We found 16998 price guide item(s) matching your search

A CARVED BONE SKULL NETSUKE.

A pair of mounted antlers, on a section of skull, mounted on a mahogany sheild

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.

2nd Dragoon Guards (Queen’s Bays) Other Ranks 1871 Pattern Helmet. A fine quality example, the all brass skull with frontal plate white metal star overlaid with a brass garter belt with white metal ‘2’ to the centre, complete with leather lined chin chain and black horse hair plume and brass rose finial, some minor service wear, good condition £400-£500

A silver skull occasional table

GILT BRONZE FIGURE OF KAKAMUKHA MAHAKALA 銅鎏金鴉面空行母像 the raven-faced Mahakala cast standing in alidhasana trampling over a female corpse, holding kartika in the right hand, kapala on the left hand in front of the chest, skull crown above wrathful face, backed with upward flame-like hair, all above a lotus pedestal, the base sealed with a plaque incised with double vajraDimensions:17.6cm high; 1301gNote: Note: Compare to a highly similar gilt bronze figure of Kakamukha Mahakala, Mongolia, 18th century, HAR no. 32770

Three trays of assorted glassware: novelty bottles in the shape of a fish, a male torso, skull, hand holding a bottle etc. stone bottle, selection of stoppers, glass bottle with a brass tap etc. (3) (B.P. 21% + VAT)

A SILVER SKULL RING IN A PRESENTATION BOX

3 METAL SKULL ORNAMENTS

A skull and antlers of a small deer

FORD HARRISON: (1942- ) American Actor. Signed colour 8 x 10 photograph by Ford, the image depicting the actor in a head and shoulders pose in costume as Indiana Jones on the set of Indiana Jones and the Kingdom of the Crystal Skull (2008). Signed in bold blue ink to a clear area of the image with a somewhat hurried example of his signature. Autograph obtained in person by a collector in Berlin. EX.

GOYA FRANCISCO JOSE DE: (1746-1828) Spanish Painter. Goya is considered the most important Spanish Painter of the late 18th and early 19th centuries and is regarded as the last of the Old Masters and the first of the moderns. A precursor of the Expressionism. His masterpiece portrayal of a naked woman, La Maja Desnuda ("The Naked Maja"), now in the Museo del Prado in Madrid, was a remarkably daring nude for the time, renowned for the unashamed gaze of the model towards the viewer without negative connotations. An exceptionally rare L.S., `Fran[cis]co de Goya´, three pages, 4to, Bordeaux, 30th November 1824, to the Duchess of San Fernando, in Spanish. Goya apologies for his hasty departure from Paris preventing him from saying goodbye to her himself, stating in part `Cuando salí de Paris para venir a esta [ciudad], dispuse atropelladamente mi viaje; el tiempo urgía, me hallaba sin dinero, y admití la oferta de unos amigos que me anticiparon los gastos del camino…´ (Translation: `When I left Paris to come to this [city], I hastily organized my trip; time was urgent, I was without money, and I accepted the offer of some friends who anticipated the expenses of the trip…") Goya is still not sure about his near future and explains that his has requested to the King of Spain an extension of his permission to leave his court painter obligations, saying `Aqui estoy, sin saber lo que debo hacer de mi. He pedido una prórroga, siquiera para poder pasar el invierno al calor de la chimenea, y no se si S[u] M[ajestad] tendrá a bien de concedérmela…´ (Translation: "Here I am, not knowing what I should make of myself. I have asked for an extension, at least that I can spend the winter in the warmth before a fireplace, and I don't know if H[is] M[ajesty] will be good enough to grant it to me…") Further again, Goya explains in full detail what the present he has sent to his correspondent is, being some drafts, drawings and figurines of three dwarfs, stating in part `Me tomo la libertad de remitir a V.E. esos tres comisionados, a quienes doy el encargo especial de asegurarla cuan agradecido estoy a la memoria que conserva de mi, y cuanto deseo complacerla y servirla. Son tres enanos que se presentaron en la feria de Burdeos dos meses hace, y me pareció conveniente sacar un tanteo de sus caras y sus figurillas. El de los pantaloncitos tiene 18 pulgadas, de los otros dos (que son marido y mujer) ella tiene 21 pulgadas y el esposo 20. Celebraré que cumplan su comisión, según los deseos del invalido que los envia´ (Translation: `I take the liberty of sending to Y.E. those three commissioners [referring to his three dwarfs figurines], to whom I give the special charge of assuring you how grateful I am to the memory you keep of me, and how much I wish to please and serve you. They are three dwarfs who appeared at the Bordeaux fair two months ago, and I thought it convenient to make a test of their faces and their figurines. The one with the short trousers is 18 inches, and the other two (who are husband and wife) she is 21 inches and the husband is 20. I will celebrate that they fulfil their commission, according to the wishes of the invalid who sends them" [Goya refers here to himself]) Goya has a lengthy list of important portraits paintings of dwarfs. An exceptional document, with very interesting content related to Goya´s last years, short after his arrival to France, and referring to his work on three dwarves he met at a fair in Bordeaux. A letter in very fine condition. VG  Goya became a court painter to the Spanish Crown in 1786 and this early part of his career is marked by portraits of the Spanish aristocracy. In 1793 an illness left him deaf, after which his work became progressively darker. In 1799 Goya became the First Court Painter, the highest rank for a Spanish court Painter, under King Charles IV of Spain. During the Peninsular War and Napoleon´s invasion of Spain, Goya remained in Madrid, and his series of paintings Disasters of War, or his painting The Second of May 1808, show how much this war affected him deeply, fearing for his country´s fate. He also painted important portraits of the Royal Spanish family and of Lord Wellington.His late period is marked by the Black Paintings, on the plaster walls of his own house "La Quinta del Sordo" ("The House of the Deaf Man") where disillusioned by political and religious corruption, and by social developments in Spain, he lived near isolation. He also painted dwarves, and persons with insanity or in mental asylums, as well as themes related with witches and fantastical creatures. Goya abandoned Spain in 1824, the year of the present letter, to retire to the French city of Bordeaux from where the present letter is written. He was accompanied by his maid and companion Leocadia Weiss, 42 years younger than him, although it remains unclear if she was or not his lover.It was at that time and in Bordeaux where Goya completed his well-known series of paintings La Tauromaquia, depicting bullfighting scenes.  Goya died and was buried in Bordeaux, but was later re-interred in the Royal Hermitage of San Antonio de la Florida in Madrid. Famously, the skull was missing, and the Spanish consul to Bordeaux reported so to his superiors in Madrid, who wired back "Send Goya, with or without head". The present letter is most probably in the hand of Leandro Fernández de Moratín (1760-1828) Spanish Dramatist, Poet, and translator of works of Moliere and Shakespeare into Spanish. Goya made his friend´s portrait in his late years in Bordeaux. Fernandez de Moratin lived his late years in exile in France and died in Paris only two months after Goya passed away in Bordeaux.  The present letter is written to Maria Luisa of Bourbon and Villabriga (1783-1846) Duchess of San Fernando de Quiroga. She was directly related to several Kings of Spain, being the grand-daughter of Philip V, the niece of Charles III, and cousin of Charles IV. Maria Luisa and her husband, first duke of San Fernando, went into exile in 1823 to Paris.

A Georgian gold and enamel Memento Mori skeletal ring, circa 1730, the hexagonal bezel with tapered shoulders, (coffin shaped), and inset with a flat rock crystal with bevelled edge, the raised bezel grooved to the sides, the hoop of D-shaped cross-section and decorated to the exterior with a skeleton in black enamel with detailed skull, rib cage, hips, legs and feet, an arrow pointing downwards between the legs towards the inscription below reading ‘memento’ in three lines on the left and ‘mori’ on the right, a stylised crown beneath, the hoop inscribed to the inside in italics ‘eliz:tucker.ob.28:Jan:1730.AElat:65.A.T.’ (Elizabeth Tucker died 28 January 1730 aged 65). £3,000-£4,000 --- Provenance: The ring was found by a detectorist in the Vale of Glamorgan in 2022. The ring was recorded with Swansea Museum, but being less than 300 years old, the finder was not obliged to record it with the Portable Antiquities Scheme, and the ring was returned to him. The Tucker family was first documented in Devon and is a characteristic West of England name for a fuller. An Elizabeth Tucker also arrived in Carolina in 1724. The 17th century was a time of high mortality and this precipitated a taste for Memento Mori jewellery, a type of jewel that reached its height of popularity in the early 18th century. The rings were usually worn on the little finger. The phrase translates as ‘remember thy death’, a constant reminder to the wearer to live a life without sin as they will be held accountable in death. The Rev. Jeremy Taylor (1613-1667) preached “It is a great art to die well and to be learned by men in health... Place your coffin in your own eye, dig your own grave.” These rings were also worn as a symbol of faith and status. Condition Report The finder was using a metal detector in a recently ploughed potato field about 3-4 inches down. The finder thought at first that he had found a posy ring then saw the skeleton around the hoop of the ring. The ring is in very good condition for its age. 90% of the enamel is present, and the rock crystal has a minor chip on the bottom edge. Weight 3.4gm.

Game hunting. Two trophies, early 20th c, deer horns with skull plate, each on oak shield, 70 and 40cm (approx.) h Good condition

A pair of deer antlers and skull plate, mounted, 60cm h

STERLING SILVER, TURQUOISE & SIMILAR MOUNTED VINTAGE & LATER JEWELLERY - a good mixed quantity to include Celtic design earrings, rings and brooches, white metal, hardstone and other necklaces, white metal skull divided beads, chunky white metal belcher link necklace with butterflies, designer type items, ETC

A Reproduction Ebonized Walking Cane with Novelty Skull Handle

A miscellaneous collection of items including a sheep's skull, a rusty red roadside lantern, a rusty old blow torch, a distressed brass car horn, bicycle bell, etc

A silvered skull

Western Asiatic/Aegean, Ca. 1200-700 BC. This beautiful cast bronze sword has a tapering, bevelled blade and a heavy "skull crusher" handle comprising a vertical cylindrical grip terminating in two heavy bronze loops arranged at a slight angle. Size: L:290mm / W:25mm ; 115gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

A brass pipe tamper in the for of a skull, weight 47.13grams

A walking stick, the bone handle carved with the bust of a gentleman half revealing his skull, 93cm

Two WW2 German military items- German SS Early Jawless Skull and SS Ointment from medical kit.

Military Button of the 17th light Dragoons, potentially significant example as it may be the earliest depiction of the regimental motto. The Skull and cross bones, dating to the 1760's. Comes with letter from treasure trove.

A LARGE GILT-BRONZE 'GARUDA' WALL PLAQUENepal, 19th century. Powerfully cast as Garuda ingesting the heads of two snakes, his face with a wrathful expression, bulging eyes below flaming eyebrows, surmounted by a skull crown embellished with turquoise and coral inlays, flanked by two upright horns, the protruding hands with long prominent fingernails grasping the coiling tails of the snakes, and adorned with a snake necklace around the neck.Provenance: German trade. Condition: Good condition some wear, small nicks, few dents, minor losses, casting flaws, and malachite encrustations.Weight: 4,660 g Dimensions: Height 31.5 cm, Length 47.7 cmAccording to Hindu and Buddhist stories, the giant, birdlike Garuda spends eternity killing snakelike Nagas. The feud started when both Garuda's mother and the Nagas' mother married the same husband. The husband then gave each wife one wish. The Nagas' mother asked for a thousand children. Garuda's mother wished for just two children who were superior to all of the Nagas. Their rivalry continued until Garuda's mother lost a bet and became the servant and prisoner of the Nagas' mother. Garuda was able to free his mother by stealing the nectar of immortality from the gods, but he swore vengeance for his mother's treatment and has been fighting Nagas ever since.Auction result comparison:Type: RelatedAuction: Christie's Paris, 8 June 2010, lot 380Price: USD 12,500 or approx. EUR 16,200 converted and adjusted for inflation at the time of writingDescription: Statue de Garuda en Bois Laque Or, Tibeto-Chinois, XVIIIeme SiecleExpert remark: Compare the related subject and pose. Note the slightly larger size (57 cm) and the fact that this statue is made from wood and dated to the 18th century.大型銅鎏金迦樓羅壁掛飾尼泊爾，十九世紀。迦樓羅吞食兩條蛇，面部充滿憤怒，火紅的眉毛下大眼圓睜，頭戴鑲有綠松石和珊瑚的骷髏王冠，兩側有兩個角，長有長指甲的手抓著蛇的尾巴，脖子上飾有一條蛇項鍊。 來源：德國古玩交易。 品相：狀況良好，有一些磨損、小劃痕、少量凹痕、輕微損失、鑄造缺陷和綠色銅鏽。 重量：4,660 克 尺寸：高 31.5 厘米，長47.7 厘米 根據印度教和佛教的故事，巨大的像鳥一樣的迦樓羅終其一生都在殺死像蛇一樣的納迦當迦樓羅的母親和那迦的母親都嫁給了同一個丈夫時，這場爭執就開始了 然後丈夫給了每個妻子一個願望。那迦的母親要求一千個孩子迦樓羅的母親只想要兩個優於所有那迦的孩子。他們的競爭一直持續到迦樓羅母親打賭輸了，成為那迦母親的僕人和囚徒。迦樓羅通過從眾神那裡偷走長生不老的甘露得以解救他的母親，但他發誓要為他母親報仇，並從那以後一直與那迦鬥爭。 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得，2010年6月8日，lot 380 價格：USD 12,500（相當於今日EUR 16,200） 描述：十八世紀金漆木迦樓羅壁掛飾 專家評論：比較相近的主題和姿勢。請注意尺寸稍大(57 厘米)，以及此掛飾是木造的，且為十八世紀。

A COPPER-INLAID BRONZE FIGURE OF CINTANAMI MAHAKALA, 17TH-18TH CENTURYTibetan-Chinese. Heavily cast, standing atop a separate lotus base with beaded rim, the primary hands before the chest, with four hands in apan mudra, dressed in a dhoti tied at the waist and neatly incised, adorned with beaded jewelry and dharma wheel at the belly, the back with a blossom jewel, a streaming ribbon draped over the shoulders, the face with a wrathful expression, open mouth revealing sharp fangs, curling beard, bulging eyes, the flaming hair behind a skull tiara. The teeth, two toes, and earrings with very fine copper inlays. Provenance: From a German private collection, acquired before 2007. Condition: Extensive wear, few losses, small nicks, light scratches, old metal fills, and some casting irregularities. The base cast separately.Weight: 1,017 g Dimensions: Height 17.2 cmMahakala belongs to the class of dharmapalas or protectors of the Buddhist Faith. According to Tibetan tradition, the dharmapalas are pre-Buddhist local deities. They were subdued by the great master Padmasambhava and included in the pantheon as fierce defenders of Tibetan Buddhism. Tibetan iconographic texts describe seven various forms of Mahakala. This six-armed form is known as Cintamani Mahakala or the 'Mahakala with the Wish Bestowing Gem'.Auction result comparison:Type: RelatedAuction: Christie's Paris, 8 June 2010, lot 321Price: EUR 39,400 or approx. EUR 51,000 converted and adjusted for inflation at the time of writingDescription: A partially gilded bronze statue of Cintamanimahakala, Tibet, 18th centuryExpert remark: Compare the related subject, pose, and style of the dhoti. Note the intact gilding and much larger size (27.5 cm).十七至十八世紀六臂大黑天銅像漢藏。本尊造像直立，一面六臂，頭戴骷髏冠，頂豎忿怒髪，雙目圓睜，粗眉上揚，張嘴露齒，耳戴銅耳飾，面相兇忿。胸前飾瓔珞，手臂掛有臂釧，六臂分施不同手印，肢體粗壯有力。整體處理的細緻到位，通體鎏金，水亮厚實，面部生動攝人。牙齒、兩隻腳趾和耳環都鑲有非常精細的銅。 來源：德國私人收藏，購於2007年前。 品相：磨損嚴重，些微缺損、有小磕損、輕微劃痕、舊金屬填充物和一些鑄造不規則現象。底座分開製作。 重量：1,017 克 尺寸：高17.2 厘米 大黑天梵語名瑪哈嘎拉，藏語稱為貢普，原來是古代印度的戰神，進入佛教後，很受密教的崇奉，是觀音菩薩化現的大護法，在護法中地位很高，同時也是密宗修法所依止的重要本尊。 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得，2010年6月8日，lot 321 價格：EUR 39,400（相當於今日EUR 51,000） 描述：十八世紀西藏部分鎏金大黑天銅像 專家評論：比較相近的主題、姿勢和腰部風格。請注意只有部分鎏金和尺寸較大(27.5 厘米)。

A GILT BRONZE FIGURE OF A MAHASIDDHA, TIBET, 15TH-16TH CENTURYSeated with his legs crossed on a double lotus base with beaded upper rim, both hands in karana mudra, dressed in a tiger skin, embellished with fine jewelry tied above the belly, the face with a semi-wrathful expression, flanked by elongated earlobes suspending floral earrings, surmounted by a skull crown, the hair tied in a high chignon below a jewel. Provenance: From the collection of Joost Slingerland, Yorkshire, United Kingdom, and thence by descent. A label, '2' inside the base. Joost Slingerland was a Dutch collector of Hindu and Buddhist bronzes from India, Southeast Asia, and the Himalayas, based in Driffield, Yorkshire. He assembled his collection between 1995 and 2005 and regularly came to London to acquire pieces. Condition: Very good condition with minor wear, few nicks, light surface scratches, the inlays lost, and casting flaws. The base unsealed.Weight: 264.3 g Dimensions: Height 11.8 cmThere are eighty-four Mahasiddhas of Tantric Buddhism who can be male and female, kings and beggars, young and old, monks and laymen who through experiencing different kinds of life crises, attain the realization of the Buddha's teachings leading to the status of a guru or a tantric master. Auction result comparison:Type: RelatedAuction: Bonhams London, 15 May 2014, lot 266Price: GBP 18,750 or approx. EUR 29,000 converted and adjusted for inflation at the time of writingDescription: A gilt-bronze figure of a Mahasiddha, 14th/15th centuryExpert remark: Compare the related motif and embellishments. Note the slightly larger size (14.3 cm) and the dating to the 14th-15th century.Auction result comparison:Type: RelatedAuction: Bonhams New York, 14 March 2017, lot 3252Price: USD 25,000 or approx. EUR 28,500 converted and adjusted for inflation at the time of writingDescription: A Gilt Copper Alloy Figure Of Kanha, Central Tibet, 16th CenturyExpert remark: Compare the related motif, pose and embellishments. Note the larger size (20 cm).十五至十六世紀西藏銅鎏金大成就者坐像成就佛造像為菩薩裝束，雙手施大手印，全跏趺坐於蓮座之上，蓮座上飾連珠紋；頭戴骷髏冠，耳戴環璫。長眉細目，雙眼低垂，面龐端正，呈寂靜相。袒露上身，帔帛搭於雙肩，胸前飾項圈瓔珞，下著長裙，繫腰帶。 來源：英國約克郡Joost Slingerland收藏，保存至今。底部内部有一個標籤 '2'。Joost Slingerland是一位荷蘭收藏家，專注收集來自印度、東南亞和喜馬拉雅山的印度教和佛教青銅造像，常年生活在約克郡德里菲爾德。他在 1995 年至 2005 年期間開始收藏，並定期去倫敦尋找藏品。品相：狀況極好，有輕微磨損、少許劃痕，鑲嵌物丟失，有鑄造缺陷。底座未密封。 重量：264.3 克 尺寸：高 11.8 厘米 密宗有八十四大成就者，有男有女，有國王乞丐，有老有小，有僧有俗，通過經歷不同的人生危機，證悟佛法，成為上師或密宗大師。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2014年5月15日，lot 266 價格：GBP 18,750（相當於今日EUR 29,000） 描述：十四/十五世紀銅鎏金大成就者像 專家評論：比較相近的主題和點綴。請注意尺寸稍大(14.3 厘米) ，以及斷代為十四至十五世紀。 拍賣結果比較： 形制：相近 拍賣：紐約邦瀚斯，2017年3月14日，lot 3252 價格：USD 25,000（相當於今日EUR 28,500） 描述：藏中十六世紀銅鎏金甘赫像 專家評論：比較相近的主題、姿勢和點綴。請注意尺寸較大(20 厘米)。

A RARE WOOD HEAD OF A LUOHAN, SONG DYNASTYChina, 960-1279. Superbly carved with a gentle contemplative expression, marked by heavy-lidded eyes below thick arched brows centered by a distinct nose bridge and full lips forming a slight smile, flanked by long pendulous earlobes, the forehead with a characteristic bump.Provenance: The estate of Louis-Pierre Denil, Leuven, Belgium. Bertin Verstraete, Belgium, acquired from the above. A Belgian private collector, acquired from the above. Louis-Pierre Denil (1965-2016) was an internationally renowned restorer, collector, and dealer of antique chandeliers. Since the 1990s, he was purveyor to the Belgian court, including King Albert II and King Philippe, and became close friends with members of the Imperial family. Condition: Good condition, commensurate with age. Extensive wear, minor chips and losses, expected age cracks, small nicks, light scratches. Covered with numerous layers of lacquer applied over many centuries, of which only fragments remain, with a stable wood core underneath. Weight: 5,215 g Dimensions: Height 38 cmSensitively modeled with meticulous attention to detail which successfully captures the luohan's expressive countenance, this superbly carved head is striking for both its large size and vivid realism, with intricate and naturalistic detailing of the gentle curvature of the skull.Luohan, or arhats, were close personal disciples of Shakyamuni Buddha. Although they attained Buddhahood during the course of their lives, they delayed entering Nirvana and remained on earth to protect the Buddhist dharma and to aid others in seeking enlightenment according to the instruction of the Buddha. Invested with extraordinary spiritual power, they are believed to possess perfect wisdom and insight into all existence while being freed from the bonds of desires. Luohan figures became increasingly popular from the Song dynasty. Li Song in 'From the Northern Song to the Qing', Chinese Sculpture, New Haven, 2006, pp. 389, suggests that during the Song dynasty, various Buddhist schools were eager to trace their lineages to Shakyamuni. Thus luohan, with their direct connections to the Historical Buddha, became the ultimate iconographic bridge to the Indian founders of Buddhism.Literature comparison: Compare a closely related limestone head of a luohan, 41.3 cm high, dated Song to early Ming dynasty, at Sotheby's New York, 12 September 2018, lot 14.Auction result comparison: Type: Closely related Auction: Christie's New York, 20 September 2005, lot 144 Price: USD 72,000 or approx. EUR 99,500 converted and adjusted for inflation at the time of writing Description: A rare wood head of a luohan, Song dynastyExpert remark: Note the related size (39.7 cm) Auction result comparison: Type: Closely related Auction: Bonhams London, 7 November 2019, lot 51 Price: GBP 68,813 or approx. EUR 91,000 converted and adjusted for inflation at the time of writing Description: A rare carved wood head of a Lokapala, Song dynastyExpert remark: Note the related size (39 cm)宋代木雕羅漢頭像中國，960-1279年。刻畫細膩，濃眉闊鼻，眼睛微閉，嘴唇豐滿，兩側長耳垂；笑容慈祥，似在沉思。 來源：比利時魯汶Louis-Pierre Denil收藏；比利時Bertin Verstraete，購於上述收藏；比利時私人收藏，購於上述收藏。Louis-Pierre Denil (1965-2016年) 是國際知名的古董枝形吊燈修復師、收藏家和經銷商。自 1990 年代以來，他一直是比利時宮廷的供應商，包括阿爾貝二世國王和菲利普國王，並與皇室成員成為密友。 品相：品相良好，嚴重磨損、輕微缺口和損失、預期老化裂紋、小刻痕、輕微劃痕。表面覆蓋著多層漆彩，其中僅剩下碎片，可見木芯。 重量：5,215 克 尺寸：高 38 厘米 對細節的一絲不苟從而成功地捕捉到了羅漢富有表情的面容，這尊精雕細琢的頭像以其巨大的尺寸和生動的現實主義而引人注目，細節複雜而自然。羅漢是釋迦牟尼佛的親近弟子。他們雖在世成佛，卻遲入涅槃，留在人間，護持佛法，依佛陀的教化，幫助眾生求證。 他們被賦予了非凡的精神力量，被認為擁有完美的智慧和對所有存在的洞察力，同時擺脫了慾望的束縛。羅漢像從宋代開始流行起來。見Li Song《From the Northern Song to the Qing，Chinese Sculpture》，紐黑文，2006年，頁389,中指出，在宋代，各種佛教宗派都渴望將他們的血統追溯到釋迦牟尼。

A THANKGA OF GURU DRAGPO WITH HIS CONSORT, TIBET, 18TH CENTURYDistemper and gold on cloth. The wrathful deity striding in alidhasana with three heads, six arms, four feet, and outstretched wings holding a vajra sword, vajra, skull cups, kartika, a trisula, and a scorpion. Embracing his consort painted in blue with both of them stamping on prostrated figures over a lotus pedestal, backed by a flaming mandorla, and surrounded by wrathful deities and protectors. Note the fine detail work to all figures.Provenance: Australian private collection, Annandale, according to the previous owner acquired in Shanghai from Chinese Antiques Co Ltd. on 7 October 2002. Condition: Very good condition with only minor wear, little creasing, and few loose threads.Dimensions: Image size 74 x 59.7 cm, Size incl. mounting 88 x 73.5 cmWith a fine gilt wood frame. (2) The present thangka depicts Guru Dragpo, a meditational deity form of Padmasambhava, in his most wrathful Heruka form, with three faces and six hands embracing his consort.Literature comparison:Compare with 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:Type: RelatedAuction: Christie's New York, 13 September 2017, lot 639 Price: USD 32,500 or approx. EUR 38,000 converted and adjusted for inflation at the time of writing Description: A large thangka of Chemchog Heruka, Tibet, 17th/18th century Expert remark: Compare the related wrathful depiction and liberal use of gold. Note the larger size (96 x 66.7 cm).十八世紀西藏忿怒蓮師唐卡布面膠彩描金。蓮師三首六臂與四足，翅膀張開，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，後有火焰光背，周圍有護法。畫面細節豐富。 來源：奧地利安南達爾私人收藏，2002年10月7日購於上海中國古玩店。 品相：狀況極好，只有輕微磨損、摺痕和鬆線。 尺寸：畫面74 x 59.7 厘米，總88 x 73.5 厘米 鎏金木框。(2) 文獻比較： 比較一件相近的十八世紀蓮花生大士唐卡 ，收藏於Rubin Museum of Art，館藏編號P1998.30.1，也出版於《Himalayan Art Resources》，編號788。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2017年9月13日，lot 639 價格：USD 32,500（相當於今日EUR 38,000） 描述：西藏十七/十八世紀嘿噜嘎唐卡 專家評論：比較相近的描繪和描金。請注意尺寸較大(96 x 66.7 厘米)

A SILK APPLIQUE THANGKA OF A CHITIPATI YANTRA, MONGOLIA, 19TH CENTURYFinely woven with two skeletons standing in unity on conch shells atop a lotus pillow, holding a skull club, a kapala, a kundika, and a medicinal plant. The thangka is centered by the circular yantra with a lengthy inscription and decorated with flame, vajra, and floral designs.Provenance: The Triay Collection of Himalayan Art. Ian Triay is a Spanish banking executive and the Honorary Consul in Spain for the Kingdom of Bhutan. He actively participated in the establishment of diplomatic relations between Spain and Bhutan and in projects of mutual interest to both countries. Assembled over a period of 40 years with an eye for the unusual and esoteric, the Triay Collection was a unique assemblage of Himalayan art. With many works featured in the landmark exhibitions in the Fundacion "La Caixa", Madrid in 2000, Musee Guimet, Paris in 2002, Los Angeles County Museum of Art in 2003, and the Rubin Museum of Art in New York in 2010, this collection shines a fascinating light on Buddhist ritual art. A particular focus in the collection was the Chitipati. In the Tibetan Buddhist artistic traditions, graphic images of death and the afterlife - an area which is of particular fascination to the collector - are used as reminders that life is fleeting and that we must act virtuously. Condition: Good condition with old wear, traces of age and usage, little soiling, loose threads.Dimensions: Image size 46 x 33 cm, Size incl. mounting 83.5 x 51.5 cmChitipati are a divine skeleton couple also and initially known as Shri Shmashana Adhipati, "the lord and lady of the charnel ground." They act as protector deities, particularly against thieves and grave robbers, vowing to destroy enemies of the Dharma. They are closely associated with the Chakrasamvara Tantra and visually represented as intertwined jovial skeletal figures, each holding various attributes, dancing in a halo of wild flames. Their wrathful and skeletal appearance can be likened to a momento mori, acting as a reminder of death and the temporality of all things. As macabre lords of the cremation grounds, they serve to remind Tibetans of the inevitability of death and decay, while at the same time, to celebrate one's ultimate liberation from duality. A much beloved subject in Tibetan Buddhism, the Chitipati are represented on thangkas and appliques, in sculpture, on wooden shrines and furniture, and as elaborate costumes worn during ceremonial dances (Cham), in a visual type that becomes standardized for centuries.Memento mori (Latin for 'remember that you die') is an artistic or symbolic trope acting as a reminder of the inevitability of death. The concept has its roots in the philosophers of classical antiquity and appeared in art and architecture from the medieval period onwards. The most common motif is a skull, often accompanied by one or more bones, or a complete skeleton. Often this alone is enough to evoke the trope, but sometimes other motifs such as a coffin, hourglass and wilting flowers were added to signify the impermanence of human life.From Leonardo to Basquiat, the most important artists of the modern world were fascinated by the Memento Mori trope. Likewise, the Chitipati are a reminder of the eternal cycle of life and death. Furthermore, there is a mind training practice in Tibetan Buddhism known as Lojong, the 'Four Contemplations to Cause a Revolution in the Mind'. The second of these four is the contemplation of impermanence and death. In particular, one contemplates that:All compounded things are impermanent,The human body is a compounded thing,Therefore, death of the body is certain,The time of death is uncertain and beyond our control.There are a number of classic verse formulations of these contemplations meant for daily reflection to overcome our strong habitual tendency to live as though we will certainly not die today.Literature comparison: Compare an earlier Tibetan painted thangka of the Chitipati, dated to the 15th century, in the Rubin Museum of Art, object number F1996.16.5. Compare a related painted Chitipati yantra, dated 1900-1959, in the collection of Richard R. and Magdalena Ernst, Himalayan Art Resources item no. 18430.十九世紀蒙古唐卡屍林怙主唐卡精細編織而成，本尊呈骷髏骨架形態，白色，父母本尊各有一張臉，三隻紅眼睛和兩隻手。左邊的父尊用右手高舉一根骷髏棒，左手在心臟位置捧著一個顱碗，穿著老虎皮，站在海螺殼上。母尊高舉的右手拿著一株麥穗，左手拿著一個像徵財富的寶瓶，穿著各種絲綢，站在貝殼上。兩者都頭飾五骷髏冠。 來源：喜瑪拉雅藝術 Triay Collection收藏。 品相：狀況良好，有磨損、歲月痕跡和使用痕跡，輕微汙漬，線頭鬆動。 尺寸：畫面 46 x 33 釐米，總83.5 x 51.5 釐米

A GILT BRONZE FIGURE OF CHAKRASAMVARA, LATE MALLA, THREE KINGDOMS PERIODNepal, 1520-1768. Striding in alidhasana with his consort Vajravarahi in yab-yum, the four-headed deity surmounted by a skull crown, his primary hands embracing his consort and holding a vajra and ghanta, the other ten hands holding attributes including damaru, kapala, kartika, and katvanga, dressed in a beaded loincloth, his legs flanked by two billowing scarfs, Vajravarahi wearing an elaborate skirt with skull pendant. Their faces finely incised with gently arched eyebrows centered by an urna, with almond shaped eyes, and a subtle smile.Provenance: British trade. Condition: Very good condition with expected old wear to the gilt, minimal losses, minor casting flaws, and few small malachite encrustations. The stand with few chips to the edges and natural age cracks.Weight: 1,269 g (incl. stand) Dimensions: Height 20.4 cm (incl stand)With a fitted hardwood base, probably Zitan, finely carved as a double lotus throne. (2)The Three Kingdoms period - the time of the later Mallas - began in 1520 and lasted until the mid-eighteenth century. The complete flowering of the unique culture of the Kathmandu Valley occurred during this period, and it was also during this time that the old palace complexes in the three main towns achieved much of their present-day forms. The kings still based their legitimate rule on their role as protectors of dharma, and often they were devout donors to religious shrines. Kings built many of the older temples in the valley, gems of late medieval art and architecture, during this final Malla period. The present figure seems to be rather early in the period, e.g., 16th to mid-17th century.The vision of Twelve-armed Samvara in an ecstatic, dance-like embrace with his consort Vajravarahi is one of the most exquisite subjects in Vajrayana Buddhist art. Meaning 'Wheel of Bliss' in Sanskrit, the union of the two deities is known as Chakrasamvara, as represented in this near-complete example. The deities embody the attainment of the highest yoga tantra tradition and Tibetan Buddhism's supreme ideal: the skilled union of perfect wisdom (Vajravarahi) and compassion (Samvara).Being so complex, only the very best artists were fit to undertake the challenge of casting Chakrasamvara. The task most often fell to Newari master craftsmen from Nepal who produced such sculptures for domestic and Tibetan worship. The stylistic preferences of each audience are somewhat slightly different. While many contemporaneous Tibetan examples emphasize the ferociousness of Chakrasamvara's facial expressions, here instead, a benign intimacy is shared between the deities gazing into each other's eyes. The sentiment betrays a preference in Nepal for showing divine couples in harmony, as representatives of ideal matrimony.Literature comparison:Compare a related two-armed gilt bronze figure of Chakrasamvara, Nepal, 16th century, in the collection of the British Museum, museum number 1921,0219.1.Auction result comparison:Type: RelatedAuction: Christie's New York, 15 September 2015, lot 35Price: USD 32,500 or approx. EUR 39,000 converted and adjusted for inflation at the time of writingDescription: A gilt bronze figure of Durga, Nepal, 16th/17th centuryExpert remark: Compare the related motif, gilt accents, fine casting work, and stand. Note the size (16.5 cm).馬拉王朝末年，三國時期，銅鎏金勝樂金剛像尼泊爾，1520-1768年。勝樂金剛勝四頭，十二臂，兩足，弓步。主尊頭戴五葉冠，上有太陽和新月符。主臂兩手分別持金剛杵和金剛鈴，另外兩手擁抱明妃金剛亥母。其餘各手分別持不同的法器，如三叉戟、匕首、卡巴拉碗等。脖子上掛人首做成的項鍊，雙足奮力踩踏兩個魔鬼，威力無比。金剛亥母雙腿盤在勝樂金剛腰間，，穿著花飾腰帶，佩戴著珠飾。金剛及其明妃面容表情細緻入微，眉毛微彎，微笑。 來源：英國古玩交易。 品相：狀況極好，鎏金有磨損，小缺損，輕微鑄造缺陷，少量孔雀石色結殼。底座邊緣輕微碎屑和自然老化裂縫。 重量：1,269 克 (含底座) 尺寸：高20.4 厘米 (含底座) 硬木底座，可能爲紫檀，精美雕刻雙層蓮座。 (2) 尼泊爾三國時期，即馬拉王朝末年——始於 1520 年，一直持續到十八世紀中葉。加德滿都谷地獨特文化的全面發展就在這一時期，也是在這一時期，三個主要城鎮的舊宮殿建築群形成了今天的大致規模。國王們的合法統治仍然基於他們作為佛法保護者的角色，而且他們經常是宗教聖地的虔誠捐助者。在馬拉王朝末年，國王們在山谷中建造了許多古老的寺廟，這些寺廟是中世紀晚期藝術和建築的瑰寶。目前這件造像可能來自十六世紀至十七世紀中葉。

A COPPER-INLAID IRON PHURBHA, TIBET, 15TH-16TH CENTURYThe tripartite blade issuing from the fangs of a makara and with snakes meandering down the sides, the mid-section of biconical form with lappets framed on both ends by pierced endless knots, rising to the head of a wrathful deity with circular eyes, the hair tied in a high chignon and surmounted by a skull crown, inlaid in copper to the head of the makara and at the connecting element above.Provenance: British trade. Condition: Very good condition with expected traces of use, old wear, some corrosion, few nicks and dents, light surface scratches, and casting flaws.Weight: 351.2 g Dimensions: Length 25.9 cmThe phurbha is thought to be the only implement capable of transmuting the powerful negative energy of vice and egocentrism into benevolent compassion, see Rhie & Thurman, Worlds of Transformation, New York, 1999, page 435. According to legend, Padmasambhava introduced the magic dagger to Tibet to subdue forces hostile to Buddhism. It is the embodiment of Vajrakila, who is one of the eight Herukas (wrathful deities) of the Nyingma Mahayoga.Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 17 March 2015, lot 1042Price: USD 27,500 or approx. EUR 32,500 converted and adjusted for inflation at the time of writingDescription: Two iron phurbha with copper inlay, Tibet, ca. 16th CenturyExpert remark: Compare the closely related form, decoration, and material. Note the size (34.3 cm) and that the lot also comprises a smaller phurbha.Auction result comparison:Type: RelatedAuction: Bonhams New York, 17 March 2014, lot 23Price: USD 10,000 or approx. EUR 11,800 converted and adjusted for inflation at the time of writingDescription: An Iron Vajrakila Purbha, Tibet, circa 13th centuryExpert remark: Compare the related form, decoration, and material. Note the size (35.6 cm).十五至十六世紀西藏鐵錯銅普巴金剛橛三棱鉄匕首從摩迦儸的尖牙中伸出，蛇從兩側蜿蜒而下，雙錐形的中間部分，兩側是兩個球形“無盡結”，直到大眼圓睜的忿怒相神頭上，發成高髻，忿怒護法神，頭戴骷髏冠。 來源：英國古玩交易。 品相：狀況極好，有使用痕跡、磨損、一些腐蝕、少量刻痕和凹痕、輕微的表面劃痕和鑄造缺陷。 重量：351.2 克 尺寸：長25.9 厘米 Phurbha，藏傳佛教儀式中的匕首，被認為是唯一能夠將邪惡和自我中心主義的強大負能量轉化為仁慈同情心的工具，見 《Rhie & Thurman，Worlds of Transformation》，紐約，1999年，圖435。相傳，蓮花生大士將金鋼鐝匕首引入西藏，以製服敵對佛教的勢力。它是寧瑪派大瑜伽部八尊忿怒本尊之一金剛杵的化身。拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2015年3月17日，lot 1042 價格：USD 27,500（相當於今日EUR 32,500） 描述：兩件約十六世紀西藏鐵錯銅普巴金剛橛 專家評論：比較非常相近的外形、裝飾和材料。請注意尺寸 (34.3 厘米) 和此有一件較小的普巴金剛橛。 拍賣結果比較： 形制：相近 拍賣：紐約邦瀚斯，2014年3月17日，lot 23 價格：USD 10,000（相當於今日EUR 11,800） 描述：約十三世紀西藏鐵普巴金剛橛 專家評論：比較相近的外形、裝飾和材料。請注意尺寸 (35.6 厘米)。

A THANGKA OF RA LOTSAWA DORJE DRAG, MONGOLIA, 19TH TO EARLY 20TH CENTURYDistemper and gilt on cloth. Depicting Ra Lotsawa seated on a tiger skin, dressed in a red and blue robe decorated with a gilt floral design, his hands held in dharmachakra mudra, a severed head with a skull crown and flaming hair in his lap, his face with a wrathful expression, open mouth bearing sharp fangs, and bulging eyes, surmounted by a shanak with flaming peaks centered by a skull, a skull bowl and dagger before him on the altar table. The background with a mountainous landscape, fruiting branches, scrolling clouds, and with the sun and moon to the upper corners.Inscriptions: To Ra Lotsawa's chest, 'Hum'. The altar table inscribed 'Drapchen Sarpa Ralo Banza Pha Namo'. To the reverse, 'Om Ah Hum Sawa Ha'.Provenance: The Triay Collection of Himalayan Art. Ian Triay is a Spanish banking executive and the Honorary Consul in Spain for the Kingdom of Bhutan. He actively participated in the establishment of diplomatic relations between Spain and Bhutan and in projects of mutual interest to both countries. Assembled over a period of 40 years with an eye for the unusual and esoteric, the Triay Collection was a unique assemblage of Himalayan art. With many works featured in the landmark exhibitions in the Fundacion “La Caixa”, Madrid in 2000, Musee Guimet, Paris in 2002, Los Angeles County Museum of Art in 2003, and the Rubin Museum of Art in New York in 2010, this collection shines a fascinating light on Buddhist ritual art.Condition: Very good condition with some old wear, little creasing, few minuscule touchups, soiling. The frame with few scratches and nicks.Dimensions: Image size 30.8 x 24.2 cm, Size incl. frame 43.3 x 36.2 cmFramed behind glass. (2)Ra Lotsawa Dorje Drag (1016-1198), born in Nyenam, is one of the most controversial Buddhist teachers in Tibetan history. While today he is universally celebrated for being the great translator who brought the Yamantaka tantras to Tibet, he was thought of as a murderer and a proliferator of the dark arts during his lifetime. He allegedly murdered thirteen Lamas, among them the famous translators Gyu Monlam Dragpa and Go Lotsawa Kugpa Lhatse.Literature comparison:Compare a closely related thangka of Ra Lotsawa Dorje Drag from a private collection, illustrated on Himalayan Art Resources, item number 60628, and on the cover of Ra Yeshe Senge, The All-prevailing Melodious Drumbeat. The Life of Ra Lotsawa, Penguin Classics, 2015.十九至二十世紀初蒙古熱譯師多吉紮唐卡布面膠彩描金。熱譯師 - 多吉紮呈寂忿相，頭飾戴骷髏冠和氈帽，手施轉法輪印，成遊戲坐坐在虎皮上，身著紅藍相間的金色花卉紋長袍，膝蓋上有一個頭髮飛揚的頭顱；熱譯師張尖咧嘴，大眼圓睜；面前的祭桌上有一個一個頭骨碗和匕首。身後山地景觀、果樹、祥雲以及太陽和月亮。 款識：熱譯師胸前有 'Hum'字樣，祭桌上'Drapchen Sarpa Ralo Banza Pha Namo'。唐卡背面'Om Ah Hum Sawa Ha'。 來源：喜瑪拉雅藝術 Triay Collection收藏。Ian Triay是西班牙銀行業高管和不丹王國駐西班牙名譽領事。他積極參與了西班牙與不丹的建交以及兩國共同關心的項目。 歷時 40 年，Triay 系列著眼於不尋常和抽象的事物，是喜馬拉雅藝術的獨特組合。 許多藏品曾在 2000 年馬德里“La Caixa”基金會、2002 年巴黎吉美博物館、2003 年洛杉磯藝術博物館和 2010 年紐約魯賓藝術博物館的展覽中展出， 使佛教儀式藝術的迷人的光芒閃耀世界。該收藏的一個特別焦點是屍林主。 在藏傳佛教藝術傳統中，死亡和來世的象徵——收藏家特別著迷的一個領域——被用來提醒人們生命轉瞬即逝，我們必須行善。 品相：狀況極好，有一些磨損，輕微摺痕，小修補，汙漬。框架有劃痕和刻痕。 尺寸：畫面30.8 x 24.2 釐米, 總43.3 x 36.2 釐米 玻璃裝框 (2) 熱譯師，全名“熱羅·多吉紮”（1016-1198），又稱“熱羅雜瓦”，簡稱“熱羅”，是藏傳佛教偉大的佛學家、高僧、大成就者。文獻比較： 比較一件非常相近的私人收藏熱譯師多吉紮唐卡，見Himalayan Art Resources，編號60628；以及封面Ra Yeshe Senge，《The All-prevailing Melodious Drumbeat. The Life of Ra Lotsawa》，Penguin Classics，2015年。

A GILT BRONZE FIGURE OF CHAKRASAMVARA AND VAJRAVARAHI, QING DYNASTYChina, 18th to 19th century. Both figures are modeled in yabyum over prostrated figures atop a separately cast lotus base with beaded rims. The sixteen-headed Chakrasamvara with twenty-four arms radiating around him and hands held in shuni mudra, his principal arms holding a vajra and ghanta crossed around his consort's back and further hands holding other attributes including kartika, khatvanga, and kapala. Wearing long sashes, tiger skin and a garland of heads, supporting Vajravarahi with his thigh, the consort holding a chopper and skull cup and wearing a beaded festooned belt.Provenance: From a private collection in Southampton, United Kingdom. Condition: Good condition with minor wear and casting irregularities, few small nicks and dents, minor old repairs with associated soldering marks, the pegs below the feet are later replacements, the base resealed. The gilt remarkably well preserved overall.Weight: 1,598 g Dimensions: Height 21.5 cmAuction result comparison: Type: Related Auction: Christie's London, 6 November 2018, lot 262 Price: GBP 18,750 or approx. EUR 26,000 converted and adjusted for inflation at the time of writing Description: A gilt bronze figure of Chakrasamvara and Vajravarahi, Qing dynastyExpert remark: Note the similar size (20.6 cm)Auction result comparison: Type: Related Auction: Christie's Hong Kong, 4 April 2017, lot 202 Price: HKD 325,000 or approx. EUR 43,000 converted and adjusted for inflation at the time of writing Description: A gilt-bronze figure of Chakrasamvara and Vajravarahi, Qing dynasty, 19th centuryExpert remark: Note the larger size (44.1 cm)清代銅鎏金勝樂金剛與明妃像中國，十八至十九世紀。勝樂金剛勝十六首，二十四臂，兩足，弓步。主尊頭戴五葉冠，上有太陽和新月符。主臂兩手分別持金剛杵和金剛鈴，擁抱明妃金剛亥母。其餘各手分別持不同的法器，如三叉戟、匕首、卡巴拉碗等。脖子上掛人首做成的項鍊，雙足奮力踩踏兩個魔鬼，威力無比。金剛亥母雙腿盤在勝樂金剛腰間，手持鋮刀和卡巴拉碗，穿著花飾腰帶，佩戴著珠飾。 來源：英國南漢普頓私人收藏。 品相：狀況良好，有輕微磨損和鑄造不規則，輕微小缺口和凹痕，有小修補，腳下的釘子更換過，底座重新密封。鍍金整體保存完好。 重量：1,598 克 尺寸：高 21.5 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2018年11月6日，lot 262 價格：GBP 18,750（相當於今日EUR 26,000） 描述：清鎏金銅勝樂金剛立像 專家評論：請注意相似的尺寸(20.6 厘米) 。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2017年4月4日，lot 202 價格：HKD 325,000（相當於今日EUR 43,000） 描述：清十九世紀 鎏金銅勝樂金剛像 專家評論：請注意尺寸較大(44.1 厘米)。

Chinese watercolour scroll painting of a monk, depicted seated beneath a blossoming tree, dressed in skull-cap, blue cloak and clutching rosary beads, 67.5cm x 130.5cm, on blue silk damask background, 81cm wide x 195cm high

An antique Blue Nile Buffalo skull cap and horns mounted on a black wooden shield. Painted detail to front with part retailers label to back. Total width approx. 50cm.

Victorian pendant / charm in the form of a coffin with embossed decoration depicting skull and crossbones, birds, fern and two rings, 4.7g

* Dutch School. Vanitas still life, with globe, books, musical instrument, hourglass, skull, playing cards, and candle stick on a partly draped table, early to mid 19th-century, oil on wood panel, some surface marks and light discolouration due to age, 27 x 34 cm (10 1/2 x 13 3/8 ins), unframedQTY: (1)

Household Cavalry George VI Period Trooper helmet. A good example, the brass bound nickel skull with bi-metal helmet plate to front. To each side, a gilded rose head boss supports the leather backed chin chain. A silvered plume holder supports a Life Guards white horsehair plume with silvered dome button pattern boss. Complete with leather lining. Refurbished, overall GC with service wear.

9th Queens Own Lancers Officer Lance Cap circa 1905-14. A good scarce example. The skull of black patent leather with the upper portion of black Melton cloth with gilt metal trips down the angles; black leather top. To the left side is a metal simulated bullion rosette with central regimental button. This supports a gilt plume holder which holds the black over white stitched swans feather drooping plume (metal stem cap fixing restored). The gilt lance cap plate is mounted with gilt Royal Arms, title scroll and silver AR cypher, revered and intwined. Gilt metal bound patent leather peak. Two gilt metal lion head bosses support the lather backed corded chin chain. Leather sweat band (small section replaced) and retaining crimson silk lining with gold tooled Hawkes & Co. details. GC Gordon Dine Collection.

5th (Princess Charlotte of Wales) Dragoon Guards 1871 pattern helmet. A good scarce example. The brass skull decorated with laurel leaf front band and oak leaf backstrap; to the front a white metal star with applied brass Garter; white metal 5 to black leather centre. A fluted brass spike supports a white over red regimental pattern horsehair plume with rose boss. To each side, a brass rose head boss supports the incorrect velvet backed brass chin chain (Stitching Faults). Overall GC.

1st (or Kings) Dragoon Guards 1871 pattern helmet. Good scarce example, brass skull decorated with brass laurel leaves; to the front a helmet plate of silvered backing star with gilt strap and silvered 1 to the centre. Brass spike supports a white plume (later Life Guards pattern). To each side are replacement rose head bosses which support a brass leather-backed chin chain. Lining to the interior absent, skull with some dents. Ideal for restoration.

12th Royal Lancers GvR Officer Lance Cap circa 1910-14. A fine scarce example. The skull of black patent leather with the upper portion of scarlet Melton cloth, with gold gimp cord across the top and down the angles. To the left side is a gold bullion rosette with embroidered GR Cypher onto a velvet ground. This supports a gilt plume cup and original scarlet stitched swan’s feather drooping plume. The gilt lance cap plate is mounted with silvered crowned Royal Arms, battle honours including those for the Boer War. Patent leather peak with gold bullion lines. Two gilt metal lion head boss’s support chin chain with leather backing. Leather sweat band to the interior with replacement lining. The gilt and scarlet remains bright and fresh, minor age wear. To rear of skull, small portion of patent AF and another with patent patch. Minor restoration. Generally VGC

German Third Reich SS cap skull (Totenfopf) by Deschler & Sohn, München. Good rare die-stamped aluminium example, inserted brass blades no longer present. The reverse with raised Reichszeugmeisterei (RZM) logo and code M1/52.

Imperial German WW1 Camouflage Steel Helmet. A good and scarce example with camouflaged painted finish to the skull. The interior with leather band which supports three pad leather lining. Shell stamped EE66. Fitted with possible replacement chinstrap.

Imperial German WW1 Camouflage Steel Helmet. A good and scarce example with camouflaged painted finish to the skull. The interior with metal band which supports three pad leather lining. Shell stamped EJ66. Fitted with possible replacement chinstrap.

A collection of seven Roe deer skulls and antlers, of differing sizes, one just the top of the skull and horns, the tallest 23cm high

A box of glass and plastic skull ornaments

Two War Rings, American Crest and German Skull, Both Cut

An assortment vintage 20th century Novelty cigarette pocket lighters to include torch gun shaped lighters, skull themed lighters, together with a toxic waste barrel shaped lighter & more. 

A 20th century WWI style reproduction brass skull headed vesta case. The skull having military helmet. It measures approx. 6cm long. 

A marbled model of a skull

A quantity of costume jewellery including necklaces, bracelets, Accua wristwatch and, possibly silver, skull ring.

A collection of dragon figures including several oriental style examples. Also includes large skull in horn helmet money box.

RORY HANCOCK (BRITISH 1987) 'BUTTERFLY KISS' a signed limited edition box canvas print of a skull 5/95, with certificate, approximate size 66cm x 66cm frame 74cm x 74cm, condition:- scuffs to print varnish, small dents, scratches and chips to frame (artist resale rights apply)

A car mascot depicting a human skull with snake to the top, approx. 4" tall.

A selection of car mascots including Mercedes-Benz, Vauxhall, a Scottish thistle, a cockeral, and ram's skull etc. plus a West Essex Car Club radiator badge.

Emilio Garcia (b1981) Skull Brain Clear resin segmented sculpture, Artist Proof, 2016, hand engraved signature, with certificate of authenticity. Limited sculpture hand made at the Secret Lapo Laboratories. 12.5cm Emilio Garcia was born in the winter of 1981 near Barcelona, Spain. He has a long career trajectory as freelance art director and visual artist. Since 1999 he has worked with such well-known international companies like Berlitz Kids, Hitachi, Diesel, Inditex, Metro, Vans or The North Face among others specializing in motion graphics and multimedia content. His work is published in Taschen Favourite Websites and Web Design Index Books.Emilio' sculptures are currently being exhibited in art galleries, art fairs and museums throughout North America, Europe, and Asia. Due his artistic growth and budding success, Emilio is also involved in all sorts of neuro-urban merchandising, from Art Toys to skate decks, mugs, keychains, clothing and many more.

Emilio Garcia (b1981) Skull Brain Bronze segmented sculpture, Limited edition 5/5, hand signed by the artist, with certificate of authenticity. Limited sculpture hand made at the Secret Lapo Laboratories. 12.5cmEmilio Garcia was born in the winter of 1981 near Barcelona, Spain. He has a long career trajectory as freelance art director and visual artist. Since 1999 he has worked with such well-known international companies like Berlitz Kids, Hitachi, Diesel, Inditex, Metro, Vans or The North Face among others specializing in motion graphics and multimedia content. His work is published in Taschen Favourite Websites and Web Design Index Books.Emilio' sculptures are currently being exhibited in art galleries, art fairs and museums throughout North America, Europe and Asia. Due his artistic growth and budding success, Emilio is also involved in all sorts of neuro-urban merchandising, from Art Toys to skate decks, mugs, keychains, clothing and many more.

Emilio Garcia (b1981) Skull Brain Graphite segmented sculpture. Ltd edition 16/30 with certificate of authenticity. The new limited sculpture hand made at the Secret Lapo Laboratories, 12.5cm Emilio Garcia was born in the winter of 1981 near Barcelona, Spain. He has a long career trajectory as freelance art director and visual artist. Since 1999 he has worked with such well-known international companies like Berlitz Kids, Hitachi, Diesel, Inditex, Metro, Vans or The North Face among others specializing in motion graphics and multimedia content. His work is published in Taschen Favourite Websites and Web Design Index Books.Emilio' sculptures are currently being exhibited in art galleries, art fairs and museums throughout North America, Europe, and Asia. Due his artistic growth and budding success, Emilio is also involved in all sorts of neuro-urban merchandising, from Art Toys to skate decks, mugs, keychains, clothing and many more.