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Lot 495
Camera: An M.P.P., Micro Technical Plate Camera 5x4, with Schneider-Kreuznach Xenar 1:4.5/150 lens, Serial Number 7755959. Bellows appear in good order, some wear to outer case as expected with age. Untested for working order. Together with Paterson Tank, various plates and other accessories, in leather case. Please assess photographs.
Lot 397
P. GRIGNION, LONDON. A SILVER VERGE POCKET WATCH with full hunter case enclosing an enamel dial fronting a gilt key wound chain driven fusee movement with Egyptian pillars and verge escapement signed on the backplate, with pierced engraved balance cock.55MM diameterThe watch is in very nice working condition, there's a tiny chip on the outer edge of the dial between 5 and 6, no hairline cracks or restoration, the case is in good condition and there's no damage to the hinges. All covers close nicely, The release button is working but the cover isn't springing open, the lens is glass and looks period. Extra images of the movement have been uploaded.
Lot 249
AMENDMENT: Please note, the slides included in this lot are not mechanical or slipping. Please enquire for further information and photographs. A Victorian mahogany magic lantern by Archer & Sons of Liverpool, with lacquered brass fittings, electric light, chimney, brass bound lens, approx. 52cm long, 35cm high, together with a quantity of wood-mounted mechanical, slipping and hand-painted lantern slides, in five boxes (lot)
Lot 290
1969 Laverda 750 GT 'American Eagle'Registration no. PFJ 320GFrame no. LAV750 1648Engine no. 750 1648•One of only some 150 made•First registered in the UK in 2021•Most collectible and sought after modelsShortly after the Laverda 750GT went on sale in Europe, McCormack International Motors Incorporated, a vehicle importing business, concluded a deal with the Italian factory to market the model in the USA under the 'American Eagle' brand name. Unfortunately for Jack McCormack, Laverda's 750 twins were soon upstaged by the four-cylinder Honda CB750, which was not only better specified but cheaper too, and only some 150 had been imported when McCormack went bust. With relatively few made and even fewer still in existence, the American Eagle is now one of Laverda's most collectible and sought after models. American Eagle is also famous as having kick-started Evel Knievel's career. The brand sponsored the American stunt rider, who wore a distinctive jumpsuit and cape with the American Eagle logo across the front of his leathers and on his helmet. He used a modified American Eagle 750 to complete several record-breaking jumps, suffering some spectacular crashes. Eventually Harley-Davidson realised the marketing potential and provided Knievel with a Harley-Davidson XR750 for his jumps. This very early US-market American Eagle 750 GT was first registered in the UK on 1st September 2021 and has had one former keeper in this country. Its history in the USA is unknown. There is a video of the machine running, available to view on the Bonhams website. The machine is offered with sundry invoices; photocopied technical literature; suspension instructions; owner's manual/parts list; repair guide; copy online advertisement; and a current V5C document. A 4' round brake light lamp lens is included in the sale.Footnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
Lot 593
The "Afghan Girl" is a famous photograph taken by American photojournalist Steve McCurry. The image features the striking portrait of a young Afghan girl with haunting green eyes, and she became an iconic symbol of the plight of Afghan refugees during the Afghan-Soviet War. Here are some key details about the photograph and its significance:1. **Photograph**: Steve McCurry took the photograph in 1984 at the Nasir Bagh refugee camp near Peshawar, Pakistan. The young girl in the photograph was later identified as Sharbat Gula.2. **Eyes**: The most striking feature of the photograph is the intensity of the girl's green eyes, which appear to pierce through the lens and capture the viewer's attention. The photograph's composition and the girl's piercing gaze contribute to its powerful impact.3. **National Geographic**: Steve McCurry's "Afghan Girl" photograph was first published on the cover of National Geographic magazine's June 1985 issue. It quickly became one of the most recognizable and iconic images in the history of photography.4. **Identity**: For many years, the identity of the Afghan girl in the photograph was unknown. She became known simply as the "Afghan Girl." In 2002, with the help of National Geographic, Steve McCurry and a team of experts were able to locate and identify the woman as Sharbat Gula.5. **Impact**: The "Afghan Girl" photograph humanized the suffering of Afghan refugees and brought attention to the hardships faced by people in conflict zones. It also highlighted the power of photography in telling compelling stories and conveying deep emotions.6. **Return to Afghanistan**: In 2002, Sharbat Gula was repatriated to Afghanistan, where she was reunited with her family. Her life story and the impact of the photograph on her life were documented in subsequent National Geographic articles.7. **Legacy**: The "Afghan Girl" photograph remains an enduring symbol of the resilience and strength of people living in conflict-ridden regions. It also underscores the importance of photojournalism in raising awareness about global issues.Steve McCurry's "Afghan Girl" photograph is not only a remarkable work of art but also a testament to the power of visual storytelling in journalism. It continues to resonate with audiences worldwide and serves as a reminder of the human faces behind the headlines in regions affected by conflict and displacement.Measures 24 x 32.Oil on canvas.Sold "after" McCurry.
Lot 594
COMPOUND MONOCULAR VAN HEURCK MICROSCOPE, by W. Watson & Sons London, model no. 5842 corresponding to year of manufacture 1901, fitted with 2mm, 8mm and 1/8" lenses, on tripod base, in original mahogany fitted case also housing two further brass slide mounts and the lens cases, accompanied by reproduction of original handbookthe case 29cm wideAdditional images now available.
Lot 619
LEICA M3 CAMERA, AND ACCESSORIES the camera no. 703 423, with Summicron f=5cm 1:2 and Elmar f=9cm 1:4 lenses, a Leica meter, and furtherAdditional images now available.Camera displays signs of use and age related wear. Some oxidisation to screws. Wear around back. Lens clear (though doesn't twist to open) and shutter works at time of testing. Other items with wear, ASA Weston meter with green and white residue to it.
Lot 152
A collection of cameras and lenses to include the following: a Zenit-E with a Pentacon 80mm-200mm f4.5-f5.6 lens, a Praktica MTL 3 with a Soligor 40mm-150mm f3.5 lens, a Praktica Super TL2 with a Vinson 200mm f4.5 lens and a Praktica LTL with a Pentacon 50mm f1.8 lens, also including additional four lenses- a Soligor 35mm-140mm f3.5, a Tokina 35mm-135mm f4-f4.5, an Ensinor 55mm-220mm f3.5-f4.5 and an Optomax 85mm-205mm f3.8. Together with Four 35mm film cameras with lenses to include a Praktica MTL3 with a Soligor 45mm-150mm f3.5 lens, a Praktica TL3 with a Helios 85mm-210mm f3.8 lens, a Nikon F50 with a 75mm-150mm f3.5 lens and a Canon EOS500n with a Sigma 70mm-210mm f4-f5.6 lens, also including four additional lenses- a Miranda 80mm-200mm f4.5, a Soligor 35mm-140mm f3.5, a Sigma 70mm-210mm f4-f5.6 and a Miranda 70mm-210mm f4
Lot 153
Four 35mm film cameras with lenses to include a Praktica LTL3 with a 200mm f3.5 lens, a Praktica Nova 1B FX with a Domiplan 50mm f2.8, a Pentax ME Super with a Miranda 135mm f2.8 lens and a Minolta 7000 with a Sigma 70mm-210mm f4-f5.6, also including four additional lenses- a Tamron 85mm-210mm f4.5, an Ozeck 80mm-205mm f4.5, a Vivitar 80mm-200mm f4.5 and Vivitar 70mm-200mm f3.5.Together with Four 35mm film cameras with lenses to include a Canon EOS 1000F with a Sigma 70mm-210mm f4-f5.6 lens, a Canon T50 with a Sirius 28mm-80mm f3.5-f4.5, a Praktica Super TL3 with a Hoya 80mm-200mm f4 lens and a Zenit 11 with a Chinon 35mm f2.8 lens, also including four additional lenses- a Mirage 200mm f3.5, a Sigma 70mm-210mm f4.5, a Vivitar 75mm-205mm f3.8 and a Tamron 70mm-105mm f3.8
Lot 159
A Sigma 18mm-200mm f3.5-f6.3 lens, Canon fit, with rear cap and lens hood, working, together with Six rolls of 35mm film, expired to include four rolls of 24 exposure film, Kodak Gold (ISO200), polaroid High Definition (ISO 200), Max Spielmann MX100 (ISO100) and Agfa HDC200 (ISO 200) with two rolls of 36 exposure, Fujicolor Superia (ISO 200) and Colorama Smart Film (ISO 200) (6)
Lot 154
A collection of camera lenses to include the following: a Helios 135mm f2.8, a Prakticar 70mm-210mm f4.5-f5.6, a Vivitar 28mm-70mm f3.5-f4.8, a Zenver 85mm-210mm F3.8, a Prinz Galaxy 135mm f3.5, a Sigma XQ 80mm-200mm f3.5 and a Prakticar 50mm f1.8, together with FED-4 35mm film camera, Serial No 494643, with an FED 53mm f2.8 lens
Lot 150
A collection of cameras and lenses to include the following: a Praktica MTL 3 35mm film camera with a Pentacon 50mm f1.8 lens, with manual, a Praktica MTL 5 35mm film camera & a Hanimex 28mm f2.8 lens, both working, seven camera lenses to include a Domiplan 50mm f2.8, a Revuenon 135mm f2.8, a Hanimex 28mm f2.8, a Vivitar 70mm-150mm f3.8, a Centon 70mm-210mm f4-f5.6, a Tamron 35mm-70mm f3.5 and a Sigma 75mm-300mm f4.5-f5.6
Lot 164
A collection of cameras and lenses to include the following: a Minolta 35mm-70mm f3.5, a 135mm f2.8 and a 200mm f3.5, working, may require a strip clean, together with a Praktica IVBM 35mm film camera, a Meritar 50mm f2.9 lens, a Praktica MTL 5B 35mm film camera, and a Pentacon 50mm f1.8 lens, working
Lot 136
Lisa Brice (South African, born 1968)A2 signed and dated 'Lisa Brice 2005' (verso); further bears 'The Goodman Gallery' label (verso)oil on canvas 101.5 x 76cm (39 15/16 x 29 15/16in).(unframed)Footnotes:ProvenanceAcquired from the Goodman Gallery;A private collection.ExhibitedGoodman Gallery, Johannesburg, Lisa Brice: Night Vision, (21 January-11 February 2006)Born in South Africa, Lisa Brice has become a formidable force in the visual arts. The present work, A2 was included in her first solo exhibition of paintings at the Goodman Gallery in Johannesburg in 2006. The synopsis of the show aimed to reflect the precariousness of Brice's own childhood impacted by the political upheaval in South Africa towards the end of the century. Since her first solo exhibition, the artist has gone on to have over twenty more solo shows and a highly acclaimed 2018 solo exhibition at the Tate Britain in London. Today, her work is held in museum collections in the High Commission of South Africa in London, Johannesburg Art Gallery, and the Smithsonian National Museum of African art, to name a few.As a painting, A2 is informed by another side of Brice's work, that being her night photography taken in the years prior to the present paintings completion. Challenging herself with the distorted palette that the night-vision photography presents, Brice has created a series of works including A2 that display this somewhat green monochromatic palette. Via association with the night-vision photography practice, there is a sense that the female subject of the work does not know they are being looked at by the viewer. This heightens the viewers position, imbuing a sense of tension in this unauthorized surveillance. With a stark and limited palette, it is the content of the work that has emphasised impact. This palette also allows for a level of ambiguity in her work and this technique would remain consistent throughout her career. In stripping back the character of the subject to a level of anonymity, a trait of self-possession is enabled to the model. Therefore, beyond a study of the female form, as traditional western figurative works were, Brice's works actually act to criticise these early notions of the male gaze. Indeed, works such as A2 are a study of the male gaze rather than a study of the female form. One could resonate this technique of anonymity with the coloured lithographs of the Blue Nudes series of Matisse in the 1950s. The flatness of Matisse's cut outs laid more emphasis to the exploration of form and how one might depict it. Given Brice's own singular-palette exploration, depth is presented in the layering and application of her paint, as is clearly demonstrated in the present lot.Brice's expansive fascination with visual culture and image making has synthesised in A2. The work does not only uphold a concurrent philosophy of ownership within her oeuvre, but also incorporates two areas of image making that interest her. A2 can therefore by viewed with a lens of esteem and hybridity; a monumental display of the artist's capabilities. Brice continues to spearhead and challenge the traditional expectations of women in Western art, reclaiming the female form's ownership of the work. Re-telling the story of women, Brice's works such as the present lot, Brice gives agency to the model, eliminating any forms of hierarchy that the artist historically held in traditional Western paintings.For further information on this lot please visit Bonhams.com
Lot 169
Wangechi Mutu (Kenyan, born 1972)Studies of Crystal Waters (i-iii): (i) watercolour on card30.5 x 22cm (12 x 8 11/16in).(ii) watercolour and foil on card29.5 x 22cm (11 5/8 x 8 11/16in).(iii) ink on card30.5 x 22.7cm (12 x 8 15/16in).(3)Footnotes:Born in Kenya yet cementing her career in New York, Wangechi Mutu is a renowned multi-disciplinary artist whose work is included in Museums such as the MoMA in New York, The Whitney, the Museum of Contemporary Art in both Chicago and Los Angeles, and the Tate Modern in London amongst many others. In 2010, Mutu was awarded the 'Artist of the Year' by Deutsche Bank, a prize which included a solo exhibition at the Deutsche Guggenheim in Berlin that would travel and finish at the Wiels Centre for Contemporary Art in Belgium.These drawings were executed by Mutu in 2001. They formed part of a commission to create watercolour storyboard illustrations and the styling for a photoshoot for a fashion lookbook featuring pioneer, innovator, and dance music legend Crystal Waters. Fashion photographer Jason Mickle interpreted the artist's watercolours through the lens of his camera creating the shots seen in the lookbook at the Giraffe Hotel in New York. Jason Mickle was also used by Crystal Waters for the cover shoot of her song Come on Down.For further information on this lot please visit Bonhams.com
Lot 62
Pierre Molinier (1900-1976)Chambre photographique et châssis-presse de Pierre Molinier avec tirage de 'Hanel 2', planche 51 du 'Chaman et ses Créatures'. 1. Chambre photographique à soufflet en acajou, serrures et poignée en métal, verre dépoli, objectif Copal 210 mm, trépied en bois.2. Châssis-presseLe châssis-presse est resté « chargé » tel que trouvé dans l'atelier à la mort de Molinier. - passe-partout noir 24 x 30 qui permet la marge blanche sur épreuve,- filtre (feuille de rhodoïd) destiné à adoucir la lumière,- négatif entièrement retouché à la mine de plomb (véritable dessin à même le négatif),- photomontage original de Hanel 2 (1968), épreuve de référence couverte d'annotations au dos.1. Photographic chamber with bellows in mahogany, metal locks and handle, frosted glass, 210 mm Copal lens, wooden tripod.2. Frame-pressThe press-chassis remained 'loaded' as found in the workshop at Molinier's death.- 24 x 30 black passe-partout which allows the white margin on the proof,- filter (rhodoïd sheet) intended to soften the light,- negative completely retouched in pencil (real drawing directly from the negative),- original photomontage of Hanel 2 (1968), reference proof covered with annotations on verso.Footnotes:ProvenanceCollection particulière, France« À notre connaissance, à la fin de la Grande Guerre, Molinier, alors âgé de dix-huit ans, n'avait aucun matériel à sa disposition et ne pratiquait pas la photographie. Il est possible cependant que la chambre à bouchon, qu'il modifiera par adjonction d'un objectif Copal, ait appartenu à son père, voire à son grand-père (...).À l'aide de manuels (...) Molinier s'initie seul à la prise de vue, au développement, au tirage. Il utilise la chambre en bois 18 x 24 à soufflet avec des intermédiaires 13 x 18 et 9 x 13. Il met au point et cadre sur le verre dépoli qui coulisse grâce à une molette. Une fois l'objectif fermé, il ouvre le volet du chargeur, va se mettre en place et déclenche à distance avec une poire. Jusqu'à la fin des années cinquante, il utilise des plaques de verre....Comme il n'a pas d'agrandisseur, il s'est fabriqué un châssis-presse. C'est un cadre grossier en bois brut, de 36 x 30 cm, muni d'une vitre et d'un fond amovible doublé de velours qu'on referme en faisant pivoter une règle dont les extrémités se bloquent dans des encoches. Molinier le charge en disposant contre la vitre un passe-partout de papier noir (de façon à obtenir une marge blanche au tirage), puis une feuille translucide - papier coloré ou rhodoïd couvrant toute la surface interne du cadre et servant de filtre -, puis tel ou tel cache découpé selon la forme recherchée, puis le négatif - qui coïncide avec l'ouverture du passe-partout - et enfin le papier sensible (18 x 24). Le « sandwich » terminé, on referme le châssis et on aborde la phase suivante, sous l'ampoule du couloir. Les temps d'exposition dépendront de la force de l'ampoule (75 ou 100 W) et de la distance entre elle et le châssis-presse. Pour s'y retrouver, Molinier recourt à des repères morphologiques. Le châssis peut être placé sur la tête ou tenu à hauteur de la poitrine, du ventre, des genoux, voire carrément posé au sol.' J-L Mercié 'Pierre Molinier', éd. Kamel Mennour.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 741
Telescope Once the Property of Admiral of the Fleet R J B Keyes, 1st Baron Keyes GCB, KCVO, CMG, DSO, the plated telescope was made by Ross London, No 22893, engraved to the body ‘R J B Keyes’ in script. Leather covering to the body and the lens cap, this is well worn and damaged. The telescope shows real wear. In need of some restoration. Roger John Brownlow Keyes had a very long and eventful career in the Royal Navy. He joined as a junior officer and took part in anti-slavery operations and was present during the Boxer Rebellion in China. He was said to be one of the first men to climb over the Peeking walls to break through to the besieged diplomatic legations to free them. During WW1, he was involved in many of the major naval actions, including the Dardanelles campaign, the Dover Patrol and the famous naval division raids on Zeebrugge and Ostend. In WW2 he also played an important role with finally being made director of Combined Operations, being responsible for the training and operations led by the commandos.
Lot 742
W Ottway & Co Day and Night Sight, polished brass optical sight with original lens cap. Stamped to the body ‘No27 W. OTTWAY & Co ORION WORKS EALING V P 5to15 DAY & NIGHT SIGHT PATENT 1907’. Complete with mount fitting. Accompanied by a pair of Ross London naval officers binoculars housed in leather carry case, no lid to case, optics a little dirty. (2 items)
Lot 1069
WW2 German Kriegsmarine 7x50 Binoculars by Carl Zeiss, fine pair of Marine marked binoculars with the base plate having makers mark for Carl Zeiss, Jenna and 7x50H to one side and the other with eagle over ‘M’ Kriegsmarine acceptance stamp and ‘N 3300’. Complete with the leather neck strap. Small chip to one lens cap but otherwise generally good condition. Housed in a brown leather WW2 British binocular case.
Lot 1068
WW2 German U-Boat Commanders 8x60 Binoculars in Original Transit Box, a most superb example of the extremely desirable and rare German binoculars as favoured by the German U-Boat commanders, these being the 8x60 set also known by collectors as the ‘Fat Boy’. The set retains nearly all of the original paint finish to the body. The lens plate is stamped ‘8x60 2111423 blc’. Complete with the original lens cover in bakelite. What makes this pair of binoculars so rare is that they are still housed in the original storage box which retains much of the battleship grey paint finish, the interior lid of the box with eagle stamp and ‘b l c’. Some minor paint loss and small chips to the paint on the body of the binoculars but the lenses still remain clear.
Lot 244
A QAJAR SILVER- AND GOLD-DAMASCENED IRON FIGURE OF AN IBEX, PERSIA, 19TH CENTURYNaturalistically modeled standing foursquare with the head turned to the left, the horns curling over the head, the animal further detailed with funnel-shaped ears, almond-shaped eyes, and a long muzzle. The body finely decorated with silver- and gold-damascened foliate and geometric decorations, the chest and back with floral arabesques, and the head with facial features and hair neatly outlined.Provenance: London trade. By repute from a noted private collection.Condition: Very good condition with expected old wear and minor casting irregularities, light scratches, tiny nicks, small dents, wear to inlays, encrustations. A good, naturally grown patina overall.Weight: 1,364 gDimensions: Height 30.5 cm, Length 26.3 cm Steel (pulad) was widely available in Iran and had been in use in these lands since the Pre-Islamic period, though before the 18th century this material was used primarily for the production of arms. The boom in artistic expression that occurred during the Qajar era was a side effect of the period of relative peace that accompanied the rule of Agha Muhammad Khan (1742-1797), the founder of the Qajar dynasty, and his descendants. With his ascension, the bloody turmoil that had been the first half of the 18th century came to a close and made it possible for peacetime arts to flourish again in Persia.Damascened steel figures of animals are one of the Qajar period's most beloved creations, depicting a vast range of creatures including ibexes, deer, cats, elephants, camels, peacocks, doves, and many more. These sculptures served to decorate the 'alams' (devotional standards) used during important ceremonies and processions, the most important taking place during the month of Muharram and commemorating Hussain's martyrdom in Kerbela (see Annabelle Collinet, L'empire des Roses: Chefs-d'œuvre de l'art persan du XIXe siecle, Louvre-Lens, 2018, p. 92-93).Literature comparison:Compare a closely related silver and gold-damascened steel deer, dated to the second half of the 19th century, 43 cm high, in the Musee des Beaux-Arts, Rennes, accession number 1932.8.120, and included in the exhibition L'empire des Roses: Chefs-d'œuvre de l'art persan du XIXe siecle, Louvre-Lens, 23 March-23 July 2018, p. 93, no. 78.Auction result comparison: Type: Closely related Auction: Christie's London, 13 October 1998, lot 339 Price: GBP 9,200 or approx. EUR 24,500 converted and adjusted for inflation at the time of writing Description: A pair of Qajar silver and gold damascened steel ibex, Persia, 19th century Expert remark: Compare the closely related subject, modeling, silver- and gold-damascening, and decoration. Note the related size (29.4 cm) and that the lot comprises a pair.Auction result comparison: Type: Closely related Auction: Sotheby's London, 5 October 2011, lot 332 Price: GBP 8,750 or approx. EUR 16,000 converted and adjusted for inflation at the time of writing Description: A pair of Qajar damascened steel ibex, Persia, 19th century Expert remark: Compare the closely related subject, modeling, silver- and gold-damascening, and decoration. Note that the lot comprises a pair.
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