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Lot 546
A selection of photographic equipment, to include: a 35mm Canon EOS 500 SLR camera with autofocus 28mm-80mm zoom lens; a 35mm Nikon FG-20 SLR camera with 1:4-5.6 35-200mm zoom lens; a Minolta Maxxum 7000 SLR camera with autofocus 28mm-105mm lens; two 35mm Canon A-1 SLR cameras (at fault); and a Canon SX30 IS digital SLR; with further lenses, digital cameras, accessories and cables, plus binoculars, a video camera etc. (Qty) (all untested)
Lot 71
Ivon Hitchens (British, 1893-1979)Painted Nude: Dark Hair signed and dated 'HITCHENS/73' (verso); further signed, inscribed and dated again ''Painted Nude: Dark Hair'/1973/Presented to David Steen Esq. July 1977./by his friend Ivon Hitchens-' (on the stretcher)oil on canvas40.6 x 86.3 cm. (16 x 34 in.)Footnotes:ProvenanceThe Artist, by whom gifted to David Steen, thence by descent to the present ownersPrivate Collection, U.K.The present work was given by the artist to the photographer David Steen (1936–2015). During his long career from the late 1950s onwards Steen focused his camera on film stars, rock stars, prime ministers, a few criminals and countless men, women and children going about their everyday lives. The obituaries paid tribute: 'One of Fleet Street's most celebrated photographers...' (The Telegraph); 'Acclaimed for his portraits of cultural icons' (The Times). In the sweltering summer of 1976, Steen was commissioned by The Sunday Times Magazine to photograph Ivon Hitchens at his home near Petworth, West Sussex. The painter and photographer hit it off. Hitchens was photographed indoors and outdoors, at lunch, with his wife Mollie and, naturally, at work, there at the easel, a brush in each hand. Steen remembered that Hitchens reacted to the call of a bird flying above, and registered the note with a brushstroke on the canvas. When Steen left, he did so with a copy of Alan Bowness's Ivon Hitchens monograph inscribed by the painter, 'In memory of a very enjoyable day here from 10am to 4.30pm...' The following day Hitchens wrote to Steen. 'We much enjoyed having you...' and then: 'Please keep the attractions of this place – if any – to your own private concerns. You would be doing us a grave disservice if you divulged the address to all and sundry. There are always too many distractions and – in these times – too few 'clients' as such, and both take up precious painting time and daylight, with tiresome letter writing.' Hitchens signed off, 'We hope to see you again some day.' They did indeed meet again and stayed in touch. In the summer of 1977, Steen visited Hitchens at his home and was presented with this oil on canvas, Painted Nude: Dark Hair. The shots featured in The Sunday Times Magazine on 9th April 1978, shortly after the painter turned 85.We are grateful to Peter Khoroche for his assistance in cataloguing this lot.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
Lot 11
Maqbool Fida Husain (Indian, 1915-2011)Untitled (Bhil Tribals) signed lower right and signed and dated 5/VIII/006 versoacrylic on canvas, framed181.5 x 120.5cm (71 7/16 x 47 7/16in).Footnotes:CELEBRATING 75 YEARS OF THE PROGRESSIVE ARTISTSProvenanceAcquired from the artist in 2007.'A Painterly Journey of Husain in his own wordsBorn in the Second decade of the 20th Century Venue of landing - Pandharpur in MaharashtraMy mother Zainab took seven rounds around my frail bodyand bade farewell herself.My grandfather Abdul the tinsmith, my father Fida the accountantAn infant Maqbool, a would-be painter headed towardsIndore then ruled by the Holkar dynasty.My rocking cradle now firmly placed in princelypilferage and pageantry.A motherless Maqbool wandered alone in the lanes and landscapes of Malwa, now Madhya Pradesh.A sketching pad the only companion. The Third decade made me conscious of the British Raj and the arrival of Gandhi on the political horizon.Glancing through the pages of the most popular illustrated weekly called 'Riyasat.'The fourth decade put forward a decisive proposal towhich I at one clung like along deserted child dashesinto his mother's lap.My painterly journey commences against odds and orthodoxy.My brush dips down into deep reds and sweeps across the blue space above - I paint a woman, her navel red and breast blue whosemaroon tits swollen-Then comes the Fifth decade and I meet the painted woman whohas swallowed her darkness to shoe me the eternal entrance.The ecstasy of pain. The aroma of dying wounds. Then under the cover of my tattered umbrella and flickering lanternI take my woman to distant lands. To Chinese terracotta and jade horses, to Italian virgins of Cimabue and Giotto,to tormented Rembrandt portraits, to Van Gogh's lonely chair and abandoned shoes. All of a sudden I come to a halt in front of Guernica.As the Sixth decade declares war of self-destruction in the name of 'Avant-garde'But my painted man, woman and animal remain neutral-there I lay aside my conventional tools for a while.And hold the 16mm movie camera to shoot an experimental film in Rajasthan, based on visual equation of cow plus umbrellaplus a lantern minus a shoe is equal to one unit, Man-Woman.The film so baffled the Berlin Film Festival to award the 'Golden Bear.'Followed by hesitant National awards,And also the much awaited promotion from Padmashree to Padmabhushan to Padmavibhushan. The universities of Mysore and Benaras conferred doctorates.The New York at publisher Harry Abraham compiled a Comprehensive volume and how one reaps the reward of neutrality is still a question.But before I find the answer-The Seventh decade rings my doorbell, And as I open the door Goddess Durga enters riding thetiger followed by 'Kanya' the most beautiful woman on Earth, eternally waiting at the banks of the river Gomti.There joins another stream of thought, ripples of wave, the river Voltawa, Maria of Slovakia.The Eighth decade, the decade of eternal mother, her white sarilights up the unlit lanes of Calcutta. I paint and unfoldseveral layers of her sari in search of my lost mother.Sometimes her trembling hand appears from the bodiless bundle of cloth. To touch the fugitive son?The Ninth decade brings all the arc lights, sound effects and cameras, cranes and crackles of tinsel town. Shoot of an art and cinema episode.A hundred feet of visual script painted on the lemon yellow sari.Madhuri the metaphor for my Gaja Gamini,the beautiful walk, her dancing toes touching the crest of our time.Why a painter's dreamflashes on the silver screen instead of the wallsof Ajanta and the Sistine chapel?'Rashda Siddiqui, In conversation with Husain paintings, Mumbai, 2001, pg. 16-17.Dating from 2006, this enormous work was made in Husain's ninth decade. It encapsulates the motifs that Husain has come to be known for, the reclining woman and the fierce and protective elephants. A perennial artist, Husain adapted to and depicted various themes, religions and ideas throughout his career. Here he is depicting the Bhils, the largest tribal group in western India. They populate the states of Gujarat, Madhya Pradesh, Chhattisgarh, Maharashtra and Rajasthan, and Tripura in far-eastern India, on the border with Bangladesh. Also known as Adivasi's they speak various languages, and have regional dress variations, which might explain why Husain has refrained from depicting their clothing here. Known for their ability to live in the wild and hunt, the reclining woman appears to be protected by and content in the elephant's trunk. The elephant is perhaps shielding her from the blazing red sun emanating from the top left corner. Despite the sombre colours, there is a playfulness in the work. The brush strokes are sharp and short, and illustrate Husain's skilfulness as an artist, honed over a lifetime of experimenting, commenting and depicting innumerable topics.For further information on this lot please visit Bonhams.com
Lot 475
A Leica DRP, Ernst Leitz Wetzlar, 35mm camera, serial no 475989, with Summitar f=5cm 1:2 lens no 722837, with leather case CONDITION REPORT: Overall condition good. Case worn to leather and strap. Lens appears clear. Shutter mechanism appears functional. No apparent dirt or fungus in the lenses
Lot 463
A vintage Canon AE-1 Camera, together with strap and lens CONDITION REPORTlenses are 50mm, 70-210 zoom (both canon)Condition disclaimerOur team of trusted experts are on hand to help and always endeavour to provide an accurate judgement. The ultimate responsibility lies with the buyer however, and we recommend that you make every effort to inspect the lot yourself.To that end, we have provided a number of additional images for your attention.
Lot 711
NEW WAVE/COOL/SYNTH POP - LP COLLECTION. Great offering of around 105 LPs including some 12". Artists/titles include Kate Bush - The Kick Inside and Lionheart, Plasmatics, Madonna, China Crisis, U2, Blancmange - Happy Families, Japan - Gentlemen Take Polaroids, The Style Council, Erasure, The Stranglers inc. Feline, Pet Shop Boys, Roxy Music inc. Manifesto, Tears For Fears inc. The Hurting and The Seeds Of Love, Ultravox, Blondie inc. Parallel Lines, Graham Parker, Madness, The Beautiful South, Scritti Politti, Lou Reed, Bangles, Adam And The Ants, Magazine, Frankie Goes To Hollywood, The Teardrop Explodes, Fleetwood Mac, OMD, Aztec Camera and Judge Dread. Condition is generally VG to Ex+. Roughly 2/3 to 1/3 split in favour of LPs to 12".
Lot 1018
SCOTTISH INDIE/ WAVE/ POP - 7" COLLECTION. A collection of around 59 7" singles. Artists/ titles include The Go-Betweens - I Need Two Heads (Postcard 80-4, tan label), Fire Engines inc Get Up (Cdx 01), Meat Whiplash. Aztec Camera inc Just Like Gold (Postcard 81-3), Mattress Of Wire, Walk Out To WinterA Pillar To Post, Oblivious inc (No: 00154), Still On Fire (P-1938, Japanese), Working In A Goldmine, How Men Are, Deep & Wide & Tall, Good Morning Britain, The Gentle Kind. Kirsty Maccoll + The Pogues - Miss Otis Regrets, The Bluebells inc Cath, Forevermore, Sugar Bridge, All I Am. Simple Minds inc Don't You, Waterfront, Up On The Catwalk, Speed Your Love To Me, Someone Somewhere. Skids inc Sweet Suburbia, Charade. Big Country, Altered Images. Condition is generally Ex to Ex+/ Archive.
Lot 1143
INDIE/WAVE/COOL/SYNTH POP - 12". Around 140 x 12" (which includes a few 10") loaded with the classics. With twelves from the likes of James, The Sisters Of Mercy, New Order, The Clash, Iggy Pop, PiL, The Jam, The Beat, Aztec Camera, David Bowie, Frankie Goes To Hollywood, The Fun Boy Three, The High, Style Council, Death Cult, The Prudes, Divinyls, Billy Bragg, Spandau Ballet, Prefab Sprout, Cud, Robyn Hitchcock, John Foxx, INXS, The Woodentops, Albania, Neverland, Enya, The Motors, Pete Shelley and Prince. Condition is generally VG to Ex.
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115370 item(s)/page