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A mixed tray of collectables including Zenith binoculars, stamp albums and cigarette cards, Wade Whimsies, Robinson's figures, pottery piggy bank etc Notice from the the-saleroom.com: These items are listed on the basis they are illustrative of a bygone culture in which there were different social norms. We understand the potential controversy surrounding this type of item but believe that providing transparent information about historical context fosters greater understanding of our complex cultural history.
AN ASSORTMENT OF WATCHES, to include a gents 'Stars and Stripes' 'Citizen Eco Drive' wristwatch, a Ladies 'Citizen Eco Drive', an 'Oris' fob watch, a ladies 'Zenith' wristwatch, a gents 'Lorus' kinetic wristwatch, together with a ladies 'Micheal Kors' wristwatch, also including a costume jewellery ring, (condition report: general moderate wear, watches have not been tested for working condition, we cannot guarantee the working condition of the watches)
ZENITH Vintage "respirator luxe AF/P" Herrenuhr, ca. 1970er Jahre. New Old Stock. Edelstahl/vergoldet. Schnellschwinger Automatic-Werk Kal. 405 mit 36.000 Halbschwingungen/Stunde, gute Gangwerte (+3s/d, 248°). Silbernes Tritium-Zifferblatt mit Strichschliff auf 4 Quadranten sowie Tag/Datumsanzeige, Tritium-Zeiger. Originales Lederband mit vergoldeter Stiftschließe. Neuwertiger Zustand, Armband mit Lager-/Biegespuren. Original AF/P Hang Tag anbei. Durchmesser ca. 34mm ohne Krone.| ZENITH Vintage "respirator luxe AF/P" Men's watch, approx. 1970s. New Old Stock. Stainless steel/gold-plated. High frequency automatic movement cal. 405 with 36.000 half oscillations/hour, good working order (+3s/d, 248°). Silver Tritium dial with linear grinding on all 4 quadrants and day/date display, Tritium hands. Original leather strap with gold-plated pin buckle. Mint condition, strap with signs of storage/bending. Original AF/P hang tag enclosed. Diameter approx. 34mm without crown.
ZENITH Vintage El Primero A384 Chronograph Herrenuhr. Frische Revision am 02.12.2024. Edelstahl. Automatik-Werk Kal. 3019PHC mit sehr guten Gangwerten (+2 Sek., 277° Amplitude). Tritium Panda-Zifferblatt und Zeiger mit Datumsanzeige und zentraler Stopp-Sekunde. Neues Lederarmband mit Dornschließe. Guter Zustand, leichte Gebrauchsspuren. Revisionsnachweis und Samtetui anbei. Durchmesser ca. 37,5 mm ohne Krone.| ZENITH vintage El Primero A384 chronograph men´s wristwatch. Fresh revision on December 2nd, 2024. Stainless steel. Automatic movement cal. 3019PHC with very good accuracy (+2 seconds, 277° amplitude). Tritium panda dial and hands with date display and central stop seconds. New leather strap with pin buckle. Good condition, slight signs of wear. Inspection certificate and velvet case enclosed. Diameter approx. 37.5 mm without crown.
A Victorian eight strand seed pearl necklace, with pierced navette form white metal clasp set single cultured pearl, length 56cm, together with a pair of 9ct. gold and seed pearl drop earrings, screw back fitting, drop 4.3cm (gross weight 5.4g), a Victorian seed pearl pendant, with pierced mother of pearl back, drop 5.2cm, a cultured single string cultured pearl necklace with silver clasp, length 45.5cm, a white metal and paste set bird brooch, a pair of white metal and paste set clip earrings, a pair of cultured pearl stud earrings and a Zenith gold plated ladies' wrist watch. (qty)
THOMAS BARDWELL (BRITISH 1704-1767) VIEWS OF ADLINGTON HALL AND PARK Oil on canvas, a set of four Each 61.5 x 101cm (24 x 39.3⁄4 in.) (4) Provenance: Charles Legh, descent to current ownerLiterature: County Life, 28 November 1952, p.1734, fig. 1; 12 December 1952, p. 165, fig.9. J. Harris, The Artist and the Country House, London, 1979, p.321, no.360. P. de Figueiredo and Julian Treuherz, Cheshire Country Houses, Chichester, 1988, pp.17-18, fig.9. G. Tyack and S. Brindle, Country Houses of England, 1994, pp.84-85. J. Harris, The Artist and the Country House. London, 1995, p.84-5, fig. 57-8. Exhibition: Sotheby's London, The Artist and the Country House, no.57 and 58. The present lot is a striking example of English country house portraiture, commissioned as a painterly record of a generation's contribution to the family seat. The tradition of estate painting arrived in England relatively late in comparison with the continent, where Renaissance rulers and aristocrats sought to document their palaces and homes. While oil paintings on canvas of a standalone property are unrecorded in England before 1600, the tradition was taken up with great enthusiasm and the art form reached its zenith in the eighteenth-century.Born in Suffolk in 1704, Thomas Bardwell was a painter with a varied oeuvre; he travelled across England and Scotland executing country house views, portraits and conversation pieces. He began his artistic career decorating house interiors and initially owned a paint supply business. Although he lacked formal training, in the 1720s he was employed by the successful country house painter Peter Tillemans (c. 1684-1734) to paint Livermere Hall in Bardwell's native East Anglia. Tillemans' influence on Bardwell is discernible from his earliest topographical pictures. Notably, his painting of Hedenham Hall (1735) adopts Tillemans' distinctive equine staffage, shown most prominently in his view of Chatsworth (1720s). Though charmingly naïve, this early work is also notable for its sensitive observation of detail and miniature-like quality.Previously attributed to James Shrigley, The Adlington views demonstrate how Bardwell's proficiency in country house painting evolved in his mature years. First and foremost, the works memorialise the architectural achievements of Charles Legh (1697-1781), including the south wing portico, detached stable block, domed Temple of Diana and garden follies. Although early continental estate pictures certainly display a keen interest in preserving specific details, decorative concerns often came at the expense of accuracy and views were compressed to create broad pictorial maps. By the turn of the 18th century, however, artists and patrons responded to the growing study of topography and sets of elevational views proliferated to provide a comprehensive record.Bardwell's interest in perspectival accuracy therefore made him a fitting choice for the commission. Published in 1756, his study The Practice of Painting and Perspective Made Easy offers the reader a guide to the principles of perspective using illustrations of buildings, gardens and avenues. His principles are brought to fruition in the present works, through geometric precision, carefully manipulated areas of light and shadow and the incisive rendering of architectural detail.Bardwell's views also act as a celebration of the English estate, with its bucolic scenery and rural pleasures. Following Charles Legh as he strolls around the grounds, the paintings provide a pictorial tour of the landscape. The parkland is characteristic of the mid eighteenth-century designs popularised by Lancelot 'Capability' Brown, with rolling pastures and clusters of trees. Horses graze, deer and rabbits frolic, and Charles Legh is accompanied by a crowd of his cherished dogs. Indeed, the lines between portraiture, landscape, sporting and country house painting blurred in English eighteenth-century conversation pieces and works began to speak to the symbiotic relationship between the home and family. Thomas Bardwell's portraits, for instance, often include the sitter's home in the background and his estate views show figures riding or promenading through the grounds.John Steegman wrote that 'a house may be called Castle, Abbey, Priory, Park, Hall, Court, Manor, or just a House...But they are all houses, which have been born-in, lived-in and died-in by the family, and which are centred the family's affections and pride'. Bardwell's pictures animate the country house by reflecting the delight and fulfilment of those who inhabit it. In one view, Charles Legh stands proudly before the imposing new facade. Another shows him looking across his sweeping vista and admiring Adlington Hall from a distance. In each picture, however, the figure moves unobtrusively across the landscape; there is an awareness of his transience. While one generation travels through, the home and park remain the constant focus, a testament to one family's enduring legacy. Condition Report: White picket fence, centrally located The paintings has been wax lined. There are multiple chip losses evident and a strong pattern of craquelure present. Examination under UV light reveals touches to many of the chip losses, along with work to a 4 ½ in. (approx.) vertical tear to the canvas, located in the sky on the right, and to a few additional infills in the sky. In the foreground there are some more dispersed spot touches and some glazing to thinness. Dogs in front of lake The painting has been adhered onto an oil tempered hardboard. This structural treatment is designed to support the original canvas which has several repairs to it along with a strong pattern of craquelure. Examination in a raking light suggests a good adhesion within the work and a certain level of structural stability. Examination under ultra violet light reveals some scattered retouches to a combination of isolated chip loses, some of these combine to form a more concentrated area of work, and to a few infills in the sky, one above the buildings on the right and two more Man with blue coat The picture has been adhered to an oil tempered hardboard. This structural treatment designed to support the original canvas which has several repairs to it across the sky. Examination in a raking light suggests a good adhesion within the work and a certain amount of structural stability. Examination under a UV light shows restoration to what appears to be a number of holes and some linear breaks to the canvas. The two largest of these are above the trees on the right and in the sky in the upper left quadrant. Horses The painting has been wax lined. This lining is designed to support a 3" vertical tear in the right of the sky and a strong pattern of craquelure Examination under ultra violet light shows scattered retouches across the sky, to chip losses and age cracking. This pattern of chip losses continues across the foreground which also has several patches of old varnish. Condition Report Disclaimer
Zenith Rainbow, Stahl/Gold, Automatic, Chronograph, Ref. 53-0370-400 um 1990, einseitig drehbare goldene Lünbette mit dunkelblauer Einlage, verschraubter Boden, Krone und Drücker, Saphirglas, metallisch blaues Zifferblatt mit Keilindizies, neu ausgelegte Leuchtzeiger, Datum zwischen 4 und 5 Uhr, Hilfszifferblätter für Sekunde, 30 min und 12 Stunden Zähler, Stoppsekunde zentral, Uhrwerk El-Primero läuft, Stahl/Gold Armband mit Schmetterlingsfaltschließe, Durchmesser 40mm, Höhe 13mm, Länge ca. 20cm plus 2 Ersatzglieder, mit Box und Umkarton und Anhänger
Zenith Elite 670 Square 33, Herrenarmbanduhr Automatik, Stahl, Ref. 90/01 0100 670 um 2000, gewölbtes Glas, silberf. Zifferblatt silberf. Keilindizies, Datum zwischen 4 und 5 Uhr, Uhrwerk Zenith Cal. 670 läuft genau, WD 30m, Druckboden, 33 x 33mm, Höhe 8,5mm, mit schwarzem Lederband mit Original Dornschließe
A 9ct gold Zenith ladies cocktail watch, with textured brick bracelet. With a mechanical movement to a silvered dial, with gold baton markers and hands. Case diameter 22mm approximately. Hallmarked for Zenith, London, 1965. Gross weight approximately 35.33 grams. Condition report: Untested but winds and appears to run. General wear consistent with age. Clasp secure.
Early 20th century silver open face keyless lever alarm pocket watch by Zenith, black dial with Arabic numerals and subsidiary seconds dial, retailed by Brook & Son, Edinburgh, case No. 83793, Glasgow import mark 1918Condition Report:Movement functioning and clean, inner cover also silver, push buttons operating hands and alarm setter, however alarm does not chime at time set, dial good, hands with some marks, well presented, case with some light scratches, closes tight, cover with some light marks mostly around opening - not detrimental, case diameter = 47mm
Zenith: An 18 Carat Gold Full Hunter Pocket Watch, signed Zenith, 1916, manual wound lever movement signed and numbered 2065128, split bimetallic balance with a blued overcoil hairspring, enamel dial with Arabic numerals, seconds dial, plain polished case stamped inside Zenith and numbered 191346, convention mark 18k0.750, together with a Yellow Metal Chain, (2)50mm wideCase with surface scratches, case sides with dents, front cover outer edge with a small dent, dial is clean, hand setting correctly and winding smoothly, movement is clean and in going order. Watch weight 106.5g. Chain weight 7.7g.
Zenith: A 14 Carat Gold Open Faced Pocket Watch, signed Zenith, circa 1920, manual wound lever movement signed and numbered 2261960, split bimetallic balance with a blued overcoil hairspring, enamel dial with Arabic numerals, seconds dial, case back cover with an engraved monogram, inside back cover stamped Zenith and numbered 196674 and 14k, base metal cuvette with an engraved inscription50mm wideCase with surface scratches, case sides with some dents, case back with an engraved monogram, base metal cuvette with an engraved inscription, plated suspension bow is rubbed, dial is clean, hand setting correctly, winding smoothly, movement in going order. Total watch weight 81.7g.
ZENITHAlarm clock A vintage Zenith hanging alarm clock, crafted in brass, circa 1930s. This charming piece features a vibrant blue and gold dial with black Arabic numerals and a central silvered section. The outer bezel is adorned with a decorative star motif, adding a celestial aesthetic to the design. The clock is mounted on an embroidered fabric hanger with paisley and floral patterns, offering both functionality and artistic flair. The Swiss-made alarm mechanism reflects Zenith’s commitment to quality and precision.Size: 6.6cm6.6cm

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7837 item(s)/page