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A black cloak with hood, trimmed with gold cord

A Bretby model, the Water Carrier, the Arab carries an amphora across his shoulder while pulling at the hood of his cloak, standing on a raised circular base with a palm leaf and conical flask at his feet, glazed throughout in tones of dappled ivory, 57cm high, impressed mark, model no. 2880, c. 1893

Pair of 19th century Staffordshire flat-backs Duke of Wellington and Napoleon 17cmSome paint loss particularly on Wellingtons boot and horses muzzle, hairline crack from hand and around head. Napoleon with rubbing to orange cloak and boot, chips to foot rim at the rear.No obvious restoration

UNATTRIBUTED; oil on panel Turkish school, a portrait of a portly gentleman wearing a cloak, 28 x 25.5cm.

A French Art Deco painted spelter and ivorine sculpture of a standing lady in long dress and cloak and beside her lurcher dog, all upon a two-tone marble base, 20ins long x 19ins high (48cms)

ADRIAEN VAN OSTADE (1610-1685) a pair of mid to late-seventeenth century etchings - 'Peasant with Hands Behind His Back' and 'Peasant with his Hand in his Cloak', 3.5 x 2.75ins (8.25 x 6.5cms) in later carved frames

A Victorian silver micro mosaic landscape brooch, damaged, a Victorian micro mosaic and synthetic goldstone brooch and cloak stud suite, and a single jet and shell cameo earring

A Continental school ivory sculpture of St. George and the Dragon, possibly Dieppe, late 19th century, modelled in typical form with St. George wearing armour with a swirling cloak, the dragon beneath his horses hooves, on an ebony stepped base, 20cm high CONDITION REPORT: overall ivory lightly stained, losses to sword pommel, and possibly to dragons claws, minor hairline crack to st Georges helmet

A Masonic Nottinghamshire tunic and cloak

A Staffordshire pottery figure, Alas poor Yorick!, 27.5 cm high, other figures, groups and pastille burners, a majolica centrepiece, and other items (2 boxes) Condition report Report by NG Yorick figure: right hand broken and missing. Crack in figures right ankle, couple of cracks around figures right ankle. Firing fault to left hand so missing patch of colour. A lot of paint rubbing and loss. Chip to cloak on left sleeve. Title of figure rubbed. Couple of small firing cracks and pox marks from production.

A 1978 Original Star Wars figure of Darth Vader with original light saber. The figure in original cloak.

Early 19th Century school, study of a young lady in blue cloak, unsigned oil on canvas, 41cm x 30cm

Early 18th Century English School, circa 1700/Nicholas Lechmere/wearing a powered wig, open white shirt and red cloak/Martha Lechmere nee Scudamore/wearing a blue dress and cape/a near pair of half length portraits/oil on canvas, 78cm x 62cm/Provenance: Nicholas Lechmere (1685- 1711), Fownhope Court, Herefordshire, Martha Lechmere, daughter of John Scudamore of Treworgen, Herefordshire/see illustration Condition Report: These are not a pair. Nicholas Lechmere - attire in the style of Charles Edward Stewart. Overall fine cracquelure to the surface which is dirty and marks of stretchers showing through. Early frame. Paper labels on reverse are incomplete. Not relined. Martha Lechmere - Lely-esque style. In contemporary frame. Relined. Bearing a modern paper label inscribed 'Martha Scudamore who married Nicholas Lechmere'

A Victorian black silk and velvet cape elaborately embellished with tape-work, to/w a black silk velvet cloak with cream lining fastened with paste floral clasp (2)

A black velvet evening cloak with cord fastening, to/w a 'Qoomi' full-length black velvet evening coat profusely covered in gold flower and lustre sparkles, lined in black silk with matching stole, size M/L (2) Condition Report Both good condition

Master Snickup's Cloak: Chronicled by Alexander Theroux and illuminated by Brian Froud; publ. Dragons World Limited 1979, Faeries, First Edition, by Brian Froud and Alan Lee together with Christian Waller: The Gates of Dawn; publ. Richard Griffin, Limited Edition 308/1000, signed by Klytie Pate.

Meissen figure of a cherub musician, wearing a wreath and cloak, restored 18cm and two Continental figurines of an Alpine goatherd and cowboy (3).

A bronzed brass figure of Napoleon, wearing bicorne hat and cloak, standing with hands folded behind his back, complete with sword, on small marble square, height 8” overall. GC

A Staffordshire polychrome earthenware standing figure of Wellington, in full dress with cloak, arm resting on upturned cannon barrel, height 10½” including base, with name “Wellington”. GC

A Carved Marble Pedestal Bust of a Merchant, 20th century, composed of three different types of marble, the figure gazing forward wearing a turban, and wearing beads around his cloak, on a circular pedestal foot, 64.5cm high

CIRCLE OF CHRISTIAN WILHELM ERNST DIETRICH (1712-1774) STUDY OF A BEARDED MAN IN CLOAK AND HAT Oil on panel 24.5 x 18cm. ++ Needs a clean; slightly frosted varnish

FOLLOWER OF SIMONE CANTARINI, called SIMONE DA PESARO (1612-1648) BEARDED MAN IN A CLOAK IN A STORMY LANDSCAPE Oil on panel, probably a fragment 32.5 x 28cm. ++ A few old scattered damages, rubbed details etc; some retouching

A 19th century carved carnelian intaglio mounted gold ring, depicting the profile of a man wearing a headband and wearing a cloak, in the Prince Poniatowski manner. The intaglio 2.5cm high. Size J.

A Georgian Jamaican militia cloak clasp dated 1803 together with a typed letter of provenance.

Caracalla silver denarius, reverse reads:- P M TR P XVIII COS IIII P P, Apollo, naked except for cloak from shoulder, standing front, head left, holding branch and leaning on lyre, on altar, RSC III, 282, with nice old pen and ink ticket, Ex. Baldwin Auction 4.5.99, lot 90, GVF, with a ditto but of Geta as Caesar under Septimius Severus and Caracalla, Rome Mint 200 A.D., reverse reads:- PRINC IVVENTVTIS, Sear II, 7196, sold with old pen and ink ticket, slightly rough surfaces, GVF [2]

Charles I silver halfcrown, Tower Mint under the King [1625-1642], mm. Anchor [1638-1639], Group III, Type 3a2, King's cloak is flying from his shoulder, reverse:- Oval garnished shield, Spink 2775, although as normal the flan is a little irregular it is as struck with a small die fault if front of the King's sword, having said that, although slightly double-struck, the centre of the obverse is much better struck up than normal, NVF

20th century AD. A rectangular paper panel on a fabric backing with wooden roller; painting of a seated nimbate figure in cloak and cowl with panels of religious iconography to the borders, panel of Sanskrit(?) text above, blocks of text and red chop seals. 509 grams, overall: 171cm x 65cm, image: 100cm x 61cm (67 1/4 x 25 1/2). Acquired on the London art market before 1995. The figure depicted on this scroll is Bodhidharma, also known in Japan by his more popular name of Daruma. He is a semi-legendary figure worshipped by the Chan sect in China and the Zen in Japan. He is claimed to have introduced Indian meditation techniques into China in the sixth century. [No Reserve] Fine condition.

A warrior with a sword and buckler, - on a cutting most probably from a legal manuscript on parchment... on a cutting most probably from a legal manuscript on parchment [northern Italy (probably Bologna), late thirteenth or early fourteenth century] A cutting, with a standing figure of a naked warrior, wearing only a blue cloak lined with white trim, one arm raised with a scimitar-like sword above his head, the other holding a buckler before him, skintones in pale green-blue, heightened with orange hairline strokes, all on a brightly burnished gold ground, small chip from brow of figure's nose and flaking from gold at lowermost part of cutting, 52mm. by 15mm., laid down in a card mount Similar tiny figures set within initials or in the margins can be found in copies of Justinian produced in Bologna in the last quarter of the thirteenth and the first quarter of the fourteenth century (see Illuminating the Law , 2001, pl.12e, showing a knight with a sword; and Avril and Gousset, Manuscrits Enluminés d Origine Italienne II, 1984, no.141).

The Mckell Medical Almanack, - in German, illuminated manuscript on parchment [Alsace, c in German, illuminated manuscript on parchment [Alsace, c .1445] 12 leaves, single gathering, set out as medical-astronomical prognostications followed or proceeded by calendar for each month, most probably wanting a last leaf with the prognostications for December, else complete, double column of 32 lines in a fine prickly German vernacular bookhand, with capitals touched in red, 2-line initials in alternate red and muted turquoise-blue, rubrics and major feasts in red, each column of prognostications headed by an elaborate crocketed golden arch containing the sun or the moon (as a man's face wearing a cowl peeking out from a golden crescent) above a half-page depiction of an astronomer looking skyward or seated reading (11 in total), each calendar leaf with the occupation of the month within a large gold-edged roundel (approximately 50mm. in diameter), above a similarly sized portrait of the zodiac symbol for the month (often partly illuminated), slightly trimmed at outer edges (with small loss to edge of three illustrations), small spots and cockling in places, erased inscription (perhaps Early Modern ex libris) on last leaf, else very good condition, 205mm. by 105mm., eighteenth- or nineteenth-century binding of white vellum over stiff pasteboards, with single gilt-fillet and small ducal coronet in centre of front board, rebacked, fitted gilt-tooled leather case This is the long-lost Mckell Medical Almanack from the workshop of the celebrated artist Dietbold Lauber, last recorded and seen exactly sixty years ago, and previously available to scholarship only in black-and-white facsimile Provenance: (1) Commissioned c .1445 by a patron in the diocese of Strasbourg (the Calendar leaves having the local saints, Erhard, Gangolf, Udalric and Lendelinus amongst others), from the workshop of the artist Dietbold Lauber in Alsace. (2) Col. David McCandless Mckell (1881-1962) of Cillicothe, Ohio, fellow of the Morgan Library and an American friend of the Bodleian, who collected medieval manuscripts and children's books. This volume was exhibited in the library of the University of Kentucky in March 1958, accompanied by a published study by Rosy Schilling and a separate black-and-white facsimile. The manuscript itself has not been seen since then. Saurma-Jeltsch published her study in 2001 and likewise Mackert in 2012 without seeing it, and both list it as 'untraced'. Text and Illumination: Variants of the text here enjoyed great popularity in Germany in the fifteenth century both as part of larger works, or as a work in itself (as here) similar to the later so-called shepherd's calendars. In some manuscripts it is followed by short treatises on the planets, human temperaments and other medical matters, but as Schilling observed in 1958 the individual layout here suggests that this text always stood alone. It opens with predictions on what will happen in the year depending on which day of the week the first day of January falls on (if Monday the weather will be extreme and there will be little honey and much manslaughter ; if a Thursday the weather will be fine, but there will be little wine ; if a Friday many will have sore eyes ), and includes entries for January advising against bleeding but advising for drinking strong wine with ginger, for February advising bleeding only through the thumb and to eat hot food and drink also warm wine , for March advising to eat roast meat and often bathe, this is healthy and to be bled and cupped often, with further months receiving instructions to consume certain medicinal herbs, eat no meat from the feet of animals, abstain from all smoked meats, not go often to women , as well as offer predictions about thunder, weather changes or meteorites bringing war and death in their wake. It was clearly a prestigious commission for a wealthy patron, and Schilling identified the artist as a member of the workshop of the artist and publisher Diebold Lauber in Hagenau, Alsace. As she notes, the same artist also worked on a Legenda Aurea (now in Berlin, Staatsliche Bibl., Germ. Fol.495), and a Book of Chess (now British Library, Addit. MS.21458). Lauber administered a substantial workshop, which produced over 50 surviving illustrated manuscripts in the German language, dating from between c .1427 and 1470, with a combined total of more than 6000 miniatures. They have been comprehensively surveyed by Saurma-Jeltsch (including the present manuscript, see above). They represent a crucial point in the development of illustrated German literature, and stand at the intersection, not only of art and economic history, but also of religious, linguistic, and literary history. Written in the vernacular and endowed with ambitious programmes of pictorial decoration, the books signal a 'coming of age' of vernacular literature (J.F. Hamburger in Medium Aevum , LXXII, 2003, p. 362). The significant illuminations are: (1) fol.1v, enthroned astronomer with golden crown and ermine cloak, gazing at a golden star above; (2) fol.2r, a three-faced king at table and the water-carrier with a golden ewer; (3) fol.2v, a man warming his hands and feet by a fire over which sausages are smoking, and two pale brown fish; (4) fol.3r, a finely detailed portrait of the astronomer with a turban-like headdress with a two flowing tails, again pointing at a golden star; (5) fol.3v, the astronomer again in the same position wearing a red and blue pointed hat; (6) fol.4r, a man pruning vines and a ram with golden horns straining its neck and poking out its tongue to reach leaves of a bush it stands against; (7) fol.4v, a maiden with flowers and a docile-looking red-brown bull; (8) fol.5r, the astronomer pointing to a star; (9) fol.5v, the astronomer in a blue robe seated and reading a book at a desk, with an angular banderole inscribed Es wert ein Zeichen geschehen ; (10) fol.6r, a nobleman with hawk and horse, and the twins naked with a golden harp; (11) fol.6v, a man mowing grass and a bright red lobster; (12) fol.7r, the astronomer crowned and enthroned, holding a book; (13) fol.7v, the same as a robed figure with tight-fitting hat with a tassel on top; (14) fol.8r, a man harvesting corn and a large yellow lion poking his tongue out at the scene above; (15) fol.8v, a man threshing and the Virgin with gold wings pointing at a tree; (16) fol.9r, the astronomer before a book on a lectern; (17) fol.9v, the same seated with a book under his elbow; (18) fol.10r, a man sowing and a pair of gold scales; (19) fol.10v, pressing grapes and a green and brown scorpion; (20) fol.11r, the astronomer with a flowing headdress; (21), fol.11v, the same clean-shaven, seated and reading; (22) fol.12r, the knocking down of the acorns to feed hogs, and a centaur with bow and arrow looking at a magpie in a tree; (23) fol.12v, killing the hog and a seated ram with golden horns, poking his tongue out. Publications: Rosy Schilling, 'A facsimile of an Astronomical medical calendar in German (Studio of Diebolt Lauber at Hagenau, about 1430-1450): from the Library of Colonel David McC. McKell', University of Kentucky Libraries Bulletin 18, 1958; Rosy Schilling, 'Astronomical medical calendar: German, studio of Diebolt Lauber at Hagenau, 15th century, c. 1430-50', University of Kentucky Libraries Bulletin 18, Occ. Contribution 97, 1958; L.E. Saurma-Jeltsch, Spätformen mittelalterlicher Buchherstellung. Bilderhandschriften aus der Werkstatt Diebold Laubers in Hagenau , Bd. 2, 2001, p. 17; C. Mackert, 'Ein typisches Produkt aus der Spätzeit der Lauber-Werkstatt? Zur Handschrift der 'Leipziger Margarethe'', in Aus der Werkstatt Diebold Laubers, 2012, pp. 299-326; and listed on the online Handschriftencensus : Eine Bestandsaufnahme der handschriftlichen Überlieferung deutschsprachiger Texte des Mittelalters , as no.14903

95 The Hours of the Cross, Use of Metz, - in Latin, opulently illuminated manuscript on parchment [north... in Latin, opulently illuminated manuscript on parchment [north east France (probably Metz), first half of fourteenth century (probably c.1340)] 24 leaves (including two blank original endleaves, and plus 7 modern paper endleaves at each end), collation: i-ii8 (central bifolium made up from two cut leaves), iii8 (reinforced at gutter with strips of other parchment, the first leaf of this bifolium from another place in book), each leaf with sparkling illumination and riotous activity , 17 lines in two sizes of a fine early Gothic bookhand, rubrics in liquid gold, one-line initials in gold on blue and burgundy grounds touched in white penwork, 2-line initials in same colours on gold grounds mostly containing sprays of foliage, drollery animals, an owl and human figures or heads (16 with the latter), twenty-four pages with simple illuminated borders of gold and coloured bars terminating in foliage and often bezants, seven historiated initials in blue or pink on brightly burnished gold grounds and with wider and more complex text borders set on angular grounds, the borders filled with numerous people and drolleries, whooping monkeys, dogs, hunting scenes with hares, stags, wild boar and birds, a hedgehog, fighting men, a fox, a squirrel, a lion, an owl, a performer with a dog holding a bowl in its mouth, bears, two goats, and a cat dressed as a scholar reading from a book , slight scuffs in places, and small amount of cockling, remnants of paper with nineteenth-century hand on last leaf, other marks showing this leaf once the pastedown, early twentieth-century pink ink foliation (superseding earlier pencil foliations, with erased $' on last leaf above #24;0 ff', doubtless the original number of leaves of this volume in the nineteenth or early twentieth century, else in good and bright condition, 138mm. by 101mm., nineteenth- or early twentieth-century binding of crushed red velvet over pasteboards (rubbed on boards and cracking at spine), fitted brown cloth slipcase This is a hitherto untraced section of an early and important Book of Hours, and the sister of those exhibited in Cologne in 1997 (private German collection: see Plotzek Andachtsbucher des Mittelalters aus privatbesitz, no. 11) and sold in the first Ritman sale at Sotheby's, 6 July 2000, lot 8 Provenance: (1) As Plotzek noted, the inclusion of a kneeling nun adoring the Virgin and Child on fol.20r of the part of the book catalogued by him, as well as the forms there of ancilla and peccatrix suggest that the original book was made for a female Benedictine. Its lavish opulence suggest her importance, perhaps as the abbess to her community or a wealthy benefactor who retired within its walls. Another nun peeps down at the text from the initial on fol. 13v here, and this may also be a portrait of the original owner. (2) By the seventeenth century the book appears to have been bound in at least two volumes (with the Ritman section surviving in a binding of that date), and at that time the volume containing this part appears to have contained 180 leaves. It was subdivided again in the nineteenth or early twentieth century, when it and the private German section were put into identical red velvet bindings and refoliated in pink ink by the same hand. Single leaves missing from the Ritman section appeared in Ferrini, cat.2 (1989), nos.10-11 and BEL, Illuminations, cat.1, no. 22. (3) This part from an American collection. Text: The text here is the Hours of the Cross, with Matins (fol. 1r), Lauds (fol.6v), Prime (fol.9v), Terce (fol.11r), Nones (fol.15r), Vespers (fol.17v) and Compline (fol.20r). It presumably sat at the end of the original codex, after the Hours of the Virgin, Penitential Psalms, Litany and prayers in French (as in the Ritman section) and the Hours of the Holy Spirit, the Psalter of the Virgin with prayers, and the Gospel Sequence from John (as in the privately owned German section). The complete book may also have included a Calendar or even a full Psalter at its beginning. Illumination: Sandra Hindman definitively identified the artist as the Master of Boethius of Montpellier (named after Montpellier, Bib. De la Faculté de Médecine, MS. 43; see F. Avril, Les Fastes du Gothique, 1981, no. 256). He was a gifted artist based in Metz c.1340-50, who was influenced by the great Parisian artists Jean Pucelle and Jean le Noir, and executed commissions for the aristocracy and growing bourgeoisie there. This is the earliest period of Metz illumination, and the book was one of a handful of closely related codices, including two contemporary Books of Hours (Paris, Bibl. De Arsenal, MS.570; and Cambridge, Fitzwilliam Museum, MS.9-1951), a Missal of Metz use (Trier, Bistumarchiv cod.407) and two compendia of devotional texts (BnF. MSS.17115 and lat.2568); see also Collin-Roset in Tresors des bibliotheques de Lorraine, 1998. The artist's handing of the larger historiated initials is refined and skilled, with soft green-grey fleshtones used on the faces of the finest examples to lift emotion from the passivity of their expressions, but his real talent is in his inventive and whimsical borders. In these men loll and relax, a kitten in scholar's robes pensively studies a book, animals scamper and whooping monkeys swing out from the foliage and brandish clubs and bucklers. The book delights the eye, and a new animal or drollery seems to be found tucked away in a corner or peeping out from behind foliage every time the pages are turned. The significant illuminations are: (1) fol.1r, 7-line initial with the Kiss of Judas, a rabbit, a bird, a green dog, two battling warriors and a wild boar guzzling red bezants in the full border; (2) fol.2v, human-headed dragon in green and brown with a hairy back, in decorated border; (3) fol.3v, 2-line initial with tiny white biting animal, a rabbit in the border; (4) fol.4r, 2-line initial with smiling man, an owl and a monkey eating a bezant in lower border; (5) fol.4v, 3-line initial with Christ as Man of Sorrows, small hairy drollery in corner; (6). fol.5r, 2-line initial with man's face, a grumpy looking bird and a stag leaping in the border; (7) fol.6r, rabbit running away from a red dog in lower border; (8) fol.6v, 4-line initial with Christ bound before Pilate, a knight peeping around at the scene from behind the initial, a seated stag, a hedgehog with fruit stuck on its spines, a shaggy-maned dragon-like creature and a small bird in the rich three-quarter borders; (9) fol.7r, a comic drollery with a long red striped tail, wrapped in a blue cloak and poking its tongue out at the reader; (10) fol.7v, 2-line initial with orange drollery and a hare in border; (11) fol.8r, a realistic hound chasing a leaping stag in the lower border; (12) fol.9r, a 2-line initial with a singing head, and a human-headed drollery with a long flowing cloak in border; (13) fol.9v, a 7-line initial showing the stripping of Christ, with him seated passively with bound hands before a tesselated ground as three men hold him, the lowermost clasping his cloak, a 2-line initial with a bearded face, a stern looking bishop, sprawled human with outstretched arms and a hare in rich near-full border; (14) fol.10r, 2-line initial with singing head and a red fox gnawing at the lower border; (15) fol.10v, 2-line initial with green drollery and a whooping monkey in border; (16) fol.11r, 6-line initial with the Scourging of Christ, tied to a pole between two attackers, a squirrel, a bird and a reclining man in the near-complete borders; (17) fol.11v, 2-line initial with human head wearing conical hat, a man spearing a bird in lower border; (18) fol.12r, 2-line initial with dragon-like drollery; (19) fol.13r, bearded cloak-wearing drollery in lower border; (20) fol.13v, nun's head in 2-line initial; (21) fol.14r, 2-line initial with human face and an owl in border; (22) .............

Follower of Joseph Wright of Derby portrait of a gentleman wearing a bejewelled turban and red cloak, oil on canvas, 48cm by 39cm (NC)

17th century English School 'The Earl of Warwick' three quarter length standing portrait, wearing a red velvet doublet and black cloak, left hand on the hilt of a sword, oil on panel, 85cm by 51cm (NC)

An unusual late 19th century Satsuma figure modelled as a monk wearing highly decorated cloak and holding a bowl (head re-glued) (4.5").

A BRONZE FIGURE modelled as a semi clad female with outstretched arms wearing a cloak raised on a rouge marble base 34cm

*Italy, Don Inigo d’Avalos, bronze medal by Antonio di Puccio, called Pisanello, c.1449-50, don inigo de davalos, bust right wearing fur-trimmed cloak over high-collared shirt and broad rolled hood with drapery falling from crown to shoulder, rev., per vvi se fa – opvs pisani pictoris, the Avalos coat of arms over a globe with starry sky above a mountainous landscape with buildings and the sea below, 78mm (Hill 44; Armand I, 2, 1; Pollard 24 = Kress 22; Scher, Currency of Fame 9), twice pierced, the edge with transverse file marks, a very fine contemporary cast with some roughness and pitting but with no signs of chasing aside from some later light graffiti in the obverse field, very fine and very rare with a brown patina. Ex Professor S. Pozzi collection, Feuardent & Sambon, Paris, 28 June 1919, lot 790. Don Inigo d’Avalos accompanied Alfonso of Aragon on the conquest of Naples in 1442 and remained a close compatriot throughout Alfonso’s reign (1442-58). In 1449, Pisanello was made court artist to Alfonso and around the same time Don Inigo was appointed master chamberlain to the king. It is to this period, 1449-50, that Don Inigo’s medal was created and it is generally accepted to be not only Pisanello’s last medal but also one of his finest works, with its subtle low relief and fine symmetry. The precise interpretation of the reverse remains mysterious with suggestions that it could be a representation of the shield of Achilles, referencing Don Inigo’s military prowess, or has some form of astrological connection with the starry sky being such a dominant feature on the globe. Professor Pozzi, from a numismatic perspective, is known for his encyclopaedic collection of ancient Greek coins and his sale catalogue of 1921 by Naville of Geneva is still used as a general reference for the series. Pozzi himself was a famous Parisian surgeon and gynaecologist, well-known today in artistic circles for his full-length portrait painted by John Singer Sargent in 1881, currently in the collection of the Armand Hammer Museum, Los Angeles. His life was tragically ended when, in 1918, he was murdered by a deranged former patient.

*Commodus (177-192), sestertius, 181, laureate bust right wearing aegis, rev., Jupiter standing facing, head left, holding thunderbolt and cloak in right hand protecting emperor, who stands left, holding branch and sceptre, 24.52g (RIC 308c; C. 274), good very fine, with green patina Ex Galerie des Monnaies auction, Los Angeles, 9 June 1978, lot 1773.

STAR WARS - A LARGE JAWA FIGURE in brown cloak

STAR WARS - A COLLECTION OF SEVEN KENNER "POWER OF THE FORCE" FIGURES including Han Solo in Hoth gear and Luke Skywalker with removable cloak, all in original packaging (7)

STAR WARS - A COLLECTION OF TWENTY ACTION FIGURES including Princess Leia in white cloak, a Death Star droid, Sy Snootles and others (20)

Victorian wax Peddler doll under a glass dome, the doll wearing a cloak and dress displaying goods in a wicker basket, the dome 23" high

Modern Waterproof British Officers cloak and Gortex waterproof jacket. Good size

A Masonic Nottinghamshire tunic and cloak

Group of polished stone brooches & scottish silver and white metal cloak brooches. Condition report: see terms and conditions

AN ANTIQUE CARVED AND PAINTED PANEL representing a bearded man in a green cloak with a red pineapple hat, 110 x 23cm

A pair of Victorian gold and turquoise set chain linked cloak pins, pins 2.5in. A pair of Victorian gold and turquoise set chain linked cloak pins, each with central star motif, pins 2.5in.

Three Liberty & Co. Cymric circular silver buttons with stylised pomegranates, makers mark L & Co., Birmingham 1899; a larger Art Nouveau silver button, circular with Mucha style design of a woman's face amidst scrolling foliage and flowers, makers mark HM, Birmingham 1901; and a Arts & Crafts style white metal cloak fastener (5)

A wax head Pedlar doll, with red cloak

An Italian Fresco Painting: Head & Shoulders Portrait of a 16th Century Man wearing an ermine trimmed cap and cloak, painted on gessoed cloth and mounted onto board 13 ins x 11¼ ins (33 cms x 28.5 cms), in a moulded frame 21½ ins x 19¾ ins (55 cms x 50 cms).

A Large & Impressive Carved Oak Altar Piece, attributed to the Lower Rhine area, 15th/Early 16th Century & later. The piece composed of four associated relief carved figure groups depicting St Veronica holding the cloth displaying the face of Christ to the centre, a bishop on horseback riding through a crowd, and Christ before Pilate on the left, and a man offering his cloak to two beggars on the right, flanked by a later kneeling man on one side, and two figures on the other. 34 ins (86.5 cms) in height, 74 ins (188 cms) in width.

A Fabulous 15th Century German Polychromed Limewood Carving of The Virgin & Child, Circa 1450. The sculpture carved in high relief with a hollowed out back, depicting Mary stood on a crescent moon, her long wavy flaxen hair falling down around her shoulders, wearing a gilded cloak with blue lining draped in deep folds over a long girded red robe (lacking crown and forearm). The naked Christ child with golden curly hair holding a gilded apple in one hand, with the other raised in benediction, 54 ins (138 cms) in height.

A 15th Century German Polychromed Caving of Madonna & Child. The Virgin depicted with long brown hair flowing over a red draped cloak and gilded dress. The Christ child holding a bunch of grapes, 29 ins (74 cms) in height.

An Early 16th Century Flemish Polychromed Relief Carving Circa 1500. A Depiction of Mournful Mary knelt wearing gilded cloak and dress, with the figure of John the Evangelist stood beside resting his hand on her shoulder, 17 ins (43 cms) in height.

A 15th Century Oak Sculpture of Madonna, Circa 1480. The hollow backed carving depicted holding an open book, with her long wavy hair hanging down around her shoulders over a draped cloak and girded tunic, 29½ ins (75 cms) in height.

A 15th Century Oak Carving of St James of Compostela. The bearded saint depicted wearing a hat emblazoned with a scallop shell to the upturned brim, a buttoned cloak over a long belted tunic, holding a staff and satchel in one hand with rosary beads in the other, 29½ ins (75 cms) in height.

A Flemish Oak Carving of Saint Anthony, Circa 1500. The abbot depicted with curly hair and beard wearing a cowled flowing cloak over a tunic, holding an open book in one hand, and a staff with bell in the other, with a piglet and tongues of fire at his feet, 38 ins (97 cms) in height.

A Large 13th Century Polychromed Wood Carving of St John. The mournful figure depicted with head bowed, wearing a draped cloak hanging in folds over a long tunic, holding a book in one hand with the other held up to his face, 54½ ind (139 cms) in height.

Octavius Oakley (British, 1800-1867) Study of a young gypsy girl dressed in scarlet cloak and black bonnet, her hands rifling through a deck of cards watercolour 12 x 8½in. (30.5 x 21.75cm.)

Circle of Henri-Joseph Castaing (1816-1918) Head study of a man wearing a hooded cloak Red chalk with touches of white on laid paper, squared for transfer 39cm x 29cm

A 'Ralph Wood' pearlware bust of Handel, the composer wears a long grey wig and looks over his right, his turquoise lined purple cloak worn over a blue jacket, impressed within the socle 'Ra Wood Burslem 80', 23cm (9 in) high Provenance: From the collection of the late Christopher Hogwood CBE Good

A Royal Doulton figure of an orange seller, HN72, he sits before his basket of oranges wearing a dark green hooded cloak over pale green clothes, painted and printed marks, 16cm (6.25 in) high Good