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Circle of Johannes Vollevens the Elder,Dutch 1649-1728-Portrait of a lady, half-length, wearing a brown and white dress with blue cloak, standing in an interior, with an evening landscape beyond;oil on canvas, 32.7 x 26.1 cm.Provenance: with The Brod Gallery, London, November 1967.; Anon. sale, Sotheby's Colonnade, 22 May 1996, lot 74 (as Caspar Netscher).; The estate of the late designer Anthony Powell.Note: This portrait, which dates to c.1680, and is of exceptionally high quality, has thus far evaded a firm attribution. Last selling on the open market in 1996 as by Caspar Netscher, further suggestions have been made of Joannes Vollevens the Elder, Nicolaes Maes (1634-1693), Johannes Mijtens (1614-1670), Jan de Baen (1633-1702), and Michiel van Musscher (1645-1705). We are grateful to Dr Léon Krempel who tentatively suggested an attribution to Vollevens the Elder on the basis of a photograph.Please refer to the department for the condition report.

After Giuseppe Nogari, Italian 1699-1766- An old woman warming her hands; oil on canvas, 50.6 x 25.9 cm. Provenance: Private Collection, UK. Note: A 19th-century copy of Nogari’s larger original painting, of which two versions exist, at the Gemäldegalerie Alte Meister, Dresden [no.592] and at the Royal Collection Trust [RCIN 403975]. With her head and shoulders facing the viewer, the old woman holds up her hands to a small brazier set on a table in the left foreground. She wears a dark hood and a fur-trimmed cloak over a low cut blue dress and a white shift. The sitter's age is evident from the wrinkles in her face and neck, and also from her mouth; though it is closed it is obvious that she has few teeth left. She is possibly intended to personify 'Winter', or perhaps 'Touch'. The model of the old woman seems to occur in other pictures by Nogari, including variant compositions of the same theme. A copy of this work by John Phillip (1817-1867), entitled 'The Bohemian Woman', is in Aberdeen Art Gallery [ABDAG000002]. Nogari’s original composition is a pendant to his ‘A Man Holding Spectacles and Resting his Hands on a Book’ (RCIN 403973). Please refer to department for condition report

Marvel Figurine and Guide - Cloak and Dagger

A SPANISH OR SPANISH COLONIAL CARVED POLYCHROME FIGURE OF ST. ROCH19th CenturyWith an injured thigh, his cloak adorned with the pilgrim’s shell, 120cm high

Dutch School (17th/18th century)A Herder Keeping Order in his Flock, His Donkey Draped with the Blue Cloak of the Virginoil on canvas, 52cm x 72cm

TWO JAPANESE WOOD NETSUKE OF SENNIN EDO PERIOD, 18TH OR 19TH CENTURY The two sages depicted wearing coats of mugwort leaves, one with a long staff and the other, probably Gama Sennin, holding his pet toad; together with a later netsuke of a rakan, the ascetic lifting his cloak above his head, 10.6cm max. (3) Provenance: an Irish private collection, Dublin. PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

Faience Circular Charge, probably 19th century, decorated with a Turk wearing a orange cloak accompanied by a flamingo 38cm diameter together with Majolica Twin Handled Dish with basket weave decoration 32cm long and a Pair of Small Quimper Dishes 10cm diameter

Oil Painting on Canvas of a Girl wearing a Bonnet and a Red Cloak, 50cm x 59cm, framed

Manner of Michael Dahl (1659-1743) Swedish Portrait of a lady in a red dress and blue cloak Oil on canvas, 69.5cm by 54.5cmIn fully restored condition. Relined, cleaned and re-varnished. The paint is thin in places and flattened as a result of the restoration process. Fairly pronounced cracquelure especially across the sisters areas of flesh and her left shoulder and stomach essentially within the red paint. Other areas of cracquelure more visible as a result of deteriorated varnish. Possibly cut down? as top of feigned oval and hairstyle somewhat cropped. Some surface dirt, three main small spots of retouching or repair within the ladies hair. The right-hand side to include that in darker shadows and the hair that falls beside her neck is generally strengthened and overpainted. Sporadic retouches within background with more comprehensive dtengthening throughout. Retouches and strengthening to old cracquelure evient across the fabric draped along her right shoulder and arm. General strengthening within the drapery and shadows within the corner point of the teal coloured fabric on her right-hand side. retouches to outer part of feigned oval in lower left hand corner. Strengthening/retouching to shadows below the lower white chemise. Strengthening to darker tones of cuff at her left-hand side wrist. The hair at her right-hand shoulder added or strengthened with further retouches and strengthening to the background upper right. Retouches and infilling to cracquelure evident within the teal coloured fabric nearest edge of feigned oval lower left-hand side etc. Any other points of restoration not specifically mentioned.

British School (18th century) Head study of a young man, bust length, wearing a red cloakOil on canvas, 39cm by 26.5cmThis painting relates to the right hand figure in Sir Anthony van Dyck's (1599-1641) painting "Christ Healing the Paralysed Man" in the Royal Collection Trust (RCIN 405325). Relined, cleaned and revarnished. The paint is slightly thin in places and surface is somewhat flattened as a result of the restoration process. Some general separation to the pigment or bitumen? within the darker tones across his right shoulder/collar/cape/neck/chin etc. Vertical patch of retouching to possible old damage approx 3-4cm from lower left corner and approx 3cm in length. Further patch of retouching or restoration at the curve of his shoulder against cape which is broadly 1.5 by 3cm overall. V-shaped retouching to possible old damage approx centre left-hand side 3cm on longest length. General strengthening to the outline of the face. Slightly irregular vertical arrangement of retouching to old damage or losses essentially along right edge running from top of his left shoulder to just below top of sitters head. Strengthening to outline hair, neck, tunic. General more sporadic retouching through surface otherwise. Light surface dirt and discoloured varnish.

A Scottish clan MacLeod family crest and motto, Hold Fast, silver cloak brooch, Edinburgh 2003, 37.6 grammes (d 5cm)

A fine Arts and Crafts period white metal cloak pin or brooch modelled after an Anglo-Saxon crossbow fibula, 8.5 cm, 43 g

Attributed to Sir Peter Lely and Studio (1618-1680) DutchPortrait of Lady Gertrude Pierpoint, seated three-quarter length before a fluted pillar wearing a cream satin and blue dress with strings of pearls to her neckInscribed Lady Gertrude Pierpoint, second wife to George MARQS. of HalifaxOil on canvas, 122cm by 97.5cmProvenance: The Ledger GalleriesIn fully restored condition. Somewhat stiffly relined, cleaned and re-varnished. Covered in a layer of surface dirt. The paint is somewhat flattened in places as a result of the restoration process. A horizontal band of approx 15cm-30cm at the widest point along the lowest edge is in most notably thin in and poor condition. Cracquelure pronounced, canvas is apparent, more pronounced stretcher shadow etc. The paint is more noticeably thin and more consistent cracquelure especially within her skirts in general but the paler tone more aquetly. Likely reinstating of the inscription upper edge although no clear indication under a UV light. Four minor retouches above the lettering of "Wife to George" Further vertically arranged retouch withoin background approx 6-7cm to the right of the word "Halifax" and approx 2-3cm in length. Further retouches to the background upper right and upper left, likely of a different date in addition to general strengthening with the outline and definition of the drapery of the red curtain and elsewhere background left-hand side. Some of the restoration has deteriorated and is visible by eye. Essentially stable craquelure throughout with areas of a more pronounced nature. The varnished has deteriated and is showing as slightly opaque in places and more evident in line with some of the cracquelure. Further relatively small retouches in a similar area and likely of a different date. The largest is approx 2cm in dia. and a furthermore consistent patch within the darker tones and shadows central area of the drapery left-hand side background. There is a furthermore notable area of retouching and restoration within approx centre of the first stepped area below the fluted column which is essentially rectangular and approx 4cm by 6cm overall. Furthermore linear and mostly less consistent retouches and strengthening within the definition and demarked areas of the lower part of the column in general. Seemingly minor and delicate likely old retouches to the face with some possible more consistent retouching and restoration around the mouth and skin tones particularly around the string of pearls. The hair shows patches of general strengthening and retouching of two likely dates. A further patch of retouching at her approx shoulder in a broadly triangular shape. The definition drapery and folds of the fabric throughout her costume but especially her skirts and cloak and the shadows in general show consistent strengthening with some likely older and delicate retouches to the skin tones of the arms. The background of the lower 50% right and left side is broadly less affected. For more information please contact the department. The painting has historically been known as a portrait of Gertude Marchioness of Halifax. Another version of this composition and sitter was sold through Sotheby's Old Master and 19th-century paintings Lot 483 Sotheby's, New York 31st January 2014, Old Master and European Art Lot 483 and is now understood to form part of the collection at Tatton Park and is catalogued as Louise Renee De Penecoet De Kerouaille (1649-1724), Duchess of Portsmouth.

A Carved Oak Bust of St James, possibly French, 17th century, the bearded figure wearing a cloak with applied scallop shell65cm highSome typical splitting, wearing, scratching and minor losses.

Follower of Sir Godfrey Kneller (1646-1723)Portrait of a gentleman, possibly Charles Townshend, second Viscount Townshend standing wearing an ermine decorated fur cloak and resting his right hand on a crownOil on canvas, 144cm by 113cmIndistinct Christie's stencil to versoIn fully restored condition. Somewhat stiffly relined, cleaned and re-varnished. Now with general surface dirt and discoloured varnish in evidence. Some likely General strengthening through background. Vertically arranged line of retouching, restoration to possible old damage. Slightly intersecting with his parting approx 6-7cm in length and 1cm wide at the widest point. Two further patches of overpainting and restoration within the background, up and left of the gold finial of his crown. Essentially irregular in shape, the largest being approx 6-8cm in length and 3cm at the widest point. Odd evident retouch to the background elsewhere under UV. Other sporadic and minor retouches elsewhere. There is little else to discern under a UV light but this may not preclude the possibility as the points of restoration above his powdered wig and background to the crown have likely been addressed at two different dates. Slight push mark from to back within the background of upper masonry left-hand side. Notable restoration as mentioned visible by eye. Some minor rubbing/abrasion to edges especially upper right-hand corner. Isolated cracquelure to face and less notably elsewhere. The surface is slightly flattened as a result of the restoration process. Otherwise in a broadly stable state of presentation.

A Siam silver cloak pin in the form of a pair of dancers and a silver and stone set nail guard brooch

A hogs tusk cloak pin with white metal mounts, 13cm wide

A rare Second War ‘cloak and dagger’ D.S.M. group of six awarded to Leading Telegraphist W. H. Diggins, Royal Navy, for his gallantry aboard H.M. Submarine Regent during her daring enterprise in entering into the port of Kotor to try and embark His Britannic Majesty’s Envoy-Extraordinary and Minister Plenipotentiary accredited to the Government of Yugoslavia, and in remaining there for nine hours though surrounded by large forces of the Italian army and subjected to attacks from the air; he was subsequently Mentioned in Despatches, having been recommended for a Second Award Bar to his D.S.M., for his services in H.M. Submarine Ultor in the Mediterranean War Patrols of 1943 Distinguished Service Medal, G.VI.R. (JX.137576 W. H. Diggins. L.Tel. H.M.S. Regent.); 1939-45 Star; Atlantic Star; Africa Star; Defence and War Medals 1939-45, with M.I.D. oak leaf, good very fine (6) £1,800-£2,200 --- D.S.M. London Gazette 30 September 1941: ‘For daring, enterprise and coolness in taking H.M. Submarine Regent into the port of Kotor to try and embark His Britannic Majesty’s Envoy-Extraordinary and Minister Plenipotentiary accredited to the Government of Yugoslavia and in keeping her there for nine hours though surrounded by large forces of the Italian army.’ M.I.D. London Gazette 8 February 1944. The recommendation (originally for a Second Award Bar to his DS.M.) states: ‘As Petty Officer Telegraphist he has maintained not only the wireless equipment but the Radar set and has displayed energy and initiative in so doing, materially assisting the Commanding Officer in three night attacks. By his cheerfulness he has set a good example to the Ship’s Company.’ A most unusual award of the D.S.M. for a ‘cloak and dagger’ action, and especially interesting as it was an attempt to rescue a British Senior Diplomat from falling into enemy hands. The diplomat concerned was Ronald Ian Campbell (later Sir, K.C.M.G., C.B.), the British Minister to Yugoslavia. When the Germans and Italians were overwhelming Yugoslavia in the Spring of 1941, Mr Campbell and his staff were cut off and unable to get away. It was decided to try to embark them in a British submarine and, accordingly Lieutenant-Commander H. C. Browne took H.M. Submarine Regent into the Adriatic. Having passed through two minefields which the Italians regarded as impassable, he steamed boldly into the harbour of Kotor, better known as Cattaro, to bring off the British Minister and his staff. Moving into port just after dawn, the Captain soon learned that the Italian army had reached the coast and were already in occupation of the town. This unexpected move by the Italians placed the Regent in jeopardy, but the Captain did not waver. Having been sent to effect the rescue of Mr Campbell, he was determined to do everything possible to bring him off, so he detailed an officer to go ashore. With the utmost coolness this officer went to the Senior Italian naval officer in charge of the port and explained that the Regent had come to evacuate the British Diplomatic Staff, whereupon he was permitted to go off in search of Mr Campbell while an Italian Army Staff officer went on board the Regent to act as hostage until he returned. Throughout the morning the Regent lay in harbour flying her biggest White Ensign. Around her was the Italian army with enough gun-power to blot her out of existence. For hour after hour the Regent lay there, flying the flag in the face of her enemies, while the officer strove to find Mr Campbell and conduct him back to the boat; unhappily he failed to make contact. The afternoon was advanced when two Italian dive bombers suddenly swooped down on the Regent and dropped several bombs which all missed. As they flew over, they opened fire on the conning-tower with their machine-guns wounding the Captain, the First Lieutenant and a Petty Officer. Captain Browne wasted no time. Diving without delay and carrying his Italian hostage with him, he escaped from the harbour, after remaining in the midst of the enemy for nine hours, picked his way safely through the minefields again and returned to his base. Awards for this episode included a D.S.O. for Captain Browne, two D.S.C.’s, three D.S.M.’s and one Bar to the D.S.M. The Submarine Regent was sunk by a mine off Monopoli in the South Adriatic on 18 April 1943. Diggins was obviously not aboard as he later served as a Petty Officer Telegraphist aboard the Submarine Ultor and was Mentioned in Despatches for her Mediterranean War Patrols, during which she bombarded Salina Island in the Liparis on 13 June 1943, and sank the Italian Torpedo Boat Lince, near the Gulf of Taranto on 28 August 1943. Sold together with an H.M. Submarines Naval Cap Tally; cloth insignia; and copied research.

Large Anglo Saxon Viking cloak clasp iron, D: 55 mm. P&P Group 0 (£5+VAT for the first lot and £1+VAT for subsequent lots)

Quantity of clothing and textiles, to include a pair of gaiters, ladies gloves, ties, a mortar board and cloak, leather pyjama, handkerchiefs, collar holders etc., housed in a cow hide suitcase

A Celtic bronze brooch or cloak ring,with engraved decoration,8cm diameter,a gold hair ring, andtwo gold tribal ear pendants, hair ring and pendants test as approximately 18ct gold (4)Provenance: Celtic bronze - Julia Schottiander, Tetragon, London.Condition Report8cm diameter. Some rubbing and wear to incised decoration. Some verdigris and patination. Some knocks and dents commensurate with age and use, however appears in fairly good cosmetic condition. General wear to ring and pendants. This was purchased as antique however it is notoriously hard to date objects of this type and we would encourage you to try to satisfy yourself as to the age of the item

19th century Spanish school, following the models of Peter Paul Rubens "Maddona with the parrot"."Virgin of the Rosary".Oil on canvas.Deteriorated, in need of restoration.Measurements: 114 x 92 cm 139 x 114,5 (frame).Fully baroque image, of scenographic presentation, which shows us the Virgin with the Child at her side, kneeling on the floor, with cherub heads predominating the background of the work. Both figures hold rosaries, that of the Virgin behind the Child and holding a flower in her hand, and that of Jesus. The figure of Mary is a monumental, well-seated and sculptural figure, typical of Classicist Baroque, and occupies most of the pictorial surface, directly illuminated by a clear and uniform light, which models avoiding the excesses of tenebrism and creates a soft play of light and half-shadows. This light gives the flesh tones of both figures a pearly appearance, in keeping with the classical idealisation they display. The colours, especially the pink of the Virgin's tunic, which dominates the composition and is framed by the greyish blue of the cloak, reveal the knowledge of the Mannerist masters of the previous century. The figures stand out well silhouetted against a golden background of Gloria, subtly worked with shades of ochre and yellow, which is in turn framed by the numerous cherubs, which close the composition on both sides.The iconography of the Virgin of the Rosary is directly related to the figure of Saint Dominic. Tradition, which began in the 15th century, tells us that the mother of God herself taught the saint to pray the rosary in 1208, telling him to propagate this devotion and use it as a powerful weapon against the enemies of the faith. Appearing in the chapel where the saint was praying, holding a rosary in his hand, he taught him to recite it, promising that many sinners would be converted and obtain abundant graces. St. Dominic went out of there full of zeal, with the rosary in his hand. He did indeed preach it, and with great success, bringing many Albingenses back to the Catholic faith.

Harry Potter - 9 x boxed and unboxed Harry Potter Wizarding World items and Harry Potter soft toys - Lot includes a boxed Harry Potter Invisibility Cloak which comes in a poor box due to tears. Lot also includes a boxed Harry Potter Colour Changing Potion Lamp, a Harry Potter Hogwarts Patch Notebook, and similar. Boxes range from fair to excellent with slight tears and minor storage wear. Items appear in excellent condition. (This does not constitute a guarantee) (2)

1930's Hall Cloak Coat Stand

A FINE WOOD NETSUKE OF GAMA SENNIN WITH TWO TOADSAttributed to the school of Hokyudo Itsumin, signed Masatsugu 正次Japan, Edo (Tokyo), first half of 19th century, Edo period (1615-1868)The immortal dressed in his characteristic artemisia leaf cloak, carrying an oversized toad on his shoulders, and grasping for a smaller toad in his left hand, his long beard touching the smaller toad's head. His face with an amused expression. Large himotoshi through the back, signed at the left foot Masatsugu.HEIGHT 7.7 cmCondition: Very good condition, minor wear, the toes possibly with some repairs.Provenance: European collection.Literature comparison:A closely related wood netsuke of Gama Sennin with one toad is illustrated in Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures, vol. 1, p. 526.Auction comparison:Compare a related wood netsuke of Gama Sennin with two toads by Itsumin, mid-19th century, at Bonhams, Fine Netsuke from a French Private Collection, 4 November 2020, London, lot 27 (sold for 3,562 GBP).

DARK CRYSTAL, THE (1982) - Chamberlain's (Frank Oz) Cloak Pin PrototypeA prototype of Chamberlain's (Frank Oz) cloak pin from the production of Jim Henson's and Frank Oz's fantasy adventure The Dark Crystal. Chamberlain wore his cloak pin throughout the film as he schemed to become Emperor.Created by The Jim Henson Company, this moulded resin pin is hand-painted brown and yellow to resemble stone and bone. It features 10 faux bone spikes, seven faux rubies inset on the front, and an unfinished back for affixing to wardrobe. Several pieces are missing from the pin's top and bottom, and the resin exhibits white staining from exposure. Dimensions: 10.25 cm x 5.75 cm x 2.5 cm (4" x 2.25" x 1") Estimate: £600 - 800 ΩThis lot will be auctioned on Saturday, November 5th. The auction will begin at 3:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast at propstore.com on auction day to follow the pace. Note other lots in the auction may close on Thursday, November 3rd; Friday, November 4th; or Sunday, November 6th.

EYES WIDE SHUT (1999) - Secret Ritual Orgy CloakA secret ritual orgy cloak from Stanley Kubrick's erotic drama Eyes Wide Shut. Attendees wore cloaks during the masked secret society orgy, which Dr William Harford (Tom Cruise) attended after learning that his wife Alice (Nicole Kidman) had previously contemplated an affair. The long cloak is made from black cotton twill fabric, and features a cape, collar, and hood lined in black satin. A hook-and-eye clip fastening is present at the front, and there are some minor stains on the satin lining. The lot is accompanied by an Angels Costumes certificate of authenticity. Estimate: £1,000 - 1,500 MThis lot will be auctioned on Saturday, November 5th. The auction will begin at 3:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast at propstore.com on auction day to follow the pace. Note other lots in the auction may close on Thursday, November 3rd; Friday, November 4th; or Sunday, November 6th.

A NIGHTMARE ON ELM STREET 3: DREAM WARRIORS (1987) - Will's (Ira Heiden) Wizard Master CloakWill's (Ira Heiden) wizard master cloak from Chuck Russell's horror sequel A Nightmare on Elm Street 3: Dream Warriors. In the dream world, Will donned his wizard master cloak and cast a spell to destroy the demonic wheelchair. The cloak was custom-made by costume designer Camile Schroeder and wardrobe supervisor Donna Schultz. It was the most expensive costume created for the film, and only one was produced. Made from royal blue linen, the cloak includes sleeves; a red polyester lining; a high-standing purple collar with golden embellishments; a gold-toned jewelled metal clasp; and two cape layers made from grey hessian and purple-green-and-gold paisley-patterned corduroy. The cloak's blue fabric features stars and crescent moon shapes hand-painted in black with gold glitter. The garment has been intentionally distressed with charred black marks and shredded, frayed edges. It also exhibits wear from production use and age, including discolouration, holes and loose thread, some of which has been replaced with two safety pins on the left shoulder. The lot is accompanied by a letter of authenticity from costume designer Schroeder and a photograph of Headon wearing the cloak on set. Estimate: £8,000 - 12,000 M This lot will be auctioned on Thursday, November 3rd. The auction will begin at 3:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast at propstore.com on auction day to follow the pace. Note other lots in the auction may close on Friday, November 4th; Saturday, November 5th; or Sunday, November 6th.

A gilt cloak clip

A enamel and metal cloak clasp

Three framed oil on board portraits, one of an old women, one of a woman in a cloak and a seated pregnant nude, all unsigned. H.46 W.37cm. (largest)

A black crushed velvet full-length cloak by Quad, with a toggle and rope clasp, length approx 140cm.

Royal Doulton flambe wizard, 25cm high Condition ReportSlight loss of shininess to the glaze at the bottom of the wizard's cloak; wear to the base as to be expected including slight discolouration to the edges.

1920's black satin opera cloak with embroidered lame border (possibly continental), filigree brass-coloured metal buckle fastening 

Italian School, late 17th centuryPortrait of a gentleman, three-quarter-length, in a grey shirt and gloves, and a red and dark green cloak;Portrait of lady, three-quarter-length, in a white silk dress and green wrapa pair, oil on canvas98 x 71cm and 96 x 71cm (2)Condition ReportIn matching frames. The paintings are both executed in oil on canvas supports which have been lined. The paint layers on both portraits are vulnerable with raised edges to age cracks and areas of loss. The portrait of the lady is in a worse condition, the canvas has pronounced stretcher bar marks and the paint layer is severely raised and cracking. Both paintings have extensive overpaint across the surface. The varnish layers have yellowed and vary in gloss.

AN AMERICAN MERCHANTMAN PORTRAIT FIGUREHEAD, CIRCA 1840bust length, depicting a typical gentleman owner with lamb chop whiskers, high collar with neckerchief, pleated shirt, shawl collar waistcoat and terminating in a cloak around his waist, the back with billet head (refinished) – 33 x 24in. (84 x 61cm.)Paint chips to nose

Group of vintage silver jewellery comprising a Greek key design bracelet stamped 'Grosse Germany 1971', an Arts & Crafts style cloak pin with pearl terminal - maker 'NV', Edinburgh 1992, a 1970s cabochon tigers eye ring by Jon & Valerie Hill, a Bond Boyd leaf brooch (af) and a white metal lizard brooch (5)

A gilt-metal thread embroidered purple velvet man's cloak Ethiopia, early 20th century, the short cloak with panels of embroidery either side of the front opening, red silk liningPlease refer to department for condition report

A Large Tongan Tapa (Bark Cloth), the cream ground painted with repeating bands of crowns, birds, lions and stars in brown, 167cm by 240cm; a Very Similar Tapa Cloth, the cream ground painted with geometric panels of leaves in brown, 232cm by 421cm; a South African Hide Cloak, trimmed with bands of blue and white glass beads, 77cm by 57cm; a Collection of Eight Modern South Sea Island Wood Cooking Utensils, including two Massim oblong food bowls with incised decoration, three Fijian kava bowls of varying sizes, a Solomon Islands double food bowl inlaid with mother of pearl, a ladle and a mealy spoon (11)

Military Interest: Items relating to Lt Col W E Harrison and Major W B Harrison:     1.      British Officers General Service cap with George V Royal Engineers cap badge 2.      Hawkes & Co Ltd Savile Row W silver braid peak cap 3.      Peal & Co 487 Oxford Street London leather spurs case with spurs therein. 4.      Bicorn silk hat, with feather plume, in toleware case, with “Cart W B Harrison” inscribed on lid, 46cm wide 5.      Pair epaulettes, in tole tin, 24cm wide 6.      Large dress toleware tin trunk the lid painted “ Lt Col W E Harrison, R.E (T) North Midland Divn RE” 109cm wide 7.      Two pigskin cased “The Gannochy rapid load cartridge case”, one with embossed initials W H H. 26.5cm wide 8.      Another tin trunk with brass plaque inscribe “Captn W B Harrison” 9.       A leather pistol holster 10.  A leather sword case, chamois lined, containing only a scabbard 11.  A military “Cushy” pad, miscellaneous leather straps/belts, pair khaki cloth panels, a damaged Japanese wakizashi sword a.f, a small cow horn trumpet. 12.  A pair of Barr & Stroud x15 binoculars in leather case, and a spare smaller empty binocular case 13.  A Grenadiers Mess Dress scarlet outfit ( jacket and trousers) 14.  A Ceremonial Parade Scarlet tunic, and an overcoat/cloak, white kidskin gloves, and two belts 15.  A dinner jacket and trousers   OBJECT LOCATION: THE OFFICE

A Chinese bronze incense burner modelled as a sage sitting on a buffalo, 19th century. Height 14cm, length 15cm.A section of cloak is broken off at the back of the figure. General wear to the patina.

Five Meissen figures, including a group of putti depicting astronomy, 12 cm high, another group around a fire on a plinth, 9cm high, and three other figures, all with crossed sword mark and impressed numbers. (5)Qty: 5The figure group of a young Prometheus by the brazier is professionally restoredThe figure emblematic of winter in the cloak is OKThe figure of the piper is restoredThe figure group of the astronomers is professionally restoredThe figure of the boy eating grapes has a few small leaves missing from the bunch of grapes near his mouth.

Kaiserin Elisabeth von Österreich - Zeichnung und Erinnerungsstücke von Neuschwanstein und Linderhof, in eigenhändig beschriftetem Kuvert, datiert Juli 1886 Kleines, verschlossenes, jedoch durch den reichen Inhalt eingerissenes Kuvert (Maße 10,5 x 13 cm). Die Vorderseite ausführlich in violetter Tinte von der Kaiserin beschriftet: "Ein Stein vom Wege nach Neu-Schwanstein genommen am Dienstag 20. Juli 1886 (im hinaufgehen); ein größerer vom Parke in Linderhof genommen am Samstag 31. Juli 1886 (vor dem Fortfahren); endlich ein Blatt vom Parke in Linderhof auch am 31. Juli 1886 genommen (im Wagen sitzend abgezupft)". Über der Inschrift ebenfalls in violetter Tinte von der Kaiserin gezeichnet eine Lohengrin-Darstellung mit König Ludwig II. (oder der Kaiserin?) in einem von einem Schwan gezogenen Muschel-Boot, am linken Bildrand Schloss Berg am Starnberger See. Die ursprünglich im Kuvert liegenden zwei Steine und das Blatt separat, die Steine zudem mit wohl von dritter Hand beschrifteten Etiketten. Die Einrisse des Kuverts sowohl vorder- wie rückseitig, jedoch ohne Fehlstellen, die Beschriftung gut zu lesen.Zählen bereits Autographen der Kaiserin zu den großen Seltenheiten, so ist eine Zeichnung von ihrer Hand als Rarissimum zu bezeichnen. Unklar ist, ob die Kaiserin nach dem Besuch der Venusgrotte in Linderhof den verstorbenen König Ludwig mit wallendem Umhang als Lohengrin oder sich selbst auf den Spuren des Königs darstellte.Provenienz: Hermann Historica, 23. Auktion 1990, Los 3135. Seither in einer deutschen Privatsammlung. Empress Elisabeth of Austria – a sketch and memorabilia from Neuschwanstein Palace and Linderhof, in a hand-inscribed envelope, dated July 1886 A small, sealed envelope that has however torn due to the numerous contents (dimensions 10.5 x 13 cm). The front with an extensive description handwritten by the Empress in violet ink (tr.): "A pebble taken from the path to Neu-Schwanstein on Tuesday 20 July 1886 (during the ascent); a larger stone taken from the park at Linderhof on Saturday 31 July 1886 (before departing); lastly, a leaf from the park at Linderhof, also collected on 31 July 1886 (plucked while sitting in the carriage)". Above the description, also in violet ink, a drawing by the Empress of Lohengrin featuring King Ludwig II (or perhaps the Empress herself) in a shell boat, drawn by a swan. To the left of the sketch, Berg Castle can be seen on the banks of Lake Starnberg. The two stones and the leaf that were originally in the envelope are enclosed separately, the stones moreover with labels in a different hand. The envelope torn both on the front and back, without any losses to the paper. The writing easily legible.As autographs of the Empress are already uncommon, a hand-drawn sketch must be regarded as an exceptionally rare find. It is not clear whether the Empress was drawing the late King Ludwig as Lohengrin, visiting the Grotto of Venus in Linderhof wearing a long, flowing cloak, or herself, retracing the King's footsteps.Provenance: Hermann Historica, 23rd Auction 1990, lot no. 3135. Thereafter in a private German collection.

Fein geschnitzter Bischof mit Buch und StabLindenholz, Fassung entfernt. H 29 / 32,5 cm. In ergriffener Haltung und mit barock gefaltetem Mantel gearbeitete Standfigur eines heiligen Bischofs; wohl der heiliger Nikolaus. 1 Finger und 1 Schuhspitze ergänzt, minimale Alters-/Gebrauchsspuren. Finely carved bishop with book and staffLime wood, setting removed. H 29 / 32.5 cm. Stand figure of a holy bishop carved in a gripped posture and with baroque folded cloak; probably St. Nicholas. 1 finger and 1 shoe tip added, minimal signs of age/use. *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.

Spanish School of the 18th century, following models of BARTOLOMÉ ESTEBAN MURILLO."Ferdinand III, The Saint".Oil on canvas, re-drawn.Size: 115 x 90 cm; 123 x 97 cm (frame).This work follows the model of the work painted by Bartolomé Esteban Murillo around 1671, conserved in the Cathedral of Seville, although the one we present here is full-length as opposed to the one in the Cathedral which is half-length. To depict the king, Murillo was inspired by the image of the monarch and the attributes already included in the commemorative medal approved in Rome in 1630, when the priest Bernardo de Toro processed his canonisation on behalf of Philip IV. The ball of the world projects him as Dominus, that is, lord; the sword, the Lobera, with which he conquered Seville - which is where much of his cult was focused - is the word of God that symbolised heroic virtue in the Golden Age, embodying a model of conduct for the knights of the Baroque, well reflected by Calderón de la Barca in his comedies of cloak and sword. However, the breastplate and ermine cloak prefigure God's protection over man.

Spanish School 17th century."Penitent Saint Jerome".Oil on canvas.Without signature.Damaged. It needs restoration.Measurements: 130 x 96 cm, 145 x 111 cm (frame).In this canvas we see Saint Jerome during his penitence in the desert, in an open rocky environment in the central area and on the left side. The saint is shown with a red cloak over his shoulders and white cloths of modesty, kneeling, gazing at a crucifix, holding a stone in his right hand and a rosary in his left. In the area of his knees we see the lion typical of his iconography and, on the ground, the sacred book.One of the four great Doctors of the Latin Church, Saint Jerome was born near Aquileia (Italy) in 347. Trained in Rome, he was an accomplished rhetorician and polyglot. Baptised at the age of nineteen, between 375 and 378 he withdrew to the Syrian desert to lead an anchorite's life. He returned to Rome in 382 and became a collaborator of Pope Damasus. One of the most frequent representations of this saint is his penance in the desert. His attributes are the stone he uses to beat his chest and the skull on which he meditates. Also the cardinal's capelet (or a red mantle), although he was never a cardinal, and the tamed lion. The latter comes from a story in the "Golden Legend", where it is narrated that one day, when he was explaining the Bible to the monks in his convent, he saw a lion limping towards him. He removed the thorn from the lion's paw, and from then on he kept it in his service, instructing it to look after his donkey while he grazed. Some merchants stole the donkey, and the lion recovered it, returning it to the saint without hurting the animal.

Circle of ANTON RAPHAEL MENGS (Aussig, Ústi nad Labem, Czech Republic, 1728-Rome, 1779)"Immaculate Conception.Oil on canvas.Presents the original frame. Re-framed.Size: 135 x 96 cm; 158 x 117 cm (frame).This work closely follows the aesthetic precepts developed by Mengs, Charles III's first chamber painter, whose art was very popular at court. Thus, we find ourselves in front of an Immaculate Conception, the Virgin shows a moving and agitated attitude, especially through the control that undulates in space, corresponding to one of the concepts most promoted in the painting of Anton Raphael Mengs. The chromaticism of the painting shows the usual contrast between the white of the tunic, symbol of purity, and the blue of the cloak (symbol of truth and eternity), colours given to the Immaculate Conception on the basis of the vision that Blessed Beatriz de Silva had of her in the 16th century, who wrote about these tones.We see Mary with the classical iconography, surrounded by angels and cherubs, and with the crescent moon on her feet, treading on the serpent which is an allegory of the devil, thus showing the artist's interest in sticking to a specific space and adapting the figures to it as much as possible.A painter and theorist of Neoclassicism, Anton Raphael Mengs trained in both the practical aspects of painting and the theory of art under the influence of Winckelmann, whose friend and outstanding pupil he was. He trained in Dresden under his father, Ismael Mengs, a court painter. Later, between 7141 and 1744, he travelled to Rome to further his training with Marco Benefial, studying in particular ancient sculpture and the paintings of Raphael and the 17th-century classicists. In 1744 he returned to Dresden and was appointed court painter, where he devoted himself chiefly to portraiture. In 1746 he was appointed painter to King Augustus III of Poland and subsequently undertook a tour of Italy, ending in Rome, where he settled permanently. In the Italian capital he executed important religious and mythological works in fresco, displaying a mature, clearly neoclassical style influenced by the Renaissance and, more specifically, by the work of Raphael. In 1761 he was recalled to Spain, where he remained until 1769 as the first painter to King Charles III. For him he painted works to decorate the Royal Palace and the Aranjuez Palace, as well as important portraits. His presence in Madrid definitively pushed Tiepolo into a corner, as Mengs represented a new taste that was widely accepted at court. Although he later returned to Rome, he visited the Spanish court again between 1774 and 1776, shortly before contracting the illness that led to his death in Italy in 1779. Works by Mengs are now in the Museo del Prado, the Louvre in Paris, the Hermitage in Saint Petersburg, the Metropolitan in New York, the National Gallery and the Royal Collection in London, the Art Institute of Chicago, the Albertina in Vienna and other leading art galleries in Europe and the United States.

Italian school, Circle of GIOVANNI BELLINI (Venice, 1431/ 1436-1516); circa 1516."The Holy Family.Gouache on vellum.Dated in the lower central area.Size: 17 x 13,5 cm; 29 x 24 cm (frame).In this canvas we see a devotional work of great beauty and emotion, classical in its conception, although enriched by a warm illumination, which drinks from the aesthetic influence of the artist Giovanni Bellini. The artist presents us with a well-established and balanced composition, clearly classical, based on a pyramidal scheme with Mary's head at the top. The figures stand out against a neutral background that seems to open up to the blue sky at the sides, which to a certain extent emphasises the corporeality of all the figures in the scene. All the figures are also vividly illuminated by a direct, uniform light. Mary is depicted half-length, wearing a pink tunic and a blue cloak, a colour alluding to the concepts of truth and eternity that would be common in Marian representations. With one of her arms, the Virgin is holding her son, who is standing and offering her a small bouquet of flowers, but with her other hand she is holding tightly that of Saint John Child, which shows the Virgin as the protector of children. Next to them in the background are two men, one of whom, holding a staff, seems to represent Saint Joseph, while the other, wearing a turban, is probably Saint Joachim, the Virgin's father.From its aesthetic characteristics the work can be related to the artistic circle of Giovanni Bellini, an Italian Renaissance painter, probably the best known of the Bellini family. He grew up in the house of Jacopo Bellini, who was previously thought to be his father, although this generational family relationship is now questioned. Giovanni Bellini was considered to have revolutionised Venetian painting, moving it towards a more sensual and colourful style. Using light, slow-drying oil paints, Giovanni created rich, deep tints and detailed shadows. His sumptuous colouring and fluid, atmospheric landscapes had a great effect on the Venetian school of painting, especially on his pupils Giorgione and Titian.

EIIR Royal Horse Artillery Other Ranks Cloak, fine example of the long dark navy blue cloak with RHA anodised ball type buttons. Red lining with the original faded issue label to the collar.

Dutch School (17th/18th century)A Herder Keeping Order in his Flock, His Donkey Draped with the Blue Cloak of the Virginoil on canvas, 52cm x 72cm

Viking annular cloak fastener bronze, D: 45 mm. P&P Group 0 (£5+VAT for the first lot and £1+VAT for subsequent lots)

Oil on canvas, ‘Portrait of lady in white dress with blue cloak’. Unsigned but label on back reads Raeburn, purchased in sale at Hollis, Harrogate 1935. Image 24” x 29”, frame 32” x 37”

Lord Of The Rings - An original production used prop Bronze Cloak Pin from the trilogy. Screen used ( 1 of 150 ) is known as The Riders Of Rohan / Rohirrim cloak pin. The cloak pin is gold plated in a circular formation. These were worn by Rohan soldiers. Was used in the film Trilogy. Designed by Master Armourer Warren Green. Supplied with a certificate from Warren Green. 

20thC English School. Head and shoulders portrait of a bearded gentleman in black cloak, oil on panel, 53cm x 41cm.

Lebensgroße Skulptur des Zeus, deutsch, um 1900 Vollplastische Darstellung des Göttervaters aus hellem Kalkstein. Darstellung des Zeus mit Krone und wallendem Bart, einen Mantel um die Schulter geschlungen. Zu seinen Füßen ein Adler. Auf massivem gestuften Kalksteinsockel. Gesamthöhe ca. 305 cm. A German life-size sculpture of Zeus, circa 1900 Portrayal of the father of the gods made of light-coloured limestone. Zeus with crown and long beard, a cloak draped around his shoulders. An eagle resting at his feet. On a heavy, stepped limestone base. Overall height 305 cm.

NAZARENER "Madonna mit dem Christuskind" 1. Hälfte 19. Jh., Holz, dreiviertelrund geschnitzt, auf der Rückseite ausgehöhlt, 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 Mantel, der vor den Körper gezogen ein qualitätvoll gearbeitetes Spiel aus Stegfalten und gratigen schwingenden Säumen zeigt, der Mantel auf der Aussenseite vergoldet, innen blau gefasst, das Haar bis auf die Schultern herabgleitend, H: 141 cm. Altersspuren, teilw. besch. | NAZAREN "Madonna with the Christ Child". 1st 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, the cloak gilded on the outside, the inside set in blue, the hair sliding down to her shoulders, h: 141 cm. Signs of age, partly dam.

HEILIGER APOSTEL Alpenländisch, 18.Jh., Lindenholz, vollplastisch geschnitzt, ungefaßt, sehr fein ausgearbeitete, gestenreiche Halbfigur in aufwendig drapierter Tracht, in weitem Bogen um Schulter ausschwingende, in lebhaft bewegte Falten gelegte Manteldraperie, H: 48 cm. (mit Sockel) Altersspuren, besch.| HOLY APOSTLEAlpine, 18th century, lime wood, carved in full relief, unbound, very finely worked, richly gestured half figure in elaborately draped costume, the mantle draped in a wide curve around the shoulder, draped costume, the cloak drapery swinging out in a wide curve around the shoulders and laid in lively folds, h: 48 cm. (with base) signs of age, dam.

HEILIGER APOSTEL Alpenländisch, 18.Jh., Lindenholz, vollplastisch geschnitzt, ungefaßt, sehr fein ausgearbeitete, gestenreiche Halbfigur in aufwendig drapierter Tracht, in weitem Bogen um Schulter ausschwingende, in lebhaft bewegte Falten gelegte Manteldraperie, H: 46 cm. (mit Sockel) Altersspuren, besch.| HOLY APOSTLEAlpine, 18th century, lime wood, carved in full relief, unbound, very finely worked, richly gestured half figure in elaborately draped costume, the mantle draped in a wide curve around the shoulder, draped costume, the cloak drapery swinging out in a wide curve around the shoulders and laid in lively folds, h: 46 cm. (with base) signs of age, dam.

AFTER REMBRANDT HARMENSZ VAN RIJN, two etchings - The Rat Catcher, signed with initials in plate, 13.5 x 12.1cm; and Self-portrait in a soft hat and embroidered cloak, signed with initials and date 1631 in plate, 15 x 12.2cm (2)Comments: both minor discolouration, both trimmed, both laid down.

Spanish school, 17th century."Saint Veronica".In carved wood, gilded and polychrome.Lacks in the wood and the polychromy.Measurements: 70 x 30 x 20 cm.Sculpture worked in a half-bulk, so that the devotional carving was intended for frontal contemplation. The saint represented could be Veronica. Stylistically, it is fully in keeping with the Baroque style, which can be seen above all in the natural, dynamic draping of the cloak which covers the head and falls in gentle curls to either side of the figure. The tunic is also carefully worked, seeking naturalism in the drapery, drawing vertical grooves from the belt to the feet. The quality of the carving is reflected in the variety of qualities given to the garments, which are decorated with brocade. The face, with its harmonious features, is framed by a veil that completely hides the hair.