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.
We found 34083 price guide item(s) matching your search
There are 34083 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
34083 item(s)/page
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.
AFRICAN PALAEOLITHIC STONE HANDAXE WESTERN SAHARA, LATE ACHEULEAN, 250,000 - 200,000 B.C. knapped quartzite, of teardrop form, with a glossy desert patination, raised on a bespoke mount 17.7cm high Private collection, Belgium, formed late 1960s – present This Acheulean handaxe, with its sand blasted patination coming as the result of centuries of exposure to the Saharan environment, dates to around 250,000 B.C. It was used for tasks such as digging, chopping, and butchering.Handaxes are the earliest and longest-used tools made by hominids, with a history spanning 1.7 million years. They reflect an early human interest in both functionality and form, with makers often crafting symmetrical edges and faces beyond practical needs. This attention to detail highlights not only their usefulness but also an early sense of aesthetics in tool-making.
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.
1983 Krauser MKM 1000Registration number A686 MUBFrame number 1009282Engine number 607907144,740 recorded milesAssembled in 1983 using a new BMW R100RS purchased by the present owner from Simon Hill of Ultimate Source who were the Krauser luggage importers at that timeFull details of the build are shown on the attached sheet along with recent work done for the present owner by Hurley Engine Services in May 2022The bike was sold to the second owner in November 1992 when the mileage was 37,471It was passed to the third owner in April 2006 as a non-runner as it had broken down in 1995/96He died in 2012/13, and the bike was passed to his son who in January 2018 contacted the first owner who eventually re-purchased the bike in 2020The mileage at that time was 41,006 so it had covered only 3,535 miles in 28 yearsSupplied with a paddock stand The bike is being sold in good usable condition and complete with a new fairing, front mudguard, single seat body and seatAll lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding. Please read our terms and conditionsWith V5C, MOT's, receipts, owner’s manual, tool kit and documentation from newThis lot must be collected by 12.30pm on Friday 14th March. If the buyer has not collected by this time it will automatically be removed and placed into storage, incurring a removal charge of £60 + VAT. Combinations will be charged at £100 + VAT. Storage will then be charged at £10 + VAT per day or part thereof. If collecting from storage, please provide 24 hours notice
1988 Honda VFR 750R RC30Registration number E237 AUJFrame number RC30-1000638Engine number3,565 recorded milesOriginal machineFirst registered in the UK in 2007Full service in 2014 with details of work done and parts fittedFull service in 2020 by the previous owner when the mileage was 2,898Invoices to show work done and parts fittedEngine started November 2024Very good conditionAll lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding. Please read our terms and conditionsWith V5C, MOT's, owners handbook, invoices, USB stick with photos, original tool kit and spare keysThis lot must be collected by 12.30pm on Friday 14th March. If the buyer has not collected by this time it will automatically be removed and placed into storage, incurring a removal charge of £60 + VAT. Combinations will be charged at £100 + VAT. Storage will then be charged at £10 + VAT per day or part thereof. If collecting from storage, please provide 24 hours notice
A collection of circular American compacts, including two Marinello elephant decorated, one enamel rubbed, 5cm diameter, two Pompeian Bloom c1927 with flowers in urn, 4cm diameter, Hollywood with coloured bead mounted flower 4cm, two 1940sTattoo with dancing figures 3cm, Sesquicentennial International Exposition Philadelphia 1926, 5cm, figures playing chess, 6.5cm and a Tangee Rouge 3.5cm diameter with refill tool (11)
PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A good illustrated A.L.S., Picasso, one page, 4to, Cannes, 17th January 1956, to Max [Pellequer], in French. Picasso writes a brief letter, in full, ´Oui mon cher Max, je les ai recues et 100,000 et plus de fois merci´ (Translation: ´Yes, my dear Max, I've received them 100,000 times over, thank you´). Above his message of three lines Picasso has added an original blue ink drawing in his hand, which dominates the page, and depicts a bottle of wine standing alongside a glass. A simple yet highly appealing illustrated letter on a theme which recurred in many of Picasso´s artworks during his career. Some light, minor creasing and a few small tears to the edges, not affecting the text or illustration. About VGMax Pellequer (1903-1973) French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.´Picasso permanently relocated to Paris in 1904. He spent the remainder of his life and artistic career living in France……Alcohol was an important facet of French artists’ social scene and of their art. Bars, cafes, and other drinking establishments often served as meeting places and hangouts for artists of the generations immediately preceding Picasso, and it is no surprise that they frequently took these places and their wares as subjects for their works……..Picasso, like other artists living in France at the time, was the inheritor of the cultural ripples of alcohol, as well as of the visual themes it inspired….[Picasso´s]…….1896 painting The First Communion, depicts a young woman about to receive her first communion……[this, and other]……works do not prominently feature alcohol per se, although they do reveal an important facet of Picasso’s relationship with wine: wine not only as a religious sacrament, but also as marker of identity……..For Catholic Picasso, wine was not simply a tool for worship, but must also have been a sort of divine vessel, which, through God, became something new and holy. The doctrine of transubstantiation, by which Eucharist wine becomes the blood of Christ, was and remains a defining feature of Catholicism. These works also lay a foundation for Picasso’s later exploration of wine in the very different context of ancient Greco-Roman religion……The Minotaur’s Repose: Champagne and Mistress depict a minotaur and a nude woman reclining on a couch; the minotaur looks over his shoulder towards the viewer, raising the glass of wine in his hand…….The Dionysiac characters of satyrs and maenads (depicted in Picasso’s Bacchanale) also embody the intoxicating effects of alcohol which distance drinkers from the rational mind and, in Greek myth, their humanity…….This is a very different relationship to wine than the Catholic imagery of Picasso’s earlier career evokes, but both imply significance and even a form of reverence. In Picasso’s works, wine can be both transformed and transformative´ (extracts from Picasso: Wine and Art at La Cité du Vin by Paige Crawley, 2022)
Four Vintage Action Man Palitoy Emergency Carded Sets, Highway Hazard cat No. 34511 contents: jumpsuit, waistcoat, High Rescue, contents: jumpsuit & helmet, Fire Crash Crew, cat no. 34523 contents: helmet, gas mask bolt cutters and Fire Crash Crew, cat no. 34522 contents: Fire extinguisher, tool belt & tools, all in mint sealed condition, cards are fair to good. (4 items)
Quekett, John Thomas, 2 Microscope Slides,2 microscope slides with labels that read 'Injection Lung of Boa, prepared by prof. Quekett' in a period leather case, the sample mounted in a deep cell with mounting fluid still present, the other slide with label that reads 'Human Small Intestine Veins White ?? Red, Prepared by Professor Queckett'John Thomas Quekett (1815–1861) was a pioneering English histologist and microscopist whose work significantly advanced the study of tissues and the popularisation of microscopy in the 19th century. Born in Langport, Somerset, he trained as a medical professional at the London Hospital and later at the Royal College of Surgeons, where he developed his expertise in microscopic anatomy.Quekett made significant contributions to medical science, particularly in histology—the study of tissues. His microscopic examinations allowed for a deeper understanding of biological structures, and he became a key figure in advancing the use of the microscope in medical research. His most notable work, A Practical Treatise on the Use of the Microscope (1848), became an essential guide for students and researchers, providing detailed instructions on microscopic techniques and specimen preparation.Beyond his medical research, Quekett played a crucial role in popularising microscopy. As the Curator of the Hunterian Museum at the Royal College of Surgeons, he expanded its collections and promoted microscopy as an indispensable scientific tool. In 1865, his legacy was cemented with the founding of the Quekett Microscopical Club, an organisation dedicated to encouraging the study of microscopy, which remains active today.
John Cary, Cary's New and Correct English Atlas, 1793John Cary, Cary's New and Correct English Atlas: Being a New Set of County Maps from Actual Surveys..., printed for John Cary, Engraver, Map and Print-seller, No.181 near Norfolk Street, Strand, published as the act directs Jan 1st 1793, large Quarto, full leather period boards, recent spine and binding replaced end papersJohn Cary (c. 1754–1835) was a prominent English cartographer, engraver, and globe-maker, celebrated for the precision and artistry of his maps. Renowned for his attention to detail, Cary played a significant role in elevating cartography to both an art form and a practical science. His surveys and innovative methods earned him commissions from various government bodies, including the Ordnance Survey, where he worked to establish accurate baselines for mapping.Cary's atlases, globes, and road maps became essential tools for travelers, geographers, and planners during the late 18th and early 19th centuries. His New and Correct English Atlas is considered a landmark in British cartography, influencing the way maps were designed and utilized. Cary’s commitment to accuracy and clarity set new standards for the field, ensuring his legacy as one of England’s finest mapmakers.Book Description: The 1793 edition of Cary's New and Correct English Atlas is a carefully revised and expanded version of the original 1787 publication. This second edition reflects John Cary’s dedication to precision and includes updated maps based on actual surveys. Featuring a complete set of English county maps, the atlas is accompanied by descriptive text, providing geographical, demographic, and historical insights for each county.The maps are finely engraved and hand-colored, showcasing Cary’s mastery in combining scientific accuracy with aesthetic appeal. The second edition incorporates corrections and enhancements to the original plates, reflecting the evolving understanding of England’s geography in the late 18th century. Cary’s clear and detailed cartographic style made this atlas an indispensable tool for planners, travelers, and scholars of the era.This 1793 edition offers a rare glimpse into Georgian England’s geography
WWI Military HeliographEnglish, c. WWI, engraved to the back 'HELIO 5" MK V T.B.S.' and to the tripod, 'STAND LAMP OR HELIO A MK III', complete in its original leather caseA heliograph is a device that uses the sun's rays to send coded messages over a distance. It's a solar telegraph system that uses mirrors to reflect sunlight in a pattern of flashes. Its principle of operation is based on the use of sunlight to transmit messages over long distances, making it an effective tool in areas where conventional communication methods were unfeasible.How the Heliograph Works - The core component of the heliograph is a mirror, typically mounted on a tripod for stability and maneuverability. The device uses Morse code to convey messages, leveraging the mirror to reflect sunlight towards a distant receiver. By adjusting the mirror’s angle in a precise and controlled manner, operators can produce intermittent flashes of light that correspond to the dots and dashes of Morse code.The heliograph’s effectiveness hinges on clear, sunny weather, as the primary signal medium is sunlight. An operator could achieve a range of up to 50 miles, conditions permitting, which was remarkable for the time. Some versions of the heliograph included secondary mirrors and sighting scopes to enhance targeting and accuracy over extended distances.Military Uses of the Heliograph - The heliograph was most famously employed by British forces during colonial wars at the end of the 19th century and into the early 20th century, including significant use during the Anglo-Boer War in South Africa. Its ability to facilitate long-range communication without the need for wires or electrical power made it invaluable in the vast, undeveloped expanses where many of these conflicts occurred.One of the key advantages of the heliograph was its security. The narrow beam of light produced was difficult for unintended recipients to intercept, making it ideal for coordinating movements and relaying sensitive information during military operations. Furthermore, the device was portable and relatively easy to operate, requiring minimal maintenance and logistical support.BUYER BEWARE: WE CANNOT SHIP THIS LOT, PLEASE ARRANGE COLLECTION OR OWN COURIER*We Recommend Pack & Send Oxford*
Rotary Microtome, Ernst LeitzGerman, c.1900, with label for 'E. LEITZ WETZLAR' on heavy cast iron base with chrome plated flywheel, geared advance to specimen, with box containing 2 microtome knife blades stamped ZDUCL - Zoology Dept. University of Central London, 23.4cm wideFootnote: The rotary microtome is an essential instrument in the preparation of microscope slides, widely utilized in histology and pathology labs. This precision tool slices extremely thin sections of tissue, which are then mounted on slides for microscopic examination. The rotary microtome operates on a mechanical principle where a specimen block is advanced in a horizontal motion against a stationary knife, allowing for consistent section thickness. This precision is crucial for producing uniform slices, typically ranging from 1 to 60 micrometers, necessary for detailed cellular analysis.
A Chinese Geomancers Compass,Chinese, 19th Century, constructed of a single piece of turned wood with magnetic compass in the centre, the surface covered in Chinese characters, 12cm diameterThe geomancer's compass, also known as a Luopan, is a tool used in Feng Shui to determine the precise directional bearing of a location. The compass is constructed with a central magnetic needle mounted on a finely marked wooden disk. The surface of the disk features multiple concentric rings filled with Chinese characters, each representing various geomantic formulas and celestial influences for making Feng Shui judgments.The outermost ring contains markings for the 24 directions (based on the traditional Chinese compass), while inner rings include trigrams from the I Ching, heavenly stems, earthly branches, and other symbols used in Taoist cosmology.
WWII, Husun Herny Hughes, Flying Boat 3 1/2 inch Sextant,English, dated 1941, engraved REF No.68/177 and numbered 44368 with trade label to lid for Husun, Henry Hughes & Son Ltd, finished in black crackle paint in polished fitted caseFootnote: Henry Hughes Nautical Sextant, model 6B/177, is a fascinating artefact that bridges the worlds of maritime and aviation history. Built by London-based firm Henry Hughes & Son, this sextant is a remarkable example of technological ingenuity from the Second World War.This particular model was specifically designed for use aboard the Sunderland flying boats, these aircraft that played a vital role in the Allies' fight against German U-boats. The Sunderland was a four-engine flying boat renowned for its endurance and versatility, patrolling vast stretches of ocean. For such missions, precise navigation was absolutely critical, and the Hughes 6B/177 sextant was a key tool to ensure that.Interestingly, this instrument holds the distinction of being the only marine sextant adapted for use in the air. It was specially built to maintain the high level of accuracy required for the Sunderland's long reconnaissance flights.However, there’s a twist to its story. Despite its innovative design, it seems the sextant was rarely, if ever, used during actual flights. Marine sextants, while excellent on calm waters, struggled to perform effectively in the dynamic and often turbulent conditions of the air. Instead, flight crews relied on the bubble sextant, which was far better suited to the challenges of aerial navigation.That said, the Henry Hughes sextant wasn’t without its purpose. When the Sunderland flying boats landed on the water, the sextant came into its own. Stationary on the ocean’s surface, it was used for traditional navigation.
International Watch Co (IWC) - a gentleman's Schaffhausen Rattrapante pilot's automatic wristwatch, the round blue dial with silver baton hour markers, luminescent and silver hour and minute hands, red seconds hand, day/date aperture and three sub dials, polished and brushed steel case and bracelet, with guarantee dated 04/05/07, spare links, bracelet adjustment tool, booklets and boxes. Numbered to the back 2951519
Sixteen late 19th century German composition marching Miners, comprising a grey bearded leader and brown bearded flag bearer, three musicians with ‘brass’ instruments, eight men carrying axes and four smelters in aprons, all with green dress fez’s with black painted crossed tool insignia, turned wooden bases —3in. (7.5cm.) height of figures (slight damage and crazing)
A BOX OF ASSORTED ITEMS, to include a cased set of 'Cross' 14ct gold filled ball point pen and propelling pencil set, a 'Ronson' table lighter and hand held lighter, a boxed ladies 'Prince London' wristwatch, a gents 'Orlando' wristwatch, a boxed set of cufflinks, magnifying glass, a multi tool bottle opener, an antler handled letter opener with cover, a napkin ring and loose world coins
Loading...-
34083 item(s)/page