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Various mixed pottery and porcelain collectibles to include a six-piece Continental porcelain dressing table set with gilt floral tube-lined decoration, a Foley Ware blue transferred and gilt-highlighted Oriental-themed vase, a Continental vase with a farmyard scene, a German porcelain vase with hand painted panels of flowers and river scene within cobalt blue gilt-heightened decoration, three Coalport reproduction pastille burners, two small Spode onion-shaped stem vases, a 'God Speed the Plough' twin-handled pottery cider mug, a Goebel figure of a child with blue cloak, etc (approx 22).

AFTER GIUSEPPE (PROFESSOR) BESSI (Italian, 1857-1922); a large Parian statuette depicting bacchante semi-nude goddess with draped cloak and a cherub holding grapes, to floral domed base, raised on stepped marble plinth, marked to back of base 'Studio, POF, G. Bessi', height 49cm.

Over 200 comic books of mixed publication with DC, Marvel, IDW, Vertigo, Eternity, Amalgam, Max, Malibu, Image, etc, with titles including Assassin, Strontium Dog, Nightbleed, Magnus Robot Fighter, Borderline, They Called Him Evil, Trident, Coyote, Swords of the Swashbucklers, Starstruck, Scalped (numerous), Justice League Europe, The Legacy of Superman, The Fix, The Mission, Angel (numerous), the Hyper Naturals, The Clockmaker, Rat Queens, Archanum, Felon, Ghosted, Knightmare, Kabuki Agents, City of Silence, The Mask of Zorro, MPH, Cyblade, Black & White, Obergeist, Rex Mundi, Rising Stars, Sea of Red, Shaman's Tears, Super Patriot, Supreme, Wetworks, Wildstorm, Gen, Darker Image, Wildstar, Union, Wildcats, The Dreaming, Spike Asylum, Dark Days, GI Joe, Star Trek, Transformers, Dracula, Swamp Thing, Hellboy, Cloak and Dagger, Tales of the Crypt, Sandman, Blaze, Supreme Power, Boo the Dog, Gemini Blood, Scarab, Lord Pumpkin, The Demon, Simon Dark, Doomsday Squad, Captain Confederacy, Mutant X, The X Files, Nightblade, Strangers in Paradise, Reload, Hell Blazer, etc, all bagged and the majority boarded and two further Atom Man vs Superman and Catwoman reproduction comic book cover prints in glazed frames.

An Attic black-figure eye cup Attributed to the Leafless Group, circa 550-500 B.C.One side with a seated Dionysos between two large eyes, flanked by a pair of dancing satyrs, the other side with a standing draped maenad between two large eyes, flanked by a pair of dancing satyrs, dolphins under the handles, dotted vine trails in the field around both central figures, the tondo with a running male figure, his head looking behind him with a cloak over his right arm, details incised and in added red, 21cm diam. excl. handlesFootnotes:Provenance:Private collection, UK, acquired 1940s-1950s; and thence by descent (old collection label on underside of foot). Anonymous sale; Christie's, London, 14 May 2002, lot 152. G. Kyriacou collection, London, acquired at the above sale.For further information on this lot please visit Bonhams.com

Large initial enclosing St. Jerome writing, on a cutting from a grand Bible, in Latin, manuscript on parchment [Austria (probably Vienna), mid-fifteenth century] Square cutting, with a large initial 'F' (opening 'Frater Ambrosius ...', Jerome's epistle 53 urging Bishop Paulinus of Nola to embrace and study the Scriptures, usually found opening the Vulgate Bible: Stegmuller 284 and 3306), in light grey swirls of acanthus leaves overlaid on dark grey panels, enclosing the author wrapped in a red cloak and wearing a galero, seated at a writing desk, and writing in an open book while gazing upwards, all on burnished gold grounds, sprays of blue-grey, pink and green acanthus leaves with gold fruit in margins, red rubric, 13 lines from a single column in an ornamental and angular hand whose descenders trail away to sharp tips, some paper adhering to back from old mounting, small spots and stains, else excellent condition, 169 by 140mm. Provenance:1. Written and illuminated for a wealthy patron or grand community in Austria, probably in Vienna, towards the end of the second quarter of the fifteenth century, or in the years immediately after. This cutting is from the frontispiece of the parent manuscript, and another complete leaf has been catalogued by C. de Hamel, Gilding the Lilly, 2010, no. 65, pp. 146-147, where he also notes a further leaf in Columbia, University of Missouri, Ellis Library, Rare Res. BS 1254.L3M6.1450.2. Perhaps owned by Erik von Scherling (1907-56): C.L. Ricketts acquired the Lilly leaf from von Scherling's cat. 11, Manuscript Fragments, Miniatures, Persian Miniatures, Greek Vases (1930), no. 953, but without mentioning a specific leaf or part of text there, suggesting he had several examples.3. Les Enluminures cat. 5 (1996), no. 34: with clipping from that catalogue included, most probably thence to a North American collector (see de Hamel, p. 146).4. Acquired by Roger Martin in Brunn Rasmussen Auctioneers, Copenhagen, 12 December 2017, lot 1750/6147. Published:Jonathan J. G. Alexander, 'The Author as Authority in theMedieval Illuminated Manuscript', in Bruce Ferrini and Les Enluminures, Important Illuminated Manuscripts, 2000, p. 15, fig. 7.C. de Hamel, Gilding the Lilly, 2010, no. 65, p. 146.

Leaf with a full-page miniature of St. Lucy of Syracuse, from a prayerbook in German, illustrated manuscript on parchment [Germany (probably south, perhaps Augsburg), c. 1470] Single leaf, with a full-page rectangular miniature showing the saint as a crowned women with rosy cheeks and long flowing hair, in dull-gold robes, wrapping herself in a green and pink cloak and holding a book as a dagger pierces her throat, all before a wide blue sky with faint black penwork picking out arches around its top and sides, all within a realistic green and red frame, reverse with large green foliate initial on blue grounds, with scrolling foliage in margin terminating in flowerheads and gold bezants, one smaller initial, red rubrics, 13 lines in an angular Germanic late gothic bookhand (opening 'Kum heylige iunckfraw und martrerin lucia ...'), trimmed at edges with losses to decoration there, spots and stains, overall good condition, 104 by 78mm. Acquired from a European private collector in 2019. Another leaf from the same parent volume, with a miniature of St. Anthony the Hermit, was Maggs Bros., cat. 1283, Illuminations (1999), no. 27.

Leaf from the Llangattock Breviary, with two historiated initials, in Latin, illuminated manuscript on parchment [Italy (Ferrara), c. 1450] Single leaf with double column of 30 lines of a rounded late gothic bookhand, capitals touched in yellow wash, red rubrics, one initial formed of coloured acanthus leaf fronds on rectangular gold grounds, three columns with a decorative border on their inner sides formed from thin gold and coloured bars, each exploding into penwork foliage with coloured acanthus leaves and gold leaves and seed-pods at head and foot, other sprays of hairline foliage and bezants at midpoints, the fourth column with decorative border of scrolling hairline foliage with acanthus leaves and gold leaves and seed-pods, one 4-line historiated initial on recto in blue and pink acanthus leaves on gold grounds, enclosing either St. Gaius or John the Evangelist, as a bearded man with deeply furrowed features, wrapped in a green cloak, another on verso in same enclosing Luke seated writing in a book within a gothic interior, small chipping from background of second initial, small spots and stains, else excellent condition, 272 by 198mm. Provenance:1. This leaf comes from a parent manuscript corresponding to the physical dimensions and illumination of the Missal of Borso d'Este, marquis and then duke of Ferrara (Modena, Biblioteca Estense, MS. W.5.2, lat. 239), and must be from a sister-manuscript containing a breviary, also intended for use in the ruler's chapel. It is now usually identified with the Breviary recorded in accounts in the d'Este archives as having been illuminated for Leonello by the artists Giorgio d'Alemagna, Bartolomeo de Benincà, Guglielmo Giraldi and Matteo de' Pasti (see F. Toniolo La miniatura a Ferrara dal tempo di Cosmè Tura all'eredità di Ercole de' Roberti, 1998, pp. 19, 20, 76-77).2. John Rolls (1870-1916), 2nd Baron Llangattock, with inscriptions in the parent volume recording his family's acquisition of it, already imperfect, during the Peninsular War in the early nineteenth century; sold in his sale Christie's, 8 December 1958, lot 190.3. Goodspeeds book shop, Boston, and widely dispersed by them.4. Acquired in North American trade in 2016.

A Meissen figure allegorical of 'Summer', second half 19th centuryAfter the model by J.F. Eberlein, as a classical maiden wearing a puce cloak and tunic decorated with blue flowers holding a sickle and wheat sheaf and attended by a putto with another sheaf, on a square base moulded with gilt-edged scrollwork and four scroll feet, 27cm high, crossed swords mark in underglaze-blue, incised model number 688., impressed 132, painter's number 48. (her left forefinger restored, minor chips)Footnotes:Provenance:A Private Swiss Collection of 19th century MeissenThis 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 group of 'Europa and the Bull', circa 1770Modelled by J.J. Kaendler, the nude Europa draped in a yellow cloak embellished with indianische Blumen and a blue lining, seated on a white bull with a flower garland draped on its head, two maidens seated on the ground beside them, the base moulded with gilt-edged scrollwork and applied with leaves and flowers, 22.2cm high, crossed swords and dot mark in underglaze-blue (two haircracks to base, some losses)Footnotes:Another example is illustrated in L. and Y. Adams, Meissen Portrait Figures (1987), p.86.For further information on this lot please visit Bonhams.com

Two Meissen figures of Cupid, late 19th centuryModelled by Heinrich Schwabe, each wearing a long wig, cloak and pince-nez and kneeling on a small footstool on a gilt-edged, marbled circular base, 19.5cm and 20cm, crossed swords marks in underglaze-blue, incised model number L.115. impressed numerals, one with painter's numeral 7. (minor restoration) (2)Footnotes:Provenance:A Private Swiss Collection of 19th century MeissenThis 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 Victorian Parian ware figure of William Shakespeare, leant against a column, 35cm highCondition report: Nibbles to foot rim and large chip to the rear of the cloak.

3 bronze utensils possibly from Roman times, b.u. bronze febula's (cloak pins), bronze eagle and bronze vase with rattle, maximum 12 cm

An antique stripped yellow pine cloak cupboard with under drawer and ceramic handles

Scottish discoidal sterling silver brooch/cloak pin, made in Iona, Glasgow 1943 (U), maker Robert Allison (RA), decorated with various Celtic style motifs/knotwork 19.8g

A large 19th century English school portrait of a bearded man wearing ermine trimmed cloak oil on canvas unframed (af)

After Rosetti large portait of a pre-raphaelite lady seated wearing feather trimmed cloak/dress oil on canvas in a decorative gilt frame

A collection of three unboxed vintage dolls. Lot includes a doll marked 'BND London' to rear of head with closed mouth, sleeping eyes and non-working crier, measuring 34cms in height; a composite doll with painted features on a material body, unmarked and measuring approximately 23cms wearing cloak and bonnet; plus a wooden made doll in costume measuring approximately 20cms in height. All dolls show signs of play and use.

Star Wars - Kenner - LFL - A collection of 1983/84 dated figures and vehicles including Luke Skywalker approx 10 cm tall with cloak, Han Solo Endor figure with trench coat and gun, Endor Forest Ranger. All the items appear in Very Good condition with only light signs of play use.

Four novelty tobacco jars, formed as a seated Indian, a figure in brown cloak, a child seated on a green chair and a seated man

A polished bronze figure of a Chinese female nude dancer, modelled nude holding cloak behind, standing in scallop shell, having elaborate hair piece and jewellery, unmarked, 11 1/8in. (28.2cm.) high.

Scottish School (early 19th century), Portrait of a gentleman, half length, dressed in a fur trimmed cloak, red sash and black feathered hat, wearing a portrait miniature around his neck oil on canvas, inscribed 'By Mead 1801' to canvas verso, unframed 19 x 15in. (48.25 x 38cm.) * Has been cleaned and revarnished at some stage - some small retouches visible under UV, but appears to be a blocking varnish so not much is visible. Small area of craquelure and paint flaking to lower left. Two tiny glued splits and indents from back of canvas to lower right of the feathered hat and another indent from grit beneath stretcher to top left corner. Some small flakes and abrasions to edge of canvas.

Pair of Derby porcelain figures of The Seasons, depicting Winter as a bearded man in a fur cloak, with a putto chopping wood at his side; the other as Summer, with a maiden and putto by her side holding a sheaf of corn, each upon moulded scroll bases, 10.5" high (2) (some restoration)

Lynn Chadwick R.A. (British, 1914-2003)Maquette Jubilee II signed and numbered 'CHADWICK/C3S 9/9' (on the cloak of the male figure) and stamped with the Morris Singer foundry stamp (on the cloaks of both figures)bronze with a grey patina and polished facesMale figure: 86.5 x 60 x 119.5 cm. (34 x 23 5/8 x 47 in.) high, wide, longFemale figure: 88 x 85 x 108 cm. (34 5/8 x 33 ½ x 42 ½ in.) high, wide, longConceived in 1983 in an edition of 9(2)Footnotes:ProvenanceThe Artist, thence by family descentExhibitedLondon, Marlborough Gallery, Masters of Modern and Contemporary Sculpture, 8 November-4 December 1984 (another cast)Yorkshire, Yorkshire Sculpture Park, September 1991-February 1992 (this cast)LiteratureDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1992, p.334, cat.no.C3SDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, p.342, cat.no.C3SDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.347, cat.no.C3S'The two noble figures walk against the wind, their robes flying in the air and floating on the ground. A magnificent pattern is created by their noble stance, as their feet move forward and their heads rise in pride' (Judith Collins, Lynn Chadwick, The Collection at Lypiatt Park, Ruder Finn Press, New York, 2006, p.152)Whilst the 'Jubilee' series was first conceived in 1977, it was a theme that Chadwick returned to numerous times over the following decade and the present lot, Maquette for Jubilee II dating from 1983 and enjoying outstanding provenance directly from the artist's family, can be seen as a tour de force by an artist at the height of his sculptural prowess. The series is widely considered as a pinnacle of a long, triumphant career and this academic admiration is echoed by commercial success with the top two (seven-figure) prices at auction for the artist both being for versions of 'Jubilee'.When Lynn Chadwick was awarded the coveted prize for sculpture in the 1956 Venice Biennale, it was the sensation of the show and he became the youngest sculptor ever to do so. Contemporaries heralded him as the natural successor to Henry Moore, intended as the highest compliment one could pay a sculptor. However, where Moore focussed on curves, naturalism and the mother and child theme, Chadwick was forming his own entirely unique vocabulary of line, mass and motion with his passion being the male and female couple. Throughout his career, he conceived of them in a multitude of forms, finishes and poses. Beginning in the 1950s, they were youthful 'Dancing figures' and 'Teddy boys and girls' who gave way to the 'Watchers' of the 60s. Sometimes they were 'conjoined' or bound together with wings and cloaks and sometimes they were placed apart, a couple still but independent from one another. Nearly always, however, they were standing and it was not until the 1970s that Chadwick's couples began to rest and could be found sunk to the floor, sitting or reclining. Further to the theme of the male and female couple was the artists obsession with action in sculpture, both actual and implied. From his early mobiles to the later walking women with windswept hair, movement was a lifelong concern and in the present work, we can see the successful culmination of both pursuits – the romantic couple and figures in motion.Michael Bird has explained the 'Jubilee' of the title is derived from the 25th anniversary of Queen Elizabeth II's accession in 1952 but also acknowledges the ceremonial feel of a man and woman striding side by side. Certainly, in the present work, the couple advance forwards, stately in their motion. This formal attitude is reinforced through the artist's use of drapery, they move through space majestically and with quiet dignity in the face of the invisible wind that surrounds them. Their garments are most noticeable from the back where 'these billowing cloaks assume the fan shape of a dove displaying its tail feathers' (Dennis Farr and Eva Chadwick, Lynn Chadwick, Sculptor, Lund Humphries, 2014, p.28) however head on, the female is presented in what is suggested as a dress. It clings to her form like that of a Hellenistic goddess and allows a sculptor consumed by angularity to introduce some curves. The male is rendered with a deep fissure running the central length of his torso to represent a shirt/cloak but in formal terms, for both figures, these flowing vestments serve to contrast with the angularity of the bodies they help to define. On a structural note, the cloaks are physically longer (119.5 cm.) than the figures are tall (88 cm.) so the bold presence of these protruding elements had an important practical role to play as it spread the weight of the heavy bronze to a point away from the thinner legs. Thus, 'while thinking always in sculptural terms of mass, weight and movement, Chadwick invest[s] his abstract shapes with allusive vitality' (Ob. Cit., p.24).The faces are, as always, blank, with Chadwick once famously declaring 'no expression is an expression' (Lynn Chadwick: The Couple, exh.cat., Pangolin London, 2011, p.3). He looked to body language as a more useful device for conveying attitude than facial features which could be limiting but here they are burnished to a flawless golden lustre and serve to juxtapose beautifully with the dark textured bodies of the figures and their swirling cloaks, like bronze beacons in the midst of an imagined storm.We are grateful to the Artist's Estate for their assistance in cataloguing this lot.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Lynn Chadwick R.A. (British, 1914-2003)Cloaked Couple V signed and numbered 'CHADWICK 763S 8/9' and stamped with the foundry mark (on the cloak of the female figure)bronze with a grey patina and polished faces51 cm. (20 in.) highConceived in 1977Footnotes:ProvenanceThe Artist, thence by family descentExhibitedEdinburgh, Mercury Gallery, Lynn Chadwick, 25 February-31 March 1983, cat.no.9 (another cast)LiteratureDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1997, p.314, cat.no.763SDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, p.322 cat.no.763SDennis Farr & Éva Chadwick, Lynn Chadwick Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.330, cat.no.763SIn contrast to the preceding lot Maquette Jubilee II, Cloaked Couple V conceived in 1977 demonstrates how by joining together the male and female figures Chadwick was able to explore the ideas of tenderness and intimacy in his paired sculptures. With the separated couples the owners' determine their positioning and relationship to one another; they can be controlled and expressed in a myriad of ways. But with the fusing of the bronze cloaks in the present lot, at a position where the lower arms and hands meet underneath, an unbreakable bond is created between the sexes which is first established in Chadwick's mature phase in his life-size Two Reclining Figures (1972). The emphasis shifts, as the 1970s progress and the technique developed, to an emotional level, where the figures' humanity is realised in new terms. With Cloaked Couple V the subtleties of the woman's stretched neck and positioning of face leaning into her companion imply a moment of privacy and dialogue is occurring which, as viewers, we are privileged to share.Michael Bird comments on this time:'His increasing tendency to interpret his work in terms of human relationship, rather than formal balance, begins to be audible. 'Presences' was how he referred to his new figure sculptures; they were about being, not doing: 'I used to call them Watchers, but no longer. Sometimes they are not watching anything. What they are doing is illustrating a relationship – a physical relationship – between people'. It was through this relationship, not through purely formal or allusive qualities, that he wanted his sculptures to speak: 'If you can get their physical attitudes right you can spell out a message'' (Michael Bird, Lynn Chadwick, Lund Humphries, Farnham, Surrey, 2014, p.147).We are grateful to the Artist's Estate for their assistance in cataloguing this lot.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

λ ANGELA CONNER (BORN 1935), BRONZE FULL LENGTH PORTRAIT OF 'JAMES ABBOTT MCNEILL WHISTLER'CONTEMPORARYThe bronze figure standing, wearing a top hat, a cloak on his shoulder and a walking caneSigned and dated indistinctly '200'34cm high Provenance: The Private Collection of Sir David and Lady Scholey  Angela Conner, in her early life, was a sculpture assistant to Barbara Hepworth. After leaving Hepworth, Conner became known for large mobile sculptures as well as portrait work including commissions for Lucien Freud, H R H Prince of Wales and Elisabeth Frink. 

An Art Union of Great Britain Parian figure, of a young lady seated on a mound with a bundle in her lap, a tartan cloak covers her back, 37cm high, impressed mark, c. 1860

Thomas Campbell (Scottish, 1790-1858), a carved marble bust of a gentleman,modelled wearing a cloak, signed and dated 1844 to reverse 70cms

A Meissen group of Ganymede and the EagleLate 19th centuryRaised on a tall moulded cloud base, blue crossed swords mark, incised 530, 28cm highRestoration to Ganymede's left arm and hand, to his left leg below knee, to his right leg above knee, to his right foot, to his cloak. Restoration to eagle's left wing and beak

This lot will be auctioned on Tuesday, June 29th. The auction will begin at 9:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on June 30th or July 1st. Jigsaw's (Tobin Bell) screen-matched hidden gauntlet and blade from James Wan's horror film Saw. The gauntlet and its blade, which features a top rivet above two other rivets which are just off center from the attached, arced blade, screen-match to the scene when Jigsaw first unveiled them under his cloak to slash Detective David Tapp's (Danny Glover) throat. This lot consists of a spring-loaded steel gauntlet with a black plastic brace, yellow suede padding, and a retractable metal blade, as well as a matching insertable metal blade created for long shots in which Jigsaw ran. Both pieces exhibit signs of age and production use, including scratches, rusting, and tarnishing to the metal, but the lot remains in good overall condition. Dimensions (gauntlet): 23" x 5" x 5" (58.5 cm x 12.75 cm x 12.75 cm); (knife): 20" x 1.5" x 0.5" (51 cm x 4 cm x 1.5 cm) Contains mechanical components; see notice in the Buyer's Guide. This lot comes from the collection of renowned special effects artist Tom "Brooklyn" Bellissimo. A letter of authenticity from Bellissimo is included. Estimate: $10,000 - 15,000

This lot will be auctioned on Tuesday, June 29th. The auction will begin at 9:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on June 30th or July 1st. A Colonial Warrior cape and gloves from Glen A. Larson's sci-fi television show Battlestar Galactica. The primary military force of the Colonial fleet, Colonial Warriors were featured prominently throughout the show's run on various missions. This lot originates directly from the Comisar Collection. It consists of a brown velvet cloak featuring a leather tassel clasp with metal details, as well as a pair of brown leather gloves with matching braid trim and embroidered emblem patches from a different costume. The cloak and gloves are from separate costumes. The lot shows minimal signs of wear from age and use throughout, but remains in excellent overall condition. Estimate: $2,000 - 3,000

This lot will be auctioned on Wednesday, June 30th. The auction will begin at 9:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on June 29th or July 1st. Phillippe's (Leonardo DiCaprio) masquerade costume from Randall Wallace's historic adventure The Man in the Iron Mask. Legendary adventurers The Three Musketeers used an ornate masquerade held by King Louis (DiCaprio) to replace him with his long-imprisoned brother, Phillipe. This costume consists of a multicolor silk and velvet turban featuring gold-color thread embroidery with green and rust ostrich feathers and a brooch decoration; a floor-length black velvet cloak featuring light blue, orange and gold-color thread embroidery, iridescent teal beadwork, and deep orange velvet trim; and an interwoven waistcoat in a coordinating black, orange and gold-color design. The cloak is marked "VAUGHN" on the interior collar. It exhibits signs of wear from age and use including a missing button on the front of the waistcoat, but remains in good overall condition. Estimate: $2,000 - 3,000

This lot will be auctioned on Thursday, July 1st. The auction will begin at 9:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on June 29th or June 30th. Mortianna's (Geraldine McEwan) cloak from Kevin Reynolds' action-adventure film Robin Hood: Prince of Thieves. Mortianna, the scheming mother of the Sheriff of Nottingham (Alan Rickman), wore her signature cloak throughout the film. This black, mesh patchwork witch's cloak features a variety of lace, bead, and gold-color and silver-color metallic embellishments, as well as a brown leather satchel and a tie-collar closure. The costume is extensively torn, aged, and applied with grime by production to appear weathered. It is in good overall condition with some fraying to the hem and various small tears throughout. Estimate: $400 - 600

Attributed to Jonathan Richardson (1667-1745)Portrait of a lady, head and shoulders, believed to be one of the Villiers sisters, in a green dress, red cloak and maroon sash, wearing pearl earrings and holding a pearl necklaceoil on canvas75 x 62cm, in a carved oak and parcel-gilt contemporary frameProvenance: Acquired by the vendor at Sotheby’s, London, in 1972.The sitter is believed to be one of the Villiers sisters, either Anne, Katherine or Elizabeth, who were all at Court with their sister Lady Fitzhardinge.Condition report: Oil on canvas which has been lined. The canvas is in plane and the tension is adequate. There are a few small losses to the paint layer and some minor abrasion in the background. The varnish is semi-matte and clear. Areas of overpaint are reasonably well matched to the original.

English School, 19th centuryPortrait of King Henry I, bust length, in an ermine-trimmed robe and gold crownoil on canvas 56 x 41cm, unframedCondition report: Oil on canvas which is unlined. The canvas has been commercially prepared, a stamp for an artists’ supplied is present on the reverse but partially covered by an old paper label. The inscription on the label has worn away and is now almost illegible. The canvas is in a good condition, the tension is adequate and the picture is in plane. There is a small hole to the right of the sitter’s head. The paint layer is in a good, stable condition with a few small losses around the edges. There is a network of age cracks across the work. The crown and elements of the cloak created with gold leaf, copying the technique of earlier portraiture. The varnish is dull, uneven and yellowed.

French School, 19th centuryPortrait of a scholar, seated half length, in a red cloak and holding a penoil on canvas65 x 54cmCondition report: Oil on an early canvas which has not been lined. There are numerous, small damages to the painting. Some have been patched from the reverse, but some are more recent with associated paint loss. The paint layer has a distinctive network of age cracks which is pulling the canvas forward, causing undulations. Some of the age cracks are raised. There are localised areas of retouching covering damages which are fairly matte in appearance. The varnish is applied unevenly but the appearance is glossy overall. It has yellowed slightly with age and there is a light layer of surface dust present.

AA vintage coloured advertising print for Dee & Ess Coco Essence, 43.5 x 44.5cm approx in simple oak frame, together with a 19th century needlework panel of the Holy Family, 35 x 30cm in burrwood frame with gilt slip, a set of six late 19th century coloured postcards (framed as one) all showing fairies, insects, shells, etc, with label to mount 'Fairy Land', 37 x 60cm overall framed size, an early 20th century watercolour of a standing child in fur trimmed cloak, 34 x 24cm and an oval mirror in moulded gilt frame with floral detail (5)

Good quality Grand Tour marble bust carving of a gentleman in a hooded cloak, on white marble on an oval marble plaque base inscribed Savonarola, 46 x 33 cm

Art Deco green glass table centre bowl, the circular bowl having a lift out figurine in the form of a semi nude lady draped in a cloak, 33cm diameter

Original vintage advertising poster titled Plaza de Toros de Malaga / Malaga Bullring. The artwork by J Revs shows a matador - bullfighter in gold and green trousers and jacket holding a muleta - pink cloak and kneeling by a charging bull. Black text below reads: Extraordinary bullfight. On Tuesday August 1955, at six o'clock in the afternoon if the weather does not prevent it and with permission from the authority 7 beautiful bulls will be fought. The text also lists the names of the matadors. Good, condition, tears, creasing, staining, Country of issue: Spain, designer: J. Revs, size (cm): 107x54, year of printing: 1955

SECOND ANGLO-AFGHAN WAR 1878-1881Papers of Lieutenant Colonel Hardin Burnley-Campbell (1843-1920) of the 6th Dragoon Guards (Carabiniers), relating to his service in India during the second Afghan Campaign of 1878-1881, comprising:i) Two army regimental order books for 'Troop B', written in ink in several hands, volume one detailing daily orders from 17 September to 28 November 1879, volume two continuing until 23 March 1880, mostly covering the minutiae of camp life such as the daily timetable ('...Reveille 6.30, Stables 7...'), parades and inspections, court martials, lists of men and support staff ('...grass cutters... native farriers... cooks...'), the care and exercising of horses ('...Horses heels will be thoroughly dried with rubbers...'), uniform ('...the kharki jacket to be worn over the patrol jacket... 2 pairs of cloth pantaloons if possible...'), equipment ('...owing to the destruction of saddlery &c by white ants in future the saddles will be placed on a portion of the hoop grass in piles of 6...'), ammunition ('...any man losing it will be severely delt with...'), welfare of the men ('...All men off duty will... be marched to the left bank of the Cabul River for bathing...'), preparations to move camp ('...not more than 3 horses length distance to be between each troop...'), the troops ready for action ('...After orders by Capt. Burnley. Every Man will sleep tonight with his cloak Belts & Arms on ready to turn out at a moments notice...'), including mention of their involvement at the Battle of Gara Heights at Dakka on 15 January 1880 ('...The Commanding Officer begs to thank most heartily the Officers and men... for their steady and soldier like bearing when exposed to the fire of the enemy this day... the patrol and scouting duties (the later especially) were entirely carried out to his satisfaction, likewise the dismounted skirmishing...'), final entries reversed, c.470pp, some pages excised, 'Bengal Form 358' notebooks, original calf with printed paper labels ('Order Book'), brass clasps (broken), worn with some ink stains, oblong 4to (120 x 180mm.), Umballa, Camp Basawal, Camp Jellalabad, September 1879 to March 1880ii) Group of six autograph letters signed ('Hardin Burnley') to his father ('My dear Father'), the first commenting on bad news from the Cape ('...if we do not learn a lesson now... Afghanistan may furnish us with a like tale...') and that they must not underestimate the natives' fighting capabilities, with envelope; the second in pencil describing escorting the deposed Emir, Mohammad Yaqub Khan into exile in December 1879 ('...with my squadron 80 men & 4 officers... he only halted 20 minutes... sitting on a chair with his attendants on the road side – I got aides to ride on his right hand side all the way... this I did for 2 days – He was most communicative and chatted on all topics freely... no attack was made on us – all well... most shocking dust storm... carrying away some tents & nearly suffocating everyone...'); the next reporting on '...serious fighting Kabul way...', that they will soon have to relieve the 9th Lancers, skirmishes with locals ('...met with no resistance... otherwise the guns were in position... & would have shelled the village at once...'), believing they will be 'in this inhospitable' country for the long haul, talking of disease and casualties ('...considering this is but Guerrilla warfare.. it is grand training...'), and asking if he received the tiger and panther skins; one written 6 August 1880 on the eve of joining General Gough as his ADC on the Kandahar march ('...I leave here tomorrow... If the Afghans get hold of me I wish you to send to my servant... £50... I have given him this letter to give to you if anything should happen to me...'); another expressing pleasure at receiving two medals and clasps, talking of parties, shooting and other entertainments, with envelope; the last on social engagements in London, 41 pages, 8vo (180 x 114mm.), Umballa, Basawal, Cabul, Naval & Military Club, Piccadilly, 13 February 1879 to [23 May 1881] iii) Three autograph letters from General Sir Hugh Gough signed ('Hugh Gough'), reminiscing '...I hope you have not forgotten our old days on the Kabul Kandahar March. I look back to them with much pleasure and can never forget the best ADC I ever had – I wish I could have more of my old soldiering days over again...'; one thanking him for the grouse; each with envelope, 8 pages, 8vo (150 x 95mm.), Canterbury, August [18]93; one other earlier letter, undated iv) Other papers, including pocket almanack for 1878 containing troop and staff rolls, with pencilled notes on orders, rates of pay, bets with other officers, notable skirmishes ('...the attack on village near Peswar took place early morning of 6th July. Rpt 2 squadrons got up too late...'), rations ('...1 lb Bread & Biscuit/ 1 dram of rum...') etc., c.60 pages, some pages roughly excised, calf with broken brass clasp and integral pencil, small 8vo; official request from Burnley to Lieut. Col. John Fryer, commanding the Carabiniers at Simla that he should be '...employed on active service with any expeditionary force that may be deployed to the Frontier...', one page, folio (332 x 208mm.), Umballa, 25 September 1878; portrait cabinet photograph of a young Burnley in civilian dress; various loose notes, incoming correspondence, etc. including a typed biography annotated 'Some incidents of my life'v) The Khandahar Pantomime Ayoub Khan. Written and composed by Mr F. C. Keyser and now printed by special request, original blue mottled paper wrappers, 8vo (180 x 105mm.), Poona, Printed at the Orphanage Press, 1884; two folding maps printed on linen: 'Afghan'... Enlarged at the Survey Office in Dehra Dun October 1878, 870 x 655mm., annotated in ink by Burnley; and 'Istan' by Col. J. T. Walker, Surveyor General of India, 890 x 655mm., with routes marked in red crayonFootnotes:Lieutenant Colonel Hardin Burnley-Campbell (1843-1920) was gazetted Cornet in the 6th Dragoon Guards (Carabiniers) in 1865. After several years in Ireland, he was posted to the Umballa station in India in 1878 where duties consisted of escort and transport tasks along the Khyber lines of communication. Whilst commanding a squadron at Basowal, following the murder of the political agent Cavagnari and the failure of the Treaty of Gandamak, he was charged with accompanying the deposed Emir Yaqub Khan into exile in India. He was present at the affair at Dakka on 15 January 1880, as mentioned in our notebook, before rejoining the Headquarters of the Regiment at Jellalabad. In August 1880 he was appointed Orderly Officer to the Cavalry Brigadier, General Sir Hugh Gough and with the Cavalry Brigade accompanied Lt. General Sir Frederick Roberts on his famous, impressively fast, march from Kabul to Kandahar, and was present at the battle of Kandahar on 1st September. He was the only member of the regiment to receive a bronze star for this epic journey and was mentioned in despatches.After the Afghan campaign, Major Burnley saw service in the first Boer campaign (see lot 13) and retired in 1882, receiving the honorary rank of Lieutenant Colonel in consideration of his distinguished service during the Afghan War. In June 1907 he became a real-life Phileas Fogg by circumnavigating the globe in 40 days, 19 hours and 30 minutes, breaking the previous record of 54 days, a record which he held for four years. His papers have been in the possession of his family until now.For further information on this lot please visit Bonhams.com

19th century French Naïve School - after an 18th century original. Portrait of a noblewoman. Half length, wearing a white gown and blue ermine-trimmed cloak and with coronet. Oil on canvas, 27 ½ x 24 ¼ ins (70 x 62 cms). Ebonised frame.(CONDITION REPORT: Craquelure throughout)

Circle of Joseph Wright of Derby - Portrait of Anne Smith as a young girl. Half length, standing beneath an oak tree and wearing a white gown and blue cloak, within a feigned oval. Oil on canvas, 26 x 20 ½ ins (66 x 52 cms).A note verso reads ‘Anne wife of William Webb Horlock, daughter of Holled Smith died and buried in Marshfield vault Nov. 28th 1849 age 80'(CONDITION REPORT: Condition good)

18th century French School - Portrait of 'Lucy Webb - Heiress of Ashwick'. Three-quarter length, standing in an interior and picking a rose, wearing a gold-brown lace-trimmed gown and blue cloak. Oil on canvas, 50 x 39 ¾  ins (127 x 101 cms)(CONDITION REPORT: Craquelure & retouchings throughout)

19th century French School (copy of previous lot 501) - Portrait of 'Lucy Webb - Heiress of Ashwick' (according to a nameplate). Three-quarter length, standing in an interior wearing a brown lace-trimmed gown and blue cloak, and picking a rose. Insc. lower left: 'Bisson (?) Fecit 1724/5'. Oil on canvas, 51 ½ x 40 ¾ ins (131 x 103.5 cms). ‘Lely’ giltwood panel frame.(CONDITION REPORT: Craquelure & retouchings throughout)

Lucas Cranach d. Ä., 1472 Kronach – 1553 Weimar, Nachfolge desDAS UNGLEICHE PAAR Öl auf Holz. 38,5 x 26 cm. Oben rechts bezeichnet mit geflügelter Schlange mit aufrecht stehenden Fledermausflügeln und datiert „15(??)“. In dekorativem, vergoldeten Rahmen.Dargestellt ein Sittenbild zum Thema der „Käuflichen Liebe“ mit einem ungleichen Paar vor dunklem Hintergrund: eine junge Frau in roter Renaissance-Kleidung mit Kopfbedeckung in Umarmung eines älteren Mannes mit Halbglatze in pelzverbrämten Mantel, der sie begehrt. Mit seiner rechten kräftigen Hand fasst er ihr an den Brustbereich, während sie ihn liebevoll anblickt und mit ihrer linken Hand in seine Geldtasche greift. Malerei mit starken Hell-Dunkel-Kontrast eines in der Kunstgeschichte beliebten Themas. Kleine Retuschen.Provenienz: Schloss Teisbach, Süddeutschland, bis 2013 (Schloss Teisbach war von 1386 bis 1813 im Besitz der Wittelsbacher. Anschließend ging es in Privatbesitz über. 2013 wurde das Schloss von der Stadt Dingolfing erworben). Auktionshaus Neumeister, München, Sonderauktion Schloss Teisbach, 16. Oktober 2013, Lot 222 (als Nachfolger Lucas Cranachs des Älteren). Privatsammlung, Deutschland. Anmerkung: Die eigenhändige Version von Cranach wurde bei Christie’s, London, am 7. Dezember 2006, Lot 13, mit einer Zuschreibung an Lucas Cranach den Jüngeren verkauft. In der Folge wurde dieses Bild Lucas Cranach dem Älteren zugeschrieben. (1270741) (18)Lucas Cranach the Elder,1472 Kronach – 1553 Weimar, follower ofTHE ILL - MATCHED COUPLE Oil on panel.38.5 x 26 cm.Inscribed on top right on winged serpent with upright bat wings and dated “15(??)”.In decorative gilt frame. This is a depiction of a genre scene with the subject of “love for sale” with an ill-matched couple against a dark background. A young woman in red Renaissance attire and head covering is embraced by an older, almost bold man in a fur-trimmed cloak who is desiring her. He’s touching her chest with his strong right hand, while she is looking at him affectionately and putting her left hand into his purse. Provenance:Teisbach Palace, Southern Germany, until 2013 (Teisbach Palace was in the possession of the House of Wittelsbach between 1386 until 1813 and was subsequently sold to private owners. The palace was purchased by the city of Dingolfing in 2013).Auktionshaus Neumeister, Munich, Sonderauktion Schloss Teisbach, 16 October 2013, lot 222 (as follower of Lucas Cranach the Elder). Private collection, Germany.Notes:A version by Cranach was sold at Christie’s, London, on 7 December 2006, lot 13, with an attribution to Lucas Cranach the Younger. This painting was subsequently attributed to Lucas Cranach the Elder.

Marcus Gheeraerts d. Ä., um 1530 Brügge – um 1590 LondonMARIA MIT DEM JESUSKIND UND DEM JOHANNESKNABEN AN EINEM TISCH SITZEND Öl auf Eichenholz. 104 x 71 cm. Entstanden ca. 1558 - 1568 in Brügge. In passig auslaufendem teilvergoldetem Originalrahmen.Anbei ein Gutachten von Prof. Dr. Dr. Jan de Maere, Direktor des Documentatiecentrum voor het Vlaams Kunstpatrimonium, Rambrouch, 26. Februar 2021. Von einem goldbestickten grünen Ehrenlambrequin übergangen die an einem Tisch sitzende Mutter Gottes in bläulichem Gewand mit Pelzverbrämung und rotem Umhang, ihr güldenes Haar von einem leichten Velum umspielt. Auf ihrem Schoß das Jesuskind mit einer Hand im Segensgestus, mit der anderen Hand einen Apfel haltend. Links der Johannesknabe mit seinem Kreuzattribut und Fell als Empfänger des Segens Jesu. Rechts ein beschnitzter Holztisch, auf dem mehrere Gegenstände liegen: ein Berkemeyer mit Nuppenbesatz, ein über die Tischkante in den Betrachterraum hineinragendes Obstmesser, ein aufgeschnittener Apfel, mehrere leuchtend rote Kirschen und eine Crespina mit Weintrauben, Apfel, Birne und Walnüssen. Die Kirsche wie auch der Apfel können als verbotene Frucht gedeutet werden. Die Walnuss verkörpert als Christus Symbol die bitter schmeckende Hülle das Fleisch Christi, das die bittere Passion durchlitten hat, die Schale das Holz des Kreuzes und der Kern, der nährt und durch sein Öl Licht ermöglicht, die göttliche Natur Christi. Die Trauben deuten auf das Leiden Christi hin, bei dem er Blut vergossen hat. Das Messer kann als Instrument des Tiefenrauminstrument des Malers fungiert haben, deutet aber auch auf die Verbindung zum Alten Bund (Beschneidungsmesser). Gheeraerts, der in Brügge geboren wurde, trat dort auch 1558 der Gilde bei, wurde jedoch als Calvinist schon 1568 verstoßen, sodass er nach London flüchtete, wo er bis 1577 blieb, bis er 1586 nach Antwerpen übersiedelte. Provenienz: Privatsammlung. Anmerkung 1:Unsere vorliegende Tafel wird in die Anfangszeit seines Schaffens datiert und ist vermutlich in Brügge entstanden. Jan de Maere sieht vor allem hinsichlich der Füße, Hände und anderer Partien eine Zuschreibung an den genannten Künstler geboten, auch die Unterzeichnung, die an einigen Stellen sichtbar ist, deute darauf hin.Anmerkung 2: Marcus Gheeraerts war vermutlich Schüler seines Stiefvaters Simon Pieters, bevor er bei Albert Cornelis arbeitete, der wiederum unter dem Einfluss von Gerard David stand. Vergleiche: Bezüglich der Form bietet sich ein Christus Triumphans des gleichen Malers im Memling Museum Brügge an. (12707556) (13)Marcus Gheeraerts the Elder,ca. 1530 Bruges – ca. 1590 LondonTHE VIRGIN AND CHRIST CHILD AND SAINT JOHN THE BAPTIST SITTING ON A TABLE Oil on oak panel.104 x 71 cm.Created ca. 1558 - 1568 in Bruges.An expert’s report by Professor Dr Dr Jan de Maere, Director of the Documentatiecentrum voor het Vlaams Kunstpatrimonium, Rambrouch, 26 February 2021, is enclosed.The Virgin is shown seated, dressed in a blue, fur trimmed dress and red cloak, her golden hair draped in a thin veil under a green lambrequin with gold embroidery.

Attributed to Michael Pacher (German, circa 1435-1498): A carved wood and polychrome and parcel gilt decorated figure of a male saint, possibly St JohnSouth German or Tyrolean, late 15th centurythe figure with rope tied wavy shoulder length fair hair looking slightly to sinister, clad in a draped and folded cloak held about his body, his left hand clutching the upheld hem, raised on a later stained wood rectangular base, the figure, 78cm high, the later base 5cm high Footnotes:Provenance:With Reinhold Hofstätter, ViennaThe sculptor, architect and painter Michael Pacher was active during the later part of the 15th century. Cited as perhaps one of the earliest artists to introduce the Renaissance style to a German clientele, he was famous for producing elaborate painted and sculpted works in both wood and stone showing a uniquely personal side incorporating elements of the Italian Renaissance and the Northern Gothic.Producing works including painted structures for altarpieces on an unparalleled scale in North European, his finest work is perhaps the St Wolfgang Altarpiece (1471-1481) in Salzkammergut which is considered to be one of the most outstanding examples of a carved and painted altar shrine illustrating scenes from the life of Christ and the Virgin Mary. Pacher's other great work, the Altarpiece of the Church Fathers was created in 1483 for Neustift Monastery and this also combined painting and sculpture to produce a unique composition. Influenced primarily by North Italian art, Pacher's work however shares characteristics with the work of the Italian artist Andrea Mantegna whilst also reflecting the heritage and tradition of a number of South German carvers.The plump facial features of the present lot with his upturned nose, distinctive waving to the hair and crinkled folds of the drapery compare closely to figures in Pacher's St Wolfgang Altarpiece, see T. Müller, Gotik in Tirol, Bozen, 1976, figs. 122-124 and pl. XXVII.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A rare Second War ‘cloak and dagger’ D.S.M. group of six awarded to Leading Telegraphist W. H. Diggins, Royal Navy, for his gallantry aboard H.M. Submarine Regent during her daring enterprise in entering into the port of Kotor to try and embark His Britannic Majesty’s Envoy-Extraordinary and Minister Plenipotentiary accredited to the Government of Yugoslavia, and in remaining there for nine hours though surrounded by large forces of the Italian army and subjected to attacks from the air; he was subsequently Mentioned in Despatches, having been recommended for a Second Award Bar to his D.S.M., for his services in H.M. Submarine Ultor in the Mediterranean War Patrols of 1943 Distinguished Service Medal, G.VI.R. (JX.137576 W. H. Diggins. L.Tel. H.M.S. Regent.); 1939-45 Star; Atlantic Star; Africa Star; Defence and War Medals 1939-45, with M.I.D. oak leaf, good very fine (6) £1,800-£2,200 --- Provenance: Captain K. J. Douglas-Morris Collection, Dix Noonan Webb, October 1996. D.S.M. London Gazette 30 September 1941: ‘For daring, enterprise and coolness in taking H.M. Submarine Regent into the port of Kotor to try and embark His Britannic Majesty’s Envoy-Extraordinary and Minister Plenipotentiary accredited to the Government of Yugoslavia and in keeping her there for nine hours though surrounded by large forces of the Italian army.’ M.I.D. London Gazette 8 February 1944. The Recommendation, originally for a Second Award Bar to his DS.M., states: ‘As Petty Officer Telegraphist he has maintained not only the wireless equipment but the Radar set and has displayed energy and initiative in so doing, materially assisting the Commanding Officer in three night attacks. By his cheerfulness he has set a good example to the Ship’s Company.’ A most unusual award of the D.S.M. for a ‘cloak and dagger’ action, and especially interesting as it was an attempt to rescue a British Senior Diplomat from falling into enemy hands. The Diplomat concerned was Ronald Ian Campbell (later Sir, K.C.M.G., C.B.), the British Minister to Yugoslavia. When the Germans and Italians were overwhelming Yugoslavia in the Spring of 1941, Mr Campbell and his staff were cut off and unable to get away. It was decided to try to embark them in a British submarine and, accordingly Lieutenant-Commander H. C. Browne took H.M. Submarine Regent into the Adriatic. Having passed through two minefields which the Italians regarded as impassable, he steamed boldly into the harbour of Kotor, better known as Cattaro, to bring off the British Minister and his staff. Moving into port just after dawn, the Captain soon learned that the Italian army had reached the coast and were already in occupation of the town. This unexpected move by the Italians placed the Regent in jeopardy, but the Captain did not waver. Having been sent to effect the rescue of Mr Campbell, he was determined to do everything possible to bring him off, so he detailed an officer to go ashore. With the utmost coolness this officer went to the Senior Italian naval officer in charge of the port and explained that the Regent had come to evacuate the British Diplomatic Staff, whereupon he was permitted to go off in search of Mr Campbell while an Italian Army Staff officer went on board the Regent to act as hostage until he returned. Throughout the morning the Regent lay in harbour flying her biggest White Ensign. Around her was the Italian army with enough gun-power to blot her out of existence. For hour after hour the Regent lay there, flying the flag in the face of her enemies, while the officer strove to find Mr Campbell and conduct him back to the boat; unhappily he failed to make contact. The afternoon was advanced when two Italian dive bombers suddenly swooped down on the Regent and dropped several bombs which all missed. As they flew over, they opened fire on the conning-tower with their machine-guns wounding the Captain, the First Lieutenant and a Petty Officer. Captain Browne wasted no time. Diving without delay and carrying his Italian hostage with him, he escaped from the harbour, after remaining in the midst of the enemy for nine hours, picked his way safely through the minefields again and returned to his base. Awards for this episode included a D.S.O. for Captain Browne, two D.S.C.’s, three D.S.M.’s and one Bar to the D.S.M. The Submarine Regent was sunk by a mine off Monopoli in the South Adriatic on 18 April 1943. Diggins was obviously not aboard as he later served as a Petty Officer Telegraphist aboard the Submarine Ultor and was Mentioned in Despatches for her Mediterranean War Patrols, during which she bombarded Salina Island in the Liparis on 13 June 1943, and sank the Italian Torpedo Boat Lince, near the Gulf of Taranto on 28 August 1943. Sold together with an H.M. Submarines Naval Cap Tally; cloth insignia; and copied research.

Gilt bronze seated figure of Guanyin Chinese, 17th/18th Century the figure with hands clasped on a rectangular base, wearing an engraved ceremonial cloak, headdress and earrings, 28.25cm high Condition: losses of paint, wear and pitting to the surfaces overall

Science Fiction a collection, including Van Vogt, A.E. Away and beyond. New York, 1952; Van Vogt, A.E. Masters of Time. Fantasy Press, 1950, 2 copies, one copy being no. 377 of 500 numbered and autographed copies; Leinster, Murray. Space Platform. Shasta Publishers, 1953, signed by the author; Leinster, Murray. Sidewise in Time. Shasta Publishers, 1950; Lumley, Brian. Beneath the Moors. 1974, presentation copy to Col. Neulon; Russell, Eric Frank. Dreadful Sanctuary. Fantasy Press, 1951; Russell, Eric Frank. Sinister Barrier. Fantasy Press, 1948; Campbell, John W. The Incredible Planet. Fantasy Press, 1949; Campbell John W. Cloak of Aesir. Shasta Publishers, 1952; Weinbaum, Stanley G. A Martian Odyssey. Fantasy Press, 1949; Smith, Clark Ashton. Tales of Science and Sorcery. Sauk City, 1964; Rey, Lester del. The Runaway Robot. London, 1967; Burroughs, Edgar Rice. Swords of Mars. Tarzana, 1936, Burroughs, Edgar Rice. Llana of Gathol. Tarzana, 1948; all but the last 2 with dustwrappers; Wolfe, Gene. The Shadow of the Torturer, 1981; The Claw of the Conciliator, 1981, The Sword of the Lictor, 1982; The Citadel of the Autarch,1983, UK editions, dustwrappers; Aldiss, Brian W. Barefoot in the Head. New York, 1970, presentation copy to Richard Gordon, dustwrapper frayed and adhering to cloth board; and c. 23 others, British and American editions (c.41)

Attributed to of William Owen RA (1769-1825),Portrait of an officer in the uniform of the Life Guards three quarter length standing in a landscape wearing a red tunic and cloak,Oil on canvas,140cm x 111cm,Gilt framed Provenance: The Estate of Lord Kenyon, Gredington.

Follower of Michael Dahl (1659 -1743),Portrait of Thomas Kenyon of Peel Half length wearing a brown cloak and white cravat in a painted oval inscribed top left 'Tho Kenyon',Oil on canvas,75cm x 65cm,Gilt framed Provenance: The Estate of Lord Kenyon, Gredington.

Circle of Michael Dahl (1659-1743),Portrait of George Kenyon half length wearing a red cloak and white cravat in a painted oval,Oil on canvas,Inscribed verso 'Geo Kenyon Esq of Peel died Dec 6th 1728 Aged 63',77cm x 65cm,Gilt framed Provenance: The Estate of Lord Kenyon, Gredington.

Circle of Godfrey Kneller (1646-1723),Portrait of Thomas Kenyon in a painted oval half length wearing a brown cloak and a white cravat inscribed 'Thos son of Roger Kenyon of Peel mari katherine dau of Luke Lloyd of Bryn in Flintshire',Oil on canvas,75cm x 63cm,Gilt framed Provenance: The Estate of Lord Kenyon, Gredington.

EVENING WEAR. Six various evening garments, including a black full length cloak & black evening skirt. Also, a black beaded & sequinned evening dress, a cocktail dress & other sequinned evening wear.  Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING.  The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.  Proceeds from this lot will be donated to the RNLI  Penlee Crew Comfort Fund.

A selection of Continental figurines, to include: a candle snuffer in the form of a lady wearing a cloak, impressed anchor mark; a pair of parrots; a Capodimonte Prussian Officer; a Staffordshire lady wearing a crinoline dress; a late Meissen group of a lady playing the harp for a gentleman; and others (various damages).

A late Victorian light stained hallway hat cloak and coat stand having tiled back and mirror centre panel

An usual white metal cloak or shawl clasp, probably from north Afghanistan. 5cm. 40 grms

Louis Sosson (act. 1905 - 1930 Frankreich)Tänzerin mit Umhang, Bronze, vergoldet, Elfenbein, geschnitzt, Höhe 38,5 cm, monogrammiert, Sockel mit minimalem Bruch, Montierung locker, altersbedingte SpurenLouis Sosson (act. 1905 - 1930 France)Dancer with a cloak, gilt bronze, carved ivory, height 38.5 cm, monogrammed, a minor breakage to the plinth, mountings loose, age related wear

A box containing jet brooches, Victorian cloak clasp etc