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

A long lace cloak, together with a silk blouse.

A Stevenson of Congleton twin-train brass dial oak longcase cloak, the dial set with Roman numerals and rolling date chapter, twin-train movement striking on bell, height 213.5cm.

A late 19th/early 20th Century miniature half-length portrait of a young woman wearing a black cape and cap trimmed with blue ribbon, 3.5ins x 2.75ins,one other of a young woman with low cut dress and wearing a blue cloak, her hair elaborately dressed, 3.5ins x 2.75ins, indistinctly signed, and six other miniatures mostly of young ladies

Blue chiffon over taffeta evening dress, ruched bodice, vintage rust coloured velvet opera cloak, black gentleman's Scottish dress jacket, a cream wild silk evening dress with leg o'mutton sleeves, cummerband and button and loop fastening to the back and a brown wool jacket, trimmed with mink, labelled Kattina - Made in Italy  (5)

A gold and gem set spray brooch, together with diamond and seed pearl cloakpins and a ladybird buttonhole, the two flowers of the spray brooch each set with a cluster of 3mm pearls (two lacking) around a small round cut sapphire, to a stem of realistically textured leaves set randomly with two larger sapphires, hallmarked 9ct gold, London 1973, length 3.7cm; the pair of cloak pins joined by a fine belcher link chain, each with a 2.5mm seed pearl end, and one with a rose cut diamond set fly, the other with a similarly set leaf, length 4cm; also a buttonhole designed as a ladybird about to take flight, the insect in red and black enamel, the body an oval cabochon moonstone or similar, spiral wire fixing, length 1.6cm (3)

A small collection of 19th century French 18ct gold gentleman's requisites, comprising a pair of cuff buttons with diamond hoseshoes and a pair of pictorial shirt studs: each button a circular plaque with a horseshoe delineated in rose cut diamonds, to be fixed onto clothing with a lyre-shaped snap, its post stamped '750' and with French hallmarks for 18ct gold, including the weevil in oval (and counter marks), which was in use 1864-1888, diameter 2.2cm; also a pair of small circular studs, circa 1900, cast in bas relief each with a profile bust, one the head of a warrior with peaked helmet surmounted by a dragon, and wreathed in olive branches, his cloak clasp the head of Medusa, and a songbird on a branch in front of him; the other a woman in decolleté dress, her hair piled in a bun on top of her head, and an unidentified object ahead of her, possibly a bow; French eagle's head marks and counter marks for 18ct gold, diameter 9mm; gross weight of both items 9.7g (4)

Meissen Late 19th - Earlier 20th Century Hand Painted Porcelain Figure, The Figure Dressed In 18th Century Costume Wearing A Large Puce Coloured Flowing Cloak and Holding a Basket of Fruit with Small Black and White Dog to Feet. Meissen Marks and Impressed Number 1318 - 183 and Painted Mark In Red 14. Height 11 Inches - 27.5 cm. 1st Quality and Mint Condition.

18th century English school oil on canvas - portrait of a nobleman wearing a wig and red cloak, in gilt frame, 80cm x 65cm

Charles Baxter (1809-1879) oil on panel - portrait of a young lady in ermin lined cloak, initialled, in gilt frame, 28cm x 22cm

Alexander Ritchie Iona Interest Silver Celtic Cloak Pin Of archaic form, with raised circular scrolling design. Fully hallmarked to back, along with 'Iona' stamp and 'AR' makers mark. Together with a silver replica 'Howe Brooch' a penannular gilded bronze brooch with zoomorphic terminals discovered in Stromness, Orkney in 1979. Fully hallmarked, Edinburgh 1997, makers mark SS. Each in good condition

Meissen Late 19th - Earlier 20th Century Hand Painted Porcelain Figure, The Figure Dressed In 18th Century Costume Wearing A Large Puce Coloured Flowing Cloak and Holding a Basket of Fruit with Small Black and White Dog to Feet. Meissen Marks and Impressed Number 1318 - 183 and Painted Mark In Red 14. Height 11 Inches - 27.5 cm. 1st Quality and Mint Condition.

Victoria (Queen of Great Britain, 1819-1901). Victoria, Princess Royal, as a water nymph, pencil and colourwash, depicting a young girl wearing a loose short tunic and cloak with a beribboned garland of flowers on her head and a small posy in her hand, standing in a rocky rill with waterfall amongst water lilies and bulrushes, within a gold line border, inscribed by Queen Victoria on behalf of her daughter to upper margin above image 'For Tilla from Vicky', lightly toned, 21 x 14.5 cm (8.25 x 5.75 ins), mounted, framed and glazed (Qty: 1)Provenance: Given by Queen Victoria to Miss Sarah Hildyard ('Tilla'), governess to the royal children; sold by her descendants at Sotheby's, 25th January, 1968, where purchased by the current owner. Victoria, Princess Royal (1840-1901), known in the family as Vicky (and also nicknamed Pussy in infancy), became a German Empress and Queen of Prussia by virtue of her marriage to German Emperor Frederick III. As the firstborn, it was with Vicky's birth that pictures of children began to flow from Queen Victoria's paint brush: 'Pussy absorbed her mother more than any of the subsequent children. She is sketched crawling, being bathed by her nurse, taking her bottle and showing the first signs of interest in the external world - in a coloured ball, in a caged bird. The other children usually graduated into the family album as toddlers, planted foursquare on sturdy legs under flounces and petticoats.' (Marina Warner, Queen Victoria's Sketchbook , 1979, p.114) Sarah Anne Hildyard was one of Queen Victoria's most devoted and beloved servants. She came to work in the Royal Household as governess in 1849 and instructed Princess Victoria in science, literature, Latin and history. When, in 1867, she was forced to retire through ill health Queen Victoria was distraught at the thought of losing her faithful servant, writing in a letter to her: "I need not tell you how impossible it is to speak to you of your leaving us and indeed I will not call it by that name. It must be no real parting after 18 years ... You have been a treasure to us." (Helen Rappaport, Magnificent Obsession, Victoria, Albert, and the Death That Changed the Monarchy , Chapter 5, note 14)

A large white metal enamel and coloured glass cloak pin, North African probably Tuareg, 23cm long 

Nicholas Dolan, 21st Century Irish "Queen Meabh the Warrior, wearing a part cloak, and with sword and shield in hand, a figure, on marble base," approx. 29cms (11 1/2")h. (1)

After George Romney (British 1734-1802)/Portrait of Margaret Porteus (née Hodgson) wife of the Bishop of London/half length, wearing a white dress, pink fur-edged cloak and white head dress/oil on canvas, 76.5cm x 63.5cm/Provenance: The Estate of the late Sir John and Lady Smith CONDITION REPORT: Surface slightly dirty but overall good condition, late 19th Century in a good plaster gilt frame

A pair of Majolica figures, early 20th century, modelled as an 18th century couple each holding a bible, 48cm and 51cm high (2) CONDITION REPORT: The male figure shows fine surface crazing throughout. The right hand sleeve shows two chips and evidence of repair, and the same hand is missing part of a finger. The point where the cloak meets the ground shows an extensive glazing fault. The female figure shows fine surface crazing throughout and a small glazing fault to the hem at the back of the dress..

Beech Bentwood Cloak and Stick Stand, 198cms high

A group lot of boxed Marvel Legends and other action figures, to include "Famous Cover Series", a Special Collector Edition "Cloak & Dagger" set, and other toys

Collectables, Findings. A vast quantity of decorative findings from the Lorac Union Tool Co USA. From the workshop of a theatrical costumier. Includes, lockets, chains, clasps, rings, brooches, cloak pins and clasps, bracelets and pendants etc (gd) (vast quantity)

Police badges, medals and buttons - a framed display comprising Tayside Police buckle, Met Police EIIR helmet plate, whistle, cloak, chain, buttons, Geo V SC medal to Walter T Stanley and Exemplary Service Medal, EIIR to David S.T. Roberts, frame 39 x 33cm

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 See illustration

~ English School (late 17th century) Portrait of a lady wearing a blue dress, white chemise and ermine cloak Oil on copper, 9cm

~ English School (late 17th century) Portrait of a gentleman wearing a dark wig, black cloak and a lace jabot Oil on copper, 8cm

Royal Doulton Bunnykins figures DB172: Welsh Lady (red cloak) together with Welsh Lady DB172 (white cloak). (2)

Josef Lorenzl for Goldscheider, a large figure of a dancer in cloak, model 5927, circa 1929, purple with pink flowers, incised signature, impressed marks C4 11, 44.5cm

A Japanese porcelain figure of Guanyin, Meiji period, standing holding a scroll, wearing a cloak enamelled with mons and clouds, with green painted dress, height 48cm. Condition report: End of scroll broken and glued.

19TH CENTURY FRENCH SCHOOL Portrait of Agathe D'Alencon with curly brown hair wearing a tiara, frilled collar, brown cloak and cap, oil on canvas, 60 x 49cm Inscribed on various old labels verso 'Agathe D'Alencon épouse á 18 ans le comte constant du Trésor sous-préfet de Valognes et donne sa Démission en 1830. Mêre du comte Louis du Trésor, pêre de la bonne de Bosmelet'

Circle of William Wissing [1656-1687]:-Portrait of a Nobleman wearing full length wig, lace collar and cloak, inscribed 'Anno 1669' top right, painted oval on canvas,72 x 61cms.

FOLLOWER OF HENRY WYATT (1794-1840) PORTRAIT OF A GENTLEMAN Quarter length, wearing a brown coat and blue cloak, oil on board 24.5 x 19.5cm. ++ Damage and retouching lower left; craquelure`

Four items of 1980s outerwear to include pale pink PVC zipped jacket from Hugo Boss, long maroon cloak with velvet hood, heavy knotted poncho, multicoloured velveteen jeans jacket from Relay

A Collection Of Antique Scottish Cloak Pins Three items in total, each of traditional pin buckle form, to include silver Celtic knotwork design - stamped silver to back, along with traditional buckle with thistle form pin and antique buckle with etched trefoil terminals. Please see accompanying image

Meissen Late 19th - Earlier 20th Century Hand Painted Porcelain Figure, The Figure Dressed In 18th Century Costume Wearing A Large Puce Coloured Flowing Cloak and Holding a Basket of Fruit with Small Black and White Dog to Feet. Meissen Marks and Impressed Number 1318 - 183 and Painted Mark In Red 14. Height 11 Inches - 27.5 cm. 1st Quality and Mint Condition.

CLOAK ROOM BASIN AS NEW IN BOX

Ward (James, 1769-1859) Three figure studies: Man in Scotch cloak dress; Boy with sickle; Standing man, pencil on various laid papers, all signed with initials, the first mentioned with shorthand inscription and descriptive text, various sizes between 145 x 110 mm. (5 3/4 x 4 1/4 in) and 180 x 110 mm. (7 x 4 1/4 in), some minor surface and light browning, all unframed, [19th century] (3)

A Meissen figure of a Savoyard Bagpiper, dressed in a white cloak and breaches and a red coat, with applied flowers to the base, late 19th   Century blue crossed swords, impressed 51  incised 297  31 in red, 23cm high Condition: chips to hat rim, hat feather missing,  little finger on right hand missing head off and re-attached

King’s Dragoon Guards Officer’s Cloak / Cape A scarce example of dark blue cloth which reaches the ankles when worn on foot. Red shallon lining, the dark blue collar also lined in red and with red piping. To the front double row of buttons of Regimental pattern and shoulder straps bearing Bath Stars indicating the rank of Lieutenant. Beneath the collar, two gilt metal lion’s heads support the cloak chain. Tailor’s label of Rodgers & Company, faint name and date 1934. GC minor age wear.

An 18th century marble figure of a man, thought to be St. Sebastian, wearing a billowing cloak over foliate engraved armour, on a plinth base, with an inventory number '1641', 46.8cm high. Provenance: The Countess of Midleton, Eastwell Park Estate, Kent, thence by descent. Captain and Mrs Brodrick of Dunley Manor, Hampshire.

An Italian marble relief of St. John the Baptist after Tino di Camaino (c.1285-1337), depicting the saint wearing a cloak over a wool tunic, holding and pointing to a scroll, inscribed 'ECCE AGNUS DEI', in an integral arched frame, the back inscribed 'ESHER' and with inventory numbers '28635', possibly Napoli, 50 x 39.2cm, mounted in a later oak and velvet frame, 66 x 54.2cm (overall). Provenance: The Countess of Midleton, Eastwell Park Estate, Kent, thence by descent. Captain and Mrs Brodrick of Dunley Manor, Hampshire. Tino di Camaino was born in Siena, the son of the architect Camaino de Crescentino. He was a pupil of Giovanni Pisano and later followed his master to Pisa and subsequently worked in Florence where he executed the famous tomb of Bishop Orso at Santa Maria del Fiore and a bust of St. John the Baptist for the Florentine Baptistry, now in the Museo dell'Opera del Duomo di Santa Maria del Fiore. In 1323 he worked in Naples for the King Robert of Anjou and executed several funerary monuments, including the tomb of Catherine of Austria in San Lorenzo Maggiore, with further works in the church of Badia Cava dei Tirreni. The present lot bears a close resemblance to a relief of St. John the Baptist and Prophet which features in Francesca Baldelli's 2007 Tino di Camaino monograph and which was sold by Casa Semenzato in Florence, 15th December 2001 for £128,000. Another related triple relief of the Madonna and child, St. Catherine of Alexandria and St. John the Baptist can be found in the Banca Monte dei Paschi di Siena's collection at the Museo Son Donato.

A SILVER ART NOUVEAU CLOAK FASTENER, a silver belt-buckle, silver babies rattle and an albertina (c.2.2oz) (4)

Lady Anne Barnard (British 1750-1825) KHOI WOMAN provenance and artist's name inscribed on the reverse watercolour on paper 20,5 by 16,5cmIt is with great pride that Stephan Welz & Co debuts two important and exquisitely executed water colours by Lady Anne Barnard from her momentous visit to the Cape of Good Hope during the First British Occupation (1795-1801). Rarely on the market, these works are accompanied by unique documentary provenance and have been in the possession of the descendants of Lady Anne Barnard from 1966. They are offered for the first time with a handwritten letter from Lady Anne Barnard to Henry Dundas in 1801.The two watercolours give us a rare glimpse into the lives of individual women from the underclasses of the Cape Colony at the end of the 18thcentury. In ground-breaking new research, historian Tracey Randle has traced the origins and possible identities of the subjects depicted in Lots  505 and 506. Her article is included in this special focus on Lady Anne Barnard.The aristocratic Anne Lindsay was a leading figure of the Scottish Enlightenment, and the most prolific letter writer, diarist and recorder of any woman of the age. Well connected and witty she was sought after as a sparkling presence in the salons of Georgian society. Her circle included the illustrious presence of The Prince of Wales, Samuel Johnson, Edmund Burke, Henry Dundas, Joshua Reynolds and Thomas Gainsborough among others. Her independence was considered scandalous at the time, and eventually in her early forties she capitulated by marrying beneath her in both age and class. Twelve years her junior, her new husband Andrew Barnard – whom she lovingly nurtured and encouraged – secured a prestigious post as Colonial Secretary of the Cape of Good Hope in 1797. Acting as the first lady of the Cape Colony, Lady Anne Barnard’s African adventures and achievements became legendry. Almost two centuries after her death her legacy continues to make an impact.Anne was raised by a noble and free thinking father, The Earl of Crawford and Balcarres in a secluded castle on the coast of Fife, Scotland. James Lindsay married a woman forty years his junior, and at the advanced age of sixty, welcomed Anne into the world as the first of eleven children. Sadly, Anne found her mother to be remote – worn down by the burden of child bearing – yet it was her affectionate and bookish father who encouraged her intellectual curiosity and creative gifts.  Favoured with beautiful looks, the youthful Anne rejected at least twelve proposals of marriage and the continuous – and unsolicited – advances of older predatory men. It has been suggested [1]that Anne may not have been able to bear children as the result of a sexually transmitted disease, incurable at the time. However, this did not deter her maternal feelings, and possibly motivated her empathetic and compassionate concerns, an attitude generally absent from other contemporary accounts of life at the Cape of Good Hope at the turn of the 19thcentury.Lady Anne was a prolific recorder of life at the Cape – in letters (one of which is on [i]sale), diaries and of course her acclaimed visual record of sketches, drawings and watercolours as well as a few rare oils. She differed from contemporary colonial male artists, in that her work was produced without future publication or official sanction in mind. Her drawings were personal and intimate capturing scenes from the domestic and social life was part of at the time. Drawings were quickly sketched at the dinner table, from her quarters at the Castle, in a carriage oren plein air. She was unusually curious about the wellbeing and origins of the servants and slaves around her. In this way her watercolours of people reveal an empathy absent from the work of other recorders – such as her neighbour at the Castle, Samuel Daniel.The famous image of the so-called Black Madonnaexists in two very similar preparatory sketched versions[ii] of the completed coloured watercolour  on offer. The identity of the young Indian slave recorded as Theresaby the artist, is depicted in a maternal scene nursing her master van Reenen’s lastborn child. Tracey Randall in her article, has identified the child as the baby of the van Reenen family of Ganzekraal farm, near Darling, Cape.  The tenderness of this portrait is underscored by the artist’s comments that she was able to capture the sleeping infant and young nurse in a leisurely manner as they dozed off [2]The second maternal portrait Mother and childdepicts a self-confident and smiling mother gazing directly at the viewer. Dressed in the regal sheep skin cloak and beaded adornment of a Khoi chieftainess, she was sketched at Ganzekraal on the same day in 1799 asBlack Madonna. This was recorded by Lady Anne in her diaries and subsequently highlighted by Tracey Randall.[iii]The full-length miniature vignettedepicts a joyful infant on the shoulders of her mother reaching for a dried gourd rattle, set against a distant landscape, reminiscent of the West Cape coast.These exquisite renderings now take their place amongst a small groups of works on paper selected for a local South African[iv]audience from Lady Anne Barnard’s profuse archive.  Originally part of the Bibliotheca Lindesianaheld by the Earls of Crawford and Balcarres in their stately home, the archive has recently been transferred to the National Library of Edinburgh in Scotland.The arresting watercolours of life at the Cape and her adventurous journeys to the interior have never been published nor publicly exhibited in compliance with Lady Anne Barnard’s express wishes.  The significance and value of these exceptionally rare and re-discovered images is invaluable to a new reading of the South African past.CAROL KAUFMANN[1]TAYLOR, STEPHEN, DEFIANCE THE LIFE AND CHOICES OF LADY ANNE BARNARD.2016.FABER &FABER, LONDON.[2]SEE BARKER, NICOLAS. LADY ANNE BARNARD’S WATERCOLOURS AND SKETCHES: GLIMPSES OF THE CAPE OF GOOD HOPE. FERNWOOD PRESS. 2009.[I]ONE SMALL OIL PAINTING IN PARTICULAR STANDS OUT AS IT IS A SELF-PORTRAIT OF HER BATHING AU NATURELAT HER BELOVED PARADISE, PRESENTLY HOUSED IN THE WILLIAM FEHR COLLECTION AT THE CASTLE OF GOOD HOPE IN CAPE TOWN.[II]IN THE IZIKO SOCIAL HISTORY COLLECTIONS AND THE BALCARRES COLLECTION[III]WE ARE MOST GRATEFUL TO TRACEY RANDALL (PHD CANDIDATE) FOR ALLOWING US TO PUBLISH HER GROUND- BREAKING RESEARCH IN THIS CATALOGUE.[IV]SEVEN PORTRAITS ANNOTATED WITH THE NAMES OF LOCAL INDIVIDUALS WERE PRESENTED IN 1972 TO THE SOUTH AFRICAN CULTURAL HISTORY MUSEUM (NOW THE IZIKO SOCIAL HISTORY COLLECTION).PROVENANCEBy descent. A letter gifting the works accompanies the watercolour of The Black Madonna.ACKNOWLEDGMENTSOur gratitude is due to Tracey Randall ( PHD Candidate), Ariadne Petoussis  (The Vineyard) , Esther Esmyol (iziko Social History Collections), Melanie Geustyn ( Special Collections, South African Library)  and others for  their inspirational information, ideas  and assistance with the presentation of Lady Anne Barnard’s  watercolours.

Lady Anne Barnard (British 1750-1825) BLACK MADONNA provenance and artist's name inscribed on the reverse watercolour on paper 18 by 14cm It is with great pride that Stephan Welz & Co debuts two important and exquisitely executed water colours by Lady Anne Barnard from her momentous visit to the Cape of Good Hope during the First British Occupation (1795-1801). Rarely on the market, these works are accompanied by unique documentary provenance and have been in the possession of the descendants of Lady Anne Barnard from 1966. They are offered for the first time with a handwritten letter from Lady Anne Barnard to Henry Dundas in 1801.The two watercolours give us a rare glimpse into the lives of individual women from the underclasses of the Cape Colony at the end of the 18thcentury. In ground-breaking new research, historian Tracey Randle has traced the origins and possible identities of the subjects depicted in Lots  505 and 506. Her article is included in this special focus on Lady Anne Barnard.The aristocratic Anne Lindsay was a leading figure of the Scottish Enlightenment, and the most prolific letter writer, diarist and recorder of any woman of the age. Well connected and witty she was sought after as a sparkling presence in the salons of Georgian society. Her circle included the illustrious presence of The Prince of Wales, Samuel Johnson, Edmund Burke, Henry Dundas, Joshua Reynolds and Thomas Gainsborough among others. Her independence was considered scandalous at the time, and eventually in her early forties she capitulated by marrying beneath her in both age and class. Twelve years her junior, her new husband Andrew Barnard – whom she lovingly nurtured and encouraged – secured a prestigious post as Colonial Secretary of the Cape of Good Hope in 1797. Acting as the first lady of the Cape Colony, Lady Anne Barnard’s African adventures and achievements became legendry. Almost two centuries after her death her legacy continues to make an impact.Anne was raised by a noble and free thinking father, The Earl of Crawford and Balcarres in a secluded castle on the coast of Fife, Scotland. James Lindsay married a woman forty years his junior, and at the advanced age of sixty, welcomed Anne into the world as the first of eleven children. Sadly, Anne found her mother to be remote – worn down by the burden of child bearing – yet it was her affectionate and bookish father who encouraged her intellectual curiosity and creative gifts.  Favoured with beautiful looks, the youthful Anne rejected at least twelve proposals of marriage and the continuous – and unsolicited – advances of older predatory men. It has been suggested [1]that Anne may not have been able to bear children as the result of a sexually transmitted disease, incurable at the time. However, this did not deter her maternal feelings, and possibly motivated her empathetic and compassionate concerns, an attitude generally absent from other contemporary accounts of life at the Cape of Good Hope at the turn of the 19thcentury.Lady Anne was a prolific recorder of life at the Cape – in letters (one of which is on [i]sale), diaries and of course her acclaimed visual record of sketches, drawings and watercolours as well as a few rare oils. She differed from contemporary colonial male artists, in that her work was produced without future publication or official sanction in mind. Her drawings were personal and intimate capturing scenes from the domestic and social life was part of at the time. Drawings were quickly sketched at the dinner table, from her quarters at the Castle, in a carriage oren plein air. She was unusually curious about the wellbeing and origins of the servants and slaves around her. In this way her watercolours of people reveal an empathy absent from the work of other recorders – such as her neighbour at the Castle, Samuel Daniel.The famous image of the so-called Black Madonnaexists in two very similar preparatory sketched versions[ii] of the completed coloured watercolour  on offer. The identity of the young Indian slave recorded as Theresaby the artist, is depicted in a maternal scene nursing her master van Reenen’s lastborn child. Tracey Randall in her article, has identified the child as the baby of the van Reenen family of Ganzekraal farm, near Darling, Cape.  The tenderness of this portrait is underscored by the artist’s comments that she was able to capture the sleeping infant and young nurse in a leisurely manner as they dozed off [2]The second maternal portrait Mother and childdepicts a self-confident and smiling mother gazing directly at the viewer. Dressed in the regal sheep skin cloak and beaded adornment of a Khoi chieftainess, she was sketched at Ganzekraal on the same day in 1799 asBlack Madonna. This was recorded by Lady Anne in her diaries and subsequently highlighted by Tracey Randall.[iii]The full-length miniature vignettedepicts a joyful infant on the shoulders of her mother reaching for a dried gourd rattle, set against a distant landscape, reminiscent of the West Cape coast.These exquisite renderings now take their place amongst a small groups of works on paper selected for a local South African[iv]audience from Lady Anne Barnard’s profuse archive.  Originally part of the Bibliotheca Lindesianaheld by the Earls of Crawford and Balcarres in their stately home, the archive has recently been transferred to the National Library of Edinburgh in Scotland.The arresting watercolours of life at the Cape and her adventurous journeys to the interior have never been published nor publicly exhibited in compliance with Lady Anne Barnard’s express wishes.  The significance and value of these exceptionally rare and re-discovered images is invaluable to a new reading of the South African past.CAROL KAUFMANN[1]TAYLOR, STEPHEN, DEFIANCE THE LIFE AND CHOICES OF LADY ANNE BARNARD.2016.FABER &FABER, LONDON.[2]SEE BARKER, NICOLAS. LADY ANNE BARNARD’S WATERCOLOURS AND SKETCHES: GLIMPSES OF THE CAPE OF GOOD HOPE. FERNWOOD PRESS. 2009.[I]ONE SMALL OIL PAINTING IN PARTICULAR STANDS OUT AS IT IS A SELF-PORTRAIT OF HER BATHING AU NATURELAT HER BELOVED PARADISE, PRESENTLY HOUSED IN THE WILLIAM FEHR COLLECTION AT THE CASTLE OF GOOD HOPE IN CAPE TOWN.[II]IN THE IZIKO SOCIAL HISTORY COLLECTIONS AND THE BALCARRES COLLECTION[III]WE ARE MOST GRATEFUL TO TRACEY RANDALL (PHD CANDIDATE) FOR ALLOWING US TO PUBLISH HER GROUND- BREAKING RESEARCH IN THIS CATALOGUE.[IV]SEVEN PORTRAITS ANNOTATED WITH THE NAMES OF LOCAL INDIVIDUALS WERE PRESENTED IN 1972 TO THE SOUTH AFRICAN CULTURAL HISTORY MUSEUM (NOW THE IZIKO SOCIAL HISTORY COLLECTION).PROVENANCEBy descent. A letter gifting the works accompanies the watercolour of The Black Madonna.ACKNOWLEDGMENTSOur gratitude is due to Tracey Randall ( PHD Candidate), Ariadne Petoussis  (The Vineyard) , Esther Esmyol (iziko Social History Collections), Melanie Geustyn ( Special Collections, South African Library)  and others for  their inspirational information, ideas  and assistance with the presentation of Lady Anne Barnard’s  watercolours.

Silver and white metal jewellery to include, a white metal thistle shaped cloak clasp, a rock crystal carved thistle pendant silver rings pearls etc Condition Report: Not available for this lot

A white metal thistle cloak clasp, a partial Danish style ceramic necklace and other items Condition Report: Not available for this lot

A VINTAGE BLACK LADIES DRESS decorated with sprigs of flowers and bearing a label for Marjon Couture of Mayfair, together with a crepe ladies black dress by Chafil London and an exotic felt and wirework cloak

A PAIR OF ROYAL WORCESTER FIGURES in the form of a court entertainer lifting his cloak at the front to form a dish, together with similar female companion, both standing on a naturalistic rocky base, 28.5cms highNote: this lot is part of a collection of porcelain from an estate and entered in this sale without reserve. Professional restoration has been noted on some of the items in the collection and so we advise that there may be restoration on this /these item(s) and bidders are therefore advised to view in person, purchases are made on these items 'at own risk' 

Circle of John Singer Sargent, Portrait study of a North African or Arab man in white cloak, oil on panel, 31cm by 24cm

Circle of Sir Peter Lely (Soest 1618 - 1680 London) Portrait of Elizabeth, Lady Hay, head and shoulders, in a blue dress, lace fichu and red cloak inscribed lower left "Right Honble Eliz.., Lady Hay" oil on canvas, in a painted feigned oval 73 x 61.50cm (28 x 24in) Quite dirty.

Circle of Sir Godfrey Kneller, Bt. (British, 1646–1723) Portrait of a gentleman, head and shoulders, in a brown and gold cloak, white stock and full wig oil on canvas, in a painted feigned oval 75 x 62cm (29 x 24in) Dirty.

Circle of Sir Godfrey Kneller, Bt. (British, 1646–1723) Portrait of a gentleman, head and shoulders, in a red cloak and white stock oil on canvas, in a painted feigned oval 73.50 x 61cm (29 x 24in) Dirty.

Rembrandt van Rijn (1606-1669)David at PrayerEtching with drypoint, 1652, a well inked impression of New Hollstein's second state (of three) with the faint scratch on David's cloak, on cream laid paper without watermark, plate 141 x 91mm (5 5/8 x 3 5/8 in), sheet 155 x 102mm (6 1/8 x 4 in) (unframed) Literature:Hind 258; New Hollstein 268 ii/iii

A Simon & Halbig for Kämmer & Reinhardt child doll, With blue sleeping eyes, brown hair wig, pierced ears, jointed composition body and rose printed dress —16in. (40.5cm.) high (missing lower legs); an AM 1894 in pink velvet dress; and a gold velvet cloak and hat

Various collectables including a French silver lion's paw cloak clasp, Sampson Mordan silver pencil, tortoiseshell and MOP page turners etc

A Taxidermy Leopard Skin and Head Cloak; the cloak typically worn by a drumming band leader. (sadly the lining has disintegrated)

[Courtin, Antoine de]. The Rules of Civilty; or, Certain Ways of Deportment observed amongst all Persons of Quality upon several Occasions. Newly revised and much Enlarged, printed for R. Chiswell, 1685, lacking A1 as often (blank?), ink ownership name on title-page 'Will: Murray 1708' (and name of author pencilled below in a later hand), generally toned, one or two gatherings with some light damp-staining to lower blank margin, hinges split, front pastedown with signature of Martin Orskey dated 1953 and book ticket of Sir Arthur Gordon, front free endpaper with ink inscription 'William Murray aught this book feb. 26. 1699' (with various early pen-trials below), contemporary speckled sheep, rubbed and with slight loss at spine ends, upper joint split, 12mo (Qty: 1)ESTC R14935; Wing C6605. First published under the title Nouveau traité de la civilité in Paris in 1671, the work is full of sage advice for those not wishing to commit a faux pas in refined society: 'It is indecent, in the Company of Ladies, or any other serious persons, to pull off your Cloak, to pull off your Periwig or Doublet, to pair your nails, to pick your teeth, to scratch your head, or any other part, to mend your Garter or Shoostring, or to call for your Gown or your Slippers to put your self at ease. It would be as ridiculous as for a Horse Officer to appear before his General at a Muster, in his Shooes instead of his Boots'.

Hugh Littleton Norris (1863-1942) PORTRAIT OF A LADY, SEATED, IN A WHITE DRESS AND DARK CLOAK Signed and dated 1892 u.l., oil on canvas 100 x 127cm

AN UZBECK SILK CHAPAN or cloak with printed floral design

A 17th Century Wood Carving of a Saint. The bearded, curly haired figure depicted wearing a cloak draped over a long belted tunic, carrying a book in one hand, 26½" (67 cm) in height.

A Pair of Fabulous Early 16th Century Carved Oak Arcaded Panels: One depicting Madonna & Child, the other with a crowned Female Figure holding a cross. The figures framed beneath moulded arches ornamented with layers of beaded, dentilated and foliate carved bands, and having unusual bearded face masks adorning the corners. Mary wearing a trefoil-crested crown, cloak and embellished robe carrying the infant Jesus holding an orb with his hand raised in benediction. The female saint, possibly Anne depicted with a crown over a head-scarf & wimple, pointing to the cross held in her arm, 18" x 16¾" (46 cm x 43 cm).

A 14th Century Carved & Polychromed Stone Statue of Madonna (A/F). The figure depicted wearing a crown over a head-scarf with wavy golden hair, a long flowing red robe and blue draped cloak, 39½" (100 cm) in height.

A 17th Century Polychromed Wood Carving of the Enthroned Virgin & Child. Mary depicted with golden hair wearing a red cloak draped over a gilt tunic belted at the waist. The infant Jesus stood on her lap holding a dove, 21 in (53 cm) in height.