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

Hand painted and hand decorated figure of a beautiful lady with red cloak and flowered cream dress. Royal Doulton backstamp. Artist: L. HarradineIssued: 1947-1969Dimensions: 4.75"L x 3.75"W x 7.75"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.

Sculpture in carved, polychromed and gilded wood. The figure stands on a pedestal with reliefs and holds a staff in his right hand. He is wearing a habit and cloak, decorated with gilded patterns. It shows wear due to age. Size: 66 x 15 x 33 cm; Pedestal size: 103.5 x 25 x 26.5 cm

A collection of flamboyant period costume props purportedly from the 1977 film 'The Man in the Iron Mask', tailored in the lavish 17th century flamboyant style.Condition ReportInformation from the vendor: Originally bought a large quantity of this French style theatrical clothing about 22 years ago from a huge fellow with a bald head. He had been set and costume designer for TV movies. He had them labelled as such.   However, should you watch the film in question you can clearly see the items being used, especially that Yellow/Gold Gentleman's frock coat, pantaloons and lace cravat and long waistcoat being worn in more than one scene by an extra, (we used to have the associated tri-corn hat that accompanied it but one of my daughters wore it to a party and it never came back) Also, I recollect that the white cloak with the fake pearls and queens motif is also in numerous shots. Some of the items had paper labels with a safty-pin saying for 'Fontainebleau' which I believe was one of the locations used. (some may still retain these prop department labels?)

ZAMPIERO, Domenico gen. Domenichino, ATTRIBUIERT/UMKREIS (D.Z.: 1581-1641), "Hl. Petrus", der betende Heilige mit bewegtem gelben Umhang auf Stufen sitzend, vor ihm die Schlüssel als Attribut, Öl/Leinwand doubliert und die Ecken durch Holzplatte verstärkt, ovaler Bildausschnitt, HxB: ovales Sichtmaß ca. 125x94 cm, Gemäldemaß ca. 129x98 cm, Außenmaße Rahmen ca. 138x108 cm. Alters- und Beriebspuren, Craquelé, minim. Farbabplatzer, restauriert (doubliert und die Ecken durch Holzplatte verstärkt) und retuschiert. Mit Rahmen. PROVENIENZ nach Aufzeichnung der Vorbesitzer: Dieses Gemälde kam im 19. Jh. aus Bologna nach Deutschland, 1942 auf Holzplatte geklebt und Ovalrahmen durch Rechteckrahmen ersetzt.| ZAMPIERO, Domenico gen. Domenichino, ATTRIBUATED/UMKREIS (D.Z.: 1581-1641), ‘St Peter’, the praying saint with moving yellow cloak sitting on steps, in front of him the keys as an attribute, oil/canvas relined, oval picture section, HxW: oval visible dimensions approx. 125x94 cm, painting dimensions approx. 129x98 cm, outer frame dimensions approx. 138x108 cm. Signs of age and wear, craquelure, minimal. colour flaking, restored (doubled and the corners reinforced with wooden board) and retouched. With frame. PROVENANCE as recorded by previous owners: This painting came to Germany from Bologna in the 19th century, glued to wooden panel in 1942 and oval frame replaced by rectangular frame.

Stehender Buddha aus Holz. MYANMAR, 20. Jh., mit Lackvergoldung. Beide Füße stehen fest und parallel zueinander auf einem kleinen Lotossockel. Die Haare sind in kleinen Löckchen zu einem Knoten frisiert. Die herabhängenden Arme sind leicht ausgestellt so, wie der auch der prächtige Umhang, dessen Saum mit farbigen Glassteinchen verziert ist. Die Skulptur ist auf einen rechteckigen, 5 cm hohen Eichensockel montiert. H: 103 cm (108,5 cm mit Sockel). Altersspuren und diverse Beschädigungen, wie z.B. Risse, berieben. | Standing Buddha made of wood. MYANMAR, 20th century, with lacquer gilding. Both feet standing firmly and parallel to each other on a small lotus base. The hair is styled in small curls into a knot. The hanging arms are slightly flared, as is the magnificent cloak, the hem of which is decorated with colored glass stones. The sculpture is mounted on a rectangular, 5 cm high oak base. H: 103 cm (108.5 cm with plinth). Signs of age and various damage, e.g. cracks, rubbed.

This literary standing hero is holding his sword in hand and holding cloak in other with books at his feet. Lladro backstamp. 1002265. Artist: Salvador FurioIssued: 1994 - 2019Dimensions: 4"L x 3.25"W x 12"HManufacturer: LladroCountry of Origin: SpainCondition: Age related wear.

Modeled with brown and gold feathers and wears a black hat and cloak. This item has its original box measuring 2"L x 2.5"W x 5.5"H. Beswick backstamp. Issued: 1974-1988Dimensions: 1.75"L x 1.5"W x 3.75"HManufacturer: BeswickCountry of Origin: EnglandCondition: Age related wear.

Green tunic, cloak, and cap, brown boots. From the Robin Hood Collection. Royal Doulton backstamp. Artist: M. AlcockIssued: 2001-2003Dimensions: 2.25''L x 2"W x 4.5"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.

GERMANY. Silver Medal, 1817. By K. W. Höckner, on the 300th anniversary of the Reformation. Obv.: DOCTOR MARTIN LUTHER. Half-length portrait of Martin Luther right wearing a cloak.Rev.: HALT WAS DU HAST DASS NIEMAND DIENE KRONE NAHME (translation from German: hold what you have so that no one takes your crown). Altar with an open Bible leaning against a cross, pitcher to left, chalice with host to right, at the top two angels coming from clouds hold a crown over the altar.Good extremely fine with lovely deep toning.Künker Auction 297 (2017), lot 3804.Reference: Brozatus -; Whiting 590 (tin)Diameter: 48.7 mm.Weight: 62.14 g.Composition: Silver.PLEASE NOTE: A 22.50% buyer's premium will be charged separately. VAT on the buyer's premium may apply in accordance with UK regulations. Additional 6% fee charged on the Saleroom. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.This lot can be shipped from the EU if certain conditions are met. Please contact us on EUclients@thecoincabinet.com to inquire about this service.

RUSSIA. Catherine II (the Great), 1762-96. Tin Medal, 1787. By J. Chr. Reich, on the capture of the eastern Polish provinces.Obv.: CATHARINA ALEXIEWNA II IMPERATRIX RVSSORVM. Bust left with a widow's veil and cloak.Rev.: CUM VI VINCERE POSSES GRATIA VINCERE MAVIS; Temple, in which three nobles bring wreaths to an altar on which the monogram of Catherine II is attached, a wreath is already lying on the altar, and above it hangs a medallion with the bust of the Tsarina.About extremely fine, reverse better and lustruous.Künker Auction 161 (2009), lot 6294.Reference: Diakov 207.1 (R2); H.-Cz. 7892Diameter: 46 mm.Weight: 36.01 g.Composition: Tin.PLEASE NOTE: A 22.50% buyer's premium will be charged separately. VAT on the buyer's premium may apply in accordance with UK regulations. Additional 6% fee charged on the Saleroom. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.This lot can be shipped from the EU if certain conditions are met. Please contact us on EUclients@thecoincabinet.com to inquire about this service.

GERMANY. CITY OF FRANKFURT. Franz I, 1745-65. Silver Medal, 1745. Struck to celebrate the coronation of Franz I as Holy Roman Emperor on 4 October 1745 in Frankfurt cathedral.Obv.: FRANCISCUS . I . D . - G . ROM . IMP . SEMP . AVG . Armoured and laureate bust right, draped cloak and the chain of the Order of the Golden Fleece.Rev.: TEMPORUM SERENITAS; Apollo in sun chariot on clouds; FELICITER ELECTUS / D 13 SEP 1745 in exergue.Good extremely fine with lovely toning.Künker Auction 292 (2017), lot 6437.Reference: Förschner 296; J. u. F. 772; Mont-1758Diameter: 32.4 mm.Weight: 14.62 g.Composition: Silver.PLEASE NOTE: A 22.50% buyer's premium will be charged separately. VAT on the buyer's premium may apply in accordance with UK regulations. Additional 6% fee charged on the Saleroom. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.This lot can be shipped from the EU if certain conditions are met. Please contact us on EUclients@thecoincabinet.com to inquire about this service.

3 LADIES FUR LINED COATS, FUR SHOULDER CLOAK

Ca. 340 - 310 BC. A red-figure pottery bell krater with a large body, short splayed foot, a flanged mouth and two well-preserved horizontal handles. The krater features traditional patterns such as a laurel wreath under the lip and a wave pattern along the bottom of the body. Side A is decorated with a standing Nike with outstretched wings with natural details. whio is wearing a himation on her left arm and holding a trident in her right hand. Side B is decorated with a standing lady of fashion wearing a long cloak and himation and a large and high diadem. The handles are surrounded by a large palmette motif. The vessel is probably made by a member of the Menzies Painter Group. Size: 295mm x 285mm; Weight: 2.7kg Provenance: Private UK collection, acquired on the Dutch art market; previously acquired on the Belgian art market; Peter van der Elst, Liege, 1987. This item has been cleared against the Art Loss Register database and comes with a confirmation letter. This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy. This item has been precisely dated using a thermoluminescence analysis carried out by Ralf Kotalla. The report will accompany the lot.

Ca. 350 - 300 BC. A red-figure pottery bell krater with a large body, short splayed foot, a flanged mouth and two well-preserved horizontal handles. The krater features traditional patterns, such as the laurel wreath under the lip, and the meander pattern along the bottom of the body. Side A is decorated with a standing naked Nike resting on top of a column with ionic capital, with outstretched wings, embellished with pearls and holding a large mirror in her right hand. In front of her, a seated noblewoman wearing a long chiton, holding in her left a large case. Side B is decorated with two standing men around a column-shaped altar decorated on the top. They each wear a long cloak and a diadem. The handles are surrounded by a large palmette motif. Size: 325mm x 310mm; Weight: 2.49kg Provenance: Private UK collection, acquired on the Dutch art market; previously acquired on the Belgian art market; Peter van der Elst, Liege, 1987. This item has been cleared against the Art Loss Register database and comes with a confirmation letter. This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.

PETER PARKER: THE SPECTACULAR SPIDER-MAN #61 to 110 (50 in Lot) - (1981/1986 - MARVEL - US & UK Price Variant) - An unbroken five year run which includes the first appearance and origin of Cloak and Dagger, the second appearance of Spider-Man's black costume + the first appearances of the Answer, Spot & Sin-Eater

Froud (Brian). Faeries, 1st U.K. edition, London: Souvenir Press, 1978, signed with an original sketch by Brian Froud to the half-title, numerous colour & monochrome illustrations, original cloth in dust jacket, covers very lightly toned, large 8vo,The World of The Dark Crystal, 1st edition, London: Mitchell Beazley, 1983, signed with an original sketch by Brian Froud to the half-title, The Land of Froud, edited by David Larkin, London: Pan, 1977, signed with an original sketch by Brian Froud to the title page, Master Snickups Cloak, 1st edition, Surrey: Paper Tiger, 1979, signed with an original sketch by Brian Froud to the title page, Goblins, 1st edition, 1983, signed with an original sketch by Brian Froud to p.1, Lady Cottington's Pressed Fairy Book, with Terry Jones, 1st edition, London: Pavilion, 1994, signed with an original sketch by Brian Froud to the title page along with a signature by Terry Jones as Lady Cottington, The Goblin Companion, a field guide to Goblins, with Terry Jones, 1st edition, London: Pavilion, 1996, signed with an original sketch by Brian Froud to the half-title, all original covers/boards, 8vo/4to together with 5 further volumes by Brian Froud, plus a folder of related materialQTY: (12 + a folder)

After Jean-Auguste-Dominique Ingres (1780-1867)Portrait of a seated woman wearing an Empire-style dressBears inscription and date, pencil over printed image; together with a further signed, inscribed and dated portrait of a standing man wearing a long cloak, waistcoat, trousers and a top hat, 24cm by 18cm and 23.5cm by 18cm respectively (2)These are printed works with pencil to some areas.Portrait of a seated woman wearing an Empire-style dress - Tear and hole to bottom-right corner, adheared to card behind and filled with pencil. Surface dust and debris. Dark marks to background, edges etc are printed along with the main image. Back of frame unsecure.Portrait of a standing man - In similar condition to latter; Tear and hole to bottom-right corner, adheared to card behind. Surface dust and debris. Lighter coloured mark above figure's left shoulder (to right of image). No back to the frame.

British School (19th century)Portrait of a young lady, head and shoulders, wearing a red cloak and a brown hat trimmed with red ribbonIndistinctly signed, oil on canvas, 24cm by 19cm

Dressing a Galaxy "The Costumes of Star Wars" by Trisha Biggar, complete in the original white ground and labelled box, with DVD, Chewbacca plaque, Section of Darth Vader Cloak and Certificate of Authenticity, rare exampleBacking card and bubble in excellent condition.Backing card is slightly bowed.Unpunched hanging loop.Overall excellent condition.

Anthony Van Dyck, Lucas Vosterman - Hubertus vanden Eynden / Description: By Lucas Vorsterman the finest of the Van Dyck engravers: portrait of the Flemish Sculptor Hubertus vanden Eynden (1593-1662), wearing a doublet with a lace collar and cuffs and a cloak over his left shoulder, his right arm resting on a sculpted head and the hand pointing towards the right / Dimensions: 22,30 x 15,50 cm / Condition: Excellent impression on a full sheet of watermarked laid paper (fools head with bells). Condition is excellent. / Literature: New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (61.IX) --- Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (154) --- Mauquoy-Hendrickx 1991 / L'iconographie d'Antoine Van Dyck, Catalogue raisonné (80.IX) --- Muller II 1853 / Beschrijvende catalogus van 7000 Portretten, van Nederlanders (1609) / Medium: Engraving /Circa: 1630-1645

Rembrandt Van Rijn - Joseph and Potiphar's wife - 1634 / Description: Joseph and Potiphar's wife; semi-nude female figure on bed, grasping at cloak of man who pulls away; third state on four, with shading lines added. Signed bottom left and dated. Etching made by Rembrandt in 1634. Original Rembrandt etching on watermarked laid paper. / Dimensions: 9,20 cm x 11,60 / Condition: Very fine impression with full plate border and good margins on fine watermarked laid paper. Condition is very good with some paper thinning from the backside bottom middle / Literature: New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (128.III/IV) ----- Hind 1923 / A Catalogue of Rembrandt's Etchings; chronologically arranged and completely illustrated (118.II) ----- White & Boon 1969 / Rembrandt's Etchings: An Illustrated Critical Catalogue (39.II) / Medium: Etching /Circa: 1634

A set of 4 that includes Wolverine 1, Excalibur Volume 1 Number 1, The Mutant Misadventures of Cloak and Dagger Volume 1 Number 1, and X Terminators Volume 1 Number 1. Marked Marvel Comics. Used Condition. Dimensions of the largest item: 6.5"L x 0.25"W x 10.25"H. Issued: 1988Dimensions: See DescriptionManufacturer: Marvel ComicsCountry of Origin: United StatesCondition: Age related wear. Used condition.

Black plume hat, red cloak, yellow chain of office. Royal Doulton backstamp. Artist: Stanley J. TaylorIssued: 1990 - 1991Dimensions: 7.25"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.

A Welsh wool black jacket with tails having St David's tartan on the sleeves with matching black waistcoat with the St David's tartan on the pockets, a St David's tartan bow tie, and a St David's tartan shoulder cloak, a small bag of cloak pins and a kilt pin, belt, a St David's tartan kilt with Manav premier clothing tag, a St David's tartan kilt from the Cambrian Woollen Mill matching green jacket with a St Davids tartan necktie

A mixed lot to include various costume jewellery to include a Chinese Jadeite and 18ct white gold plated bi disc pendant and a Tiffany & co 925 silver heart shaped tag pendant with serial number 318622, engraved initials to verso, a Lapis Lazuli beaded necklace with 925 silver dog nose catch, matching ear pendants, Indian / Middle Eastern enamelled heart shaped cufflinks, badges to include Junior Jet Club and Junior KLM stewardess and other items including a Liskeard glass vase, Metamec cloak and a wolf fur stoleLocationIf there is no condition report shown, please request

A 9ct gold swan stick pin and two brooches, a 9ct gold swan stick pin, UK hallmark, length approx. 5.2cm, 1.9grams; a circular brooch with a crossover design and seed pearls on a black panel, UK hallmark for 9ct to verso, brooch pin and a bolt ring with a small length of chain attached, bolt ring marked 9ct, diameter approx. 1.5cm, 4.0grams; and a brooch/cloak pin with cross over design and seed pearls on a black panel, indistinct mark, brooch pin and an attached chain with the letter M pin, 4.9grams, (3).

Steiff Musical Christmas teddy bear 2011, white tag 035968, LE 2011, white mohair, wearing red velvet cloak and muff, with key wound musical mechanism, plays Winter Wonderland, certificate, Near Mint, within Good to Good Plus box, 10.75"/27cm. 

Steiff Teddy Bear with Little Donkey, white tag 670886, LE 3000, comprising mohair teddy bear wearing blue velvet cloak and white hat and grey mohair donkey, Moth damage to back of teddy bears legs (please see photograph), otherwise Good, bear 8.75"/21cm and donkey 8"/20cm.

An collection of assorted antique bronze objects of Luriston origin, including three small crucibles, a flared end bracelet, a ring, two differing cloak pins, numerous bell cases etc etc, all in excavated condition

A SMALL BAG OF ASSORTED ITEMS, to include two silver millefiori cabochon set pendants, each hallmarked Edinburgh, a silver polished band ring hallmarked Birmingham, a silver propelling pencil hallmarked 'Sampson Mordan & Co' London 1934, a silver lined nail buffer with engine turned pattern and engraved cartouche, hallmarked Birmingham, together with a white metal Scottish cloak pin stamped Ster Sil (condition report: general light wear, pencil not tested for working order)

Käthe Kollwitz 1867 Königsberg - 1945 Moritzburg Schwangere. 1920. Kohlezeichnung. Rechts unten signiert. Auf Velin. 60 x 45 cm (23,6 x 17,7 in), Blattgröße. [AW]. • Wichtige Vorzeichnung zu dem Holzschnitt 'Die Witwe I' in der Folge 'Krieg'. • Käthe Kollwitz gehört zu den wichtigsten deutschen Künstlerinnen des 20. Jahrhunderts. • Das Städel Museum in Frankfurt am Main würdigte Käthe Kollwitz jüngst mit einer umfassenden Ausstellung vom 20. März bis 9. Juni 2024. • Werke der Künstlerin befinden sich in renommierten internationalen Sammlungen, darunter das National Museum of Modern Art, Tokio, das Museum Folkwang, Essen, sowie das Museum of Modern Art, New York. PROVENIENZ: Sammlung Salman Schocken, Israel und USA (wohl bis 1967: Hauswedell). Sammlung S. Muhlstock, Montreal. Privatsammlung. Sammlung Schweiz. AUSSTELLUNG: Fixsterne. 100 Jahre Kunst auf Papier. Adolph Menzel bis Kiki Smith, Stiftung Schleswig Holsteinische Landesmuseen, Schloss Gottdorf, 31.5.-20.9.2009, S. 45 (m. Abb.). Wunder auf Papier - über 100 Jahre Zeichenkunst, Kunsthaus Villa Jauss, Oberstdorf, 23.7.-3.10.2010 (m. Abb.). Painting Still Alive. On the Way to Modernity, Centre of Contemporary Art, Torun (Polen), 11.11.2018-13.1.2019, S. 106 (m. Abb.). LITERATUR: Otto Nagel, Werner Timm, Käthe Kollwitz. Die Handzeichnungen, Berlin 1972, WVZ-Nr. 855 (m. Abb.). - - Dr. Ernst Hauswedell, Hamburg, 152. Auktion, 5.6.1967, Los 850 (m. Abb. S. 105). 'Ich will wirken in dieser Zeit.' Käthe Kollwitz, Tagebücher, 1922 Die künstlerische Auseinandersetzung mit dem Elend des Menschen ist zentral in Käthe Kollwitz' Œuvre. Themen wie Mutter und Kind, Krieg oder Tod finden Eingang in ihre Arbeit. Die eindrucksvolle Kohlezeichnung 'Schwangere' ist eine Vorstudie für Blatt 4 'Die Witwe I' der Holzschnittfolge 'Krieg' von 1922/23 und ebenfalls in diese Thematik einzuordnen. Im Gegensatz zur endgültigen grafischen Fassung ist die Schwangere hier nur mit einem karierten Rock und einem dunklen Umhang, der die Brust freilässt, bekleidet. Der Kopf ist nach rechts gesenkt und die Arme hängen seitlich herunter. Die Figur vermittelt uns ein bedrückendes und müdes Gefühl, dem Titel des späteren Holzschnittes entnehmen wir den Grund für diese Niedergeschlagenheit. Käthe Kollwitz zeigt hier eine schwangere junge Frau, der für immer unbekannte Kindsvater wohl kurz zuvor im Krieg gefallen, traurig und ratlos in die Zukunft blickend. Kaum eine Künstlerin vermag es so wie Kollwitz, derart grausame Themen erbarmungslos, aber bei Weitem nicht gefühllos auf das Papier zu bringen. Ihr Können bringt ihr 1919 als erster Frau die Mitgliedschaft in der Preußischen Akademie der Künste und gleichzeitig den Professorentitel ein. Bereits 1901 wird sie Mitglied in der Berliner Secession und so wird sie zu einer wichtigen Größe zunächst in der Kunst des Kaiserreiches und später der Weimarer Republik. Doch direkt nach der Machtübernahme der Nationalsozialisten wird Kollwitz zum Austritt aus der Akademie gezwungen, wird ihres Amtes als Leiterin der Meisterklasse für Grafik enthoben und mit einem indirekten Ausstellungsverbot belegt. Die Schrecken der Gesellschaft und die Schrecken des Krieges bleiben zeitlebens der künstlerische Motor für Käthe Kollwitz' Arbeiten, was die 'Schwangere' von 1920 außerordentlich belegt. [AW] Aufrufzeit: 07.12.2024 - ca. 14.38 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N).ENGLISH VERSIONKäthe Kollwitz 1867 Königsberg - 1945 Moritzburg Schwangere. 1920. Charcoal drawing. Signed lower right. On wove paper. 60 x 45 cm (23.6 x 17.7 in), size of sheet. [AW]. • Important preliminary drawing for the woodcut 'Die Witwe I (The Widow I)' in the series 'Krieg (War)'. • Käthe Kollwitz is one of the most important German artists of the 20th century. • The Städel Museum in Frankfurt am Main recently honored Käthe Kollwitz with a comprehensive exhibition from March 20 to June 9, 2024. The artist's works can be found in renowned international collections, including the National Museum of Modern Art, Tokyo, the Museum Folkwang, Essen, and the Museum of Modern Art, New York. PROVENANCE: Salman Schocken Collection, Israel and USA (probably until 1967: Hauswedell). S. Muhlstock Collection, Montreal. Private collection. From a Swiss collection. EXHIBITION: Fixed Stars. 100 Years of Art on Paper. Adolph Menzel to Kiki Smith, Schleswig Holsteinische Landesmuseen, Schloss Gottdorf, May 31 - September 20, 2009, p. 45 (with ill.). Wunder auf Papier - über 100 Jahre Zeichenkunst, Kunsthaus Villa Jauss, Oberstdorf, July 23 - Oct. 3, 2010 (illustrated) Painting Still Alive. On the Way to Modernity, Centre of Contemporary Art, Torun (Poland), November 11, 2018 - January 13, 2019, p. 106 (illustrated). LITERATURE: Otto Nagel, Werner Timm, Käthe Kollwitz. Die Handzeichnungen, Berlin 1972, catalogue raisnné no. 855 (illustrated). - - Dr. Ernst Hauswedell, Hamburg, 152nd auction, June 5, 1967, lot 850 (illustrated on p. 105). Käthe Kollwitz, journals, 1922 The artistic examination of human suffering is central to Käthe Kollwitz's oeuvre. She addresses themes such as mother and child, war, or death. The impressive charcoal drawing “Schwangere' (Pregnant Woman) is a preliminary study for sheet 4, “Die Witwe' (The Widow I) of the woodcut series “Krieg' (War) from 1922/23 and also fits the above-mentioned theme. In contrast to the final graphic version, the pregnant woman is only dressed in a plaid skirt and a dark cloak that leaves the chest uncovered. The head is bowed to the right, and the arms hang at her sides. The figure conveys a depressing and tired feeling, and the title of the later woodcut reveals the reason for her despair. Käthe Kollwitz shows a pregnant young woman; the father of the child will remain unknown to her, as he had probably been killed in action shortly before. The woman looks into the future with sadness and confusion. Hardly any other female artist could express such cruel topics on paper as mercilessly as Kollwitz, but she was far from being callous. Her skill earned her the distinction of becoming the first woman to be accepted as a member of the Prussian Academy of Arts in 1919, and at the same time, she was appointed professor. As early as 1901, she became a member of the Berlin Secession and thus an essential figure in the art world, initially in the German Empire and later in the Weimar Republic. However, shortly after the Nazis came to power, Kollwitz was forced to leave the Academy, dismissed from her teaching post she was also prohibited from exhibiting. The social horrors and the horrors of war remained the artistic impetus for Käthe Kollwitz's work throughout her life, as the present “Schwangere” from 1920 demonstrates. [AW] Called up: December 7, 2024 - ca. 14.38 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N).

An unusual and spectacular antique Tree of Life crewel work wall hanging - 18th / 19th century, worked in in crewel wool embroidery on a buff-coloured linen ground, decorated with a tree of life festooned with flowers, leaves and birds in polychrome wools, the base of the trunk incorporating the images of various animals amidst the bark, with other animals in buff, pink and red including a dog, a deer and a cat, to the right of the trunk stand two human figures, one with an elaborate animal-skin cloak holding a tethered giraffe and to the left, a moored three-masted discovery / explorer's sailing ship and a circular motif, worked in brown wool with a five letter word, possibly 'Bag...' or 'Bas....', within a broad, conforming border with a repeating design with a tree, flowers and birds, each with an animal at the base of the tree resembling an anteater, approx. 254 x 175cm, the top edge folded and with brass hooks for hanging. * The vendor showed this embroidery to a textiles specialist at the National Trust many years ago, who speculated that it may have been an Afghan piece, dating from the 18th or early 19th century.

Star Wars - Full Size replica Yoda Episode V - The Empire Strikes Back figure, on wooden plinth with cloak, some signs of age related wear, measures approx 72cm

Star Wars - Boxed Master Replicas SW-113 Star Wars Episode VI - Return Of The Jedi Emperor Palpatine Cane & Cloak Clasp Official Prop Replica, complete with display stand with Limited Edition plaque No. 730/1500, missing ltd edn COA, model in vg condition overall, box in gd-vg condition overall with hole to bottom of box

Star Wars - Original Last 17 Lando Calrissian (General Pilot) with cloak in vg condition

Star Wars - Full Size replica Jawa figure with cloak and belt, complete with battery operated light up eyes, indistinctly signed to belt

A small collection of items including silver cloak pin, a Forbes clan "Grace Me Guides" brooch, Scottish King's Own Borderers cap badge, whistles, nurses buckle etc.

Scottish School, circa 1900 - Oil on canvas - 'The Laird', portrait of a distinguished white-bearded gentleman wearing hat and cloak, inscribed in pencil (perhaps later) to stretcher 'THE LAIRD George Henry', oval stamp of "Lechertier Barbe, 95 Jermyn Street, London S. W., Late 60 Regent St.", 60.5cm x 49.5cm, in later gilt framePrivate collection, Clevedon.George Henry, RA RSA RSW (1858-1943) was born in Ayrshire and studied at the Glasgow School of Art, circa 1882. He collaborated with Edward Atkinson Hornel, accompanying him to Japan in 1892. He is documented as exhibiting 121 times at the Royal Academy, 33 times at the RSA, and four times at the RSW in addiiton to 15 times at the National Gallery, amongst others. Whjilst many of his works are executed in a 'Colourist' style, a small number of more traditional portaits are recorded.

Royal Doulton figure 'Marietta' HN1341, woman in horned cap and cloak, in red and black colourway, modelled by Leslie Harradine, H20.5cm, A/F

Star Wars - Original Last 17 Lando Calrissian (General Pilot) with blaster and cloak in vg condition

An English oolitic limestone figure of Saint Roch, 15th century, depicted in a hooded cloak holding a crook in his right hand and a model tower in his left, with a hound seated to his feet, on a custom-built pine stand, figure - 16.7cm high, 24.5cm high overallProvenance: Property of a Glasgow lady.                       Timeline Auctions, 6 September 2022, lot 410.   Condition Report: Sold with a with geologic report from Ronald L. Bonewitz, PHD dating the lot to the medieval period.  For a detailed condition report please contact the Works of Art department.

Skulptur einer HeiligenHöhe: ca. 102 cm.Frankreich, um 1660.Eiche, geschnitzt. Auf oktogonalem Grund die in weitem Gewand stehende Figur, eventuell der Maria Theresa von Österreich (1638-1683) als Schutzmantelmadonna mit zahlreichen Figuren unter ihren ausgebreiteten Armen. Der Mantel reich reliefverziert. Besch. (1421952) (13)Sculpture of a Saint  Height: ca. 102 cm.France, ca. 1660.Carved oak. On an octagonal background, the figure is depicted standing in a broad robe, possibly showing Maria Theresa of Austria (1638 - 1683) as the Madonna of the Protective Cloak with numerous figures under her outstretched arms.

Figurine einer weiblichen Gestalt in antikem UmhangHöhe: 32 cm.Bleiguss, bronzebraun patiniert. Bezeichnungsaufschrift „R. Donner“ wohl 19. Jahrhundert.Italien, 18. Jahrhundert.Im Kontrapost auf mitgegossenem, quadratischen Sockel. Die rechte Hand zieht dtas Gewand etwas hoch, Kopfhaltung seitlich nach unten gerichtet. Das Haar am Hinterkopf zum Knoten gebunden, mit Zackenkrone. Die Zacken sind, aufgrund des weichen Bleimaterials niedergedrückt. Damit dürfte es sich um die Darstellung der Göttin Juno handeln. An der Rückseite bozzettoartig behandelt. (14104726) (11)Figurine of a female woman in antique cloak Height: 32 cm.Lead casting with bronze-brown patina. Inscribed “R. Donner”, probably 19th century.Italy, 18th century.

Jusepe de Ribera, genannt „lo Spagnoletto“, 1588/91 Xàtiva/Valencia – 1652 NeapelSAN ROCCOÖl auf Leinwand.86 x 68 cm.Beigegeben Expertisen von Luigi Salerno; Nicola Spinosa, 15. Oktober 2014; Claudio Strinati, März 2015, jeweils in Kopie. Das Gemälde zeigt einen Mann mittleren Alters lebensgroß im Halbbildnis. Vor olivbraunem Hintergrund hebt sich das von links oben beschienene Gesicht ab, gerahmt von schwarzem Haar und halblangem Bart. Eine hell beleuchtete, von der Kleidung unbedeckte Hautpartie korrespondiert als Lichtfleck zum Gesicht, das mit nahezu einnehmendem Blick auf den Betrachter gerichtet ist. Einen großen Teil der Bildfläche nimmt der Oberkörper ein, bekleidet mit schwarzem Schultercape und dem bauschig darübergelegten braunen Mantel. Der nach links geneigte Kopf lässt dem breitkrempeligen schwarzen Hut über der Schulter Raum. Cape und Hut sind hier Attribute, die eine Benennung des Dargestellten als Rochus erlauben. Das Bild zeigt sich jedoch eindeutig als Portrait eines Zeitgenossen, möglicherweise eine Person namens Rochus, an dessen Namenspatron durch die Attribute erinnert werden soll. Dem Gemälde ist eine weitere Rochus Darstellung Riberas danebenzustellen (Museum Prado, 212 x 144 cm.). Es zeigt den nämlichen Mann, identisch in Kopfhaltung und Physiognomie, jedoch in Ganzfigur und mit den weiteren Attributen des Heiligen: dem Stab, dem Hund mit Brot im Maul, der gemäß der Legende den Heiligen während seiner Abgeschiedenheit mit Nahrung versorgt haben soll, sowie dem vorgestellten Oberschenkel. Bezeichnenderweise jedoch fehlt im Prado-Bild eine Pestbeule am Bein. Dies ist nur erklärbar, wenn es sich auch dort nicht um die Darstellung des Heiligen selbst handelt, sondern um ein Portrait eines Herrn mit diesem Namen, der eben keineswegs Krankheitsmerkmale zeigt, womit das Bein auch dort lediglich als Attributverweis auf den Namen zu verstehen ist.In den Jahren 1631-32 schuf Ribera eine Reihe von Portraitbildnissen, die später in andere Bildzusammenhänge – etwa als Philosophen oder Heilige – eingebracht wurden. Der in Spanien geborene Maler verbrachte jedoch die längste Zeit seines Lebens in Italien, wenngleich der Biograf und Maler Antonio Palomino de Castro y Velasco berichtet, Ribera hätte seine erste Ausbildung bei Francisco Ribalta (1565-1628) erhalten. Dessen brauntonige Malweise hat Ribera jedoch weitergeführt und durch italienische Einflüsse zur Steigerung gebracht. Wann er nach Italien kam, ist nicht bekannt, jedenfalls wissen wir, dass er in Parma und Rom gearbeitet und 1616 in Neapel geheiratet hat. 1626 wird er als Mitglied der Akademie genannt, 1631 als Ritter des Päpstlichen Ordens. Stets noch mit Spanien verbunden, erhielt er Aufträge der spanischen Vizekönige. Die tenebrose Farbskala seiner Werke vermochte gerade Märtyrerdarstellungen, Charakterköpfen oder Philosophengestalten unverwechselbaren Ausdruck zu verleihen. Seine Werke gelten als Höhepunkte in den bedeutendsten Museen und Sammlungen weltweit.Bevor Ribera nach Neapel ging, studierte er bei Francisco Ribalta (1565-1628) in Valencia. In Rom setzte er sich mit den Werken Raphaels (1483-1520) und Agostino (1557-1602) und Annibale Carraccis (1560-1609) auseinander, in Parma und Modena mit denen von Antonio Allegri Correggio (um 1489-1534). Später stand er stark unter dem Einfluss von Michelangelo Merisi il Caravaggio (1570/71-1610). Die Qualität seiner Bilder erhob ihn zum Hofmaler des Herzogs von Osuna sowie des Königs von Neapel. Im Jahr 1644 wurde er durch den Papst zum Ritter des Christusordens geschlagen. 1630 war er bereits Mitglied der Accademia di San Luca in Rom. Neben Caravaggio ist er der bedeutendste Naturalist der neapolitanischen Malerei mit Betonung des Chiaroscuro. Ein Hauptmerkmal seines Wirkens ist die bewusste Wahl der Darstellung von meist alten, asketisch knochig-schlanken Gestalten wie Einsiedlern oder Philosophen.Literatur:Vgl. Nicola Spinosa, Ribera, l’opera completa, Neapel 2006.Vgl. Michael Scholz-Hänsel, Jusepe de Ribera, 1591-1652, Köln 2000.Vgl. Alfonso E. Perez Sanchez, Nicola Spinosa, Jusepe De Ribera 1591-1652. Katalog der Ausstellung im Metropolitan Museum. New York 1992,Vgl. Jonathan Brown, Jusepe de Ribera: prints and drawings. Katalog zur Ausstellung im Art Museum, Princeton University, Oktober-November 1973, New Jersey 1973. (1401251) (11) (†)Jusepe de Ribera,also known as “lo Spagnoletto”,1588/91 Xàtiva/Valencia – 1652 NaplesSAINT ROCHOil on canvas.86 x 68 cm.Accompanied by expert’s reports by Luigi Salerno; Nicola Spinosa, 15 October 2014; Claudio Strinati, March 2015, each in copy.The painting shows a life-size half-length portrait of a middle-aged man. His face is illuminated from the top left and stands out against an olive-brown background; it is framed by his black hair and medium-long beard. A cloak and hat are attributes identifying the depicted as Saint Roch. The painting is, however, clearly also a portrait of a contemporary, possibly a person named Roch, whose namesake is intended to be commemorated by the attributes. Another depiction of Saint Roch by Ribera compares well to the present painting (Prado Museum, 212 x 144 cm). It shows the same man, identical in head position and physiognomy, but in full-length portrait and with the Saint’s other attributes: the walking staff, a dog with a loaf of bread in its mouth, which, according to legend, is said to have provided the saint with food during his seclusion, and the saint’s presented thigh. Significantly, however, the plague boil on his leg is missing in the Prado painting. This can only be explained if this is not a depiction of the saint himself, but rather a portrait of a gentleman with the same name who does not show any signs of illness, which means that the leg is only to be understood as an attribute reference to the name. In the years 1631-32 Ribera created a series of portraits that were later incorporated into other contexts – for example as philosophers or saints.Literature:cf. Nicola Spinosa, Ribera. l’opera complete, second expanded edition, Napoli 2006.cf. Michael Scholz-Hänsel, Jusepe de Ribera, 1591-1652, Cologne 2000.cf. Alfonso E. Pérez Sánchez, Nicola Spinosa, Jusepe De Ribera 1591-1652, exhibition catalogue, Metropolitan Museum, New York 1992.cf. Jonathan Brown, Jusepe de Ribera: Prints and Drawings, exhibition catalogue, Art Museum, Princeton University, October – November 1973. Princeton University, Princeton, New Jersey 1973.

Leonardo Guzzardi (active Italy, 1798-1800)Portrait of Admiral Lord Nelson, full-length, wearing naval full dress uniform with the sash of the Order of the Bath, on deck with a naval engagement behind signed and dated 'LEONARDVS GVZZARDI.PIN.1799' (lower left)oil on canvas84.6 x 50.4cm (33 5/16 x 19 13/16in).Footnotes:ProvenanceSale, Christie's, London, 2 April 1971, lot 69 (as The Property of a Nobleman), where purchased by the present owner's familyThe present portrait was painted by Guzzardi during Nelson's stay in Palermo between January 1799 and June 1800, which followed the dramatic escape of King Ferdinand and Queen Maria Carolina of the Two Sicilies in December, 1798, when they left their home in Naples ahead of the impending French invasion, escorted by Nelson. Guzzardi, about whom very little is known, was probably an artist attached to the Neapolitan Court. He is today renowned for not having shirked from showing the scar on Nelson's forehead and his missing eyebrow (injuries sustained at the decisive Battle of the Nile). Most artists who painted the naval hero chose to paint more flattering portraits, glossing over these wounds; while a number of institutions that owned those paintings that did show his wounds often had his scars painted over or lightened his facial disfigurement.Nelson is depicted here wearing the Chelengk in his bicorn, displaying his Naval gold medals, the Ottoman Order of the Crescent and the Order of the Bath. The Chelengk was a plume of more than 300 diamonds with a unique rotating central feature surrounded by exquisite enamelled flowers. Like the Order of the Crescent, it was presented to Nelson by Sultan Selim III, along with the cloak that is seen here draped over the chair beside him, in recognition of his daring 1798 defeat of the French fleet in the Battle of the Nile, when Egypt was still under the control of the Ottoman Empire.A large full-length version of this portrait, which is probably the original, hangs in the Admiralty Boardroom but formerly belonged to Sir William Hamilton. Several other portraits of Nelson by Guzzardi are known, including: two in the National Maritime Museum, Greenwich (inv. nos. BHC2895 and BHC2896); one of a very similar size was offered at Phillips, London, 8 June 1996, lot 27; a bust-length portrait in the Government Art Collection; and a mezzotint by John Young from 1800 speaks to the popularity of the image.For further information on this lot please visit Bonhams.com

Lucotte Napoleon I in cloak and his Brothers, mounted Louis King of Holland, Jerome King of Westphalia, Joseph King of Spain, Prince Eugene of Beauharnais and Prince Poniatowski (Condition Good, Eugene and Poniatowski Good-Fair, Napoleon cloak flaked) (6)

A gilt framed and glazed pastel on black paper entitled 'MALCOLM ACT II' depicting a man in cloak with sword. Labelled 'LUZZATTI 1 costume design for MACBETH, Glyndebourne Festival Opera' and inscribed 'Emanuele Luzzati Exhibited in Costume Design Show Arts Council L. S.' verso. Approx. 33.5 cms x 49 cms (ss). Together with a black framed and glazed similar watercolour. Indistinctly signed to bottom right. Approx. 46 cms x 63 cms (ss). Est. £30 - £50.

CECIL BEATON: (British, 1904 - 1980): A framed and glazed pen and watercolour on paper entitled 'VELAN' depicting a man with cloak, top hat and umbrella in the rain. This is one of eight pictures commissioned by ICI to advertise their new fabric known as Velan (the name given by ICI to a new fabric they had invented which apparently repelled water) used as the inside cover book plate to 'Caught in the Rain' by Feliks Topolski. Signed to bottom right and dated '43'. Approx. 16 cms x 23.5 cms (ss). Est. £200 - £300.

A rare 19th Century beeswax Pedlar doll with inset brown eyes, painted lips with wax lower arms and wooden legs, cream silk bonnet with pink ribbons, red felt cloak, check patterned apron, holding a wicker basket including four miniature Grodnerthal dolls, cutlery, wicker basket with wicker basket, wicker crib, bellows, 6" (15.5cm) high, on wooden circular base and glass dome

A 19th Century Grodnerthal Pedlar doll, painted wood with black painted hair with curls to the face, painted eyes and lips, rosy cheeks, jointed body with red painted shoes, with brown patterned dress, red felt cloak, (some with holes), cream apron and holding a circular basket including a 3 piece cutlery set, a drinking glass, three bags and ribbons, 7½" (18cm) high, standing on black and velvet dome base and with glass dome

Edwardian 9ct gold cloak pin in the form of two butterflies set with seed pearls, sapphires and rubies, 4.6g

THE LORD OF THE RINGS; Topps authentic movie memorabilia ‘genuine material’ cards from The Two Towers, including Gandalf’s silk shirt and Arwen’s requiem cloak (9).

William John Wainwright (1855-1931) Gentleman in a Red Hooded Cloak, signed lower left, watercolour, 38 x 33 cm, frame 59 x 52 cm

A collection of mixed historica items - Roman, Medieval and Post Medieval including rings, arrow heads, buckles, pendants, cloak chain and pendant, drilled stone and other items. Please see pictures for details.

Victorian citrine set cloak pins, largest oval cut citrines estimated weight 22.00 carats, pins connected by bar and double belcher linked chain, all testing as silver in fitted boxed, retailed by J & W Marshall 41 George Street EdinburghCondition Report: gross weight 35.1 gramsboth pins have small bends to form one at the top near stone the other at the end setting behind stones has been gilded

Hand painted fine bone China. This limited edition candle snuffers features the Queen Elizabeth I with her iconic ruffled collar, elaborate gown and red hair; 41 of 100, Hallmark: L VI. Signe by JF. And Sir Walter Raleigh, a famous nobleman with plumed hat and a cloak; 41 of 200, Hallmark: M III. Signe by TA. Tallest figurine: 3.5"L x 2.75"W x 4.5"H. Bronte backstamp. Issued: 2009Dimensions: See DescriptionManufacturer: BronteCountry of Origin: EnglandCondition: Age related wear.

Dulmen Krumpelman van, Margaretha SE (Margreet) (attributed to) A ceramic sculpture of a young woman with a cloak, h 37 cm (provenance; collection gallery Wiek XX, Bad Nieuweschans).

Selection Of Marvel Comics to include: Alpha Flight 1985 Nos 31, 33, 34: The Mighty Avengers 1984 No 253: Avengers Sanction 2012 Issue 1 2nd printing variant: Avengers V X-Men round 6: Captain America 1985 No 314: Sgt Fury and his Howling Defenders 1985 No147: Adventure Into Fear with Man Thing 1973 No 12: Crossed Badlands 2012 Issue5: Cloak and Dagger 1988 Nos 1, 2: Fantastic Four 1986 No291: Fred Hembeck Destroys The Marvel Universe 1989 No1: Gambit 4: Ghost Rider 1990 Nos 1, 2: Blade Runner A Marvel Super Special 1982: Skrull Kill Krew 1995: Predator V Judge Dredd 1997 No1 of 3: Kick Ass 3 Issue 1 variant edition. Hit Girl issue5. All 22 comics are bagged and boarded VG/NM

Henry Pierce Bone (British, 1779-1855)Spencer Compton, Earl of Northampton (c. 1735–1796), wearing olive green doublet with silver embroidered trim, white lace collar, red sash and pearl encrusted red cloak over his left arm. Enamel on copper, signed, dated and inscribed on the counter-enamel Spencer Compton Earl of Northampton/ Slain at Hopton Heath/ May 1942. London June/ 1839. Painted for JP Ord Esq. by Henry/ Pierce Bone Enamel Painter to the/Queen, the Queen Dowager & the Duke/ of Kent From the Original by C./Jansen in the Collection of the Marquis/ of Northampton Castle Ashby/ Northamptonshire, gilded composition frame. Rectangular, 128mm (5 1/16in) highFootnotes:The son of William Compton, 1st earl in the Compton line (whom he succeeded in 1630), Spencer Compton warmly supported King Charles I. On the outbreak of the Civil War he was entrusted with the execution of the commission of array in Warwickshire. After varying success and failure in the Midlands, he fought at Edgehill, and after the king's return to Oxford he was given, in November 1642, the military supervision of Banbury and the neighbouring country. He was attacked in Banbury by the Parliamentary forces on December 22 but was relieved by Prince Rupert the next day. In March 1643 he marched from Banbury to relieve Lichfield and, having failed there, proceeded to Stafford, which he occupied. Thence on March 19, accompanied by three of his sons, he marched out with his troops and engaged Sir John Gell and Sir William Brereton at Hopton Heath. In the moment of victory he was surrounded by the enemy and, refusing quarter, was slain. His son James (1622–81) succeeded him as 3rd earl.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Henry Bone R.A. (British, 1755-1834)William Russell, Lord Russell (1639-1683), wearing white lace jabot, red-trimmed black cloak, white chemise and long natural curled wig. Enamel on copper, signed, dated and inscribed on the counter-enamel Willm. Lord Russell/ Died on the Scaffold July 21st 1683/ London/ Painted by Henry Bone R.A./ Enamel painter to the King &c/ &c. After Sir Godfrey Kneller/ No. 15 Berners St., gilded rectangular composition frame. Oval, 145mm (5 11/16in) highFootnotes:Provenance:Georg Rehm Auktionhaus, Augsburg, 10 October, 2009, lot 8009 Bone's preparatory drawing of the full, rectangular portrait by Godfrey Kneller, squared for transfer, marked with the oval of the final enamel and inscribed William Lord Russell, original in the/ possession of the Marquis of Tavistock/ April 1822, is in the collection of the National Portrait Gallery (NPG D17213).William Russell was an English Whig politician known for his opposition to King Charles II and his brother James, Duke of York. He acquired the courtesy title of Lord Russell in 1678. Russell was a key player in the Exclusion Crisis, which sought to prevent James, a Roman Catholic, from succeeding to the throne. In 1683, he was implicated in the Rye House Plot, an alleged conspiracy to assassinate Charles II and James. Although the evidence against him was inconclusive, Russell was found guilty of treason and executed, becoming a martyr figure for the Whigs.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com