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

A VERY GOOD 19TH CENTURY GERMAN OVAL PORTRAIT PLAQUE of a young girl with long flowing black hair, wrapped in a cloak. 11.5ins x 7.5ins, in a glass fronted and gilt frame.

Islamic Art A portrait of the Ottoman Sultan Bayezid I (r. 1389-1402)After Cristofano dell'Altissimo (Firenze 1525-1605)17th century Oil on canvas . . Cm 54,00 x 76,00. Portrait of the sultan, pictured in profile, with a long pointed beard, a richly ornated cloak and a big rounded turban. the lower inscription identifies him as Baiazet I Turc. Impil., or the Turkish Emperor.Bayezid I was the fouth sultan of the Ottoman empire, he rose to power in 1389 and became known with the nickname of Yildrim (The Thunderbolt). The original subject of this painting was made by Cristofano dell’Altissimo as a part of the Giovio collection started in 1552 by order of Cosimo I de’ Medici, who charged the painter Cristofano dell’Altissimo with copying the portraits of the Galleria Universale degli Uomini of Paolo Giovo, bishop of Como, held in his villa in Borgovico.Giovio himself, in his book Eulogia (1546) thus described the Sultan:"...he had a stern face, and frightening to behold, with a long beard split in two by bristly curls. He was nicknamed Hildrim, that in Tartar means "lightning" of those that frighten like the thinder, because of his characteristic swiftness and his sudden and violent attacks during wars..." (in Elogia virorum bellica virtute illustrium). Cristofano dell'Altissimo painted at least 280 portraits, among these Sultans and Eastern important people are the rarest. During the centuries, paintings such as this have been copied and used also as diplomatic gifts.We know at least two series including Sultans and eastern people portraits: one at the Topkapi Palace of Instanbul, constituted by the portraits shipped from Venice in 1779, and another composed of 14 portraits painted by Veronese in the Bayerische Staatsgemaldesammlungen of Munich.Provenance: Private Collection Milan, Italy.

AN ALABASTER BUST OF A YOUNG GIRL IN A CLOAK, EARLY 20TH CENTURY, her eyes downcast, the cloak in green and with gilt highlights, unsigned. 20cm

SCOTTISH SCHOOL (MID 17TH CENTURY), PORTRAIT OF A GENTLEMAN STANDING WITH BROWN CLOAK AND WHITE COLLAR, oil on canvas, framed. 112cm by 83cmProvenance: The Keith Schellenberg Collection.

A SILVER ALEXANDER RITCHIE CLOAK CLASP with Celtic knotwork bosses and panels, stamped A.R Iona to the reverse of both elements. Diameter 5.2cm, length attached 11cm, weight 67.5cm Condition Report: Tarnish throughout, a few dinks and scratches indicative of wear, clasp works fine. This example it appears never had a chain fitting. It was made to butt together smoothly, edge to edge, without chain to join them.

Approx 200 Thriller lobby cards including Strangers on a Train (Hitchcock), Somebody up there likes me, Strait-jacket, Sins of Rachel Cade, Sudden Fear, Snake pit, Splendour in the Grass, Steel Key, Sex and the single girl, Running Man, Smashing Bird, Shanghai Gesture, Seventh Cross, Roadhouse, River of no Return, River's Edge, Rat Race, Purple Plain, Puppet on a chain, Pulp, Prisoner, Phaedra, Pal Joey, Performance, No Love for Johnnie, Night without sleep, No Highway, Nighwalker, Naked Jungle, My Favourite Spy, Moving Target, Modesty Blaise, Midnight Lace, Man on the Eiffel Tower, Man of a Thousand Faces, The Manchurian Candidate, Loophole, Life at the top, I Mobster, I Want to Live, How to Steal the World, Ill Cry Tomorrow, Hucksters, Dark Mirror, Highly Dangerous, The High and the Mighty, Hell Drivers, Green Scarf, The Getaway (Steve McQueen), Frenzy, Fallen Angel, Five Easy Pieces, Eveil under the Sun, Escape from Alcatraz, Driver, Duel in the sun, Defiant Ones, Cloak and Dagger, Checkpoint, Cleopatra Jones, Candidate for Murder, Butterfield 8, Ambush, All I Desire, Zabriskie Point etc.,  full sets and parts sets and singles. (200 approx)

MEISSEN; a late 19th century figure of the flute player from the Dresden Opera Series, painted mark and impressed no.8 to base, circa 1880, height 14.5cm. Provenance: a private collection in Worcestershire, purchased from Bellhouse Antiques.Additional InformationThe flute has been restored, as has the tip of his cloak, otherwise appears good with no further signs of faults, damage or restorations.

MEISSEN; a mid-18th century figure of a fiddle player, circa 1745, modelled by JF Eberlein, blue painted marks to back of base, height 18.5cm. Provenance: from a private Worcestershire collection, purchased from Harden Antiques in 2003.Additional InformationThe neck of the fiddle and the bow have been restored, tiny area of damage to tip of one finger on left hand, minor rubbing to the raised parts such as his hat, cloak and base, overall good.

A group of Victorian textiles to include jackets, petticoats, a cloak, a peacock feather fan, and also a boudoir doll (af).

Eight ceramic figures including two Royal Doulton examples, 'Evelyn' and 'My Love' with further Coalport, also two Royal Crown Derby coffee cans and saucers (one piece af).Additional InformationThe Minton Sea Breezes figure has small chip to the billowing cloak, the Derby Imari coffee can is cracked. 

Harry John Pearson RBA (1872 - 1933), oil on paper, girl wearing a fur-trimmed cloak, 15.5" x 11", framed

Circle of John Baptist Closterman (Osnabruck 1660-1713 London), Portrait of a gentleman, seated three quarter length in a red cloak, seated before a window, oil on canvas, 127cm x 121cmNB: The sitter shares some facial characteristics with those of Sir John Churchill, Duke of Marlborough who was also painted by Closterman

A Songye power figure Democratic Republic of the Congo with a horn charge to the top of the head, the face with copper nails, the arms and chest with fibre rings and with a hide cloak, 41cm high.

A Chinese 19th century silk embroidered cloak , and further costume

A Derby porcelain bocage candle-holder figure of a female musician with attendant sheep, decorated in bright enamels and heightened in gilt, circa 1770 (restored and with losses), h.22.5cm; together with one other modelled as a standing gentleman (restored), h.27cm; and a Derby porcelain allegorical figure of Old Father Time with Cupid, on swept base (head re-stuck and with some losses), h.25cm (3).Old Father Time - head has been off and re-glued, several large.Musician - paint losses to face and foliage etc, with restoration and repainting, sconce has been re-glued.Gentleman - restored and repainted (most noticeably to face , base, cloak and hat), several losses to the foliage.

A Matched Set of Three Derby Porcelain Figures of The Seasons, circa 1765, Spring as a classical maiden holding a basket of flowers, a putto by her side, Autumn as a youth draped in fruiting vine, a putto on a barrel beside, Winter as a bearded man in a fur cloak, a putto chopping wood at his side, each on scroll moulded bases, 23cm, 24cm and 25cm

depicting a boy in a cloak with his dog

Victorian bronze figure of Apollo, standing with cloak draped over one arm with sheaf or arrows, base engraved Musee Du Vatican, rouge marble plinth, height 43cm (17").

English School, 18th Century Portrait of a lady in a gold dress and blue cloak; Portrait of a lady in a lace fichu, black dress and lace mob cap; and Portrait of a lady in a blue dress and purple cloak pastel laid to canvas (3) 35 x 29cm (14 x 11in) Provenance: Packington Hall, Warwickshire

Attributed to Sir Godfrey Kneller (British, 1646-1723) Portrait of Miss Mary Marrow (1677-1750), head and shoulders, in a green dress and red cloak, in a painted feigned oval oil on canvas 72 x 59cm (28 x 23in) Provenance: Packington Hall, Warwickshire Other Notes: Mary Marrow was the daughter of Sir Samuel Marrow, 1st Baronet, of Berkswell, Warwickshire. She married John Wightwick-Knightley (b.1680) in 1699 when she was 22. Their children were Marrow Knightley (1711-?), John Knightley (1712-1764) and Thomas Wightwick (1718-1789). Mary Marrow Knightley is buried in the crypt of the church of St John the Baptist, Berkswell, Warwickshire. There is a horizontal line of damage approximately one inch down from the top. The frame has the right-hand corner missing and has various chips. Inventory Nos. 43 and 105 to the reverse on labels. Oil on canvas which has been lined. The canvas is in plane with good tension. Old creases are apparent due to the craquelure in the paint layer. Overall the paint layer is stable and secure. There are some prominent age cracks in the surface. In the sitter's chest these have been retouched, the retouchings have become lighter over time and more obvious. The varnish is semi-matte but even. The frame is in a poor condition with extensive losses to the moulded decoration and gilding.

Follower of Sir Anthony van Dyck (Flemish, 1599-1641) Portrait of Robert, Lord Digby of Geashill (d.1643), half-length, in a white shirt, brown cloak and lace-edged collar oil on canvas, in a painted faux marble frame 78 x 61cm (30 x 24in) Provenance: Mawley Hall, Shropshire Literature: Oliver Millar et al, 'Sir Anthony van Dyck, A Complete Catalogue of the Paintings', New Haven and London, 2004, IV.A12 (where the present portrait is mentioned as at Mawley Hall and as a copy of the original at Oakly) Other Notes: Robert Digby, 1st Baron Digby (d. 1642), was an Anglo-Irish peer. Digby was the son of Sir Robert Digby of Coleshill, Warwickshire and Lettice FitzGerald, of Geashill, Ireland, granddaughter of Gerald FitzGerald, 11th Earl of Kildare. John Digby, 1st Earl of Bristol, was his uncle, and Essex Digby, Bishop of Dromore, his brother. Digby notably served as Governor of King's County in Ireland. In 1620, he was raised to the Peerage of Ireland as Baron Digby of Geashill. He married, firstly, Lady Sarah Boyle, daughter of Richard Boyle, 1st Earl of Cork, and Catherine Fenton; this marriage produced a son, Kildare Digby (c. 1627-1661). Digby married secondly, Elizabeth Altham, daughter of Sir James Altham and his second wife, Mary Stapers. Digby died in 1642 and was succeeded in the barony by his son Kildare. The original by Van Dyck is at Oakly Park, Shropshire, with another version at Sherborne giving the sitter's age as 40. We are grateful to Professor Edward Chaney for his assistance with the catalogue entry. Oil on canvas which has been lined. The canvas is in plane with good tension. The paint layer has a wrinkled surface texture with some areas of raised craquelure. There are numerous retouchings across the surface which are well matched to the original. The thick varnish layer is even, glossy and slightly yellowed. The frame has a painted marble effect with a gilded sight edge.

Follower of Michael Dahl (Swedish, 1659-1743) Portrait of a lady in a grey dress and blue cloak oil on canvas 74 x 57cm (29 x 22in) Provenance: Burfield Hall, Wymondham, Norfolk Oil on canvas which has been lined. The paint layers have been softened during the lining process and there is wear and abrasion in the flesh. To the left of the sitter's head is an old paint loss. There are numerous retouchings across the surface which are reasonably well matched to the original. The varnish is even and semi-glossy. There is some wear to the gilding on the frame.

Circle of John Closterman (German, 1660-1711) Portrait of a gentleman in a long brown wig, blue cloak and white stock oil on canvas, oval, unlined 73 x 60cm (28 x 23in) Provenance: Packington Hall, Warwickshire The canvas is unlined and on its original oval stretcher. It has a tear lower left.  The canvas is slightly slack and has become brittle with age but is generally in a good condition for its age. The paint layers have developed a network of age cracks.   There is minor wear and abrasion to the paint layers.  There is surface dirt including insect droppings.  The varnish layers are matte, dull and slightly yellowed.  There are extensive losses to the gilding on the frame. The frame needs attention.

TEST PRESSINGS/WHITE LABEL/ACETATE COLLECTION. Unique collection of around 100 x LPs/12" with 13 x 10" recordings and a small selection of 7"/8" issued recordings - all are either white labels, test pressings, samplers, pre-releases or acetates. Covering Classic Rock, Prog, Soul, Punk and Wave, artists/titles include Absolute Everywhere - In Search Of Ancient Gods (UK white label K 56192 A1/B1), Soft Cell - Tainted Love (SBL 12 A1/B2 white label printed '1' and '2'),Sandy Denny - Rendezvous (ILPS 9433 Paice Ashton Lord (post-Deep Purple) - Malice In Wonderland (white label printed '1' and '2'), Coldcut - Say Kids, Phil Lynott (POSPX 777-DJ), Pete Townshend/Roger Daltrey (PRO 114), Carly Simon - Playing Possum (white label), Pet Shop Boys (12RXDJ 6275A), Ian Gillan Band (ILPS 9511-A-DJ), The Three Degrees - New Dimensions (single sided), The Long Ryders, The Wildhearts, (John Williams) - Raiders Of The Lost Ark (UK white label), Witchfynde - Cloak & Dagger (yellow printed label), Natural Acoustic Band (acid folk!) - Learning To Live, The Deep (soundtrack - a promo pack with the LP, 7" and promo photos), Eagles, Keith Emerson - I'm A Man (white label MSAMT 12), Graham Nash/David Crosby - S/T (white label K50011) and Amy Winehouse. Condition is typically neat VG+ to Ex+.

Green ground vintage 50's/60's padded dressing gown, a peach ground similar age short sleeve long silk nightgown with embroidered flowers at neck and an early 20th Century black woollen cloak with embroidered detail around the collar (poor condition). (3)(B.P. 24% incl. VAT)

BURBERRY: A double breasted trench coat in fawn size 10 and a woven sheep's wool cloak (2)

A BLACK THREE QUARTER LENGTH LADY'S CLOAK fashioned in mohair wool, a similar black woollen three quarter length swing coat and another black cape (3)

Attributed to Bernard Instone, a double ended citrine cloak pin, another set with moss agate and a hardstone cloak pin, together with a moss agate bar brooch, a bloodstone brooch and various bar brooches and hat pins

A French carved and painted wooden figure of a female in mourning, early 19th century, wearing a hooded cloak and holding a wreath, 81cm high

A scrimshawed whale's tooth, 19th century, decorated with a three-masted whaler flying the white ensign, the reverse with a woman in a red cloak and black shawl, peering through one eye, 12cm long

MALACHITE. A large Victorian Scottish style silver & malachite cloak pin. Diameter 6cm.

ENGLISH SCHOOL (18th century), Wm Mellish, MP for Retford 177*-1791, half portrait, as a young man, wearing an olive green jacket with lace cravat and red silk cloak, painted within an oval, oil on canvas, oak frame, 77cm x 63cm canvas, 90cm x 75cm, old re-lining. See illustration Provenance: By order of Sir Andrew and Lady Buchanan and George Buchanan of Hodsock Priory, Nottinghamshire

Boxed limited edition Christmas Steiff teddy bear 716/1500 with cloak and certificate H: 29 cm

A 1930s oak cottage longcase cloak, the silvered square chapter ring set with Roman numerals, driven by a twin-train movement striking on coiled rod, height 142cm.

A gilt spelter table lighter in the form of a Medieval knight, mid 20th century, modelled wearing a cloak and holding a broad sword, his helmet hinged to reveal a lighter and with hinged opening to the rear. 23 cm high.

A Scottish silver cloak brooch, Ward Brothers, Glasgow 1948, decorated with two thistles set with amethyst coloured cabochons. 7.5 cm diameter, together with a small silver ladies compact and a pair of sterling silver cufflinks with coat of arms above Ceylon.

Early 20thC Stoneware Figure of a bearded Chinese Figure with child at foot, blue flowers on cloak, 27cm high

A pair of late 17thC/early 18thC carved oak caryatids, each with a cloak draped over their shoulder, on a tapering base, 40cm L and two pairs of male and female part caryatids. (6, AF)

A mid-20 th century Royal Naval Officer’s boat cloak in blue wool, with gilt lion head cape chains and gilt buttons and white lining

A Naval Officer`s boat cloak by Gieves and Hawkes. black wool with a red lining and a 1980's Chelsea Design Co. dress designed by Catherine Walker, black velvet with gold polka dots (2)

1st-2nd century AD. A silver-gilt cloak clasp with bust of a bearded and helmetted warrior, attachment loop to the reverse. 6.45 grams, 22mm (1"). Property of a European gentleman living in the UK; formerly in a private collection formed in the 1990s. Very fine condition.

A Staffordshire pearlware figure of Elijah the prophet. Modelled seated upon a tree stump beside a crown, coloured in enamels and raised on a square plinth c.1800, 23cm.Condition report intended as a guide only.Just one small chip to the cloak. No other damage and free from repair. 

Victorian Three Branch Hall Stand with Eight Cloak Pegs and Mirrored Back above a Glove Compartment with Two Brass Hoop Stickholders with Metal Drip Trays, 185cms high x 72cms wide

Vintage Clothing - a three quarter length good quality highly patterned A-line cloak, approximate length 95 cm

CHARLES ELOY BAILLY (1830-1895), BRONZE AND IVORY FIGURE OF A LADY, modelled standing and wearing a cloak, in gilded bronze with ivory face and forearms, signed to reverse, on stepped square base, 22.5cm high

A VERY GOOD CHINESE EMBROIDERED CLOAK.

An incomplete cast copper-alloy anthropomorphic figurine of probable earlier Roman date, probably of the first or second century AD. Only about half the figurine survives, taking the form of a hooded and cloaked standing male before truncating abruptly in an old, worn break. Folds in the cloak are represented by parallel incisions, while on the face (though worn) the eyes and hair have been rendered quite realistically. Condition: good despite wear, even dark greenish patina. Length: c. 30mm. Discussion: this object may represent one of the genii cucullacti or 'hooded gods' apparently beloved in Late Iron Age and early Roman Britain. Named after their distinctive attire (the cucullus, a sort of conjoined hooded poncho), they are thought to be associated with the concepts of prosperity and fertility. A number of depictions are known, some in stone from Hadrian's wall, others in the form of small figurines somewhat similar to this potential example. Provenance: from the collection of an ex metal detectorist, found Oxfordshire/Berkshire/Hampshire in the 1980s or 1990s. 

An uninscribed 'British LB' gold stater of the North Thames Region/Catavellaunii, probably dating c. 60-20 BC. Rudd's 'Middle Whaddon Chase, Big Wheel' type. Obverse: opposed crescents on vertical wreath, 'cloak', crescent and figure-of-eight designs in angles. Reverse: horse prancing right, 'sun' in front, 'wing' above and six-spoked wheel between legs. ABC 2442, BMC 331. A superb piece, Very Fine with some wear to obverse. Weight: 5.63g. Provenance: one of two coins deposited together in the 'Near Dinton' hoard (Bucks), Treasure case 2017T828. PAS record BH-4A1E86.

A 19TH CENTURY CONTINENTAL SCHOOL "The Scribe" a study of a gentleman in a turban and cloak, oil on canvas laid on panel

Pre-Raphaelite School, 19th Century, Portrait of a young girl, standing, in a green and red dress and cloak, monogrammed "PM" lower left, oil on board, 28 x 20cm

Various silver jewellery, including Scottish thistle cloak pin, stone set brooch etc (4)

19th Century Black Wool Cloak, woven with purple floral sprigs with a deep 'concertina' collar, three decorative cloak clips, a cotton and wool lining

IONA - A PAIR OF CLOAK FASTENERS ALEXANDER RITCHIE marked AR/ IONA, Glasgow 1908, each of circular form, cast with Celtic knotwork, with chain suspension 52mm across, 44.8g combined

A PORTRAIT MINIATURE OF PRINCE CHARLES EDWARD STUART AFTER MAURICE QUENTIN DE LA TOUR, 18TH CENTURY the half-length portrait on vellum of Prince Charles in armour with sash of The Order of The Garter, neck badge of The Order of The Thistle and draped in an ermine lined red velvet cloak, glazed and within gilt metal frame with scroll surmount 72cm x 59cm Provenance: Fine Portrait Miniatures, Bonham's London, 17 November 2004, lot 11. Note: This portrait is a copy of the (now lost) original 1747 portrait in pastel by Maurice Quentin de la Tour. While the original is lost, various copies are recorded. This miniature appears to closely follow a copy by John Daniel Kamm in its composition and being landscape rather than the more traditional portrait alignment. These copies by Kamm were likely painted circa 1749 when George Watts, banker to Prince Charles, mentioned copies were being produced. This example closely matches this date and is probably after a Kamm original.

KING JAMES III A PORTRAIT MINIATURE ON IVORY ATTRIBUTED ANNE SHERON, CIRCA 1704 the half-length portrait of King James III in armour with blue sash and red cloak, in silver frame, the reverse engraved (later hand) Prince Charles Edward/ given by him to/ John Greyke/ before 'The 1745'/ Arlaud, contained in a fitted red leather case 92mm long (including suspension) Provenance: John Creyke, c1690 - 1757, Marton Hall Yorkshire His sons Ralph Creyke, Rawcliffe Hall Yorkshire By direct descent Lawrence's of Crewkerne 12th October 2010 Private Collection Note: The Creyke family heritage appears to stem from Danish routes although they are recorded settled and holding the title of Governor in Berwick under the reign of Edward III in 1340. The family seem to have been spread along the borders of Scotland, York and wider afield in Yorkshire. By the time of the Stuart uprisings their seat was, and had been since 1447, Marton Hall in East Riding. However their connection to the Stuart cause goes much further back than the 18th century and they are recorded supporting and indeed suffering for their support upon the execution King Charles I. At this time the family patriarch was Gregory Crekye (born 1595) and it is recorded that for his support he 'suffered greatly for his devoted attachment to Charles I, and compounded heavily for his estates'. Two of Gregory's sons were also close adherents of the Stuarts. One being page to Queen Henrietta Maria and his eldest son Richard was commissioned by the Duke of Newcastle to guard the East Riding coast against the coming of William of Orange to over throw the Stuart King James II. In fact, it was Richard who personally delivered the fateful news to King James of William's arrival. Setting in motion the Glorious Revolution and overthrow of the Stuart monarchy which would in turn create their supporters, the Jacobite's. It is either this Richard Creyke or his son Reverend John Creyke who must be considered the original owners of these fine miniatures. In either case they were staunch Jacobite's who as the miniature of King James suggest could have been given this directly for their long and well recorded support. Of course it was not only this past support but the need for future support through the uprisings of the 18th century which the Stuarts hoped to guarantee. The Creyke support is seen early in the century with Reverend John who after the Jacobite defeat at Preston was so despondent by this defeat he refused on the 6th May 1718 to take the Oath of Allegiance to King George I. By doing so he had to resign from St. John College Cambridge. Almost immediately he appears to have taken refuge not at the family seat but under the care of the 5th Earl of Winchelsea, Heneage Fincha. So close was their relationship he stayed there as his chaplain and librarian until his death in 1757. This support was not only known locally but obviously met the ear of Prince Charles Edward Stuart, indeed he and Creyke may have had a more personal connection than is now understood. It is stated in an 1802 edition of Old Yorkshire that Prince Charles promised to Reverend Creyke that should he come to the throne that he would be granted the position as Archbishop of York. This obvious close connection tempts even further that these miniatures could in fact have been direct court gifts. It should also be said in case any doubt is still cast on the Reverend John Creyke's Jacobite credentials it is recorded that not only was he present to witness the deaths of the Manchester Regiment soldiers so brutally dealt with for their 'crime' of taking arms for the Jacobite's. But he also wrote the speeches given on the gallows by two of their soldiers. These speeches were written for Thomas Syddall and Thomas Deacon of Manchester. It therefore seems highly likely he would have been present at Southwark Gaol to comfort and consult with other prisoners and likely gave religious clemency to many. It would appear that these remarkable miniatures not only have a connection to a remarkable, and little known, Jacobite family but for their near 300 year existence have only been in the possession of two Jacobites, the Creyke family and one Private Collector.

A Wedgwood black basalt plain teapot of rounded form, the lid set with a finial in the form of a female figure draped in a cloak, on a stand 17cm high, and a similar jug with cover on stand

MEISSEN; a mid-18th century figure of the nightwatchman from the 'Cris de Paris' series by Paul Reinicke circa 1755-57, painted clue crossed sword marks to back of base, height 14.75cm. Provenance: from a private collection in Worcestershire purchased from Harden Antiques. Additional InformationRestoration to the tricorn hat, basket handle and edge of cloak, otherwise OK.

MEISSEN; a 19th century figure of a gentleman holding a telescope to his right eye, painted marks to base, height 19cm (af).Additional InformationMissing left thumb, tip of finger missing on right hand, section of lace cuff missing, telescope has been restored and reduced in length, there are cracks running through both legs, spurring quite a substantial crack to the base noticeable certainly from the underside as well. Please see photograph. Presumably there would be a sword protruding from his cloak which again is broken and missing, some restoration to the hat.

CHELSEA; a large gold anchor period figure of Europe from the 'Four Quarters of the Globe' series circa 1765, modelled as a girl wearing a six pointed gilt diadem, floral decorated cloak and holding an orb in her right hand, apparently unmarked, height 36.5cm. Provenance: from a private collection in Worcestershire purchased from D & S March. Additional InformationThere has been extensive damage and restoration to the figure. Her left arm, hand and staff are restored, as is the diadem. The figure has been cracked and broken through, which is clearly visible from the base and has been restored to a large proportion, however this is clearly a rare figure.

MEISSEN; a mid-18th century figure of the lady falconer modelled by J. F. Eberlein circa 1745, painted blue crossed swords mark to base, height 17.5cm. Provenance: from a private collection in Worcestershire purchased from Harden Antiques. Additional InformationThere has been some restoration to the tricorn hat including a restored chip with re-gilding, restoration to the tips of the leaves around the base. There is a firing crack underneath the back of the cloak but this is in production rather than post damage. Restoration to the edges of the coat and both hands and falcon.