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Preisdatenbank abonnierenA Fireman`s Axe, the chromed head stamped H.98 1954, with ash haft, leather holster and waist belt; a Machete, with triple fullered blade and hardened rubber grip scales; a Parang, the curved steel blade stamped N.B., with copper wire bound wood cleft grip; five Items of Militaria, comprising an Indian katar, a rifle grenade, a US leather gun holster, a wood shoulder stock and a folding pocket knife (8)
An 18th/19th Century Indian Zaghnal Axe, the beak shaped double edge steel blade with raised medial ridge to each side and with swollen tip, the curved top of the blade surmounted by two brass recumbent lions, the block shape socket surmounted by a square tapering spike, the tubular haft with domed pommel, 62cm
A 19th Century Indian War Axe, the crescent shape blade bearing traces of silver foliate inlay, with block shape socket, square tapering beak and top spike, on a slender tubular haft with single collar and globular pommel, 60cm; a 19th Century Indian Axe, the curved blade issuing from the head of an antelope, with knopped facetted haft and domed pommel, 64cm (2)
A 19th Century Indian War Axe, the crescent shape blade bearing traces of silver foliate inlay, with block shape socket, square tapering beak and top spike, on a slender tubular haft with single collar and globular pommel, 52cm; a 19th Century Afghan Lohar, one side of the sickle shape steel blade and square section haft with brass and silver foliate inlay, the bone grip incised with dot and circle motifs, with brass ferrule and pommel, 40cm (2)
Edinburgh, Free and Easy Club silver membership pass Edinburgh, Free and Easy Club silver membership pass, reverse engraved PERSEVERANDO above half-length figure of a blackamoor holding an axe, legend below Wm Richardson Admitted 10th Sept 1789, 32 x 41mm, suspension loop (Davis 125/191). Very fine, rare. The Free & Easy Club met in taverns to sing the songs and explore the ideas of the radical Thomas Spence: known for his commitment to individual and press freedom and the common ownership of land. See thomas-spence-society.co.uk Bid Live at theauctionroom.com
Two Aller Vale (Torquay) pottery political commemorative face jugs and one other: comprising two modelled as a caricature of William Ewart Gladstone, bearing a headband marked G.O.M., the handle formed as an axe, one of buff colour with green band, the other under green glazes, impressed Aller Vale with patent registration no., circa 1890-1900, 16 cm high, [one cracked with filled chip], together with a humorous example depicted as a winking smiling man, under mustard glazes, impressed Aller Vale England, circa 1900-10, 18 cm high, [bruise to rim]. *Biography Gladstone was known as an advocate for physical fitness, whose favourite pastime was to chop down large trees with an axe, hence the choice of handle on the jug. The moniker G.O.M. is an abbreviation of Grand Old Man, a reflection of the affection felt for him at the time
A JAPANESE OKIMONO, Kintaro holding his axe while carried by his mother as they play with a dog, 19th Century, another depicting a figure of Ashinaga standing upon a seashell holding onto the long nose of a Tenga mask while three children climb on his legs and nose, 19th Century and an ivory carved handle carved as a bat perched upon a rock, 19th Century (3)
Set of two lithographic prints comprising:lithographic print of drawing by Raphael entitled A Naked Figure fleeing with an Axe, originally drawn c.1512Recorded in The Royal Collection by 1810. Black chalk. Recorded in the collection of George III. Both numbers 65 (Naked Figure Fleeing with an Axe) and 66 (Two Figures crouching under a Shield), are studies for an unexecuted altarpiece of the Resurrection, possibly intended for the Chigi Chapel in Santa Maria del Popolo, Rome. In this composition we see one of the guards who watched over the tomb of Jesus blinded by the light at His resurrection.Print size inches: 7.9 x 9.8 together with lithographic print of drawing by Raphael entitled Two Naked Figures Crouching under a Shield, originally drawn c.1512-14Recorded in The Royal Collection of George III, King of the United Kingdom, 1738-1820.Black chalk. See also No. 65, A Naked Figure Fleeing with an Axe. In this composition we find two figures shielding themselves from the light emanated by the Resurrection. Both drawings remained unfinished due to the artist`s early death. Print size inches: 8.2 x 9.8
Set of six lithographic prints comprising:lithographic print of drawing by Raphael entitled A Naked Figure fleeing with an Axe, originally drawn c.1512Recorded in The Royal Collection by 1810. Black chalk. Recorded in the collection of George III. Both numbers 65 (Naked Figure Fleeing with an Axe) and 66 (Two Figures crouching under a Shield), are studies for an unexecuted altarpiece of the Resurrection, possibly intended for the Chigi Chapel in Santa Maria del Popolo, Rome. In this composition we see one of the guards who watched over the tomb of Jesus blinded by the light at His resurrection.Print size inches: 7.9 x 9.8 together with lithographic print of drawing by Raphael entitled Two Naked Figures Crouching under a Shield, originally drawn c.1512-14Recorded in The Royal Collection of George III, King of the United Kingdom, 1738-1820.Black chalk. See also No. 65, A Naked Figure Fleeing with an Axe. In this composition we find two figures shielding themselves from the light emanated by the Resurrection. Both drawings remained unfinished due to the artist`s early death. Print size inches: 8.2 x 9.8 together with lithographic print of drawing by Domenichino entitled Study for Apollo, originally drawn c.1615The Domenichino drawings in the Royal Library had been left by the artist to his pupil, Francesco Raspantino; the collection was later acquired successively by Carlo Maratta, the Albani Pope Clement XI, and finally, in 1762, by James Adam for George III.Black chalk, heightened with white. A study for the figure of Apollo in the ceiling fresco The Chariot of Apollo in the Palazzo Costaguti in Rome, which was commissioned from the artist by Monsignor Costanzo Patrizi.Print size inches: 9.3 x 9.7 together with lithographic print of drawing by Guercino entitled Peace, originally drawn c.1618-20Acquired by George III, King of the United Kingdom (1738-1820).Charcoal, some black chalk, heightened with white chalk on greenish-grey paper. An allegorical figure of a woman holding a torch. No related painting is known.Print size inches: 7.9 x 9.6 together with lithographic print of drawing by Frederico Barocci entitled Head of a young Woman, originally drawn c.1582-84Acquired by Charles II (1630-85).Black, red and white chalk on blue paper. Olsen compares the likeness of this study to the Virgin in the Vatican Annunciation executed between 1582-1584 for the chapel of Francesco Maria II, Duke of Urbino, in the basilica at Loreto, which is more likely. His head studies are meticulously drawn using pen, wash and a variation of different coloured chalks, many hundreds of which survive. Noted for his altar pieces, Barocci was based in the small city of Urbino and many of his commissions were for provincial sites thus restricting his influence.Print size inches: 7.5 x 9.7 together with lithographic print of drawing by Guercino entitled A Woman reading, originally drawn c.1621Acquired by George III, King of the United Kingdom (1738-1820).Red chalk. A study for Aurora, the figure of Night in the ceiling fresco of the principal ground floor room of the Casino Ludovisi in Rome.Print size inches: 9.3 x 9.8
Lithographic print of drawing by Raphael entitled Two Naked Figures Crouching under a Shield, originally drawn c.1512-14Recorded in The Royal Collection of George III, King of the United Kingdom, 1738-1820.Black chalk. See also No. 65, A Naked Figure Fleeing with an Axe. In this composition we find two figures shielding themselves from the light emanated by the Resurrection. Both drawings remained unfinished due to the artist`s early death. Print size inches: 8.2 x 9.8
Set of two lithographic prints comprising:lithographic print of drawing by Raphael entitled The Virgin and Child with St. Elizabeth and the Infant St. John, originally drawn c.1506First recorded in The Royal Collection c.1810.Pen and brown ink. Recorded in the collection of George III (1738-1820). The scene, set in landscape, dates from the time Raphael spent in Florence from 1504 to 1508, where he executed a number of paintings of the Virgin and Child. Previously linked to the Madonna Canigiani in Munich, the finished work differs sufficiently to suggest that this drawing may have been conceived with another project in mind.Print size inches: 7.3 x 9.3 together with lithographic print of drawing by Raphael entitled Two Naked Figures Crouching under a Shield, originally drawn c.1512-14Recorded in The Royal Collection of George III, King of the United Kingdom, 1738-1820.Black chalk. See also No. 65, A Naked Figure Fleeing with an Axe. In this composition we find two figures shielding themselves from the light emanated by the Resurrection. Both drawings remained unfinished due to the artist`s early death. Print size inches: 8.2 x 9.8
Set of two lithographic prints comprising:lithographic print of drawing by Raphael entitled The Massacre of the Innocents, originally drawn c.1510Recorded in the collection of George III (1738-1820).Red chalk over a tracing in pencil and a sketch with a stylus. A study for the design which was engraved by Marcantonio but was not apparently used for any other purpose. On the verso a study for a salver with marine deities.Print size inches: 9.3 x 5.6 together with lithographic print of drawing by Raphael entitled Two Naked Figures Crouching under a Shield, originally drawn c.1512-14Recorded in The Royal Collection of George III, King of the United Kingdom, 1738-1820.Black chalk. See also No. 65, A Naked Figure Fleeing with an Axe. In this composition we find two figures shielding themselves from the light emanated by the Resurrection. Both drawings remained unfinished due to the artist`s early death. Print size inches: 8.2 x 9.8
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