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Two silver gilt noblemen figuresunmarked, probably 18th century, possibly German, with Goldsmith's Assay Office analysis test resultsNaturalistically cast Kingly male figures, both bearded and wearing crowns, in 17th century Baroque dress, wearing a chain of office and a fur trimmed cloak, one holding a large key which rests on his right shoulder, the other wielding a sword in his right hand and sceptred orb in his left, mounted on square bases, these possibly would have alighted a decorative casket as finials, height 6cm, weight 1.6oz. (2)For further information on this lot please visit Bonhams.com

A Worcester porcelain kneeling Friar candle snuffer, circa 1860, green printed factory mark, height 10cm (glued repair to hands), together with a Stevenson & Hancock Derby white glazed porcelain candle snuffer and stand, modelled as a lady wearing a cloak, height 11.5cm.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.

An early terracotta standing figure: nude male with his left arm resting upon a pedestal, probably Roman, hollow and with vertical rectangular aperture to rear (15cm), together with one other early terracotta figure of a seated male in hat and cloak, with a long beard and his left foot resting upon a raised slab (also hallow) (14cm) (2) Provenance: acquired in the 1960s by the consignor's parents.Condition Report: Chips and cracked (repaired) base of seated figure.

George Leslie Hunter (British, 1877-1931)Portrait of John Leyden in a white ruff signed 'Hunter' (upper right), inscribed indistinctly to label by another hand 'Painted 1913/ Mr Leyden/ Uddingston' (verso)oil on canvas35.6 x 30.5 cm. (14 x 12 in.)Footnotes:ProvenanceArthur Leyden and thence by descentLiterature Bill Smith and Jill Marriner, Hunter Revisited, the Life and Art of Leslie Hunter, Atelier Books, Edinburgh, 2012, p.68Hunter wanted to do portraits à la Manet and he needed sitters, regardless of their circumstances. The family story to this portrait of Arthur's younger brother, John Leyden (1879-1923) is that because John had broken his back, Hunter put him in a ruff to support his head. Historical records confirm that two years before, John was diagnosed with a neurological disorder that led to spinal cord damage.As to whether any device was worn by John and the ruff stemmed from Hunter's imagination is debatable. Hunter's imagination often transformed objects into something else, such as painting onions as oranges, when they were in short supply during WW1.While Man with White Ruff showcases Hunter playing with opaque paint on a light ground à la Manet, a similar approach can be found in a series of six bust-length portraits, the sitters dressed in historical costume; at least one picture is dated 1914. There is another family story from a young cousin of Hunter's who sat for him around this time. She explained Hunter wanted to paint her long Titian-coloured hair and insisted on dressing her in a purple cloak and for additional effect, a big black hat like one made famous by Lady Emma Hamilton (c.1765-1815), Lord Nelson's mistress. The painting is now lost but it does suggest that Hunter may have studied portraiture by George Romney (1734-1802). Equally, Hunter's portraits in historical costume could have been inspired by his enjoyment of the theatre, a characteristic that surfaced from time to time in his work up until his death in 1931.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

19th century French schoolPortrait of a gentleman wearing a blue cloak and red waistcoat, oil on metal panel, 10 x 8cm

λ PHILIP JACKSON (BRITISH B. 1944)MISTRESS OF CA D'OROBronzeSigned and stamped with foundry mark Ø (to the reverse of cloak)Height: 39 cm (15¼ in.)Conceived in 2000, this work is a proof aside from the edition of 8.Provenance:Sale, Dreweatts, Newbury, 23 May 2012, lot 455Acquired from the above sale by the present ownerCondition Report: There is a small amount of verdigris to one area of the cloak at the lower right. Some minor handling marks noticeable to the gold patina. Otherwise, this work is in good original condition.Condition Report Disclaimer

λ PHILIP JACKSON (BRITISH B. 1944)CHOIR MASTER BronzeSigned and stamped with foundry mark L and Ø (to the reverse of cloak), aside from the edition of 8Height: 46cm (18in.)Provenance:Catto Gallery, LondonAcquired from the above by the present ownerCondition Report: Very light surface dirt. Otherwise in good original condition. Condition Report Disclaimer

λ PHILIP JACKSON (BRITISH B. 1944)SWORD MASTER Bronze Signed, numbered 2/8 and stamped with foundry mark L (to the reverse of cloak)Height: 22cm (8½in.)Provenance:Acquired directly from the artist's studio

THREE 19TH CENTURY MEISSEN PUTTI FIGURINES,  Bacchus style figure, putto with flower basket and putto in ermine lined cloak, all with underglaze marks to base, 13 cm high and similar

A Staffordshire pearlware figure, of a young gentleman, he stands, wearing a green cloak and fancy waistcoat, square base, 19.5cm high, c.1820; a a flatback model of a greyhound holding a rabbit, blue base with gilt line border, 14.5cm high, c.1860; a pair of recumbent deer; a cow creamer; a milkmaid group; dogs; figures; etc (15)

* Dutch School. Portrait of a gentleman, 1692, oil on canvas, head and shoulders portrait of a gentleman, wearing a red coat, grey silk cloak, and lace necktie, indistinctly signed to left-hand side, followed by 'pinxitt : 1692', re-lined, and some signs of restoration and filling-in, 60.8 x 57.5 cm (24 x 22 5/8 ins), plain gilt frame (78 x 75.5 cm)QTY: (1)

** Rembrandt van Rijn (1606-1669)The Strolling MusiciansEtching, circa 1635, a good bold impression of New Hollstein's second state (of three), printing with excellent clarity before further re-work, on wove paper without watermark, sheet 143 x 117 mm (5 5/8 x 4 5/8 in), thread margins, minor nick to lower right extremity, small dot of adhesive within the cloak of the tallest musician (unframed)Literature:Bartsch 119; New Hollstein 14 ii/iii** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.

E Murray (late 19th/early 20th century)WatercolourCountry scene with thatched cottage and two figures on a path, signed lower left, framed and glazed, 11.5cm x 21.5cm Possibly late 18th/early 19th centuryWatercolour en grisailleNobleman with sword and cloak, indistinctly signed lower right, framed and glazed, 23cm x 17cm19th century schoolWatercolourFigure study of a seated female holding a scroll, unsigned, framed and glazed, 24.5cm x 17.5cm 19th century Pencil and Watercolour study of a sepulchral monument, unsigned, framed and glazed, 15cm x 9cm (4)

An Arts & Crafts Marquetry Panel, by Camm Brothers, painted and inlaid specimen woods of a young scholar, labelled to reverse Cap Ambina/Face Chestnut/Collar Satin wood/Lining of Cloak Satin wood/Shoes Satin wood/Cloak Burr Walnut/Sleeve Sircasian ash/Tights Ambina/Portfolio oak/Floor oak/Background Maple This picture was the work of Mr Camm of Smethwick, in an oak frame, 49.5cm by 9.5cmThree cracks in the panel, above his head, his right elbow and bottom of cloak, some natural splits and grain

A Hong Kong large scale Darth Vader figure, with light sabre (replacement black cloth cloak) in home made display box, 15" high

A c.1930's Black Crushed Velvet Tea Dress, with smocking detail to front of bodice, short sleeves and 'A' line skirt with belt; another similar with cross-over bodice, a black velvet full length cloak, a short black silk mourning cape with embroidery detail labelled "Fred Gorringe, Buckingham Palace Road, London" and a black knit jacket (conditions vary). (5)

CONTINENTAL SCHOOL (XIX Century) Portrait of a Gentleman, wearing a black cap, white shirt and black cloak, watercolour and pastel, unsigned, 34 x 23.5cm.

Flemish school of the early 17th century."Christ before the people".Oil on copper.Measurements: 25 x 19,5 cm; 28,5 x 23,5 cm (frame).This is a scene linked to the biblical episodes of the Passion: the Ecce Homo. Stylistically and formally it is a Baroque painting, clearly influenced by the Flemish school. Christ is shown before a disturbed crowd, and all the arms are raised in unison to point to him, advancing the episode of the Crucifixion. The concentrated expressivity of each of the figures stands out, not only in the faces, but also in the muscles under tension and the dramaturgy of the gestures.The modelling of the anatomy and features is expressed through an excellent use of contrasts of light, with the intense red of the cloak occupying the centre of the composition. This is a composition which, although faithful to iconographic models of the Passion, has chosen an unorthodox framing.

Renaissance embroidery; Spain, first half of the 16th century."Saint John, Saint Andrew and Saint Augustine".Damage and losses.Measurements: 135 x 22 cm.The creation of embroidery has always been an art associated with femininity, the work of nuns, these pieces of exceptional technique used as ornamentation have been valued and revalued in recent decades. This piece depicts three saints: St. John, St. Andrew and St. Augustine. The Gospels say that John the Baptist was the son of the priest Zechariah and Elizabeth, cousin of the Virgin Mary. He retired at a very young age to the desert of Judea to lead an ascetic life and preach penance, and recognised in Jesus, who was baptised by him, the Messiah announced by the prophets. A year after Christ's baptism, in the year 29, John was arrested and imprisoned by the tetrarch of Galilee, Herod Antias, whose marriage to Herodias, his niece and sister-in-law, he had dared to censure. Finally, St. John was beheaded, and his head given to Salome as a reward for his beautiful dances. This saint appears in Christian art in two different guises: as a child, a playmate of Jesus, and as an adult, an ascetic preacher. The adult Saint John depicted here is dressed in Eastern art in a camel-skin sackcloth, which in the West was replaced by a sheepskin that leaves his arms, legs and part of his torso bare. The red cloak he wears at times, as well as in the scene of his intercession at the Last Judgement, alludes to his martyrdom. In Byzantine art he is depicted as a large-winged angel, with his severed head on a tray held in his hands. However, his attributes in Western art are very different. The most frequent is a lamb, which alludes to Jesus Christ, and he often carries a cross of reeds with a phylactery with the inscription "Ecce Agnus Dei".Aan Andrew is presented with the attribute of his martyrdom, the cross in the form of a cross on which he was tied by order of the proconsul Aegeas. The luminosity of the work, the predominance of blue tones and the peace that emanates from the bearded face, with its soft meditative features, form a peaceful image that shows us a saint who has already overcome pain and rests eternally beyond sacrifice. Andrew was the first apostle called by Jesus, which is why he was called by the Greeks Protokletos, "the first called". Brother of Simon Peter and, like him, a fisherman from Galilee, his name is Greek and not Hebrew, and means virile. He is mentioned twice in the Gospels: in connection with the vocations of the first two apostles, and in the episode of the multiplication of the loaves and fishes. His legend comes from the Apocryphal Acts, according to which he was appointed, after the death of Jesus, to evangelise Scythia, i.e. modern-day Russia. While preaching there, an angel appeared to him and said "Go to Matthew"; he was then miraculously guided to Ethiopia, where St Matthew had been blinded and imprisoned. The prison doors opened before Andrew, and he began to pray in front of Matthew, after which the prisoner regained his sight. His mission accomplished, he went to Greece and then to Asia Minor, where he reportedly performed a series of miracles. He finally met his death at Patras in the Peloponnese, where the proconsul Aegeas had him flogged with rods for preaching disobedience to the emperor, and then ordered him to be tied with ropes to a cross in the shape of an "X", where he died on the third day. The most popular attribute of Saint Andrew is precisely this cross, although until the 15th century he is most often depicted crucified on a normal cross.St. Augustine of Hippo (Tagaste, 254, Hippo Reggius, 430) was a doctor of the Catholic Church, known, among other things and for his writings, for a legend: the saint is said to have walked along the seashore, thinking about the Trinity.

Catalan or Aragonese school; 13th century.Carved and polychromed wood.It presents important faults in the carving and polychromy.Measurements: 48.2 x 20 x 14 cm.Image of a half-bulk carved in wood, polychromed, representing Mary seated, with the Child on her lap. It follows the Marian model of the "Sede Sapientae", dressed in tunic and mantle, welcoming the Child but without establishing a maternal relationship between them. Parallel folds and v-shaped pleats, typically Romanesque, mark a regular rhythm in the drapery of the cloak, whose golden patterns on the red of the Passion give a luminous substance to the Marian figure. Within Romanesque sculpture we distinguish two categories: that which is inscribed in the architectural framework and that which is free-standing. In the latter category, the iconography is not yet very extensive, since the pantheon of saints is still brief. The most common will be the representation of Christ crucified and, in even greater numbers, the Virgin conceived as the throne of God ("Sedes Sapientiae"), a category to which the carving presented here belongs. In Romanesque art, the Virgin Mary is merely the seat of divinity; she is not presented as the mother of God, so there is no affective relationship between her and the Child. In fact, at this time the Virgin is not yet an important figure in the Church. These Romanesque Virgin Thrones of God were always made in a size of between 50 and 100 cm in height, mainly in carved wood, and in them the Child is always the protagonist, despite the difference in size with his mother. Jesus always appears as we see him here, facing the viewer, and normally in the centre, although here he is slightly off to one side, in a more natural position which indicates a clear formal advance within the Romanesque style. As we have said, there is no affective relationship between Mary and Jesus, but rather they turn their backs to each other and look directly in front of the viewer.

Gothic Virgin. Spain, 14th century.Carved wood.Polychromy partially lost.Missing left hand.Measurements: 101 x 37 x 29 cm.Marian representation carved in wood, from the Gothic period. The Virgin is practically carved in the round, but it was intended for frontal contemplation, so the back part is hollow, which allowed it to be used as a niche. This is a high-quality, typically Gothic carving. The Virgin's face is proportionally larger than her body, as the iconography of the time prioritised the contemplation of the serene countenance (we can see the perfect symmetry of the features) over the work on the anatomy. The body is covered with a tunic whose vertical folds accentuate the long canon of the figure. The drapery of the cloak, on the other hand, undulates as a result of the fold of the garment over the left hand. She holds the Gospels, linking this Marian attribution to the Virgin Reader, which was very popular at the end of the medieval period and also developed in the Renaissance. It is a crowned Virgin, as was customary from the Romanesque period. However, the features have been naturalised, balancing the timeless aura of the image with a certain humanisation and naturalism, despite the schematism that still lingers from earlier periods.

Castilian school; 16th century."Rest from the Flight into Egypt".Oil on panel. Engatillada.It has cracks in the panel, caused by the passage of time.It has a 19th century frame, following models from the Gothic period.Measurements: 117 x 90 cm: 170 x 111 cm (frame).In this devotional scene, the artist depicts a divine story from a gentle, intimate and personal perspective. The theme, taken from the Gospel According to St. Matthew, narrates how an angel appears in a dream to St. Joseph and tells him that he must flee to Egypt together with Mary and the Child, because King Herod was looking for him to kill him. In this case, the author moves away from all drama and fixes his work on a specific moment, a stop on the way of the Holy Family, fleeing to Egypt. St Joseph is holding a palm leaf in one hand, from which he has taken several dates, which he offers to his son. The latter, lulled by his mother who watches the scene attentively, approaches the fruit with curiosity. Aesthetically, the work follows the stylistic precepts of German engravings. The artist, who bases the composition of the scene on a precise drawing with well-defined lines, also shows his mastery of colour by playing with the complementary tones of Saint Joseph's tunic and cloak. Despite the distortion of the anatomies of all the figures, typical of the period, the artist has succeeded in capturing a great dynamism in the piece, which is provided by the harmonisation of a clear triangular compositional structure. He portrays the figures with angular lines that intensify the sensation of movement and gives the cloaks great prominence by showing them fluttering in the wind.At the beginning of the 16th century, Spain was the European nation best prepared to receive the new humanist concepts of life and art due to its spiritual, political and economic conditions, although from the point of view of plastic forms, its adaptation of those introduced by Italy was slower due to the need to learn the new techniques and to change the taste of the clientele. Anatomy, the movement of the figures, compositions with a sense of perspective and balance, the naturalistic play of folds and the classical attitudes of the figures soon began to be valued, but the strong Gothic tradition maintained expressiveness as a vehicle for a deep spiritualist sense. This strong and healthy tradition favoured the continuity of religious painting by adding a sense of balance that prevented its predominance over the immaterial content that animated the forms. In the early years of the century, Italian works arrived in our lands and some of our artists went to Italy, where they learned the new standards at first hand in the most progressive centres of Italian art, whether in Florence or Rome, or even in Naples.

A large metal circular Celtic design brooch/cloak pin. Makers mark to back. Approx 5.5cm diameter.

Uluka by Sally Chinea. Sponsored by Associated British Ports (ABP)Artist:              Sally ChineaA mandala is a design, that generally has one central point from which an array of repeated patterns or shapes radiate from. They are often used as a focus for meditation; increasing calmness and relaxation. My mandala includes symbols, colours and patterns in each layers to represent love, loyalty, family, guidance, support and care, to name a few! To me owls represent wisdom, knowledge, change and transformation, As we go through trying times, especially with recent events, we develop a deeper understanding of the ties that bind us all on a global scale. We need to take time to slow down, examine our lives, to reflect, and to transform, to look after our environment and to care for each.Feathers = Communication. Hearts = Love. Hands = Care & Support. Sunflowers = Loyalty. Leaf = Growth, Life & Nature. Circles & Dots = Unity, Hope & Mother Earth. Stars = Guidance & Heroes. Uluka (Sanskrit for Owl) is wrapped in a decorative cloak, created from a geometric mandala which holds a great deal of symbolism. https://www.sallychinea.com/Sponsor:         Associated British Ports (ABP) This sculpture is sponsored by Associated British Ports (ABP) - the UK’s leading ports group with a network of 21 ports across the UK. ABP handles around one-quarter of the nation's seaborne trade, contributing £7.5 billion to the economy every year and supporting 119,000 jobs. ABP is working to drive growth in the coastal communities in which it operates. https://www.abports.co.uk/

Y A COLLECTION OF SILVER COLOURED JEWELLERY AND OTHER ITEMS To include a Chinese silver coloured belt buckle with Chinese character for happiness and good luck, to a woven black cord belt, maker's mark IM; together with a silver coloured turquoise and coral set hinged bangle, unmarked; a silver coloured striated baton necklace with gilt beads between, suspending an ancient style coin pendant, together with a pair of similar ear pendants; a pair of jadeite cloak clips, in gilt silver coloured settings; together with further items Gross weight: 690 grams This lot may be subject to CITES regulations when exported. The import of lots that are subject to CITES regulations are banned in certain countries. Please check your country's import regulations before bidding. For further details on CITES regulations, click here: www.gov.uk/guidance/cites-imports-and-exports. Condition Report: There is no condition report available for this lot, it is as found Condition Report Disclaimer

A PAIR OF MEISSEN FIGURES OF MUSICIANS. A large pair of late 19thc porcelain figures, the lady and gent holding bagpipes and a hurdy gurdy and on gilt scroll bases. Both with 'Meissen Crossed Swords' Marks, impressed numbers 1352 and 1351, and painted number 54. 32.5cms high. (2). * Gent, end of the instrument has a chip on the back, section of the cloak restored, small nick to hat, small chip to sleeve., Lady, small crack to the dress (half way up), bottom of apron has small filled in chip, bottom of the dress has a section missing, firing crack to leg, a little loss of colour to the instrument., Both have a little wear to the gilding in places. **BP 22.5% inc VAT + Lot Fee of £8

A 19th century copper and wrought iron saucepan, diameter 26.5cm, with an Arts and Crafts type wall bracket decorated with a pheasant, lacking candle sconce, a 19th century brass cotton reel stand, a 19th century brass cloak clip and a copper graduated curb link chain (5).

An interesting 19th century carved marble panel, believed to be St. Cecilia, with floral incised detail to her cloak, height 50cm, width 37cm (af)Additional InformationAs can clearly be seen there is a large section missing, the piece has also been badly cracked throughout and repaired/restored at some time. 

LESLIE HARRADINE FOR ROYAL DOULTON; a figure, HN1699 'Marietta' (green, pink and spotted cloak), very rare colourway, introduced 1939, withdrawn by 1949, impressed date 4.4.35 (first year of production), height 19.5cm.Footnote: For a similar figure please see page 222 of 'The Royal Doulton Figures Book' by Eyles, Dennis and Irvine (Third Version)Additional InformationThe figure displays very well, there is minimal wear to the paintwork to the reverse of the cloak, there are two cracks which starts from the edges of the cloak and runs horizontally into the main body of the figure, the figure has been sprayed near the cracks to conceal the damage.  

LIBERTY & CO; a pair of Cymric Edwardian hallmarked silver and blue/green enamel decorated cloak buttons, Birmingham 1902 and 1903, diameter 27mm.Provenance: private collection north-west.Additional InformationLight surface scratches to the enamel, some toning to the silver but overall, the condition is good. 

EUROPEAN, PROBABLY GERMAN SCHOOL, 18TH CENTURYPortrait miniature of a gentleman in a red cloak and long curling wigenameloval, 44 mm highin a gold frameProvenanceM.W. Jacobson Collection;Christie’s, London, 16 June 1944, lot 47, acquired by MikelPapier;Mikel Papier Collection; thence by descentFootnotePreviously attributed to Christian Friedrich ZinckeCondition reportGlass loose.Surface dirt.Very small spots/marks in places including a small red spot of something to upper right, looks to be on the surface.Damage to lower right edge, a bruise and small chip and a little paint loss.Inspection under uv light reveals some small area fluorescing around the edges.

Ca. 100-200 AD A nicely detailed figure of semi-naked god Mercury (Hermes in Greek mythology), the messenger of the Gods, wearing a winged petasos cap and a cloak which covers his right arm and hand which is holding a herald's staff, or caduceus. In his left hand he holds a money bag. Figurines depicting deities such as this were usually used as votive offerings brought to temples or kept at more intimate home shrines for private worship. For comparison see The Metropolitan Museum of Art, Accession Number: X.21.80.Size: L:60.8mm / W:45.7mm ; 39.6gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.

Jacob Andries Beschey (1710-1786), The Penitent St. JeromeAntwerp painter Jacob Andries Beschey is known for his paintings inspired by Peter Paul Rubens and other Flemish old masters, which he rendered in a more rococo style.St. Jerome repents of his sins. He hit his chest with a stone and looks at the crucifix he has placed in front of him. At the foot of the crucifix lie the Holy Scriptures and a skull as a symbol of transience. Jerome has discarded his cardinal's hat and is dressed only in a crimson cloak; the upper part of his body is naked. This subject was extremely popular in the 16th and 17th centuries.Oil on canvasSize 55 × 41 cmCertificate written by Dr. Klaus Ertz

The pair of paintings is a faithful copy of Raphael's work on the vault of the Chamber of Signatures, in the Vatican, where he depicted four medallions with personifications of the sciences and arts. The female figures are flanked by cherubs and sit on clouds, in reference to their celestial, or spiritual dimension. Their belonging to the sphere of ideas is also indicated by the golden background, associated with divine light, and the higher world.The generic and idealized features of these figures underline their abstract nature, but each of them displays a different temperament thanks to different combinations of colors, and differences in movement. The effect of spontaneity of movements and attitudes makes these allegories far from the traditional rigidity of the sign; they seem lively and light.Our paintings depict poetry and theology. The poem is depicted as a woman wreathed in laurel and with outstretched wings, referring to the freedom of the imagination. She is wearing a white dress, with a green cloak draped over her hips and resting on her lap. She is sitting on the clouds. She is pink, and has a dynamic and theatrical pose; her body is turned, her legs are crossed, arms outstretched. He rests his left arm on an ancient marble head, and holds a lyre. He supports a book with his outstretched right arm. It is flanked on the sides by two naked and winged cherubs, who support two signs with the inscription: 'NUMINE AFFLATUR' referring to creative energy and the rush of inspiration.The Tondo with Theology, or Science of Divinity ("Divinarun rerum notitia") shows a female figure with a flowing white veil, a red dress and a green mantle; colors full of meaning. They are actually associated with the theological virtues: Faith (white), Hope (green) and Love (red). The color symbolism also seems to be related to the elements: Water (green), Air (white) and Fire (red).On the left he holds a book of theology, and on the right he points to a scene painted on the wall with the inscription, “Controversy about the Sacrament.” She is flanked by two winged cherubs in short, and very dynamic white tunics, in a dancing pose.162 x 162 cmOil on canvas

KNIGHTS TEMPLAR CLOAK AND HAT

In the style of Sir Anthony Van Dyke, 19th century Portrait of a young man in chiaroscuro style, wearing a black cloak and white ruff collar, unsigned, oil on canvas, 67 cm x 53 cm, within a giltwood frame

A selection of books on vintage motor cards; together with an assortment of other books, including: Without My Cloak, by Kate O’Brien; The English Country Home, by Vanessa Berridge (Ed.); two English Garden Embroiders, by Stafford Whiteaker; and others, contained across two boxes.

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. 7.Francis Vanacker (d.1686, aged 38) was High Sheriff of Kent and a descendant from 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 were 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

WELSH DOLLS GROUP comprising bisque head doll girl with open mouth and eyes wearing traditional Welsh costume of skirt, apron, cloak and tall hat, two wax-head similar and a knitted miniature similar, together with a glass domed relief model of three Welsh ladies taking tea (5)

A LARGE GILT-LACQUERED BRONZE FIGURE OF AMITAYUS, MING DYNASTYChina, 1368-1644. Seated in vajrasana, the right hand in bhumisparshamudra, wearing a pleated cloak, the folds falling elegantly at the feet, bejeweled, his face with a meditative expression, framed by elongated earlobes with elaborate earrings, a five-leaf tiara secures the blue hair, surmounted by an ushnisha and topped with a lotus bud. Provenance: From an old private Estate, Vienna, Austria. An inventory number '1574' to the back. Condition: Good condition commensurate with age showing old wear and weathering, flaking to gilt, few nicks and dents, light surface scratches, some losses. The underside with two bolts for mounting.Weight: 4,4 kg Dimensions: Height 30.3 cm Auction result comparison:Type: Closely relatedAuction: Christie's Amsterdam, 18 October 2005, lot 91Price: EUR 26,290 or approx. EUR 36,500 converted and adjusted for inflation at the time of writingDescription: A Tibeto-Chinese gilt bronze figure of Buddha Shakyamuni, late 15th centuryExpert remark: Compare the closely related pose, crown, face, and robe. Note the slightly larger size (40 cm) and different mudra.明代漆金無量壽佛銅像中國，1368-1644年。無量壽佛結金剛座，右手施觸地印，束高髻，佩葉冠，飾瓔珞；面部慈祥，束帶自然飄逸。工藝精湛。 來源：奧地利維也納舊藏，背面有收藏編號“1574”。 品相：良好的狀態，有磨損和風化，金漆剝落，輕微刻痕和凹痕和表面劃痕、些微缺損，底部有兩個用於安裝的螺栓。 重量：4,4 公斤 尺寸：高30.3 厘米 拍賣結果比較： 形制：非常相近 拍賣：阿姆斯特丹佳士得，2005年10月18日，lot 91 價格：EUR 26,290（相當於今日EUR 36,500） 描述：十五世紀末漢藏鎏金釋迦牟尼銅像 專家評論：比較非常相近的姿勢、葉冠、面部和長袍。請注意尺寸稍大(40 厘米) 和手印不同。

A plastic box of books and mixed china, child's bridesmaid dress and cloak, etc.

'DAMO STANDING ON A CLIFF', 17TH-18TH CENTURYChina. Ink and color on silk. Finely painted to depict a withdrawn Damo dressed in his yellow robe, partly covered by a red and green cloak, wearing sandals, his left holding a bowl with jewels, his right with prayer beads. The head shaved, the ears pierced and with gold loop earrings, standing on a cliff, looking into the far distance.Provenance: British trade. Condition: Very good condition with minor wear, some scratches, minor creasing, few stains.Dimensions: Image size 63 x 39.5 cm, Size incl. frame 73.1 x 49.5 cmBodhidharma, also known as Damo in China, was a Buddhist teacher from south India who traveled to China around C.E. 500. There he founded the Chan (Zen) sect of Buddhism, which stresses silent meditation and rejects the study of texts, worship of images, and ritual performances. It is said that Bodhidharma spent nine years seated before a wall in silent meditation, a feat that provides the subject of this painting.Framed behind glass. (2) Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 19 April 2021, lot 3092Price: HKD 189,000 or approx. EUR 24,000 converted and adjusted for inflation at the time of writingDescription: Anonymous (Ming Dynasty) | LuohanExpert remark: Compare the related motif, material, and technique. Note the larger size (194 x 93.3 cm).Auction result comparison:Type: RelatedAuction: Sotheby's New York, 13 September 2016, lot 162Price: USD 81,250 or approx. EUR 97,000 converted and adjusted for inflation at the time of writingDescription: A painting depicting luohan nantimitolo, Qing dynasty, 18th / 19th centuryExpert remark: Compare the related motif, material, and technique. Note the later date.十七至十八世紀《達摩側身像》中國，絹本設色。達摩身穿黃色僧袍，披著紅綠相間的斗篷，穿著涼鞋，左手拿著一個裝有珍珠的碗，右手拿著念珠。戴著金耳環，站在懸崖上，眺望遠方。 來源：英國古玩市場。 品相：狀況極好，有輕微磨損、一些劃痕、輕微摺痕、少量污漬。 尺寸：畫面63 x 39.5 厘米，總73.1 x 49.5 厘米 菩提達摩簡稱達摩，為南天竺人或波斯人，經海路將大乘佛教禪宗帶入中國，為中國禪宗之開創者，被尊稱為達摩祖師。據説，達摩祖師曾在石洞裡面壁九年，當他離開石洞的時候，坐禪對面的那塊石頭上，竟留下了他面壁姿態的形象，衣褶皺紋，隱約可見，如一幅水墨畫。 鏡心。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2021年4月19日，lot 3092 價格：HKD 189,000（相當於今日EUR 24,000） 描述：明代佚名羅漢尊者像 專家評論：比較相近的主題、材質和技術。請注意尺寸較大 (194 x 93.3 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2016年9月13日，lot 162 價格：USD 81,250（相當於今日EUR 97,000） 描述：十八至十九世紀清代羅漢尊者圖 專家評論：比較相近的主題、材質和技術。請注意年代較晚。

vintage men's coats to include a CC41 Montague Burton tailored coat. a 1960s Aquascutum coat, a 1939 dated Royal navy cloak, a vintage crombie, probably 50s/60s, a 1940s heavy wool over coat, a navy blue wool Canali coat with velour collar and a 1950s heavy wool coat by Aquascutum (7)all in good order, sizes m-l

Lawrence Marcuson (Israel 1933), 'Woman in Green Cloak', KFAR HANASSI, Israel, oil on hardboard, 75x59cm, signed lower right. Provenance: N & L Karantokis Estate.

Spanish or Novo-Hispanic school, 17th century."Saint Jerome".Oil on canvas (original).Frame of the 19th century.It presents some faults.Measurements: 124,5 x 100 cm; 132,5 x 111 cm (frame).During the Baroque period, the period in which this painting is dated, the representation of Saint Jerome was a recurrent theme. The iconographic pattern, however, had already been established since the Renaissance period. All the characteristic elements are present here: the saint, wrapped in his red cloak, kneels before a crucifix while the heavenly trumpet approaches him from behind. The lion prostrate at his feet alludes to the anecdote in the "Golden Legend": 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 its paw, and from then on he kept it in his service, instructing it to look after his donkey while it grazed. Some merchants stole the donkey, and the lion recovered it, returning it to the saint without hurting the animal. The scene is notable for the use of contrasting light, the naturalism of the saint's face and the baroque theatricality of the breaking of glory. 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.

Spanish school, 18th century."Virgin and Child".Oil on canvas.Frame of the 19th century, in carved and polychrome wood.Measurements: 42 x 32 cm; 66 x 56 cm (frame).Oval and intimate representation of a Maternity with Infant Jesus. Both appear nimbus but the halo does not detract tenderness and naturalness to the maternal-filial relation. Jesus' bright, open eyes rest on his mother's sorrowful countenance. Under his left hand, a skull foreshadows his early death, his sacrifice to save humanity. The transparency of the cloth enveloping the small body has been resolved with skilful glazes. The Virgin, wearing a red tunic and blue cloak (following the traditional chromatic symbolism of purity, blue, and sacrifice, red) joins her stylised hands in prayer. The bodies emerge against the dark background, modelled by the light.

Royal Worcester classical figurecirca 1900, modelled by James Hadley, the figure holding a long cloak with his left hand, on a circular base, 41cm high with impressed and printed marks, 42cm highWith slight restoration and with some small chips and abrasions.

Victorian 1st Sikh Infantry Pouch Badge brass, Vic crown (replaced) over white metal circlet and wreath with lower scroll Punjab Frontier Force. Two rear lugs. Together with brass Worcestershire Home Service plate centre with 4 loops ... Gilt brass flaming grenade cloak badge with joining chain.

Cap Badges Including Guards  including plated Grenadier Guards ... Silvered and gilt, QC Grenadier Guards ... 4 x brass, KC Grenadier Guards Canada ... Brass, KC HAC Artillery ... 2 x brass, KC Hertfordshire Reg ... Brass HAC Infantry busby grenade ... Pair gilt flaming grenade cloak badges with chain. 14 items.

[P. Valatti] After Guido Reni, Bologna (1575-1642) "Portrait of Beatrice Cenci," O.O.C., depicting a young Lady looking over her shoulder with head dress and matching cloak, approx. 60cms x 48cms (23 1/2" x 19"), in ornate floral gilt frame, inscribed Valatti on reverse, and stamped with number. (1) Provenance: Kilkenny Castle Dispersal Sale 1935, by descent to the present vendor.

A Meissen porcelain figure, emblematic of night, modelled as putti wearing a dark cloak with star head band and owl seated beside, cross swords mark to base and incised M 106, 18cm highBreak and repair near the bottom. Some small chips to the headdress. Otherwise in good condition with some minor gilt wear.

John Hassall (British, 1868-1948) - Lady in red cloak, watercolour on paper, signed lower left, 45 x 60 cm, glazed in gilt frame, possibly a preliminary study for 'The Lady'

A Derby patch mark figure, of William Shakespeare, turquoise cloak, picked out in gilt, scroll base, 28cm high, c.1775

Kurfürstentum Sachsen/Gold - August D'or zu 5 Talern 1756 EC, Friedrich August II/ August III von Polen, Av: Gekröntes Brustbild im Harnisch n. r. mit umgelegtem Mantel und der Kette des Ordens vom Goldenen Vlies , Rv: Gekröntes, vierfeldiges Wappen mit gekröntem Mittelschild zwischen zwei Palmzweigen, ss-, stark berieben, Tönung, Kratzer, 6,6g Gold rau.| Electorate of Saxony/Gold - August D'or at 5 Talers 1756 EC, Frederick August II/ August III of Poland, Av:Crowned bust in armour n. r. with folded cloak and chain of the Order of the Golden Fleece , Rv: Crowned, four-field coat of arms with crowned central shield between two palm branches, ss-, heavily rubbed, toning, scratches, 6.6g gold rough.

A quantity of silver plated cutlery together with a cocktail shaker and a Scottish sterling silver cloak clasp.

FEHRLE, ANNA UND WERKSTATT (Schwäbisch Gmünd 1892-1981 ebenda) zwei große Leuchterengel je Gesicht, Gliedmaßen und Flügel aus Holz geschnitzt, Kleidung aus Seide und Brokat, beide auf rechteckigem Holzsockel, Engel mit lindgrünem Umhang steht an einem spiralförmigen Leuchterschaft, us. mit Stempel "Anna Fehrle", tlw. berieben (vor allem an den Spitzen und Rändern der Flügel), H 38 cm; Engel in Brauntönen balanciert einen volutenförmig beschnitzten Leuchterschaft auf dem Knie, us. mit Stempel "Anna Fehrle Werkstätte Schw. Gmünd", H 36, 5 cm, jeweils Alters- und Lagerspuren.| FEHRLE, ANNA AND WORKSHOP (Swabian Gmuend 1892-1981 ibid) two huge angel candlesticks, each face, limbs and wings carved of wood, clothing of silk and brocade, both on rectangular wooden base, angel with lime green cloak standing at spiral candlestick, bottom stamped "Anna Fehrle", partly rubbed (mainly on the tips and edges of the wings), H 38 cm; Angel in shades of brown balancing a volute-shaped carved candlestick on her knee, bottom with stamp "Anna Fehrle Werkstätte Schw. Gmünd", height 36.5 cm, each with signs of age and storage.

Hardy, Thomas. 'Collected Poems'. Macmillan, London 1928. Gilt blue full calf with red title (170 x 115mm). Kate O'Brien 'Without My Cloak' and W Somerset Maugham 'Cakes and Ale'. Heinemann, London. Leather bound edition 1935 plus nine further titles, poetry etc. Calf bound (12)

A Victorian child’s cloak in a mauve grey crepe with quilted silk panels and a quilted cape overlay with hanging tassels together with a Victorian baby's cloak in white cotton with a lace effect trim edge. (2)

A late 19th to early 20th Century red felt cloak, rope cord detailing, the point hood with three cream tassels, the hood and interior with a partial cream silk lining.