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Lot 9
A Leica Leicaflex 35mm SLR camera, chrome. Serial Number 1169090. With a 50mm f2 Summacron R lens. Serial Number 2205860. Condition Report: Appears to function at time of testing. The shutter fires, aperture of the lens opens, focus ring moves. The lens is clear bar some speckles of dust-no fungus.
Lot 28
A VINTAGE LEICA CAMERA AND ACCESSORIES, IN LEATHER CASE Signed Leica D.R.P. Ernst Leitz, Wetzlar, Serial No. 317683, circa 1939, the square leather case with impressed 'Leica Leitz' to the hinged cover, containing various accessories including an Elmar f=9cm 1:4 lens, No. 413800; various colour and other filters, including a green filter, marked 'Gr. E.Leitz Wtzlar, Germany'; a UVa filter, marked 'Ernst Leitz GmbH Wetzlar, Germany S00GZ'; two other unmarked filters; a folding detachable viewfinder marked 'E.Leitz Wetzlar Germany'; a Pullin Optics rangefinder, in case; various cables; the case trap with a Sangamo Weston Weston Master IV exposure meter, in leather case; together with a group of Leica instruction manuals The case 18cm wide Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Lot 320
An original pair of WWII Second World War German Ernst Leitz made Kreigsmarine U-Boat / Submarine 7x50 binoculars. Maker's marks 'beh' to eye plate, along with serial number 469549. With rubber lens bumpers present, one rubber eye cover lacking. Optics in working order, some dirt / misting to the left-hand optic.
Lot 114
OSCAR MURILLO (B. 1986)Untitled (Fried Chick) 2012 oil, oil stick, spray paint and dirt on canvas 248 by 181 cm.97 5/8 by 71 1/4 in.This work was executed in 2012.Footnotes:ProvenancePrivate Collection, LAPrivate Collection, UK (acquired directly from the above in 2013) Sale: Bonhams, London, Modern & Contemporary Art, 27 June 2019, Lot 33Acquired directly from the above by the present ownerCompelling, spirited and grand in scale, Untitled (Fried Chick) (2012) is foundational work by the Colombian-born, Turner Prize nominated artist Oscar Murillo; exhibiting all the hallmarks of his energetic and spontaneous style that combines raw panels of canvas, flashes of text and colour with aggregated dirt and impressions from the studio floor. Rising to artistic maturity and institutional acclaim in monumental fashion, his inclusion in such major exhibitions as The Forever Now: Contemporary Painting in an Atemporal World at the Museum of Modern Art, New York, in 2014, in addition to solo exhibitions at the Centro Cultural Daoíz y Velarde, Madrid and the Institute of Contemporary Arts, London, has cemented Murillo's international standing as one of the foremost contemporary painters currently working; culminating in his nomination for the Turner Prize in 2019 for his exhibition Violent Amnesia at Kettle's Yard, Cambridge. Untitled (Fried Chick) is an elegant example of Murillo's collaging of surfaces and techniques that flaunts the dirt from the artist's studio floor, bringing the painting to life through its closeness to the 'authentic' detritus and rubble of Murillo's workspace. In the present work, the raw support of the canvas plays host to an almost performative mark-making, suffused with a palpable energy that channels the automatic motions of Jackson Pollock, complemented by a revisionist ideology that Murillo credits to the Neo-concretism of Lygia Clark, Lygia Pape and Hélio Oiticica. The present work comes to market following Murillo's nomination for the Turner Prize in 2019 – a significant recognition of the artist's distinguished practice and place amongst his contemporaries. An exemplary early work by Murillo, Untitled (Fried Chick) is an immense painting of masterful austerity, eliciting all of the methods and conceptual hooks that has made Murillo such an internationally lauded artist.Activating the more static, Modernist modes of abstract painting through installations, social gatherings and interactive artworks, Murillo's multifaceted practice has continued to express the artist's experiences of displacement and multiculturalism, demonstrated in the present work with a bravura charm and dynamic materiality. For Murillo, the process of painting provides a method of accumulation; composing his works through a build-up of material, of folds, marks and daubs of paint that illustrate the artist's own relationship to his itinerant lifestyle and 'layering' of identity. Born in La Paila in South East Colombia, Murillo remains deeply influenced by his roots and his arrival in London as an immigrant at the age of ten. The present work represents a superbly nuanced evocation of these themes, employing single words or phrases that encourage a reading of Murillo's paintings through the lens of cultural critique. Where words such as 'pollo,' 'yoga,' 'milk' and 'mango' appear across Murillo's oeuvre, they become aesthetic devices in tandem with their implicit meaning – impactful hand-sketched lines of text that divide the canvas in a similar vein to the paintings of Jean-Michel Basquiat. Murillo interprets his own unique style thusly: 'the words are very displaced. Like cultural displacement with performance, in painting it's material displacement, object displacement [...] I also like to think that these paintings also imply a displacement of time. They're like rugs. An unstretched painting is a kind of abstract thing, one that suggests that it perhaps has been found or comes from some other space or time. But while it has this aura of being a historical thing when placed out of context, it just comes from the studio' (the artist in conversation with Legacy Russell, 'Bomb Magazine', www.bombmagazine.org, 1 Jan 2013).This lot is subject to the following lot symbols: AR TP ▲AR Goods subject to Artists Resale Right Additional Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.▲ 'Bonhams' owns the 'Lot' either wholly or partially or may otherwise have an economic interest.For further information on this lot please visit Bonhams.com
Lot 177
Buzz Aldrin Magnificent photograph of the Earth rising above the lunar horizon over Mare Smythii, Apollo 11, 16-24 July 1969 Vintage chromogenic print on resin-coated Kodak paper, 20.3 x 25.5 cm (8 x 10 in), [NASA photo no AS11-44-6560], with THIS PAPER MANUFACTURED BY KODAK watermarks on verso (printed mid-1970s), (NASA/North American Rockwell)Footnotes: Aldrin photographed this awesome sight of the Earth majestically rising over Smyth's Sea through the 250mm telephoto lens from the window of the CSM "Columbia" during the sixth revolution of the spacecraft around the Moon. North American Rockwell was NASA's prime contractor and manufacturer of the Apollo Command Module.
Lot 79
Four views of the lunar surface seen from orbit by Lunar Orbiter 3, high and medium resolution frames III-72-H2, III-73-M, III-136-M, III-199-H3, Lunar Orbiter 3, February 1967 Vintage gelatin silver prints on fibre-based paper, 25.3 x 20.3 cm (10 x 8 in), with Lunar Orbiter ID numbers in margins, blank on versos, (4)Footnotes: The Lunar Orbiters had an ingenious imaging system which consisted of a dual-lens camera, a film processing unit, a readout scanner, and a film handling apparatus. The film was processed, scanned, and the images transmitted back to Earth with incredible resolution for the time.
Lot 271
Alfred Worden An extremely rare photograph of the Earth rising over the lunar horizon taken through the UV lens giving the illusion of a Double Earth, unpublished after the mission, Apollo 15, 26 July - 7 August 1971 Vintage gelatin silver print on fibre-based paper, 25.4 x 20.3 cm (10 x 8 in), BLACK NUMBERED NASA AS15-99-13442 (NASA Manned Spacecraft Center)Footnotes: This exceptional picture of a "Double Earth" rising over the lunar surface was taken by Alfred Worden from the Command Module Endeavour during its 24th revolution of the Moon from an altitude of about 120 km with a special UV transmitting 105-mm lens and a special filter mounted on the Hasselblad camera along with magazine N containing the UV sensitive film. The combination creates an unprecedented image of stunning abstract beauty. NASA released a variant of this photograph taken through another filter (NASA image AS15-99-13446).Condition Report: A small tear(restored) and creases at top right of white margin. Lower right corner shows handling wear. Condition Report Disclaimer
Lot 29
Two views of Earth from space taken by Gordon Cooper from inside his Faith 7 capsule, showing high plateau near Himalayas (63-MA9-190) and China (63-MA9-197), partly overcast by clouds and capturing the curvature of the Earth, Mercury-Atlas 9, 15-16 May 1963.Vintage gelatin silver prints on fibre-based paper, 25.6 x 20.4 cm (10 x 8 in), with NASA captions on versos, (NASA Headquarters), (2).Footnotes: In contact with Cape Canaveral Cooper light-heartedly complained 'Man, all I do is take pictures, pictures, pictures!' Hasselblad cameras were introduced to NASA during the Project Mercury by Walter Schirra, a photography enthusiast, who was not able to take many pictures during his preceding MA-8 flight. Cooper's much longer mission (22 orbits) allowed him to carefully frame his pictures and return wonderful photographs of the Earth. The Hasselblad 500C 70mm cameras with an 80mm focal lens were adjusted for use in space, stripped, and a new film magazine was constructed to allow for 70 exposures, instead of the 12. From this point Hasselblad cameras became instrumental in obtaining Earth and lunar photography from space.
Lot 81
The first photograph of the nearly full Earth from lunar orbit, Lunar Orbiter 5, 8 August 1967Vintage gelatin silver print on fibre-based paper, 25.3 x 20.3 cm (10 x 8 in), with names of continents and oceans of Earth superimposed by NASA on recto and NASA caption numbered 67-H-1432 on verso (NASA Headquarters)Footnotes:A very important early photograph of the Earth, belonging to the very rare club of Earth photographs taken by the Lunar Orbiters. NASA caption: As most Americans slept in the predawn hours of August 8, 1967, NASA's Lunar Orbiter V spacecraft trained its telephoto lens on the sunlit side of the Earth and made this first photograph of the nearly full Planet from 214,806 miles away. Lunar Orbiter V was about 3,640 miles above the surface of the Moon. The area of the Earth ccovered extends from 14° W longitude to the eastern terminator about 135° E longitude, a total of about 150° or approximately 5/6 of the full hemisphere. It will provide scientists with additional information on the amount of light reflected by a nearly full-Earth.Literature: "Moon: Man's Greatest Adventure", Thomas, ed., pg. 143; "Exploring Space with a Camera" (NASA SP-168), Cortright, ed., pg. 115.Condition Report: A couple of very minor dents, very good Condition Report Disclaimer
Lot 70
Buzz Aldrin or James Lovell Agena tethered to Gemini over the Earth following Buzz Aldrin's spacewalk, Gemini 12, 11-15 November 1966Vintage chromogenic print on fibre-based Kodak paper, [NASA photo No S-66-62794], 20.3 x 25.4 cm (8 x 10 in), with A KODAK PAPER watermarks on the verso Footnotes: The photograph was taken with the Maurer space camera and its 80mm lens after Aldrin managed to tether the two spacecraft during his near-flawless EVA.Original NASA caption for the photograph: "Northern portion of Sonora, Mexico; south-eastern Arizona and southwestern New Mexico, as seen from the Gemini XII spacecraft during its 30th revolution of Earth. Includes the Tucson, Phoenix, Mogollon Rim, and Painted Desert areas. A 100-foot tether line connects the Agena Target Docking Vehicle with the Gemini XII spacecraft.""This exercise demonstrated the feasibility of achieving stabilized orientation between two manoeuvrable spacecraft at slightly different altitudes, connected by a flexible tether. At the beginning of the exercise the two spacecraft were docked, the tether having been connected during Aldrin's umbilical EVA. The vehicles were pitched to a vertical stable attitude, undocked, and separated, extending the tether. The second attempt to 'capture' or establish the gravity-gradient stabilization mode was judged successful in that the orientation was held for approximately 90 minutes with all control systems turned off. This successful demonstration promises a most useful technique for station-keeping spacecraft with minimum fuel expenditure." Frank Bogart, NASA Deputy Associate Administrator for Manned Space Flight (Cortright, p. 184)Condition Report: MintCondition Report Disclaimer
Lot 265
A. Worden, D. Scott, or J. Irwin, An extraordinary UV photograph of the Earth seen in a bright halo during translunar coast, not published after the mission, Apollo 15, 26 July - 7 August 1971Vintage gelatin silver print on fibre-based paper, 25,4 x 20,3 cm (10 x 8 in), BLACK NUMBERED NASA AS15-99-13411 (NASA Manned Spacecraft Center).Footnotes: This extremely rare unreleased ultraviolet photograph of our Home Planet, seen as a bright halo in the dark void of space through a special 105mm UV lens, was taken 49,511 nautical miles [91,694 km] from Earth with spectroscopic film (magazine 99/N)."As we got further and further away, the Earth diminished in size. Finally it shrank to the size of a marble, the most beautiful you can imagine. That beautiful, warm, living object looked so fragile, so delicate, that if you touched it with a finger it would crumble and fall apart. Seeing this has to change a man." James IrwinCondition Report: A long crease in upper right corner and a large area of paper loss in the right margin. Processing marks across lower right corner of the imageCondition Report Disclaimer
Lot 278
David Scott Two of the first photographs taken on the Moon with the Hasselblad camera equipped with a 500mm telephoto lens used for the first time during the mission, spanning the breathtaking Hadley Canyon from its edge at station 10, Apollo 15, 26 July - 7 August, 1971, EVA 3 Vintage gelatin silver prints on fibre-based paper, 20,3 x 25,4 cm (8 x 10 in), BLACK NUMBERED NASA AS15-89-12152, NASA AS15-89-12157 in black in top margin (NASA Manned Spacecraft Center, Houston, Texas), (2)Footnotes: The Hadley landing site offered to the astronauts the most beautiful scenery of all Apollo missions, especially the breathtaking Hadley Canyon meandering across the Hadley Plain up to 1.5 kilometres across in places and 400m deep. The Apollo 15 crew used for the first time a 500mm telephoto lens mounted on a lunar surface Hasselblad 500EL data camera to shoot distant features. These extraordinary telephotographs span the far wall of Hadley Canyon from left to right seen from its opposite edge at station 10. Photographed with the 500 mm lens, the rille appears much narrower than its actual one-km width. The base of Bennet Hill (left) is in the background beyond the mare surface.
Lot 69
Buzz Aldrin or James Lovell Agena with gleaming US flag following rendezvous above the blue Earth, Gemini 12, 11-15 November 1966 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4 cm (8 x 10 in), RED NUMBERED NASA S-66-62755, with A KODAK PAPER watermarks on verso (NASA Manned Spacecraft Center)Footnote: A breathtaking view of the Agena Target Docking Vehicle floating in space over the Earth, taken by Buzz Aldrin through the 80mm lens of the Maurer space camera about 50 feet away from the Gemini capsule, as both spacecraft were station-keeping before docking. The American flag is very clearly visible.Condition Report: MintCondition Report Disclaimer
Lot 118
Frank Borman Four rare views of the never before seen farside of the Moon taken successively as the spacecraft followed its westward track over the farside of the Moon during orbit 7 and 8, Apollo 8, 21-27 December 1968 Vintage chromogenic prints on fibre-based Kodak paper, 25.3 x 20.5 cm (10 x 8 in), [NASA photos No AS8-14-2421, AS8-14-2431 (inverted), AS8-14-2432 (inverted) and AS8-14-2436], with A KODAK PAPER watermarks on versos (NASA/North American Rockwell), (4)Footnote: These photographs were taken by Frank Borman with the 250mm telephoto lens while his colleagues James Lovell and William Anders were sleeping during their scheduled rest period (orbits 7-8) over the 37-km Crater Planté (10°S latitude and 163°E longitude, unnamed at the time of the mission), over an area east of Crater Amici, (10° S / 175° W); and an area south of Chaplygin, (12° S / 152.3° E). Borman later described the Moon as "a science fiction world-awesome, forlorn beauty" (LIFE, 17 January 1969). North American Rockwell was NASA's prime contractor and manufacturer of the Apollo Command Module. Condition Report: Lightly toned; very goodCondition Report Disclaimer
Lot 117
Frank Borman Sunset over the lunar farside first seen by humans Apollo 8, 21-27 December 1968 Vintage chromogenic print on fibre-based Kodak paper [NASA photo No AS8-14-2402], 20,3 x 25,4 cm (8 x 10 in), with A KODAK PAPER watermarks on verso (NASA / North American Rockwell).Footnotes: The lunar farside terminator had never been seen by human eyes prior to the Apollo 8 mission. 'The deep shadows near the terminator [boundary between day and night on the Moon] emphasize the relief which appears forbidding because of the accentuation of detail at the low Sun elevation.' (from NASA SP-246, p. 20)The spacecraft was orbiting the backside of the Moon on board the Apollo 8 Command Module at the furthest distance ever travelled from Earth, without communication with Mission Control, when Frank Borman shot this fantastic vertical view (from colour magazine 14/D) of the floor of the 437-km walled plain Crater Korolev (named America by the astronauts) through the 250mm telephoto lens as the Sun was setting over the lunar farside.North American Rockwell was NASA's prime contractor and manufacturer of the Apollo Command Module.Literature:LIFE, January 17, 1969, p. 26. Condition Report: Lightly toned, very goodCondition Report Disclaimer
Lot 110
Frank Borman The first photograph taken by humans of the Moon from orbit; Crater Langrenus, during the first orbit of the Moon after lunar orbit insertion, Apollo 8, 24 December 1968 Vintage chromogenic print on fibre-based Kodak paper, 20.5 x 25.3 cm (8 x 10 in), [NASA photo no AS8-16-2615, inverted], with A KODAK PAPER watermarks on versoFootnote: This historic photograph of the 132-km Crater Langrenus on the lunar nearside was taken by Borman from an altitude of 240 km looking southwest with the 80mm lens and color magazine 16/A following the successful lunar insertion burn.Condition Report: Small "9" in hand in lower right corner, otherwise very goodCondition Report Disclaimer
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