We found 7138 price guide item(s) matching your search

Greek Coinages, Klazomenai: Hemidrachm, struck c. 386-360 by the magistrate Apollas Obverse: head of Apollo canted slightly left, wearing laurel wreath, cloak tied round neck Reverse: κλα - απολλασ: swan standing left, beating wings; ram’s head to left Metal: silver; Attic weight standard; 2.02g/9h References: Woodward 191, this coin; BMC p.20, 23; Ashmolean 158 Condition: Extremely fine and dark toned; a handsome little coin struck from dies of high artistry £1,200-£1,500 --- Provenance: A.C. Headlam Collection Sotheby Auction, 5 July 1910, lot 40 W.H. Woodward Collection Bt Spink, March 1942

Charles I (1629-1645) silver Halfcrown, Tower under parliament, group III, triangle in circle (S 2775, North 2211). Obverse: type 3a2 armoured figure on horse moving left with sword and flowing cloak, triangle in circle mintmark and '· CAROLVS - FRA; ET · HIB · REX' around. Reverse: garnished oval shield of arms with 'CHRISTO · AVSPICE · REGNO' around. Weight: 14.54g. Diameter: 33mm. Grade: aF - irregular flan with a scratch across the horse, around Fine. Offered with an old ticket.

STUDIO OF MARTIN VAN MEYTENS II (SWEDISH 1695-1770) PORTRAIT OF KAISER FRANZ JOSEPH I; AND KAISERIN MARIA THERESA Oil on canvas, a pair Each 146 x 116cm (57¼ x 45½ in.) (2) Provenance: Sale, Dorotheum, Kunstauktion Alte Meister Auktion 1611, 14 March 1991, lot 74, as Attributed to Martin van Meytens II Condition Report: Portrait of Kaiser Franz Joseph I The canvas is relined and presents an evenly applied varnish across the surface. UV light reveals various retouches across the whole surface, most evident are on the head of the sitter, where sections of the forehead, nose, and chin fluoresce. In addition, further retouches are present on the hands, and there is a patch of about 7 cm in width to the right of the sitter's head. To conclude, a few retouches are also present on the dress, in most part on the edge of the cloak on the left. Portrait of Kaisern Maria The canvas is relined and presents a subtle craquelure across the whole surface which is though more visible on the chest and neck of the sitter. UV light reveals various retouching in the background area, most evident on the chair and curtain to the right. To conclude, there has been various retouching on the visage of the sitter, but mostly on the neck and chest, where infills of the craquelure cover most of the area. Framed measurements Each 174 c 143.5 cm Condition Report Disclaimer

Good Complete B.R.C.S. Nurse's Uniform Setconsisting grey pinstripe, high collar, long dress ... White bib front over dress with central red cross ... White cotton over skirt ... Grey, short cloak with red lining ... Dark blue, single breasted, long coat.  Turn back cuffs.  The left cuff with two red braid bars.  Shoulder straps with brass "Red Cross 32 Lincoln".  One 3 and Lincoln absent.  Black composite BRCS buttons ... Dark blue, soft crown cap with silk band ... Dark blue, soft crown service dress cap with stitched peak.  Gilt and enamel BRCS badge.  Some items named to "K E Andrews".  All contained in a large cotton kit bag.

Vintage costume jewellery, guard chain, Danish 925 silver 30mm brooch, Scottish penannular cloak pin with thistle head, cufflinks, a base yellow metal oval belcher link guard chain, 135cm; marcasite floral spray brooch; silver coloured close curb link chain; two jet style pieces.

Six records by Reggae/Dub artist Lee 'Scratch' Perry: The Upsetters at The Starhouse Sessions, 2023 Record Store Day exclusive, on orange vinyl (sealed); Heavy Rain, 2019 limited edition, on silver vinyl (sealed); Scratch on the Wire; Cloak and Dagger (sealed); Battle of Armageddon, 2019 180g reissue (sealed); and To Drive The Dub Starship Through the Horror Zone (sealed). (6)

Durotriges silver stater. Cranborne Chase, spread tail type. Wreath, cloak and crescents. R. Disjointed horse left, pellets above and single pellet below, diverging lines for tail. 20mm, 3.82g. Ref: ABC 2160, S.-.

Durotriges silver stater. Cranborne Chase, spread tail type. Wreath, cloak and crescents. R. Disjointed horse left, pellets above and single pellet below, tailed of diverging lines. 18mm, 3.62g. Ref: ABC 2160, S.-

Durotriges bronze/billon staters (2). Cranborne Chase type. Wreath, cloak and crescents. R. Disjointed horse left, pellets above and single pellet below. Ref: ABC 2169, S.366-7.

Durotriges bronze/billon staters (2). Cranborne Chase type. Wreath, cloak and crescents. R. Disjointed horse left, pellets above and single pellet below. Ref: ABC 2169, S.366-7.

Durotriges silver stater. Cranborne Chase type. Wreath, cloak and crescents. R. Disjointed horse left, pellets above and single pellet below. 19mm, 4.00g. Ref: ABC 2157, S.365.

Durotriges silver stater. Cranborne Chase type. Wreath, cloak and crescents. R. Disjointed horse left, pellets above and single pellet below. 20mm, 3.17g. Ref: ABC 2157, S.365.

Durotriges silver stater. Cranborne Chase type. Wreath, cloak and crescents. R. Disjointed horse left, pellets above and single pellet below. 19mm, 3.92g. Ref: ABC 2157, S.365.

Durotriges silver stater. Cranborne Chase type. Wreath, cloak and crescents. R. Disjointed horse left, pellets above and single pellet below. 18mm, 3.98g. Ref: ABC 2157, S.365.

Durotriges silver stater. Cranborne Chase type. Wreath, cloak and crescents. R. Disjointed horse left, pellets above and single pellet below. 21mm, 4.02g. Ref: ABC 2157, S.365.

Durotriges silver stater. Cranborne Chase type. Wreath, cloak and crescents. R. Disjointed horse left, pellets above and single pellet below. 19mm, 3.76g. Ref: ABC 2157, S.365.

Durotriges silver stater. Cranborne Chase type. Wreath, cloak and crescents. R. Disjointed horse left, pellets above and single pellet below. 19mm, 3.03g. Ref: ABC 2157, S.365.

Durotriges silver stater. Cranborne Chase type. Wreath, cloak and crescents. R. Disjointed horse left, pellets above and single pellet below. 20mm, 4.65g. Ref: ABC 2157, S.365.

Durotriges silver stater. Cranborne Chase type. Wreath, cloak and crescents. R. Disjointed horse left, pellets above and single pellet below. 19mm, 5.00g. Ref: ABC 2157, S.365.

An unusual silver and amber 80mm cloak pin

A hand painted figure of late 16th century to early 17th century English Catholic figure known for the Gunpowder Plot of 1605. Brown-red cloak and a brown hat with a dark-blue feather. Royal Doulton backstamp. Artist: C. J. NokeIssued: c. 1919-1938Dimensions: 4"L x 3.75"W x 10.5"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.

Rare HN775. Two-sided figure designed by Charles Noke. The beautiful Marguerite in a cream and white dress and red robe. The reverse side shows the hellish specter Mephistopheles in red attire with a black cloak. Figurine possible inspired by the 19th century sycamore sculpture (by unknown French artist), Mephistopheles and Margaretta, who portrays two characters from Johann Wolfgang von Goethe's 1808 play, Faust. Royal Doulton backstamp. Artist: C.J. NokeIssued: 1925-1949Dimensions: 3"L x 2.75"W x 7.5"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.

Three 19th century lady painting portraits. Lady with blue bonnet signed Hermo, Lady with red cloak and strawberry locks signed Rai and the portrait titled "Lettre D' Amour" [Gold and red velvet frame- 16.5x15cm]

Peggy Davies Ceramics - Temptress - a limited edition ceramic sculpture by Davies. The figurine in an Art Deco style, depicting a nude lady reclining, wearing a cloak, with Egyptian tattoo imagery on her chest. Raised on floral & foliate decorative base. Marked to underside limited edition of 100, this being No. 55. Modelled by Andy Moss. Complete with original box & packaging. Figurine measures approx. 16cm x 27cm x 8cm.

Part of the fairytale collection series, the bisque character is handmade, and hand painted with red lining on cloak and matching red gloves. Cloak is adorned with floral detailing on hem and arm slits. Cybis backstamp. Artist: William PaeIssued: c. 1973Dimensions: 4"L x 3.5"W x 6.75"HManufacturer: CybisCountry of Origin: United StatesCondition: Age related wear.

A glossy figure of a girl wearing a white cloak and pink bows, holding a basket and wooden stick. Lladro backstamp. This item has its original box: 10"L x 5.25"W x 4.5"H. Artist: Juan HuertaIssued: 1969-2001Dimensions: 2.5"L x 2.5"W x 8.5"HManufacturer: LladroCountry of Origin: SpainCondition: Age related wear.

Star Wars - Original Last 17 Lando Calrissian (General Pilot) with blaster and cloak in vg condition

A 19th Century moss agate and pinchbeck brooch, a mother of pearl Jerusalem carved Star of David brooch, three mother of pearl and gilt metal buttons and a mother of pearl gilt metal cloak clasp

A large Miracle Celtic paste set brooch, together with a plaid Celtic cloak pin in simulated turquoise, an Edwardian paste set drop necklace and a pair green glass drop earrings and other items

A Japanese print of two women 'The White Cloak' - unframed

FOUR GEM-SET JEWELS, EARLY-MID 19TH CENTURY AND LATER1st: Three diamond-set enamel buttons, each circular button with royal blue guilloche enamel, applied with a rose-cut diamond-set foliate motif, mounted in silver, 2nd: Paste-set cloak clasp, of circular openwork foliate design, set with circular-cut colourless paste, closed-back settings, mounted in silver, one paste deficient, 3rd: Paste flowerhead brooch, set with circular-cut and cushion-shaped colourless paste, closed-back settings, mounted in silver, detachable brooch fitting, converted, 4th: The Latin cross set with rock crystal and colourless paste, mounted in silver and gold, lengths: 1st each 2.5cm, 2nd 10.0cm, 3rd 3.5cm, 4th: 9.1 x 5.8cmFor further information on this lot please visit Bonhams.com

A group of six Derby porcelain figures, 18th century, comprising a pair of dancing gallant and his female companion, model number 317, crossed swords mark, 19cm high; three bocage figures, of a shepherd, a female dancer with Venetian mask and a gentleman with a flower and feathered hat; and a further single figure of a lady with a basket of eggs and flowers in her dress, raised scrolling bases picked out in turquoise, 26cm and 29cm high; sold together with five various Sitzendorf porcelain figures, the tallest 17.5cm high; two further Continental porcelain figures, and a Royal Worcester Freda Doughty model of September (group) (some damages, repairs)Condition:Pair of Derby figures - Male figure has broken and re-stuck arm and several breakages to the flower petalsDerby famel dancer - missing flower or item from one hand. Chips and losses to flowers and bocage. Firing crack to lower part of dress. One arm and part of her headdress broken and re-stuck. Chips to feathers on hats. Smaller chips to elsewhere. Firing crack right around the central circumference of the trunk.Derby male gallant with flower - Again chips and breakages to flowers and petals. Restoration to one hand, his head/neck area including the hat and sections of his cloak.Derby shepherd - Breakage to one flower petal and further smaller chips to tips of flower petals. One leaf broken on the basket of fruit. Bows on both feet chipped. One hand broken and re-stuck at the wrist. Some firing cracks to the reverse of the trunk. Bow on the hair also broken.Derby woman with eggs - Chips and breakages to flowers and leaves. Chip to hat. Four fingers on outstretched hand broken. Firing cracks around the trunk.Sitzendorf group of figures with lambs and bird - leaf to bocage broken and re-stuck. One female figure with small chips to bocage and flowers.All sold as seen.

Roman Imperatorial Coinage, Post Second Triumvirate, Octavian, Denarius, Italy, possibly Brundisium or Rome, 32-29 BC, bust of Venus right, wearing stephane and necklace, rev. [–] divi f in field, Octavian in military dress, cloak flying behind him, advancing left, right hand extended and holding transverse spear in left, 3.42g/3h (Ghey 378, this coin; BMC 609-10; RIC 251; RSC 70). Banker’s mark on obverse, otherwise about fine £40-£60 --- Provenance: SF 86

Roman Imperatorial Coinage, Post Second Triumvirate, Octavian, Denarius, Italy, possibly Brundisium or Rome, 31-29 BC, bare head of Octavian right, rev. [–]ar div[–] in field either side of Mercury nude, sitting right on cloak on rock, petasus hanging behind shoulders and holding in his hands a lyre upon his knees, 3.73g/2h (Ghey 381, this coin; BMC 596-8; RIC 257; RSC 61). Struck on an elongated flan, about fine £80-£100 --- Provenance: SF 240

Boxes and Objects - an AA car badge; a cast metal Jolly money bank, c.1920; advertising and other bottle openers; die-cast model vehicles, including Corgi Royal Mail Millennium Collection, Atlas Edition police vehicles, etc; three silver teaspoons, Sheffield hallmarks; pin and lapel badges; comics including Marvel Cloak and Dagger, Nick Fury SHIELD, Nightstalkers, etc; qty Notice from the the-saleroom.com: These items are listed on the basis they are illustrative of a bygone culture in which there were different social norms. We understand the potential controversy surrounding this type of item but believe that providing transparent information about historical context fosters greater understanding of our complex cultural history.

After Gustave Trouillard a figure of Neptune, a spelter sculpture, standing in a cloak, pointing with one hand the other holding a triton, on a seahorse and elaborate cast base,, titled and signed in the cast, on an ebonised plinth, 94cm highCondition ReportWith some knocks and wear. Some tarnishing.

A good Berber navy wool long cloak/ceremonial cape with black braid and hood with tassle, purchased in Marrakech in the 1960s

Rembrandt Harmensz. van Rijn (Leiden 1606 - 1669 Amsterdam)Selbstbildnis mit glatt herabfallendem Kragen - Self-Portrait in a Cloak with a Falling Collar: BustUm 1631Radierung und Kupferstich auf Bütten6,1x5,2 cm, BlattgrösseWerkverzeichnisThe New Hollstein (Hinterding/Rutgers) 98w/VI (v. X)White/Boon 15ProvenienzPrivatsammlung USAZustandEin sehr guter Abdruck. Oben mit Rändchen, an den übrigen Seiten auf die Darstellung geschnitten. Winzige Defekte an den beiden oberen Ecken, insgesamt aber schönErläuterungenEinige seiner frühesten graphischen Arbeiten betrachtete Rembrandt wahrscheinlich vor allem als Experimente, die er nach dem Abzug einiger weniger Abdrucke von anderer Hand vervollständigen liess. Oft wird hier Jan van Vliet ins Spiel gebracht, der etwa bei diesem Blatt wohl das Gesicht, und hier insbesondere die Augen- und Mundpartien, vervollständigte.White/Boon hielten das Blatt sogar schon in Frühdrucken für eine Schülerarbeit. In die Neubearbeitung des Hollstein wurde der Druck mit einem "w" (für "workshop") versehen aufgenommen. Hinterding/Rutgers differenzieren dabei zwischen den Zuständen I bis VI und VII bis X. Letztere halten sie für eine Überarbeitung mit dem Grabstichel von fremder Hand. Davor entstandene Abdrucke sind von grösster Seltenheit: The New Hollstein kann gesamthaft lediglich 16 von den Zuständen I bis VI nachweisen.MWST / VATMehrwertsteuer auf dem Zuschalgspreis plus AufgeldErwartete Ausrufzeit (+/- 15min)12.09.2024; 19:35 h (MEST)VersandkostenSchweiz: CHF 165.-Europa: CHF 280.-Übrige Länder: CHF 335.-

Michael Ayrton, British 1921-1975 - Street Corner, 1949-50; oil on panel, signed lower right 'Michael Ayrton', 36 x 45 cm (ARR) Provenance: The Redfern Gallery, London (label attached to the reverse of the frame); Col. A. S. Richardson, purchased from the above on the 20th June 1951 and thence by descent Note: Ayrton exhibited with Redfern in the late 1940s and a painting of a similar subject 'Encounter No 1, 1947' originally with the gallery, depicting two figures in an alleyway, one wearing a cloak, is now in the Jerwood Collection. In the late 1940s Ayrton had visited Italy, where he was inspired by the artists of the quattrocento such as Masaccio and Piero della Francesca. The impact of their work can be seen in the highly tonal use of colour and careful drawing and modelling of the figures. 

Circle of Nathaniel Plimer (1757 1822), An 18th century portrait miniature, Bust length portrait of a gentleman wearing a red cloak, Watercolour on ivory, With woven hair surround, rose gold coloured mount, 7cm high overall Please note this lot is offered for sale in accordance with the Ivory Act 2018, Trevanion Auctioneers & Valuers LLP have applied for an exemption licence for the ivory in this lot Ref: T2RLLDCM CONDITION REPORT:The miniature has not been removed from its mount for inspection.  The ivory panel shows a degree of concave distortion along its vertical axis.  This does not appear to have caused any cracks to the ivory or damage to the paint surface, but it has caused the panel to pop out of the mount on the right hand side.  The rose gold coloured surround shows two small losses to the inner edge.  The glass shows wear and surface scratching commensurate with age.  The back panel and pin may be associated. 

Embroidered Binding. The Whole Book of Psalmes collected into English Meeter by T[homas] Sternhold, J[ohn] Hopkins and others, London: Imprinted for the Company of Stationers, 1634, wood-engraved vignette to title page (with index of prayers to verso), 6pp. table of psalms at end, early ownership inscription of Richard Emerton (of Wotton?) to front pastedown 'Richd. Emerton Wotton Give him by mis Allin', gilt gauffered edges, contemporary embroidered binding in coloured and gold thread on a background of cream silk, showing a young married couple, the male figure to rear cover in doublet and hose with a pink cloak and holding a sword, the female figure to the front cover in a green and blue striped dress and veil, holding a large flower, with other insects and flowers, including three large bees and a flower in compartments to spine, rubbed and a little wear with minor losses to extremities, generally in good condition, 16mo (84 x 48 x 20 mm)QTY: (1)NOTE:Provenance: Ralph Ewart Ford (1897-1974), precision engineer and founder of Fords (Finsbury) Ltd. In Bedford. A member of the Bibliographical Society, he formed one of the largest collections of English Bibles in England. During the coronation of Queen Elizabeth II in 1953, a selection of the rarest and most important early English Bibles from Ralph Ford’s collection went on display in a touring exhibition across England, including the Chapter House at Westminster Abbey.Bondy p.10 (but later edition). The binding is likely to have been made as a wedding gift, given the imagery used.

The M.G.S. and Waterloo pair awarded to Lieutenant William Crawley Yonge, 52nd Foot, related by marriage to Sir John Colborne (later 1st Baron Seaton) and father of Charlotte Mary Yonge, the noted Victorian novelist Military General Service 1793-1814, 4 clasps, Nivelle, Nive, Orthes, Toulouse (W. C. Yonge, Lieut. 52nd Foot); Waterloo 1815 (Lieut. W. Crawley Yonge, 1st Batt. 52nd Reg. Foot.) third letter of Crawley corrected from ‘o’, fitted with replacement silver bar suspension, both medals fitted with silver ribbon buckles, light contact marks, otherwise very fine or better (2) £5,000-£7,000 --- Provenance: Sotheby’s, June 1971, with other family medals. William Crawley Yonge was born on 26 June 1795, the eighth of nine children of the Reverend Duke Yonge and Catherine (née Crawley) of Flaxley Abbey, Gloucestershire. He grew up in Cornwood, Devon, on the edge of Dartmoor, where his father was the rector from 1793 to 1823, and was educated at Ottery St Mary, where the head was George Coleridge, of the poet's family, and then on to Eton College. He was gazetted by purchase as an ensign in the 52nd Regiment in May 1812 and joined the regiment outside San Sebastian in September the following year, having been promoted to Lieutenant the previous April. He was present at the crossing of the Bidassoa and at the battles of Nivelle, Nive, Orthes, Tarbes, Toulouse and Waterloo. William was placed on half pay for an Ensign following the reduction of the regiment after its return from France early in 1818. Although he rejoined the 52nd on full pay in the following November, it was marriage that led him to resign his active commission in February 1823, having served for a time with the 17th Regiment in Ireland. William married Fanny Bargus on 25 October 1822, at Otterbourne Old Church, Hampshire. Fanny was a stepsister of Sir John Colborne, and William was the brother of Sir John’s brother-in-law the Reverend Duke Yonge. John Colborne and Sophia Leeke, sister of Ensign Leeke of the 52nd, were witnesses. William was father to Charlotte Mary Yonge, born in August 1823 and destined to become a famous and successful novelist who dedicated her talents as a writer to the service of the church. In her autobiography she makes many mentions of her father and several interesting comments on his military service: ‘He joined in the midst of the siege of St Sebastian and his first experience of war was crossing a bridge on which the enemy’s guns were firing. He hesitated to bend his head below the shelter of the parapet and old soldiers had to advise him not to expose himself to danger unnecessarily. He kept a journal [since lost] dutifully at that time but in dreadful schoolboy writing and with wonderfully little in it, though the sight of it served in after life to assist his recollections.’ Charlotte also recounts what happened to William in the hours and days following the battle of Waterloo: ‘That night of victory was spent in the open field, in the clothes the officers and men had fought in, all the officer’s luggage was plundered by the Belgium’s during the battle. The only thing ever recovered was William Yonge’s box empty of all save his bible and prayer book, which was found in a loft in Brussels. His friend Mr Griffith’s found a pony tied to a post, with a saddle bag containing two coarse women’s shifts and this was the only change of linen anyone had as they marched straight on for Paris. In preparation for entering the City they halted at St Cloud and there all the officers got into one pond and passed the single razor in their possession from chin to chin.’ In his account of Lord Seaton and the 52nd, William Leeke, a junior ensign and nephew of Mr Bargus, gives the following account: ‘Our servants made a bed of straw on the wet ploughed field and all four of us. Yonge and I lay down, and being covered in our boat cloaks tried to go to sleep. It was very hot and there was heavy rain I think it was a little after four, we were ordered to fall in again. We piled arms and remained for the night... My friend Yonge shared my boat cloak and straw with me and we consequently both of us got very wet.’ Many commentators at the time and subsequently have written about the retreat of the French Guard and what caused it, but it is instructive to see what one junior officer who was there felt. In his privately published Memoir of the Services of Field Marshal Lord Seaton, William Yonge wrote: ‘Then too, was invented the story of “Up Guards and at them.” It was a piece of gossip picked up in the Camp by Sir Walter Scott, on his visit to Paris, first appearing in his “Paul’s Letters to his Kinsfolk” and from then adopted by Alison as a historical fact, in truth they never came in contact at all with the Imperial Guards, and were in no way instrumental in their repulse.’ Leeke quotes from a letter written by William Yonge to Colonel Bentham in November 1853: ‘He [Colborne, later 1st Baron Seaton] kept watching the heavy column advancing saw no attempt at preparation to meet it. He said there is nothing else to do but to endeavour to stop them by a flank attack and that if something of sort not done our line would be penetrated. How is it possible that this fanfaronade of Guards charging the head of this column can have the smallest foundation in truth. As to Lord Seaton I think there was never a man so ill used.’ William's daughter Charlotte also wrote of this issue in her autobiography: ‘He [Colborne] thought the final exchange would have been fully explained and the honour awarded to the 52nd... Gossip has picked up and invented “up Guards and at them”… But the crisis of Waterloo has become a vexed question.’ Of this injustice William wrote many letters to the Secretary of War. In one letter he wrote: ‘While the ensigns of the Guards were made lieutenants on the pretence of the 1st Guards having repulsed the Imperial Guard, the lieutenants of the regiment that actually did the work were made ensigns.’ This, of course, had a financial consequence for William, for an ensign’s pay was lower than that of a lieutenant’s. Retiring to the Hampshire village of Otterborne, he was a J.P. for many years and a Cornet in the North Hants Yeomanry from 1836 to 1840. On the death of the Duke of Wellington in 1852, William was among an elite group of old Waterloo veterans who were in the funeral procession, as was also his son Julian, who was in the Rifles. He clearly remained vexed by Waterloo and the injustice to the 52nd and to Lord Seaton himself. William Crawley Yonge died at Otterborne on 26 February 1854; among those attending his funeral was Lord Seaton. His daughter Charlotte was also clearly influenced by her father’s interest in matters military. In March 1896, 81 years after Waterloo and 41 years after her father died, she wrote to an American admirer: ‘My father fought at Waterloo and I grew up with many army traditions from him and his colonel Lord Seaton.’ In her novel Clever Woman of the Family, published in 1865, perhaps reflecting her father’s attitude to life, she wrote: ‘It is the discipline and Constant Duty that make the soldier and are far more valuable than exceptional doings.’ From the beginning to the end of her life, Waterloo remained a topic of key importance for Charlotte. It figured in her very first book published in 1839, Le Chateau de Melville. Several other of her books also had a military theme. With acknowledgement to Ian Yonge and his excellent biographical work available online...

A quantity of police memorabilia, to include a pair of handcuffs stamped Wrought Warranted and Abbey Quarter (presumably Abbeytown), two Metropolitan Special Constabulary badges, a wooden truncheon, a police cloak marked internally C & W 1946 (presumably Cumberland and Westmorland) a police helmet and a medal "For Faithful Service in the Special Constabulary" awarded to Sergeant Roderick L Rigby.

CARL CHRISTIAN KANZ (CIRCA 1800) TETE D'EXPRESSION, WITH LONG BROWN HAIR, WEARING A GEM-STUDDED HEADBAND, EARRINGS, LOOSE WHITE CHEMISE AND RED CLOAK Enamel Oval 11.5cm, 4.5in gilt-metal frame Provenance: Chappey Collection, sale, 1907; P. Gravier, sale, 19 December 1922, lot 132; D. David-Weill, Paris, no. 4107; Sir Charles Clore Collection, sale, Sotheby's, 10 November 1986, lot 124 Literature: H. Clouzot, Dictionnaire des miniaturistes sur email, Paris, 1924 p.113; C. Jeannerot & H. Clouzot, Miniatures and Enamels from the Collection of D. David-Weill, 1957, no. 312; L. Schidlof, Miniatures in Europe, Graz, 1964, vol. 11, p. 418

A Steiff yellow tag diamond coronation teddy bear, embroidered to foot pads with navy velvet cloak --10 1/2in. (26.5cm.) high; and a yellow cat key ring (no certificate)

A believed Ancient Roman circa 300AD style bronze votive offering figurine idol of the god Mercury. The amulet depicting Mercury standing, appearing to be modelled nude, holding bag of coins & cloak. Some rust & wear commensurate with age. Measures approx. 52mm long.

A Staffordshire portrait figure of Edmund Kean in the role of Richard III, standing on a gilt lined base, wearing an ermine trimmed cloak Circa 1850     size 25cm high Condition.  Sword missing, chip to hat feather, some crazing  Provenance. The Late John McDowell Collection  

A large tribal gilt cloak pin 3.4 inches in dim

CIRCLE OF MICHAEL DAHL HALF LENGTH PORTRAIT OF A YOUNG WOMAN IN BLUE DRESS WITH RED CLOAK Feigned oval, oil on canvas, and a companion, a pair, 'Young Woman in Red Dress (2) each 27.5cm x 21.5cm (10.75in x 8.5in) Provenance: Select items from the estate of the late Lady Penn

Sir Godfrey Kneller Bt. (German 1646-1723)Portrait of Altham Smith, three-quarter length, wearing a brown cloak and long wig, standing in an interiorOil on canvas126.8 x 102.7cm; 50 x 40½inProvenance:By descent in the family of the sitter;Thos Agnew & Sons, London, where purchased by the previous private collector, February 1975;And by family descent

Dutch School 16th/17th CenturyPortrait of Gaspard de Coligny, Seigneur de Châtillon (1519-1572), bust-length, wearing a ruff and fur-lined cloakInscribed H AMIRAL DE CHASTILLON (along lower edge)Oil on canvas50.7 x 45.6cm; 20 x 18inProvenance:Adam Faith;The Period Face, Somerset, where purchased by the present private collectors

George Perfect Harding (1779-1843)Portrait of Ann, Countess of Arran, half-length, wearing a blue dress and brown cloakSigned with initials GPH/f (centre right), and inscribed Ann Countess of Arran (lower centre)Pencil and watercolour heightened with white, within ink framing lines15 x 12.3cm; 6 x 4¾in (image)

A collection of vintage costume jewellery to include a rabbit cloak clasp, enamel butterfly brooch oriental buttons, and a Chinese green hardstone item carved with a bird etc Condition Report:No condition report available.

FOLLOWER OF JUAN PANTOJA DE LA CRUZ (1553-1608)Portrait of a Spanish Nobleman, head and shoulders wearing a black cloak and white collar, oil on canvas, 10" x 8 1/2", modern frame in the Dutch style (Est. plus 24% premium inc. VAT)Condition Report: Later relined with areas of repainting visible under UV. The paint surface is stable with some areas of craquelure.

1st-3rd century A.D.. With a portion of the upper pectoral muscles still visible, part of a cloak (chlamys) gathered on the left shoulder. Cf. Reinach, S., Repertoire de la statuarie Grecque et Romaine, Paris, 1930, figs. pp.6-14 (Zeus); pp.31-37(Asklepios); pp.149-151,163, (Hermes); 179,183 (Ares). 9.95 kg, 29 cm wide (11 1/4 in.). The original statue or bust represented an athletic type, probably a hero or a demigod, or the god of war, Ares. However, the presence of the cloak resting on the left shoulder could also recall statues of divinities, such as Zeus with his left arm raised, or Asklepios, or Hermes.From an English private collection, 1970s-late 1990s. English private collection.

Early 3rd century A.D.. Carved head of a prepubescent worshipper of Isis, with soft facial features, long nose, small downturned mouth, heavy-lidded eyes, the whole giving the face a sombre or mournful appearance; the hair textured to indicate a short cut and combed forward across the scalp, sidelock above the right ear; mounted on a 16th century carved breccia upper body with leather cuirass and pteruges to right shoulder, cloak draped across the shoulders and fastened at the clavicle on the right side with a disc-brooch; socle base; some restoration. See Bianchi Bandinelli, R., Roma, la fine dell’arte antica, Milano, 1970, fig.55, for Roman sculpture of the period; for another portrait head of a boy with short hair and sidelock, also dating to the 3rd century A.D. in Petworth House, Sig.Wyndham, Petworth, and for a discussion of the Horus lock in imperial iconography, see Gonzenbach, V., ‘Untersuchungen zu den Knabenweihen im Isiskult der römischen Kaiserzeit‘, in Antiquitas 1. 4, Bonn, 1957, pp.105-128, and 139ff., K.8 pl.9; Raeder, J., Die antiken Skulpturen in Petworth House, MAR 28 (2000), 216 ff. Kat. Nr. 83 [Arachne Sculpture Database no.1084685]; for related example of hairstyle in the British Museum see Walker, S. & Bierbrier, M., Ancient Faces. Mummy Portraits from Roman Egypt, London, 1997, pp.192-193, no.261; for ancient sculptures reproduced or inserted in Renaissance marble see Fittschen, K., ‘Sul ruolo del ritratto antico nell’arte italiana’ in Setis, S., Memoria dell’antico nell’arte italiana, ed., vol.II, Turin, 1985; Favaretto, I., ‘La fortuna del ritratto antico nelle collezione venete di antichità: originali, copie e invenzione,’ in Bolletino d’Arte LXXVIII, no.79, May-June, 1993, pp.68-72; Bava, A.M., Le Meraviglie del mondo, le collezioni di Carlo Emanuele I di Savoia, Genova, 2016, p.233, fig.86. Exhibited at the Museum für Kunst und Gewerbe, Hamburg, 21 January-6 March 1977; published in Hornbostel, W., Kunst der Antike, Schätze aus norddeutschem Privatbesitz, Hamburg, 1977, pp. 55-56, no. 35. 19.6 kg total, 51.5 cm including stand (20 1/4 in.). The child is depicted as a worshipper of Isis with the right side of the head signalling that the boy was a devotee of the goddess’s cult. The head of the boy is probably a funerary portrait, and it is clearly in the first half of 3rd century style. Its resemblance to the portrait of Gordian III in the so-called sarcophagus of Acilia is impressive, so much so that this was probably the reason for which the head was incorporated within a military bust in the 16th century.North German private collection, 1970s, and thence by descent. Antiquities, Bonhams, London, 5 October 2011, no.136. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12185-222445. (For this specific lot, 5% import VAT is applicable on the hammer price.) [A video of this lot is available to view on Timeline Auctions Website]

1837-1907.. VICTORIA • DEI • GRA • BRITT • REGINA • FID • DEF • IND • IMP •, crowned, veiled and draped bust to left; T.B. in small lettering beneath truncation / St. George on horseback to right, holding sword with right hand and wearing plumed helmet and billowing cloak, slaying the dragon which falls to right; small B. P. below ground line to right, date in exergue. Edge inscription: DECUS ET TUTAMEN ? ANNO REGNI LX ?. SCBC 3937; KM 783; ESC 6th 2599 (old 309); BSC 517. 27.99gr, 38mm, 11h (). Acquired on the UK art market; Property of an Essex collector. Good Fine. [No Reserve]

4th-3rd century B.C.. Modelled in the round with a muscular nude body, his club resting on his shoulder and the hair dressed in rows of tight, close-set curls underneath the Nemean lionskin hood with cloak billowing over his left arm, the paws tied across his chest; mounted on a custom-made display stand. Cf. Colonna, G., ‘Problemi dell’arte figurativa in età ellenistica nell’Italia Adriatica’, in Atti del I? convegno di studi sulle Antichità Adriatiche, Chieti, 1971, pp.172-177; Adam, A.M., Bronzes étrusques et italiques, Paris, 1984, p.190, nos.291-292; cf. also The Metropolitan Museum, New York, accession number 96.9.297, and the Minneapolis Institute of Art, accession number 66.41, for comparable figures; for the type see the British Museum no.1895,0408.1, in the British Museum Department of British & Medieval Antiquities, Guide to the Antiquities of Roman Britain, London, 1964, p.54, pl.13,7; for Herakles-Alcides in the Etruscan-Latin world see also Lexicon Iconographicum Mythologiae Classicae (LIMC), vol.V., Zurich, 1990, pp.196-253, s.v. Herakles/Hercle. 290 grams total, 14.5 cm high (19.5 cm high including stand) (5 3/4 in. (7 5/8 in.)). The statuette assumes the position of the 'attacking Hercules', which characterises numerous Etruscan statues of the hero of the classical era, however, with a less aggressive stance. The type was probably an Etruscan creation of the 5th century B.C., based on Greek models, which lasted until the end of the Hellenistic period, when Etruria was by then incorporated into the Roman world. This statuette, despite certain anatomical stylisation and an impersonal characterisation of the face, is the result of a good artistic and technical quality. The comparison of the artwork with the group identified as ‘Trieste’ from Colonna shows that this specimen is more recent and should be dated to the end of the Hellenistic Age. These small statuettes were probably offered ex-voto by the Romano-Etruscan aristocracy of the period.with Sotheby's, New York, 21 November 1985, no.60. Ex private New York collection. Accompanied by an academic report by Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11794-206497. (For this specific lot, 5% import VAT is applicable on the hammer price.) [A video of this lot is available to view on Timeline Auctions Website]

1500-500 B.C.. Standing female deity (Astarte?), wearing a long cloak and two broad necklaces; arms bent and hands placed on the chest; mounted on a custom-made stand; repaired. 260 grams total, 23 cm high including stand (9 in.). From a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent. [No Reserve]

1837-1901.. VICTORIA D: G: BRITT: REG: F: D:, crowned, veiled and draped bust to left; J.E.B. in small lettering on truncation / St. George on horseback to right, holding sword with right hand and wearing plumed helmet and billowing cloak, slaying the dragon which falls to right; small B. P. beneath ground line to right, date in exergue. SCBC 3921; KM 765. S.3921, ESC 296. 28.24gr, 38mm, 12h (). Acquired on the UK art market; Property of an Essex, UK, collector. Very Fine. Toned. [No Reserve]