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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.

An Antique Ivory Carving of The Virgin of the Immaculate Conception, Goa, Indo-Portugese, 18th Century. The Virgin depicted with hands held in pray wearing a lace trimmed dress, draped cloak and string of beads around her neck, stood on a crescent moon above a scrolling banner and winged angel heads amongst scrolling clouds, 8½" (22 cm) in height.

A Polychromed Wood Carving of Madonna & Child, 15th Century, Pyrenees. Mary depicted seated wearing a crown and a long red tunic belted at the waist under a draped blue cloak. The infant Jesus stood upon her lap in a belted robe with painted decoration, 39½" (99 cm) in height.

A Late 15th/Early 16th Century Nether-Rheinish Polychromed Wood Carving. A figure group depicting Saint Martin of Tours depicted on horseback in soldier's attire, dividing his cloak with his sword to clothe the diminutive figure of a beggar knelt to his side, 19¾" (50 cm) in height.

A Baroque, Life-sized Carved & Painted Wood Sculpture of Madonna & Child, Circa 1700. The bare-foot Virgin depicted wearing a head-scarf and draped cloak with residual red paint and traces of gilding, hanging in deep folds over a flowing white robe, holding in her arms the curly haired Christ Child. Standing on a D-front plinth base 67" (170 cm) in height.

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

Skilleter (Andrew, b.1948). Original artwork for The Last Battle, The Chronicles of Narnia, by C.S. Lewis, 1996, acrylics on artist's board, depicting Tirian, King of Narnia, in a purple tunic and blue cloak, carrying a sword and shield, with Jewel the Unicorn rearing beside him, and Aslan in a doorway behind, against a sunset landscape, with 'Narnia' lettered on a scroll to lower right, signed lower left, 37 x 32cm (14.5 x 12.5ins), mounted, framed and glazed, with the artist's printed label on backboard (Qty: 1)Provenance: from the studio of the artist. Cover design for The Chronicles of Narnia by C.S. Lewis, executed for the acclaimed BBC Radio 4 dramatisation by Brian Sibley.Andrew Skilleter b.1948 Andrew Skilleter studied at Bournemouth & Poole College of Art and maintained a busy career from the 1970s as a versatile illustrator producing hundreds of covers for adult, teenage and children’s books, including a large number for Puffin Books, across numerous genres. His work has also encompassed illustrations for many books, magazines, posters and multimedia publications. Ivanhoe, his first work as author and illustrator for children, was published as a deluxe hardback in 1997. Skilleter has had a long working relationship with the BBC. He is known all over the world for his prolific output of Doctor Who artwork for the BBC and other publishers, work which was showcased in a book published in 1995 entitled Blacklight: The Art of Andrew Skilleter. The artist regards as one of his greatest achievements the seven audio cassette covers for BBC Radio 4’s adaptation of C.S. Lewis’s The Chronicles of Narnia,dramatisedby Brian Sibley; four of these are being offered in this sale. In an online blog Brian Sibley writes of his delight in having Skilleter as illustrator, saying that the artist brought “an intelligence and a sympathy that complimented the telling of these much-loved tales, coupled with a sensibility as a designer for creating intriguing images that invited the listener to discover the story behind the pictures”. Also offered here are five original dust jacket designs for the classic series The Dark Is Rising  by Susan Cooper, published by The Bodley Head in 1992. In an article for ‘Folio Society Magazine’ the author described Skilleter’s dramatic illustration for Under Sea, Over Stone as showing “an evilly threatening Lord of the Dark in a swirling robe”, and praised the artwork for its immediate visual appeal and accurate representation of the text. Paintings by Andrew Skilleter have been exhibited in London and across the UK, including at The Association of Illustrators. Numerous pieces of his work are to be found in private collections in the UK as well as globally. The works of art offered here are being sold direct from the artist himself.

Ursula Wood, late Victorian oil on canvas - portrait of a lady in ornate cloak, signed and dated 1896, unframed, 61cm x 46cm

A bust in the form of a female figure draped in a cloak

Two Nao porcelain figures one of seated man wearing cloak and satchel, the other of young girl holding a teddy bear.

An Art Deco style figurine, depicting a lady with cloak, 32cm high

BRIAN FROUD AND ALAN LEE: FAERIES, London, Pan Books, 1979, 4to, original pictorial wraps + SARAH TEALE: GIANTS, ill Julek Heller, Carolyn Sprace and Juan Wijngaard, New York, 1980, 4to, original cloth, dust-wrapper + another copy published Pan Books 1980, 4to, original pictorial wraps + WIL HUYGEN: GNOMES, ill Rien Pourtuliet, New York, 1979, 4to, original pictorial wraps + ALEXANDER THEROUX: MASTER SNICKUP'S CLOAK, ill Brian Froud, Limpsfield, Surrey, 1979, 1st edition, 4to, original pictorial laminated boards + THE POP-UP BOOK OF GNOMES, London, Kestrel Books, 1979, 4to, original pictorial laminated boards (6)

Russian Gardener porcelain figure of a drunkered holding flask having lost his boot with wife following carrying child, painted and impressed mark to base, 23cm tall.Condition Report:A couple of minor losses. Rough area to the base of his coat, possible restoration. Generally appears in good condition.Glaze loss to the underside of the child's feet,Small chip and possible restoration to the fold at the bottom of the mans cloak at front, Tail of women's headscarf is chipped, Large chunk out of base on bottom of women's skirt, Large chunk out of base rim, Small chip to grass area at back on edge, Maroon base edge looks freshly "varnished" as does some other places, Large chunk out of gents cloak at reverse approx 1.5cm x 1cm and retouched to disguise

Russian Gardener porcelain figure of a drunkered holding flask having fallen over losing his top hat with wife supporting him and child in tow, painted and impressed mark to base, 18cm tallCondition Report:Generally very clean, small scratch to the man's coat, otherwise appears good.Firing crack on base at reverse, Glaze loss to end of fold in gent's cloak, Again the maroon base edge looks freshly "varnished" 

Circle of Sir Peter Lely (Soest 1618 - 1680 London) Portrait of a lady, traditionally identified as Mary Dalison, head and shoulders, wearing pearls, in a pink dress, white fichu and blue cloak in a feigned oval oil on canvas in a scrolling gilt frame 72 x 60cm (28 x 23in) Provenance: By descent within the family of the sitter Mary Dalison was the daughter of Thomas Dalison of Hamptons and Jane Etherington, his first wife. Mary was the sister of Jane Dalison who married Sir Geffery Amherst, 1st Lord Amherst. Oil on canvas which has been lined. There are a few scattered losses to the paint layer but overall it is in a good stable condition. There are a few localised areas of retouching across the surface. The varnish is matte and slightly yellowed. The gilding on the frame is fragile and flaking.

English School, 17th century Portrait of a lady, head and shoulders, in a lace-trimmed silver dress and dark blue cloak oil on canvas, in a carved wooden frame 64 x 51cm (25 x 20in) Provenance: Exning House, Newmarket, Suffolk The canvas is in plane. The paint layer has been affected by heavy scratches in the lower left corner which has removed the paint in some areas. The painting has extensive areas of retouching. The varnish is even and clear. The dark wood of the frame has numerous small chips and losses.

Circle of Jean-Marc Nattier (French, 1685–1766) Portrait of a nobleman, wearing the Insignia of the Order of Saint Louis, and gesturing with his hand; and Portrait of his wife, in a grey dress trimmed with gold, blue cloak, lace choker and flowers in her hair oil on canvas (a pair) 79 x 62cm (31 x 24in) Provenance: Burfield Hall, Wymondham, Norfolk Oil on canvas. The paintings appear to be unlined, the edges of the canvas are covered in paper tape, it is possible that the edges of the canvas have been reinforced, The canvases are in plane with good tension. Both paintings have a patch on the reverse reinforcing an old damage. Both paintings have a network of age cracks, some of which are slightly raised. There are small scattered losses across the forehead of the Gentleman and this area has been extensively retouched. Both paintings have localised retouchings which are fairly well matched to the original. The varnish layers are slightly uneven but clear. The frames are in a good condition.

ϒA small collection of costume jewellery, to include a graduated malachite bead necklace; a French jet and velvet ribbon choker necklace; a branch coral necklace; A Victorian gilt metal locket, with glazed compartments; a silver cloak pin brooch, with indistinct hallmark; together with various simulated pearl necklaces; and further items ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.

A pitch pine Gothic Revival style wardrobe/ cloak cupboard, by repute previously from Lichfield Fire Station, sloping top with moulded edging, quarter panelled doors, raised on moulded plinth, width 146cm, depth 57cm, height 223cm.

19th Century oil on canvas,oval mounted head and shoulder portrait of a lady in a red cloak, 15ins x 12ins, gilt framed

A German bisque nun doll, wearing tunic, cloak and rosary beads, marked '4a' to neck, H.39cm, together with another German nun doll, H.40cm

A lady's black wool hooded evening cloak with fox fur trim

PIETER COECKE VAN AELST (follower) 1502 - 1550: THE HOLY FAMILY WITH AN ANGEL Second quarter of 16th century Oil on wood panel 95 x 42 cm Marked lower center with metal plate on frame: "COLLECTION PRINCE/ ESTER HAZY/ BUDAPEST." Label on back: "PRINCE ESZTERHAZY/ BUDAPEST" and seals This unique panel painting of the Holy Family is a work of exceptional quality that impresses with its deliberate composition outline, harmoniously balanced color, and excellently executed brushwork in the fabric. The individual figures are also charmingly and soulfully portrayed. The figure of the Virgin Mary, as the closest intermediary to God, is here the personification of motherhood, humilityand dedication, sitting at the table dressed in a red cloak and on her lap holding the naked Christ Child, who is clutching at her. The background is divided into two halves. On the right half Joseph is leaning towards the pair through a window that offersa view of the landscape.Pieter Coecke van Aelst was an excellent Flemish painter, sculptor, architect, and designer of wood engravings, goldsmith work, stained windows and tapestries. He worked in Antwerp and Brussels and was appointed court painter to Charles V. He was also a polyglot, translating ancient Roman and modern Italian architectural treatises about architecture into Flemish, French and German.His books played a pivotal role in the dissemination of Renaissance ideas and contributed to the transition from the late Gothic style in Northern Europe. From Italy he returned to Antwerp, where he inherited his father’s very productive workshop. The original The Holy Family with an Angel (right-angle panel, portrait orientation, 95 x 72 cm) is in a private collection. This work by his follower is also of high painterly quality. The subject of the painting was very popular and frequently repeated in various smaller iterations, with various backgrounds, architecture or landscapes or a different interpretation of Mary’s shroud (as documents at the Rijksbureau voor kunsthistorische Documentatie in The Hague demonstrate). The painting accurately characterizes the style of Pieter Coeck, with an ample landscape with tree avenues, a path and houses in the background. The painting's important provenance further increases the value of the painting: it is originally from the Esterhazy collection. Consulted with PhDr. Hana Seifertová.Restored.

ADOLF JOSEPH WEIDLICH 1816 - 1885: THE JOURNEY TO BETHLEHEM 1865 Oil on canvas 49 x 58 cm Signed lower right: "A. Weinlich j. (?)/ 1865" This exquisite example of a late Nazarine painting by Adolf Joseph Weidlich shows the advent theme of Mary and Joseph’s journey to Bethlehem before the birth of Jesus. The painting bears most of the characteristics of the style the Nazarines drew on from early Christian art: the composition, emphasizing the figures in the foreground, and the figures, depicted in characteristically rigid style, with Joseph’s typical full beard, mid-length hair and archaic clothing. Here he is portrayed as a pilgrim in sandals, a cane resting on his shoulder. He is leading Mary, expecting the birth of her child, also dressed in a simple cloak with a white shroud over her head. The vibrant Raphaelesque color is also clearly seen in the blue and red cloaks of the figures. The masterfully executed painting was exhibited at a Bohemia Art Society exhibition in 1885 and at the time was one of the most expensive items in the catalogue.

ANTOON CLAEISSENS - CIRCLE 1536 - 1613: DAVID RETURNING IN TRIUMPH WITH THE HEAD OF GOLIATH Late 16th/early 17th century Oil on wood panel 72,5 x 103 cm King David, who is the subject of many legends, was the shepherd and warrior who went on to become the statesman and unifier of Israel. A versatile figure as well as a musician and the author of the Book of Psalms, in Christian art he is also important as the model of Christ (according to Matthew, he is his direct ancestor). The most frequent subjects are scenes either from his battle with Goliath or David’s triumphal return, holding Goliath’s head in his hand. In his fight against the giant he refused to use armour, choosing instead just five stones to use with his slingshot. After hitting Goliath in the head and killing him, he cut off his head with a sword. In the painting he is striding forward, dressed in a red cloak with a shepherd’s pouch and a sword resting on his shoulder; in his other hand he holds his trophy, the head of Goliath. He is surrounded by Israelite women, who came out playing timbrels and lyres, praising him and singing:“Saul has slain his thousands, and David his tens of thousands.”(1 Samuel 18: 6-7). This famous episode, understood in Christianity as the model for Christ’s entrance to Jerusalem, is masterfully depicted by an artist based in the style of Antoon Claeissens (c.1536–1613), who came from a line of painters in Bruges.Consulted with PhDr. Hana Seifertová. Restored.

A HOGWARTS SCHOOL OF WITCH CRAFT AND WIZARDRY CLOAK HOOK

*A Porcelain Figurine of Chronos 19TH CENTURYHeight 31.5 cm.Realistically modelled, Chronos standing on a flower encrusted rockwork base, holding a circular gilt watch stand on his left arm and a scythe in his right hand, the lavender cloak draped around his left thigh, apparently unmarked.

Mixed Lot: large Victorian silver buckle, heart shaped 8 x 6cm, Birmingham 1896, maker's/sponsor's mark L.L.E. together with a vintage pressed white metal cloak buckle (2)

Justice of the Peace court dress uniform, cloak and hat, made for the Honorable Mr W D Shepherd, CIE, ICS appointed Justice of the Peace for the town of Bombay, 25th September 1915 

A late 19th century continental bisque head and shoulders Doll, dressed in skirts and red cloak, 7in (17.75cm) high.

Mediterranean Tour.- Young (Sir Frederick, traveller and writer on Imperial affairs, Honorary Secretary of the Royal Colonial Institute (RCI), married Cecilia, daughter of Thomas Drane, brewer of Torquay, c. 1820-73, 1817-1913) [Tour of Greece, Malta, Turkey & Italy], autograph manuscript, 118pp. excluding blanks, 9pp. of 10 botanical specimens collected from various locations, slightly browned, original straight-grained morocco, rubbed, lacks most of spine, sm. 4to, 29th September 1844 - 4th February 1845.⁂ Young's itinerary includes: Queen Victoria's yacht at Tilbury; passing Tangiers, Ceuta and Gibraltar; visits Malta, goes ashore at Valletta, visits St. John's Cathedral and Knights Templar Library; lands at Corfu, Olive groves, indolent people, meets Mrs Ward and her son, visit to the Citadel and Messonghi; Greek mainland, Patras, Piraeus, long description of Athens classical antiquities, visit to the field of Marathon, attends the opening of the Chamber of Deputies and saw King Otto (1815-67); visits Syra [Syros]; lands in Turkey at Smyrna [Izmir], sees a caravan of camels, bazaars in Smyrna; passes the site of Troy; mentions Lord Byron's swimming the Dardanelles; passes Gallipoli; lands at Constantinople, "a most superb City", bazaars, procession of the Sultan [Abdülmecid I, 1823-61) attending Friday prayers, visits the "dancing Dervishes", the tomb of Mahmoud II, the Hippodrome, Egyptian obelisk, the Cistern of Constantine, visit to the Royal Armoury and Saint Sophia; slavery in Turkey; travels back to Malta and put in quarantine in the Lazaretto; sails to Italy and lands at Syracuse, visits the catacombs, sails along the coast and visits Catania, Etna, Messina, cooking lunch in the heat of Vesuvius, Naples, description of the ruins of Pompeii, Pozzuoli, and Baiae, Pisa, Genoa, Marseille & Paris.Constantinople: [Dervishes]. "On the 9th... I went to see the Dancing Dervishes. The place, where this religious sect exhibits their singular performances is of somewhat spacious dimensions, and of a circular shape. Their costumes... is a high crowned felt hat, in shape like a flower pot, and a coarse kind of woollen cloak of a dark brown, or green hue. Suddenly they each throw off their cloaks... they commence twisting round, and round the room in a kind of waltz". [Slavery]. "On our way home, we passed thro' the Slave Market, where the traffic in the sale of human blood is held every morning... . It is a large quadrangular court, with railed platforms ranged round the sides - These were elevated about six, or eight feet from the ground; and parties of slaves are placed in them, previously to being sold, like flocks of sheep - Slavery in the East is not, however, to be regarded in the same light, as elsewhere - Here the slaves are invariably treated most kindly by their masters... ".

Original Glamour artwork, Ronald Cobb, 20th century artist, original pen, ink and watercolour artwork showing saucy image of lady in red cloak with basket of apples, image on board, 27cm x 38cm, produced for Mayfair magazine and illustration appeared in Mayfair volume 7 issue no. 2. Signed to bottom corner by Cobb (gd)

A Collection of Bassett-Lowke 0 Gauge Railway-related Signs, including black-on-white gradient signs and place names including Ashey, Northampton, Stafford, Carlisle, Crewe and others, white-on-black signs including 'Beware of the Trains', various room labels (Cloak Room, Parcels, Store, Way Out and others) and place names Lime St and Northampton, mostly G-VG, some attached to a card backing sheet (60+)

Early 20th Century Franz Bergman Bronze and Marble Ashtray. The cold cast bronze depicting a slave trader and girl, his mechanical cloak opens to reveal her nudity and closes to hide her modesty, with foundry mark to back, stamped 'Nam Gres', approx 41.5 cms h. (the bronze has separated from the marble base and will need re-pinning)

A pitch pine Gothic Revival style wardrobe/ cloak cupboard, by repute previously from Lichfield Fire Station, sloping top with moulded edging, quarter panelled doors, raised on moulded plinth, width 146cm, depth 57cm, height 223cm.

4th century AD. A section of rim of a shallow rectangular dish depicting two male figures; the left naked and fleeing to right and looking back over his shoulder, holding shield and spear with cloak draped over arm; the second facing him and beckoning with his right arm pointing behind, with a small tree to the right. 150 grams, 15.5cm (6"). Property of a Mayfair lady; formerly in an important London collection formed since 1965. Fine condition.

4th century AD. A fragment of a shallow dish depicting a finely modelled standing figuring wearing crested helmet, robes and cloak, holding a purse(?) and transverse sceptre (possibly Mercury?). 60 grams, 12.5cm (5"). Property of a Mayfair lady; formerly in an important London collection formed since 1965. Fine condition.

A Staffordshire spill vase, highly coloured and finely modelled as a huntsman wearing a plumed hat and iron red cloak holding a rifle with a dog at his side. Est. £50 - £80.

An unusual silver cloak pin engraved with scrolls and flowers mounted with cabochon amethysts. Approx. 15 grams. Est. £30 - £50.

Kirby Sattler (American, b. 1950). "The Messenger" - Artist Proof - Signed & numbered 8/8 on lower right. Giclee on canvas. A realistic depiction of a Native American chief or Medicine Man wearing a crow headdress and fur cloak with white body paint adorning his chest that is "based upon the nomadic tribes of the 19th century American Plains" (his words). This is not a portrait of a specific individual, but rather a subject rooted in Sattler's visual references and imagination. Interestingly, this image is thought to be the inspiration for the character Tonto, played by actor Johnny Depp in 2013 remake of the "The Lone Ranger" film. Size: 34" L x 30" W (86.4 cm x 76.2 cm)According to the artist, "My work is fueled by an inherent interest in the Indigenous Peoples of the Earth. The current images evolve from the history, ceremony, mythology, and spirituality of the Native American. The ultra-detailed interpretations examine the inseparable relationship between the Indian and his natural world, reflecting a culture that had no hard line between the sacred and the mundane. Each painting functions on the premise that all natural phenomena have souls independent of their physical beings. Under such a belief, the wearing of sacred objects were a source of spiritual power. Any object- a stone, a plait of sweet grass, a part of an animal, the wing of a bird- could contain the essence of the metaphysical qualities identified to the objects and desired by the Native American. This acquisition of "Medicine", or spiritual power, was central to the lives of the Indian. It provided the conduit to the unseen forces of the universe which predominated their lives.I attempt to give the viewer of my work a sense of what these sacred objects meant to the wearer; when combined with the proper ritual or prayer there would be a transference of identity. More than just aesthetic adornment, it was an outward manifestation of their identity and their inter-relatedness with their natural and spiritual world."Accompanied by written correspondence from 2013 in which Kirby Sattler confirms that this is an Artist Proof for his "The Messenger" and that the value is $1800. Provenance: private Boulder, Colorado, USA collection; accompanied by written correspondence from November 12, 2013 in which Kirby Sattler confirms that this is an Artist Proof for his "The Messenger" and that the value is $1800. Condition: Some puckers to the peripheries and a few to the interior of the composition as shown. Slight crazing and age wear, but overall the imagery is quite vivid. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #146535

A CHINESE PALE CELADON JADE CARVING OF A FOREIGNER WITH A LION DOG QING DYNASTY The figure stands wearing a headband and a long cloak, holding a stem of lingzhi at his side and a sceptre by his face, his long hair curling up at the ends, the lion dog sits next to him with bulging eyes and an open mouth, the stone with minor russet inclusions, together with a fitted silk stand, 8.5cm. (2) Cf. Christie's London, 14th May 2013, lot 84 for a related jade carving of a foreigner.

A RUSSIAN PORCELAIN FIGURE OF A DANCING MAN, DMITROVSKAYA PORCELAIN FACTORY, MOSCOW, LATE 1920S realistically modelled, the figure depicting a bearded man wearing a tall hat, green shirt and a brown cloak tied at the waist with a red belt, performing a traditional Russian dance, and standing upon a squared grass base, red overglazed Dmitrovskaya factory mark with impressed numeral 1700 under base; overall height: 25.3 cm (10 in.)

A Victorian gold and enamel Scottish cloak brooch, with central thistle relief decoration, the back inscribed 'Presented to my wife on her 26th birthday, Glasgow 28th June 1850. W. Campbell Sleigh', 5cm across, 27.9g gross (two stones lacking) CONDITION REPORT: If you require further images of this lot or a condition report please contact us with your request as condition reports have not been included in the description

An Edwardian silver medal inscribed 'Gymnastics, Carlton House, 1905', a hollow hinged silver bangle, with engraved scroll and foliate decoration, Chester 1944, two silver necklaces and a Scottish silver cloak brooch, a quantity of silver coloured metal jewellery items stamped '925' or 'Sterling' and other unmarked silver coloured metal jewellery items, combined weight 347.2g, 11.16ozt CONDITION REPORT: If you require further images of this lot or a condition report please contact us with your request as condition reports have not been included in the description

Circle of Sir Godfrey Kneller (British 1646 - 1723) Portrait of a lady with a green cloak Oil on canvas, feigned oval, carved frame 75 x 62cm (29½ x 24¼ in.) Please Note: this work is oil on canvas laid to board and not as stated in the printed catalogue.

Modeled in brown deerstalker hat and red cloak.Royal Doulton small character jug with a handle in form of a pipe and magnifying glass. Bottom of base inscribed This limited edition of 5,000 commemorates the centenary of the publication of the first Sherlock Holmes story 'A Study in Scarlet'. Artist: Alan Moore Issued: c. 1972 Dimensions: 4.75"H Edition Size: 5000 Manufacturer: Royal Doulton Country of Origin: England Condition: Good

A tradesman with many masks to sell.From the original production of this long popular figurine, modeled in 1952 and released the following year. The Mask Seller is modeled as a man wearing a tall feathered black hat, a green cloak, and a gray sack at this back, displaying a collection of masks at front, with a musical pipe in his hands. Stamped with date to base THE MASK SELLER HN 2103 and other marks. Artist: Leslie Harradine Issued: 1952 Dimensions: 8.75"H Manufacturer: Royal Doulton Country of Origin: England Condition: Good

A pitch pine Gothic Revival style wardrobe/ cloak cupboard, by repute previously from Lichfield Fire Station, sloping top with moulded edging, quarter panelled doors, raised on moulded plinth, width 146cm, depth 57cm, height 223cm.

1930's / 40's Oak Cloak Stand with Six Hooks, 152cms high

Metal Cloak and Stickstand

A lion head cloak clasp, carnelian beads, mixed gem beads, a cockle shaped trinket box and other items Condition Report: Not available for this lot.

Royal Horse Guards Trooper Cloakdark blue melton, sleeved cloak. Large scarlet fold over collar. QC anodised regimental buttons. Scarlet cotton lining. Clean condition.

Life Guards Trooper’s Cloakscarlet melton, sleeved cloak. Large black fold over collar. QC anodised Life Guards buttons. Scarlet cotton lining. Clean condition.