§ Juliet McLeod (1917-1982) A grey on a clifftopsigned ‘Juliet McLeod’ (lower left) and inscribed with the artist's address (on the reverse) oil on canvas 74.5 x 100cmProvenance: From the estate of the late Julie Cecil (1942-2022)97 x 121cm framedThe painting is executed in oil on a linen canvas support which has not been lined. The canvas is in plane with good tension. There are a few minor undulations caused by impact, for example the horizontal scuff at the upper right corner. The paint layers are in a good stable condition. There is a thin varnish layer present which slightly uneven and yellowed but acceptable. There are a few horizontal drip marks in the lower half which have affected the surface. Across the surface of the painting is a light layer of surface dust including fly spots.
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A walnut chest on stand, 18th century, the moulded top above three short over four long feather banded drawers raised on later cabriole legs and pad feet141.5 x 104 x 58cm Some fading to the drawer fronts, some areas of veneer replaced, light scratching to drawer fronts, dry cracking to sides, some light wear to base, legs replaced sympathetically, small loss to bottom right drawer
Anglo-Dutch School, 18th century An extensive landscape with a hunting party and spaniels chasing a hare oil on canvas88 x 147cmProvenance:Property of a collector, removed from Moggerhanger Park, BedfordshireFramed 102 x 163cmThe painting is executed in oil on a canvas support which has been lined. The canvas tension is slightly slack but the picture is generally in plane. In the upper left corner are minor undulations due to old tears. Stretcher bar marks are evident in the paint layers. The paint layer is stable overall. There are scattered areas of retouching across the surface which are well matched to the original. The varnish is even, semi-glossy and slightly yellowed but acceptable. There is a light layer of surface dirt present.
§ Raoul Millais (1901-1999) Portrait of Hugh Lupus (b.1952) standing in a landscape signed and dated ‘Raoul Millais '56’ (lower left) oil on panel24 x 28.5cmProvenance: From the estate of the late Julie Cecil (1942-2022)The bay, Hugh Lupus, was sired by Djebel in 1952 out of the Goya II mare, Sakountala. He was bred by Hugh Richard Arthur Grosvenor, 2nd Duke of Westminster and raced by his daughter, Lady Ursula Mary Olivia Vernon. He was trained by Sir Noel Murless in Newmarket and was an early winner of the Irish 2,000 Guineas (1655) and the Champion Steaks (1956).Framed 38 x 43cmExecuted in oil on wooden panel. The support and paint layer are in a good, stable condition overall. The painting appears to have locally applied varnish in the darker paint passages which is likely to be part of the artist’s technique. The overall appearance of the painting is good. There is a light layer of surface dirt present including fly spots and dust have built up along the lower edges.
A George III style mahogany dining table, 20th century, the three pedestals on four downsplayed legs, caps and casters, with three leaf insertions74 x 410 x 140cmSee images of the tabletop, some light scratching and indents consistent with useStructurally soundwithout the leaves, the table measures 288.5cm the leaves measure 60.75cm each
A George III mahogany silver table, the rectangular top over blind-fret carved frieze and legs with C-scroll corner brackets on brass castors69.5 x 87 x 59cmSome wear to top and light marks with some replacement of veneer, crack to the top of one leg, some wear commensurate with age and use.
Joseph Mallord William Turner, RA (1775-1851) Chepstow Castle on the river Wye, Monmouthshire, Walessigned and dated 'Turner 1794' (lower left)watercolour on paper31 x 41.7cmProvenance:Collection of Dr Thomas Monro (1759-1833),His Sale, Christie's, London, 26th-28th June & 1st-2nd July 1833, 1st day of sale, lot 128;Collection of William Leaf (d.1874) of Park Hill, Streatham, by 1862,His Sale, Christie's, London, 7th May 1875, lot 376, bt. Agnew for £168;Collection of Sir Joseph Heron (1809-1889),His Sale, Christie's, London, 9th June 1890, lot 75, bt. Walford for £29 8s.;Collection of David Jardine (1827-1911) of High Lee, Woolton, Liverpool,His Sale, Christie's, London, 16th March 1917, lot 58, bt. "AJG" according to a label affixed to the reverse (possibly a member of the Gibson family);The Hon. Mrs Rupert Blyth (née Charlotte May Gibson, 1891-1956) by 1956, Acquired from her estate by the wife of her cousin George Cock Gibson, Mrs Angela Madeleine Gibson (1896-1993), for £280,Thence by family descentExhibited:London, The International Exhibition, 1st May-1st November 1862, no. 1041 as ‘Chepstow (drawing), lent by W. Leaf'Literature:cf. Copper-Plate Magazine, vol. 2, pl. 67, engraving of 'Chepstow' by J. Storer, published 1st November 1794;Andrew Wilton, J.M.W. Turner: His Art and Life, 1979, p. 311, not illustratedThe present watercolour can be identified with the one previously recorded by Alexander Joseph Finberg (1866-1939) and referred to in Wilton’s catalogue (see Literature, Wilton, p. 311), but which has until now been untraced. In his manuscript card index of Turner’s watercolours in private and public collections, now in the Print Room of the British Museum, Finberg recorded a drawing of this subject and of identical dimensions with provenance to Dr Monro, Leaf and Heron which clearly matches that of the present work. The subject of Chepstow Castle and bridge was one of sixteen scenes commissioned from Turner to be engraved for John Walker’s Copper-Plate Magazine between 1794 and 1798. This was the first time Turner was asked to supply a set of topographical views for a publication. Whilst Turner planned his Midland tour of 1794 with the intention to collect material for this venture, he would have equally drawn on landscape subjects from his earlier tours. No sketches of this composition are known, however, the Turner Bequest, now at Tate Britain, contains two pencil drawings of Chepstow (D40034, D00130) which are dated to Turner’s visit in 1792. The present view was therefore most likely inspired by Turner’s tour of Wales of June-July 1792, which could be considered his first independent tour, or his subsequent 1793 tour of the Welsh Marches which took him to many places he had visited the previous year, including the Wye valley. The tours provided Turner with the raw material from which he could develop his subjects in watercolour in his studio on his return to London. This composition is known to exist in two versions with significant variations - the present, larger and noticeably more finished version dated 1794; and another, smaller (20.3 x 29.7cm) and undated version which is now at the Courtauld Institute of Art Gallery, London (D.1974.STC.1). The differences can be observed in the arrangement of the boats, the detailing of the town and castle, and the position of the figures on the bridge. Both versions also appear to differ, to a varying extent, from the engraving of this subject by James Storer for the Copper-Plate Magazine (see Literature), though the Courtauld version is more like the subject for the engraving (see Wilton, p. 311). The present version, being large-scale and highly worked up, might have been intended as a presentation piece to a patron, such as Dr Thomas Monro who was to become one of Turner’s most important patrons. We are grateful to Andrew Wilton for confirming the attribution first hand and for his assistance with this catalogue entry. Examined out of frame.Some discolouration, especially in the sky area. Light, even fading. Paper is slightly cockled. Slight crease in the centre. Slight exposure mark and burn visible on two sides from old wood pulp mount. A few rust spots in the sky which have been retouched. A bit of skinning to the paper top right corner, which has been retouched. Masking tape used as dust seal from the glass round the back of the mount. Paper debris on the reverse. Small areas of skinning to the reverse. Inlaid into good quality paper. White pigment filler around the edges. Traces of gold around the edges indicate a past gold mount. Previously treated for foxing.Acid free mount. Low reflective glass. Very thin back mount. Poor quality frame backboard. Oil gilded wood frame by Walker's Galleries. Framed 51.5 x 61cm.
Arthur Elsley (1860-1952) Are you There?oil on canvas70 x 50cmThe present painting was used as the cover image for Peek Frean & Co's advertisement for biscuits and cakes in 1896.87 x 67cm framedThe painting is executed in oil on a linen canvas support which has been lined. The canvas tension is good and the picture is in plane. The paint layers are in a good condition overall. Areas of overpaint are present, mainly applied around the edges of the painting. The overpaint is broadly applied but well matched to the original. The varnish is clear, even and glossy with a layer of surface dust present and a few light scuffs and scratches.
Black Sabel Deluxe, a 12 bore sidelock ejector gun, No. 12663, with 27" barrels, the detachable locks with bouquet and scroll engraving, 14 1/4" stock, nitro proofIn good overall condition, action is tight, very light marks from use only, bores are clean and free of pitting.Proof diameter of 18.6 (.732) in both, measures .734 in both.Min walls of app. .030 in the right and .025 in the leftPlease note, we are unable to pack or ship, purchasers will need to make their own arrangements in this respect. Collection in person by the holder of a valid UK shotgun certificate or RFD. Collection by an appointed RFD by arrangement.
A Victorian rosewood games compendium, the hinged lid opening to reveal a leather chess board within, the front opening to an ebonised and boxwood chess set with lift-out trays and further playing pieces including dominoes behind17.5 x 32.5 x 22cmbox has replacement piano hinge where original hinge once was, some light dry cracking to the lid of the box, some abrasions, wear and old tape marks to leather chess board and interior, general wear commensurate with age and use
A George III mahogany pie crust tripod table, the circular top with scalloped edge upon a birdcage action tilt-top with a fluted column on shell carved cabriole legs with claw and ball feet70 x 73cmProvenance:Property of a collector, removed from Moggerhanger Park, BedfordshireTop has been repolished, some minor indents and light scratching, one dry split to the corner appearingThe rails to the base of the top have had multiple repairsWhere the legs meet the column is minor glue residue, possibly restored or re-enforcedKnocks to the column and legs consistent with useSee images
Sir David Wilkie, RA (1785-1841) Portrait of Andrew Christie (1788-1821) of Pitlessie, Fife, standing half-length in a landscape, holding his hat in his right handinscribed “[N.B.] / Captain Andrew Christie / of Pitlessie, Fife / when 17 years of age” (on an old label to the reverse)oil on canvas74.5 x 62cmProvenance:By descent in the family of the sitter to Miss Christie of Great King Street, Edinburgh, by 1886 (see Exhibited); With Horsburgh, Edinburgh by 1900 as Wilkie, with its pendant portrait of the sitter's twin brother Charles Christie (1788-1870), when bought by Agnew & Son Sold by them as Raeburn in February 1903 to Calouste Gulbenkian (1869-1955), Reacquired by Agnew & Son from Gulbenkian in December 1903, Sold subsequently to E G Raphael in April 1904, Acquired again by Agnew & Son in December 1904, Sold by them to Captain John Aitken (1863-1924) a descendant of the present sitter’s sister (see Note) in February 1905,Thence by descent to the present ownerExhibited:Edinburgh, International Exhibition of Industry, Science & Art, 6th May-30th October 1886, no. 1550 or 1724 (see Provenance and Note), as 'Portrait of Mr. Christie, son of Mr. Christie, Banker, Cupar, Fife - Sir David Wilkie, R.A.', lent by Miss Christie of 26 Great King Street, Edinburgh Literature:Allan Cunningham, The Life of Sir David Wilkie: With His Journals, Tours, and Critical Remarks on Works of Art; and a Selection from His Correspondence, 3 vols., published posthumously J. Murrey 1843, p. 67To be included in the forthcoming catalogue raisonné of Sir David Wilkie’s works by Hamish Miles, currently being edited by Alex Kidson.We are grateful to Alex Kidson for identifying the present lot as the previously lost portrait of Captain Andrew Christie and pointing out that this was first recorded by the artist's biographer Allan Cunningham (1784-1842) shortly after Wilkie's death. In his Life of Sir David Wilkie (see Literature), Cunningham lists portraits of the "two sons of Mr.Christie, banker in Cupar" in a context implying a date of about 1804 for both. The sitter, Andrew Christie (20th Sept. 1788-1821) was the son of Andrew Christie (1765-1831) of Ferrybank, a Provost of Cupar and a banker, and Margaret Dempster (1769-1842). He was commissioned into the Honourable East India Company and departed for India, where he arrived on the 16th of May 1806, dying there in 1821. These circumstances along with Wilkie’s departure for London in the spring of 1805 must explain the unfinished state of the portrait. Its pendant portrait (see Provenance & Exhibited) of the sitter's twin brother, Charles Christie (1788-1870) (see illustration) was however completed and is now in the Philadelphia Museum of Art where it was long considered to be by Raeburn. When that picture along with the present portrait were acquired from Horsburgh (see Provenance) in 1900 by Agnew, the latter’s stock books show that they initially recorded both portraits as by Wilkie, only later however crossing out the attribution and amending it to Raeburn. A portrait of the sitter’s brother-in-law’s brother, Alexander Aitken (see Provenance) was also painted at this period by Wilkie, which picture remained with his descendants until sold at Sotheby’s on 13th April 1994 (lot 34). It was then resold at Sotheby’s on 11th June 2020 when it realised 30,000 USD (with premium). The current owner of this lot is descended from Jane Christie, the sister of the sitter in the present portrait. The painting is executed in oil on a canvas support which has been lined. The canvas has deformations across the surface, notably at the upper left corner. The lining canvas is brittle at the tacking edges. The painting has suffered from knocks with a few small holes and circular impact cracks. The painting is unfinished but may also have been overcleaned, there are areas of abrasion in some of the thicker paint passages. The painting has an uneven varnish layer with some glossy, vertical drips of yellowed varnish. In other areas there is a matte haze across the surface. There is a light layer of surface dirt present.
After Mariotto Albertinelli The Visitationoil on canvas136 x 86cmAfter the original dated 1503 by Albertinelli in the Uffizi, Florence.The painting is executed in oil on a canvas support which has been lined. The canvas tension is poor and there are horizontal undulations in the upper section of the picture. There is a single area of raised, blistered paint near the centre of the picture. Around the edges are a few, scattered areas of loss. Apart form these areas, the paint layer is in a secure and stable condition. The varnish is thick, glossy and has yellowed with age. There is a light layer of surface dirt present. There are localised areas of overpaint, applied in a brushy manner and reasonably well matched to the original.
A black painted plaster figure, 20th century, the goddess Demeter holding a torch, modelled as a floor lamp, with glass shade100cm highIt currently has a modern style plug so clearly has been used as a light but we have not tested it. Date of the figure possibly from the 1930’ssome surface cracks to paint finish as well as crack to top of one arm
Edwin Cooper (1785-1833) Study of a bay hunter in a landscapesigned and dated 'E Cooper fecit / 1818' (lower centre)watercolour on paper, in a maple frame33.5 x 47cmDiagonal creases lower left corner. A crease along the left centre edge. Few possible rust spots top left corner. Few abrasions and scuffs to the paper upper left quadrant and under the horse's head. Some visible creasing to the paper above the horse in the sky. A small crease lower right corner. Light foxing and surface dirt marks throughout. Not examined out of frame. 58 x 71cm framed
§ Raoul Millais (1901-1999) Three horses in a landscape signed ‘Raoul Millais’ (lower left) oil on board 24 x 28.5cmProvenance:With Richard Green Ltd, London, 1968,From the estate of the late Julie Cecil (1942-2022)Framed 37 x 42cmThe painting is executed in oil on a piece of hardboard with the textured side at the reverse. The board is in plane and the paint layers are in a good, stable condition overall. Drying cracks have formed in the darker paint passages. These cracks develop as the paint layers dry, contracting and revealing the lighter ground layers below. The paint layers appear to be unvarnished. There is a light layer of surface dust present.
A pair of cut and moulded glass fifteen light chandeliers, 20th century, each sectional cut glass stem with fifteen scrolling air twist branches united by chains of glass beads with hanging cut glass pendants77 x 85cmProvenance:Property of a collector, removed from Moggerhanger Park, BedfordshireBoth appear to be in good condition but missing their card candle holders. They have modern , wiring and are illustrated as working in the catalogue but not currently wired in
Basilius Besler (1561-1629) Pistacia; Narcissus Septentrionalis flo plenoluteo; Blattaria flore albo; Orchis Serapias secun da Dodonaei; handcoloured engravings from Hortus Eystettensis51 x 41cm Pistacia - Scattered foxing and some light stains. Narcissus - Horizontal creasing across the middle. Light spotting. Cockling to the sheet. Rust inclusions. Orchis - Horizontal creasing across the middle. Rust inclusions. Two unglazed. Not examined out of frames.
§ Raoul Millais (1901-1999) Portrait of Abernant (1946-1970) standing in an extensive landscapesigned and dated ‘Raoul Millais '57’ (lower right) and inscribed with the name of the horse (lower left) oil on panel 24 x 29cmProvenance: From the estate of the late Julie Cecil (1942-2022)The dark-grey stallion Abernant was bred by Catherine Macdonald-Buchanan and raced by her husband, Major Reginald Macdonald-Buchanan. In a career lasting from May 1948 until 1950, Abernant won 14 out of 17 races to the value of £26,394. He is widely considered one of the best sprinters since WWII and his notable wins included the Middle Park Stakes (1948), the King’s Stand Stakes (1949), the July Cup (1949, 1950) and the Nunthorpe Stakes (1949, 1950). Following a successful flat racing career, Abernant went to stud and sired the winners of over 1,000 races. Among the most notable were Abermaid (1962 1,000 Guineas Stakes), Even Star (Irish 1,000 Guineas), Welsh Rake (1963 Queen Anne Stakes), Zahedan (1965 National Stakes) and Thin Ice (Sanford Stakes).Framed 38 x 43cmExecuted in oil on wooden panel. The support and paint layer are in a good, stable condition overall. The painting appears to have locally applied varnish in the darker paint passages which is likely to be part of the artist’s technique. The overall appearance of the painting is good. There is a light layer of surface dirt present including fly spots and dust have built up along the lower edges.
A William IV mahogany serving table, the shaped top over three frieze drawers raised on part ebonised turned and reeded legs88 x 155 x 70cmBallykeel House, Hillsborough, Northern IrelandTop with light scratching and indents consistent with useFrieze knocked with some minor splits and losses to the veneerUnderside front rail has worm all across Drawers slide wellLegs knocked consistent with useSee photos
A George III inlaid mahogany Pembroke table, the shaped drop-flap top over a single end drawer and opposing dummy drawer raised on square tapered legs and castors75 x 81 x 58cm closed75 x 81 x 108cm openSold in accordance with the Ivory Act 2018, submission number 1NYBFQ9RIndents and light scratching to the top with some splits to the veneerDrawer slides well, drawer fronts lightly knockedCorner to the left of the drawer with possible restorationLegs knocked consistent with useSee images
Circle of Carel van Falens (1683-1733) Soldiers on horseback with a dog nearby; and Cavalrymen resting in a landscape with a horse wagonoil on panel16 x 21cm, a pair29 x 34cm framedThe paintings are executed in oil on small wooden panels. The supports and paint layers are in a good condition overall. The paint layers have developed some stress and drying cracks but these are stable. The varnish layers are yellowed and dull. Under ultraviolet light there are some darker areas which may be retouchings or disruption in the varnish layer.
Augustus Osborne Lamplough (1877-1930) Feluccas on the River Nile at sunset; and Camel riders in the desert at sunsetsigned and dated indistinctly 'A Lamplough' (lower left)watercolours on paper22.5 x 61.5cm, a pairFeluccas - Discoloured. Cockling to the paper along the top edge which creates a bubbling effect. Light foxing. Two diagonal marks running across the sky. Camel riders - Discoloured. Some creasing and light cockling especially in the upper left quadrant. A crease near the left edge and a few surface abrasions in the upper left quadrant. Possible retouched loss top centre. Not examined out of frame. 41 x 79cm framed
After Guido Reni Portrait said to be of Beatrice Cenci (1577-1599)oil on canvas60 x 48.5cmAfter the original long attributed to Guido Reni in the Palazzo Barberini in Rome.Paint layers are stable. Canvas tension is good. Some retouchings have discoloured and are visible especially in the sitter's face and shoulder area. There is some surface dirt and drip marks in the varnish layer. Some light surface scuffs particularly in the top left corner.
Attributed to Cornelis Gerritsz. Decker (c.1615-1678) The tower of Kostverloren on the River Amsteloil on canvas60 x 74cmProvenance:Eustace Hoare, Esq., 5 Buckingham Palace Gardens, London,Thence by descent to Virginia Hoare (1927-2001),Chillesford Lodge, SuffolkFramed 78.5 x 92cmThe painting is executed in oil on canvas which has been lined. The canvas tension is stiff and the picture is in plane. The paint layers are stable overall. The darker paint passages have an unusual paint texture which may have occurred during the drying process and possibly exacerbated through lining. Under ultraviolet light, dark areas are evident which seem likely to be where varnish is not present rather than overpaint. The varnish is dull, yellowed and dirty and no longer saturating the paint layers. There is a light layer of surface dirt.
John Varley, OWS (1778-1842) On the Welsh Coastsigned and dated 'J. Varley 1812' (lower right)watercolour on paper21.5 x 47cmProvenance:Agnew & Sons, London;Collection of Lord Clwyd,Appleby Bros Ltd, LondonDiscoloured throughout. Few light abrasions to the paper, primarily along the lower edge. 2 raised distortions to the paper right of the boat above the figure on horseback and another in the lower left quadrant. Some dirt marks, especially in the sky. There appear to be remnants of old tape to the glass.
A William IV mahogany sofa table, the drop flap top with rosewood crossbanding above two frieze drawers with bead moulded lower edge, raised on a ring turned column with four hipped splayed legs terminating on brass caps and castors73 x 91 x 70cm closed73 x 137 x 70cm openBallykeel House, Hillsborough, Northern IrelandTop with minor indents and light scratching as you would expect, minor loss of crossbanded veneerBoth drop flaps very slightly warpedFrieze with some scratching and some replacement veneerLegs knocked with some of the reeded edge chippedSee photos
Lady Diana Beauclerk (1734-1808) The Farmer’s daughter pencil and watercolour on paper 55 x 44cmProvenance:Abbott & Holder, LondonNot examined out of frame. Slight cockling to the paper. Small crease in the upper left quadrant at the top edge. Some diagonal marks in the upper right quadrant. Small crease lower right corner. Minor abrasion to the edges, especially along the right-hand centre edge. Light burn marks from previous mount. Possible retouching in the trees. A surface abrasion in the trees.
A mahogany framed armchair in the manner of Howard & Sons, circa 1880, of low and deep proportions and with gently curved 'floating' arms, raised on turned legs and casters. Recently professionally upholstered in a soft-yellow and blue check cotton fabric82 x 73 x 90cm Superb condition having had very little use since reupholstery. The padding remains firm again implying little useNo wear to the fabric, merely some light scuffing to the front of the arms which would lamost certainly clean offStructurally sound with no obvious damage or repairs to the frame~Original casters on all four legs
Follower of Filippo Lauri The Feast of the Gods oil on panel 24.5 x 45cmProvenance:Private Collection, LondonThe painting is executed in oil on a wooden panel formed from a single board with the woodgrain running horizontally. The paint layers have developed a network of age cracks which are prominent across the surface and appear dark. In localised areas the edges of the age cracks are lifting and the painting has a history of flaking with numerous losses across the surface. There is extensive retouching across the surface, poorly applied and has become light and yellow in tone. A thin varnish layer is present which is clear with an uneven gloss due to the texture of the paint layers.
A walnut bobbin turned armchair, in the late 17th century style, the rectangular padded back and seat upholstered in a light blue fabric, the turned arm rests with block terminals and circular mouldings raised on turned legs and stretchers92 x 62 x 49cmProvenance:Collection of Mike Handford, 'Hillsleigh', Burford, Oxfordshire
Henry Weigall (1829-1925) Portrait of Lady Rose Weigall (née Fane, 1834-1921)oil on canvas, unframed58 x 47cm; together with another portrait of Lady Rose in old age (2)Provenance:By descent in the artist's familyLady Rose in red dress - Lined. Unframed. The paint layer is stable, but there are localised paint losses. There are two indentations to the canvas caused by impact - in the sitter's forehead and a lesser one left of the sitter's head with associated paint loss. Stretcher bar marks are visible. The paint layer appears slightly abraded along the lower edge. The varnish appears uneven and drip marks are visible in places when examining the painting in raking light. Retouchings to the sitter's face, dress and background visible under UV. It would appear the canvas was at some point stored rolled up. Lady Rose in old age - Unlined and unframed. Few punctures to the canvas and associated paint loss. The bottom of the stretcher is affixed to a piece of wood.
Richard Batterham (1936-2021)a light blue salt-glaze stoneware lidded square jar and coverunsigned,14cm. high (2) ExhibitedRichard Batterham : Studio Potter Victoria & Albert Museum, LiteratureTanya Harrod & Sarah Griffin (edited) Richard Batterham Studio Potter, V&A Publishing, page 86 catalogue number 56. This jar was fired circa 1974-76 in John Maltby's salt-glaze kiln. ProvenanceThe Estate of Richard Batterham
Tag Heuer Kirium stainless steel gentleman's wristwatch, reference no. WL111G-0, serial no. GA8xxx, grey dial, rotating bezel, Tag Heuer bracelet with folding clasp, quartz, 40mm including crown guards-** Tag Heuer zipped case with outer box, guarantee booklet and card (card incomplete), instructions booklet-Movement - currently functioning.Dial - good.Glass - a couple of light surface marks.Hands - good.Case - light surface marks to the bezel and surface mark to the case back, generally good.Crown - adjusting correctly.Bracelet - light surface marks and some minor mild tarnish marks, wrist size 7.5''-7.75'' approx.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Omega Constellation 18ct diamond set lady's wristwatch, serial no. 55164xxx, circa 1993, quartz, 61.5gm, 23mm-Movement - currently functioning.Dial - good.Glass - light marks.Hands - good.Case - generally good, light marks - see images.Crown - adjusts correctly.Bracelet - light marks present, wrist size 6.5'' approx.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Omega Ladymatic 18k diamond set wristwatch, reference no. SC7067, serial no. 16014xxx, circa 1958/59, silvered dial, the bezel set with diamonds, cal. 455 17 jewel movement, integral bracelet with fold-over clasp, 38gm, 18mm (the movement requires attention)-Movement - currently not functioning so requires repair.Dial - surface marks present.Glass - light marks.Hands - surface marks.Case -light marks as expected for the period - see imagesCrown - Omega crown adjusting hands correctly.Bracelet - good condition, 7.5" long overall.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Seiko SQ Sports 100 Quartz stainless steel gentleman's wristwatch, reference no. 5H23-7A9A, serial no. 784xxx, black dial, 'Pepsi' bezel, Seiko bracelet with folding clasp, 38mm including crown guards-Movement - currently functioning.Dial - good.Glass - surface scratches.Hands - a few surface marks present.Case - rubbing and some scratches/indentations to the bezel, general light surface marks.Crown - adjusting correctly.Bracelet - mild swelling to a few of the links, surface scratches, wrist size 7.5'' approx.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Rolex stainless steel gentleman's wristwatch, reference no. 4560, serial no. 4805xx, circa 1946, silvered dial with gilt Arabic numerals, hour markers and dot minute markers, subsidiary seconds, gilt hands, tear drop lugs, Rolex crown, signed 15 jewel movement, signed case, modern black leather strap with Rolex buckle, 35mm-Movement - currently functioning.Dial - refinished, good.Glass - generally good, some light surface marks.Hands - light surface marks.Case - good.Crown - modern, good.Strap/Bracelet - .-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Omega Seamaster Professional Chronograph Chronometer automatic stainless steel gentleman's wristwatch, reference no. 178 0522, serial no. 85549xxx, circa 2009, blue wave dial, blue rotating bezel, Omega bracelet with folding clasp, 45mm including crown guards (141270-1-A)-Movement - currently functioning.Dial - good.Glass - good.Hands - good.Case - a few light surface marks to the bezel and case sides.Crown - adjusting correctly, push buttons start/stop and reset.Bracelet - surface scratches to the bracelet and clasp, dirty between the links. wrist size 7.00'' approx.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Omega Electronic f300Hz Constellation Chronometer stainless steel gentleman's wristwatch, 198.002, serial no. 34837xxx, circa 1972, circular silvered dial with applied baton markers, minute markers, date aperture and red sweep centre seconds, cal. 1250 12 jewel unadjusted 'humming' movement, inscribed case, Omega bracelet with folding clasp, 38mm-** Omega Electronic f300 box, International Warranty booklet dated 14/3/79 and stamped Argos Distributors Ltd, instruction booklet, Omega service guarantee card dated 9/03/82, insurance valuation dated 02/10/08-Movement - currently functioning.Dial - good.Glass - light surface marks.Hands - good.Case - generally good, a few light surface marks and couple of surface scratch marks to the case back, inscription reads 'To Jim Love Wilma 13.3.79'.Crown - adjusting correctly.Bracelet - light surface marks, wrist size 7.75'' approx.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Attractive platinum and diamond lady's cocktail watch, silvered dial, the 17 jewel movement by Croton, 36gm, case head 13mm-Movement - currently functioning.Dial - surface marks.Glass - light marks.Hands - light marks.Case - generally good with light marks, the back not quite closing flush - see images.Crown - adjusts correctly.Bracelet - 6.5" long.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Orfina Porsche Design automatic stainless steel lady's wristwatch, case no. 75780, black dial, 30mm-Movement - currently functioning.Dial - good.Glass - good.Hands - good.Case - generally good condition, some mild marks - see images.Crown - adjusts correctly.Bracelet - light marks, 6.25" approx.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Rolex Oyster Perpetual Date GMT-Master 'Pepsi' stainless steel gentleman's wristwatch with a pointed crown guard case, reference no. 1675, serial no. 622xxx, circa 1960, 'Pepsi' bezel insert, 'Swiss' service dial, cal. 1560 26 jewel movement, the inside case back stamped 16750, Oyster bracelet, reference 78360 with 580 end links, the bezel 40mm-** Private provenance, last serviced by Rolex in August 2019. With green suede service pouch -Movement - currently functioning.Dial - service dial in excellent condition.Glass - some light marks present one more obvious between the 8 and 9 position.Hands - service hands in good condition.Case - service bezel in good condition, the overall is nice and clean, the case back is stamped 16750 with various service inscriptions - see images.Crown - adjusts correctly.Bracelet - some light marks, wrist size 8" approx.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
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