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Edmund John Niemann (British, 1813-1876), A woman in a red cloak on a country lane, signed and dated 'Niemann 46' (lower right), oil on canvas, 34 x 44.5cm

Kindly donated by Prep 2A wonderful collection of Harry Potter items to include: Decals, Hogwarts Mug, Card Game, Lego Advent Callendar, Hogwarts Notebook & Pen, Chocolate Frog, Invisibility Cloak, Skele-Gro Water Bottle, Bertie Botts Every Flavour Beans

Le Réveil Matin: A Late 18th Century Wood Fan, the sticks plain, the slender guards finished with ivory thumb guards. The double paper leaf, engraved and hand coloured to the recto, features a gentle image of a maiden asleep under an arbour, her simple white gown enhanced with a rose-pink cloak, Cupid, flaming torch aloft, leaning close to gently sound an awakening call with his curved horn. Entitled ''Le Reveil Matin'' (the morning awakening). The verso is plain. Guard length approx. 10 inches or 25.5cm. Purchased at Christie's SK, 16th May 1989, lot 103. Together with A Much Later Fan with double paper leaf in strong red, depicting a street scene painted in gold, a coach and horses about to depart, having delivered a lady to join her friends and a small child, the ladies all wearing Regency gowns and the gentleman and small boy in long coat and breeches. The verso is painted with a simple spray of foliage. The simple wood monture, with regular piercing, is painted ruby red. Guard length approx. 10.75 inches or 27.5cm. (2). The first fan, is in good shape overall, with Light rubbing to some folds, and to the dark border.

An Early 18th Century Ivory Biblical Fan with simple monture, and reasonably bulbous head. The vellum leaf, mounted à l'Anglaise, shows an elderly man in long brown robe, and hat with upturned rim, seated under a tree, a lady in blue robe and brown cloak, the latter wrapped around a naked child at her feet, sits to converse. Perhaps a depiction of Abraham and his former mistress Sarah, and their son Ishmael, after she has been forced to leave after taunting Abraham's wife Sarah about her continued barrenness. A large house and tower are just visible in the background. The leaf borders are all adorned with small gold foil leaves, and flowers. The verso is plain. Guard length approx. 10.5 inches or 26.5cm. Together with Another Early Ivory Fan with shaped and bulbous head, the upper guards painted in pink, green and lilac with vines and bunches of grapes. The gorge sticks are shaped and carved with naked children striking poses, perhaps relating to sporting or musical activities. The double leaf is painted with a simple scene of a maiden conversing with a stranger, dressed in rather flamboyant costume and large hat, possible a street player or actor. A house in the background appears to be built on stilts with access by ladder. The simplicity of the scene is balanced by the addition of gold highlights to the costume, house and elegant weeping willow. The verso is plain. Guard length approx. 9.75 inches or 25cm (2). The first fan is sound, although loss to two of the ribs have caused the gorge sticks to detach. Rubbing to the folds. One or two of the foil leaves are missing. A small patch of clear tape is noted along the top border on the verso. The second fan has retained good bright colours and gold highlights. A central gorge stick has broken and a small section between the break and the head is missing.

A Late 19th Century Painted Fan, the ornate and substantial gorge perhaps indicating origins in Spain, complementing the scene of a lady appearing at her window overlooking the square of a Spanish pueblo, her attention drawn by the swordfight below, presumably in respect of her hand. The victor would appear to be the suitor to the left in plumed hat and cloak, as his opponent's sword lies on the stone. The verso is plain cream silk. Both gorge and guards are heavily decorated pierced white mother-of-pearl, the recto with substantial gilding and silvering to the reserves, enclosing a white mother-of-pearl figurative cartouche, showing two 18th century couples in their evening grandeur dancing in a clearing. This scene is backed with very thin mother-of-pearl. Together with an unlabelled card fan box. Guard length approx. 9.75 inches or 25cm. Some of the MOP backing in the gorge scene has been crudely replaced. Repair to lower guard.

A Scarce 19th Century French Four-Way Bone Brisé Fan with classically pierced sticks, the first engraved and hand-coloured scene showing Zeus and Hera, a peacock to their right, an eagle with outspread wings at their feet, bordered with blue, green and gold, flowers to the exterior of this central cartouche. The verso shows a young mother in a simple white Regency dress, and yellow spencer, wrapping her cloak around a baby wearing a frilled bonnet, laid on a red chaise longue. The tender scene is surrounded by painted red roses and green leaves. Turning to the remaining faces of the brisé, one side is painted with a central wreath of pink roses, and leaves, within which a gold star and brown leaves sits, and outside which each corner features bright blue flowers with yellow stamens. The final side is painted in gold with a classical tall jardinière on elaborate stand, filled with vibrant flowers, and more pink roses and gold border complete the design. Barrel head. Twenty-six inner sticks and two guards, all with gently pointed and serrated tips. Purchased at Phillips, Sevenoaks, 9/12/1992, lot 445. These fans were also known as ''surprise'' fans, in fashion from 1819, see page 98 of ''European Fans'' by Maryse Volet.. Note one guard is a replacement. It may also have a crack. One tip lacks one tiny sliver.

STOSS, VEIT STOSS, VEIT um 1447 Horb - 1533 Nürnberg Umkreis Titel: Mondsichelmadonna. Datierung: Um. 1500. Technik: Lindenholz. Fassung entfernt. Maße: 126cm.  Provenienz: Privatbesitz, Deutschland. Die sehr gut erhaltene Figur zeigt die Muttergottes stehend auf der Mondsichel, ein Hinweis auf die Offenbarung des Evangelisten Johannes, das Jesuskind auf ihrer linken Hand vor ihrer Brust haltend und mit der rechten Hand stützend. Das nackte Jesuskind wendet sich dem Betrachter zu. Es hält in der rechten Hand einen Apfel, Symbol des Sündenfalls als Hinweis auf die Erlösung der Menschheit durch seinen späteren Kreuzestod. Maria trägt über einem engen Kleid einen über ihre Schulter drapierten Mantel, den sie unter dem rechten Arm aufnimmt, wodurch dieser in langgezogenen Falten vor ihrem Körper fällt. Der Faltenwurf wird belebt durch knittrig aufwirbelnde, virtuos geschnitzte Partien. Marias Gesicht mit der hohen Stirn wird umrahmt von den breit ausfächernden Haaren, die in Strähnen vor dem Körper und in Wellen auf ihren Rücken herunterfallen. Ursprünglich wird die Figur die Mitte eines Altarschreines gebildet oder als Teil eines Marienleuchters im Kirchenraum gehangen haben. Die virtuos geschnitzte Plastik dürfte im Umfeld des großen Bildhauers Veit Stoß (1447-1533) in Nürnberg entstanden sein. Vor allem die Auflösung der Falten erinnert an den von Veit Stoss geprägten Stil der Nürnberger Plastik um 1500. Auf dessen Umfeld verweist auch das zarte Gesicht der Maria. Wir danken Guido de Werd, Köln, für seine freundliche Unterstützung bei der Katalogisierung der vorliegenden Arbeit. Erläuterungen zum Katalog Veit Stoss Deutschland 15./16. Jh. Skulpturen Religiöse Darstellung Skulptur Madonna mit Kind STOSS, VEIT STOSS, VEIT ca. 1447 Horb - 1533 Nuremberg Circle Title: Woman of the Apocalypse. Date: ca. 1500. Technique: Lime wood, frame removed. Measurement: 126cm.Provenance: Private ownership, Germany. The very well preserved figure shows Our Lady standing on the crescent moon, a reference to the Revelation of the Evangelist John, holding the Child Jesus on her left hand in front of her breast and supporting her with her right hand. The naked baby Jesus turns to the viewer. She holds an apple in her right hand, a symbol of the Fall of Man as a reference to the redemption of mankind through his later death on the cross. Mary wears a cloak draped over her shoulder over a tight dress, which she takes up under her right arm, causing it to fall in elongated folds before her body. The drapery is enlivened by crumpled, virtuously carved parts. Maria's face with the high forehead is framed by the broadly spreading hair, which falls in strands in front of the body and in waves onto her back. Originally the figure will have been the centre of an altar shrine or hung as part of a Marian chandelier in a church. The virtuosic carving is thought to have been created in the surroundings of the great sculptor Veit Stoß (1447-1533) in Nuremberg. The dissolution of the folds in particular is reminiscent of the style of Nuremberg sculpture around 1500, which was influenced by Veit Stoss, and to whose surroundings the delicate face of the Virgin Mary also refers. We are grateful to Guido de Werd, Cologne, for his kind support in cataloguing the present work. Explanations to the Catalogue Veit Stoss Germany 15th/16th C. Sculptures Religious Art Sculpture Madonna with child

SOLIMENA, FRANCESCO SOLIMENA, FRANCESCO 1657 Canale di Serino - 1747 Barra um 1700 Titel: Portrait eines Ritters von Malta (angeblich Antoine Manoel de Vilhena). Technik: Öl auf Leinwand. Maße: 106 x 87,5cm. Rahmen/Sockel: Rahmen. Gutachten: S. Causa, Neapel, nach Begutachtung des Originals im August 2020. Provenienz: Privatbesitz, Italien. Das vorliegende halbfigurige Portrait beeindruckt durch die ungeheure Präsenz des dargestellten Mannes in einer Prunkrüstung. Die linke Körperhälfte, Schulter und Arm sind dem Betrachter zugewendet, den Kopf hat der Dargestellte aber so gedreht, dass sein Gesicht nahezu en face zu sehen ist. Sanft und gleichzeitig selbstbewusst schauen die großen Augen unter der weißen Allonge-Perücke den Betrachter an. Der Orden, der an einem Samtband auf dem Harnisch hängt, weist ihn als Malteser-Ordensritter aus. Möglicherweise handelt es sich um den Portugiesen Antoine Manuel de Vilhena (1663 - 1736), der von 1722 bis zu seinem Tod Großmeister des Malteserordens war. Der Künstler dieses Werkes ist Francesco Solimena. Er war in der ersten Hälfte des 18. Jahrhunderts einer der berühmtesten und begehrtesten Maler seiner Zeit. Solimena lebte und arbeitete fast ausschließlich in Neapel, das zunächst zur spanischen Krone gehörte, nach den spanischen Erbfolgekriegen dann Österreich zugeschlagen wurde. Die führenden Herrscherhäuser und der Hochadel Europas hatten durch diese politischen Wendungen Zugang zu Solimena, der vor allem durch seine vielfigurigen sakralen und profanen Gemälde und Fresken Berühmtheit erlangt hatte. Und er begegnete den Auftraggebern auf Augenhöhe: Sein Zeitgenosse, der Künstler-Biograph Bernardo de Dominici, bezeichnete ihn als "principe di tutti i pittori viventi" ("Fürst unter allen lebenden Malern"). Der ovale Bildausschnitt des Portraits kontrastiert nur wenig zu den Winkeln des Gemäldes. Brauntöne herrschen vor, das Rot des flatternden Umhangs und die wenigen Blautöne in der Rüstung und im Hintergrund sind die einzigen zurückhaltenden Farbakzente. Dagegen setzen die hell und weiß gemalten Partien kontrastreiche Betonungen: Das von weißen Locken und dem Kragen gerahmte, ausdrucksvolle Gesicht, die mit trockenem Pinsel souverän gemalten, breiten Lichter, die die Rüstung reflektiert, der Orden an der Brust aber vor allem die weiß behandschuhte linke Hand des Portraitierten am unteren Bildrand, die den gemalten ovalen Bildausschnitt überdeckt und gleichsam in den Raum des Betrachters hineinzuragen scheint. Solimena steigert so, in subtiler Weise die Präsenz des Portraitierten. Erläuterungen zum Katalog Francesco Solimena Italien 17./18. Jh. Originale Porträt Malerei Historische Personen SOLIMENA, FRANCESCO SOLIMENA, FRANCESCO 1657 Canale di Serino - 1747 Barra ca. 1700 Title: Portrait of a Knight of Malta (presumably Antoine Manoel de Vilhena). Technique: Oil on canvas. Measurement: 106 x 87,5cm. Frame/Pedestal: Framed. Certificate: S. Causa, Naples, after examination of the original in August 2020. Provenance: Private ownership, Italy. This half-figure portrait impresses by the enormous presence of the man depicted in magnificent armour. The left half of the body, shoulder and arm are turned towards the observer, but the sitter has turned his head so that his face is almost en face. The large eyes under the white allonge wig look at the observer gently and at the same time confidently. The order hanging on a velvet ribbon on the armour identifies him as a knight of the Maltese Order. Probably the Portuguese Antoine Manuel de Vilhena (1663 - 1736), who was Grand Master of the Order of Malta from 1722 until his death. The artist of this work is Francesco Solimena. In the first half of the 18th century he was one of the most famous and sought-after painters of his time. Solimena lived and worked almost exclusively in Naples, which initially belonged to the Spanish Crown, but after the War of the Spanish Succession was annexed to Austria. The leading dynasties and the high nobility of Europe had access to Solimena through these political turns of events. Solimena became famous mainly for his multi-figured sacred and profane paintings and frescoes. And he met his patrons at eye level: his contemporary, the artist biographer Bernardo de Dominici, described him as the "principe di tutti i pittori viventi" ("prince among all living painters"). The oval framing of the portrait contrasts only slightly with the angles of the painting. Brown tones predominate, the red of the fluttering cloak and the few shades of blue in the armour and background are the only restrained colour accents. In contrast, the light and white painted areas set high-contrast accents: The expressive face, framed by white curls and the collar, the broad lights painted with a dry brush in a sovereign manner, which reflect the armour, the medal on the chest but above all the white-gloved left hand of the sitter at the lower edge of the image, which covers the painted oval section of the image and seems to project into the space of the viewer, as it were. Solimena thus subtly heightens the presence of the portrayed person. Explanations to the Catalogue Francesco Solimena 17th/18th C. Old Masters Portrait Painting Historical people

Old master prints.- Chatto (William) Gems of Wood Engraving, extra illustrated with over 200 prints, including a small group of old master prints by Albrecht Dürer [further details below], Nicoló Boldrini after Titian, Hans Burgkmair the Elder, and a group of five chiaroscuro woodcuts by John Baptist Jackson and John Skippe, with the remaining extra illustrations mainly being book illustrations, titles, and border decorations from 16th to 19th century, most neatly mounted at edges onto album leaves, some loose, occasional splitting, tears, spotting and surface dirt throughout, contemporary red morocco, gilt, g.e., spine gilt with five raised bands, spine split and coming loose, upper cover coming loose, bound by A.W. Bain, very rubbed and worn, folio, 1849⁂ Extra-illustrated works of note include: Albrecht Dürer's The Martyrdom of Saint Catherine of Alexandria, woodcut, a Meder c impression with small watermark of three mounds and cross within a shield [datable to circa 1560-1580], with restoration, c. 1498; Dürer's The Holy Family in Egypt, from: The Life of the Virgin, woodcut, a Meder f impression, after the Latin text edition with watermark of an eagle [datable to circa 1590-1600], with losses and restoration, c. 1502; a very compromised impression of 'The Assumption of the Virgin'; Nicoló Boldrini's Venus Seated embracing Cupid, circa 1566, and a compromised impression of St Jerome in the Wilderness, circa 1525-1530, both after Titian; two woodcuts by Hans Burgkmair the Elder, from the Triumph of Maximilian, probably 18th century impressions; John Baptist Jackson's Christ on the Mount of Olives, after Franceso Bassano, 1743, Antique Bust of a man, 1754, and Apollo Belvedere; John Skippe's Standing man, after Andrea del Sarto, and Seated man in a cloak, after Bandinelli, 1782; and Simon Watts' Venus Lamenting over Adonis, after Cambiaso, 1763.

Fancy dress - a black Victorian 19th Century style policeman costume cape and cloak, complete with chest clasp and original makers label. 

Fancy dress - A black Victorian 19th Century style clergy cape cloak costume outfit. Complete with collar and chest clasp. Original maker label of A J. Wippel & Co in the interior.

ITALIAN ALABASTER FIGURE OF EOS LATE 19TH CENTURY the nude figure holding a cloak above her head, accompanied by a putto at her feet, on a circular base, unsigned(69cm high)

SPANISH CARVED FIGURE OF A SAINT CHRYSOLIUS LATE 16TH/ EARLY 17TH CENTURY the standing figure wearing a long tunic tied at the waist with a cloak draped over his shoulders, his hands presented in supplication, the top portion of his head held in place by pegs(49cm high)Footnote: Note: Saint Chrysolius was a 3rd century AD missionary in northeastern Gaul, where he became a bishop. During the persecution of Diocletian he was martyred in the region of modern Flanders. According to legend, he was captured by Roman soldiers and condemned to be decapitated, however only the top of his skull was sliced off. The top of his cranium then broke into three pieces and fell to the ground where springs miraculously erupted. Chrysolius recovered to the top of his skull and walked to Komen, where he died. His relics are venerated in Bruges.

ITALIAN POLYCHROME AND PARCEL-GILT FIGURE OF A FEMALE SAINT 18TH CENTURY the figure standing in contrapposto wearing a flower decorated and gilt dress with a blue cloak, on a separate carved wood pedestal(32cm high)

MEISSEN PORCELAIN FIGURES OF A TURK AND COMPANION, AFTER THE MODELS BY J.J. KAENDLER LATE 19TH/ modelled as a man wearing a turban with a feather and dressed in a fur-lined cape over a blue cloak with gold details and yellow trousers, incised 1286, pressnumber 147; she wears a turban and fur-lined cloak over a blue dress and peach underskirt, incised 1287; both with blue crossed swords marks(He 22.5cm high; she 22cm high)

FEMME DE MARRAKECH. FEMME DE MARRAKECH. Lepage, Céline. 1882 Warschau - 1928 Paris. Datierung: Entwurf 1921. Material: Nussbaum geschnitzt. Beschreibung: Auf rechteckigem Sockel stilisierte Frauenfigur mit schlankem, ellipsenförmigem Umriss. Bis auf das Gesicht und die Füße in ein Umhangtuch gehüllt. Maße: Höhe 72cm. Marke: An der Seite des Sockels Monogramm 'CL' und Reste von Siegelwachs. Älteres Klebeetikett zur Künstlerin. Literatur: Sculptures décoratives de Céline Lepage, Vorwort René-Jean, Librairie des Arts décoratifs, Paris 1925. Zum Modell der hier vorliegenden Figur siehe Planche II. Erläuterungen zum Katalog Céline Lepage Jugendstil / Art Déco 20. Jahrhundert Figur Holz FEMME DE MARRAKECH. NUT WOOD SCULPTURE "FEMME DE MARRAKECH". Lepage, Céline. 1882 Warsaw - 1928 Paris. Date: Model 1921. Technique: Carved nutwood. Description: Stylized female figurine with slender, elliptical outline on a rectangular base. Apart from her face and feet she is fully wrapped in a cloak. Measurement: Height 72cm. Mark: At the side of the base monogram 'CL' and remains of sealing wax. Older label regarding the artist. Literature: Sculptures décoratives de Céline Lepage, preface by René-Jean, Librairie des Arts décoratifs, Paris 1925. Regarding this model see planche II. Explanations to the Catalogue Céline Lepage Art Nouveau 20th century Figurine Wood

A collection of ten vintage cloak fasteners of varying designs

Antique type Nordic style penannular cloak pin. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

Great Western Railway post grouping cast iron doorplate CLOAK ROOM. In face restored condition measures 23.75in x 3.5in.

Poster SOMERSET AND DORSET JOINT RAILWAY CLOAK ROOM CHARGES AND CONDITIONS dated Bath April 1930 and printed by Waterlow & Sons London Dunstable and Watford. Measures 30in x 20in and is nicely framed for display. In very good condition with some minor water staining to the bottom right hand corner.

Rare Royal Doulton figure Welsh Girl Myfanwy Jones: HN39. Height 31cm Condition Report: Restoration to back of cloak and hat

Vintage fashion to include a scarlet red velvet cloak, a black velvet cloak, Frank Usher style pink sequinned evening dress, Rayne lame shoes with diamante buckle, Harrods child's red velvet party dress , a strapless beaded midnight blue beaded dress, and collection fancy gloves and two cream men's evening scarfs

19th Century SchoolPortrait of a gentleman, half length, in a puce gown and with a grey beardoil on canvas77 x 63.5cmCondition report: A hole in the left area of the cloak. A small patch of paint loss in the righthand background. Seven repair patches verso. Light craquelure throughout. Stretcher marks visible. Seen under UV, evidence of overpainting throughout. A little cockling to the canvas in the areas close to corners. A light dent upper left visible from certain angles. Some surface dust and a little dirt.

A box of assorted vintage toys in original boxes and blister packaging. Comprising: 1993 Star Trek The Next Generation collectable action marbles, Marvel Universe series 5 Marvel Knights Cloak figure, Wallace & Gromit Wristo Diskomatic, 2 boxed Mighty world figures with accessories; Hiking Timmy & Gutsy Adrie and a Road Champs GX Racers xtreme performance stunt vehicle.

Approx. 45 Comic Books by Marvel Comics. Featuring various series. Mostly 80s. To Include: - 12 issues of Silver Surfer (Including #82 1st Cover Appearance of Tyrant). - 8 issues of West Coast Avengers. - 5 Issues of Star Brand. - 7 Issues of Quasar (Including #1 & #50 holo cover) - Various Others including Magik, Psi Force, Hawkeye, Spitfire, The Comet Man, Cloak & Dagger, Namor and Sleepwalker.

Antique type Nordic style penannular cloak pin, D: 53 mm. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

Roman Bronze Cloak Hasp / Fibula with spring intact. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

Large pewter Scottish cloak pin with large Scottish cairngorm stone, D: 69 mm. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

Roman Bronze age Fibula - small cloak clasp issue. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

Fortunino Matania (Italian, 1881-1963)Hercules slaying Nessus the centaursigned 'F.Matania' (lower left) watercolour with scratching out over traces of pencil 64.8 x 98.4cm (25 1/2 x 38 3/4in).Footnotes:Herucles, travelling with his wife Deianeira, came to a river over which the centaur Nessus was ferryman. While carrying Deianeira over the river Nessus attempted to force himself upon her. Seeing this from the bank, Hercules slew Nessus with an arrow tipped with Hydra's poison. The centaur, his death imminent, had time for one last act of malice. Knowing is blood was poisoned he told Deianeira to collect it as it would serve as a love potion to keep Hercules true to her. Believing this, Deineira would later spread the blood on a cloak which she gave to Hercules, an act which would lead to his downfall.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A HUMMEL NATIVITY SET, HUM 214, comprising Madonna, Infant Jesus, Joseph, Shepherd with sheep, Little Tooter, Donkey, Cow, Moor King, King (kneeling on one knee), King (kneeling on both knees), Lamb, Shepherd Boy, 'We Congratulate' and 'Angel Serenade' (14)Condition: King kneeling on both knees has chip to coller of cloak, cow has crazing to glazing, Madonna has paint loss to halo, Angel Serenade paint loss to wings, several items have crazing to glazing otherwise no obvious damage to wear

Vintage official Soviet Government re-issue propaganda poster For the Motherland! Great design features a mother wearing a red cloak holding a child with one hand and raising a staff in the air with the other. Soviet soldiers stand defiantly below her wielding guns. Good condition, creasing on edges, tears on edges. Country of issue: Russia, designer: I. Toidze, size (cm): 72x54, year of printing: 1967

A coral beaded necklace, a Victorian silver arrow and dove cloak brooch, a jet brooch set with polished fossil, a quantity of silver jewellery and other costume jewellery CONDITION REPORT: Condition reports have not been included in the description. If you require further images of this lot or a condition report please contact us with your request

A small quantity of costume jewellery comprised of a silver and agate thistle cloak brooch, a silver gilt tri-colour woven necklace, brooches, beads and earrings, a boxed string of Lotus cultured pearls and two silver gilt and enamelled Royal Masonic Benevolent Institution medals CONDITION REPORT: Condition reports have not been included in the description. If you require further images of this lot or a condition report please contact us with your request

A pair of Chinese silk embroidered panels depicting flowers and butterflies, probably originally cloak sleeves, 49cm x 29cm

A Tall wood netsuke of Handaka SonjaEdo period (1615-1868), mid-late 19th centuryStanding barefoot with eyes downcast, dressed in mugwort cloak and skirt, his right hand clutching a reishi sceptre and an alms bowl from which a dragon emerges and wraps itself around the back of his legs; unsigned. 12.2cm (4¾in) high.For further information on this lot please visit Bonhams.com

Victorian 33rd (Duke of Wellingtons) Regiment Shako Plate brass, Victorian crowned laurel wreath. Central inscribed belted circlet with “33”. Two rear lugs. Crown reaffixed, not affecting appearance. Together with a pair of gilt, Scots Guards cloak fastening badges. Each with four lugs.

Selection of Various Badges including gilt flaming grenade with “GR” to the ball ... Welsh dragon cloak fastener ... Gilt, crossed cannon barrels (screw posts) ... 3 x white metal West Riding Home Service helmet centres (no fittings) ... 4 x darkened Northumberland Fusiliers grenade ball overlays ... 3 x white metal thistles (no fittings). 13 items.

Black Clerical Wool Cloak with hood, Good condition.

Four case brick red fundame lacquer inro Japanese, late Meiji decorated in gold and black hiramakie, with a farmer dressed in a black cloak carrying a bamboo cane and herding a bull depicted upon the reverse, unsigned, together with an ebony netsuke of a recumbent shishi with head overlooking his left shoulder, a boxwood shishi squatting on hind quarters, the front legs resting upon a stool and an ivory netsuke of a gentleman seated upon a mat holding a fan above his head, Taisho period (4)

Erté (Romain de Tirtoff, Russian, 1892-1990), a cold-painted bronze 'Rue de la Paix', Limited Edition numbered 265/500, dated 1987, cast for Seven Arts London, signed ‘Erté’ Modelled and cast as an elegant lady wearing a blue dress and hat and a brown cloak, octagonal base 36cm highA couple of small chips to one small peak on top of hat and grazing to the back lower edge of hat. A tiny nick to blue on the dress. Some wear to the gilt on the raised bands on the cloak and top of hat. Light natural wear to base.No certificate.

Collection of pictures circa 1920-1930 from Birmingham Municipal School of Art, provenance from the family of Ormond Edwin Gollins, assistant principal of Birmingham Municipal School of Art 1920-1930 G Harrison Woodblock print"Hill Street", signed, titled and dated in pencil 1924, 21.5cm x 15cm Beryl Antrobus Woodblock printBoy with shire horse, mounted with name in pencil and "Birmingham Central Municipal School of Arts & Crafts" label verso, 16cm x 15cm Beryl AntrobusWoodblock printWoman in cloak carrying chamber stick, signed in pencil verso, 37.5cm x 25cmUnattributedWoodblock printStreet scene, 15cm x 22cm, two mounted and all unframed (4) Condition ReportAll prints appear in good overall original condition; no visible tears or other defects

BERNHARD BLOCH (1836-1909) AND OTHERS GROUP OF FIGURAL TERRACOTTA TOBACCO JARS, CIRCA 1900comprising a group of characters to include a SOLDIER ON A BOOK, BB/77, 21cm high; a PURITAN DRAWING, BB/124, 26cm high; a MAN IN A CLOAK, 34, 23cm high; a LARGER MAN IN A CLOAK, FC/49, 27cm high; a MAN DRINKING BEER, BB/WJ/151, 26cm high; and a MAN ON A BARREL, FK/101, 29cm high

ARTISTIC DRESS: JAMES SHOOLBRED & CO., LONDON EMBROIDERED LADIES JACKET, CIRCA 1900linen with embroidered velvet facings, silk lining, bears maker's label JAMES SHOOLBRED & CO./ TOTTENHAM HOUSE; and a LADIES CLOAK, CIRCA 1900, printed brushed cotton with applied lace and black velvet tie, lined to the shoulders

A CARVED AND GILDED WOOD WALL BRACKET, FIVE VINTAGE CLOAK HANGERS AND A SMALL SUITCASE.

A diamond-set and pearl (untested) stick pin, centrally set with an old brilliant-cut diamond with an ovoid pearl (untested) to either side; together with two cultured pearl cloak pins conjoined by a chain (3)

A gilt-framed and glazed Indian watercolour/gouache study of a high-ranking gentleman, wearing a turban, pearl and green stone necklace and a gold cloak, in his right hand he holds a walking stick with carved Mughal-style handle, his left elbow rests upon a table with red drapes, probably 19th century (25.5cm x 21cm)

A mid-19th century naive English School maple-framed oil on artist's board; a female figure with red cloak riding upon a cart, pulling hard on the reins of a white horse, a fox hunt to the background with trees and pink skies (31cm x 40cm)

E11R Officers silver-gilt and enamelled Life Guards pouch badge, gilt Life Guards Officers cloak chain; gilt and enamel Household Cavalry Officers cap badge; 1st Life Guards Squadron Corporal Major Instructor in Fencing badge, brass waist belt clasp, Life Guards brass oval Officers breast plate device etc

'THE CANTERBURY TALES' A FIBREGLASS STUDY OF 'A KNIGHT ON A WHITE HORSE' (The Knight's Tale), with cream uniform and cloak, 193cm high (overall) provenance; from 'The Canterbury Tales Visitor Attraction' in Canterbury (on View in Brewery Square Gallery)

'THE CANTERBURY TALES' A FIBREGLASS STUDY OF 'A MONK' (from The Monk's Tale) dressed in a black cloak, 162cm high, provenance; from 'The Canterbury Tales Visitor Attraction' in Canterbury (on View in Brewery Square Gallery)

'THE CANTERBURY TALES' A FIBREGLASS STUDY OF 'A FRIAR' (from The Friar's tale) dressed in a black cloak, 164cm high, provenance; from 'The Canterbury Tales Visitor Attraction' in Canterbury (on View in Brewery Square Gallery)

'THE CANTERBURY TALES' A FIBREGLASS STUDY OF 'A KNIGHT'S YEOMAN' with brown cloak and bag, 182cm high, provenance; from 'The Canterbury Tales Visitor Attraction' in Canterbury (on View in Brewery Square Gallery)

'THE CANTERBURY TALES' A FIBREGLASS STUDY OF 'A MAN WITH A RUSSET CLOAK' 162cm high, provenance; from 'The Canterbury Tales Visitor Attraction' in Canterbury (on View in Brewery Square Gallery)

Durotriges Cranborne Chase Stater.Silver, 4.62 grams, 20.29 mm. Obverse: Wreath, cloak and crescents. Reverse: Disjointed horse left, rectangular head; body of crescents. Four vertical legs, three lines for tail, pellet below. Ref: VA 1235-1, ABC 2157. Ex Essex Coins.

SEAN RICE (1931-1997); a very large bronze and copper figure, 'Naked Female with Cloak', raised on a polished black slate, signed to back of neck, height 82cm. (D)Additional InformationBasically in good condition. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

HAROLD RILEY DL, DLitt, FRCS, DFA, ATC (Born 1934); watercolour heightened with white on green paper, Woman of Salford from the back, signed and later dated '62, 43.2 x 29.2cm, framed and glazed. (D) Provenance: Private Collection London. The Mrs Westwall Collection.Additional InformationThere is a horizontal crease running through the lower section of the figure's cloak, some very light brown in top left hand corner and in other areas, but overall in good condition. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

A huge composite bust depicting a figure wearing a cloak with Order of the Bath badge bearing motto 'Tria Juncta in Uno' and device of three crowns, possibly King George II, unmarked, height 85cm.Additional InformationMinor nibbles, wear throughout as you would expect but nothing serious.

A mid to late 20th century painted plaster bust of a figure wearing a cloak on socle base, height 56cm, and a modern resin skull (2).Additional InformationThe bust has had a damaged front section which has been crudely glue repaired, a few scuffs and chips to the raised parts.

Circle of Louis Tocqué (Paris 1696-1772)Portrait of a gentleman, three-quarter-length, in an embroidered brown coat, white lace jabot and red cloak, holding a small case, standing beside a stone plinth in an interior oil on canvas92.4 x 72.6cm (36 3/8 x 28 9/16in).Footnotes:ProvenanceSale, Hotel des Ventes, Vernon, 27 November 1994, lot 50, where purchased by the present ownersFor further information on this lot please visit Bonhams.com