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Lot 114
A 'SAMPSON AND MORDAN' SILVER PENCIL CASE AND FOUR OTHER ITEMS, a polished silver case stamped 'S.Mordan & Co' to the push button, engraved 'R.M.J 1.7.24', hallmarked 'Sampson & Mordan & Co' London 1920, fitted with a suspension ring to the side, length 70mm, approximate gross weight 21.1 grams, a white metal cloak clip stamped '875 J.Betins', a white metal open work floral brooch, unreadable stamp marks, a small open work circular brooch stamped 'Steel', together with a white metal ring set with a carnelian cabochon, stamped 925 Portuguese control marks, ring size centre M 1/2
Lot 63
A Whieldon Type Creamware Figure of Winter, circa 1780, as a boy in a cloak sitting on a rocky outcrop picked out in coloured glazes12.5cm highA Pratt Type Figure of a Lady, circa 1800, wearing a green shawl and spotted dress14cm highA Walton Type Figure of a Tambourine Player, standing before bocage14cm high (3)Winter, numerous glaze flakes. Free from cracks and damage.Lady, large chip with associated crack to the reverse. Tambourine player, loss to the top of the bocage, with other smaller losses around.
Lot 221
A Derby figure of a Ranelagh Dancer18th century,modelled as a gentleman standing holding a letter in his outstretched arm, on a naturalistic raised base, patch mark,20.5cm highChip to the inside fold of his yellow cloak, with a further hairline also to this cloak.Hat - chip to the tip and restoration to the front brimQueue bow - small section missing to one ribbon Reverse of yellow cloak- scuffs, scratches, losses of glaze in areas and several chipsStocking ribbons - breakages on both legsBows on shoes - chip to a ribbon on each.Firing crack visible to the pillar, further smaller firing cracks elsewhere.Some nibbles around base and losses to leaves generally.
Lot 184
§ THE CONNOR BROTHERS (BRITISH 1968-) I TRIED TO DROWN MY SORROWS - 2021 Hand-coloured pigment print with acrylic and oil stick, SP 1/5, signed, dated and numbered in pencil to margin, signed to an artist's label versoDimensions:the sheet 100cm x 68 cm (39.5in x 26.75in)Provenance:Provenance: To be offered to support The House of St Barnabas (Registered Charity 207242)Based in a Grade 1 listed townhouse in Soho, The House of St Barnabas has helped Londoners affected by homelessness since 1862. In 2013 the building became a members’ club with a difference; combining a not-for-profit creative and cultural space at No. 1 Greek Street with an Employment Academy for people affected by homelessness. Participants learn their craft in front of house, in the kitchen, the bar, or in the charity’s offices: since opening, 254 participants have graduated from the 12-week programme, many of which have secured lasting employment after graduation.The House of St Barnabas’ cultural events, music, and the generosity of members are key to the success of the charity, but the building also showcases work by both established and emerging contemporary artists. The permanent collection of visual art includes the works of Banksy and Tracey Emin alongside a programme of temporary exhibitions supporting emerging artists.The House have kindly been donated 11 works for sale, ranging from sculpture to paintings to support the charity's work. Most of the pieces have been donated by the artists themselves or by the galleries who represent them. Below we take a closer look at the works featuring in our January 2023 sale.2023 is the year of the house’s 10th anniversary. With your support and dedication, the charity hopes to continue to break the cycle of homelessness.Note: Note: It is the paradox of art that artifice is often the best way to depict reality, fiction the best way to challenge conventional ideas of what we think of as ‘the truth’. Most people are happy to think that this is the way it is. But it really isn’t. Who knows the truth of anything? - Mike SnelleThis obsession with truth and fiction is the golden thread that runs throughout the life and work of The Connor Brothers and is particularly relevant in the current climate of fake news, post-truth and social media. The brothers create retro style figurative images which encourage us to challenge our assumptions and preconceptions, and as a result to perhaps see the world a little differently. Their interest in undermining our assumptions and casual acceptance of cultural norms is reflected in their extraordinary background.They themselves started out as a fiction as in reality they are British artists Mike Snelle and James Golding. The fictional identity of Mike and James was designed to cloak their personal reality, and such was its success that it captured the imagination of the art world. The Connor Brothers were presented as innocent twins who had emerged traumatised from a Californian cult and were struggling to make sense of the world through their art – an interesting background no doubt, but the truth is more interesting still. After coping with some challenging personal issues for many years the two became great friends and started experimenting with making art as a way of looking at the world through a more positive lens. Their intelligence, humour and creativity gave their work enormous appeal, but when it was suggested to them that they might choose to exhibit it one day, both resisted the idea, unwilling to expose their artworks and themselves to the public gaze.
Lot 34
DUB RARITIES - LP PACK. A lovely pack of 9 x LPs. Artists / Titles include Prince Fab and the Arabs - Cry Tuff Dub Encounter Chapter 3 (UK OG, DKLP15, Ex+/Ex), Dub Off 'har' Blouse and Skirt Volume 3 (JA OG, Ex+/VG+), Guerilla Dub (BS1028LP, Ex+/Ex), Rico - Warrica In Dub (OG UK Promo, Ex+), Scientist v Prince Jammy - Big Showdown (Red Vinyl, Ex+/VG+), Augustus Pablo - Thriller (NW003, Green Label Design, Ex/VG+), Ranking Dread - In Dub (SCLP002, UK OG, Ex/Ex+), Playgroup - Epic Sound Battles Chapter One (BRED28, Ex/Ex), Lee Scratch Perry and the Upsetters - Cloak and Dagger (TSLP9001, Ex+/VG)
Lot 26
Star Wars - two original vintage Kenner / Palitoy made action figures - Bounty Hunters - ' 4-LOM ' (100% complete, with original rifle weapon, front appliance and cloak) 1980 LFL Made In Hong Kong COO and ' Zuckuss ' - also 100% complete with original rifle, LFL 1982 Made In Hong Kong. Both NM to VNM.
Lot 131
Spanish school of the third quarter of the 18th century."Christ washing the feet of the Apostles".Oil on canvas. Without stretcher.Measurements: 65 x 160 cm.It is represented here a scene narrated by the Gospel of John, widely treated in the baroque painting. Christ kneeling before Peter, is preparing to wash his feet. The rest of the apostles surround the two figures and exchange impressions, looking stunned by the idea of being washed by their Lord. The figure of Jesus, distinguished from the others by his attitude, determines the disposition of the rest. The Gospel of John tells how, during the Last Supper, Jesus got up from the table, took off his cloak and tied a towel around his waist. After pouring water into a basin, he began to wash his disciples' feet. Simon Peter pretended to refuse, but when Jesus insisted that otherwise he could have no part with him, he agreed to have his feet washed. The washing of feet was a common ritual in Eastern culture, in fact, in the Old Testament we find examples of this practice, for example in the visit of the angels to Abraham. Such an action is associated with hospitality, but Jesus' gesture towards his apostles adds a new significant dimension that alludes to humility.
Lot 137
Spanish school, 17th century."Virgin and Child.Oil on panel.Repainting. Faults.Measurements: 16,5 x 13 cm; 31 x 29 x 3 x 3 cm (frame).Devotional painting representing a Maternity. The Infant Jesus brings his face close to the Virgin's and embraces her neck in a very loving gesture. Mary's idealised countenance expresses a restrained sorrow, the tragic certainty of the future sacrifice of her son to save humanity. She wears a red draped tunic and a blue cloak, symbolic colours that allude to Marian purity and the Passion of Christ respectively.
Lot 51
Circle of FRANCISCO RIBALTA (Solsona, Lérida, 1565-Valencia, 1628).First half of the 17th century."The Saviour".Oil on canvas.It has a small hole on the left side, not very noticeable. It presents lateral bands added.Measurements: 51 x 44,5 cm; 65 x 58 cm (frame).In the present image, we are shown a portrait of Christ as Saviour, a typical representation that embraces the Christological concept of Jesus Christ as saviour. As far as can be seen, he is dressed in the ornamental clothing, a blue tunic and a red cloak belonging to his usual representation. It is a triumphant Christ who has conquered death and saved the world; his attitude is serene and almost smiling, with no traces of suffering left.Originally Catalan, Ribalta began his training at El Escorial, within the Mannerism that dominated court painting at the time. After beginning his career in Madrid he moved to Valencia in 1599, probably encouraged by the patronage of the patriarch Archbishop Juan de Ribera. There he produced his first known works, the altarpieces for the church of Algemesí, which denote a style somewhere between the mannerism of the Escorial style and naturalism. During these early years of the 17th century he carried out several commissions for the archbishop, whose death in 1611 marked a certain stylistic shift in Ribalta's work. His language took on an intimate and profound slant, very much in keeping with the more pious mood of the Counter-Reformation, inspired by the solemn gravity of certain models by Sebastiano del Piombo that he knew in Valencia itself. Ribalta was able to combine these influences with a naturalistic, direct language for which he was particularly gifted. His chromaticism also became more restrained and sober, and his figures became less gesticulated and more expressive. From the second decade of the century his pupil Vicente Castelló and his son Juan Ribalta worked with him, forming a solid and prolific artistic team in which it is sometimes difficult to distinguish their individualities. Around 1618 Ribalta fell ill, and this was the beginning of his last and most mature period of his production. He painted fewer works, but his style became more intense and emotive, moving towards a profound naturalism of moving force, as can be seen in his great painting "Embrace of Saint Francis to the Crucified", painted for the Capuchins in Valencia around 1622. Six years later Francisco Ribalta died, and a few months later his son Juan also died, leaving behind guidelines in Valencian painting that would last for a long time, conditioning the development of the Baroque style. In fact, Ribalta was, together with Velázquez and Ribera, one of the main founders of the naturalistic language in Spain.Works by Francisco Ribalta can be seen in the Prado Museum, the National Gallery in London, the Fine Arts Museum in Valencia, the Hermitage in St. Petersburg, the Louvre, the National Art Museum of Catalonia, the Chi-Mei in Taiwan and the J. Paul Getty Museum in Los Angeles, among other leading art galleries around the world.
Lot 120
Andalusian school, probably from Cordoba. First half of the 18th century."Saint Raphael the ArchangelCarving in alabaster, with polychromy.Measurements: 39 x 9 x 7 cm (figure): 11 x 14,5 x 14,5 cm (base).This sculpture represents Saint Raphael, the healing archangel. Devoid of the attributes that usually characterise him (a fishing rod or a pilgrim's staff), he is nevertheless fully identifiable here by the legend engraved on the shield. The archangel holds the shield with his left hand, while his right hand is held to his chest. His winged figure is distinguished by the delicacy of his face, with its childlike features. His hair is done up strand by strand and the cloak that envelops him is draped in deep folds. Saint Raphael the Archangel is one of the seven archangels who stands before the throne of God. He is known as the healing archangel because of his divine intervention with the character Tobit, whom he healed of blindness. The idealisation of the features and the dynamic impression of the drapery are features that could indicate a late Baroque origin from a Cordovan workshop.
Lot 5039
BILDSCHNITZER 19. Jh., Madonna als "Liebe Frau von Aparecida", Holz, vollplastisch geschnitzte Figur der bekrönten Maria mit weitem Mantel auf quadratischer Plinthe stehend, sehr feine Ausführung, H: ca. 21 cm. Altersspuren, zwei Ecken der Plinthe fehlend.| PICTURE CARVER 19. Century, Madonna as "Dear Lady of Aparecida", wood, fully carved figure of the crowned Maria with a wide cloak standing on a square plinth, very fine workmanship, H: approx. 21 cm. Signs of age, two corners of the plinth missing.
Lot 841
NAZARENER "Madonna mit dem Christuskind", 2. Hälfte 19. Jh., Holz vollgeschnitzt, Madonna auf Sockel stehend, das linke Bein als Standbein, das rechte Bein als Spielbein gearbeitet, in der linken Hand hält sie das Jesuskindlein, in der rechten den Herrscherstab, über ihrem schlichten gegürteten Kleid trägt Maria einen über ihre Schultern gelegten und vor dem Körper gezogenen Mantel. Ein hochwertig gearbeitetes Spiel aus Stegfalten und grätig schwingenden Säumen, H: 110 cm. Altersspuren, teilw. besch. | NAZAREN "Madonna with the Christ Child". 2st half 19th c., wood, carved three-quarters round, hollowed out on the back, Madonna standing on a pedestal, the left leg worked as a standing leg, the right leg as a playing leg, in her left hand she holds the infant Jesus, in her right the ruler's staff, over her simple girdled dress Mary wears a cloak draped over her shoulders, the cloak drawn in front of her body showing a quality play of folds and burr-like swinging hems, h: 110 cm. Signs of age, partly damaged.
Lot 185
A collection of 12" vinyl records comprising "Asphalt Ribbons- Good Love", "Japan- Visions of China", "Iron Maiden- Maiden Japan", "The Jimi Hendrix Experience- All along the Watchtower", "Peter Gabriel- Shock The Monkey", "A Flock Of Seagulls- Transfer Affection", "Mark Bolan- Sing Me A Song", "Black Sabbath- Paranoid", "Black Sabbath- Turn Up The Night", "Bruce Springsteen- The River", "Wire- Document and Eyewitness", "CCP- Hard Work", "Camel- Cloak and Dagger Man", "The Cure- A Forrest", "Deep Purple- Knocking at Your Back Door", "The Electric Morning", "Ex Post Facto- Dancing Child", "PIL- Death Disco", "Echo and the Bunnymen- The Back of Love", and others.
Lot 24
Albrecht Dürer - Jesus Christ entering Jerusalem - 1508-1509 / Description: Jesus Christ entering Jerusalem, Meder 130 a-b. From the Small Passion by Dürer. As the other ones offered in this auction, original Dürer woodcuts from an early edition without text, dating from circa 1544 -1589 based on the fragment of watermark found on 'The washing of the feet' (see other lot in this auction, watermark similar to the 'Kleines Wappen von Kaufburen mit einfachen Sternen =Meder Watermark 220.a, as used in the 'Ehrenporte' published in 1559.) Subject: Christ riding on a donkey from left to right towards an arched city gate, awaited by various people; an elderly man spreads out his cloak on the road, another holding a palm tree branch. Original woodcut from circa 1508-1509 by Dürer from the small passion, his first major project, and today his most celebrated, depicting the final days of Christ’s life. / Dimensions: 12,80 x 9,80 cm / Condition: Very good inked evenly printed, well contrasted black impression with almost intact borderline as to be found on the early impressions. Edition well ahead of the Italian text edition. On the full sheet of lead paper measuring 19,50 x 15,00 cm. Tipped with left border on a laid paper support sheet. Excellent untouched condition with no folds, tear or stains. / Literature: Meder 130 (a-b). With the small crack in the head of S.Peter and the four small gaps in the top borderline already present in the Latin text edition, with perhaps a few more small gaps in the top borderline as given for stat 'a'; But before the four gaps in the bottom borderline as described by Meder for the Italian edition-- Bartsch / Le Peintre graveur (VII.119.22) --- Dodgson 1903, 1911 / Catalogue of Early German and Flemish Woodcuts in the BM, 2 vols (I.294.66) / Medium: Woodcut /Circa: Ca. 1508
Lot 68
Leonardo de Vinci - Deformed heads, by Wenceslaus Hollar / Description: The Leonardo da Vinci studies of deformed heads are famous. Here a bust-length image of a bald old man in profile, smiling, wearing a cloak with fur collar, facing an old woman with grotesque face, wearing a low-cut bodice; after Leonardo da Vinci; first state, before '4' added to lower right. Etching by Wenceslaus Hollar after Leonardo da Vinci. Signed upper right 'Leonardo da Vinci inu: / W. Hollar fecit'. From the series: Varie Figuræ et Probæ , a series of thirteen etched plates + title after Leonardo da Vinci, with studies of heads, including grotesques; see New Hollstein (Hollar) 737-750. / Dimensions: 7,50 x 10,50 cm / Condition: A very good sharp early impression of the first state before the number with full plate border and tread margins. On a dense laid paper with still some ink in the left plate border. Condition is very good with no folds, tears or stains. A wonderful untouched condition. / Literature: New Hollstein (German) / The New Hollstein: German engravings, etchings and woodcuts 1400-1700 (745.I) --- Pennington 1982 / A descriptive catalogue of the etched work of Wenceslaus Hollar (1592.I) / Medium: Etching /Circa: C.1645
Lot 33
WW2 4 Signed Nicolas Trudgian Colour Print Titled Into The Cloak Of Darkness 29 of 650 Housed in a Presentation Frame. Signatures include The Artist, Major Gunther Bahr, Leutnant Otto Fries, Oberfeldwebel Alfred Staffa, Frame Measures Approx 27 x 37. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 110
WILLIAMSON (Henry): 'A Fox Under My Cloak...', London, Macdonald, 1962: 2nd impression: front FE inscribed in black ink '2nd impression, March 1962..HW's file copy. Do not steal this book': publishers red cloth with dustjacket, minor wear to extremities, 8vo: 'Donkey Boy', London, Macdonald, 1952: with annotations and corrections in Williamson's hand in ink and pencil, publishers green cloth with dustjacket chipped to extremities: with approx 50 other volumes from the 'Chronicle of Ancient Sunlight' series, various editions, most in dustjacket, to include other copies inscribed or annotated by the author. (2 shelves)
Lot 56
‡ REMBRANDT VAN RIJN (DUTCH 1606-1669)ABRAHAM CASTING OUT HAGAR AND ISHMAELEtching with touches of drypoint, 1637, an excellent fine impression of the only state with little to no sign of wear, even in the densely hatched areas in the upper left and under Abraham's cloak as usually found in later impressions, thin laid paper without watermarkSheet 127 x 95 mm (5 x 3 3/4 in) (unframed)Provenance:Colnaghi & Co., London [stock number in pencil verso C.27289]Private collection, NorwayLiterature:Bartsch 30; New Hollstein 166 i/iCondition Report: - Several small areas of expert repair to extremities, the majority only visible under raking light/close inspection- Upper right edge, and upper centre, with small losses to the sheet restored- The other areas without loss, but with paper thinning verso- Some faint toning to sheet and foxing/spotting to upper right quadrantCondition Report Disclaimer
Lot 708
Circle of Jean-Baptiste Perronneau, French c.1715-1783- Portrait of a lady, bust-length, wearing a white dress, brown cloak and blue ribbon in her hair; pastel on paper laid down on board, 48 x 32 cm. Held in a glazed gilded frame with rais-de-coeur sight. Please refer to department for condition report
Lot 3142
WW1 British Memorial Plaque to 089872 Pte Frank Layton, 30th Remount Squadron, Army Service Corps removed from a factory in Keyworth, Nottinghamshire upon it's demolition in the 1980's. He enlisted in his birth place of Hednesford, Cannock Staffs. Aged 42 when he died: Grenadier Guards Officers Cloak Chain: Grenadier Guards Belt Buckle: 4th Cheshire Volunteer Company brass open frame belt buckle: XXL Cavalry Horse Brass. (5)
Lot 4
Ca. 1-100 AD.A terracotta statuette of a standing Bacchus (Greek Dionysus). He is depicted naked, standing atop an architectural plinth with a draped cloak hanging over his right arm. His head is adorned with a vine wreath. Bacchus is the god of the grape harvest, winemaking, and wine, fertility, ritual madness, religious ecstasy, and theatre in ancient religion and myth. Cf. The Museum of Fine Arts, Boston, Accession number 87.392.Size: L:190mm / W:58mm ; 195gProvenance: From the HDB Collection, Baden-Württemberg, acquired until 1979.
Lot 568
PETER PARKER, THE SPECTACULAR SPIDER-MAN #53, 57 to 60, 64, 66, 67, 69, 70, 75 to 79, 81, 82, 83, 85, 88, 89, 94, 95, 99, 100, 131, 132 (27 in Lot) - (1981/1987 - MARVEL - US & UK Price Variant) - Includes the first and second appearances and origin of Cloak and Dagger + first battle between the Kingpin and the Punisher + first cameo appearance of Jonathan Ohnn + second appearance and first cover appearance of Spot - Flat/Unfolded
Lot 68
CLOAK AND DAGGER LOT (12 in LOT) Includes CLOAK AND DAGGER #1 (1983) + CLOAK AND DAGGER #1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11 (1985/1986) - Issue one of first solo-titled Cloak & Dagger series + full unbroken run of Volume Two - Includes the first appearance of Detective Brigid O'Reilly + the first appearance of Mayhem - Flat/Unfolded
Lot 354
A Norwegian silver Brooch, probably a Solje to be worn with the Bunad national dress, marked on the reverse 830S, together with a Continental white metal buckle set facetted amethyst, a pair of large cloak buttons, all unmarked, a Norwegian silver souvenir spoon and tho others in silver plate (a lot)
Lot 53
WILLIAM GEORGE GILLIES (SCOTTISH FL.1890-1925) THE RED CLOAK Signed, oil on canvasDimensions:127cm x 101.5cm (50in x 40in)Note: This artist, not to be confused with Sir William George Gillies (1898-1973), was a Glasgow-based painter of portraits - often of young women - genre scenes and the occasional landscape. He exhibited at the Royal Scottish Academy and the Royal Glasgow Institute from his address at 58 West Regent Street, the details of which are to be found on the reverse of this work's frame.
Lot 531
Sterling silver Viking brooch door Norwegian designer David Andersen. This brooch is a replica of a 9th century Viking artifact. It was beautifully reproduced in the early 1960s by the famous company David Andersen from Norway. Each arm is decorated in Borre style with a head of a "beast". Brooches of this type, originally taken from Frankish sword fittings, were popular ornaments for Vikings, worn as a clothing fastener or cloak pin. Initially these pieces were turned into brooches and later the style was replicated by the Viking metalsmiths. Often a perforated ridge was added to the back to be worn as a pendant on a chain. Intricately designed brooches like this one, decorated with animal motifs, were worn by noble Vikings to display their wealth. In very good condition. LxW: 3.8 x 4.1 cm. Weight: 11.4 grams.
Lot 56
A Meissen figure of Beltrame from the Duke of Weissenfels series, circa 1745Modelled by Peter Reinicke and possibly J.J. Kaendler, wearing a pink doublet, green breeches, white cloak and a white pouch around his waist, holding a black hat in his left hand, his right arm outstretched, the base applied with leaves and flowers, 13cm high, crossed swords mark in blue (restored)Footnotes:After the engraving by Joullain, Habit de Beltrame de Milan, published by Riccoboni in 1728, and mentioned in Reinicke's work notes for August 1744: '1 Figur, Beltrama di Milan, 7 1/2 Zoll hoch, in Thon boshirt' [1 figure, Beltrama di Milan, 7 1/2 Zoll high, modelled in clay]; see Chilton Harlequin Unmasked, no. 121.For further information on this lot please visit Bonhams.com
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