We found 18989 price guide item(s) matching your search

Two General purpose caps, a wooly jeep cap, a Flying cap with leather sweat band, British Beret, WW2 A-4 mechanics skull cap with RAF label (6)

A SKULL on a stand. 6ins long.

A SKULL on a stand. 7ins long.

A SKULL on a stand. 5.5ins high.

A SKULL on a stand. 3.5ins high.

A SKULL on a stand. 5ins long.

A George III brass momento mori snuff box, hinged cover applied with a skull, 7cm long, c.1800

A 19th century elm cheese or fruit press bed, carved with a primitive skull, 83cm wide, 44cm deep, later mounted as a table, 54cm high overall

TAXIDERMY; a model of a nightjar with label for 'The Peter Farrington Collection, Wilmslow', width 23cm, together with a mounted part skull and horns (2).

An early 20th Century Chinese hand embroidered panel of butterflies and flora on a blue ground in 2 halves joined together within a black silk border, 28cm x 33cm together with a vintage embroidered skull cap with black tassels to the centre and an early 20th Century heavily beaded and brocade skull cap with peach silk lining and cream tassel to the top and other embroidered panels. Location:BWR

Scarce Vintage Kenner Star Wars Power of The Force Ewok Battle Wagon Vehicle, Cat No 93690. Complete including battle ram, prisoner cage, spare crank, ladder, ramp, skull, leaflet and planetary map, in excellent original condition, outer box is fair, no inner packing .

Skull of a Dik-Dik in glass case and two part deer antlers 

Anita Harris skull, signed in gold, H: 19 cm, no cracks or chips. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

A QUANTITY OF VINTAGE ITEMS TO INCLUDE A TAXIDERMY PART SKULL, THREE WALL PLAQUES, SILVER PLATED COFFEE POT, ETC

Four various Zippo lighters , matt black:  Born Bad; Mercenaries Never Die POW; Mia you are not forgotten & a skull

Three Austrian pottery wall appliques in the form of jovial friars, one wearing a skull cap, the remainder wearing cowls, their outstretched hands accommodating a pair of candles, embossed mark and patent registration no., 28cm wide.

An Heal's oak library chair, c.1920, manufactured by Skull furniture of High Wycombe, the seat and back cushions upholstered in green, the right armrest with an incorporated bookshelf with a single shelf, with a scalloped front, the left armrest with an incorporated gateleg table, the backrest adjustable, raised on block supports, 102cm wide extended84cm deep73cm high, seat 30cm highCondition ReportThe upholstery faded and worn. With some general scratches and marks throughout. The feet with wear. The metal supports with some rust in areas.73cm wide, with the shelf down 

Eight Himalayan bead necklaces glass, seed, brass, silver coloured metal, shell, bone, hung with pendants, including trumpets, a brass skull, a conch shell and a painted panel depicting a seated deity, 39.5cm - 51cm long. (8) Provenance Romy Rey Collection, London. Condition Report wear. natural flaws. some beads chipped. 1686.5g.

Three Tibetan mala beads including one with wood, stone and shell beads with two strands of iron discs and bell pendants, 57cm long, another with carved bone skull beads, 77cm long and the third with rudrakska beads, 45.5cm long. (3) Provenance Romy Rey Collection, London. Condition Report overall good. 224.4g.

A BOX OF ASSORTED ITEMS, to include a pair of oval jet cabochon cufflinks with yellow metal chain links, various gents wristwatches with names to include 'Sekonda, Accurist, Geneva, Umbro', a 'Timex' pocket watch, lighters to include 'Ronson, Elfite, a Royal Lexon' etc, a white metal skull ring, a cased EPNS butter knife fitted with a mother of pearl handle, a cased set of EPNS teaspoons with cake forks and sugar tongs, surgical instruments etc

RORY HANCOCK (WALES 1987) 'LOVE ME FOREVER', a signed artist proof edition box canvas print of a skull, 6/10 with certificate, approximate size 66cm x 66cm, Condition: boxed as new (artist resale rights apply)

A walking stick, the handle carved in the form of a skull, having white metal collar and spiral turned shaft, 94cm; together with three other walking sticks (4)

A pair of eight point antlers with skull cap mounted on an oak shield. Height 69cm width 48cm.

A late 19th century pair of eight point antlers on the skull cap and inscribed. Inscription 'HSHDM 1886 Athole Forst', height 57cm width 66cm.

An antique gold memento mori gold band ring. The ring of D form with an inscribed skull to the outside. The interior of the ring engraved WR EW ob 6 Mar : 77. Weight 3.0g. Tests indicate high carat gold. Size N.5.

A quantity of fabric skull caps.

A large pair of Bristol Street Artist graffiti paintings. Black spray stencil with detailing depicting animals, one with eyepatch and other with skull on leg. Both signed and set in black frames. Measures approx; 104cm x 74cm.

A Collection of Various Sundries to include Silver Plated Cutlery, Carved Stone Skull (AF), Doctor Who Screwdriver, Denox Paperweight, Bakelite Junction Boxes Etc

A selection of African tribal and other wood carvings, including: carved wood figure of a lady and child, 63cms high; snake and skull tumbler; and others.

A white metal table lighter formed as a monkey holding a skull. 16cm.

A plated metal ornament in the form of a skull

RORY HANCOCK (WALES 1987) 'LOVE ME FOREVER', a signed limited edition box canvas print of a skull, 54/95 with certificate, approximate size 66cm x 66cm, Condition: boxed as new, no hanging fittings (artist resale rights apply)

A QUANTITY OF DECORATIVE PRINTS ETC, to signed editions by Gordon Ashton, Alex Williams, Warwick Higgs, Terry Harrison, Philip Martin and Trevor Boult, open editions by Max Hayslette, Hazel Burrows, Lawrence Alma Tedema, William Russell Flint etc together with a Nemesis Now resin 'Pop Art' skull (Qty)

A 19th Century walking cane with brass Skull terminal with blue glass eyes. Approx. 93.5cm long.

An Edwardian walking cane with carved green hardstone skull handle, with silver collar engraved with decoration and initials, the silver hallmarked by HT, London, 1907, approx. 88.5cm long.

A composite English Civil War 'Dutch Lobster Pot' helmet, The skull piece of two part iron construction, with central raised comb, fixed peak with rolled over edge and a sliding adjustable nasal bar, secured B&A thumb screw, the nasal bar is indistinctly marked with armoured mark to the finial, articulated neck guard to the back, plus two replacement ear flaps to the sides (both of these with a maskers mark and number '1993'), Generally good condition with minor corrosion in place and an overall dark patina

James Bond Spectre (2015) Official Limited release IMAX poster showing an embossed skull on card stock, 13 x 19 inches and an Odeon poster, 11.5 x 16. 5 inches (2).

The Phantom 80th anniversary 1oz silver collectable coin in original skull cave coin case

Group of mixed collectables to include a Harmsworths Home Doctor Emergency case with first aid contents (dressing, bandages, cotton wool, lint, etc), Elastoplast Airstrip First Aid Outfit with contents, ship in a bottle, with stand, mounted taxidermy Roe buck antlers & front piece, taxidermy roe buck antlers & skull, wood & white metal crucifix, 29cm long, and a contemporary tin plate model of a VW camper van

Shields/Horns/Tusks: A Collection of Alpine Chamois Horns & European Wildboar Tusks, thirty sets of adult male horns on cut frontlets and upper skull caps, together with thirty various mounting shields (used), together with sixteen sets of adult European Wildboar tusks, mounted upon various circular shields, in three boxes, (qty). Subject to 5% import duty.

Antlers/Shields: European Roebuck Antlers & Assorted Shields, fifty unmounted good sized adult Roebuck antlers on cut frontlets, fifty various sized taxidermy mounting shields, together with forteen various sized young adult Red deer skull frontlets, in 3 boxes, (qty). Subject to 5% import duty.

A sterling silver & ruby skull necklace pendant & chain. The pendant in the form of a screaming skull with skeletal hands & round cut ruby set eyes, marked sterling to verso, on a fine cable link chain unite by lobster claw clasp, marked 925. Total weight approx 12.1g. Chain measures approx 44cm.

A hallmarked silver heart padlock charm bracelet. The bracelet having curb links united by a safety chain & heart padlock clasp, hallmarked for London 1973, makers marks for FM - Fred Manshaw Ltd. Charms to include; horse (marked 800), 21, tankard, red stone set lantern, rugby ball, wrench (marked silver), aurora borealis puffer fish, cross / crucifix, pixie, rabbit & bunny (marked sil), London taxi, chick in an egg, rings, crown, stag, teapot, St. Christopher, enamelled mickey mouse (hallmarked), bicycle, keys, eyched heart, tigers eye ball in claw, skull with crossbones, wheelbarrow, spider in web, bible, toby jug, guitar, Venetian gondola, artists palette. Total weight approx 114.7g. Measures approx 18cm.

Royal micro skull material, approximately 3m x 2m. Not available for in-house P&P

A SILVER SKULL AND BONE BROOCH.

A c.1932 set of bronze skull & cross bone nut crackers, registration mark 740410

A German Der Stahlhelm pin badge, an L. Z. 129 Hindenburg badge, a German coin, a Third Reich BDM button, a German skull & cross bones & a Hitler Youth stamp, a/f "League of German Girls"

WWI novelty charm of a skull wearing a German helmet

A mixed selection 20th Century warning enamel signs, mostly door / fingerplate examples with one in German featuring a skull and crossbones, Danger signs etc. Largest measures; 31cm.   

Follower of MATEO CEREZO (Burgos, 1637-Madrid, 1666), 18th century."Penitent Magdalene".Oil on canvas.Re-drawn.It presents old restorations.Measurements: 84 x 63 cm; 96 x 75 cm (frame).Devotional painting representing Mary Magdalene penitent. It follows models by Mateo Cerezo, who made several versions of this theme. Specifically, the present one is based on Cerezo's "Penitent Magdalene" in the Rijksmuseum in Amsterdam. The figure, taken half-length, retains the sensuality of the original, with the blouse slipping below her shoulders but modestly covering her bust, which in Cerezo's version was semi-naked. The satiny fabric is folded in naturalistic draperies. The saint, her eyes misty with emotion, gesticulates in repentance before the open book of Scripture. The female canon here is ultimately drawn from Venetian sources, and her silky hair can be compared to that of Titian's women. In contrast to the eroticism that reminds us of her sinful life, the skull and crucifix express the ascetic ideal to which the figure prostrates herself. Intense contrasts of light, typically Baroque, construct the scene and give volume to the young woman's body.Mateo Cerezo trained in Madrid, where he joined Carreño's workshop. He was in great demand by a varied clientele, particularly for his religious painting, although he also tackled other genres. In this respect, the treatise writer and biographer Palomino stated that he produced "still lifes with such superior excellence that no one else could surpass him", a judgement that is fully corroborated by the works in the Museo Nacional de San Carlos in Mexico, which are signed and dated. On the basis of these, Pérez Sánchez attributed to him the Kitchen Still Life purchased by the Museo del Prado in 1970, a work of evident Flemish influence that has sometimes led him to think of Pereda. The works of this artist from Valladolid have also been pointed out as Cerezo's descendants, particularly in his early creations. We know that in 1659 Cerezo was working in Valladolid, where he left somewhat rougher works than those he produced in the following decade. In his works he is a faithful follower of Carreño, with whom he became one of his best collaborators. The master showed him the path he himself later followed, following in the footsteps of Van Dyck and Titian. Thus, Cerezo developed compositions that open out into large, complex scenographies, conceived with a distinguished refinement that is evident both in the work as a whole and in the smallest details. Like the Antwerp master, he endowed his figures with a rich magnificence in their costumes, applying a fluid, light brushstroke, contrasted by a rich play of light. A superb example of all this is the Prado's The Mystical Betrothal of Saint Catherine, signed and dated 1660.

MARTIN VAN HEEMSKERCK MAARTEN VAN HEMSERCK (Heemskerk, 1498-Haarlem, 1574)."Vanitas.Oil on oak panel. Engatillada.Size: 63 x 69 cm; 85 x 101 cm (frame).In a sober interior rests the figure of a small boy, who sleepily rests one of his hands on a skull, while with the other one he holds a poster on which it can be read "Nascendo Morimur". The image, which loses its innocence through the presence of death as an idea lurking over the child's innocence and innocence, takes place in an interior of great spatial amplitude. In this space, only the curtain stands out as an ornamental element, which, due to its colour and modelling, brings luminosity and volume to the work. On the right-hand side, the space is open to a distant landscape dominated by the cold colours of the vegetation, while the sky has been painted in a warmer ochre. In this vegetation, the figure of a second character can be seen, which is outlined in the composition. Returning to the words on the poster carried by the protagonist, Nascendo Morimur refers to a specific 16th-century artistic genre, which could be translated as "As we are born, so we die". This was a popular theme in Flanders and Germany during that period, and is strongly related to the more popular Vanitas still lifes. Within the genre of vanities, which was so important, depicting the transience of life was one of the themes that most preoccupied Baroque artists. Vanities denounce the relativity of knowledge and the vanity of the human race subject to the passage of time and death. Its title and conception are related to a passage from Ecclesiastes: "vanitas vanitatum omnia vanitas" ("vanity of vanities, all is vanity").Marten Jacobszoon Heemskerk van Veen was a Netherlandish painter of the so-called Antwerp school, known for his portraits, his religious works and his reconstructions of the Seven Wonders of the World, which were disseminated throughout Europe in prints. He learned with Jan van Scorel and was influenced by Italian Mannerism in his workshop, but his style changed radically when he was able to travel to Italy (with a long stop in Rome, where he seems to have collaborated with Antonio da Sangallo the Younger on the Porta di San Sebastiano) and see everything at first hand. Even after returning to his native country in 1536, he always maintained a highly ornamental aesthetic, which earned him a very comfortable position and a certain prestige. His work, which is not very abundant, is to be found in museums such as the Fitzwilliam in Cambridge (UK), the Thyssen-Bornemisza in Madrid, the National Museum in Warsaw and the Rijksmuseum in Amsterdam, as well as in important private collections.

Taxidermy. A Hartebeest half skull and horns, 79cms high.

Taxidermy. A pair of ibex horns and partial skull on a shield shaped mount.

An 18th century half human skull, the underside inset with a lead cartouche seal dated 1730 and initialled 'KM', 13cms wide.

A memento mori skull mounted brass candlestick, 32cms high.Condition ReportThe skull is resin.

A human skull with hinged jaw, 15cms high.

A human skull, 13cms wide.

A West Country metal detector find: a small human skull, possibly a dagger fitting or horse harness decoration, mounted on a small suspension on a wooden plinth, 10cms high overall.

A white metal memento mori style skull vesta case, 4.5cms long.

EUSEBI ARNAU MASCORT (Barcelona, 1864 - 1933).Modernist chimney breast.Polychrome stucco.Provenance: Josep Puig i Cadafalch's house, Carrer Provença in Barcelona.Measurements: 110 x 24 x 30 cm.May form a set with lot 35047518.Lateral finial made by Eusebi Arnau for the Barcelona house of the architect Josep Puig i Cadafalch (1867-1956). It is a vertical relief with a flat base, entirely covered with figures and other motifs worked in various levels of relief, some of them even approaching the rounded bulk. It depicts a medieval princess being pursued by a dragon that appears crawling in the lower area, under the body of which the skull of one of its victims is visible. Between the two figures is that of a knight in armour and helmet, wielding a sharp sword with which he threatens the monster.The sculptor Eusebi Arnau trained at the Barcelona School of Fine Arts and was a pupil of José Gamot. From 1887 he continued his studies in Rome, thanks to a scholarship from the La Lonja School. He later furthered his training at the Académie Julian in Paris, exhibiting his works at the Salon in the French capital in 1895 and 1902. He later opened his own workshop in Barcelona, where he had pupils such as Pablo Gargallo and Josep Dunyach. Arnau carried out numerous commissions, such as the altarpiece for the basilica church of Santa Engracia in Saragossa, where he worked with Josep Llimona. On the other hand, his sculptures applied to architecture made him stand out as a modernist sculptor. Some examples are those made for the Lleó Morera and Amatller houses, the Hotel España, the Palau de la Música Catalana and the Hospital de Sant Pau, all in Barcelona. He was also a regular collaborator of the architect Enric Sagnier Villavecchia, with whom he worked on the Customs building at the Port of Barcelona, the Casa Ruper Garriga, the Via Crucis of Montserrat, the Expiatory Temple of the Sacred Heart, the parish church of the Sacred Heart in Poblenou, the Caixa de Pensions agency in Reus and other projects. He also excelled as a medallist, producing, among others, the medal for the Universal Exhibition of Barcelona in 1888, the Catalan Solidarity medal, the Columbus Centenary medal and the medal commemorating the demolition of Barcelona's city walls. Throughout his life, Arnau took part in numerous exhibitions both in Spain and in Chicago, Mexico City and Paris. He was awarded a bronze medal at the Universal Exhibition in Barcelona in 1888, an honorary diploma at the Fine Arts Exhibition in the same city in 1891, and a prize at the 1896 Exhibition; an honourable mention for sculpture at the National Exhibition in Madrid in 1899, a first-class medal for decorative arts at the National Exhibition in 1908, a gold medal from the Artistic Circle of Barcelona at the International Art Exhibition in 1911, and a third-class medal at the National Exhibition in 1912. Today we can find public monuments by Arnau in Barcelona, Madrid and Villafranca, and other works by him in Barcelona, Comillas and Zaragoza. He is also represented in the National Art Museum of Catalonia.