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Click here to subscribeMixed lot of cameras and accessories including Franke & Heidecke Rolleiflex medium format TLR camera, serial number 1416024, together with Exakta Varex camera 35mm camera with Carl Zeiss Jena Tessar 2.8/5.0 lens, cased Scheider optic lens, Minolta AF camera and a boxed Olympus Superzoom 140S camera, together with other accessories
A collection of Olympus cameras and equipment to inlcude two OM-4s one without lens, a OM-4 Ti, OM-2, and a series of lens, to include a G.Zuiko F 28mm, H.Zuiko F 24mm, and a Zuiko F 200mm,(qty.)Condition ReportNot been tested on subject to internal inspection.All with cosmetic wear. Knocks, scuffs and scratches.Some cased.Missing lens caps.
A hand painted porcelain plaque of the Virgin Mary - oval, probably 19th century, old paper label to reverse of plaque from 'G. Baldi Salzburg', 8.5 x 6.5cm, in a later velvet frame.* In good condition, with no faults - no chips, cracks or repairs, no losses to paint surface. Two tiny tramline scratches to the left of the nose, which are only visible under close inspection through a lens.
A box of early to mid-20th century collectables - including a boxed ebony fan with painted cherub decoration to the black leaf; a pair of fine quality tortoiseshell opera or field glasses by C. W. Dixey of New Bond Street, Opticians to the Queen, with silver gilt crowned monograms to each eyepiece (chips to tortoiseshell around lens frames); an Art Deco style painted box containing a small amount of mid-century costume jewellery; a silver mounted red morocco leather perpetual desk calendar; a quantity of photo frames; two leather cased travel clocks; a boxed Smiths Alarmette travel clock; a cut glass stamp wetter; etc.
Two vintage cameras by Rolleiflex and Zeiss Ikon - comprising a Franke & Heidecke MX 3.5A TLR camera, no. 1236283, with Zeiss-Opton Tessar T 75mm f/3.5 lens and Heidosmat 75mm f/3.5 lens, with leather case and Rolleiflex Guide manual; and a Zeiss-Ikon Contaflex SLR with Carl Zeiss Tessar 50mm f/2.8 lens, with leather case; together with a Bolex Paillard B8SL 8mm cine camera in the original leather case. (3)
Frederick Carder for Stevens and Williams, an intaglio cut rock crystal engraved hock wine glass, circa 1900, the ogee tulip bowl decorated with stylised honeysuckle flowers between trefoil lappets, above a fine hobnail base, on a knopped inverse baluster stem, with lens cut and notched lappets, on a conical foot of radiating mitres within a band of alternating foliate and berry motifs, 17cm high
CARTIER: A RARE AND COLLECTIBLE LAPIS LAZULI, TURQUOISE AND DIAMOND NOVELTY CLIP BROOCH, CIRCA 1945The stylised scarab, with carved lapis lazuli body, a turquoise cabochon head, highlighted with single-cut diamond eyes and rose-cut feet at the front, mounted in 18K gold and platinum, signed Cartier Paris, with maker's mark, French assay marks, with maker's case, length 2.7cmAn identical brooch is illustrated, page 164, in the catalogue of the Cartier exhibition, L'Art de Cartier at the Musée du Petit Palais between October 1989-January 1990, by Hans Nadelhoffer.The discovery of Tutankhamun’s tomb in 1922 sparked a cultural phenomenon that extended far beyond archaeology. Throughout the 1920s and 1930s, the Egyptian Revival style swept across the decorative arts, leaving its mark on everything from ceramics and prints to furniture and, most strikingly, jewellery. Museums in Cairo and touring exhibitions in London and Paris further solidified the global fascination, showcasing the dynamic dialogue between age-old myths and contemporary design. The era’s fascination with ancient Egypt found a perfect partner in the materials and aesthetics of Art Deco: platinum, diamonds, onyx, and vibrant enamel brought ancient motifs into the modern age. Designers reimagined scarabs, sphinxes, lotuses, and hieroglyphs through the lens of contemporary luxury, resulting in pieces that were at once reverent and boldly forward-looking. Among the jewellers of the time, Cartier distinguished itself not merely by mimicking Egyptian symbols but by engaging directly with history. Louis Cartier developed a personal passion for Egyptian antiquity, travelling and acquiring genuine archaeological objects from dealers who handled finds from ongoing excavations. Rather than replicate ancient designs, Cartier incorporated these authentic artifacts such as scarabs, faience fragments, and deity heads into his own creations, elevating them with platinum and diamonds to craft sophisticated Art Deco jewels that were both historically rooted and stylistically avant-garde. This approach set Cartier apart, offering clients pieces that were not just inspired by the past but built from it. Egyptian-inspired jewellery is defined by its rich symbolism and vibrant palette. Gold, regarded as the skin of the gods, and silver, seen as divine bone, were used alongside vivid lapis lazuli, symbolising the intense, sky-like blue hair of the deities. Turquoise and green hues evoked the protective qualities of water and the Mediterranean. Jewellers embraced these colours and symbols, often incorporating amulets like the scarab, which in ancient mythology was observed pushing its ball in the desert, as a metaphor for the sun’s journey at dawn and a symbol of rebirth, cosmic order, good luck, and fortune. With the advent of global conflict, significant material shortages and restrictions rapidly transformed the landscape of jewellery production. The scarcity of platinum and diamonds forced designers to adopt innovative solutions without sacrificing the aesthetic values of their style. In response, jewellers began experimenting with advanced alloys and a wider array of semi-precious stones, reinterpreting traditional motifs with alternative materials that mimicked the allure of their predecessors. These necessary adaptations led to creative breakthroughs, ensuring that the symbolic richness and visual impact of their creations endured even in times of adversity. Even after the height of its popularity at the beginning of the 19th century, Egyptomania continued to resonate through popular culture. The mid-to-late 20th century saw waves of renewed interest thanks to cinema, particularly Hollywood films of the 1960s through the 1980s featuring mummies, curses, and pharaohs. These narratives reignited public fascination with Egypt’s mystique, sustaining its influence in both fashion and fine jewellery. From screen to studio, the mythos of ancient Egypt remained a rich source of inspiration and proving that, even decades later, its magic still had the power to captivate and create. Condition Report: Normal wear, overall in good conditionMaker's mark located on the reverse of the scarab and one of the two pin (horizontal lozenge with what I think is 'P(symbol)M'Double pin clip system - signature located on the reverse of the broochFrench assay marks for platinum and 18K gold located on the reverse of one feet and another eagle's head located on the pinCloses securelyTotal gross weight approx. 16.7g
MILITARIA: A rare German WWI U Boat Chart Magnifying Glass, recovered from SM U-114, probably used by ships officer and later Admiral Hans-Georg von Friedeburg, with circular brass bezel, clear 9.5cm lens, and wooden handle, the bezel later engraved ‘U114 Surrendered at Harwich- 26th Nov. 1918’., also stamped ‘428’ to the edge, 27cm Historical Note: SM UB-114 was a German Type UB III submarine (or U-boat) in the German Kaiserliche Marine.She was crewed usually by 34 men, including 3 officers. It seems likely this magnifying glass was for the use of the navigating officer or ships captain. She sank during sea trials at Kiel Harbour with the loss of seven lives, was raised and ultimately surrendered at Harwich in 1918. This is likely to have been on board and used by Admiral Hans-Georg von Friedeburg, who was an officer on board SM U-114 from June to November 1918, he later became Deputy Commander of U-Boat forces in Germany during World War II. Von Friedeburg was in Berlin on 8 May 1945 for the second signing of the German Instrument of Surrender. He signed on behalf of the Kriegsmarine.
A collection of cameras and lenses, to include, a Fujica ST605N with Carl Zeiss Jena f/2.8 50mm lens, Cosina CT-1 with Cosinon-S f/2 50mm lens, a Praktica MTL3, body only a Praktica MTL5 with a Helios f/2.8 28mm lens, a Praktica LTL with Pentacon f/1.8 50mm lens, and a Fujica STX-1, body only and six camera lenses, to include, Sigma f/4-5.6 60-200mm, Vivitar f/4 80-200mm, Sunagor f/4.5 80-200mm, Soligor f/4.5 250mm, Vivitar f/5.6 75-300mm, and Makinon f/4.5 80-200mm, in box. (12)
A Zenit-E 35mm film camera with Helios-44-2 f/2 58mm lens, in case together with two Carl Zeiss Pro-Tessar lenses, one being f/4 85mm and one being f/4 35mm, housed in a custom fitted case and four camera lenses, to include, Mitakon f/3.8-5.5 38-200mm lens, a Kiron f/4.5 80-200mm lens, a Soligor f/5.6 350mm lens, and an Optomax f/5.5 300mm lens. (4)
A collection of camera bodies and accessories, to include, a Nikon F90X, a Canon FX, a Nikon F-801, and a Sigma f/4-5.6 60-200mm lens, Quickmatic 600 and a Yashikor Y105 f/4 wide angle lens, amongst other items, together with, four small cameras, to include, two Ensignette No. 2's with cases, a Kodak Baby Hawkeye, and a Zeiss Ikon Baby Box. (4) (1 box)
Pentax Auto 110 camera outfit, comprising two camera bodies, serial nos. 2055664 & 1062072, Pentax-110 1:2.8 18mm lens serial no. 1363262, Pentax-110 1:2.8 50mm lens serial no. 1345010, Pentax-110 Zoom 1:2.8 20-40mm lens serial no. 1007131, winder serial no. 450034 and flash no. AF130P, collection of filters and a pair of Perl 8x20 field binoculars, all housed within a flight case
Two Minolta SLR camera bodies, comprising X-300 serial no. 8592491 and X-700 serial no. 1498583, together with five lenses including Sigma Telephoto 1:5.6 f=400mm serial no. 1018435, Vivitar Series 1 28mm 1:1.9 VMC Auto Wide Angle Lens no. 37822044, two Minolta MD 50mm 1:1.7 49mm lens nos. 7177581 & 8384472, Tamron 70-210mm 1:3.8-4 lens no. 8316867 and camera accessories, all within a soft carry case
Two Minolta SLR cameras and accessories, comprising X700 camera body serial no. 1349766 with a Minolta MD 50mm 1:1.7 lens serial no. 8240515 and a 505si Super camera body serial no. 92103202 with a Minolta AF Zoom 28-80mm 1:3.5 (22) - 5.6 lens serial no. 62022069, a Minolta MD Zoom 70-210mm 1:4 lens serial no. 1030550, a Minolta MD Celtic 28mm 1:2.8 lens and a Minolta Auto 360PX flash
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