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Attributed to Arthur Dooley (1929-94), a polished and patinated bronze and steel sculpture: Centurion, the elongated warrior with cloak, shield and spear, on a rectangular base, circa 1970-80, 69 cm high.*Biography Originally employed as a dockyard welder, Dooley enlisted into the Irish Guards in 1945, deserting to join the Palestine Liberation Army and an inevitable period of detention on his recapture. Working as a cleaner in Saint Martins School of Art, London he eventually became a student there in 1953. He returned to Liverpool to become a sculptor and to make ends meet, he was employed by the police. His preferred medium was scrap metal.

Seiko mid-century 30 day wall cloak with time-dater drop box

Modern mahogany long cased grandfather cloak

Mid-century oak cased wall cloak with bevel edged dial and glazed front

Modern mahogany wall cloak

A DERBY FIGURE OF A RANELAGH DANCER'S COMPANION, C1765-70 25CM H ++Restoration to head dress, neck, right forearm and cloak. Fingers of left hand broken off and restuck. Chipping and restoration of the encrusted flowers and leaves

Sean Rice (1931-1997); a large bronze figure of a ancient bearded gentleman in windblown cloak, raised on rectangular black plinth, signed to lower back, height 72cm. † CONDITION REPORT This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk

19thC Oil on Canvas, portrait of a female Persian scholar, wearing a red cloak, 27” x 22”, in a later gilt frame

Large Oil on Canvas, classic lady in a blue cloak, greeting a cherub, signed E Anthony, large moulded green frame, 40”w x 68”h approx.

Oriental hand painted Plaster Figure of a Persian Woman wearing a red cloak, carrying two baskets, 22”h

CARVED LIMESTONE PANEL OF SAINT MARTIN OF TOURS 14TH/ 15TH CENTURY depicting St. Martin on horseback with his sword raised, handing his cut cloak to a beggar, carved with the initials S M, with a modern wall mounting bracket 35cm wide, 38cm high Note: The depiction of St. Martin of Tours was a popular subject for religious devotional items during the medieval period, and surviving artworks show that this particular scene was regularly portrayed during the 14th and 15th centuries, in a variety of media. St. Martin was a French soldier in the fourth century, who in an act of kindness cut his cloak in two and handed a beggar a portion of it at the gates of Amiens. Examples of this scene exist in not only religious institutions throughout the world, such as a piece carved in pietra serena in Nova Scotia, but in important museums including the V&A and the Cleveland Museum of Art.

An early 20th century German tinplate clockwork 'Mandarin sedan chair' toy by Lehmann, with a seated figure in a yellow cloak carried by two coolies in uniforms, with bell trademark patented in 1903, 13.9cm high, 18cm long.

A 19th century Capodimonte figure of a flower seller, in traditional costume, 16cm high (incomplete cloak)

Royal Doulton Bunnykins 'Santa' Not produced for sale’ figure in rare alternative colourway. White cloak, collar and cuffs. Base bears Royal Doulton backstamp plus 'The property of Royal Doulton not produced for sale. Part of the vendor's collection of pr

Royal Doulton Bunnykins 'Santa' in rare alternative colourway. White cloak with gold collar & cuffs. Part of the vendor's collection of prototypes, artists samples, and rare alternate colourways.

Royal Doulton Bunnykins 'Judge' 'Not produced for sale' figure in rare alternative colourway. Blue cloak. Base bears Royal Doulton backstamp plus 'The property of Royal Doulton not produced for sale. Part of the vendor's collection of prototypes, artists

Royal Doulton Bunnykins 'Judge' prototype in rare alternative colourway. Royal Doulton backstamp and 'Prototype' to base. Yellow cloak with gold collar & cuffs. Part of the vendor's collection of prototypes, artist's samples, and rare alternate colourways

Newton Taylor (19th century) A young man sleeping with an open book in a landscape, being approached by a beauty in a red cloak oil on canvas, signed and dated 50 x 60cm

A circa 1900 gilt metal hand mirror, with beaded rim and circular bevelled plate, the reverse set with Limoges enamel head and shoulders portrait of a young lady wearing a turquoise cloak, 21cm

A Derby figure of David Garrick,wearing an elaborate tunic and green cloak, standing on a naturalistic base, baton lacking,22cm

Six Commedia dell'Arte figures, a Meissen figure of Punchinello, 16cm high;a Derby figure ‘Coulmbine’,No.199, 15cm high;a Komodie ceramic figure of Anselmo, after Franz Anton Bustelli, 19th/20th century, wearing a brown cloak, and clutching a walking stick, on circular base, incised 79, 16cm high;a Meissen figure of a figure pulling a dog’s tail,17cm high anda Samson figure of a harlequin,11cm high, anda young dancing maiden,10.5cm (6)

A Cozzi Italian porcelain figure of masked bearded man,19th century, wearing a tricorn hat, red embroidered cloak, standing on shaped oval base, with red anchor mark,20cm high

A 19th century Scottish white metal and citrine set cloak badge on chain, with thistle decoration, 9.5cm.

An early 20th century bentwood cloak stand, 186cm.

An early 20th century bentwood cloak stand, 185cm.

A gilt framed and glazed late 19th century Needlework from the back of a Mandarin's cloak, the open-winged fen above stylised water and over his head are various auspicious objects including a flaming sacred pearl etc., the whole bordered by bats and shou characters, a large proportion of the Needlework with gold-coloured thread, 28.5cm x 29cm CONDITION REPORT: Good condition, silk creased to centre.

French porcelain and gilt metal towel rail, three cloak hooks, brass early 20th century clock, with riding interest, together with a claw brooch, mirror, curtain tie backs, sack hook and carved figures, parcel lot (1 box)

A diamond set stick pin, together with a 9ct gold bar brooch, a 9ct gold tie clip, two 9ct gold cloak pins and a paste set stick pin, total weight 13.9g (6)

Continental school, 19th century Mountainous landscape with figures in the foreground and a castle beyond, oil on board, 12 x 14.5cmtogether with a 20th century oil on panel of a man with a red cloak in a wilderness (2)

A diamond set cloak pin in gold coloured metal

A collection of four black and white etchings after Rembrandt Van Rijn - self portrait with hat and embroidered cloak, dated 1631, inscribed B7, seated portrait of Rembrandt's mother, inscribed B343, seated portrait of an elderly man inscribed Johannes Lutma, inscribed B276 and the Rat Catcher, inscribed B121, approximate size 26 x 18 cm, unframed.

Germany, Augsburg, Alexander Schwarz (1478-c.1532), uniface bronze medal by Hans Schwarz (1518), alexandri svvartz avgvstani aet ann xl, bust left aged 40, wearing hat and cloak with high collar, unclear monogram (?) on truncation, 68.8mm (Kastenholz 25; Habich 124, pl. 19, 2), traces of solder on the reverse, otherwise an extremely fine contemporary cast and very rare. Hans Schwarz is credited with the introduction of medals as an art form into Germany and the present piece dates from the period when he produced his first series of medals often depicting individuals attending the Augsburg Diet in 1518. Many of Hans Schwarz’s sketches have survived and the present medal is based on one of the sitter, now in the Staatsbibliothek, Bamberg (Inv. No. IA 38; Kastenholz p. 246, fig. 151). Other specimens of the medal exist in Augsburg, Berlin, Paris and Vienna – and bear the unexplained incised monogram (?) on the truncation of the bust, as present here. The example in the British Museum has been enamelled and so too was the example in the Michael Hall collection (lot 2476) and a specimen without the outer legend which featured in the Münzen und Medaillen sale 90, 14 June 2000, lot 444. According to Habich (who wrongly dated the medal to 1521) Alexander Schwarz was a relative of the medallist, a builder in Augsburg who appears in the Schwarz family portrait painting by Hans Holbein the Elder now in the Maximiliansmuseum, Augsburg.

*De Morgan (Evelyn, 1855-1919). Study for Deianira, pencil on thick paper, laid down on card, showing the full-length profile figure of Deianira in a wind-swept landscape, clutching her head in her hands in despair, dusty, some small marks, mostly marginal, but one stain to upper portion touching drapery and hair, marginal pin holes, sheet size (not including mount) 45 x 30cm (17.75 x 11.75ins) A preparatory study for 'Deianira', of which Evelyn De Morgan painted two versions, one in watercolour and the other in oil. The monogrammed watercolour is a similar size to the drawing offered here, and was sold in the 1980s by Peter Nahum at The Leicester Galleries, London. The oil was larger, and was signed and dated 1878. It was sold at Sotheby's on 17th March 1971 (lot 137), and was acquired then or later by the De Morgan Foundation ('Evelyn De Morgan, oil paintings', DMF, 1996, plate 72). However, it was subsequently lost in October 1991 when a fire raged through Bourlet's art storage unit in south-west London, where some of the De Morgan Foundation's art collection was being held. In Greek mythology Deianira was the wife of Heracles, who had won her hand by defeating the river god Achelous in a wrestling match. After their marriage Heracles shot the centaur Nessus with a poisoned arrow, after he tried to run off with Deianira. The dying centaur gave some of his blood to Deianira, saying that if Heracles was ever unfaithful the blood would revive his feelings for her. When later Deianira had occasion to follow the centaur's advice, sending Heracles a blood-smeared tunic, the garment burned him to death. On hearing that she had unwittingly killed her husband Deianira took her own life. De Morgan chooses to depict Deianira at the moment of despair, just before her suicide. Her face is curiously calm, but she is a large solitary figure in a bare landscape, which reinforces her attitude of grief. In the oil painting there is more detail in both landscape and figure, but in all three versions she is clearly bereft. In both the pencil drawing and the watercolour the trees move with the wind, but in the oil they are resolutely still. The face of Deiarina in each version is subtley different, the drawing showing her at her most inward-looking, oblivious to the elements which cause her cloak to billow over her head. (1)

An antique shell cameo brooch, depicting an unidentified female saint, the young woman with long flowing hair, a crown of flowers and oak leaves, rich garments with a jewelled cloak clasp, and holding a flowering leafy frond, with a faint halo behind her head and her gaze heavenward, the cameo collet set in a pierced and scrolling frame, length 6.6cm

A shell cameo brooch depicting the bust of a classical warrior, the young man - or youthful god, Mars - wearing a plumed and visored helmet with his long hair curling below, a fringed cuirass, cloak over one shoulder and patterned shield in his right hand, the cameo collet mounted to a ropetwist edge, length 4.1cm

An antique opal and pearl cloak pin together with an opal set stick pin, the cloak pin with an asymmetric heart form set with an oval cabochon opal and graduated seed pearls (two lacking), the other end of the pin with removable arrow form set with a round cabochon opal, the two linked by a swag chain and the arrow end suspending a further short chain with freshwater pearl termination, length of pin 5.9cm, in period gold tooled leather case; also a stick pin headed by a pear-shaped cabochon opal, length of stone 8.3mm (2)

English School (18th Century) Portrait of a young girl with Titian red hair in curls, in a white and pink with a russet cloak oil on panel, oval 30 x 25cm (12 x 10in) There is a crack across the panel a third of the way down, running horizontally. Quite dirty. Gilt frame has chips. Oil on an oval shaped wooden panel. The panel has a split running horizontally across the top of the painting. Old adhesive can be seen to reinforce the split fro the reverse, There is a small paint loss at the lower right side. Overall the paint layer is in a stable condition. There is retouching along the split and in the sitter's hair. The frame has a few chips and losses to the gilding.

Pierre Pasquier (French, 1731-1806) Portrait of a lady, thought to be Empress Maria Feodorovna, in a powdered wig, wearing a pink silk cloak over a cream dress, with a diadem, ribbons and flowers in her hair enamel, oval; in a blue and white enamel and filigree frame 4.20 x 3½cm (2 x 1in) Minor losses to the edges, especially right of the sitter's head and along the bottom margin. A crack across the sitter's chest and another in the upper area running across the flowers.Notes: It has been suggested that the sitter is Empress Maria Feodorovna (née Sophia Dorothea, Princess of Wurttemberg) (1759-1828), second wife of Paul I of Russia. 

A EUROPEAN SECTIONAL IVORY FIGURE, 19th century, carved as a Knight of Malta wearing a laurel wreath over his long ringlets, lace jabot, ermine trimmed long cloak over a foliate engraved robe, and chain of honour, screwing onto a plain circular base to reveal a female nude, 7 3/4" high (Est. plus 18% premium inc. VAT) (Illustrated)

A William IV hallmarked Scottish silver cloak pin, Glasgow 1835, Aitken, together with a parcel lot of Victorian and later items to include belts and EPNS belt clasps, various gilt metal examples, a pair of stone set shoe buckles, a teething stick with silver bear mount, a silver mounted prayer book, lengths of beaded dress trim, a beaded fan etc. (qty)

An unworn 'Blackwatch' hand stitched Wool Tartan Kilt, made by Argyll Kilts Scotland. Approx 10m of material including attached fringed cloak, to fit height 170cm (5' 7") waist 84cm (33")

Mid 20th century AD. A composition figure of the Prima Porta statue of Augustus, standing in contrapposto with weight resting on the right leg; wearing cuirass and cloak, right arm raised; to the right leg a boy riding on the back of a dolphin; mounted on a custom made stand. 2.30 kg, 38cm (15). Property of a Surrey lady, by inheritance. [No Reserve]. Fine condition.

A PAIR OF REVERSE PAINTED GLASS CLOAK / SHOE BUCKLES, of circular form, each glass roundel painted with a portrait image of a dog, set within a brass frame, Dia. 4.4 cm

Scottish Silver 1894 hallmarked cloak pin, assay Glasgow

A Victorian wax headed doll with blue glass eyes, cloth body, wax arms and legs, wearing white cotton robe, cream lace trimmed cloak and matching bonnet, 19ins high, a similar doll with closing blue eyes, open mouth showing four teeth and wearing cream dress and lace trimmed bonnet, 16ins high (head damaged), and two other dolls, various

Quantity of Roman medieval coins and artefacts including a Hadrian silver denarius, a Maximian example, Constantius copper example, a Vespian silver denarius, the medieval examples including John, Edward I, Henry V and Elizabeth I silver pennies, the artefacts including bronze cloak clasps, engraved rings, etc.

A Heubach Koppelsdorf 3423/0 bisque head doll with Broderie Anglaise original outfit and pink silk cloak, together with a 1950's Chad Valley plush teddy bear. (2)

A silver sword cloak clasp 4" long 5.8g

Eugen Klimsch (20th Century) German. Study of a Cloak, Pencil, Signed, Unframed, 9.75" x 7.75", together with twelve drawing, by various hands (13).

Montague (John) November A Choice of Translations from Andre Frenaud by John Montague and Evelyn Robson. With an original woodcut by Raoul Ubac. 8vo Cork Golden Stone 1977. First Edn., frontis, orig. cold. wrappers. Signed by Both Authors; The Rough Field, roy 8vo D. (Dolmen) 1972. First Edn; The Great Cloak, Dolmen & Oxford 1978. First Edn., wrappers; Mount Eagle, Gallery / Bloodaxe Books 1989; and two others sim. vols., all wrappers. (7)

A GOOD GERMAN BISQUE HEADED DOLL wearing a velvet cloak.

A GOOD QUALITY 19TH CARVED ROOTWOOD FIGURE OF A RECLINING SAGE, wrapped in a well grained cloak, 6.25in long & 4.6in high.

TWO FRANKENTHAL FIGURES, CIRCA 1760 the first a figure of a young boy, modelled standing wearing a cap and apron with rolled-up sleeves, working a slab of clay or marble upon a surface supported by puce scrollwork, rampant lion mark in underglaze-blue to edge of base, 11cm high, the second a very young girl modelled standing wearing a winter cloak, bonnet and muff, upon a scroll-edged base, crowned interlaced CT monogram, AB monogram, numeral 6 in underglaze-blue, M in puce enamel, 10cm high A model of the boy is illustrated by Friedrich H. Hofmann, Frankenthaler Porzellan, Band I, Munich, 1911, taf.30, no.145.

AN ENAMEL SNUFF BOX, GERMAN, CIRCA 1760 rectangular, painted with military trophies, the lid interior with a portrait of Christian VII King of Denmark, in armour, his ermine-lined red cloak applied with the star of the Order of the Elephant, gilt-metal mounts 8.2cm long Provenance: The Hoffenreich Collection of Snuff Boxes, Vienna

Unusual small brass and marble mantel clock timepiece, the blue painted globe dial enclosed by the brass figure of a semi-nude maiden with cloak over a cherub and cockerel, supported upon a shaped red marble base, 8.5" high

A miniature Chelsea figure of a mother and child c.1753-55, the rustic lady wearing a green headscarf and burgundy cloak which secures her sleeping infant to her back, holding a basket of various goods over one arm and a shopping list in her right hand, red device mark, 10.2cm.

New Kingdom, 18th Dynasty, 1549-1292 BC. A restrung necklace of carnelian beads, cylindrical and spherical in shape, with a carnelian lion's head amulet to the centre. 45 grams, 55cm (21 1/2"). Fine condition.Property of a London gentleman; acquired before 1970. It was believed that the leopard protected the sun-god on his journey through the underworld during the hours of night and this is represented in the gilt wood statue from the tomb of Tutankhamun that depicts the king in the guise of the sun-god. The leopard was also associated with the priesthood, and the high priest of a temple would wear a leopard skin cloak as part of his regalia. Leopard heads were also used as amulets for their protective power; Tutankhamun had a gilt wood leopard head decoration for attaching to his robes, and the statue of Anen, brother in law of Amenhotep III, now in the Turin Museum, shows a similar device for holding his robes.

65-25 BC. British B. Obv: wreath, cloak and crescents. Rev: disjointed horse left with pellets above and 'crab' below. S. 22; BMC 35-76; ABC 746. Burnet and Cowell, Celtic Coinage in Britain II, BNJ 58 1988 pp.6-10 pl.661 (this coin"). 6.12 grams. Ex CNG 90 lot 2342 (with lot ticket and catalogue extract, $650 hammer); formerly Princeton Economics (acquired by Martin Armstrong, with ticket) and Lawrence R. Stack (Sotheby's, 22 April 1999 lot 101 with catalogue extract) collections; from the Whitchurch 1987 Hoard, Hampshire, UK. This particular coin was from what is known as Hoard 1 of the find made at Whitchurch, Hampshire by metal detector during 1987 where two groups totalling 142 Gallo-Belgic and British gold staters were found. Very fine; striking crack to flan.

50BC-25 AD. Obv: wreath across corded line with hiden face in two angles, stylised cloak and hair in other angles. Rev: annulet horse right with sunburst above and pellet-in-ring before head and below. S. -; BMC 367; ABC 2466. 1.22 grams. Ex CNG 90 lot 2340 (with lot ticket and catalogue extract, $1300 hammer); formerly with Marshall Faintich collection (with ticket); acquired Bob Young, 2002. Near as struck. Extremely rare.

6th-9th century AD.A wooden stamp comprising a plano-convex base and balustered knop handle; carved image to the underside of a nimbate galloping horseman with billowing cloak above a standing lion. 99 grams, 75mm (3"). Fine condition.Property of a Middlesex lady; acquired on the London art market in 2007; formerly in a private collection formed in the 1980s.