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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)

Reinhard Zado (geb 1951), Unter dem Mantel der Verschwiegenheit, 1994, Lithografie auf Buettenpapier Deutschland, rechts unten signiert Reinhard Zado, Auflage 15/150, 94 x 74 cm. | Reinhard Zado (born 1951), Under the Cloak of Secrecy, 1994, lithograph on laid paper Germany, signed lower right Reinhard Zado, edition of 15/150, dimensions: 94 x 74 cm.

CANTON IVORY AND RED-STAINED IVORY CHESS SET,late 19th century, carved as figures, the rooks as elephants, the tallest piece 12cm high (32)Pieces are of varied condition, some fading more than others. One of the flags are not present. Some residue also present to some of the figures. Damage to the red Queens head and red kings cloak.

German made No.2 size Mahdist Arab Cavalry with leader in cloak in the act of mounting his horse (Condition Fair, many damaged) 1899 (15)

A Tibetan thanka of Padmasambhava, 20th century, the principal figure seated on a moon disk, holding a vajra in his right hand and a skull cup in his left, he wears a green robe with red outer cloak, floating above hilly fields populated by deities and consorts, 58cm x 42cm, set into an associated silk brocade textile.Good strong colours thrughout.  Minor cosmetic marks consistent with age. Textile mount shows signs of age.  Refer to images.

AN EARLY 20TH CENTURY CLOAK CLIP, designed as two floral brooches, one set with seed and split pearls, one set with turquoise, seed and split pearls, connected by a trace link chain with seed pearl accents, length of brooches approximately 30mm, length of chain approximately 115mm, approximate gross weight 3.6grams (condition report: overall condition good, late replacement blue paste to turquoise cluster, later replacement seed and split pearls)

POW! (1967-68) 4-86 last issue. Unabridged run with reprints of U.S. Amazing Spider-Man # 3-33 and Fantastic Four # 27-37 plus Experiment X, The Two Faces of Janus, George's Germs with Ken Reid's Dare-A-Day-Davy and The Cloak. Including No 53 first POW! and WHAM! amalgamation and No 41 editor's Pay copy. Twelve issues [gd/vg], balance [vg/fn/fn+] (84)

1920s Irish Free State brooch. A gilt metal pin-back brooch in the form of a penannular cloak pin with a Connemara marble-mounted harp above "IRISH FREE STATE", 1¾" (4.5cm) wide.

Votivbild, süddeutsch, dat. 1727, Anbetung Mariens anlässlich Heirat und Geburt zweier Kinder, Maria als Schutzmantelmadonna, mit Beschreibung u. Datierung, Öl/Holz, Rahmung mehrfach überfasst, mit Bezeichnung, ca. 41 x 29 cmVotive image, southern German, dated 1727, adoration of Mary on the occasion of marriage and the birth of two children, Mary as a protective cloak Madonna, with description anddate, oil/wood, framing several times overlaid, with inscription, approx. 41x29cm

RUSSLAND aufklappbares Zier-Ei mit Reiterstandbild im Fabergé-Stil, 20. Jh. Royalblau emailiertes Zierei auf vergoldetem, eingezogenem Rundfuß mit umlaufender Rosettenornamentik, Silber vergoldet, Wandung mit schauseitiger Silberauflage eines doppelköpfigen Adlers, gefasst mit Türkisen, Perle als Reichsapfel, ovaler Kranz mit Schmucksteinen auf der Rückseite, die obere Hälfte der Wandung besetzt mit einem Gitterwerk an dessen Spitze ein runder, Türkis- Cabochon als Schließe dient. Im Innern des Eies steht ein vergoldetes Miniatur-Denkmal eines Reiters auf einem galoppierenden Pferd mit Lanze, die Zügel in der Hand, sein Umhang blau emailiert, lt. beiliegendem Magazin "Cannstatter Kanne" von 1983 handelt es sich um Zar Nikolaus II. Mit Punze '925', Altersspuren, H 16,5 cm.| RUSSIA ornamental egg with equestrian statue in Fabergé style, 20th century, Royal blue enamelled decoration on a gilded, constricted round base with surrounding rosette ornamentation, silver gilded, wall with a silver overlay of a double-headed eagle on the obverse side, set with turquoise stones, pearl as an orb, oval wreath with gemstones on the back, the upper half of the wall decorated with a lattice work the tip of which serves as a clasp with a round, turquoise cabochon. Inside the egg is a gilded miniature equestrian monument of a rider on a galloping horse with spear, reins in hand, his cloak enameled blue, According to the enclosed magazine "Cannstatter Kanne" from 1983, it is Tsar Nicholas II. With hallmark '925', signs of age, H 16.5 cm.

A collection of fourteen Star Wars original figurines (all dated 1983) including Luke Skywalker in cloak with lightsaber, Biker Scout Stormtrooper, Bib Fortuna, General Madine, Tessek Squid Face, Klaatu Skiff Guard, Ree-Yees, Princess Leia (in Boushh Disguise with weapon), 8D8 Droid, Logray Ewok with weapon/pouch, Chief Chirpa Ewok, Gamorrean Guard, Imperial Emperor Royal Guard with weapon and Nien Nunb

A collection of eleven Star Wars original figurines (all dated 1984) including two Princess Leia's (one in Endor cloak), two Prune Face (one in cloak), Palatine, B-Wing Pilot, Luke Skywalker (as a Stormtrooper with blaster), Rancor Monster Keeper, two Han Solo's (one in trench coat) and AT-ST Scout Walker pilot.

A collection of eleven Star Wars original figurines (all dated 1984) including an A-Wing Pilot with blaster, two Palatine's, two Prune Face (one in cloak with weapon), Imperial Dignitary, Princess Leia, Ewok, AT-ST Scout Walker Pilot, Imperial Death Star Gunner with blaster, B-Wing Pilot and Han Solo's Carbonite case

A collection of thirteen Star Wars original figurines (all dated 1983) including Luke Skywalker in cloak, Biker Scout Stormtrooper, Bib Fortuna, Tessek Squid Face with cloak, Klaatu Skiff Guard, Princess Leia, General Madine, Nikto Guard, Logray Ewok with head dress and weapon, Teebo Ewok, Chief Chirpa Ewok, Gamorrean Guard with weapon, Imperial Emperor Royal Guard

A collection of thirteen Star Wars original figurines (all dated 1983) including Luke Skywalker in cloak and light saber, Biker Scout Stormtrooper, Bib Fortuna, Tessek Squid Face with cloak, Klaatu Skiff Guard, Princess Leia (in Boushh Disguise), Nikto Guard, Endor Commando, Logray Ewok with head dress/weapon, Chief Chirpa Ewok, 8D8 Droid, Gamorrean Guard with weapon, Imperial Emperor Royal Guard with weapon

A small collection of Star Wars original figures (all dated 1983) including Sy Snootles and the Rebo Band, Tessek Squid Face, Imperial Emperor Royal Guard (no cloak) and Weequy with weapon

A collection of thirteen Star Wars original figurines (all dated 1983) including Luke Skywalker in cloak (A/F), Biker Scout Stormtrooper, Bib Fortuna, Tessek Squid Face with cloak, Klaatu Skiff Guard, Ree-Yees with weapon, Princess Leia (in Boushh Disguise), Endor Commando, Logray Ewok, Chief Chirpa Ewok, Gamorrean Guard with weapon, Imperial Emperor Royal Guard with weapon and Nien Nunb

An early 20th Century 1st Life Guards officer's cloak

Guards cape / cloak clasps

A Staffordshire figure of General Sir William John Codrington, circa 1856, modelled standing beside a cloak with a cocked cannon and flag to his right, on a naturalistic oval plinth base titled 'G Codrington', 33cm high.

A Royal Doulton prototype character jug, John Gilpin, modelled and painted with green hat and black green cloak, printed marks Property of Royal Doulton Tableware Ltd, Not Produced for Sale, 17cm high

ENGLISH SCHOOL (C. 1586)PORTRAIT OF HENRY HASTINGS, 5TH BARON AND 3RD EARL OF HUNTINGDONOil on canvasInscribed Aetatis 50 (upper centre) and dated 1586 above a coat of arms (upper left)123 x 99.5cm (48¼ x 39 in.)Henry Hastings, third earl of Huntingdon (1536?-1595) was the eldest son of Francis Hastings, second earl of Huntingdon (1513/14-1560) and his wife, Katherine Pole (d. 1576). His grandfather George Hastings, first earl of Huntingdon, a personal friend of Henry VIII, introduced him to the court at a very early age. A year or so senior to Edward VI, Lord Hastings joined the young prince at his studies at the king's invitation and the two men remained close as adults. In 1553, Hastings married Catherine Dudley, daughter of the Duke of Northumberland, whose sister-in-law was Lady Jane Grey. When Queen Mary succeeded to the throne after Jane's brief reign, this alliance caused Hastings to be imprisoned in the Tower of London. After his release he continued to be a supporter of Mary and then of Elizabeth I. In 1572 he was appointed president of the Council of the North. During the troubled period between the flight of Mary to England in 1568 and the defeat of the Spanish Armada he was frequently employed in the north of England.Apart from the present work there are at least four other known portraits of this important sitter, which can be found in the collections of the National Portrait Gallery (NPG 1574), Leicester Art Gallery (dated 1623), the collection of Auglesey Abbey (dated 1588), and the Tower of London Royal Armouries (in Greenwich Armour, dated 1588). Provenance:Rawdon Hall, YorkshireCondition Report: The canvas has been lined and is on a later stretcher. The paint layer appears stable but slightly thin in places, the areas with gold decoration appear well preserved. UV light reveals scattered retouching, particularly in the darker pigments in the sitter's cloak and trousers as well as in the face and hand. The varnish layer is uneven and heavily discoloured. Condition Report Disclaimer

Antique Bentwood cloak and hat stand

A collection of assorted British Military, Transport and Police uniform items to include; Royal Navy wool overcoat, Police Constable night cape / cloak, WWII Second World War RAF Royal Air Force tunic with Navigator Wing patch, HMP Prison Officers jacket and a British Fire Brigade Officers tunic.

A 20th Century British Police Constabulary uniform items comprising woollen night cape / cloak with chain fastening and No. 78 chrome numbers to the collar and an unmarked Custodian Helmet / headdress.

Virgin of the Annunciation; Spain, 13th-14th century.Carved and polychromed wood.Faults in the carving and polychromy. Damage by xylophages.Measurements: 73 x 20 x 15 cm.Devotional sculpture of round bulk representing the figure of the Virgin. Mary is holding her hands to her chest, in a pious attitude, and turns her face slightly downwards. The remains of polychromy show a red tunic and a blue cloak, linked to the representation of the Annunciation. The Annunciation is an episode that has been widely represented throughout the history of Christian art, given that it is one of the main dogmas of the church, that of the Incarnation. It is also included in both the cycle of the life of Christ and the life of the Virgin, which gives it renewed meaning as a narrative episode. With regard to the theme alluding to the Virgin of the Annunciation, the iconographic tradition includes a more narrative scene in which the Archangel Gabriel appears to the Virgin to tell her that she is pregnant. The Virgin is normally situated behind an altar or table, where a book or white lilies, iconographic attributes associated with the Virgin, are usually placed. However, over the centuries the elements began to be reduced, as can be seen in important works that depict the same iconography of the Annunciation, based exclusively on the representation of the Virgin. An example of this is The Madonna of the Annunciation in Messina.

Spanish school, 17th century."Virgin of the Annunciation".Oil on canvas.Relined.Frame from the 19th century.Defects in the frame.Annotation on the back: "Restoration in 1887".Measurements: 64,3 x 59 cm; 88 x 73 cm (frame).In front of a golden background that radiates the Marian halo, the Virgin of the Annunciation is the protagonist of this devotional scene, trying to arouse compassion with her tender and idealised face, and her hands joined in prayer. Her figure, depicted half-length, acquires a sculptural volume thanks to a typically Baroque luminous modelling. The Virgin wears a rictus of wonder, as is usual in scenes of the Annunciation, alluding to the appearance of the archangel Gabriel bringing her the good news. The Virgin is dressed, as is customary, in a Roman style, with a red tunic, although the tonality tends towards pink and a blue cloak, colours that have a great iconographic charge, since, associated with the Virgin's clothing, they allude to passion and universality. The clothes have been treated with dynamic, naturalistic folds, with soft, undulating forms. As for the lighting, the piece has a spotlight that falls directly on Mary's face, a resource that is enhanced by the use of a light tone for the skin and the brightness of the yellow colour of the surroundings.

Two 16th Century carved oak panels, north Italian A dexter and sinister bust profile, of a Centurion-like soldier, each wearing a plumed helmet and draped cloak, within a deep moulded frame, 28cm wide, 38cm high, (2)Simonini collection

Charles I (1625-1649), Halfcrown, (S. 2775), cloak flying from shoulder, rev. garnished shield, mm. Tun 1636-8, aVF

A Second War ‘Chindit Operations’ O.B.E. group of five attributed to Lieutenant-Colonel J. R. Hare, Essex Regiment, late Grenadier Guards The Most Excellent Order of the British Empire, O.B.E. (Military) Officer’s 2nd type breast badge, silver-gilt and enamel, gilding almost all rubbed; 1939-45 Star; Burma Star; Defence and War Medals 1939-45, mounted court-style as worn; together with the recipient’s Burma Star Association lapel badge, good very fine (5) £240-£280 --- O.B.E. London Gazette 7 November 1946: ‘In recognition of gallant and distinguished services whilst engaged in Special Operations in South East Asia.’ Sold with the recipient’s Grenadier Guards Comrades’ Association Life Membership Card; and a copy of the book ‘Cloak without Dagger’, by Sir Percy Sillitoe.

A CELTIC STYLE CLOAK PIN IN A PRESENTATION BOX

A small collection of coins, comprising: James I, silver shilling, second or third issue, 5.38g, about fair; Charles I, silver halfcrown, Tower mint under the king, cloak flying from shoulders, mm. triangle in circle (1641-43), 15.25g, clipped, less than fine; silver shilling, Tower mint under the king, mm. triangle in circle (1641-43), 5.72g, misstruck and clipped, good fair; silver halfgroat, Tower mint, with bust and oval arms, no circles, 1g, much clipped, otherwise near fine; copper farthing, rose type, 0.9g, fine or better; The Commonwealth (1649-60), silver halfgroat, 0.88g (S 3221), about fine; George I, silver shilling, 1723, South Seas Company, 5.86g (S 3647), nearly very fine; George II, silver sixpence, 1746, Lima, 2.9g (S 3710), about fine. [8]

A collection of costumes and props used in the production of the Harry Potter films. Items to include:Prop books from Professor Snape's desk in The Chamber of Secrets.A Basalik fang from The Chamber of Secrets.A chandelier piece from Deathly Hallows.A production used Beauxbatons hat and a Drumstrang costume from the Goblet of Fire.A troll cast used in The Philosophers Stone.Candlesticks, Goblet, Great Hall cutlery, Great Hall planter, Hufflepuff Jumper, production used wands, set dressings, tankards teapots.A troll Marquette hand.Various other production made used and replica wands.Vault jewellery prop gold.A wizards cloak and jacket.

1st century B.C.-2nd century A.D. A group of votive terracotta figure heads comprising: a head of a priest wearing a conical cap (pileus); a head of an African boy; a head of a young boy with curly hair; a head of a woman with a Greek tubular cap worn under a pallium cloak; a head of a young male; three female heads with circular earrings and Graeco-Egyptian coiffures, one with horned headgear; each mounted on a custom-made display stand. Cf. Savvopoulos, K., 'Popular divine imagery in Hellenistic and Roman Alexandria. The terracotta figurines collection of the Patriarchal Sacristy in Alexandria' in The Annual of the British School at Athens, 2019, figs.35, 52, 53. 200 grams total, 31-48 mm high (58-74 mm including stand) (1 1/4 - 2 in. (2 1/4 - 3 in). North London gentleman, in storage since the 1970s. Property of a West London gentleman. These heads are all votive pieces linked to the cult of Egyptian deities within the Roman Empire, and are probably a product of a workshop in Alexandria. [8, No Reserve] Fine condition.

11th-12th century A.D. A bronze plaque fragment with the image of Saint Theodore Stratilates, in military accoutrement, wearing a military cloak (chlamys), muscled armour (thorax heroikon) worn over a zoupa (undershirt) with pteryges, military tunic (spekion) and holding the shield near his leg with the left hand; the sword (spathion) is worn through a baldric passing over the right shoulder across the breast; the zona militaris is knotted upon his breast; small fastening hole still preserved on the upper right side; mounted on a custom-made display stand. Cf. Kalavrezou-Maxeiner, Byzantine Icons in Steatite, Wien, 1985, pl.2, fig.7, pls.6,7, pl.13, no.21, pl.15, no.24a, pl.16, no.28, pl.68, no.144, for the iconography of Saint Theodore Stratilates in military uniform; see also Buckton, D., Byzantium, treasures of Byzantine Art and culture, London, 1994, no.160. 20 grams total, 66 mm high including stand (2 5/8 in). German art market before 2000. With a European gentleman living in the UK. Property of a Surrey gentleman. The image of Saint Theodore Stratilates, military saint and protector of the Roman army, is very clear, with his rich curled hair and long pointed beard. The military costume which consists of cuirass, military tunic, officer's sash and the knee-length mantle fastened on the right shoulder, and especially the sword's hilt, are consistent with representations from the 11th -12th centuries. The function of the plaque is unclear, but it was probably inserted into some form of stand or frame, serving as a votive or protective amulet, perhaps for a soldier. Fine condition, very detailed artwork.

c.10th-13th century A.D. A Coptic rectangular wooden panel with gessoed surface and painted design of a standing angel with halo, loose blue robe and outer red cloak with rosette designs; right hand raised parallel with the face, left hand enclosed in the folds of the cloak, book held in the crook of the left arm. Cf. Atalla, N.S., Coptic Art, Wall Paintings, Peintures Murales, L'Art Copte, Cairo, 1989, figs.47ff. (paintings from the Dair Al-Suryan Monastery); Zibawi, M., L'arte Copta, l'Egitto Cristiano dalle origini al XVIII secolo, fig.165. 1.3 kg, 77.7 cm (30 5/8 in). New Orleans, USA private collection. Ex central London gallery. [No Reserve] Fine condition.

16th century A.D. A carved limewood figure of female, wearing a floor-length robe gathered at the waist and with a square neckline, bonnet to the hair extending below the shoulders to the rear, cloak over the right shoulder; standing on a square base pierced on one face with fixing trennels. 3.8 kg, 65 cm high (25 5/8 in). Acquired 1960s-1990s. From the late Alison Barker collection, a retired London barrister. Fair condition.

Late 17th century A.D. A Greek Orthodox icon formed as a rectangular wooden panel with slightly curved profile, one face with polychrome religious scene showing Christ identified by the Greek Letters '?CXC' (Jesus Christ), on the left corner of the icon, dressed in a blue chiton and a red cloak, blessing the central figure of the painting, representing Saint Onuphrius (identified by the inscription on his left, ? ????C ????????C); the saint, usually represented as a desert hermit, is shown here in three quarter-length, dressed in priests' vestments, wearing a simple pinkish-red phelonion (chasuble) from which is hanging a blue omophorion wrapped around the neck, decorated with gold crosses and stars, while the body is clad in an off-white tunica talaris; holding a prophecy roll in his left hand with right hand raised in a gesture of blessing. See a similar style of painted icon in Christie's, Icons and Artefacts from the Orthodox World, Monday 24 November 2008, London, 2008. p.83; cf. also the style of the icon of the Transfiguration from the iconostasis of c. Flora and Lavra c. Megrega, Olonetsky district; Russia, Karelia, at the Museum of Fine Arts of the Republic of Karelia (MIIRK). 683 grams, 28 x 25 cm (11 x 9 7/8 in). Charterhouse auctioneers, Sherborne, Dorset, UK. Ian Wilkinson collection, Nottinghamshire, UK, formed since 1985. The icon seems be painted in egg tempera with gold leaf on wood (cypress?), prepared with gesso and linen. Red and black paint was also used for the frame of the icon in the shape of two simple narrow bands. The style of the icon, although inscribed with Greek letters, and especially the faces of the divine figures recalls the Russian school. Fine condition.

3rd century B.C. A terracotta female figure modelled seated, wearing a full-length robe, one shoe emerging from beneath the hem, hair tied back into a chignon at the nape, semi-naturalistic facial detailing, earring worn in one ear, arms wrapped around the body; hole to reverse; hollow-formed. Cf. Ferruzza, M.L., Ancient Terracottas from South Italy and Sicily in the J. Paul Getty Museum, Los Angeles, 2016. cat.71.AD.345 and 346, pp.219-220, for the type. 280 grams, 16 cm high (6 1/4 in). Belgian collection, circa 1980. Property of a London businessman. Accompanied by a positive thermoluminescence report no.N122b50 issued by Oxford Authentication. The type of the seated woman probably represents Persephone, wrapped in a peplum and chiton, covering herself with a cloak (himation). Statuettes like this one were generally made in South Italy with single or bivalve moulds that were in turn made from a clay model, also known as an archetype, patrix or prototype. Fine condition.

2nd-4th century A.D. An important free-standing bronze figure of a philosopher, modelled in the round seated and robed on a roughly rectangular base, the body delineated by its folds, feet protruding from beneath the hem, head tilted backwards slightly, face bearded and moustachioed, full head of textured hair, possibly plaited from a central point above the nape of the neck, with stylised detailing to the eyes, slender arched brows and nose, possibly wearing a torc or other form of neck ornament or collar; lower down on the reverse it is apparent that the figure has been formed seated on a stool or small chair, indicated by a transverse rib with knopped terminals and legs; the head is disproportionately large in comparison to the rest of the body, and the folds of the clothing are not continued on the reverse of the figure. Cf. Richter, G.M.A., Portraits of the Greeks, Volume 2, London, 1965, pp.194-200, figs.1149-2225; cf. Kaufmann-Heinimann, A., Die Roemischen bronzen der Schweiz 1 Augst, Mainz, 1977, p.80 and Taf 88. no.82; cf. Faider-Feytmans, G., Les Bronzes Romains de Belgique, Mainz, 1979, pp.89-90, no.82, pl.56; cf. Wightmann, E.M. Roman Trier and the Treviri, London, 1970, pl.14a, p.150; cf. Boucher, S., Recherches sur les bronzes figures de gaule pre-romaine et romaine, 1976, p.169 and pl.64, no.306. Treasure Hunting Magazine, A Hobby of True Discovery, May 2022, p.41-43. 98.5 grams, 62.5 mm high, 24 mm wide (2 1/2 in). Found whilst searching with a metal detector in Everleigh, Wiltshire, UK, on 10th August 2021, by Christopher Phillips. Accompanied by a copy of the Portable Antiquities Scheme report no.WILT-81FA47. Accompanied by a copy of the three page Treasure Hunting Magazine article where this item has been published. Accompanied by a two page typed letter from the finder explaining the circumstances of finding and several copies of photographs taken when the object was discovered. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11206-186806. The object is complete. However, it may once have formed part of a more complex object, or served as a finial. The Portable Antiquities report states: 'No direct parallel has been found. The seated pose is reminiscent of the Greek philosopher statues, eg Epicurus. The head is reminiscent of representations of Celtic figures, with the almond shaped eyes supporting this idea. The hair, moustache and beard are very particular, generally reminiscent of Celtic figures and may represent Sucellus, a Celtic deity who is sometimes represented with extravagant curls on his head, together with beard and with an animal skin tied around his neck, or with a torc. However, associated with agriculture and wine, Sucellus is usually depicted with an olla (jar or small cooking pot) which are not represented in this instance, so it seems unlikely to be him.' The PAS report goes on to state: '.Rev Professor Martin Henig.suggests an Epicurean or indeed possibly Epicurus himself as the model here. 'If a philosopher, with all that hair/beard and looking at Richter, Portraits of the Greeks, it could just be Epicurus, though of course, a very local version.Whether regarded as Epicurus or a generic philosopher by the owner it again like so much else speaks to a rather sophisticated culture rather than the back of beyond.More to the point may be a bronze found in Augst, Switzerland, Insula 31 in 1963.It depicts a bearded seated philosopher, more scraggy than ours, upper part of body nude, probably here a stoic.' Professor Henig also suggests the figure could represent a school teacher: 'The figure I was thinking of, like the schoolmaster on the Neumagen relief is a bronze from Nismes (Namur) in Belgium.It depicts a man clad in what looks like a Gallic cloak seated on a basket chair. One hand is pointing in an expressive way as though teaching.only a light beard.' Sucellus was also considered a candidate by Martin Henig: 'There is a bronze of the god Sucellus wearing a paenula.but he is standing. But I think a school teacher/ philosopher so more interest in learning.' [A video of this lot is available to view on Timeline Auctions Website] Very fine condition. Rare and of national significance.

English School, early 19th Century/Portrait Miniature of a Young Man/bust length, wearing a brown cloak/oil on ivory, 8cm x 8cm/see illustration CONDITION REPORT: Ivory is slightly warped. The painting fine and very detailed. Slight loss of paint to borders.Lot contains an element of pre-1947 ivory or other organic material which may be subject to export restrictions

A biscuit porcelain bust of Cupid, 19th Century, impressed Sèvres, 24cm high CONDITION REPORT: Flat chip under footrim at reverse. Slight firing crack where arrows meet cloak. Otherwise good.

A BOXED REPRODUCTION BRONZE OF A ROMAN CENTURION, on a marble style plinth, approximate height 56cm x width 16cm x depth 10cm (Condition report: figure appears in good condition generally, some marking and verdigris to back of cloak, sd to box) (1 + BOX)

CORONATION ROBES & ACCESSORIES - LADY BARONESS HEADLEY a wonderful set of George VI Coronation robes worn by Lady Baroness Headley, comprising a crimson silk velvet cloak trimmed with ermine, an ivory silk dress, a full length close fitting velvet robe with short fitted sleeves trimmed with lace. Also with a coronet within a silk lined Garrard & Co tin case. Also with a set of House of Lords robes, with scarlet wool trimmed with bands of purple silk velvet belonging to Baron Headley.

Antique paisley cloak with silk lining and a stiffened collar with feather trim and overlaid black brocade decoration. Large size. in overall good used condition with some moth holes and losses to the applied decoration

An antique yellow and white metal Celtic cloak pin set turquoise and pearls - unmarked and two white metal stone set brooches in form of a sword

The Jacquard Puppets,a large carved wooden puppet of 'William the Conqueror', finely clothed with velvet cloak, fabric 'chain mail', leather shoes (note brass curtain ring cloak clasp!),64cm highA black and white photo shows John with a cup he obviously received for such an impressive puppet.The Jacquard puppets - general condition reportThe puppets have been stored for many years, the strings have mainly gone, and those that are left are fragile and snap easily and most will need to be restrung. Some were made just before the second world war, others in the following two decades. They were made from whatever was available, pieces of wood, leather, dress and upholstery fabrics, felt, etc. The clothing and fabrics are generally in reasonable condition, with little moth or damp damage.

Stanley Thorogood (1873-1953),'St George', an earthenware figure, an early prototype for Royal Doulton, modelled standing with plumed helmet in his left hand, a dog at his feet, with polychrome decoration, incised signature, 40cm highStanley Thorogood (1873-1953) was Superintendent of Art Instruction, Stoke-on-Trent, 1913-19. From 1920, he was Director of Camberwell Art School in London. Born in 1873, Stanley Thorogood trained at Brighton School of Art and won a Gold Medal Travelling Scholarship to Italy. He was particularly inspired by imagery, mostly 19th century romantic depictions, of medieval knights. Commonly known for his three-dimensional sculptures - including a knight on horseback, c.1915, at Brighton Art Gallery - he pursued an interest in medieval equestrian subjects.Crazing through the figure. Some flaking to areas - tip of the right foot. Edge of cloak. Flake of the glaze to the edge of the base.

A 19th Century print of a young lady wearing a bonnet and cloak in decorative gilt frame

THE HISTORICALLY IMPORTANT 'JOLLY ROGER' FROM THE SUBMARINE HMS UNBROKEN. The vessel conducted cloak and dagger operations involving members of the SOE under the command of Peter Churchill. The flag is from the estate of Petty Officer F.C. Sharp DSM, who served on Unbroken. Under the command of Lieutenant Commander Alastair Campbell Gillespie Mars, D.S.O., D.S.C. & Bar, HMS Unbroken sank fourteen merchant ships and two warships during the war. The stars and cannon represent four merchant vessels sunk with the deck gun. The white bars signify merchant ships and the red bars warships. The daggers show that Unbroken undertook four ' Cloak and Dagger Operations'. On two occasions, she transported Captain Peter Churchill, D.S.O., to France. The first operation began on the 11th of April 1941, when Churchill, with three colleagues, boarded Unbroken. They were dropped off in the Bay of Antibes on the 20th of April, transported inland by Folboats. Churchill returned with a French resistance leader François d'Astier de La Vigerie, code name Bernard the same evening. After joining the SOE, Churchill was again dropped off on the French coast by Unbroken on the 21st of April 1942, landing at Cap d'Antibes. With him was Edward Zeff, the wireless operator for the Spruce Network. After taking Zeff and another agent ashore, Churchill returned to Unbroken and travelled back to England. Later in the war, Churchill and Zeff were captured during separate operations and sent to concentration camps. Both miraculously survived, having been horribly tortured and sentenced to death. Churchill was held in solitary confinement in the punishment block of Sachsenhausen for nearly a year. Zeff's survival was truly remarkable given the fact he was Jewish, he was sentenced to fifty lashes and then to be hung, but he escaped death after the intervention of a Nazi official. He was liberated from Mauthausen. As part of the 10th Floitila, Unbroken spent much of the war in the Mediterranean operating out of Malta. She and the crew were very successful; significant damage was done to the Italian war effort when Unbroken badly damaged the Italian light cruiser Muzio Attendolo and the heavy cruiser Bolzano. Their loss during Operation Pedestal eased the enormous pressure on Malta. It wasn't the first time Unbroken had hampered the Italians; earlier in the war, in July 1942, she attacked the main west coast railway line on the Italian mainland. Unfortunately, she suffered extensive damage and had to be repaired in Malta after receiving return fire from one of the shore batteries. However, that wasn't before causing enough damage to block the supply route for 24 hours. On the 26th of June 1944, Unbroken was loaned to the Soviet Navy; she was returned in 1949 and scrapped in 1950 Lieutenant Commander Mars wrote the history of Unbroken after the war. A copy dedicated to Sharp is sold alongside the flag, as are a number of original photographs. One of which shows the crew holding one of the flags that was on board.Approx. 114 x 108 cm

A GROUP OF JEWELLERY, comprising A PAIR OF CASED SIMULATED PEARL DRESS STUDS; FOUR 19TH CENTURY PASTE BROOCHES; A FRENCH JET GLASS BROOCH; A GROUP OF JET JEWELLERY, including jet brooches, buttons and a bracelet link; A MOTHER-OF-PEARL BROOCH AND BUTTONS; A WHITE METAL GUARD CHAIN; and A PASTE CLOAK PIN. (Qty)CONDITION REPORTThe largest paste brooch with one paste deficient; cloak pin with some paste deficient, general wear to all items.

An 18th/early 19th century silk and crewelwork textile possibly depicting the escape of Bonnie Prince Charlie to the Isle of Syke with the assistance of Flora Macdonald, the scene shows a male figure greeting a female in boat draped in a tartan cloak or based on Sir Walter Scott`s Lady of the Lake, 55cm x 45cm.

TWO THANGKAS OF SITATAPATRA AND MAHAKALATibet, 19th centuryBoth distemper on cloth, both framed and glazed, the thangka of Mahakala clad in a black robe, with one face, three round bulbous eyes, adorned with a crown of five dry white skulls, surrounded by various deities, all in a mountainous landscape, the painting 45cm (17 3/4in) wide x 60cm (23 1/2in) high; the thangka of Sitatapatra holding a parasol, with three eyes, the reverse with Tibetan inscriptions, the painting 40.5cm (16in) wide x 58cm (23in) high. (2).Footnotes:十九世紀 大黑天唐卡 及大白傘蓋佛母唐卡 一組兩件Provenance: a European private collection來源：歐洲私人收藏Sitatapatra with one face and two hands is the simplest form of the female deity. Her special features are a third eye on the forehead, the right hand in a gesture of protection, and the left holding a white parasol. See a related thangka of Sitatapatra, Himalayan Art Resources no.16419.The second thangka shows Mahakala in a black cloak. Bernagchen, Vajra Mahakala (English: the Great Black-Cloak Vajra Mahakala), is the personal protector of the Karmapas and the special protector of the Karma Kagyu (Kamtsang) School of Tibetan Buddhism. The Karmapas are a line of successive teachers acknowledged as the first lineage of reincarnating lamas in Tibetan Buddhism. See for example, a related thangka of the black-cloaked Mahakala, Tibet, 19th century, in the Rubin Museum of Art, Himalayan Art Resources no.942.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 Royal Dux figure group of sheep and a shepherdess with water vessel, the shepherdess modelled stood on a grassy bank, wearing a cloak, trousers, and boots, a hat clasped between his hands, a sheep dog stood to his right, and a ram, ewe and two lambs stood to his left, the piece signed H.Schubert, Dux 1916, to the back of the bank, and marked with pink Royal Dux Bohemia stamp to the underside, with incised number 2868 and various sheep, on a green base, with pink triangle mark to underside, 33cm high, 45cm wide.

Satricial fans. Chit-Chat. The Way of the World, A Tale, [Published by Sarah Ashton, No. 28, Little Britain, 1st Jany., 1796], folding paper fan, the recto with 6 hand-coloured stipple-engravings, each titled and with humorous text beneath: 'Report' - a Fool listening to a magpie; 'Hearsay' - an ass in human clothes evesdropping; 'Some-body' - a portly male figure with blank face; 'Every-body' - a blank-faced figure with animals and a bird; 'No-body' - an ass wearing a neck ruff and cloak; and 'Candour' - a female deity with shield and scales, imprint obliterated with black ink, toned, folds splitting in places, mounted on pierced gilt ivory sticks carved with three oval medallions of figures, pierced guardsticks carved with a figure of a young girl (gilt rubbed), 25 cm (9.75 ins), together with:The Real Way to Get Married or A Trip to Gretna Green, Engrav'd and Published by Lewis Wells, Fan Maker, Warwick Strt, Golden Square, Robt. Hixon, No. 6, Naked Boy Court, Ludgate Strt, & Sold by Cameroux, Featherstone Strt, Moorfields, circa 1800, folding paper fan, the recto with 6 etched scenes, each captioned below, and titled above: 'Impression'; 'Mutual Declaration'; 'The Refusal'; 'The Flight'; 'The Journey's End'; 'The Reconciliation', toned, some staining, short tears, and splits (with paper repairs on verso), mounted on wooden sticks, 25 cm (10 ins)QTY: (2)NOTE:Schreiber Collection 55, p.12 (wooden sticks); Schreiber Collection 67, p.14 (and unmounted fan leaves 122, p.85).Two rare satirical fans, the second depicting the progress of a courtship, from the first meeting to elopement and final forgiveness by the bride's father.

ROYAL DOULTON; HN1542 'Little Child So Rare and Sweet', height 13cm, and a Royal Copenhagen figure of a boy wearing a cloak and hat, and a further figure by Capodimonte with plated gold detail (3).Additional InformationSadly, the Royal Doulton figure has been extensively restored, light wear to the gilding and decoration to the remaining figures.

A collection of ancient artefacts to include three bronze animal models, two crosses, a horse's head, and a further animal head, with a large bronze cloak pin, possibly Persian. 

AN ETCHING IN PENCIL OF AN OLD MAN SEATED WITH FLOWING BEARD AND VELVET CLOAK 92-11 HIND VOLUME 2 ON REVERSE REMBRANDT (5359.1)

Spanish school of the early 18th century. Following models by BARTOLOME ESTEBAN MURILLO (Seville, 1617 - 1682)."Virgin and Child".Oil on canvas. Re-drawn.With small paint flaws. Needs restoration.Measurements: 42 x 37 cm; 50 x 45 cm (frame).In this canvas the Virgin Mary is represented with the Child in her arms, both embracing each other with tenderness. Mary appears in three quarters, seated, holding her son with both hands, surrounding him with her arms. Jesus, for his part, appears almost naked, although Mary covers him with a white cloth as is common in this iconography. The Child turns his body towards his mother, resting his hands on her breast. The composition is set in a dark interior, with the figures silhouetted against a neutral background that is illuminated by the soft light radiating from the figures. The Virgin wears a pink inner tunic and a blue cloak and golden veil, colours that allude respectively to purity, the future Passion of her son, the concepts of truth and eternity and divine glory. Formally, there are important traces of Murillo's art in this work, both in the way the scene is composed and in the type of the child, which is very sweet and naturalistic, as well as in the carefully studied and effective lighting and in the monochromatic colour scheme of ochre, earthy and carmine tones. Typical of Murillo's first period, from 1645 to 1650, are precisely these closed backgrounds, the predominance of earthy tones and the large, compact figures, such as those in the present painting. In works such as the "Virgin of the Rosary" in the Museo del Prado or the "Virgin and Child" in the Pitti Palace we see this same triangular composition, with the Virgin seated on a parapet with the Child on her knees, dressed in red and blue with a golden veil. In both, a relationship of tenderness and affection is established between the figures, depicted as mother and child rather than as devotional figures, in a naturalistic sense typical of Murillo and his followers. Likewise, in both examples the Virgin looks directly at the viewer, as is the case here. The differences, personal to the author of this canvas, are nevertheless visible in compositional nuances and in the model of the female face, which is somewhat more classical than those used by Murillo in his Virgins. Thus, in this work the scene is simplified, bringing the figures closer to the viewer in a fully devotional sense. On the other hand, the Child appears attentive, happy to be with his mother but attentive to the viewer, establishing a relationship. Likewise, Mary is a woman of great beauty and delicate features, but somewhat more adult than those in Murillo's paintings, which are practically adolescent.

ENGLISH SCHOOL, 19TH CENTURY A full-length study of a young woman seated on rocks in a landscape the sitter depicted wearing a red cloak and resting her hands on her lap, watercolour, 36.5cm x 28cm