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Click here to subscribeA Nikon S3 Year 2000 Limited Edition Rangefinder Camera 2000, chrome, serial no.209218, with Nikon Nikkor-S f/1.4 50mm lens, black, serial no.208417, body E, unopened, lens E, unopened, complete with all paperwork and original boxes/packing, also an unopened case for Nikon S3 Note: This is a brand-new item and has never been opened with original seal around the box
A Nikon FA Gold 'Grand Prix '84' SLR Camera, 1984, gold, serial no. 2003158, with Nikon Ais Nikkor f/1.4 50mm lens, black/gold, serial no. 5509736, body, E, shutter working on M250, lens, VG-E, some very light internal haze and oil to one aperture blade, complete with paperwork, in maker's presentation bamboo box and outer box, together with photograph of the camera
TWO BOXES OF VINTAGE CAMERAS AND EQUIPMENT, to include an Ilford Sporti camera, Halina Paulette Electric, an Agfa Parat-1, a Kodak Brownie 127, a Canon Ixus, an Ilford Sportsman, an Olympus Camedia digital camera, Halina 35X, a boxed Kodak Instamatic 255x camera, a Tanit Ferannia, Pentak 8x30mm binoculars, a pair of Hilkinson 8-20 x 50 zoom field binoculars, a Canon DS6041 with zoom lens, a Fujifilm Finepix S4400 with a Super EBC Fujinon 28 x zoom lens, etc. (s.d) (2 boxes)
THREE BOOKS FROM THE OLD STILE PRESS ETC comprising (1) limited edition (53/250) 'The Laugharne Poems' with wood engravings and drawings by John Petts, together with slip-case, 2003 (2) limited edition (164/250) 'House of Leaves' selected poems of Dafydd Ap Gwilym with images after John Elwyn, with slip-case, 1993 (3) limited edition (81/25) 'Lens of Crystal' with poems by Robin Skelton and images by Sara Philpot, signed by both, with slip-case, 1996. (4) together with 'Gweledigaethau Y Bardd Cwsg - Y Rhan Gyntaf' by Ellis Wynne, slip-case, 1991 (4)Provenance: private collection GwyneddAuctioneer's Note: fine handprinted books produced by The Old Stile Press of Monmouthshire, set up by the late Nicolas and Frances McDowall and now run by their children, for over thirty years the McDowalls worked with Welsh printmakers and artistsComments: finely preserved editions without fading to covers or damage
A collection of 35mm cameras and accessories - including a Rolleiflex SL35ME Camera with HFT Planar f1.8 50mm lens, M42 adaptor and instruction booklets; a Ricoh 500G with instruction booklets; a Prinzflex 300E with Helios f2 58mm lens; a Prinz Galaxy f:5.6 300mm lens; a Minolta f:4 35-70mm lens; a Minolta f:3.5 35-70mm lens; a Minolta Program 2800AF flash, cased; a Polaroid Super Colour Swinger; etc.
A Canon EOS 550D SLR digital camera body. Together with a Canon EOS 700 SLR camera fitted with a Canon Zoom Lens EF 35-80mm, a Canon EOS 100 SLR camera fitted with a Canon Ultrasonic 28-105cm lens, a Canon EFS 18-135mm lens, Canon EF 100-200mm, a Vivitar Series 1 28-90mm lens, a Cosinon 80-200mm lens and a Miranda 70-210mm lens.All lenses with some bloom, the cameras are untested but the battery to the EOS 550D appears to charge when plugged in.
A Leica IIIa Rangefinder 1935 camera body in chrome. No. 163796, together with a Leitz Nooky close up adapter Elmar 5cm, Elmar Minolta E.Rokkor 1:4.5 f =50mm lens No. 1208664 in a plastic bubble case, a Watameter rangefinder, an Autoknips V self timer, a Hanimex Sekonic light meter and various other camera accessories.
Nikon F camera, first released in 1959. With two lenses: one Nikkor-H 50mm lens, no. 939074; one Nikkor-Q 135mm lens, no. 766834. Also included is a Nikon-F 13.5cm sunshade. Green repainted body and lenses.(Camera) height: 4 in x width: 6 1/4 in x depth: 4 1/2 in. (Lens) height: 4 3/4 in x diameter: 3 in. />Condition: Good overall condition with scattered brassing. The camera and lenses with minor paint defects; the sunshade with paint defects. Lenses are fungus free with no cleaning marks. Oil free snappy diaphragms and smooth focusing. The camera body is optically excellent with fully functional mechanics.
Mahmoud Hammad (Syria, 1923-1988)Hommage to Resistance (The Fid'ai) oil on canvas, framedsigned 'Mahmoud Hammad' and titled 'Hommage au resistant' on the verso, executed in 1968130 x 65cm (51 3/16 x 25 9/16in).Footnotes:Provenance:Property from a private collection, BakuFormerly in the collection of a staff member of prominent Azerbaijani poet and former Deputy Culture Minister, Nabi KhazriExhibited: Mahmoud Hammad, Solo Exhibition, Baku, Azerbaijan, 1968 Note:The artist's daughter has confirmed the authenticity of the present work'The painting presents a stylized Fida'i militant, whose fragmented visage and physique dominate the canvas, with agrenade clutched in one hand as an emblem of defiance. Adjacently, the protective stance over a female figurecaptures a poignant narrative of resistance, sacrifice, and guardianship'Exceptionally rare and highly significant, 'Fida'i' is a large, powerful and evocative masterpiece by Syrian artist Mahmoud Hamad.The painting encapsulates the spirit of Palestinian resistance in the aftermath of the tumultuous Six-Day War of 1967. Crafted witha bold Cubist sensibility, the painting presents a stylized Fida'i militant, whose fragmented visage and physique dominate thecanvas, with a grenade clutched in one hand as an emblem of defiance. Adjacently, the protective stance over a female figurecaptures a poignant narrative of duty, sacrifice, and guardianship.The choice of Cubism as the stylistic vehicle is particularly compelling. Hamad's deployment of fractured planes and geometricmotifs not only showcases the fractured landscapes and identities of the time but also serves to universalize the Palestinian struggle,connecting it to broader global dialogues on resistance and liberation.The painting is more than just a depiction; it stands as an homage to Palestinian resistance, a testament to the resilience of apeople. Falling within a larger artistic tradition within Arab modernism and Pan-Arabism that glorifies Palestinian fighters, Hamad'spiece resonates with a fervent pulse of solidarity, echoing the collective aspirations of a generation.As an emblematic work from a crucial period in Middle Eastern history, the Fid'ai represents Mahmoud Hamad's deep engagementwith socio-political landscapes, rendered through a masterful Cubist lens.Hammad was born in Jarablus, Syria, in 1923. He studied at the Accademia di Belle Arte, Rome, 1953-7. Then taught art atsecondary schools and, from its establishment in 1959, at the College of Fine Arts, University of Damascus (Dean from 1970 to1980). Initially influenced from European academic figurative art and Impressionism, later established himself as one of the firstartists to have used the Arabic script in the abstract art movement in Syria.He had an important role as a teacher, inviting Italian and French lecturers to the College of Fine Arts and influencing a number ofSyrian artists of theThis 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
Tahia Halim (Egypt, 1919-2003)Paris Nocturne oil on board, framedsigned 'T.Halim' (lower right), executed in 195034 x 23cm (13 3/8 x 9 1/16in).Footnotes:Provenance:Property from a private collection, LondonThence by descent to the present ownerAcquired directly from the Artist by the the above in 1969Tahia Halim's masterful early painting, Parisian Nocturne, painted while she was living in the city, captures the timeless allure of the City of Lights through a mysterious and evocative lens. This dark and atmospheric piece transports the viewer to the hidden corners of Paris, away from the glamorous boulevards and tourist attractions, and into the heart of its enigmatic back streets.Halim's keen eye for detail and her skilful use of shadow and light create a sense of depth and intrigue within the composition. The play of dimly lit alleyways against the subtle glow of distant streetlights casts an almost cinematic quality over the scene, drawing the observer deeper into the narrative of the piece.The muted color palette of rich browns, deep blacks, and soft grays enhances the sense of mystery and timelessness, evoking the spirit of classic noir cinema. As the viewer explores the painting, they are invited to imagine the stories that unfold in these hidden urban passageways, where every shadow conceals a secret and every corner holds a tale.Tahia Halim's Parisian Nocturne is a testament to her remarkable ability to capture the essence of a place and time in a single frame. This painting is not merely a depiction of Paris; it is an invitation to wander its back streets and immerse oneself in the enigma they hold.For further information on this lot please visit Bonhams.com
Ahmed Cherkaoui (1934-1967)Les Miroirs Noirs VII oil on canvas, framedsigned 'A.Cherkaoui' (lower left), titled and dated on the verso, executed in 196525 x 30cm (9 13/16 x 11 13/16in).Footnotes:Provenance:Property from a private collection, FranceProperty from a private collection, SpainAcquired directly from the artist by the above 'This is not the hard-edged abstraction championed by other well-known Moroccan modernists at the time such as Mohamed Melehi. Instead, Cherkaoui's work here and throughout his career retains much more of the hand of the artist. His work deliberately allows space for imperfections'- Holiday PowersAhmed Cherkaoui was a leading figure of early Moroccan modernism, known particularly as one of the first painters there to initiate a dialogue working towards rooting international artistic modernism within a distinctly national context. He was an early instigator to a broader movement in Morocco during the short span of his career between the late 1950s and 1967, when he died abruptly from complications from appendicitis. Despite the short length of his career, artists and the arts discourse in Morocco throughout the 1960s and 1970s came back repeatedly to questions Cherkaoui had begun to pose before his early death. Cherkaoui was one of the first artists to attempt to ground abstraction in signs and symbols, actively confronting the duality of and distance between Morocco and Europe as can be seen in his 1965 painting Les Miroirs Noirs VII (The Black Mirrors VII). If the resolutely flat plane, visible brush strokes, and loose gestural abstraction call to mind the Paris School, the luminous earth tones and central symbol still link back to Morocco. For an artist that felt himself continually torn between France and Morocco, it was in his work that he was able to create an interstitial space. The elements of the painting are not precisely locatable to a discreet national body yet still gesture to his multiple geographic ties, creating instead a new blend and bridging the distance between the two on canvas. Trained in calligraphy in Qur'anic schools in Morocco, Cherkaoui left for Paris to study graphic design at the École des Métiers d'Art in 1959. Despite his interest in design, it was during his time in Paris that he began focusing more on painting and began frequenting the atelier of painter Jean Aujame. Influenced by the work of Paul Klee and Roger Bissière, Cherkaoui began working with abstraction. Like many artists of his generation in Morocco, it was while he was abroad, studying in Warsaw at the School of Fine Arts, in 1961, that Cherkaoui became invested in a closer look at his own background and cultural heritage. This led him in part towards experimentation with new materials, such as his series consisting of paintings on jute and collages that allowed him to expand on the boundaries of more academic painting.1 It was upon his return to Morocco after that year that he began exploring more closely the signs and symbols culled from local visual culture that would go on to populate his visual language.2 In many ways, this is an evocative moment for a career that was so intensely rooted in Morocco yet primarily articulated abroad. After multiple years abroad, Cherkaoui came home only to leave again to forge a career in France. By 1965, the year in which he painted Les Miroirs Noirs VII, Cherkaoui was at the height of his career and working in France. That same year, Gaston Diehl, the highly influential director of the Cultural Exchanges at the French Cultural and University Mission, writes, again in a text reproduced in L'Opinion: 'Given that our universal contemporary art has been so often criticized by vocation and by taste to be without particular roots, let us rejoice in front of the oeuvre of an artist that is not afraid to affirm his personality andhis origins. ... That he plunges into a long ago past does not keep him from living in the present or placing himself there [in the present] with vigour. Mixture of traditions? Marriage of convenience between the Maghreb and Europe? I would opt more for an osmosis between two civilizations, between two distinct modes of expression.'While deeply influenced by Moroccan visual culture, and particularly by the symbols used in Amazigh symbols, Cherkaoui was by no means mechanically repeating the images that he saw around him, as is highlighted in Les Miroirs Noirs VII. To the contrary, his work is an in-depth exploration into the structures and shapes of these symbols in order to reimagine them, to rework them through the lens of international modernism. Instead, and as is highlighted with Les Miroirs Noirs VII, painted soon after Cherkaoui had left Morocco to work in France as a drawing teacher, the artist actively sought to ground the international influences of training within a deeply local context in order to create something different. It is not, in Cherkaoui's work, a choice between one or the other. Like other works from this time period, Les Miroirs Noirs VII focuses in closely on large shapes painted with thick black lines that are interacting with one another, emphasized and refracted by broad lines of bright colours over a wash of earth tones meant to mimic remembered Moroccan landscapes. This is not the hard-edged abstraction championed by other well-known Moroccan modernists at the time such as Mohamed Melehi. Instead, Cherkaoui's work here and throughout his career retains much more of the hand of the artist. His work deliberately allows space for imperfections—the black line at the right is not retouched and so we glimpse the blue paint underneath, the purple paint is not quite opaque. There are not clean lines or sharp shapes in Cherkaoui's oeuvre, giving way instead to shapes that have light and life in them. The central symbol itself is off balance, not centred but active on its unstable axis. The canvas is full of movement because the viewer can see the action of his brush in the uneven white line in the centre, the gradations of colour given by varying thicknesses of paint, the lines that stop before hitting the edge at the bottom. The colours rarely blend together, instead focusing on the solidity and purity of each colour as it stands alone in concert with the other bright accents throughout the canvas. Moreover, it is an intimate canvas, just slightly larger than a piece of paper. Here Cherkaoui does not impose a vision to overwhelm the viewer, but invites us to step in closer, see in more depth something that is almost private. Abridged from a Text by Holiday PowersThis 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
A Pentax Super A camera fitted with an SMC Pentax-A 1:1.7 50mm lens, with additional 1:4 70-210mm Zoom lens and Vivitar Zoom Thyristor 285 flash, all housed in a fitted flight case; together with a Canon Eos 550D digital camera fitted with an EF-S 18-135mm 1:3.5-5.6 IS Zoom lens, an additional 55-250mm 1:4-5.6 IS II Zoom lens and Speedlite 430EXII flash, all housed in a Lowepro soft case; and a further empty flight case Condition Report:Available upon request
A collection of vintage 20th century table top cigarette lighters. To include a Ronson, made in England lighter with silver plate finish and NS inscribed to base. Another Penguin initialled N J in lantern form with carry handle and decorated floral body. Japanese i11 zoomflame coronas table lighter, in round form with magnifying lens to top. Tallest measures approx. 10cm
George Keyt (1901-1993)Untitled (Bearded Man & Woman) signed and dated 'G Keyt 65' upper rightink on paper36.3 x 25cm (14 5/16 x 9 13/16in).Footnotes:ProvenanceProperty from the Estate of Iranee Zarb, Canada.Acquired in Colombo by Iranee (née de Soysa) and her husband Francis Zarb in the 1970s;Thence by descent.'The most widely-known of Sri Lanka's painters, Keyt developed a style that was indisputably modern and recognisably oriental, reflecting his deep interest in Buddhism and later in Hindu culture. Very early in his career, he studied Sinhala and Buddhism and translated Sinhala folk tales into English, but it was his enjoyment of the culture around him that won him acclaim, both in Sri Lanka and in India, where he was accepted as a genuine and illustrious interpreter.' (Neville Weereratne, The Sapumal Foundation Collection, Sri Lanka, 2009, p.88.)The four ink on drawings from the Estate of Iranee Zarb (née de Soysa) are fantastic examples from Keyt's oeuvre and exemplify his abilities in wielding the medium with precision and spontaneity. His lines are fluid and expressive and the subjects depicted encapsulate the themes Keyt had a profound reverence for, including love, passion and the eternal dance of life. His subjects are drawn from mythology, folklore and every day life, and are rendered with a distinctive sensuality that captivates the viewer. The female form is depicted across all four paintings, and yet their treatment is unique in each one. Each figure is alive with movement, and the figures appear to be swirling in a graceful rhythm that mirrors the vibrancy of human experience. His mastery of form and line is evident, as he effortlessly shifts between abstraction and representation. Untitled (Bearded Man & Woman) is the most intimate of the four works. The bearded man has a contemplative gaze and their physical proximity suggests a profound connection. The sinuous lines of their bodies and the meticulous rendering of their facial features reveals Keyt's deep appreciation for the aesthetics of the human body.In Untitled (Reclining Nude Female Form), Keyt captures the languid elegance of the woman. His geometric lines are both precise and fluid and celebrate the soft curves and subtle musculature of the body.In Untitled (Seated Woman holding a Sitar) Keyt infuses the woman's form with elegance and grace, mirrored in the iconic Indian musical instrument. The Sitar is associated with the Swan, Peacock and Lotus flower and her serene demeanour and the fluid lines of her figure evoke a harmonious synergy between the musician, her instrument and the music itself.Untitled (Female figure holding a mirror) melds the timeless elegance of the female form with the bold innovations of Cubism. The female figures contours and features are fragmented and reassembled through the lens of Cubism, as evidenced in the geometric shapes and angular lines that characterise the woman's form. The central motif of the mirror introduces an intriguing layer of complexity to the composition. It is a symbol of reflection and self-examination. What makes this stand out however is that Keyt infuses his modernist approach with a unique sense of grace and sensuality, creating a harmonious fusion of innovation and tradition.These drawings by George Keyt are from the Estate of the late Iranee Zarb (née de Soysa) which she and her husband Francis Zarb bought on one of their many visits to Sri Lanka, likely in the 1970's. Iranee was born in Colombo, Sri Lanka and left to study at The International School of Geneva with her brother Rohan, when she was 12 years old. Her brother is the current chairman of The Sapumal Foundation, which was the home of their granduncle Harry Pieris, both of whose grandmothers were first cousins of the well-known philanthropist Charles Henry de Soysa. The Sapumal Foundation has an extensive collection of art bequeathed by Harry Pieris by Last Will along with his charming property'. The Sapumal Foundation was established in 1974 by artist Harry Pieris to house and display the extensive collection of art and books he had built up over his life. It has examples of work by all 10 core artists of the '43 Group (founded in 1943).This rambling old house is open to the public free of charge, to advance the cause of art and thereby enrich people's lives. It has over 300 works on display at any one time. All the walls are covered with paintings. Space has been given to art classes, craft classes and related disciplines to practice their skills.Bonhams extends their gratitude to Mr Rohan de Soysa for his assistance with cataloguing these works.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
George Keyt (1901-1993)Untitled (Seated Figure Holding a Sitar) signed and dated 'G Keyt 63'ink on paper37 x 51cm (14 9/16 x 20 1/16in).Footnotes:ProvenanceProperty from the Estate of Iranee Zarb, Canada.Acquired in Colombo by Iranee (née de Soysa) and her husband Francis Zarb in the 1970s;Thence by descent.'The most widely-known of Sri Lanka's painters, Keyt developed a style that was indisputably modern and recognisably oriental, reflecting his deep interest in Buddhism and later in Hindu culture. Very early in his career, he studied Sinhala and Buddhism and translated Sinhala folk tales into English, but it was his enjoyment of the culture around him that won him acclaim, both in Sri Lanka and in India, where he was accepted as a genuine and illustrious interpreter.' (Neville Weereratne, The Sapumal Foundation Collection, Sri Lanka, 2009, p.88.)The four ink on drawings from the Estate of Iranee Zarb (née de Soysa) are fantastic examples from Keyt's oeuvre and exemplify his abilities in wielding the medium with precision and spontaneity. His lines are fluid and expressive and the subjects depicted encapsulate the themes Keyt had a profound reverence for, including love, passion and the eternal dance of life. His subjects are drawn from mythology, folklore and every day life, and are rendered with a distinctive sensuality that captivates the viewer. The female form is depicted across all four paintings, and yet their treatment is unique in each one. Each figure is alive with movement, and the figures appear to be swirling in a graceful rhythm that mirrors the vibrancy of human experience. His mastery of form and line is evident, as he effortlessly shifts between abstraction and representation. Untitled (Bearded Man & Woman) is the most intimate of the four works. The bearded man has a contemplative gaze and their physical proximity suggests a profound connection. The sinuous lines of their bodies and the meticulous rendering of their facial features reveals Keyt's deep appreciation for the aesthetics of the human body.In Untitled (Reclining Nude Female Form), Keyt captures the languid elegance of the woman. His geometric lines are both precise and fluid and celebrate the soft curves and subtle musculature of the body.In Untitled (Seated Woman holding a Sitar) Keyt infuses the woman's form with elegance and grace, mirrored in the iconic Indian musical instrument. The Sitar is associated with the Swan, Peacock and Lotus flower and her serene demeanour and the fluid lines of her figure evoke a harmonious synergy between the musician, her instrument and the music itself.Untitled (Female figure holding a mirror) melds the timeless elegance of the female form with the bold innovations of Cubism. The female figures contours and features are fragmented and reassembled through the lens of Cubism, as evidenced in the geometric shapes and angular lines that characterise the woman's form. The central motif of the mirror introduces an intriguing layer of complexity to the composition. It is a symbol of reflection and self-examination. What makes this stand out however is that Keyt infuses his modernist approach with a unique sense of grace and sensuality, creating a harmonious fusion of innovation and tradition.These drawings by George Keyt are from the Estate of the late Iranee Zarb (née de Soysa) which she and her husband Francis Zarb bought on one of their many visits to Sri Lanka, likely in the 1970's. Iranee was born in Colombo, Sri Lanka and left to study at The International School of Geneva with her brother Rohan, when she was 12 years old. Her brother is the current chairman of The Sapumal Foundation, which was the home of their granduncle Harry Pieris, both of whose grandmothers were first cousins of the well-known philanthropist Charles Henry de Soysa. The Sapumal Foundation has an extensive collection of art bequeathed by Harry Pieris by Last Will along with his charming property'. The Sapumal Foundation was established in 1974 by artist Harry Pieris to house and display the extensive collection of art and books he had built up over his life. It has examples of work by all 10 core artists of the '43 Group (founded in 1943).This rambling old house is open to the public free of charge, to advance the cause of art and thereby enrich people's lives. It has over 300 works on display at any one time. All the walls are covered with paintings. Space has been given to art classes, craft classes and related disciplines to practice their skills.Bonhams extends their gratitude to Mr Rohan de Soysa for his assistance with cataloguing these works.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
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