DeCock Morgan Collection

DeCockDMorgan Collection
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DeCock D Morgan
The Revival Auction Company is dedicated to
Collection
providing rare, vintage and historical products
The DeCock D Morgan collection of historic photographic equipment can be traced
to collectors and investors worldwide —
back through Ansel Adams and three generations of the Morgan family. Spanning seven
plus decades of use, this equipment has recorded iconic images of people, events and
”Preserving the Past”—keeping a connection
nature of twentieth century America.
This collection has never been presented for sale to the public prior to this listing. In
to the people, products and events that shaped
our research, we could not find an Ansel Adams view camera that has ever been sold
or available prior to the Arca-Swiss we are showing. The Ansel Adams view camera is
our country and world.
without doubt, one of the most iconic and historically important photographic items
ever offered—a museum quality centerpiece for any collection.
We have done our best to accurately present the items, conditions and provenance
of all of these important pieces. Most of the items in this collection are considered
THE REVIVAL AUCTION COMPANY LLC
“professionally used” equipment, and as such, shows some signs of wear and use. We
The Revival Auction Company LLC
6 Cooke Road
Wallingford, CT 06492
(203) 269-0569
have not made any effort to clean, repair, adjust or lubricate any of the items, instead,
leaving all items in “as found” condition for the discerning collector.
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Dedicated to
[email protected]
Liliane DeCock Morgan, photographer.
Letters of Authenticity are available on any of the DeCockDMorgan Collection items.
Call or email with questions.
www.revivalauctions.com
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Ansel
Adams
(1902 - 1984)
Commercial success followed the introduction of his
1970s printing negatives in order to satisfy demand for
first portfolio, Parmelian Prints of the High Sierras,
his classic works.
which included his famous image “Monolith, the Face
of Half Dome.” Between 1929 and 1942, Adam’s work
During his career, he utilized many assistants to help
and reputation developed and he focused on detailed
on location, spot and print in the darkroom and to
close-ups as well as large scale images. He spent time
assist running his workshops. Liliane DeCock, at age
in New Mexico with other artists and began to publish
24, started to work with Ansel and learn the fine art of
essays and instructional books on photography.
photography and the making of master prints, staying
with him from 1963 until 1972.
By the 1960s, appreciation of photography as an art
form had expanded to the point at which Adam’s
In 1968, Adams gave her his view camera, and she
images were shown in large galleries and museums.
continued to use this “second hand” equipment for her
In 1974, the Metropolitan Museum of Art in New York
entire career.
hosted a retrospective exhibit. Adams spent much of the
Ansel Adams said of Liliane’s photography, “DeCock presents to us
a personal, private world. It is a world of individualistic beauty
and intensity. She communicates to all who will respond; she
relates to no particular pattern of concept or execution. Hers is fine
photography—and what more can one say?”
Ansel Adams in his favorite location, Yosemite, photo by Liliane DeCock
Ansel Adams was a prominent photographer of the
print. The tonal range, clarity and depth are hallmarks
American West, particularly Yosemite National Park,
of his large format photographs.
using his work to promote conservation of wilderness
areas. His black-and-white images helped to establish
Adams was the last and defining figure in the romantic
photography as a fine art, and Adams as one of the
tradition of 19th century American landscape painting
finest and most recognized photographers to date.
and photography. He grew up in a time and place
Adams, with Fred Archer, are regarded as the
formed by the presidency of Theodore Roosevelt and
developers of the Zone System—a way to determine
“muscular” Americanism, in a new nation, particularly
proper exposure and adjust the contrast of the final
in the rugged West.
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Adams, Hasselblad and 1946 Cadillac, photo by Liliane DeCock
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Willard(1900D.
Morgan
- 1967)
accommodate a 2 X 2 inch slide that would become
the industry standard. He created the Leitz publication
Leica Photography in 1932 and continued to publicize
the Leica camera. He also patented the FocoSlide, a
copying device manufactured by Leitz. In 1934, Morgan
and Lester Publishers was founded, and the Leica
Manual was published the next year, edited by Willard
Morgan.
Starting in 1936, Morgan worked as the first LIFE
magazine contributions editor and in 1938, as
director of exhibits at Life magazine, Morgan was
responsible for the first showing of the Farm Security
Administration photographs.
In 1943, the Museum of Modern Art appointed Morgan
the first director of photography and the newly
established Photography Center. Morgan scheduled
Ansel Adams to deliver five lectures at the Center,
At Bandelier National Monument, New Mexico, 1928, photo
by Barbara Morgan
eventually convincing Adams to write the books that
Morgan and Lester would begin publishing in 1948—
The Basic Photo Series, which are the first of Adam’s
publications to include the Zone System principles.
Willard and Barbara Morgan had their first child,
Douglas Oliver Morgan, in1932, while living in
Gramercy Park, NY and a second son, Lloyd Brooks
Willard Morgan using a Leica at a “LIFE Magazine” party,
photo by LIFE photographer Peter Stackpole
Willard composing a vertical image
Morgan in 1935.
Willard Detering Morgan was a photographer, writer,
When Morgan saw the Leica Model A camera in 1928,
Morgan maintained relationships with Beaumont and
editor, and educator and the husband of photographer
he wrote to E. Leitz in New York City and proposed
Nancy Newhall, Ansel Adams, Margaret Bourke-White,
Barbara Morgan, known for her documentation of
trading two Leica cameras and accessories for articles
Berenice Abbott, Albert Boni, Julien Bryan and many
Martha Graham’s dances.
and images that would feature the Leica camera. In
others in the fields of photography and publishing.
1928, Barbara and Willard Morgan set out to capture
Morgan’s career spanned some of the most influential
the Southwest landscape on film. Morgan used these
developments in the history of American photography.
images to illustrate his articles, becoming the first
He was instrumental in introducing the first 35
American photographer to use the 35 mm Leica as a
mm camera in the US, was an early director of
professional camera. Morgan was offered a position at
photography at MOMA, a writer and editor of technical
E. Leitz, Inca. and moved to New York City in 1930.
publications on photography (from the Leica Manual,
to Ansel Adam’s Basic Photo Series, Encyclopedia of
In 1931, Morgan lectured throughout the US on the
Photography, to Encyclopedia Britannica), and was a
use of the 35 mm Leica camera for Leitz. During
photo editor at LIFE and LOOK publications.
this time, he also designed a new Leica projector to
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Aboard a cruise ship with his wife Barbara
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Douglas
O.
Morgan
(1932 - 2007)
collection, which also includes foundry type, along with
first picture editor for Life Magazine, as well as the first
printers cuts, ornaments, rules, and dingbats, is now
Director of the Department of Photography at MOMA,
housed today at The National Museum of American
and founder of Morgan and Morgan, Inca. (initially
History in Washington, part of the Smithsonian
Morgan and Lester) publishers of photographic
Institution, and makes some of the collection available
literature. Among the titles were the first Leica Manual,
to researchers. Printing, photography, art and design
Douglas O. Morgan was born in New York City on May
Ansel Adams Basic Photo Series and the Photo Lab
were the life blood of the family. His mother, Barbara
7, 1932. As a child during World War II, he and his
Index.
Morgan, was a pioneering artist who photographed
brother published a hand-typeset magazine called The
Martha Graham,and his father Willard Morgan was the
Fresh Egg from the family’s chicken farm in Scarsdale,
After his father died in 1967, Mr. Morgan assumed
management of Morgan and Morgan and published
N.Y. Filled with articles by relatives and friends living
many more books, including a monograph series
abroad that described a war-ravaged Europe, the
of eminent photographers like William H. Jackson,
magazine was distributed to neighbors along with eggs
Andreas Feininger and Ansel Adams, as well as
from the farm.
instructional photography books. He also published all
of Ansel Adams‘ technical photographic books.
Their mother, Barbara Morgan, was a photographer
whose subjects included dancers and choreographers
Douglas met Liliane DeCock at an Ansel Adams
like Martha Graham, Erick Hawkins, José Limón, Doris
Yosemite workshop in the early 1970‘s, married and
Humphrey and Merce Cunningham.
returned to New York to run the family business.
Their father, Willard Morgan, was the first picture
Douglas was a pioneering printer and publisher of
editor for Life magazine, the first director of the
some of the seminal photographers of the 20th Century,
department of photography at the Museum of Modern
as well as a compiler of the country’s largest wood-
Art in New York and the founder of Morgan & Morgan,
type collection, an inspiration for the graphic design
publishers of photographic literature. Douglas Morgan
revolution of the 1960s.
graduated from Colorado College in 1954 and pursued
graduate work in printing management at what is now
Carnegie Mellon University in 1956. He spent two years
Douglas at Morgan Press Inc., publishers of photographic
literatureincluding the first Leica Manual
in the Army Corps of Engineers in charge of mapmaking at the Fort Belvoir printing center in Virginia.
Mr. Morgan began acquiring antique wood types in
Douglas O. Morgan was born in New York City on May
the 1950s while managing an independent printing
7, 1932. As a child during World War II, he and his
and publishing house that showcased 20th century
brother published a hand-typeset magazine called The
photographers. These woodblock letters and fonts
Fresh Egg from the family’s chicken farm in Scarsdale,
were commonly used in the mid- to late-19th century
N.Y. Filled with articles by relatives and friends living
for advertisements, posters and handbills. The
abroad that described a war-ravaged Europe, the
collection came to be called the Morgan Press Type
magazine was distributed to neighbors along with eggs
Collection, after the company he had established with
from the farm.
his brother, Lloyd, in 1958—Morgan Press Inc. Printers
and Typographers, in Hastings-on-Hudson, N.Y. The
Their mother, Barbara Morgan, was a photographer
Morgan Press Type Collection, amassed by Douglas and
whose subjects included dancers and choreographers
Lloyd and their Father, is the largest collection of 19th
like Martha Graham, Erick Hawkins, José Limón, Doris
century wood type in the United States. The Morgan
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Douglas Morgan at Leitz headquarters, Germany, with
his Leicaflex cameras
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Liliane DeCock
Morgan
(1939 - 2013)
Liliane DeCock, photo by Ansel Adams
From 1964 to 1967, Liliane worked with Adams on “Fiat Lux,”
a centennial photo book for the University of California, photo
taken on December 1, 1966
by apprenticeship as well as through her own
photographer receiving a number of awards, including
experience traveling throughout the United States. It
a Guggenheim Fellowship in 1972.
was a remarkable ascent considering her challenging
beginnings as a child growing up in Belgium during
Morgan left Carmel in 1972 after her marriage to
and after World War II.”.
Douglas Morgan, publisher of Ansel Adam’s early
technical photography books, who she had met during
Liliane DeCock Morgan and Ansel Adams, ca. 1968
Liliane DeCock Morgan became a vital part of the
Adams home in Carmel, California.
West coast fine photography world and photographic
During her time working with Adams. She printed
assistant to Ansel Adams in the early 60’s. Their
his master works, prepared prints for exhibitions,
association had begun when photographer Brett Weston
traveled with him to capture images, instructed in
had recommended Morgan for a short-term position
summer workshops, and was an integral part of the
spotting prints for his Portfolio IV. Adams wrote, “I was
social environment that connected scores of artists,
quite impressed with her work from the start and with
intellectuals, and conservationists of that time.
her perseverance in finishing off some four thousand
Between 1964 and 1967 Morgan supported Adams and
prints. She stayed on with me for a little more than nine
Nancy Newhall as they captured images and stories
years…” Morgan was a full-time photographic assistant
for Fiat Lux, the University of California system’s
to Adams from 1963 to 1971, and lived nearby the
centennial book. She learned the craft of photography
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Each year Adams would grant Morgan 3-6 weeks of
a workshop in Yosemite Valley. She moved to the
vacation in which she would travel alone around the
East coast where she started a family and became
continental United States capturing images of rural
involved in the Morgan family businesses. Working
America.
with Douglas and her brother-in-law, Lloyd Morgan,
at Morgan and Morgan publishers and Morgan Press,
Morgan’s skill grew as she also contributed more to
she edited monographs of prominent photographers,
the photographic community of that time. In personal
edited the Photo Lab Index, and contributed to many
correspondence Ansel Adams, in the mentor role, once
other fine photography titles. At the same time she
wrote, “I have unlimited faith in you as a person and
became master printer for her mother-in-law, famed
as a photographer.” She eventually instructed in and
dance photographer Barbara Morgan, who, along with
coordinated the Ansel Adams Yosemite Workshops and
her deceased husband, Willard D. Morgan, had been a
was a founding trustee of the Friends of Photography.
colleague and friend of Ansel Adams for over 40 years.
By the early 1970s she was recognized as a fine
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Ansel Adams
Adam’s Arca-Swiss
4 x 5 camera, lenses and
accessories
Arca-Swiss 4 x 5
This view camera belonged to,
and was used by, Ansel Adams
from ca. 1964 to 1968.
Arca-Swiss 4 x 5 view camera outfit, owned and used
by Ansel Adams from about 1964 until 1968.
This view camera was used by Ansel Adams, then
given to Liliane DeCock, his full-time photographic
assistant. Liliane continued to use this equipment
during her time as Ansels’ assistant, and for her own
photography and travels throughout the United States.
It has been retained by her son since her passing in
2013.
All of the movements are functioning correctly, and
the bellows appears to be light tight. The lenses stop
down and the shutters are working. Everything that
was in the case has been left there.
This is a rare opportunity to own an iconic view
camera outfit owned and used by one of he most
prominent photographers of our time—documented
and all original!
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Ansel, getting on in years and starting to suffer from arthritic hands in the
Ansel Adam’s 1960’s Arca-Swiss 4 x 5 view camera and carry case
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1960’s, favored the Swiss-Arca 4 x 5 for its light weight and large controls.
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Ansel Adams
Arca-Swiss 4 x 5
Arca-Swiss 4 x 5 camera, back, left and views
“Under the guidance of Ansel Adams and with a 4 x 5
inch camera lent to her by the artist, Morgan began
Graflex 4 x 5 film backs
photographing the landscape and soon developed a unique
vision and printing style which utilizes the full tonal scale
of the medium with a strong attention to the melancholic
values.” Joseph Bellows Gallery
Wollensak 13” and Ilex 5” lenses with compendium lens shade
Reference is made to this camera in Ansel
Adams “The Making of 40 Photographs”
on page 107 when Adams discusses how
he made the image Arches, North Court,
Mission San Xavier del Baca. He says, “I
have many negatives of this portion of
the mission . . . the one I consider most
successful was accomplished in 1968 with
a 4 x 5 Arca-Swiss view camera.”
“Arches, North Court, Mission San Xavier del Bac,” Tucson, Arizona,
1968, photo by Ansel Adams with the Arca-Awiss 4 x 5
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Liliane using this 4 x 5 camera near
Carmel, CA, ca. 1968
Carry case bearing Ansel Adam’s equipoment label and Liliane’s address
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Ansel Adams
Arca-Swiss 4 x 5
Carry case exhibiting 40 years of
service and travel patina
Liliane capturing images with her Arca-Swiss camera
in Yosemite National Park, CA, 1970
Liliane using the same Arca-Swiss 4 x 5 and tripod
given to her by Ansel Adams
“Liliane worked with the famed
“What she really appreciated about that time and about
photographer, Ansel Adams, for nine years,
Ansel was … that he had a very expansive view of
and began her own photography career
what’s possible,” her son said. “She came to him with
after Adams loaned her a camera. She used
not a lot of experience and [he was] able to see that
a four-by-five inch camera lent to her by
potential and nurture it quietly.”
Adams, and she traveled the country on
vacations to photograph landscapes,” said
In 1972, Morgan received a Guggenheim Fellowship
Willard Morgan, her son.
and her work was exhibited at acclaimed venues
including the Witkin Gallery in New York.
That same year, Morgan was married to her husband,
Douglas Morgan. The two had been introduced to each
Adams having his
beard trimmed by
Nancy Newhall,
who wrote the
accompanying text
for his photographs
in “Fiat Lux”, Photo
by Liliane De Cock,
ca. 1966.
other by Adams.“They got married in Ansel Adam’s
living room in Carmel (California), and Ansel Adams
gave my mother away,” Morgan said. “He was in some
ways like a father figure … he really supported her in
all different ways at that phase of her life.”
View camera and tripod.
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Liliane’s Majestic tripod, probably given to her by Ansel with the
Arca-Swiss view camera. Knobs missing on both cranks.
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Ansel Adams
Arca-Swiss 4 x 5
Arca-Swiss 4 x 5 camera, right view
Items included:
Various filters, adapter rings and step-up rings
1. 4 x 5Arca-Swiss monorail camera
(note: Arca-Swiss did not serial number these
units due to their modular construction)
2. Extra bag bellows
3. Wollensak f6.8/13” Raptar, Nr. 971865
4. Ilex No.4 Ross Express f4/5”, Nr. 153041
5. Kodak Ektar f7.7/203 mm, Nr. RE262L
6. (2) Graflex graphic film pack adapters
7. Tiffen step up rings #6, #701 $ 7 to 8
8. Kodak Series VII to VIII step up ring
9. Kodak Series VII step-up ring 1 7/8 to 47.5 mm
10. Wratten gelatin filters
11. Kodak No. 12 VIII glass filter
12. Work orders for shutter speed tests
13. Dark cloth
Carry case with camera, lenses and all accessories.
14. Compendium lens hood
15. Majestic tripod
16. Original carry and shipping case
Extra bellows and dark cloth
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Work orders for lens calibration
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Willard D. Morgan
Leica IIIc
Morgan Leica IIIc in
original leather hard
side case
This camera was used by
Willard Morgan from 1946 to 1950.
Willard D. Morgan’s Leica IIIc, Nr. 418630, Elmar 35 mm
lens Nr. 1556079, accessories and leather case. As “the”
Leica pioneer in the US, Willard Morgan had established
a long-lasting relationship with E. Leitz, Germany. He
used several of their 35 mm cameras throughout his
photographic career—starting in 1928 with a Leica A.
This Leica IIIc was owned and used by Willard from
1946 to 1950.
In 1950, Willard gave the Leica to Douglas Morgan, his son.
Douglas continued using this camera to document various
US trips and family events.
Considered the “father” of Leica 35 mm photography in the
United States, technical writer and Leica designer, original
Willard Morgan Leica equipment is both historically
important and certainly highly collectible—a pivotal piece
Lot 56/Morgan Leica IIIc
for any collection.
Willard D. Morgan composing a vertical “macro” image of the
Contax Camera sales representative!
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Willard D. Morgan
Leica IIIc
Morgan IIIc bottom,
vulcanite missing
below the lens
Morgan IIIc front
and back views
Items included:
1. Leica IIIc 35 mm camera, Nr. 418630
2. Leitz Elmar f3.5/35 mm, Nr. 1556079
3. Body cap
4. Ten (10) Tiffen filters
5. Leica E39 13396 swing out polarizing filter
6. Two (2) Leitz filters
7. Leather case
Willard Morgan, through his photos and articles, was
a pioneer in the use of the 35 mm Leica rangerfinder
format in the US. His contributions as a photographer,
designer, writer and typographer are monumental, and
he is certainly a key figure in the development and use of
the Leica camera. This 1946 Leica IIIc, Nr. 418630 is one
of 3 we have identified as being used by Willard in his
Filters
career—the other 2 are a 1928 Leica A and a 1939 IIIb—
all great pieces of Leica history!
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Willard D. Morgan, with cigar in hand and Leica in lap
Douglas O. Morgan, Leica IIIc and camera bag at Mesa Verde
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Liliane DeCock
This equipment list on Morgan and Morgan letterhead,
identifies Liliane’s Arca-Swiss camera as well as a Leica
M4 and lenses. Two of these lenses are included with lot
Leica M5
51. This would indicate she either sold the M4 and bought
the M5, or used two Leica 35 mm cameras.
Items included:
1. Camera body with leather strap, black
2. Leitz Canada Summicron f2/35 mm, Nr. 2316741, black
3. Leitz Wetzlar Elmar – C f4/90 mm, Nr. 2576575, black
4. Leitz Wetzlar Elmarit f2.8/90 mm, Nr. 2374573, black
6. Leitz Canada Elamrit f2.8/135 mm, Nr. 2325739, black
7. Leather Case
Liliane DeCock M5 kit
Undated equipment list
Leica M5, Nr. 1348688, and four Leitz lenses.
Liliane DeCock acquired this camera as she
married Douglas Morgan, moved to the east
coast, and explored the 35 mm format. She used
this camera throughout the final 50 years of her
Leitz Elamrit 1:2.8/135
life. The camera was probably purchased during
Liliane and Douglas’ honeymoon to Belgium and
Germany in 1972.
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Leica M5 front,
back and
bottom views
Leitz Elmar – C 1:4/90
Leitz Elmarit 1:2.8/90
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Liliane DeCock
Zeiss Hologon
Zeiss Ikon Hologon ultrawide,
Nr. P75969, with f8/15 mm Zeiss
Hologon lens, Nr. 4851176,
filter and case. Liliane DeCock
Morgan and Douglas Morgan
purchased this camera in 1972
while on their honeymoon in
Germany. It was rarely used and
is in excellent condition.
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Zeiss Hologon, front, back and
bottom views
Zeiss Hologon Camera
Zeiss Hologon case views
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Liliane DeCock
Liliane DeCock
Leica MDa
Mamiyaflex C2
Lilian DeCock’s Leica MDa, back, bottom and
top views
Mamiyaflex C2, front side and back views
Mamiyaflex C2 Camera,
Nr. 70769. Owned and used
by Liliane DeCock Morgan.
Includes two lenses, a MamiyaDeCock Leica MDa, camera, box and warranty card
Sekor f2.8/80 mm, Nr. 669350,
and a Mamiya-Sekor f4.5/135
Leica MDa, Nr. 1379757. This Leica camera was purchased
mm, Nr. 234342. Also included
by Douglas Morgan for his wife, Liliane DeCock Morgan, on
in this kit is a Luna Pro meter,
February 27, 1975 in New York State. Includes box, registration
a Leica large ball head and the
card, and sales slip. Real nice condition.
original canvas case.
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Canvas case
Mamiyaflex C2, Leica ball head, 135 mm lens and Luna Pro meter
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Douglas Morgan
Calumet 4 x 5 with Ilex-Calumet Series-S
Caltar 8 ½” lens
Calumet 4 x 5
Items included in lot 60:
1. Calument view camera, Nr. 22155
Calumet 4 x 5 View Camera CC-4nn, Nr. 22155. This view camera
2. Ilex 8 1/2” lens, Nr. 2612
was owned by Douglas Morgan, son of famed photographer
3. Ilex 90 mm lens, Nr. 2729
Barbara Morgan and photographic publisher Willard D. Morgan.
4. Four (4) Graflex 4 x 5 film holders
It was purchased ca. 1969 in California when Douglas attended
6. Metal carry case
Ansel Adam’s Yosemite Workshops and revised Adam’s series
of photo books, originally published by his father, Willard D.
Morgan. The camera is in good condition with two lenses, an
Ilex-Calumet Series-S Caltar, Nr. 2612, f4.8/8 ½” (215 mm) and
an Ilex-Calumet Wide Field Caltar, Nr. 2729, f8/90 mm. Douglas
Ilex-Calumet Wide Field
traveled with the camera to Germany in 1972 on his honeymoon
Caltar 90 mm lens
with photographer and former Ansel Adams Assistant Liliane
DeCock Morgan. Set also includes four (4) 4 x 5 film holders and
the original metal case.
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Calumet 4 x 5, top, back and
bottom views
Calumet 4 x 5 top view
Calumet 4 x 5 film holders
Metal carry case
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Liliane DeCock
Rolleiflex SL66
Rolleiflex SL66 back, right
and left views
Rolleiflex SL66 50 mm and 150 mm lenses
Rolleiflex SL66 complete kit
Prism finder, extra back and hood
Rolleiflex SL66, Nr. 2911430, medium format
camera owned and used by Liliane DeCock later
on in her career. The tag on the case has her
Items included in lot 61:
Dobbs Ferry, NY address.
1. Camera body, Nr. 2911430
2. Zeiss f4/80 mm Planar, Nr. 5039912
Rolleiflex SL66 Polaroid Land Pack magazine
#977140, 6cm x 6cm
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3. Zeiss f4/50 mm Distagon, Nr. 4687543
4. Zeiss f4/150 mm Sonnar, Nr. 4732744
6. 45 degree prism finder
7. Hood 80 mm - 250 mm
8. Two (2) Film backs, Nr. 23415 and Nr. 2108
9. Various filters
10. Rolleiflex SL66 Polaroid Land Pack #977140
11. Rollei aluminum camera case
“Morgan” name tag
on case
SL66, lenses and accesories in case
Rolleiflex SL66 filters
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Liliane DeCock
Liliane DeCock
Ednalite Lens
Ednalite #681 lens f9/12 in., Nr. 47880. This lens
belonged to Liliane DeCock, and appears to be for
large format photo processing. Glass is very cloudy.
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Goertz Dagor Lens
Goerz Dagor Lens f6.8/12 in., Nr. 391711.
Medium format lens owned by Liliane DeCock
Morgan. Heavily used, definite haze, but
functions fine.
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Liliane DeCock
Condition Rating Guide
Light Meter
New ................. 1
00% new, never used. Sealed in original packaging, with all manuals
and accessories included.
Mint ................. 9
8-99% of original condition. Almost new, very difficult to find any
imperfection. All boxes and original packaging.
Honeywell Pentax 1/21 Spotmeter owned by Liliane
DeCock Morgan. Likely acquired in late 1960s during
her most active time as a photographer.
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Mint– ............... 9
4-97% of original condition. Lens glass very clean, cosmetically
may show very slight wear and/or signs of use but only under close
inspection.
Excellent++ .... 9
0-93% of original condition. Shows very slight signs of use, lens glass is
very clean.
Excellent+....... 8
7-89% of original condition. Shows slight signs of use, lens glass is very
clean but may have some dust which will not affect picture quality.
Excellent ........ 75-86% of original condition. Average condition, signs of normal use.
Good ............... 6
0-74% of original condition. Appears to have been heavily used with
multiple dings, scrapes, scratches and heavy brassing. Lens glass may
have slight fungus, excessive dust and/or scratches that will likely affect
picture quality.
Poor ................. 4
5%-73% of original condition. Very rough looking, impressions in
metal, extreme finish loss and excessive brassing. Glass will have
marks, fungus and/or haze which will affect picture quality. May need
repair to be functional, or only useful for parts.
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The Revival Auction Company LLC
6 Cooke Road
Wallingford, CT 06492
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