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Selection of Various Cap Badges including plastic economy Hampshire (blades absent) ... Bullion embroidery and silvered, QC Royal Reg of Fusiliers ... Silvered, QC The Rifles ... Bullion embroidery, QC Dorset Yeomanry ... Bullion embroidery, QC Yorkshire Brigade ... Bullion embroidery strung bugle ... Gilt and enamel UN ... 3 x plated Gloucestershire back badge ... Gilt lion mask cloak mount ... Small selection of damaged anodised badges. 21 items.

GLUCK (Hannah Gluckstein) (1895-1978)'Study for Flora'Oil on canvas25.5 x 20.5cmSigned and dated 1921Illustrated p.55: Gluck 1895-1978: Her biography, Diana SouhamiProvenance: Purchased by the vendor in February 1977 from the Shepherds Hill, Buxted, house contents sale of Sir Edward Maufe, no 707 in the Clifford Dann catalogue. Note: This is a study for 'Flora's Cloak' first exhibited at Gluck's solo exhibition in 1924 at the Dorien Leigh Galleries in South Kensington and now in the Tate collection. The architect Sir Edward Maufe and his wife Prudence, the Heals designer, were close personal friends of the artist and Prudence wrote to Gluck after viewing the exhibition:“I think your portraits are the best. I think the landscapes a little exaggerated and the group of the jockey quite wonderful. I was a little disappointed in ‘Flora’ - her hair seemed to me to dominate too much. The rest was exquisite and we were horribly tempted to buy.”We have mooted the possibility that Prudence Maufe was the model for this study, for as well as owning the painting we feel there is a strong resemblance, although Maufe's granddaughter the writer Juliet Dunmur, does not believe this to be the case.The last image is Gluck with this painting, photographed in her studio in 1973 by Jorge Lewinski prior to her final Fine Arts Society exhibition.(With thanks to the FAS)

ROMAN BUST OF A YOUNG MAN EUROPE, C. 3RD CENTURY A.D. carved marble, shown with youthful features and curled hair, the mouth subtly parted, the gaze looking away from the viewer to the right, wearing a thick cloak fastened by a brooch at the shoulders(26.5cm tall)Footnote: Provenance: Mr. K. and Mrs. S. Broukal, United Kingdom, acquired prior to 1956, thence by descent

A 19th century Pearlware pottery figure, man wearing a cloak, height 20cm, and a Pratt Ware pottery ornamental longcase clock, height 25cm (2)Clock has a chip on the side of the base, otherwise good condition

PORTRAIT MINIATURE, "Lady in Red Cloak" in piano key frame

After Sir Anthony Van DyckPortrait of a gentleman in a red cloakoil on canvas40 x 34cmCondition report: A little dirty and old stretcher bar marks can be seen from the front.

19th century French slate & marble Mantle clock set: h21 x w46cm. (3 chips to top edge of cloak and various chips to top edges of urns). (3)

VINTAGE CLOTHING including a late 19thc/early 20thc black silk cloak with white metal buckle fastening, a green felt waistcoat with gold embroidered decoration, a silk velvet scarf decorated with chain stitch embroidered flowers, a 1920's black chiffon cocktail dress with paste detail, a cream silk Kimono, a 1960's pink pleated chiffon dress, a 1970's 'Cherie' magazine clutch bag, and a qty of textiles.

Textiles including embroidered Kashmiri wool scarf, black patent Waldybag, Brother leather 'Henry's' handbag, vintage fur trimmed cloak etc

A Naval Admiral's and other Royal Naval uniform comprising a cocked hat and epaulettes in japanned tin cases by Galt, Gieve & Co, tailcoat and trousers with gold braid, and boat-cloak - E.W. Denison RN (captain and son of Rear Admiral A Denison), to/w brass naval buttons, captain's epaulettes, bullion braid, etc;  lot also includes Hawkes & Co (1 Savile Row) price list and a scrap book biography and cuttings in respect of Capt. Denison's career, an account of naval activity aboard HMS 'Encounter'.Bicorn hate - 54 cm corwn, 21 1/2 inchest - 40inwaist - 42 in collar size - 15in collar (internal)one epaulette has loose bullion, extensive moth and larva case damage, and some holes all over (see detail images)

19th century Continental school - Portrait profile of a bearded gentleman in a red cloak, oil on panel, 67 x 52 cmamended condition report - Loose within frame, panel bowed vertically, surface blistering (see image)

Demétre Chiparus (Romanian, 1886-1947),'Hooded cloak', for Etling Paris, a patinated bronze and ivory figure, signed 'H Chiparus, Etling Paris', on a circular onyx plinth, 18.5cm highFor a similar example, see Brian Catley, 'Art Deco and Other Figures', 1978, p.68. Condition report: Size is 18.5cm overall.Bronze 16.5cm high, plinth diameter 9cm.

Carved African figure, possibly West African, horned with carved cloak and hole to stomach, 32cm high and another carved African figure with long beard, 31cm high (2) 

Bentwood Beech Cloak and Stickstand, h.183cms

•Cyril Mann (British, 1911-1980), Shadows Cloak, No.3, oil on panel, the reverse also painted with a street scene, bears artist's label, 9¼in x 11¾in (23.5cm x 30cm), framed.

Early 20th century Oriental carved hardwood figural candlestick, modelled as a robed figure holding a ruyi septre and oversized pipe, standing upon a pierced base, 36.5cm high Condition: Small loss to forehead (fringe of hair), plus a couple of very minor losses to sleeve of cloak, otherwise sound. **General condition consistent with age

J. M. Riding - Early 20th Century faience glazed terracotta figure, in the manner of Charles Vyse, modelled as a maiden wrapped in full-length cloak, on canted base, incised beneath JMR, 33cm high Condition: Some glaze hairlines to robes, minor fritting to footrim of base which has been later covered with green baise (partially removed) **General condition consistent with age

J. M. Riding - Early 20th Century pale blue glazed terracotta figure, in the manner of Charles Vyse, modelled as a maiden wrapped in full-length cloak, on canted oblong base and ebonised plinth, 35cm high

A French silver bonbon bowl of oval form, with cast beaded rim above pierced body, length 13cm, a sterling silver cake slice with pierced and cast floral detail, length 22.5cm, a circular white metal pin dish (possibly French), and two Bolivian cloak pins with applied white metal pierced detail, height 23cm, weighable approx 4.97ozt/154g (5).Additional InformationEach with heavy wear, scratches, tarnishing, the cake slice is bent and worn.

NETHERLANDISH CARVED OAK FIGURE OF ST. JOHN THE EVANGELIST 16TH CENTURY the standing figure with tightly curled hair, his head turned and tilted up, wearing a long cloak belted at the waist, his hands clasped in supplication, on a later associated hexagonal base (Figure 61cm high; Stand 33cm wide, 12cm high, 21cm deep) Footnote: Provenance: The Earls of Crawford and Balcarres, Balcarres House, Fife, Scotland

FLEMISH MYTHOLOGICAL TAPESTRY OF DIDO AND AENAES PROBABLY BRUGES, LATE 17TH/ EARLY 18TH CENTURY depicting Dido in a gold dress and blue mantle approaching Aenaes who reclines beneath an olive tree, wearing a flowing red cloak, Dido's head turned with her gaze to the viewer, accompanied by Cupid who bears an open jewel casket, a carriage drawn by three stamping horses on the left, within flower borders with bead and reel slips marked with cartouches, a horn, and a hunter's bag (279cm high, 376cm wide) Footnote: Provenance: The Earls of Crawford and Balcarres, Balcarres House, Fife, Scotland Note: A clever and enterprising woman and founding Queen of Carthage, the enduring figure of Dido is best known from Virgil’s account in his epic poem Aeneid. Depicting the legend of Trojan hero Aenaes, the story recalls Aenaes and his crew being washed ashore and seeking refuge from Dido and her people. At the hands of Venus and Cupid, a passionate love affair soon ensues between the pair. The affair comes to an abrupt end after Aenaes is met by Mercury who reminds him of his destiny as Trojan hero and future founder of Rome; he quickly departs in the night with his men, leaving behind a heartbroken Dido. Unable to cope, Dido burns all that reminded her of Aenaes and kills herself; a tragic act which provokes eternal strife between Aenaes’ people and her own. This tapestry depicts an early scene in which Cupid, at the request of Venus, disguises as Aenaes’ younger brother to offer gifts to Dido in return for refuge and shelter. Accepting, Dido cradles Cupid who begins to weaken her sworn fidelity to her late husband, thus revealing her newfound love for Aenaes.

Three Staffordshire pottery figures, of David Garrick as Richard III, mid 19th century, two with identical colour schemes and moulding, the third with a painted green and black cloak the tent with moulded tassels and heightened with gilding, height 20 cm and 21 cm respectively.

Cloak stand with umbrellas and walking sticks. Not available for in-house P&P.

9th-6th century BC. A bronze statuette of a male with elongated features to the face, small ears to the side, hair represented by lines forming a ponytail; large cloak covering the body, open to the front revealing arms, tunic and bare legs. See Insoll, T., The Oxford Handbook of Prehistoric Figurines, p. 808-819, for discussion. 288 grams, 15.5cm (6"). Ex North London collection; formerly in a Swiss family collection; acquired in the 1970s. The Nuragic bronze statuettes are typical Sardinian bronze sculptures of the final phase of the Bronze Age and the early Iron Age. These votive statuettes have been found mainly in places of worship like the holy wells and the so-called Megara temples but also in villages and nuraghes, a type of tower-fortress. Several statues were also found in excavations carried out in central Italy in Etruscan tombs of the ninth to eighth century BC. The statuettes were most likely made by the lost wax method, and represent scenes of everyday life of the Nuragic people, depicting characters from various social classes, animal figures, warriors, chiefs, divinities, everyday objects and ships. Some Nuragic bronzes clearly portray the figures of chief-kings, recognisable by their wearing a cloak and carrying a staff with bosses. The Nuragic civilisation was probably based on clans, each led by a chief, who resided in the complex nuraghe, with ordinary people living in the nearby villages of stone roundhouses with straw roofs. Fine condition. Rare. ( A video of this lot can be viewed on Timeline Auctions website.)

1st century BC-1st century AD. A discoid bone panel with high-relief image of Silenus kneeling nude with cloak over one shoulder, playing pan-pipes. 19.8 grams, 56mm (2 1/4"). From an important London collection; acquired on the London art market in 1990. Fine condition, cracked.

By Eric Claus depicting a walking man with hat and cloak exceptionally high 80 cm.

Friedrich Goldscheider, Original Painted Earthenware Figure, Vienna, AustriaDate:1887/88Description: Goldscheider, Vienna. A figure of a Viennese gentleman leaning on stones. Earthenware, polychrome. Company catalogue describes piece as "Viennese man in a cap" (See bib). Marked "F.Goldscheider Wien, Gesetzlich Geschutzt 254. 2.Dimensions: Height (Circa) 40cmBib: Goldscheider, History of the Company and Catalogue of Works, Robert E. Decg=hant | Filipp Goldscheider. Page 289Condition: Excellent, no repairs, chips or cracks. Paint has rubbed in areas on cloak.

An Exeter large silver cloak pin of trefoil design with engraved decoration by Henry S Ellis, 9cm x 5.5cm

A 1970's black woollen cloak, two jackets, two dresses and a tweed two piece suit

Messala Severus' (Toby Kebbell) and Pontius Pilate's (Pilou Asbaek) hero costumes from Timur Bekmambetov's biblical remake Ben-Hur. Messala and his brother Judah Ben-Hur (Jack Huston) raced their deadly chariots to the amusement of Pontius Pilot. Both costumes consist of black leatherette, resin, and faux metal Roman armor labeled "Hero" with eagle insignias, shoulder pads, and skirts. Messala's set includes greaves, elbow pads, a leather belt, a prop sickle, a purple robe labeled "Messala", and a pair of metal-studded leather boots, while Pilot's includes trousers, a red robe, a purple cloak, and a pair of wraparound armbands, several with Pieroni Bruno labels marked "Pilato Attore". The costumes are in good overall condition with minor signs of wear and age throughout.Estimate: $2,000 - 3,000

A 1977 or 1978 Darth Vader touring costume with poster-matched helmet made for the promotion of George Lucas' Star Wars: A New Hope. In late 1977 or early 1978 a handful of Darth Vader costumes were created to enable public promotional appearances featuring Darth Vader (prior to this, the film-used costume was used for such events.) This costume's facemask and helmet dome were made by artist Rick Baker and his crew, from molds of the film-used helmet. Of special note is that the helmet's dome, made from fine-weave finishing fiberglass, is the dome that appeared on the ESB Advance one-sheet poster. The dome photo-matches to stills from ESB Advance poster photo session based on unique flaws and finishing details, including a triangular drop of filler. The Advance poster was actually printed from a flopped image. The two-tone facemask (marked "1" inside) has been repainted a greener gray from its original metallic grey color, and the grills have been removed from the mouth and small vent triangle. The facemask cannot be photo-matched to the poster photo shoot due to the refinishing work (poster may show a different touring facemask.) Interior padding has also been removed, and the straps and eye lenses changed; the facemask overhaul was likely done while the costume was touring. The shoulder armor and shoulder bells were repainted the same green-hued grey color. Also included are Vader's chestbox, molded from the film-used example, and a belt with metal buckles and boxes. The belt boxes feature vintage lighting elements and have unique details; vintage appearance photos exist showing a costume with similar belt boxes, possibly this exact outfit. A pair of vacuum-formed plastic shin guards completes the armor.The ensemble's soft components include a shirt with thick leather sleeves, a matching pair of leather pants, a leather codpiece with a Bermans and Nathans label for "Darth Varder" [sic] (Bermans made the soft components for film-used Vader costumes,) a heavy wool-blend under-robe and cloak with leather and velvet trim, and a pair of black leather boots. Replicas of Vader's vest and gloves have been added to complete the costume for display. The costume was specifically used for events in Australia and a late 1970s travel case is included. The case features Australian flight stickers and is stenciled for "The Kerner Co." in San Rafael, the codename for Industrial Light & Magic. The costume is in fair overall condition with significant wear from use and age, including creasing to the leather, fraying black tape on the belt, and wear and scratches to the fiberglass pieces including a crack to the top of the helmet's dome. Based on documentation on Rick Baker's touring helmets, it is assumed that around five touring costumes were made after A New Hope. This is believed to be the only example in a private collection and is a significant piece of Star Wars history.Estimate: $150,000 - 250,000

Mixed Lot: antique carved and stained ivory nut, together with a bronze cloak button featuring two figures in a rickshaw (2)

A collection of Victorian and later jewellery, to include a gold seed pearl cloak pin, with two bow brooches joined by a length of trace chain with seed pearls, marked 18, with pin and 'C' catches tested as approximately 9ct gold, 6.08g, a pair of coral drop earrings, a gilt metal pietra dura brooch, a pair of 9ct gold lapis lazuli earrings, with post and hinged omega fittings, 25 x 20mm, a pair of lapis lazuli drop earrings, tested as approximately 14-15ct gold, 6.12g, and a gold cultured freshwater pearl ring, marked 333, 2.16g (9)

CLAN PINS. A cloak pin by M. Rettie & Son, of Aberdeen, of strap & buckle design, diameter 5.2cm. Also, one other Scottish clan pin.  Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s)  PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING.

A weathered natural stone carved figure of an elderly lady wearing a cloak and pleated skirt and aided by a rustic walking stick (traces of painted finish), 78 cm high

A Goebel figure of the virgin in blue cloak in prayer, impressed marks to base HN427/3, 28.5cm approx

Chanel Red and Black Metallic Lycra Dress, with capped sleeves woven with stripes and flowers, collar with buttons to the back (no label); Black Wool Cape with Red Silk Lining, gilt metal cloak button and chain; Black Three Quarter Length Coat with long sleeves, buttons to the front, white mink trimmed collar, with belt (3)

A SUPERB METAL BUST OF AN ARAB with moustache and beard, headdress and cloak, on a square base with claw feet. 30ins high.

A Pair of XVIII Century Oils on Panels, head and shoulders of a Lady and a Gentleman in hooded cloak, unsigned, 19.5 x 7cm, unframed. (2)

19TH CENTURY ENGLISH SCHOOL - Oil on canvas, portrait of a gentleman wearing a black cloak, unsigned, 24cm x 19cm, framed, frame size 37cm x 32cm.

A CONTINENTAL PERHAPS GERMAN CARVED IVORY FIGURE of a hirsute man with tightly wrapped cloak on a horn plinth 10cm high overall

Charles I, Hammered Halfcrown, Tower Mint under the king, mm. triangle in circle, group IV, fourth horseman, foreshortened horse with mane in front of its chest & tail between legs, king wearing cloak flying from shoulder, rev. oval garnished shield; irregular edge in parts but well struck legends & good detail in horse, king & shield; good weight at 15.3g, AVF to VF (S2779)

LATE 19TH CENTURY NEW ZEALAND, CARVED, PAINTED AND MOULDED KAURI GUM MAORI BUST OF A MAN WITH FULL MOKO AND FLAX CLOAK (H. 10.2 CM)

A beautiful pair of antique 19th century portrait paintings on porcelain - both depicting ladies in period dress. The paintings in oil, of oval form, the first depicting a young lady with impressive feathered hat and jewellery. The second depicting a similar young woman with green cloak and gold jewellery. Both mounted in period oval brass frames. Unsigned, but superbly executed. Each measures approx; 13cm x 10cm. 

King James in blue velvet cloak and with Order of the Garter, crown adjacent; the Princess in blue cloak and jewelled bodice, wearing pearls, and with crown and pocket watch on the table before her Oil on canvas(96cm x 73cm)Provenance: Tytler family, by repute W.B. Dunlop, Seton Castle, Longniddry, East Lothian By direct family descentNote: These impressive Jacobite portraits of King James III and Princess Maria Clementina were painted whilst they were in exile from Britain and indeed before they were married. From 1717 James was resident in Italy and continued to use portraiture as an important tool in building support and interest in the Stuart cause. The original painting of James by Francesco Trevisani was created in 1718 on the suggestion of the Earl of Mar. He was considered an important choice as an artist due to his wide international reputation, and this would further promote the importance of the images. Undoubtedly, the portraits are striking in their claim to the British throne; depicting James in the full regalia of the Order of the Garter, thereby illustrating his desire to be recognised as a ‘British King’ in all his glory. This bold statement was even more significant as the original portrait was commissioned to be sent to Maria Clementina, who James was yet to marry. The message clearly stating that she was marrying into a Royal family of right, rather than to the king of an exiled court lacking a throne. The portrait would not however reach Maria as intended, as she was captured by the Austrian Emperor Charles VI whilst en route to marry James. Charles was opposed to the pairing and held her captive in Innsbruck. Following her daring escape in 1719 she was finally presented with the portrait in Bologna. Immediately, copies of the King James and accompanying Maria Clementina portraits were ordered and presented to supporters, including the Earl of Mar. The popularity of these pictures was so great that in 1720 more copies were created to fulfil the demand. The original portrait of Maria is now with the Scottish National Portrait Gallery, acquired in 1918 (PG 886). The current portraits have descended from a private family collection and have been recorded as being at Seton Castle since the vendor's grandfather-in-law, W.B. Dunlop, resided there from the late 1800s until his death in 1946. His son catalogued these portraits and stated that they were a set of presentation portraits, given to the Tytler family in recognition of their support for the Jacobite cause. The Tytler families’ Stuart and Jacobite support is long and well recorded. As early as the 16 th century one of the Setons of Seton Palace (now Seton Castle), believed to be the chaplain, fled to France after committing a murder. There he changed his name to Tytler, settled, married and had several children. Two of his sons accompanied Mary, Queen of Scots to Scotland in 1561. After the Troubles, the Tytlers were officially recognised and accepted as Seton descendants but opted to retain the name of Tytler. Following the 1715 Jacobite rising, all the lands of the Setons, including Seton Palace, were confiscated. They were first sold in 1719 and again in 1779, bought by Lt Col Alexander Mackenzie WS. In 1789 Mackenzie started the demolition of Seton Palace, building Seton Castle in its place to a design by Robert Adam, completed in 1791.

Harry Tittensor for Royal Doulton'A Spook': A Rare Ceramic Model, 1916-1936with red cap and blue titanium glaze cloak with crystalline stars; HN58, numbered '516'18.3cm high, printed 'ROYAL DOULTON' stamp with hand-painted 'HN58' and 'no.516'For further information on this lot please visit Bonhams.com

Alexander Cresswell (1957-), watercolour, St Michael Paternoster from Cloak Lane, 1993, signed, 37 x 27cm

A small 19th Century French school, study of horses and figures outside of a coaching Inn, oil on panel, approx. 6cm x 9cm and a miniature study of an elderly gentleman with cloak, hat and walking stick, oil on card, contained in a rosewood and gilt frame, (2)

AN ITALIAN POKERWORK PANEL depicting a bearded man wearing a cloak, possibly a cassone panel, in an oak frame, 33cm high (overall)

Saint Basil the Great standing with his right hand raised, his left holding a jewel encrusted bible, dressed in a blue robe with richly embroidered alizarin cloak, Saint Irene standing to his right holding a golden cross against a gilded ground surmounted by Christus Pantokrator seated upon clouds, all contained within a scrolling cartouche, age wear, gilt loss 31cm by 26cm Religious icons are sacred images venerated by Orthodox believers as representations of the splendour of the divine, and are also believed to offer a direct conduit between the worshipper and saint or holy person depicted. Deriving from the art of the Byzantine Empire, with influences from the Ancient Egyptian and Greek traditions, the painting of Russian icons remained true to these old traditions, without the influence the Renaissance had on Western counterparts. Whilst a certain freedom exists when representing biographical saints, allowing for truly unique images, when it comes to details such as the clothes, or even the form of a beard, Russian icons are subject to the canon of the Byzantium. Full of symbolism, nothing is without meaning - even the colours used have particular significance. Gold signifies the radiance of Heaven, and white the resurrection of Christ. Red represents divine life whilst blue the human, with figures of Christ or Mary often depicted wearing both to signify the divine in earthly form. The only colour never used is grey, as it signifies the mixing of good and evil. It is also common to include Greek calligraphic text to name the saint or event depicted. The Byzantine practice of using a metal cover, or oklad, to protect religious icons was adapted in Russia to indicate the light and beauty of God’s world, and so these covers are often of silvered or gilt metal, sometimes even decorated with precious and semi-precious stones. Icons are believed to have an inherent sanctity which imparts the experience of divine beauty and holiness. russianicon.com/

A King's Royal Rifle Corps Silver Sabretache Bugle Horn, 1894, a Rifle Brigade blackened bugle horn shako, 1st pattern 1850, a pair of Rifle Brigade white metal cloak fasteners with blackened bugle horns, and a silver menu holder cast with bugle horn and numeral 60, 1900

An antique 12" Herman Steiner Doll (marked) with googly eyes, closed smiling mouth on an all cloth jointed body. Herman Steiner logo is marked on neck, no numbers. Original Hand Made baby outfit comprising Bonnet, Bib with rattle, Christening Gown and Cloak plus Cardigan, mittens and booties. In addition, vest, towel nappy and pin also present. A beautifull presented outfit on this superb doll. Superb. Note: We are happy to provide additional images of any lot. Please email us or contact us via the link on the item page to request additional images.

* Stothard (Thomas, 1755-1834). Girls Bathing, watercolour and traces of pencil, depicting six naked or semi-clad young females, in or around a small pool in a forest glade, another lady beginning to disrobe, and two others, one holding a basket and a blue cloak, the other as look-out at the entrance to the clearing, 27 x 20 cm (10.5 x 8 ins), mounted, framed and glazed, verso with J.S. Maas label, and a mounted early manuscript copy of a 'Saturday Review' article pertaining to the painting dated Novr. 13. 1869Qty: (1)NOTESExhibited: J.S. Maas & Co Ltd, Exhibition of Drawings 1720-1920, July 1966, number 102.

A Samuel Alcock and Co. A Parian figure of Arthur, 1st Duke of Wellington (1769-1852), circa 1852, modelled seated after George Abbott, printed marks, 30cm highCondition Report: Firing fault through cloak verso.Condition Report Disclaimer

Small Selection of Various Badges including brass Hampshire Home Service plate centre (4 rear lugs) ... Brass Suffolk Home Service plate centre (4 rear lugs) ... Pair gilt brass flaming grenades with cloak chain ... Pair gilt brass lion masks with cloak chain ... KC white metal, Royal Marines, thimble swagger stick top ... QC, white metal, Royal Marines, ball swagger stick top ... Brass, Victorian glengarry badge backing plate. 8 items.

Important Set of Post War Political Intelligence Department Documents all relating to Flight Lieutenant Akers-Douglas (Viscount Chilston). Including photographs of him in his pre war RAF, full dress uniform ... Photographs of him with his coronet and cloak ... His RAF medical card ... Oct 1945 dated USA Occupational Area pass ... US pass for Austria ... Various other nationality passes ... Travel letters ... Introduction letter from (P.I.D.) Political Intelligence Department ... Typed report from Sept - Nov 1945 on documents viewed ... Good selection of reports including “Killing of Allied Terror Airmen” documents ... Good selection of reports on various items ... Map with zones of Austria ... Stuttgart map ... Various letters.

Small Selection of Various Badges including 2 x bi-metal Somerset Veterans Reserve. Large brooch fitting ... White metal St Andrew within belted oval with motto, lug fixing ... Blackened 5th VB Manchester Reg pouch badge, screw post fitting ... 2 x darkened Northumberland Fusiliers busby grenade centres ... Brass thistle cloak badge. 8 items.

* York Hussars. A fine regimental desk seal c.1794-1802, with bloodstone intaglio cut with the arms of the York Hussars and the initial 'I', secured by gilt metal on a turned ivory handleQty: (1)NOTESProvenance: Collection of Jack Webb (1923-2019), London. In June 1793 Prince Lubnoviski a Pole offered to form a corps of four squadrons dressed in Polish style wearing a scarlet kourka (jacket) with green facings and a white chapska (shako) surrounded by a black turban, with cloak, boots and carry a sword, a carbine and pair of pistols. In May 1794 Lt. Col. Irvine was authorised to arm and equip these men and in August Irvine was made Commandant. They fought at Boxtel, where they were credited for charging at the enemy three times and were later disbanded on 24 July 1802. The 'I' engraved on the seal probably represents Irvine.

* Netsuke. A Japanese ivory netsuke, Meiji period 1868-1912, carved as an elder wearing a cloak with swastika symbols, 5cm high, together with a boxwood netsuke carved as a man with a pot on his head, 5cm high, plus another probably carved boneQty: (3)NOTESProvenance: Collection of Jack Webb (1923-2019), London.

Five antique buckles including silver, gem set, and enamelled - sold with a cloak clasp, etc.