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A Scottish Celtic circular cloak brooch, cast with figures and strapwork, pierced with a cross and centred with an amethyst; another, similar, cast with intertwined Celtic strapwork

Victorian pietra dura set of jewellery, to include a circular brooch, pair of earrings, cloak button, each decorated with white petalled flowers

English School, 18th centuryPortrait of a gentleman, half length, in a red cloak and lace collaroil on canvas82 x 66cmCondition report: Oil on canvas which is unlined. The canvas tension is very slack and the painting has come away from the stretcher at the right hand side. Tears to the canvas have been secured from the reverse with masking tape. There are undulations across the surface of the painting including pronounced stretcher bar marks where the canvas ressts against the wooden stretcher behind. The paint layer has a network of age cracks which are raised with areas of flaking and loss. In the lower half of the painting there are blisters in the paint layer with losses. The varnish is very degraded, it no longer saturates the paint layers below and has discoloured. There is a thick dirt layer which is partly imbibed into the varnish.

Charles Sillem Lidderdale (1830-1895)Portrait of a woman, half length, in a white cloaksigned with monogram l.l., oil on canvas53 x 43cmCondition report: Oil on a fine weave canvas support. The canvas is unlined and generally in plane with good tension. Stretcher bar marks have formed where the canvas rests against the wooden frame behind. The upper stretcher bar mark is very pronounced and glossy. There are also glossy patches above this line which fluoresce strongly under ultraviolet light. There are a few small punctures to the canvas along the lower edge. The paint layer has a network of age cracks which are raised in areas and pulling the canvas forward slightly. The varnish is yellowed and dull with a few matte spots, notably in the sitter’s hair. There is a thick layer of dust on the front and reverse of the painting. The unusual, decorative frame has several areas of loss and flaking.

REVERSE PAINTED ON GLASS ORIENTAL DEPICTION OF A WESTERN LADY IN 18TH CENTURY DRESS AND ORIGINAL CHINESE FRAME 51CM X 34CM WITH BRASS HANGER PLUS SMALLER SIMILAR OVAL PICTURE 23CM X 15CM OF LADY IN ERMINE CLOAK

Follower of John Riley (18th century) Portrait of Sir William Brownlow Bt., father of John, Viscount Tyrconnel, wearing an aquamarine cloak with white lace necktie Bears signature, oil on canvas, 57cm dia. (oval) Provenance: Tennants Auctioneers, Spring Fine Art Sale, 22nd March 2012, Lot 813 . in restored conditon, relined, cleaned and revarnished of some age. some general flattening to the surface and paint is thin in places, most notably throughout the blue of the sitters cloak. varnish now showing discolouration and deterioation . reasonably evident craquelure. old infilling to craquelure, across face which is evident with the naked eye. further infilling to old flaked paint and craquelure throughout, less evident with UV torch. some likely general strenghtening to background.

CONTINENTAL SCHOOL (XIX Century) Madonna in Blue Cloak, oil on board, unsigned, 26.5 x 19cm, Two etchings of Rome, signed and titled. (3)

A c.1960's/70's Jacques Heim Couture Evening Dress and Jacket, in gold silk satin, the fitted sleeveless dress with heavily beaded bodice and matching belted jacket; A Joan Leslie Emerald Crepe Evening Gown, with pleated long sleeves bodice and full skirt and a Dejue (Paris) black velvet evening cloak. (3)

ROYAL WORCESTER; a porcelain figure 'Yankee', shape 836, green backstamp, height 17.5cm, a figure of a girl with cloak, shape 1874, with puce backstamp, height 16.5cm, and a figure of a seated nude female putting on slippers, shape 2689, height 13.5cm (3).

RARE ROYAL DOULTON PORCELAIN FIGURINE 'BABETTE' HN1423, c. 1930-1938 by Leslie Harradine, of a girl in bathing costume and cloak holding a parasol, printed and painted numerals and marks, 13cms high Provenance: Pembrokeshire deceased estate Condition Report: hairline cracks to base and umbrella.

LEONORA CARRINGTON (1917-2011)Operation Wednesday signed and dated 'Leonora Carrington March 1969' (lower left) and extensively inscribed (to the foreground); signed, inscribed and dated 'Operation Wednesday, Dr. Fernando Ortiz Monasterio., Leonora Carrington, March 1969.' (on the reverse)oil and tempera on board61.1 x 45.1cm (24 1/16 x 17 3/4in).Painted in March 1969Footnotes:The authenticity of this work has kindly been confirmed by Dr. Salomon Grimberg. This work will be included in the forthcoming Leonora Carrington catalogue raisonné of paintings, currently being prepared by Dr. Grimberg.Please note that this work has been requested for an upcoming Leonora Carrington exhibition at the Arken Museum of Modern Art, Copenhagen, 17 September 2022 – 15 January 2023, later travelling to the Fundación MAPFRE, Madrid, 8 February – 14 May 2023.ProvenanceDr. Fernando Ortiz Monasterio Collection, Mexico City (acquired directly from the artist).Thence by descent from the above; their sale, Sotheby's, New York, 28 May 2013, lot 29.Private collection, US (acquired at the above sale).ExhibitedDublin, Irish Museum of Modern Art, Leonora Carrington, The Celtic Surrealist, 18 September 2013 – 26 January 2014 (later travelled to San Francisco).Liverpool, Tate, Leonora Carrington, Transgressing Discipline, 6 March – 31 May 2015.San Francisco, Gallery Wendi Norris, Threads of Memory, One Thousand Ways of Saying Goodbye, 21 October – 15 November 2017.Mexico City, Museo de Arte Moderno, Leonora Carrington Magical Tales, 21 April – 23 September 2018, no. 68 (later travelled to Monterrey).New York, Gallery Wendi Norris, Leonora Carrington, The Story of the Last Egg, 23 May - 29 June 2019.The painting Operation Wednesday (1969) by Surrealist artist and writer Leonora Carrington (1917-2011), is a work that presents a wonderful fusion of Christian, Mayan, and esoteric symbolism. It also marks a critical decade in Carrington's career when her art increasingly took on a socio-political message, demonstrating a firm allegiance to her adopted homeland, Mexico, where she had lived since 1943. The title is deceptively simple and its caption, written on the work in Spanish, reveals more: 'no olvides Tlatelolco.. les tres culturas,,, no tenernos tumba... campo military número 1' (Don't forget Tlatelolco... the three cultures...we don't fear the grave... military camp number 1).' These words make clear that Carrington's painting pays homage to the student movement or Movimiento Estudiantil, led by the students and staff of the Universidad Nacional Autonoma de Mexico (UNAM), which began on July 22, 1968. She commemorates those killed and injured in the massacre in Plaza de las Tres Culturas (Plaza of the Three Cultures) in Mexico City on Wednesday October 2, 1968, and those rounded up, detained and tortured in Military Camp One. On October 2, 1968, ten thousand students gathered in the Plaza in Tlatelolco to begin a peaceful protest march through the city only to find themselves surrounded by Federal troops, many in tanks, who opened fire as night fell. They were protesting against the nation's one party government under Gustavo Díaz Ordaz and the lack of political freedom; he in turn was determined to quash months of student protests, especially in the lead up to the opening of the Olympic Games, scheduled for 12 October. Some 200-400 protestors, innocent bystanders, children (the precise number has never been firmly established) were killed, an estimated two thousand students rounded up, imprisoned, beaten and tortured. In her book documenting this massacre, Elena Poniatowska writes of October 2, 1968: 'There are many. They come down Melchor Ocampo, the Reforma, Juárez, Cinco de Mayo, laughing, students walking arm in arm in the demonstration [...] carefree boys and girls who do not know that tomorrow and the day after, their dead bodies will be lying swollen in the rain.'1Carrington's own sons, Gabriel and Pablo, were involved in the student protests and had been printing anti-government propaganda leaflets and posters on the mimeograph belonging to their father, the Hungarian photographer Emerico 'Chiki' Weisz (1911-2007), in their family home. Carrington asked Gabriel to introduce her to his student circle in the aftermath of the massacre and together they planned a silent protest by marching through the city centre, all dressed in black. However, soon she and her family were in danger of arrest too: one morning they received a phone call warning them that the writer Elena Garro had denounced Carrington and Gabriel to the police; they quickly arranged to leave the country, flying to New Orleans, where they stayed until Chiki advised them it was safe to return.2In addition to commemorating the student protestors, Carrington's painting pays homage to those who supported and saved some of the wounded students, notably Dr Fernando Ortiz Monasterio (1923-2012), to whom the painting is dedicated. Monasterio's 'operation' was radically different to Díaz Ordaz's oppressive regime, of course. He is presented as a medical and humanitarian shaman. He dominates the composition in his tall slender form as the healer at a time of military terror, or an intermediary between a violent moment in history and a better future. Fernando Ortiz Monasterio was a surgeon and teacher who specialized in cranio-facial surgery, assisting many children born with facial abnormalities or suffering tumours. He worked for the Ministry of Health in Mexico and was affiliated with the Graduate Division of UNAM as well as the Hospital General Gea Gonzalez, in the Tlalpan district. Monasterio was known for his interest in music, literature, anthropology and sociology, and for his determination to understanding how and why so many Mexican children were born with cranial deformations.3Carrington's choice of medium for this work also pays homage to the humanism and skill of the doctor. She uses egg tempera, a technique which involves an emulsion of pigment and a water soluble binder – here the binder is egg yolk. Whilst a difficult process, prone to dry flaking, tempera had great symbolic significance in bringing art and science, the feminine (symbolised by the egg) and the masculine (the technical skill), together. Tempera and temperament share a common Latin root - temperare, to mix - and both involve the binding of things whether humors and tempers or pigments. In being associated with the feminine, her choice of tempera technique also serves as a striking counterpoint to the mechanical violence of the massacre. Tempera speaks to an old, life-giving process through the alchemical symbolism of the egg and by extension may be read as a means to challenge an emphatically modern, masculinist, political regime. Tempera was a popular medium in Surrealist circles, especially for women painters, and once Carrington moved to Mexico in 1943 it became a staple technique in her studio there. One friend described her studio as a 'narrow little room in old Mexico, the most dream-saturated place I know here'.4Carrington's recourse to diverse cultural symbols ensures the viewer is intrigued by her use of dramatic colour and detail alike and searches out the stories behind them. We find English and Spanish text in the foreground, some of it in mirror writing; a palette dominated by bands of white and black - the doctor and his assistant are in white which symbolises light, and the androgynous patient they assist is dressed in a black cloak, the colo... 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

A vintage painted wood framed dome top mirror with remains of text to plate Ladies Cloak Room and hand motif

* Nicholas and Dorothy Wadham. Oval silver medal, 1618, two embossed silver sheets (or clichés) joined at the rim, with half-length bust of Nicholas Wadham, facing slightly to the right, with ruff collar over plain cloak, and the words WHEN CHRIST WHO IS OVR LIFE SHAL APPEARE, to reverse, a half-length bust of Dorothy Wadham, turning slightly to the left, wearing damask gown, high ruff collar and broad-rimmed hat, and the words WE SHAL APPEARE WITH HIM IN GLORY, with four death's heads to the outer wreath-decorated border, 55 x 47 mm (2.2 x 1.9 ins)Qty: (1)NOTESMedallic Illustrations of the history of Great Britain and Ireland to the death of George II, 73 (page 220). Thought to have been issued on the death of Dorothy Wadham (1534-1618), daughter of Sir William Petre, principal Secretary of State to Queen Elizabeth. Her husband Nicholas (1532-1609), a Somerset landowner, left funds in his will for the founding of what became Wadham College, Oxford. The first stone of the college was laid on 31st July 1610, with the first students being received in 1613.

* Arthurian School. The Three Knights of the Grail, late 19th/early 20th century, oil on canvas, depicting Sir Bors, Sir Percival, and Sir Galahad, standing in a forest, each wearing a helmet, elaborate armour, and a cloak, 2 holding a long staff, furling forked pennant attached to one, decorated with a red line on a white ground, the other knight with his right hand on the hilt of a sword, heavily worn, with creases and surface losses, 112 x 67cm (44 x 26.5ins)Qty: (1)NOTESA large decorative piece, possibly by an artisan working in the manner of Burne-Jones for a furnishings and decorative arts firm such as Morris & Co. or Aldam Heaton & Co.

* Attributed to George Perfect Harding (1779/80-1853). Christopher Nugent MD (1698-1775) after James Barry (1741-1806), watercolour, half-length portrait, profile to right, of the eminent doctor wearing a brown coat and dark cloak, his white hair wavy and worn to his nape, his gaze introspective, with one finger resting on his chin, and an open book before him giving a glimpse of an inscription (bearing details of Barry's original painting), 14.5 x 12.3cm (5.75 x 4.75ins), mounted, framed and glazedQty: (1)NOTESLiterature: See R. Burgess, Portraits of Doctors & Scientists in the Wellcome Institute, London 1973, 2163.1 (for another copy of the work after Barry by Harding, noted below). James Barry's original painting of Christopher Nugent, painted in 1772, now hangs in the Victoria Art Gallery, Bath. Nugent was a successful doctor in Bath during the 1750s. Subsequently moving to London he moved in intellectual circles, and was a member of Dr Johnson’s literary club. Barry produced few portraits, but personal connections may have prompted this one, as artist and sitter lived in the same street. This work closely resembles another copy of Barry's portrait by George Perfect Harding held by the Wellcome Collection: a grisaille watercolour signed 'Harding' and dated 1806 (Wellcome Library no. 7481i).

Literary Character series. Dark blue tam, green cloak. Dolton backstamp. Artist: Max HenkIssued: 1973-1980Dimensions: 7"HManufacturer: Royal DoultonCountry of Origin: England

A COLLECTION OF CARVED CORAL ITEMS a white metal mounted flower carved coral panel ring, size L, a coral and crystal necklace with 9ct clasp, and a carved coral pig pendant, length of necklace 38cm, pig 12.8mm x 5.7mm, a carved coral marine chain brooch/cloak clasp, with hand finials, which would have clasped a jabot style pin, hands 2.8cm, chain approx 8cm, and a pair of carved coral knots with single drill hole to the reverse probably for earring posts, diameter 1.4cm, weight combined 22.3gms Condition Report: Available upon request

GLASGOW SCHOOL (LATE 19TH CENTURY) LADY IN A RED FUR-LINED CLOAK Oil on panel, 25.5 x 18.5cm (10 x 7 1/4") Condition Report: There is a high degree of craquelure evident and in the main over the dark passages where it would appear to indicate the use of bitumen. There are up to five tiny chips on the surface area with associated slight pigment loss.

A pair of early Derby Patch Mark figures, the Ranelagh Dancers, the gallant attired in a tricorn hat, doublet, hose and cloak, he holds a love letter while standing by a Rococo pedestal, his doublet painted in the style of the Cotton-stem Painter, his lady holding a nosegay wears a gown and cloak, with flowers and plumes in her hair, a ribbon-tied medallion suspended from her shoulder, each modelled with colourful bocage on a scrolling circular base and picked out in pastel tones of polychrome enamels throughout, 21.5cm high, c.1760 For a similar pair see: Bradshaw, Derby Porcelain Figures 1750-1848, 1990, E17, p 97Provenance: The G Cope Collection

* Clothing. A large quantity of ladies' garments, late 19th-late 20th century, including: a black velvet cape with fur collar; a long black chiffon sleeveless evening gown with gold embroidery to bodice and godets, with matching long-sleeved bolero; a dropped-waist satin summer dress with psychedelic art nouveau style floral pattern in purple; a black velvet cocktail dress with crossed strap and button detail at front, and matching short cape; a satin-trimmed black lace strapless full-length evening gown with boned bodice; a bright orange textured short coat; a heavy black satin-lined long wool cloak with gathered hood; a black cocktail dress of shimmering bead-effect fabric by Jay's of Regent Street; a black crêpe dress with dropped waist and double-fringed skirt; a long light-weight coat of black embroidered chiffon, lined with oyster chiffon, long sleeves with cape-style overlay, self buttons and large satin button loops; a red, black, and gold damask unstructured jacket with fur trim to elbow-length sleeves; and 2 embroidered oriental-style dressing gowns, one with polychromatic embroidery on a black ground, the other embroidered in orange on a black ground, various sizes and conditionQty: (approx. 60)NOTESProvenance: Collection of designer bookbinder and illustrator Faith Shannon (1938-2018).

James Joyce Interest - Sylvia Beach and The Lost Generation, A History of Literary Paris in the Twenties and Thirties by Noel Riley Fitch, Condor, 1984, dj; James Joyce's Trieste Library: A Catalogue of Materials at the Harry Ransom Humanities Research Center, The University of Texas at Austin, 1986; James Joyce: A Portrait of the Artist by Stan Gebler Davies, 1975, dj; Transcultural Joyce by K R Lawrence, Cambridge UP, 1998, dj; Titles by Leo Daly James Joyce in the Cloak of Saint Patrick, Westmeath, 1981, dj and Ulysses And Justice by James McMichael, Princeton UP, 1991, dj (6)

An 18th century South German or Austrian Baroque polychrome and parcel gilt decorated carved wood figural group of the Virgin and Christ Childthe crowned Virgin with cascading hair clad in a gilt decorated red robe and a blue and gilt cloak holding the draped infant Christ clutching a gilt orb, raised on a scroll footed plinth base centred by a vacant cartouche, the figure with some later refreshing to the polychrome decoration and with some typical minor restorations, one finger chipped to the end, 97cm high overallThis lot is subject to the following lot symbols: TPTP 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

After Carl Kauba (Austrian / American, 1865-1922): A large cold painted and patinated bronze figure of 'Amerika'depicting a native Indian chief with feathered headdress, the figure wrapped in a cloak and fringed shawl and holding a shield and tomahawk, on a rusticated veined marble oval plinth with polished top, 49cm highThis lot is subject to the following lot symbols: TPTP 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

White metal penannular Nordic style cloak brooch pin, D: 5 cm. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

~ Follower of Sir Peter Lely (1618-1680) Portrait of William Waller, full length seated, wearing a powdered wig, red velvet costume, with blue cloak and attendant hound before a landscape Oil on canvas, 130cm by 95cm See illustration

A Bow Porcelain Figure of Winter, circa 1755, from the Rustic Seasons, modelled as a bearded seated figure wearing a hooded cloak holding a stick, a brazier at his feet, 13.5cm high. Typical very minor losses.

A Pair of French Porcelain Figures of Lovers, 19th century, he wearing a red skull cap and yellow cloak, a dagger in his waistband, two doves at his feet, she holding a handkerchief in her left hand, a basket over her right arm, both on circular mound bases, 50cm and 52cm high. Typical minor surface wear.

A Pair of Derby Porcelain Figures of Summer and Winter, circa 1765, from a set of The Seasons, Summer as a maiden holding a posy, a cherub with a basket of flowers on his head at her side, Winter as a bearded figure in a fur cloak, a cherub chopping wood at his side, on scroll moulded bases, 22cm high. Summer with firing cracks to base. Winter with shaft of axe missing. Both with typical minor losses and wear.

DERBY; a pair of 18th century figures depicting David Garrick in the role of Tancred, height 23cm, and Susanna Ciber as Sigismunda in Thomson's 'Tancred & Sigismunda', William Duesbury & Co, circa 1760 (2).Additional InformationHe has restoration to the hat adornment beside the side of his face, also to his right wrist and fingers, also around the back of the cloak and the bocage and leaf tips. There is also losses to the leaves around the base and a large firing crack through the base running up approx 2cm to the rear of the figure. She has restoration to the tide section of bonnet underneath her chin, also to the bottles within the basket, losses to the flower heads and leaves around the base and a small firing crack to the base. General wear and tear throughout.

DERBY; a large 18th century chinoiserie figure group representing Touch from the set of Chinese 'Senses', Andrew Planché 'Dry Edge' period, circa 1750-1755, height 24.75cm.Provenance: From a private Worcestershire collection.Additional InformationFinial of the hat has been broken and crudely restored, also some restoration around his beard and the top section of the coat, tip of his left ear and the edges of his hat. Also to his right hand, left wrist which is spurning a crack running through his cloak and around the back of the child which has got some repaint around the face. There is also some restoration to the child's hands and tip of sleeve, also to the tips of the boots, general surface wear and fritting to the edges elsewhere.

CHELSEA; an 18th century red anchor period figure of a seated Oriental gentleman wearing a puce turban and seated upon a floral decorated rock, height 16cm.Provenance: From a private Worcestershire collection.Additional InformationExtensive restoration to both hands and sleeves, also to the cloak on the figure and above where it meets the trunk. Extensive restoration to the trunk, also the figures legs and feet and the applied leaf bocage throughout.

A matched pair of English 18th century figures of dandy and his companion with floral decorated waistcoat and floral decorated dress, height approx 22cm.Additional InformationShe is restored to the head, her right hand and arm, left hand, around her chest and the cloak. Losses and restoration to the tree stump, flower heads and bocage, to the bows on her feet. He is restored completely through the left arm and hand, to the hat and the drape of the fold in his cloak, to the tree stump, flowers and bocage.

Two early 19th century Staffordshire pearlware figures 'Hope' and 'Florna', both circa 1820, heights 22.5cm and 18.5cm respectively (2).Additional InformationHope is missing both front and rear sections beneath her cloak, also a crack through her right wrist. A few small paint losses and small chips around the base. Florna is missing the top section after her left hand of the wreath. There is a firing flaw through her neck, but this is in production. A few small chips throughout and losses to paint in areas that are raised.

MEISSEN; a late 19th century figure group representing autumn/harvest, the central figure surrounded by three putti, blue painted crossed swords mark to base and incised 'D3', height 19cm.Additional InformationThere has been restoration to the right hand and left arm. The cherub figure at the back of the figure has extensive restoration and the cloak is completely replaced. There are losses to the basket, presumably it would have had handles. There are small losses to leaves and flower heads and the sheaves of corn.

MEISSEN; a pair of 19th century figures, the first depicting a boy standing beside a column, the second a girl wearing a crinoline dress and looking down to a mirror, blue crossed swords mark to base, height 15cm.Additional InformationShe has a firing crack to the base and numerous chips to the base, each hand has been broken one in two places, the other in one place. She also has two vertical engraved lines below the crossed swords mark. He with loss to the tip of the hat and his arm has been broken from his body, also numerous chips to his cloak and to the base.

A rectangular enamel plaque, of a girl in a long blue dress with amber cloak, 9ins x 3ins

Two Antique Bronze Portrait Miniatures, one of a gentleman wearing a beard, with an impressed registration date mark. Size 4'' x 3''. The other of a gentleman wearing a cloak, measures 3'' x 2.5''. Please see images.

Wade Ceramic Figural Sandeman Port Lidded Decanter. Made Between 1958 - 1960. It Depicts a Black Glazed Porcelain Figure of a Face-less Man, Wearing a Long Cloak and Wide Brimmed Hat, The Cork Is The Top Hat. 8.5 Inches - 21.25 cms Tall. Mint Condition.

A collection of 20th Century vintage Bristol Police Constabulary uniform items and medals comprising a woollen night cape / cloak with chain fastening and 1755 chrome numbers to the collar, a paperweight containing the constabulary badge, a pewter Avon & Somerset Constabulary policeman statue, a silver plastic badge, a Police Cadet relay race shield, a large manual and an assortment of uniform buttons. Interesting collection

A collection of West Mercia Police Constabulary Officers uniform items once belonging a Super Intendant comprising a Cromwell made Custodian helmet / headdress with liner and chin strap, a peaked cap with white metal badge to the front and silver bullion thread to the visor, a heavy woollen night cape / cloak, a pair of Hiatts handcuffs, West Mercia marble mounted paperweight and a wooden wall plaque with enamel  constabulary emblem. Interesting collection.

A scarce early Royal Doulton figure, 'One of the Forty', designed by Harry Tittensor, having printed pottery marks, hand painted title and impressed numerals to base. Height 20cm Condition report: No retoration. Tiny losses to the figure's (proper left) shoe and also to the bottom of their cloak (when viewed from behind). Hairline to base. Please refer to the images on our website.

Hand made Norse type wrought metal cloak pin. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

A Viking cross and cloak button, found in Russia

A wardrobe or cloak cupboard in stripped pine H154cm x W108cm x D45cm

A steamed wood light stained cloak or coat stand

Star Wars, Kenner, Hasbro, LFL, CPG, GMFGI - A squad of 11 loose vintage Star Wars figures with a Star Wars 'ROTJ' story book. Lot includes Obi Wan Kenobi (GMFGI, 1977, Hong Kong) tear in cloak; IG-88 (LFL, 1980) with IG-88 Rifle and Blaster; Weequay (LFL, 83) with rifle; Lando Clarissian Skiff Guard Disguise (LFL, 82) with Force Pike and similar. All items have signs of play and use but generally appear to be in Good overall condition a few with weapons / accessories.

19th c Staffordshire square based figure: Man with cloak, chips to 2 base corners, damage to back base edge, blemishes to edge of cloak, 18.5" high.

A good collection of textiles 19th century and later, including four short babies dresses; 2 petticoats; 1 medium babies dress; 2 long babies dresses; 1 long petticoat, all with lace; 19th century child's fitted jacket with turquoise trim; 1 linen shirt; cloak, etc

FRANCESCO SOLIMENA ('L'ABATE CICCIO') 4. Oktober 1657 Canale di Serino - 3. April 1747 Barra bei Neapel DER HEILIGE MARTIN ZERSCHNEIDET SEIN ROTES PALUDAMENTUM UND GIBT ES EINEM ARMEN, UNBEKLEIDETEN MANN Öl auf Leinwand (Seitenrand doubl.). 83 x 118 cm (R. 107 x 141 cm). Part. min. rest. Rahmen. Professor Martini merkt an: 'Das Gemälde [...] ist nach meinem Urteil ein typisches Werk von Francesco Solimena [...]. Es handelt sich um eine Fassung, versehen mit bemerkenswerten Varianten, von einem seiner beiden Gemälde in der Kapelle des Hl. Martin in der gleichnamigen Kartause von Neapel, gemalt 1733 (siehe F. Bologna, Francesco Solimena, 1958, S. 197.); es ist auch nicht auszuschließen, dass es sich hier um das vorbereitende Modello für dieses Altarbild handelt. Stilistisch stellt es die reifere Schaffensperiode des Künstlers dar, da seine Malerei mit all den besten Merkmalen und Formeigenschaften erscheint, einem starken Helldunkel für eine meisterhafte Modellierung, einer weisen und ausgeglichenen Komposition und noch dazu einer maßvollen und zugleich prächtigen Beherrschung der Farbe, hervorgehoben vor allem durch das sehr schöne Rot-Zinnober, wie der Mantel des Hl. Martin in diesem Fall zeigt, als ideales Zentrum des Bildes. Es ist auch interessant festzustellen, dass dieses Werk zur gleichen Zeit der Altargemälde 'Die Verkündigung' vollendet worden ist, die Solimena für die Kirche S. Rocco in Venedig malte: in diesem finden wir in der Tat das selbe starke Helldunkel, das gleiche wunderschöne Licht und so auch die gleiche Art und Weise der Stoffdrapierung.' Expertise: Beigefügte, undatierte und handschriftliche Expertise von Professor Egidio Martini (Venedig) in italienischer Sprache (deutsche Übersetzung anbei). Provenienz: Rheinische Privatsammlung. Zuvor: Italienische Privatsammlung (durch Erbe weitergegeben). FRANCESCO SOLIMENA ('L'ABATE CICCIO') 4 October 1657 Canale di Serino - 3 April 1747 Barra bei Neapel SAINT MARTIN CUTS HIS RED PALUDAMENTUM AND GIVES IT TO A POOR, UNCLOTHED MAN Oil on canvas (edge relined). 83 x 118 cm (F. 107 x 141 cm). Part. min. old rest. Frame. Professor Martini notes: 'The painting [...] is, in my opinion, a typical work by Francesco Solimena [...]. It is a version, provided with remarkable variants, of one of his two paintings in the Chapel of St. Martin in the Charterhouse of the same name in Naples, painted in 1733 (see F. Bologna, Francesco Solimena, 1958, p. 197.); it cannot be ruled out either that this is the preparatory modello for that altarpiece. Stylistically, it represents the artist's more mature creative period, since his painting appears with all the best features and formal characteristics, a strong chiaroscuro for a masterly modelling, a wise and balanced composition and, moreover, a moderate and at the same time splendid mastery of colour, highlighted above all by the very beautiful red vermilion, as St. Martin's cloak shows in this case, as the ideal centre of the picture. It is also interesting to note that this work was completed at the same time of the altarpiece 'The Annunciation' that Solimena painted for the church of S. Rocco in Venice: in this one we find indeed the same strong chiaroscuro, the same beautiful light and so also the same way of draping the fabric'. Expertise: Attached undated handwritten expertise by Professor Egidio Martini (Venice) in Italian (German translation enclosed). Provenance: Rhenish Private Collection. Previously: Italian Private Collection (passed on by inheritance.)

19TH CENTURY ENGLISH SCHOOL Head and shoulders portrait of a lady, her hair with ringlets, watercolour, 15 x 11cm oval; another similar; a pencil and sepia study of a lady wearing veiled headdress and cloak, 12 x 9cm, all mounted but unframed; and a 19th Century wash study of Diana the Moon Goddess, 7 x 7.5cm in rosewood frame (4)

19TH CENTURY ENGLISH SCHOOL Head and Shoulders portrait of a lady wearing a striped red cloak, oil on canvas, 26 x 18.5cm and a late 18th/early 19th Century portrait of a gentleman, 29 x 22cm (2)

A RUSSIAN METAL FIGURE OF A YOUNG MAN carrying a book and cloak. 12ins high.

Percy LANCASTER (1878-1951) watercolour, portrait of a young lady in a blue cloak, signed,In a modern wash mount and thin gilt frame

the oval hard stone carved with the figure of a weeping Cupid symbolising repentance, chained to a column by his ankle and holding his cloak signed in Greek letters Pilcher (Luigi Pilcher 1773-1854) rub-over set in yellow gold on a plain tapered shank(Ring size: N/O, matrix height: 1.6cm)Footnote: Provenance: Lots 111 - 119 from a private collection. Duke of Wellington Collection (1807-1884), The Wellington Gems exhibition, no 187, S.J Phillips, London 1977.

Silver jewellery, including a Victorian silver photo pendant locket, Scottish Celtic penannular cloak pin brooch, and another similar smaller brooch, 29.2g total (3)

A THANGKA OF DUDUL DORJE (1733-1797), THE 13TH KARMAPA LAMATibet, 18th-19th century. Distemper and gold on cloth. Seated on an elaborate jeweled throne, various offerings placed before him, the hands held in dharmachakra mudra, wearing flowing monastic robes, the head adorned with a black vajra hat, a symbol of the Karmapa Lamas, a green halo behind his head.Provenance: The Southern Alleghenies Museum of Art. Swiss private collection, acquired from the above. The Southern Alleghenies Museum of Art is a museum with five locations in southwestern Pennsylvania, USA. It is headquartered at Saint Francis University in Loretto, where it was founded in 1976. The museum is a repository for several distinctive special collections such as the Charles M. Schwab Collection of Presentation Silver and Other Memorabilia, the Colleen Browning Collection, and the Rezk Collection of Tibetan and Nepalese art.Published: Himalayan Art Resources, item no. 90506Condition: Extensive wear, soiling, creasing, flaking to pigment, small tears and losses, minor touchups.Dimensions: 56 x 40 cmDudul Dorje (1733–1797) was the thirteenth Gyalwa Karmapa, head of the Kagyu School of Tibetan Buddhism. He was born in Champa Drongsar and recognized by Gyaltsab Rinpoche at the age of four. He received an education in the monastery from the age of eight by both the Kagyu and the Nyingma schools. Dudul Dorje became head of the school at the age of 31. He was known for his great love for animals.At the top center is Buddha Amitabha, on the left is Khasarpani Avalokiteshvara, and on the right is Padmasambhava. At the upper sides are two monastic figures attired with robes and red caps signifying a high position in the Kamtsangpa tradition. Below at the sides are similar figures, with the figure on the proper left wearing a lotus style hat of the Nyingma similar to those of the Shechen tradition. At the bottom center is the fierce protector, Black Cloak Mahakala, with one face and two hands holding upraised in the right a curved knife and a skullcup to the heart with the left, wearing flowing garments, surrounded by flames of pristine awareness. A skull cup is offered in front. On the right is the female wrathful protector, Shri Devi, with one face and four hands riding a mule. On the left is the worldly daemon, Oath Bound Blacksmith, with one face and two hands riding a brown goat. The background is sparse with rolling green hills and an open landscape extending to the fore.Auction result comparison: Compare with a related thangka of Dudul Dorje at Christie’s New York in Indian and Southeast Asian Art on 22 March 2011, lot 330, sold for USD 16,250.第十三世葛瑪巴敦都多傑唐卡 (1733-1797) 西藏，十八至十九世紀。布面金彩膠畫。敦都多傑坐於寶座上，面前的可見各種供品，雙手施説法印，僧袍綫條流暢飄揚，頭戴黑帽，象徵著黑帽係葛瑪巴，頭後是綠色光背。 來源：The Southern Alleghenies Museum of Art；瑞士私人收藏，購於上述美術館。The Southern Alleghenies Museum of Art是在美國西南賓夕法尼亞州擁有五個分館的美術館。 它的總部位於Loretto成立於1976年的聖弗朗西斯大學。該美術館收藏了幾個特殊藏品，例如Charles M. Schwab收藏銀器和其他紀念品收藏，Colleen Browning Collection收藏和Rezk的尼泊爾藝術品收藏。 圖片：Southern Alleghenies Museum of Art 內部 出版: Himalayan Art Resources, 展品編號90506 品相：大量磨損，污跡，起皺，顏料剝落，小水漬和缺損，輕微的修飾。 尺寸：56 x 40 厘米 拍賣結果比較：一件相近敦都多傑唐卡見紐約佳士得Indian and Southeast Asian Art 拍場2011年3月22日 lot 330, 售價USD 16,250.

A THAI BRONZE FIGURE OF BUDDHA, AYUTTHAYA KINGDOMThailand, 17th century. Cast standing in samabhanga, the right hand raised in abhaya mudra and the left hand lowered at this side, wearing a long cloak and richly adorned in finely incised jewelry, the face showing a serene expression with downcast eyes under arched eyebrows, flanked by elongated earlobes with earrings. With a modern associated wood base. (2)Provenance: Estate of Joachim Hinz, a collector from Hamburg, Germany.Condition: Overall good condition commensurate with age, extensive wear, small nicks and losses here and there, the feet with old repairs (inspected under strong blue light). Fine malachite-green and copper-red patina.Weight: 1,893 g (the bronze only)Dimensions: Height 43.5 cm (incl. base) and 34.6 cm (excl. base)Auction result comparison: A related bronze of larger size was sold in these rooms in Fine Chinese Works of Art and Buddhist Sculptures on 16 June 2018, lot 113, for EUR 5,688.

Master Ferrand González (Activo en Toledo entre 1383 - 1410) "Madonna and Child" Polychromed and gilded alabaster sculpture. Incised and gilded signature in gothic letters on the front of the plinth “Maesttro Fernan: Entallador”. Marvellous sculpture in which the Madonna is represented in a standing position, holding the Christ Child in her left arm. She wears a gorgeous brocade tunic with red and gilded motifs, cinched beneath the breast with a band which we can only see as it hangs down at one side, showing elaborate work of sculpted square shapes with alternate red and gold decoration, the last of these is topped with a four-petalled flower. This decorated band is almost identical to that employed by the sculptor on the dress on Elvira Álvarez de Ceballos’ tomb, which is located at the Quejame Monastery in Álava. A cloak rests delicately on Mary’s shoulders, blue on the inside and decorated with large gilded stars on the exterior. The clothing rests on her feet forming gothic folds, beneath which the tips of her shoes stick out delicately. The Child wears a tunic and cloak that match those of the Madonna. Both have a sweet smile and exchange gestures of affection, the Child raising His little hand towards Mary’s face, who rests her right hand on the Child’s chest with a maternal gesture. Elegant and delicate to the smallest detail, as we can see in the minute buttons which are on the sleeve of the tunic. María Teresa Pérez Higuera, in “Ferrand González y los sepulcros del taller toledano (1385 -1410)” (Ferrand González and the tombs of the Toledo workshop) indicates that at the end of the 14th century they were doing a great deal of work at Toledo Cathedral, which is decorated in such a way that it required the employment of sculptors or “entalladores” (carvers), who, of course, also worked outside the Cathedral. The existence of a workshop that made tombs in the city of Toledo in the late 14th century has been established without doubt. It was run by Ferrand González, who by that time was a well-known name in Castilian gothic sculpture. Pérez Higuera also mentions in her publication that: “There is a reference to a Ferrand Gonçales in the book of Works and Manufacturing of Toledo Cathedral, 1383, with delivery notes by the sculptor on different capitels, which were used in the choir screen that was made around that time. This Ferrand Gozález can be identified with the sculptor who made the tomb for Archbishop Don Pedro Tenorio at the Saint Blaise Chapel in Toledo Cathedral in 1399, and so it can be argued that his activity between these two dates can be proven completely, also by another series of tombs which are attributed to him as well as other work that he sculpted in the Cathedral.” González is also the sculptor of the tomb of the Bishop of Plasencia, D. Vicente Arias de Balboa, which is located in the same Saint Blaise chapel. The account book of the same chapel shows payments to the sculptor for the sculptures of the Annunciation on the façade and the polychroming of the same sculpture. Another series of sculptures was made by him and his team and these are: The tomb of Juan Serrano in Guadalupe as can be seen in the note by P. Germán Rubio: “…The famous Toledan stoneworkers, Pedro Sánchez and Ferrant Gonzalez, who worked on D. Juan Serrano’s tomb from 1403-1407, the last secular prior of Guadalupe..”. Also, Diego de las Roelas’ tomb at the Cathedral of Ávila, the Ayalas’ tombs in their funerary chapel at the Quejana Monastery, Álava, that of Juan Alfonso de Ajofrin in the Monastery of Saint Dominic of Silos in Toledo, that of the Figueroa family in the Church of Saint Mary in Écija (Seville), and that of the Pérez Guzmán family in Saint Andrew’s Chapel in the Cathedral of Seville, among others. Height: 53 cm.

"Our Lady Immaculate". Monumental carved, gilded and polychromed wooden sculpture. Castilian School. 17th century. Marvellous image of Our Lady Immaculate, who is being raised, glorious, on a large cloud held up by Italianate looking angels. Facing forwards with the arms semi extended, and a serene and beautiful face, looking up to the heavens. The sculpture is masterful, both in the carving, which gives movement and a multitude of folds to the rich cloak which falls from the left shoulder, is gathered up by her arm, and falls to the ground creating great volume, and also in the polychroming and estofado technique, which is of great beauty. In our opinion, the image fits within the Romanist School. 209 x 127 x 55 cm.

"Seat of Wisdom (Sedes Sapientiae)". Carved and polychromed wooden sculpture. Castilian School. Leon. Romanesque. Mid 13th century. Marvellous example of Romanesque Marian imagery, which has its original polychrome preserved intact. 53,5 x 18,5 x 13 cm. The Madonna is facing forwards, crowned, wearing a headdress and seated on her throne of glory as queen and at the same time forming a throne for the Christ Child, who gives blessing with the right hand. Wearing a tunic in ochre tones and an orangey cloak that covers her lap, on which the Christ Child rests, being also in a forward facing position and in the attitude of giving blessing with the right hand, holding the book of the Holy Scriptures in the left. As Dr. Pitarch points out, the sculpture is: "inheritor of the tradition and theme formulated since the second half of the 12th century, there is an echo of the transformations that originated in the second quarter of the 13th century, after the modernisation of sculpture by the large workshops at the cathedrals of Burgos and Leon. There are new elements in the depiction of the theme of the Maiesty and in the Virgin Mary’s attire that had not been seen before. The first thing one notices about this carving is the conception of symmetry to a central axis, verticality and the geometrical tendency, softened by the modelling of the polychroming." For this reason, Professor Pitarch compares this Madonna to the Maiestas Mariae at the Astorga Cathedral museum, with the one at Osorno La Mayor in Palencia, with that in the collection at the Smart Museum of Art in Chicago and the one at Leon Cathedral museum, which came from the Monastery of San Miguel de la Escalada, among others. The lot includes the report by Dr. Antoni José J Pitarch.