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A 19th Century carved white marble garden figure of a young farm hand wearing a cloak with bag and raised arm, height 105cm, A/F

Domenico Fetti, 1589 Rom - 1624 Venedig, zug.Maria Magdalena im BußgebetÖl auf Leinwand.152 x 100,5 cm.Beigegeben ausführliche Abhandlung von Franco Moro, das Gemälde nach eingehender Untersuchung Domenico Fetti zuschreibend. Das in hoher Qualität geschaffene Gemälde zeigt die Heilige im Gebet über einem Buch leicht vorgebeugt. Die Hände ineinander verschränkt, sind seitlich vorgehalten, das Haar hängt lose herab, Symbol ihres ehemaligen sündigen Wandels. Ihr Blick gilt dem rechts stehenden Kreuz. Gebauschte und ziehende Wolken dramatisieren die Darstellung, dazwischen sind zwei Engelsköpfe zu erkennen. A.R.Anmerkung 1:Eduard A. Safarik (1928-2015) hatte in seiner Publikation das vorliegende Gemälde als eine Kopie des 17. Jahrhunderts angesehen. Er hatte das Gemälde allerdings nicht in natura untersuchen können, sondern nahm seine Einordnung nur anhand von Schwarz-Weiß-Fotos vor. Die erneuten Untersuchungen von Franco Moro geben nun auch Anstoß zu neuen und sorgfältigen Überlegungen zur Identifizierung der beiden seitlichen Gemälde in der Kapelle der Kirche Sant‘Orsola in Mantua, welche vor dem Altarbild von Carlo Bonone situiert waren. Der Maler Fetti war in diesem zweiten Jahrzehnt am herzoglichen Hof tätig, als die Herzogin Margherita Gonzaga die Kirche in Auftrag gab. Unser Gemälde wäre also womöglich mit dem verschollenen Kunstwerk in der Kapelle der Kirche Sant‘Orsola in Mantua zu identifizieren. Eine Überlegung, die es auch ermöglicht, Fetti einige andere Werke zuzuordnen, die in seiner Monographie bislang ausgelassen wurden. Dementsprechend dürfte damit die Diskussion um das Werk Fettis noch nicht endgültig abgeschlossen sein.Anmerkung 2:Die Malweise steht auch der für Fetti gesicherten Variation im Museum Boston kaum nach. Bemerkenswert ist, dass die vorliegende Bilddarstellung – im Gegensatz zum Gemälde in Boston – viel weiter nach unten fortgeführt ist. So zieht hier der gebauschte Mantel in einem kurvigen Schwung nach links unten, aus dem Mantelsaum treten die Zehen hervor, der Boden ist mit Stroh bedeckt. Dies alles Elemente, die im Boston-Bild fehlen. Auch die Bildmaße unterscheiden sich erheblich. Das ins Jahr 1615 gesetzte Gemälde im Museum of Fine Arts Boston weist die Maße 99 x 77 cm. auf, während die vorliegende Variation mit den Maßen 152 x 100,5 cm. bereits die Größe eines Altarbildes hat.Literatur: Eduard A. Safarik, Fetti, Mailand 1990. Das Gemälde besprochen und abgebildet S. 232, Nr. 100. Franco Moro, Filo d'Arianna, Raccolto di Studi di Storia dell'Arte, Mai 2022, S. 67-76, Abb. 86-89. (13300570) (2) (11)Domenico Fetti, 1589 Rome – 1624 Venice, attributedSAINT MARY MAGDALENE PRAYING IN PENITENCE Oil on canvas.152 x 100.5 cm.Notes 1:In his publication, Eduard A. Safarik (1928-2015) had regarded the present painting as a 17th century copy. However, he had not been able to examine the painting in the flesh, but only classified it on the basis of black-and-white photographs. Franco Moro’s renewed investigations now also give rise to new and careful considerations on the identification of the two lateral paintings in the chapel of the church of Sant’Orsola in Mantua, which were situated in front of the altarpiece by Carlo Bonone. The painter Fetti was active at the ducal court in this second decade, when the church was commissioned by the Duchess Margherita Gonzaga. Our painting could therefore possibly be identified with the lost work of art in the chapel of the church of Sant’Orsola in Mantua. A discussion that also makes it possible to assign Fetti some other works that have so far been omitted from his monograph. Accordingly, this is unlikely to be the final conclusion of the discussion about Fetti’s oeuvre.Notes 2:The painting style is hardly inferior to a variation held at the Boston Museum which was surely created by Fetti. It is remarkable that the present depiction is continued much further down in contrast to the painting in Boston: in the present painting the cloak sweeps down to the left in a sweeping curve, the toes protruding from the hem of the cloak and the floor is covered with straw. All these elements are missing from the Boston painting. The painting’s dimensions also differ significantly from the Boston painting, dated 1615, measuring 99 x 77 cm, while the present variation measures 152 x 100.5 cm which is already the size of an altarpiece.Literature: Eduard A. Safarik, Fetti, L’Opera complete, Milan 1990. The painting is discussed and illustrated on p. 232, no. 100. Franco Moro, Filo d'Arianna, Raccolto di Studi di Storia dell'Arte, May 2022, p. 67-76, ill. 86-89.

Sächsischer Hofportraitist des 16. JahrhundertsBildnis des Friedrich Wilhelm I von Sachsen-WeimarÖl auf Leinwand.97 x 79 cm.Gerahmt.Der Herzog ist hier 26-jährig in Lebensgröße dargestellt, im Halbbildnis nach rechts, vor dunklem Hintergrund. Die schwarze Kappe mit Flaumfedern und Perlenbesatz und der weiße Kragen rahmen das rötlich-bärtige Gesicht. Der gebieterisch-distanzierte Blick ist dem Betrachter entgegengerichtet. Seine Rechte hält Lederhandschuhe, die Linke den Knauf des Degens. Der schwarze Mantel, mit Pelz besetzt, lässt das Wams frei, über das eine schwere Goldkette gelegt ist. Von Interesse ist, dass hier die waagrechten Goldbordüren auf grünlichem, geschlitztem Textilgrund als Entsprechung des Sächsischen Wappens zu sehen sind.Im Gegensatz zu den späteren Bildnissen der Sächsischen Herrscher, die Lukas Cranach und seine Werkstatt schuf, und aufgrund von dessen Stil sogleich einzuordnen sind, ist über die früheren Hofportraitisten kaum etwas bekannt. So ist hier noch auf Klärung des Malers zu hoffen. Auch für das bekannt gewordene, etwas spätere Bildnis Friedrich Wilhelms I, das ihn im Harnisch und mit einem Hund zeigt, ist kein Malername überliefert.Im Bild eingefügt das Wappen der Linie Sachsen-Weimar sowie die begleitende Aufschrift gegeben: „V.G.G. (=von Gottes Gnaden) FRIDERICus WIL/HELMUS DVX SAX:/AETAT: ANNO 26 – / 1589“.Literatur:Vgl. Johann Gerhard Gruner, Geschichte Friederich Wilhelms I. Herzogs zu Sachsen. Ein Beitrag zur Geschichte des Hauses Sachsen. Koburg 1791.Vgl. Sebastian Kusche, Friedrich Wilhelm I., Herzog von Sachsen-Weimar, in: Institut für Sächsische Geschichte und Volkskunde (Hrsg.), Sächsische Biografie, Dresden. A.R. (1331231) (11)Saxon Court portraitist of the 16th centuryPORTRAIT OF FRIEDRICH WILHELM I., DUKE OF SAXE-WEIMAR Oil on canvas.97 x 79 cm.The duke is depicted here life-size, aged 26, in half-length portrait to the right against a dark background. A black cap with down feathers and pearl trimmings and a white collar frame his face with a reddish beard. His commanding, distanced gaze is directed towards the viewer. His right hand holds leather gloves, his left the pommel of the sword. The black fur-trimmed cloak reveals a doublet with a heavy gold chain. An interesting detail are the horizontal gold borders against a greenish, slit cloth background corresponding to the Saxon coat of arms. In contrast to later portraits of the Saxon rulers created by Lucas Cranach and his workshop, which can be attributed immediately based on their style, hardly anything is known about the earlier court portraitists.

Harness. France, late 19th century.Marble and bronze.Measurements: 47 x 67 x 18 cm (clock); 47 cm (candlestick).This garniture consists of a table clock and a pair of candlesticks. The clock consists of a moulded podium, in which marble is combined with gilt-bronze fillets. The clock case sits on the podium or base, with a white porcelain dial and Roman numeral hour-markers. A slender figure rests on the clock case. The figure is a man wearing a long robe and a wide cloak, who writes while seeming to hold something in his other hand, which is no longer preserved. His stern character and elderly build suggest that he may be a philosopher. The candelabra, for their part, have rectangular bases on which the moulded shafts and arms of lights rest.

Large quantity of mainly silver jewellery including charm bracelets, pendants and charms, a Maltese cross pendant/brooch, three Wedgwood brooches, gem set brooches, a pearl necklace on a silver clasp, a cloak pin, two bullion bar pendants, pendants, necklaces and chains, nine rings, bracelets, earrings, cufflinks and a mirror pendantCondition Report: Gross weight approximately 594 grams

Major General Philip Thomas Tower, CB, DSO, MBE, GOC - a Part Uniform, comprising a No.1 blues tunic with staybrite buttons, rank pips, scarlet wool gorgets, medal ribbon bars and paratrooper sleeve insignia, a leather crossbelt and pouch badged to the Royal Artillery, a No.1 blues dress cap and a No.2 khaki service cap, each with bullion thread badge and leather chinstrap, a black wool Kangol beret with bullion thread cap badge, an Athol grey general officer's greatcoat with staybrite buttons and scarlet lining, a blue wool evening uniform cloak with scarlet lining, and a khaki greatcoat with leather football buttons - made by his wife and sent to him as a POW in Italy (he used this greatcoat as part of his escape outfit), together with ephemera including a copy of his obituary and the draft eulogy given at his funeral by his nephew Major General Michael Trenchard Tennant. (9)Footnote:- Philip Thomas Tower was commissioned into the Royal Artillery in 1937 and served with 25 Field Regiment RA in India until the outbreak of the Second World War. After a staff appointment with 4th Indian Division he rejoined 25th Field Regiment in the Western Desert as a battery commander. In June 1942, at Tobruck, he was forced to surrender to the Germans after his battery were surrounded when their ammunition ran out. His gallantry was later recognised by the awarding of the DSO. He was sent to a POW camp in Italy and made several attempts to escape, finally doing so whilst being transported from the battle zone to a prisoner of war compound. He dispatched his guard and jumped from the vehicle which was travelling at 40 mph. Two days later he staggered into a German workshop and was eventually returned to the Italians as a POW. He escaped again, this time successfully, although he was wounded in the chest by a mine. After he recovered from his ordeal and his wound he went on to qualify as a parachutist and was dropped at Arnhem with 1st Airborne Division. After the war he continued his career in the army and in 1967 was appointed GOC Middle East Land Forces tasked with the withdrawal of British Troops from South Arabia, and it was the town of Aden which was to provide the defining moment in his military career.No.1 dress tunic - 42" chest, 19" shoulder width, 27" sleeve length; No.1 dress cap measures 23" around sweatband; No.2 dress cap measures 22" around sweatband; beret size 59, Athol Grey greatcoat 44" chest, 19" shoulder width, 24 1/2" sleeve length; khaki greatcoat 44" chest, 19" shoulder width, 28 1/2" sleeve length; evening cape 24 1/2" sleeve length.

Twelve Life-Sized Heads:Thomas Frye Self-portrait (Ipse); Young woman wearing dark hat and holding a closed fan; Young man holding candlestick; Man wearing cloak; Man wearing turban; Old man wearing velvet cap; Man leaning on right elbow; Young man with book and candlestick; Old woman leaning on crutch; Young woman with cap and necklace; Young girl wearing feather in her hair; Man wearing turban, leaning on bookmezzotints on laid paper, published Hatton Garden, London, 176052.5 x 38.5cmpaper laid on linen and stretches time and water staining to all with some slight worm holes mainly confined to margins of Man wearing turban and Man wearing turban, leaning on book, tear and some loss to candle stick and left of candlestick to Young man holding candlestick; Man wearing turban, leaning on book not laid on linen and stretcher62 x 48cm framed

Four Inca kero Peru, circa 18th century the largest with carved decoration depicting a standing figure wearing a cloak and headdress and holding a spear, two recumbent pumas, a figure holding a flowering plant, birds collecting from the flowers, above geometric panels and fruiting plants, with traces of polychrome decoration, 19cm high, another with carved geometric panels and trailing foliage, with traces of polychrome, 14.6cm high, the others with painted figures, animals and foliage, 15cm and 14cm high. (4) Provenance Romy Rey Collection, London.

dating: Mid 19th Century provenance: Kingdom of the Two Sicilies, Plate of the order made of silver, about 50% of the red enamel of the arms. For the cloak of the Order, with four very small holes for fixing. Provenance: Count Fedinando Ceccopieri. dimensions 7.5 x 7.5 cm.

William Egley (1798-1870)/Portrait Miniature of a Young Officer/wearing a black coat and red sash/signed and dated 1834/watercolour on ivory, 90mm x 68mm/in a folding Morocco leather case/Ivory registration reference: K75U9ZHU/Provenance: The Estate of Anthony J Beeson/see illustration CONDITION REPORT: Case sound but thumbpiece restored and a bit worn in line with age and usage. A few minor surface scratches to miniature, mainly at corners. Red cloak has an area of discolouration where it is on top of the shoulder, possibly restoration.

Circle of Cornelius Johnson/Portrait traditionally identified as Sir Michael Hicks Kt (1543-1612)/half-length, wearing a hooded black cloak, a broad neck ruff and a white shirt with gilt buttons/oil on canvas, 77cm x 63.5cm/Note: Sir Michael Hicks was the eldest surviving son of Robert Hicks (circa 1524-57), iron monger and later mercer, of the White Bear, Cheapside, London. He was in Lord Burghley's household and was one of his two principal secretaries, 1580-98, dealing with matters of patronage, a position in which, owing to his position as gatekeeper to the Lord Treasurer, he became wealthy/Literature: 'A Cotswold Family' p.186 'Like his first master, Burghley, Michael Hicks eludes the definitions of posterity, and is for his own descendants only a 'picture on a wall.' We cannot help feeling that the sitter in this portrait is in fact female and that the crudely added inscription represents an attempt by some long gone family member to 'fill a gap' in the collection of portraits/see illustration CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

Circle of John Riley (1646-1691)/Portrait of Richard Howe Esq/bust length, bewigged and wearing a black cloak and white stock/oval/oil on canvas, 76cm x 63cm/see illustration CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

Circle of Godfrey Kneller (1646-1723)/Portrait of Sir Michael Hicks Kt (1645-1710)/Portrait of Lady Hicks (died 1724)/both bust length, he bewigged and wearing a brown cloak, she wearing a red cloak over her shoulder/a pair/oval/oil on canvas 76cm x 62cm/Note: Sir Michael was the younger surviving son of Sir William Hicks (1596-1680) 1st Bt. His father settles the Witcombe Park Estate on him on his marriage and he built a new house there circa 1697. His wife Susanna was the youngest daughter of Sir Richard Howe, Sheriff of London/see illustration CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

Attributed to Henry Pickering (circa 1725-circa 1775)/Portrait of Sir Howe Hicks (1722-1801) 6th Bt/Portrait of Lady Hicks (1715-1802)/both half-length, he in a blue coat and white waistcoat with a gilt front, she in a white dress trimmed with lace and a blue cloak with ribbons/a pair/oil on canvas, 76cm x 63.5cm/Note: Sir Howe Hicks married Martha, daughter of his guardian Rev John Browne in 1739/Literature: 'A Cotswold Family' p.267 '...the slim boy eminently a gentleman in his blue velvet coat and white satin waistcoat and brown peruke...' 'Plump Martha Browne by his side was seven years older than he, but she was a little thing, with red lips and rounded shoulders and a trim waist...'/see illustration CONDITION REPORT: Both have been relined and cleaned otherwise condition is good, in contemporary frame with minor damage.

After Rubens/Salome with the Head of John the Baptist/oil on canvas, 82cm x 122.5cm CONDITION REPORT: Total frame size 109cm high x 149cm wide. 19th Century. Dirty but otherwise in reasonably good condition. Not relined. Very small patch in the yellow cloak, centre left. In a re-gilded frame circa 1900.

Royal Naval uniforms: frock coats, mess kit, cloak etc.

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.

Doctor Who and Harry Potter Interest, to include Doctor Who The Time Travelling Action Game (sealed), Playmates Doctor Who Micro Universe three figure pack, Playmates Micro Universe Tardis collector case, Sonic Screwdriver, three carded Harry Potter figures by Mattel:- Quidditch, Professor Snape, Invisibility Cloak Harry.

Two 19th century Minton parian figures, designed by John Bell, Clorinda and Dorothea, height 13ins and 14.5ins - Both of the figures have a crack through one foot, the one in the armour dress across the toes of the back foot and the other round the ankle of the front foot.  The one with the crack round the ankle has chips to the base and there is a chip to the cloak over her left shoulder (right one as you look directly at her).

Spanish school, first half of the 17th century."Saint Barbara".Carved and polychrome wood.Sculpture-reliquary.Faults in the wood and in the polychromy.Measurements: 48 x 20 x 12 cm.Spanish carving from the Baroque period. Worked in rounded bulk, the hollow present in its chest shows that it was used as a reliquary. The tower that the young woman holds in her left hand is enough to identify her as Saint Barbara. Depicted with her hair wavy and uncovered, unveiled, as befits her virgin status, the saint wears a long tunic, tight at the waist, which falls in naturalistic folds. By adopting a slight contrapposto, the bent knee brings out the drapery around her right leg. A second garment, the cloak, is also adapted to her harmonious waistline. The symmetry of her features harmonises with the serenity of her attitude. The carving is naturalistic but in this case does not seek any kind of dramatic effect.Compiled late in the 10th century and popularised in the West in the 13th century by the Golden Legend, the legend of Saint Barbara tells that she was the daughter of the satrap Dióscuro who, in order to keep her from Christian proselytism, locked her in an open tower with only two windows, piercing a third one herself in allusion to the Holy Trinity. However, Barbara was taught by a priest posing as a doctor, and to express her faith in the Trinity she pierced a third window in the wall. She managed to flee but was captured by her father, and when she refused to abjure Christianity and marry a pagan she was handed over to the judge Marcian, who tortured her in various ways. She was stretched on a rack and flogged, torn with iron combs, rolled on pottery shards and burned with red-hot irons, and finally the executioners tore out her breasts with pincers. Finally, her father beheaded her. Saint Barbara's patron saints are widespread; she was considered to be a protector against lightning because her father, after killing her, was struck by lightning. Her name was also often inscribed on church bells, which were rung during storms. Her attributes are the palm of martyrdom and the crown, due to her royal origin, and the tower with three windows. It can also be accompanied by a peacock feather, a chalice topped with a host, a cannon or a cannonball, given that it became the patron saint of artillerymen in the 15th century for its protection against lightning and bad death.

17th century popular Galician school."Saint Joseph".In carved and polychrome wood.The hands are missing. Wear and tear in the wood and the polychromy.Measurements: 26 x 11 x 8 cm.Round carving representing a Saint Joseph, usually characterised with a short beard. He wears a tunic adjusted at the waist with a cord from which vertical folds are drawn in parallel. A golden cloak covers his back until he reaches ground level.

Spanish school, 17th century and later."San Telmo".Carved, gilded and polychromed wood.Slight lack of polychromy. One finger missing. Some xylophages. Repainting.Measurements: 116 x 40 x 25 cm.Devotional carving with a representation of Saint Telmo, whom we recognise by the boat he holds in his left hand, as the patron saint of sailors. However, the Dominican habit in which he is usually represented has been replaced by that of a bishop, with crozier and mitre. The carving is half-format, with a niche at the back in the form of a niche. The workmanship is veristic, in keeping with the late-baroque patterns of the period: the different layers of the attire have been described in detail (the richly draped cloak, the tunic showing vertical folds underneath), the hands show an attentive anatomical study and the bearded face is characterised by its serene self-absorption and wisdom.Saint Telmo was a Spanish Catholic priest. He served as chaplain to King Ferdinand III of Castile before taking up the priory of the convent of Guimarães. He left the court to preach in Asturias and Galicia and in northern Portugal. From this period of his life most of his miracles are recounted, especially in aid of sailors and fishermen, for whom he is said to have had particular sympathy.

Spanish school of the 18th century."Saint Barbara".Oil on panel in oval format with incorporated frame. Upper and lower carving of the frame from the 18th century.It presents some faults in the frame and in the upper and lower carvings.Measurements: 39 x 47 cm (painting); 94 x 70 cm (frame).The tower is sufficient to identify the present painting as Saint Barbara. Depicted with her hair uncovered, unveiled, as befits her virgin status, the saint wears a long blue tunic, tight around her waist. She combines her attire with a voluminous red cloak. She holds in her hand the sword with which her father took her life, a symbol of unshakeable faith, the palm that identifies her as a martyr and the book. In the background, next to the tower, a lightning bolt is depicted, a motif that identifies her as the patron saint of the artillery.Compiled late in the 10th century and popularised in the West in the 13th century by the Golden Legend, the legend of Saint Barbara tells that she was the daughter of the satrap Dióscuro who, in order to keep her from Christian proselytising, locked her in an open tower with only two windows, piercing a third one herself in allusion to the Holy Trinity. However, Barbara was taught by a priest posing as a doctor, and to express her faith in the Trinity she pierced a third window in the wall. She managed to flee but was captured by her father, and when she refused to abjure Christianity and marry a pagan she was handed over to the judge Marcian, who tortured her in various ways. She was stretched on a rack and flogged, torn with iron combs, rolled on pottery shards and burned with red-hot irons, and finally the executioners tore out her breasts with pincers. Finally, her father beheaded her. Saint Barbara's patron saints are widespread; she was considered to be a protector against lightning because her father, after killing her, was struck by lightning. Her name was also often inscribed on church bells, which were rung during storms. Her attributes are the palm of martyrdom and the crown, due to her royal origin, and the tower with three windows. It can also be accompanied by a peacock feather, a chalice topped with a host, a cannon or a cannonball, given that it became the patron saint of artillerymen in the 15th century for its protection against lightning and bad death.

DERBY; a late 18th century porcelain figure representing an idyllic musician, no.311, height 21cm, and two late 18th century Derby figures, no.35 and 66 (3). Additional InformationLoss to the flute, old repair to the feather on the cap, losses to the paint work, old repairs/restoration, firing crack to the cloak, there are also chips to the cloak, no.35 with restoration to the cap, there is also restoration to the arms and floral decoration, the neck has been repaired, no.65 with extensive restoration to the arms and body, also losses to the glaze and applied decoration.

English School 17th Century Portrait miniature of Samuel Trelawny (1630-1666), wearing a lace collar On copper, oval 50 x 39mm Together with Manner of Samuel Cooper, Portrait miniature of a gentleman, probably a member of the Trelawny family, wearing a lace collar and long wig, On vellum, oval, 62 x 50mm; Manner of Samuel Cooper, Portrait miniature of a young man, probably a member of the Trelawny family, wearing a lace collar, On card, oval, 62 x 50mm; Manner of Cornelius Johnson, Portrait miniature of a gentleman, probably a member of the Trelawny family, wearing a black doublet and lace ruff, On card, oval, 60 x 47mm; Manner of Cornelius Johnson, Portrait miniature of a gentleman, probably a member of the Trelawny family, wearing a black cloak and with a moustache, On paper, oval, 62 x 50mm; and Manner of Bernard Lens, Portrait miniature of Samuel Trelawny (1683-1711), On paper, oval, 44 x 35mm (6)

After Sir Peter Lely Portrait of Sir Robert Jenkinson, 1st Bt. (1621-1677), wearing a brown cloak and long wig Pastel 51.4 x 34cm; 20¼ x 13½in Together with After Michael Dahl (1659-1743), Portrait of Sir Robert Banks Jenkinson, 4th Bt. (1687-1738), wearing a brown coat and yellow waistcoat, Pastel, 31.7 x 24.6cm; 12½ x 9¾in (2)

Nicholaes Maes (Dutch 1634-1693) Portrait of Josias Ingelbrechts (1645-1685), three-quarter length, wearing a Japanese rok, laced shirt and lilac cloak, standing in a landscape; Portrait of Maria Reyniers (1654-1721), three-quarter length, wearing a red dress and pearl necklace and earrings, seated in a landscape A pair, the former signed Maes (lower right); the latter signed and dated Maes 1680 (lower right) Both oil on canvas 57.3 x 44cm; 22½ x 17¼in; 57.3 x 43.9cm 22½ x 17¼in (2) Provenance: Probably by descent to the sitter's son, Adriaan Ingelbrechts (b.1682), who married Sara Reyniersz van Tarelink in 1710; The Van Tarelink Collection; The Van Drogenhorst Collection; The Van Iddekinge Collection; J. van de Kasteele, The Hague; F. Muller, Amsterdam, Van Iddekinge van Drogenhorst Sale, 27 November 1906, lot 18, where purchased by Oppers (1000 florins); F. Muller, Amsterdam, 13 April 1920, lot 30, where purchased by a Spanish realtor (400 florins); F. Muller, Amsterdam, 6-8 December 1960, lot 141 (16,000 florins); Sotheby's, London, 29 November 1961, lot 104, to Fitzgerald (£1,450); Sotheby's, London, 3 December 1969, lot 101 (£3,100); Richard Green, London, 1970; The Power Collection; And by family descent Literature: Cornelis Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch painters..., vol.VI (London, 1916), pp.529-530, nos.197&198; 'Maria', in Walther Bernt, Die Niederländischen Maler und Zeichner des 17. Jahrhunderts (Munich 1979), no.768; Werner Sumowski, Gemälde der Rembrandt-Schüler, vol.III (Landau, 1983-1994), nos.1429&1430; León Krempel, Studien zu den datierten Gemälden des Nicolaes Maes (1634-1693) (Petersberg, 2000), p.327, nos.A225&A226 The present pair were painted the year before the sitters' marriage on 14 October 1681. Josias Ingelbrechts was a sugar factory owner (suikerraffinadeur) on the Prinsengracht in Amsterdam.

English School c.1800 Portrait of a gentleman, traditionally identified as Sir John Raines, bust-length, wearing a red cloak; Portrait of a lady, traditionally identified as Lady Raines, bust-length, wearing a blue cloak A pair, both oil on tin, oval Each 22.7 x 17.5cm; 9 x 7in (2)

Circle of Francis Alleyne Portrait of a gentleman, wearing a red coat and fur-lined blue cloak, holding a sword and standing in a landscape; Portrait of a lady, wearing a blue and grey dress decorated with pearls, seated in an interior; Portrait of a clergyman, seated in an interior, holding a book Three, each oil on canvas, oval Largest 45.1 x 37.2cm; 17¾ x 14¾in; Smallest 44.8 x 36.9cm; 17¾ x 14½in (3)

λEnglish School 19th Century Portrait miniature of a lady wearing a white dress with a yellow cloak and pearl necklace Oval, in a gilt metal frame 115 x 87mm Together with English School 18th and 19th Century, Portrait miniature of Nicholas Ridley-Colborne, 1st Baron Colborne (1779-1854); Portrait miniature of Catherine Colborne (neé Steele); Portrait of a young girl wearing a white dress and blue sash seated in a landscape; Portrait miniature of two children in an interior; Portrait miniature of Lady Seymour; Portrait miniature of a young girl wearing a white dress with a blue hat; Portrait miniature of Maria Theresa Farquhar, signed with initials HWH (lower left); Portrait miniature of a young girl wearing a white dress and hat; Portrait miniature of Rupert Farquhar holding a cat, aged four; Portrait miniature of a young lady with blond hair; Portrait miniature of a young girl wearing a white dress with blue ribbons; and Ethel and Margaret Hall, Portrait miniature of Harold Farquhar holding roses, aged four, signed M & E Hall (lower right); Two in ebonised and tortoise shell frames, one in an ebonised frame, one in a gilt metal bracelet frame, eight in gilt metal frames, eight within a gilt painted wooden easel display case; Largest 102 x 75mm; Smallest 23mm diameter (13) Provenance: Redlynch House, Salisbury, Wiltshire Ivory Act registration reference 4F6GFGN0

Three Peruvian silver money clips, silver Peruvian cloak brooch, and another brooch

A 19thC silver cloak brooch in the from of a stylised buckle, with sprung clasp and chain, engraved decoration, stamped maker's mark H & T (Hilliard & Thomason) and REGD 30 MARCH 1848

A 20th century African tribal Maasai resin "Soul Journey" sculpture. The statue depicting a mother in traditional cloak with baby on her shoulders. It measures approx. 50cm tall.

AN EDWARDIAN GIRL'S DRESS a lace trimmed cloak, and a hooped petticoat (all in damaged condition)

A pair of allegorical figures of putti, dated 1862, Italian, Rome, marble, one depicted holding a coin purse, the other in a cloak, each signed 'Ao Stampanoni, Roma 1862',the slightly larger 32cm wide25cm deep89cm high (2)Condition ReportBoth have spent some time outside, and have subsequently been re-finished. Both with sugaring. Dirt and patination. Some cracks in the stone. Tiny chips and knocks. General wear. Please see photos.

Postcard, Advertising, Fry's, 'Five Boys Milk Chocolate', girl in purple hooded cloak with bar of chocolate (vg) (1)

A Jouglas figure of a traditional French lady wearing cloak and hat

An Art Deco white metal, plique a jour, black onyx and marcasite set rectangular brooch, 54mm, a three colour enamelled brooch, a yellow metal and facetted garnet bead necklace, a 9ct pig charm and, a cloak pin? and a baroque pearl set stick pin.

AN INDIAN POLYCHROME AND MARBLE FIGURE the dancing woman with red and gilt costume, 17cm high and a Chinese carved and lacquered figure of reclining and holding a fruit,20cm high , three wood stands (5)  Condition Report:chip to marble cloak and chips to buddha

A LARGE CARVED MARBLE AND ONYX NORTH AFRICAN FIGURE LATE 19TH CENTURY, PROBABLY FRENCH Depicted as a water seller, later ebonised base, apparently unmarked figure 158cm high, base width 55cm Provenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Restorations clearly visible under UV to all strapping, sections of bottle to his back, left wrist. Additionally it looks as though there has been later infill/strengthening around where his face sits in it's onyx surround, and to a natural band of inclusions running through the entire reverse of his cloak. Cup and some elements to his right hand side later. Please see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

A 'GRAND TOUR' BRONZE OF AUGUSTUS CAESAR OF PRIMA PORTA ITALIAN, LATE 19TH CENTURY With integral turning handle to circular plinth base 34.5cm high, the base 11.2cm diameter The figure of the first Roman Emperor derives its name from the locality in Rome where it was excavated in 1863 at the Villa Livia- formerly the home of his third wife Livia Drusilla. The marble figure is now held and displayed in the Vatican Museum.Condition Report: Generally good condition- very mild rubbing and wear to extremities with slightly paler colour visible to folds of cloak, tip of nose, edge of base etc. Some rubbing to right arm. Condition Report Disclaimer

An Officer's blue cloak bearing Victorian crowned brass Royal Artillery buttons; a Royal Artillery pill-box hat, leather waist-belt with Victorian brass buckle, leather gaiters etc.

1973 Tweed Cloak by Feminella

An early 19th century terracotta figure of Mosesprobably Frenchthe seated figure semi-clad in a flowing cloak and drapery, holding a tablet, resting on a pillar, his right arm raised to his forehead, on rectangular base, 27cm highFootnotes:Property of a GentlemanProvenanceWith Daniel Katz, London, November 2002Exhibited London, David Peel Gallery, From Vittoria to Dalou, An Exhibition of European Works of Art, 26 April-19 May 1967, cat. no. 6.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

A MEISSEN FIGURE REPRESENTING WINTER (2)20th centuryModelled as a skating putto, wearing an ermine lined cloak, blue crossed swords mark, incised A.71, 13.5cm high; also a small Meissen outside decorated figure of a putto playing a pipe, cancelled crossed swords mark, 10cm highSkating putto- chips to end of three toes and to end of skate on right foot. Putto playing pipe- the majority of the pipe is lacking. Small chip to edge of headress, Chip to end of thumb and forefinger of left hand

9th-10th century A.D. A gilt silver pendant of discoid form with integral suspension loop, displaying the god Odin in the centre, gripping a raven in each hand, pseudo-corded border. Cf. Hammond B., British Artefacts Volume 2 - Middle Saxon and Viking, Witham, 2010, p.57, item 1.5.3-f; cf. Korshyn, V.E., Yazcheskye Priveski Drevnei Rysi X-XIV Vekov, Moscow, 2013, item M.2.02. 1.5 grams, 22 mm (7/8 in.). UK gallery, acquired in the 2000s. Property of an English gentleman. Odin, also known as Woden in Old Saxon, the chief god of Eddic mythology and the most versatile of the gods. He is the father of the gods, the god of poetry, the god of the dead, of war, magic, runes and ecstasy. The numerous names for Odin in Old Norse literature exemplify his diversity. According to Snorri Sturluson in the Gylfaginning Odin is one of the first of the gods to be created. Odin is called the All Father because he is the father of all the gods. He lives in Asgard from where he can look over the whole world and is considered to be omniscient, and because of this he is known as 'the extremely wise one.' Odin's attributes are his spear, Gungnir, a ring known as Draupnir, his blindness in one eye and his hat and cloak, all of which form his stereotypical image. Odin's two ravens, Huginn and Muninn, meaning Thought and Memory, are likewise firmly established attributes from the end of the Migration Age onwards, as illustrated in bracteates, pendants and picture stones. The two ravens fly over the whole world and return at breakfast bringing Odin news of many things, and through this he is known as Hrafnagud, or the raven god. [No Reserve]

Circa 15th century A.D. A carved oolitic limestone figure of Saint Roch, standing wearing a draped floor-length robe and hooded cloak, gripping a crook in his right hand and supporting a model tower in his left; his hound sitting beside his left leg; mounted on a wooden plinth base with dais. 627 grams, 16.7 cm high (1 kg total, 24.5 cm high including stand) (6 1/2 in. (9 5/8 in.)). From a 1970s collection, based on the custom-built display base. Property of a Glasgow lady. Accompanied by scholarly note TL05434 by Dr Ronald Bonewitz. The stone was probably sourced from the English Midlands. [No Reserve]

North Africa, circa 3rd century A.D. A globular red slip ware amphoriskos or bottle with tapering neck, everted rim, two D-section ear-handles and splayed podium foot, decorated with two appliqué fronds arranged vertically either side of each handle and animals and figures between them; one face showing a nude and muscular figure of Hercules holding a billowing cloak, a lion leaping on a wild boar above; the other face showing the god Pan or a satyr, a hare bounding left above. Cf. The British Museum, museum number 1997,0402.3, for similar; Charleston, R.J., Roman Pottery, London, 1955, pp. 21 - 23, pl. 23B. 149 grams, 15 cm high (6 in.). The Cyrus collection. Property of Fay Safani, New York, USA. Acquired by Edward Safani in the 1980s. With Bonham's, Knightsbridge, London, 23 October 2012, lot 148. Accompanied by a copy of the relevant Bonham's catalogue pages. African red slip was the final development of terra sigillata. It was characterised by a thick orange-red slip over granular fabric, and decorated either plainly with simple grooves or, as visible here, more elaborately with either applique reliefs or stamped motifs of palm leaves, animals, humans, or mythological scenes. [A video of this lot is available to view on Timeline Auctions Website.]

Late 19th / early 20th Century marble figure of a girl wearing a hooded cloak, carrying a banner inscribed ' Fides spes caritas ', signed to the base Luca Madrassi, 22ins high (damage to plinth)

Paul Crees, Lady Beth Trousseau - Two dolls by Paul Crees including 'Lady Beth' bisque head doll approx. 52cms in height on stand in ball gown and cloak with cloth body bisque arms and legs; plus a Paul Crees 'Fairy' doll, approx 27cms height with a selection of Paul Crees and Lady Beth doll outfits accessories. Items appear to be in Excellent - Mint condition. (2) (This does not constitute a guarantee)

Antique S & Quent Bisque head baby doll dressed in Green cloak .201 mold -some scrapes to head and has a small finger lacking on right hand 18”  (1)

Star Wars - an original vintage Kenner / Palitoy made Luke Skywalker Jedi Knight action figure. LFL 1983 Hong Kong COO. 100% complete with original cloak, blaster and green lightsaber. Figure generally EX to NM. 

TADATOSHI: A LARGE WOOD NETSUKE OF GAMA SENNINBy Tadatoshi, signed Tadatoshi 忠利Japan, Nagoya, 19th century, Edo period (1615-1868)A boldly carved, tall figure of the hermit Gama Sennin, a warty toad clambering on his back, the eyes of both inlaid. Gama is dressed in a well-carved leaf cloak with long draping sleeves. Signed in ukibori characters on the side of the right leg TADATOSHI. Two himotoshi through the back and natural himotoshi between the sennin’s right arm and the toad.HEIGHT 12.7 cmCondition: Good condition with associated surface wear, some fine age cracks. The two pierced himotoshi in the back have been probably added at some point.Provenance: European private collection.Tall figures by the Nagoya carver Tadatoshi are unheard of. The carving style and quality, staining, and signature are coherent with his work.Literature comparison:A wood netsuke of a seated Gama sennin, by Tadatoshi, is illustrated in the Netsuke Kenkyukai, vol. 15, no. 3, p.14, fig. 10 (and featured on the cover).

Original cast iron railway sign - Parcels, & Cloak Room, 50cm in length.

A CELTIC STYLE CLOAK PIN

Royal Doulton figure Bess 2002. Crack to left side of cloak

Bronze figure of an oriental seated man wearing cloak and hat

A 13th / 14th century Medieval pilgrims cloak fastening in the form of a cross.

A late 19th Century alabaster bust of a hooded young girl wearing a cloak on square plinth, height 47cm.

Wally Shoop (American, b. 1941). Patinated cast bronze sculpture titled "Spirit I (Eagle Catcher)," 1986, depicting a Native American man leaping, arms outstretched, to catch an eagle with a bearskin cloak falling behind. The figure rises from a naturalistic form resting on a wooden base. Signed, dated, and numbered 100/250 along the lower edge.Provenance: From the Estate of Horst Rechelbacher, Osceola, Wisconsin.Horst Rechelbacher, the founder of Aveda and Intelligent Nutrients, was a pioneer in the field of safe and eco-friendly cosmetics. The same curiosity that led him to explore ways to improve the beauty industry led him to travel the world, collecting rare and beautiful objects as he went. This sale features selections from that lifetime of eclectic and inspired collecting, including furniture by Carlo Bugatti, Gabriel Viardot, and Josef Hoffman; artworks by artists ranging from Old Masters to Salvador Dali to Arman; an impressive collection of Indian sculptures; and much more. Be sure to explore our timed-only online auction of other fascinating objects from this collection that will be posted in mid-August.Height: 22 3/4 in x width: 10 in x depth: 10 in.