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Lot 319
A Leica M2 Camera outfit complete with Canadian variant 8 element 35mm summicon f/2 and Leica Meter MC Condition ReportShutter speed slector stuck causing MC meter to be stuck on aswell meaning SN is unreadble, shutter curtain appears to be wrinkled or bent, heavy usage thoughout including brass showing through the chrome aswell as the leatherette peeling in many places. Viewfinder is foggy but RF patch is visible. Summicron lens appears to have fungus and heavy use throughout including scratches to front element, in additon to this the lens is stuck on infinity even with the infinty lock release pressed. Camera shutter fires but doesnt sound accurate, the advance however feels smooth. no guarantee to the light seals conditon.Please see additional images.
Lot 695
An Art Deco carved green stone, white stone and 18ct gold brooch, in a vintage jewellery box, retail mark for W Bruford & Son Ltdweight: 10 g all in90 mm wide approxjadeite panel slightly loose in mount, white stones slightly grey probably synthetic, no visible losses to green stone, possible very small losses under a 10x lens
Lot 385
A fine late 19th century gold repeating hunter pocket watch, the enamel dial signed AD LANG ET PADOUX, GENEVE, with a glass dust cap, the case engraved on one side with a monogramme, and the other side with an armorial and mottoCurrently running and generally telling the minutes although we do not guarantee this or that it keeps good time, Chimes well.minute repeating, overall condition good, no obvious damage to the dial to the naked eye, some minor faults under a 10x lens, movement starting and stopping so probably needs a service41.7 g all in55 mm width
Lot 372
A gentleman's stainless steel IWC Aquatimer 2000 Meters wristwatch, on a stainless steel strap, boxed, with paperworkwatch winds and runs, but we do not guarantee this or that it keeps good time, crown is stamped, crown unscrews smoothly and the date changes, back has not been off, chip free, no visible scratches to the naked eye, no visible scratches under a 10x lens, guarantee stamped
Lot 417
A white coloured metal, synthetic ruby and diamond three stone ring, ring size PA small chip to the table on the diamonds. Synthetic ruby 7.1 x 5.4 mm approx 3.9 mm deep approx, Diamonds white and bright, 3.3 g all in.diamonds: 5.5 mm approx, 0.5 CT approx, depth of diamond: 3.9 mm approx, diamonds bright white, no visible inclusions to the naked eye, small inclusions visible under a 10x lens
Lot 407
An Arts and Crafts silver coloured metal and moonstone pendant, on a chain, by Jean Bassett Provenance: Descent through the familylength of chain: 58 cm approxsome flaws to the enamelled flowers above the stone, light scratches to the stone visible under a lens, various faults to the silver mount, probably part of the construction process
Lot 470
A late 19th/early 20th century diamond, red stone and carved hardstone brooch, in the form of four birds perched on a branch, in an associated leather boxLength 45mmWidth 24mmweight: 8.8 g all inpin has been off and reattached, no obvious faults from the front to the naked eye, possible small losses to wingtips under a 10x lens
Lot 420
A large Victorian yellow coloured metal and tortoiseshell brooch, in the form of a butterfly, in a later caseweight: 10 g all inlength: 9 cm x 6 cm approx.flower and leaf on top are bent, no obvious losses to the tortoiseshell to the naked eye, very small losses to exposed edges under a 10x lens
Lot 497
A platinum, sapphire and diamond three stone ring, ring size Mdiamonds diameter: 5. 1 and 5.2 mm approx. +/- 0.49 CTdiamonds white and bright, no visible inclusions to the naked eye, various small inclusions and flaws under a 10x lens, one stone slightly greyer but only visible under a 10x lenslarge flaw visible to the naked eye on the sapphire,
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 239
Pritchard, Andrew, A History Of Infusoria, HISTORY OF INFUSORIA, INCLUDING THE DESMIDIACEAE AND DIATOMACEAE,BRITISH AND FOREIGN. BY ANDREW PRITCHARD, Esq., M.R.I., AUTHOR OF THE MICROSCOPIC CABINET,' ETC. 4th Ed. 1861 , with 40 coloured plates to the rear, original green cloth binding, modern bookplate Andrew Pritchard, was an English naturalist and natural history dealer who made significant improvements to microscopes & microscopy during the 19th century. Born on December 14, 1804, and passing away on November 24, 1882. Pritchard's fascination with the natural world began early in his life, driving him to explore the intricate details of microscopic organisms. His belief in the unity of God and nature led him to align himself with the Unitarian movement, where he and his family devoted considerable energy. As a leading member of the Newington Green Unitarian Church in North London, Pritchard not only nurtured his spiritual beliefs but also worked tirelessly to establish educational institutions, including a school, reflecting his commitment to intellectual and moral advancement. Venturing into the world of optics, Pritchard established himself as an optician, offering a range of optical instruments, including microscopes. It was through his ventures in microscopy that he made some of his most enduring contributions to science. Pritchard's meticulous observations of microscopic organisms laid the groundwork for significant advancements in the field. Collaborating with C.R. Goring starting in 1830, Pritchard produced beautifully illustrated books showcasing the world of "animalcules," the microscopic organisms visible through the lens of his microscopes. His dedication to accuracy and detail in his work earned him acclaim and established his reputation as a leading authority in microscopy. Pritchard's shops, strategically located in central London, served as hubs of scientific inquiry and learning. Situated more towards The City than the West End, at various times, they were found at 162 Fleet Street, Pickett Street, and 312 & 263 The Strand. His List of 2000 Microscopic Objects, published in 1835, stands as a pivotal work in the history of microscopy. Notably, his History of the Infusoria, published in 1841, became a cornerstone text in the study of biological science, providing invaluable insights into aquatic microorganisms of the time. The significance of Pritchard's contributions to microscopy cannot be overstated. His works not only expanded the understanding of microscopic life but also inspired generations of scientists to delve deeper into the mysteries of the natural world. Pritchard's dedication to scientific inquiry extended beyond his publications; he actively engaged in discussions on optical instruments and patents, furthering innovation in the field. In his later years, Andrew Pritchard continued to reside in Highbury, London until his passing on November 24, 1882. His enduring legacy lives on through his seminal works and the impact he made in advancing the frontiers of microscopy and natural history. Today, his name remains synonymous with curiosity, precision, and a deep reverence for the wonders of the microscopic world.
Lot 241
Hooke, Robert, Micrographia, or some Physiological Descriptions of Minute Bodies made by Magnifying Glasses with Observations and Inquiries thereupon. By R. Hooke, Fellow of the Royal Society, London printed for James Allestry, Printer to the Royal Society and are to be sold at his shop at the rose and crown in Duck Lane. MDCLXVII (1667)Condition: no boards or spine present, text block complete, old damp throughout, minimal to no foxing, edges of pages lightly oxidised, all stitching failed, end papers still present.Plate Count:Plate I – missing Plate II – opposite page 2 Plate III – opposite page 6 Plate IV – Missing Plate V – opposite page 47 Plate VI – opposite page 61 Plate VII – opposite page 82 (loss to edge) Plate VIII – opposite page 88 Plate IX – opposite page 93 (water stain to top and bottom) Plate X – opposite page 107 (water stain) Plate XI – opposite page 112 (water Stain) Plate XII – opposite page 123 (water stain to top) Plate XIII -opposite page 131 (water stain and loose from stitching) Plate XIIII – opposite 141 (water stain) Plate XV – opposite page 142 (water stain to top) Plate XVI – opposite page 163 (water stain) Plate XVII – opposite page 152 (water stain) Plate XVIII – opposite page 153 (water stain) Plate XIX – opposite page 154 (water stain) Plate XX – opposite 156 Plate XXI – opposite page 162 (water stain, chip to edge) Plate XXII – opposite page 167 (water stain) Plate XXIII – opposite page 196 (water stain) Plate XXIV – opposite page 182 (the famous fly’s eyes, no water stains) Plate XXV – opposite page 181 (water stain, tear from corner 7cm)Plate XXVI - opposite page 183 (water stain) Plate XXVII - Opposit page 185 (water stain) Plate XXVIII – opposite page 193 (loose from stitching) Plate XXIX – opposite page 193 (water stain to top, loose from stitching) Plate XXX – opposite page 196 (loose from stitching) Plate XXXI – opposite page 198 Plate XXXII – opposite page 203 (water mark to top left corner) Plate XXXIII – opposite page 204 (loose from stitching) Plate XXXIV – opposite page 210 (the famous flea, tear to fold on bottom right leg, no loss, no water stains) Plate XXXV - missing Plate XXXVI – opposite page 214 Plate XXXVIII – opposite page 245 (tear from top to centre, no loss) Hooke’s Micrographia: or Some Physiological Descriptions of Minute Bodies Made by Magnifying Glasses. With Observations and Inquiries Thereupon. Is an important work by Robert Hooke, delving into his observations through an array of lenses. This historically significant book stands as the first to feature illustrations of insects and plants as observed through microscopes. It marked the first major publication of the Royal Society and swiftly emerged as the pioneering scientific best-seller of its time, sparking widespread fascination with the burgeoning field of microscopy.One of Micrographia's enduring legacies lies in its introduction of the term "cell" to the biological lexicon, inspired by Hooke's examination of plant cells, which bore a resemblance to the compartments of a honeycomb. Through meticulous prose and vivid illustrations, Hooke unveiled the intricacies of nature on a miniature scale, offering captivating depictions of insects and plants as seen through the lens of his microscope.The book's captivating copperplate engravings, notably its fold-out plates showcasing insects, conveyed the awe-inspiring power of the microscope. These plates, extending beyond the dimensions of the large folio, magnified the minute creatures to an astonishing scale, with the engraving of a louse unfolding to four times the size of the book itself. Yet Micrographia goes further than its microscopic prowess; it ventures into diverse realms of inquiry, touching upon topics ranging from distant celestial bodies to the wave theory of light and the organic origins of fossils.Hooke's meticulous observations extended beyond the natural world, encompassing human artifacts such as the jagged edge of a razor and the seemingly blunt tip of a needle under the microscope. Through such juxtapositions, he subtly contrasted the imperfections of human craftsmanship with the innate perfection of nature, echoing prevailing notions of divine creation.Published under the patronage of The Royal Society, Micrographia not only elevated Hooke's stature as a scientist but also bolstered the society's reputation as England's foremost scientific institution. Its enchanting illustrations and illuminating narratives captivated the public imagination, earning accolades from luminaries such as Samuel Pepys, who hailed it as "the most ingenious book" of his lifetime. In its pages, Micrographia unfurls a wondrous panorama of the microscopic realm, forever altering humanity's perception of the infinitesimal world that lies beyond the naked eye.The difference between the 1665 & 1667 editions.Micrographia was first published in 1665, its rapid popularity prompted reprints. This particular edition is a 1667 printing, printed by John Martyn, the Royal Society’s appointed printer. Micrographia, an early cornerstone of the Royal Society’s publications, played a pivotal role in bolstering the Society's reputation, extending its influence beyond the scientific comunity.Although the years 1665 and 1667 might suggest distinct editions, they actually denote different issues of the same edition. A close examination reveals that both were produced from identical typesetting, with the text remaining unchanged across both printings. However, differences arise in the title page and certain particulars of the engraved plates, especially plate 5 which is in reverse in the 1667 print.In the 1665 edition, the title page features red and black printing, a technique not replicated in the 1667 issue, where all letterpress appears in black. Both versions include an image of the Royal Society’s arms, printed from an engraved copper plate. This method was somewhat unconventional, as engraved plates required a separate rolling press for printing. This necessitated a meticulous alignment process to ensure proper registration between the image and the text.Moreover, employing dual-color printing, as seen in the 1665 edition, posed additional challenges, demanding multiple printings. This technique, while capable of producing visually striking results, often struggled to maintain precise registration between the two colours. Consequently, advancements in typography, particularly the development of new "titling" typefaces, gradually rendered the need for dual-color printing obsolete by the eighteenth century.The intricate process involved in combining copperplate imagery with letterpress printing led to its gradual abandonment by the late seventeenth century. Despite its initial allure, the expense and technical limitations associated with this method ultimately contributed to its decline in favor of more efficient printing techniques.
Lot 112
A Watson Petrological Edinburgh Microscope, English, c.1910, engraved to the back of the tripod stand 'WATSON & SONS Ltd, Depot 2 Easy Row Birmingham' and to the side of the foot 'GEOL. BIRM. UNIV. II' for Geology Birmingham University, also engraved 'G.D.B.U.II' to the objective, and polariser, the microscope on typical Edinburgh tripod stand, brass trunnions support the body with the plano-concave mirror in gimbal on a sliding collar, polariser with Nicol prism, engraved scale with pointer, with clip-on condenser lens on focusing substage collar, goniometer stage with engraved scale around circumference with vernier to rear, body tube with slide in/out polariser, slide in /out Bertrand lens on internal collar, eyepiece with cross hairs, height 41cm
Lot 187
Large & Impressive 4in Astronomical Telescope By Carl Zeiss Jena, German, c.1925, engraved 'CARL ZEISS JENA Nr.11245' the telescope tube with side mounting luggs adjustable counterweight, long lens hood, rack and pinion focusing, eyepiece prism mount signed 'CARL ZEISS JENA Nr. 5933', straigh iingle objective mount, 2 Zeiss eyepieces, with large polished wood and iron tripod with geared adjustment, telescope with original polished wood case, with lens caps, telescope finished in original white and black enamel, objective engraved Carl Zeiss Jenna Nr.13841 AS f=167cm telescope length (closed) 170cm, case length 185cm
Lot 109
An Large & Extensively Equipped Ross No.1 Binocular microscope Outfit English, c.1880, engraved to the rear of the large ‘Y’ shaped foot ‘ROSS, London, 3448’, the microscope with large uprights terminating in trunnions with friction lock to support the main body, with large plano-concave mirror in a gimbal on an articulated arm on a sliding collar, with fully mechanical substage with engraved goniometer scale geared rotation, screw X-Y control on a rack to focus, with large circular mechanical stage with geared rotation engraved scale, mechanical X-Y control, large rectangular sectioned bar with large geared drive to rack for course focusing, bar limb with screw to attach to bar and screw fine focus, thread to accept the binocular body, English monocular tube and continental monocular body tubes, with the following accessories in a large mahogany case: 4” objective & can, 3” objective & can, 2” can, 1” objective & can, 1” can, ½” objective & can, ¼” objective & can, 1/5” objective & can, 1/5” can, 4/10” objective & can, 1/8” can, Double objective holder engraved ROSS, London, Various Leiberkuhns, Binocular eyepieces marked A, Binocular eyepieces marked B, Binocular eyepieces marked C Kellners Orthoscopic, Binocular eyepieces marked D Kellners Orthoscopic, Eyepiecs marked C, E & F, Eyepiece collar, Substage stage attachment, Ross Achromatic substage condenser, Substage polarizer, Achromatic substage condenser, Set of substage selenite filters, Substage Wenham parabolic condenser, Substage spot lens, Substage condenser, Ross compressor, various filters, Stage side reflector, stage forceps Stage condenser, Large table bullseye, All in the original fitted mahogany Case with brass handles and lock, case 52cm tall Note: sold with no reserve
Lot 145
A Zeiss Abbe's Apertometer, German, c.1910, the glass Apertometer engraved ,Abbe's Apertometer CARL ZEISS JENA' and to the maroon leather covered case 'APERTOMETER NACH ABBE CARL ZEISS JENA', blue velvet lined case with cased Apertometer system objective, adjustable covers and glass Apertometer, case 11cm. Note: An apertometer is used to measure Numerical Apertiure often abbreviated as NA or n.a. indicating the resolving capability of an objective lens. NA, in essence, quantifies a microscope objective's capacity to collect light and distinguish intricate specimen features at a set object distance. Presently, employing a Bertrand lens or a Phase telescope proves to be more efficient and straightforward compared to mounting an objective onto a drawtube
Lot 111
A Fuess Petrological Microscope, German, c.1910, engraved to the rear of the foot ‘R. FUESS, STEGLITZ-BERLIN 1365’, microscope standing on a lacquered ‘Y’ shaped base, lead filled for stability, tall upright supports the body on small trunnions, plano-concave mirror in gimbal on sliding collar, focusing substage collar with substage analyser, with Nicol prism, condenser lens, and iris, nickel plated circular stage engraved around circumference with 2 vernier scales , with swing in/out condenser, centering marks and slide clips, screw fine focus with engraved scale and vernier scale, course focus acting on diagonal rackwork, body with quick change objective holder, centering nosepiece, slide in/out analyser, slide in/out Bertrand lens on focusing collar, goniometer eyepiece with engraved scale and internal Nicol prism, complete with a micrometer eyepiece, marked ‘M’ another eyepiece marked 3, a box of accessories including 3 objectives marked 0, 4 & 7 and a few associated plates, all in the original wooden case, Note: for a similar instruments see ‘The Petrographic Microscope: Evolution of a Mineralogical Research Instrument, by Dan Kile’ p.25 fig. 22 for a very similar instrument.
Lot 118
A Paul Mayer Dissecting Microscope By Zeiss, German, engraved to the stage, 'Carl Zeiss Jena, 29212' the microscope on a black lacquered brass 'Y' shaped base with all nickel plated fittings with blued steel screws, with 2 french polished folding hand rests, the French polished mahogany case with stage fittings, objective holders, 2 objectives both engraved 'Verbess plan lupe Carl Zeiss Jena, and a Brucke dissecting lens an a leather case, case height 23cm Paul Mayer (1848-1923) was a prominent figure in the field of microscopy. Following his education as a pharmacist, he earned his doctoral degree in 1874 under the guidance of Ernst Haeckel at the University of Jena. Subsequently, Mayer embarked on a career at the Naples Zoological Station, serving as an assistant from 1878 until his retirement in 1913. During his tenure at the research facility in Italy, Mayer made significant contributions to the field of microscopy, when in 1885 he introduced this dissecting stand which was built by Carl Zeiss Jena.
Lot 3523
Photography - an Olympus OM-1 35mm single-reflex camera with an Olympus OM-System F.Zuiko Auto-S 1:1.8 f=50mm lens; other camera lenses including a VMC Vivitar Series 1 70-210mm 1:3.5 macro focusing auto zoom lens, housed in a Billingham camera bag; a Sony NEX-6 digital camera and an Olympus c-310 Zoom digital camera with various accessories in a Salisbury camera bag etc (quantity)
Lot 201
A Well Equipped Biunial Magic Lantern By Newton & Co, English, c.1880, the top of the lens mount engraved 'Newton & Co, Opticians to Her Majesty the Queen and the Government, 3 Fleet Street, London', the lantern on a polished mahogany base with steelplate internal compartments holding 2 gas limelight burners, with original gas tap to the rear of the lantern, with 2 sets of double doors, tinplate chimney to top, condenser lenses to the front, with lacquered brass support to the 2 projection lenses, both with rack an pinion focus, all in a large fitted black painted pine case, separate case for original gas fittings
Lot 41
Australia. Captain Samuel Sweet Albumen print 200mm x 150mm unmounted in card frame. An encampment of aborigines in South Australia. Captain Samuel White Sweet (1 May 1825 – 4 January 1886) left a lasting imprint on Australian history as both a mariner and a pioneering photographer. After arriving in Australia in 1864, Sweet played a significant role in the early colonization of the Northern Territory. However, his seafaring career took an unexpected turn following the grounding of his ships Gulnare and Wallaroo, incidents for which he bore responsibility. This prompted a shift in focus from maritime pursuits to photography, a passion he had nurtured as a hobby. Transitioning from amateur enthusiast to professional photographer, Sweet emerged as a trailblazer in Australian landscape photography. By 1872, he had honed his craft and established a studio on Flinders Street in Adelaide, later relocating to Rundle Street. While portrait photography was part of his repertoire, Sweet's true passion lay in capturing the rugged beauty of the Australian landscape. Equipped with a horse-drawn darkroom, he embarked on expeditions across South Australia, immortalizing the vast outback and rustic homesteads through his lens. Sweet's work garnered recognition and acclaim, with his photographs showcased in exhibitions across Melbourne and Sydney. During the 1870s and early 1880s, he emerged as one of the colony's foremost documentary photographers, embracing technological advancements such as the innovative dry-plate/gelatin process. His legacy endures as a testament to his pioneering spirit and his invaluable contributions to the art of Australian photography. Good tones. Small creases to image surface.
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