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Neolithic polished stone hand axe with broad rounded cutting edge, very hard heavy stone, possibly jadeite, 13cm long x 5cm at cutting edge

Vincenti & Cie, Paris - 19th century French brass and champleve enamel clock garniture, the 3.5-inch cream Arabic chapter ring with enamel centre, the two-train movement outside countwheel-striking on a bell, with Vincenti & Cie, 1855, Medaille d'Argent stamp of the Exposition Universelle, additionally stamped 'Comptoir General H. Riondet 9 Boul'd Poissonniere Paris', the waisted case with enamelled flambeau urn and swag finial over female terms, axe-form enamel panel over scroll apron, 44.5cm high, sold with pendulum, together with a matching pair of four branch (five light) candelabra, 46cm high (3)

19th century Maori warrior hardstone war club (Patu Onewa), made from New Zealand basalt, flat elongated 'blade' with striking edge leading to a tapered handle with stepped concentric pommel and a hole for a cord, the edge is chipped in several places, 30cm long overall, 780gFrom the Collection of Bristol 1904 Arts (formerly 'Bristol Savages') - Attached is a label 'Stone axe dug up at the racecourse at Haverfordwest, Pembrokeshire, when digging foundations for the grandstand, given to my father by Dr. Dudley Philips, 1864-1870'.

Pair of Persian Qajar ceremonial sugar cane axes, in brass alloy and mounted with coral and turquoise-coloured cabochons, the axe head engraved heads of birds and a stag, the geometric handle with further bird surmount, 27.5cm long x 15.5cm high

AN AFRICAN SONGYE (KUBA) AXE, having a copper bound handle, 41 x 28 cm

* CHARLES OAKLEY (BRITISH 1925 - 2008), MOONLIGHT RENDEZVOUS oil on board, titled label verso framed image size 49cm x 95cm, overall size 65cm x 110cm Partial artist's label verso. Note: Obituary published in The Independent by Prof Kenneth McConkey 8 April 2008: Charles Oakley was one of an important generation of British painters who, in the late Forties, arrived at the Slade School of Fine Art wearing "demob" suits. He had neither portfolio nor sketchbooks to show, but a single watercolour, depicting a momentous occasion in his youth. Oakley grew up in Urmston, Manchester, the son of an engineer; two previous generations of Oakleys had been naval captains. Family holidays spent in Falmouth provided an ideal playground for the young Charles – rusting old U-boats from the Great War were berthed in the harbour. Then, in the early years of the Second World War, while youth hostelling in the Lake District, he came upon the crash site of two Hurricane fighters. A dead pilot lay by the wreckage of one of the planes. The scene burned itself into his mind and was only exorcised when he sketched it out on paper and coloured it. This single work became a talisman and after his three years' military service with the Royal Artillery in the Himalayas, it was this that he took to his successful Slade interview with Randolph Schwabe in 1947. His tutors, William Townsend and William Coldstream, being well-connected, brought artists and critics such as Francis Bacon, Wyndham Lewis and David Sylvester into the Slade to look at students' work. Oakley's diligent studies in the Antique Room won him the Taylor and Melvill Nettleship awards, as well as the Wilson Steer medal for Northern Landscape, a "summer composition" painting of coal trucks in a railway yard produced in 1950. He remained at the Slade for a postgraduate year and in 1951 married Ann, his life-long partner. In those days, the path from the Slade and the Royal College to the New English Art Club was still in use and Oakley showed industrial scenes at two of its exhibitions before moving north to become an art master at Eden School in Carlisle. A splendid watercolour of the old city bus station remains a popular reproduction sold by Tullie House museum in Carlisle. In 1957 his first solo exhibition was held at the Crane Kalman Gallery, Manchester, and was opened by L.S. Lowry. Oakley recalled Lowry's enthusiasm when he purchased a picture from the show. At this stage, living on a fabric designer's salary, and with a growing family, the Oakleys could not reciprocate – much to their chagrin in later years. Thereafter he showed regularly in Manchester exhibitions, being praised for his "poetry in paint". In 1962 he obtained the post of Senior Lecturer at Belfast College of Art, and it was after this that true poetry arrived, with paintings of ships' engine rooms at Harland and Wolff, recalling the submarines of childhood – one of which was acquired for the Ulster Museum, Belfast. In shows at the Caldwell Gallery in Bradbury Place, Belfast, these intense, claustrophobic interiors were juxtaposed with the wide expanses of Donegal where the Oakley family had a summer cottage. Oakley rhapsodised on the windswept beaches where occasionally he would come across the rotting remains of old fishing boats. When these paintings were exhibited in 1965 at the Bondgate Gallery, Alnwick, along with works by Lord Haig and J.H. Themal, Oakley, according to The Guardian, "stole the show". A few years later, as Seamus Heaney and Michael Longley were emerging as the poetic voices of Ulster, the critic William Feaver praised the "mortuary effect" of the painter's "leaky skies" and "peat trenches". Oakley might easily have been typecast as an Irish landscapist of a conventional kind. However, hints of Edward Hopper and "magic realism" had begun to creep into his painting and around the time of his return to England in 1974, he became interested in working in three dimensions – "dabbling in construction work" and experimenting with trompe l'oeil was how it was described. Repeated visits to the Dutch museums instilled a respect for the measured space of Vermeer, Terborch and Metsu, and took him back to his Slade School exercises in mathematical perspective. In 1982, on a student trip, he visited the massive 360-degree Mesdag Panorama in The Hague which was re-examined in a series of works – as indeed were the methodical approaches of painters such as Thomas Eakins and George Stubbs whose deep visual research led to periods of physical and spiritual isolation. These and the Dutch masters became his new subject matter in what were described as "works with romantic and historical associations", in the first of three exhibitions staged at Pyms Gallery, London in 1984 – perhaps the most fruitful collaboration of Oakley's career since it led to touring shows, in galleries in Hull, York, Kendal and Belfast. What we see in The Eakins Studio (1986), for instance, is a box/vitrine, similar to a stage designer's model. The life room impedimenta, sculpture stands and a "donkey", are recreated in miniature – tiny hand-crafted objects in which experience is locked. And on the back wall are pinned the famous studies of male and female nudes which contain them. Oakley's own experiences had come back to haunt him. A connection between these austere academic rituals and lost heroes such as Scott and Oates of the Antarctic, or Mallory and Irvine on Everest, fused in his mind and led him to produce the evocative Antarctic Triptych (1984) and the Quarter Rupee Triptych (1986) in which the intrepid teams of explorers and mountaineers pose for famous photographs. In the former the image is pinned to the remnants of one of their packing cases, along with other memorabilia, including a postcard of Caspar David Friedrich's The Wreck of the 'Hoffnung', inspired by an attempt on the North Pole in 1823. Embedded in the foreground fragments of cracked ice are remnants of a Union Jack. By the early Nineties, other themes, equally austere, suggested themselves. The discovery of a monument to Roger Casement, the death of Richthoven and new interpretations of Balthus, Winslow Homer and Magritte were added to the repertoire in these later years when two further solo shows were staged at Castleside Gallery, Cockermouth, in 1996 and 2000. In 1999 he won the Singer Friedlander/Sunday Times watercolour prize with The Thomas Eakins Gallery. In a genial, self-deprecating way, Charles Oakley used to claim that he was having fun and that these "tableaux" were just a way of filling time. But it was much more than that. Serious research would take him off to find the Mallory ice axe at the Alpine Club, or in 1996, back to Rajasthan. And with collectors waiting for paintings that might take months of detailed work to complete, he carried on until his late seventies when his eyes began to fail. Thereafter, he still spent his mornings in the studio, listening to Radio 3 and reading, surrounded by the work of a lifetime. Note: Kenneth McConkey is Emeritus Professor of Art History at the University of Northumbria. He is an expert on British, Irish and French painting of the late nineteenth and early twentieth centuries, especially Sir John Lavery, British Impressionism and the New English Art Club, and has published extensively on the art of the period, including on George Clausen. Very good condition with no visible or known issues.

* Bronze Age. A bronze axe head, circa 1000-800 B.C., oval hollow aperture and flared head, a rich green patina throughout, 5.5 cm long QTY: (1)

A Hasbro Star Wars 'The Black Series' Axe Wolves 1:1 Scale Electronic Helmet, packaging has been opened, instruction leaflet present, helmet has previously been displayed, scratches to visor noted, boxed.

A Hasbro Marvel Avengers End Game Stormbreaker 44" Electronic Axe, instruction booklet present, boxed.

Magpie lot - old axe in holder (Standard issue fireman's axe 1930's), Car Zeiss binoculars in case, spirit flask and brass fire extinguisher

JCE-AXE AND CAMERA, EXPLORED AND ILLUSTRATED 'THE OBERLAND AND IT'S GLACIERS', CLOTH BACK, 1886

Style One, axe handle. Black and grey coloration. Royal Doulton backstamp.Artist: Douglas V. TootleIssued: 1980 - 1990Dimensions: 2.5"HCountry of Origin: EnglandCondition: Age related wear.

Ethnographica, 19th / 20th Century Nigerian / Central and Western African fighting / prestige axe with chisled decorative line motifs and cobra skin leather wrapping. Length of handle shaft : 50cm, length of axe blade: 32cm long

African tribal / Ethnographica axe

Vintage Corgi Toys 102 Rices Pony Trailer with Pony, tan body, cream roof, shaped spun wheels, with pony, 109 Pennyburns workmens trailer, yellow/blue, cast wheels, with pick axe, shovel and broom and two 61 Four furrow ploughs, one with 67 instruction leaflet, all in near mint to mint original condition, tiny chip to 102 roof, yellow/blue illustrated boxes are in excellent original condition, except for two 61 boxes which are good. (4 items)

Four Maxwell Toys India Lincoln Continental, copies of Matchbox 31a,513 Police Car, red body, police decal to bonnet, 514 Fire, red body, green roof light, crossed axe decal to bonnet, 514 Fire, red body, blue roof light, crossed axe decal to bonnet and 515 Ambulance, white body, red crosses, all with original cellophane inner packing, in mint original boxed condition. (4 items)

Four Vintage Action Man Palitoy Emergency Carded Sets, Fire fighter, cat no.34514 contents: Fire fighter back pack, large axe, Fire fighter, cat no.34515 contents: Jacket, trousers & boots, Fire crash crew cat no.34524 contents: Jacket, trousers & boots and Underground rescue cat no.34525 contents: Overalls, boots & helmet, all in mint condition, cards are fair to good. (4 items)

Elephant right, trampling horned serpent, CAESAR in exergue. Rev. Emblems of the Pontificate, culullus, aspergillum, axe, and apex. (Crawford 443/1; Sydenham 1006). Extremely Fine or better with toned lustre. A very pleasing specimen.

A good selection of mainly Axe Valley pottery Devon ceramics

A quantity of Axe Vale pottery including vases etc

REGGAE/ DUB - 12"/ LP COLLECTION. A collection of around 54 reggae 12", including a couple of LPs. Artists/ titles include Rico - Wareika Dub (M/ Sealed), Raging Fyah - Everlasting, Joe Higgs - Family, Love Divine Vol 1, Alton Ellis - Continuation, Singers & Players - Vacuum Pumping, Bandelero - Pinchers, The Dub Invaders - Trouble Like Dirt, Donna Marie - Marvellous, Devon Russel - Sing Roots Classics, Dub War - Mental EP, Jack Radics - Rough Life. Rappa Robert, Mafia & Fluxy, Barrington Levy, Sugar Minot, Anthony Redrose, Dreadzone, Super Cat, Bunny Lie Lie, Ijahman & Madge, Joe Gibbs, Champion Doug Veitch, Junior Marvin, Junior Tucker, BB Seaton, Nerious Joseph, Papa Levis, Matumbi, Little Axe, Garry Clail. Condition is generally VG+ to Ex+, odd one may drop to VG.

REGGAE/ DUB - LP COLLECTION. A smashing collection of 35 reggae LPs. Artists/ titles include Max Romeo - Horror Zone, Bashaka - Ska-Talites, Buju Banton - Til Shiloh (MOVLP1383, Limited No: 309), John Holt - Living Legend, Byron Lee & The Dragonaires - More Carnival, The Mighty Diamonds - If You Looking For Trouble, Don Carlos - Spread Out, Alpha Blondy - Jerusalem, Hot & Rich: Rocksteady (M/ Sealed), Herman Chin Loy - Musicism Dub, Roy Burrowes, I-Mo Jah, Roots Radics, Jackie Mittoo (M/ Sealed), Macka B, Culture, Message From The Meditations, Litle Axe, Max Romeo, Roland Alphanso, Jackie Opel, Ken Boothe, Sir Coxson Selects, Prince Jazz Bo. Condition is generally VG+ to Ex+, odd one may drop to VG.

A stone garden pot, with a rope twist border and lattice sides, 38cm high, 52cm wide, together with a pick axe. (2)

A late 19th century German Palmer Cox Brownie pirate nodder, composition with large blue google eyes, blue sailor’s cap, pink shirt with white ruff, blue trousers with long skinny legs, small axe in belt, large feet and circular wooden base —9in. (23cm.) high (aged)

Vintage Stubai Made in Austria mountaineer's ice axe, together with a Leon Paul fencing helmet and sword

Old African tribal axe with curved blade, and wooden shaft with wire bound decoration, 55cm in overall length

A Victorian Scottish silver brooch/kilt pin in the form of a basket hilt sword, set with specimen and glass stones; a Scottish Sterling silver brooch in the form of an axe, surmounted with a thistle, set with specimen stones and a round purple stone, Ward Brothers; a pewter Clectic brooch, set with specimen and orange stones, Miracle

HEAVY METAL - 7" RARITIES PACK. A pack of 23 x 7". Artists/ Titles include Robert Calvert - Lord Of The Hornets, Axis - Lady, E.F Band - Another Day Gone, Quartz - Nantucket Sleighride, Quartz - Stroking The Fires Of Hell, Lightning Raiders - Criminal World, Saracen - No More Lonely Nights, Limelight, Horsepower, Fran Barrie, Buffalo, Dragster, Dark Star, Red Alert, H.G.B, Chevy, White Spirit, Geddes Axe, Last Flight and The Heartbreakers. The records are generally VG+ to Ex+ and the sleeves are generally VG to Ex.

HEAVY METAL - 7" RARITIES PACK. A pack of 13 x 7". Artists/ Titles include Nightime Flyer - Out With A Vengeance (EYE 2), Hazzard - Snake In The Grass (EJSP9600), Dawnwatcher - Spellbound (DWS 001), Black Axe - Highway Rider (MELT 1), Whitefire - Suzanne (98DB 001), Expozer - Expozed At Last (HEAVY 1), Dick Smith Band - The Way Of The World, Geddes Axe - Sharpen Your Wits (AXE 1), Holocaust - Live, Heavy Load - Take Me Away, Dawnwatcher - Backlash and Heritage - Strange Place To Be. The condition is generally VG+ to Ex+ with some sleeves dropping slightly below.

**Set of Three Ornamental Axes**A collection of three decorative axes, designed in styles inspired by historical or ceremonial weaponry. The set includes the following:1. **Two Brass Axes (Left and Right):** - Crafted from polished brass or a similar golden-hued alloy. - Both feature crescent-shaped blades and cylindrical handles that taper slightly towards spherical pommels. - Each is topped with a pointed decorative finial, mirroring a stylised spearhead. - Likely designed as a matched pair, measuring approximately 30–50 cm in length based on estimation.2. **Central Ornate Axe:** - Constructed with a dark-stained wooden handle and a patinated metallic head, potentially iron or steel. - The head is adorned with intricate Gothic-inspired reliefs, including possible dragon or serpent motifs, representing mythological or fantasy themes. - The wooden shaft is lathe-turned with visible grooves, adding functional grip or decorative texture. Its design aligns with a ceremonial or display object.### Notes:- This set appears to be a mid-20th to early 21st-century production, reflecting historical influences without being functional weapons. The central piece's ornate detailing and darker tones differentiate it from the paired brass axes, adding visual contrast to the collection.- Likely intended for ceremonial, decorative, or collector's purposes.

Two African Tribal ceremonial axes with carved wooden heads / face detailing to tops with axe blades coming out of the mouths, one axe has double blade

An American wheeled hoe and plough and an axe. The hoe/plough having metal blades and wooden handles, L169cm, the axe having a wooden handle, L88cmAll items in this auction are sold as seen, We are unable to provide condition reports or additional photos.

A reproduction ceremonial axe and one other ceremonial knife

Vintage carrick scottish silver sword & axe brooch measures approx 8cm

Carltonware large figural bar advertising decanter "The Beefeater Yeoman" holding an axe, h.43cm.

This exquisite Royal Doulton character jug, designed by Peter Gee, is part of the Henry VIII and His Six Wives series. Issued between 1978 and 1989, this jug stands approximately 7 inches tall and features a detailed hand-painted depiction of Catherine Howard, the fifth wife of King Henry VIII and cousin to Anne Boleyn. The jug showcases Catherine in a maroon dress with a wide yellow collar and a white rose, symbolizing her royal status. The handle is uniquely designed as an axe, representing her tragic fate. Dimensions: 7"HCountry of Origin: EnglandCondition: Age related wear.

TWO NEW ZEALAND NEPHRITE JADE TRIBAL WEAPONS IN ANTIQUE STYLE, OF RECENT MANUFACTURE The first a dagger with carved wood handle, in a wooden box, the knife 28cm long The second a hand axe, of traditional form, within a wooden box, the axehead 14.5cm long Provenance: Private Collection Condition Report: PLEASE NOTE: ALL LOTS ARE LOCATED AT SACKVILLE WEST STORAGE IN ANDOVER (SP10 3SA) AND ARE NOT AVAILABLE TO VIEW.In good condition due to lack of ageADDITIONAL IMAGES: Please 'Ask a Question' to request additional images for this lot. Condition Report Disclaimer

Gama, a clockwork tinplate tank with rubber tracks, (both perished and in two pieces), spade, axe and two machine guns, with a key (not original), not working, (missing tank commander), 18cm long.

A 19th century Indian battle axe, Chota Nagpur region, with convex-curved steel blade with engraved decoration, blade length 23cm, supported on an ebonized wooden shaft with bone pommel pieces, overall length 86cm.

Meunier, Constantine (Belgian, 1831-1905); b. Etterbeek BELGIUM, Le Mineur, c. 1920, a large uniface cast bronze plaque after C. Meunier, head of miner right, wearing helmet and holding pick-axe, factory chimney in background, back engraved with a birthday dedication (À mon Cyprien bien aimé pour sa fête, Héléne, 3 Octobre 1922), 197 x 150mm, 1,142.09g (cf. Müseler 15.5.6/21; cf. Elsen 123, 1572; cf. DNW 188, 789). Extremely fine and patinated; with means of suspension £60-£80

A selection of 19th century sculptures to include a Copeland parian figure 'Paul' depicting a boy holding an axe and hat 35cm high, a biscuit porcelain figural group of two lovers 36cm high, a parian figure of a Grecian classical maiden 25.5cm high, and a alabaster bust after A Giamnelli, on a marbled resin base 26cm highIf there is no condition report shown, please request

A late 19th century Russian Kuznetsov porcelain souvenir chocolate cup, the cover with an axe finial, named in gilt, 14cm high; a souvenir Russian icon, 17.5cm x 14.5cm (2)

AN ASSORTMENT OF TOOLS TO INCLUDE POST HOLE DIGGERS, A PICK AXE AND TWO SLEDGE HAMMERS ETC

A ROBERT ALLISON SILVER CELTIC AXE BROOCH

A modern Stubaie Blue Star ice axe

Assorted decorative items including a wall clock, metal pail, large ice bucket, two ladles and a decorative axe. Not available for in-house P&P

Shooting stick, Irish Blackthorne walking stick and a Polish walking stick in axe style. Not available for in-house P&P

A Chinese mudman figure of a seated Emperor, raised on a scrolling wooden base, with conversion to a table lamp, with shade, 52.5cm high, together with a Shiwan mudman figure of a man with an axe, modelled standing on a rock, 24.5cm high.

9th-11th century A.D. Double-edged battle axe with broad trapezoidal blade elongated towards the bottom, with rhomboidal and blunt fixing hole shaft, the opposite end formed by a long and thick spike. Cf. D'Amato, R., 'Armi e strumenti di lavoro da Iasos (Tools and weapons from Iasos)' in Bollettino dell'associazione Iasos di Caria, 23, Ferrara, 2017, pp.2-13, fig. 11, p.9. 411 grams, 22.7 cm (9 in.). [No Reserve] Ex USA private collection, 1970s-1990s.The double-edged axe was used by the Roman cavalry between the 9th and 11th centuries. The correspondence of this example with the types described by Emperor Leo VI the Wise, is surprising: it is clear that this typology was not a working tool but a war axe, suitable for breaking helmets, breastplates, shields and skulls since it inflicted devastating blows to the head and arms by damaging the protective equipment.

2nd-1st millennium B.C. An adze-axe head with central shaft hole and curved blades. Cf. Christie's, The Axel Guttmann Collection of Ancient Arms and Armour, part 2, London, 2004, item 34, p.32. 755 grams, 17.5 cm (6 7/8 in.). Acquired 1980-2015. Ex Abelita family collection.The adze-axe was a fundamental axe of many Bronze Age cultures over the world. Its form was one that lends itself to dual purposes - for war and peace. As a tool, it functions in fabricating wood and as a weapon, its heavy mass and compact form make it a deadly striking and chopping weapon, even able to defeat light armour.

Circa 15th-16th century A.D. A small axe with a gently curving blade and circular socket. 163 grams, 85 mm (3 3/8 in.). [No Reserve] Ex North American private collection, 1970s-1990s.

Neolithic Period, 4th-2nd millennium B.P. Comprising: a small polished hand-axe, possibly worked from dolerite, with well preserved cutting edge; a large and beautiful scraper made from translucent white chalcedony. 849 grams total, 10.6-12.9 cm (4 1/8 - 5 in.). [2, No Reserve] Axehead found Isle d'Oleron, France. Acquired in the 1970s-1990s. From the collection of famous UK musician and amateur archaeologist, Victor Brox (1941-2023). From the collection of a South West London, UK, specialist Stone Age collector.

Late Bronze Age, circa 700 B.C. With broad stepped collar to the mouth, slightly flared square-section body with thick narrow loop, straight edge; old collector's inked label 'Armorican type socketed axe, Late Bronze Age around 700 B.C. North West France, usually found in large hoards, Normandy and Brittany. Ex old French coll. Bought Paris'. 240 grams, 12.9 cm (5 in.). [No Reserve] Found North West France. From an old French collection, originally acquired in Paris. From a Leicestershire, UK, collection. Accompanied by on old handwritten identification tag.

9th-12th century A.D. Restrung looped necklace of gold-in-glass beads, opaque red glass seed beads and sheet-bronze axe-shaped pendants; modern clasp. 23.5 grams, 56 cm (22 in.). [No Reserve] Formerly in a private collection formed before 1950. Ex property of a professional gentleman, acquired 2011. Property of a Californian, USA, collector.

Late 20th century A.D. Standing on a lotus-flower dais; Parvati with floor-length robe and mandorla, Ganesha with axe, rope and other implements in his various hands; after the antique. 2.58 kg, 39.3 cm (15 1/2 in.). [No Reserve] Acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent.

Archaic Period, 5000-2000 B.P. Lentoid in section and tongue-shaped in plan; with collector's label 'Native American hand Axe / Burlington Lincoln Missouri / Archaic Period / 5000 BC-2000 BC'. 105 grams, 11.4 cm (4 1/2 in.). [No Reserve] From Burlington Lincoln, Missouri, USA. Acquired from Ancient Wonders, UK. From the private collection of Kenneth Machin (1936-2020), Buckinghamshire, UK; his collection of antiquities and natural history was formed since 1948; thence by descent. Accompanied by an old identification card.

Early-Middle Neolithic Period, circa 3800-3100 B.P. Worked and unpolished on all surfaces and edges, trapezoidal in plan with rectangular cross-section and slightly convex broad sides, straight narrow sides; butt rounded and with reduced thickness; rounded cutting edge; grey to beige 'marbled' flint with inclusions. Cf. MacGregor, A. (ed.), Antiquities from Europe and the Near East in the Collection of Lord McAlpine of West Green, Oxford, 1987, item 4.76, for type. 2.1 kg, 32 cm (12 1/2 in.). (For this specific lot, 5% import VAT is applicable on the hammer price.) Danish private collection, T.H. Denmark. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12472-228694.The unpolished so-called “flat” or “rectangular axe” was in widespread use in the 4th millennium B.C. in Southern Scandinavia and North Germany.

Kushan Empire, time of Kujula Kadphises to Vima Takto AE Didrachm.. AD 80-113. Uncertain (possibly Begram) mint. Soter Megas issue. Radiate and diademed bust to right, holding sceptre; tamgha to left / [ΒΑCΙΛЄV ΒΑCΙ]ΛЄV⟒Ν C⟒ΤΗΡ [ΜЄΓΑC], King on horseback to right, holding axe; tamgha to lower right. ANS Kushan 186-95; Senior B17.1vT (listed as tetradrachm); Donum Burns 60. 8.25gr, 20mm, 1h. Near Extremely Fine.Property of a Cambridgeshire, UK, gentleman.

1st-2nd century A.D. Miniature axe with hammer-face to rear, mounting loop below. 2.8 grams, 19 mm (3/4 in.). [No Reserve] Found Essex, UK.

A large pair of German 'Ric-Rak' crimping scissors, other large pairs of scissors, axes, bill hooks, fireman's axe and other tools