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Bronze age copper alloy chisel, circa 2000BC. A cast bronzed tanged chisel, 27g. 87mm.

A TRAY CONTAINING CARPENTRY TOOLS including a new in box Record No 071, a Stanley No4, a Guardsman chisel set, a Spear and Jackson Superior back saw, other saws, a Stanley brace and bits etc

Bronze Age Chisel. Circa 1500-800 BC. 11g, 38mm. Formed of a narrow solid shaft with an expanding broad blade with curved cutting edge. Ref: Needham 1988. Selective deposition in the British Early Bronze Age, World Archaeology, volume 20, number 2, figure 4.

Records : Rock - Hard/Prog/Metal/Classic UK/US issues (30) 1970s/90s unsorted albums inc Trees, Trance, Gold Chisel, Baby Grand

Bosch Mann electric hammer chisel

A collection of vintage and antique tools to include 'John Green' chisel, Reeves & Sons ruler, Ward of Sheffield shears and other similar items. (Qty)

Two brass and hardwood carpenter's Braces (one incomplete), a wood and wrought iron carpenter's brace, a large mortise chisel, a carpenter's chisel (lacking handle), a primitive mallet head and a blade for a bead cutting plane. ***V.A.T. will be added to the hammer price of this lot.

A collection of Hard Rock LPs mainly from late 70's and 1980s. Includes artists: UFO, AC/DC, Scorpions Sammy Hagar, Dawn Patrol, Vinnie Moore, Brighton Rock, Thin Lizzy, Kansas, Cold Chisel (Breakfast at Sweethearts Canadian pressing), Q5, Bodine, Verity, GTR, Gary Moore, Def Leppard and others.  Also includes a Collector's Box of Def Leppard CD singles. Overall condition: Very Good Plus To Near Mint. (52)

Box of spanners as new, chisel, lamp & air compresser

Mixed tools including a Stanley chisel and a hose. Not available for in-house P&P

Marples and other chisels, including 1 1/2" wide bevel edged chisel, Marples lathe chisels, etc. (1 box)

Neolithic Period, circa 5th-3rd millennium B.C. Including barbed-and-tanged arrowheads, chisel and oblate blade; all mounted on perspex display frames. 53.6 grams total including stand, 25-34 mm (1 - 1 3/8 in.). From a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent. [4, No Reserve]

2nd-1st millennium B.C. Including double-ended square-section awls, chisel with curved edge and other items. 46.6 grams total, 28-83 mm (1 1/8 - 3 1/4 in.). Found Wiltshire, UK, before 1974. [8, No Reserve]

1st-4th century A.D. Comprising a round-section shank with bulb finial, balustered neck, flat chisel-blade with barbs to the rear. 11 grams, 17.6 cm (7 in.). From the Garcia collection, France, 1990s. [No Reserve]

A Makita drill bit / chisel set

SIX BOXES CONTAINING TOOLS AND WASHING MACHINE PARTS including a Rolson chisel set, hammers, saws, bearing sets for AEG, Indesit, Creda etc washing machines,

Screwdriver, chisel, pliers, spanners, adjustable spanner, in two tool boxes.

Robert Sorby Woodturning chisel set (8) - THIS LOT IS TO BE COLLECTED BY APPOINTMENT FROM DUGGLEBY STORAGE, GREAT HILL, EASTFIELD, SCARBOROUGH, YO11 3TX

After Hans Keck, German (1875-1941) A fine quality bronze Figure of a stone mason at work, with hammer and chisel in hand standing over a block on an octagonal speckled marble base, approx. 48cms (19") high. (1)

PNEUMATIC TOOLS including a SGS SG6H compressor (PAT pass and working), a Silverline farming Nailer (rust may need attention), an air chisel set and a tyre inflater (4)

AN ASSORTMENT OF ITEMS TO INCLUDE A CHISEL SET, HAND GRIPS AND FUEL CANS ETC

Large, silver, Russian samovar made of 84 silver, trading house I.E. MOROZOV. Mounted on a stand with four figured legs in the form of paws. The samovar is decorated with a geometric ornament, as well as an openwork pattern over the entire surface, made with a chisel. The handle holders are made in the form of foliage, and the handles themselves are made of Bakelite. Hallmarks: MOROZOV and a double-headed eagle, corresponding to the hallmark of the supplier of the imperial court. Workshop of Ivan Ekimovich Morozov, goldsmith, founder of the trading house I.E. MOROZOV. Assay mark of master ASh. The stamp 84 is indicated in the upper part of the stamp, the city stamp contains two anchors and a scepter. The year 1896 is indicated at the bottom of the stamp. Traces of earlier restoration. Weight: 5640 g. Width: 28cm, Height: 48cm, Depth: 28cm, Weight: 5.640kg, Condition: Good, Material: Silver 84

SEKIGUCHI SHIN'YA (CHIKUTOSAI, 1877-CIRCA 1932) FOR THE SEISHUKAN COMPANYAn Inlaid Silver Large Footed BowlTaisho (1912-1926) era, 1917Finely worked in contrasting silver, shibuichi, bronze, and shakudo flat and high relief with a continuous scene illustrating the 'Dedication of Asphalt and Oil' outlined in Nihon Shoki (The Chronicles of Japan), depicting a delegation bringing burning soil (asphalt) and burning water (oil) to Emperor Tenji in 668 (Tenji 7), two attendants carrying asphalt contained in a box, another two carrying oil in a large jar, accompanied by a courtier on horseback, a further two attendants, one carrying a tiger-skinned sword, other details delineated in katagiribori (engraving with an angled chisel emulating brushstrokes), signed on the side with chiselled characters Shin'ya kinkoku (respectfully chiselled by Shin'ya) and stamped on the base Jungin (Pure Silver), Seishukan Choosai; with a separate, pierced wood stand and a wood tomobako storage box inscribed outside the lid Ginsei hanamoriki (Silver flower vase), inscribed inside the lid Nendo nensui kenjo no i, Taisho hinoto-mi shigatsu (The Scene of Dedication of Asphalt and Oil, April 1917), signed inside the lid Sekiguchi Shinya koku with a seal Shinya no in. The footed bowl: 31cm x 31.5cm (12 3/16in x 12 3/8in), the stand: 5cm x 26cm (2in x 10¼in). (3).Footnotes:A similar shaped vase depicting the same subject but by a different artist is in The National Museum of Modern Art, Kyoto, see search.artmuseums.go.jp/records.php?sakuhin=197388This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A GROUP OF ELEVEN ARCHAIC JADE ORNAMENTSNeolithic Period to Han DynastyComprising: four jade beads of cylindrical form, each centred by an aperture drilled vertically, the stones of reddish brown and celadon with brownish veins; a pair of chicken-bone circular tubes, each of cylindrical form drilled vertically to allow stringing; a jade disc, bi, drilled to the centre with an aperture and incised with a dragon to each side; a smaller plain jade disc, bi, centred with an aperture, the stone of brownish tone with darker veins; a pair of bell-shaped pendants, the knops perforated for suspension; a jade awl-shaped ornament of rectangular shape tapering to a pointed end, surmounted by a knop perforated for suspension; a jade fish carved in an arc with incised fins and a pierced eye; and a jade seal with a square base and trapezoidal top pieced for suspension purpose. The chisel: 8.1cm (3 1/8in) long (11).Footnotes:新石器時期至漢 玉勒子、玉璧、玉佩、玉魚、玉方印及錐形玉器 一組十一件During the Qin and Han dynasties, the style of jade seals was often simple and concise, adopting a inverted funnel shape where the upper part is smaller than the lower part. As seen in the present lot, to save effort and prevent the top from being damaged, the holes of Qin and Han jade seals were always drilled slightly downward from both ends, resulting in an outer-large-inner-small shape. See a similar jade seal, Han dynasty, in the Qing Court Collection, in the National Palace Museum, Taipei (acc.no.故玉000116N000000000). See a related jade rectangular seal, Western Han dynasty, which was sold at Christie's Hong Kong, 29 November 2022, lot 2745.Archaeological reports suggest that the awl-shaped ornaments were used as hair ornaments for noble males. When the awl-shaped ornaments were unearthed, their pointed ends faced outward. See a group of nine similar awl-shaped ornaments, Neolithic period, Liangzhu culture, illustrated in Liangzhu yuqi 良渚玉器, Beijing, 2018, p.82. Fish-shaped jade was a predominant jade type from late Shang to early Western Zhou. See five related jade fish pendants, from Shang to Western Zhou period, illustrated by J. Rawson, Chinese Jade: From the Neolithic to the Qing, London, 1995, pp.228-229. Jade discs of the present originally were employed as ritual implements, and subsequently might have been cherished as antiquities, passed down among collectors throughout dynasties. The dragons on the larger jade bi should be carved later. See a related plain bi, c.2000-1500 BC, illustrated by J. Rawson in Chinese Jade from the Neolithic to the Qing, London, 1995, pp.157-158, pl.7:8.See a related group of jade ornaments, Neolithic period to Han dynasty, which was sold by Bonhams Hong Kong, 30 May 2017, lot 11.For further information on this lot please visit Bonhams.com

A German WWII DRK Red Cross Subordinate Hewer, the blade with saw back and chisel point, marked Ges Geschutz with nickel cross guard with DRK emblem in a black painted steel scabbard

A PLASTIC TOOLBOX AND A TRAY CONTAINING TOOLS including a brace, chisels hammers, saws, a Dronfield plane, a carvers chisel, an untested battery charger, an untested crock pot etc

Barry De More (Northern British 1948-2023): 'Sculptor with Chisel', monochrome charcoal signed and titled verso 34cm x 27cmProvenance: direct from the family of the artist Notes: a Yorkshire Artist and Associate Member of Dean Clough Studio Artists, De More's works have been exhibited in galleries such as The Stirling Smith Art Gallery and The Whitaker Museum

Three (3) artefacts found metal detecting. Includes (1) Bronze Age chisel, 50mm, (2) early-medieval decorative buckle strap end, 44mm, nice patination and attractive, and (3) part strap end with face, 33mm.

A Post-Mortem Set, London, late 19th Century/early 20th Century, by ALLEN & HANBURYS LTD LONDON, stainless steel, with combination saw, catlin blade, cartiledge blade fitting one socket handle, bowel scissors, skull rest, 3 scalpels, combined hammer and chisel, dissecting forceps, chain hooks, and other miscellaneous instruments, in fitted mahogany case with key – 25cm. x 14cm. x 4.5cm.; together with, a post mortem chisel, London, 19th Century, stamped ARNOLD & SONS, LONDON, with mahogany handle – 40cm. (length)Note: Cased set previously bought Sotheby’s 12th June, 1984 (189).

Outstanding barrel shaped ponytail/ braid holder in sterling silver with ornate overlay and bold stamp and chisel work. The stone is a cabochon coral. Backstamp BLKGT Sterling. 1.50"L x 1"W. Artist: Arnold BlackgoatIssued: 20th centuryCountry of Origin: United StatesCondition: Age related wear.

Andreas Hondorff. Promptuarium exemplorum. Historienn und Exempelbuch (...). Mit Titelbl. gedruckt in Rot u. Schwarz u. einigen Holzschnitt-Initialien. Leipzig, Jacob Berwalds Erben, 1573. 10 Bll., 478 S., 24 Bll. 4°. Schweinsldr. d. 16 Jh. (dat. 15?6) u. monogrammiert "A.P.S" auf 5 Bünden über Holzdeckeln mit abgefasten Kanten, Streicheisenlinien sowie Rollen u. Plattenstempeln, recto u. verso je mit figürlicher Mittelkartusche mit Darstellung der Judith mit d. Haupt des Holofernes (Haebler I 457, IV), umschlossen von weiteren figürlichen u. stilisierten Palmettenbordüren (Schließen fehlen, berieben, bestoßen u. fleckig, einige Wurmlöcher). VD16 H 4734. - USTC 687366. - Nicht bei Adams. - Selten, diese Ausgabe für uns derzeit im internationalen Handel nicht nachweisbar. - Im Innendeckel mit mehreren hs. Besitzeinträgen, u.a. "Hans Christoph von Gleichen". - Fliegendes Vorsatzblatt mit hs. Annotationen, Titelbl. verso mit Wappenholzschnitt u. hs. Vita. - Mit einigen Unterstreichungen und Annotationen alter Hand. - Papierbedingt gebräunt u. etw. stockfleckig, tls. etw. feuchtigkeitsrandig oder mit etw. gr. Feuchtigkeitsflecken, Innengelenke angebrochen, Buchblock jedoch fest. Insgesamt wohlerhaltenes Exemplar im zeitgenöss. Einband. With title page printed in red and black and some woodcut initials. 16th century blind tooled pigskin dated (15?6) and monogrammed "A P S" on 5 bands over wooden boards with bevelled edges, chisel lines and roll and plate stamps, on recto and verso each with figural cartouche in the centre depicting Judith with the head of Holofernes, framed by further figurative and stylised palmette borders (clasps missing, rubbed, bumped and stained, some wormholes). - Rare, this edition currently not verifiable for us in international trade. - Inside cover with handwritten ownership entries. - Flyleaf with annotations in manuscript, title page with woodcut coat of arms and handwritten vita on verso. - With some underlining and annotations by old hand. - Due to paper somewhat browned, foxed, some dampstaining or larger dampstains, inner joints cracked, book block however firm. Altogether well-preserved copy in contemporary binding.

A SMALL BRONZE AGE AXE OR CHISEL HEAD c. 1100-800 BC, of copper alloy with butt tapering to a point and a flaring blade with convex cutting edge, approx. 6.1cm long x 2cm wide x 0.4cm deep; with awl (2)Axe Portable Antiquities Scheme: DOR-D2EF2CAwl Portable Antiquities Scheme: DOR-7BB992

Two cased sets of drill and chisel bits. Not available for in-house P&P

NEW WAVE/PUNK/ALT - LPs. Another brill collection of 38 x well presented LPs including rarities. Artists/titles include Brian Eno - Before And After Science (lovely to see original UK copy complete with the folder and prints, Polydor 2302 071 - superb Ex+/Ex+ condition throughout), X-Ray Spex - Germ Free Adolescents (stock UK original, EMC 3023 - Ex+/Ex with printed inner), The Church - Heyday (PCS 7221, NZ pressing), Ruts - The Crack (UK og V 2132 - Ex+/Ex+), Fripp & Eno - (No Pussyfooting) (2343 095), DD Smash, The B-52's (ILPS 9580 - Ex+/Ex), Cold Chisel (x5), Dr. Feelgood, The Dream Academy, Wreckless Eric, Redgum, The Reels, Goanna, Mental As Anything, The Motels, John Miles and Billy Field. Condition is often wicked Ex to Ex+/archive (records) and VG+ to Ex+ (sleeves) with a number of hard to find New Zealand and Australian pressings included.

A quantity of various tools including chisel, scrapers contained within two wooden boxes

14 VINTAGE TWOSE OF TIVERTON AGRICULTURAL TRACTOR EQUIPMENT SALES BROCHURES INC 190 DIGGER, 190 GRAB LOADER, 271 CHISEL PLOUGH & 670 HEDGETRIMMER

RÓMULO ROZO (1899–1964) 'LA MUSICA', 1925 bronze, raised on a slate plinth, inscribed in the bronze plinth RÓMULO, signed with monogram and dated in the bronze plinth (twice) RR/ PARIS/ 1925, signed, inscribed and dated to the reverse RR/ 1925/ ESVENO, with foundry stamp MARONI RADICE/ CIRE PERDUE/ PARIS bronze 31.5cm high, with plinth 36cm high The first few decades of the twentieth century were a turbulent era for Columbian art. Bogota born sculptor Romulo Rozo (1899-1964) sat at the heart of this changing artistic climate, educated within and inspired by both European and indigenous artistic traditions. His work’s incorporation of Pre-Columbian motifs and myth resulted in him becoming an enduring figurehead for the art of his homeland and its distinctive identity. Colonial activities in Colombia and movement of artists between Europe and Latin America fostered strong Spanish and French influences in the art scene in Columbia at the conclusion of the 19th century. The founding of the School of Bogota at the start of the 20th century however, heralded a desire to free Colombian art from European models. Nevertheless, just a couple of decades later and under political pressure to promote Spanish heritage as a model for society and the arts, the pendulum swung back the other way, as the Circle of Fine Arts was established. This organisation favoured artists following the academic tradition seen in Madrid. Rozo was born in Bogota in 1899 and first enrolled at the National School of Fine Arts in his home city. As was politically popular, he then followed a European training route, travelling to Spain where he studied for four years, before completing his education in Paris. Here he worked with sculptors including Paul Landowski, known for his work Christ the Redeemer in Rio de Janeiro, and Antoine Bourdelle. This mixture of European and Latin American training is evident in his work La Musica. Executed in 1925, during his time in France, it reflects the two locations of Rozo’s training; the impressed decoration and highly textural protrusions have visual parallels in indigenous Columbian art, but the figure’s contrapposto pose and realistic form draw heavily on the European classical tradition. Executed in the same year as La Musica, the granite sculpture Bachué would become his most celebrated and famous work. To the indigenous Muisca people of modern-day Colombia, Bachué is the mother goddess of humanity.  Rozo’s sculpture depicts the two parts of the Muiscan origin of humanity myth; the goddess emerging from the water holding a child and snakes returning to the lake having populated the earth. The sculpture reached its zenith at the 1929 Ibero-American Exposition in Seville, an extended exhibition celebrating the links between Spain and Latin America. It sat in a fountain at the heart of the Columbian pavilion, the carvings and façade scheme of which were also designed by Rozo. Such was the impactful presentation of the almost life-size work that it was awarded a prize. This exposure and recognition thrust Rozo into the artistic spotlight and cemented Bachué as a landmark in Colombian art. Rozo’s sculpture was adopted as a symbol for what was later named the Bachué Group; artists and writers in the late 1920s looking to champion indigenous concerns within contemporary Colombian art. In June 1930 they published ’Monografia del Bachué’ in the newspaper El Tiempo, a document regarded by some as their quasi-manifesto. The group sought a return to their country’s roots by putting local and indigenous culture foremost in the arts. The legacy of their work survives today under the Proyecto Bachué, a platform for managing activities related to Colombian arts and acting to promote and support contemporary creative enterprises.Bachué represented a pivotal moment in Rozo’s personal artistic development, by cementing the Pre-Columbian visual language in which he primarily would work for the rest of his life. Thus, La Musica provides a touchstone with Rozo’s period of self-discovery, as he experimented with combining European and Latin American models before fully embracing his roots. Further, the sculpture illustrates the wider cultural interests of the man behind the chisel. In addition to his artistic contributions, Rozo was involved in the Columbian musical offering at the 1929 Ibero-American Exposition. He performed disguised as a peasant with the Columbian duo Wills and Escobar, their act showcasing another form of indigenous art. La Musica depicts a musician deep in reverie, a state with which Rozo was perhaps familiar. After his success in Paris, Rozo relocated to Mexico in 1931 where he worked for ten years as a member of the Columbian government’s cultural department. Surrounded by Mayan culture, Rozo incorporated these influences into various projects, most notably in Monumento a La Patria in Mérida (1956). Despite his early acclaim, he died a poor man in Yucatan in 1964. Throughout his life he used art to pursue his indigenous ancestors with a tenacity bordering on the obsessive, La Musica representing a crucial part of his search for an authentic creative identity.  

WHEELWRIGHTS CHISEL DATED 1890

A five piece woodturning chisel set.

A Victorian gilt metal Masonic pendant, with enamel and white stone decoration, 57mm high; together with another Victorian Masonic pendant, with presentation inscription to reverse, dated 23 December 1845; a gilt metal Masonic hammer and chisel, on chain; a rose gold coloured Masonic ball, lacking pendant mount; a gilt metal belt buckle; an enamel and gilt metal serpent crucifix pendant; a citrine topped yellow metal propelling pencil; and other items.

Box of mixed tools to include eleven piece chisel set. Not available for in-house P&P

Vintage Modern Woodworking Machines Ltd. floor-standing chisel mortiser, height 142cm approx. (excluding operating lever) Please note: This item is extremely heavy. Please ensure you have adequate assistance and a suitable vehicle for collection if you intend to bid on this item

Stanley No 5000 bevel edged wood chisel set with sharpening stone and drill bit sharpener.

Wooden rack of wood turning chisels which include spindle gouges, bowl gouges, parting chisel etc by Robert Sorby, Axminster and Henry Taylor.

Late Bronze age complete tanged chisel dating to c. 1000-800 BC. It is in good condition and undamaged. Lovely even deep green patina. H11.65mm. 30.34g.

A 19th Century Mahogany Brass Mounted Surgeon's Field Amputation Kit by Coxeter. The Fitted Interior Containing Various Tools to Include Folding Bone Saw, Hammer Chisel, Bone Tripod Spike Mount, Pliers Etc, the Brass Banded Box With Escutcheon Inscribed For F Mason, Incomplete, 27x15x5cm High

A FINE AND EARLY 18-BORE FLINTLOCK CONTINENTAL SPORTING-MUSKET SIGNED CARL PFEIFER, no visible serial number, circa 1720 and probably Vienna school, Austria, with well rebrowned two-stage 43 1/2in. twist octagonal slightly swamped barrel in the Turkish fashion, carved bands at the girdle, foliate silver fore-sight, the long breech section inlaid with silver scrolls and engraved silver arabesques, gilt bush to touch-hole, two moulded and applied silver bands and gold-lined barrelsmith's mark in Arabic characters on the top, engraved and flared square-tipped top-tang, brushed bright flat bevel-edged lock engraved with a stag hunting scene in a landscape and signed 'CARL PFEIFER' below the unbridled lozenge-shaped pan, the cock chisel-carved and engraved and with circular form jaws, engraved front face to the frizzen and with carved and feather-tipped spring, walnut full stock (fore-end an expert replacement) with relief carving along the ramrod channel and with raised rococo carving around the top-tang and front of comb, brass engraved, moulded and carved furniture including cast and pierced side-plate with a hound taking a hare within scrolling foliage, engraved crowned escutcheon, butt-plate featuring an engraved female portrait bust centred on the chisel scroll engraved heel spur, the trigger-guard decorated en suite and with raised lower tang, engraved, turned and faceted ramrod-pipes, moulded horn fore-end tip and replacement horn-tipped ramrod.

A four piece wood chisel set and an Irwin 32 piece posi, conventional straight bit and torq bits..

Planes, chisel, plyers, brushes and other tools

COLLECTION OF VINTAGE TOOLS, including a hammer, chisel, hand drill and further

Assorted metal memorabilia including a reproduction loco worksplate and flags (qty), comprising repro North British loco worksplate 23860, Petrol can embossed tops (2), wrench, cold chisel, pulley, coin dispenser, handpump, thermometer, micrometer, sight feed glass, filler funnels (2), other assorted metal items, Flags red-yellow-green (3), F-VG, (qty)

Bronze Age Socketed Chisel. Middle-late Bronze Age, circa 1500-800 BCE. Copper-alloy, 27.65g. 48mm. A short narrow chisel or gouge with deep socket. Ref: The Archaeological Journal Vol IV (1849), page 382, found at Westow, Yorkshire, and in the Archaeological Journal IX (1852), pages 302-3, found at Romford, Essex. Evans (1881) also describes other socketed chisels found at Heathery Burn Cave, Durham;

A LARGE COLLECTION OF COMPRESSOR ATTATCHMENTS TO INCLUDE A CHISEL GUN, PAINT SPRAYERS AND A DRILL ETC

DIDEROT DENIS: (1713-1784) French philosopher, art critic and writer, a significant figure during the Age of Enlightenment. An extremely rare and important autograph manuscript, unsigned, seven pages, 8vo, n.p., n.d (c.1771), in French. The manuscript, written in Diderot’s small, neat hand, is entitled Satyre contre le luxe a la mainiere de Perse (‘Satire against luxury in the Persian style’) and takes the form of a dialogue between two characters, the first a sceptic of the times, not far removed from Jean-Jacques Rousseau, radical in his rejection of luxury and what it represents, and the second character one who judges that all is not so bad in the world as it is. ‘Vous jetez sur les diverses societes de l'espece humaine un regard si chargin, que je ne connais plus guere qu'un moyen de vous contenter: c'est de ramener l'age d'or’ (Translation: ‘You look at the various societies of the human race with such a distrustful eye that I can think of only one way of satisfying you: that is to bring back the golden age’) begins the second, and with spartan austerity, the former rejects all sweetness of life, ‘Vous vous trompez. Une vie consumee a soupirer aux pieds d'une bergere n'est point de tout mon fait. Je veux que l'homme travaille. Je veux qu'il souffre. Sous en etat de nature qui irait au-devant de tous ses voeux, ou la branche se courberait pour approcher le fruit de sa main, il serait faineant; et n'en deplaise aux poetes, qui dit faineant dit mechant’ (Translation: ‘You're wrong. A life spent sighing at the feet of a shepherdess is not entirely my doing. I want man to work. I want him to suffer. Under a state of nature which would fulfil all his wishes, or the branch would bend to bring the fruit nearer to his hand, he would be a faineant; and, with all due respect to the poets, who says faineant says villain’), and Rousseau’s name is naturally introduced, ‘Depouillez-vous donc; suivez le conseil de Jean-Jacques, et faites-vous sauvage’ (Translation: ‘Take off your clothes; follow Jean-Jacques' advice, and make yourself wild’) before the interlocutor sweeps aside the Voltairean irony and gives the subject a political twist, ‘Ce serait bien le mieux. La, du moins, il n'ya a d'inegalite que celle qu'il a plu a la nature de mettre entre ses enfants; et les forets ne retentissent pas de cette variete de plaintes, que des maux sans nombre arrachent a l'homme dans ce bienheureux etat de la societe’ (Translation: ‘That would be the best. Here, at least, there is no inequality except that which it has pleased nature to place between her children; and the forests do not resound with that variety of complaints, which countless evils wring from man in this blessed state of society’), the other attempts moderation and advocates a form of resignation to the order of things as it is, ‘Mon ami, aimons notre paitre; aimons nos contemporains; soumettons-nous a un ordre de choses qui pourrait par hasard etre meilleur ou plus mauvais; jouissons des avantages de notre condition. Si nous y voyons des defauts, et il y en a sans doute, attendons-en le remede de l'experience et de la sagesse de nos maitres; et restons ici’ (Translation: ‘My friend, let us love our pasture; let us love our contemporaries; let us submit to an order of things which might by chance be better or worse; let us enjoy the advantages of our condition. If we see any faults in it, and there undoubtedly are, let us await the remedy of the experience and wisdom of our masters; and let us remain here’), and then the other launces into a violent diatribe against corrupting money, ‘Rester ici, moi! moi! y reste celui qui peut voir avec patience un peuple qui se pretend civilise, et le plus civilise de la terre, mettre a l'encan l'exercise des fonctions civiles; mon coeur se gonfle, et un jour de ma vie, non, un jour de ma vie, je ne le passe pas sans charger d'imprecations celui qui rendit les charges venales. Car c'est de la, oui. c'est de la et de la situation des grands exacteurs que sont decoules tous nos maux. Au moment ou l'on put arriver a tout avec de l'or, on voulut avoir de l'or; et le merite, qui ne conduisait a rien, ne fut rien. Il n'y eut plus aucune emulation honnete. L'educatin resta sans aucune base solide’ (Translation: ‘To remain here, me! me! to remain here is to be the one who can patiently watch a people who claim to be civilised, and the most civilised on earth, auction off the exercise of civil functions; my heart swells, and one day of my life, no, one day of my life, I will not spend it without charging with imprecations the one who made the offices venal. For it is from this, yes. it is from this and from the situation of the great tax collectors that all our ills have arisen. At the moment when one could achieve everything with gold, one wanted to have gold; and merit, which led to nothing, became nothing. There was no longer any honest emulation. Education remained without any solid foundation’), further describing the deleterious effects of the race for wealth, the desire to possess more and more that leads humanity to its ruin, ‘L'elephant se gonfla pour accroitre sa taille, la boeuf imita l'elephant; la grenouille eut la meme manie, qui remonta d'elle a l'elephant; et, dans ce mouvement reciproque, les trois animaux perirent: triste, mais image reelle d'une nation abandonnee a un luxe, symbole de la richesse des uns, et masque de la misere generale du reste’ (Translation: ‘The elephant inflated itself to increase its size, the ox imitated the elephant; the frog had the same mania, which went up from it to the elephant; and, in this reciprocal movement, the three animals lost: sad, but a real image of a nation abandoned to a luxury, symbol of the wealth of some, and mask of the general misery of the rest’), as well as the corruption of the morals, the contempt for study, the disappearance of all decency being the consequences, ‘On rampa, on s'avilit, on se prostitua dans toutes les conditions. Il n'y eut plus de distinction entre les moyens d'acquerir. Honnetes, malhonnetes, tous furent bons’ (Translation: ‘We crawled, we debased ourselves, we prostituted ourselves in all conditions. There was no longer any distinction between the means of acquisition. Honest, dishonest, all were good’), the other then advances the argument that this luxury engenders the development of art and industry, ‘Mais ne vous rejouissez-vous pas de voir la debauche, la dissipation, le faste, ecrouler ces masses enormes d'or? C'est par ce ,oyen qu'on nous restitue goutte a goutte ce sang dont nous sommes epuises. Il nous revient par une foule de mains occupees. Ce luxe, contre lequel vous vous recriez, n'est-ce pas lui qui soutient le ciseau dans la main du statuaire, la palette au puce du peintre, la navette?’ (Translation: ‘But don't you rejoice to see debauchery, dissipation and splendour crush these huge masses of gold? It is by this means that we are given back drop by drop the blood from which we are exhausted. It comes back to us through a host of busy hands. This luxury, against which you recoil, is it not that which sustains the chisel in the hand of the statuary, the palette on the chip of the painter, the shuttle?’), OWING TO LIMITATIONS IMPOSED BY THE SALEROOM THE COMPLETE DESCRIPTION FOR THIS LOT CAN NOT BE DISPLAYED. Please contact IAA Europe directly for further information. 

The tea cup holder is decorated with chisel carving and gilted inside. 84. Moscow. Manufacturer mark Ð.N. The period of reign of Nicholas II. Height 9 cm and weight 107 gr

Tools - screwdrivers, allen keys, priority marking punches, 12" Bacho 73 adjustable spanner, chisel, saws, blades, etc:- Two Boxes.

Neolithic Period, circa 6th-4th millennium B.C. An axehead or chisel with cylindrical body, conical butt and broad straight edge. Cf. MacGregor, A., (ed.), Antiquities from Europe and the Near East in the Collection of Lord MacAlpine of West Green, Oxford, 1987, item 4.163, for type. 928 grams, 19.4 cm (7 1/2 in.). From a collection acquired on the UK art market from various auction houses and collections mostly before 2000.From an important Cambridgeshire estate; thence by descent. [No Reserve]

1st century B.C. Nervii? GB1-2. Obv: criss-cross chisel marks. Rev: horse left, lyre below, rider above. ABC 37; S. 9; LT 8697; DT 94-97; V. 37; Ev. D3; Al. Bb2; M. 8; Scheers 10, pl.499-102; Sills 343-351. 1.81 grams, 12 mm. . Found Hertfordshire, UK.

A koto Wakizashi in homemade shirasaya Sugata:  Kanmuri-Otoshi-Zukuri Iori-mune. Nagasa:. 44.0cm Motohaba: 2.8cm Sakihaba: 2.1 cm Kasane: 6mm Hada: itame but details obscured by light abrasion+ Hamon: very active choji/ midare with isolated togari peaks Kissaki: chu-kissaki boshi not visible Nakago:  Ubu with two mekugi-ana. Signed with narrow chisel  Bishu (ju) Masaiye saku. Koshirae homemade shirasaya Provenance: gifted 1962/63. Lots 539-543 comprise a collection of Japanese edged weapons assembled by the late Mr MacCormick between 1953 and 1963, with one final addition added in 1998. They were all purchased within the UK at local auctions, antique shops or privately. They have never been submitted for shinsa. All of the works are in largely untouched condition and a professional polish would undoubtedly reveal more detail of hada, hamon and boshi. Equally the koshirae include a number of interesting tsuba and small fittings which are worthy of further study and preservation.  Mellors & Kirk gratefully acknowledge the assistance of Paul Bowman in the cataloguing of this collection

A small cast iron anvil together with a ‘King Dick’ socket set and a boxed ‘Sorby’ chisel set