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Lot 215
* Bolex Auto-Cine 16mm movie camera. Bolex Auto-Cine 16mm movie camera, model B II, manufactured circa 1929, compatible with Super XX film, Kern Anastigmat 25mm f/2.5 lens, good cosmetic condition, with original user manual (poor), leather case with strap and a set of Bonnette close-up lenses, untested and sold as seen, together with Bolex 150 Super 8mm cine/movie camera, serial number D48016, manufactured 1967, original case and strap, good cosmetic condition, untested and sold as seenQTY: (2)
Lot 747
A collection of film cameras, to include large format, folding and 35mm, to include a Zeiss Ikon Compur, an Argus C3 rangefinder, a Kodak Retina Reflex S, a Bolex D8L film camera, a Kodak Junior Six 20, a Voigtlander Beilliant, an Esign Twenty and others, also including a collection of lenses, to include a Retina 50mm f2.8, a Wray 89mm f6.3, a Kodak Ektar 203mm 7.7 and others (2)
Lot 752
A collection of film cameras, to include a Riken Ricolet with a Ricoh 45mm f3.5, an Edixa-MAT Reflex LZ, a Busch Camera Co Model B, an Ensign Special Reflex large format box camera, a Yashicha 108 with a Yashica 35mm-70mm f3.5-f4.5, an Ensign Pocket in red, a Bolex Zoom Reflex P2 video camera.
Lot 241
3 frühe Bolex-Kameras, ab 1928Bolex, Schweiz. Alle Kameras für 16 mm, Tageslichtspulen für 30 m Film, Newton-Aufsichtssucher und Antrieb durch Federwerke, alle laufen. 1) Bolex Auto Cine Camera, Typ A1, Nr. 2016, um 1928, mit Meyer Kino-Plasmat 1,5/25 mm. - 2) Bolex Auto Cine Camera, Typ II, Nr. 5942, um 1929, Objektiv: Kern 2,5/25 mm. - Und: 3) Bolex Auto Cine Camera, Typ III (kein Bolex-Zeichen), Nr. 6657, um 1930, Objektiv: Kern 2,5/25 mm. Start Price: EUR 300 Zustand: (3-/3-)3 Early Bolex Cameras, 1928 onwardsBolex, Switzerland. 16 mm, for 30-meter daylight spools, with Newton finders and spring drives, all working. 1) Bolex Auto Cine Camera, Type A1, no. 2016, c. 1928, with Meyer Kino-Plasmat 1.5/25 mm lens. - 2) Bolex Auto Cine Camera, Type II, no. 5942, c. 1929, with Kern 2.5/25 mm lens. - And: 3) Bolex Auto Cine Camera, type III (unbranded), no. 6657, c. 1930, with Kern 2.5/25 mm lens. Start Price: EUR 300 Condition: (3-/3-)
Lot 243
Sonderzubehör Bolex H16, um 1960Paillard, Schweiz. 1) Stereo-Aufnahmevorsatz für alle Bolex-H16-Modelle in C-Mount. Stereo-Projektionsvorsatz für Paillard-Projektoren, Bolex-Belichtungsmesser und die Bedienungsanleitungen, alles im Original-Karton. - Und: 2) Bolex-Gunstock, Kamera-Auslöser in Form eines Gewehrschaftes für Bolex-H16-Kameras. Ein sehr seltenes Bolex-Fabrikat im Original-Paillard-Karton, die Kamera ist nicht in diesem Lot enthalten. Glanzstück jeder Bolex-Sammlung. Start Price: EUR 600 Zustand: (2/2)Special Accessories for Bolex H16 Camera, c. 1960Paillard, Switzerland. 1) Stereo attachment for all Bolex H16 models with C-mount; stereo projection attachment for Paillard projectors; Bolex light meter and the operating instructions, all in the original box. - And: 2) Bolex gunstock, camera trigger in the shape of a rifle stock, for Bolex H16 cameras, a very rare Bolex product in the original Paillard box, the camera is not included in this lot. Highlight for the well-appointed Bolex collection. Start Price: EUR 600 Condition: (2/2)
Lot 43
A Paillard Bolex H16 Reflex 16mm cine camera. Together with an Oplenon 3" f:1.9 Telephoto lens and other accessories, and a Voigtlander Superb camera.The motor winds and runs well. The Oplenon lens with fungus, iris and focus rings in working order. The Kern Paillard Switar lens is clean and the iris and focus ring are in working order as is the Elitar lens.
Lot 520
BOLEX; an H16 SB cine camera, with accessories including a Bolex Paillard hand grip, a Kern Vario-Switar Compact 1:3,5 f=17-85mm H16RX lens, with front and rear lens caps and lens hood, in original polystyrene packaging, with a Bolex lightmeter made by Gossen, boxed, etc, in a fitted leather case. Condition Report: The eyepiece for the cine camera has perished and is damaged in places. The case has damage to the upper right corner and the metal mounts and locks have tarnished, with some rusting.The movement appears to be in working order although we offer no guarantee of this. lens appears fully functional with no obvious signs of fungus
Lot 292
A Bolex H16 16mm Motion Picture Clockwork Cine Camera, body G-VG, appears to wind & run correctly, with Octameter, a Meyer Tripolan f/2.8 17mm lens, a Meyer Primoplan f/1.5 2.5cm lens, a Som Berthiot Tele-Cinor f/2.5 75mm lens, a Som Berthiot Cinor B f/1.9 25mm lens, a range of internal filter holders in case, & a range of accessories,
Lot 298
A Bolex H16 Standard 16mm Motion Picture Camera, black & chrome, serial no. 65699, body F-G, motor appears to wind & run, together with a Schneider Xenon f/1.9 16mm lens, optics F, some haze present, also with a Schneider Xenon f/1.5 25mm lens, optics F, some haze present, also with a Schneider Tele-Xenar f/3.8 75mm, optics F, some fungus & haze present, also with a large range of accessories, including a critical focussing device, a range of viewfinder masks, hoods, & more,
Lot 98
FOTOKAMERA, Robot junior, 1950er-Jahre,Herst. Otto Berning u. Co./ Düsseldorf, Ser.-Nr. J134670, Objektiv Schneider/ Kreuznach, Radionar 1:3,5/ 38, Ser.-Nr. 4406495, Farbfilter u 2 N-Kassetten, in orig. Bereitschaftstasche, schwarzes Leder (Gebrauchsspuren); dazu Filmkamera, Bolex 350 Macro Compact,Objektiv Bolex Vario 1:1,9/ 8-40,in orig. Bereitschaftstasche, Kunstleder, je Mechanik gängig, keine weitere Funktionsprüfung, 2 Selbstauslöser und Belichtungsmesser Ikophot, Herst. Zeiss-Ikon
Lot 5
WILLIAM KENTRIDGE (B. 1955)Drawing from the History of the Main Complaint 1996 signed and dated '96charcoal and pastel on paper123 by 160 cm.48 7/16 by 63 in.Footnotes:ProvenanceAnnandale Galleries, SydneyPrivate Collection, SydneyAcquired directly from the above by the present ownerLiterature Carolyn Christov-Bakargiev, William Kentridge, Brussels 1998, p. 112, illustrated in colour Dan Cameron, Carolyn Christov-Bakargiev, J.M. Coetzee, William Kentridge, London 1999, p. 87, illustrated in colourCaptivating and poignant, Drawing for the Main Complaint is one of twenty-one large-scale drawings constituting Kentridge's film, 'History of the Main Complaint.' The present work's expansive scale and gestural execution coupled with its thematic exploration of apartheid, colonialism, memory, and time firmly establish Kentridge as a significant artist who has made a compelling contribution to contemporary art. Other drawings from the film are housed in esteemed collections such as the Museum of Modern Art, New York and the Museum of Contemporary Art, Chicago, affirming the importance of the present work, and of Kentridge's stature as one of today's most notable living artists. In the present work Kentridge is rendering a striking portrayal of an austere black-and-white hospital ward with curtains drawn around a solitary bed, revealing only two discernible hints of red and blue – red in the light on the wall to the right and blue in the bowl of water to the left. These sparingly applied colours carry profound aesthetic and allegorical significance, transforming into a device imbued with powerful symbolism. Drawing lies at the core of Kentridge's artistic practice. 'I guess it all starts from charcoal drawings; you can change charcoal as quickly as you can change your mind. There's a flexibility and granularity that I really like.' (the artist in an interview with Tate, London, William Kentridge – 'Art Must Defend the Uncertain' | Artist Interview | TateShots, youtube.com/Tate, 20 April 2018) This immediacy becomes palpable in the artwork, where the velvety smudged lines and sooty surface coalesce to deliver a tactile and evocative visual experience. Each drawing represents a singular scene within the animation, changing subtly through the swift process of erasing and redrawing with each new image photographed in 16 or 35-mm film. The lingering imprints of these stages on the paper transcend their physicality, emerging as an important metaphor for the layering of memory, a central and resonant theme that permeates Kentridge's extensive body of work. Kentridge comments further on his unique and labour-intensive process, 'The technique I use is to have a sheet of paper stuck up on the studio wall and, halfway across the room, my camera, usually an old Bolex. A drawing is started on the paper, I walk across to the camera, shoot one or two frames, walk back to the paper, change the drawing (marginally), walk back to the camera, walk back to the paper, to the camera, and so on. So that each sequence as opposed to each frame of the film is a single drawing. In all, there may be twenty drawings to a film rather than the thousands one expects. It is more like making a drawing than making a film (albeit a grey, battered, and rubbed-out drawing). Once the film, editing, adding sound, music, and so on proceeds like any other.' (the artist in: C. Christov-Bakargiev, William Kentridge, Brussels 1998, pp. 61-64).Hypnotic and deeply moving, Kentridge's films go beyond politics to express a profound humanitarian perspective. They are a powerful collection of images tapping into a shared consciousness. Viewed collectively, these films evoke a lingering, almost overwhelming sadness extending beyond the confines of Johannesburg. 'History of the Main Complaint' is featured in many prominent publications and holds a pivotal place in Kentridge's filmography. Editions of the film are found in the collections of prestigious institutions such as the Museum of Modern Art, New York and Tate London.Drawing from the Main Complaint features in the sixth film, 'History of the Main Complaint,' which spans 5 minutes and 50 seconds. It is a part of Kentridge's ongoing series of animations entitled 'Drawings for Projection,' initiated in 1989. Created in 1996 during the Truth and Reconciliation Commission's initial hearings in post-apartheid South Africa, 'History of the Main Complaint' delves into the profound social and historical wounds inflicted by apartheid. The Commission, established under Archbishop Desmond Tutu, aimed to address human rights abuses during the apartheid era through public hearings where individuals recounted personal suffering for reparation and reconciliation. Kentridge's film centres on the theme of white responsibility, portraying a 'medical' investigation into Soho Eckstein, a white property-developing magnate, and the protagonist in preceding films. As Soho lies comatose in a hospital ward, weighed down by the burdens of his past actions and those implicated by his race and class, MRIs and CAT scans visually articulate his affliction. Memories of violence against black South Africans permeate the screen, reflecting the intricate interplay between individual and collective guilt. Soho's awakening from his coma hinges on acknowledging his personal responsibility, embodying a powerful revelation of conscience within the broader narrative of societal healing and historical reckoning. Kentridge's work has been exhibited in renowned museums and galleries worldwide since the 1990s, including the Albertina Museum in Vienna, Musée du Louvre in Paris, Whitechapel Gallery in London, Louisiana Museum in Copenhagen, the Reina Sofia Museum in Madrid, the Kunstmuseum in Basel, Zeitz MOCAA, and the Royal Academy of Arts in London. He has also been featured multiple times in Documenta in Kassel (2012, 2002, 1997) and the Venice Biennale (2015, 2013, 2005, 1999, and 1993).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
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