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Click here to subscribe1980s Pop LPs and 12" Singles to include A-Ha, Hunting High and Low; Rick Astley, Whenever You Need Someone; Aztec Camera, Love; Culture Club, Colour By Numbers; Curiosity Killed The Cat, Keep Your Distance; Deacon Blue, Raintown; Madonna, True Blue; Wet Wet Wet, Popped in Souled Out and Wishing I Was Luck Limited Edition 12" Double Pack. Conditions generally appear Very Good Plus to Excellent in Very Good to Very Good Plus sleeves. (28)
A Leitz Wetzlar Leica III Rangefinder camera, 35 mm, 1935, in original fitted leather case, serial No. 153610, fitted with Leitz Elmar F=5 cm (50 mm) lens serial No. 232739, complete with black Japaned tin original Leica lens cap. 34 cm wide x 7 cm high.The mechanism cocks and releases on the button and the shutter speed seems to correspond to each increment (judged by ear)I can not see any fungus in the lens and the aperture opens and closes smoothly as expected
A collection of Edwardian and later cameras, to include a Linhof Technika of Germany standard 5 x 4 press camera with Schneider-Kreuznach Xenar lens 1:4.5/150 2567338, a Thornton-Pickard "Victory" medium format camera, a J. Lizars "Challenge" mahogany bodied bellows camera and other cameras and film carriers and photographic accessories.A private collection
A 1958 Leica DBP Ernst Leitz GMBH Wetzlar IIIg camera, (No 933881), with Ernst Leitz GMBH Wetzlar Summicron F=3.5cm 1:3.5 lens (No 1638959), with lens cap, in original Leica branded leather case.Generally, mechanisms may require an overhaul. Shutter in working order, but can be a little sticky on occasions. Lens with UVa filter and appears to be in good condition.
dating: First half of the 19th Century provenance: Kingdom of the Two Sicilies, Straight, double-edged blade, probably of Spanish manufacture, of hexagonal section, with fuller at the forte and marked 'SAGVVM EL VIEGO / SAGVVM'. Brass hilt with strongly convex sword-shell. Ring nut worked with feather at the base of the blade. Guard and other elements with relief leaf decoration. Hilt covered with metal wire binding. Antique leather scabbard (damage and repairs) with brass mounts, the cap fits perfectly into the hilt ring nut. Interesting. See a similar example in 'Storia dell'Arma Bianca Italiana' by C. Calamandrei, p. 479, at the center with photo, indicated as 'Spada da gentiluomo di camera con esercizio 1830-1860', with 1840 Labruna blade. According to the owner's research, the sword may in fact be more antique, probably a footed Life Guard officer's sword. Cf.: see an item with the same hilt, from the Fiorentino collection of Neapolitan arms, indicated as 'Ufficiale delle Guardie dei Corpi a Piedi', sold in our auction no. 62 (lot 704). length 100 cm.
PHOTOGRAPHY - GEORGE DAVISONA group of 5 vintage photogravures, including views of Harlech, Essex ('The Onion Field' and 'The Saltings'), and France, 4 SIGNED BY THE PHOTOGRAPHER ('G. Davison') lower right beneath image, photogravures, all printed on Japanese paper, Harlech Castle print toned and light spotting, French view light overall spotting, early window-mounts, images typically approx. 180 x 240mm., French scene 120 x 95mm., trees 120 x 265mm., [c.1900-1920]; together with a first edition of 'The Book of Harlech' by Alvin Langdon Coburn, 1920 (6)Footnotes:Group of vintage photogravure prints by George Davison (1855-1930), including views in Essex, Harlech and the surrounding Welsh area.Davison was an early champion of naturalism and pictorial photography, as exemplified by 'An Old Farmstead (1888), taken with a pinhole camera to produce a 'soft focus', [which] had won a prize at the PSGB exhibition of 1890. Retitled The Onion Field, it became his most famous photograph, and was fairly typical of his impressionist style' (ODNB). Davison was a founding member of the Linked Ring, his work published by Alfred Stieglitz in Camera Works, and having made a fortune through his early involvement with George Eastman and Kodak, was able to establish 'an extraordinary centre for the arts' (ODNB) at his home, Wern Fawr, near Harlech in Wales.Davison images comprise: 'The Onion Field', 'The Saltings', 'Harlech Castle', Trees in a landscape, and 'Fountain, Market Place, Aix-Les-Bains'.Included with the lot is a copy of fellow pioneering photographer and close-friend Alvin Langdon Coburn's Book of Harlech (1920), which includes a view of Davison's home at Wern Fawr.For further information on this lot please visit Bonhams.com
MEXICO - PHOTOGRAPHYFine photo album of views, street scenes and local life taken during a tour of Mexico in 1903, with additional views of Florida, Nassau, Canada and the St. Louis World's Fair, taken and/or compiled by Mr. and Mrs A.L. Williams, of Clayton, N.Y., upwards of 435 gelatin silver print photographs mounted (between 2 and 5 per page, recto and verso), some captioned in mount, images typically 130 x 170mm. (larger) or 110 x 85mm. but slightly variable, contemporary limp leather with Maple leaf decoration on upper cover, oblong 4to (250 x 310mm.), 1903-1904; together with 20 letters (approx. 69 pages) written by Mrs. Williams from Mexico to her family during the trip, a passenger list and schedule for the 'Tour of All Mexico. January 1903', and her husband Arthur to his parents on the trip to Florida and the Bahamas in 1904, and a few other associated items (small quantity)Footnotes:A fine album of photographs, of which upwards of 340 depict views of Mexico (with several of Texas) taken during a passenger on a 'Tour of All Mexico' organised by The American Tourist Association, 27 January-4 March 1903. Most of the images are seemingly from a private camera, including many street scenes, local inhabitants, markets and traders, ancient sites, bull fighting, the railways, etc. Includes views in Texarkana and San Antonio, Monterey, Guadalajara, Mexico City, Cuernavaca, Puebla, Oaxaca, Mitla, Jalapa, Vera Cruz, Guanajuato, San Luis Potosi and elsewhere. Included with the lot are lengthy letters written by Mrs. William to her mother describing the journey, the hotels, stopping places, foods eaten, etc. with a generally very positive tone.At the end of the album are similar photographs taken during a trip in 1904 to Florida and Nassau, Bahamas (approx. 40 images), Canada (11, gelatin silver prints), and the St. Louis World's Fair (25 images). Loosely inserted are eight long letters from Arthur Williams describing the trip to Florida, including stops at Charleston ('...three fourths of the population are black and it is a slow dirty place'), Daytona (making mention of the Automobile race), Jacksonville, Augusta and Palm Beach, and Nassau ('... a labouring man gets but 50c. a day and there is not work enough for half of them. But they seem to like their islands...').Provenance: Mr and Mrs A.L. Williams, of Clayton, N.Y., named on the passenger list and on letters.For further information on this lot please visit Bonhams.com
Harold Chapman (British, 1927-2022)The Flood Of God, 1962collage on portfolio board, initialled lower right H.C. 62 and inscribed by the artist in pencil on the reverse, Cuban Crisis 62 The Flood of God 33.6 x 25.4cm (13 1/4 x 10in)Footnotes:ProvenanceAcquired directly from the artist by the vendorHarold Chapman was born in Deal, Kent and as a very young boy developed a passion for photography. This he pursued and in 1956 he moved to Paris, where he was to document daily life with his camera. He took a room in a rather run-down hotel in the Latin Quarter, at 9 Rue Git-le-Coeur. It became a hub for artists, musicians and writers, particularly for the so-called Beat Generation; at various times, residents included Jack Kerouac, Allen Ginsberg and William Burroughs and the hotel became known as The Beat Hotel. Residents were allowed to decorate their rooms in their own style and if the rent was sometimes hard to find, they paid the owner, the formidable Madame Rachou, with paintings and manuscripts. When the hotel finally closed in 1963, Chapman was the last to leave.It is believed that the collage offered in this Lot, together with Carte Du Ciel - Mysterieux and Untitled (also offered in this auction), are amongst just a handful of such works created by Chapman.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
A LARGE COLLECTION OF MOSTLY UNBOXED AND ASSORTED SCALEXTRIC ACCESSORIES AND TRACK, majority are modern items but includes boxed vintage T.V. Camera and Crew set, No.F/302, appears complete and in fairly good condition with some minor paint loss to figures and wear, quantity of boxed Radius Curve Inner (C8225) and Single Lane Curves (C7017) still sealed in original packaging and contained in opened trade boxes, unboxed items include Grandstands, Pit Lane Garages, Control Tower, Dunlop Bridge, Sport Advanced Track 6 car Powerbase (C7042), various spectator and other figures and small accessories, transformer and hand controllers, various pieces of track which are a mixture of ordinary and Sport Advanced Track but also includes a quantity of track by SCX, contents not checked, some yellowing to plastic of buildings, together with a copy of Scalextric The Ultimate Guide 7th edition from 2008 (10 boxes)
Two Leica viewfinder roll film cameras, both with F50mm Leitz Elmar standard lenses, one having black body No. 74736, the other brushed white metal body No. 328029. Both with leather Ever Ready cases. (2) (B.P. 21% + VAT)Both have general wear overall with some nicks and chips and minor corrosion showing, the silver camera has some damage in the form of dents to the top above viewfinders. shutters seem to work at different speeds.
RENÉ MAGRITTE (1898-1967)LETTRE AUTOGRAPHE SIGNÉE à MARIEN, AVEC DESSIN signé 'Magritte' et daté 26 mars [1952], 4 pages, in-16 (155 x 101mm.) à l'encre.Lettre amicale de Magritte à son disciple et ami Marcel Mariën (1920-1993), figure incontournable du surréalisme en Belgique. Avec Louis Scutenaire ou Paul Nougé, c'est lui qui trouvait les titres de certaines toiles du peintre, comme l'atteste cette lettre: 'Les deux titres « La Rose des vents» et «Les Paradis artificiels», sont très bien, surtout le second qui paraît convenir aux 2 tableaux avec les fumées.'En décembre 1951 Mariën s'était engagé à Rotterdam comme garçon de mess sur le Silver Ocean, un cargo suédois transporteur de fruits qui faisait la navette entre les Antilles françaises et la Normandie. Sans nouvelles de son ami, Magritte exprime son inquiétude avec un humour pince sans rire: 'Heureusement, vos cartes mentionnées ci-dessus et 2 nouvelles encore que je reçois ce jour même de Varangéville depuis le 22 mars permettent d'attribuer à votre silence momentané une cause inconnue, mais ne menaçant pas notre tranquillité relative. Envisagez-vous un terme à vos déplacements sur l'eau, même si ce terme n'exclut pas votre persévérance à naviguer aussitôt ce terme expiré?'Dans cette lettre, Magritte aborde une variété de sujets, y compris la récente visite de Magritte à l'exposition d'Alfred Pietercelie, 'Hier j'ai visité l'exposition d'Alfred Pietercelie dont je vous envoie le catalogue.... Et la peinture de Pietercelie, vous la connaissez, c'est également miteux et honnête et d'une inefficacité complète, comme d'ailleurs il est possible de la trouver dans n'importe quoi si l'on veut.' Le peintre belge Alfred Pietercelie (1879-1955), auteur principalement de paysages dans un style assez traditionnel, fait ensuite les frais de la férocité de Magritte.Le beau dessin qui illustre cette lettre est ainsi légendé par le peintre: 'livre et interrupteur électrique'. On y voit un livre, un interrupteur, puis, à côté, l'interrupteur monté sur le livre, ce qui donne un appareil photo. Ainsi que l'explique Magritte, il s'agit d'une 'variante' du tableau L'Explication, construit sur le même principe: une bouteille, une carotte et une bouteille-carotte, qui réunit les deux. Dans le cas présent, un interrupteur, un livre et un livre-interrupteur. L'artiste ne semble jamais avoir réalisé ce tableau qui, comme il l'explique, ne le 'satisfait pas énormément'.La lettre témoigne des liens très étroits qui unissaient Magritte à Marcel Mariën. Le peintre lui parle avec une entière confiance, faisant de lui un de ses interlocuteurs privilégiés, auquel il pouvait communiquer en toute franchise ses idées et ses jugements.AUTOGRAPH LETTER TO Marcel Mariën, SIGNED 'Magritte', WITH SKETCH, 26 March [1952]. 4pp., ink on paper, 16mo (155 x 101mm.). Friendly letter from Magritte to his disciple and good friend Marcel Mariën (1920-1993), one of the essential figures of the surrealist movement in Belgium. It was him, alongside Louis Scutenaire and Paul Nougé, who suggested titles to Magritte for his paintings, as is attested by this letter: 'Les deux titres « La Rose des vents» et «Les Paradis artificiels», sont très bien, surtout le second qui paraît convenir aux 2 tableaux avec les fumées.'In this letter Magritte touches upon a variety of other subjects, including his recent visit to an exhibition of works by the artist Alfred Pietercelie, 'Hier j'ai visité l'exposition d'Alfred Pietercelie dont je vous envoie le catalogue.... Et la peinture de Pietercelie, vous la connaissez, c'est également miteux et honnête et d'une inefficacité complète, comme d'ailleurs il est possible de la trouver dans n'importe quoi si l'on veut.' The Belgian painter, Alfred Pietercelie (1879-1955), author mainly of landscapes in a fairly traditional style, is here criticized by Magritte.The letter is also adorned by a little sketch, that is captioned by Magritte as: 'livre et interrupteur électrique'. In the drawing we see a book, a light switch, and then again, the light switch added to the book, which become thus a photographic camera. As is explained by Magritte, this is a variant of his painting L'Explication, which was composed around the same principle: a bottle, a carrot and a bottle-carrot that brought the two together. In this case a book, a light switch and a book-light-switch. Magritte never realised this painting, and as he himself explains it ' ne me satisfait pas énormément'This letter bears witness to the very close bon between Magritte and Marcel Mariën. The painter speaks to Mariën in complete confidence, making him one of his privileged interlocutors – on he could communicate to his ideas and judgments in complete frankness and honesty.Footnotes:ProvenanceCollection particulière, France.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
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