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Preisdatenbank abonnierenLouis Vuitton Black Epi Leather St-Jacques Shopping Tote GM. Golden brass hardware, gray suede interior with zippered pocket. Labeled appropriately. Serial #AS0995. Measures 10-1/2" x 11-3/4" x 7". Condition: Gently used pre-owned condition with light scuffs, scratches. Domestic Shipping: $62.00 Min Est. $350.00 Max Est. $450.00
Louis Vuitton Red Epi Leather Noe GM Bag. Golden brass hardware, red suede interior. Labeled appropriately. Serial #AR0925. Measures 10-1/2" x 13" x 8". Condition: Gently used pre-owned condition with light wear to edges, light tarnish on hardware. Domestic Shipping: $62.00 Min Est. $350.00 Max Est. $450.00
Louis Vuitton Black Epi Leather Noe GM Bag. Golden brass hardware, black suede interior. Labeled appropriately. Serial #AR1923. Measures 10-1/2" x 13" x 8". Condition: Gently used pre-owned condition with light wear to edges, scuff, scratches, light tarnish on hardware. Domestic Shipping: $62.00 Min Est. $350.00 Max Est. $450.00
Louis Vuitton Gold Epi Leather Alma PM Bag. Golden brass hardware, gold suede interior with slot pocket. Dustbag included. Labeled appropriately. Serial #MI0948. Measures 12" x 9-1/4" x 6-1/2". Condition: Gently used pre-owned condition with light scratches and wear to bottom edges, lightly tarnished hardware. Domestic Shipping: $56.00 Min Est. $400.00 Max Est. $500.00
Louis Vuitton Gold/Brown Epi Vernis Agenda Cover PM. Silver hardware, gray interior with slots. Pen included. Labeled appropriately. Serial #CA0979. Measures 4" x 5-3/4" x 1/2". Condition: Pre-owned gently used condition with light wear from use. Domestic Shipping: $38.00 Min Est. $100.00 Max Est. $200.00
Louis Vuitton Black Epi Leather Agenda Cover PM. Silver hardware, black interior. Dustbag, Box included. Labeled appropriately. Serial #CA5007. Measures 5-5/8" x 4" x 3/4". Condition: Pre-Owned good condition with light wear from use. Domestic Shipping: $38.00 Min Est. $150.00 Max Est. $250.00
Louis Vuitton Dark Green Canvas Monogram Idylle Josephine PM Bag. Golden brass hardware, dark green interior, Canvas and leather handles. Dustbag included. Labeled appropriately. Measures 10-5/8" x 7-1/2" x 5-1/4". Condition: Pre-owned good condition with light wear. Domestic Shipping: $56.00 Min Est. $250.00 Max Est. $350.00
Louis Vuitton Ivory Canvas Damier Azur Naviglio Bag. Golden brass hardware, beige canvas interior, canvas strap. Dustbag included. Labeled appropriately. Serial # SR2037. Measures 10-1/2" x 9-1/2" x 4-1/4". Condition: Pre-owned condition with light wear and toning and stains to vachetta. Lightly soiled on canvas straps from use. Domestic Shipping: $62.00 Min Est. $550.00 Max Est. $650.00
Louis Vuitton Brown Canvas Monogram Speedy 40 Bag. Golden brass hardware, brown interior with slot pocket, vachetta handles. Cadenas, Keys included. Labeled appropriately. Serial #SSP0924. Measures 15-3/4" x 9-1/2" x 7-1/2". Condition: Pre-owned Gently used condition with light wear to corners, toning to vachetta. Domestic Shipping: $58.00 Min Est. $400.00 Max Est. $500.00
Roderic O'Conor (1860-1940)Etude, Femme à Contre JourOil on board, 62.2 x 50.8cm (24½ x 20'')Signed and dated (19)'07; signed again and inscribed 'Etude. Roderic O'Conor No.3' versoAtelier 'O'Conor' stamp versoProvenance: Hotel Drout, Paris 'Artist's Studio Sale', 7th February 1956; Crane Kalman Gallery, London, March 1959; Robert Hodsell 1959; later with Ben Goldstone; sold Christie's 'Irish Sale', May 2003, Cat. No.67, where purchased by current owner.Exhibited: Possibly 'Salon d'Automne' 1909, No.1319.Literature: 'Roderic O'Conor: A Biography with Catalogue of his Work' by Jonathan Benington, Dublin 1992, Cat. No.127, p.205.Shortly after moving to Paris from Brittany in 1904, O'Conor produced a group of studio interiors in which the figure was portrayed against the light, or contre-jour. Doubtless he was aware of the use made of this technique by Degas and Bonnard, both of whom took similar delight in the resonance and ambiguity of shadows.O'Conor responded to the new challenge with gusto. Finding his feet in new cosmopolitan surroundings, he felt, impelled him to develop a new approach. For the first time in his life he was the proud and sole occupier of a spacious studio, illuminated on one side by a series of large windows. He quickly found that the effects of light and shade, contrast and colour could be endlessly adjusted by placing his models at varying distances from the windows, and by painting them at different times of day. One way to expand the range of such opportunities was to interpose his subjects in the space between the light source and his easel, thereby making it appear as if they were emerging dramatically from the shadows.O'Conor's contre-jour body of work comprises a self-portrait and several paintings of nude and clothed female models. The present work is arguably the most surprising and the most daring of the entire group. The figure is viewed at close proximity, so that the masses of her torso and skirt completely dominate the composition; we are, in truth, almost within touching distance of this mantled figure whose facial features we are unable to discern. The light reflects off her neck, shoulder and bodice, dazzling in its brightness, and yet the absence of detail that is a direct corollary of the viewing conditions means that she must remain an enigma.Capturing such a scene with a camera would be virtually impossible - the lens could never cope with the extreme light-dark contrasts. Only a brave artist would attempt it in paint, knowing that the glare of light from behind the subject would demand something extra from the colours at his disposal. O'Conor's solution is easy to discern: he pushed the plastic properties of oil paint to new extremes of gesture and impasto. The sensuous build-up of pigment in this work is at once highly experimental and daring. Whilst the mosaic-like textures prompt comparison with Sickert's paintings dating from 1907, such as 'The Juvenile Lead', the approach of the Irishman is so radical as to be ahead of its time, anticipating the work of contemporary artists such as Frank Auerbach.Jonathan BeningtonA major exhibition, Roderic O'Conor and the Moderns at the National Gallery of Ireland, co-curated by Jonathan Benington runs until October 28th 2018
Tony O’Malley HRHA (1913-2003)Abstract CompositionOil on board, 92.5 x 17cm (36½ x 6¾'')Signed with initialsProvenance: The collection of Brian and Anne FrielKilkenny born painter Tony O’Malley began painting full time in 1958 having worked as a bank clerk, while painting in his spare time. He is best known for his paintings done in Cornwall, where he lived for thirty years after visiting St Ives in 1955. He returned to settle there in 1960. While he was strongly influenced by the St Ives artistic community, his relationship was one of engagement rather than direct participation, although he did meet and work with Peter Lanyon and Patrick Heron. In the 1970’s O’Malley married his wife Jane, an artist and they spent their winters in the Bahamas. Influenced by the light and surroundings of the Carribean, much of his work from this time became more colourful and vibrant, moving away from the more sombre tones of his work in the 1950’s and 60’s. His work has been exhibited at the Royal Hibernian Academy, Taylor Galleries,Dublin, the Coram Gallery in London and he represented Ireland at ROSC ‘80. An honorary member of the RHA (elected 1990), he was elected Saoi of Aosdana in 1993 and the following year received an Honorary Doctorate from Trinity College Dublin. When he died in 2003 he was rightly regarded as one of Ireland’s leading painters.The Irish Museum of Modern Art held a major retrospective of his work in 2005.
Jack Butler Yeats RHA (1871-1957)The Sandwich Board ManPen, ink and watercolour on paper21 x 32cm (8¼ x 12½'')SignedProvenance: A gift directly from the artist to his nurse and thence by decent.In Yeats’s drawing an old man carries a sandwich board across his shoulders. It bears a placard advertising a cinema. The man pauses to fill his pipe with tobacco. He stands near the Dublin quays, on D’Olier Street, just south of O’Connell Bridge. The O’Connell Monument and Nelson’s Column are visible behind his right shoulder. This was a favourite part of the city for Yeats. A number of his oil paintings such as Crossing the City, (1929, Private Collection), and The Street in Shadow (1925, Private Collection) focus on this central location. The more famous Bachelor’s Walk, In Memory (1915, on loan to National Gallery of Ireland) and The Liffey Swim (1923, National Gallery of Ireland) both depict sites just the other side of the quays to this view. A well-dressed man and woman, gazing into a shop window, stand close behind the figure. Across the street the end of a tram can be seen with a man standing on its platform. Beyond this pedestrians hurry along the pavement. Amidst this scene of a busy crowd, the sandwich-board man appears both aloof and solitary. He is a type of outsider figure that was much admired by Yeats and central in his work. The artist was fascinated by the nomadic existence of such figures, whose livelihood was uncertain and arduous. While outsiders were usually ballad singers or travelling nomads in the landscape, the sandwich-board man offers an urban alternative. He calls to mind the drifting carriers of the H. E. L.Y.S. sign in James Joyce’s Ulysses whom Bloom encounters at several points on his crossings of Dublin. Yeats was keenly aware of the world of advertising, noting down unusual or witty by-lines, slogans and signage in his sketchbooks. He had worked briefly for the famous billboard company, David Allen and Sons, in Manchester in 1892. Hilary Pyle notes that when sandwich boards were used to advertise Yeats’s exhibitions in Dublin in the early 1900s, the artist coloured the placards himself. (1)The image is constructed in black ink with touches of pale colour applied afterwards. The cross hatchings evoke the lines of woodblock prints or engravings and impart a primitive quality, suggesting the authenticity and simplicity of the scene. The finer and looser use of black line used in the left hand side of the composition suggests falling rain or fading light. The surface of the road is made to appear damp through the use of a cold blue colour and widely spaced strong vertical lines juxtaposed by looser thinner lines. The complex use of line in the face of the sandwich-board man conveys his character sympathetically, an elderly man engaged in filling his pipe and temporarily removed in a psychological sense from his surroundings. Róisín Kennedy, August 20181) Hilary Pyle, Jack B. Yeats. A Biography, Routledge and Kegan Paul, London, 1970, p.47.
Donald Teskey RHA (b.1956)Street Scene with Three FiguresOil on canvas, 45 x 53cm (17¾ x 20¾'')Signed and dated 1998Donald Teskey’s landscape paintings always maintain a strong sense of place, whether evoking specific sites or responding to the unexpected effects of the environment. The location of this present work is not identified but Teskey grounds the scene by placing the three figures at the paintings center, a focal point which draws the eye into the landscape, our attention captured by their brightly coloured coats. The figures with their backs to us, appear to be at a standstill amongst the windswept wintery city streets, framed by lamp posts on either side, we follow their gaze to the buildings on the other side of the street. Although he uses only a few strokes to delineate the bodies of figures, we still get a sense that the three are in communion with each other, the two in yellow and green turning their heads to listen to the taller figure in black. He balances the light and dark contrasts with ease in the painting, the dark swirling colours of the foreground opening up to a lighter space beyond.A considerable part of Teskey’s work focuses on urban landscapes, a traditional genre of painting but handled in such a manner that enlivens the scene and results in intensely powerful images. Teskey uses trowels and palette knives to spread thick swaths of paint across the canvas, suggesting the elastic quality of his material, which is malleable and manipulated in his hands. This gestural abstraction, goes beyond the specifics of time and place, texture takes over and the medium becomes of equal importance to the subject matter itself. Such images dramatize elemental change, the shifting light and the unexpected effects of nature within which these three figures find themselves. Niamh Corcoran, August 2018
Terence P. Flanagan PRUA RHA (1929-2011)Exterior, Interior with Still Life (Fish in Box)Oil on canvas, 107 x 91cm (42 x 35¾'')Signed and dated (19)'91Provenance: With Taylor Galleries, Dublin; with Shambles Art Gallery, Hillsborough, where purchased by current owner.Exhibited: ’T.P. Flanagan: A European Journey and Other Paintings’, The Taylor Galleries, Dublin March/April 1992, Cat. No. 32; ‘T.P. Flanagan: Retrospective Exhibition’, The Ulster Museum, November 1995 - February 1996, Hugh Lane Municipal Gallery Dublin, March - May 1996 and Fermanagh County Museum, Enniskillen, May - August 1996 Cat. No. 88.Literature: 'T.P. Flanagan: Retrospective’ by Dr S.B. Kennedy, 1995, illustrated p. 76; ‘T.P. Flanagan: Painter of Light and Landscape’, 2013, p.139/140, illustrated Fig 79 p.136.The artist has written of this work ‘This picture was painted in 1988 at Castle Coole. I was having extensive work done to my Donegal Studio and John Belmore kindly put the Stewards House (Castlecoole) at my disposal. The view in my painting is from the drawing room window and shows a little colonnaded arcade where in the past the land steward would have conducted his business with estate workers. As I became familiar with this room I realised I was, as it were, seeing three space-sequences, the space outside the window, the space within the room itself, and a separate sealed-off space around the fish in its case.'
Erskine Nicol RSA ARA (1825-1904)Awarding Prizes in a Village SchoolOil on canvas, 76 x 120cm (30 x 47¼'')Exhibited: Royal Hibernian Academy of Arts, 1848.A native to Scotland, Erskine Nicol first visited Ireland in 1846 and remained in the country for the following four years, drawing inspiration from scenes of rural life. Arriving in the early stages of the Great Famine, Nicol was to bear witness to the horror of a starving Ireland, however his works are tinted by a Victorian ideal and he instead chose to portray a poor, but largely jovial community. Such images appealed to Nicol’s clientele in Dublin and London and were greatly admired for their sympathetic rendition of a rustic Ireland.‘Awarding Prizes in a Village School’, is a superb example not only of Nicol’s skill as an artist, but of his ability to translate a strong sense of humour through his work, something which we see across his oeuvre. With the introduction of a state-supported National School System in 1831, primary education was made more readily available to rural communities and it saw the establishment of thousands of schools across the country. At a time of social upheaval, such a subject matter would have seemed favourable to those loyal to the British government as it portrayed an educated and prosperous Ireland. Therefore, picking one such school as the backdrop for this work, Nicol conjured up a scene of childhood mischief that would not look out of place in today’s classroom. Whilst our eye is initially drawn to the centre of the painting and the act of the prize giving itself, we cannot help but be distracted by the antics of the children. Our interest is piqued as we strain to hear the secrets whispered to the boy second in line. A flurry of activity behind and through the open door illuminates a game of leap frog, whilst the light source to the left of the painting is comically obscured by a boy as he presses his face against the glass, inciting a retaliation from a child within.The slightly dishevelled building romantically mirrors the personality of its occupants and would have brought a charming portrayal of rural life to Dublin when exhibited at the Royal Hibernian Academy in 1848. Although often considered as quite a satirical painter, ‘Awarding Prizes in a Village School’ belies the genuine sympathy and affection of Nicol towards his subject matter. In this painting, we do not see the boorish examples of the Irish race as depicted so often by British artists at the time, and, indeed, by Nicol himself. Instead, each model is formed with a tenderness that generates a genuine human interest and invites the viewer in as not only an observer but, perhaps, as a participant as well. Helena Carlyle, August 2018
Daniel O'Neill (1920-1974)The GardenOil on board, 46 x 60cm (18 x 23½'')Inscribed with title versoProvenance: Purchased c.1970/71 from the Victor Waddington Galleries, London by current owner, a cousin of the renowned gallerist.Daniel O’Neill has often included twinned female figures in his work, usually placing them in the immediate foreground, close to the picture plane, as seen Lot 54 in this sale. On this occasion his two figures are set within the bright and extensive landscape of a walled garden. The tranquility of the setting, filled with colourful flowers creates a calm atmosphere. The title of the work, makes explicit the suggestion of recovery after an illness and presumably refers to the figure who is lying down in the background of the painting covered in a blanket, despite the warm sunshine. She is watched over by another figure standing to the left of the foreground, facing out to the viewer. O’Neill leaves the figures faceless, their identity and emotions anonymous to us.The walled garden, while offering a place of sanctuary and peacefulness could also be read as a barrier between the figures and the what lies beyond the enclosure. O’Neill has arranged the composition around the central square flower bed, the perimeter line of the garden wall continues into the physical boundary that exists between the viewer and the painted canvas. We are on the threshold, the figure in the foreground is removed from us standing at the top of steps. We do not get the impression that we could enter into this space. O’Neill often juxtaposed elements within his paintings and in the case of this work the abundance of colour and variety of plants on the right hand side of the garden are contrasted with the dark, lifeless bushes to the left. This side of the garden is cast in shade, while the figure lying on the chair is bathed in sunlight. The shift in light and atmosphere is incredibly subtle, delineated by the slight difference in tone of the flagstones. There is a tendency to describe the atmosphere of O’Neill’s paintings as isolating yet it seems here the sense of distance between the figures and the viewer functions only to intrigue us further into the nature of the scene. Niamh Corcoran, August 2018
Rembrandt van Rijn (1606-1669) Christ seated disputing with the doctorsEtching with touches of drypoint, 1654, a very well inked impression with strong contrasts and little wear of New Hollstein's second state (of two), on thin laid paper without watermark, platemark 95 x 145 mm. (3 3/4 x 5 3/4 in), sheet 155 x 192 mm. (6 1/8 x 7 1/2 in), unusually wide margins, light spotting and exposure lines from previous mounts, edges reinforced verso, light cockling upper right corner, unframed.Literature:Hind 277; New Hollstein 281 ii/ii
Rembrandt van Rijn (1606-1669) Christ and the woman of Samaria among ruinsEtching and drypoint, 1634, a good impression of New Hollstein's third state (of five) with strong contrasts and depth, little signs of wear and light touches of burr still in the beard of the left disciple, the garments of the disciples and the buildings behind, on laid paper with small margins, sheet 126 x 110 mm. (4 7/8 x 4 1/4 in), minor spotting and light surface dirt, upper left corner with faint small crease, upper right corner with excellent repair to abrasion/fine split, unframed.Literature:Hind 122; New Hollstein 127 iii/v
Rembrandt van Rijn (1606-1669) Joseph Telling his DreamsEtching, 1638, a good but later impression of New Hollstein's fifth state (of six), evenly printed with depth and the diagonal strokes on the face of the bearded man seated, but before further reworking, on light-blue coloured laid paper without watermark and with good margins, platemark 111 x 83 mm. (4 3/8 x 3 1/4 in), sheet 126 x 94 mm. (4 7/8 x 3 3/4 in), unframed.Literature:Hind 160; New Hollstein 167 v/vi⁂ A rare and unusual example of a Basan-era impression printed on light-blue coloured laid paper.
Rembrandt van Rijn (1606-1669) The Pancake WomanEtching with light plate tone, 1635, a good but later impression of New Hollstein's final state (of seven), on laid paper without watermark, with small margins, platemark 109 x 77 mm. (4 1/4 x 3 in), sheet 114 x 83 mm. (4 1/2 x 3 1/4 in), fine printers' crease to upper margin, unframed.Literature:Hind 141; New Hollstein 144 vii/vii
Rembrandt van Rijn (1606-1669) The GoldsmithEtching and drypoint with light plate tone, 1655, a good but later impression of New Hollstein's third state (of three), well inked and evenly printed on wove paper without watermark, with good margins, platemark 78 x 57 mm. (3 x 2 1/4 in), sheet 90 x 65 mm. (3 1/2 x 2 1/2 in), unframed.Literature:Hind 285; New Hollstein 289 iii/iii
Ed Ruscha (b. 1937)Babycakes with Weights; Real Estate Opportunities; Records; Nine Swimming PoolsFour first edition artist's books, each comprising text and multiple images, 1968-1971, each on various papers, each bound as issued, 191 x 152mm (7 ½ x 6in) (and smaller) (4) (vol)Baby Cakes with WeightsComprising 22 black and white illustrations, 1970, bound in light blue wrappers with pink ribbon, and title in green felt letteringReal Estate OpportunitiesComprising 25 black and white illustrations, 1970, from the edition of 4000, bound in white matt wrappersNine Swimming Pools (and a broken Glass)Comprising 10 colour illustrations, 1968, bound in white matt wrappersRecordsComprising 60 colour illustrations, 1971, bound in the original illustrated wrappers
Ed Ruscha (b.1937)Business Cards; Hard Light; Various Small Fires; Royal Road TestFour artist's books, each comprising text and multiple images, 1968-1978, each on various papers, each bound as issued, 238 x 160mm (9 x 6 1/4in) (and smaller) (4) (vol)Business Cards (with Billy Al Bengston)Comprising 21 black and white illustrations, the artists business cards, and photograph of the artists, 1968, signed by Ruscha and Bengston in back ink on the cover, the edition was 1000, bound with a leather strap in faux-wood gran wrappersHard Light (with Lawrence Weiner)Comprising 67 black and white illustrations, 1978, bound in printed wrappersVarious Small FiresComprising 16 black and white illustrations, from the second edition, 1970, the edition was 3000, bound in white wrappersRoyal Road Test (with Mason Williams and Patrick Blackwell)Comprising 38 black and white illustrations, from the third edition, 1971, the edition was 200, wire bound with printed wrappers
Rembrandt van Rijn (1606-1669) The Flight into Egypt: A Night PieceEtching and drypoint with light plate tone, 1651, but a later impression of New Hollstein's eighth state (of ten) with fine shading to Joseph's cheek but before further reworking, on laid paper without watermark, platemark 126 x 110 mm. (5 x 4 1/4 in), sheet 130 x 115 mm. (5 1/8 x 4 1/2 in), small margins, unframed.Provenance:Albert van Loock (b. 1917), Brussels, [L. 3751]Literature:Hind 253; New Hollstein 262 iv/vi
Rembrandt van Rijn (1606-1669) The Raising of Lazarus: Small PlateEtching with touches of drypoint, 1642, a well inked but later impression of New Hollstein's second state (of two), evenly printed with depth and Lazarus's forehead shaded with small parallel diagonal lines in drypoint, on light-blue coloured laid paper with partial watermark, possibly part of a small armorial device, good margins, platemark 150 x 113 mm. (5 7/8 x 4 1/2 in), sheet 165 x 125 mm. (6 1/2 x 4 7/8 in), unframed.Literature:Hind 198; New Hollstein 206 ii/ii⁂ A rare and unusual example of a Basan-era impression printed on light-blue coloured laid paper.
Early 19th century Bloor Derby porcelain figure of a shepherd playing a flute, resting on a tree trunk with sheep at foot, decorated in polychrome enamels & gilt, incised no. 369, 25.5cm high. Condition Report. Minor chipping to bocage, possible restoration to flute although does not show under u.v. light. Some glaze impurities, as images.
Beatrix Potter: Minton soup plate & two dinner plates from the dinner service used by Beatrix Potter at Castle Cottage, Sawrey, in the Lake District, white glazed with rope twist borders & puce crest in the form of a recumbent hippocampus, impressed marks, retail stamp for Phillips of London, with applied National Trust labels, the soup plate 25cm diam., the plates 26cm diam. Condition Report. Soup plate has a slight rubbing & scratching to interior rim. One plate has 1" hair crack & rim chip to underside. All with light wear & slight discolouration to lobed rims.
19th century blue & white pottery carpet bowl, 10cm diam.; two graduated Fenton stoneware hexagonal baluster jugs, 13cm & 12.5cm high & Copeland Spode bowl decorated with a parrot amongst flowers, 17cm diam. (4). Condition Report. V. fine haircracks to base and rim, possibly sprayed with glaze but doesn't show under u.v. light. Small area of discolouration.
Raymond Weil gold plated and stainless steel gentleman's bracelet watch, ref. 5549, white dial, quartz, 32.5mm - **Raymond Weil box with outer cardboard cover, International Guarantee booklet and card, international after sale service booklet - Condition Report: - Movement - currently functioning. Dial - good. Glass - good. Hands - good. Case - light surface marks. Crown - functioning correctly. Bracelet - light surface marks, wrist size 7'' 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
Raymond Weil Geneve Tango chronograph stainless steel gentleman's wristwatch, ref. 4881, cream dial with Roman numerals, outer minute track, date aperture at the twelve position, triple subsidiary dials and chronograph centre seconds, Raymond Weil brown leather strap, quartz, 34mm - Condition Report: - Movement - currently functioning. Dial - good. Glass - light surface marks. Hands - good. Case - marks. Crown - functioning correctly, push buttons start/stop and reset. Strap - showing signs of wear, fraying and splits to the reverse. - 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
Raymond Weil gold plated and stainless steel lady's bracelet watch, ref. 5331, white dial, expanding bracelet, quartz, 24mm - Condition Report: - Movement - not functioning, requires a new battery. Dial - good. Glass - light surface marks. Hands - good. Case - surface scratches. Crown - functioning correctly, rubbed. Bracelet - surface marks. - 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
Armani Exchange gentleman's bracelet watch, ref. AX2104, black dial, quartz, 46mm - *Armani Exchange box with outer cardboard cover - Condition Report: - Movement - currently functioning. Dial - .good Glass - good. Hands - good. Case - light surface marks. Crown - functioning correctly Bracelet - rubbing and 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
Armani Exchange chronograph stainless steel gentleman's bracelet watch, ref. AX2163, black dial with triple subsidiary dials and red centre seconds, quartz, 46mm - *Armani Exchange box - Condition Report: - Movement - currently functioning. Dial - good. Glass - scratch marks at the seven and nine positions. Hands - good. Case - light surface marks. Crown - functioning correctly, push buttons start/stop and reset. Bracelet - scratch 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
Emporio Armani oval cased stainless steel lady's bangle watch, ref. AR-0700, white dial, quartz, 20mm - Condition Report: - Movement - currently functioning. Dial - good. Glass - surface marks. Hands - good. Case - surface marks and some light indentations. Crown - functioning correctly. Bracelet - some marks and scratches, wrist size 6'' 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
Emporio Armani 'Slim' rectangular stainless steel gentleman's wristwatch, ref. AR-2058, rectangular grey dial, grey leather strap, quartz, 31mm - Condition Report: - Movement - currently functioning. Dial - good. Glass - light surface marks. Hands - good. Case - light surface marks. Crown - functioning correctly. Strap - good. - 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
Emporio Armani stainless steel gentleman's bracelet watch, ref. AR-2457, black dial, quartz, 43mm - Condition Report: - Movement - not functioning, requires a new battery. Dial - good. Glass - light surface marks. Hands - light marks. Case - good. Crown - functioning correctly. Bracelet - surface marks, 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
Emporio Armani stainless steel gentleman's bracelet watch, ref. AR-0297, black dial, quartz, 41mm - **Emporio Armani box with outer cardboard cover, instructions and warranty booklet, certificate authenticity tag - Condition Report: - Movement - currently functioning. Dial - residue at the VI position. Glass - marks. Hands - light marks. Case - marks. Crown - functioning correctly. Bracelet - light surface marks, wrist size 7'' 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
Emporio Armani stainless steel gentleman's bracelet watch, ref. AR-0680, black dial, quartz, 42mm - Condition Report: - Movement - currently functioning. Dial - good. Glass - light surface marks. Hands - light marks. Case - surface marks. Crown - functioning correctly. Bracelet - surface marks and scuffs, wrist size 7'' 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
Emporio Armani rectangular stainless steel gentleman's wristwatch, ref. AR-1604, rectangular black dial, black leather strap, quartz, 31mm - Condition Report: - Movement - currently functioning. Dial - good. Glass - light surface marks. Hands - good. Case - generally good, some light marks. Crown - functioning correctly. Strap - good. - 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
Emporio Armani rectangular stainless steel gentleman's wristwatch, ref. AR-0121, black dial, Emporio Armani black leather strap, quartz, 25mm - Condition Report: - Movement - currently functioning. Dial - good. Glass - good. Hands - good. Case - light surface marks. Crown - functioning correctly. Strap - good. - 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
Citizen Eco-Drive WR50 bicolour gentleman's bracelet watch, ref. E101-S031940, black dial, 36mm - Condition Report: - Movement - functioning. Dial - good. Glass - surface scratch marks. Hands - good. Case - surface marks and residue. Crown - functioning correctly. Bracelet - light surface marks, 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
Emporio Armani rectangular stainless steel gentleman's bracelet watch, ref. AR-0156, black dial, quartz, 31mm - **Emporio Armani box with outer cardboard cover and sleeve - Condition Report: - Movement - currently functioning. Dial - good. Glass - scratch marks and indentations to the edge. Hands - light marks. Case - surface marks, scratch marks to bezel. Crown - functioning correctly. Bracelet - surface marks, wrist size 7'' 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
Maurice Lacroix Intuition stainless steel lady's bracelet watch, ref. 32859, mirrored dial, quartz, 20mm - Condition Report: - Movement - currently functioning. Dial - light mark to the centre. Glass - light surface marks. Hands - good. Case - good. Crown - functioning correctly. Bracelet - light surface marks, 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
Maurice Lacroix Miros stainless steel gentleman's bracelet watch, ref. 69743, black dial with outer Roman numeral chapter, date aperture at the six position and centre seconds, quartz, 35mm - Condition Report: - Movement - currently functioning. Dial - good. Glass - very light surface marks. Hands - good. Case - good. Crown - functioning correctly. Bracelet - light surface marks, wrist size 6.75'' 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
Maurice Lacroix Intuition stainless steel lady's bracelet watch, ref. 59858, mirrored dial, quartz, 24mm - Condition Report: - Movement - currently functioning. Dial - small marks. Glass - surface marks. Hands - good. Case - light surface marks. Crown - functioning correctly. Bracelet - good, wrist size 6'' 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
Oris Pointer Date automatic gold plated gentleman's wristwatch, ref. 7470, silvered dial with quarter Arabic numerals, hour markers, sweep centre seconds, outer date chapter and centre date indicator with red pointer, cal. 654 25 jewel movement, exhibition case back, brown leather strap, 34mm - Condition Report: - Movement - currently functioning. Dial - good. Glass - scratch marks. Hands - light marks. Case - light surface marks. Crown - functioning correctly. Strap - marks, splitting to the reverse. - 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
Oris Classic Date automatic stainless steel gentleman's wristwatch, ref. 7490, silvered dial with quarter Arabic numerals, hour markers, outer minute markers with five minute divisions, date aperture at the six position and sweep centre seconds, cal. 633 25 jewel movement, exhibition case back, modern black leather strap, 36mm - Condition Report: - Movement - currently functioning. Dial - good. Glass - good. Hands - some marks to the infill. Case - light surface marks. Crown - functioning correctly. Strap - modern, good. - 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
Ebel Classic Wave stainless steel and gold lady's bracelet watch, ref. 1057901, white dial, quartz, 24mm - Condition Report: - Movement - currently functioning. Dial - good. Glass - good. Hands - good. Case - light marks but generally good. Crown - adjusting correctly. Bracelet - good condition, wrist size 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
Rado Diastar High-Tech Ceramic lady's bracelet watch, ref. 153.0473.3.010, quartz, 24mm - *Rado box with outer cardboard cover, International Warranty booklet and card (unstamped and undated), wallet, spare links, polishing cloth, tag - Condition Report: - Movement - requires a new battery. Dial - good. Glass - good. Hands - good. Case - good, light marks. Crown - adjusts correctly. Bracelet - good condition, wrist size 6'' 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
Rado Diastar High-Tech Ceramic gentleman's bracelet watch, ref. 152.0332.3, square grey dial, quartz, 29mm - Condition Report: - Movement - currently functioning. Dial - mark. Glass - light surface marks. Hands - marks. Case - light surface marks. Crown - functioning correctly, date adjusts at one o'clock. Bracelet - light surface marks wrist size 5.75'' 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
Gucci square cased stainless steel gentleman's bracelet watch, ref. 8500M, grey dial with date aperture at the six position and centre seconds, quartz, 34mm - Condition Report: - Movement - currently functioning. Dial - good. Glass - very light marks. Hands - minor light marks. Case - surface marks, scratch marks around the bezel. Crown - functioning correctly. Bracelet - scratch marks, 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
Gucci rectangular cased stainless steel lady's bracelet watch, ref 4600L, silvered rectangular dial, diamond set case, quartz, 27.5mm x 13mm - Condition Report: - Movement - currently functioning. Dial - good. Glass - light marks. Hands - good. Case - light surface marks. Crown - functioning correctly. Bracelet - light surface marks, 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
Gucci G-Timeless stainless steel lady's bracelet watch, ref. 126.5, grey dial, quartz, 27mm - Condition Report: - Movement - currently functioning. Dial - good. Glass - light surface marks. Hands - good. Case - minor light marks. Crown - functioning correctly. Bracelet - minor light marks, wrist size 5.25''/5.5'' 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
Gucci G stainless steel lady's bracelet watch, ref. 100L, black dial, quartz, 30.5mm - Condition Report: - Movement - currently functioning. Dial - good. Glass - light surface marks. Hands - marks to the minute hand. Case - light surface marks. Crown - functioning correctly. Bracelet - light surface marks, wrist size 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
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