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A pick axe and handle with spare mattock head

A collection of hand axes and axe heads. Good range of sizes with some stamped, qty 7 approx.

A circa 1900 bronze figure of a Moor warrior holding a shield and axe mounted on a rearing horse (possibly North African origin) 28cm

A selection of tribal treen items to include busts, a mask and a decorative axe

A large vintage wooden shafted axe

Maritime Interest.Ireland.An archive relating to the launch of M.S. Star Assyria on 19th December 1970, launched by Mrs. W. G. Runciman at Verolme Cork Dockyard, comprising a commemorative book and axe, the Irish silver-mounted axe used to launch the vessel, engraved, 'Launching m.v. Star Assyria. Built for Anchor Line Limited. Glasgow, Scotland by Verolme Cork Dockyard Limited Cobh, Ireland'. The silver mounts with sponsor's mark of William Egan & Sons, Dublin 1970, length of axe 26cm approx, together with a photograph album and correspondence commemorating the launch proceedings. Note: A photographic print of Star Assyria, Anchor Line c.1971, is housed in the collection of National Maritime Museum Liverpool, accession number: MCR/5/90.Mrs. W. G. Runciman, Dame Ruth Runciman DBE (née Hellman; born 9 January 1936) is a former Chair of the British Mental Health Act Commission.

A pair of late nineteenth or early twentieth-century German silver figures of medieval armoured knights, one standing holding a shield and sword and the other stood with shield and axe, both atop an octagonal base, pierced with floral scrolls, each inset with a carved ivory mask, hallmarks struck to the rim of the base, Ludwig Neresheimer & Co., Hanau c.1900, height 23cm, combined gross weight 991g/31.86ozt approx (2) Ivory Declaration Reference Submission Number: LGPZQ6PD

NAVAL INTEREST; A George V silver tortoiseshell presentation casket, by Charles & Richard Comyns, London 1919, of shaped oval form, the lid inlaid with a depiction of H.M.S Enterprise, on four crown-topped column feet, the body engraved 'SOUVENIR OF LAUNCH H.M.S "ENTERPRISE" CLYDEBANK 23rd DEC R 1919.' the silk-lined interior containing a 9ct gold axe head and pommel, by Robert Stewart, Glasgow 1919, inscribed 'THIS AXE USED IN LAUNCHING H.M.S "ENTERPRISE" 23.12.1919', 23 x 13 x 8cm, the axe head and pommel weighing 44gms TThe H.M.S Enterprise (D52) was the 14th ship to carry the name Enterprise and was one of two Emerald-light cruisers built for the Royal Navy. She was built by John Brown & Company of Clydebank, one of the most highly regarded shipbuilding companies in the world at the time.  Designed during WWI for speed, Enterprise and her sister HMS Emerald remained the fastest British cruisers in service at the outbreak of WWII.The rugby team from the HMS Enterprise departed for a tour of Kenya and Uganda, playing Kitale RFC, Nakuru RFC, the Mombasa Sports Club, and other teams. Harold E. Stevens, chaplain of the HMS Enterprise and tour manager, offered – on behalf of the ships company – a silver trophy to be awarded annually to the winners of an Inter-district Championship. Rugby Union was a particularly amateur affair, especially in Kenya, so the trophy was refused. HMS Enterprise left Mombasa, sailing to Tanga, Dar Es Salaam and Zanzibar, playing matches in these ports, completing the first rugby tour of all three African Great Lakes nations by a Royal Naval vessel.She then began to turn home via Aden, yet soon into the voyage, Enterprise received an order to pick up the Prince of Wales from Dar es Salaam and take him to Brindisi with haste. King George V was gravely ill, and it was the duty of Enterprise to escort him to Brindisi. She made the record passage of 4.087 miles in only eight days. The prince then travelled to Bolougne via train and arrived at Buckingham Palace nine days after leaving Dar Es Salaam.During this voyage, a silver goblet was delivered to the headquarters of the Rugby Football Union of Kenya. The officers and crew of Enterprise had sent this inscribed trophy to the RFUK, who wrote of their thanks and detailed that they were to award it annually to the winners of an Inter-District championship. The cup has become key to rugby competition within the African Great Lakes and has been played for every year bar the war years and 1987. The 2022 winner was Kabras Sugar RC.Condition Report:The axe head handle was ivory which has been removed

A fire brigade axe and leather belt pouch, circa 1940s

dating: 17th Century provenance: Germany, Sturdy cusp of square section; axe with winged opening and pierced with clover, heart and circles, the rear fluke similarly worked (some minor restorations). Fastened with four flat bands on a working, slightly shortened wooden shaft of octagonal section (slightly damaged by moths and restored) decorated with rivets. length 186 cm.

dating: circa 1600 provenance: Italy, Spearhead with long squared cusp, hollow-edge axe with lugs (deep crack at the base), decorated with round open-works and segments; rear fluke curved downwards with slightly enlarged cusp, decorated en suite. Provided with long, apparently intact straps and with counter-straps. Iron ring nut. Mounted on a squared, wooden shaft of non recent production, with restorations and various woodworm holes. height 249,5 cm.

dating: Late 17th - Early 18th Century provenance: Europe, Spearhead with top cusp, axe and rear fluke shaped as a gaff. The surface engraved with trophies. Mounted on a (later?) wooden shaft covered in velvet and studs. height 208,5 cm.

dating: Late 16th Century provenance: Germany or Austria, Spearhead with a long and solid squared, top cusp. Strongly hollowed axe, provided with lugs featuring round open-works, straight rear fluke, fitted with four marks and with remains of a round mark. The strap with rivets featuring brass rosettes at the first part, then with iron ferrules and round-headed nails of equal length and ending in a cusp. The counter straps with the first two rivets provided with rosette. Squared shaft of non recent production. The iron surface with pitting and in fine, antique, brown patina. See a similar item in 'Hafted Weapons in Medieval and Renaissance Europe' by J. Waldman, ed. Brill 2005; p. 76 fig. 72a, its cusp is longer, listed as Styrian of 1575. height 259 cm.

dating: First half of the 16th Century provenance: Germany, Spearhead with square top cusp, tapering upwards and featuring a deep shield-shaped mark on one side. Straight-edged axe. Short beak bent downwards. With strap of the same length. On wooden shaft, probably later. height 233 cm.

dating: Late 16th Century provenance: Austria, Spearhead with long, squared cusp slightly enlarged at the base, very hollow axe with humps on the back and round open-works (the base of the axe with crack and damage), slightly-curved beak with remains of mark. Straight bands with iron rivets, well set. Wooden shaft of non-recent production. See a very similar halberd, probably featuring the same mark, sold in our auction no. 137 (hammer price EUR 800, fees excluded). Both weapons probably come from the workshop of Pankraz Taller, a supplier of Gratz arsenal from 1575 to 1615.See an item in the Castle Tirolo collection (no. 700390) with the same mark and attributed to Pankraz Taller.See also an item with similar features photographed in 'Hafted Weapons in Medieval and Reinaissance Europe' by J. Waldman (ed. Brill, 2005), fig. 72 p. 76, listed as a Styrian of 1575 and kept at Landeszeughaus in Graz. height 218 cm.

dating: 1563 provenance: Austria, Long, double-edged cusp, ribbed in the middle, slightly concave-edged axe, back with pointed humbs, oblique rear fluke with waves at the base. Axe with beautiful double eagle under crown and with monogram 'K F', rear fluke dated '1563', the rest with floral motifs, all on a black ground. The back decorated en suite. Ferrule in two pieces. Kept on wooden shaft with long flat iron bands. Very rare. height 236 cm.

dating: circa 1700 provenance: Saxony - Poland, Double-edged cusp ribbed in the middle, with remains of engravings at the base. Large, convex-edged axe with outlined borders, royal coat-of-arms under crown in the centre, the center of crossguard with royal monogram 'FA' for Frederick Augustus I, Elector Prince of Saxony, King of Poland. Beak with wavy, outlined border. Rests of yellow painting. Decorated en suite at the rear side but kept in poor condition. Faceted ferrule. On a cylindrical, wooden shaft decorated with long tassel and rivets. height 235,5 cm.

dating: Late 16th Century provenance: Swiss, Solid cusp of lozenge section. Oblique-edge axe with narrow base and decorated with small brass circles. Oblique beak carved with a clover and small wings at the base. Flat straps. On a wooden shaft. height 225.5 cm.

Small sword, axe and Spanish tourist knife

A chain necklace, A chain necklace, suspending eight charms to include an abacus, an enamel articulated fish, an axe, etc, gross weight 27.6g.

A continental paper knife, chased with an axe, 6.5 inches long

George P. R. Pulman. The Book of the Axe . . . and historical sketches of all the parishes and remarkable places upon its banks, fourth edition, folding map, illustrations in text, gilt-pictorial cloth, thick roy. 8vo, London: Longman, Green, Reader, and Dyer, 1875.some spotting, corners bumped and lightly rubbed.

A Neolithic carved polished stone axe head, approx 3000-2000 BC

A 19th century Indo-Persian Zaghnol or ‘Crow’s Beak’ axe. Polished wooden haft with knop finial. Iron head with stylised dogs heads decoration, plus a square cross section spear point to the tip. The tang to the spear point is set into a slot cut into the haft, and extends around two thirds of the length. The tang is secured to the wood by means of 4 diamond shaped rivets. The flat square section of the axe head has a small hole set into it, which has possibly had a small elephant finial in the past, but is now absent. Approximately 64cm length. Condition: Generally good and solid. The wood haft has a good even colour and patina, with a just a small age related crack to the knop end. The axe head has darkened with age, with just some light surface rust spotting in places. The axe head will swivel if turned, but is still securely set onto the metal mount.

A 19thC African Zulu tribal axe, with hardwood handle, 98cm long.

A taxidermy grey squirrel, mounted on an axe and log, in Perspex case, 52cm wide.

A 'Sempach' style halberd, Swiss or South German, 16th century, the stout diamond section terminal spike above forward-leaning axe-blade with pierced holes and rear spike, with Flamberge straps on a later wood haft, 226.7cm overall, metalwork - 62.3cm    

A halberd, probably Italian, 16th century, with central tapering diamond section spike above a mask motif and forward-leaning curved axe-blade pierced with apertures, and a pierced rear spike, on a later oak haft with tassels, 201.3cm overall, metalwork - 69.5cm   

A French Revolutionary pike, c.1790, with tapering spear and socket, on later wood haft with tapering metal foot, 212cm overall, metalwork - 53.4cm; together with a Naval goat hook/pike, 18th century, with tapering spike above downward curved hook on tapering socket, on later circular wood haft, 243.9cm overall, metalwork - 54.8cm; and a Louis XIV cast copy halberd, late 19th century, the central blade with ridge above crescent shaped axe-blade and rear spike, with central sun motif and pierced decoration, on tapering circular socket on later circular wood haft, 210cm overall, metalwork - 58cm  (3)

An Austrian halberd, late 16th century, with central tapering diamond section spike above a forward leaning curved axe-blade pierced with apertures, and a pierced rear spike, with four straps, on a later haft with plaque ADHEMAR von LINDEN / No 34 / 1882, 215.5cm overall, metalwork (including straps) - 134.3cm  

A halberd, possibly Venetian or Austrian, 16th century, with unusual quadrangular central spike and crescent shaped axe-blade with curved lugs to top and bottom, rear spike with angular lugs, with two tapering straps on a later circular section wood haft, 249.2cm overall, metalwork - 106.5cm 

An Italian halberd, 16th century, the tapering central spike above a crescent shaped axe-blade with pierced holes and lugs to top and bottom, the rear spike with pierced holes, above side straps, on a probably original haft, with studs and old wood worm damage, 248.2cm overall, metalwork - 62.3cm   

A halberd, Augsburg or Austrian, 16th century, with tapering central diamond section spike above a forward-leaning slightly curved axe-blade with pierced trefoil and holes, rear spike with three pierced holes, above two slender side straps, on a later rectangular section wood haft, the haft with later plaque marked H. 6 1., 244.5cm overall, metalwork - 108cm 

A 19th Century South African Axe, possibly Xhosa, the 11cm tapering rectangular iron head with curled tang inserted into the bulbous head of the cylindrical wood haft with swollen butt, 62cm; a 19th Century Zulu Ladle, the bowl of a hollowed-out coconut, with horn banded bone and curved wood side handle backed by a circular metal plate internally, 40cm (2)Axe with orange rust pitting to the head, natural crevices and fine cracks running along the grain of the wood haft. Ladle with a crack to one side of the coconut and fine age cracks to the bone section of the handle.

A pair of Victorian silver fiddle pattern sauce ladles, Chawner & Co, London 1872, with crest depicting mythical beast and axe to terminal, 17.5cm long, with a cased set of George V silver handled butter knives, Yates Brothers, Sheffield 1911, 17cm long (3)

An early stone axe head, probably North American, with flattened base a grooved head19cm wide

BANKSY (b.1974) "Special Sauce, Custom-Made Corsetry", hand-painted acrylic to both sides of an A-Frame advertising board, 123 x 62cms.Provenance: Emma Houghton, close friend and collaborator of Banksy throughout the 1990s. Houghton had a bespoke corsetry shop at BS8, on Park Street, Bristol, and Banksy designed this board for outside the shop door.Exhibition: The Art of Banksy: Unauthorised, Manchester, October 2022- January 2023. The Art of Banksy: Unauthorised, Regent Street London, January 2024-February 2024.LETTER OF PROVENANCE:In reference to the provenance of the birthday cards, flyers and shop sign, I met ‘Banksy’ in 1992, through mutual friends. We were friends throughout our 20’s, during the politically charged, hedonistic and creatively potent era of the 1990’s and early 2000’s. In the DIY ethos of the time, we set our own agenda; we worked, played, protested, travelled and established our independent professions, following our own unique course. His work-ethic, humour and moral stance were powerful even then. The birthday cards were given to me by the artist over four consecutive years depicting his evolution from Robin, in a cuter pencil drawn cartoon style to Mr Banks and finally with the edgy stencilled wit, characteristic of Banksy. The flyers were designed by the artist and hand screen printed by him and myself to promote a club night put on by our sound system the Babble Collective in the mid 90’s. Most were cut apart and distributed for advertising, now collected world wide, but I gave this un cut sheet to a family member who unearthed them years later. The A board was commissioned for my corsetry business, to advertise my first shop in BS8 on Park Street in Bristol, I like to think she was me in my prime. To watch Banksy’s career grow meteorically from its roots to become this national treasure has been incredible – not least due to the privately held knowledge of these works existence. Deciding to share them with the public through The Art of Banksy exhibition has allowed fans and followers to see this charming and sentimental side that is less of the known Banksy brand of today. Putting them up for auction is intended to allow others to fully appreciate their unique beauty in this current time. These details and my identity have been shared to avoid speculation, to better establish authenticity and provenance of the pieces. It must be noted that there is no dirt to dish on the artist. That there is no axe to grind, nor will I disclose or confirm Banksy’s identity. I have had little to no contact with him in the last 20 years.

A 19th Century patinated bronze foundry casting of Vercingotorix, modelled armoured for battle, with shield and axe raised, over a Sienna marble base, 10 x 5.5 x 14cms high.

BANKSY (b.1974) "Boing!" - characters on a spacehopper, A birthday card, hand-painted in coloured pencils and felt pen, cut-out collage, opening to reveal the inscription "A very happy birthday to the bounciest groover on planet funkiness. Long may your birthdays continue and your foxiness grow, Much Love XXX, Robin", 41 x 19.5cms, in glazed box frame (50.5 x 29cms overall).Provenance: Emma Houghton, close friend and collaborator of Banksy throughout the 1990sExhibited: The Art of Banksy: Unauthorised, Manchester, October 2022- January 2023. The Art of Banksy: Unauthorised, Regent Street London, January 2024-February 2024.LETTER OF PROVENANCE:In reference to the provenance of the birthday cards, flyers and shop sign, I met ‘Banksy’ in 1992, through mutual friends. We were friends throughout our 20’s, during the politically charged, hedonistic and creatively potent era of the 1990’s and early 2000’s. In the DIY ethos of the time, we set our own agenda; we worked, played, protested, travelled and established our independent professions, following our own unique course. His work-ethic, humour and moral stance were powerful even then. The birthday cards were given to me by the artist over four consecutive years depicting his evolution from Robin, in a cuter pencil drawn cartoon style to Mr Banks and finally with the edgy stencilled wit, characteristic of Banksy. The flyers were designed by the artist and hand screen printed by him and myself to promote a club night put on by our sound system the Babble Collective in the mid 90’s. Most were cut apart and distributed for advertising, now collected world wide, but I gave this un cut sheet to a family member who unearthed them years later. The A board was commissioned for my corsetry business, to advertise my first shop in BS8 on Park Street in Bristol, I like to think she was me in my prime. To watch Banksy’s career grow meteorically from its roots to become this national treasure has been incredible – not least due to the privately held knowledge of these works existence. Deciding to share them with the public through The Art of Banksy exhibition has allowed fans and followers to see this charming and sentimental side that is less of the known Banksy brand of today. Putting them up for auction is intended to allow others to fully appreciate their unique beauty in this current time. These details and my identity have been shared to avoid speculation, to better establish authenticity and provenance of the pieces. It must be noted that there is no dirt to dish on the artist. That there is no axe to grind, nor will I disclose or confirm Banksy’s identity. I have had little to no contact with him in the last 20 years.

BANKSY (b.1974) and Emma Houghton (b.1973) Babble Sound System, event tickets screen print on linen, 54.5 x 47cms, in frame.Provenance: Emma Houghton, close friend and collaborator of Banksy throughout the 1990sExhibition: The Art of Banksy: Unauthorised, Manchester, October 2022- January 2023.The Art of Banksy: Unauthorised, Regent Street London, January 2024-February 2024.Notes: In 1993 a small group of students from Leicester started babble collective sound system, inspired by the likes of Smokescreen and legendary midlands deep house proponents DiY. They borrowed as much money as they could from friends and relatives and invested in a small second-hand sound system. By 1994 babble had become a firm favourite with an enthusiastic Leicester crowd, and over the next few years the collective staged sell out nights at (amongst other places) the Mud Club, Luxor (now Industria) and the Fan Club, and all-night events at Starlite 2001. DJ’s playing from the collective back then include Long Jon, Peter Pan & Jay, often joined by guests from Smokescreen.LETTER OF PROVENANCE:In reference to the provenance of the birthday cards, flyers and shop sign, I met ‘Banksy’ in 1992, through mutual friends. We were friends throughout our 20’s, during the politically charged, hedonistic and creatively potent era of the 1990’s and early 2000’s. In the DIY ethos of the time, we set our own agenda; we worked, played, protested, travelled and established our independent professions, following our own unique course. His work-ethic, humour and moral stance were powerful even then. The birthday cards were given to me by the artist over four consecutive years depicting his evolution from Robin, in a cuter pencil drawn cartoon style to Mr Banks and finally with the edgy stencilled wit, characteristic of Banksy. The flyers were designed by the artist and hand screen printed by him and myself to promote a club night put on by our sound system the Babble Collective in the mid 90’s. Most were cut apart and distributed for advertising, now collected world wide, but I gave this un cut sheet to a family member who unearthed them years later. The A board was commissioned for my corsetry business, to advertise my first shop in BS8 on Park Street in Bristol, I like to think she was me in my prime. To watch Banksy’s career grow meteorically from its roots to become this national treasure has been incredible – not least due to the privately held knowledge of these works existence. Deciding to share them with the public through The Art of Banksy exhibition has allowed fans and followers to see this charming and sentimental side that is less of the known Banksy brand of today. Putting them up for auction is intended to allow others to fully appreciate their unique beauty in this current time. These details and my identity have been shared to avoid speculation, to better establish authenticity and provenance of the pieces. It must be noted that there is no dirt to dish on the artist. That there is no axe to grind, nor will I disclose or confirm Banksy’s identity. I have had little to no contact with him in the last 20 years.

BANKSY (b.1974) Bad Girl ("Emma"), A birthday card, hand-painted in felt-tip pen and crayon, cut-out collage on gold cardstock, opening to reveal the inscription "Bad Girl, You Ugly, You Stupid, You Smell Bad, XXX, But We Likes You All The Same, Robin Banksy Gunge", 16 x 14cms, in box frame (26.5 x 24.5 overall).Provenance: Emma Houghton, close friend and collaborator of Banksy throughout the 1990s.Exhibition: The Art of Banksy: Unauthorised, Manchester, October 2022- January 2023 The Art of Banksy: Unauthorised, Regent Street London, January 2024-February 2024LETTER OF PROVENANCE:In reference to the provenance of the birthday cards, flyers and shop sign, I met ‘Banksy’ in 1992, through mutual friends. We were friends throughout our 20’s, during the politically charged, hedonistic and creatively potent era of the 1990’s and early 2000’s. In the DIY ethos of the time, we set our own agenda; we worked, played, protested, travelled and established our independent professions, following our own unique course. His work-ethic, humour and moral stance were powerful even then. The birthday cards were given to me by the artist over four consecutive years depicting his evolution from Robin, in a cuter pencil drawn cartoon style to Mr Banks and finally with the edgy stencilled wit, characteristic of Banksy. The flyers were designed by the artist and hand screen printed by him and myself to promote a club night put on by our sound system the Babble Collective in the mid 90’s. Most were cut apart and distributed for advertising, now collected world wide, but I gave this un cut sheet to a family member who unearthed them years later. The A board was commissioned for my corsetry business, to advertise my first shop in BS8 on Park Street in Bristol, I like to think she was me in my prime. To watch Banksy’s career grow meteorically from its roots to become this national treasure has been incredible – not least due to the privately held knowledge of these works existence. Deciding to share them with the public through The Art of Banksy exhibition has allowed fans and followers to see this charming and sentimental side that is less of the known Banksy brand of today. Putting them up for auction is intended to allow others to fully appreciate their unique beauty in this current time. These details and my identity have been shared to avoid speculation, to better establish authenticity and provenance of the pieces. It must be noted that there is no dirt to dish on the artist. That there is no axe to grind, nor will I disclose or confirm Banksy’s identity. I have had little to no contact with him in the last 20 years.

BANKSY (b.1974) "happy birthdi ema" - animal party, birthday card, hand-painted in felt-tip pen and crayon, cut-out collage, inscribed to interior "best wishes from all the country folk, Robin", 41.5 x 29.5cms, in box frame (51.5 x 39.5cms overall).Provenance: Emma Houghton, close friend and collaborator of Banksy throughout the 1990s.Exhibition: The Art of Banksy: Unauthorised, Manchester, October 2022- January 2023. The Art of Banksy: Unauthorised, Regent Street London, January 2024-February 2024LETTER OF PROVENANCE:In reference to the provenance of the birthday cards, flyers and shop sign, I met ‘Banksy’ in 1992, through mutual friends. We were friends throughout our 20’s, during the politically charged, hedonistic and creatively potent era of the 1990’s and early 2000’s. In the DIY ethos of the time, we set our own agenda; we worked, played, protested, travelled and established our independent professions, following our own unique course. His work-ethic, humour and moral stance were powerful even then. The birthday cards were given to me by the artist over four consecutive years depicting his evolution from Robin, in a cuter pencil drawn cartoon style to Mr Banks and finally with the edgy stencilled wit, characteristic of Banksy. The flyers were designed by the artist and hand screen printed by him and myself to promote a club night put on by our sound system the Babble Collective in the mid 90’s. Most were cut apart and distributed for advertising, now collected world wide, but I gave this un cut sheet to a family member who unearthed them years later. The A board was commissioned for my corsetry business, to advertise my first shop in BS8 on Park Street in Bristol, I like to think she was me in my prime. To watch Banksy’s career grow meteorically from its roots to become this national treasure has been incredible – not least due to the privately held knowledge of these works existence. Deciding to share them with the public through The Art of Banksy exhibition has allowed fans and followers to see this charming and sentimental side that is less of the known Banksy brand of today. Putting them up for auction is intended to allow others to fully appreciate their unique beauty in this current time. These details and my identity have been shared to avoid speculation, to better establish authenticity and provenance of the pieces. It must be noted that there is no dirt to dish on the artist. That there is no axe to grind, nor will I disclose or confirm Banksy’s identity. I have had little to no contact with him in the last 20 years.

BANKSY (b.1974) Heavy Weaponry (Space) (c.1998), A birthday card, hand-painted and spray-painted with aerosol and acrylic paint, and felt pen on silver card, opening to reveal the inscription "Ema, Happy Birthday Slappa! You Don't Half Make Me Smile Sometimes, Stay Beautiful, Mr. Banks", tagged BANKSY in blue to back, 27 x 24cms (opened out), in frame (33.5 x 37cms overall).Note: This is one of the earliest examples of Banksy's tag signature known, if not the first. It is well documented that he got his tag from the font 'STOP'. Initially utilising the capital 'A' we see in this example in around 1998, he very quickly changed the tag to the rounder lower case letter 'a' we see today.Provenance: Emma Houghton, close friend and collaborator of Banksy from 1993-1998.Exhibition: The Art of Banksy: Unauthorised, Manchester, October 2022- January 2023. The Art of Banksy: Unauthorised, Regent Street London, January 2024-February 2024.LETTER OF PROVENANCE:In reference to the provenance of the birthday cards, flyers and shop sign, I met ‘Banksy’ in 1992, through mutual friends. We were friends throughout our 20’s, during the politically charged, hedonistic and creatively potent era of the 1990’s and early 2000’s. In the DIY ethos of the time, we set our own agenda; we worked, played, protested, travelled and established our independent professions, following our own unique course. His work-ethic, humour and moral stance were powerful even then. The birthday cards were given to me by the artist over four consecutive years depicting his evolution from Robin, in a cuter pencil drawn cartoon style to Mr Banks and finally with the edgy stencilled wit, characteristic of Banksy. The flyers were designed by the artist and hand screen printed by him and myself to promote a club night put on by our sound system the Babble Collective in the mid 90’s. Most were cut apart and distributed for advertising, now collected world wide, but I gave this un cut sheet to a family member who unearthed them years later. The A board was commissioned for my corsetry business, to advertise my first shop in BS8 on Park Street in Bristol, I like to think she was me in my prime. To watch Banksy’s career grow meteorically from its roots to become this national treasure has been incredible – not least due to the privately held knowledge of these works existence. Deciding to share them with the public through The Art of Banksy exhibition has allowed fans and followers to see this charming and sentimental side that is less of the known Banksy brand of today. Putting them up for auction is intended to allow others to fully appreciate their unique beauty in this current time. These details and my identity have been shared to avoid speculation, to better establish authenticity and provenance of the pieces. It must be noted that there is no dirt to dish on the artist. That there is no axe to grind, nor will I disclose or confirm Banksy’s identity. I have had little to no contact with him in the last 20 years.

A COLLECTION OF ANTIQUITIES comprising of a cuneiform tablet, a Luristan bronze pin, a Neolithic Britain polished stone axe head and a 17th century spelter round bell (4) (Est. plus 24% premium inc. VAT)Condition Report: In line with age

A COLLLECTION OF LFL STAR WARS RETURN OF THE JEDI FIGURES, to include a 1982 Admiral Ackbar with stick weapon, an 1983 Bib Fortuna with cape, staff and body armour, a 1983 Biker Scout with gun, a 1983 Chief Chirpa with hood but no staff, a 1983 Emperors Royal Guard with spear, a 1983 Gamorrean Guard with two axes, 1983 General Madine without staff, 1983 Klaatu with weapon, a 1883 Lando Clarissian Skiff Guard Disguise with helmet but no weapon, a 1983 Logray with staff and bag but no head piece, a 1983 pink face Luke Skywalker with cape and gun, no lightsaber, a 1983 Nien Nunb with gun, a 1983 Princess Leia Organa Boushh disguise with helmet and weapon, a 1983 Rebel Commando with gun, a 1983 Ree-Yees with weapon, a 1983 Squid Head with all clothing, belt and a gun, a 1983 Weequay with weapon, a 1983 8D8, a 1984 B-Wing Pilot without gun, a 1984 Emperor with stick, a 1983 Klaatu in Skiff Guard outfit no weapon, a 1983 Nikto with weapon, a 1984 Princess Leia Organa in combat poncho with cape, belt, helmet but no gun, a 1984 Prune Face with gun but no cape, a 1984 Rancor Keeper with hood but no weapon a 1984 Teebo with helmet and axe but no bag, a 1984 Wicket W. Warrick with hood and spear, together with a boxed Radar Laser Cannon, no 93440, 1982, all parts present and working, box in a worn condition to edges and top panel, sticker to the base, an unboxed Tri-pod Laser Canon, all parts present, a unboxed speeder Bike, looks complete, and a boxed Kenner Jabba the Hutt Action Playset, includes Jabba, Salacious Crumb, with two globes but missing some parts, box in a very worn condition with tears and tape holding some parts together, some addition weapons included

ANTIQUE TRIBAL AXE

An early 20th Century Kirdi People ( Cameroon ) axe. Stylized iron head with a woven leather grip. Measures approx 49cm. If this lot is required to be posted please see sale notes regarding age verification.

Three reenactment medieval style pole axes. Wooden shafts covered in velvet and tassels topped with removable metal axe heads. Each measuring approx 240cm.

A 19th Century Central African (Congo) Songye / Nsapo People ceremonial axe. Crescent shaped iron head with pierced circles mounted into a wooden shaft with a flat base. Measures approx 41cm. If this lot is required to be posted please see sale notes regarding age verification.

Two early 20th Century axe heads comprising a double crescent shaped Indian tribal Bulova / Bullova axe from Chota Nagpur and an Islamic example with circular etchings and two brass bands. If this lot is required to be posted please see sale notes regarding age verification.

An early 20th Century Indian tribal Bulova / Bullova axe from Chota Nagpur. Double crescent shaped head mounted to the wooden shaft with a brass base. Measures approx 85cm. If this lot is required to be posted please see sale notes regarding age verification.

A 19th Century Indian Elephant Goad / Ankus. Leaf shaped terminal spike, crescent shaped axe head shaped with floral motifs and a hooked tail end. Mounted onto a steel shaft. Measures approx 70cm. If this lot is required to be posted please see sale notes regarding age verification.

A 19th Century Indian Mughal Empire Tabar / Axe with concealed blade. Square section spike, crescent shaped head and fluke forged into an Elephant. Cylindrical shaft with screw out lower portion to reveal a spiked blade. Measures approx 53cm. If this lot is required to be posted please see sale notes regarding age verification.

TRIBAL AXE AFRICAN EARLY 20th CENTURY

INTERESTING COLLECTION TO INCLUDE SHABTI AXE HEAD & OTHER ANTIQUE ODDITIES

Two sledge hammers and pick axe

A vintage Miner's pick axe and handle with spare mattock head

Registration - 15BF69 Chassis No. - WNI11569 M.O.T. - Exempt Odometer - 29,432 This characterful and highly-original Champ first rolled off the Austin Longbridge production line in 1956, before being accepted by the Army’s receiving depot at Church Broughton and issued with Army registration ‘15BF69’, entering service on 8th March 1956. The Austin Champ is presented in original military livery, with green bodywork, seat frames, and hood struts, as well as exterior-mounted spade and pick-axe. A ‘FFW’ (Fitted For Wireless) Champ, the Austin was specified by the Army to be fitted with a two-speed generator and extra wiring, to enable the mounting of a radio set. Struck off the Army census in 1967, it has been dry-stored for many years by the vendor, and this barn-find is also offered with both a trailer, and a new-old stock crate Rolls-Royce B40 engine. Bearing chassis-number WN1-11569, the Champ currently shows 29,432 miles on the odometer, and has not been registered for use outside of military service before. The vendor presently classes the bodywork and running gear as ‘below average’, though the crate engine as ‘excellent’. What will surely be a very rewarding project, this Austin Champ offers the perfect chance to obtain an alternative to the more common Jeeps and Land Rovers as a ‘go-anywhere’ military classic. Inspired by the ubiquitous American Jeep, the Champ was a British military vehicle designed immediately post WWII and manufactured from 1951 to 1956, at which point it was supplanted by the cheaper Land Rover. The lightweight 4x4 was powered by an Austin-built Rolls-Royce-designed four-cylinder petrol engine of 2838cc. Ultimately only 11,732 of the contracted 15,000 Champs were produced, all of which had been moved from front line army service to the territorial Army by the mid ‘60s, and were then sold into the private domain from 1968. Though their service life was curtailed by cost, they boasted impressive cross-country capabilities and could even touch 50mph in reverse – something neither the Jeep nor Land Rover could match. In summary: An ideal project, the Champ hasn’t been registered since leaving the Army books in 1967 Comes with a trailer, and new-old crate Rolls-Royce B40 engine Currently displaying a total mileage of 29,432

Pair classical spelter warrior form figures each depicting a standing classical warrior, with sword and battle axe defensive arms, on circular base, (1 figure with crack to spelter base), (height 22cm approx, each).

Garden shears, axe, loppers and two hand tools