There are 19089 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeHorns/Skulls: A Set of Cape Buffalo & Eland Horns, circa late 20th century, a large set of adult Cape buffalo bull horns on cut upper skull, widest span 85cm, tip to tip 68cm (tip of right horn missing), mounted upon an ebonised shield, together with a large set of Eland horns on cut skull cap, right horn 108cm, left horn 104cm, tip to tip 37.5cm, mounted upon a home made rustic shield, (2).
Antlers/Horns: A Set of Red Deer, Sika Deer & Fallow Deer Antlers, circa 21st century, a set of adult Red deer stag antlers on cut upper skull, 11 points (5+6), widest span 63.5cm, height 91cm, on shield, a set of Sika deer stag antlers on cut upper skull, 8 Points (4+4), widest span 32cm, height 51cm, (loose), together with a set of young adult Fallowbuck antlers on cut skull cap, widest span 59cm, height 70cm, on shield, (3)
Antlers/Horns: A Collection of European & African Game Trophy Horns & Antlers, circa early 20th century, six sets of Roebuck antlers on cut skull caps (3 mounted upon carved Austro-German shields), two sets of South African Springbok horns on cut skull caps, both female, on shields, one set of small Gerenuk horns on cut skull cap, on shield, a set of adult adult male Tiang horns on cut upper skull cap, and a set of Buffon's Kob horns on cut skull cap, (11)
Taxidermy: A Red Fox Cub, Warthog Tusks, Gemsbok Oryx Horns, Mallard Ducks, & Buffalo Tail Fly Swat, a full mount young Red fox cub, in seated position, (af), two sets of multiple adult Common Warthog tusks, mounted upon matching shields, a set of adult male Gemsbok oryx horns on damaged upper skull, on shield, a pair of full mount adult Mallard ducks, male and female mounted as hanging game, and a Cape buffalo prepared tail fly swat (qty) (af)Oryx skull damaged. Fox cub has damage to the ears - hair quite scruffy
Andrew Divoff signed 10x8 inch Indiana Jones and the Kingdom of the Crystal Skull 10x8 inch colour photo. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10
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.
FLEMING, Ian. 'Goldfinger,' First edition, fine original black cloth with skull design in gilt and blind, spine lettered in gilt, some finger soiling and small nibbles to unclipped dj, intermittent spotting to pastedowns and endpaper, front free endpaper ink signed and dated by a Tori Williams, a vg textblock, Jonathan Cape, London, 1959.The dust jacket appears to be original with no self-referential quotations from critics. The cloth is in fine condition with no sun bleaching. Ink owner signature to front free endpaper with the date 1959. Light spotting to prelims with a crisp and clear text block.
Edward Walker Slade: 'The Skull, and Other Poems', Bristol, printed and published for the author, 1829, 1st edition, vi,[2],220pp, list of subscribers at end, old boards worn, scarce, plus James Storer & John Greig: 'Views in North Britain, Illustrative of the Works of Robert Burns', London, 1805, engraved frontis, added engraved title page + 18 engraved plates as called for, old boards worn, lacks backstrip, [John Baldwin Buckstone: 'The Green Bushes; Or, A Hundred Years Ago. A Romance', London, E. Lloyd, 1847, folding hand coloured frontis, engraved ills. in text, 64pp, bound together with Victorian Penny Dreadful 'The Bottle; or, the First step to crime. A romance.', L, E. Lloyd, [1847], parts 1-7, each part with full page engraved illustrated title page, appears incomplete, 64pp (of 94pp?), leaves toned/foxed throughout, old half cloth worn (3)
Ian Fleming, 5 titles: 'The Man with the Golden Gun', London, Jonathan Cape, 1965, 1st edition, original black cloth, spine lettered in gilt, patterned green end papers, dust wrapper (by Richard Chopping, price clipped), 'Thunderball', L, Cape, 1961, 1st edition, FFEP loose, orig. cloth gilt, dust wrapper (by Richard Chopping, 15s net price intact), 'Dr. No', L, Cape, May 1958, 2nd impression, original pictorial cloth, dust wrapper, 'From Russia, With Love', L, Cape, 1957, 2nd printing, original black cloth, lettered in silver and metallic red to spine, blocked Smith & Wesson revolver and rose motif in silver and metallic red to front cover, 'Goldfinger', L, Cape, 1959, 2nd impression, original black cloth, gilt lettered spine, skull design blindstamped to front cover with gilt "coins" in the eye sockets, dust wrapper (5)
Vivienne Westwood & Malcolm McLaren: An 'Anarchist Punk Gang' Seditionaries Muslin Shirtc.1979/80,in white muslin, front with black, green and red printed design, Malcolm McLaren Vivienne Westwood Seditionaries Personal Collection label stitched within the fabric lower right (now moved due to stitching coming away), with D-ring to each shoulder, and D-ring and dog-clip to each long sleeve, accompanied by a letter of provenanceFootnotes:ProvenanceOffered by the vendor who purchased it at the time of creation.'Anarchist Punk Gang', or as it is also known 'The One Per Centers', is one of the final, and darkest, designs by Malcolm McLaren and Vivienne Westwood to be introduced at Seditionaries. In 1979 McLaren regularly spent time away from London in Paris and later said that while he approved the design, Westwood was principally responsible for the genesis and realisation. The bleakness of the artwork not only reflects the beleaguered state of affairs experienced by the pair and their coterie but also acts as a memoriam for Sex Pistols bass-player Sid Vicious, who had died in February 1979 from a heroin overdose. The Pistols, around whom McLaren and Westwood's design work revolved from 1976, split up at the beginning of 1978 and in October that year, Vicious had been arrested in New York for the murder of his partner Nancy Spungen. His death four months later coincided with the commencement of an extremely acrimonious court case brought against Pistols manager McLaren by the surviving members of the group with the backing of Richard Branson's record company Virgin Records. Since Punk had gone overground, Seditionaries was by this time regularly closed as a result of it being vandalised and graffiti-ed by passing punks and football hooligans, while members of the staff pilfered stock to fund their drug habits. The appropriately death-cult design takes its text and imagery from Hell's Angels biker gangs, and features a skull at the centre surrounded by the phrase 'As You Were I Was As I Am You Will Be.' This derives from a graffiti scrawl attributed to Heinrich Himmler the gonzo writer Hunter S. Thompson included as a chapter heading in his 1966 book Hell's Angels. The skull is positioned between two banners, with all text in so-called 'blackmail' lettering as if cut out of newspaper headlines, just as in the Sex Pistols band logo, 3 and both feature the encircled capital 'A' anarchy sign which first appeared as a radical political symbol in the 1860s as a protest design of the International Workingmen's' Association of Spain. One flagpole is emblazoned '1%' above the statement 'Anarchist Punk Gang'; in contrast, the other carries a quote from a recording of Vicious in an interview circulated after his death: '99% is shit.' This appears above the slogan: 'Create hell and get away with it.' Underneath the red, green and black vector bearing the skull is the statement: 'The barrier between friend and foe is thin 'At certain times of day there are only us.' This is from a quote by a biker in Raymond C. Morgan's book Angels Do Not Forget, which was published in the summer of 1979. The final statement in the design announces: 'We're the 1% who don't fit and don't care.' As well as looping back to Vicious's original statement, this quotes from the chorus of the Pistols' anthem Pretty Vacant, which ends with Johnny Rotten declaring: 'And we don't care.' Note: the opposing texts '1%' and '99% is shit' are absent from this shirt due to the shoulder insets of the muslin design.For further information on this lot please visit Bonhams.com
Full title: A human skull for academic purposes with sagittal and transverse section, 20th C.Description:H 18 - L 13,5 - D 21 cmCondition reports and high resolution pictures are available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.comPlease note that external links are available on our website www.coronariauctions.com
GERMAN WWII ARMY MINE FIELD MARKER KIT, appears to be complete w/ approx. 20 yellow skull flags w/ metal polls, its black leather case is 22” tall & has a side pouch for yellow marking strap, inside its top flap is a eagle, a “1940” date & makers stamp, comes w/ web carry strap, some damage & honest wear but overall nice,
EARLY THIRD REICH ALLGEMEINE-SS ENLISTED RANKS / NCO’S PEAKED VISOR HAT, fine example of an early period Allgemeine-SS peaked service cap constructed from a fine black wool with whip cord weave. White piping to the crown and bordering the central band. Cap is fitted with early pattern short winged NSDAP eagle and early pattern jawless skull. NCO’s pattern chinstrap with one plain black side button and one replaced pebbled example. The peak has brown underside with cross hatch and the black SS runes and RZM stamp. Interior with tan leather sweatband with perforated forehead section. Satin cloth lining to the interior with the celluloid diamond having SS runes underneath and original owners name inked on card to the centre. The interior of the cap has various theatre stamps, some of which have been inked out. The sweatband shows some evidence of being re-attached at one time. Underside of the sweatband is the SS RZM linen label. Many German caps and uniforms were captured and used in various theatre and film studios in both Eastern and Western Europe, so not uncommon to find with ink stampings from such places.
THIRD REICH ALLGEMEINE-SS ENLISTED RANKS / NCO’S PEAKED VISOR CAP, superb example of an original allgemeine-ss peaked in black wool with white piping to the crown and bordering the central band. Matching early SS cap eagle and Totenkopf skull to the centre of the cap. Correct pattern chinstrap with plain side buttons. Underside of the peak is stamped with the SS runes and RZM mark. Leather sweatband with perforated forehead section. Interior with the orange oilcloth lining with celluloid diamond having gilt tooled large SS runes, machine embroidered RZM label and inked name of the original owner of the cap. Tan leather sweatband with metal initial emblems attached and the underside has the early large RZM linen tag. Overall a very good example which was recently discovered from the estate of a American veteran in upper Wisconsin.
Quantity of Eaglemoss Marvel Movie Collection Figurines x 20 includes Hulkbuster Armour, Thanos, Ant-Man, Rocket, Captain America, Black Panther T'Challa, Red Skull, The Winter Soldier, Drax, Tony Stark, and others, all generally Excellent to Near Mint, within Good to Good Plus packaging, all include certificates. (20)
Quantity of DC Comics Silver to Bronze Age Superman comics x 46 issues includes #247, #268, #271, #274, #275, #279, #282, #283, #285, #286, #288, #290, #300, #303, #305, #308, #316, #318, #322, #330 - #334, #336 - #343, #349, #350, #352, with key issues featuring, Origin of Superman retold (#300), 1st appearance of Albert Michaels, later becomes the Atomic Skull (#303), First use of the iconic 'bullet' DC logo on a Superman cover (#308), 1st appearance of Master Jailer, an engineer of traps and an escape artist (#331), also includes Superman #2 (1987) and Superman Monthly #28 (1989) Superman featuring The Justice League, all generally Fair to Good. (46)
GUNS N ROSES - APPETITE FOR DESTRUCTION - LOCKED N LOADED EDITION - THE ULTIMATE F'N BOX (B0028153-80). A triumphant box set here from 2018. The Appetite For Destruction: Locked N’ Loaded box is the one true GN’R Holy Grail. The box includes the Super Deluxe Edition with 4CDs featuring the album newly remastered for the first time ever; B-sides N’ EPs newly remastered; the previously unreleased 1986 Sound City Session N’ More recordings; a Blu-ray Audio disc with the album, bonus tracks and music videos in brand new 5.1 surround sound along with the unearthed music video for “It’s So Easy” originally shot in 1989 but never finished; and a 96-page hardcover book showcasing unseen photos from Axl Rose’s personal archive and a wealth of memorabilia. In addition, the Locked N’ Loaded box contains high-quality collectables including seven 12-inch 180g audiophile vinyl discs, a Hologroove Hologram of the GN'R logo, seven 7-inch singles on yellow vinyl, 12 lithos newly visualizing each song on Appetite, 5 custom hand-made metal-cast band skull face rings, 5 hand-made metal-cast band skull face lapel pins, buttons, patches, 3 replica concert tickets, 6 replica gig flyers, 5 metal skull face-stamped and signature-stamped guitar picks, a turntable mat, 2 wall posters, replica 27"x40" ‘85/’86 club days banner, a Robert Williams painting litho, 5 never-before-seen band lithos, a 32gb solid metal cross USB stick (with 192kHz 24-bit, 96kHz 24-bit, 44.1kHz 16-bit digital audio), a micro-fiber vinyl cleaning cloth, 7-inch large hole adapter, 2-inch collectable coin, 6 iron-on logo patches, bandana with silver metallic ink, replica "Welcome To The Jungle video invite flyer, 5 logo buttons, a numbered certificate of authenticity. Limited to just 10,000 copies worldwide. The condition is As New.
A RARE .22 HAKIM UNDER-LEVER SPRING-PISTON AIR-RIFLE, MODEL 'MILITARY TRAINER', no visible serial number, made in 1955 by Anschutz for the Egyptian Government and based on their 1954 model, with a 19 1/2in. barrel, raised fore-sight with tunnel protector, micro-adjustable fore-sight, lever-operated loading tap, the front of air-chamber stamped with a skull & crossbones device and Arabic markings for the National Union Youth Movement, larger 'U' shaped battle-sight midway along air chamber, further Arabic inscriptions to trigger-unit translating as 'Training Airgun Anschutz, Germany 1955', military style three-quarter wood stock, concealed under-lever (retaining catch loose) and fittings for sling.
Collection of assorted fossils and specimens to include a large lower jaw with teeth fossil (found in Libya), oyster fossil (Libya), fossil bones (Libya), 3 slabs of silurian limestone, fossil teeth (Libya), limestone slab with crinoids and sea urchin spines, early cephalopod silurian (hertfordshire), fossil turtle shell, coral, ammonites (UK), deer skull and antlers (somerset) and antelope horn (Libya). Largest slab measures 44cm wide.
Napoleon style dagger with a Stainless blade and a floral hilt with an eagle and classical head in relief, in a metal sheath intialled "N", L.40.8cm; Masonic dagger with gilt cross bones and wire bound hilt with skull finial, in a gilt metal mounted sheath, L.37.8cm, and a Masonic dagger with cross bones and a skull mounted tapering wood hilt, L.36cm. (3)
Masonic paper knife in the form of a dagger with a bronze hilt with 2 figures in relief, and a skull and mask finial, L.24.4cm; smaller knife with a soldier hilt, another with a figure hilt in a velvet sheath, brass knife with a curved blade, 4 "sword" knives, 4 others, cased, Sterling and another sword brooch, 3 boxes and 2 coins. (a lot)
Easel drawing by Alexander Konstantinovich Bogomazov. Triple portrait. 1916 It is a combination of three, multidirectional portraits, revealing the facets of the character of one person. The profile and face of a balding man in glasses, dressed in a suit, with a tie and a button on the lapel of his jacket, are clearly visible. The third silhouette combines both previous ones and is opposite to the profile. Represents radical materiality seen from the back of the head. If the profile drawing carries the plot of psychological characteristics, lifestyle; face - the inner, desired image of a tired lyricist; then the ball of a skull with an open mouth and prominent superciliary arches is rather an act of surprise, seen from the back of unfamiliar matter. And it acts as a frightening physical objectivity of a person. Although, in the heat of provocativeness, there is more methodological controversy with fellow workers; nevertheless, in a dispute in absentia with the Italian cubo-futurists, Bogomazov nevertheless clearly expands the tripartiteness to philosophical generalizations and a constructivist secret vision of matter. In the lower right corner (3rd portrait), 1916 Kyiv. On the back, in blue pencil, is the signature of Bogmazovs widow Wanda: " I certify the work of my husband AK Bogomazov: V. Bogomazov " . The inscription was made during the sale of works in 1979. Half cardboard, charcoal pencil. 66.6 x52.6 cm. In addition to the examinations of the All-Russian Artistic Research and Restoration Center named after academician I.E. Grabar for 2007 and the State Scientific and Restoration Institute of Restoration of the same year, Smolnikovs own handwritten letter about the acquisition of six graphic works from the masters family is attached . Width: 52.6cm, Height: 66.6cm, Depth: 0.3cm, Weight: 1kg, Condition: Good, Material: Pencil
Loading...
![Edward Walker Slade: 'The Skull, and Other Poems', Bristol, printed and published for the author, 1829, 1st edition, vi,[2],2](https://cdn.globalauctionplatform.com/b3c2c738-19d0-4d60-8532-b0c100bdc003/062df7a9-36cb-4410-bcce-b0c10108df42/468x382.jpg)
