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Three cameras. A Rank Mamaya with a Mamiya Komina 40mm lens, a Zeiss Ikon Nettar with Novar-Anastigmat 75mm lens and a Kodak Retinette 1B with Romar 45mm

Three lenses. A Tokina 400mm lens, a Tamron 80-210mm and a Pentax M 28mm and a selection of filters

A selection of camera equipment including a Fujica ST605, an Olympus XA1, and Olymous Newpic 600, a Nikon Coolpic, several filters, a Chinon 200mm lens, light meter etc in hard case

A Visible Dust Arctic Butterfly lens cleaner brush

A Nikon camera body in original box with instruction book and memory cards, a Nikon AF-S Nikkor 18-105ED lens with a Billingham camera bag

An Olympus OM-1 with Olympus Zuiko 35-105mm lens Lens clean,dust and fungas free,shutter and all parts moving freely.

A Yashica 635 reflex camera in hard case with wide angle lens and tele photo lens

A box of photographic equipment, including light meters, darkroom clock, candid angle lens etc

Olympus OM-4 5LR 35mm camera with a Zuiko 28mm 1.28 lens, Hoya HMC zoom & Macro 70-210 lens, Zuiko f = 50mm lens, tele converter, and an electronic flash T32 gun, etc., in carrying case, Polaroid SX ? 70 hand camera with instruction, Olympus 300 Super Zoom camera, cased, Ansco 1A folding camera with instruction book, Bell & Howell projector, 2 camera tripods and other items (a lot)

A collection of six various brass five, four and three draw telescopes, including an Orbit repeat focus 9-30 x 30c zoom lens in original packaging (one missing eyepiece)

Selection 4 Ricoh camera lens / lenses to include Koboron wide angle 1..2.8 F=28mm, Rikenon 1.2 50mm, Macro 75 / 200 mm, XR Rikenon 1.2.8 135mm, all untested

Minolta camera lens / lenses to include 28mm F3.5 MD Rokker, 135mm F2,8 MD tele Rokker, MD Zoom 35-70mm, all untested

A vintage Rolleicord camera and a Kodak Retina III C camera, in brown leather fitted cases, the first numbered 1169589, with Franke & Heidecke Comptue Rapid lens marked nr. 3286359, Triotar 1:3,5 f=7,5 cm, the Kodak numbered 691577

A Porsche 'Junior' 911 Carrera single-seat child's car,box-section steel chassis, simple spring suspension, fitted with silver-painted plastic body with rubber bumpers, black detailing, open windscreen, the cockpit with dummy instrument panel and ignition (lacking key), steering wheel with horn, with accelerator, brake and clutch pedal, and gear lever, the engine cover housing petrol cap, rear boot opening to engine compartment, powered by Honda 2.2Hp G100 petrol engine with chain drive to rear axle via 2-speed gearbox with reverse, the wheels shod with GoodYear 13 x 5.00-6NHS 2-ply tubeless pneumatic tyres, playworn with some scuffing and marks, left indicator lens missing, 190cm long overall. This lot is subject to the following lot symbols: ◊◊◊◊◊◊ Requires specialist shipping and storage at the buyer's expenseFor further information on this lot please visit Bonhams.com

A pair of vintage shoe keepers, a glass lens, electroplate napkin rings etc

An Olympus camera lens, five other lenses, other items, and a camera bag

A Tamron camera lens, and ten other lenses (box)

A Voigtlander Compur camera with plates and leather case plus Epsilon lens

W H Smith 110 Tele Flash camera in leather case with lens mode and flash control

A pair of WWII Toko Monarch 8x25 binoculars in a leather case.Condition Reportleft lens has a spot mark, paint work is rubbed through wear

A Wray London 1 inch Plus Star F63 camera lens.

A Pentax Asahi Spotmatic 35mm camera; together with a Tamron Auto Zoom lens, no. 691323; and other cameras and accessories.

PENTAX ME SLR CAMERA, with 1:1.7 50mm lens also a Pentax MX camera with 1:3.5 28mm lens (2)

CANON EOS 1000F CAMERA, with Sigma 70-210mm 1:4-5.6 lens

CANON EOS 1000F CAMERA, with Sigma 35-80mm 1:4-5.6 lens

LEICA MINI 200M CAMERA, with Vario-Elmar 35-70mm lens along with an Olympus Pen-EE camera and a Pentax ESPIO 928M camera (3)

MINOLTA DYNAX 3L CAMERA, with 28-100mm 1:3.5-5.6 lens also a Chinon CE-4 camera with a Pentax 1:1.7 50mm lens (2)

Miranda Forrester C Figure 1, 2021 Gouache on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Forrester's practice explores the queer black female gaze in painting, relating to the history of men painting womxn* naked. Forrester's work is concerned with addressing the invisibility of womxn of colour in the history of art and combating the fetishization of our bodies. Forrester has been investigating how her identity impacts on the way in which she depicts her subjects, and how her paintings can rearticulate the language and history of life drawing through a queer black feminist desiring lens, and in doing so, depict what the male gaze cannot see. Her use of stretching plastic over stretchers and painting on highly primed smooth surfaces is fundamental to the work in that the viewer can see through the bodies; the surface becomes more than skin, they are flesh, real and alive, bare and on display. The work, altogether, is a celebration of womxn's bodies, the joy in occupying feminine identities and being in relation with one another. *Womxn is an alternative spelling of woman. It is used to avoid the spelling woman (which contains and derives from the word men), and to foreground transgender, nonbinary, and women of color.   Exhibitions Currently exhibiting at Saatchi gallery/ Delphian Gallery & House of St Barnabas    

Uthman Wahaab Untitled Charcoal on Paper Signed on front 10 x 15cm (3¾ x 5¾ in.) The multidisciplinary artist Uthman Wahaab was born in 1983 in Ilorin, Kwara State, Nigeria and grew up in Lagos. Wahaab is an artist who possesses an overarching interest in social phenomenon and eschews a consistent use of medium or even singular aesthetic style. Utilising the disciplines of drawing, painting, graphic design, film, photography, sculpture and installation, Wahaab's foremost concern is developing a new visual language that consciously rejects traditional forms of depiction in order to document ongoing history and unfolding reality. Wahaab's current work focuses on issues of identity, beauty, sexuality, and cultural influences that inform technological change and social shifts in Africa. To move forward in a globalised world, carefully examining the past and learning from historical lessons are of the utmost importance. The artist is truly committed to giving back to the community by exercising artistic agency to shed light on difficult and often tenuous political, economic, and social dynamics. The artist's work provides a critical lens on social phenomenon not only within Africa, but more significantly looks at the ways that globalism and post-colonialism complicate the African socials-cape.   Studied Fine Art at The School Of Art, Design and Printing Yaba College of Technology, Lagos Nigeria. (Painting Major) 2021 Painting The Figure, Gallery Rosenfeld London, UK 2020 ART BRUSSELS Online Fair NADA FAIR, Online Fair. New York 2019 ArtX Lagos Art Fair, Galleria Voss, Lagos Nigeria Lagos Biennal 2nd Edition Lagos, Nigeria Floor One Nine, Art Twenty One Gallery, Lagos Nigeria 1:54 Art Fair, THREAD Cultural Connect, (SPECIAL PROJECT) London United Kingdom TAFETA Presents, Art Tafeta, London United Kingdom 2018 1:54 Art Fair, New York , Sapar Contemporary New York USA (solo) Verticality, Rosenfeld Porcini Gallery, London United Kingdom. Thinking Through Drawing, Sapar Contemporary Gallery,New York TTR Sotheby's International Realty, Washington, DC, USA 2017 Phenomenal Woman, Sapar Contemporary Gallery, New York (solo) ExpoChicago Art Fair with Sapar Contemporary Chicago, USA. Dallas Art Fair with Sapar Contemporary, Dallas Texas, USA Summer Series, Art Tafeta, London United Kingdom Drawing series, Sapar Contemporary Tribeca New York 2016 Art X Lagos Art Fair with White Space, Lagos Nigeria TAFETA & Idalo arts, St Tropez, France TAFETA & Idalo arts,Vic-en Bigorre, France 2015 Interaction: Crossing Lines, Rele Gallery, Lagos Nigeria (Catalogue) 2014 Hybrid Theory, Signature-Beyond Gallery,Lagos Nigeria (Catalogue) 2012 Fresh Vernacular, Signature-Beyond Gallery, Lagos Nigeria. ( Catalogue)   About the Postcards These drawings are from the phenomenal women series I started about a decade ago. Phenomenal Women confronts the dogma of the traditional reclining nude. Inspired by an encounter with a woman with larger than normal stature and the extreme anxiety she felt about facing the world, The series is a nod to the Fattening Room tradition in Nigeria that contradicts western-centric standards of beauty and sensuality and a reflection to Freudian theories of female vanity, suppression, and alleged sexual inferiority. It aims to appropriate these conventions by emphasizing the under-appreciated beauty that exists in the curves and contours of voluptuous female figures and to celebrate the female form as an awe inspiring, powerful object that may exist independently of sensuality. My figures serve a different purpose than the classical tradition. The portrayal of bodies in these works also suggests a certain disinterest in Western imposition of beauty ideals on African women and society.

Uthman Wahaab Untitled, 2021 Charcoal on Paper Signed on front 10 x 15cm (3¾ x 5¾ in.)   The multidisciplinary artist Uthman Wahaab was born in 1983 in Ilorin, Kwara State, Nigeria and grew up in Lagos. Wahaab is an artist who possesses an overarching interest in social phenomenon and eschews a consistent use of medium or even singular aesthetic style. Utilising the disciplines of drawing, painting, graphic design, film, photography, sculpture and installation, Wahaab's foremost concern is developing a new visual language that consciously rejects traditional forms of depiction in order to document ongoing history and unfolding reality. Wahaab's current work focuses on issues of identity, beauty, sexuality, and cultural influences that inform technological change and social shifts in Africa. To move forward in a globalised world, carefully examining the past and learning from historical lessons are of the utmost importance. The artist is truly committed to giving back to the community by exercising artistic agency to shed light on difficult and often tenuous political, economic, and social dynamics. The artist's work provides a critical lens on social phenomenon not only within Africa, but more significantly looks at the ways that globalism and post-colonialism complicate the African socials-cape.   Studied Fine Art at The School Of Art, Design and Printing Yaba College of Technology, Lagos Nigeria. (Painting Major) 2021 Painting The Figure, Gallery Rosenfeld London, UK 2020 ART BRUSSELS Online Fair NADA FAIR, Online Fair. New York 2019 ArtX Lagos Art Fair, Galleria Voss, Lagos Nigeria Lagos Biennal 2nd Edition Lagos, Nigeria Floor One Nine, Art Twenty One Gallery, Lagos Nigeria 1:54 Art Fair, THREAD Cultural Connect, (SPECIAL PROJECT) London United Kingdom TAFETA Presents, Art Tafeta, London United Kingdom 2018 1:54 Art Fair, New York , Sapar Contemporary New York USA (solo) Verticality, Rosenfeld Porcini Gallery, London United Kingdom. Thinking Through Drawing, Sapar Contemporary Gallery,New York TTR Sotheby's International Realty, Washington, DC, USA 2017 Phenomenal Woman, Sapar Contemporary Gallery, New York (solo) ExpoChicago Art Fair with Sapar Contemporary Chicago, USA. Dallas Art Fair with Sapar Contemporary, Dallas Texas, USA Summer Series, Art Tafeta, London United Kingdom Drawing series, Sapar Contemporary Tribeca New York 2016 Art X Lagos Art Fair with White Space, Lagos Nigeria TAFETA & Idalo arts, St Tropez, France TAFETA & Idalo arts,Vic-en Bigorre, France 2015 Interaction: Crossing Lines, Rele Gallery, Lagos Nigeria (Catalogue) 2014 Hybrid Theory, Signature-Beyond Gallery,Lagos Nigeria (Catalogue) 2012 Fresh Vernacular, Signature-Beyond Gallery, Lagos Nigeria. ( Catalogue)   About the Postcards These drawings are from the phenomenal women series I started about a decade ago. Phenomenal Women confronts the dogma of the traditional reclining nude. Inspired by an encounter with a woman with larger than normal stature and the extreme anxiety she felt about facing the world, The series is a nod to the Fattening Room tradition in Nigeria that contradicts western-centric standards of beauty and sensuality and a reflection to Freudian theories of female vanity, suppression, and alleged sexual inferiority. It aims to appropriate these conventions by emphasizing the under-appreciated beauty that exists in the curves and contours of voluptuous female figures and to celebrate the female form as an awe inspiring, powerful object that may exist independently of sensuality. My figures serve a different purpose than the classical tradition. The portrayal of bodies in these works also suggests a certain disinterest in Western imposition of beauty ideals on African women and society.  

Uthman Wahaab Untitled, 2021 Charcoal on Paper Signed on front 15 x 10cm (5¾ x 3¾ in.)   The multidisciplinary artist Uthman Wahaab was born in 1983 in Ilorin, Kwara State, Nigeria and grew up in Lagos. Wahaab is an artist who possesses an overarching interest in social phenomenon and eschews a consistent use of medium or even singular aesthetic style. Utilising the disciplines of drawing, painting, graphic design, film, photography, sculpture and installation, Wahaab's foremost concern is developing a new visual language that consciously rejects traditional forms of depiction in order to document ongoing history and unfolding reality. Wahaab's current work focuses on issues of identity, beauty, sexuality, and cultural influences that inform technological change and social shifts in Africa. To move forward in a globalised world, carefully examining the past and learning from historical lessons are of the utmost importance. The artist is truly committed to giving back to the community by exercising artistic agency to shed light on difficult and often tenuous political, economic, and social dynamics. The artist's work provides a critical lens on social phenomenon not only within Africa, but more significantly looks at the ways that globalism and post-colonialism complicate the African socials-cape.   Studied Fine Art at The School Of Art, Design and Printing Yaba College of Technology, Lagos Nigeria. (Painting Major) 2021 Painting The Figure, Gallery Rosenfeld London, UK 2020 ART BRUSSELS Online Fair NADA FAIR, Online Fair. New York 2019 ArtX Lagos Art Fair, Galleria Voss, Lagos Nigeria Lagos Biennal 2nd Edition Lagos, Nigeria Floor One Nine, Art Twenty One Gallery, Lagos Nigeria 1:54 Art Fair, THREAD Cultural Connect, (SPECIAL PROJECT) London United Kingdom TAFETA Presents, Art Tafeta, London United Kingdom 2018 1:54 Art Fair, New York , Sapar Contemporary New York USA (solo) Verticality, Rosenfeld Porcini Gallery, London United Kingdom. Thinking Through Drawing, Sapar Contemporary Gallery,New York TTR Sotheby's International Realty, Washington, DC, USA 2017 Phenomenal Woman, Sapar Contemporary Gallery, New York (solo) ExpoChicago Art Fair with Sapar Contemporary Chicago, USA. Dallas Art Fair with Sapar Contemporary, Dallas Texas, USA Summer Series, Art Tafeta, London United Kingdom Drawing series, Sapar Contemporary Tribeca New York 2016 Art X Lagos Art Fair with White Space, Lagos Nigeria TAFETA & Idalo arts, St Tropez, France TAFETA & Idalo arts,Vic-en Bigorre, France 2015 Interaction: Crossing Lines, Rele Gallery, Lagos Nigeria (Catalogue) 2014 Hybrid Theory, Signature-Beyond Gallery,Lagos Nigeria (Catalogue) 2012 Fresh Vernacular, Signature-Beyond Gallery, Lagos Nigeria. ( Catalogue)   About the Postcards These drawings are from the phenomenal women series I started about a decade ago. Phenomenal Women confronts the dogma of the traditional reclining nude. Inspired by an encounter with a woman with larger than normal stature and the extreme anxiety she felt about facing the world, The series is a nod to the Fattening Room tradition in Nigeria that contradicts western-centric standards of beauty and sensuality and a reflection to Freudian theories of female vanity, suppression, and alleged sexual inferiority. It aims to appropriate these conventions by emphasizing the under-appreciated beauty that exists in the curves and contours of voluptuous female figures and to celebrate the female form as an awe inspiring, powerful object that may exist independently of sensuality. My figures serve a different purpose than the classical tradition. The portrayal of bodies in these works also suggests a certain disinterest in Western imposition of beauty ideals on African women and society.  

Uthman Wahaab Untitled, 2021 Charcoal on Paper Signed on front 15 x 10cm (5¾ x 3¾ in.)   The multidisciplinary artist Uthman Wahaab was born in 1983 in Ilorin, Kwara State, Nigeria and grew up in Lagos. Wahaab is an artist who possesses an overarching interest in social phenomenon and eschews a consistent use of medium or even singular aesthetic style. Utilising the disciplines of drawing, painting, graphic design, film, photography, sculpture and installation, Wahaab's foremost concern is developing a new visual language that consciously rejects traditional forms of depiction in order to document ongoing history and unfolding reality. Wahaab's current work focuses on issues of identity, beauty, sexuality, and cultural influences that inform technological change and social shifts in Africa. To move forward in a globalised world, carefully examining the past and learning from historical lessons are of the utmost importance. The artist is truly committed to giving back to the community by exercising artistic agency to shed light on difficult and often tenuous political, economic, and social dynamics. The artist's work provides a critical lens on social phenomenon not only within Africa, but more significantly looks at the ways that globalism and post-colonialism complicate the African socials-cape.   Studied Fine Art at The School Of Art, Design and Printing Yaba College of Technology, Lagos Nigeria. (Painting Major) 2021 Painting The Figure, Gallery Rosenfeld London, UK 2020 ART BRUSSELS Online Fair NADA FAIR, Online Fair. New York 2019 ArtX Lagos Art Fair, Galleria Voss, Lagos Nigeria Lagos Biennal 2nd Edition Lagos, Nigeria Floor One Nine, Art Twenty One Gallery, Lagos Nigeria 1:54 Art Fair, THREAD Cultural Connect, (SPECIAL PROJECT) London United Kingdom TAFETA Presents, Art Tafeta, London United Kingdom 2018 1:54 Art Fair, New York , Sapar Contemporary New York USA (solo) Verticality, Rosenfeld Porcini Gallery, London United Kingdom. Thinking Through Drawing, Sapar Contemporary Gallery,New York TTR Sotheby's International Realty, Washington, DC, USA 2017 Phenomenal Woman, Sapar Contemporary Gallery, New York (solo) ExpoChicago Art Fair with Sapar Contemporary Chicago, USA. Dallas Art Fair with Sapar Contemporary, Dallas Texas, USA Summer Series, Art Tafeta, London United Kingdom Drawing series, Sapar Contemporary Tribeca New York 2016 Art X Lagos Art Fair with White Space, Lagos Nigeria TAFETA & Idalo arts, St Tropez, France TAFETA & Idalo arts,Vic-en Bigorre, France 2015 Interaction: Crossing Lines, Rele Gallery, Lagos Nigeria (Catalogue) 2014 Hybrid Theory, Signature-Beyond Gallery,Lagos Nigeria (Catalogue) 2012 Fresh Vernacular, Signature-Beyond Gallery, Lagos Nigeria. ( Catalogue)   About the Postcards These drawings are from the phenomenal women series I started about a decade ago. Phenomenal Women confronts the dogma of the traditional reclining nude. Inspired by an encounter with a woman with larger than normal stature and the extreme anxiety she felt about facing the world, The series is a nod to the Fattening Room tradition in Nigeria that contradicts western-centric standards of beauty and sensuality and a reflection to Freudian theories of female vanity, suppression, and alleged sexual inferiority. It aims to appropriate these conventions by emphasizing the under-appreciated beauty that exists in the curves and contours of voluptuous female figures and to celebrate the female form as an awe inspiring, powerful object that may exist independently of sensuality. My figures serve a different purpose than the classical tradition. The portrayal of bodies in these works also suggests a certain disinterest in Western imposition of beauty ideals on African women and society.  

Villain Queen of Spades, 2021 Giclee on Card ACCOMPANYING COA 21 x 14.8cm (8¼ x 5¾ in.) Villain worked in the Fashion Industry for 20 years as a Hollywood Stylist, Print designer and Creative Director. After getting away with it for so many years they launched as an Artist in 2018. Bridging the gap between fashion, graphic design and pop art, Villain presents works that view popular culture through a queer lens. His first residency at London's notorious Balans restaurant "Retrosexual" an exploration of modern LGBTQ issues explored through vintage imagery, was initially scheduled for four weeks, it ran for a year. Their second solo show "Fantabuloso" at Hackneys's Atom Gallery was a study of 'Polari', the secret queer gay language of the 20th Century and vintage comic book covers, presenting a world where homosexuality had never been criminalised. Fantabuloso went on to exhibit at "Kapow" the Duovision arts curated show alongside artists such as Dougie Fields and Whitaker Malem. Villain is has recently completed works for the HOA-House of Androgyny performance group and is plotting his next show "Re-animated" - a twisted exploration of iconic animated tropes. Surrey Institute of Art and Design B.A. Hons Fashion. "Retrosexual" 2018/2019 - Balans Soho "Fantabuloso" 2019 Atom Gallery London "Super F*£king Gay" 2019 Orbital Gallery London "Kapow" 2020 Potteries Museum Staffordshire Represented by the ATOM Gallery, Hackney, London   About the Artworks "QUEEN" an alternative deck of cards revealing the true identities of some of your favourite gambling icons. Poker? I hardly know her.    

Villain Queen of Diamonds, 2021 Giclee on Card ACCOMPANYING CO 21 x 14.8cm (8¼ x 5¾ in.) Villain worked in the Fashion Industry for 20 years as a Hollywood Stylist, Print designer and Creative Director. After getting away with it for so many years they launched as an Artist in 2018. Bridging the gap between fashion, graphic design and pop art, Villain presents works that view popular culture through a queer lens. His first residency at London's notorious Balans restaurant "Retrosexual" an exploration of modern LGBTQ issues explored through vintage imagery, was initially scheduled for four weeks, it ran for a year. Their second solo show "Fantabuloso" at Hackneys's Atom Gallery was a study of 'Polari', the secret queer gay language of the 20th Century and vintage comic book covers, presenting a world where homosexuality had never been criminalised. Fantabuloso went on to exhibit at "Kapow" the Duovision arts curated show alongside artists such as Dougie Fields and Whitaker Malem. Villain is has recently completed works for the HOA-House of Androgyny performance group and is plotting his next show "Re-animated" - a twisted exploration of iconic animated tropes. Surrey Institute of Art and Design B.A. Hons Fashion. "Retrosexual" 2018/2019 - Balans Soho "Fantabuloso" 2019 Atom Gallery London "Super F*£king Gay" 2019 Orbital Gallery London "Kapow" 2020 Potteries Museum Staffordshire Represented by the ATOM Gallery, Hackney, London   About the Artworks "QUEEN" an alternative deck of cards revealing the true identities of some of your favourite gambling icons. Poker? I hardly know her.  

Villain Queen of Hearts, 2021 Giclee on Card ACCOMPANYING COA 21 x 14.8cm (8¼ x 5¾ in.) Villain worked in the Fashion Industry for 20 years as a Hollywood Stylist, Print designer and Creative Director. After getting away with it for so many years they launched as an Artist in 2018. Bridging the gap between fashion, graphic design and pop art, Villain presents works that view popular culture through a queer lens. His first residency at London's notorious Balans restaurant "Retrosexual" an exploration of modern LGBTQ issues explored through vintage imagery, was initially scheduled for four weeks, it ran for a year. Their second solo show "Fantabuloso" at Hackneys's Atom Gallery was a study of 'Polari', the secret queer gay language of the 20th Century and vintage comic book covers, presenting a world where homosexuality had never been criminalised. Fantabuloso went on to exhibit at "Kapow" the Duovision arts curated show alongside artists such as Dougie Fields and Whitaker Malem. Villain is has recently completed works for the HOA-House of Androgyny performance group and is plotting his next show "Re-animated" - a twisted exploration of iconic animated tropes. Surrey Institute of Art and Design B.A. Hons Fashion. "Retrosexual" 2018/2019 - Balans Soho "Fantabuloso" 2019 Atom Gallery London "Super F*£king Gay" 2019 Orbital Gallery London "Kapow" 2020 Potteries Museum Staffordshire Represented by the ATOM Gallery, Hackney, London   About the Artworks "QUEEN" an alternative deck of cards revealing the true identities of some of your favourite gambling icons. Poker? I hardly know her.  

Villain Queen of Clubs, 2021 Giclee on Card ACCOMPANYING COA 21 x 14.8cm (8¼ x 5¾ in.) Villain worked in the Fashion Industry for 20 years as a Hollywood Stylist, Print designer and Creative Director. After getting away with it for so many years they launched as an Artist in 2018. Bridging the gap between fashion, graphic design and pop art, Villain presents works that view popular culture through a queer lens. His first residency at London's notorious Balans restaurant "Retrosexual" an exploration of modern LGBTQ issues explored through vintage imagery, was initially scheduled for four weeks, it ran for a year. Their second solo show "Fantabuloso" at Hackneys's Atom Gallery was a study of 'Polari', the secret queer gay language of the 20th Century and vintage comic book covers, presenting a world where homosexuality had never been criminalised. Fantabuloso went on to exhibit at "Kapow" the Duovision arts curated show alongside artists such as Dougie Fields and Whitaker Malem. Villain is has recently completed works for the HOA-House of Androgyny performance group and is plotting his next show "Re-animated" - a twisted exploration of iconic animated tropes. Surrey Institute of Art and Design B.A. Hons Fashion. "Retrosexual" 2018/2019 - Balans Soho "Fantabuloso" 2019 Atom Gallery London "Super F*£king Gay" 2019 Orbital Gallery London "Kapow" 2020 Potteries Museum Staffordshire Represented by the ATOM Gallery, Hackney, London   About the Artworks "QUEEN" an alternative deck of cards revealing the true identities of some of your favourite gambling icons. Poker? I hardly know her.  

Jayson Lilley Waterloo Sunset 1/4, 2021 Screenprint on Card Signed on front and verso 10 x 15cm (3¾ x 5¾ in.) Jayson Lilley works at the forefront of printmaking practices, incorporating painting and collage techniques into his process making each print different from the next. With a passion for urban landscapes, his work is known for its architectural focus, zooming in on familiar landmarks and reproducing iconic structures from the metropolis. These dynamic scenes sit against backdrops of expansive skies, created using large areas of gold, copper or silver leaf. The texture and imperfections of this hand-applied leafing adds to the originality of each piece. In order to pick out the detail in a cityscape, Jayson works with hundreds of individual photographs and redraws each element to create a composite image. This not only presents a unique perspective on the landscape through the eyes of the artist, but also allows the viewer to see the individual details of every structure and building, a level of detail not achievable through a camera lens. "My infatuation comes by the shape that my chosen building or vista makes as it cuts its way into the sky - the negative space draws me in as much as the building itself." - Jayson Lilley  

Jayson Lilley Waterloo Sunset 2/4, 2021 Screenprint on Card Signed on front and verso 10 x 15cm (3¾ x 5¾ in.) Jayson Lilley works at the forefront of printmaking practices, incorporating painting and collage techniques into his process making each print different from the next. With a passion for urban landscapes, his work is known for its architectural focus, zooming in on familiar landmarks and reproducing iconic structures from the metropolis. These dynamic scenes sit against backdrops of expansive skies, created using large areas of gold, copper or silver leaf. The texture and imperfections of this hand-applied leafing adds to the originality of each piece. In order to pick out the detail in a cityscape, Jayson works with hundreds of individual photographs and redraws each element to create a composite image. This not only presents a unique perspective on the landscape through the eyes of the artist, but also allows the viewer to see the individual details of every structure and building, a level of detail not achievable through a camera lens. "My infatuation comes by the shape that my chosen building or vista makes as it cuts its way into the sky - the negative space draws me in as much as the building itself." - Jayson Lilley  

Jayson Lilley Waterloo Sunset 3/4, 2021 Screenprint on Card Signed on front and verso 10 x 15cm (3¾ x 5¾ in.) Jayson Lilley works at the forefront of printmaking practices, incorporating painting and collage techniques into his process making each print different from the next. With a passion for urban landscapes, his work is known for its architectural focus, zooming in on familiar landmarks and reproducing iconic structures from the metropolis. These dynamic scenes sit against backdrops of expansive skies, created using large areas of gold, copper or silver leaf. The texture and imperfections of this hand-applied leafing adds to the originality of each piece. In order to pick out the detail in a cityscape, Jayson works with hundreds of individual photographs and redraws each element to create a composite image. This not only presents a unique perspective on the landscape through the eyes of the artist, but also allows the viewer to see the individual details of every structure and building, a level of detail not achievable through a camera lens. "My infatuation comes by the shape that my chosen building or vista makes as it cuts its way into the sky - the negative space draws me in as much as the building itself." - Jayson Lilley  

Jayson Lilley Waterloo Sunset 4/4, 2021 Screenprint on Card Signed on front and verso 10 x 15cm (3¾ x 5¾ in.) Jayson Lilley works at the forefront of printmaking practices, incorporating painting and collage techniques into his process making each print different from the next. With a passion for urban landscapes, his work is known for its architectural focus, zooming in on familiar landmarks and reproducing iconic structures from the metropolis. These dynamic scenes sit against backdrops of expansive skies, created using large areas of gold, copper or silver leaf. The texture and imperfections of this hand-applied leafing adds to the originality of each piece. In order to pick out the detail in a cityscape, Jayson works with hundreds of individual photographs and redraws each element to create a composite image. This not only presents a unique perspective on the landscape through the eyes of the artist, but also allows the viewer to see the individual details of every structure and building, a level of detail not achievable through a camera lens. "My infatuation comes by the shape that my chosen building or vista makes as it cuts its way into the sky - the negative space draws me in as much as the building itself." - Jayson Lilley  

Miranda Forrester Monstera 2, 2021 Gouache on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Forrester's practice explores the queer black female gaze in painting, relating to the history of men painting womxn* naked. Forrester's work is concerned with addressing the invisibility of womxn of colour in the history of art and combating the fetishization of our bodies. Forrester has been investigating how her identity impacts on the way in which she depicts her subjects, and how her paintings can rearticulate the language and history of life drawing through a queer black feminist desiring lens, and in doing so, depict what the male gaze cannot see. Her use of stretching plastic over stretchers and painting on highly primed smooth surfaces is fundamental to the work in that the viewer can see through the bodies; the surface becomes more than skin, they are flesh, real and alive, bare and on display. The work, altogether, is a celebration of womxn's bodies, the joy in occupying feminine identities and being in relation with one another. *Womxn is an alternative spelling of woman. It is used to avoid the spelling woman (which contains and derives from the word men), and to foreground transgender, nonbinary, and women of color.   Exhibitions Currently exhibiting at Saatchi gallery/ Delphian Gallery & House of St Barnabas  

Miranda Forrester T Figure 1, 2021 Gouache on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Forrester's practice explores the queer black female gaze in painting, relating to the history of men painting womxn* naked. Forrester's work is concerned with addressing the invisibility of womxn of colour in the history of art and combating the fetishization of our bodies. Forrester has been investigating how her identity impacts on the way in which she depicts her subjects, and how her paintings can rearticulate the language and history of life drawing through a queer black feminist desiring lens, and in doing so, depict what the male gaze cannot see. Her use of stretching plastic over stretchers and painting on highly primed smooth surfaces is fundamental to the work in that the viewer can see through the bodies; the surface becomes more than skin, they are flesh, real and alive, bare and on display. The work, altogether, is a celebration of womxn's bodies, the joy in occupying feminine identities and being in relation with one another. *Womxn is an alternative spelling of woman. It is used to avoid the spelling woman (which contains and derives from the word men), and to foreground transgender, nonbinary, and women of color.   Exhibitions Currently exhibiting at Saatchi gallery/ Delphian Gallery & House of St Barnabas    

A Lucas bycicle lamp, crack to front lens

A pair of carriage lamps one with a cracked lens

"The Premium Lamp" lamp with a bevelled edge lens

James Bond Goldeneye (1995) - Factory Entertainment Prop Replica Lens & Arming Keys accurately based on the hero props used in the Film. Limited Edition to 500 worldwide, 1:1 scale replicas on a display stand with a numbered plaque & Certificate. Numbered 10 of 500. Includes the same edge lit illumination feature as seen on screen. With original 007 branded packaging & booklet.

R & J Beck, London lacquered brass microscope in mahogany case 26cm (10in) high.Condition report: One lens missing, internal wooden lens holders damaged.

A Lalique opalescent Rampillion pattern glass vase, wheel cut R Lalique, France mark, 12.5 cm highvery small chip, smaller than pin head size, to rim. Only really visible under a 5x lens. No other damage foundSome light surface scratches to base

A Collection of 80-200 mm Macro Lens. For German Ilford Slr Camera, Russian Quartz Camera, Kodak Brownie Camera, Yashica Fxd Quartz Camera Slr, Yashica 72-E Slr Camera, Ensign Selfix 16-20 Cameral Model L. London + Film, Small Rollei Slr Camera.

Asahi Pentax K1000 Camera with flash and lens, housed in brown and tan leatherette shoulder case, complete with instruction booklet.

Cannon EOS 1000F camera, comes with carrybag, flash, spare lens etc p

Suitcase containing Cameras, Lens and other equipment

An Olympus OM10 35MM camera, spare Miranda lens and flash

A large collection of Olympus OM 35mm camera equipment to include: OM-2N MD camera bodies x 2, OM Winder 2 x 2, OM Zuiko MC Auto Zoom 1:5 f +85-250mm, OM Zuiko Auto S 1:1.8 F= 50mm, Olympus 2x-a Teleconverter, OM System Zuiko Auto-T A:4.58 F=300mm, OM system G Zuiko Auto -W 1:3.5 F=28mm, OM-System S Zuiko MC Auto Zoom 1:4 F=3.5-70mm, OM System F. Zuiko Auto T 1:5 F=200mm lens with all caps and hard cases, complete with original Olympus Branded Case

Compact Kern Aarau Bijou Plate Camera: in leather case with additional lens, filter , plates & accessories marked with handwritten name and Address of Local Historain Ernest Warrillow, Together with, A Sociological History of the city of Stoke On Trent: by Ernest J.D,Warrillow, special leather bound gilded limited edition in outer sleeve and signed.

Silver & silver plated salts plus pair of coasters and other items: Includes hallmarked silver salt and pair of early plated salts all with blue glass liners, together with pair of 19th century silver plated bottle coasters, also an 11 cm magic lantern lens, large malachite polished mineral specimen and plated meat skewer. An interesting collection.

1930's Zoology Dissection Magnifier by Flatters & Garnett: brass lacquered arm on solid base with bullseye magnifying lens, diameter of lens 5.5cm

SEVEN ASSORTED CAMERAS including a Futura, with a Futar 1:3.5/45 lens, no.21491; and a Balda, with a Baldanar 1:3.5/50 lens; together with a Linhof tripod, (8).

Two Pentax MV1 black bodies, a Pentax 50mm F2 lens, a Hanimex 80-200mm and a Pentax ME winder

A Minolta 5000 camera, Sirius F3.5 28-70mm lens, with flash unit; together with a Minolta 7000 camera, 28-85mm F3.5-4.5 zoom lens