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Click here to subscribeA Victorian silver spectacle case, by Hilliard & Thomason, 13.5cm wide, a silver buckle, by Thomas Edwards, London 1821, 5.2cm wide, and two pairs of Lornettes (4)Condition report: Case with notch out of the top. Solder repairs to buckle. Wider pair of Lornettes with one lens cracked. The buckle is one article in two parts, please see the additional images for clarity. Please see additional images.
CARL ZEISS, JENA AN ASTONISHINGLY RARE PAIR OF 12-20-40x80 VARIABLE MAGNIFICATION KRIEGSMARINE OBSERVATION BINOCULARS, serial no. 13416 circa 1935 and almost certainly designed for the bridge of a capital ship, of roof-prism design with fixed barrels joined by a substantial trapezoid mount, the ocular lenses housed on rotating mounts, each mount sporting an individually focussing eye-piece for 12, 20 and 40 magnifications, the rear of the prism housings marked with Kriegsmarine eagle device together with 'ART I' over 'Nr. 189' on the left housing and 'T' over the Carl Zeiss Jena trademark above 'DF 12.20.40x80' and the serial number, the barrels and prism housings finished in a black stippled covering, the remainder in gloss black, retaining their original leather objective lens caps, original rubber cups for the ocular lenses and further rubber covers for the two 12-power eye-pieces and contained in a later custom made wood storage case painted in Kriegsmarine green-grey, overall length of binoculars 24in., weight without case approx. 21lbs..
CARL ZEISS, JENA A RARE PAIR OF 12x60 INCLINED FLAK RANGING BINOCULARS WITH TRIPOD, serial no. 258971, circa 1943, with slightly tapering and truncated one-piece body, the last 5 1/4in. breaking open on a top-mounted catch and containing a narrow aperture light filter operated via a rotating catch, the top of main body mounted with an offset open sight and spirit level, bakelite knobs for fixing to a tripod, coloured filters and possibly illumination, the rear concave padded leather eye-guard opening to reveal the eye-pieces, the underside with a trapezoid bracket for a tripod, the whole finished in its original German Ordnance Tan paint and marked with a red band around the observation lens guard together with various use instructions, complete with its original Zeiss wood tripod marked 'CARL ZEISS JENA' along one leg in large applied letters (letter I of Zeiss absent), the brass head-mount marked in 360 degree increments and fitted with an aluminium mounting plate, the whole swivelling via rotating locking knobs, bakelite elevation adjustment and complete with leather carry strap and ocular leather guard, the binoculars 17 1/4in. overall, height of tripod collapsed 44in., weight complete approx. 25lbs..
LEICA A LITTLE USED PAIR OF LEICA GEOVID 8 X 42 BRF LASER RANGEFINDER BINOCULARS, complete with Leica neoprene carrying strap, eyepiece cover, protective front lens covers, in their Cordura case with instruction booklet, built in Laser rangefinder with working range of 10 to 1200 metres, waterproof to 5m.
A BOX AND LOOSE BOXED CAMERAS AND EQUIPMENT, to include a Voightlander Vito B 35mm with box and case, a Canon AE-1 Program with Canon FD 50mm Fl.8 lens, a Canon FD 28mm lens, a Kodak EK4 Polaroid Camera and boxed case, a boxed Aldis projector, another boxed slide projector, a Zeiss Ikon Nettar Camera, an Ensign E29 blue boxed camera, an Ohnar tripod, a spare Cannon focusing screen, etc
FOUR BOXES AND LOOSE MISCELLANEOUS, METALWARE, ETC, to include a Lion Zither/sd, boxed Merit microscope set, pair brass candelabras, height 37cm, brass trivet, Eastern copper tea service, plated wares, wicker basket, cutlery, a Scott & Co jewellery cleaning machine, a Panasonic Lumix DMC-FZ30 digital camera with Leica zoom lens, a pair of small gilt framed oval mirrors diameter overall 28cm, wooden novelty nutcracker, Bushwell 8 x 40 binoculars, etc
A BOX AND LOOSE SUNDRY ITEMS, to include a cased Peradon Canterbury two piece snooker cue, a cased Singer sewing machine, two boxed Arthur Price 'Champagne Boats', a Sigma Auto Focus lens 1:45-5.6, f=75-300mm, a Canon remote switch, Monopod with camera head, a tub of Pennys, framed Wills Cigarettes (flowers), plated trays, cutlery etc
Artist: Henri Cartier-Bresson (French, 1908 - 2004). Title: "Behind the Gare St. Lazare". Medium: Original vintage photogravure. Date: Composed 1932. Printed 1953. Dimensions: Image size: 13 9/16 x 9 1/8 in. (344 x 232 mm).Lot Note(s): Stamped with the photographer's name, verso. Edition unknown, presumed small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good to fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): Although Cartier-Bresson noted that he did not prefer any one of his pictures to the others, historians regard “Behind The Gare Saint-Lazare” as his most iconic photograph. He took the black and white photograph in 1932 outside the Saint-Lazar train station in Paris. Color film did not exist at the time and professional photographers rarely used artificial lighting in their works. Regardless, the natural skylight and the black and white lens add elements to the photograph that color and artificial lighting could not. Cartier-Bresson noticed the beautiful frame from the hardly visible architectural buildings in the background to the pool of rainwater in the foreground. Still, he needed a subject. He waited and waited until a busy businessman ran across the pool of water onto a broken and disregarded ladder. He snapped the picture just as the man was in the process of jumping from the ladder back into the water, adding a layer of contrast between the man’s hurry and the water’s stillness. [25078-3-800]
Joseph Beuys - - 1921 Krefeld - 1986 Düsseldorf Enterprise 18.11.1972, 18:5:16. 1973. Multiple. Metallbox, SW-Foto, Agfa Synchro Box Kamera, Filz. Schellmann 72. Unten auf einem in die Kamera eingelegten Papierstreifen signiert und nummeriert. Seitlich auf der Metallbox mit der Editionsplakette. Exemplar aus einer Auflage von 24. 16 x 41 x 31 cm (6,2 x 16,1 x 12,2 in). Die Fotografie zeigt die Familie Beuys beim Anschauen der Science-Fiction-TV-Serie 'Raumschiff Enterprise' am 18.11.1972, aufgenommen von Michael Ruetz. Herausgegeben von der Edition Hundertmark, Berlin. [EH]. • 'Jede Edition hat für mich den Charakter eines Kondensationskerns, an dem sich viele Dinge ansetzen können' (Beuys, Dez. 1970, in: WVZ Multiples, S. 15). • Filz als Isolator schützt die Kameralinse. • Der Betrachter betrachtet die Betrachter und wird betrachtet – wenn die Box geöffnet ist. PROVENIENZ: Privatsammlung Deutschland (vom Künstler erworben). AUSSTELLUNG: Joseph Beuys: Wo ist Element 3?, Ketterer Kunst, Berlin, 26.3.–22.5.2021. Die Fotografie von Michael Ruetz zeigt die Familie Beuys beim Anschauen der Science-Fiction-TV-Serie „Raumschiff Enterprise“. Im Entstehungsjahr der Fotografie lebt die Familie am Drakeplatz 4, wo Atelier und Wohnung einen gemeinsamen Arbeits- und Lebensraum bilden. Das Objektiv der im Deckel des Kastens montierten Kamera ist von Beuys mit einem Filz-Taler verschlossen, ähnlich wie der Fernsehapparat in seiner Aktion 'Filz-TV', dessen Bildschirm er mit einer Filzplatte abdeckt. Mit diesem Detail reagiert Beuys auf den „mechanischen“ Blick der Kamera und kehrt das nach außen gerichtete Sehen durch den wärmeschützenden Isolator Filz in einen nach innen führenden Blick um. In dem Zinkkasten sind zwei Objekte in der von Beuys oftmals eingesetzten Doppelstrategie von Parallelprozessen montiert, die beide auf unterschiedliche Weise das Sehen thematisieren: das Fernsehen selbst, die von der Kamera und dem Auge des Fotografen gesehene Familie, die wiederum einen Film sieht, der in der Zukunft spielt, und eine handliche Boxkamera, durch die gesehen und Gesehenes eingefangen und dessen Funktion durch Abdeckung des Objektivs verändert wird. Als drittes Element kommt die Frage nach dem Bild selbst und seinen Bedingungen hinzu. Beuys benutzt für das Multiple eine Boxkamera von Agfa, die 1930 auf den Markt kommt und als Synchro-Box-Variante zwischen 1949 bis 1957 produziert wird. Hinzu kommen die Zinkkiste, die mehrfach im Werk Verwendung findet, und der als Titel aufgenommene Name der Serie: Enterprise, zu Deutsch 'Unternehmen', der sich auf Beuys und sein utopisches Unternehmen 'Soziale Plastik' beziehen lässt. [Eugen Blume] Aufrufzeit: 19.06.2021 - ca. 12.26 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONJoseph Beuys -1921 Krefeld - 1986 Düsseldorf Enterprise 18.11.1972, 18:5:16. 1973. Multiple. Metal box, black-and-white photograph, Synchro Box Agfa camera, felt,. Schellmann 72. Signed and numbered on a paper strip insert into the camera. With the edition plate on one side of the metal box. From an edition of 24 copies. 16 x 41 x 31 cm (6.2 x 16.1 x 12.2 in). The photography by Michael Ruetz shows the Beuys family watching the science fiction show 'Star Trek' on TV on November 18, 1972. Published by Edition Hundertmark, Berlin. • 'To me each edition has the character of a condensation nucleus to which many things can attach.' (Beuys, Dec.1970 in catalog raisonné Multiples p. 15) • Felt as isolator to protect the camera lense. • When opening the box the observer sees the viewers and is observed. PROVENANCE: Private collection Germany (acquired from the artist). EXHIBITION: Joseph Beuys: Wo ist Element 3?, Ketterer Kunst, Berlin, March 26 – May 22, 2021. Michael Ruetz's photograph shows the Beuys family watching the science fiction TV series 'Enterprise.' The year the photo was shot the family lived on Drakeplatz 4, where the artist had his studio and apartment. Beuys closed the lens of the camera mounted in the lid of the box with a piece of felt, similar to the television set in his action ‘Filz-TV‘, in which he covered the screen with a piece of felt. With this detail Beuys reacted to the camera‘s “mechanical” look and reversed the outward view through the heat-protecting felt insulator into an inward view. The zinc box contains two mounted objects, a dual strategy of parallel processes that Beuys often employed. Both of these objects address seeing in very different ways: Television itself, the family in front of camera and the photographer's eye, which, in turn, watches a movie that plays in the future, and a box camera that can capture what is seen, however, with a covered lens and thus a disabled function. The third element is the question regarding the picture itself and its preconditions. For the multiple, Beuys used an Agfa box camera, which first came out in 1930. Between 1949 and 1957 it was produced as a synchro-box version. Then there is the zinc box, which the artist used in many his works, and the name of the series, which is part of the title: ‘Enterprise‘, also means company, it is Beuys reference to his utopian concept of the social sculpture. [Eugen Blume] Called up: June 19, 2021 - ca. 12.26 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
A WWII period military issued Mk.II.S. No.33 spotting/sighting scope, dated 1941 with broad arrow mark, no.35062 with further stamp O.S. 763 G.A., length 44.5cm, a pair of Ross of London military Mk. II binoculars No.17291 with broad arrow stamp and dated 1940 and a T. G. Co Ltd military issued Mk.III compass dated 1940 no.59091 (3).Provenance: The Captain Allan Marshall Collection.Additional InformationBoth functional, scope has build-up of dirt and dust to lens interior, although the sighting markings are clear. The binoculars have a slight yellowish tinge to left lens, but again are functional, although currently not able to get them in focus. Heavy general wear to both items, scuffs, scrapes, knocks, dust, dirt, etc. Compass again heavily worn.
LEE ENFIELD; a no.4 Mk I .303 fully stocked bolt action rifle mounted with a telescopic sight stamped with broad arrow and 'TEL STG NO32 MKIII OS 2039 A A.K&S NO23189 1945', with leather lens caps, the back strap stamped '1942' above the letter S and further stamps to the breech for Nitro proof markings below a crown, mounted on a walnut stock with an additional comb razor, overall length 113cm, SN:1306087.Provenance: The Captain Allan Marshall Collection.Additional InformationGeneral wear and tear throughout although the function of the rifle seems to be complete although gunsmith checking would suggested before use. This is a Section 1 live firing rifle.
A pair of Leitz Trinovid binoculars, 7x42BA, 140M/1000M, No 866193, cased. (AF) On initial inspection the optics appear good, clear and clean when viewing, however one large lens has a vertical streak (water ingress?) visible from the outside. The eyepiece rubbers are flush with the lens. There is some very minor scuffing to the paint work, and one of the side neck strap securing lugs has been sheared off.
A FIRST PERIOD WORCESTER PORCELAIN SPARROW BEAK JUG, c.1755, painted in polychrome enamels with a chinoiserie figure seated beneath a willow tree beside rockwork, another figure standing holding a parasol with a boy holding a basket of fruit in attendance, unmarked, 3 1/2" high (Illustrated) (Est. plus 21% premium inc. VAT)Tiny chip near lip on side with seated figure, 3.5cm piece rivetted back into rim (old repair with holes drilled for rivets, minor fritting to rim of this piece, a minute flake to very tip of lip (visible with 10x lens)
Three 19th century magic lanterns, 46, 40 and 40 cm high respectively, two converted to electricity. CONDITION REPORT: All three magic lanterns are a little tired, hence the estimate. The tinplate and brasswork to the electrified one is rusty and tarnished. The focus mechanism appears to work, we have not tested the item. The wooden framed lantern is again rusty on the tinplate parts and the brasswork is tarnished. The focusing mechanism appears to work. The third lantern is also rusty and the brasswork badly tarnished. The mahogany is also very dirty, stained and marked. The focusing mechanism appears to work. The end lens cap is missing. There maybe other pieces missing on the other two lanterns it is difficult to tell.
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