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Lot 515
A BOX AND LOOSE BOXED CAMERAS AND EQUIPMENT, to include a Voightlander Vito B 35mm with box and case, a Canon AE-1 Program with Canon FD 50mm Fl.8 lens, a Canon FD 28mm lens, a Kodak EK4 Polaroid Camera and boxed case, a boxed Aldis projector, another boxed slide projector, a Zeiss Ikon Nettar Camera, an Ensign E29 blue boxed camera, an Ohnar tripod, a spare Cannon focusing screen, etc
Lot 574
SIX BOXES AND LOOSE CHRISTMAS ORNAMENTS, SUNDRIES ETC, to include Bell and Howell 8mm projector, a Bell and Howell Super 8 20mm Cine Camera, Viners cutlery, a Kasparov Team-Mate advanced Chess Computer, Boots scales with 'Fred' (Homepride) brass weights 1lb to 1oz, model boats, a world classic 9 inch globe, stoneware hot water bottles, dried flowers, boxed Thomas Kinkade White Christmas Masterpiece Edition ornament, etc
Lot 581
FOUR BOXES AND LOOSE MISCELLANEOUS, METALWARE, ETC, to include a Lion Zither/sd, boxed Merit microscope set, pair brass candelabras, height 37cm, brass trivet, Eastern copper tea service, plated wares, wicker basket, cutlery, a Scott & Co jewellery cleaning machine, a Panasonic Lumix DMC-FZ30 digital camera with Leica zoom lens, a pair of small gilt framed oval mirrors diameter overall 28cm, wooden novelty nutcracker, Bushwell 8 x 40 binoculars, etc
Lot 664
FOUR BOXES AND LOOSE BOOKS, RECORDS, SUNDRIES, ETC, to include a Eumig Servomatic cine camera, a Zeiss Ikon Nettar camera an Acctim carriage clock (battery), various napkin rings (to include two silver), cutlery, books (gardening, motoring, flower arranging etc), a hat box (faux fur hat), various records (The Police, Beatles, Rolling Stones, Cat Stevens, etc)
Lot 743
A SMALL BOX OF TECHNOLOGY ITEMS, etc, to include a Halina 6-4 camera, a Braun Big Finder camera and soft case, a pair of Halina Sightsetter binoculars 8 x 30 in soft case, a Fujifilm digital camera 1300, in originalm box, a Nintendo Wii with original box (not tested), two games 'The Golden Compass and SSX Blur and an empty Wii play box, an Alwa cassette play etc
Lot 746
A GROUP OF CINEMATIC ITEMS etc, to include a Bell & Howell Filmsound 16mm cine projector and speaker, a Pathescope 9.5mm home cinema projector, a Kodak Kodascope sixteen - 20 projector, fifteen volume film related books published by Cadillac, a Jelco Automatic 8 cine camera, a Kodak Brownie Vecta camera, an D Deckel Mynchen compur plate camera complete with 120 roll film back, a pair of Tasco 10x50 binoculars in soft case and cardboard box, a boxed limited edition Walt Disney's Masterpiece Fantasia deluxe collectors edition, framed prints of Advertising Stoll Picture Theatre posters featuring laurel & Hardy, The Ideal Kinema leaflets etc
Lot 752
A BOX AND LOOSE SUNDRY ITEMS, to include a cased Peradon Canterbury two piece snooker cue, a cased Singer sewing machine, two boxed Arthur Price 'Champagne Boats', a Sigma Auto Focus lens 1:45-5.6, f=75-300mm, a Canon remote switch, Monopod with camera head, a tub of Pennys, framed Wills Cigarettes (flowers), plated trays, cutlery etc
Lot 1504
Artist: Diane Arbus (American, 1923-1971). Title: "A Castle in Disneyland, California". Medium: Original photogravure. Date: Composed 1964. Printed 1978. Dimensions: Overall size: 15 3/4 x 11 5/8 in. (400 x 295 mm). Image size: 9 7/8 x 10 in. (251 x 254 mm).Lot Note(s): Stamped with the photographer's name, verso. High-grade archival paper. Ample margins. Fine, quality printing. Very good to fine condition. Comment(s): According to “Gordon’s Photography Prices” the auction record for a silver print of this image is $95,600 realized at Phillips, New York, 10/17/2003, lot #49. Arbus’s direct, confrontational approach to photography meant that her subjects did not always like their portraits. After seeing his, the writer Norman Mailer famously said, "giving a camera to Diane Arbus is like putting a live grenade in the hands of a child. Image copyright © The Estate of Diane Arbus, LLC. [27152-3-225]
Lot 433
Herbert Coxon, Oriental Carpets, How they are Made and Conveyed to Europe, with a Narative of a Journey to the East in Search of Them. 10 plates by artist Mr. W.F. Smiles and a fold out map. First Edition 1883. A beautiful book. Perhaps the first book on Carpets and Rugs. Notes: In the early 1980's I made plans with a colleague, who was a film producer and camera man, to follow Coxon's route to Baku, observing the differences between his text and descriptions in 1800's and the current date. We presented the idea to Channel 4 who thought it was a great idea. (nb. This was before Michael Palin). They said they would look at the finished work to let us know how much to pay us. It was impossibly expensive for us to do without any advance.
Lot 838
Artist: Diane Arbus (American, 1923-1971). Title: "Boy with a Straw Hat Waiting to March in a Pro-war Parade, N.Y.C". Medium: Original vintage photogravure. Date: Composed 1967. Printed 1972. Dimensions: Overall size: 8 3/16 x 8 1/4 in. (208 x 210 mm).Lot Note(s): Stamped with the photographer's name, verso. Edition size unspecified, presumed very small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good to fine condition. Comment(s): According to “Gordon’s Photography Prices” the auction record for a silver print of this scarce image is $245,000 realized at Christie's, New York, 4/6/2016, lot #117. Arbus’s direct, confrontational approach to photography meant that her subjects did not always like their portraits. After seeing his, the writer Norman Mailer famously said, "giving a camera to Diane Arbus is like putting a live grenade in the hands of a child. Image copyright © The Estate of Diane Arbus, LLC. [29597-2-800]
Lot 955
Artist: Diane Arbus (American, 1923-1971). Title: "Family on Their Lawn One Sunday in Westchester, N.Y". Medium: Original vintage photogravure. Date: Composed 1968. Printed 1972. Dimensions: Overall size: 8 5/16 x 8 5/16 in. (211 x 211 mm).Lot Note(s): Stamped with the photographer's name, verso. Edition size unspecified, presumed very small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good to fine condition. Comment(s): According to “Gordon’s Photography Prices” the auction record for a silver print of this scarce/rare image is $305,000 realized at Phillips, New York, 10/8/2015, lot #17. Arbus’s direct, confrontational approach to photography meant that her subjects did not always like their portraits. After seeing his, the writer Norman Mailer famously said, "giving a camera to Diane Arbus is like putting a live grenade in the hands of a child. Image copyright © The Estate of Diane Arbus, LLC. [29596-2-800]
![Artist: Diane Arbus (American, 1923-1971). Title: "Child with a Toy Hand Grenade in Central Park, New York [medium format]".](https://cdn.globalauctionplatform.com/e23002db-18f1-48f5-9b4a-acc7015ec544/a5d42357-7e4d-4ef6-8cf8-ad3c0002d9a8/468x382.jpg)
Lot 103
Artist: Diane Arbus (American, 1923-1971). Title: "Child with a Toy Hand Grenade in Central Park, New York [medium format]". Medium: Original vintage photogravure. Date: Composed 1962. Printed 1972. Dimensions: Overall size: 11 x 9 1/4 in. (279 x 235 mm). Image size: 8 1/2 x 8 3/8 in. (216 x 213 mm).Lot Note(s): Stamped with the photographer's name, verso. Edition size unspecified, presumed small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good to fine condition. Comment(s): According to “Gordon’s Photography Prices” the auction record for a silver print of this image is $511,500 realized at Christie's, New York, 4/6/2017, lot #12. This edition authorized and supervised by Doon Arbus. Diane Arbus’s direct, confrontational approach to photography meant that her subjects did not always like their portraits. After seeing his, the writer Norman Mailer famously said, "giving a camera to Diane Arbus is like putting a live grenade in the hands of a child". Here the grenade is just a toy, yet Arbus again makes an unconventional portrait of her subject. On the contact sheet, it is evident that Arbus did make ‘typical’ portraits of the boy smiling, but she chose to print only this unusual shot. He stands stiffly, his hands clenched like claws, with a crazed expression on his face. The portrait seems sinister, yet it could reflect something more ordinary – the exasperation of any child made to stand still and have his picture taken (courtesy National Gallery of Scotland). Image copyright © 1972 The Estate of Diane Arbus, LLC. [30109-2-800]
Lot 745
Artist: Diane Arbus (American, 1923-1971). Title: "Xmas Tree in a Living Room in Levittown, Long Island, N.Y". Medium: Original photogravure. Date: Composed 1963. Printed later. Dimensions: Overall size: 8 x 8 1/4 in. (203 x 210 mm).Lot Note(s): Stamped with the photographer's name, verso. Edition size unspecified, presumed very small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good to fine condition. Comment(s): According to “Gordon’s Photography Prices” the auction record for a silver print of this scarce image is $204,000 realized at Christie's, New York, 10/12/2005, lot #71. Arbus’s direct, confrontational approach to photography meant that her subjects did not always like their portraits. After seeing his, the writer Norman Mailer famously said, "giving a camera to Diane Arbus is like putting a live grenade in the hands of a child. Image copyright © The Estate of Diane Arbus, LLC. [29598-2-800]
Lot 407
Joseph Beuys - - 1921 Krefeld - 1986 Düsseldorf Ölfarbe. 1963. Öl auf Papier mit gerissenem Loch. Unten mittig signiert und datiert. Verso signiert, datiert und bezeichnet 'Ölfarbe'. Auf Velin (mit Wasserzeichen Z Mattpost). 23 x 21 cm (9 x 8,2 in). [EH]. • Das Loch als eine in die Tiefe und Weite gerichtete Dimension. • Die durchbrochene Fläche beschäftigt Beuys immer wieder. • Das Blatt fordert in seiner radikalen Einfachheit zur Auseinandersetzung mit Sichtbarem und Unsichtbarem. • 1981 wird Beuys das Loch auch als Wanddurchbruch in der Düsseldorfer Kunsthalle realisieren. PROVENIENZ: Privatsammlung Deutschland (direkt vom Künstler erworben). AUSSTELLUNG: Joseph Beuys: Wo ist Element 3?, Ketterer Kunst, Berlin, 26.3.–22.5.2021. Das Thema der mit Ölfarbe eingestrichenen Papiere, in deren Mitte ein Loch ausgerissen ist, greift Beuys mehrfach auf. In seinem bedeutenden Zeichnungskonvolut „The secret block for a secret person in Ireland“ (Sammlung Marx, Berlin) finden sich mehrere, formal unterschiedliche Blätter. Zunächst unter dem Titel „Loch“ 1961 und später auch „2 Schafsköpfe (Loch)“ 1975 und 1976 als Edition unter „Painting Version 1–90“ (Schellmann 186 u. 187) herausgegeben. Joseph Beuys experimentiert bereits früh mit Ölfarben, darunter gibt es mehrere Werke mit ähnlich dichter, dunkler Farbigkeit. Das Loch, die Öffnung, ist die entscheidende Idee, die Beuys 1981 auch als Wanddurchbruch in der Kunsthalle Düsseldorf realisiert. Durch die Öffnung einer bemalten oder gemauerten Fläche verbindet sich die dahinterliegende Realität mit einem Kunstwerk oder einem Ausstellungsraum, die beide auf Wirklichkeit lediglich reflektieren. Oder wie Beuys über das Loch sagt: „[..] eine in die Tiefe und weite gerichtete Dimension, eine Höhlung [..]“ (zit. nach: Ausst.-Kat. Joseph Beuys, The secret block for a secret person in Ireland, Martin-Gropius-Bau, Berlin, 1988, S. 18). Eine in das Werk „The secret block ..“ aufgenommene Zeichnung von 1961 mit einem geschnittenen Loch in der Mitte nennt Beuys auch in Anspielung auf die erste Lochkamera, die Camera obscura, 'Kamera'. (a. a. O., Nr. 335). [Eugen Blume] Aufrufzeit: 19.06.2021 - ca. 12.12 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONJoseph Beuys -1921 Krefeld - 1986 Düsseldorf Ölfarbe. 1963. Oil on paper with a torn hole. Signed and dated in bottom center. Verso signed, dated and inscribed 'Ölfarbe'. On wove paper (with watermark Z Mattpost). 23 x 21 cm (9 x 8.2 in). [EH]. • The hole as a dimension extending into depth. • Beuys was occupied with the broken surface time and again. • In its radical simplicity the sheet asks for an examintion of the visible and the invisible. • In 1981 Beuys realized a hole in form of a wall breakthrough at the Kunsthalle Düsseldorf. PROVENANCE: Private collection Germany (acquired directly from the artist). EXHIBITION: Joseph Beuys: Wo ist Element 3?, Ketterer Kunst, Berlin, March 26 – May 22, 2021. Beuys took up the theme of paper coated with oil paint and with a hole in the middle on several occasions. The significant group of drawings “The secret block for a secret person in Ireland” (Marx Collection, Berlin) comprises several formally different sheets. First published under the title “Loch” in 1961 and later also as “2 Schafsköpfe (Loch)” in 1975 and in 1976 as an edition named “Painting Version 1-90” (Schellmann 186 and 187). Joseph Beuys experimented with oil paints from early on, among them we find several works with similarly dense, dark colors. The hole, the opening, is the decisive idea that Beuys also realized in 1981 in form of a wall breakthrough at Kunsthalle Düsseldorf. By forcing a painted or brick-built surface open, the underlying reality connects with a work of art or an exhibition space, both of which merely reflect on reality. Or as Beuys said about the hole: '[.] a deep and far-reaching dimension, a cavity [.]' (quote from: ex. cat. Joseph Beuys, The secret block for a secret person in Ireland, Martin-Gropius-Bau, Berlin, 1988, p. 18). Beuys called a drawing from 1961 with a hole in its middle and also part of “The secret block .” “Kamera” - in reference to the first pinhole camera, the Camera obscura. (ibidem, no. 335). [Eugen Blume] Called up: June 19, 2021 - ca. 12.12 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Lot 415
Joseph Beuys - - 1921 Krefeld - 1986 Düsseldorf Enterprise 18.11.1972, 18:5:16. 1973. Multiple. Metallbox, SW-Foto, Agfa Synchro Box Kamera, Filz. Schellmann 72. Unten auf einem in die Kamera eingelegten Papierstreifen signiert und nummeriert. Seitlich auf der Metallbox mit der Editionsplakette. Exemplar aus einer Auflage von 24. 16 x 41 x 31 cm (6,2 x 16,1 x 12,2 in). Die Fotografie zeigt die Familie Beuys beim Anschauen der Science-Fiction-TV-Serie 'Raumschiff Enterprise' am 18.11.1972, aufgenommen von Michael Ruetz. Herausgegeben von der Edition Hundertmark, Berlin. [EH]. • 'Jede Edition hat für mich den Charakter eines Kondensationskerns, an dem sich viele Dinge ansetzen können' (Beuys, Dez. 1970, in: WVZ Multiples, S. 15). • Filz als Isolator schützt die Kameralinse. • Der Betrachter betrachtet die Betrachter und wird betrachtet – wenn die Box geöffnet ist. PROVENIENZ: Privatsammlung Deutschland (vom Künstler erworben). AUSSTELLUNG: Joseph Beuys: Wo ist Element 3?, Ketterer Kunst, Berlin, 26.3.–22.5.2021. Die Fotografie von Michael Ruetz zeigt die Familie Beuys beim Anschauen der Science-Fiction-TV-Serie „Raumschiff Enterprise“. Im Entstehungsjahr der Fotografie lebt die Familie am Drakeplatz 4, wo Atelier und Wohnung einen gemeinsamen Arbeits- und Lebensraum bilden. Das Objektiv der im Deckel des Kastens montierten Kamera ist von Beuys mit einem Filz-Taler verschlossen, ähnlich wie der Fernsehapparat in seiner Aktion 'Filz-TV', dessen Bildschirm er mit einer Filzplatte abdeckt. Mit diesem Detail reagiert Beuys auf den „mechanischen“ Blick der Kamera und kehrt das nach außen gerichtete Sehen durch den wärmeschützenden Isolator Filz in einen nach innen führenden Blick um. In dem Zinkkasten sind zwei Objekte in der von Beuys oftmals eingesetzten Doppelstrategie von Parallelprozessen montiert, die beide auf unterschiedliche Weise das Sehen thematisieren: das Fernsehen selbst, die von der Kamera und dem Auge des Fotografen gesehene Familie, die wiederum einen Film sieht, der in der Zukunft spielt, und eine handliche Boxkamera, durch die gesehen und Gesehenes eingefangen und dessen Funktion durch Abdeckung des Objektivs verändert wird. Als drittes Element kommt die Frage nach dem Bild selbst und seinen Bedingungen hinzu. Beuys benutzt für das Multiple eine Boxkamera von Agfa, die 1930 auf den Markt kommt und als Synchro-Box-Variante zwischen 1949 bis 1957 produziert wird. Hinzu kommen die Zinkkiste, die mehrfach im Werk Verwendung findet, und der als Titel aufgenommene Name der Serie: Enterprise, zu Deutsch 'Unternehmen', der sich auf Beuys und sein utopisches Unternehmen 'Soziale Plastik' beziehen lässt. [Eugen Blume] Aufrufzeit: 19.06.2021 - ca. 12.26 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONJoseph Beuys -1921 Krefeld - 1986 Düsseldorf Enterprise 18.11.1972, 18:5:16. 1973. Multiple. Metal box, black-and-white photograph, Synchro Box Agfa camera, felt,. Schellmann 72. Signed and numbered on a paper strip insert into the camera. With the edition plate on one side of the metal box. From an edition of 24 copies. 16 x 41 x 31 cm (6.2 x 16.1 x 12.2 in). The photography by Michael Ruetz shows the Beuys family watching the science fiction show 'Star Trek' on TV on November 18, 1972. Published by Edition Hundertmark, Berlin. • 'To me each edition has the character of a condensation nucleus to which many things can attach.' (Beuys, Dec.1970 in catalog raisonné Multiples p. 15) • Felt as isolator to protect the camera lense. • When opening the box the observer sees the viewers and is observed. PROVENANCE: Private collection Germany (acquired from the artist). EXHIBITION: Joseph Beuys: Wo ist Element 3?, Ketterer Kunst, Berlin, March 26 – May 22, 2021. Michael Ruetz's photograph shows the Beuys family watching the science fiction TV series 'Enterprise.' The year the photo was shot the family lived on Drakeplatz 4, where the artist had his studio and apartment. Beuys closed the lens of the camera mounted in the lid of the box with a piece of felt, similar to the television set in his action ‘Filz-TV‘, in which he covered the screen with a piece of felt. With this detail Beuys reacted to the camera‘s “mechanical” look and reversed the outward view through the heat-protecting felt insulator into an inward view. The zinc box contains two mounted objects, a dual strategy of parallel processes that Beuys often employed. Both of these objects address seeing in very different ways: Television itself, the family in front of camera and the photographer's eye, which, in turn, watches a movie that plays in the future, and a box camera that can capture what is seen, however, with a covered lens and thus a disabled function. The third element is the question regarding the picture itself and its preconditions. For the multiple, Beuys used an Agfa box camera, which first came out in 1930. Between 1949 and 1957 it was produced as a synchro-box version. Then there is the zinc box, which the artist used in many his works, and the name of the series, which is part of the title: ‘Enterprise‘, also means company, it is Beuys reference to his utopian concept of the social sculpture. [Eugen Blume] Called up: June 19, 2021 - ca. 12.26 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Lot 534
Andy Warhol - - 1928 Pittsburgh - 1987 New York Self-Portrait. Presumably 1960er Jahre. Polaroid-Farbfotografie. Verso mit dem Stempel 'Estate of Andy Warhol Stamp of Authenticity'. Unikat. Auf festem Polaroid-Fotopapier. 7,9 x 7,7 cm (3,1 x 3 in). Papier: 10,8 x 8,8 cm (4,2 x 3,4 in). [CH]. • Unikat. • In späteren Jahren wird Warhol passionierter Fotograf, - eine Kamera trägt er fortan stets mit sich. • Die Fotografie wird zum zentralen Bestandteil seines Schaffens. • Im Laufe seines Lebens porträtiert er Freunde, Bekannte und berühmte Persönlichkeiten, aber insbesondere auch sich selbst. • Weitere Fotografien des Künstlers befinden sich bspw. in der Sammlung des Guggenheim Museums, New York, in der National Portrait Gallery, London, und im Los Angeles County Museum of Art (LACMA), Los Angeles. Aufrufzeit: 19.06.2021 - ca. 16.01 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONAndy Warhol -1928 Pittsburgh - 1987 New York Self-Portrait. Presumably 1960s. Polaroid-Color photograph. With the stamp 'Estate of Andy Warhol Stamp of Authenticity' on the reverse. Unique object. On firm Polaroid photo paper. 7.9 x 7.7 cm (3.1 x 3 in). Sheet: 10,8 x 8,8 cm (4,2 x 3,4 in). [CH]. • Unique object. • In his later years Warhol became a passionate photographer and always had a camera on him. • Photography became an integral part of his creation. • Over the course of his life he portrayed friends and celebrities, but especially himself. • His photographs are in many collections, among them the Guggenheim Museum, New York, the National Portrait Gallery, London, and the Los Angeles County Museum of Art (LACMA), Los Angeles. Called up: June 19, 2021 - ca. 16.01 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
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115380 item(s)/page