We found 7199 price guide item(s) matching your search

Cloak and Dagger, No's. 1-5, 7-11; and Cloak and Dagger Limited Series, No's. 1-4.

Marvel Graphic Novels: The Silver Surfer, The Agent, The Punisher, Power Pack and Cloak and Dagger; three other Marvel Magazines; and The Haunt of Horror Illustrated Story Book by Marvel/Curtis, Wolverine and Nick Fury, Arena, Ax, Power Pack and Cloak and Dagger, Excalibur, Dreamwalker, Wolfpack, Greenberg The Vampire, Who Framed Roger Rabbit, and The Agent; together with FOOM, No. 16, cents only copies. (19)

Jean Jules Salmson (French, 1823-1902): A patinated bronze figure of Van Dyckthe artist wearing a plumed hat, cloak and flounced breeches and holding a book, on circular base, signed Salmson raised on a black slate shallow plinth, 62cm high overallFor further information on this lot please visit Bonhams.com

DERBY; a 19th century figure of a gentleman holding a letter, raised on naturalistic plinth base, height 29cm, together with two further Derby figures and a similar figure of a maiden, height 19cm (4).Additional InformationThe large Derby figure is af, with losses to the naturalistic  relief decoration, chipping to the cloak, old repair to the hand and arm, chipping to the hat, the second largest figure a large chip/area of loss to the hat. losses to the relief, floral decoration, old repairs and breaks, the small figure with glaze faults and restoration to the floral encrusted detail and base, the remaining figure with old repairs and losses.

LLADRO; four figures including a seated mermaid, height 15cm, a fish seller, a seated clown, etc (4).Additional InformationThe chains are loose/broken on the fish seller, a small chip to the back of the clowns cloak.

A WW1 memorial style figure by 'Ballantynes of Walkerburn' of a British Army Soldier. In bronze resin effect standing leaning against a wall, in winter cloak with arms outstretched. Mounted on a substantial wooden plinth. Together with a collection of 15 WW1 and WW2 RAF aircraft china plates by Royal Dalton, a few with Certificates. Also 4 framed Regimental prints- 2x Royal Scots, 21st Foot and Lothian Regiment, plus Black Watch and Cameronians. Plus 3 others featuring WW2 RAF aircraft. Plus 5 small wooden framed and glazed display cases and a small Revell 1:24 scale display case boxed kit. VGC. Cases have some surface marking. £50-70

Art Union of Great Britain parian figure of a girl seated on a mound with a cloak on her back, c.1860 36cm

Flemish school; mid-17th century."Ecce homo".Oil on oak panel. Engatillada.It has repainting and remains of old damage caused by xylophages.Brushed board.Measurements: 81 x 63 cm; 92 x 73 cm (frame).The golden and resplendent background conveys a message of timelessness typical of the discourse of the Christian religion. In the centre of the scene, a glorified figure shows the suffering and sacrifice that Jesus must have felt to save his faithful. In the foreground, facing the viewer, the suffering body of Christ is presented in a revealing bust that conveys and bears witness to the consequences of the Passion. With his arms crossed over his belly, still with the remains of the rope with which he was bound, and partially covered with a red cloak, symbol of the Passion, Jesus turns his face slightly, with his mouth half open, tears in his eyes and drops of blood running down his forehead, the result of the pressure exerted by the crown of thorns. All this, together with the elongation of the anatomy, is revealed to the faithful with the intention of awakening faith, emotion and empathising with him. The theme of Ecce Homo belongs to the cycle of the Passion, and immediately precedes the episode of the Crucifixion. Following this iconography, Jesus is presented at the moment when the soldiers mock him, after crowning him with thorns, dressing him in a purple robe and placing a reed in his hand, kneeling down and exclaiming "Hail, King of the Jews". The words "Ecce Homo" are those pronounced by Pilate when presenting Christ to the crowd; the translation is "behold the man", a phrase by which he mocks Jesus and implies that Christ's power was no match for that of the rulers who were judging him.This painting belongs to the Flemish school, which is evident from a number of aesthetic characteristics that are reflected in the present work. An example of this is the realistic reaction to the fantasy of International Gothic, of which certain reminiscences can be seen, such as the background; there is also a strong influence of a sculptural conception in this work, which is evident in the composition, and it is also a painting with a great symbolic sense that allows us two readings, the symbolic and the realistic. There is an importance for detail, with a meticulous description, nothing escapes the painter's eye, there are usually many details, refinement is also abandoned, real beings appear without idealistic intention. The portrait occupies an increasingly prominent place, there is a greater study of light, as well as a veracity of the sense of volume, depth is sought in space, and perspective is achieved intuitively.

Spanish school of the third quarter of the 18th century."Christ washing the feet of the Apostles".Oil on canvas. Without stretcher.Measurements: 65 x 160 cm.It is represented here a scene narrated by the Gospel of John, widely treated in the baroque painting. Christ kneeling before Peter, is preparing to wash his feet. The rest of the apostles surround the two figures and exchange impressions, looking stunned by the idea of being washed by their Lord. The figure of Jesus, distinguished from the others by his attitude, determines the disposition of the rest. The Gospel of John tells how, during the Last Supper, Jesus got up from the table, took off his cloak and tied a towel around his waist. After pouring water into a basin, he began to wash his disciples' feet. Simon Peter pretended to refuse, but when Jesus insisted that otherwise he could have no part with him, he agreed to have his feet washed. The washing of feet was a common ritual in Eastern culture, in fact, in the Old Testament we find examples of this practice, for example in the visit of the angels to Abraham. Such an action is associated with hospitality, but Jesus' gesture towards his apostles adds a new significant dimension that alludes to humility.

Workshop of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682)."Purísima Concepción".Oil on canvas. Re-tinted.It has restorations and repainting.Measurements: 159 x 105 cm.In this devotional work, the author follows the aesthetic precepts developed by Murillo, example of this is the compositional similarity of this piece, with paintings of the same subject of the Sevillian author. There is a particular resemblance to the Immaculate Conception in the Oratory of San Felipe Neri, in which this circular composition can be seen, in which the angels are arranged next to the Virgin in such a way that she is inscribed in a border. The Virgin is crowned by two angels who hold a crown above her, in this particular case a golden crown, while in Murillo's work the crown is made up of the twelve stars, alluding to the 12 tribes of Israel, typical of the iconography of the Immaculate Conception. Medieval Christianity passionately debated the belief that Mary had been conceived without the stain of original sin. Some universities and corporations vowed to defend this privilege of the Mother of God, several centuries before the First Vatican Council defined the dogma of faith in 1854. At the end of the Middle Ages the need arose to give iconographic form to this idea, and the model of the Apocalyptic Woman of Saint John was taken, maintaining some elements and modifying others (the Apocalyptic Woman is pregnant, but not the Immaculate). The definitive image came to fruition in the 16th century, apparently in Spain. Following a Valencian tradition, the Jesuit Father Alberro had a vision of the Immaculate Conception and described it to the painter Juan de Juanes so that he could depict it as faithfully as possible. It is an evolved iconographic concept, sometimes associated with the theme of the Coronation of the Virgin. Mary is shown standing, dressed in a white tunic and blue cloak, her hands crossed on her chest, with the moon at her feet (in memory of Diana's chastity) and treading on the infernal serpent (symbol of her victory over Original Sin). Around her head, like a halo, she wears the twelve stars. Most of these images are accompanied in the painting by the Marian symbols of the litanies and psalms, such as the mystical rose, the palm tree, the cypress, the enclosed garden, the ark of Faith, the gate of Heaven, the ivory tower, the sun and moon, the sealed fountain, the cedar of Lebanon, and the spotless mirror, which in this particular case is held up by two little angels in a way that is somewhat reminiscent of the angel holding the mirror in Velázquez's Venus.Little is known of Murillo's childhood and youth, except that he lost his father in 1627 and his mother in 1628, for which reason he was taken into the care of his brother-in-law. Around 1635 he must have begun his apprenticeship as a painter, most likely with Juan del Castillo, who was married to a cousin of his. This working and artistic relationship lasted about six years, as was customary at the time. After his marriage in 1645 he embarked on what was to be a brilliant career that gradually made him the most famous and sought-after painter in Seville. The only trip he is known to have made is documented in 1658, when Murillo was in Madrid for several months. It is conceivable that while at court he kept in touch with the painters who lived there, such as Velázquez, Zurbarán and Cano, and that he had access to the collection of paintings in the Royal Palace, a magnificent subject of study for all the artists who passed through the court.Despite the few documentary references to his mature years, we know that he enjoyed a comfortable life, which enabled him to maintain a high standard of living and have several apprentices. The fact that he became the leading painter in the city, surpassing even Zurbarán in fame, motivated his desire to raise the artistic level of local painting.

Italian school; mid-18th century."Portrait of a lady.Oil on canvas.It presents restorations and slight damages on the pictorial layer.Measurements: 94 x 68 cm.The one we present here is a portrait already entered in the rococo current, with a sumptuous and scenographic conception, but at the same time endowed with a certain closeness that breaks the protocol distance of the baroque portrait. The woman is depicted almost full-length, elegantly dressed in rich fabrics, combining velvet, satin and the fine fabric of the shirt, the ruffles of which are shown at the neckline. The lady also wears a wide cloak of dark blue velvet, the voluminous folds of which add monumentality to her figure. The brooches of her hairstyle have been worked with attention to detail and quality, emphasising her presence, and her delicately fine, off-white complexion emphasises the noble character of the sitter. The young woman, of enormous beauty, looks directly at us, with a serene and gentle expression on her face, something completely new with respect to traditional Baroque portraiture. The composition is also entirely scenographic, with an open landscape in the last instance, a characteristic feature of this type of English genre. Of particular interest is the use of colour, with bright, strong tones that further enhance the subtlety of the composition.In the 18th century, European portraiture was varied and wide-ranging, with numerous influences and largely determined by the tastes of both the clientele and the painter himself. However, this century saw the emergence of a new concept of portraiture that would evolve throughout the century and unify all the national schools: the desire to capture the personality and character of the human being, beyond his external reality and social rank, in effigy. During the previous century, portraiture had become established among the upper classes and was no longer reserved solely for the court. For this reason, as the 17th and even more so in the 18th century, the formulas of the genre became more relaxed and moved away from the ostentatious and symbolic official representations typical of the Baroque apparatus. On the other hand, the 18th century reacted against the rigid etiquette of the previous century with a more human and individual conception of life, and this was reflected in all areas, from furniture, which became smaller and more comfortable, replacing the large gilded and carved pieces of furniture, to the portrait itself, which came to dispense, as we see here, with all symbolic or scenographic elements in order to depict the individual rather than the personage.

Romanesque school; second half of the 16th century."Saint John the Baptist".Carved, polychromed and stewed wood.It presents faults and later additions.Measurements: 72 x 24 x 16 cm.Hieratic and through sweetened features the author represents in this sculpture of round bulk, the figure of Saint John the Baptist. The body of the saint stands on a pedestal, without any iconographic attributes except for the book he holds in his right hand. Due to the aesthetic characteristics of the carving, this work can be inscribed within the Romanist school, which is defined as a current of Spanish Mannerism that shows a marked influence of the Italian authors who worked in Rome, especially Raphael and Michelangelo. The Romanesque style is particularly characterised by its monumentality and powerful anatomies, features that can be clearly seen in this carving. In fact, the monumentality of the figure is reinforced by the wide folds of the clothes, which herald the chiaroscuro sense of the Baroque. However, the expressiveness is clearly mannerist, restrained and conventional, closer to the conceptualism of the 16th century than to the more naturalistic and dramatic images of the Baroque.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 Judean desert 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 Antipas, 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, leaving 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 which he holds 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".

Italian school of the early seventeenth century. Follower of FEDERICO BAROCCI (Urbino, 1528-1612)."The Virgin of the cherries".Oil on canvas. Re-drawn in the XVIII century.Size: 123 x 87,5 cm; 142 x 96 cm. (frame).In this painting, of important dimensions and remarkable workmanship, the biblical episode of the return to Israel after the Flight to Egypt is represented: the Holy Family rests in a forest clearing, sheltered by bushes and holly trees of red fruits. The Child Jesus offers Joseph a bouquet of cherries, whose fruit symbolically alludes to the blood of Christ's passion and the sweetness of Paradise, while Mary remains pensive, withdrawn in her thoughts. The donkey occupies the background, and in the distance the horizon is tinged with glaucous lights. The work follows the model of the one created by Federico Barocci for his friend and art collector Simonetto Anastagi of Perugia around 1573, now in the Pinacoteca Vaticana. The thematic treatment shows several influences, especially from Correggio, although softened by the gentle gestures and harmonious simplicity that characterized Barocci's painting. Joseph's red cloak, with its broken folds, undulating between soft shadings, lets us guess affinities with the Venetian school, especially with Titian. The expressive, gray-bearded face of the male figure contrasts with the Marian idealization, of clear Raffaelean roots. The softness of the Virgin's face, modeled with a nuanced illumination, is also applied in the idealization of the Christ Child, with a volumetric body, sculpted by the skillful use of cold lights. The vegetation that embraces them absorbs rich emerald shades, which in turn enhance the sensual work of the feminine tunic and mantle, in its canonical combination of red and blue, with satin reflections. The proportions of the bodies, almost monumental but without losing their graceful tenderness, is typical of Mannerist art.

Spanish school; 17th century."Christ on fire".Earthenware.Measurements: 36 x 28 x 12 cm.Round sculpture made of terracotta with a religious character. In this sculpture the author has reproduced the image of Christ with his hands crossed on his chest, a gesture that reminds us to a great extent of the iconography of Christ in prison, despite the fact that in the sculpture no detail can be seen that shows this attitude. The figure of Christ is dressed in a red cloak, symbolising the moment of the Passion. The sculpture stands out for the sobriety and austerity of the elements, thus confronting the viewer only with the figure of Christ. In which the sculptor has not only emphasised the monumentality through the elongation of the proportions, but also, with the polychromy, has managed to create an expressive image in which the suffering and the sufferings of Christ can be observed.Spanish Baroque sculpture is one of the most authentic and personal examples of our art, because its conception and form of expression arose from the people and their deepest feelings. With the economy of the state in ruins, the nobility in decline and the clergy heavily taxed, it was the monasteries, parishes and confraternities of clerics and laymen who encouraged its development, with the works sometimes being financed by popular subscription. Painting was thus obliged to express the prevailing ideals in these environments, which were none other than religious ones, at a time when Counter-Reformation doctrine demanded a realistic language from art so that the faithful could understand and identify with what was depicted, and an expression endowed with an intense emotional content to increase the fervour and devotion of the people. Religious themes were therefore the preferred subject matter of Spanish sculpture of this period, which in the early decades of the century was based on a priority interest in capturing the natural world, gradually intensifying over the course of the century in the depiction of expressive values, which was achieved through movement and the variety of gestures, the use of light resources and the representation of moods and feelings.

Worcester 'Evesham', Portmerion, German Stein, cloak, other pottery, etc:- Three Boxes.

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.

1920s Irish Free State brooch. A gilt metal pin-back brooch in the form of a cloak pin, Connemara marble-mounted harp and shamrock enclosed within a belt emblazoned "IRISH FREE STATE", 2½" (6cm) wide.

Collection of antique jewellery to include garnet eternity ring , locket, silver cloak pin

Elfenbeinfigur, China, um 1900, Schnitzerei eines Würdenträgers, komplett durch einen Mantel verhüllt, feine Schnitzerei der Gesichtszüge, partiell geschwärzt, auf rundem Holzsockel, H.ca. 13.5 cm, Hut/ Kaputzenteil angesetzt, Versand nur innerhalb der EU möglichIvory figure, China, around 1900, carving of a dignitary, completely covered by a cloak, fine carving of the facial features, partiallyblackened, on a round wooden base, height approx. 13.5 cm, hat attached, shipping only possible within the EU

MADONNA MIT KIND, wohl Spanien oder Südfrankreich 15./16. Jh., Holz, vollplastisch geschnitzt und farbig gefasst, Figur der thronenden, bekrönten Gottesmutter, das bekrönte Christuskind in Mantel mit Reichsapfel auf ihrem linken Knien haltend, H: ca. 38 cm. Altersspuren und Trocknungsrisse, kleine Fehlstellen, Fassung beschädigt und überarbeitet.| MADONNA WITH CHILD, probably Spain or southern France 15./16. Century, wood, fully carved and colored, figure of the enthroned, crowned Mother of God, the crowned Christ Child in cloak with orb on her left knee, height: approx. 38 cm. Signs of age and drying cracks, small missing parts, frame damaged and reworked.

A quantity of fabric sew on badges: Polizei, Leominster Police, Sheriff Dept, Stars on fabric panels and Policeman numbers and cloak hooks etc.

A quantity of militaria to include WWII defence medal, WWII War medal, cloak chain, a notebook belonging to a W.B. Clegg C.P.O. Royal Navy Air Service (notes on ship), first entry Wednesday February 24th 1915, British cloth insignia pips, a quantity of Military buttons, Irish Guards, Royal Irish Regiment, Royal Warwickshire Regiment, Royal Fusiliers cap badge and buttons etc.

Leon Leyritz (French, 1888-1976): A Porcelain Group, modelled as Harlequin and Columbine, signed L.LEYRITZ and blue painted entwined monogram RE, 26cm highCondition report: . Glaze flake on black cloak, the white dots are emulsion white paint, the black paint has not taken properly - seen on the folds

RICARDO MARTÍ AGUILÓ(Barcelona, 1868 - 1936)."Allegories of food".Series of four oil paintings on canvas.Signed with initials in the lower right-hand corner.Measurements: 137 x 65 cm; 153 x 82,5 cm (frame)Taking up a long tradition of western art that goes back to the Renaissance, Ricardo Martí here constructs four allegories represented by beautiful girls carrying out tasks related to each of the elements to be represented, in this case the most common types of food in Spain. The first canvas, which alludes to meat, depicts a slender female hunter in male clothing standing over a stream, holding various small game. The second depicts wheat in the form of a young mowing woman standing in front of a field planted with wheat. In the painting of fish, a girl dressed in simple clothes walks barefoot along the seashore, picking up small fish. Finally, we see a lady covered with a blue cloak, carrying various fruits in a basket and in her hand.Ricardo Martí trained at the Escuela de la Lonja in Barcelona and in the studio of his father, the painter Ramón Martí Alsina. He held several exhibitions and participated in group exhibitions, and took part in various artistic competitions, such as the Barcelona International Exhibition of 1929. He won a gold medal at the "Plants and Flowers" exhibition (1895), a bronze medal at the Barcelona Exhibition of 1896, and a second medal at the Spanish National Exhibition held in Mexico in 1910. He also taught drawing and painting in the town of Grecia. He specialised in painting still lifes and vases, but also produced portraits and marine paintings. He is currently represented in various private collections.

AN EARLY AND POWERFUL STAG ANTLER NETSUKE OF GAMA SENNIN WITH TOADJapan, 17th/18th century, Edo period (1615-1868)The stag antler netsuke of Gama Sennin with a cheerful facial expression and his trusty toad sitting on his right shoulder. The sennin is wearing an artemisia leaf cloak, revealing his chest and exposing his emaciated rib cage and a protruding stomach. The two himotoshi through the back of the sennin.LENGTH 5.5 cmCondition: Old losses. Provenance: French private collection.

A PERSIAN MINIATURE PAINTING OF A SCHOLAR, 19TH CENTURYTempera on paper. Depicting a long-bearded literati, wearing a cloak over his caramel-brown robe and dark green shirt and trousers, as well as a pearl necklace and earrings, holding a second pearl necklace in one hand and a single pearl in the other. He is looking up at a globe hanging from a gilt stand and fitted with a clock, showing a pensive expression, an open notebook and a quill and inkwell in front of him.Provenance: Private estate Vienna, Austria. According to the estate heir, the present lot has been in the same Austrian family for a minimum of 20-30 years.Condition: Excellent condition with only minor wear. The frame with traces of use.Matted and framed behind glass.Dimensions: Size incl. frame 28.7 x 20.3 cm, Image size 18 x 10.5 cm

A THANGKA OF PADMASAMBHAVATibet, 18th to 19th century. Distemper on cloth. The Indian saint seated on a lotus throne holding the vajra, the kapala, and khatvanga, wearing voluminous robes and an upturned Nyingmapa cap. At the upper sides are two monastic figures attired with robes, at the bottom center is the fierce protector, Black Cloak Mahakala, on the left side is Guru Dragpo and on the right a wrathful god. With a silk brocade frame, mounted as a hanging scroll. With inscriptions to the reverse.Condition: Soiling and staining, creases, abrasions, losses, the colors darkened. The silk brocade frame with small losses and loose threads. Provenance: Hungarian private collection. Dimensions: Size incl. mounting 88 x 45 cm, Image size 53 x 36 cm

A RARE TSUISHU-INLAID LACQUER FOUR-CASE INRO WITH SHICHIFUKUJINUnsigned Japan, 19th century, Edo period (1615-1868)Of upright form, bearing a roiro ground, applied in tsuishu to one side with a basket, corals, shippo and choji encircled by four of the lucky gods: Hotei leaning against his sack, Benten playing the biwa, Ebisu holding a large fish, and Bishamonten wearing full armor and holding a trident and pagoda. The other side is similarly decorated with a treasure bag, a hat and cloak of invisibility, as well as the other three lucky gods: Fukurokuju and Jurojin seated side by side, holding a fan and reading from a scroll, respectively, above the lone Daikoku holding his mallet. The top of the inro shows a character Kotobuki 壽 (Ju), which means felicity and long-life, in black takamaki-e and the bottom is similarly decorated with a chrysanthemum flowerhead. The interior with dense nashiji and gold fundame edges.HEIGHT 7.2 cmCondition: Good overall condition with old wear, few fine hairlines, light surface scratches.Provenance: German private collection, acquired at Lempertz, 18 June 1994, Cologne, lot 1059.

Spanish school of the 17th-18th century."Saint Agnes".Oil on canvas. Relined.Measurements: 64 x 49 cm 78 x 62 cm (frame).In this work St. Agnes is represented as a young woman, holding in her arms a lamb (her main iconographic attribute, symbol of her purity) and the palm of martyrdom. The brushstroke, loose and of great mastery and precision, denotes a rapid and skilful execution, as can be clearly seen in the young woman's hair and the lamb's fur.The name of St Agnes is taken from the Greek adjective "agné", meaning pure, chaste. The Romans, on the other hand, linked it with the Latin noun "agnus" (lamb), although there is no etymological connection. The legend of the saint derives from this popular etymology. It has been thought that such a name could be a symbol (virgo casta) rather than a real person, especially since the historical existence of St. Agnes is doubtful. At first there were two different traditions referring to two martyrs of the same name, which were later confused. According to St. Ambrose and St. Damasus, Agnes was a girl martyred at the age of twelve and beheaded. Her martyrdom would have occurred around 305, during the persecution of Diocletian. The Greek tradition, which is different, concerns an adult virgin. According to Basil's Menologion, Agnes would have refused to offer sacrifices to the gods. The two traditions, Latin and Greek, soon merged and were enriched with new legendary features, such as the miracle of the hair and the mantle, which was popularised by the Golden Legend. When the son of a prefect fell in love with her, Agnes rejected him, and the suitor fell ill with grief. Her father, the prefect, summoned her to court, and unable to force her to marry his son, left her to choose between making a sacrifice to the gods or dishonour. Taken naked to a brothel, her hair instantly grew long and covered her body. As if that hair was not enough, an angel wrapped her in a white cloak. She is the first saint to be endowed with an attribute (6th century). Her main iconographic symbol is the white lamb, symbol of her purity. The lamb is not only an allusion to her name. It is also a reminder of the vision of her parents, who, eight days after her death, reportedly saw their daughter appear with a lamb at her right hand. She is also recognisable by the burning bonfire whose flames move away without even touching her, by the sword, the instrument of torture, and by the palm of martyrdom.

A French gilt metal and alabaster mantel clock with glass dome, c.1900, the baroque style base supporting the drum clock case with Roman enamel dial and single train movement, no. 575, surmounted by a military trophy and with the figure of a guard to one side, 14in. (35.5cm.) high, on a giltwood serpentine base, the glass dome with ebonised stand, 18½in. (47cm.) high overall. * Condition: Winds and runs. Dial good. Case good but surface dirty. Small verdigris spot to guard's cloak. A few small nicks to alabaster to edge. Velvet on giltwood stand worn and faded.

A collection of vintage Keim of London and similar brooches and clips, all bronze and gilt finish, two pairs of signed Keim fish design cloak clips joined by a bead chain; a signed pair of dress clips with white detail; unsigned dancer and poodle with a similar finish; three signed shell clips; various ethnographic masks; other similar unsigned brooches and clips; Scottie dog, grapes and vine, elephant fur clip and others.

A carved ebonised wood figure of a Blackamoor, early 20th century, modelled carrying a birdcage, 39cm highCondition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and losses, the lower left arm with old crack and split and repair, the arm holding the tray has joins and also with the cloak - thee may have been carved as separate elements and joined. The head and face with crack through the whole element. The figure wobbles on his baseThe birdcage is a separate loose element that sits on the outstretched tray - this has a working door to one side. This has surface corrosion and signs of age - likewise the tray. Some lifting to the beadwork to the basePlease refer to additional images for visual reference to conditionAs catalogued it is 39cm high overall, the base is 24.5cm long, 13cm wide, the figure is 28cm long at the longest point (tray-left knuckle) and 16cm wide across the tray-left arm. Condition Report Disclaimer

A reclaimed garden ornament in the form of a standing cherub on a tree stump grasping a cloak, 68cm high, together with a cast alloy bird bath, with scallop shaped top raised on a vase shaped pedestal and stepped circular base, approx 70cm high (2)

Nepalese decorative cloak clasp in white metal (af)

Group of vintage puppets, dominoes set and Robertson's golly bandCondition report: Owl- appears to be in good condition Crocodile- also appears to be in good condition Pelham puppet in black cloak- Pelham label on inside of gown. Some stitches along the seem are coming apart, otherwise the fabric is good. Tiny speck of paint missing to bottom lip. Punch- one arm missing. Other arm sleeve has a hole. His collar is frayed and the stitching to the back of his top is also fraying. Clothing has some stains and discolouration. Both boots have cracks to the paintwork. Lady in blue- One foot missing. Clothing round neck and skirt has pulled threads and fraying. Paintwork to face is worn and chipped.

FOUR BOXES OF MASONIC REGALIA AND FOUR BRIEFCASES WITH ITEMS, to include a variety of aprons, a cloak, wallets, sashes, ties, gloves, with different districts and lodges etc together with two rectangular briefcases with items of clothing such as sashes, armbands and aprons, and two larger square cases with contents to include four aprons and four sashes

* GERARD BURNS, BLACK CLOAK AND DOVES oil on canvas, signed image size 58cm x 57.5cm, overall size 79cm x 79cmFramed.Condition report: Condition is good overall, with no visible signs of restoration, damage, or known issues.

A post-WWII Second World War c1950s British nurses' uniform cloak / cape in black, with a selection of original enamel Red Cross medals to the breast, most named or numbered to the original recipient (medals not matching). With original buttons. 

18th century Chinese figure of an Immortal wearing a pink cloak and holding a fly whisk, the base formed as waves H20cm and another similar figure (2)

A Victorian silver cloak fastening in the form of a shield with two arrows to one side and an engraved flowerhead to the other end of the 34cm double strand chain, initialled with the makers mark B&P, Birmingham, 80.7gLocation: Cab

Vintage Welsh tapestry waistcoat with sewn over cloak with 'Corwgl Clothes, Swansea, Wales' label. (B.P. 21% + VAT)

A MEISSEN FIGURE OF AVVOCATO FROM THE COMMEDIA DELL'ARTE20th centuryAfter a model by J.J.Kaendler, the masquerader standing in a dark brown tricorn hat, brown mask and white cloak with yellow rosettes, holding a purse in his right hand, blue crossed swords mark, incised 944 and impressed 749, 17cm highGood condition

Abraham Seaman (fl.1724-1731)Portrait of a gentleman in a long grey curled wig, blue cloak and white stockenamel on copper, oval4.5 x 3.7cmCondition report: The mount is gilt metal, and is possibly not original to the miniature.

A matched set of four Derby figures of the Classical Seasons: after the Meissen originals modelled by Eberlain, Spring as a maiden holding a basket of flowers, Autumn as a bacchanalian youth, Winter as a beaded man in a fur cloak beside a brazier and Summer as a maiden and putto holding sheaves of corn, all on gilt scrolled mound bases, circa 1765-70, 23-28cm [minor damage and losses].

A pair of early 19th century probably Derby soft-paste porcelain figures "The Idyllic Musicians", him playing the tabor and pipe, wearing a purple bonnet, flowing ping cloak, patterned breeches and doublet, her playing the triangle, with a yellow ribbon in her hair, gilt and blue on white floral decorated skirt with pink apron, each supported by a treestump with floral bocage, both painted in bright polychrome enamels and gilt, on scrolling gilded bases, each incised verso No.311, each bearing label for Lories Ltd, heights 21cm and 20cmCondition report: With restoration and some damage.

Twelve 19th century fairings to include 'Before English Neutrality 1870-71 attending the wounded', 'Oysters Sir?', 'A pleasant termination to happy evening', 'Can-can', 'Returning at one o'clock in the morning' and 'Waiting for a bus''Waiting for a bus' - £500 price tag on the back, condition good; 'For three legs' - minor paint rubbing but porcelain appears good; 'Taking the cream' - firing cracks around necks of both figures that look original and are not deemed subsequent damage; 'Can can' - there is, in the auctioneer's opinion, a glazed crazing that appears as a hairline to the drum-shaped seat that the female subject is on but this appears just glaze crazing not actual damage; 'English neutrality' - some minor paint loss and a small horizontal firing crack to the neck of the figure lying on the ground; 'Oysters Sir?' - very minor rim fritting to edge of plinth base otherwise good and small piece away to top of sign saying Oysters! otherwise good; 'A pleasant termination to happy evening - very small match-head sized chip away (historic) only really visible to underside of base, small chip to far right object on floor to right of seated male otherwise OK; 'After' - vertical firing crack visible to underside in corner angle; 'Returning at one o'clock in the morning' - the standing female figure has lost the item originally in raised right arm; 'the figure '......fall to the ground' - small match-head sized porcelain chip away to underside base corner (historic) viewed from the rear the red cloak hanging over the chair appears to have a horizontal hairline running right across the cloak approx. 1 cm up from the bottom, in the auctioneer's opinion this has had some re-colour restoration at some point; 'The organ boy' - very dark to underside with two discernible hairline cracks (please see images) largish chip away  to inside left hand plinth base (as viewed from the front) historic firing crack to prop that male figure is against, kiln grit prevalent in glaze. To a certain degree there are mostly minor paint losses to some of the fairings.

Two ep owl-mask two-piece cloak clasps, to/w a cast metal 'owl' paperweight, two other small owl ornaments, a Continental white metal figure of a cat and a chased metal stamp, engraved and chased with foliage

A Meissen figure group, Emblematic of the Seasons, Winter wearing a fur-lined cloak with his hands held over a brazier and Spring with a basket of flowers around the neck, 27cm high, crossed swords marks in underglaze blue

After Nicholas Trudgian. Into The Cloak of Darkness, limited edition signed print, five signatures in pencil to margin and numbered 610/650, 40cm x 70cm.

A cast concrete figure of Zeus, carrying a cloak, perched against a rock, 60cm high.

* Follower of Sir Peter Lely (1618-1680),Half length portrait of a young man with lace cravat and red cloak,Oil on canvas,Unsigned,74.5cm x 62cm,Gilt framed CONDITION REPORT:The picture has been re-lined at some point in the past.  The paint surface shows fine craquelure throughout, most noticeably to the dark background.  There are several small areas of paint loss across the canvas, particularly in the top left corner.  There is evidence of possible over-painting to the right hand sleeve.  UV examination reveals extensive re-varnishing of all areas except the face, lace details and hands.  The frame shows losses to the gilt and gesso finish throughout.

Kenner - 5 x loose 3.75" figures, Han Solo in Trench Coat marked LFL 1984, Bib Fortuna with Cloak marked LFL 1983 Taiwan, Princess Leia Organa in Boushh Disguise marked LFL 83 Taiwan, Luke Skywalker with Jedi Robe marked LFL 1983, Darth Vader marked GMFGI 1977 Hong Kong. They all show signs of play use with rubbing and have no accessories other than those described. (The originality of the weapons / accessories is untested and unverified by us, buyers need to use the detailed photos to satisfy themselves as to originality and completeness prior to bidding)

A pair of interesting Edwardian cloak buttons of metal images of ladies mounted on ebony, plus a child's comb and guilloche enamel brush in faux tortoiseshell presentation box.

Kenner - 5 x loose 3.75" figures, Han Solo in Trench Coat marked LFL 1984, Snaggletooth marked GMFGI 1978 Hong Kong, Bib Fortuna with Cloak marked LFL 1983 Taiwan, Emperors Royal Guard marked LFL 1983 Taiwan, Teebo marked LFL 84 Taiwan. All show some signs of play use with some light rubbing to the painted surfaces, they have no accessories other than those described. They are in Good condition overall. (The originality of the weapons / accessories is untested and unverified by us, buyers need to use the detailed photos to satisfy themselves as to originality and completeness prior to bidding)

An African tribal figure of a chief with applied feather headdress, raffia cloak and straw detail, standing 62cm high

Loose Return Of The Jedi Vintage Star Wars Figures, 3 ¾ inches, Bib Fortuna (missing belt & battle staff) @1983 L.F.L Taiwan, Emperors Royal Guard with pike @1983 L.F.L Taiwan, Chief Chirpa (missing staff) @1983 L.F.L H.K, Gamorrean Guard missing Ax @1983 L.F.L Macau, Klaatu missing skirt & vibro ax @1985 L.F.L no coo, Logray figure only @1983 L.F.L H.K. Princess Leia Organa (Boushh disguise) missing electrostaff @83 L.F.L Made In Taiwan, Rebel Commando @1983 L.F.L Hong Kong, Ree-Yees with replacement blaster staff @1983 L.F.L Taiwan, Weequay missing skiff guard Ax @ L.F.L 83 H.K. Klaatu in Skiff Guard outfit, missing pike @1983 L.F.L no coo, AT-ST Driver @ L.F.L 1984 Taiwan, Han Solo In trench coat @ L.F.L 1984 no coo, Princess Leia Organa(missing poncho, belt, with replacement gun) @ L.F.L 84 no coo, Prune Face with cloak @ L.F.L 1984 no coo and Wicket W Warrick, @ L.F.L 1984 no coo, all in fair to good condition (16 items).

A COLLECTION OF SEALED MATTEL 2001 HARRY POTTER AND THE PHILOSOPHER'S STONE FIGURES, Quidditch Harry (52663), Gryffindor Harry (52664), Slytherin Malfoy (52668), Professor Quirrell (52669), Invisibility Cloak Harry (52671), Remembrall Malfoy (52673) (x2), George (54875) (x2), Harry (56208), all appear complete and still sealed in original packaging, some minor marking and wear to backing cards (10)

DENYS FISHER; a boxed 'The Six Million Dollar Man' figure, c1975, in original box, with bionic right arm and backpack with instructions, together with a vintage 1978 'Darth Vader' figure with light sabre and cloak, by M.F.G.I, made in Hong Kong, height 37cm (2).

THE LORD OF THE RINGS; polystone figures of Gandalf the Grey (af) and Balrog: Flame of Udon, Sideshow Weta Collectibles, height of largest 32cm (2). CONDITION REPORT The Balrog figure is overall in very good condition. The Gandalf figure has some signs of repair to the hem of the cloak and the hand has been broken off and reattached with blu-tack. The boxes are in good condition, but the polystyrene packaging for Gandalf has started to break.

Nicolas Trudgian Multi signed Colour 34x23 Print Titled Into the Cloak Of Darkness. Limited Edition 626/650. Handsigned in Pencil by Three Rare Luftwaffe Pilots Major GÜNTHER BAHR Knights Cross, Leutnant OTTO FRIES Iron Cross 1st class, Oberfeldwebel ALFRED STAFFA Iron Cross 1st class and the Artist. Superb Print, Well Sought After Signatures. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99