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Click here to subscribeA Leica R8 SLR Camera, black, made in Germany, serial no 2412315, 1997, shutter working, meter working, appears to function as should, body G, missing catch to battery compartment, secured via tripod mount plate, some light wear, with Leica Vario Elmar R 28-70mm f/3.5-4 E60 ROM lens, serial no 3828595, 1988, barrel G, light wear, elements G, light fungus, with lens hood and front cap
A Gandolfi Mahogany and Brass Whole Plate Camera brass bound, possibly 1970s, with 8½ x 6½ in back, focusing screen intact and 5 x 4in back, focusing screen with grid lines intact, body G-VG, some light scratches, some wear to brass runners, bellows VG, with fall and rise front standard, all moves freely, two tripod mounts on base, with an array of lens boards, for various lens sizes, some blank lens boards, in carry case
A J T Chapman The Manifold Half Plate Field Camera, circa 1900, body G-VG, some light wear, bellows G, septum slots to front and back, no septum, with No 480 Ross Goerz Patent 10½in f/7.7 Double Anastigmat lens barrel G, elements G, light haze, with Thornton Pickard roller blind shutter, shutter working, some creases to blind, additional 6¼ x 4½in back, no septum slot, both focusing screens intact, eleven DDS, a Mackenzie daylight slide, various lens boards, tripod, in hard case
A Goldmann Wien Herlango 12 x 17cm (5 x 7in) Tailboard Camera, formerly the property of the Austrian art historian Dr Otto Kurz (1908-1975), see https://arthistorians.info/kurzo, 1930s, teak and nickel plated brass, body G-VG, some scratches to base, bellows VG, with Carl Zeiss Jena 25cm f/4.5 Tessar Black and Brass Lens, serial no 172864, circa 1910, barrel G, with 4mm to 48mm aperture scale, X2 bellow scale, aperture conversion plate adds to front of camera, matching serial no to rim of rear element, elements G-VG, with Jalousie Verschlub Universal roller blind push on shutter, in maker's box, with German instuctions, with release cable, shutter sticking, creases to curtian, with three DDS, in Goldmann Herlango case, with reducing mask, magnesium flash, ebonised tripod, with geared column and tilt, home made copy stand and 80th anniversary Herlango booklet, 1858-1938
A Cambo SC 5 X 4 Monorail Camera, all moves freely, body G-VG, with 5 x 4 rotating back, focusing screen intact, bellows VG, with Schneider Kreuznach Symmar S 210mm f/5.6 MC lens, barrel G-VG, elements VG, in Copal no 1 shutter, shutter working, in Cambo SC lens board, with quick release cable, front/rear caps, on rail, with tripod mount, with Schneider Kreuznach 4x magnifier loupe, some scratches to elements, in aluminium case, foam deterioration to case
A Rolleiflex SLX Camera, serial no 502300016, untested, body F-G, film door catch loose, light lifting to leatherette top of finder, wear to edges, with Rollei HFT 80mm f/2.8 Planar lens, barrel G, elements G, with battery, charger, tripod mount, lens shade, manual, focusing ring, in aluminium case
A Mamiya 645 Pro Camera, serial no PF1435, shutter working, body F-G, with black tape on grip and over name plate, signs of tape application to base, with working power drive grip, with Mamiya-Sekor C 80mm f/2.8 lens, barrel G, some wear to mount, elements G-VG, with waist kevel finder, with Mamiya AE prism finder, meter responsive, some black tape applied to top of finder, with three 120 film backs, two focusing screens in Beattie Untenscreen case, a Polaroid back, with two Polapan films, a P 1 tripod mount and handy pocket guide manual
A Liberty & Co. 'Thebes II' oak stool,c.1900, designed by Leonard Wyburd for Liberty & Co., with a 'D' shaped seat raised on splayed tripod supports, labelled with a plaque to the underneath, 35.5cm wide19cm deep35.5cm highCondition ReportThe front leg with a split to the dowel - causes no structural issues to the piece, the leg sits firmly in its socket. With some knocks and wear along the edges.
GRAND BRÛLE-PARFUM TRIPODE EN ÉMAUX CLOISONNÉSMilieu de la dynastie Qing (1736-1820)A LARGE CLOISONNÉ ENAMEL TRIPOD INCENSE BURNERMid Qing Dynasty (1736-1820)The circular vessel with straight sides and lipped gilt-bronze rim, supported on three lobed feet, decorated overall with colourfully enamelled foliate lotus and quatrefoil sprays around a central blossom, all reserved against white ground, with turquoise and yellow-ground ruyi-head borders around the interior and exterior rims. 36.8cm (14 1/2in) diam.Footnotes:Provenance: Christie's Paris, 23 June 2020, lot 33Jean-Pierre Rousset, Paris (1936-2021) 清中期 銅胎掐絲琺瑯纏枝蓮紋三足爐來源：巴黎佳士得，2020年6月23日，拍品編號33巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
VASE COUVERT TRIPODE EN BRONZE DORÉ À DÉCOR INCISÉ DE SCÈNE DE CHASSE ET D'ANIMAUX FANTASTIQUES, LIANDynastie des Han occidentaux (206 av. J.-C. - 9 ap. J.-C.)A VERY RARE GILT-BRONZE INCISED 'HUNTING SCENE' TRIPOD CONTAINER AND COVER, LIANWestern Han Dynasty (206 BC-9 AD)The cylindrical vessel raised on three kneeling bear supports, divided into registers by three bowstrings, variously decorated around the sides with an intricate incised designs of lappets and scrollwork with a scene of a man wielding a spear hunting a mythical beast, flanked with a pair of taotie-mask and ring handles, the cover with an external border decorated with a similar hunting scene, around the internal medallion with lappets alternating with six animals including an owl and a toad around a four lappets encircling an aperture. 23.5cm (9 2/8in) diam. x 23.5cm (9 2/8in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) Cast as a miniature 'mountain' decorated with spear-armed men hunting mythical beasts, the present vessel was once entirely gilt and thus particularly precious. Although the shape is probably inspired by ritual wine containers, zun, produced during the Warring States period (475-221 BC), the vessel could have been used also as a cosmetic box or in the ritual context, may have acted as a visual aid for the tomb occupant to envision the mythical Immortal land of Penglai which they were hoped to reach in their afterlife.According to the Classic of Mountains and Seas, Shanhai Jing, likely compiled during the 4th century BC, Penglai was one of the Immortal islands located in the Eastern Bohai sea, which vanished from sight as voyagers glimpsed them and hoped to land on them in their search of Immortality-granting elixirs. These islands were defined by high mountains dotted with caves where Immortals were thought to live. Based on the Daoist idea of a peaked island, the miniature landscape presented on this vessel may have represented the deceased's journey through a winding obstacle-laden landscape, in search of the elixir of eternal life. '(..) Having transcended sacred mountains, one will gain supernatural powers, controlling the wind and rain, and finally reach to Heaven, the Abode of the Celestial Emperor', mentions the 'Masters from Huainan', Huainanzi, in the 2nd century BC. See A.G.Wenley, 'The Question of the Po-Shan-Hsiang-Lu', in Archives of the Chinese Art Society of America, no.3, 1948, pp.5-12.Mountains were highly regarded in China as primary components of the universe, because of their ability to produce water, the life-giving element, from the clouds swirling around them. They were linked with a profound interest in meeting the Immortal spirits inhabiting their naturally high peaks, which provided the closest connection with heaven. From at least the time of emperor Wudi (r.141-87 BC), the mountains located on the Immortal islands in the Eastern Sea were thought to be reached in two ways, wither during one's earthly lifespan, through the ingestion of magical potions, or following one's death, through the preservation of the body and soul in the burial. See J.Rawson, Mysteries of Ancient China: New Discoveries From the Early Dynasties, London, 1996, pp.172-173; see also S.Erickson, 'Boshanlu: Mountain Censer of the Western Han Period: A Typological and Iconographical Analysis', in Archives of Asian Art, 1992, vol.45, pp.6-28. The animals populating the mythical mountain depicted on the present vessel were probably inspired by the mythical creatures inhabiting the wondrous realms described in the Shanghai Jing (Classic of Mountains and Seas), the Huainanzi, compiled sometime before 139 BC, and the Zhuangzi (Master Zhuang) of the late Warring States period (476-221 BC). It is also quite possible that the animals may have been inspired by those involved in the imperial hunts that were carefully staged in the royal parks during the Han dynasty. The Han emperors had an unprecedented passion for building brilliant parks of great size where the rulers staged symbolical conquests of the natural world through ritual hunts and animal combats. See E.H.Schafer, 'Hunting Parks and Animal Enclosures in ancient China', in Journal of the Economic and Social History of the Orient, 1968, vol.11, no.3, pp.318-343.The taotie mask designs decorating the ring handles and the three bears shaping the feet were probably aimed at protecting the deceased against the evil influences they may encounter in their afterlife. Although the actual significance of the taotie motif is still the subjects of extensive academic research, it is mentioned in the 'Spring and Autumn Rituals' as bodiless monster swallowing hostile tribes. By the same token, the 'Classics of Mountains and Seas' praises the bear for its bravery and refers to the creature as the gate guardian of the mythical mountains invoked by Daoists. See D.Jenkins (et al.), Mysterious Spirits, Strange Beasts, Earthly Delights: Early Chinese Art from the Arlene and Harold Schnitzer Collection, Portland, 2005, pp.34-35.Compare a closely related gilt openwork lian and cover, Han dynasty, in the Cleveland Museum of Art (Leonard C. Hanna, Jr. Fund 1972.44); see also a related gilt and silver bronze example, Han dynasty, in the Minneapolis Institute of Art (acc.no.50.46.49a,b).A related bronze un-gilt and plain lian and cover, Han dynasty, with tiger supports and ram finials, was sold at Sotheby's New York, 22 March 2011, lot 195.Réalisé à l'image d'une montagne miniature et décoré d'hommes armés de lances chassant des animaux fabuleux, ce vase tripode était à l'origine entièrement doré et donc particulièrement précieux. Bien que sa forme soit probablement inspirée des récipients rituels à alcool de type zun, produits durant l'époque des Royaumes Combattants (475 – 221 av. J.-C.), ce récipient a aussi pu servir de boîte à cosmétiques ou, dans un contexte rituel, faire office de support visuel pour aider l'occupant de la tombe à imaginer l'île mythique des immortels Penglai, dans l'espoir d'atteindre l'au-delà.Selon le Classique des Montagnes et des Mers, Shanhai Jing, sans doute compilé au IVe siècle av. J.-C., Penglai était une des îles des Immortels situées dans la mer orientale de Bohai, îles qui disparaissaient une fois aperçues par les voyageurs espérant y parvenir dans leur quête de l'élixir d'immortalité. Ces îles étaient formées de hautes montagnes parsemées de grottes où vivaient, pensait-on, les Immortels.Basé sur l'idée taoïste d'une île formant un pic montagneux, le paysage miniature présenté sur ce récipient pourrait avoir représenté le voyage du défunt à travers un paysage sinueux plein d'obstacles, à la recherche de l'élixir d'immortalité. « (...) Après avoir dépassé les montagnes sacrées, on obtiendra des pouvoirs magiques, contrôlant le vent et la pluie, et on accèdera finalement au Ciel, « la Demeure de l'Empereur Céleste » dit le Huainanzi (Le Maître de Huainan) au IIe siècle av. J.-C. Voir A. G. Wenley, «The Question of the Po-Shan-Hsiang-Lu », dans Archives of the Chinese Art Society of America, n°3, 1948, pp.5-12.Les montagnes étaient considérées avec un grand respect, en Chine, en tant qu'éléments primordiaux de l'univers, en raison de leur capacité à produire de l'eau, l'élément donnant la vie, depuis les nuages tourbillonnant autour d'elles. Elles étaient associées au d... For further information on this lot please visit Bonhams.com
A 19th century antique Ceylonese specimen table with carved apron and tripod support showing elephants - the top diameter 75cms, standing 85cms highCONDITION REPORTTop is warped and has suffered some loss to the decorative detailing.Condition disclaimerOur team of trusted experts are on hand to help and always endeavour to provide an accurate judgement. The ultimate responsibility lies with the buyer however, and we recommend that you make every effort to inspect the lot yourself.To that end, we have provided a number of additional images for your attention.
A Carlton Ware shallow bowl with floral decoration, raised on tripod, gilt, ball and claw supports, approximately 8.5 cm (h) and 25 cm (d) and two Wileman & Co Foley China dishes. [3] Condition Report: Carlton Ware bowl appears in good condition overall, no chips, cracks hairlines or restoration, several scattered scrape marks, loss / rubbing to the gilt in areas, visible crazing to the lighter coloured areas and surface dirt in places.
Makedonien - Tetradrachme 4.Jh./3. Jh. v.Chr./Münzstätte Amphipolis, Kassander oder Philipp IV. oder Alexander (Sohn des Kassander) in Nachfolge Alexanders des Großen, Av: Kopf des Herakles mit Löwenskalp n.r., Rv: Thronender Zeus mit Adler, L über Fackel, Dreifuß unter dem Thron, ss, Tönung, berieben, Prägeschwäche, Kratzer, 17,2g Ag rau.| Macedonia - Tetradrachm 4th c./3rd c. B.C./Mint of Amphipolis, Cassander or Philip IV or Alexander (son of Cassander) succeeding Alexander the Great, Obv: Head of Heracles with lion scalp n.r., Rv: Enthroned Zeus with eagle, L over torch, tripod under throne, VF, toning, rubbed, weak strike, scratches, 17.2g Ag rough.
Early Victorian rosewood tripod pedestal table, circular moulded top hand painted with flowers and birds on slate, on tapered hexagonal column with carved acanthus leaf baluster, three splayed supports carved with foliage and scrolling terminals Dimensions: Height: 74cm Depth/Diameter: 61cm
Kleiner Dreifuß-Weihrauchbrenner aus Jun-Ware, wohl Yuan-/Ming-Dynastie (1279 - 1644) Formschönes Gefäß mit feinmaschig krakelierter, gräulich-seladonfarbener Glasur. Abgeflachter runder Körper auf drei kleinen Füßen. Ausladende Lippe auf kurzem, elegant geradem Hals. Unterseite der Füße unglasiert. Altersspuren. Höhe 8 cm, Durchmesser 10 cm.Provenienz: Westdeutsche Privatsammlung. A rare small Jun-ware tripod censer, probably Yuan/Ming Dynasty (1279 - 1644) Beautifully shaped vessel with finely meshed crackled grayish-celadon glaze. Flattened round body on three small feet. Expansive lip on a short, elegantly straight neck. Bottom of the feet without glaze. Wear. Height 8 cm, diameter 10 cm.Provenance: West German private collection.
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