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Click here to subscribeA VERY LARGE 2IN. SINGLE DRAW WOOD AND BRASS TELESCOPE BY J. GILBERT, LUDGATE STREET, LONDON, CIRCA 1778signed on the drawer as per title, bulbous eyepiece with dust slide, the main tube with heavily cast threaded section at centre -- 75½in. (192cm.) long (assembled)Lacking threaded lens cap, fine overall condition and optics appear in good working order.
TWO CAMERAS AND LENSES, comprising a boxed Nikon F-301 camera with a Nikon Nikkor 50mm 1:1.8 lens, two Sigma lenses a Sigma UC APO 70-210mm, a Sigma UC zoom 70-120mm lens, a boxed Nikon F-601 (door does not close) with an AF Nikkor 35-70mm lens and a IOkina SD 28-70mm lens (5 + boxes) (Condition report: not tested, obvious damage mentioned in description)
TWO VINTAGE TLR CAMERAS AND FOUR FOLDING CAMERAS comprising of a Minolta Autocord with Rokkor 75mm f3.2 and f3.5 lens, a Flexora TLR , a Zeiss Ikon Nettar 515/2, a Soho Cadet in brown Bakelite, an Ensign Pocket Twenty and a Kodak Six-20 (6) Condition Minolta shutter fires and speed adjusts, generally all in good condition but some coverings loose to Nettar
A SMALL QUANTITY OF VINTAGE WOODEN CAMERA EQUIPMENT, including 'The Sanderson H. Ltd London' Tropical Model plate camera with an Aldis Anastigmat No 2 f6 lens and shutter release, three double sided numbered plates, a wooden mounted 'The Sanderson H. Ltd London' shutter release and Taylor Hobson Cooke Luxor Anastigmat 5in f6/8 lens, a Kodamatic Shutter release with a Bausch Lomb Anastigmat No2 f6.3 lens on a wooden mount, etc (1 box) (Condition Report: camera appears to be in good condition, other items have some wear)
TWO BOXES CONTAINING FILM CAMERAS AND EQUIPMENT including a Petri TTL SLR fitted with a CC Auto 55mm f1.8, a boxed Praktica BMS fitted with a Pentacon 55-200mm f4 lens, a Zeiss Ikon Movikon 8, a boxed Tamron 80-210mm f3.8 lens, a Tamron 28mm f2.8 lens, a Carl Zeiss Jena MC 135mm f3.5 lens, a Pentax M 50mm f2 lens, various filters and accessories
THREE VINTAGE FIELD CAMERAS comprising of a Cameo with a Betax No1 shutter release and Aldis Butcher Anastigmat 5.25 f6.3 lens, a Houghton Ensign with no shutter release or lens, a City Sale and Exchange with a Bausch and Lomb shutter release and a Beck Double Aplanal 6in f7.7 lens, a case and five plate carriers (9) Condition all shows signs of age but cases and optics intact
THREE BOXES CONTAINING VINTAGE FILM, DIGITAL CAMERAS AND ACCESSORIES including a grey Yashica 44 TLR with f3.5 lenses, a Lubitel 166B, a Minolta SR-1 body, a Minolta SR-1s fitted with a MC PF 55 f1.7 lens, a Minolta 110 Zoom, a Pentax SF7 SLR fitted with 28-80mm f3.5, a boxed Sony DSC S80 digital camera, a Petri Colour 35, a Voigtlander Vitoret R etc
TWO BOXES CONTAINING VINTAGE FILM CAMERAS AND ACCESSORIES including a Zenit fitted with a Industar 50 f3.5 lens, a Yashica TL electro x fitted with a DX 50mm f1.7 lens with case, a Praktica L fitted with a Carl Zeiss Jena Tessar 50mm f2.8 lens two Polaroid Instant cameras and an Accessory box (front from one camera snapped off), a case containing spare parts including a Dallmeyer Anastigmat 10in f8 lens, a Lukes Enlarging Anastigmat, 10.5cm f4.5, a Ross 3in f3.5 lens, a Contessa Nettel shutter release, an Aldis Duo No2 converter etc
A BOX OF CAMERAS AND PHOTOGRAPHIC EQUIPMENT, including a Chinon CE Memotron film camera fitted with a Chinon 1:1.7 f=55mm lens, an Auto Chinon 1:35 f=200mm lens, a Soligor wide-auto 1:2.8 f=28mm lens, an Optomax l:5.6 f=300mm lens and an Optomax Auto 1:2.8 f=35mm lens, Sunagor MC Auto Zoom 60-200mm/f4.5-5.5 ultra-compact lens, etc (1 box)
A Leica D-LUX 4 Compact Digital Camera having a Leica DC Vario-Summicron f/2.0-2.8 Zoom Lens, complete with original box, battery, charger, cables, instruction books, lens cap, lanyard and Photographers Guide Book, (The Camera appears to function but the LCD glass has come unstuck and is not level).
BAROCKER BILDSCHNITZER des 18. Jh., „Maria Immaculata“, Holz, vollplastisch geschnitzte Figur der Maria auf von Engelsköpfen umspielter Wolke stehend, farbig gefasst über Kreidegrundierung und tlw. über Leinen, im Gürtelbereich eingesetzte Glaslinse wohl für Reliquie, HxBxT: ca. 67x33x25 cm. Alters- und Trocknungsspuren, Wurmfraß, kleinere Beschädigungen und Fehlstellen, Fassung beschädigt.| BAROQUE PICTURE CARVER from the 18th century, "Maria Immaculata", wood, fully carved figure of Mary standing on a cloud surrounded by angels' heads, colored with chalk primer and partly with linen, glass lens used in the belt area probably for a relic, HxWxD: approx. 67x33x25 cm . Signs of age and drying, worm damage, smaller damages and missing parts, paintwork damaged.
Olympus E-520 camera body, serial no. G27518842, with 'Olympus Zuiko Digital 14-42mm 1:3,5-5,6' lens, serial no. 212656796, Olympus E P1 camera body, serial no. H46518215, with 'Panasonic Lumix G1:2.5/14ASPH' lens, Olympus Pen Lite E-PL5, serial no. BFU507430, with 'Panasonic Lumix G 1:1 7/20 ASPH' lens, together with a collection of Olympus lenses, to include 'Olympus Zuiko Digital 25mm 1:2.8' lens serial no. 292017627, 'Olympus Zuiko Digital 9-18mm 1:4-5.6' lens, serial no. 300204427
SALVADOR DALÍ (1904-1989)Rideau-chevelure semi-humain séparé par une fermeture éclair (Hairy half-human curtains separated by a zipper) signed 'Dalí' (lower right)pen and India ink on card27 x 22cm (10 5/8 x 8 11/16in).Executed circa 1937Footnotes:The authenticity of this work has been confirmed by Nicolas Descharnes.ProvenanceJohn U. Sturdevant Collection, Palm Beach (acquired by 1971).Daniel Varenne Collection, Switzerland.Thence by descent to the present owner.ExhibitedBaden-Baden, Staatliche Kunsthalle, Dalí, Gemälde, Zeichnungen, Objekte, Schmuck, 29 January – 18 April 1971, no. 139.LiteratureHouston Chronicle, 13 February 1937 (detail illustrated p. 9 with the caption: 'A Pair of 'Hairy, Half-Human Curtains Separated by a Zipper' Will Be a Feature of One of M. Dalí's Rooms Fifty Years From Now. In the Doorways of an Apartment These Curtains Will Be Hung to Warn a Person of the Fate That May Await in the Next Room. They Will Quiver and Shake at the Sign of Danger, and Caress the Oncomer If Joy or Good Fortune Waits Within'), later reproduced in Detroit Free Press, 18 February 1937; Florence (S.C.) News, 21 February 1937; Birmingham (ALA.) News-Age, 21 February 1937; Tulsa (OKLA.) Tribune, 21 February 1937).Exh. cat., Dalí, Paris, 2012 (illustrated p. 252).Rideau-chevelure semi-humain séparé par une fermeture éclair presents a rectangular doorway, entrance through which must be made through a zippered curtain of flowing hair. The hard vertical and horizontal ink strokes forming the flooring, skirting and architrave juxtapose sharply with the organic waves of hair which drape gently to the floor. Drawn circa 1937, the work is closely related to Dalí's magnificent oil and collage work, Singularitats of 1935-1936 – which was featured on the front cover of the catalogue for the 2022 exhibition Salvador Dalí: Myth and Singularity at the Museum of Cycladic Art in Athens. The finished composition picks out features in blood-red pigment against an inky black background and shows the curtained doorway of the present work to the left of an eerie landscape. Here, the door is situated on a small box-like red building, a certain faded elegance recalled by a triangular pediment and cracking exterior. The zip and curtains of hair conjure obvious sexual overtones, as does the intrigue of what is to be found within the box, guarded by a feathery silhouette to the right, and a flamboyant, goddess-like woman to the foreground.The concept of the door as a sexual gateway was revisited by Dalí in 1939 when he constructed the Dream of Venus installation at the New York World's Fair, transforming the pavilion into an erotic funhouse which was entered through a monumental pair of gartered legs. Dalí explored the use of different materials in the 1930s to enhance the erotic associations of an artwork, believing, in Dawn Ades' opinion, that 'the erotic can find expression in a variety of ways, most obviously via the gaze and the touch. The object as incarnation of desire is realised in, for instance, the fur pom-poms on Dalí's Venus de Milo with Drawers' (D. Ades, 'Eroticism', in Dalí/Duchamp, exh. cat., London, 2017, p. 108). Created in 1936, Dalí's version of the famous Venus de Milo was provocatively adorned with tactile mink tufts to her forehead, bare breasts, stomach, and uncovered knee.It is thought that the artist was a virgin when he first met his wife at the age of 25 ('until Gala entered his life, Dalí was clearly afraid of young women, with the fear of fascination' – R. Descharnes & G. Néret, Salvador Dalí, The Paintings, Vol. I, 1904-1946, Cologne, 2007, p. 70) and was rumoured to prefer masturbation or voyeurism more than the act of consummation. A fixation with sexuality played out across his oeuvre, noticeably in the late 1920s-1930s, a period which spawned controversial works such as Le grand masturbateur (1929) – Dalí's 'main obsession at that time can best be termed desire' (ibid, p. 145).The Mae West Room in the Dalí Theatre-Museum in Figueres (opened in 1974) revisits the idea of hair as curtain. Dalí constructed an apartment with the help of designer Òscar Tusequets, which, when viewed through a reducing lens, conjured the face of the Hollywood film star. Her out-scale hair was lavishly arranged to form a grand theatre-like curtain, framing the tableau formed by the furniture and paintings beyond. The concept came from the artist's collage of 1934-1935, Le visage de Mae West qui peut être utilisé comme appartement surréaliste, whose curtain-like hair and red tones echo elements of Singularitats.The present work was executed in the midst of Dalí's most successful years, following his marriage to Gala in 1934 and his celebrated debut in New York. During his trip to the US in 1934, Dalí held six solo exhibitions and delivered a lecture at MoMA. He embraced his fame, going out of his way to court publicity: 'Dalí liked going into drugstores with an immense loaf tucked under his arm, ordering fried eggs, and then eating them with a small piece of bread cut off the loaf – to the great amusement of anyone who happened to be there at the time [...] Before they departed, Caresse Crosby threw a Dream Ball in Dalí's honour. The Americans vied to out-Dalí each other. Dalí confessed that even he (who was so rarely impressed by anything) was astounded by the riotousness of the ball at the 'Coq Rouge'' (op. cit, p. 235).Despite his individual success, Dalí maintained a dialogue with his fellow Surrealists, most notably René Magritte, whose 1966 sketch Le Viol ('The Rape') undoubtedly echoes the present work. The composition by the same name to which it refers was painted in 1934, preceding Dalí's Singularitats, and depicts a female face formed by her torso, a triangle of pubic hair taking the place of her mouth, the whole framed by her auburn hair. When the painting was exhibited at the Palais des Beaux-Arts de Bruxelles in the year of its execution, it was deliberately excluded from the exhibition catalogue and displayed behind a velvet curtain, in an area reserved for adults only. The portrait is believed to allude to the artist's mother's tragic suicide by drowning when Magritte was just fourteen – she was discovered with her face veiled by her gown, her naked body exposed. The peep-show nature of the presentation of Le Viol in 1934 leads us to question what is behind the curtain in the present work, shown to be the portal to a red booth in the larger composition. Eroticism was intrinsically linked with danger and uncertainty for Dalí, as the enticement of sexual promise in Singularitats is threatened by the eerie setting, filled with unknown and inexplicable objects. An animate object is draped in red cloth to the lower left, while the Dalínian clock melts to the lower right, and the faceless female figure morphs into foliage. Choosing to focus solely on the curtained doorway in Rideau-chevelure semi-humain séparé par une fermeture éclair, Dalí invites the viewer to step through to an alluring unknown.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
1975 Rover 2200TC 2.2 litre 4 door saloon Offered for sale with both leather and spare set of cloth seats Registration: KPV 646P Chassis: 49110335A Odometer: 85,500 Transmission: Manual MOT: March 2023 No Reserve • 85,500 recorded and credible miles • Offered with a collection of old MOT certificates and owner's manual • V5C and collection of invoices • Fitted with optional spot lamps Outside Finished in the original and period colour of Mexico brown which suits the car very well. The bodywork is very good indeed and shows no signs of rust. The paintwork is very appealing with only a few tiny touch ups on the bonnet and a small micro blister on the offside front wheel arch and near side rear wing top. The chrome is good as are the wheel trims. It is worth noting that the rubber on the rear window has some damage and would benefit from silicone sealing to prevent any water ingress. The wheels and hub caps are good and the tyres have plenty of tread. Inside The seats from a V8 are good and in fair condition apart from some delamination on the driver’s seat which could be repaired. They would benefit from a deep clean. Please note a full set of original cloth seats are supplied with the car. The door cards and carpets are without issue as are very good. The dashboard appears without damage and the instrumentation is excellent as is the steering wheel. The interior light lens is missing. Mechanicals The Rover starts readily, runs sweetly and emits the distinctive P6 exhaust note. Driving around our yard, it performed well and with good brakes and easy gear changing. History Sadly there is very little paperwork apart from a V5c , some sundry invoices and various MOT certificates dating back until 2004. Our Opinion Supplied new to its first Owner by A & D Hammond of Molesworth, Ipswich. Our Rover presents extremely well both inside and out and the paintwork being in particularly good order. It is worth noting that the usual rust areas under the rear seats are rock solid. Nice to see that all the electrical ancillaries are in working order including the interior lights. On the road, the car performs well and is a pleasure to drive. These cars represent superb value for money and are supporting by the excellent P6 and Rover Sports Register clubs. Spare parts are widely available and these cars are simple to maintain and inexpensive to run.
1997 Mercedes E220 2.2 litre 2 door cabriolet Registration: P460VGN Chassis: WDB1240622C292059 Odometer: 99,638 Transmission: 4 Speed Auto Petrol MOT: Oct 2023 Guide £7,000 - £8,000 . Original purchase invoice . 2 previous keepers . MOT's dating back to 2000 . Comprehensive history file with invoices dating back to September 1999 being its first service at Mercedes Woking . First owner for 6 years and the second for18 years . Original Mercedes Benz Woking dealer plates Outside The car presents very well in the lovely Azurite Blue with straight dent free bodywork and paintwork with very few imperfections, but the few there are include; near side wing mirror has a small scratch, off side wing mirror has an even smaller scratch, near side front indicator lens has some marks on the inside, very few small stone chips under the headlights, rear quarter has small amount of rust bubbling around 20 mm in length just in front of the rear wheel. The chrome works looks immaculate, as do all 4 alloy wheels with matching Michelin tyres. The hood is free from any rips or tears and hasn't faded like some do. I would say this car has spent most of its days garaged, although can't confirm. Pleasingly has its original dealer number plates from the supplying dealer Mercedes Benz Woking. Please view our walk around video to see the condition in more detail. Inside The mushroom leather electric front seats present extremely well, with the drivers side looking like its benefitted from a refresh and treatment recently, with no wear to the bolster or base showing. Carpets and matts look in good dry condition as do the rear seats and door cards. The steering wheel is a half wood half leather affair which was a £500 optional extra when new, but unfortunately the wood effect is showing some signs of cracking and the leather is quite worn. The leather on the centre console behind the gear selector is coming away and will need re-gluing at some point. The headlining has some wear marks in the rear from where the hood has been folded away. Mechanicals The 2.2 litre 4 cylinder petrol engine fire instantly and the car drives as sweet as a nut, with no undue knocks or bangs coming from the suspension components with the automatic gearbox shifting effortlessly through all gears as it wafts along quietly. Under the bonnet is very clean and free from any signs of corrosion, with the brakes working effectively and pulling up in a straight line. The electric hood works seamlessly for when those all too frequent Ribble Valley showers may catch us out. History There is a great history file with the car which shows its first owner keeping the car for 6 years until passing it on to the 2nd Kentish owner who was a custodian from September 2003 through to July 2021. The service book has many stamps with the last being stamped by Kam Servicing in March of last year. In amongst the many service and parts bills I came across the original purchase invoice which shows the original owner paid a whisker over £46,000 for the car back in March 1997. A photograph of this invoice is included in the photographs and shows the many optional extras. Our Opinion Presented in a condition that looks like its done half of the recorded mileage, this is a genuine every day useable classic which has clearly been cherished and looked after properly all its life. Ready for summer this car wants for nothing and is ready to waft you around in 90's luxury and comfort at a very affordable ownership price point.
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