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Ca. 2045 - 1794 BC. A bronze, crescent-shaped axe head with three pierced holes for attachment to a handle. Cast using the lost-wax technique. this piece features a high, thick ridge along the back for strength. For similar see: The Metropolitan Museum of Art, Accession Number: 15.2.5a, b. Reviewed by Simone Musso, consultant curator for Egyptian antiquities at the Stibbert Museum, Florence, Italy, member of the Nuri Archaeological Expedition. Size: 200mm x 70mm; Weight: 260g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Ca. 1200 - 800 BC. A pair of cast bronze adze heads with a cylindrical socketing shaft, a tapered spike on the back end, and a horizontal adze blade on the front. For similar see: Nikolaus Boroffka, Simple technology: casting moulds for axe-adzes. In: Tobias L. Kienlin, Ben Roberts (ed.), Metals and society. Studies in honour of Barbara S. Ottaway. Universitätsforschungen zur Prähistorischen Archäologie 169. Verlag Dr. Rudolf Habelt GmbH (Bonn 2009), pp. 246-257, n. 1-2. Size: 60-60mm x 95-95mm; Weight: 1.2kg Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets.

Ca. 5000 - 3000 BC. A set of three stone axe heads, knapped from hard stone with polished surfaces. Each petaloid tool bears a sharpened edge, suitable for a variety of early utilitarian tasks. Size: 44-55mm x 130-175mm; Weight: 1.5kg Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Ca. 1200 - 800 BC. A pair of cast bronze adze heads with a cylindrical socketing shaft, a tapered spike on the back end, and a horizontal adze blade on the front. For similar see: Nikolaus Boroffka, Simple technology: casting moulds for axe-adzes. In: Tobias L. Kienlin, Ben Roberts (ed.), Metals and society. Studies in honour of Barbara S. Ottaway. Universitätsforschungen zur Prähistorischen Archäologie 169. Verlag Dr. Rudolf Habelt GmbH (Bonn 2009), pp. 246-257, n. 1-2. Size: 70-70mm x 210-210mm; Weight: 1.6kg Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets.

Ca. AD 800 - 1100. An iron axe-head with a narrow sub-triangular asymmetric blade and rounded edge. The top of shaft-hole collar extends into triangular ends. For similar see: The British Museum, Museum number 1852,0329.409. Size: 35-70mm x 148-165mm; Weight: 1.7kg Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets.

Ca. 1400 - 800 BC. A ceremonial Tairona axe, hand-carved from a mottled black stone. The blade is flared, with the cutting edge running from the shoulder to the upturned tip. The thick handle is curved. When gripped, the index finger rests comfortably and securely under the projecting shoulder. The black hues of the stone symbolise fertility, and this blade likely served a ritualistic rather than practical purpose, possibly being buried with the deceased. Size: 230mm x 100mm; Weight: 980g Provenance: Prince collection, 1990s-2014; Ex. Jacques H. Carre. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Predynastic, Ca. 3600 - 3100 BC.A ritual axe head carved from yellow-red stone. The slender tool features a rounded butt end. Smooth surfaces along the upper and lower edges of the blade suggest its ritual use.Size: 95mm x 15mm; Weight: 25gProvenance: Prince collection, 1990s-2014; Ex. Kyros Meals, 2007. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 3000 - 2000 BC. A stone axe carved from fine-grained black stone, polished to a smooth sheen. The body of the hand axe is well-shaped, featuring a large blade on one side and a flat hammer on the reverse side. Size: 145mm x 50mm; Weight: 290g Provenance: Prince collection, 1990s-2014, acquired from Ancient Art Limited, 2008. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Antiquities Interest: A bronze axe head possibly bronze age, L. 18cm. Prov. N. Forbes collection.

Very fine 18ct gold brooch in form of double axe.  Weighs 8.1g .

A collection of vintage and modern decorating and workshop tools - including a Spears hand axe with hickory handle; spirit levels; a wooden mallet; various saws; a crowbar; boxwood and brass wall papering tools; etc.

A LARGE STONE AXE HEAD BLADE NEW GUINEA. EARLY 19TH CENTURY Old collection label to reverse, modern metal stand axe 29.5cm Provenance: Ex David Grey collection Ex Ted Few, London Ex Private collection Condition Report: axe 29.5cm long Wear from use and handlingCondition Report Disclaimer

A COLLECTION OF STONE TOOLS TO INCLUDE: Large flint axe head, possibly Neolithic, 20.5cm long Black basalt axe head 11cm long Granite oval pecking stone 9.5cm long and assorted small tools

ANTIQUITIES TO INCLUDE: A quantity of flint arrowheads, set on card display bases with printed text, panels 10 by 6.5cm An axe head 11cm wide, and a flint core Provenance: Ex private UK collection

The most important India General Service medal awarded to Ensign Henry Haversham Austen (later Lieutenant-Colonel Godwin-Austen, F.R.S., F.Z.S., F.R.G.S.), who was gazetted to the 24th Foot in 1851 and served as A.D.C. to General Godwin in the 2nd Burmese War, and later on special duty with the Bhootan Field Force; as a young British army surveyor he ‘undertook one of the most remarkable expeditions in British mountaineering history; not only did he open the way to the mountain now called K2 but, beyond the village of Skardu, gateway to the Karakoram, he became the first Westerner to explore the world’s most extensive and awesome glacier system; explorations in Ladakh, Tibet, Bhutan and Burma soon followed’ India General Service 1854-95, 2 clasps, Pegu, Bhootan (Ensign H. H. Austen. 24th Foot. A.D.C.) second clasp loose on ribbon as issued, fitted with silver ribbon buckle, toned good very fine £4,000-£5,000 --- Henry Haversham Austen was born at Teignmouth, Devon, on 6 July 1834, son of Robert A. C. Austen, F.R.S., a distinguished geologist, and Maria, daughter of General Godwin, a marriage that produced no fewer than 17 siblings to Haversham between 1834 and 1856, one of whom, Frederick, was killed at Isandhlwana. Haversham, by which name he was always known, was educated at R.M.C. Sandhurst which establishment he entered at the age of 13. Gentleman Cadet H. H. Austen was appointed as Ensign in the 24th Foot on 26 December 1851, and in June 1852 set out for Burma, as aide-de-camp to his grandfather General Godwin, the commander-in-chief of the British forces in the second Anglo-Burmese war. Following the death of General Godwin in 1854 his name was changed to Godwin-Austen by personal decree of Queen Victoria. He was appointed a Topographical Assistant to the Trigonometrical Survey of India and joined the Kashmir Survey party in 1857, with whom he surveyed a very large extent of country in Kashmir and Baltistan. In the latter country the enormous glaciers at the head of the Shigar river and Hunza Nagar frontier, which included the Baltoro glacier, which he was the first to discover, coming down in part from the second highest mountain in the Himalayas and named after him [since renamed as ‘K2’]. In 1862 he surveyed the lofty country of Rupshu and Zaskar in Ladakh, and in July and August of that year he made 13 different ascents of a mean height of 17,900 feet, the highest peak, Mata, being 20,607 feet. The following year he took up the Changchenmo and carried the topography to the eastern end of the Pang Kong lake, close up to Rudok in Chinese territory, where he was met and stopped by the Lhassan Governor. During the winter of 1863-64 he was on special duty with the last mission to Bhutan, and mapped the country between Darjeeling and Punakha, the capital. In 1864-65, having accompanied the political mission of Sir Ashley Eden to the Rajas of Bhutan, he served on special duty with the left column of the Bhutan field force as Surveyor, and was present at the storm and capture of of the fort of Dalimkot and the stockade of Chamoorchi in December 1864. In 1866, and for the following ten years, he was in charge of Survey Operations in the Garo, Khasi, Jaintia, North Cachar and Naga Hills, and Manipur, including in 1874 the expedition against the Dafia tribe at the base of the Eastern Himalayas, when a large area of new country was mapped and many distant peaks fixed. He was President of Section E (Geography) of the British Association, 1883; President of the Maalacological Society, 1897-99; President of the Conchological Society of Great Britain and Ireland, 1908-09; awarded the Founders’ medal of the Royal Geographical Society in 1910 for his exploration work. He was author of On the Land and Fresh-water Mollusca of India, 1882-1920; (jointly with Dr W. T. Blandford) of The Fauna of British India, vol. Mollusca, 1908; together with some 130 papers in the Journals of various Scientific Societies on Geology and Physical Features, Ethnology and Natural History. Lieutenant-Colonel H. H. Godwin-Austen died at his house near Godalming in the Surrey hills on 2 December 1923. Sold with a copy of Catherine Moorehead’s outstanding 2013 biography of this important but long-forgotten explorer, The K2 Man (and his molluscs) The extraordinary life of Haversham Godwin-Austen, the dust jacket of which carries an excellent précis of the story to be discovered therein: ‘Haversham Godwin-Austen (1834-1923), from an ancient and interesting Surrey aristocratic family with royal connections, not only found the first way to the savage mountain, K2, but went on to be the first serious explorer of the Karakoram, Ladakh, Western Tibet, Bhutan, Northern Burma and Assam. He broke the Asiatic high-altitude summiting record three times, using a ‘garden hatchet’ as an ice-axe, saw his assistant killed by headhunters and socialised with everyone from his ‘coolies' to the Maharajah of Kashmir. Back in England, he became one of the UK's greatest Natural Historians, a Darwinist collector among collectors of geological and ornithological specimens. His collection of freshwater molluscs forms the basis of all modern science in the subject. And he became one of the UK's greatest surveyors, covering over 22,000 square miles of new territory, including 23 new glaciers and at least two dozen first ascents of peaks over 5000m. Remarkably, he also found time to paint a vast portfolio of watercolours, including the first close sighting of K2, described by the British Library as a 'national treasure’. (Several of these watercolours are illustrated in this book.) His personal life was equally interesting: three marriages - to an Afghan landowner's daughter, an English socialite, then a civil servant's daughter 23 years younger than himself - were complicated by religious conversions from Anglicanism to Islam then to Buddhism. His strong character as a scholar at great London institutions such as the Natural History Museum is still the stuff of legend, while his bankruptcy in later life required the selling of the 'family pile’, the magnificent, royally-furnished Shalford Park. And thanks to a youthful indiscretion in Kashmir, he harboured a dark secret which came back to haunt him near the end of his long and colourful life. This is the first and authorised biography of an outstanding man. Godwin-Austen's private papers are being made public for the first time. They prove that he was one of the UK's greatest explorers, on a par with Sir Richard Burton, while surpassing the explorations of David Livingstone, Captain Cook or Captain Scott. For mountaineers, scientists, students of biography and historians of the Raj and the Great Game, this biography offers new and original material - a 'must' for the explorer's bookshelf.’

AN INDIAN AXE HEAD (BULLOVA), 17TH CENTURY of slightly recurved form with reinforced bud-shaped terminals, engraved with scrolls along the back-edge on each face, moulded socket attached by a pierced shaped bracket, and lotus bud-shaped terminal at the rear (pitted), 42.5 cm ProvenanceRoy Elvis Catalogue Number E31

A VERY RARE COMBINED SOUTH GERMAN 50 BORE WHEEL-LOCK PISTOL AND AXE, CIRCA 1580 ‡ with tapering two-sage barrel swamped towards the muzzle, fitted with axe-head at the muzzle end with curved upper edge, struck with a five-point cross mark in a rondel on the front, flat lock retained by two side nails, fitted with external wheel with domed cover, sliding pan-cover with button release, safety-catch and dog with moulded spring (areas of pitting, one side nail and safety-catch expertly restored), fruitwood full stock profusely inlaid with stag and green-stained horn pellets within a framework of segmental lines, further engraved panels including a pair of profile demon masks and a green man mask about the barrel tang, a scrollwork panel forming a side nail washer, a diagonally hatched shield behind, a monsterhead panel behind the lock (some plaques restored), iron belt clip and moulded trigger-guard, and bone basal cap decorated with foliage, 48.0 cm overall ProvenanceRobert Brooker Collection inv.no. 2070 A very similar decorated combined wheel-lock pistol and axe is preserved in the Historisches Museum, Dresden, see Lewerken 1989, p. 209, cat. No. 6.

A SOUTH INDIAN HALBERD, PROBABLY 18TH CENTURY, MYSORE with tapering terminal spike formed with a reinforced point, curved axe-blade of European form and re-curved rear blade each with a moulded base, tapering socket engraved with brief inscriptions and interrupted by a raised chiselled moulding, on its wooden haft with iron shoe, the head painted with a further white inventory number ‘118’, 218.2 cm overall Provenance Roy Elvis Catalogue Number F14

A PRESENTATION FIRE AXE LAMP FOR MATLOCK FIRE STATIONthe chromed axed resting on octagonal oak plinth and with inscription plaque 'on the occasion of the opening of the Matlock Fire Station 1961', 35cm high x 24cm wide x 23cm deep

Collection of lead civilian figures, including Charbens Police motorcycle and sidecar (lacks handlebars), Britains Village Idiot with pink smock, Farmer wife with umbrella, country Clergyman, two Station masters, four porters, trollies and luggage, Pixieland-Kew Nippy Lyons waitress, Segal Wolf in grans clothes and woodman (axe detached), John Hill Co bride (lacks hand) groom, bridesmaid and vicar, lead Gypsy camp with dancers, seated musicians and fire with kettle, Polar explorer animals and more, (condition generally good to fair).

Britains set 76, Middlesex Regiment RARE FIRST VERSION 'wasp waisted' marching at the trail, white facings with Officer and Pioneer (Condition Good-Fair, two helmet spikes, one rifle tip and one axe head missing, one man substituted with second officer, sword and helmet spike missing) 1897 (8)

19TH CENTURY INDO PERSIAN TABARZIN. Early 19th Century Indo Persian Tabarzin, axe head with curved engraved steel blade,mallet head engraved figure of a man, all steel haft with spiral decorated panels, axe head length 17.5 cm, 11 cm wide, overall length 74 cm.

Box of mixed hand tools, including an axe. Not available for in-house P&P

SILVER PLATED LOG WITH AXE 19CM LONG

A Rare Large Islamic Battle Axe, 18th century, Gold koftgari, Ottoman Empire or Persia. Steel blade 12 cm long with a small hammer at the back, wooden shaft with the remainder of the winding, reinforced with iron strip secured with spherical nails. Iron, faceted bushing at the top and bottom of the shaft. All metal parts are richly decorated with gold kofgari in the form of floral decoration and Arabic inscription. An excellent collector's item for connoisseurs of the history of the Ottoman Empire. Good condition. Length 58 cm.

A Prehistoric polished flint axe, 6".

Style Two, axe and fire hose handle. Yellow helmet; dark blue jacket. Series: Journey Through Britain. Royal Doulton backstamp. Comes with Certificate of Authenticity. Artist: Stanley J. TaylorIssued: 1989Dimensions: 4.25"HEdition Number: 2381Manufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.

Fractal Audio systems, Axe -FX Pre Amp/Effects Processor. Comes with cord and seems to power up well. In untested condition. See photo.

Carved stone axe head, and a fossil coprolite, with other stones

A Tex .22 air pistol, a machete, an ACME axe and other items (box)

A French model 1833 boarding axe, 50.5 cm high (overall)General wear, a few worm holes, slight surface rust, with a belt hook

Vintage mountaineering ice axe (90cm) t/w annotated travel diary / log & 4 photographs

TWO 19TH CENTURY INDIAN OIL LAMPS, 3 x Tibetan yak bone beads with tigers eye eyes - provenance - Ex Romy Rey Collection - London, a Chinese carved soapstone floral vase, wooden axe head, Indian white metal slave bangle converted to a dish etc.

sledge hammer, axe, saw and 2 rolls of garden fleece 

A two-handed axe of headsman's type, large iron blade with broad curved edge tapering back to the right-angled socket, wooden haft 45 in., possibly 17th century.132.4cm OALThe George Geear Collection

An African axe, Fon people, Benin, narrow iron blade fixed via a collar to a right-angled projection at the head of the wooden haft, a rectangular striking block set to the reverse, length 46 cm; together with a small European axe, heavy forged head, plain haft, length 24 cm; also together with: two Moroccan daggers (jambiya), each with slightly curved and bi-fullered blade 9 in., silver mounted hilts with characteristic fan shaped pommels, silver clad scabbard with foliate decoration in low relief. [4]

Bronze Age socketed and looped 'Palstave' axe head, circa 1,500 - 1,300 BCE , with central rib. L 15cm, weight 400 grams.

A WW2 CHILLINGTON FIRE AXE AND COVER, along with a 1943 dated gun sight

A REPLICA VIKING WAR AXE, an iron head in wooden handle with metal stud decoration to the shaft, L 58 cm

Timpo - Series 26 - Vikings [1975] , comprising: 3 x Mounted Vikings on Foot - Chieftain with Axe, Hornist & Mail Shirt Warrior with Axe Mint & complete overall, now contained in a generally Excellent [some minor storage wea] Earlier Issue Printed Type Window box. Rare to find in this condition.

Britains - Zulu War L/E Series [2011/13], comprising: Set 20107 - British Royal Artillery Hand to Hand Set No. 2 "No Escape", Set 20051 - Zulu Wounded Set #1, Set 20069 - British 24th Foot Stretcher Bearer Set & Set 20057 - "No Mercy" British 24th Foot Attacked by Zulu with Axe. Mint overall, contained in near Mint set boxes. [4]

Timpo Swoppets - [1st Series -1975/79] - Series 926 - Mounted Vikings, comprising: 2 x Mounted Vikings Depicted in Various Poses. Includes: "Sutton Hoo" Helmet Type & 6 x Vikings on Foot Includes: Chieftain Standing Holding Double Handed Axe. Complete & generally Mint overall. [8]

Timpo - Medieval Knights [Swoppet type] Range [1966], RARE BLUE / YELLOW VARIANT, comprising: Foot Knight with Battle Axe, Moulded in the Very Rare Mid Blue Surcoat & Shield [2nd Tournerment Knights Version] with Helm, Surcoat Device & Shield Decoration in Emperor Yellow. Together with Foot Knight with 2 Handed Sword, Moulded in the Brown Surcoat with Yellow Rose & YELLOW HELM & BELT [normally black] combination Mint & Complete overall, Exceptionally Rare Variants. [2]

An African tribal axe, with long metal bound handle, 62cm high, and a similar knobkerrie, 69cm high. (2, AF)

Luigi Amidani (Parma, 1591 - after 1629)“Martyrdom of St. Matthias”Oil on canvas. 206 x 125 cm.This is a painting that was previously unknown to the art market. This large format picture was already mentioned and reproduced in 1965, in an art magazine in Jerez de la Frontera, Spain. The private collection where this canvas was found, together with another (“Martyrdom of St. Andrew”), with which it was paired, is also located in the same town. It was then considered a Luigi Miradori, according to another scholar (Pérez Sánchez). And previously, in the 19th century, it had other and varied attributions. Professor Massimo Pullin made a study on Amidani (1591-1629) and an attribution to this Italian Baroque painter. He used the method of viewing and comparing as many paintings by the artist as possible from many world art galleries, cathedrals and private collections, as well as compiling all the writings and studies related to this Italian painter written until then, with opinions of scholars and curators of art galleries such as the Louvre itself.For his rigorous study, he observed and contemplated in depth all the work by Amidani that existed in Spain (the so-called “Iberian stage” of the painter in which he broke loose from being a mere copyist): on the one hand, a series of ten small paintings (0.43 x 0.35 cm) depicting the “Martyrdoms of the Apostles”, which were in the Royal Academy of San Fernando belonging to the novitiate of the Jesuits in Seville, (then attributed to Tintoretto) and which were in the Academy before 1796 (brought by Ponz); This attribution changed in 1804, in the "Inventario de Alhajas" (Inventory of Treasures), and the new attribution was to Pablo de Céspedes - a painter from Cordoba, as was then noted in ink on the back of the frames. This mistaken attribution was maintained throughout the 19th century, until it was modified by Alfonso Pérez Sánchez in the 1963/64 inventory in which, he proposed Luigi Miradori as the artist. Massimo Pullini in the 21st century (2020) disputed the previous authorship as he recognized the style of the Italian Baroque painter who accompanied Velázquez on his first trip to Italy, in most of this small series. In addition, Luigi Amidani was a favorite disciple of Bartolomé Schedoni, a painter linked to the Farnese family who, in turn, had a close relationship with Velázquez on the occasion of that first trip to Italy. Some of these small-format paintings, which were always on view to students and teachers at the Academy, served as inspiration for later paintings. Massimo, on the other hand, also studied the remains of what could have been another series of the same subject (martyrdoms of apostles) in a larger format, in Spain and in other art galleries around the world, which house the martyrdoms of St. Peter and St. Paul in the Museum of Fine Arts in Valencia, and those of St. Andrew and St. Matthias in a private collection in Jerez de la Frontera, (one of them, the painting we are commenting on).In the small format painting “The Martyrdom of St. Matthias”, the saint is shown lying down and dressed, being viciously stoned by his executioners. In the large format work we have here in our catalog, he appears half-naked, in the style of St. Andrew, St. John, St. Jude Thaddeus, St. Bartholomew..., the torsos are exposed and covered by peplos or remains of tunics or torn and hanging clothes. Professor M. Pullini observes the figures' morphology and expressions as being similar to those of the large format painting from Jerez de la Frontera, faces “that can well be defined as neo-Gothic, full of a hardness that at times borders on the grotesque”. In this large canvas the saint is depicted as being stripped between two soldiers, and in the foreground, kneeling, is the one who announces the method of martyrdom, carrying a basket full of stones. According to tradition, the saint was stoned in Judea around the year 80, after being condemned to death by the High Priest, and later beheaded with an axe for having opposed Caesar.His face does not lose courage or strength, and despite the intuition that he is going to die, he looks on with the strength of the One who fills him with his truth. The large vertical format of the painting must certainly have been chosen to complete the pictorial collection of some chapel or church. Crudeness in the images, pronounced foreshortenings, and violent effects of light are very reminiscent of the influences exerted by the master Caravaggio, and his mature style and the abrupt chromatic contrasts are very much influenced by Ribera.Two other canvases also studied by Massimo could come from this same large-format series.  No longer in Spain, the so-called “Stoning of an Apostle” which appeared on the London antique market and the “Martyrdom of St. Paul” that can be found in the Schloss Weißenstein in Pommersfelden (Germany). Reference bibliography:Bibliografía de referencia:- Luzón Nogué, José María (ed.) (2022). "Velázquez en Italia. Entre Luigi Amidani y Juan de Córdoba". Madrid: Real Academia de Bellas Artes de San Fernando.- Pulini, Massimo (Noviembre de 2020). “Luigi Amidani da Parma a Madrid, da pittore dei Farnese a ‘confidente’ di Velázquez”. About Art On Line.- VV. AA. (2000). Corpus velazqueño. Documentos y textos, 2 vols., bajo la dirección de J. M. Pita Andrade. Madrid. 

15th-17th century A.D. Comprising different axe types and sizes, most with convex cutting edges. See Glosek, M., Późnośredniowieczna broń obuchowa w zbiorach polskich (Late medieval blunt weapons in Polish collections), Warszawa-Łódź, 1996, pl.XII, letter F, for some of these axes. 4.65 kg total, 13-22 cm (5 - 8 3/4 in.). [7, No Reserve]Acquired 1990s-early 2000s. East Anglian private collection.Some of these axes (type VIIa in the Glosek's classification) are a common type in Western Europe, widespread between 12th-15th century A.D. Mostly the specimens are 'carpenter's hatchets' that could also be used as offensive weapons if necessary.

Central Europe, 2nd-1st millennium B.C. A cast looped and socketted axe head with straight edge, collar to mouth and lateral loop, raised V-shaped rib to each face. 364 grams, 12.1 cm (4 3/4 in.).Ex German collection, 1990s.

17th-18th century A.D. Each with a fleur-de-lys to each angle, one with figure raising a woodcutter's axe, the other with a peddlar. 685 grams total, 12.7 cm (5 in.). [2, No Reserve]European art market, 1990s. Private collection, London.

Early 2nd millennium B.C. Square in section and pierced longitudinally, incuse scene to each face: labrys above a tree; starburst between hatched panels; arrow, axe and other objects; figure above an axe. Cf. similar in the British Museum under accession no. 1921,0711.2 for similar multi-face seal.; see Boardman, J. Greek Gems and Finger Rings: Early Bronze Age to Late Classical, London, 1970, p. 35, fig. 56 for type. 3.99 grams, 18 mm (5/8 in.).From the Priday collection, Brookmans Hall, Hertfordshire, UK, formed 1930-1940s onwards by descent. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12385-225393.

19th century A.D. Comprising a painted board with mounting panel and slots to the reverse, gessoed surface with painting of St John the Baptist standing nimbate with wings spread behind him, left hand supporting a bowl containing his severed head and holding an unfurled scroll with Cyrillic text 'Repent ye, for the Kingdom of Heaven is at hand,' (Matthew 3:2); right hand raised in blessing; landscape with sand-dunes and trees; gilded title above; the upper border with gilt Slavonic inscription reading 'Holy John the Forerunner'; from the Palekh Icon School, probably made in Mstera circa 1890. See Zinoviev, N., Art of Palekh, Leningrad, 1968. 1.02 kg, 31 cm high (12 1/4 in.).Ex property of a London lady, part of her family's collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate no.11546-196366.The Palekh icon school emerged in the 17th century, inspired by the Moscow and Suzdal traditions of icon painting. Although preserving many features of traditional Russian iconography, the school created its own style that remained active into the 18th century. The hallmarks of the school include the frequent use of gold on the clothes of the saints and a rich palette. Bodies are shown as tall and slender and abrupt transitions between light and shadow are distinctive features of Palekh icons. The wings of Saint John derive from the double meaning of the Greek word used to describe him in Mark 1:2 - Angelos, meaning both messenger and angel. John is often called a 'Heavenly Man' and 'Earthly Angel' in Orthodoxy. At his feet is shown a small tree with an axe cutting into it, illustrating Luke 3:9, 'And now also the axe is laid unto the root of the tree..'

2nd-1st millennium B.C. With central shaft hole and blade set at a right angle. Cf. Christie's, The Axel Guttmann Collection of Ancient Arms and Armour, part 2, London, 2004, item 34, p.32. 1.25 kg, 25.7 cm (10 in.).Acquired 1980-2015. Ex Abelita family collection.The adze-axe was a fundamental axe of many Bronze Age ancient cultures. Its form was one that lends itself to dual purposes - for war and work. As a tool, it functioned in woodwork in fabricating a variety of objects and as a weapon, its heavy mass and compact form make it a very deadly striking and chopping weapon, even able to defeat light armour.

Circa 10th-18th century A.D. Comprising socketted axeheads of various types; some possibly stamped with maker's marks. Cf. Roesdahl, E., Wilson, D.M., From Viking to Crusader: The Scandinavians and Europe 800 to 1200 (22nd Council of Europe Exhibition), Copenhagen, 1992, p.321, fig.359 (4), for a similar Viking axe/tool. 7 kg total, 16-24.5 cm (6 1/4 - 9 1/2 in.). [10, No Reserve]Acquired 1990s-early 2000s. East Anglian private collection.An axe similar to those of our group was found in the fortified camp of Péran, in Brittany, among the objects that emerged from a conflagration due to the attack of Alain Barbetorte's Bretons on a Viking camp, in 936 A.D. These axes were certainly work tools, although in case of necessity they could also serve as improvised weapons

Early 2nd millennium B.C. With a curved, beak-shaped blade and two pierced eyes flanking a raised median ridge ellipsoid-section socket; repaired. Cf. Gernez, G., L’armament en métal au Proche et Moyen-Orient: des origines a 1750 av. J.C., Paris, 2007, fig.2.42, type H4b. 147 grams, 10.5 cm (4 in.). [No Reserve]From the private collection of Kenneth Machin (1936-2020), Buckinghamshire, UK; with collection no.BA27; his collection of antiquities and natural history was formed since 1948; thence by descent.This axe corresponds to the type H4B of the Gernez classification. Several of these models, with their moulds, are known from the Levant, like those in Byblos, Ras Shamra, and Tell Arqa. On the other hand, a workshop level II of the Kültepe karum delivered two moulds, showing a local production of arms intended either for export or for the inhabitants originating from Mesopotamia or the Levant. This sub-type of eye-axes is characteristic of the Middle Bronze Age 1 (2050-1750 B.C.).

20th century AD. For prototype: Halikarnassos mint, circa 341/0-336/5 BC. Laureate head of Apollo facing, turned slightly to right / Zeus Labraundos standing to right, holding double-axe (labrys) over shoulder and lotus-tipped sceptre; ΠIΞΩΔAPOY to right, small E between sceptre and leg. HNO 48 (temporary); cf. SNG von Aulock 8047. 9.78g, 24mm, 12h. ().Very Fine.From the collection of a London antiquarian, formed since the 1980s.

Circa 9th-12th century A.D. A miniature tzikourion comprising a crescentic blade with long neck, flared socket and leaf-shaped blade to the rear; gilt surface with reserved florid and tendril detailing, stylised cross to the flared socket. See similar forms (iconography) in Nicolle, Arms and Armour of the Crusading Era, 1050-1350 AD, volume II, Islam, Eastern Europe and Asia, London, 1999, figs.33p &118c, pp.355 and 373; for battle specimens from the territories of Eastern Roman Empire cf. Yotov, V., Въоръжението и снаряжението от българското средновековие (VII-XI век), (Arms in Bulgaria in medieval period, 7th – 12th century), Варна 2004, no.637; Gorelik, M., ‘Arms and Armour in South-Eastern Europe in the Second Half of First Millennium AD’ in Nicolle, D. (ed.), A Companion to Medieval Arms and Armour, Oxford, 2002, pp.127-148, pl.XL-8, nos.33 ,34 (Khazar Khanate equipment). 28.88 grams, 10.9 cm (4 1/4 in.).[A video of this lot is available to view on Timeline Auctions Website]Private collection formed in Europe in the 1980s. Westminster collection, central London, UK. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no. no.12340-225024.It is possible that this axe was used as a status symbol for officers or their family. The axe was known to be a symbol of the Varangian Guard who protected the emperor.

20th century A.D. Museum replicas of three axes curated in the Salisbury Museum: Palstave, flanged, and flat-axe types, the latter mounted on a wooden shaft. 505 grams total, 10.8-33.5 cm (4 1/4 - 13 1/4 in.). [3, No Reserve]From the private collection of Kenneth Machin (1936-2020), Buckinghamshire, UK; with collection no.BA8, BA9, BA10; his collection of antiquities and natural history was formed since 1948; thence by descent.

20th century A.D. Comprising: bifacial axe-blade pendant; bifacial disc pendant with equal-arm cross and king with orb and sceptre, inset glass cabochons to both faces. 123 grams total, 44-80 mm (1 3/4 - 3 1/8 in.). [2, No Reserve]Acquired on the European art market since the early 2000s. From the private Northern Ireland collection of R.M.

Mesolithic Period, circa 5000 B.C. Triangular in section with straight cutting edge, pointed butt. Cf. similar tool in MacGregor, A. (ed.), Antiquities from Europe and the Near East in the Collection of Lord MacAlpine of West Green, Oxford, 1987, item 3.1, for type. 375 grams, 18 cm (7 in.). [No Reserve]From a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent.These objects were produced by the hunting and gathering groups living in Europe during the early phases of the present interglacial period. The piece seems to be a core axe of Thames pick type, with pointed butt and rounded cutting edge. Core tools, now hafted, were used for woodworking in an environment now increasingly forested.

9th-11th century A.D. Comprising an axe-shaped pendant with sunburst motif, cross hatching to the socket, wire loop. 1.7 grams, 30 mm (1 1/4 in.). [No Reserve]Ex German art market, 2000s. Acquired from an EU collector living in London. From the collection of Surrey, UK, gentleman.

Neolithic Period, circa 2800 B.C. Triangular in section with thick butt; unfinished. 456 grams, 15 cm (5 7/8 in.). [No Reserve]Found Craigllwyd axe factory site, Caernarvonshire, Wales. Acquired from Stephen Murray, in 1978. From the private collection of Kenneth Machin (1936-2020), Buckinghamshire, UK; with collection no.N8; his collection of antiquities and natural history was formed since 1948; thence by descent.