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628738 Los(e)/Seite
Los 124
Two ZENIT 122 Commerative Cameras. ZENIT-122 1992 50th Anniversary of KMZ factory model with MC HELIOS-44M-6 f2 58mm lens. As new in (slightly worn) makers box. Serial numbers/Princelle Book codes: 50927114 (Kr) K3601 M C B P 23 93387490 (V). Also a ZENIT-122 1995 "50 years of Victory" commemorative model. With HELIOS-44M-6 f2 58mm lens, cap & manual. Serial numbers/Princelle Book codes: 95085797 (Kr) K3602 DC2 92131388 (V). {cabinet F}
Los 21
Three Uncommon FED 5 Cameras, inc Olympics Model. FED-5B 1980. With lens cap & case. Moscow Olympics commemorative camera I-61L/D 2.8/53. Serial numbers/Princelle Book codes: 098501 (Kh) F211. 9015904 (Kh) F430; FED-5B 1991. With lens cap, case, manual & box. I-61L/D 2.8/53. Serial numbers/Princelle Book codes: 294819 (Kh) F214 9127576 (Kh) F430; FED-5 1982-84. With lens cap, case, manual & box. INDUSTAR-61L/D 2.8/55. Two AGAT Half Frame Compact 35mm Cameras. AGAT 18 in makers box & 18K models, each with INDUSTAR-104 f2.8 28mm lens. 8930598 (M) M140 (M); 1234156 (M) M130 (M). 025089 (Kh) F224 9155516 (Kh) F430. (All condition 4/5F). {cabinet B}
Los 22
Two Rare FED 5 Cameras, inc Perestroika Model. FED-5 Perestroika Commemorative camera (logo slightly worn) 1990. With case & manual. INDUSTAR-61L/D 2.8/55. Serial numbers/Princelle Book codes: 965840 (Kh) F222. 8641698 (Kh) F430; Uncommon FED-5c (FED-S) 1992. With lens cap & case. INDUSTAR-61L/D 2.8/55. Serial numbers/Princelle Book codes: 255244 (Kh) F232 9295027 (Kh) F430. (All condition 4/5F). {cabinet B}
Los 231
An Uncommon 1920s Kodak Model BB 16mm Cine Camera Outfit for Colour Filming. Comprising Kodak Model BB cine camera (condition 4F) with standard f1.9 lens with French instruction book and a boxed 78mm f4.5 long-focus lens. Also includes a combined blue, red, green filter set for additive colour filming on the early, lenticualr version of Kodacolor cine film, plus a rare Kodacolor projector unit (in makers box) which fits to the side of a Kodak Model A for projection in colour and a Kodak splicing set. {cabinet J}
Los 237
A Very Rare 1950 Kinap 16mm & 3 8mm Cine Cameras. 16S-1 16mm Soviet 68mm Cine Cameras. The Kinap 16S-1 16mm model is serial number 533, with a Lenkinap 1RO5-1 f/2.8 20mm lens number 983. It features a built-in rangefinder and has parallax correction. Few of these cameras were made, and even fewer still exist.Also a 1961 Single 8 camera, 16 & 32 frames/sec.TRIPLET f2.8 12.5mm lens. Case & film cassette. Serial numbers/Princelle Book codes: 6101527 (Ka) MCKz104 613480 (Ka); KAMA Single 8 camera, 8, 16, 24 & 48 frames/sec. f2.8 12.5mm lens. Case, 3 filters, 3 film magazines & manual. Serial numbers/Princelle Book codes: 701464 (Ka) MCKz112 7001319 (Ka); KAMA -4 1973 Double 8 camera, 12, 16, 24 & 48 frames/sec. f1.8 12.4mm lens on turret. Lens cap, case, grip, lens hood & wrist strap. Serial numbers/Princelle Book codes: 731009 (Ka) MCKz142 (Ka). {cabinet K}
Los 259
Box of Early Cine & Other Items. To include an Early Hand-Cranked Childs 35mm Cine Projector & Films. Also a Pathescope Bingoscope, seven 9.5mm Pathescope films, five 35mm "Cinema Films" in rolls (?Dog racing and Thief?, ?Fight on the Stairs?, ?House Mystery? etc.) and a Cine-Kodak movie camera Model BB with Anastigmat 25mm f1.9 lens, and a 78mm telephoto lens, collection of instruction booklets etc, in original case. {cabinet Q}
Los 26
Two FED 3 Cameras, inc Olympic Commemorative Model. FED-3 (Type b) 1972 with case, manual, passport & box. INDUSTAR-61 2.8/52. Serial numbers/Princelle Book codes: 8465978 (Kh) F180 2129689 (Kh) F421; FED-3L/D (Type b) Moscow Olympics Commemorative camera 1980, with lens cap, case & manual. INDUSTAR-61L/D 2.8/53. Serial numbers/Princelle Book codes: 158633 (Kh) F186 8988733 (Kh) F430. (All condition 4/5F). {cabinet B}
Los 27
Two FED 3 Cameras, inc Commemorative Model. FED-3 (type A) 1961 with case, manual & box. 2.8/52 INDUSTAR-26M 2.8/52. Serial numbers/Princelle Book codes: 1013280 (Kh) F171 1171492 (Kh) F410; FED-3 (Type B) Commemorative camera. 50 years since the October Revolution, 1967, with lens cap & case. 50 INDUSTAR-61 2.8/52. Serial numbers/Princelle Book codes: 6703188 (Kh) F182 6653410 (Kh) F421. (Both condition 4/5F). {cabinet B}
Los 63
Polaroid SX70 & Accessories. Chrome and tan SX-70 folding instant print camera with case; Polaroid Spectra with Polaroid model #7030 Infrared remote control (untested but appears unused) and other accessories. Also an uncommon Polaroid branded table-top tripod. All packed in two camera bags. {cabinet J/K}
Los 81
Two Zenit 11 Cameras, inc Uncommon SLX Model. (condition 5F) 1983 ZENIT-11 with HELIOS-44M-4 f2 58mm lens, cap, case & manual. Serial numbers/Princelle Book codes: 83121930 (Kr) K1370 842955 (Kr) K1785 and an uncommon 1987 export model ZENIT budged SLX, with HELIOS-44M-4 f2 58mm lens. Serial numbers/Princelle Book codes: 87078707 (Kr) 84152831 (V) K1785. {cabinet D}
Los 117
DESIGN FOR THE FIRST WORLD WAR MEMORIAL IN ALBURY CHURCH signed l.l.: GERALD METCALFE watercolour on board 38 x 25cm The artist lived at Westside, Albury Heath. His death is recorded in the Albury parish register. He was born in India and studied at the South Kensington, St John's Wood and R.A. Schools. He was a portrait painter, miniaturist, mural painter and modeler, and exhibited widely. Metcalfe was local to Albury and the model for the relief figure was a local postman. The arch and decoration reflect the Romanesque character of the Church exterior.
Los 121
DESIGN FOR A MEMORIAL TO SOLDIERS KILLED AT TALAVERA (1809) pencil 22 x 15.5cm framed Provenance: Abbott and Holder, August, 2000. Exhibited: Walker Galleries This is a drawing for the memorial to Captain Samuel Walker of the 3rd Regiment of Guards and Captain Richard Beckett of the Coldstream Regiment of Guards, both of whom fell at the Battle of Talavera in 1809. The extant monument, which cost œ700, was erected by public subscription and is in the Parish Church of St Peter, Leeds. The memorial dates from 1811 and a model of it was exhibited at the Royal Academy in that year (No.925) and two models survive in University College, London collection. One of these is on long loan to the Victoria & Albert Museum. It is very similar to the drawing, but includes the word Talavera on one of the flags.
Los 22
A French patinated bronze model of the Faun with Clappers, late19th century, cast after the Antique, the figure portrayed in dance, a cymbal held in each hand, his right foot atop a scabellum, the oval base inscribed Louvre in the maquette, 59cm high The marble original of the Faun with Clappers resides in the Uffizi Galleries, Florence, and indeed was first recorded in that city by Albert Rubens (son of the Dutch master) in 1665, having seen the piece in the collection of the Grand Duke of Tuscany. It had been moved to the Tribuna of the Uffizi by 1688. The model was always a popular one, being light hearted and playful, and was therefore much reproduced from the Renaissance onwards. A full-scale bronze version was made by Soldani for Prince Liechtenstein in 1695 and again for the Duke of Marlborough at Blenheim Palace, and small versions were produced by Zoffoli and Righetti, -and indeed by many others ever since
Los 267
This jardiniere is probably the work of George Emile Henri Servant (1828-1890). Servant was a French clockmaker who, in 1855 took over his father's workshop and foundry in the Marais district of Paris. He became known for the production of clocks and works of art in the Greek and Egyotian revival styles, but also produced works in other Orientaliste styles. His work was praised for its high quality and he exhibited at many of the international exhibitions taking place in Paris and London, including the 1855 Paris Universal Exhibition and in London in 1862. The jardiniere bears stamped numbers, probably model numbers to the undersides of the bronze feet.
Los 272
A fine Sienese carved and parcel gilt walnut casket, circa 1875, by Gosi & Querci, in Neoclassical taste and highly decorated overall, the hinged cover adorned with a carved model of Cupid sleeping, his head resting on his quiver, above panels of zoomorphic grotesques in recessed low relief, each with a central roundel with an insect; within a guilloche carved border; the front, back and sides all with conforming zoomorphic motifs, carved and applied onto gilt grounds, one end with a plaque inscribed GOSI E QUERCI, the gadrooned base raised on four carved paw feet; the interior with velvet lining, 34cm high, 43.5cm wide, 30cm deep See Christie's South Kensington, Interiors - Style and Spirit, 23rd November 2010, lot 74, for a pair of carved walnut panels produced by the same firm
Los 44
After Andrea del Verrocchio (1435 ~ 1488), a patinated bronze model of the Equestrian statue of Bartolomeo Colleoni, late 19th century, the general portrayed in full armour, his stern face turned to sinister, his horse with left foreleg raised; later mounted onto a rectangular speckled black marble socle, 59cm high overall, 52cm long The renowned Colleoni Monument is a Renaissance sculpture in the Campo Santi Giovanni e Paolo, Venice, and was executed between 1480 and 1488 by Andrea del Verrocchio. Standing 395cm in height exclding the plinth, it portrays the Venetian general, Condottiero Bartolomeo Colleoni who, on his death famously left a substantial part of his will to the Venetian Republic, on the condition that a statue in his remembrance be set up in the Piazza San Marco. However, no portrait statue could be legally erected in Saint Mark's Square, since the law said that no individual could be honoured above the State, so the government avoided the problem by having the statue erected in its current position, but in front of the Scuola of San Marco instead Verrocchio based the sculpture on Donatello's statue of Gattamelata (1453), as well as on the ancient Marcus Aurelius equestrian group in Rome, the Horses of St Mark's in Venice, and the Regisole (an equestrian group of late antiquity and previously in Pavia, -now lost), amongst other influences; but in a distinct and impressive move away from these earlier groups Verocchio solved the technical problem of the requirement for a support beneath the raised leg of the horse, to support the weight of the group above. Donatello, in his monument at Padua, had only partially solved the problem by putting the raised leg on a sphere. Verrocchio's creation though used a combination of weight distribution and stance in the horse to enable the whole group to be supported on just three legs. In achieving this he could bring a sense of movement to the animal that could not be shown previously, and in doing this Verocchio created one of the great sculptural works of the Renaissance
Los 53
An Italian patinated bronze model of the Pompeiian Dancing Faun, late 19th century, after the Roman original excavated in 1830, portrayed in ecstatic dance, with hands raised, with an oak and acorn wreath around his horned head, his tail issuing behind him, 75cm high; later mounted onto a circular painted wood base, the height overall, 80cm The Roman version unearthed in 1830 is almost certainly a copy of an earlier Greek bronze. The Pompeiian example acquired instant fame, largely because of its completeness, small size, and the rarity of surviving bronzes. Indeed, the excavated house in which it was discovered was named after it - the House of the Faun The Dancing Faun soon became a favourite subject for reproduction, aimed at the modest gardens and interiors of aspiring aesthetes. Another feature attractive to the refined tastes of the nineteenth and twentieth centuries was the fact that the faun seemed to be joyous rather than drunk
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