Attributed to Sebastián López de Arteaga (Seville, 1610 - Mexico, 1656).Carved, wooden "cell cross" painted in oils.61.5 x 31.5 cm. Powerful, inspiring and devotional oil painting on panel with the image of Christ Crucified at the moment when, according to the Evangelist John or Psalm 22, He says some of his seven last sayings: - to God, his Father: ‘My God, my God, why have you forsaken me?- to all: ‘I thirst’;- to the world: ‘All is fulfilled’;- and finally to God: ‘Father, into your hands I commend my spirit’.The ‘cell cross’ is a type of devotional piece very common in Spanish and Latin-American convents and monasteries in the 17th and 18th centuries, and was placed inside each cell for the personal use and worship of each monk or nun.The cross has rectilinear sections, unadorned, and worked in an illusionist, three-dimensional manner, the amount of light is somewhere halfway between the typically Baroque tenebrist light and expression of pathos and the artificial Mannerist light, that invisible ‘cannon of light’ that makes us look at Him. Christ appears in the centre, with foreshortened and expressively deformed anatomy, which denotes the continuance of mannerism even into the 17th century. Following this Christ from top to bottom, at his feet we see a depiction of death treading on the devil. While regarding the pain and death of Jesus on the cross, the skeleton at his feet may seem to be perverse mockery, or nihilistic and macabre irony.This design of a skull (Adam's skull) with two tibias, or scattered bones, and a sitting or standing skeleton originated in the late Middle Ages as a symbol of death and especially as a ‘memento mori’, a visual reflexion on the transience of life (remember that you will die...). In this work, and on the same plane or level, death steps on the devil, on evil, as if they were saying to each other: neither you nor I have the last word, only the resurrection.And horizontally, like two ‘loving’ messages flowing from the blood of his hands, we see two birds: in his right hand, as we look at it, the Phoenix on a burning fire, a symbol of hope, poise, memory and regeneration, a miraculous bird that feels death and prepares it with care and serenity to then rise from its ashes unharmed and vigorous (an impossible dream for a human being who has no faith ...); in his left hand, as a finale, he presents a bird and its chicks, which she feeds with her own flesh and blood. The pelican, one of the symbols of Christ, of His martyrdom and death as salvation through the ultimate sacrifice and love for others. In Catholicism it is associated with the Eucharist: with the immolation of Jesus, who with His own flesh and blood nourishes and redeems humanity. A true example of love is the pelican that restores its young with its own blood. Such is the love of Christ who with His blood restores life and gives us his kingdom on the cross.The composition ends with this pelican which encloses, with a motto, the expression of love of this Christ on the cross: ‘SIC’, ‘HIS QUI DILIGUNT’ (Thus - For those who love).
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Sixteen British Quad film posters – includes: Pearl Harbour, Dead Babies, Gunshy, Pirates of the Caribbean: Curse of The Black Pearl, Emperor’s New Groove ( x2 designs), The Quiet American, Indiana Jones and The Kingdom of the Crystal Skull, Blade Runner 2049 (x2 designs Harrison Ford/Ryan Gosling), Ae Fond Kiss, Monsters Inc, Return to Neverland (Disney), Atlantis, Matrix Revolution, and Dirty Pretty Things, all rolled, 30 x 40 inches. (16)From 2000-2020, the vendor's late husband worked for a company that printed film posters. Their main clients were Buena Vista, 20th Century-Fox, Warner Bros., and other small independent film companies.
Fourteen British Quad film posters - includes, Chicago (x3 Richard Gere, Catherine Zeta Jones and Rene Zelweeger), The Business, Amelie, Rabbit Proof Fence, Tichbourne Claimant, Eternal Sunshine of the Spotless Mind, Ae Fond Kiss, Live Forever designed by Damian Hirst, Series 7 The Contenders, Avatar, Indiana Jones and Kingdom of Crystal Skull, all rolled, 30 x 40 inches. (14)From 2000-2020, the vendor's late husband worked for a company that printed film posters. Their main clients were Buena Vista, 20th Century-Fox, Warner Bros., and other small independent film companies.
An unusual George II enamel and gold memento mori mourning ring, circa 1730, centring on a skull and crossbones applied with white enamel en ronde bosse, the reverse with a glazed compartment containing hairwork, to a band composed of banners applied with black enamel, reading 'ANN BENNET OB'11 APR:1730 AET 24', size J
Remco (c1982) The Warrior Beasts 6" action figues including Craven, Hydras & Skull Man, all on card (curled corners) with bubblepack (3)The items in this auction are located offsite and as such, we have limited access to provide postage quotes. Therefore, we are only able to offer a discretionary post and packing service on small, singular items. Due to the fragility of lots in this auction, we would strongly advise using a professional packing service in most instances.
Mattel Mighty Max (c1994) Horror Heads Freako N.13414, Bugbeast No.13412 & Hydronic No.13415 (card curled & split to corner) and Heroes & Villians Collection 1 Skull Matser, Collection 2 Lava Lord (x2) & Collection 3 Warmonger (x2), all on card with bubblepackThe items in this auction are located offsite and as such, we have limited access to provide postage quotes. Therefore, we are only able to offer a discretionary post and packing service on small, singular items. Due to the fragility of lots in this auction, we would strongly advise using a professional packing service in most instances.
Bluebird (c1994) Mighty Max Battle Warriors Lava Beast No.951191 & Hydra No.951181, Doom Zones Fire Alien No.94221, Traps Rattus No.951391 & Skull Dungeon No.930821, Dread Heads Razorback No.940901 & French Version Micro Heads Sugador, Lobotix, Veneno, Vampiro, Ratazana & Praha do Fargo, all on card with bubblepack (12)The items in this auction are located offsite and as such, we have limited access to provide postage quotes. Therefore, we are only able to offer a discretionary post and packing service on small, singular items. Due to the fragility of lots in this auction, we would strongly advise using a professional packing service in most instances.
Kenner (c1994) Saban's VR Troopers Ultimate Ryan Steele action figure , Katitlin Star, Ryan Steele, Skug (x2), Deluxe Kaitlin Star & J.B.Reese, Super Deluxe Ryan Steele, The Decimator & Kaitlin Star, all on card with bubblepack & Turbo Cycle & Fighter Bike, both boxed, Plus Ban Dai (c1996) Saban's The Masked Rider action figures Dex, Masked Rider Super Gold, Cyclopter, Slashing Skull Reaper, Disc Throwing Robosect, Dagger Stabbing Double Face, Commanding Count Dregon and Combat Chopper & Magno, all on card with bubblepack ( 2 boxes)The items in this auction are located offsite and as such, we have limited access to provide postage quotes. Therefore, we are only able to offer a discretionary post and packing service on small, singular items. Due to the fragility of lots in this auction, we would strongly advise using a professional packing service in most instances.
In Time Products Co Ltd (c1992) Rapid Deployment Force 12" action figures Marine, Night Paratrooper, Airbourne Ranger, Para Ninja & Skull, boxed, plus accessories on card (1 box)The items in this auction are located offsite and as such, we have limited access to provide postage quotes. Therefore, we are only able to offer a discretionary post and packing service on small, singular items. Due to the fragility of lots in this auction, we would strongly advise using a professional packing service in most instances.
Attributed to Edward Alfred Chalon (Swiss-British, 1780 - 1860) -L'horoscope (The Fortune Teller) -Oil on leather mounted on a metal plate -46.5 x 37.5cm - 66 x 56cm framed -Signed and titled label attached to the verso -A monogrammed watercolour of the same subject offered at Sotheby's London on 20th September 2019 (lot 641). The oil painting appears to be a variation of the scene with slightly altered elements, such as the replacement of the figure of the woman to the left with a wall niche housing a glass jug, and an inclusion of a dog in the foreground. The symbolic elements such as the zodiac emblem on the wall and the skull and bones ornament on the fireplace are nearly identical.
A VICTORIAN OVAL BOG-OAK MOURNING LOCKET,with carved lyre and floral swag appliqué, with engraved dove motif to interior and containing a lock of blonde hair and a photograph of a young Victorian gentleman; together with a profusely carved brooch encompassing the heraldic emblems of Shamrock, Rose and Thistle; together with a throat ornament mount featuring the same carved emblems with recumbent Irish wolfhound to centre; together with two carved Latin crucifix pendants (one damaged); together with 57 spherical beads ; and with a Victorian photograph of the owner Mrs Giffney wearing the items above.Presented with typed correspondence on the subject dating to 1951 from Mr Anthony T. Lucas (1911-1986), former President of The Royal Irish Society of Antiquaries and Director of the National Museum of Ireland.Since Classical Antiquity, humans have endeavoured to impress the inevitability of death and therefore the importance of living. The Latin trope ‘Memento Mori’ (Remember That You Must Die) is expressed through the world’s art, funerary architecture, and jewellery. Motifs such as the skull, the skeleton, the rat, the coffin and the earthworm have been employed throughout Classical history and later to impart a universal understanding of the term. Mourning Jewellery deviates from the former in that it commemorates the death of a specific person, usually by marking their death dates or even utilising their hair, skin or teeth in the fabrication of the piece. The execution of King Charles I in 1649 was arguably the first example of popular ‘Mourning Jewellery.’ Despite the grievances aired during his reign, culminating in the Second English Civil War and the dissolution of the Monarchy, Charles I had many sympathisers to the Royalist cause. After his execution, many of his supporters commissioned jewellery bearing his image and dates secretly engraved on the inside of the ring band or behind a concealed locket. This implied that these nobles had remained faithful to the Royals even during the period of the Commonwealth (1649-1653) and later the Protectorate (1653-1659) up until the Monarchy’s restoration in 1660, whereupon the wearer would hope to be rewarded for their loyalty to the Crown. Later in the 19th century, the untimely death of Prince Albert (1819–1861) provoked the reigning monarch, Queen Victoria into a lifelong state of mourning. The remaining forty years of her reign saw the macabre motifs associated with mourning jewellery evolve into decidedly more romantic imagery of roses, doves, angels, willows and urns. Typically, the piece was set with enamels and other complementary precious stones and ornamentation such as pearls, to symbolise tears, and jet for grief. The blackened wood of the bog oak became an excellent Irish alternative to the more widely recognised Jet used in Victorian jewellery. As a result, the bog oak ornaments, became the ideal transfer for the nationalistic motifs of a country on the precipice of independence. Imagery was favoured which further promoted the national identity of Ireland as an established state with its own identifiable customs and symbols. The most common motifs include round towers, shamrocks, abbeys, Irish wolfhounds and harps, all which serve to perpetuate a national identity for Ireland’s fledgling tourist industry. The use of Bog Oak for decorative purposes was not a novel concept as it had been chosen as the primary material for the Downhill Harp, crafted by Cormac O’Kelly in 1702. However, Mr Patrick McGuirk is generally credited with escalating the demand from what had previously been considered a cottage industry craft. Supposedly, in 1821 McGuirk presented King George IV and The Duchess of Richmond with a carved cane on their visit to Dublin. The Duchess commented that it would be preferable to carve in the native wood of the country. Taking this to heart, McGuirk attempted to carve on bog oak he acquired and finding it quite suitable, he commenced what would become a robust trade nationwide for the next 100 years or so. Joseph Johnson of 22. Suffolk Street, Dublin is credited with patenting a high-pressure moulding mechanism for high relief detail using heat and steel dies. This enabled the production of ornaments to increase, and it became a highly profitable business on a larger industrial scale. Other important names in the trade include John Neate (1796-1838) of Kerry, Cornelius McGoggin (fl.1850-1914) of Kerry and Dublin and William Gibson of Belfast and many more otherwise.Stephanie Brennan August 2024
A GROUP OF LADIES' HAUTE COUTURE INCLUDING YVES SAINT LAURENT, KARL LAGERFELD AND CHRISTIAN DIOR, HATS AND BOXES (15)Five jackets by Yves Saint Laurent , comprising: a sage green linen jacket; a military style red jacket (size 40 ); a mustard coloured military style jacket; a purple and green silk jacket; a black jacket with braided trim and tassels and a red, black, purple check silk blouse with bow (size 36); A Karl Lagerfeld purple jacket short military style; a Christian Dior logo cropped jacket; a Guy Laroche Hounds Tooth jacketTogether with a Simone Minnan black velvet skull cap hat with bow to the back in a card box, a black straw hat with a black and white bow and a black woven belt, with another belt; And and canvas hat box with the initials GCS: and a square leather mounted travelling case, 41cm wide, 30cm highProvenance: Property from the Collection of the late Countess of Avon.
![Lot to include hair clippers, boxed Ministry Of Sound portable speaker skull form money bank and other. [W]](https://cdn.globalauctionplatform.com/effd5478-7fbc-4ed7-b81d-b1e200d7089f/57a81528-9bf1-423c-8b7e-b2050114fa9a/468x382.jpg)
Late 4th century BC. A bronze Attic-type helmet. Made from a single piece of bronze, this helmet has a domed skull, a central crest, and a defensive brim. The helmet also has molded geometric motifs on the sides of the skull. Professionally restored. Size: 180mm x 280mm; Weight: 600g Provenance: Property of a European collector; Ex. K. J. Hewett collection, UK, acquired in 1978. This item has been cleared against the Art Loss Register database and comes with a confirmation letter. This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.
Karen Allen, actress. A signed 11x8 inch photo as Marion Ravenwood from the 2008 film, 'Indiana Jones and the Kingdom of the Crystal Skull'. Good Condition. All autographs 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 £9.99
Antlers/Tusks: A Collection of Roebuck Antlers and Wildboar Tusks, thirty two sets of adult and juvenile Roebuck antlers, on cut frontlets and skull caps, mounted upon identical dark oak shields, together with thirty sets of adult and juvenile Wildboar tusks, mounted upon various circular and carved Austro-German shields, in two boxes, (62)
Antlers/Horns: A Large Collection of European Roebuck Antlers (Capreolus capreolus), thirty sets of mostly adult antlers on cut frontlets and skull caps, mounted upon various shaped shields (some abnormal),together with fifty sets of large adult and juvenile antlers on cut frontlets and skull caps (some abnormal), (unmounted), two boxes, (80)
Victorian Anatomical Human Skull & Part Skeleton, 19th century, part skeleton and human skull, skull with jaw held in place with brass springs catches to the cranium with locating pins, with other parts of a dissected human skull with old ink writting to various parts, all in a pine case Provenance: from the private collection of a surgeon
A Group of Surgical Instruments, including: three English, mid-late 18th Century, Hey's double, serrated bladed skull saws, steel, stamped for makers Evans, Aitken and Weiss, two with cross hatch, ebony handle and one studded, octagonal, lignum vitae handle – largest 18.8cm., smallest 17.7cm. long; a late 18th Ferguson's jaw saw, steel with studded, cross hatch, ebony handle – 17.8cm. long; a French, 19th Century, lenticular, steel, by Charrière, with plain and cross-hatch, turned, ebony handle – 17.3cm. long; and an English, 19th Century, angled skull saw, by Arnold & Sons, steel with studded, horn handle – 23cm. long Notes: The saw by Aitken was previously bought from Simon Kaye Ltd in 1985. The saw by Weiss was previously bought at David Stanley Auctions on 17th September 1988 (Lot 121). The saw by Evans was previously bought at Sotheby’s on 15th August, 1988 and was originally the property of John Jones a surgeon of Fortescue Lodge, Ilfracombe, who died in January 1866. The Ferguson's saw was previoulsy bought at David Arnold Auction on 10th November, 1999 (Lot 858). The Charrière lenticular was previously bought at David Stanley Auction on 27th September, 2003 (Lot 1588).The Arnold saw was previously bought 7th January, 2003 (Lot 97).
Collection of Period X-Ray, High Voltage & Physics Books including; Rontgen Rays in Medical Work, David Walsh, 1907; A Roentgenographic Study of the Vascular Channels of the Skull, Knut Lindblom, 1936; Atlas of Roentgen Anatomyof the Newborn and Infant Skull, Charles N. Chasler, 1972; Electrical Influence Machines, J grey, 1903; Les Rayons Cathodiques, P.Villard; Induction coils, G. E. Bonney, 1892, and other books including some
Victorian Human Skull Showing Surgery Victorian Human Skull from a private medical collection showing a trephine hole at the top of the head. Provenance: from the private collection of a surgeon Note: according to the vendor ( a retired Sugeon) the reason for the surgery may well have been that the patiant suffered a blow to the side of the head where the skull is thinnest just above the ears. Here there is an artery that can burst and cause bleeding in the brain ( known now as "talk and die" syndrome), the surgery would have been to releave the pressure in the brain.
A Household Cavalry Officer’s 1847 Pattern Helmet. A fine example, the silvered skull complete with gilt overlays, the frontal plate of Rococo pattern of gilt crowned shield with laurel wreaths, to the centre silvered beaded cut star with Garter motto in gilt on blue enamel ground with silvered St. George’s cross on a red enamel ground, regulation pattern side ornaments, velvet leather lined chin chain, standard pattern plume base and holder with correct horse hair plume with large rose finial, velvet lined chin chain, inner sweat band and silk lining complete, very good condition £1,200-£1,600
An Indian Mutiny C.B. pair awarded to Brigadier-General Edward Brice, a veteran of the Coorg Expedition of 1834, who commanded ‘F’ Troop, Madras Artillery, throughout the campaign in Central India in 1858-59 The Most Honourable Order of the Bath, C.B. (Military) Companion’s breast badge, 22 carat gold and enamels, hallmarked London 1859, makers mark ‘WN’, complete with correct gold swivel bar suspension and ribbon buckle; Indian Mutiny 1857-59, 1 clasp, Central India (Bt. Major E. Brice, F. Tp. Madras Art.) good very fine (2) £3,000-£3,600 --- C.B. (Military) London Gazette 1 March 1861. Edward Brice was appointed Second Lieutenant, Madras Artillery, on 16 June 1826; First Lieutenant, Madras Artillery, 25 February 1828; Captain, by Brevet, 16 June 1841; Captain, Madras Artillery, 3 July 1845; Major, by Brevet, 20 June 1854; Lieutenant-Colonel, by Brevet, 20 July 1858; Lieutenant-Colonel, Madras Artillery, 5 November 1858; Colonel, Royal (Madras) Artillery, 25 September 1861; Inspector of Artillery with rank of Brigadier-General, from 1 November 1862. Served in the expedition to Coorg in 1834 - was present at affair at crossing of the river, and Ramasamy, Kanaway, Beebaby, and Hunninghy; served also with the Saugor Field division under Major General Whitlock in 1858, was present at the affair at Kubrai 17th April 1858, and at the battle of Banda 19th April 1858. Brice commanded ‘F’ Troop, Madras Artillery, throughout the campaign in Central India. The following extract is taken from the Memoirs of David Dinwiddie, who was Major Brice’s troop sergeant major: ‘To show you that all native troops during this time were not in open mutiny, I may mention that this very ‘F’ Troop when under the Command of Major Brice, in Secunderabad, was the means, under his well ordered plans, of keeping the large city of Hyderabad in awe and order, and under Providence, saved also the southern part of India from the fate of Bengal. For this important service, I believe, Major Brice received his military honours, and now, 1864, holds a good situation as Inspector of Artillery. Just think of the respect the native Mussel-men of this Troop must have held their Commanding Officer in, when they fired at and killed a number of their own caste and countrymen at a moment when the whole city of fanatics were ready to break out at the slightest success of their leaders, and murder every man, woman, and child of European descent belonging to the garrison of Secunderabad, which is situated a few miles from the Residence of their King or Rajah, the Nizam. If the Sepoys in Hyderabad city had not been held in check by this native troop at this critical moment, the entire people of the country from Cape Comorin to the river Nurbuddah, might have committed themselves, under the example of the Madras Native Army, which had been hourly expected to break out in open rebellion as had been the case in Bengal, in May and June the preceding year, viz., 1857.’ Troop Sergeant-Major Dinwiddie makes many mentions of Brice in his memoirs and also describes a close escape from an exploding gun-limber in May 1858: ‘Previous to finally quitting my troop; it was ordered out one morning, with a few of the 12th Lancers to reconnoitre the surrounding country, and to let the villagers know that they would be protected from the rebels, provided they would stay at home and cultivate the soil as heretofore. This being done, after a few hours fast riding, with the guns and Cavalry across country, we were on our way home, when an accident occurred, which proved more dangerous than the field of battle, viz., the blowing up of a gun-limber full of shot, shell and powder. On the leading gun-limber two unfortunate natives sat, whom we had taken with us from Bandah as guides to show the way from village to village. The ground was rough over which we passed at a quick pace, this shook the limber boxes in which was packed the ammunition, which ignited through friction, a rather uncommon occurrence, but it should be remembered the weather was very hot. The ammunition had been carefully packed a few days previously. First a single loud report was heard, when we looked over our shoulders to see what was the cause; quick as thought three shells burst in succession. The next moment, the guides before mentioned were blown up in the air, torn into pieces, their clothing on fire, portions of their bodies, being afterwards found half-roasted; the guns and cavalry, which were all in the rear had timely seen the danger, and halted. The six horses, yoked to the doomed limber, two of them within a yard of it, on the first report rushed to the front in terror, the drivers having no control over them, and they were only brought to a stand, when the pole horses sank exhausted, having been burnt by the explosion and wounded by the splinters of the carriage and limber, which were blown to a thousand pieces. Major Brice who commanded the party, and who was selected for this duty, on account of his knowledge of the language, Lieutenant Sewel, one of the subalterns of the Native troops, the Quarter Master Sergeant and myself were riding close in front of the leading horses. On the report of the explosion, our horses also stretched out at a full gallop in terror, but were closely followed by the exploding limber. We expected to have our bodies riddled by balls or splinters of wood and iron. In this case the strongest resistance to the force of the powder was from below, viz., from the strong frame of the carriage and axle tree-bed on which the two ammunition boxes were fixed, the consequence was, all the missiles of danger flew, sloping upwards over our heads, so we in front escaped uninjured: but the leading driver at the moment he was looking over his shoulder was struck on the mouth by a stray foot of one of the unfortunate guides, his lips were swollen for a few days; the centre driver, next in the rear, died of wounds received in his skull and neck; the pole driver, recovered of his wounds, which were (wonderful to say) very slight, he being next to the guides at a distance of two yards. One pole horse was shot to put him out of misery, the other five were soon fit for duty, a new limber was supplied from the large Park of Artillery, packed as its predecessor with ammunition, and the gun was again ready for action in a few hours after the accident. I shall always remember the blowing up of the limber, and thank God I escape. The families of the guides were paid a certain sum of money as compensation, and the widow of the unfortunate driver pensioned for life. Major Brice had, previous to the accident of the limber, been suffering from his chest and the extreme heat; he was now unable to do effective duty, so his Medical man recommended a change of climate. Doctor Ford doing duty with the force, was also seriously ill at the same time, thus they both left the Army a few days after the limber affair on sick leave to Madras, to enjoy the cool and bracing breeze of the Neilgherry [Nilgiri] Hills; I was likewise ordered to accompany the two sick officers, and have an eye to their wants as far as Madras, and then join my new appointment at Palavaram. Accordingly I bid farewell to camp life for a time, and made the best of my way down the valley of the Ganges to Calcutta.’ Sold with copied research including the above-mentioned ‘memoirs’.
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