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Bergkristall-Totenkopf, 19. Jh. Bergkristall; Glassteine später hinzugefügt, H. 13 cm Rock crystal skull, 19th century rock crystal; glass beads are a later addition, h. 13 cm

Memento-Mori Totenkopf, 19. Jh. Achat, H. 4,8 cm Memento mori skull, 19th century agate, h. 4.8 cm

A late 19th/early 20th century Royal Welsh Fusilier Officer's bearskin by Cater & Co, London:, black fur with cap badge and white Ostrich feather plume, tail to rear, the interior with a wicker frame, black leather headband and skull cap, label as per title to interior, gilt brass chin strap, 40cm

A full medical female skeleton by Adam, Rouilly & Co, London suspended in a pine case: the whole suspended from a sliding bar allowing the articulated skeleton to be pulled forward and displayed using the case as a stand, paper labels as per title to one side of the skull, another to the hip. (lower jaw and some phalanges missing) the case 187.5 x 47.5 x 30.5cm

Thangka des Padmasambhava. Tibet. 18./19. Jh. Im Zentrum dargestellt als Siddha und Yogi Nyima Öser, eine der acht Manifestationen des Padmasambhava. Auf einem schwebenden Lotos sitzend, in der rechten erhobenen Hand den Khatvanga haltend, gekleidet in ein Tigerfell und ein grünes Schultertuch mit feinem, goldenem Dekor und mit Bodhisattvaschmuck versehen, umgeben von Gottheiten, Lehrmeistern und Szenen aus seinem Leben. Figuren in tibetischer Schrift in Gold bezeichnet. Inschrift am unteren Bildrand. Feine Brokatmontierung.63 x 42 cmProvenienzPrivatsammlung, Bayern A Tibetan thangka of Padmasambhava in the aspect of Nyima Oser. 18th/19th century Seated in royal ease in the appearance of a mahasiddha on a lotus, with his right hand raised holding a khatvanga, wearing a tiger skin tied around his waist and a green billowing sash richly painted with gold floral designs, adorned with multiple golden jewellery and a skull-tiara and surrounded by deities, teachers and scenes of his life. The figures and scenes labeld by Tibetan inscriptions in gold. Furthermore a Tibetan inscription in gold at the lower border. Fine brocade mounting.63 x 42 cmProvenancePrivate collection, Bavaria, Germany

Mahakala in yab-yum. Bronze. Tibetochinesisch. 17./18. Jh. Die zornvolle Gottheit mit rotem Flammenhaar, drei zornvollen Gesichtern und sechs Armen steht in Vereinigung mit seiner Partnerin im Ausfallschritt auf einem Lotosthron, in den Haupthänden Kultmesser und Kapala haltend. Sockel wiederverschlossen. Reste von Vergoldung.H 10,7 cmProvenienzSammlung Leopold Strasser (1919-2010), München, am 21.4.1970 erworben bei Galerie "Das Kunsteck", Lulu Wiesnet Hennig, München, seitdem in Familienbesitz. Alte Rechnung vorhanden. A Tibetochinese bronze figure of Mahakala in yab-yum. 17th/18th century The six-armed and three-headed dharmapala standing with his consort in alidhasana on a lotus petal plinth, holding a chopper and a kapala and adorned with a skull tiara in his red flaming hair. Base resealed. Remains of gilding.Height 10.7 cmProvenanceCollection Leopold Strasser (1919-2010), Munich, acquired in 21.4.1970 at Galerie "Das Kunsteck", Lulu Wiesnet Hennig, Munich, and thence by descent. With old invoice.

Sarvabuddha-Dakini. Bronze. Tibet. 18. Jh. Die Initiationsgöttin von Naropa steht in alidhasana auf einem ovalen Lotosthron, in der erhobenen linken Hand eine Schädelschale haltend, aus der sie Blut trinkt, in der rechten das Kultmesser, der nackte Körper ist mit prächtigem Geschmeide behängt, eine Schädelkrone sitzt auf dem offenen Haar. Sockel geöffnet. Rest.H 17,5 cmProvenienzSammlung Leopold Strasser (1919-2010), München, 1979 erworben bei Ludwig Bretschneider, München, seitdem in Familienbesitz A Tibetochinese bronze figure of Sarvabuddha-Dakini. 18th century Standing in alidhasana on a lotus base, holding a skull cup in her upraised left hand, and a chopper in her right, wearing a garland of skulls and festooned beaded jewellery and a skull tiara, with her hair falling down her back. Base open. Small restoration.Height 17.5 cmProvenanceCollection Leopold Strasser (1919-2010), Munich, acquired in 1979 from Ludwig Bretschneider, Munich, and thence by descent

Bedeutendes Thangka des Hevajra mit Nairatmya. Tibet. 19. Jh. Der Yidam tanzt in Vereinigung mit seiner Weisheitspartnerin auf menschliche Gestalten, in seinen sechszehn Händen Schädelschalen mit Gottheiten und Tieren haltend, beide sind gekleidet in feingliedrigen Knochenschurz und geschmückt mit Schädelkrone und Totenkopfkette, umgeben von Mönchen, Lamas und Siddhas in der oberen Bildhälfte und von acht Dakinis im unteren Bereich. Rückseite mit Inschrift versehen. Unter Glas gerahmt.80 x 56 cmProvenienzSammlung Leopold Strasser (1919-2010), München, am 21.11.1978 erworben bei Schoettle-Ostasiatica, Stuttgart, seitdem in Familienbesitz. Alte Rechnung vorhanden.LiteraturPubliziert im Verkaufskatalog von Schoettle-Ostasiatica, Stuttgart, Tibetica 28, Oktober 1974, Kat.-Nr. 8511 A magnificent Tibetan thangka of Hevajra and Nairatmya. 19th century The blue-skinned deities dancing in yab-yum over prostrate figures on a lotus base and backed by a flaming mandorla, he holding skull cups containing eight deities and eight animals in his sixteen hands and she holding a skull cup and curved knife, both crowned deities wearing nothing but finely outlined bone aprons and garlands of dried skulls and freshly severed heads, flanked by monks, lamas and siddhas at the upper area and the eight dakinis from his mandala and further figures below. Inscription to the reverse. Framed and glazed.80 x 56 cmProvenanceCollection Leopold Strasser (1919-2010), Munich, acquired in 21.11.1978 at Schoettle-Ostasiatica, Stuttgart, and thence by descent. With old invoiceLiteraturePublished in the sales catalogue of Schoettle-Ostasiatica, Stuttgart, Tibetica 28, Obctober 1974, cat. no. 8511

Yamantaka Vajrabhairava in yab-yum. Feuervergoldete Bronze. Nepal. 18. Jh. Der mächtige Herr des Todes im Seitenschritt, Scharen von Wesen niedertretend, in Vereinigung mit Vajravetali, sein Büffelgesicht ist umgeben von sechs zornvollen Gesichtern und wird überragt von einem Dämonenhaupt und dem Kopf Manjushris, in seinen 34 Händen hält er die ihm zugehörigen Attribute. Lotossockel mit feiner Gravur versehen und verschlossen.H 22 cmProvenienzSammlung Leopold Strasser (1919-2010), München, am 31.8.1973 erworben bei Galerie Anand, Deisenhofen, seitdem in Familienbesitz A Nepalese gilt bronze figure of Yamantaka Vajrabhairava in yab-yum. 18th century The nine-headed Vajrabhairava in embrance with his consort Vajravetali, standing in alidhasana above a lotus base stamping down numerous creatures, his bull´s face surrounded by six wrathful faces and topped by Manjushri´s head, the primary hands wrapped around his consort holding a chopper and a skull cup, the other radiating arms holding various attributes.The beaded and engraved lotus base seald.Height 22 cmProvenanceCollection Leopold Strasser (1919-2010), Munich, acquired in 31.8.1973 at Galerie Anand, Deisenhofen, Germany, and thence by descent

Mahakala yab-yum. Feuervergoldete Bronze. Tibetochinesisch. 18./19. Jh. Der zehnarmige Dharmapala mit drei zornvollen Gesichtern trampelt in Vereinigung mit seiner Partnerin auf Feinde der Lehre, in seinen Händen verschiedene Attribute haltend, gekleidet in ein kurzes Tigerfell um die Hüften. Beide sind fürstlich mit Kronen und Juwelenschnüren mit bunten Steineinlagen geschmückt. Sockel verschlossen.H 19,3 cmProvenienzVormals von einem Hamburger Sammler in Tibet in den 60er-Jahren erworben A Tibetochinese gilt bronze figure of Mahakala with his consort in yab-yum. 18th/19th century The three-faced protector with ten arms striding in alidhasana together with his consort on prostrate figures over a lotus base, holding a chopper and a skull cup in his primary hands and various implements in his outstretched hands, wearing a garland of severed heads and a tiger skin. Both are adorned with tiaras, jewellery and beaded festoons inset with coloured hardstones. Base sealed.Height 19.3 cmProvenanceAcquired by a Hamburg collector in Tibet in the 1960s (according to the consignor)

Kapaladhara Hevajra. Feuervergoldete Bronze. Tibet. 17./18. Jh. Das ewige Diamantzepter mit acht Gesichtern, sechzehn Armen und vier Beinen im Ausfallschritt auf einem Lotosthron, in Vereinigung mit seiner weiblichen Ergänzung Nairatmya. Hevajra hält in seinen Händen je eine Schädelschale mit Gottheiten auf der einen Seite und Tiere auf der anderen. Sockel geöffnet. Rest.H 20 cmProvenienzAlte Sammlungsnummer im Sockelinneren in Schwarz: 8683Sammlung Leopold Strasser (1919-2010), München, am 10.11.1977 erworben bei Schoettle-Ostasiatica, Stuttgart, seitdem in Familienbesitz. Alte Rechnung vorhanden.LiteraturPubliziert im Verkaufskatalog von Schoettle-Ostasiatica, Stuttgart, Tibetica 35, Februar 1977, Kat.-Nr. 9892 A Tibetan gilt bronze figure of Hevajra. 17th/18th century The dharmapala with eight faces and sixteen arms standing on two prostrate figures over a double lotus base in union with his consort Nairatmya, wielding multiple skull cups in his hands containing deities and animals, adorned with elaborate crowns and a skull garland. Base open. Restored.Height 20 cmProvenanceOld collection number to the inside of the base in black: 8683Collection Leopold Strasser (1919-2010), Munich, acquired in 10.11.1977 at Schoettle-Ostasiatica, Stuttgart, and thence by denscent. With old invoiceLiteraturePublished in the sales catalogue of Schoettle-Ostasiatica, Stuttgart, Tibetica 35, February 1977, cat. no. 9892

Fein gemaltes Thangka des Padmasambhava. Tibet. 18. Jh. Der legendäre Begründer des Buddhismus in Tibet sitzt als Guru Rinpoche auf einer Lotosblüte, gekleidet in erlesene Brokatgewänder und Hut, die mit feinsten Goldmustern geschmückt sind, in Begleitung seiner indischen und seiner tibetischen Gemahlin, Mandarava und Yeshe Tsogyal, über ihm in den Wolken Amitabha und himmlische Wesen, Opfergaben und flatternde Banner haltend.58 x 40,5 cmProvenienzPrivatsammlung, Frankreich A delicate painted Tibetan thangka of Padmasambhava. 18th century The lotus-born guru seated on a lotus blossom emerging from the ocean, dressed in selected monastic garments with fine pattern grandly highlighted with gold pigments, holding a vajra, khatvanga and skull cup in his hands, attended by his Indian wife, Mandarava at his right and his Tibetan wife, Yeshe Tsogyal at his left, with Amitabha in the sky and celestial angels bearing offerings and long floating banners in the corners.58 x 40.5 cmProvenancePrivate collection, France

ROCK CRYSTAL SKULL

Two skull rings, a similar pendant and three bracelets (6).

Skull head walking stick

Old Japanese Bone Netsuke in the figure of a bird on a skull, minor cracks oldness damages. High quality crafting. Height: 4 cm.

A silvered skull. 19 cm high.

Memento Mori in the form of a Black Stone ? Carved Skull and with Wooden Carved Crossbones, raised on a turned wooden plinth, 11cms high

Antlers/Horns: European Red Deer (Cervus elaphus), circa late 20th century, adult Royal Stag antlers on upper skull, 12 points (6+6), widest span 77cm, height 93cm

Antlers/Horns: European Red Deer (Cervus elaphus), circa late 20th century, adult stag antlers on cut upper skull, 9 points (5+4), mounted upon an Austro-German carved blonde oak shield, widest span 83cm, height 88cm, another early 20th century set on cut upper frontlet, 8 points (4+4), widest span 54cm, height 75cm, mounted upon an oak shield (2)

Horns/Skulls: A Selection of African Game Trophy Skulls, a varied selection to include - Burchells Zebra complete bleached skull, South African Springbok adult male horns on upper skull, Blesbok adult male and female horns on upper skulls, Gemsbok Oryx adult male horns on upper skull, Warthog upper skull, (6)

Horns/Skulls: A Selection of African Game Trophy Skulls, a varied selection to include - Cape Greater Kudu adult male horns on upper skull, two male South African Springbok horns on upper skulls, Blesbok adult male horns on upper skull, Black Wildebeest adult male horns on upper skull, two sets of Gemsbok Oryx adult male horns on upper skulls, Warthog upper skull, (8)

Antlers/Horns: A Group of African Game Trophies, circa late 20th century, comprising - a set of large adult Cape Greater Kudu horns on cut upper skull, mounted upon a shaped shield, two sets of adult Gemsbok Oryx horns on cut upper skulls, each mounted upon a shaped shield, a set of adult Cape Red Hartebeest horns on cut upper skull, mounted upon a shaped shield, (4).

Antlers/Horns: European Red Deer (Cervus elaphus), circa late 20th century, adult Royal stag antlers on cut upper skull, 12 points (6+6), widest span 84.5cm, mounted upon a shaped oak shield

Antlers/Horns: European Red Deer (Cervus elaphus), circa late 20th century, adult Royal stag antlers on cut upper skull, 12 points (7+5), widest span 103cm, height 98cm, mounted upon a polished oak shield

Skulls/Anatomy: Burchell's Zebra Skull (Equus quagga), modern, complete bleached skull, 54cm by 30cm

Antlers/Horns: A Set of European Moose Antlers (Alces alces), circa late 20th century, a set of young adult bull Moose antlers on upper skull, 9 points (5+4), widest span 90cm, height 60cm, mounted upon a shaped shield

Antlers/Horns: European Red Deer (Cervus elaphus), circa late 20th century, adult stag antlers on cut upper skull, 11 points (6+5), mounted upon a shaped blonde oak shield, widest span 68cm, height 85cm,

Antlers/Horns: A Large Set of European Moose Antlers (Alces alces), circa late 20th century, a large set of adult bull Moose antlers on upper skull, 19 points (9+10), widest span 116cm, height 120cm

Antlers/Horns: Gemsbok Oryx horns on cut upper skull cap, Domestic Cow horns on boss, European Red Deer antlers on cut upper hide covered skull cap, 8 points (4+4), widest span, (3)

Antlers/Horns: European Red Deer (Cervus elaphus), modern, adult stag antlers on cut upper skull cap, 7 points (4+3), mounted upon a shaped blonde oak shield, widest span 66cm, height 91cm, a set of Fallow deer antlers on cut upper frontlet, widest span 49cm, height 65cm, (2)

Skulls/Anatomy: Burchell's Zebra Skull (Equus quagga), modern, complete bleached skull, 52cm by 30cm

Antlers/Horns: A Group of African Game Trophies, circa late 20th century, comprising - a set of large adult Cape Greater Kudu horns on cut upper skull, mounted upon a shaped shield, a set of adult Gemsbok Oryx horns on cut upper skull, mounted upon a shaped shield, two sets of adult South African Springbok horns on cut upper skulls, each mounted upon a shaped shield, a set of adult Cape Red Hartebeest horns on cut upper skull, mounted upon a shaped shield, (5).

Pair of eleven point stag antlers with skull mounted on an oval plaque, approximate width 79.5cm

Pair stag antlers with skull mounted on rustic wooden plaque, approximate width 45cm

Pair of Impala horns with skull mounted on shield, bearing label for Mochaba, Botswana, approximate width 38cm, right horn 43.5cm long, left horn 45.5cm long, together with a pair of Steenbok horns with skull on wooden shield, skull height 14cm, horns 11cm long each, and a pair of horns with partial skull on wooden shield, height 36cm (3), all modern

Two cast metal embossed discs, possibly a seal for attaching to a pilgrims flask, one relief moulded with skull and cross and labelled from Auen, Germany, the other depicting Romulus and Remus under the wolf, inside a circular border, circa 16th/17th century, each approx 5.5cm diameter

Pair of stag antlers with skull mounted on an oval shield, approximate width 75cm

Late 19th century Japanese carved ivory okimono in the form of a skull beneath a coiled snake with a toad at the rear H5cm - Condition Report

Four novelty vesta cases comprising plated skull, plated cello, leather and plated case in the form of a lady's leg marked Deponirt and another in the form of a gauntlet - Condition Report

A collection of various replica skulls, along with a roe deer skull & antlers.

A Victorian meerschaum pipe, carved in the form of a skull held by a hand, 17 cm.

A pair of stag antlers on upper skull mount, w.66cm.

A French Model 1874 Cuirassier helmet, having a steel skull the high brass comb with black horsehair maine and Medusa mask above a flaming grenade flanked by laurel leaves, with brass plume holder (plume missing) to the left side, having leather backed chin scales and leather liner.

* A pair of taxidermy Goat (Capra aegagrus hircus) horns on cut upper skull, mounted on an oak shield, bearing a label verso for T.E. Gunn, Naturalists, 86 St Giles St, Norwich, w.45cm.Condition report: From ‘A Broad Collection from a lifetime by The Broads’ - a large single-owner collection of rural bygones and museum-quality taxidermy from some of the most renowned ‘animal and bird preservers’ from the Victorian era and later. Read more about the collection here.

* A pair of Roe Deer (Capreolus capreolus) antlers on cut upper skull, mounted on an oak shield, bearing a label for John Burton, Burgh Castle, Great Yarmouth, h.36cm.Condition report: From ‘A Broad Collection from a lifetime by The Broads’ - a large single-owner collection of rural bygones and museum-quality taxidermy from some of the most renowned ‘animal and bird preservers’ from the Victorian era and later. Read more about the collection here.

Stenvert Curt Die siebenundvierzigste menschliche Situation: Durch die Liebe den Tod überwinden können und wollen, 1977 Assemblage 78,4 x 53,8 x 59,5 cm Abgebildet in: Curt Stenvert. Neodadapop, hg. Von Agnes Husslein-Arco und Harald Krejci, Wien 2011, S. 159. Curt Stenvert nutzt die Kunst als soziales Medium und dient als „Existenzerhellung über das Auge“. Seine Ensembles strahlen trotz inhaltlichen Unbequemlichkeiten und Schärfe eine unterkühlte Sinnlichkeit aus. Er verwendet alltägliche Materialien und Gegenstände als Realitätsverweise, entfremdet diese und gibt ihnen eine neue Funktion. Die Muscheln, der Sand, die Blumen sind dem durch ein transparentes Tuch verhüllte, goldene Totenkopf sollen zeigen, dass die Liebe den Tod überwinden kann und will. Dieses Thema ist als eine Kritik an Krieg und Gewalt und als eine Bestärkung der Nächstenlieben zu verstehen. Stenverts Kunst beschäftigt sich vor allem mit Sozialkritik, Humanismus und zeigt eine ausgeprägte Ablehnung jeder Form von Krieg und Rassismus. Die letzte große Personale des österreichischen Künstlers wurde 2011/12 im Unteren Belvedere in Wien präsentiert. Stenvert Curt The Forty-Seventh Human Situation: Can and Want to Overcome Death Through Love, 1977 Assemblage 30,9 x 21,2 x 23,4 in Pictured in: Curt Stenvert. Neodadapop, ed. By Agnes Husslein-Arco and Harald Krejci, Vienna 2011, p. 159. Curt Stenvert uses art as a social medium and serves as a ``light of existence through eye``. His ensembles radiate an undercooled sensuality despite the inconvenience and sharpness of their content. He uses everyday materials and objects as references to reality, alienates them and gives them a new function. The shells, the sand, the flowers are the golden skull covered by a transparent cloth and show that love can and will overcome death. This topic is to be understood as a criticism of war and violence and as a reinforcement of charity. Stenvert`s art deals primarily with social criticism, humanism and shows a pronounced rejection of all forms of war and racism. The austrian artist`s last major exhibition was presented in 2011/12 in the Lower Belvedere in Vienna.

Winkler Josef Ohne Titel, 2016 Acryl auf Holz Signiert und datiert mittig unten sowie Verso 80 x 80 cm gerahmt In vielen Arbeiten, insbesondere auch der jüngsten Zeit (2016 bis 2017), tritt der Totenschädel chiffriert und als Symbol der Vergänglichkeit irdischer Existenz ins Zentrum des Bildgeschehens. Die Schädel zeigen sich mal mehr, mal weniger detailreich ausformuliert. Durch den großen von Winkler betriebenen Materialaufwand wirken die Schädel regelrecht körperlich, bleiben gleichzeitig aber durch ihren hohen Abstraktionsgrad im Atmosphärischen. Winkler Josef Untitled, 2016 Acrylic on wood Signed and dated lower center as well as Verso 31,5 x 31,5 in framed In many works, especially in recent times (2016 to 2017), the skull appears in the center of the picture, encoded and as a symbol of the transience of earthly existence. The skulls are sometimes more, sometimes less detailed. Due to the large amount of material used by Winkler, the skulls look downright physical, but at the same time remain atmospheric due to their high degree of abstraction.

Warhol, Andy (1928-1987), nach Skull. Granolithographie/Papier, re. u. Drucksign. und li. u. Ex. 817/5.000. Blattmaß ca. 43x 36 cm, PP., Gesamtmaß 50x 40 cm.

Memento Mori, a carved life size treen  model of a human skull, iron ring handle and fittings, height 20cm Condition: generally good overall

Prussian Other Ranks pickelhaube helmet, the black leather skull with brass fittings including spike finial, Prussian line helmet plate, one black and white cockade and leather lining Condition: Creasing to the outer leather, with cracking and chips present, side fitting missing as well as strap, inner leather liner badly damaged with tears, creases and cracking. Would advise telephoning department or viewing in person prior to bidding. **General condition consistent with age.

6 DIFFERENT 2 POUND COINS COMPRISING OF 1986 GAMES, 1989 BILL OF RIGHTS, 1994 BANK, 1995 PEACE, 2008 OLYMPIC CENTENARY AND 2016 SHAKESPEARE SKULL ALL IN NICE CIRCULATED CONDITION

The Beatles - original stage floorboards from Lathom Hall, Seaforth, Liverpool, the venue where The Beatles played their first advertised gig on 14th May 1960, going on to perform a total of ten times with the final appearance being on George Harrison's eighteenth birthday, 25th February 1961 *Lathom Hall was an important venue associated with many of the top Merseybeat acts. The Beatles first played on the Lathom Hall stage when they were still known as the 'Silver Beats', in a show promoted by Brian Kelly. By the time they played their final performance at the venue, they were then known as 'The Beatles'. Lathom Hall is also known for the infamous fight between then bassist Stuart Sutcliffe and a few others in attendance, that resulted in John Lennon breaking his finger and Sutcliffe suffering a fractured skull and concussion. This event is believed to have led to Sutcliffe's death sixteen months later. A smaller section of the Lathom Hall stage was sold at Julian's Auctions, USA on 4th October 2020, realising a hammer price of $25600. A video can be seen on You Tube (https://youtu.be/kDxVbyHHCwQ) of the vendor speaking to the current Lathom Hall owner, explaining the history of the stage and documenting its removal before being sent to Gardiner Houlgate for sale

A Sino-Tibetan gilt-bronze figure of Makhala (The Protector Deity), cast typically with four arms and skull headress, modelled holding his attributes and standing on a representation of his consort Kali, heightened in red pigment and raised on a lotus base, height 54cm.

Philip Flanagan (b.1960) Portrait Bust of Seamus Heaney Bronze on limestone base, Signed with initial 'F' and numbered 2/9 Also signed and dated 1990 by Seamus Heaney Philip Flanagan's heads of Seamus Heaney, Michael D. Higgins and John Hume formed part of the group of works completed between 1988 and 1996 and exhibited as Bronze Voices. The twenty-two sitters included carry a resonance that belongs to a very particular and significant period in Irish cultural and political history. While the characters of Flanagan's sitters are at the heart of these works, they are also closely related to the highly abstracted three-dimensional heads he constructed while studying at Camberwell College of Art in London. With this formal analysis of the construction of the skull as his starting-point, these portraits move beyond a simple likeness or narrative and avoid any reliance on a particularly familiar element of a sitter's appearance. A comparison might be made with the British painter Euan Uglow, an earlier student at Camberwell, whose paintings of figures were absorbed with their construction, and the positioning of form in space, to achieve the most realistic and unified depiction of their subject. This detachment is held in balance by the artist's empathetic and sincere response to each individual sitter. Flanagan explores the gradual revelation between artist and sitter that goes beyond the act of looking and that conveys a more complete experience of a human presence. Seamus Heaney was a close friend of the Flanagan family and there is a sense of confidence and intimacy in this portrait. The highly physical nature of the surface emphasises its materiality as sculpture, with a loose treatment of the poet's hair balanced by the more formal structure of his features. There remains an elusive quality to his expression that suggests the complexity of Heaney's identity, a man connected with the physical landscape but whose response to it is expressed in thought and language. The head of Michael D Higgins is simplified at times almost to a point of abstraction. We are conscious of the sculptor's intervention, with marks left in the surface of the head that define its planes and recall the emphasis on drawing in space during Flanagan's training at Camberwell. In this work, he concentrates on an expression, Higgins' striking, almost inward gaze, rather than on aspects of individual features. While these two heads seem to have been directly related to concepts inspired by their sitters which elude a particular time, Flanagan notes, in relation to the third work here, that the 'triangular markings from the eyes to the mouth and down each side of the forehead is used to express the strain I could see John Hume was under during his brokering of the ceasefire', making a very definite connection between his subject and the daily events of his life. While Heaney and Higgins both appear to have their thoughts elsewhere as they are sitting, Flanagan creates the sense of a more guarded engagement with Hume. The gaze is direct but slightly withheld, perhaps because of the distance afforded by Hume's glasses, and his mouth is half-open as if deciding whether to speak. Flanagan's fluid modelling is his highly personal response to each sitter and reveals how significant the experience of sitting is to the evolution of a work. Rather than appearance being something detached and defined, Flanagan's experience of the subject's presence and their own personal history shapes his technical response. Patination is also significant for Flanagan; while he sought a 'brooding quality' in the darker patina of John Hume's head, the paler tone used for the portrait of Michael D. Higgins was a deliberate parallel to the Egyptian portrait sculpture that had inspired his approach to this work. He often seems to locate a single idea that underpins each work; for example, in portraying Seamus Heaney, 'the way the clay is modelled...reminds me of bog cuts... and I hope it gives the impression of Heaney as a bog king'. While these three subjects undoubtedly each carry strong individual associations, Flanagan's concentration on creating hieratic images that pass beyond the personal and become enduring images of human beings perhaps explains why Kenneth Jamison, on seeing Bronze Voices laid out formally in an exhibition, recalled the classical heads in the Palazzo Nuovo on the Capitoline. Like their Roman equivalents, this is a gathering-together of remarkable people but also an exploration of the possibilities of sculpture. Dickon Hall, November 2020

Fleming (Ian) For Your Eyes Only, 8vo L. (Jonathan Cape) 1960, First Edn., black cloth with painted eye on front cover, gilt lettered spine, d.j. design by Richard Chopping with eye looking through hole in door, titled in black and red (only one of the Bond Series with glossy d.j.). Good Copy; Thunderball, 8vo (Jonathan Cape) 1961, First Edn., black cloth with blind stamped skeleton hard and wrist on front cover, gilt letters spine, jacket designed by Richard Chopping with skeleton hand and wrists, clasp knife and playing cards, title in black d.j., clipped (not priced). Good copy; On Her Majesty's Secret Service, 8vo L. (Jonathan Cape) 1963, First Edn., black cloth with silver / white swirl design, silver text on spine, d.j. design by Richard Chopping, decorated with hand sketching a crest, d.j. clipped (not priced). Good Copy; You Only Live Twice, 8vo, L. (Jonathan Cape) 1964, First Edn., black cloth, titled in silver on spine and Japanese Characters in gilt on front cover, d.j. designed by Richard Chopping with toad, dragonfly and pink chrysanthemum design on front cover, title in black, clipped (not priced). Clean Copy; Goldfinger, 8vo L. (Jonathan Cape) 1959 (Second Impression), black cloth with blind stamped skull and gold coins as eyes in gilt front cover, d.j. design by Richard Chopping, clipped not priced. Clean Copy; & The Man with the Golden Gun, 8vo L. (Jonathan Cape) 1965, First, (Second Binding), plain black cloth, gilt lettered spine, d.j. by Richard Chopping with animal skull, gun and flies, clipped (not price clipped). Clean Copy. (6)

Two Royal French Charters Relating to the MacCarthy Family(A) Charter on vellum issued by Charles X of France, dated 15 April 1829, confirming the title of Comte to Charles François Fontaine, "écuyer, officier du garde de corps". With grant of arms (illustrated). Royal seal on green wax, intact, in metal container.(B) Charter on vellum issued by Louis-Philippe of France, dated 2 Sept 1843, granting the petition of Charles MacCarthy Fontaine de Mervé (born Nov 1813, widower of Marguerite MacCarthy who died 18 June 1842) to marry his sister-in-law Marie MacCarthy (born 4 Feb 1811). Royal seal (broken) in metal container.Charles MacCarthy was the son of Sir Charles MacCarthy (1764-1824), who had served with the pre-Revolution Irish Brigade and then with the British forces. In 1812 he was appointed governor of Senegal and Gorée and in 1814 governor of Sierra Leone. An indefatigable campaigner for the abolition of the slave trade, he was killed in battle against the Ashanti (his skull was used as a drinking-cup by the Ashanti rulers). Charles MacCarthy junior, then aged twelve, was adopted by his uncle, the Comte Charles François Fontaine de Mervé, who had married Sir Charles's sister.

A diamond-set memento mori ring, the double headed serpents suspend a spinning skull between them, set overall with rose-cut diamonds, the snakes with ruby eyes in silver and gold closed back setting, the spinning skull with a star with an engraved pentagram to reverse, approximately size N, case

A diamond-set skull ring, the stylised skull with diamond-set eyes and further diamonds to the shoulders in yellow gold, size O

A late 19th century pendant, for the Independent Order of Odd Fellows, of shield form with enamel decoration and surmounted with a skull and cross bones in gold, 6.5cm high, together with a gold skull ring, size N 1/2 approximately, 26g total