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Marvel Comics Hulk: Holocaust in the Heartland May 1999: Smalltown V Green Goliath: Hulk Annual 1999: Indestructible Hulk 2014 Nos 015: The Rampaging Hulk 1998 Nos 3, 4: the Incredible Hulk 2003 Nos 57, 58, 59: Hulk Mayan Rule part 4, 2012: The Incredible Hulk Night Mercia Parts 2, 3, 4, 6 of 6: World War Hulk 106: The Immortal Hulk Nos 0, 25: The Immortal She Hulk No 1: Hulk the Final Battle with Omegex No41: Incredible Hulk Pops No41: All 19 comics are bagged & boarded, NM.

HERMÈS Seidencarré "ASTRES ET SOLEILS", by Annie Faivre, Entwurf erstmals erschienen 1994. Akt. NP.: 495,-€. 100% Seide. Maya- und Aztekenzivilisationen inspiriert ist, deren Mythologie eine Erde beschreibt, die zwischen 13 Himmeln und 9 Göttern gefangen ist und von den vier Kindern eines ursprünglichen Schöpferpaares regiert wird. 90 x 90 cm. Handrollierte Säume. Sehr guter Zustand. | HERMÈS silk scarf "ASTRES ET SOLEILS", by Annie Faivre, design first published in 1994. Retail price: 495,-€. 100% silk. Inspired by Mayan and Aztec civilisations whose mythology describes an earth trapped between 13 heavens and 9 gods and ruled by the four children of an original creator couple. 90 x 90 cm. Hand rolled hems. Very good condition.

Pair of mid-century silver set Mexcian amethyst clip earrings, each set a Mayan type face, along with a pair of Finnish Kultaseppä Salovaara stud earrings.

A ABALONE AZTEC MAYAN BURIAL DEATH MASK

Two pre-columbian clay head fragments, believed to be Mayan, each of triangular form with carved features, each raised on a bespoke stand, the largest 8cm high together with another pre-columbian figure, modelled as a seated man, 17.5cm highCondition ReportThe heads with natural losses and erosion commensurate with age. The seated figure with some losses and cracks.

A Pre-Colombian, Mayan, Aztec or later earthenware figure. 11 by 6 by 16cm.

† Mayan cotton Huipil. H.145 W.102cm.

A VINTAGE COLOMBIAN MAYAN DECORATED COPPER VASE

ASSORTED CUFFLINKS & BADGES, including 8 pairs of cufflinks such as a pair of silver Spitfire links, pair Mexican Mayan style links, pair presumed garnet-set links, and some unmatched links, RAF cap badge, 9ct gold 974 Sqdn. pin, Royal British Legion cap badge and pin, etc.Provenance: private collection PenarthComments: generally used condition

9ct gold heart, anchor and cross pendant necklace, silver jewellery including Mackintosh jewellery, pair of silver West Highland terrier earrings, anchor link necklace, Aztec design Mayan calendar pendant, fancy link bracelets, Town charm bracelet, earrings and a kangaroo and joey bracelet and a gold heart pendantCondition Report:9ct approx 2.45gm, silver approx 300gm

A 20th Century terracotta Mayan deity study, measuring 18cm tall, an Oceanic grotesque wooden carving, and a stirrup style vessel

A STONE AZTEC MAYAN DEITY, SCULPTURAL WALL HANGING, HEIGHT 40CM

A COLLECTION OF PICTURES AND PRINTS ETC, to include a composite Aztec Mayan calendar approximate diameter 46cm, two Navajo sand pictures, a watercolour depicting a Wild Strawberry plant signed Carol L. Paton, a smaller watercolour by the same hand depicting a rose, an unsigned modern oil on canvas depicting a landscape, approximate size 50cm x 75cm, botanical prints, modern Thai paintings on fabric etc

Collection of historical stone and clay figures and other items including a Pre BC Mayan figure, Roman items etc. (Victor Brox collection)

Mayan polychrome terracotta bowl, Honduras-El Salvador 500-800AD, attractively painted, has been cracked and repaired, some chipping as to be expected etc. Diameter approx 23cm (Victor Brox collection)

Mayan polychrome terracotta monkey bowl, Honduras-El Salvador Pre-Columbian, attractively painted and in excellent condition with no visible cracks or repairs. Some wear to colours as to be expected. Diameter approx 13cm (Victor Brox collection)

Terracotta Mayan Pre-Columbian pedestal bowl, faded/worn paintwork to inside, some repaired cracks etc, diameter 20cm, height 14cm (Victor Brox collection)

A collection of silver and white metal, including a pair of Indian repoussé white metal (tests as silver) tri-footed bowls, a sterling silver sauce boat and a Mayan design 800 silver plate. Diameter plate 22cm 404g.

Vintage Aztec / Mayan design silver bracelet

Composite Mayan calendar, together with a wooden carving, brass shelf and other collectables

A 14k gold Mikimoto pearl pendant, a 14k gold Mayan calendar pendant, weight 4.5gms, and a 40cm 9ct gold box chain weight 3.1gms Condition Report:Available upon request

RÓMULO ROZO (1899–1964) 'LA MUSICA', 1925 bronze, raised on a slate plinth, inscribed in the bronze plinth RÓMULO, signed with monogram and dated in the bronze plinth (twice) RR/ PARIS/ 1925, signed, inscribed and dated to the reverse RR/ 1925/ ESVENO, with foundry stamp MARONI RADICE/ CIRE PERDUE/ PARIS bronze 31.5cm high, with plinth 36cm high The first few decades of the twentieth century were a turbulent era for Columbian art. Bogota born sculptor Romulo Rozo (1899-1964) sat at the heart of this changing artistic climate, educated within and inspired by both European and indigenous artistic traditions. His work’s incorporation of Pre-Columbian motifs and myth resulted in him becoming an enduring figurehead for the art of his homeland and its distinctive identity. Colonial activities in Colombia and movement of artists between Europe and Latin America fostered strong Spanish and French influences in the art scene in Columbia at the conclusion of the 19th century. The founding of the School of Bogota at the start of the 20th century however, heralded a desire to free Colombian art from European models. Nevertheless, just a couple of decades later and under political pressure to promote Spanish heritage as a model for society and the arts, the pendulum swung back the other way, as the Circle of Fine Arts was established. This organisation favoured artists following the academic tradition seen in Madrid. Rozo was born in Bogota in 1899 and first enrolled at the National School of Fine Arts in his home city. As was politically popular, he then followed a European training route, travelling to Spain where he studied for four years, before completing his education in Paris. Here he worked with sculptors including Paul Landowski, known for his work Christ the Redeemer in Rio de Janeiro, and Antoine Bourdelle. This mixture of European and Latin American training is evident in his work La Musica. Executed in 1925, during his time in France, it reflects the two locations of Rozo’s training; the impressed decoration and highly textural protrusions have visual parallels in indigenous Columbian art, but the figure’s contrapposto pose and realistic form draw heavily on the European classical tradition. Executed in the same year as La Musica, the granite sculpture Bachué would become his most celebrated and famous work. To the indigenous Muisca people of modern-day Colombia, Bachué is the mother goddess of humanity.  Rozo’s sculpture depicts the two parts of the Muiscan origin of humanity myth; the goddess emerging from the water holding a child and snakes returning to the lake having populated the earth. The sculpture reached its zenith at the 1929 Ibero-American Exposition in Seville, an extended exhibition celebrating the links between Spain and Latin America. It sat in a fountain at the heart of the Columbian pavilion, the carvings and façade scheme of which were also designed by Rozo. Such was the impactful presentation of the almost life-size work that it was awarded a prize. This exposure and recognition thrust Rozo into the artistic spotlight and cemented Bachué as a landmark in Colombian art. Rozo’s sculpture was adopted as a symbol for what was later named the Bachué Group; artists and writers in the late 1920s looking to champion indigenous concerns within contemporary Colombian art. In June 1930 they published ’Monografia del Bachué’ in the newspaper El Tiempo, a document regarded by some as their quasi-manifesto. The group sought a return to their country’s roots by putting local and indigenous culture foremost in the arts. The legacy of their work survives today under the Proyecto Bachué, a platform for managing activities related to Colombian arts and acting to promote and support contemporary creative enterprises.Bachué represented a pivotal moment in Rozo’s personal artistic development, by cementing the Pre-Columbian visual language in which he primarily would work for the rest of his life. Thus, La Musica provides a touchstone with Rozo’s period of self-discovery, as he experimented with combining European and Latin American models before fully embracing his roots. Further, the sculpture illustrates the wider cultural interests of the man behind the chisel. In addition to his artistic contributions, Rozo was involved in the Columbian musical offering at the 1929 Ibero-American Exposition. He performed disguised as a peasant with the Columbian duo Wills and Escobar, their act showcasing another form of indigenous art. La Musica depicts a musician deep in reverie, a state with which Rozo was perhaps familiar. After his success in Paris, Rozo relocated to Mexico in 1931 where he worked for ten years as a member of the Columbian government’s cultural department. Surrounded by Mayan culture, Rozo incorporated these influences into various projects, most notably in Monumento a La Patria in Mérida (1956). Despite his early acclaim, he died a poor man in Yucatan in 1964. Throughout his life he used art to pursue his indigenous ancestors with a tenacity bordering on the obsessive, La Musica representing a crucial part of his search for an authentic creative identity.  

A collection of artefacts to include four Sancai glazed Ming Dynasty miniature table offerings, heights 3cm-8cm, a Song Dynasty squat form vase with pale celadon glazes, a pre-Columbian Mayan vessel and a pottery oil lamp, together with Yixing style teawares. (qty)

VINTAGE STERLING SILVER MAYAN CALLENDER CUFF LINKS

Mayan stone ware flutes & small totem [26cm]

A large and heavy Mexican modernist sterling silver Mayan Revival pendant necklace and bracelet set, pendant 53.5mm, necklace approx 40cm, bracelet 18cm, 175.3g total (2) Condition Report: No damage or repair, fittings working

A Mayan Classic Period Priest Figurine. Maya lands. ca. 600-900 AD.The very fine pottery figurine rattle depicting a Maya priest, made in a two-part mould, with fine facial features and facial scarification, wearing tall headdress, ear ornaments and heavy beaded necklace with pendants. He is heavily robed and is holding a ritual implement in right hand. A very rare and nice example. A similar figure appears in Pre Columbian Art: The Morton D May and the St Louis Museum Collections, by Lee A. Parsons, 1980, p.198, plate 304. Provenance: Ex. Drs. G. Siskind private collection, New York. 1970’s. Collection number T-144 label. Condition: Very good overall. 20cm tall. Very good overall.

A Mayan Classic Period large vessel. Honduras ca. 250-900 AD.The very rare vessel decorated with six pairs of mythical figures and glyphs. The figures represent the Hero Twins Hunahpú and Xbalanqué. Provenance: Ex London private collection, prior Ex Christie’s, London 1991. Condition: Broken in ancient times, and reattached using the original pieces. The Hero Twins are two of the most famous characters from Maya mythology. Their story is told in one of the few surviving Maya texts called the Popol Vuh, the creation of the world of the ancient Maya people. 20cm tall. Broken in ancient times and reattached using the original pieces.

Qty of hardstone bead necklaces inc 1 with unmarked silver pendant, amethyst, cornelian, boxed Mayan cross etc

Nancy Graves (American, 1939-1995). Watercolor and gouache on paper painting titled "Sotospeak Succeed" depicting an abstract composition of Mayan forms and a musical score in bright yellows and oranges, 1993. Signed, dated "XI-19-'93" along the lower center.Provenance: Meredith Long & Company, Houston, Texas; Knoedler & Company, New York; Private Minnesota Collection.Lot Essay:Graves gained prominence in the 1960s and 1970s for her distinctive sculptures, paintings, drawings, and prints that defied categorization. She was a pioneer in combining various mediums, including resin, fiberglass, and metal, to create dynamic and visually arresting works that often explored themes of natural history, anthropology, and the intersection of art and science. Her fascination with animal anatomy and archaeological artifacts frequently informed her art, leading to a unique blend of abstraction and representation. Throughout her career, Graves received numerous awards and honors, including a Guggenheim Fellowship and representation in prestigious institutions such as the Museum of Modern Art and the Whitney Museum of American Art.Sight; height: 28 in x width: 30 in. Framed; height: 36 in x width: 37 1/2 in.

A group of silver and metalware including three silver plated 'seashell' paperweights. Christofle. The group comprising: a Columbian astray, stamped 910,  decorated with applied Mayan figures, 10cm wide; a tray, stamped 925, of rectangular form, engraved with initials to base, with scrolling foliate motifs applied along the rim, 21cm wide; a Mexican pin tray, stamped 925, of oval shaped form, 14.2cm wide; a silver napkin ring, Birmingham, 1931, S. Blanckensee & Son, with engine turned design and vacant cartouche to side; an ashtray, stamped 925, decorated with applied branches and birds to sides; a small Colombian vase, stamped 900, of baluster form, on a circular foot, 9.5cm high; a small Colombian bowl, stamped 900, with shaped rim, on a spreading circular foot, 6.5cm dia.; a silver plated Colombian ashtray, unmarked, of circular form, with gadrooned rim, 9.5cm dia.; two electroplated dishes, of octagonal shaped form, both decorated along the rim with scrolling floral and foliate motifs and scenes of figures dancing and drinking in a tavern setting, the larger dish 29cm wide, the other dish 23.5cm wide; a white metal twin handled Colombian bowl, of circular form, with initial engraved to side, 11.5cm wide; a white metal Colombian pin tray, unmarked, of oval form, pierced and decorated along the rim, 14.8cm wide; a bell, stamped 925 to interior, decorated with scrolling floral and foliate motifs; and a Continental metal bowl, stamped ARG 1000 to interior, of squared shaped form, with presentation engraving to base, 11cm wide; total weighable silver approx. 19.7ozt (a lot)   Condition Report: Weighable silver includes the Colombian squared ashtray, the rectangular tray stamped 925, the oval pin try stamped 925, the napkin ring, the ashtray stamped 925, the baluster vase stamped 900 and the bowl stamped 900. Twin handled white metal bowl weight: 1.5ozt 

A wooden carved figure of a Mayan Indian. Height 61cm.

SONS OF ANARCHY (T.V. SERIES, 2008-2014) - Happy Lowman's (David Labrava) Reaper Ring - Happy Lowman's (David Labrava) reaper ring from Kurt Sutter's Sons of Anarchy. Happy wore his ring throughout the series, including when he got a new smiley face tattoo to signify another successful death for murdering Esai Alvarez (Kevin Alejandro), a task given to him by Mayan MC President Marcus Alvarez (Emilio Rivera). This gold-color metal G&S RP ring (size 14) features a carved reaper holding a scythe. The ring exhibits minor tarnishing along the underside, as well as minor grime along the band.This lot is offered at a $100 starting bid with no reserve.Bidding for this lot will end on Thursday, March 14th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, March 12th or Wednesday, March 13th.

Three 20th century Aztec Mayan style carved obsidian stylised figures and a similar mask (4) tallest 15cm

Y&nbspVISCONTI, SUPERNATURAL CREATURES, MAYA A LIMITED EDITION FOUNTAIN PEN, NO. 003/188Cap and Barrel: The Maki-e taka-Hira-Raden cap and barrel decorated with various Mayan deities, the cap with a gilt clip, numbered end piece, uninked Nib and Filling System: Medium two tone nib, stamped VISCONTI 23K pD950 Firenze, Double Reservoir Power Filler Accessories: With a Visconti box, information booklet, identity card, fabric box pouch and outer card packaging Condition Report: The Identity Card has a typo, it says limited edition no 03/88, but we believe the number on the pen to be correct. Condition Report Disclaimer

A 20th century carved hardwood figure of a Mayan Indian - wearing feathered headband and holding a dog, height 60cm.

A large collection of silver and white metal Mexican, Mayan and Aztec design brooches, pendants and jewellery. Some with gold detailing and turquoise chip design. Silver weight 89g, longest 8.8cm

Pre Columbian Mayan jade figure, probably West Mexico circa 600-800 AD, 38mm high, and an Olmec style kneeling fertility figure, 35mm, each on metal display stand, (2)

Numismatics - Proof Coins - two substantial gold plated Mayan calendar pictorial collectible coins; Two RMS titanic coins; Queen Elizabeth diamond inset diamond jubilee coin; George IV replicas, etc (10)

A terracotta figure of four friends in a circle candle holder together with two Mayan Aztec pottery style folk art. (3)

A 20th century carved hardwood figure of a Mayan Indian - wearing feathered headband and holding a dog, height 60cm.

Qty of costume jewellery inc Christmas brooches, wooden frog brooch (6.5cm & a/f), Alva Studios Mayan gold tone brooch, clip-on earrings, leopard pendant t/w qty of gold tone jewellery (mostly a/f)

Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)Athènes signé et daté 'Ghika 75' (en bas à gauche)tempera sur papier marouflé sur toile66 x 91.5cm (26 x 36in).Peint en 1975.signed and dated (lower left)tempera on paper laid on canvasFootnotes:ProvenanceZoumboulakis Gallery, Athens.Private collection, Athens.ExpositionsAthens, Iolas-Zoumboulakis Gallery, Nikos Hadjikyriakos-Ghika, December 10, 1976 - January 15, 1977, no. 4 (listed in the exhibition leaflet).LittératureKathimerini newspaper, December 12, 1976.H. Livas, Contemporary Greek Artists, Vantage Press, New York 1993, p. 5 (discussed).K.C. Valkana, Nikos Hadjikyriakos-Ghika, His Painting Oeuvre, Benaki Museum, Athens 2011, p. 234 (discussed and illustrated, fig. 19).A mesmerising cubist-like townscape displaying an architectural network of close-knit rhythmical structures, fragmented interlocking planes, and spatially distorted labyrinthine grids, Athènes showcases Ghika's belief that 'the character of the Greek schema, whether in antiquity, the Byzantine era or folk art, is by and large geometric.'1 The rhythmically developed and spatially distorted depictions of Byzantine towns—used as backdrops for religious subjects in much of icon painting—are here pushed to a relentless extreme, transformed into a dense web of lines, angles, and curves. As the schematic undulations of the townscape ascend in petrified waves of subdued colour, the horizontal tilts into the vertical, echoing the Byzantine backgrounds that tend to unfold upwards instead of receding in depth. As noted by Professor M. Michelis, 'Ghika's vision is akin to the Byzantine mosaics of the Chora Monastery.'2Discussing the work, art critic H. Livas notes: 'I'll record what Ghika told me—that even if the subject of his painting is not Greek, its soul always is. Yet, even when the subject is Greek, the spirit of the painting transcends the country and carries us into a new and different world. I take, as example, the painting Athènes, a geometric view of the city that makes it look filled with modern pyramids and Mayan temples. The pyramid has always been one of his favourite forms; I suspect because it suggests mystery; and, modern non- fiction tells us that the pyramid shape can cause miraculous preservation and even regeneration to objects, organic materials, and even people inside it. Ghika's Truncated pyramids of 1963 and the Pyramid triptych of 1965, lift us also to mysterious worlds that we can't quite identify with the comfortable and the familiar.'3 1 N. Hadjikyriakos-Ghika, 'On Greek Art' [in Greek], Neon Kratos journal, no. 5, January 1938.2 M. Michelis, 'N. Hadjikyriakos-Ghika' [in Greek], Zygos magazine, no. 58, September 1960, p. 10.3 H. Livas, Contemporary Greek Artists, Vantage Press, New York 1993, p. 5.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Original vintage sport poster for the Games of the XIX Olympiad in Mexico featuring a great design drawn by Eduardo Terrazas and Lance Wyman after an idea from Pedro Ramirez Wasquez according to an Indian design interpreted in kinetic art codes, based on an illustration from the Mayan calendar inspired by the rotation of the planets around the sun and the succession of days and nights. Published by Banque National de Paris or BNP, the sponsor of the 1968 Summer Olympic Games in Mexico. Large size. Good condition, restored tears, restored folds, staining, ink on reverse visible on poster, backed on linen. Country of issue: France, designer: Eduardo Terrazas, Lance Wyman , size (cm): 120x80, year of printing: 1968.

A believed Aztec / Mayan carved stone miniature of man head. The head damaged, with a traditionally carved mouth and earrings visible. Raised on later plinth. The head measuring approx. 3cm x 4cm x 4.5cm. All lots in this auction are part of a private collection of antiquities and later effects, mainly collecting Roman, Viking, Egyptian and Asian antiques. The collection having been amassed over a 30-40 year period. The items in the auction has been purchased at various auction, private collections and museums over the years.

A late 20th century Mayan, Aztec, South American design handmade woollen rug. 198x144cm.

A large Mexican sterling silver and enamel Mayan design pendant/brooch, maker's marks CHC, pendant diameter 16.8mm, 35.1gNo damage or repair, no enamel loss, fitting working, mark slightly rubbed, stamped 925

A late 20th century Mayan, Aztec, South American design handmade woollen rug. 198x144cm.

Y&nbspVISCONTI, SUPERNATURAL CREATURES, MAYA A LIMITED EDITION FOUNTAIN PEN, NO. 003/188Cap and Barrel: The Maki-e taka-Hira-Raden cap and barrel decorated with various Mayan deities, the cap with a gilt clip, numbered end piece, uninked Nib and Filling System: Medium two tone nib, stamped VISCONTI 23K pD950 Firenze, Double Reservoir Power Filler Accessories: With a Visconti box, information booklet, Identity card, fabric box pouch and outer card packaging Condition Report: The Identity Card has a typo, it says limited edition no 03/88, but we believe the number on the pen to be correct. Condition Report Disclaimer

Antiquities - Pre Columbian jade figure, Mezcala, South West Mexico, c. 500 - 800 AD, modelled in seated pose, 44mm high, and a small Mayan green stone mask, 48mm high, both with metal display stand, (2)

Pre Columbian (Mayan) terracotta figure, modelled wearing a headdress and bead necklace, 11cm, on metal stand, 18.5cm overall

Nancy Graves (American, 1939-1995). Watercolor and gouache on paper painting titled "Sotospeak Succeed" depicting an abstract composition of Mayan forms and a musical score in bright yellows and oranges, 1993. Signed, dated "XI-19-'93" along the lower center.Provenance: Meredith Long & Company, Houston, Texas; Knoedler & Company, New York; Private Minnesota Collection.Sight; height: 28 in x width: 30 in. Framed; height: 36 in x width: 37 1/2 in.Condition: There are no visible rips, tears, or restorations. The colors are bold and bright. There is undulation to the sheet throughout. Along the upper left corner there is a crease measuring approx. 1.5 inches in length. Along the upper right corner there is a small area of skimming to the sheet measuring approx. 1.25 inches x .5 inches. The lower right corner is rounded, visible in the lot listing, possibly original to the artistic production through it is difficult to discern. There are pinholes in the top corners, original to the artistic production. Light wear to the deckled edges, possibly original. The artwork is floated in frame. Light wear to the frame; some scratches to the plexiglass; not inspected out of frame.

Group of 11 sterling silver and silver jewelry including: one 800 silver Guatemalan circular pendant with Mayan motifs, marked along the back; one sterling silver bracelet inset with dark turquoise stones, marked 925 along the clasp; one sterling silver floral pin, marked 925 along the back, a set of two sterling silver pins or pendants, each with a pin and a loop along the back for a chain, each marked along the back; one small 900 silver oval pin with two figures an alpaca, marked along the back; one sterling silver oval pin with a man and an alpaca, marked along the back; one unmarked silver ring with cutouts of figures and an alpaca, one Italian sterling silver chain, marked along the clasp; one sterling silver with oblong chains, marked along the clasp; one unmarked silver chain.Gross weight of sterling (does not include small pin, necklace, ring, and large pendant): 2.66 Troy oz.Gross weight of silver: 35.4 grams.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Pre-Columbian style ceramic bowl decorated with Mayan patterns throughout. In the form of a turtle with tripod legs and the tail formed as the handle. Not tested with thermoluminescence dating.Height: 4 3/4 in x diameter: 11 1/2 in.Condition: The colors are bold and bright. There are chips and losses to the paint throughout. There is a crack surrounding the base of the neck measuring approximately 7 inches. There is a loss to the ceramic along the end of the tail/handle. There is a black mark along the underneath measuring approximately 1 1/2 inch. There is minor craquelure throughout. There is a tag adhered along the underside.

9ct gold wedding ring, 2.2g, pair 9ct gold charm in the form of pair of slippers, 1.9g, pair 18K gold and turquoise-coloured stone Mayan-style earrings and matching charm and other earrings 

Mexican sterling silver and 10k gold inlaid cufflinks, with Mayan design, length 22mm, 14g totalGood condition

Vintage Fashion: Three skirts, c. 1950s, including: a Londy of Mexico circle skirt, in orange and brown cotton, decorated with Mayan inspired motifs, highlighted with gold, sequin decoration to lower hem, metal zip fastener, bearing ‘Londy of Mexico, Hand Painted Cotton’ label; a ‘Fiesta Mexico’ circle skirt, in turquoise cotton, painted gold coloured highlights, applied pink sequins, labelled ‘Fiesta, Hencho en Mexico’, button fastening, waist approx. 70cm; and a further black skirt, decorated with pink roses, zip fastening to side (3)£100 – 150From the collection of Kelly Brook. Kelly Brook can be seen wearing the first skirt included in this lot during Celebrity Love Island episode aired 5th June 2005.

A Modern Aztec Mayan Exterior Tealight Stand in the Form of Circle of Seven Figures, 23cms Diameter

A Mayan-style terracotta 'Circle of Friends' group, 25 cm to/w a tribal carved wood box with swivel cover and bird-mounted handle, 41 cm (2)

A group of mostly silver jewellery, including an oval hinged bangle, Chester 1960, inside width 6.3cm, a Franklin Mint silver gilt pendant, decorated with Mayan motifs, with a neckchain, detailed '925', two rectangular pendants, a tie slide, detailed 'Silver', total weight 95.9g, and a pair of three colour gold hoop shaped earrings, unmarked, weight 1.6g.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.