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Kenner Star Wars vintage accessories inc Blasters, pistols, Rifles, Yoda Snake, X-Wing Canopy, Gamorrean Axe. Condition Good to Good Plus

Large Continental Hand Axe with blade cutting edge 220mm in length. 345mm in width. Handle 508mm in length. No makers mark.

Boxed Scottish (Iona) Celtic axe brooch

Hand-carved wooden walking stick with an intricately engraved axe-shaped handle, decorated with traditional folk motifs and marked “Zakopane.”

This finely crafted bronze statue depicts Ganesha, the Hindu deity of wisdom and prosperity, seated on a tiered lotus base. The figure is adorned with elaborate detailing, featuring multiple arms holding symbolic objects, including an axe, rope, and modak (sweet), representing his divine attributes. The intricate carving on the garments and jewelry enhances the depth of the piece, while the warm bronze patina highlights its craftsmanship. A stunning representation of Hindu spiritual art, this statue embodies traditional artistry and sacred symbolism.Issued: 20th centuryDimensions: 7"HCondition: Age related wear.

A GROUP OF FOUR STONE CARVINGS A hardstone carving in the Ghandaran style of a robed man praying before flaming pillar, two Han style figures, a lapis lazuli decorative archaistic axe head 18cm to 43cm high From the collection of Philip Ng Fook Leong Ownership Statement: This item is offered for sale in the name of the owner, Philip Ng. For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

A collection of rock specimens, possibly axe heads

Tray of jewellery; Silver jewellery to include charm bracelet, 9ct yellow gold band ring- 2.43grams. Silver and agate stone axe brooch. Rolled gold locket and chain and many other items

A small collection of replica and souvenir type weapons - including a post-war kukri with leather scabbard; a miniature kukri (lacks scabbard) and an Indian knife with carved wooden scabbard; a replica flintlock rifle; a replica cast iron and wooden mace; a replica cast metal, wood and cow hide axe; and a replica flintlock pistol (a/f).

Two bags of tools, mallet, axe, chisels, etc.

Spades, hay fork, pick axe heads, etc.

A box of metal implements, pick axe head, rake, sledgehammer heads, etc.

ACHEULEAN STONE CHOPPER MOROCCO, LOWER PALEOLITHIC, C. ONE MILLION YEARS B.P. knapped stone, protobiface form, raised on a bespoke mount 13.2cm tall Private collection, Belgium, formed late 1960s – present A small proto-biface axe dating to c. 1 million years before the present day; it blurs the line between functionality and artistry, created by an entirely different species of human to ourselves, Homo erectus. While primarily used as a chopping tool, it may also have served as an early core when flake tools were required. It is fashioned from blue-grey stone, displaying subtle variations in tone that highlight its carefully worked form.

NORDIC STONE BATTLE AXE SCANDINAVIA, NEOLITHIC PERIOD, C. 3RD MILLENNIUM B.C. carved stone, dual cutting edges featuring an elegant tapering form, with an off-centre circular perforation, the surface is smoothly finished with refined contours that emphasise its balanced proportions, raised on a bespoke mount 16.5cm long Private collection, Belgium The most significant weapons of Early Bronze Age Europe were not forged from metal but shaped from stone. These remarkable artefacts, in use for over a millennium, were wielded by peoples across a vast expanse from the Baltic to the Atlantic. Far more than mere tools, they were symbols of power, prestige, and cultural identity, their forms and craftsmanship attesting to the sophistication of their creators.They are most closely associated with the archaeological Corded Ware Culture, a society distinguished by its distinctive cord-impressed pottery, which flourished across much of northern and central Europe. Skilled farmers, traders, and warriors, the people of this culture left behind burial sites rich with evidence of complex social structures and belief systems. Among the first to adopt and spread the use of copper and bronze, the Corded Ware people marked a pivotal shift in European metallurgy. Yet, it is the stone battle axes that stand out as some of their most diagnostic objects.Diametrically aligned around a central perforation, these axe-hammers are finely sculpted, with intricate chiselled details that reveal an aesthetic intent behind their design. Among the most striking are the "boat-shaped" models, their sleek profiles reminiscent of Native American canoes (see lot 80), which are characteristic of the late Neolithic period.André Grisse argued these objects were crafted with geometric precision, based on metric standards. He observed: "These artefacts convey a spiritual and ideological message. Their forms, shaped by geometric and mathematical principles, reflect cultural connections across Europe from the late 6th millennium to the mid-3rd millennium B.C. They bore invisible geometric traces, suggesting their creators' advanced understanding of design and symbolism. Those who carried these objects were likely not just warriors but also scholars or astronomers, connected to earthworks."While their imposing forms may suggest a martial purpose, many clues point also to a ceremonial role. Though nothing can be said with absolute certainty about their use, the limited effectiveness of these axes as cutting tools combined with the significant effort required to produce them makes their function as everyday implements unlikely (though there is debate in this respect). Instead, their depiction on funerary stelae alongside warriors, coupled with the exceptional care in their craftsmanship, suggests they symbolised social status. Some examples may even have been influenced by the earliest copper axes emerging in southeastern Europe during the 5th millennium B.C., reinforcing their symbolic significance.So integral were these artefacts to local cultures that miniature versions were created, possibly for personal adornment or ritual use. In southern Sweden, such miniatures have been found in wetland deposits, likely offered as gifts to the watery realm, while in northern Germany, they appear in mortuary contexts linked to cremation practices. Interestingly, while full-sized battle axes are typically associated with male burials, smaller examples are found in contexts involving women and children, suggesting they may have held talismanic properties. Some miniatures display pounding wear on their edges, unseen on full-sized axes, hinting at their use as mortars, perhaps for grinding materials for rituals. These miniatures might even be precursors to Thor’s hammer pendants of the Viking Age.Though we must be cautious when drawing direct connections, there is a further intriguing link between these ancient stone battle axes and the mythological world of the Viking Age, particularly through language. The people of the Corded Ware Culture are believed to have spoken an early form of the Indo-European language family. The Old Norse word hamarr, which describes Thor’s hammer, carries a dual meaning, both "hammer" and "rock." It's Indo-European roots, signifying "pointed," "sharp," and "stone," connect Thor’s weapon to the same qualities embodied by the stone axes wielded by the Corded Ware peoples. This linguistic link suggests that the hammer, much like the stone axes, was seen not just as a tool, but as an object imbued with power and symbolism deeply tied to the natural and metaphysical world.These stone axes appear to have been passed down through generations, with the evidence shown in their wear patterns and reworked edges, indicating prolonged use and careful maintenance. Some axes show signs of resharpening or re-polishing, suggesting they were prized possessions, preserved and adapted for continued use. Their deposition in high-status burials hints at their role as cherished heirlooms, interred at significant moments - possibly the death of the final owner. Others were placed in liminal spaces, such as riverbanks, bogs, or hilltops, indicating they were offerings to mark transitions or connections between realms both physical and spiritual. In later centuries and millennia, the discovery of these stone battle axes often occurred during ploughing, particularly following storms, when the soil was disturbed and these ancient artefacts emerged. Their striking forms, coupled with this timing, led to their association with "thunderstones", a folkloric belief that such objects were remnants of thunderbolts hurled by gods or supernatural beings. In many European traditions, these axes were thought to possess protective or magical properties, guarding homes from lightning, evil spirits, or even the mischief of trolls and fairies.Originally symbols of power, these axes took on new meaning when they were rediscovered in fields, riverbanks, and other liminal spaces. This connection to celestial or magical power deepened their mystique, transforming them from simple tools into sacred relics. In this way, and in a manner that continues to resonate today, objects such as these have seen many lives, first as weapons, then as relics of forgotten pasts, and now as artefacts that continue to captivate and intrigue, bridging the ancient and the modern.Axelsson, B. & Christensen, P.G.R. (eds.) (2004) The Corded Ware Culture in the Neolithic of Europe: A Social and Economic Approach.Beauvarlet, M. (2000) La Hache de Pierre à Travers le Monde. Paris: Editions Errance.Garrow, D. and Wilkin, N. (2022) The World of Stonehenge. London: British Museum Press.  

NEOLITIHC STONE "BOAT" AXE NORTHERN EUROPE, LIKELY SWEDEN, NEOLITHIC PERIOD, C. 3RD MILLENNIUM B.C. carved stone, with a sleek, elongated form tapering towards dual rounded cutting edges, a gently curved profile reminiscent of a boat with a central perforation, subtly recessed interior, the surface is smoothly finished with refined contours highlighting its symmetry, raised on a bespoke mount, centre marked ‘cc/70472’ 18cm long Private collection, BelgiumPublished:Beauvarlet, M. (2000) La Hache de Pierre à Travers le Monde. Paris: Editions Errance, p. 113 The most significant weapons of Early Bronze Age Europe were not forged from metal but shaped from stone. These remarkable artefacts, in use for over a millennium, were wielded by peoples across a vast expanse from the Baltic to the Atlantic. Far more than mere tools, they were symbols of power, prestige, and cultural identity, their forms and craftsmanship attesting to the sophistication of their creators.They are most closely associated with the archaeological Corded Ware Culture, a society distinguished by its distinctive cord-impressed pottery, which flourished across much of northern and central Europe. Skilled farmers, traders, and warriors, the people of this culture left behind burial sites rich with evidence of complex social structures and belief systems. Among the first to adopt and spread the use of copper and bronze, the Corded Ware people marked a pivotal shift in European metallurgy. Yet, it is the stone battle axes that stand out as some of their most diagnostic objects.Diametrically aligned around a central perforation, these axe-hammers are finely sculpted, with intricate chiselled details that reveal an aesthetic intent behind their design. Among the most striking are the "boat-shaped" models, their sleek profiles reminiscent of Native American canoes (see lot 80), which are characteristic of the late Neolithic period.André Grisse argued these objects were crafted with geometric precision, based on metric standards. He observed: "These artefacts convey a spiritual and ideological message. Their forms, shaped by geometric and mathematical principles, reflect cultural connections across Europe from the late 6th millennium to the mid-3rd millennium B.C. They bore invisible geometric traces, suggesting their creators' advanced understanding of design and symbolism. Those who carried these objects were likely not just warriors but also scholars or astronomers, connected to earthworks."While their imposing forms may suggest a martial purpose, many clues point also to a ceremonial role. Though nothing can be said with absolute certainty about their use, the limited effectiveness of these axes as cutting tools combined with the significant effort required to produce them makes their function as everyday implements unlikely (though there is debate in this respect). Instead, their depiction on funerary stelae alongside warriors, coupled with the exceptional care in their craftsmanship, suggests they symbolised social status. Some examples may even have been influenced by the earliest copper axes emerging in southeastern Europe during the 5th millennium B.C., reinforcing their symbolic significance.So integral were these artefacts to local cultures that miniature versions were created, possibly for personal adornment or ritual use. In southern Sweden, such miniatures have been found in wetland deposits, likely offered as gifts to the watery realm, while in northern Germany, they appear in mortuary contexts linked to cremation practices. Interestingly, while full-sized battle axes are typically associated with male burials, smaller examples are found in contexts involving women and children, suggesting they may have held talismanic properties. Some miniatures display pounding wear on their edges, unseen on full-sized axes, hinting at their use as mortars, perhaps for grinding materials for rituals. These miniatures might even be precursors to Thor’s hammer pendants of the Viking Age.Though we must be cautious when drawing direct connections, there is a further intriguing link between these ancient stone battle axes and the mythological world of the Viking Age, particularly through language. The people of the Corded Ware Culture are believed to have spoken an early form of the Indo-European language family. The Old Norse word hamarr, which describes Thor’s hammer, carries a dual meaning, both "hammer" and "rock." It's Indo-European roots, signifying "pointed," "sharp," and "stone," connect Thor’s weapon to the same qualities embodied by the stone axes wielded by the Corded Ware peoples. This linguistic link suggests that the hammer, much like the stone axes, was seen not just as a tool, but as an object imbued with power and symbolism deeply tied to the natural and metaphysical world.These stone axes appear to have been passed down through generations, with the evidence shown in their wear patterns and reworked edges, indicating prolonged use and careful maintenance. Some axes show signs of resharpening or re-polishing, suggesting they were prized possessions, preserved and adapted for continued use. Their deposition in high-status burials hints at their role as cherished heirlooms, interred at significant moments - possibly the death of the final owner. Others were placed in liminal spaces, such as riverbanks, bogs, or hilltops, indicating they were offerings to mark transitions or connections between realms both physical and spiritual. In later centuries and millennia, the discovery of these stone battle axes often occurred during ploughing, particularly following storms, when the soil was disturbed and these ancient artefacts emerged. Their striking forms, coupled with this timing, led to their association with "thunderstones", a folkloric belief that such objects were remnants of thunderbolts hurled by gods or supernatural beings. In many European traditions, these axes were thought to possess protective or magical properties, guarding homes from lightning, evil spirits, or even the mischief of trolls and fairies.Originally symbols of power, these axes took on new meaning when they were rediscovered in fields, riverbanks, and other liminal spaces. This connection to celestial or magical power deepened their mystique, transforming them from simple tools into sacred relics. In this way, and in a manner that continues to resonate today, objects such as these have seen many lives, first as weapons, then as relics of forgotten pasts, and now as artefacts that continue to captivate and intrigue, bridging the ancient and the modern.Axelsson, B. & Christensen, P.G.R. (eds.) (2004) The Corded Ware Culture in the Neolithic of Europe: A Social and Economic Approach.Beauvarlet, M. (2000) La Hache de Pierre à Travers le Monde. Paris: Editions Errance.Garrow, D. and Wilkin, N. (2022) The World of Stonehenge. London: British Museum Press.  

FINE NEOLITHIC POLISHED FLINT AXEHEAD SCANDINAVIA, C. 3500 B.C. flint, the polished stone displaying a mottled grey colour, the cutting edge rounded, raised on a bespoke mount 32.4cm tall Maurice Braham (1938-2022), LondonK. John Hewitt (1919-1994), KentPrivate Collection, UK, 1994-2023Exhibited:An Eye Into the Ancient Past, Forge and Lynch, 3rd - 7th July 2023 “Throughout temperate Europe, the establishment of farming settlements required forest clearance on a substantial scale. These pioneers had to fell trees to create fields for arable crops and to provide timber for houses. In this new world the stone axe came to have huge significance. This simple tool form was prevalent across the continent. While functionally useful for all types of woodworking, stone axes appear to have been much more than essential, well-used tools. Many were completely polished to a shine after being roughly shaped. This process takes several hours of hard work using sand, water and a fine-grained polishing stone. Polishing the body of an axe does not improve its functional qualities as a cutting/chopping tool and it is likely that people did this to enhance the appearance of its surface, bringing out the aesthetic qualities of the stone. The stone used to make axes itself seems to have had special significance. It was often quarried from deep within the earth and some sources were possibly venerated through being invested with magical, mythical significance.”Garrow, D. and Wilkin, N. (2022) The World of Stonehenge. London: British Museum Press. p. 39.

BRITISH NEOLITHIC POLISHED AXEHEAD KENT, UNITED KINGDOM, C. 4TH MILLENNIUM B.C. knapped and polished flint, of mottled grey colour, the cutting edge rounded, the butt tapering to a point, raised on a bespoke mount 25.4cm tall Private collection, London, United Kingdom, acquired on the UK art marketRobert Jay collection, United Kingdom, acquired prior to 1970 Accompanied by a copy of a letter from the British Museum dated to 1970 “Throughout temperate Europe, the establishment of farming settlements required forest clearance on a substantial scale. These pioneers had to fell trees to create fields for arable crops and to provide timber for houses. In this new world the stone axe came to have huge significance. This simple tool form was prevalent across the continent. While functionally useful for all types of woodworking, stone axes appear to have been much more than essential, well-used tools. Many were completely polished to a shine after being roughly shaped. This process takes several hours of hard work using sand, water and a fine-grained polishing stone. Polishing the body of an axe does not improve its functional qualities as a cutting/chopping tool and it is likely that people did this to enhance the appearance of its surface, bringing out the aesthetic qualities of the stone. The stone used to make axes itself seems to have had special significance. It was often quarried from deep within the earth and some sources were possibly venerated through being invested with magical, mythical significance.”Garrow, D. and Wilkin, N. (2022) The World of Stonehenge. London: British Museum Press. p. 39.

From the collection of Bristol 1904 Arts (formerly 'Bristol Savages') - Group of mainly mid 20th century Native American beadwork-decorated garments and accessories, to include: buckskin suede jacket, with beadwork decorated collar, tasselled hem and sleeves, four lozenges to reverse, 59cm (23") chest x 72cm long excluding tassels; pair of trousers, 44" waist x 30" inside leg; overskirt with beadwork (matching the jacket above) and attached sash with pouch terminal, 34" waist, 85cm long (ex. tassels); yoke, with feather, beadwork and fabric adornments, 97cm wide excluding fringed tasselling, sash; pair of suede gloves, possibly Chippewa, with long fringing above the floral beadwork cuffs, 34cm long; pair of Iroquois beadwork-decorated suede moccasins, 26.5cm long; pair of red wool and gingham chaps, 57cm long; drawstring bag decorated with 'earring' motifs, 28cm wide x 40cm high; plaited double pigtail wig, primitive stone axe or tomahawk, 14.5cm x 37cm; leather quiver, 27.5cm; pipe with feather and bead stem adornments, etc

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

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.

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

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)

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

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.

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

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.

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

A reproduction ceremonial axe and one other ceremonial knife

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.

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 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.

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)