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Lot 641
Auto Graflex Junior Reflex Camera American, c.1910, stamped 'Auto Graflex Jr, Folmer & Schwing Devision Eastman Kodak Rochester N.Y.' finished in black leather, pop up viewing hood, rack and pinion focus, with Bausch & Lomb -Zeiss Tessar f4.5 lens, in case with film back and two plate holders.
Lot 659
A Zeiss Ikon Super Ikonta 532/16 Rangefinder Camera, with Carl Zeiss Jena Tessar f/2.8 80mm lens, body, VG, shutter working, slow speeds sticking, lens, G, some haze, together with a Zeiss Ikon Super Ikonta 531, with Carl Zeiss Jena Tessar f/3.5 75mm lens, body, F-G, shutter working, slow speeds sticking, lens, G, some internal haze (a lot)
Lot 667
Half Plate W. Butcher & Sons 'The National Camera' English, c.1900, stamped on a brass plate to the lens panel 'The National Camera' of typical half plate field camera construction with polished mahogany and all brass lacquered metal work, with black bellows, with double rack and pinion extension, with roller blind shutter, ALDIS brass bound lens, with single DDS
Lot 668
Half Plate Brass & Mahogany Lancaster Camera, English, c.1880, signed on an ivorine plaque ' J Lancaster & Son, Birmingham, The Special Instantograph, Patent', camera with fold-down track, brass bindings to body, with dark maroon bellows, lens engraved 'Ross Wide Angle Xpress F4', with one Lancaster plate holder.
Lot 392
A WW2, B.C & Co Mk IIs, scout regiment, sniper's spotter telescope. The Three draw body with leather covering and leather outer cover. Bearing broad arrow mark. 76cm extended. Together with a brown leather "Sam-Brown" belt, a hide-covered "Swagger" stick, and a collection of brass mostly Royal Artillery, military buttons, and a German WW1 brass trench lighter, dog tag, and miniature cricket bat to A Auger.Condition report: The telescope has signs of mould growth on the objective lens.
Lot 2
Kenneth Noland (1924-2010)Return 1970 signed, titled and dated 1970 on the reverseacrylic on canvas102 by 244 cm. 40 3/16 by 96 1/16 in. Footnotes:ProvenanceKasmin Limited, London (no. 3749)Knoedler Gallery, London (no. 03359)The Earl of Pembroke, UKStephen Haller Gallery, New York Nancy and John Poyner Collection, USASale: Christie's New York, Post-War & Contemporary Morning Session, 13 November 2013, Lot 146Private Collection, Turkey Acquired directly from the above by the present ownerExhibitedLondon, Kasmin Limited, Kenneth Noland: New Paintings, 1970Birmingham, Birmingham Museum of Art, 1992 - 2013, work on loan to the museumLiteratureLondon, Kasmin Limited and Waddington Galleries, Kenneth Noland: New Paintings, 1970, n.p., illustrated in colour Monumental and serene, the aqueous expanse of Kenneth Noland's 1970 painting Return belies the richness and subtle beauty of its surface, whose sharp minimalism is held in equilibrium by the artist's masterful command over his colours and technique. A museum-quality painting by one of the most significant and celebrated painters of the late Modernist period, it is in the present work that we see Noland's mature style at its best; a visual symphony of unrepeatable simplicity, and one of the most accomplished 'stripe' paintings that Noland began to produce at the end of the 1960s. Noland's practice stands at the inflexion point between Modern and Postmodern painting. One of the last true pioneers of colour field painting that was ascendant in the New York School in the 1950s, his paintings expanded the colour theories of Josef Albers and the systems of the Bauhaus School, assimilating the automatic and expressive relationship to picture-making that had been championed by Noland's friend and patron, Clement Greenberg; what culminated is a body of work whose legacy endures as the quintessence of American Minimalism. In tandem with his abundant ties to the New York avant-garde of the mid-century, Noland developed his style out of much more worldly soil, consistently nodding to the likes of Paul Klee and Piet Mondrian as his touchstones; European artists who engaged deeply with the spirituality of abstraction over the significance of the picture plane. Mondrian's words offer a lens through which to read Noland's Return: 'what captivated us at first does not hold us afterwards. If one has loved the surface of things for a long time, one will finally look for something more. This 'more,' however, is already present in the surface one wants to go beyond [...] it is as we regard the surface that the inward image takes shape in our souls. This is the image we are to represent' (Piet Mondrian cited in: Diane Waldman, 'Kenneth Noland' in Kenneth Noland: A Retrospective, New York 1977, p. 11).His father, a pilot, engineer and painter, nurtured Noland's interest in the arts from an early age, once recalling the impact of scrutinising Monet's paintings during a visit to the National Gallery of Art in Washington D.C. when he was a teenager. From his formative years to those after his tours of duty, serving in the United States Air Force during World War II, Noland was immersed in a dialogue with contemporary painting. His studying at Black Mountain College under the pupillage of Josef Albers and Ilya Bolotowsky after the war, was followed in 1948 by travels to Paris on the G.I. Bill alongside Ellsworth Kelly, Sam Francis, Jules Olitski and Paul Jenkins, attending classes at the Académie de la Grande Chaumière taught by Ossip Zadkine. By the time of his moving to New York in 1963, after the death of his close friend and collaborator Morris Louis, Noland had absorbed, refined, and constructed a completely novel approach to painting. He was showing regularly with André Emmerich Gallery in New York, and his reputation as a master colourist at the forefront of painterly discourse was in no doubt. As he moved through the 1960s, developing his visual lexicon from 'targets,' to 'chevrons,' to shaped canvases, Noland's dexterity with acrylic – then named Liquitex, a new paint formula of water-soluble plastic – enabled him to modulate his application of colours across the raw cotton canvas with virtuosic skill. What emerged was the apex of the artists minimalist system, confining the narrow clusters of stripes to the top and bottom of the composition. Commenting on these most accomplished of his 'stripe' paintings, Diane Waldman noted that Noland 'appeared to be emptying the centers [sic] of his paintings [...] Colour here is intense but subdued, and Noland counters the effect of its unimpeded lateral sweep by investing the field with texture [...] these paintings represent Noland at his best' (Diane Waldman, Kenneth Noland: A Retrospective, New York 1977, p. 34).Return is one of the most sensitive and breath-taking of these rare 'stripes' to come to market. A painting that is teeming with almost imperceptible details and nuances over a limited palette of brilliantly organic colours, it is testament to the affective force of truly great painting that Noland spent his career devoted to. His influence as the grand master of painterly Minimalism endures in art, design, and architecture, and it is hard to view the works of Andreas Gursky, Rosemarie Trockel, or Steven Parrino, for example, without seeing the profound impact Noland had on the gravity of the surface, colour, and composition in contemporary picture-making. Residing in the collections of international public museums including the Centre Pompidou, Paris, the Los Angeles County Museum of Art, the National Gallery of Art, Washington, D.C., the Tate Gallery, London, and the Tochigi Prefectural Museum of Fine Arts, Japan, Noland's career stands as one of the foremost contributions to art history of the last hundred years. Not only is Return one of the most elegant paintings executed by the artist over the course of his life, but it is one of the finest examples of Noland's 'stripe' paintings from a unique and highly acclaimed passage in his oeuvre. Its sale represents an opportunity to acquire one of the finest, museum-quality examples by a hugely significant and collectible blue-chip artist.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 331
François Barraud 1899–1934 Lys blanc aux rideaux gris 1934 Öl auf Leinwand unten rechts signiert F. BARRAUD. unten links datiert 1934 81 x 65 cmProvenienz: Galerie Moos, Genf, Nr. 4613Ausstellung: Neue Sachlichkeit und Surrealismus in der Schweiz, Winterthur, Kunstmuseum, 1979, Nr. 30.François Barraud und seine Brüder, Winterthur, Kunstmuseum, 15.1.–10.4.2005, Nr. 122.Réalisme: La symphonie des contraires, Lens, Fondation Pierre Arnaud, 20.12.2014–19.4.2015, Nr. 32.Literatur: Marguerite Genetti, François Barraud 1899–1934, Genf, Galerie Moos, 1935. S. 37.
Lot 332
Eduard Gubler 1891–1971 Stillleben mit rundem Tisch um 1924 Öl auf Holz unten rechts signiert Ed Gubler 76 x 54 cmAusstellung: Eduard Gubler, Engelberg, Talmuseum, 10.7.–26.9.1999, (Abb. auf Ausstellungsplakat).Eduard Gubler, Werke aus den Jahren 1913–1925, Olten, Kunstmuseum, 25.3.–14.5.2000, (Abb. auf Ausstellungsplakat).Eduard Gubler und das Riedertal, Zwischen Mythos und Wirklichkeit, Altdorf, Haus für Kunst, 19.8.–15.10.2000, o. Nr.Höllenreise durch mich selbst, Hermann Hesse, Zürich, Schweizerisches Landesmuseum, 22.3.–14.7.2002, S. 79, mit Abb.Réalisme, La symphonie des contraires, Lens, Fondation Pierre Arnaud, 20.12.2014–19.4.2015, Nr. 31.Neue Sachlichkeit in der Schweiz, Winterthur, Museum Oskar Reinhart, 2.9.2017–19.4.2015, La Chaux-de-Fonds, Musée des beaux-arts, 11.3.–27.5.2018, o.Nr.Literatur: Doris Fässler und Eduard, Ernst und Max Gubler-Stiftung, Eduard Gubler, 1891–1917, Gemälde 1913-1925, Luzern, Diopter-Verlag, 1999, S. 164, Tafel 49, mit Abb.
Lot 410
René Victor Auberjonois 1872–1957 Procession dans un cimetière en Valais 1906/07 Gouache und Bleistift auf Malkarton unten rechts monogrammiert RA 28,5 x 25 cmProvenienz: Modern Art Centre, Max Bollag, Zürich, Nr. 64 (1951)Privatbesitz, SchweizLiteratur: Hugo Wagner, René Auberjonois, L’oeuvre peint – Das gemalte Werk, Zürich, Schweizerisches Institut für Kunstwissenschaft, Editions du Verseau, Denges- Lausanne, 1987, S. 549, Nr. 846, mit Abb.Seit 1901 hielt sich Auberjonois regelmässig in Lens im Wallis auf. Die Prozessionen, die im Sommer an Fronleichnam stattfinden, zogen seine Aufmerksamkeit auf sich. In einem Brief vom 1. August 1906 an seinen Freund, den Schriftsteller Charles-Ferdinand Ramuz, beschrieb er die Prozession, die er dieses Jahr verfolgte. Depuis 1901, Auberjonois effectue régulièrement des séjours à Lens en Valais. Les processions qui s’y déroulent en été à l’occasion de la Fête-Dieu attirent alors son attention. Dans une lettre adressée à son ami, l’écrivain Charles-Ferdinand Ramuz le 1er août 1906, il ne manque pas de décrire la procession à laquelle il a assisté cette année.
Lot 411
René Victor Auberjonois 1872–1957 Tête de Valaisanne 1906 Öl auf Leinwand unten rechts monogrammiert, datiert und bezeichnet RA. 1906 Lens en Valais 61 x 58 cmProvenienz: Nicolas HänniAuktion Christie's, Genf, 24.4.1970, Los 32Privatsammlung, SchweizAusstellung: Réné Auberjonois 1872–1957, Aarau, Aargauer Kunsthaus, 15.10.–20.11.1966, Nr.12.Le Valais d'Auberjonois, Martigny, Le Manoir, 22.6–26.9.1968, Nr. 26.Literatur: Hugo Wagner, René Auberjonois, L'œuvre peint – Das gemalte Werk, Zürich, Schweizerisches Institut für Kunstwissenschaft, Editions du Verseau, Denges-Lausanne, 1987, S. 549, Nr. 846, mit Abb.
Lot 317
A FRANKE & HEIDECKE-BRAUNSCHWEIG ROLLEIFLEX COMPUR CAMERA, with twin lens, pop-up viewfinder, and leather case, lenses: Heidoscop-Anastigmat 1:3,1 f=7,5cm no.456691 and Carl Zeiss Jena Tessar 1:3,5 f=7,5cm Nr.1830253, together with a Voigtlander Compur plate camera, with Anastigmat "Skopar" 1:4,5. f=10,5cm lens No.366778, in leather case (2) (Est. plus 21% premium inc. VAT)In used condition, elements of wear throughout.
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70722 item(s)/page