We found 7225 price guide item(s) matching your search

An Arts & Crafts style silver and enamel cloak clasp, 16.5cm, 9.7g

2 wooden statues, Christ Salvator Mundi with wound in silk, wearing red cloak, Southern Europe, 19th century and small devotional statue in the form of a Pieta, 18th/19th centuryLot van 2 houten beelden, Christus Salvator Mundi met wonde in zijde, met rode mantel, Zuid-Europa, 19e eeuw en klein devotiebeeld in de vorm van een Piëta, 18e/19e eeuwH 20.5 - 45 cm

Standing polychrome statue of the Virgin Mary in green cloak and beige robe, looking lovingly at the Christ Child in her arms, 19th centuryStaand gepolychromeerd beeld van de Maagd Maria in groene mantel en beige gewaad, liefdevol kijkend naar het Christuskind op haar arm, 19e eeuwH 100 cm

Novo-Hispanic school. Mexico.  18th century.Table-blazon or crowning piece of a reredos, depicting St. Thomas Aquinas”.124 x 93 cm. Blazon or altarpiece painting, profusely carved and gilded, with incised decoration of scrolls, flowers and geometrical designs made in polychrome and estofado technique, with a biretta in black centered above it.  It has a central cartouche with an oil painting on panel of the Saint and Doctor of the Dominican Church (since 1567, proclaimed by Pope St. Pius V), known as the Angelic Doctor, Common Doctor and Doctor of Humanity, whose work is fundamental for the study of philosophy and theology.  He was the main  defender of natural theology.With the characteristic carving style of New Spanish Mexican art, we contemplate “a complex artifact” that encloses St. Thomas Aquinas, a painting with a frame forming part of a coat of arms, or an isolated crowning piece from an altarpiece or the door of a library or a refectory or chapter room, to which it would have been integrated (in the manner of the doors of the Library of Coimbra of the Jesuit Fathers).This is a baroque artwork that shows unity and coherence, having a style which is difficult to include within formal canons.  This clearly baroque piece is not very dogmatic in its artistic execution, because it shows an extraordinary eagerness for novelty and, in the process of its creation, limitless fantasy that makes it exceptional, unique and unrepeatable.In the center, on a plain panel in the middle of this elaborate frame, we contemplate St. Thomas Aquinas, full-length and standing, depicted in a Dominican monk´s habit, wearing a white tunic with a scapular, and a black cloak with its hood thrown back.  With his right hand he holds a pen from which a halo of light or fire emanates, referring to his books and written doctrine.With the left hand he holds a monstrance. This refers to his devotion to the Blessed Sacrament, which manifested itself in particular in his magnificent composition of his Eucharistic Hymn "Adoro Te Devote."On his chest hangs a sun, which is an attribute to show his wisdom, and behind his back two large wings protrude, which allude to the moment when the angels girded the saint with the symbol of chastity.   Above his head is Christ crucified surrounded by putti, who descend from the heavens to inspire him.    The figure of the saint is depicted as a young man, beardless and with a monastic tonsure. He is superimposed on a landscape in which, at his feet, he treads and defeats the Moors and infidels, in the manner of Santiago Matamoros, as defender of “la verae doctrinae”.In the words of St. John Paul II and Benedict XVI, St. Thomas Aquinas is “the model of the correct way of theology”.   He showed that there is harmony between faith and reason, that faith is not contrary to reason. St. Thomas not only dedicated himself to study and teaching, but also preached to the people. He was a theologian who knew how to speak with simplicity and kindness.   His feast day is celebrated on January 28. Provenance:- Large estate. Seville.'

A late 19thC Tete Jumeau musical automaton, possibly designed by Leopold Lambert, modelled as a boy standing wearing black velvet breaches and jacket with lace trim, and a cloak trimmed with lace around the collar, and a tricorn hat, playing a guitar, raised on a rectangular base, with wooden stand and glass dome, with key, doll 45cm high, dome 43cm high.

Crafted in white bone china, the figure features gilt accents applied to the hair, waves, and lower base. The sculpture depicts a robed female figure in motion, arms raised to hold a flowing, textured cloak, with stylized cresting waves below. The figurine is executed in matte and gloss finishes with intricate molded details throughout. Minton backstamp.Issued: 1990Dimensions: 8.5"HCountry of Origin: EnglandCondition: Age related wear.

Masonic interest: a collection of masonic clothing including two hats, several aprons, cloak, sashes, regalia, in brown leather suitcase with vintage P & O shipping labels, plus collection of ties and NETMA badges (Nato Eurofighter and Tornado Management Agency) , from the estate of Charles John Fisher.

A vintage thick heavy black wool naval-style Jamboree cloak with red cotton lining and chain closure at the neck. Handstitched with numerous Royal Navy, Girl Guide, Boy Scout and other cloth and pin badges dating from the 1950s (Nape to hem 42" x sweep approx. 86")100% of the proceeds of this sale will go to charity. www.smileofhope.orgCondition Report: Used but good condition with no obvious damage

Dressing a Galaxy "The Costumes of Star Wars" by Trisha Biggar, complete in the original white ground and labelled box, with DVD, Chewbacca plaque, Section of Darth Vader Cloak and Certificate of Authenticity, rare exampleBacking card and bubble in excellent condition.Backing card is slightly bowed.Unpunched hanging loop.Overall excellent condition.

Pair of Lenox fine sculpture figurines from The Legendary Princesses collection, showcasing richly adorned representations of classic fairytale royalty. The first figure, Guinevere, is depicted in a rose-colored gown with gilt and blue embellishments, holding a bouquet and cloak as she stands with dignified elegance. The second figure, Princess and the Frog Prince, features a princess in a pink and mint green gown, holding a green frog figure at her chest, alluding to the iconic fairytale transformation. Lenox backstamp. Issued: c. 1994Dimensions: Tallest: 5.25"W x 9.25"HCountry of Origin: United StatesCondition: Age related wear.

A mid 20th Century Scottish Celtic penannular white metal brooch or cloak pin by Henderson & Horner Bros, 34 mm x 48 mm, 6.4 g

Steiff Teddy Bear with Little Donkey, white tag 670886, LE 3000, comprising mohair teddy bear wearing blue velvet cloak and white hat and grey mohair donkey, Moth damage to back of teddy bears legs (please see photograph), otherwise Good, bear 8.75"/21cm and donkey 8"/20cm.

A striking bronze sculpture of the King of the Maqua (Mohawk) signed by the artist Jud Hartmann. The figure is depicted standing with a commanding presence, adorned with intricate facial and body tattoos, which are deeply incised into the bronze, emphasizing cultural significance. He wears a draped cloak over his shoulders, and his detailed musculature and expressive facial features lend a lifelike intensity to the piece. His ear ornaments, facial scars, and traditional staff further accentuate the historical and tribal identity captured in this work. The textured surface and dynamic pose reflect a style reminiscent of Western bronze sculpture, emphasizing indigenous heritage and warrior spirit. Mounted on a wooden base, this sculpture stands as a testament to skilled craftsmanship and the evocative storytelling of Native American traditions in art. Signature and edition on base. Artist: Jud Hartmann (American, b. 1948)Issued: 2014Dimensions: 15"L x 13"W x 23.50"HCountry of Origin: USACondition: Age related wear.

Montague (J.) The Great Cloak, 8vo, Dolmen Press 1978. (Reprint) Signed, ptd. wrappers; The Rough Field, 8vo, Dolmen 1972, First Edn., Signed, ptd. wrappers. (2)

Mostly Inscribed Copies [Boland (Eavan)] The Journey, 1983, inscribed; Code, 2001, inscribed; Night Feed, 1982; Domestic Violence, 2007; Krino (No. 1, 1986) Contribution; In Her Own Image, 1980; [Ni Dhomhnaill (Nuala)] The Astrakhan Cloak, 1992, inscribed; Pharaoh's Daughter,  1990, inscribed (h.b. & p.b.); The Fifty Minute Mermaid, 2007; The Water Horse, 1999, inscribed by the Contributors; Selected Poems, Roga Danta, 1988, all 8vo, mostly hardback and d.j. as a lot. (12)

STAFFORDSHIRE PEARLWARE GROUP, "Hercules and the Bull", 14cm height (1 finger missing) 381 - Bull's tail re-glued and with restoration, end of one horn missing, losses to flowers, hairline to one leg, right hand with little finger missing. Some enamel rubbing to bull and base, cloak with small chip, otherwise good

A graceful bone china figurine by Royal Doulton titled Premiere, model HN2343. Designed by Peggy Davies and issued in 1967, this charming piece features a finely dressed lady in a pale blue gown with a deep green floral-patterned cloak. She holds opera glasses in one hand and a program in the other, capturing the elegance of a night at the theatre. The figure is marked on the underside with the Royal Doulton stamp, model name and number, and various registration numbers.Artist: Peggy DaviesIssued: 1969 - ?Dimensions: 7.5"HCountry of Origin: EnglandCondition: Age related wear.

This hand-painted porcelain piece captures the folklore character mid-stride as he plays his pipe, dressed in vibrant medieval attire with a tall turquoise hat and a flowing multi-toned cloak. The figure stands on a detailed cobblestone-style base with sculpted rats at his feet, showcasing Royal Doulton’s signature craftsmanship and storytelling through ceramic artistry. Bearing the Royal Doulton backstamp.Artist: Leslie HarradineIssued: 1953 - 1976Dimensions: 9"HCountry of Origin: EnglandCondition: Age related wear.

A pair of Bow white-glazed theatrical figures, c.1750-54, modelled by the 'Muses' modeller as a Turk and his companion, the former possibly David Garrick in his role as Tamerlane, holding a scimitar and wearing a fur-lined costume, his companion wearing an elaborate headdress and fur-lined cloak, raised on square bases, some restoration, 21cm. (2)Provenance: the Barbara Horn Collection.Cf. Raymond C. Yarbrough, Bow Porcelain and the London Theatre, p.38.

A pair of Bow religious figures, c.1760-65, of a canon and a canoness, each standing and holding an open prayer book, the priest wearing a biretta and a short cloak, the nun with a wimple and long cloak, each raised on a scrolled base applied with flowers, red anchor and dagger marks, restoration, 18.5cm. (2) Provenance: the Barbara Horn Collection.

An Italian glazed pottery figure of St Anthony the Abbot, late 18th century, the bearded figure well modelled and wearing a long hooded cloak with rosary beads hanging from his waist, a Tau cross moulded to his breast, a small boar and a fire on the base beside him, losses and repairs, 28cm.

Three Staffordshire figure groups, c.1800-20, one of haymakers seated beneath leafy bocage on a tall base, a Pratt ware figure possibly emblematic of Summer, modelled as a maiden holding fruits in her apron, and a pearlware figure of Winter, wrapped in a blue cloak, the two single figures mounted on chamfered bases with stiff leaf bands, some restoration, 26cm max. (3)

Septimius Severus (193-211), Denarii (4), 195, laureate head right, rev. Mars, cloak tied around waist, advancing right, holding transverse spear and trophy over left shoulder, 2.98g/6h (RIC 60; RSC 396); 197-8, laureate head right, rev. Mars, in military attire, standing left, foot set on cuirass, holding branch and reversed spear, 2.80g/12h (RIC 113; RSC 315); 197-8, laureate head right, rev. Victory, draped, advancing left, holding wreath and palm sloped over left shoulder, 3.30g/11h (RIC 120c; RSC 694); together with two Denarii of Septimius Severus (2) [5]. Varied state, some with nice portraits £100-£150

Septimius Severus (193-211), Denarius, 202-10, laureate head right, rev. Fortuna seated left, holding rudder and cornucopia, 3.60g/6h (RIC 264a; RSC 181); Julia Domna, Denarius, 196-211, draped bust right, rev. Fortuna standing left, holding caduceus and resting left arm on rudder, 3.25g/6h (RIC Septimius Severus 552; RSC 55); Geta, Denarius, 200-2, bare-headed, draped and cuirassed bust right, rev. Geta in military attire, standing left, holding branch and spear, 3.26g/6h (RIC 15B; RSC 159a); Caracalla, Denarius, 201-6, laureate and draped bust right, rev. Sol, cloak over left shoulder, standing front and head turned left, holding globe and spear, 3.19g/6h (RIC 141; RSC 545) [4]. Very fine, portraits better £80-£100

Caracalla (as Cæsar, 195-198), Denarii (2), 196-8, bare-headed, draped and cuirassed bust right, rev. Felicitas, standing left, holding caduceus in right hand and sceptre in left, 1.86g/1h (RIC 7; RSC 74); 215, laureate head right, rev. Pax, standing left, holding branch in right hand and sceptre in left, 2.57g/7h (RIC 268; RSC 314); Elagabalus, Denarii (2), 220, laureate and draped bust right, rev. Sol, cloak over left shoulder, standing left, raising right hand and holding whip in left, 2.60g/6h (RIC 28b; RSC 153); 218-222, laureate and draped bust right, rev. Laetitia, standing left, holding wreath in extended right hand and rudder set on globe in left, 3.12g/11h (RIC 95b; RSC 70a); one further Denarius of Plautilla [5]. About fine or better £80-£100

Caracalla (198-217), Denarius, 200, laureate, draped and cuirassed bust right, antoninvs avgvstvs around, rev. Sol, radiate, cloak over left shoulder, standing front and head left, holding globe in extended right hand and spear in left hand, pontif tr p iii around, 3.10g/7h (RIC 30a; RSC 413). Good very fine with golden hues around devices £40-£60 --- Provenance: Bt Baldwin

Elagabalus (218-222), Denarius, 221, laureate and draped bust right, rev. Sol, cloak over left shoulder, advancing left, raising right hand and holding whip, star in field, 2.82g/1h (RIC 40b; RSC 184a); together with ten miscellaneous bronzes, mostly Roman (10) [11]. Varied state, with identifying envelopes £60-£80

Severus Alexander (222-235), Denarii (4), 225, laureate, draped and cuirassed bust right, rev. Severus Alexander, laureate, in military attire with cloak behind back, standing left, holding globe and spear, 1.90g/1h (RIC 48; RSC 270); 226, laureate and draped bust right, rev. Severus Alexander, laureate and togate, standing left, sacrificing out of patera over a lighted tripod and holding a scroll, 2.70g/5h (RIC 55; RSC 289); 222-8, laureate, draped and cuirassed bust right, rev. Jupiter, cloak behind and over right arm, standing left, holding thunderbolt and sceptre, 2.02g/6h (RIC 141d; RSC 70b); 222-8, laureate and draped bust right, rev. Libertas, draped, standing left, holding pileus and cornucopia, 2.81g/6h (RIC 156; RSC 152); Gordian III, Denarius, 240, laureate, draped and cuirassed bust right, rev. Gordian III, in military attire with cloak flying behind, on horse prancing left, raising right hand and holding spear, 3.64g/6h (RIC 81; RSC 234) [5]. Varied state £100-£150

A fully reversible 1960s cloak or cape with tartan to one side and classic mac fabric to the other,  a 1960s cocktail dress in black crepe with rouched bodice and bead detail, a blue cloque cocktail dress and a white cut work dress made from Moygashel linen (5) all in very good, clean condition commensurate with age and wear

Star Wars Return of the Jedi Squid Head figure and extra cloak with card (loose)

The figure is depicted standing in a black robe with a red cloak draped over his shoulders and a white collar around the neckline. He wears a black wide-brimmed hat and holds a large lantern in his hand, referencing his association with the 1605 Gunpowder Plot. Royal Doulton backstamp.Artist: Charles NokeIssued: 1918 - 1949Dimensions: 10.75"HCountry of Origin: EnglandCondition: Age related wear.

This colorway variation presents the figure wearing a green cloak and a black hat with green trim. The handle is sculpted in the form of a lantern positioned above a wooden barrel, integrated along the side of the jug. The base is marked with the Royal Doulton backstamp.Artist: David B. BiggsIssued: 1968 - 1981Dimensions: 7"HCountry of Origin: EnglandCondition: Age related wear.

Royal Doulton porcelain figurine titled 'The Moor' also known by 'An Arab'. The figure is modeled standing with arms folded and draped in a traditional hooded robe. This colorway version features a yellow tunic and blue sash beneath a multicolored cloak with blue and green tones, finished in a gloss glaze. The underside bears the Royal Doulton backstamp along with bone china designation.Artist: Charles NokeIssued: 20th centuryDimensions: 5.5"L x 5.5"W x 17.25"HCountry of Origin: EnglandCondition: Age related wear.

This prototype colorway features a rabbit dressed as a witch in a purple dress and green cloak, with a black pointed hat. The figurine depicts the character flying on a broomstick beside a pale gray moon, which includes the silhouette of a black cat. The base is decorated with gilded stars and crescent moons. Royal Doulton backstamp. Marked: This Item Is The Property Of Royal Doulton (UK) LTD., And Title To The Property Remains With The Company At All Times.Artist: Denise Andrews and Amanda Hughes-LubeckIssued: 1995Dimensions: 4"HCountry of Origin: EnglandCondition: Age related wear.

Bone china figure of a traditional English bellman, depicted in formal attire with black tricorn hat, red cloak trimmed in black, and black breeches. The figure holds a raised bell in the right hand and stands atop a textured base. Hand painted with gilded detailing on the bell, trim, and buttons. Marked on the underside with "Fine Bone China, Made in England".Dimensions: 9"HCondition: Age related wear.

Ca. 100 BC - AD 100. A large and oval carnelian intaglio engraved with a left-facing bust of Minerva, wearing her iconic crested Corinthian helmet with a long plume arching above it. Wavy strands of hair emerge from beneath the helmet and fall loosely onto the nape. Her face is finely rendered, with a straight nose, small mouth, slightly pointed chin, and deep-set eyes. A draped cloak is fastened at her left shoulder. The intaglio is mounted in a bezel of a Henig Type I gold ring with high shoulders and a rounded hoop narrowing evenly towards the back.For similar see: The British Museum, Registration number 1987,0212.44.Size: D:17.12mm / US: 6 3/4 / UK: N; Weight: 10.65gProvenance: Private London collection; formerly in South German private collection 1980s-early1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter. Reviewed by Sami Fortune, an ancient jewellery specialist.

Ca. 330 - 300 BC. A black-glazed hydria with an ovoid body, broad shoulder, cylindrical neck and overhanging lip, all resting on a flaring foot. It has two horizontal handles for lifting and a third vertical handle at the back for pouring. The surface is decorated in the red-figure technique with added white and yellow details. Side A depicts a nude youth with a cloak draped over his left shoulder. He holds two bunches of grapes in his extended right hand, reaching towards a draped female figure standing to the left. She holds a large phiale in her left hand, beneath which a small rosette is placed. Side B shows a large palmette with volute side scrolls extending outward. A band of vertical stripes marks the base of the neck as well as around the handle roots. A meander frieze with alternating squares runs below the figural panel.For similar see: MET Museum Object Number: 56.171.65Size: 370mm x 260mm; Weight: 1.67kgProvenance: Private UK collection; previously acquired on the UK art market in the 1970s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.

Ca. 200 BC. A marble figure depicting a draped female figure identified as Aphrodite, wearing a high stephane and raising her right hand to her headdress. Her left arm is bent, holding one end of her cloak. A small figure of Eros stands at her side, leaning against her drapery. The back is roughly worked with cut-out sections behind the arms and between the figures.For similar see: Christies, Live Auction 12257, Antiquties, Lot 37.Size: 325mm x 125mm; Weight: 1.99kgProvenance: Private UK collection; previously acquired on the German art market in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.

A Continental 935 silver cased, open faced, keyless wind pocket watch, does not wind or appear to work, with belcher link chain and silver 'T' bar, together with another pocket watch, also appears not to work, Siamese silver and niello enamel brooch with matching earrings, Siamese silver cloak pins, a silver and blue enamel Celtic shawl pin, a silver crown, enamelled and turned into a brooch and further pins, fobs and coins.

A peg-joyned Georgian Oak Cupboard on Chest, the upper opposing doors with shaped raised and fielded panels opening to reveal a well and cloak hanging space, the base with five drawers having drop swan-neck handles and raised on bracket feet, 55" wide x 22" deep x 76 1/4" high.

Black-purple tricorn and cloak. Series: Characters From Williamsburg. Royal Doulton backstamp.Artist: Max HenkIssued: 1963 - 1983Dimensions: 3.5"HCountry of Origin: EnglandCondition: Age related wear.

IONA CELTIC ARTS - an Art Deco silver and enamel pennanular cloak pin brooch, Birmingham 1937, 52.3mm, 21.3g . Condition Report:Several small enamel chips, general wear, fitting working, hallmarks slightly worn

A large Scottish Celtic pennanular cloak pin brooch, unmarked mounts tests as silver, 100mm, 65.7g . Condition Report:General surface wear, fitting working, fitting has probably been re-attached, unmarked

A Scottish clan cloak pin, assessed as silver with no hallmark, together with a further silver stamped bar brooch, and a collection of mostly vintage costume jewellery. 

A Royal Doulton miniature 'Mirabel' figurine, M74, with pinky-red cloak and green and purple dress and parasol, designed by Leslie Harradine in 1936 and sold until 1949, the base with green printed factory marks, and registered number 809342 for 1936, initialed 'JW', 11cm high.Condition: Excellent, no apparent losses or damage, and no chips or cracks.Packing & Shipping Let us take the hassle of sorting out packing and shipping from you. Mark Hill Auctions is delighted to be able offer the buyer an in-house packing and shipping service for this lot.We use UPS for shipping and all packages are sent insured with a tracked service. We do not ship without insurance. We do not use any other service such as Royal Mail, FEDEX or DHL.Please see below for estimated packing and shipping prices: UK (Estimated): £14.00 USA (Estimated): £25.00 EU (Estimated): £20.00 R.O.W. (Estimated): £38.50In addition to these packing and shipping estimates, insurance will be charged as described below.INSURANCE We only ship with insurance. Insurance costs 1.5% of the total of the hammer price plus buyer’s premium and any applicable VAT, so you can work this cost out yourself when you have won a lot and received your invoice. As such, the price for insurance will be added to the above estimates if you request your item(s) to be shipped.HOW TO REQUEST SHIPPING To request packing and shipping, please wait for your invoice to arrive by email and click on the ‘Request Postage’ button on your invoice, or contact us by email at admin@markhillauctions.com requesting packing and shipping for your lot(s). The actual packing, shipping and insurance cost will then be added to your invoice and your invoice will be resent to you for payment.VAT All above quoted packing, shipping and insurance prices will have VAT added at 20%.IMPORTANT When you request your lot(s) to be packed and shipped, you understand and agree that you are committing to pay for packing and shipping because, in order for us to give you an accurate cost, we need to pack the lot(s) to ascertain the final weight and size. By doing that, we have already incurred cost by spending time and using materials to pack your lot(s). Therefore this charge must be paid, even if you later decide to collect your lot.Please note that this packing and shipping service is undertaken entirely at the buyer’s risk. Whilst we are careful and experienced and take the utmost care to pack items as well as we can, we cannot be held responsible for any damage to, or loss of, items packed and sent to you. By paying for our in-house packing and shipping service, the buyer agrees that any items are sent entirely at their own risk and that no compensation can be offered by us for any loss or damage. Lots must be paid for in full before they will be packed and released.MULTIPLE PURCHASES The estimates above are for this lot only. If you buy multiple lots from this auction, they can be combined where possible into one or more packages - size, shape and weight permitting. For these packages containing multiple lots, you will receive a discount of 17.5% of the total of the applicable quotes listed for those lots.IMPORT DUTIES When your item(s) arrive in your country, import duties & taxes and other service charges may be payable before goods are released to you. These duties, taxes and charges vary for each country and are entirely your responsibility and must be paid by you. Please note that we have no way of knowing what they will be. If you do not pay these charges, your item(s) will be returned to us.

This elegant figure depicts the heroine of the 19th-century comic operetta Die Fledermaus, dressed in a striking bat costume. The theatrical black and red ensemble, complete with a flowing cloak and pointed hat, captures the dramatic flair of the character. The glossy glaze enhances the rich contrast of colors, adding depth and vibrancy to the piece. Royal Doulton backstamp.Artist: Leslie HarradineIssued: 1929 - 1938Dimensions: 4.75"L x 8.25"HCondition: Age related wear. As is. Small nick to left knuckle.

From the Harradine Classics series. This hand-painted and hand-decorated figurine was made in England and issued in 1952. It depicts the legendary Pied Piper wearing a flowing black and red cloak over a yellow tunic, playing a pipe while standing on a cobblestone base. The figurine is part of the Whitley Collection and features intricate detailing with a green hat and pouch. The underside bears the Royal Doulton backstamp and is signed in gilded ink by Michael Doulton.Artist: Leslie HarradineIssued: 1953 - 1976Dimensions: 9"HCountry of Origin: EnglandCondition: Age related wear. As is.

19TH CENTURY ENGLISH SCHOOL. Bust length portrait of a young lady wearing a hat and red cloak. Oil on card. 7.75ins x 6ins.

Three Lladro porcelain figures, modelled as a girl kneeling with hands clasped, 15cm high, a boy wearing a cloak, holding a staff (AF), 15cm high, together with a goose beside a basket of goslings, 10cm wide.

Two Staffordshire earthenware figures of St. Peter and St. Paul, in the manner of Obadiah Sherratt, St. Peter on bended knee, clasping a sword to his breast, the gospel to his left, a cockerel to his right, St. Paul seated with his cloak billowing out behind him, his gospel open beneath his left hand, on titled table plinths, St. Peter lacking bocage, other losses and restoration.Qty: 2

Three matched Staffordshire pearlware figures, Faith, Hope and Charity, circa 1810, conventionally modelled, Charity nursing a baby with two infants, boldly coloured with scallop motifs and leaves to the bases, 20cm and 23cm, Faith damaged.Qty: 3Condition report:Faith - missing a thumb, some rubbing to back of cloakPlease see additional uploaded images.

A pair of portraits, British School, 19th Century -A portrait of a young lady, seated, wearing a light blue dress and brown cloak -Oil on canvas -37 x 29.5cm - 49.5 x 43cm framed -Together with another portrait of a lady, seated, wearing a lace veil - Oil on canvas - 37.5 x 30cm, 49.5 x 43cm framed (2)

A collection of jewellery, comprising: a Victorian shell cameo brooch depicting a Bacchante mounted in gold, stamped 9ct, length 53.3cm; a Victorian turquoise and gold cloak pin decorated with five cabochons spaced by fine linking, length 7.5cm; a Victorian turquoise tennis bracelet with graduated turquoise cabochons mounted in rose gold, length 16cm; a Victorian gold bracelet with circular engraved bosses spaced by fine chain linking and centred with a blue enamel and pearl foliate boss, pearl untested, inner circumference 16cm; an Art Nouveau ruby and opal pendant of trefoil design set with six opal cabochons and accented with rubies, suspending an opal cabochon drop and with rubies to the foliate bail, stamped 9ct, length 5.3cm; an opal and diamond cluster ring mounted in 18ct white gold, Sheffield hallmarks, size U 1/2

A black wool masonic style cloak, trimmed with white silk embellished with stylised symbols, together with a red wool bolero style jacket (both with moth damage) (2)

This artist proof serigraph by Erte, titled Golden Cloak, is a stunning example of the renowned Art Deco master's signature elegance and opulence. The composition features a regal woman draped in a flowing golden robe with intricate silver floral embellishments, complemented by a radiant halo-like background. This limited-edition piece is marked AP 54/75 and hand-signed by Erte in pencil along the lower margin, adding to its collectible appeal. The artwork is professionally framed in a gold-tone frame with double matting and decorative geometric border accents. A remarkable addition for collectors of Erte's iconic Art Deco illustrations and luxury fashion artwork. Artwork can be unframed and rolled for shipment.Artist: ErteDimensions: 37.5"L x 50.25"HCountry of Origin: FranceCondition: Age related wear.

[MAP - CELESTIAL]CELLARIUS, ANDREAS. Haemisphaerium Stellatum Australe Aequali Sphaerarum Proportione. [Amsterdam: G. Valk & P. Schenk, 1708.] Engraved map with original hand color, heightened in gold. The sheet measures 19 1/2 x 23 1/4 inches (49.25 x 58.5 cm). In a double-sided frame. Old central fold, light spotting and toning visible in the margins, a few minor nicks along the edges, two small spots of worming next to the left and right edges, the map's verso is affixed to a mat board with Japanese tissue tabs in an archival manner, not examined out of frame.A finely colored example of Andreas Cellarius' map of the Southern stars. The constellations are superimposed over a world map, seen from below on a spherical projection with part of the Americas and the South Pole visible. The decorative border includes angels and figures from antiquity, including a man bearing Hercules' attributes, a lion-skin cloak and a wooden club, in the lower right. While originally published in Cellarius' 1660 celestial atlas, Harmonia Macrocosmica, the plates were later purchased by the Dutch map publishers Gerard Valk and Petrus Shenk, who reissued them in their 1708 edition of the atlas.No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

A collection of Tintin resin figures comprising, Tintin on a motorbike, seated Tintin and Snowy looking at an object, Tintin riding a horse with Snowy at his side, Tintin wearing a cloak looking at Snowy and Tintin riding a bike with Snowy together with a Tintin Model Rocket (h-29cm). (6)

Attributed to Luis de Texeda (or Detegeda) (New Spain, Mexico 17th century).                “Our Lady of Guadalupe”.Oil on canvas. 178 x 107,5 cm.Luis de Texeda was an indigenous painter active in New Spain during the 17th century. According to historical references, Texeda was known as “the Indian who had the gift” to portray Our Lady of Guadalupe with great devotion and technical precision.Among the Guadalupes signed by Texeda, there is one in the National Museum of History in Chapultepec, dated 1669 and another in the former convent in Santo Desierto de Tenancingo, Mexico, dated 1682.The painting we present here reflects the novo-Hispanic baroque style, characterized by its dramatism and ornamental richness. Luis de Texeda used a painting technique consisting of thick and carefully worked layers, which allowed him to achieve a polished finish and great luminosity. Comparing this work with other depictions of Our Lady of Guadalupe from the same period, such as those made by Juan Correa, there is a difference in the treatment of colors and facial expression. While Correa preferred lighter tones and a more translucent palette, Texeda opted for darker tones and a greater pictorial density, which endowed his paintings with a unique air of solemnity.This distinction is key to understanding Texeda's relevance as a master of Guadalupan art, whose work not only fulfilled a devotional function, but also reaffirmed the artistic skill of indigenous painters in New Spain.The composition presents the Virgin Mary surrounded by a radiant mandorla of golden hues, symbolizing her divinity and immaculate purity. The use of a palette rich in colors such as deep blue, pearly white and gold emphasizes her celestial character. The proportion of the figure follows the traditional canons for Our Lady of Guadalupe, with a serene, stylized face and a “snowy wheat” tone that relates to the descriptions of the original model. The arrangement of the drapery and the ornamental details in the clothing, especially the brocade, denote meticulous technique and a clear intention to imitate the supernatural qualities also attributed to the original.During the 17th century, the Virgin of Guadalupe was consolidated as a symbol of identity in New Spain, associated both with evangelization and with the unification of indigenous and Creole communities under a shared religious imaginary. In this context, indigenous painters such as Luis de Texeda became renowned for their ability to replicate this sacred image with a level of detail considered miraculous. The worship of Our Lady of Guadalupe spread internationally, with copies spreading to places as far away as Genoa, where its impact was even manifested in historical events such as the protection of the Doria palace with was attributed the Virgin during the French bombardment of 1684.The painting faithfully follows the model established by the original, which is painted on a cloak, incorporating elements such as the crescent moon at her feet and the angel bearing her, representing victory over sin and the alliance between heaven and earth. The solar mandorla alludes to the woman of the Apocalypse, while the use of blue and gold connects with the regal and heavenly attributes of the Virgin. Texeda's indigenous character adds a level of cultural syncretism, in which Catholic elements merge with local artistic sensibilities, reinforcing his connection to indigenous communities.Reference Bibliography:- Gruzinski, Serge. La colonización de lo imaginario: sociedades indígenas y occidentalización en el México español, siglos XVI-XVIII. Fondo de Cultura Económica, 1995.- Gutiérrez Haces, Juana. “Pintores indígenas en la ciudad de México.” Historias, no. 37, 1996, pp. 137-152.- Peterson, Jeanette Favrot. Visualizing Guadalupe: From Black Madonna to Queen of the Americas. University of Texas Press, 2014.- Rodríguez Moya, Inmaculada. “El arte indígena novohispano del siglo XVII visto a través de las imágenes de Charapan.” Anales del Instituto de Investigaciones Estéticas, vol. 45, no. 103, 2023, pp. 35-70.- Brading, D.A. Mexican Phoenix: Our Lady of Guadalupe: Image and Tradition across Five Centuries. Cambridge University Press, 2001.

Bernardo Rodriguez (active in Quito, Ecuador, circa 1770)"Saint Raymond of Penyafort"Oil on copper.21 x 16,5 cm.Attributed to the renowned painter Bernardo Rodríguez, an emblematic figure of the 18th-century Quito School, this work reflects his technical and artistic mastery and is executed in oil on copper. The precision of details and delicacy of brushwork suggest the piece probably dates to the mid-18th century.The artist’s draftsmanship is exceptional, evident in the composition’s impeccable organization and meticulous treatment of details.We compare this copper painting to other depictions of saints like Jerome and Augustine, also attributed to Rodríguez, which, alongside works of Saints Ambrose and Gregory the Great, form the series of the Four Fathers of the Church at the Museo de San Agustín in Quito (Ecuador). Such comparisons highlight Rodríguez’s skill in gilding and his ability to infuse artistic grandeur into even small-format compositions, as seen here. The portrayal of Saint Raymond of Peñafort adds unique dynamism through its maritime narrative and subtle landscape details.Similarly, the painting “Saint Anthony of Padua and the Miracle of the Resurrection” at Quito’s Museo Convento de San Francisco enriches this comparative analysis due to stylistic and compositional parallels with the depiction of Saint Raymond we have here. Though Saint Anthony is painted on canvas and lacks gilding, both works share remarkable precision in rendering the saint’s figure and a focus on spiritual depth. The treatment of facial features, posture, and drapery reveals evident similarities, pointing to stylistic coherence within the Quito artistic context.This context was deeply shaped by the expansion of Christian faith in Latin America and the use of art as an evangelizing tool. Such narratives were especially relevant in viceregal territories, where missionaries faced similar challenges. The Quito School, in this regard, adeptly adapted European influences into a visual language that responded to local spiritual and cultural needs.As noted by the Cervantes Virtual Center, “Bernardo Rodríguez, a muralist and painter, was a highly distinguished master among religious motif practitioners in viceregal Quito.” Supported by the Church throughout his career, he “enjoyed privileged opportunities to create canvases now admired in Quito Cathedral, the Museo de Arte Colonial, and the Casa de la Cultura Ecuatoriana.” His impeccable craftsmanship was inherited by disciples like Quito’s Antonio Salas (1795–1860).Saint Raymond, clad in a Dominican habit brought to life through dynamic fabric folds, dominates the center of the composition. The marine backdrop, rendered in subtle blue and white brushstrokes, evokes serenity and depth. Distant ships reinforce the narrative of the miracle, while the gilded halo and reflections on the saint’s cloak showcase the painter’s flawless mastery of materials, achieving a luminosity that elevates the painting’s spirituality—a radiant “small window to heaven” brimming with vibrant color and light.The artwork depicts Saint Raymond of Penyafort (Vilafranca del Penedès, 1176–Barcelona, 1275), a 12th-century Dominican friar and canon lawyer, experiencing the miraculous event that occured in his life. King James I, who sought his counsel, once took him on a journey to Majorca, secretly accompanied by a woman with whom the king had an illicit relationship. Upon learning this, Raymond urged the king to dismiss her, threatening to leave otherwise. The king failed to comply, and responded by ordering that no ship carry Raymond home. Undeterred, the saint spread his cloak upon the water, transforming it into an improvised vessel to cross the Mediterranean to Barcelona—a testament to how true faith can calm even the stormiest waters.A Doctor of Canon and Civil Law, Raymond was acclaimed and chosen to teach at the University of Bologna, where his students were primarily nobles and scholars. After experiencing a vision of the Virgin Mary, he co-founded the Mercedarian Order with Saint Peter Nolasco to redeem captives from Muslim rule. Summoned to Rome by Pope Gregory IX, he served as confessor, chaplain, and penitentiary. He played a role in establishing the Inquisition in Aragon and compiled five volumes that became the most organized collection of church law until the 1917 Code of Canon Law. After a decade of writing, he was elected head of the Dominican Order, succeeding Saint Dominic, and retired at nearly 100 years old. He is the patron saint of canon lawyers, jurists, and legal institutions. He died on the 6th January 1275 and was canonized in 1601 by Pope Clement VIII. Iconographically, the elements in the painting hold profound symbolism. The outstretched black cloak alludes to the miracle, while the maritime landscape, with its expansive horizon and traversing ships, adds narrative depth, situating the saint within a context of triumph and hope.Though rare, other depictions of Saint Raymond in Latin America include the portrait at Tlacochahuaya’s San Jerónimo Church in Mexico and the Convent of Santa Rosa de Lima in Santiago de Chile. In essence, this small copper painting brims with life, movement, and perspective, its lapis lazuli blues and mastery of gilding and pointillism perfecting the saint’s figure. An 18th-century scalloped and gilded frame rounds off the composition,  Bibliographic References:- Centro Virtual Cervantes. (s.f.). “Bernardo Rodríguez”. https://cvc.cervantes.es/artes/ciudades_patrimonio/quito/personalidades/brodriguez.htm- Herrera, Lizardo. (2010). “La canonización de Raimundo de Peñafort en Quito. Un ritual barroco entre la exhibición y el ocultamiento (1603)”. Procesos, 32, II semestre 2010, pp. 5-32. - Stratton-Pruitt, Suzanne. (2011). “El arte de la pintura en Quito colonial”. Saint Joseph’s University Press, Filadelfia.

Jose de Alcíbar (Mexico City, 1730 - 1803)"Allegory of Africa"Oil on canvas.132 x 96 cm.José de Alcíbar was one of the main exponents of New Spain painting in the second half of the 18th century. Born circa 1730, Alcíbar was remarkable in his ability to portray the ethnic and cultural diversity of New Spain and to accurately depict the physical details and symbolic elements in his characters, something that can be seen in his numerous casta paintings. These artworks, executed in a style that combines European influences with a local sensibility, are a key reference to understanding why we are attributing the painting we are analyzing to him.This is an elegant and striking painting showing one of the personifications of one of the four continents then known (Europe, Asia, Africa and America).Africa is represented here by a standing black character, who turns his head slightly to the left, as if paying attention to a voice calling him. With frizzy, curly hair, richly dressed in the manner of eighteenth-century Europe, showing wealth and abundance, with  clothing which is richly brocaded and trimmed on the sleeves and large red cloak.  The character also wears a necklace of a string of pearls and other jewelry, in the form of earrings.  They hold a sword in their right hand and a bow and arrows with their left.A Novo-Hispanic painting that helps us to gain a little more understanding of the sense that geographical allegories had in Renaissance and Baroque art.It was usually a way of demonstrating the confines of a given empire, and true to the mentality of the time, depicting a monarchy surrounded by continents was a clear expression of power, expressing that their power extended throughout the world.One of Alcíbar's best known paintings is “From Indian and Mestiza, Coyote” and “From Spaniard and Morisca, Albino”, which are in the Philadelphia Museum of Art. These paintings are part of the casta tradition, a pictorial genre that developed in New Spain and was intended to visually classify the different racial mixtures that arose from contact between Europeans, Africans and Indians. These works stand out for their detailed observation of the costumes, textures and gestures of the characters, something that is also evident in the painting of the “Allegory of Africa” that we have here.As in his casta paintings, Alcíbar uses chiaroscuro in “Allegory of Africa” to model the figure using strong contrast between light and shadows, giving it three-dimensional volume and reinforcing its presence in the composition.The depiction of clothing, with its folds, textures and finely worked details, is another characteristic shared with Alcíbar's casta paintings. The precision in the texture of the fabrics, the brilliance of the jewels and the meticulous depiction of the jewelry suggest the expert hand of a painter accustomed to capturing the material and symbolic wealth of his characters.The painting is significant not only for its artistic quality, but also for its ability to reflect colonial-era concerns and ideologies regarding ethnic diversity and the depiction of figures descended from Africa.This connection to Alcíbar's casta paintings, especially those in the Philadelphia Museum of Art, reinforces the attribution of the work and underscores the importance of José de Alcíbar as a key painter in the portrayal of racial diversity in New Spain. As the Museo del Prado states in their biographical factsheet, Alcíbar was ‘One of the most active and representative artists of the painting scene in Mexico City during the second half of the 18th century. He received numerous commissions, especially for religious paintings for various churches and portraits of leading figures in Mexican society, with a personal style that was not unrelated to the artistic processes taking place in the metropolis. Mexico City in the 18th century was a time of special cultural importance, also in artistic terms, with the founding of the Royal Academy of Fine Arts of San Carlos in 1784, of which Alcíbar was one of the founding members and in which he took an active part until his death. Despite the relative success of his teachings, the Academy saw the arrival in Mexico of painters trained and active in Madrid, such as Ginés Andrés de Aguirre, Cosme de Acuña, José Arias and Antonio González Velázquez, who undoubtedly enriched the horizons of the Latin American painters. The two portraits in the Museo del Prado are characteristic of one facet of Alcíbar's production, portraiture, and show the elegance and flamboyance of his brushwork.Reference bibliography:- Magali Carrera, “Imagining Identity in New Spain: Race, Lineage, and the Colonial Body in Portraiture and Casta Paintings” (2003).- Ilona Katzew, “Casta Painting: Images of Race in Eighteenth-Century México” (2004).- Museo de Arte de Filadelfia, Colección de Pinturas de Castas.- Museo del Prado. (n.d.). "Alcíbar, José de". https://www.museodelprado.es/aprende/enciclopedia/voz/alcibar-jose-de/858ad8f0-de5b-4a63-921a-49d2d989e660