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Lot 52
Fotografie - - Ansel Adams. My Camera in Yosemite Valley. Mit 24 photographischen Abbildungen. Yosemite National Park, Virginia Adams u. Boston, Houghton Mifflin Company, 1949. 69 S. Folio (36 x 29,5 cm). Grüne Lwd. d. Zt. mit eingebundener OBroschur (berieben und bestoßen, vorderer Umschlag beschabt und mit Hinterlegungen, hinterer Umschlag fehlend). Erste Ausgabe. - Titelbl. mit überklebtem Stempel. Letzte 2 Bll. mit Hinterlegungen im unteren Rand. In den Rändern etwas gebräunt. Teils mit kl. Anschmutzungen und leicht knitterspurig. With 24 photographic illustrations. Green cloth with orig. ill. wrappers bound in (rubbed and bumped, front wrapper scuffed and backed, back wrapper missing). - First edition. - Title-page with pasted-over stamp. Last 2 leaves backed in lower margin. Margins somewhat browned. Partly with small soiling and slightly creased.
Lot 621
Quantity of various British makes, Benbros tractor in orange with black wheels and driver, with red trailer and log. Kembo police car in black with roof horn, Benbros articulated petrol tanker with red cab, Jolly Roger of Wales green saloon car, hollow cast with metal wheels, and a Benbros articulated tanker with red cab, yellow wheels and tyres with yellow trailer. Also a plastic camera viewer, and a tin peter pan balance scale. 2 boxed items, GC - VGC. £60 -£80
Lot 22
British School (18th Century)The Royal Observatory, Greenwich and its meridian buildings from the south-south-east, c. 1790Oil on canvas 63.8 x 86.4cm (25 x 34in).Footnotes:Whilst we have never come across an oil painting with the Royal Observatory being the sole focus of the picture, the National Maritime Museum, Greenwich has a similar view, in watercolour, probably by the same hand, which they date to 1779-89 (I.D. - NMM AST0042).Dr Pieter van der Merwe, Curator Emeritus for the National Maritime Museum, writes about the watercolour:'Watercolour of the Royal Observatory and its meridian buildings from the south-south-east, the artist's viewpoint being roughly from in front of the entrance to the late-19th-century South Building. Modern Blackheath Avenue would be to his right, where the ground is also more level than shown.Notable features include the tall chimney of the rear extension to Flamsteed House that was added under James Bradley (1692-1762) as 3rd Astronomer Royal from 1742. His extension was demolished in 1789 and replaced by a larger one (with two tall chimneys) by Nevil Maskelyne (1732–1811), 5th Astronomer Royal from 1765. The two-storey building with a classical pediment is Bradley's 'New Observatory' of 1749 comprising a ground-floor computing room with an assistant's quarters above and two single-storey wings holding a quadrant room to the west and Bradley's transit room to the east: the roof of the latter is shown open for transit observations on Bradley's Greenwich Meridian, established in 1750 (about 6 metres west of Airy's, the current Prime Meridian of 1851).The image dates to after 1779 since the so-called 'Advanced Building' – the one with the sloping (and opening) roof was built to contain new instruments in that year, south of Bradley's quadrant room and as an upward extension of John Flamsteed's 1670s sextant house: neither now survive. The side windows of Flamsteed House are also inaccurately shown as three panes wide when in fact they had four and were vertical-opening upper and lower casement pairs from 1779 until changed to single sashes in 1790. The vent-like finial on the west turret is the rotating lens of the camera obscura that Maskelyne installed there by 1778.The domed building at left seems to be at the south-west corner of Bradley's Flamsteed House extension but this is owing to misleading perspective. It is in fact the western summerhouse on the Observatory's north terrace, though it may not have been so fully visible from the artist's apparent viewpoint. Its eastern pair is hidden by Bradley's New Observatory. In 1773 Maskelyne raised the height of the summerhouses and extended them south, adding hemispherical domes and upper horizontal windows (of which one is shown here). The domes opened to observe comets using a pair of equatorial sectors installed under them.The pitched-roof building at lower left (in fact more square than rectangular) is the 1670s 'Garden House' used as a stable through the 18th century, with sloping access up to the gate shown in the perimeter wall: it is today a flat-roofed plant room. The other shed, apparently wooden, is undocumented and probably for an associated purpose (e.g. a hay store). The foreground shows former sand and gravel workings on the south-west and south side of the hill, now a partly terraced garden area. This early quarrying had stopped when the Observatory was built in the 1670s, or very soon after.The drawing arrived, originally on loan to the National Maritime Museum from the Royal Greenwich Observatory, in a rather damaged gilded wooden frame. It may be the image of the Observatory that is second on a list of a dozen pictures, formerly belonging to Nevil Maskelyne, that his wife presented to the Observatory and left at Flamsteed House when she moved out in 1811, following his death. When the Royal Greenwich Observatory closed in 1998, ownership of this and other items belonging to it was transferred to the Museum. See ZBA0692 for further details.'Into the later 19th century Blackheath itself (south and east of the Park walls) was largely gravel and sand pits between the roads until they started to be filled in. This was finished after World War II with bombing rubble from the London blitz, grassed over level as it now is, except the Maze Hill pit which still survives just outside the south-east corner of the Park - now a large grassy and gorsey declivity about 15 to 20 feet below the road: it tended to be a hangout for the highwaymen and footpads who infested the Heath in older days. However, robbery wasn't a problem in the Park which was fully walled round in 1619-25 (replacing about 200 years of only being fenced) under James I, a large job finished in the year he died.Dr van der Merwe also comments on the similarities between the watercolour and our picture – 'The (fanciful) rocks are a little different but the figures are the same, the turret domes the same (one with a vent finial) the other not, the trees at the back of the building the same and also the half-open sash window at lower right.' He also points out that our oil painting shows the central south window of Flamsteed House being three panes wide, as opposed to four in the Museum's watercolour version. As there is a watercolour of 1843 which also shows a clear view of the south window as a sash, also three panes wide, one might infer that the oil painting follows the watercolour, perhaps after the long Great or Octagon Room windows were all changed to sashes in 1790.The Royal Observatory of Greenwich is known for hosting the Prime Meridian of the world. During the second half of the 19th century, the expansion of transport networks created the need for an international time standard as almost every city in the world had its own local time. In 1884, delegates representing 25 different nations met at the International Meridian Conference in Washington DC. Greenwich was chosen to be the Longitude 0° 0' 0''; the centre between the Eastern and Western hemispheres.We would like to thank Dr Pieter van der Merwe for his help in cataloguing this picture.For further information on this lot please visit Bonhams.com
Lot 21
A Leica 1 Model A, circa 1925 Please note this is a Leica model I circa 1930 not 1925 as previously catalogued. Black enamelled finish has been worn away from most of the baseplate and around the edges of the top plate. All exposed metalwork is oxidised and worn. Eyepiece has lost its glass internals but for the back glass. A blob of near matching black enamel has been placed over the number and green foil stuck below it (and also at one end). Spools and shutter working. A few notes on the Leicas' history from the vendor.WW1, my grandfather, graduated from Osbourne house ( pre Dartmouth naval collage ) in 1915 took command of a H Class submarine - the squadron was based Great Yarmouth. The photo showing Jolly Roger is him returning after sinking the heavy cruiser ' Deutschland, the other the submarine itself. Few months later, he himself was attached by U Boat; ensuing zig zag, his boat was hit: there were only 3 survivors - my grandfather was one. The U Boat surfaced, picked up the survivors. At that time, German army guarded POWs' treated airmen and submariners badly. The U Boat commander decided to keep my grandfather in ' close quarters ' at the Wilmshaven naval base.My grandfather & the German commander became friends. Grandfather remained here for rest of war - the Admiralty were not told, my grandmother received telegram advising ' lost in action,' ( I have the telegram ) Some 11 months later she received a letter via red cross advising he was alive and well....The German commander was on of the Neuirecher wine family.Post WW1 the two families retained contact: this included visits of the children of both families. About 1935 / 36 Frau Neuirecher gave my father the Leica. He and his brother, both graduated from Dartmouth - also becoming submariners. My father kept the camera with him throughout, to include his time on Dorchester in the Bismark action: two of his paintings of the sinking are at Imperial war museum.He continued to S Boats and XCraft - for action against Tirpitz & Bergen. Somewhere I have photos taken by the Leica of these times.Post war, my father & his brothers took control of German windfall yachts, bringing them over to Portsmouth. One was Marabu, Goring's yacht.They camaigned Marabu to include fitting a mizen mast. One photo is of Marubu tuning the mizen. My uncle is at the helm wearing white submariners pullover & cap. The photo was taken by my father using the Leica.The other photos were also taken with the Leica of various family activities.In 1956 my uncle sailed to Bemuda in Marabu for the first post war Onion Patch sailing series versus US Navy. He borrowed the Leica - took reels of film - including a severe storm under bare poles: problem - he forgot to pull the lens out to activate...I can remember my father using the Leica - I was never allowed to go near it: it stayed in a drawer following his death in 1993.I have never used it as by then the SLR was the mode.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Lot 702
A Nikon D90 Camera - cased, Tamron AF lens - cased, together with two tripods CONDITION REPORTGood conditionno battery charger included2 x batteries presentCondition 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 210
A J. LANCASTER & SON MAHOGANY AND BRASS 'THE 1889 INSTANTOGRAPH' PATENT FIELD CAMERA AND OTHER OPTICAL ITEMS, the field camera lacks carrier, glass plate measures 10 inches x 8 inches, together with a J. Lancaster & Son 12 x 10 Patent Rectigraph lens in a domed leather case, seven coloured magic lantern slides relating to Captain Charles Francis Hall's exploration on USS Polaris to the Arctic and another colour magic lantern slide of a Middle Eastern view, a Victorian brass lens, possibly from a magic lantern, an early 19th century morocco case containing a handheld optical instrument fitted with two folding lenses and a prism, the case interior bears label for T. Rubergall, Optician to his Majesty, 24 Coventry St., London and a late 19th century brass and green lacquered travelling microscope, height 15cm (Parcel) (Condition report: the camera has a split along the front and is missing two screws and the carrier, the cased lens has fungus and slight haze, the magic lantern slides are in reasonable order, the cased optical instrument appears to be in good condition and the case for the microscope is in need of restoration, the microscope is lacking the mirror and the brass is worn)
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115380 item(s)/page