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λ Michael Ayrton (British 1921-1975)Six skull and sculptureOil on boardSigned and dated Dec 1954 (lower right); further signed and titled (verso)100 x 75cm (39¼ x 29½ in.)Exhibited:Paris, Galerie Creuze, Salle Balzac, La Peinture Britannique Contemporaine, October 1957Condition Report: Some very light rubbing to the extreme framing edges. The work is slightly loose in the frame and would benefit from securing in place. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer

Vincent Cartwright Vickers (British 1879-1939)Google BirdsA set of six watercolour and pen and inkOne signed with initials (lower right)Various sizes, the largest 49.5 x 32cm (19¼ x 12½ in.) (6)Provenance:The artist's grandsonThese eccentric drawings were executed in the first decade of the 20th century by a talented amateur artist who was better known as a leading economist. He produced these drawings for pleasure and to share with his children and nephews and nieces. Some would later be published with accompanying rhymes in The Google Book.The Google Book, a kind of children's monster and rhyme book, was published in 1913. Its Surreal illustrations of various fictitious birds and whimsical verses were all created by its author, the economist Vincent Cartwright Vickers. His extended family-owned Vickers Limited and he wrote The Google Book while serving as a director of the Bank of England. Vickers was born in 1879 and educated at Eton and Magdalen College, Oxford. He was a Deputy Lieutenant of the City of London, a director of Vickers for twenty-two years and a director of the London Assurance from which he resigned in 1939. In 1910 he became Governor of the Bank of England, resigning this appointment in 1919. He later became President of the Economic Reform Club and Institute. He wrote extensively on economics and monetary reform. After a long illness he died in 1939.The Google of the title is a strange pond dwelling monster living in a beautiful garden. At night in prowls the land where the different birds live. The birds themselves have many exotic names such as the Great Skull-Headed Stone Trot, the Swank, the Blue-Billed Ork and the Shivver-Doodle.It is not known whether Vicker's Google had any influence on the naming of the current famous American Internet company.Condition Report: Image 6 has been unframed. The work is watercolour on card and has been taped to the backing mount at the centre of each edge. All the works are under glass. The other five have not been examined out of glazed frames. There is some light scattered foxing most noticeably to areas where the original card is on show. Image 4 showing the two swooping birds, there is evidence of pencil marks either behind the sheet or as part of the original design which was the changed. There is a small cluster of brown marks to the left hand edge of the sheet. Otherwise each work appears to be in good original condition. Condition Report Disclaimer

GILT BRONZE FIGURE OF MILAREPA QING DYNASTY, 19TH CENTURY 清 銅鎏金密勒日巴坐像 cast seated on a double lotus throne in lalitasana, the sage wears a loose robe with his upper body exposed, a yoga band wraps around his left body across the right shin, his meditative face looks slightly to the right with gently tilted head, right arm rested on right thigh with palm raised, left hand set with a kapala tucked on the lap, the base sealed with a plaque incised with double-vajras, lower back of the throne engraved with Tibetan inscriptions(19.5cm high; 1436g)Provenance: Acquired directly from Tibet by British Diplomat and Tibetologist Hugh Edward Richardson (1905-2000), thence by descentFootnote: Note: Most often depicted with a hand raised to his ear in a listening gesture, Milarepa was a hermit yogi and poet, much-respected and known by the Tibetan people. As a renowned poet, his listening gesture symbolises his unique way of imparting Buddhist's wisdom through songs. The skull cap or kapala vessel is a reminder of the impermanence of life, and the inevitable death, which through the practice of Buddhism, one can achieve enlightenment and be released from Samsara. A silvered copper alloy Milarepa, dated to the 15th century, and with a similar gesture, was sold by Bonhams New York, 13 March 2017, lot 3025

Three wedding veils, one very long white net and lace wedding veil with comb, adorned with white flowers and diamante, together with two short wedding veils, one with a 1960s style skull cap of daisies with pearl bead centres and the other short white net with a garland. (3) (B.P. 21% + VAT)

A modern 925 silver whistle in the form of a skull with red stone set eyes & hanging bale. Marked 925 and sterling to reverse. Approx. 4cm long.

A silver skull pendant, 1986, realistically modelled, with hinged jaw and scroll engraved detail to the crown, Birmingham hallmark, indistinct maker’s mark, length 31.5mm. £100-£200

A Brutalist bronze sculpture,1970s, modelled as an owl perched atop a horned skull, to the verso with a cast brass bell, with cast monogram 'VR' to the verso, raised on a black resin plinth, mounted with a cast white metal symbol of an encircled 't',43.5cm highCondition report: The plinth appearing to miss a plaque. With some minor white stains throughout. The bronze with patination throughout.

A collection of fourteen metal model toy busesno obvious manufacturer, two have skull and crossbones to base, comprising: two trolleybuses, eight double-deckers, three single-decker and a small charabanc,tallest 7cmCondition report: Some have detached roofs, mostly in good condition, some hve small elements loose or detached

An articulated skull of a greater kudu, Southern Africa, scientific name Tragelaphus strepsiceros, mounted on a wooden plaque,78cm wide102cm highCondition report: Horns detach from the skull. The skull with a few hairline cracks.

A Royal Lancers 9ct gold and enamel sweetheart brooch, with the regimental insignia of the skull and crossbones over 'OR GLORY', 3cm high approx. 6 gramsCondition report: Chips to the enamel on the flags, otherwise in good order

A pair of red deer antlers, cut upper skull cap, modern walnut shield, width 64cm; a mounted hoof; a harness with horse brasses; and two small copper and brass hunting horns.

Anita Harris skull

SS Ehrenring or SS Honour Ring. The ring is a very large size and measures a UK ring size Z plus 3. Width of the band is 7mm while thickness of the band is 2mm. Weight 14 grams. Made of Silver. The ring conforms to the pattern issued after 1941 with a thicker band and larger skull. The ring is correctly inscribed inside the band ?To Dear? along with the award date for the Summer Solstice and officers name ?Noelte? together with Himmler?s name. The full inscription reading: ?Slb. Noelte 21.6.42 H. Himmler?. The ring displays the correct features which are expected to be found on an original Third Reich era example which are a soldered seamed joint to the band, which is behind the skull, a separate soldered on cast skull, along with known die flaws to the Runic panels and Oakleaves on the exterior of the band. These die flaws are only seen on original examples produced by the jeweller Otto Gahr of Munich who was the sole manufacturer of these rings. The ring exhibits very light wear both to the exterior and interior.Original owners? details: Born in Berlin on 4th October 1916. Served as a Staff Officer in the Heer in the 4th Panzer Division. Transferred to the Waffen SS in 1944 with the rank of SS Hauptsturmfuhrer serving with the 10th SS Panzer Division ?Frundsburg?. Final rank of SS Sturmbannfuhrer. SS Number 160897. NSDAP Party number 3,474794. Taken Prisoner of War and interned in Sandbostel Camp and released on 4/9/1946. Died in 1961. Comes with research and a Don Boyle Certificate of Authenticity and another from Craig Gottlieb.

Of anatomical / medical interest - A fragment of a human skull comprising of the frontal lobe. Measures 13cm wide.

Still life of shells, skull and torso, entitled verso on Martin Tinney Gallery label 'Untitled Still Life', signed with initials57 x 74cmsprivate collection Powys, consigned via our Cardiff officeCondition report: Comments: framed

A Victorian bronze novelty skull and crossbones nutcracker, another with lion's masks and a corkscrew, the first stamped Rd. 740410, 15.3 cm long, the second nutcracker with crowned lion's masks, the 19th century corkscrew with turned wooden handle (3)

A carved bone model of a skull. 4 cm high.

A contemporary composite stone model of a human skull, height 27cm

ALEXANDER McQUEEN RINGwith twin skull finial detail, ring size T

A Second World War German SS Cap Badge in the form of a skull together with two SS cloth badges

Antlers/Shields: European Roebuck Antlers / Blank Shields, eighty various adult and juvenile Roebuck antlers on cut frontlets and upper skull caps, various sizes, together with fifty similar shaped dark oak shields, another forty similar shaped dark oak shields, all in used condition, (4 boxes)

AN IMPORTANT AND RARE BAMBOO FIGURE OF A CITIPATI, 17TH-18TH CENTURYTibet or Himalayas. Finely carved standing in samabhanga atop a small skull, lacking feet or arms, the spine neatly detailed, the ribs well-executed in openwork, the two large eye sockets vacant, with fierce grimace and teeth bared. Wearing a crown in the form of a vajra rising from lotus-lappets behind three smaller skulls.Provenance: Marc Assayag, Montreal. Indian Heritage, Paris, acquired from the above. Collection d'un Grand Amateur, France, acquired from the above. Marc Assayag is an art dealer, photographer, researcher, and writer. As one of the pioneers of presenting Tribal Art, Marc has been engaged as guest curator in New York, invited to travel with the Cousteau Foundation and served as photographer for many noted publications. As an international Art dealer, Marc participates in major art fairs around the world both as lecturer and dealer. Specializing in Melanesian art, Marc is also, since 2015, owner of the world class Jolika Collection of New Guinea art, and its reputed library. Established in 2006 by Frederic Rond, Indian Heritage is a gallery specializing in Indian and Himalayan art. Located in St Germain des Pres, Paris, it offers a large selection of primitive and classical pieces with a focus on Himalayan masks.Condition: Very good condition with minor old wear, few minuscule nicks, and occasional light scratches. Fine natural patina, commensurate with age, and an unctuous feel overall.Weight: 107.2 g (excl. stand)Dimensions: Height 30.7 cm (incl. stand) and 29.6 cm (excl. stand)With an associated metal stand. (2)Auction result comparison: Compare a related but larger gilt-bronze figure, described as a Chitipati or Kinkara from Tibet or the Himalayas and also dated 17th-18th century, at Sotheby's Hong Kong in The Heart of Tantra – Buddhist Art Including Property from the Nyingjei Lam Collection on 2 October 2017, lot 3144, sold for HKD 9,100,000. 十七至十八世紀罕見竹雕屍陀林像 西藏或喜馬拉雅。竹雕屍陀林立像，無足無臂，脊椎細密，肋骨鏤空，兩個大眼窩，猙獰地露出牙齒。頭上有三個骷髏，其後有一個金剛冠。 來源：蒙特利爾Marc Assayag。巴黎的Indian Heritage，購於上述收藏。法國 一個業餘愛好者收藏，購自上述收藏。 Marc Assayag 是一位藝術品經銷商、攝影師、研究員和作家。 作為展示部落藝術的先驅之一，Marc曾在紐約擔任客座策展人，受邀與Cousteau基金會一起旅行，並擔任許多著名出版物的攝影師。 作為國際藝術品經銷商，Marc 以講師和經銷商的身份參加世界各地的主要藝術博覽會。 Marc 專注於美拉尼西亞藝術，自 2015 年以來，他還是世界一流的新幾內亞 Jolika 藝術收藏館及其著名圖書館的所有者。 Indian Heritage 由 Frederic Rond 於 2006 年創立，是一家專門從事印度和喜馬拉雅藝術的藝廊。 它位於巴黎的聖日耳曼德佩區，有大量原始和古典作品，重點是喜馬拉雅面具。品相：狀況極其好，有輕微的磨損，微小的劃痕，局部有輕微劃痕。 細膩的自然光澤，與年齡相稱，整體感覺潤滑。 重量：不含底座107.2 克 尺寸：總高 30.7 厘米，不含29.6 厘米 配金屬支架 (2) 拍賣結果比較：比較一件稍大的十七至十八世紀西藏銅鎏金屍陀林或吉迦夜像見香港蘇富比The Heart of Tantra – Buddhist Art Including Property from the Nyingjei Lam Collection 2017年10月 2日 lot 3144, 售價HKD 9,100,000。

A LARGE BRONZE MANDALA PETALNortheastern India or Nepal, 12th-13th century. Cast as a lotus petal, the exterior with a seated deity holding an alms bowl and a staff above a stupa, each in relief and surrounded by neatly incised figures, animals, and auspicious symbols, the interior with Yamantaka and Vajravarahi, each standing in tribhanga atop a prostrate figure, wearing a skull garland and beaded jewelry, and four-armed with an attribute in each hand, and with incised geometric decorations.Provenance: From the important private collection of Jochen and Herbert Kienzle, and thence by descent in the same family. A private collector, acquired from the above. Jochen (1925-2002) and Herbert (1931-1997) Kienzle were sons of Herbert Otto Kienzle (1887-1954), whose father Jakob (1859-1935) was a German watchmaker, who founded Kienzle Apparate, a German manufacturer of data processing equipment. Jochen and Herbert took over management of the company after their father's death in 1954 and pioneered the use of computer systems for commercial office-based applications in Germany. From 1965 until 1986, the brothers assembled a well-known and highly regarded collection of East Asian and Tibetan art.Condition: Very good condition, commensurate with age. Extensive wear, small nicks, minor dents, light scratches. Fine, naturally grown, dark patina.Weight: 430.0 gDimensions: Length 21 cmThis fragment was once part of a lotiform mandala with articulated petals that close to form a lotus bud. First conceived in northeastern India during the Pala period, very few examples remain today, let alone in the size of the present lot.Literature comparison: Compare a complete lotus mandala from Nepal and dated to the 13th-14th century, in the collection of the Los Angeles County Museum, accession number M.88.228. For a smaller and incomplete Pala-period example in the Pan Asian Collection, see P. Pal, The Sensuous Immortals, 1977, p. 96-97, cat. no. 57.Auction result comparison: Compare a complete lotus mandala from Northeastern India and dated 11th-12th century at Christie's New York in Indian and Southeast Asian Art on 22 March 2011, lot 382, sold for USD 62,500, and another dated 13th century at Christie's New York in Indian and Southeast Asian Art on 14 September 2010, lot 61, sold for USD 122,500. 大型青銅曼陀羅花瓣 印度東北部或尼泊爾，十二至十三世紀。成蓮瓣狀，外部浮雕為坐在佛塔上的手持化齋缽和手杖的天神，四周分佈著人物、動物和吉祥紋飾，內部為大威德金剛和金剛亥母，分別呈三屈式，身著頭骨花環和串珠首飾，四臂上的每隻隻手都拿著一個法器，並飾幾何紋飾。 來源：重要Jochen 與Herbert Kienzle私人收藏，在同一家族收藏至今；私人藏家購於上述收藏。Jochen (1925-2002) 與 Herbert (1931-1997) Kienzle 是 Herbert Otto Kienzle (1887-1954) 的兒子，他的父親 Jakob (1859-1935) 曾是一位德國製錶師，他創立了德國Kienzle數據處理設備公司。Jochen 和 Herbert 於 1954 年父親去世後接管了公司，並率先在德國將計算機系統用於商業辦公應用。 1965 年到 1986 年間，兄弟倆收集了一批著名且備受推崇的東亞和西藏藝術收藏品。品相：狀態極好，與年齡相稱。 大面積磨損、小刻痕、輕微凹痕、輕微劃痕。 自然生長的深色包漿非常細膩。 重量：430.0 克 尺寸：長 21 厘米 拍賣結果比較：比較一件十一至十二世紀來自印度東北部的曼陀羅蓮花，見紐約佳士得Indian and Southeast Asian Art 2011年3月22日 lot 382, 售價USD 62,500；另一件十三世紀的，見紐約佳士得Indian and Southeast Asian Art 2010年9月14日lot 61, 售價USD 122,500。

Spanish or American school; 18th century."Skull.Carved slate.Measurements: 16 x 20 x 3 cm.Slate carved in the form of a skull, the aesthetic treatment of the work invites us to think of a school with knowledge of pre-Columbian cultures. It is true that the presentation of the skull has been a constant throughout the history of art, as they represent the concept of death. In fact, they also capture the transience of life, which was one of the themes that most concerned artists. Vanities denounce the relativity of knowledge and the vanity of the human race subject to the passage of time, to death. This genre was particularly popular during the Baroque period, and its title and conception are related to a passage from Ecclesiastes: "vanitas vanitatum omnia vanitas" ("vanity of vanities, all is vanity"). In the 17th century, they became very common as an indispensable complement to preaching and devotion in Europe, in forms and with slightly different intentions in Catholic and Protestant areas.

Circle of BLAS DE PRADO (Camarena, Toledo, around 1545- Madrid, 1599)."Saint Jerome.Oil on canvas.Relined.Frame of the XVIII century.Size: 130 x 108 cm; 140 x 120 cm (frame).In this canvas the theme of Saint Jerome penitent in the desert is approached through a scenographic and open composition, with a silver illumination that succeeds in the way of enhancing the pathos of the scene. The painting is attributed to Blas de Prado, whose work is characterised by monumental figures, skilfully modelled in contrasting light, as is the case here. The saint is depicted full-length, chiselled by chiaroscuro, with his naked torso and the muscles of his legs partially covered by the draped cloak, which has an intense crimson hue. The saint is depicted in a rocky setting, open to a nocturnal landscape with a waterfall. Next to him we see the lion, lying at his feet, the skull and a crucifix, all enveloped in a nuanced half-light.Blas de Prado was a painter of whom few biographical details are known to date. He worked mainly in Toledo, where there are a number of contracts located around the city and where contemporary sources mention him. It is also known that he worked at court, earning the esteem of Philip II.It is known that he painted portraits, Francisco Pacheco considers him to be the introducer of the still life in Spain (he was Juan Sánchez Cotán's teacher) and, as well as being familiar with Italian production through his work at El Escorial, there are those who defend the possibility of a trip to Italy that would allow him to see the works at first hand, influenced above all by Michelangelo in several of the works that have been preserved.Today his paintings can only be seen in major private collections and institutions such as the Museo del Prado in Madrid, the Museo de Santa Cruz in Toledo, Valencia Cathedral, the Collegiate Church of Santa María la Mayor in Talavera de la Reina (Toledo), the Palacio de Liria (Madrid), drawings in the Uffizzi Gallery in Florence, the Louvre Museum in Paris, etc.

Circle of PIETRO NOVELLI (Monreale, 1603-Palermo, 1647)."Saint Rosalia of Palermo".Oil on canvas. Re-coloured.Size: 114 x 76 cm.A still life placed in the foreground and formed by an open book and a skull, indicates us the subject of the represented scene. On this Vanitas, kneeling and with a pious gesture is the woman mentioned in the book Santa Rosalia. She is comforted by the figure of the Virgin and Jesus, who surround her and in the case of the Virgin even consoles her with his arms. In front of the saint, the figure of Christ is shown as a vision of resurrection. Standing, dressed in a voluminous red cloak, Jesus stretches out his hands towards the saint, showing her the wounds on his hands. The heavenly area is dominated by the presence of God the Father, in the centre, the dove of the Holy Spirit on the left, and on the right, three little loves, one of whom holds a floral garland with which he approaches to crown Saint Rosalie. Rosalia of Palermo was a 12th-century Italian saint whose cult was promoted by the Benedictines. She is considered a protector against infectious diseases, such as the plague, and is also invoked to seek her protection in difficult times. Rosalia lived in solitude, poverty and penance, and according to her hagiography she performed miracles such as the extinction of the plague that devastated her native Sicily. Patron saint of Palermo, she enjoys great devotion in Sicily. Saint Rosalia was an important subject in Italian Renaissance and Baroque painting, particularly in the sacre conversazioni (group images of saints flanking the Virgin Mary) of artists such as Riccardo Quartararo, Mario di Laurito, Vincenzo La Barbara and possibly Antonello da Messina. But it was the Flemish master Anthony Van Dyck (1599-1637), who was caught in Palermo during the plague of 1624, who produced the largest number of paintings of her. Saint Rosalia is usually depicted as a young woman with flowing blonde hair, wearing a Franciscan hood or a crown of flowers and leaning towards the city of Palermo in her peril.In this particular case, the features of Saint Rosalia and the execution of the work bring us closer to the painting of Pietro Novelli, who dedicated several of his works to the saint, notably the one in the collection of the Kunsthistorisches Museum in Vienna and the piece in the San Fernando School of Fine Arts. Pietro Novelli, of Italian origin, achieved great fame as a painter, although he also devoted himself to architecture and was appointed architect to the kingdom. His training was linked to his father's workshop, who was also a painter. His links with Palermo, a place to which he travelled frequently, indicate that he probably attended the school of Vito Carrera. Furthermore, the presence of Van Dyck and the stylistic influence of the master that can be seen in Novelli's painting reinforces the idea that he trained in Palermo.

NO RESERVE Trials. Murder.- The Genuine Account of the Trial of Eugene Aram, For the Murder of Daniel Clark..., title soiled and laid down with some repairs, affecting a few words, ink ownership inscription of N. Scatcherd to title, his occasional annotations throughout, browned, some light soiling, final leaf strengthened at inner margin with loss to a few words, York, A. Ward, 1759; bound with 5 other tracts about Aram, most 19th century, modern calf-backed boards, spine gilt, lightly rubbed, 8vo, 1759-1838. ⁂ Tracts include Thomas Hood's 'The Dream of Eugene Aram', with engraved plates, and a phrenological study of Aram's skull. This volume was put together by the Yorkshire antiquary Norrison Scatcherd, author of two of the six tracts, and features his occasional annotations. His ownership inscription to a front free endpaper reads 'Norrison Scatcherd - Morley - October 22. 1840'.

Large silver skull pendant, on silver bead necklace, both stamped 925

Silver skull link bracelet, the eyes set with Whitby jet, maker's mark RJB, Birmingham 2020

Large silver skull pendant, the eyes set with Whitby jet, on silver bead necklace, both stamped 925

Silver skull and crossbones link bracelet, the eyes set with Whitby jet, stamped 925

Silver skull torque bangle, maker's mark RJB, Birmingham assay mark

2 novelty resin Skull money boxes - policeman & pirate themed

Human anatomy, adult skull, lower mandible lacking, depth 18cm.Condition report: The zygomatic arch is damaged with parts lacking on both sides, small hole on the sphenoid bone greater wing on the right hand side with other smaller holes in areas.

Memento Mori Ring. A George II yellow metal ring finely decorated with a skull, shells and foliate scrolls, the inner band with maker's mark WC and engraved 'C.V. obt. 12 May 1723 æt: 41.', size Q, weight 4gQty: (1)Footnote:

A modern 925 silver whistle in the form of a skull with red stone set eyes & hanging bale. Marked 925 and sterling to reverse. Approx. 4cm long.

Rams skull

A THANGKA OF GURU DRAGPO, 18TH-19TH CENTURYTibet. Distemper on cloth. The wrathful three-headed deity with Garuda wings, striding with his consort in alidhasana on prostrate figures atop a lotus throne in a flaming mandorla, holding a vajra, a skull cup and other ritual implements in his hands, dressed in a tiger skin. The bottom of the picture with dancing Dakinis and patron deities.Provenance: From a noted Hungarian private collection. Condition: Good condition with old wear, some soiling, minuscule losses and creases. The cotton mounting with tears, wear, losses, and loose threads. Dimensions: Image size 50.5 x 35.5 cm, Size incl. frame 98 x 61.5 cmGuru Dragpo, also referred to as Guru Drakpoche, is a meditational deity form of Padmasambhava, in his most wrathful Heruka form. A Heruka, or 'blood drinker', usually refers to wrathful male deities, often with three faces, six arms, four legs, wings, and a consort, who adopt a fierce countenance to benefit sentient beings. Literature comparison: Compare a related thangka, dated to the 18th century, in the collection of the Rubin Museum of Art, accession number P1998.30.1, also published on Himalayan Art Resources, item no. 788.Auction result comparison: Compare with a related thangka of Guru Dragpoche, but without consort, at Sotheby's New York in The Jucker Collection of Himalayan Paintings on 28 March 2006, lot 97, sold for USD 27,000. 十八至十九世紀忿怒蓮師唐卡西藏，布面膠畫。蓮師三首六臂與四足，翅膀張開，身著虎皮裙，拿著斧頭、金剛杵、頭骨杯和蝎子，擁抱著他的佛母。兩人站立於蓮座上，火焰光背，腳踩魔鬼上。畫面底部可見跳舞的空行母和守護神。 來源: 匈牙利知名私人收藏。 品相: 狀況良好，磨損，一些污漬，微小的缺損和摺痕。錦框帶有撕裂、磨損、缺損和絲線鬆弛。 尺寸: 畫面尺寸 50.5 x 35.5 厘米, 總98 x 61.5 厘米 拍賣結果比較: 比較一件相近的忿怒蓮師唐卡，見紐約蘇富比 The Jucker Collection of Himalayan Paintings 2006年3月28日 lot 97, 售價USD 27,000。

AN EMBROIDERED SILK THANGKA DEPICTING MAHAKALA, QING DYNASTYTibetan-Chinese, 1644-1912. The six-armed wrathful protector standing on a lotus pedestal above four snow lion heads, holding various attributes including the skull cup, knife, trident, and axe, wearing a short dhoti and scarves, richly adorned with jewelry, the face with a fierce expression, his golden hair secured with a foliate tiara, surrounded by various Buddhas, bodhisattvas, and teachers, all against a red ground.Provenance: German trade, by repute acquired from a private estate.Condition: Excellent condition with minor wear and soiling. Dimensions: Image size 75 x 50 cm, Size incl. mounting 137 x 87 cmWith a silk brocade frame, mounted as a hanging scroll. 清代刺綉大黑天唐卡漢藏，1644-1912年。工藝精細，大黑天呈立姿，面容飽滿，胸前掛瓔珞珠飾，手、臂及踝處著有釧環。身出六臂，手臂粗壯，孔武有力，手持骷髏杯、刀、三叉戟、斧頭等法器，底呈蓮台，蓮瓣飽滿，排列整齊；大黑天體勢威猛，莊嚴肅穆，四周可見佛陀、菩薩和大師。整副唐卡顏色明艷，紅地，搭配和諧，過渡自然。 來源：德國古玩市場，據説購於私人收藏 品相：狀況極佳，輕微磨損和污漬。 尺寸：畫面75 x 50 厘米，總137 x 87 厘米 錦緞裝裱成立軸。

Italian school, 17th century."Vanitas".Carved and polychrome wood. Brass, bronze and silver.Measurements: 22 x 38 x 11,5 cm,A sculpture is presented in the form of a coffin with the front dominated by a glass that allows the spectator to see inside. In the centre of the piece, a skeleton lies dead on a red and gold bed. Death is not represented in a peaceful way, showing the corpse's passage to eternal life, but is presented in an exacerbated and dramatic way, with a skeleton whose skull has a gesture of terror with its mouth wide open. The body, which is turned so that the viewer can contemplate it more easily, is infested with maggots that crawl all over the bone, coiling around them, even on the face. The presence of the worms, as devourers of flesh, warns the viewer about the temporality of life and of his body as matter, thus delivering a reflection related to eternity and the correct way of life with which the faithful can attain glory.This completely detailed sculptural work, both in the conception of the skeleton and the coffin that preserves it, is part of the genre of vanities, which was so important during the Baroque period. The transience of life was one of the themes that most preoccupied Baroque artists. Vanities denounced the relativity of knowledge and the vanity of the human race subject to the passage of time and death. This genre was particularly popular during the Baroque period, and its title and conception are related to a passage from Ecclesiastes: "vanitas vanitatum omnia vanitas" ("vanity of vanities, all is vanity"). In the 17th century, these moralising still lifes became very frequent as an indispensable complement to preaching and devotion in Europe, in forms and with slightly different intentions in Catholic and Protestant areas.

Circle of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682)"Christ Crucified".Oil on canvas.Period frame.Measurements: 62 x 47 cm; 71 x 54 cm. (frame).The figure of the dead Christ was very common in the Spanish Baroque iconography. Murillo made several versions in which, as in the important painting that we show here, the imposing image of the Crucified Christ is outlined on a dark background of twilight lights in contrast with the powerful focus of light that models his powerful anatomy. This is a Christ with three nails, in which the master avoids excessive pathos and, on the contrary, prioritises atmospheric capture, the softness of the forms and chromatic nuances, in order to procure a contemplative immersion for the believer. What is important is to emphasise the magical moment in which humanity is redeemed by the suffering of the Saviour. The composition, the bold iridescence of light and the rapid brushstroke In composition and language this work is very close to Murillo's Christ Crucified in the Museo del Prado. Specialists have pointed to the influence of the Christ that Van Dyck painted for the church of Dendermonde. Dated around 1667, it was possibly bought by Philip V's wife, Isabella of Farnese, and was in her collection in 1746, appearing in her collection three years later in the Palace of Aranjuez, from where it was transferred to the Prado in 1818. Here, too, the cross is a vertical part of the composition, and the body acquires sculptural volume thanks to the masterly handling of the light. The landscape of Golgotha is reduced to an atmospheric impression, establishing a chiaroscuro dialogue with the suffering flesh tones. Here too, the skull and some of the instruments of the Passion are depicted at the foot of the cross. The stylistic and formal correspondences between these two paintings and others from Murillo's mature period lead specialists to believe that they share the same authorship.Little is known about Murillo's childhood and youth, except that he lost his father in 1627 and his mother in 1628, which is why he was taken into the care of his brother-in-law. Around 1635 he must have begun his apprenticeship as a painter, most likely with Juan del Castillo, who was married to a cousin of his. This working and artistic relationship lasted about six years, as was customary at the time. After his marriage in 1645 he embarked on what was to be a brilliant career that gradually made him the most famous and sought-after painter in Seville. The only trip he is known to have made is documented in 1658, when Murillo was in Madrid for several months. It is conceivable that while at court he kept in touch with the painters who lived there, such as Velázquez, Zurbarán and Cano, and that he had access to the collection of paintings in the Royal Palace, a magnificent subject of study for all the artists who passed through the court. Despite the few documentary references to his mature years, we know that he enjoyed a comfortable life, which enabled him to maintain a high standard of living and have several apprentices. Having become the city's leading painter, even surpassing Zurbarán in fame, he was determined to raise the artistic level of local painting. In 1660 he decided, together with Francisco Herrera el Mozo, to found an academy of painting, of which he was the main driving force. His fame spread so far throughout Spain that Palomino states that around 1670 King Charles II offered him the chance to move to Madrid to work there as a court painter. We do not know whether this reference is true, but the fact is that Murillo remained in Seville until the end of his life. Works by Murillo are now in the most important art galleries in the world, such as the Prado Museum, the Hermitage in Saint Petersburg, the Kunsthistorisches in Vienna, the Louvre in Paris, the Metropolitan in New York and the National Gallery in London.

17th century Spanish school."Saint Jerome".Oil on canvas.Measurements: 62 x 47 cm.In this work the painter offers us an image full of mystic emotion, very typical of the Spanish art of the Counter-Reformation. Thus, we see a work with a clear composition, with the half-length Saint in the foreground, highlighted by the direct, tenebrist lighting, on a neutral and dark background. As was also common at this time in the Spanish School, Saint Jerome is shown writing and meditating, usually next to a human skull, although in this case it is not visible. Other iconographic attributes that define the figure of the saint can be seen next to him, such as the lion that has accompanied him since he removed the thorn from his paw.Saint Jerome is one of the four great Doctors of the Latin Church, born near Aquileia (Italy) in 347. Trained in Rome, he was an accomplished rhetorician and polyglot. Baptised at the age of nineteen, between 375 and 378 he withdrew to the Syrian desert to lead an anchorite's life. He returned to Rome in 382 and became a collaborator of Pope Damasus. One of the most frequent representations of this saint is his penance in the desert. His attributes are the stone he uses to beat his chest and the skull on which he meditates. Also the cardinal's cape (or a red mantle), although he was never a cardinal, and the tamed lion. The latter comes from a story in the "Golden Legend", where it is narrated that one day, when he was explaining the Bible to the monks in his convent, he saw a lion limping towards him. He removed the thorn from its paw, and from then on kept it in his service, instructing it to look after his donkey while it grazed. Some merchants stole the donkey, and the lion recovered it, returning it to the saint without hurting the animal.

Scarce WW1 French Cervelliere Skull Cap, interesting example of a steel helmet which was worn under the Kepi to add protection for the wearer before the introduction of the Adrian helmet. Appears to be a semi excavated example with heavy pitting to the inside.

Imperial German 1st Leib-Hussar Regiment No1 NCO’s Busby, fur bodied busby with white metal scroll having “MIT.GOTT.FUR.KONIG.UND.VATERLAND” and white metal Totenkopf skull busby plate underneath. Enlisted ranks Prussian state and reichs cockades with a leather backed scaled brass chinstraps. Busby is complete with bullion and felt field cockade for “Vizewachtmeister”. Red cloth bag and knotted white cord side. Interior with leather liner which has some white mildew over. Top with an old typed US dealers label stuck to the inside. Busby suffers with some fur loss and some parts in our opinion have been replaced / restored.

WW2 Royal Air Force Aircrew 1941 Mae West Skull Cap, mint un-issued example, complete with the original cloth ties.

A partial human skeleton including skull, foot bones, odd ribs, sacrum, arm and legs bones etc, A skeleton teaching chart and four volumes of Illustrations of Regional anatomy Condition Report:Available upon request

A continental fireman's brass helmet, (skull slightly perished), a Spanish kepi; a Russian officer's tunic; a beret of The Rhodesia Regiment, a Rhodesian army camouflage cap; 2 other berets, 2 field caps. GC (6) £30-35

A Third Reich "Im Dienst Der Waffen SS" armband, also an alloy cap eagle and skull. GC £50-60

A German post -war M40 pattern stahlhelm: with brown leather liner, indistinctly number stamped to underside, SS transfers to skull. * Notes Militaria artefacts are reproduced in significant numbers, in particular those from the World War II period and some may use original parts. Intending buyers have ample opportunity for inspection of goods and, therefore must, accept responsibility for inspecting and investigating lots in which they may be interested. We ask that interested bidders closely study the images provided and request additional images and condition reports to satisfy themselves to the authenticity and period of any particular items in the auction. Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to Condition 16 (Terms and Conditions) concerning deliberate forgeries and applies save as provided for in paragraph 6 "information to buyers".

A 19th century Indian or Persian steel Khula Khud: with short spear finial, engraved skull with adjustable nose guard and hanging ear and neck chain mail guards. * Notes Militaria artefacts are reproduced in significant numbers, in particular those from the World War II period and some may use original parts. Intending buyers have ample opportunity for inspection of goods and, therefore must, accept responsibility for inspecting and investigating lots in which they may be interested. We ask that interested bidders closely study the images provided and request additional images and condition reports to satisfy themselves to the authenticity and period of any particular items in the auction. Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to Condition 16 (Terms and Conditions) concerning deliberate forgeries and applies save as provided for in paragraph 6 "information to buyers".

An Imperial Prussian M1891 Pattern pickelhaube: the black leather skull fitted brass spike and rear vented rib, pressed brass wappen plate, plain cockades and brass mounted peak, black leather chin strap and liner, stamped to interior '76R' and dated '1899'.* Notes Militaria artefacts are reproduced in significant numbers, in particular those from the World War II period and some may use original parts. Intending buyers have ample opportunity for inspection of goods and, therefore must, accept responsibility for inspecting and investigating lots in which they may be interested. We ask that interested bidders closely study the images provided and request additional images and condition reports to satisfy themselves to the authenticity and period of any particular items in the auction. Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to Condition 16 (Terms and Conditions) concerning deliberate forgeries and applies save as provided for in paragraph 6 "information to buyers".

A SKULL CAST IN PLASTER with an Asian mask in carved wood, mask 39 cms high

Race riding equipment belonging to the jockey Stan Mellor MBE,comprising cork shell skull cap with internal webbing and makers stamp for HERBERT JOHNSON NEW BOND STREET LONDON, the exterior bearing MELLOR painted in white; three pairs of white breeches, one bearing makers label for CUSTOM JOCKEY'S APPAREL MRS. BETSY NOBLE USA; leather and red felt weight cloth, fitted with two pouches either side for weights, inscribed S. MELLOR in black marker pen and his foam back protector developed by him with the Lilleshall National Sports Centre, bearing SM in black marker pen, each item bearing some wear, (6)Provenance:The Stan Mellor Collection

RORY HANCOCK (BRITISH 1987) 'BUTTERFLY KISS' a signed limited edition box canvas print of a skull 69/95, with certificate, approximate size 66cm x 66cm, condition:- scuffs to print varnish, small chips to frame (artist resale rights apply)

Skull of a Horse

AMAZING SPIDER-MAN #324, 364, 366, 367, 368, 369, 382, 388, 394, 395 - (10 in Lot) - (1989/94 - MARVEL) - Includes Sabretooth, Shocker, Red Skull, Taskmaster, Solo, Spider-Slayers, Green Goblin, Hulk, Electro, Traveller, Puma appearances - Flat/Unfolded

MARVEL TWO-IN-ONE #17, 18, 22, 23, 26, 27, 29, 30, 31, 32, 33, 35, 36 (13 in Lot) - (1976/78 - MARVEL - UK Price Variant) - Includes Spider-Man, Basilisk, Scarecrow, Demon Cult, Thor, Devourer, Nick Fury, Deathlok, Shang-Chi, Hydra, Alicia Masters, Spider-Woman, Invisible Girl, Modred the Mystic, Skull the Slayer,Mr. Fantastic appearances - Flat/Unfolded

SPIDER-WOMAN, GHOST RIDER, MAN-THING, SKULL THE SLAYER LOT (25 in Lot) (MARVEL) Includes SPIDER-WOMAN (1979/81) #13, 14, 15, 20, 37, 38 (x 2), 39 + GHOST RIDER (1975/77) #11, 12, 13, 14, 15, 17, 19, 22, 27 + MAN-THING (1975) #16, 17, 18, 19, 20, 21, 22 + SKULL THE SLAYER (1975) #2 - Flat/Unfolded

Large mounted boar skull

Two butterfly ornaments in glass domes, a mounted skull, mixed china, etc. **PLEASE NOTE THIS LOT IS NOT ELIGIBLE FOR POSTING AND PACKING**