18363eb8e102

John Arthur Machray Hay (Scottish, 1887-1960) - early 20th century oil on canvas portrait of a lady wearing a cloak and a string of pearls. Signed John A. M. Hay to lower left corner. Framed in ornate Edwardian gilded frame; canvas loosening within. Measures 75cm x 62cm, 97cm x 82cm approx. to include frame.

An alabaster figure of a classical maiden, carved in standing position, draped in cloak, holding a floral garland, raised on stepped square plinth, 18¼in. (46.4cm.) high. * Condition: Some nibbles to edges of plinth and base of figure, some small scuff marks to cloak, overall good.